Results (1 - 30) of 1391269

About this Item: 14 X 19,8, Brossura in ottime condizioni protetta da velina, pp.195 (1).1. Seller Inventory # 53595

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The Navigation and v[o]yages of Lewes Vertomannus,: Varthema, Lodovico di.

About this Item: London, Richard Jugge, 1577., 1577. 4to. (4 [instead of 10]), 464 [instead of 466] ff. (wants the first 6 ff. of prelims, final 2 ff. of text and the 6 ff. of "special advices" and index, all supplied in facsimile). With historiated woodcut initials. Splendid modern red morocco, both covers richly gilt, gilt fillets to raised bands. Stored in custom-made cloth clamshell box with gilt spine title. The first English edition of Ludovico di Varthema's famous travels to Arabia, Persia, and India: the highly important and adventurous narrative containing the first recorded visit of a westerner to Mecca. All early editions of Varthema’s "Itinerario" are exceedingly rare (even the 2013 Hajj exhibition at the MIA, Doha, only featured the 1654 reprint; cf. below). - Varthema, a gentleman adventurer and soldier from Bologna, left Venice at the end of 1502. In 1503 he reached Alexandria and ascended the Nile to Cairo, continuing to Beirut, Tripoli, Aleppo and Damascus, where, adopting Islam and taking the name of Yunas, he joined a Mameluke escort of a Hajj caravan and began the pilgrimage to Mecca. Varthema was amazed by what he observed: "Truly I never saw so many people collected in one spot as during the twenty days I remained there", he begins, and arriving at the Great Mosque, continues, "it would not be possible to describe the sweetness and the fragrances which are smelt within this temple." Thanks to his knowledge of Arabic and Islam, Varthema was able to appreciate the local culture of the places he visited. Impressed and fascinated, he describes not only rites and rituals, but also social, geographical, and day-to-day details. "I determined, personally, and with my own eyes", he declares in the prefatory dedication, "to ascertain the situation of places, the qualities of peoples [.] of Egypt, Syria, Arabia Deserta and Felix, Persia, India, and Ethiopia, remembering well that the testimony of one eye-witness is worth more than ten hear-says." His good fortune did not continue unabated, however: after embarking at Jeddah and sailing to Aden, he was denounced as a Christian spy and imprisoned. He secured his release and proceeded on an extensive tour of southwest Arabia. Stopping in Sanaa and Zebid as well as a number of smaller cities, he describes the people, the markets and trade, the kind of fruits and animals that are plentiful in the vicinity, and any historical or cultural information deemed noteworthy. Returning to Aden, and after a brief stop in Ethiopia, he set sail for India. In addition to visiting Persia, Varthema explored the coasts of Malabar and Coromandel, including a stay at Calicut at the beginning of 1505. He also purports to have made extensive travels around the Malay peninsula and the Moluccas. Returning to Calicut in August 1505, he took employment with the Portuguese at Cochin and, in 1508, made his way back to Europe via the Cape of Good Hope. - First published in 1510, Varthema's account became an immediate bestseller. In addition to his fascinating account of Egypt, Syria, the Arabian Peninsula, and the holy Muslim cities, "Varthema brought into European literature an appreciation of the areas east of India [.] which it had previously not received from the sea-travelers and which confirmed by firsthand observations many of the statements made earlier by Marco Polo and the writers of antiquity" (Lach, I. i. 166). "Varthema was a real traveller. His reports on the social and political conditions of the various lands he visited are reliable as being gathered from personal contact with places and peoples. His account of the overland trade is of great value in that we are made to see it before it had begun to give way to the all-seas route. He even heard of a southern continent and of a region of intense cold and very short days, being the first European probably after Marco Polo to bring back the rumor of Terra Australis" (Cox I, 260). - Published as an extensive part of "The History of Travayle in the West and East Indies" - one of the first. Seller Inventory # 44757

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WILLIAM OF AUVERGNE, De universo; In Latin,: WILLIAM OF AUVERGNE

About this Item: Condition: Very Good. REMARKABLY HANDSOME LARGE-FORMAT COPY OF WILLIAM OF AUVERGNE'S MOST SIGNIFICANT WORKS, WITH EXTRAORDINARY ILLUMINATION OF THE SPHERES OF THE UNIVERSE. Illuminated manuscript on paper, Northern Italy, c. 1400-60, and Rome, c. 1470-85. Dimensions 406 x 282 mm. 251 folios on paper, written in two columns of fifty-eight to fifty-nine lines in a small regular cursive gothic hybrida script in dark brown ink, large fourteen-line ILLUMINATED INITIAL WITH BORDER IN THE TOP AND INNER MARGINS, initial in burgundy and blue, on a polished gold ground, edged in black, with penwork tracery, with leafy acanthus extension continuing in the upper margin in burgundy, dark yellow, green and blue, with large gold balls with black hairlines or spikes, in the inner margin, a splendid REPRESENTATION OF THE SPHERES OF THE UNIVERSE in overlaid colored and painted circles. BINDING: CONTEMPORARY BLINDSTAMPED BINDING of brown leather over wooden boards, areas of corners and edges replaced and restored, modern rebacking. ILLUSTRATION: The miniature of the spheres of the universe is an extraordinary image that shows the spheres as a series of overlapping discs that tumble down the page from a golden arch at the top, to the circles of the earth at the very bottom. The heavens are depicted in brightly burnished gold, followed by the expanses of the universe, with glittering liquid-gold rays flecked onto a yellow ground, to the stars, the planets, the sun and the moon, and the earthly elements of fire (here as flames), air (with two tiny flying insects), water (with two fish) and finally the earth (with dark and brooding primeval forests) at the foot of the page. PROVENANCE: The script and the penwork initials point to an origin in northern Italy. It was owned by, a member of the Papal curia, active in humanist circles in Rome. Known in forty-five manuscripts (none in the U.S.), this is the only copy in private hands. CONDITION: Crackling to gold and slight flaking from edge of miniature, bottom or outer margins cut away from ff. 68-9, 78, 116-17, 122, 129, 131- 32, 137, 140, and 250 (occasionally very slightly trimming the outermost line of text), f. 1, slightly darkened, else excellent condition with notably broad margins, very clean and almost pristine, occasional light foxing and slight worming. Full description and photographs available. TM 697. Seller Inventory # TM 697

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About this Item: Matthias Hüpfüff, [Strassburg, 1513. [7] leaves, including woodcut titlepage illustration (3 1/4 x 4 1/2 inches), plus final integral blank leaf. Quarto. Dbd., leather tab on foredge of first leaf. Slight soiling and dampstaining in margins. A very good copy. In a half morocco and cloth box. An extremely rare German translation of a newsletter first issued in Latin and published in Rome in 1513, reporting the Portuguese conquest of Malacca in 1511 and describing its rich potential as a commercial center. No copies of this seven-leaf edition are recorded in OCLC or RLIN, and only a single copy of another 1513 German translation, printed in Augsburg and consisting of five leaves, is located in the U.S., at the James Ford Bell Library. However, the British Library holds copies of both translations, and the imprint information for this edition is based on Robert Proctor's research on German books in the British Museum. The letter from Manuel I to Pope Leo X relates the conquest of Malacca by Portuguese military commander Afonso de Albuquerque in June 1511. In addition to providing details of this victorious battle, the report includes descriptions of the wealth to be found in the region and the importance of the city as a trading nexus. In particular, the text emphasizes how courteously the merchants were treated in order to ensure future commerce. Albuquerque's voyages and military exploits between 1503 and 1515 were instrumental in consolidating Portugal's expansion to India and Malaya. The present pamphlet also records his actions after he departed from Malaya and returned to Goa in 1512. These include descriptions of skirmishes with the Moors and embassies to other parts of India and Asia related to the payment of tribute to the Portuguese crown. As in the descriptions of Malacca, the potential wealth to be found in the region is emphasized. While the text of the pamphlet is entirely about the East Indies, the titlepage contains one of the earliest illustrations of an American Indian. The woodcut on the titlepage shows a native man and native woman on either side of an armorial shield immediately below a royal crown. The naked woman, with a flowering plant in her left hand, holds the bottom of the crown with her other hand as the man steadies the shield with his left hand and grasps a bow with his right hand. The man, with full beard, wears a feather crown, skirt, and leg decorations. This woodcut is exactly the same as that illustrating the titlepage of an earlier German newsletter reporting Portuguese activities in the East, Manuel I's GESCHICHTE KURTZLICH DURCH DIE VON PORTUGALIEN IN INDIA, MORENLAND, UND ANDERN ERDTRICH, published in Nuremburg circa 1507. This portrayal of the man, in turn, appears to be derived from images of South American Indians found in an illustrated Vespucci broadside printed in Nuremberg circa 1505-1506 (see EUROPEAN AMERICANA 505/11, and illustrated on the cover of the Wolfenbüttel exhibition catalogue) and broadsides based on Vespucci's third voyage printed in Augsburg circa 1505-1506 (EUROPEAN AMERICANA 505/13 and 505/14). The publisher of the present work also issued an illustrated edition of Vespucci in 1505, although not this one (see Church 22 for a reproduction). Of course, at this early time Europeans might well have supposed that the East Indians of Malacca and the natives Vespucci encountered in the New World were the same people. All of these broadsides and pamphlets, including the present work, were published within seven or eight years in three different centers of German printing. A remarkably rare early German newsletter reporting on Portuguese military and commercial activities in Malacca and India. No copies on OCLC, or VD16; a single copy located at the British Library. PROCTOR, INDEX OF GERMAN BOOKS 1501-1520 IN THE BRITISH MUSEUM, p.31, no. 10035. BELL M125 (variant translation, [5] leaves). OCLC 35837666 (variant translation, [5] leaves, James Ford Bell only). HOWGEGO A43 (Albuquerque). PENROSE SALE 156 (for wood. Seller Inventory # WRCAM38334

