CONTINENTAL BOOKS CATALOGUE 1448 - Maggs Bros. Ltd.
CONTINENTAL BOOKS CATALOGUE 1448 - Maggs Bros. Ltd.
CONTINENTAL BOOKS CATALOGUE 1448 - Maggs Bros. Ltd.
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<strong>CONTINENTAL</strong><br />
<strong>BOOKS</strong><br />
CATA LOGU E<br />
<strong>1448</strong><br />
MAGGS BROS LTD<br />
1
2<br />
<strong>CONTINENTAL</strong> <strong>BOOKS</strong><br />
& MANUSCRIpTS<br />
MAGGS BROS LTD
<strong>Maggs</strong> <strong>Bros</strong> <strong>Ltd</strong>, 50 Berkeley Square, London W1J 5BA<br />
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© <strong>Maggs</strong> <strong>Bros</strong> <strong>Ltd</strong> 2011<br />
Design and production by Cat’s Pyjamas Publishing<br />
www.catspyjamaspublishing.co.uk<br />
Printed and bound by Connekt Colour<br />
Front cover: 20, Cats (Jacob), page 28. Inside front cover: 64, Plutarch, page 80.<br />
Back cover: 2, Albertus Magnus, St, page 6. Inside back cover: 20, Cats (Jacob), page 28.<br />
1 ALBERTUS MAGNUS, ST De laudibus beatae virginis Mariae.<br />
[Cologne, Ulrich Zell, not after 1473].<br />
Folio (274 x 200mm) 165 leaves (of 166, lacking final<br />
blank). Gothic type, 36 lines, double column. 2-4 line<br />
initial spaces, alternating spaces filled in red, red<br />
paragraph marks, underlining and capital strokes. Single<br />
pinhole visible in the lower margins. Early 19th-century<br />
ochre paper boards, red spine label lettered in gilt, red<br />
edges (spine darkened, a little soiled and marked). £15,000<br />
First edition. A fine wide-margined copy with<br />
deep impressions of the types on remarkably<br />
fresh paper, printed by the prototypographer of<br />
Cologne, Ulrich Zell. As noted by BMC the copy<br />
at the University Library of Uppsala is dated<br />
1473 by the rubricator.<br />
The works ascribed to Albertus Magnus led<br />
him to be considered to be the greatest Mariologist<br />
of the Middle Ages. A product of the mid-13th<br />
century and a hugely influential work in Marian<br />
scholarship, ‘the Mariale represents the first<br />
systematic theology of Mary, inasmuch as all<br />
assertions about Mary are reduced to one single<br />
principle, that of the all embracing fullness of<br />
grace.’ (Encyclopedia of theology: a concise<br />
Sacramentum mundi, ed Karl Rahner, 1975, p 903.)<br />
Only relatively recently has Albertus Magnus’<br />
authorship been challenged, see A Fries, Die unter<br />
dem Namen des Albertus Magnus überlieferten<br />
mariologischen Schriften (1954) pp5-80, 130-131,<br />
and A Kolping, in Recherches de théologie ancienne<br />
et médiévale 25 (1958) pp 285-328 (Sack Freiburg).<br />
By 1473, it was rare for a pinhole to still be<br />
visible in the lower inner margin as found here. In<br />
1466 and 1467 all of Zell’s books had four<br />
pinholes on each page but this was soon reduced<br />
to two and generally by 1470 they disappear<br />
from the visible part of the page. (See: Martin<br />
Boghardt, ‘Pinholes in Large-format Incunabula’,<br />
The Library s7, vol 1 (2000), pp263-289).<br />
Provenance: Bibliothecae J[ohann Heinrich<br />
Joseph] Niesart (1766-1841), pastor in Velen<br />
1816, with his manuscript inscription on first<br />
leaf and his bibliographical notes on a loose<br />
inserted leaf. Inner margin of first leaf lightly<br />
soiled otherwise extremely fresh.<br />
H460. GW 678. BMC I, 192. BSB-Ink A185.<br />
Goff A271. Bod-inc A119.<br />
5
2 ALBERTUS MAGNUS, ST Sermones de tempore et de sanctis. [Speyer,<br />
Peter Drach, not after 1475]. [Bound with:] GUILLERMUS pARISIENSIS<br />
Postilla in evangelia et epistolas. [Speyer, Peter Drach, c1476].<br />
Two works in one volume. Folio (293 x 211mm). I 240<br />
leaves (including f 144 blank). Gothic type, 40 lines, table<br />
in double columns. 2 to 6-line initials, headlines, paragraph<br />
marks and capital strokes in red, rubricator’s guideletters<br />
and quiring sometimes visible. II 170 leaves (last<br />
blank). Gothic type, 40 lines. Rubricated uniformly with<br />
the above but without the headlines, manuscript quiring<br />
often visible. Contemporary blindstamped pigskin over<br />
wooden boards, covers panelled by fillets into a double<br />
frame with lozenge shaped compartments inside, each<br />
containing a round tool of an eagle or a clover leaf or a<br />
square tool with a rosette (two different stamps), also<br />
with lettered scrolls ‘Jhesus’ and ‘Maria’; 5 brass bosses<br />
on each cover, clasps and catches, remains of paper labels<br />
on front cover (expert restoration to joints). £25,000<br />
A superb exAmple oF two rAre incunAbles From the<br />
1470s, published by the sAme printer, And bound<br />
together soon AFter. The tall, fresh, rubricated<br />
copies with strong impressions of the types and<br />
some deckle edges are bound in a fine contemporary<br />
binding with the ten brass bosses, as well as the<br />
clasps and catches, still intact. The small stamps<br />
used to decorate the covers are not found in Kyriss<br />
but point to a Rhineland origin, probably monastic.<br />
The two undated works are catalogued in the<br />
BMC as the earliest impressions from the press of<br />
Peter Drach at Speyer. The first not after 1475 as a<br />
copy at München BSB has a buyer’s date of that<br />
year and the second assigned to the following year.<br />
ISTC lists few copies of either printing outside<br />
Germany, for example, the only copies of Drach’s<br />
Sermones de tempore... and Postilla in the UK are<br />
at the British Library, only an imperfect copy of the<br />
first work and one of the second in France, and no<br />
copies of either in Belgium or the Netherlands. The<br />
USA fares somewhat better with six locations for<br />
the first work and three for the second. They are<br />
also extremely rare on the market with no other<br />
copy of either book sold in Anglo-American<br />
auctions since 1934.<br />
This is the second edition of the Albertus<br />
Magnus’ Sermones, first published the previous<br />
year in Cologne. Albertus Magnus (1193/1206-<br />
1280), Dominican preacher, Bishop of Ratisbon,<br />
saint, and Doctor (‘Doctor Universalis’) of the<br />
Catholic Church, was the leading intellectual<br />
figure of his time and wrote encyclopedically on<br />
theology, philosophy and the sciences. He applied<br />
Aristotelian methods and principles to revealed<br />
doctrine and was, therefore, the pioneer of the<br />
scholastic method elaborated by his pupil, St<br />
Thomas Aquinas.<br />
The second work, the Postilla, first published<br />
by Zainer in Augsburg 1472, was one of the most<br />
popular works of the 15th century and justly<br />
described by Goff as one of the earliest ‘best sellers’.<br />
The supposed author, Guillermus, was a<br />
Dominican monk and professor of theology at<br />
Paris who compiled this work in 1437 ‘expressly<br />
for the clergy and for those desirous of<br />
understanding the excerpts from the Epistles and<br />
the Evangelists, more commonly called lessons,<br />
which are read at appropriate services throughout<br />
the church year. It obviously filled a most pressing<br />
need.’ (Goff, ‘The Postilla of Guillermus<br />
Parisiensis’, in Gutenberg Jahrbuch 1959, pp73-<br />
77). Much of the collection has also been attributed<br />