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Joann Andreas Graff Noriberg and Joann Ulricus Kraus

Published by Rome (1695)

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From: Arader Galleries San Francisco (San Francisco, CA, U.S.A.)

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About this Item: Rome, 1695. No Binding. Condition: Very Good. Joann Andreas Graff Noriberg and Joann Ulricus Kraus “Roma Divi Petri Templvm” Rome, 1695 Copperplate engraving Framed size: 82 1/4" x 74" Engraving size: 73 3/4" x 66 1/4" This intricately detailed and wall-sized engraving of St. Peter’s Basilica fully captures the depth and beauty of the architectural and spiritual center of the Roman Catholic Church. In addition to the central depiction of St. Peter’s main altar, which is embellished by Gianlorenzo Bernini’s (1598-1680) breathtaking baldachino (a pavilion above the main altar). The architectural engraving contains five inset representations of the cathedral’s aerial layout: a nave, St. Peter’s Square, the exterior of the Basilica and Bernini’s stunning Cathedra Petri (throne). The Basilica of Saint Peter, officially known as the Basilica di San Pietro in Vaticano, is located within Vatican City in Rome. It is considered one of the holiest sites in the world and serves as the burial site of its namesake, Saint Peter, the first Bishop of Antioch and Rome and the first Pope. Churches have stood on this site since at least the 4th century. Indeed, it was here that Charlemagne and many other emperors and Popes were crowned. In the fifteenth century, Pope Nicholas V undertook the rebuilding of the choir and transepts after a design by Bernardo Rossellino. In 1452 the work was begun, and part of the choir was built. Pope Julius II decided that the entire church should be rebuilt, and in 1506 appointed Bramante as the architect. He appears to have originally planned a symmetrical Greek cross with a great dome over the center. Bramante was succeeded by Raphael (1514), Antonio da San Gallo (1520), and Michelangelo (1547), who completed the building up to the drum of the great dome. Ciacomo della Porta modified the design and completed the dome. Throughout the sixteenth century there was controversy over the final form in which the church would be built; the centralized Greek cruciform plan or the shape of a Latin cross. The problem was resolved in favor of the Latin cross plan. The church was dedicated by Urban VIII in 1626. Between 1629 and 1662 Bernini completed the great composition of St. Peter’s, creating a forecourt preceded by a majestic elliptical piazza bounded by quadruple colonnades. The huge scale of all the elements of the interior prevents any accurate notion of its magnitude, and its effectiveness is chiefly due to the dome, which is 404 feet high from the pavement. The interior diameter of the dome, 137 feet, is one of the largest in the world. Beneath it is the high altar covered by Bernini’s superb bronze baldachino. At this altar only the Pope may read Mass. The interior with its colored marbles, its sculptures, and its gilt and fresco decorations gives an effect of multi-colored space. Many of Noriberg and Kraus’ images have become iconic, and, thus, have provided posterity with a marvelous and painstakingly accurate record of what “the greatest of all churches of Christendom” looked like at the end of the seventeenth century. Seller Inventory # sf002665432fra

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Deluxe manuscript fair copy on paper prepared: TARGIONI-TOZZETTI, Giovanni

About this Item: [Florence: ca. 1763]. This handsome manuscript, prepared for presentation to Emperor Francis I (1708-65), Holy Roman Emperor and Grand Duke of Tuscany, is a beautifully written contemporary fair copy of the original holograph manuscript now in the Museo Galileo (formerly the Institute and Museum of the History of Science in Florence), compiled by Targioni-Tozzetti (1712-83), the great natural historian, librarian, director of Florence's botanical garden, and professor of botany. He was, after Spallanzani, the most active Italian naturalist of the 18th century. Emperor Francis I, the husband of Maria Theresa, was well-known for his interests in the natural sciences and for assisting his wife in running the complicated Austrian dominions. The collections of natural history specimens in the "Specola" next to the Pitti Palace trace their origins to earlier Medicis and to Georg Eberhard Rumpf, who had sold a large collection of 360 shells to Cosimo III de' Medici in 1682. The present catalogue was compiled at the instigation of Antoniotto Botta Adorno (1688-1774), prime minister of the Duchy of Tuscany. Thanks to Cosimo III's other natural history acquisitions, by the middle of the 18th century, Florence could boast one of the greatest collections of shells, botanical, and mineralogical samples in Europe. In 1775, all the collections were gathered into the "Specola" at the instigation of Grand Duke Peter Leopold which was the only scientific museum or "Wunderkammer" of its kind specifically created for the public to view. The present catalogue, following Targioni-Tozzetti's original manuscript, describes 3449 items, of which 2340 are zoological (mostly shells), 375 botanical, and 734 mineralogical and rock specimens. The preface to the catalogue describes the collections and their histories, their provenances including the Far East, etc. The main body of the catalogue is divided into three sections: zoological, botanical, and mineralogical samples. Each description is quite elaborate with full accounts of each specimen, references to other books, references to where other examples are illustrated, etc. Provenance: This manuscript entered the Apponyi family library in Oponice, Slovakia in the latter part of the 18th century and was sold in Prague in June 1939. ? Dance, Shell Collecting, an Illustrated History, pp. 56-57. D.S.B., XIII, pp. 257-58. Martelli, ed., Le Collezioni di Giorgio Everardo Rumpf acquistate dal Granduca Cosimo III de' Medici, una Volta esistenti nel Museo di Fisica e Storia Naturale di Firenze (1903). Seller Inventory # 3098

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USE OF ROME: A LOVELY LITTLE

A LOVELY LITTLE ITALIAN ILLUMINATED VELLUM MANUSCRIPT BOOK OF HOURS IN LATIN

Published by ca. 1470, Italy [Florence] (1470)

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From: Phillip J. Pirages Rare Books (ABAA) (McMinnville, OR, U.S.A.)