to Johann Herolt (see Die Deutsche Literatur des<br />
Mittelalters Verfasserlexikon (Bd 3, 1124, 8).<br />
Provenance: Some contemporary annotations.<br />
Early inscription ‘Pertinet ad Fabricam/BMVF’ on<br />
front pastedown. Book label of George Dunn<br />
(1865-1912), Woolley Hall (his sale Sotheby’s 2nd<br />
February 1914, lot 702).<br />
I HC*469. GW 772. BMC II, 488. BSB-Ink<br />
A213. Goff A328. II HC*8226. GW 11924. BMC<br />
II, 488. BSB-Ink H134. Goff G648.<br />
6 7
3 ALDROVANDI (ULISSE) Serpentum et draconum historiae libri duo...<br />
Bologna, apud Clementem Ferronium, (1639) 1640.<br />
Engraved title by Io. Baptista Coriolanus and<br />
numerous woodcuts, many full-page, of snakes,<br />
mythical serpents and dragons.<br />
Folio (355 x 235mm) [5]ff 427pp [15]ff. Contemporary<br />
vellum with early rebacking in vellum, title and<br />
shelf-mark lettered on spine (upper joint split). £2,500<br />
First edition oF AldrovAndi’s posthumously<br />
published And beAutiFully illustrAted<br />
history oF serpents And drAgons. In this<br />
work he combines detailed descriptions of real<br />
snakes but also gives equal weight to fantastical<br />
creatures such as a winged dragon, basilisk and<br />
a multi-headed hydra. This contradiction can be<br />
understood when one considers that Aldrovandi<br />
lived through a transitional period for science<br />
and was obliged to base much of his knowledge<br />
of the natural history of distant lands from<br />
the reading of classical texts, such as Pliny, and<br />
the secondhand accounts related by merchants<br />
and adventurers.<br />
The Italian naturalist Ulisse Aldrovandi<br />
(1522-1605) was and one of the major figures in<br />
the Renaissance movement that placed a renewed<br />
emphasis on the study of the nature. He was the<br />
first professor of natural sciences at the University<br />
of Bologna and one of the first great specimen<br />
collectors, he regularly organized expeditions<br />
across Italy for that purpose. He was also heavily<br />
involved in the founding of the Bologna’s<br />
Botanical Garden in 1568, one of the first in<br />
Europe and left his Wunderkammern ‘cabinets of<br />
curiosities’, one of the earliest and most<br />
impressive collections of this kind to the city.<br />
Half-title and title with small wormhole, a little<br />
spotted and browned in places but generally<br />
fresh. Nissen ZBI 78.<br />
4 ApULEIUS (ULISSE) Metamorphoseos, sive lusus Asini libri IX. Floridoru[m]<br />
IIII. De Deo Socratia I. De Philosophia I. Asclepius Trismegisti dialogus<br />
eode[m] Apuleio i[n]terprete... (Graece: Alcinoi philosophi ad Platonis dogmata<br />
introductio). (Venice, in aedibus Aldi, et Andreae Soceri mense maio, 1521).<br />
Sm 8v (160 x 95mm) 266, [28]ff. 18th-century vellum<br />
over paste-boards, blue marbled edges, ink title on<br />
spine (small split to spine). £2,500<br />
First Aldine edition oF the collected works<br />
oF Apuleius including the Metamorphoses (also<br />
known as the Golden Ass), the sole Latin novel<br />
that survives in its entirety, with a prefatory<br />
letter from Asulanus to Francesco Rubrio,<br />
French legate of Francis I at Venice. The OCD<br />
describes the Golden Ass as, ‘A delightful work,<br />
imaginative, humorous, and exciting, it tells the<br />
adventures of one Lucius who, being too curious<br />
concerning the black art, is accidentally turned<br />
into an ass, and thus disguised, endures, sees,<br />
and hears many strange things. He is at last<br />
restored to human shape by the goddess Iris.<br />
Many stories are embedded in the novel, the<br />
most famous being the exquisite tale of Cupid<br />
and Psyche’.<br />
The other works are his Platonic texts which<br />
include his supposed translation of the lost<br />
Greek dialogue Asclepius, The Perfect Discourse,<br />
attributed here to Hermes Trismegistus, the only<br />
philosophical Hermetic work know in the West<br />
during the Middle Ages (eight medieval<br />
manuscripts survive, ie Brussels, Bibliothèque<br />
Royal 10054-10056, Ms on vellum, 10th-11thcentury).<br />
The Asclepius has been described as<br />
the single most important revelation of Hermes<br />
and it guaranteed the continuation of the<br />
Hermetic tradition prior to the rediscovery of<br />
the Corpus Hermeticum in the mid-15th<br />
century. The text is quoted by amongst others<br />
Bernardus Silvestris, Alanus ab Insulis, Albertus<br />
Magnus, Roger Bacon and Thomas<br />
Bradwardine. Although the magical and<br />
Egyptian elements in the text were objected to<br />
by St Augustine in De Civitate Dei they were<br />
held in high regard by later philosophers such as<br />
Ficino and Giordano Bruno.<br />
The final section of 28pp has its own titlepage<br />
and is printed entirely in Greek. It holds<br />
the philosopher Alcinous’ (2nd century BC)<br />
Handbook of Platonism, an epitome of Middle<br />
Platonism, probably intended as a manual for<br />
teachers rather than students.<br />
Renouard p91, no 8. Hoffmann I, p109.<br />
BMSTC (Italian), p35. Adams A-1362. UCLA<br />
Ahmanson-Murphy no 202.<br />
8 9
5 ARISTOTLE Ethicorum, sive ad moribus, ad Nichomachum filium, libri<br />
decem, a Joachimo Perionio primum conversi... compendium, per Hermolaum<br />
Barbarum... compendium ac synopsis, a Cuthberto Tonstallo editum.<br />
Heidelberg, Lodovicus Lucius, April 1562. [With] De moribus ad Nichomachum<br />
libri decem. Strassburg, Josias Rihel, 1563.<br />
Printer’s woodcut device, ornamental initials<br />
and greek letter in second work.<br />
Two works in one vol. 8vo (168 x 104mm).<br />
Contemporary German roll-tooled pigskin, central<br />
panel with the arms of Wurttemberg, signed ‘HC’ [Hans<br />
Cantzler]; outer border of medallion heads and foliage<br />
(worn, remains of vellum ties). £1,800<br />
i perionius’ highly regArded lAtin trAnslAtion<br />
of the Nicomachean Ethics, edited by Daniello<br />
Barbaro. It is followed by the epitome of the<br />
work by Ermolao Barbaro (pp325-384) and by<br />
the Compendium on Aristotle’s text by Cuthbert<br />
Tunstall (pp385-562), first published in Paris in<br />
1556. Tunstall was a renowned scholar and one<br />
of the most important English diplomats of the<br />
16th century; he was one of Erasmus’ patrons<br />
who assisted in the production of the second<br />
edition of his Greek New Testament, and also<br />
cast his eye over More’s Moriae Encomium.<br />
II Third edition of the Greek text of the<br />
Nicomachean Ethics, to be edited by Joannes<br />
Sturm, the German educationalist, with prefaces by<br />
Sturm and the Spanish humanist Juan Luis Vives.<br />
Bound in a contemporary pigskin binding<br />
signed by Hans Cantzler (Haebler I, 74, XIX).<br />
Provenance: Franciscan ownership inscriptions<br />
on fly-leaf and title-page dated 1657.<br />
I Adams A1831. VD16 A3424. Hoffmann I,<br />
p338/9/ II Adams A1808. Ritter 80. Hoffmann<br />
I, p291. This edition not in VD 16.<br />
6 BENCI (FRANCISCO), SJ Orationes & carmina. Quae partim nunquam<br />
antehac, partim in Germania nunc primum in lucem prodierunt. Ingolstadt,<br />
David Sartorius, 1592. [With:] Carminum libri quatuor eiusdem Ergastus et<br />
Philotimus, dramata. Ingolstadt, David Sartorius, 1592.<br />