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About this Item: ca. 1470, Italy [Florence], 1470. 125 x 85 mm. (5 x 3 1/4"). 246 unnumbered leaves (complete); single column, 11 lines, in an elegant gothic rotunda script. Contents: Calendar (f. 1r); Hours of the Virgin, "secundum consuetudinem Romane curie," with Matins (f. 13r), Lauds (f. 27v), Prime (f. 46r), Terce (f. 52v), Sext (f. 59v), None (f. 65v), Vespers (f. 71v), and Compline (f. 83v); Office of the Dead (f. 113r); Seven Penitential Psalms (f. 189r); Litany (f. 208r); Hours of the Cross (f. 223r); 15 Gradual Psalms (f. 229r). Very pretty 18th century red morocco, elegantly gilt, covers bordered by plain and decorative rules enclosing a panel with large central floral spray, two birds perched on its leaves, this surrounded by tiny gilt circles and two more birds in flight and framed by gracefully twining foliage; flat spine divided into panels by triple gilt fillets, the panels with floral sprig centerpiece and volute cornerpieces, gilt titling, turn-ins densely gilt, marbled endpapers, all edges gilt. Rubrics in red, numerous one-line initials in red or blue, frequent two-line initials in blue with delicate red penwork or burnished gold with blue penwork, six three- or four-line illuminated initials in blue, green, pink, magenta, and burnished gold, one large (35 x 45 mm.) illuminated initial in colors and gold from which emanates a full floral border with many gold bezants, hairline vines, and a putto, FOUR LARGE HISTORIATED INITIALS beginning the Hours of the Virgin (depicting the Madonna and Child), Office of the Dead (a scythe-wielding skeleton), Office of the Holy Cross (the Man of Sorrows), and the Seven Penitential Psalms (David with his harp), ALL WITH EXCEPTIONALLY ELABORATE FLORAL BORDERS FEATURING MEDALLION PORTRAITS, PUTTI, AND MUCH BURNISHED GOLD. Front pastedown with engraved bookplate of Marie-Louise-Élisabeth d'Orléans, Duchesse de Berry (1695-1719); first page with ink stamp of "Monseigr. le Prince de Condé, Gouv. de Bourgogne et Bresse"; last page with ink stamp of École Royale Militaire de Soreze; second page and last page with unidentified armorial stamp of a bishop; two other unidentified ink stamps. One-inch crack at head of rear joint, general minor rubbing to spine and edges, but the binding entirely solid, still quite lustrous, and generally well preserved; trimmed close, with very slight loss at fore edge of full borders (and trivial loss at top and bottom, script somewhat faded on half a dozen pages, occasional minor thumbing, otherwise A BEAUTIFUL COPY INTERNALLY, the vellum fresh and bright, the colors vivid, and the paint and glistening gold intact. The production of a highly desirable artist favored by European royalty, this work boasts an abundance of noble associations, with a small but dazzling decorative program to match. The delicate pink-tinged molding of the figures, the presence of decorative putti and birds, and the exuberant borders make this the unmistakable work of Francesco di Antonio del Chierico (1433-84), a precociously talented illuminator and goldsmith working in Florence during the height of its golden age. Chierico received major commissions from the time he was in his early twenties, counting among his patrons Cosimo, Piero, and Lorenzo de' Medici, as well as Federico da Montefeltro, Duke of Urbino, who constructed one of the greatest libraries of the Italian Renaissance (complete with its own scriptorium). With the help and connections of the bookseller Vespasian Bisticci, Chierico's fame spread quickly throughout Italy and into neighboring countries. Other known patrons included the King of Naples (Alfonso of Aragon), King Mattias Corvinus of Hungary, and King Louis XI of France, among others. Thus, it is hardly surprising that while the script, decorative patterns, and illustrations all indicate that this Book of Hours was executed in Florence, the rest of its known provenance is French. Although this work contains no obvious clues that might indicate the identity of the original patron, other markings reveal. Seller Inventory # ST12989

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BOOK OF HOURS (USE OF ROME); illuminated: BOOK OF HOURS

BOOK OF HOURS (USE OF ROME)

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From: Les Enluminures (ABAA & ILAB) (Chicago, IL, U.S.A.)

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About this Item: Condition: Very Good. A RICHLY ILLUMINATED SEMI-GRISAILLE BOOK OF HOURS FROM THE WORKSHOP OF WILLEM VRELANT. Illuminated manuscript on parchment, in Latin, Southern Low Countries, Bruges, c.1450-1460. Dimensions 197 x 136 mm. 109 folios, 11 LARGE AND 21 SMALL MINIATURES in semi-grisaille, FULL FOLIATE AND FLORAL BORDERS in grisaille on all facing pages. BINDING: Nineteenth-century faded green silk over pasteboard, some wear at spine and at edges of thongs, but solid. ILLUSTRATION: The illumination of this Book of Hours typifies manuscript production in Bruges in the third quarter of the fifteenth century in the workshop of the Dutchman Willem Vrelant, and it is certainly by one of the artists in his atelier. His figures sometimes appear stiff and immobile with staring expressionless eyes, blushing cheeks and thick lips. Landscapes are composed of different, interconnected planes with meandering streams and crooked paths. Interiors display wooden ceilings and shuttered windows. Especially striking is the predominantly grey and black palette (known as grisaille or, in this case, semi-grisaille), with details carefully highlighted in liquid gold and touches of blue pigment used sparingly to bring out features of the settings. Books of Hours in grisaille ? like this one ? stand out, for they are relatively unusual among the numerous Books of Hours copied in the third quarter of the fifteenth century. PROVENANCE: The manuscript was produced in Bruges, in the workshop of the prolific illuminator Willem Vrelant. Later in the fifteenth century it was used in France, based on saints added to the calendar. An unidentified coat of arms, f.109v, possibly nineteenth century, follows a near-contemporary prayer with an armorial shield, pasted on linen. CONDITION: In excellent condition. A few miniatures very lightly rubbed. (BOH 155). Seller Inventory # BOH 155

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Sancte Roma[n]e eccl[esi]e fidei defe[n]sio[n]is p[ro]pungnaculu[m] [!]: Institoris, Heinrich (Heinrich

About this Item: Olmütz, Conrad Baumgarten, 20. IV. 1501., 1501. Folio (220 x 315 mm). 128 ff. (a-b8, c-d6, e4, f6, g4, h-p6, q4, r-x6, y4; page count: [t.p.], iii, v, iiii, v-ix, v, xiii, xii, [2 ff.], xiiii, xvi-xliii, xlvii, xlv-cvii, cix-cxxviii), complete thus. With half-page title woodcut, full-page woodcut on verso, large woodcut initial, and printer's device at the end (all with contemporary touches of red ink), as well as numerous fleuronee and lombardic initials in red and green, including five figurated initials. Rubricated throughout. Contemp. blindstamped gothic binding: dark brown calf over wooden boards, remains of engraved brass clasps. First edition of this polemic against the Bohemian Brethren, written by the author of the notorious "Malleus Maleficarum": a "Bulwark of Faith of the Holy Roman Church Against the Heresy of the Waldensians and Picards". Extremely rare: the present copy represents the hitherto unknown first impression of the first edition, still bearing a slightly different title; all other known copies printed that same year (three via OCLC, one in the Scientific Library of Olomouc, one in the Bavarian State Library), as well as the 1502 second edition, are entitled "Sancte Romane ecclesie fidei defensionis clippeum adversus waldensium seu pickardorum heresim, certas Germanie Bohemieque nationes in odium cleri ac enervatioe ecclesiatice potestatis virulenta contagione sparsim inficientes" (changing the - misspelled - "bulwark" into a "shield"). Quire signatures and pagination depart from those stated by OCLC in several details. In particular, the head-over-heels "u" in "virulenta" (here printed as "virnlenta", corrected in other editions), identifies the present variant as the earliest one. - In the year 1500, 15 years after he first published his "Malleus Maleficarum", Institoris had been installed by Pope Alexander VI as inquisitor to Bohemia and Moravia, where he was to take action agains heretics, sorcerers, and witches (cf. Tschacher). In the present work, his last to see publication, "he once more invokes his 'Malleus' and his earlier sermons against witchery and its doubters. The Bohemian Waldenses, he argues, had not only perpetrated numerous heresies, but also questioned the legitimacy of the witch trials. It is telling that Kramer, in his final polemic, would interpret the heresies of the Waldenses and witches as conjoined harbingers of the approaching apocalypse" (ibid.). The inquisitor who prided himself on having sent no fewer than 200 witches to the stake discusses other heresies as well: fol. 86ff. contains an entire chapter "De origine legis machometice". - One of the most extensive and technically ambitious works to leave the press of the itinerant German printer Konrad Baumgarten, active in Danzig, Olomouc, Breslau, and Frankfurt/Oder between 1498 and 1509. The page count is exceedingly confused, as in all copies. Indeed, only a single leaf in the entire "a" gathering bears a signature: the second, counted as "a iii" in error; thus agreeing with all copies available for comparison. The count of the first four leaves in our copy has therefore been corrected to "a i-iv" in red ink by a contemporary hand. - From the library of the disputatious Bohemian Franciscan friar John Aquensis, who in 1502 was to publish his own polemic against the "Picards", with his marginalia and his autograph ownership on the title page. "Although Johannes Aquensis, Jan Vodnansky in Czech, was one of the most active Catholic writers at the turn of the Middle Ages to the Age of Reformation, he has been largely ignored by scholarship so far. Born in Vodhany (some 30 kilometers to the north-west of Budweis and considered Utraquist) around 1460, he attended the school of St. Henry's in Prague since 1473, later studying Divinity at the University there. After obtaining his Bachelor's degree in 1480, he joined the Observant Franciscans and soon became one of the most vocal antagonists of the Utraquists, Begards, Waldensians, Bohemian Brethren, and other heretics. He disappe. Seller Inventory # 30213