Woodcut Jesuit device on title-page, ornamental<br />
woodcut head-pieces and initials.<br />
2 parts in one vol. 8vo (165 x 102mm) [4]ff 383pp [4]ff<br />
325pp. Contemporary blind-panelled pigskin with<br />
roll-tooled borders of medallion heads and foliage,<br />
both original clasps intact, spine backed with marbled<br />
paper and label in the 18th century. £950<br />
First edition. The first part of the book includes<br />
several discourses on Latin poetry, while the<br />
four books of Carmina in the second part are<br />
followed by the texts of the religious dramas (in<br />
verse) Ergastus and Philotimus which were<br />
performed before the distribution of prizes in<br />
the gymnasium of the Jesuit College in Rome in<br />
November 1587 and January 1590 respectively.<br />
The author Benci (1542-94) studied in Rome<br />
for seven years during which time he was a<br />
pupil of Marc Antoine Muret, and the first part<br />
of the work includes Benci’s oration delivered<br />
at Muret’s funeral. Bayle devoted an article to<br />
Benci in his Dictionnaire calling him ‘un des<br />
plus excellents orateurs de ce temps-là, et un<br />
poète latin’.<br />
Provenance: Jesuit ownership inscription at<br />
head of title-page, later armorial stamp at foot.<br />
VD16 B1666. Adams B626. Sommervogel I, 1288.<br />
10 11
7 BERNARD OF CLAIRVAUX, ST Opuscula Divi Bernardi Abbatis<br />
Clarevallensis (– Flores Sancti Bernardi). (Venice, per Luceantonium de Giunta,<br />
1 June & 31 August 1503).<br />
Fine full-page woodcut of the Annunciation<br />
facing the opening page of text in each part, first<br />
title and device (Kristeller 216) printed in red and<br />
opening chapter heading, second title with same<br />
device, fine eight-line white-on-black initials<br />
throughout, printed in double columns.<br />
Two works in one vol. 8vo (185 x 125mm) [400]ff [205]ff<br />
(of 206, lacks final blank). Contemporary Buxheim<br />
binding of blind-tooled calf over wooden boards, covers<br />
panelled and stamped with a variety of small tools,<br />
rebacked in vellum in the 18th? century, one clasp<br />
remains, early paper label with shelf-mark lettered in red<br />
at foot of spine (old repair to lower portion of upper<br />
cover, vellum spine scattered with wormholes). £2,750<br />
the buxheim copy oF two rAre collections<br />
oF st bernArd oF clAirvAux’s writings both<br />
illustrated with the same full-page woodcut of<br />
the Annunciation which is described by Lilian<br />
Armstrong as ‘an early example of Venetian<br />
High Renaissance art’. The woodcut was first<br />
used two years earlier in another of LucAntonio<br />
Giunta’s publications, the Officium beatae<br />
Mariae virginis of June 1501.<br />
‘The traditional figures of the Virgin Mary and<br />
the Angel Gabriel are set in an elegant Renaissance<br />
interior, defined by classical architectural<br />
components: a Corinthian column, a coffered<br />
barrel vault, and roundheaded windows behind<br />
Gabriel. The diagonal lines of the tiled floor<br />
converge to suggest the depth of the room. At the<br />
edges of the image are decorative columns that<br />
appear to support a segmented arch; these act as a<br />
frame through which the viewer looks at the holy<br />
event’ (Armstrong, Heavenly Craft). This<br />
spacious setting, perspective, and the idealised<br />
and lightly modelled figures are to Armstrong the<br />
indicators of the High Renaissance style.<br />
Provenance: Contemporary inscription of the<br />
Buxheim Charterhouse at head of title-page,<br />
‘Cartusiae Buxheim’, with their library stamp at foot.<br />
Some neat early annotations in red ink. Another<br />
inscription inked out. Fine bookplate of the<br />
celebrated bookseller and publisher Leo S Olschki.<br />
CNCE 5500 & 5499. Janauschek, Bib Bernardina<br />
317 & 315 (notes Buxheim Catalogue no 189).<br />
Sander 961 & 954. Essling 1383 & 1389. COPAC<br />
I British Library & Oxford. II British Library &<br />
National Library of Scotland. OCLC US libraries:<br />
I. Harvard & Western Michigan Uni. II Columbia,<br />
Brigham Young, NYPL, Yale, UCLA & 3 others. A<br />
Heavenly Craft. The Woodcut in Early Printed<br />
Books (LoC, 2004), pp35-37 & cat no 39.<br />
8 BIBLE (NEw TESTAMENT). LATIN. ERASMUS DESIDERIUS<br />
Novum Testamentum omne, tertio iam ac diligentius ab ERASMO Roterodamo<br />
recognitum non solum ad graecam veritatem, verum etiam ad multorum<br />
utriusque linguae codicum, eorumque veterum simul & emendatorum<br />
fidem, postremo ad probatissimorum autorum citationem, emendatione &<br />
interpretationem. Addita sunt in singulas apostolorum epistolas argumenta.<br />
(Amsterdam [Zwolle? Simon Corver for]: Willem Corver, September 1522).<br />
Titles within a woodcut frame, the first with<br />
printer’s mark and initials, six-line and eight-line<br />
woodcut initials coloured by hand.<br />
Two parts in one vol. 8vo (145 x 95mm) [176] [144] ff,<br />
last leaf of part two presumed blank and not present,<br />
headlines, marginal scripture references. 19th-century<br />
blind-stamped calf, red edges (worn). £2,200<br />
A scArce AmsterdAm edition oF the erAsmus<br />
lAtin new testAment, and a book recorded by<br />
NK in one copy only at Strasbourg. 1522 saw<br />
a number of editions of the Erasmus New<br />
Testament in various formats, and the success of<br />
the 8vo edition, without Greek text, is a pointer<br />
to the importance of the Erasmus version in the<br />
context of Protestantism and of reform within the<br />
Catholic Church. As is shown in the transcription<br />
of the title above, the word Erasmus is capitalised.<br />
Simon Corver is recorded as printing at Zwolle<br />
from 1519, when he printed an edition of<br />
Erasmus De octo orationis partium constructione<br />
(NK 2897), until early 1523. His output as listed<br />
by NK (III, iii 290-292) consists of some 42<br />
books, including school texts by Erasmus and<br />
Listrius with several plays by Plautus, three texts<br />
by Luther and 4 by the local theologian Gansfort<br />
Wessel (1420-1489.) On 20 June 1523 in<br />
Hamburg a printer identified as Corver by NK<br />
published a Dutch version of a text by Luther<br />
Eeen nuttige expositie des evangelijs van den tien<br />
malaetsche (NK 3461) and Dat nyge Testament<br />
tho dude (VD 16 B4498), the first Dutch version<br />
of Luther’s New Testament, of which copies are<br />
located by OCLC at Hamburg and Wurttemberg<br />
(see also article in Het Boek 23 (1935-36) pp55-<br />
60, and other articles in the same on Corver.)<br />
Simon Corver is represented in the British<br />
Library by some eight titles (four by Wessel), but<br />
his imprint is found only in three works (of which<br />
two by Wessel) in five copies elsewhere in the UK.<br />
Willem Corver is presumed to be a relation who<br />
acted as a publisher in Amsterdam.<br />
Provenance: Inscription at foot of title-page<br />
‘Pal: A: Leith 1711’, some underlining and ms<br />
notes in part two on B6 and B8 (Romans ix, 14,<br />
15 note on predestination). Some dampstaining,<br />
heavier towards end.<br />
Nijhoff-Kronenburg 2430.<br />
12 13
9 BLOEMAERT (ABRAhAM) Oorspronkelyk en vermaard konstryk<br />
tekenboek. Amsterdam, Reinier & Josua Ottens, 1740.<br />
Engraved title, added, engraved dedication plate,<br />
portrait of the author and plates numbered 1<br />
(engraved title) to 166; engraved title, portrait<br />
and duplicates of plates 80, 94, 95, 108, 137,<br />
144 & 145 overprinted with chiaroscuro blocks<br />
in ochre; also duplicates of 87, 88, 98 & 102<br />
making a total of 179 plates, by Frederick<br />
Bloemaert after Abraham Bloemaert.<br />
Folio (404 x 287mm) [3]ff 6pp [2]ff. Contemporary<br />
half-calf, marbled boards (neat repairs to spine). £6,500<br />
the most complete edition oF the dutch<br />
mAnnerist Artist AbrAhAm bloemAert’s<br />
(1564-1651) drAwing book which includes the<br />
engraved title, portrait and seven duplicate<br />
plates overprinted in chiaroscuro. First<br />
published in installments c1650-1656 under the<br />
title Artis Apellae liber with 100-120 plates, few<br />
copies of which have survived, the present<br />
edition is described by Bolten as ‘magnificent...<br />
due to its costly and attractive design, [it]<br />
presumably made its way directly to the library<br />
of the connoisseur’.<br />
Abraham’s youngest son, Frederick<br />
Bloemaert (c1610-c1669), had engraved the<br />
plates after the designs of his father for their<br />
original publication and they were prepared and<br />
ordered for this edition by the renowned French<br />
engraver and publisher Bernard Picart. The<br />
plates are divided into eight sections each part<br />
with its own title: I Heads & faces. II Hands &<br />
feet. III Figures. IV Male & female nudes. V<br />
Children. VI Figures & groups. VII<br />
Compositions or historic subjects. VIII Animals.<br />
‘The leading example of the master model<br />
in the Netherlands is the drawing book by<br />
Abraham Bloemaert. This work consists mostly<br />
of academic drawing examples with depictions<br />
of both parts of the body and of the human<br />
figure as a whole. Bloemaert’s drawing examples<br />
are not derived from those of other authors.<br />
They represent the fruits of a life of industrious<br />
study in academies and after nature. Each<br />
individual example bears the unmistakable<br />
stamp of Bloemaert. It is not a method or a<br />
system of construction which is being offered as<br />
an example, but the maniera of the great and<br />
respected master himself… This method of<br />
approach is described by the subtitle on the title/<br />
frontispiece, where the idea is expressed, that<br />
the apprentice would be able to attain his goal,<br />
the representation of the human figure, provided<br />
that he first learned to draw the individual parts<br />
of the human body from this book’ (Bolten).<br />
Ref: Jaap Bolten. Method and Practice: Dutch<br />
and Flemish Drawing Books, 1600-1750<br />
(1985), pp57-67 (ill) & p253.<br />
14 15
10 BOEThIUS Consolationis philosophiae libros quinque interpretatione<br />
et notis illustravit Petrus Callyus... in usum serenissimi delphini. Paris, apud<br />
Lambertum Roulland, 1680.<br />
Fine engraved frontispiece incorporating the<br />
dauphin’s arms and a medallion of Boethius,<br />
engraved dauphin’s arms on title-page, engraved<br />
dedication headpiece, repeated.<br />
4to (258 x 185mm) [20]ff 352pp [28]ff. Late 18thcentury<br />
red morocco, triple filt fillet on covers, spine<br />
richly gilt in compartments, ieg, ge. £1,500<br />
A Finely bound copy oF one oF the rArest oF<br />
the delphin editions of the Latin classics<br />
created for le Grand Dauphin. The series was<br />
supervised by Pierre-Daniel Huet from 1670 to<br />
1680, when he was working with Jacques<br />
Bossuet, tutor to Louis XIV’s son, the Dauphin<br />
Louis. The name of the series was derived from a<br />
Latin inscription on the title page of the books,<br />
in usum serenissimi Delphini (‘for the use of the<br />
most serene Dauphin’).<br />
The editor was the Cartesian scholar Pierre<br />
Cally, of Mesnil-Hubert, near Argenton. The<br />
edition is notable for Cally’s use of Cartesian<br />
philosophy, or at least notions of it, in his<br />
explanation of the text. It had a lasting influence<br />
as it was included in Migne’s Patrologia Latina<br />
(see Lodi Nauta, ‘Platonic and Cartesian<br />
Philosophy in the Commentary on Boethius’<br />
Consolatio Philosophiae by Pierre Cally’, in<br />
British Journal for the History of Philosophy<br />
4/1 1996, pp79-100). Schweiger p33.<br />
12 BOILEAU-DESpREAUX (NICOLAS) Oeuvres... avec des<br />
éclaircissemens historiques donnez par lui-même... Amsterdam,<br />
chez David Mortier, 1718.<br />
Engraved frontispiece by Bernard Picart, folding<br />
portrait of the Princess of Wales after Kneller,<br />
frontispiece and 6 full-page engraved plates to<br />
‘Le Lutrin’ and numerous large head- and tail<br />
vignettes all by Picart. Each page printed within<br />
a border made up of typographical ornaments.<br />
Two vols. Folio (380 x 240mm). Late 18th-century<br />
polished calf, covers with outer decorative gilt border,<br />
spines richly gilt in compartments, red morocco labels, ge<br />
fine gilded floral endpapers (joints rubbed). £1,100<br />
First edition to hold the fine illustrations of<br />
Bernard Picart (1673-1733) and the portrait of<br />
Caroline, Princess of Wales after Sir Godfrey<br />
Kneller (1646-1723). Gordon Ray describes Picart<br />
as ‘the outstanding professional illustrator of the<br />
first third of the 18th century’ while Cohen-de<br />
Ricci describes the frontispiece as ‘superbe’ and the<br />
portrait as ‘magnifique’.<br />
Cohen-de Ricci 165/6. Ray I, p7.<br />
11 BOEThIUS Consolationis philosophiae libri<br />
recensuit, emendavit, edidit, Johan Eremita. Paris,<br />
sumptibus Lamy, 1783.<br />
Fine engraved frontispiece.<br />
12mo (130 x 75mm) liv, 85, 280pp 18th-century green morocco<br />
possibly by Derome, triple filt fillet on covers, flat spine gilt in<br />
compartments, ieg, ge £850<br />
A Finely bound edition newly edited by Jean-François Debure de<br />
Saint Fauxbin (1741-1825) under the pseudonym Johannes<br />
Eremita, son of the great bibliographer Guillaume-François<br />
Debure (1731-82) author of Bibliographie instructive: ou traité<br />
de la connoissance des livres rares et singuliers (1763-69).<br />
Schweiger pp 33/34.<br />
16 17
13 BREDERO (GERBRAND ADRIAENSz) Boertigh, Amoreus,<br />
en Aendachtigh Groot Lied-boeck. Amsterdam, Cornelis Lodowijcksz:<br />
vander Plasse, 1622.<br />
Engraved title, added, fine engraved portrait of<br />
Bredero by Hessel Gerritsz (the only known<br />
portrait), 20 engravings, three full-page and 17<br />
half-page by Jan van de Velde II and Michel le<br />
Blon; full-page calligraphic woodcut of Cupid<br />
in part two repeated in part three; occasional<br />
use of civilité type.<br />
Three parts in one vol. Oblong 4to (150 x 195mm)<br />
[16]ff 111pp103pp 62pp [1]f. 19th-century vellum<br />
over pasteboards. £8,500<br />
First collected edition oF bredero’s FAmous<br />
groot lied-boeck, a collection of some 200<br />
popular songs, mostly love and wedding songs.<br />
The beautiful engravings depict scenes of love and<br />
courtship although the first full-page engraving by<br />
van de Velde is a lively scene of peasants drinking<br />
and dancing in a tavern to illustrate the song<br />
‘Boeren Geselschap’ (‘Peasant Company’).<br />