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CICERO Marcus Tullius

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From: Maggs Bros. Ltd ABA, ILAB, PBFA, BA (London, United Kingdom)

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About this Item: Three illuminated white-vine initials (fols. 1r, 32v and 52r), up to 12 lines high, in highly burnished gold with elaborate white vine-stems shaded in yellow infilled in purple and olive green on a blue ground heightened by white dots, a wreath of similar white-vine decoration on lower margin of fol. 1r with the illuminated Riario arms added. Size: 262 by 195mm. 78 leaves (in gatherings of 10 leaves, last of 8), complete; with horizontal catchwords, 27 lines, pricked and ruled in plummet, text begins above top line, written-space c.173 mm. by 106 mm., written in dark brown ink in a small semi-gothic script which develops into a full formal humanistic hand by the end of the book, headings in red, 3-line initials alternately in red and blue, interlinear and marginal annotations by the scribe becoming sparser after fol. 25 and ceasing after fol. 56r. Bound in 20th century limp vellum. A handsome manuscript of one of the classical texts most highly regarded in the fifteenth century, following the rediscovery of Cicero by the Italian humanists between the 1390s and 1420s. It is a comprehensive discussion on justice, wisdom, fortitude, temperance and the practice of virtue, imbued with Stoic thought. It has had immense influence and was the first work of any classical author to be printed (Mainz, Fust and Schoeffer, 1465). One critic has described it as ?the source in great measure of European notions of what becomes a gentleman? The manuscript?s provenance can be traced back to the fifteenth century: 1.Cardinal Raffaello Riario (1451-1521) or his uncle Cardinal Pietro Riario (1446-1474), both notable bibliophiles, with the illuminated Riario arms (or on a chief azure a rose of the first) added on fol. 2r and repeated in ink with a cardinal?s hat on fol. 78r. 2.Filippo Strozzi (1488-1538): his inscription on fol. 1v ?Hic liber est philippi stroze amicorumque?, probably Filippo Strozzi who married Clarice, daughter of Piero de? Medici, niece of Leo X and aunt of Catherine de Medici. He was a humanist who translated works of Polybius and Plutarch from Greek into Italian. The Riario arms on fol. 2r have been amended to include the three crescents of Strozzi with the palle of the Medici arms. The later (nineteenth-century) Strozzi library stamp with motto ?Expecto? and an eagle surmounted by a crown is also on fol. 2r. The manuscript is almost certainly the untraced Cicero, De officiis, no. 507 in the Indice Generale di tutti i libri manoscritti in foglio della Libreria Strozziana (now Florence, Bibl. Nazionale Centrale, Cl.X 163). 3.Lorenzo Strozzi (1482-1549), Filippo?s brother, his erased inscription on fol.1r which reads ?Hic liber est Laurentii f. de strozii et amicorum? A politician and a man of letters, among other things he wrote a life of his brother Filippo (published by Graevius in Leiden in Thesaurus antiquitatum et historiarum Italiae, VII, 1704-25). From 1533 he lived in the famous Palazzo Strozzi, commissioned by his father Filippo in 1489 from the leading Florentine architect Benedetto da Maiano (1442-1497) and completed only in 1539. Later owners include: Federico Patetta (1867-1945), writer and Professor of the History of Law in Turin, with notes by him on the flyleaf; his MS.57; Edward A. Parsons (1878-1962) of New Orleans, MS.3 (acquired from Paul Gottschalk); sale Sotheby, 8 December 1975, lot 61; the collection of the British Rail Pension Fund; sold by them in 1988 to Sir John Paul Getty, jr.; J.R. Ritman, his sale Sotheby?s 6 July 2000, lot 15. The style of the bianchi girari in the illuminated initials is typical of Florence. It was developed in the early fifteenth century by Florentine artists from Carolingian manuscripts and used especially in the decoration of manuscripts of classical texts. The colour palette of the blue, deep purple and olive green infilling and the touches of brownish shading of the white-vine stems point to the late 1420s and early 1430s. The Riario provenance is an intriguing one, for ano. Seller Inventory # 228093

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GALLI, Federica.

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About this Item: 1983. Folio. Custom made portfolio backed in grey/blue cloth with marbled boards. Containing all thirty-nine etchings from the Venice series, signed by the artist, edition 46/60, 1983 â€" 1987. 1045 x 730 x 40 mm. Federica Galli was born in Soresina in the province of Cremona, Italy in 1932 and studied painting at the Academy of Fine Arts, Brera, Milan between 1950-54. It was around this time that the artist discovered etching. In 1963 Galli abandoned painting to concentrate entirely on printmaking. As a result her extensive body of work spans some fifty years and boasts over eight hundred printed plates. The Venice Series was produced between 1983 and 1987 and includes 39 etchings. All the etchings are in limited editions, printed on the highest quality paper and signed by the artist. Seller Inventory # 2066835

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Relatione del reame di Congo et delle: PIGAFETTA, Filippo and

About this Item: Adams L-1468 (lacking 1 map); Brunet IV, col. 651 (without the plates); Cox I, pp. 354-355; Gay, Bibl. de l'Afrique et l'Arabe 3077 (without the maps); for the maps: Betz, The mapping of Africa 34-36, 186; Norwich, Africa 16. First edition of one of the main sources for authentic information on central Africa. Filippo Pigafetta, a relative of Antonio Pigafetta, Magellan's companion on his first circumnavigation of the world, based his work on the information he collected from the Portuguese traveller Duarte Lopez, who sailed to the Congo in 1578 and stayed in Loanda until 1587. Pigafetta's important and beautifully illustrated account deals with the geography of the country, its animals, the inhabitants and their customs, the Portuguese trade, missionary activities, etc. Of special interest are his history and descriptions of Congolese tribes and their kings. It remained the main source for information on the Congo and central Africa up to the middle of the 19th century. The fine and decorative map of Africa includes the Red Sea and parts of the Arabian Peninsula.With the maps repaired and mounted on cloth, and a tear repaired in 1 folding plate, slightly foxed, margins of the plates frayed (without affecting the images, but in one case reaching the border). Some small stains on the binding and the spine a bit worn. Good copy, complete with all the maps and plates. Seller Inventory # A2FEIZINTMYH

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Le avventure di Pinocchio. Storia di un: Collodi Carlo

Collodi Carlo

Published by Firenze, Felice Paggi (1883)

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About this Item: Firenze, Felice Paggi, 1883. 8° (182x120 mm). 236 pages, plus IV pages of advertisements. A portrait of Pinocchio by Enrico Mazzanti serves as the frontispiece. Sixty-one woodcuts in the text, likewise by Mazzanti. Original publisher's green cloth. On the upper cover, title stamped in gilt between two gilt stripes with the name of the author and printer embossed in green; the lower cover decorated with two floral-patterned rolls in black; spine with title lettered in gold. Covers slightly discoloured, lower cover somewhat bumped. In a fine sand morocco folding case, probably by Gozzi (Modena), the figure of Pinocchio outlined in gold at the centre of the upper board, with inlays in green, white, and red morocco. A good copy, marginal browning. Two short tears to the blank margins of pages 18 and 225, repaired, without any loss.The exceedingly rare first edition in book form – presented in its very desirable original luxury cloth binding – of the masterpiece by the Italian writer and journalist Carlo Lorenzini (better known as Collodi), the enduring children's classic about a marionette whose nose would grow each time he told a lie. The novel Pinocchio was first serialised in the children's magazine from Rome, Giornale per i bambini, under the direction of Ferdinando Martini: the first instalment appeared on 7 July 1881, and the last one on 25 January 1883. Pinocchio was published as a book in the same year, 1883, probably in a very small print run, and at least twelve reprints appeared during the first year of publication. Enrico Mazzanti (1852-1893) was responsible for the everlasting black-and-white illustrations. The success was enormous, with countless editions and translations into more than 260 languages. Collodi's masterpiece continues to be cherished to this day and has been the subject of numerous adaptations, including popular versions by Walt Disney and Steven Spielberg, who used the story for the film A.I. (2001). The work was first translated into English in 1892 by M. A. Murray, whose version – The Story of a Puppet or The Adventures of Pinocchio – was published in the same year in London as well as in New York, supplemented with thirty seven of Mazzanti's illustrations. In 1904 the first American illustrated edition was published, thanks to the work of Walter S. Cramp and Charles Copeland (Pinocchio: the Adventures of a Marionette, Boston, Ginn e Co.). "Almost nothing else in children's literature equals Pinocchio for wildness of invention" (Carpenter-Prichard, Oxford Companion to Children's Literature, p. 462).Parenti, Rarità bibliografiche dell'Ottocento, pp. 148-153 ("E' questo uno dei pezzi più rari, se non il più raro senz'altro, dell'Ottocento italiano"); H. Carpenter - M. Prichard (eds.), Oxford Companion to Children's Literature, Oxford 1984, pp. 461-462; Philobiblon, One Thousand Years of Bibliophily, no. 276. Seller Inventory # 0000000008401

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Hagler, Herbert K., Kumar, Vinay, Hagler PhD, Herbert, Kumar MBBS MD FRCPath, Vinay

Published by Saunders (1999)

ISBN 10: 0721684629 ISBN 13: 9780721684628

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About this Item: Saunders, 1999. CD-ROM. Condition: Fine. Ships Within 24 Hours - Satisfaction Guaranteed!. Seller Inventory # mon0000990176

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Oregon-California Trails Association~Census of Overland Emigrant Documents

Published by Oregon-California Trails Associa (2005)

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From: Browsers' Bookstore, CBA (Corvallis, OR, U.S.A.)

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About this Item: Oregon-California Trails Associa, 2005. CD-ROM. Condition: New. OCTA's newest tool for Trail historians and genealogists. This set includes two discs: Emigrant Names and Survey Scans. From more than 3,200 Trail-related diaries, letters and articles, trained researchers have gleaned every name mentioned by overland travelers. You can search for any name and find the pertinent travel information given for all those with that name. The CD also identifies the original document where the names can be found as well as the document's location. Nearly 70,000 names are listed. The Survey Scans contain information from an entire document. While the Emigrant Names portion lists the names and certain travel facts related to the names, the Survey Scans give you a page-by-page view of each survey of the document containing the names. COED committee surveryors have produced thousands of surveys of documents from libraries and private collections all over the U.S. Windows 98 or higher. Seller Inventory # 143932

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n/a

Published by n/a (1920)

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From: Land of Magazines (SOMERVILLE, MA, U.S.A.)

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About this Item: n/a, 1920. No binding. Condition: Good. n/a. "Please feel free to request a detailed description. Short description (computer translated from Russian into English):Author: Benois; Year: 1920; The size: 51 ? 71.3 cm.; Equipment: graphic arts; Material: paper, graphite pencil, ink brush, pen, watercolor, whitewash. SKUUP000075" Language: n/a. Seller Inventory # UP000075

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Giuochi, Trattenimenti e Feste Annue che si: PIATTOLI, Giuseppe.

About this Item: 1790. Couverture rigide. Condition: Très bon. Rarissime suite illustrant les jeux et divertissements de la Toscane au XVIIIe siècle, entièrement aquarellée à l'époque. Florence, 1790. PIATTOLI, Giuseppe. Giuochi, Trattenimenti e Feste Annue che si costumano in Toscana e specialmente in Firenze disegnati da Giuseppe Piattoli. Firenze, Pagni, e Bardi, 1790. In-folio oblong de (1) f. de titre et 24 estampes. Relié vers 1900 en demi-basane rouge à coins, dos à nerfs orné. 328 x 452 mm. / Exceedingly rare suite depicting the games and entertainments in Tuscany in the 18th century, entirely contemporary watercoloured. Florence, 1790.   PIATTOLI, Giuseppe. Giuochi, Trattenimenti e Feste Annue che si costumano in Toscana e specialmente in Firenze disegnati da Giuseppe Piattoli. Firenze, Pagni, e Bardi, 1790. Oblong folio [328 x 452 mm] of (1) title-page and 24 engravings. Bound towards 1900 in red quarter -roan, spine ribbed and decorated. Exceedingly rare first edition of this suite dedicated to games and entertainments in Tuscany in the 18th century. Seller Inventory # LCS-7770

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USE OF ROME: BOOK OF HOURS

BOOK OF HOURS PRINTED ON VELLUM, IN LATIN

Published by Germain Hardouyn 1533 [with Calendar covering 1520-32], Paris (1533)

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About this Item: Germain Hardouyn 1533 [with Calendar covering 1520-32], Paris, 1533. 207 x 125 mm. (8 1/8 x 5"). 92 (of 96) unnumbered leaves (without A1, C8, D8, and I1). Remnants of green brocade over old, thin (perhaps contemporary) wooden boards. WITH 12 SMALL MINIATURES AND 17 LARGER ONES (five of the latter full-page, and the others from a half to two-thirds of a page), ALL COLORED BY A CONTEMPORARY HAND (lacking a miniature on each of three missing leaves); ALSO WITH EVERY PAGE (except those featuring a larger miniature) ENCLOSED BY A HAND-PAINTED DECORATIVE OR INHABITED FRAME, the frames always in pairs, with a conventional border of plants, fruits, and geometric shapes on one page and on the opposite page a border constituting an original painting of an outdoor scene, always containing humans and/or animals, MANY OF THE INHABITED FRAMES OF IMMENSE CHARM, even if essentially naïve in style. Front free endleaf with (illegible) early ink inscription. Not in Adams or Brunet. Binding quite worn but still (remarkably) sound, and not without a certain antique charm. A bit of worming to endleaves, front free endleaves slightly loose, margins somewhat thumbed from devout use, paint occasionally rubbed or smudged without loss to decoration, last gathering with light dampstain to lower fore-edge corner (not affecting borders), other lesser defects, but an excellent specimen despite its imperfections, the text generally clean and consistently fresh on creamy vellum, and the richly colored decorations very well preserved, with paint intact. In addition to containing 29 miniatures of various sizes, as intended by the publisher, this is a well-loved Book of Hours of very great charm because of its special added feature--what amounts to 84 original paintings in the form of distinctive borders depicting delightfully imaginative outdoor scenes. However quaint they may appear next to the work of the Limbourg brothers, these frames are remarkably diverting, showing as they do grotesques cavorting with woodland creatures, birds, or fearful humans; dogs dancing on their hind legs to the accompaniment of musicians with drums and pipes; animated hunts featuring hounds, archers, fleeing rabbits, graceful doomed deer, and fierce wild boar; a woman baking bread; a woodsman by a bonfire; a man charming a snake-like creature by playing a horn; a woman shearing sheep; shepherds serenading their flocks with bagpipe tunes; a rooster confronting a fox; Saint Jerome and his lion, and so on. The miniatures enclosed by these borders are themselves of considerable interest, being richly hand colored and lavishly heightened with gold, but their conventional elegance is outshone by the lively, whimsical frames, whose homespun immediacy forges a strong connection between us and the past. We are irresistibly drawn to speculate about the person for whom this was created--no doubt a seriously devout believer, as the book's signs of use indicate, and someone in touch with the elemental dimensions of life. This printed Book of Hours is rare: copies seem to have appeared at auction just twice, in 1969 and 2002. More importantly, in 40 years of bookselling, we have never seen original painted compositions of this sort comprising the borders, as here, in any Book of Hours, manuscript or printed. In addition to containing 29 miniatures of various sizes, as intended by the publisher, this is a well-loved Book of Hours of very great charm because of its special added feature--what amounts to 84 original paintings in the form of distinctive borders depicting delightfully imaginative outdoor scenes. However quaint they may appear next to the work of the Limbourg brothers, these frames are remarkably diverting, showing as they do grotesques cavorting with woodland creatures, birds, or fearful humans; dogs dancing on their hind legs to the accompaniment of musicians with drums and pipes; animated hunts featuring hounds, archers, fleeing rabbits, graceful doomed deer, and fierce wild boar; a woman baking bread; a woodsman by a bonfire; a man charming a sna. Seller Inventory # ST12863

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About this Item: 188 division of the Chinese People's Volunteers. Soft cover. Condition: New. Language:Chinese.Author:HE HUAN TANG.Binding:.Publisher:188 division of the Chinese People's Volunteers. Seller Inventory # AA031361

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Le Antichità Romane, ossia raccolta delle piu: ROSSINI, Luigi.

ROSSINI, Luigi.