Gerbrand Adriaensz Bredero (1585-1618),<br />
was a prolific writer of popular lyrics and dramas.<br />
The son of a well-to-do shoemaker Bredero was a<br />
product of the Dutch Golden Age and lived his<br />
entire life in Amsterdam, his works reflecting the<br />
everyday language of the city. In 1611 he became a<br />
member of the De Eglantier rederijkerskamer,<br />
where he was friends with Roemer Visscher and<br />
PC Hooft, and with Hooft he joined the Costers<br />
Nederduytsche Academie. He became best known<br />
for his farces and comedies and in 1617 his comedy<br />
masterpiece De Spaanschen Brabander Ierolimo<br />
was first performed. He died suddenly in the<br />
following year at the age of just 33.<br />
The engravings are mostly by Jan van de Velde<br />
the younger (1593-1641) with three by Michel le<br />
Blon (1587-1658). ‘Jan van de Velde II came from<br />
an artistic family. His father was a celebrated<br />
calligrapher and teacher and he was the<br />
nephew of Esaias van de Velde, an important<br />
landscape painter. Jan also specialized in<br />
landscapes but made his mark as a printmaker and<br />
draftsman. His engraved landscapes were often<br />
based on drawings from nature and his emphasis<br />
on naturalistic detail and simple composition<br />
influenced other artists including Rembrandt<br />
Harmensz van Rijn’ (Getty). Le Blon was a<br />
goldsmith and engraver from Frankfurt who was<br />
active in the Netherlands and England.<br />
Bookplate of GS Overdiep.<br />
Tear on pp89/90 of part two neatly repaired<br />
Scheurleer, Nederlandsche Liedboeken, p142.<br />
Carter & Vervliet, Civilité Types, 1966, no 360.<br />
OCLC (US: NGA Washington, Newberry Lib,<br />
Columbia, Huntington only).<br />
see pAges 24 And 26 For Further song books.<br />
18 19
14 BULLINGER (hEINRICh) In omnes Apostolicas epistolas, divi videlicet<br />
Pauli XIIII et VII canonicas, commentarii Heinrychi Bullingeri... accesserunt ad fine<br />
quoque duo libelli, alter de Testamento dei unico & aeterno, alter vero de Utraque.<br />
in Christo natura. Zurich, apud Christophorum Froschouerum, 1558.<br />
Froschauer’s fine woodcut device on both<br />
titles, woodcut initials, some large.<br />
Two vols in one. Folio (323 x 200mm) [20]ff 731pp<br />
195pp. Contemporary blind-tooled pigskin over<br />
bevelled wooden boards, covers panelled with fillets<br />
and outer historiated roll of the muses Calliope,<br />
Thalia, Euterpe und Terpsichore and inner roll of<br />
medallion heads, leafy stamps in panels, clasps and<br />
catches remain, title lettered in ink at head of<br />
fore-edge (lower cover with tear but no loss). £4,500<br />
FroschAuer’s edition oF the swiss reFormer<br />
bullinger’s commentAry on the Apostolic<br />
letters includes as an appendix his De<br />
testamento seu foedere Dei unico et aeterno (A<br />
Brief Exposition of the One and Eternal<br />
Testament or Covenant of God). This important<br />
and highly influential treatise was the first<br />
devoted to covenant theology. It was Bullinger’s<br />
most distinctive doctrine and taught that there<br />
was only covenant in history, from Adam to the<br />
present. First published by Froschauer in a<br />
separate octavo edition of 1534 (VD16 B9722)<br />
and subsequently only reprinted in his five folio<br />
editions of the Apostolic Letters (1537, 1539,<br />
1544, 1549 & 1558 – see VD16 B9723-9727),<br />
all of which are rarely found.<br />
Charles S McCoy and J Wayne Baker in<br />
Fountainhead of Federalism: Heinrich Bullinger<br />
and the Covenantal Tradition (1991) argue that<br />
Bullinger’s covenant doctrine, which went far<br />
beyond Zwingli’s, was seminal for the further<br />
development of covenant or federal theology<br />
and the creation of federal political philosophy.<br />
‘It is the first work that organizes the<br />
understanding of God, creation, humanity,<br />
human history and society around the covenant.<br />
It must be regarded therefore as the point of<br />
origin or the fountainhead of federalism as it has<br />
increasingly come to permeate the world in the<br />
four and a half centuries since its publication’.<br />
The present edition is scarce outside<br />
continental libraries and no copies are located<br />
by OCLC in the USA. Provenance: Ownership<br />
inscription inside front-cover dated 1566, a few<br />
marginal annotations and underlinings.<br />
VD16 B4974, B9727 & B9740. Adams B3240.<br />
Ref: J Wayne Baker, in, Oxford Encyclopaedia of<br />
the Reformation, I, pp227-230).<br />
20 21
15 (BUONAROTTI (FILIppO)) Osservazioni istoriche sopra alcuni<br />
medaglioni antichi. Rome, nella stamparia di Domeico Antonio Ercole, 1698.<br />
Beautiful engraved frontispiece in the manner<br />
of a large commemorative marble medal. 29<br />
full-page plates of coins and medals engraved by<br />
Andreoni; in all, the recto and verso of 129<br />
medals are illustrated. A full page portrait of<br />
Emperor Augustus after Marratta engraved by<br />
Auden Aest, and two double-page plates of large<br />
cameos, an engraved plate of a ‘patera antica’. 43<br />
finely engraved text-illustrations by Pietro Santo<br />
Bartoli (monogrammed pSB) of carved stones,<br />
coins, medals, and relief sculptures. Engraved<br />
title-vignette, two engraved historiated initials<br />
and 12 text-woodcuts. Some Greek printing.<br />
4to (280 x 200mm) [4]ff xxviii 495pp.<br />
Contemporary vellum over paste boards. £2,000<br />
First edition oF this sumptuously<br />
illustrAted numismAtic work, dedicated to<br />
the Grand Duke of Tuscany, which records the<br />
medals and coins from the collection of Cardinal<br />
Gasparo de Carpegna. The publishing history of<br />
the present work is interesting in so far as the<br />
printer/publisher had already printed the<br />
numismatic plates before he had even heard of<br />
the existence of Buonarotti’s learned annotations<br />
of the collection. He subsequently married his<br />
plates and Buonarotti’s notes without adaption,<br />
which explains the different chronological order<br />
of plates and notes. Bartoli was commissioned to<br />
adorn the volume with engravings of cameos,<br />
engraved stones etc found in the same collection<br />
of Cardinal Gasparo (cf publisher’s preface).<br />
Cicognara 2782. Gamba 1824. Nagler<br />
Monogrammisten, IV, no. 3308.<br />
16 CALLOT (JACqUES) Les images de tous les Saincts et Saintes de l’année<br />
suivant le martyrologe Romain. Paris, Israel Henriet, 1636.<br />
Engraved title-page with arms of Richelieu,<br />
printed dedication; etched frontispiece and<br />
122 plates, with four images per plate, making<br />
488 in all, by Callot.<br />
Folio (291 x 180mm). Contemporary sprinkled calf,<br />
double gilt fillet on covers, fleurons at each corner,<br />
spine with gilt fleuron in each compartment<br />
(joints restored). £6,000<br />
First edition, dedicAted to the cArdinAl<br />
duc de richelieu, published by Callot’s close<br />
friend Henriet in 1636 one year after the artist’s<br />
death. This copy has the first issue of the 119 plates<br />
of saints, with blank panels, and signed only with<br />
Israel’s name; the second issue of the three plates<br />
for the feast days with text in panels; the second<br />
issue title and imprint with the correct reading<br />
‘Henriet’; the first issue printed dedication with all<br />
the text on the recto; and finally the third issue<br />
frontispiece with the caption reading ‘ny de mort’.<br />
Jacques Callot’s (1592-1635) Images of Saints<br />
for Every Day of the Year was one of his<br />
final works and characterised his later<br />
productions at Nancy which were mostly<br />
religious in nature. The plates here ‘differed from<br />
his contemporaneous work in method, for often<br />
they were almost completely drawn in line, with<br />
very little shading. In their first states they are<br />
entitled to careful study, for they are full of<br />
individuality and indicate, with their explanatory<br />
backgrounds of martyrdoms, an incredible<br />
knowledge of religious history and tradition. The<br />
frontispiece is Callot’s Tintoretto-like<br />
Assumption of the Virgin (Bechtel). Between<br />
1631 and 1635 Callot is thought to have executed<br />
around 600 religious prints which reflected both<br />
his deep personal faith (he is said by Félibien to<br />
have attended mass every day) and the flourishing<br />
market for spiritual imagery in Lorraine at this<br />
time, a stronghold of Roman Catholicism.<br />
A few minor marks and stains but generally a<br />
very good copy in a contemporary binding with<br />
contemporary manuscript foliation and note at<br />
the foot of final plate. Pencil notes in French<br />
inside front cover dated 12/4/1896 by M Gallier,<br />
with his more extensive bibliographical notes<br />
on a loose sheet.<br />
Brunet I, 1484. Jules Lieure, Jacques Callot: Vie<br />
artistique et catalogue de l’oeuvre grave, Paris,<br />
1924-1927, 1252, 1253, 1254 & 1255. E de T<br />
Bechtel, Jacques Callot, (1955), p32, pls 173-5.<br />
22 23
17 CAMpANUS (MATThAEUS VAN), COLEVERT (JJ),<br />
ROBBERTSEN (J) & CRAEN (Ap) Amsterdamsche Pegasus, waer in (uyt<br />
lust) be een nergadert zijn, deel Minnelijcke Liedekens... Amsterdam,<br />
p A Ravestyn for Cornelis Willemsz Blaeu-Laken, 1627.<br />
Engraved title, added, and ten engravings (170 x<br />
80mm) by Jan van de Velde the younger, musical<br />
scores in text, use of civilité type.<br />
Oblong 4to (154 x 191mm) [8]ff 177pp [1] f.<br />
Contemporary vellum (small cracks to upper<br />
cover joint). £12,000<br />
extremely rAre First edition oF this<br />
collection oF dutch pAstorAl songs<br />
beautifully illustrated by Jan van de Velde II.<br />
Only six copies are recorded by OCLC<br />
(Amsterdam, Leiden, and Utrecht universities,<br />
Bayerische Staatsbibliothek, British Library and<br />
an incomplete copy at the Library of Congress)<br />
while RISM adds copies at Toonkunst-<br />
Bibliotheek Amsterdam and the Bibliothèque<br />
Royale Brussels.<br />
Jan van de Velde II (1593-c1641) was among<br />
the first artists to create the distinctive Dutch<br />
landscape genre of the early 17th century<br />
beautifully depicted in the present work. ‘The<br />
conceit of nature - or rather, the image of nature<br />
– as a spur to love is present in Jan van de Velde<br />
II’s ten etched illustrations to Amsterdamsche<br />
Pegasus, which may be the first Dutch song-book<br />
with illustrations not so much of lovers in<br />
landscapes but of landscapes themselves as<br />
representations of desire’ (Nevitt). In his pastoral<br />
scenes he favoured a narrow horizontal format as<br />
a way to emphasize the low, expansive terrain<br />
surrounding Haarlem. ‘His engraved landscapes<br />
were often based on drawings from nature and<br />
his emphasis on naturalistic detail and simple<br />
composition influenced other artists including<br />
Rembrandt Harmensz van Rijn’ (Getty). His<br />
father was a celebrated calligrapher and teacher<br />
and he was the nephew of Esaias van de Velde, an<br />
important landscape painter.<br />
Provenance: Contemporary Latin inscription<br />
on front free endpaper of Jacob Rocher, dated<br />
Amsterdam 24 July 1635. Henry Howard<br />
(1628-1684), 6th duke of Norfolk, presented to<br />
the Royal Society in 1667 with stamp ‘Soc Reg.<br />
Lond ex dono Henr Howard Norfolciensis’ on<br />
verso of title with their late 19th-century<br />
disposal stamp beneath.<br />
Small worm hole in blank lower margin<br />
expertly repaired, lightly dampstained in places.<br />
RISM 1627.10. DF Scheurleer, Nederlandsche<br />
Liedboeken, p152. Brunet I, 248. Ref: H Rodney<br />
Nevitt, Art and the Culture of Love (2003), p134.<br />
24 25
18 CAMphUYSEN (DIRK RAphAELSz) Stichelycke rymen, om te lesen<br />
ofte singhen. Onderscheyden in III. deelen. Op nieuws over-sien en grootelijckx<br />
vermeerdert, oock de noten van Druck-fauten ghecorrigeert, en verrijckt met vele<br />
copere figuren. Amsterdam, by Iacob Colom, 1647.<br />
Folding engraved portrait (255 x 185mm) of the<br />
author by S Savey after C Castelein, 61 large<br />
engravings (125 x 80mm), including one<br />
tipped-in between Q4 and R1 unpaginated and<br />
with blank recto, by F Allen and P Nolpe<br />
(Landwehr), fine large historiated woodcut<br />
initials, musical scores in text.<br />
Oblong 4to (144 x 196mm) [4]ff 326pp [3]ff.<br />
Contemporary mottled calf, gilt decorative border on<br />
covers with central gilt lozenge shaped ornament made<br />
up of small stamps, spine gilt in compartments (expertly<br />
rebacked with original spine laid down). £5,000<br />
First illustrAted edition oF cAmphuysens’<br />
importAnt collection oF devotionAl songs,<br />
first published in 1624. The engravings are<br />
emblematic, each one with a motto above and a<br />
four line epigram beneath. In this edition parts one<br />
and two include musical scores for every poem.<br />
The Dutch poet and schoolmaster<br />
Camphuysen (1586-1627) ‘is significant in the<br />
history of music for his Stichtelycke rymen, om te<br />
lezen of te zingen (Hoorn, 1624), which in the<br />
first edition, and in the many subsequent ones,<br />
was published with music, whereas in Dutch<br />
Calvinist church services only rhyming psalms<br />
to Geneva melodies were sung. The 17th<br />
century, thanks also to Camphuysen’s poetry,<br />
saw the development of domestic devotional<br />
songs for one or more voices, which were often<br />
accompanied by, or arranged for, instruments...<br />
Camphuysen’s poems enjoyed great popularity<br />
and gave to Dutch piety of the 17th and 18th<br />
centuries an individual character comparable<br />
to that of early Pietism in Germany.’ (Grove).<br />
Small tear to inner margin of portrait with<br />
slight loss of image, blank lower corner of C4<br />
torn away, paper flaw in Oo4 affecting one or<br />
two letters over three lines, Rr2v and Rr3r<br />
somewhat soiled.<br />
Bookplate of GS Overdiep.<br />
Praz p296 (only calls for 58 engravings).<br />
Landwehr Dutch Emblem Books, no 40 (‘The<br />
only edition with emblematic plates’). Scheurleer,<br />
Nederlandsche Liedboeken, p39.<br />
19 CARThUSIAN LITURGY Libellus continens modum recipiendi, ac<br />
incellandi Novitios. Absolendi & inungendi infirmos. Item sepeliendi mortuos:<br />
cum devotis aspirationibus & precibus. Astheim, 1689.<br />
Manuscript on paper, in Latin and German. 4to (210 x<br />
160mm) [1], 91ff (last three blank). 26 lines, rounded<br />
gothic script in brown, red and blue ink, German text in a<br />