Published by Rome For the Author and Vincenzo Poggioli -1823 but 1829 and 1824-6 (1819)

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About this Item: Rome For the Author and Vincenzo Poggioli -1823 but 1829 and 1824-6, 1819. Two volumes. Landscape folio (54 by 74cm). I. 101 plates by and after Rossini, without letterpress title; II. letterpress title, preface, table of contents, 73 engraved plates; plates bright and clean. Uniform contemporary half vellum gilt, blue marbled boards, spine in six compartments with raised bands, morocco lettering piece, gilt. A fine set. An excellent set of this outstanding collection of views of Roman antiquities by the famous engraver Luigi Rossini. "The mantle of Piranesi fell on Luigi Rossini. His plates have strength, especially in dealing with masses of dark masonry" (A.M. Hind, A History of Engraving & Etching, p.232). Rossini (1790-1857) trained as an architect in Bologna but after moving to Rome in 1814, his financial situation deteriorated and he was forced to change career and become a professional artist and etcher. His depictions of the monumental aspect of the architecture of Rome, its bridges, pillars, arches and vaults, often overgrown, show echoes of his illustrious predecessor Piranesi. Le Antichità Romane was produced in collaboration with Bartolomeo Pinelli, who supplied the costumed figures which enliven Rossini's architectonic and archaeological views, and seems to have been first issued in 1823 as titled below the frontispiece ("Frontespizio delle Antichita Romane. Divise in cento Tavole"). It was reprinted in 1829 as Le Antichità Romane, ossia raccolta delle piu interessanti vedute di Roma Antica, but letterpress title-pages appear elusive for both editions. This copy is uniformly bound with the first edition of Rossini's volume on the Roman countryside. Millard, Italian, 116; Berlin Cat. 1917; RIBA, Early printed books, 2847. Seller Inventory # 90176

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Holt

Published by Holt Rinehart Winston (2001)

ISBN 10: 0030566088 ISBN 13: 9780030566080

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About this Item: Holt Rinehart Winston, 2001. CD-ROM. Condition: New. Ships Fast! Satisfaction Guaranteed!. Seller Inventory # mon0000556370

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COORNHERT, Dirck Volkertszoon (1522-1590) - MACK, Georg the Elder (fl. 1556-1601) - HEEMSKERCK, Maarten Van (1498-1574)

Published by Antwerp: Hieronymous Cock, 1556. (1556)

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From: Arader Galleries - Aradernyc (New York, NY, U.S.A.)

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About this Item: Antwerp: Hieronymous Cock, 1556., 1556. Single sheet, mounted and framed (6 x 9 inches). FINE engraving and etching, with transparent wash and body color, highlighted with gold and silver. Provenance: Signed "GM," most likely Georg Mack the Elder. First edition. EXTREMELY FINE engraving by Coornhert after Maarten van Heemskerck, ILLUMINATED and SIGNED by Georg Mack the Elder. Exhibited in "Painted Prints: The Revelation of Color in Northern Renaissance & Baroque Engravings, Etchings & Woodcuts," 2002, no. 42, at the Baltimore Museum of Art. Number 3 in a series of 12 engravings entitled "The Victories of Emperor Charles V." "In 1556 Hieronymus Cock published a series of 12 engravings, with a separate title page, on the theme of the victories of Emperor Charles V. The designs were by Maarten van Heemskerck, and the plates were cut by Dirck Volckertsz. Coornhert 'The victories of Charles V' exalts the mighty deeds of the emperor. The title page refers to the prints as 'images of paternal triumphs' ('paternarum victoriarum imagines'), and the dedication is to Charles's successor as Lord of the Netherlands, so the series may well have been intended to urge Philip to follow in his father's footsteps "The fall of Charles de Bourbon is the theme of the third print, with its caption: 'Bourbon is struck to the ground, and the imperial army storms the walls of Rome and plunders the wretched city.' A halberdier who has rushed to the scene can only look on in powerless dismay as Bourbon pitches backwards from the ladder placed against a tower-like structure that forms part of the city walls. Others are scaling a second ladder to his right, and the intensity of the battle in the city is visible on both sides of this section of the wall. The Tiber flows by on the left, with a curiously peaceful scene in the foreground showing two men returning from a watermill floating on the river, each burdened with a pitcher. "The composition of this print, with its odd tower-like construction in the center, looks somewhat contrived. Yet this particular print is astonishingly accurate from a topographical point of view. Cellini says that it was by the Campo Santo that he shot Bourbon. At that time the wall around the Vatican stopped at the banks of the Tiber, ending in a tower - the very one displayed in this engraving. The Tiber bends at this point, and the view to the north-west from the foot of the tower did indeed correspond with Heemskerck's drawing, which has, of course, been transmuted into its mirror-image in the engraving. From left to right, from the tower one can see the campanile of old St. Peter's and the church itself, then the obelisk that still stood to the south of the old basilica, with the new St. Peter's under construction. By 1534 only the four central pillars by Raphael and the arches from the dome resting on them had been built, as shown in the print. The round building is Santa Maria della Febbre, which belonged to the old St. Peter's complex. "Heemskerck was able to consult his own sketches for this print. His Rome sketchbooks contain a number of drawings of the area around St. Peter's. Not even the floating water-mill in the foreground was invented; it appears precisely as it is here in an anonymous pen drawing of ca. 1540 with a view of the castle of Sant'Angelo" (Rosier, "The victories of Charles V: a series of prints by Maarten van Heemskerck, 1555-56"). "The Nuremberg court records indicate that the Mack family - Hans, Georg the Elder, and Georg the Younger - were among the most active and important 'Briefmaler' and 'Illuministen' in the city in the late sixteenth and early seventeenth centuries.The family's output of painted prints was prodigious, and many of the most sumptuously colored engravings known today were executed by them. Their painted prints must also have been admired during their day, because they identified their work with monograms. The family members painted in a refined style, imitative of miniature painting and manuscript illumination, employi. Seller Inventory # 72MMS247

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PRINTED BOOK OF HOURS (USE OF ROME);: PRINTED BOOK OF

PRINTED BOOK OF HOURS (USE OF ROME)

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About this Item: Condition: Very Good. SPLENDID EXAMPLE OF A PRINTED BOOK IMITATING A MANUSCRIPT. Illuminated imprint on parchment, in Latin and French, France, Paris, c. 1526 (almanac 1526-1514). Dimensions 118 x 128 mm. 84 ff., 1-2 LINE INITIALS, 4-5 LINE INITIALS in liquid gold, 17 LARGE METALCUTS, 10 SMALL METALCUTS,16 MEDALLIONS, after designs by JEAN PICHORE, likely hand-colored in the Parisian workshop of GERMAIN HARDOUYN. BINDING: Bound in a modern (late 19th c.) dark red pigskin binding, back sewn on 5 raised bands, gilt fleurons in compartments, gilt title and gilt name of printer and date at the foot of the spine, gilt edges, blind-stamped filets lining inner boards, marbled paper pastedowns (binding a bit rubbed, some scuffing to corners, else in good condition). ILLUSTRATION: This Book of Hours contains a large number of finely hand-painted and framed metalcuts (likely painted by a hand active within the workshop of the printer Germain Hardouyn), most of which were designed by the workshop of Jean Pichore for either Jean Barbier and Guillaume Eustace or the Hardouin brothers. Germain Hardouyn and his brother Gilles registered as "illuminators" as well as printers, which was uncommon in the book trade. As such, printed Books of Hours like this one from their shop are often exceptionally well painted, resembling illuminated manuscripts. Another illuminator-painter, Jean Pichore, thought of as the most successful illuminator and printer in Paris around 1500, designed the woodcuts for this imprint. PROVENANCE: Printed in Paris by the printer-publisher Germain Hardouyn. It was later owned by Charles Ewbank (1819-1867), and then Dupont de Saint Ouën (Alphonse Fulgence) (1820-1892). It has since been in a European continental collection. CONDITION: Overall good condition. Full description and photographs available. (BOH 60). Seller Inventory # BOH 60

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Alaric at Rome. A Prize Poem, Recited: Arnold, Matthew

Arnold, Matthew

Published by Combe and Crossley, Rugby (1840)