neat cursive script. Musical notation on four-line staves,<br />
some penwork ornamentation. Contemporary vellum<br />
over pasteboard (covers with a few stains). £2,400<br />
An unusuAl mAnuscript combining the liturgy<br />
for the reception of novices into the Carthusian<br />
order with the liturgy and prayers for the<br />
absolution and anointing of the sick, and burial<br />
of the dead. The manuscript was produced for<br />
the Buxheim Charterhouse by the 70-year-old<br />
Wurzburg born Fr Caspar Hess at the Astheim<br />
Charterhouse, ‘Scripsi in Cartusia Asthiem.<br />
Anno 1689. F Caspar Hess. Herbipolensis.<br />
aetatis an 70. Pro Cartusia Aulae B Mariae V. in<br />
Buxheim’. The Monasticon Cartusiense, vol II in<br />
Analecta Cartusiana, no 185: 2 (2004) records<br />
that Caspar Hess, who became a novice in 1641,<br />
produced liturgical manuscripts for Astheim and<br />
other charterhouses of the province (Provincia<br />
Alemanniae inferioris).<br />
The manuscript gives a fascinating insight<br />
into the workings of the Carthusian order where<br />
life is very nearly eremitical. The monks live in<br />
solitude in separate houses or ‘cells’ off the great<br />
cloister and, except on Sundays and feast days,<br />
meet only three times a day in the church. Here,<br />
at the beginning of his life as a monk, great<br />
emphasis is placed on his fellow cloister monks<br />
bringing the novice to his cell in procession and<br />
finally, at the end of his life, when extreme<br />
unction is to be administered, the monks process<br />
again to the cell, the sick monk is anointed,<br />
pardoned and blessed and all present give him a<br />
last kiss of peace. For burial the monk is dressed<br />
in his robes and cowl, laid on a wooden plank,<br />
and placed in the grave without a coffin.<br />
The Carthusian liturgy is unique and differs<br />
considerably from the Roman Rite, being<br />
substantially that of Grenoble in the 12th century<br />
with some admixture from other sources. In the<br />
manuscript some prayers are in the vernacular for<br />
the benefit of the lay brothers, written in a cursive<br />
script. The body of customs that had been the basis<br />
of Carthusian life became the statutes of the order<br />
when compiled by Guigo, the fifth prior of the<br />
Grande Chartreuse, in the mid-12th century<br />
(Migne, Patrol Lat cliii 631); enlargements and<br />
modifications of this code were made in 1259, 1367,<br />
1509 and 1681. The 1681 revision may well have<br />
prompted the production of this manuscript, a<br />
change is noted at the foot of f 51v for example.<br />
Revisions were only ever slight and the unofficial<br />
motto for the order is ‘Cartusia nunquam reformata<br />
quia nunquam deformata’ (the order has never been<br />
reformed, because it was never deformed).<br />
26 27
20 CATS (JACOB) Swerelts begin, midden, eynde, besloten in den trou-ringh,<br />
met den proef-steen van den selven. Dordrecht, voor Matthias Havius. Gedruckt<br />
by Hendrick van Esch, 1637.<br />
Double-page engraved title by Adriaen van de<br />
Venne (1589-1662), two divisional titles, portrait<br />
of Jacob Cats by W Delff after M Miereveld,<br />
portrait of the dedicatee Anna Maria Schurmans,<br />
51 half-page engravings by Crispyn van den<br />
Queboorn, Adriaen Matham and others after<br />
Adriaen van de Venne, Jan Olis and others,<br />
woodcut initials, head- and tail-pieces; all are<br />
superbly hand-coloured and many heightened<br />
in white and gold.<br />
4to (238 x 175mm) [22]ff 772pp [4]ff 136pp. Late<br />
17th-century Dutch gilt panelled calf over pasteboards,<br />
spine richly gilt in compartments (headcaps<br />
and joints rubbed). £22,500<br />
First edition oF one oF the most importAnt<br />
And populAr works oF the FAmous dutch<br />
poet JAcob cAts (1577-1660), Proefsteen van de<br />
Trou-ringh (Touchstone of the Wedding Ring),<br />
found here with all engraved titles, portraits, halfpage<br />
engravings and woodcut initials and vignettes<br />
beautifully hand-coloured at the time of binding in<br />
the late 17th century.<br />
The Trou-ringh and Cat’s first work on marriage<br />
Houwelijck (1625) were extremely popular books<br />
running through many editions and ‘could be found<br />
on the bookshelves of persons of all persuasions...<br />
with their many prints they were geared both to the<br />
reading abilities of the Dutch and their highly visual<br />
culture. The combination of literary form, visual<br />
appeal, and moral message guaranteed a broad<br />
audience’ (W Frijhoff & M Spies, Dutch Culture in<br />
a European Perspective (2004), p28).<br />
The miniature compositions of artists such as<br />
van de Venne, with so many references to<br />
contemporary Dutch culture, are brought to life<br />
here by the superb colouring which is expertly<br />
applied. The pages that contain illustration have<br />
been sized to prevent absorption, the colourist has<br />
added details to dress, interiors and landscape, and<br />
ample use is made of gold to heighten the colour as<br />
well as white paint or gesso often used to dramatic<br />
effect, none more so than in the depiction of the<br />
skeleton being warded off by Cupid on p709. Very<br />
little is known of individual colourists working<br />
during the Golden Age, they were not members of a<br />
guild, and only one attained any level of recognition<br />
– Dirck Jansz van Santen (1637-1708), the ‘master<br />
colourist’ (Meester Afsetter) of the van der Hem<br />
Blaeu Atlas. Although such colourists worked<br />
principally on fine atlases they were also<br />
commissioned by wealthy collectors to colour<br />
engravings found in Bibles, emblem and festival<br />
books and other illustrated works; indeed the<br />
Museum Catsianum notes a similarly coloured<br />
copy of the present work (no 154). Master colourists<br />
such as Van Santen and our anonymous artist added<br />
a specific character to the prints and maps they<br />
worked on, not just a mechanical process of<br />
colouring in, and thus their prints became works of<br />
art in their own right (see: H de La Fontaine Verwey,<br />
‘The Glory of the Blaeu Atlas and the Master<br />
Colourist’, Quaerendo, XI, 1981, pp208-229).<br />
Cats was a born storyteller, who in this work<br />
illustrated his sharp psychological and social<br />
insights as easily with examples from the classical<br />
world or the Bible as from daily life in the Golden<br />
Age. One important example taken from a modern<br />
28 29
author is Cervantes’ La Gitanilla (Novelas<br />
Ejemplares, 1613) the tale of a Spanish nobleman<br />
marrying a gypsy girl, which appears here for the<br />
first time in the Netherlands as ‘Het Spaens<br />
Heydinnetie’. Van de Venne’s illustration of Don<br />
Jan in a large Spanish ruff before a seated Pretiose<br />
with Majombe, the gypsy, behind, greatly<br />
influenced other Dutch artist’s rendering of the<br />
subject and came to epitomize the tale in visual<br />
terms; it also provides evidence of the connections<br />
between Dutch art and contemporary literature<br />
(see: I Gaskell, Transformations of Cervantes ‘La<br />
Gitanilla’ in Dutch Art, in Journal of the Warburg<br />
& Courtauld Institute, vol 45 (1982), pp263-70).<br />