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About this Item: Combe and Crossley, Rugby, 1840. 8vo. First edition. First edition. 8vo. Arnold's Debut, Inscribed. The first edition of Matthew Arnold's first work, his Rugby School prize poem on the conquest of Rome by the Visigoth Alaric I in 410 AD. Unusual for a prize poem, the work was published anonymously and was not identified as Arnold's until Edmund Gosse made the attribution in 1888. One of the rarest literary debuts, of which Wise noted "Alaric at Rome holds a high place in the rank of modern poetical rarities." This copy inscribed on the front wrapper, "E. Armitage Esqr. from the Author." The recipient, Edward Armitage, was a fellow pupil at Rugby. Arnold had entered Rugby in 1837, where his father was headmaster. The only other copy known to bear an inscription by Arnold ("Miss Ward, 1840") is at the Morgan Library.It is difficult to take an accurate census of copies, as Wise muddied the waters with his facsimile ? which he later passed off as genuine. OCLC locates 15 copies and ABPC lists two copies ? one in 1979 at Christie's London, and the present copy. Ashley I, p. 8: "holds a high place in the rank of modern poetical rarities"; Hayward 255; Smart, p. 1. Provenance: Dr. J.B. Clemens of New Jersey (two typed letters to Clemens, as prospective purchaser of the book, from Luthur S. Livingston of Dodd, Mead & Company, New York, dated 17 August and 7 September, 1905, loosely inserted); sold Parke-Bernet, New York, 8 January 1945, lot 57 for $400; exhibited: Grolier Club (1950s exhibition card describing it as "the only presentation copy known"); sold, Halsted B. Vander Poel (Christie's, London March 3, 2004, lot 127) Publisher's printed pink wrappers. Faint vertical crease at center, light edgewear. In custom red morocco pull-off case. Seller Inventory # 305338

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CICERO Marcus Tullius

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From: Maggs Bros. Ltd ABA, ILAB, PBFA, BA (London, United Kingdom)

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About this Item: Five large illuminated white-vine initials in burnished gold entwined with plant-stems shaded in yellow and infilled in red, blue and green with long marginal extensions (fols.1r, 41v, 64v, 94r and 123v). Size: 175mm x 120mm. 163 leaves, complete, collation: i-xvi10, xvii3 [of 4, blank iv cancelled], with horizontal catchwords, 21 lines, ruled in brown ink, written-space 112mm. by 70mm., text beginning above top ruled line, written in dark brown ink in a fine upright cursive minuscule, spaces left for Greek words (sometimes inserted by another scribe), a few contemporary sidenotes, some pages slightly rubbed (including the first), a few marginal stains towards the end, generally in fine condition with wide margins, nineteenth-century orange-red morocco gilt, by F[rancis] Bedford, vellum endleaves, gilt edges. The Tusculan Disputations is a philosophical dialogue by Cicero on the conditions of happiness, written in 45 B.C. and dedicated to Brutus. It supposedly took place at Cicero?s villa at Tusculum and takes the form of a conversation between ?M? and ?A?, perhaps Marcus Cicero and a pupil, Adulescens. It opens here on fol.1r, ?M.T.C. Tusculanarum quaestionum i, Cum defensionum laboribus senatoriis ??, followed by Books II (fol.41v), III (fol.64v), IV (fol.94r) and V (fol.123v), all ending on fol.163r, ??inveniri levatio, Amen Laus deo, M.T.C. Tusculanarum Quaestionum L[iber] V. Finis? Provenance: 1.The elegant script is attributable to the scribe of the Abbey Martial, JA.3183, probably made for Alfonso, duke of Calabria (A.C. de la Mare in The Italian Manuscripts in the Library of Major J.R. Abbey, 1969, pp.84-85; sale, Sotheby?s, 25 March 1975, lot 2969). The same scribe wrote at least one other book for Alfonso, Phillipps MS.6889 (sale, Sotheby?s, 29 November 1966, lot 75). He also copied a Virgil (Walters Art Museum W.400, cf. 2000 Years of Calligraphy, 1965, no.52), a Lucretius (B.L. Harl.MS. 2694) and others, probably including a Livy, now Vienna ÖNB. Cod.45, signed ?Clemens Salernitanus?, which may identify him. 2.Henry Huth (1815-1878), for whom it was bound by Bedford (d.1884); with the red morocco label gilt ?EX MUSEO HUTH?; by descent to his son Alfred H. Huth (1850-1910); his sale, Sotheby?s, 5 June 1912, lot 1620. 3. Dr. Andre Rooryck, MS.3., sold at Sotheby's 2005. Seller Inventory # 228094

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BREVIARY (Use of Rome); Illuminated liturgical manuscript: BREVIARY
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About this Item: Condition: Good. ILLUMINATED MANUSCRIPT ON VELLUM, Northern Italy (Verona?), dated 1456, 137 x 101 mm. 450 folios, complete (collation, i6 ii-xl10 xli8 xlii-xliii10 xliv12 [-8, following f. 437, cancelled with no loss of text] xlv10 [-10, cancelled, with no loss of text]), horizontal catchwords, ruled in ink (justification, 86-83 x 65-64 mm.), written in southern gothic bookhands probably by two scribes, guide letters, majuscules touched with pale yellow, red rubrics, one- to two-line alternately red and blue initials, four- to three-line alternately red and blue initials with contrasting pen decoration in purple and red, THREE ILLUMINATED initials, with decorative borders in the outer margins, and TWO HISTORIATED INITIALS WITH FULL BORDERS, depicting bearded saints. BINDING: Bound in Italy in modern polished pink leather, binder's stamp, inside front cover, "R. Gozzi. Modena," front cover, coat of arms in gilt (azure, three bends or, in chief, gules three towers or, with a crown above), elaborate embossed silver clasps, with both clasps, front and back covers, depicting the sacrifice of Isaac (?), and the connecting fastener depicting Moses holding the tablets (possibly from an earlier Italian binding, or in an earlier style; compare the eighteenth-century Italian embossed silver binding, New York Grolier Club, MS 11, which includes a similar depiction of Moses), silk doublure and facing flyleaves, gilt edges, in excellent condition, slight wear at front hinge, in slipcase. TEXT: This is a luxurious volume, carefully written, with attractive penwork initials and five illuminated pages, including two full borders, in almost pristine condition with few signs of daily used, bound in an equally luxurious binding. Although this Breviary follows the liturgy of the Papal Curia, which was first adopted by the Franciscans in the thirteenth century, it was certainly made for a person of wealth, perhaps the patron of a Franciscan monastery. It includes an unidentified coat-of-arms, which when identified should help complete the story of its origin. ILLUMINATION: The style of illumination, distinguished by a vibrant and attractive color palette featuring deep red, vivid green, and purple, is in keeping with the style generally popular in Northeastern Italy, including Verona, Venice and Padua in the middle to the third quarter of the fifteenth century; although it has not been attributed to a particular artist manuscripts Antonio de Stefano in Verona use similar decorative motifs. PROVENANCE: Dated by the scribe, July 17, 1456. The rubrics identify it as Use of Rome and the sanctorale and calendar include numerous Franciscan saints. Unidentified coat-of-arms, presumably of the original owner or patron, f. 7, azure fleur de lis or party per pale quarterly gules a fess argent and or five torteaux and one hurt. The manuscript apparently remained in Italy until modern times when it was bound in Modena. CONDITION: In very good condition, ink on a number folios is faded and has partially powdered away (occasionally rewritten in darker ink), f. 1, darkened, text smudged and partially rewritten and repaired in the inner margin, f. 93v, slight damage to border, lower margin, f. 417v, lower half darkened, f. 413, small stain, trimmed, with slight loss of decoration in the upper margins on a few folios, although generous margins remain. Full description and photographs available. Reference number 517. Seller Inventory # TM 517

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USE OF ROME: A MINIATURE BOOK

A MINIATURE BOOK OF HOURS ON VELLUM IN LATIN AND DUTCH, WITH CHARMING HISTORIATED INITIALS

Published by ca. 1460, Netherlands (1460)

Used

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From: Phillip J. Pirages Rare Books (ABAA) (McMinnville, OR, U.S.A.)

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About this Item: ca. 1460, Netherlands, 1460. 90 x 63 mm. (3 1/2 x 2 1/2"). [343] leaves, single column, 17 lines, in a gothic book hand. Contents: 1r: (blank); 1v: Calendar with two charts and two diagrams in Dutch and Latin; 17r: Various prayers to Christ and meditations on the Passion (including the prayer to the Holy Face of Christ and "O Bone Jesu"); 24r: Hours of the Passion; 45r: Hours of the Virgin; 97-99: (three blank leaves); 100r: Various prayers to the Virgin (including "O Intemerata" and "Obsecro te"); 124r: Hours of the Holy Spirit, with masses; 124r: Weekday Hours, with masses; 188r: Seven Penitential Psalms and Litany; 208r: Office of the Dead; 245r: Suffrages; 274r: Various prayers; 310v: Seven verses of Saint Bernard; 312: (blank); 313r: Reading from 2 John describing the Passion, followed by various prayers; 328r: Prayers(?) in an informal hand; 329r: Fifteen Paternosters in Dutch; 339r: A rubric in Dutch followed by prayers in Dutch. Attractive 17th century dark brown morocco with extensive gilt tooling, covers and spine with a lacy circular motif surrounded by a halo of small flowers, all framed by floral borders and cornerpieces, original straps and brass clasps bearing a shell motif, all edges gilt with a painted (now faded) floral design. Rubrics in red, numerous one-line initials in red and blue, line-fillers in red and blue, "KL" of Kalends and numerous two-line initials gilt on blue and pink ground, many three-line initials and several larger initials (at major intervals) in combinations of red, blue, and gold, with floral decoration, 37 LEAVES WITH FULL FLORAL BORDERS of acanthus leaves, blossoms, gold dots, and vine-stem, and 19 HISTORIATED INITIALS (including one that is more of a half-page miniature). Leather with general minor wear, but the binding entirely sound and extremely pleasing. Borders with a little smudging and trimmed close at the fore edge (though the decoration grazed in just a few cases), vellum with light soiling here and there (more on the first and last few leaves), other quite minor signs of use, but THE CONTENTS VERY CLEAN OVERALL, AND THE HISTORIATED INITIALS WELL PRESERVED. Because of its historiation on such a small scale and its large collection of accessory texts and prayers, this diminutive Book of Hours is of special interest because of its immense decorative charm and textual complexity. In addition to the Hours of the Virgin integral to every Book of Hours, this volume contains three other major prayer cycles: the Hours of the Passion, the Hours of the Holy Spirit, and the Weekday Hours. The last was a specialty of 15th century Flemish Books of Hours and, as here, was often accompanied by an image cycle. As noted by Wieck in "Time Sanctified," the accompanying images reflect the devotion of that particular day: Sunday Hours of the Holy Trinity, Monday Hours of the Dead, Tuesday Hours of the Holy Spirit, Wednesday Hours of All Saints, Thursday Hours of the Holy Sacrament, Friday Hours of the Cross, and the Saturday Hours of the Virgin. The other major cycle of images here belongs to the Hours of the Virgin, and depicts the usual event for each hour: Annunciation, Visitation, Nativity, Annunciation to the Shepherds, Adoration of the Magi, Presentation in the Temple, Massacre of the Innocents, and the Flight into Egypt. The artist of these initials had very little space to work with, given the small dimensions of the page, but he met the challenge with considerable success; each initial displays a surprising amount of information about the figures and surroundings. The hand is practiced and confident, and the detail work quite clear. The figures make the most of the space they inhabit, and the overall impression is one of great delight and an unexpected degree of character. In addition to the formal cycles mentioned above, the present Book of Hours is further distinguished by an unusually large number of prayers, blessings, and readings, most of which give clues about how this particular book would have been used. S. Seller Inventory # ST13806

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BOOK OF HOURS. Use of Rome, in

Published by [Italy (Ferrara?), around 1480] (1480)

Manuscript / Paper Collectible
Used
Hardcover

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From: Symonds Rare Books Ltd (London, United Kingdom)

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About this Item: [Italy (Ferrara?), around 1480], 1480. Hardcover. Condition: Very Good. AN OUTSTANDING VIVIDLY ILLUMINATED DEVOTIONAL MS. FROM FERRARA BOOK OF HOURS. Use of Rome, in Latin, manuscript on vellum. [Italy (Ferrara?), around 1480] Ca. 10,5×7,5 cm; ix(paper)+167+viii(paper), collation: i12, ii-xvi10, xvii10-5 (last 5 cancelled), vertical catchwords, 15 lines (about 6x4cm), 6 large beautifully floriated initials with full borders, 7 seven-line initials with borders at Lauds, Prime, etc.; smaller initials at minor divisions, two- and one-line initials throughout, many with remarkably refined penwork showing birds, wolves and other fantastic creatures. Some wear, a few extremities of decoration cropped. Bound in contemporary calf, three corner-pieces and one catch extant, worn and faulty; text block’s top edge with inscription “158”. This is a very high quality and charming devotional pocket book, finely painted, with an intricate design and with incredibly vivid and fresh colours. Text and Illumination: Calendar (f.1r); Hours of the Virgin “secundum consuetudinem romane curie”, with Matins (f.13r), Lauds (fol.23v), Prime (f.34v), Terce (fol.38r), Sext (f.41v), None (f.44v), Vespers (f.47v), Compline (f.54r), and variants for different days of the week (f.58r); Office of the Dead (f.73r); Penitential Psalms (f.113r), litany (f.123v) and 10 collects; Hours of the Passion (i.e. Long Hours of the Cross), with Matins (f.133r), Prime (f.142v), Terce (f.144v), Sext (f.146r), None (f.148r), Vespers (f.150r), Compline (f.152r); (short) Hours of the Cross, preceded by a rubric detailing an indulgence of Pope John XXII (f.155r); Mass of the Virgin (f.159r); added prayers, etc. in a later hand (f.164v). Illuminations: (1) Virgin and Child, the border with the Annunciation and two (?) prophets (f.13r); (2) a Skull, the border with a bird and a goat (f.73r); (3) King David in prayer, the border with a swan and a hare (f.113r); (4) Man of Sorrows, the borders with a rabbit and a deer (f.133r); (5) the Cross with Nails and Crown of Thorns (f.155r); (6) a priest performing the Mass (f.159r). Provenance: 1) Original patron’s coat of arms in the border of the opening of the Hours of the Virgin (f.13r): a shield with azure background, and within a white demi unicorn with a golden horn and collar, and an horizontal band; possibly the de Monte family of Rome (though lacking the band), see J.B. Rietstap, Armorial Général, II, p. 250. The calendar includes Petronius of Bologna (4 Oct.), but the palette and penwork decoration suggest that the book was probably made in Ferrara. 2) The Estate of Corlies Maynard. 3) To the Church of the Holy Comforter, Kenilworth, Illinois. Seller Inventory # ABE-1531132318921

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About this Item: 1498. Folio (323 x 212mm). [348]ff, f. k8 and T6 blank (here lacking), 42 lines, Greek type and Roman type (Gk. 1; Gk 2) 18th century Dutch? red morocco, spine titled in gilt (binding rubbed, spine lightly faded) Editio princeps of nine plays together with the scholia printed round the text. Until the 19th century it was this edition of the scholia which remained (in various reprints) the sole source for our knowledge of these ancient commentaries, which for the elucidation of Aristophanes are of great importance. As late as 1830 the great German scholar Gottfried Hermann described it as ?unicus fons scholiorum? The editor was the Cretan scholar Marcus Musurus who edited a number of works for Aldus, including the editio princeps of Plato. In his preface Aldus mentions Lysistrata but says that in his manuscript this play was very imperfect (?qui vix dimidiata haberi a nobis potuit?), and therefore not printed. In the same passage Aldus tells the story that Theodore of Gaza when asked what Greek author should be read by those wishing to learn Greek, answered ?Only Aristophanes?, and that St. John Chrysostom used a manuscript as a pillow when he went to sleep. In fact Lysistrata and Thesmophoriazusae did not see the light of day until published by Giunta in Florence in 1515/16. Provenance: Armorial book stamp on title-page with motto ?Doe wel en ziet niet om? (a Dutch proverb). Small marginal restorations to first and last leaves, a few leaves stained Goff A958. GW 2333. BMC V, 559. Bod-inc A383. Seller Inventory # 213523

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About this Item: [Deventer, Jacques de Breda, 1504]., 1504. 4to. (38) pp., final blank leaf. Rubricated in red ink throughout, Modern full calf in period style. A scarce and early edition of this important account of travels in the East. A medieval journey narrative comparable to the Travels of John Mandeville, the "Itinerarius" of Johannes Witte de Hese, a priest of Utrecht, is thought to date to c.1389. The text circulated in manuscript in the fifteenth century, with the first printed edition being produced in Cologne ca 1490. This postincunabular edition was printed in 1504 in the Dutch city of Deventer by Jacques de Breda. During his eastward voyage Witte travels beyond Jerusalem, observing flying fish in the Red Sea en route to Egypt, then crosses the Sinai desert to visit St. Catherine's Monastery before returning to the Nile. Sailing from Damietta to the coast of Ethiopia, he is briefly taken captive by brigands before journeying onward to the kingdom of Prester John where he marvels at the extraordinary palace there. He also records a visit to the island housing the shrine of St. Thomas. Before returning to Jerusalem, Witte spends more than a year roaming the remotest parts of the seas. Unicorns, pygmies, Gog and Magog, and a whale the size of an island add to the exotic flavour of this seminal text in the development of European travel literature. Nijhoff/Kronenberg 1217. Röhricht 1389B. Tobler 43. Seller Inventory # 46824

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