Provenance: Unidentified circular monogrammed<br />
stamp on title-page.<br />
Museum Catsianum 153.<br />
21 CAVALIERI (GIOVANNI BATTISTA) Romanorum imperatorum<br />
effigies. Elogiis, ex diversis scriptoribus, per Thomam Treteru[m]... Rome,<br />
apud Franciscum Coattinum, 1590.<br />
Title engraved within architectural border with<br />
the crowned arms of the dedicatee Stefan<br />
Bathory, king of Poland, at the head, full-page<br />
engraved arms of Cavalieri and 151 full-page<br />
engraved portraits with the names engraved at<br />
the foot, Coattino’s ring device on verso of last<br />
leaf, coloured.<br />
8vo (171 x 114mm) [8]ff (last two blank) 157 (ie 152)<br />
ff. Contemporary vellum over thin paste-boards, re<br />
(ties missing, trifle soiled). £1,500<br />
An AdditionAl portrAit oF holy romAn<br />
emperor rudolph ii is found here in the second<br />
edition of Cavalieri’s portrait book of the Roman<br />
Emperors, following the first of 1583. Mortimer<br />
records a second issue of this edition with the<br />
title-page altered to 1592. The work is dedicated<br />
to Stefan Bathory, king of Poland, and the short<br />
biographies are by the Polish polymath Tomasz<br />
Treter (1547-1610), at that time a canon at<br />
Santa Maria in Trastevere, who was closely<br />
associated with the Polish court.<br />
Giovanni Battista de’Cavalieri (1526-1601)<br />
was a prolific printmaker producing engravings<br />
after Michelangelo and other masters as well as<br />
illustrating a number of books such as the important<br />
counter-reformation suites of Catholic martyrdoms<br />
Ecclesiae militantis triumphi (1583) and Ecclesiae<br />
Anglicanae Trophaea (1584). As Mortimer notes<br />
Cavalieri’s copperplates were also used to illustrate<br />
a text by Antonio Ciccarelli, Le vita degli<br />
imperatori romani, Rome, Domenico Basa, 1590.<br />
Provenance: Early inscription on title-page<br />
rubbed away, early shelf-marks. Booklabel of<br />
Ebenezer Palmer, Bookseller, 18 Paternoster Row,<br />
London EC, Estd 1819. 20th-century bookplate of<br />
Thomas Hodgkin, Newcastle on Tyne, designed<br />
by Harry Soane, London.<br />
Lower corner, I3 paper flaw affecting one letter.<br />
Brunet I, 1697. Mortimer Italian 119. OCLC (four<br />
copies only in US libraries: Newberry, Illinois, St<br />
John’s MN, & Southern Methodist University)<br />
30 31
22 ChYTRAEUS (DAVID) Articulorum symboli apostolici de filio dei domino<br />
nostro Iesu Christi... Explicatio ex praelectionibus Davidis Chytraei collecta, &<br />
edita a Ioanne Fredero. Wittenberg, excusa per haeredes Ioan. Cratonis, 1584.<br />
[Bound with:] De baptismo et eucharistia, ex praelectionibus Davidis Chytraei<br />
excepta. Wittenberg, edita per Zachariam Lemanum, 1584.<br />
Some greek and hebrew letter, woodcut intials<br />
and ornaments in both works.<br />
8vo.(163 x 102mm) [1]f 343pp; [1]f 1-156pp [2]ff<br />
(blank) [1]f 157-534pp [4]ff (last 3 blank).<br />
Contemporary vellum, spine gilt ruled in<br />
compartments, central gilt floral stamp in each, ink<br />
titles at head of spine. £1,200<br />
First And only editions oF these two works<br />
by the lutherAn divine And historiAn, the<br />
first edited by his son-in-law Johann Freder (1544-<br />
1604), also professor of theology at Rostock.<br />
David Chytraeus (1531-1600), or Kochhafe,<br />
was professor at Rostock and spent considerable<br />
time travelling around Germany, stabilizing the<br />
union and harmony of the emerging Lutheran<br />
Church. He was one of the six theologians<br />
engaged on the Form of Concord (1576) and had<br />
completely rewritten two articles of the Swabian<br />
Concord on Free Will and the Lord’s Supper. In<br />
his youth he was a favourite of his master<br />
Melanchthon and lived in his house; in later<br />
life, however, he came to oppose some of<br />
Melanchthon’s views. Of the three developing<br />
Lutheran parties Chytraeus was a member of the<br />
centre one, along with such theologians as Martin<br />
Chemnitz and Jakob Andreae.<br />
I VD16 C2507. Adams C1574. OCLC (US:<br />
Columbia, Luther Seminary Library only). II<br />
VD16 C2508. OCLC (no copies in US).<br />
23 DELAUNE (ETIENNE) Suite of<br />
six allegorical prints. France, c1560-70.<br />
Six engraved prints, three oval, three rectangular, all<br />
except one white-on-black, plate size c 80 x 65mm,<br />
sheet size 205 x 105mm, sewn together at top<br />
(trifle soiled). Three signed with variations of<br />
‘Cum privilegio regis Stephanus fecit’, second Minerva,<br />
fourth image Arithmetic, fifth Astronomy, last<br />
image ‘Sacrifice of Abraham’. £1,500<br />
A rAre collection oF individuAl plAtes<br />
by the skilled French mAnnerist engrAver<br />
etienne delAune. Three are taken from his suites<br />
to illustrate the liberal arts, two are classical<br />
figures, while the last is the ‘Sacrifice of<br />
Abraham’ from his Old Testament series. The<br />
common factor in all the prints is the exquisite<br />
execution of the mannerist borders and, as has<br />
often been noted, in his prints he shows a<br />
precision and intricacy associated with his<br />
original profession as a goldsmith.<br />
Etienne Delaune (Orléan 1518/19-1583) was<br />
trained as an engraver of medals, and worked with<br />
Benvenuto Cellini during the latter’s stay in Paris<br />
from 1540-1545. By 1552, Delaune was employed<br />
as chief medallist at the royal mint, founded by<br />
Henry II, and in 1556 he furnished designs for<br />
Henry’s parade armour. His extant prints consist<br />
mostly of allegorical subjects within rich,<br />
ornamental surrounds and are exceptional for<br />
their technical precision despite their often small<br />
size. Delaune’s rare surviving drawings reveal the<br />
influence of Primaticcio and the school of<br />
Fontainebleau and his engravings helped to spread<br />
the Fontainebleau style among artists and<br />
craftsmen in France and beyond.<br />
Ref: Per Bjurstrom, Etienne Delaune and the<br />
Academy of Poetry and Music, in Master<br />
Drawings, 1997, vol 34, no 4, pp351-364.<br />
32 33
24 DIO CASSIUS Rerum Romanarum a Pompeio Magno ad Alexandrum<br />
Mamaeae, Epitome authore Ioanne Xiphilino. Paris, Robert Estienne, 1551.<br />
[Bound with:] Rerum Romanarum... epitome, Ioanne Xiphilino authore,<br />
Guilielmo Blanco Albiensi interprete. Paris, [Robert Estienne], 1551.<br />
Wittenberg, edita per Zachariam Lemanum, 1584.<br />
In first work basilisk device of king’s printer on<br />
title-page, 25 large grotesque ornamental<br />
woodcut initials and head-pieces, in second<br />
work woodcut arms of Cardinal d’Armagnac<br />
and 25 similar initials and head-pieces; first part<br />
printed in Greek letter throughout.<br />
Two works in one vol 4to (245 x 165mm) 357pp [1]<br />
f; [3]ff 280pp [5]ff. 17th-century mottled calf, spine gilt<br />
in compartments (crack to spine, lower joint<br />
just splitting). £1,600<br />
editio princeps of Xiphilinus’ epitome of the<br />
histories of Dio Cassius printed from manuscripts<br />
in the French Royal Library. In 1548 Robert<br />
Estienne had published the first edition in the<br />
original Greek of the surviving books of Dio<br />
Cassius’ histories which covered the period 68 BC<br />
-AD 54. Joannes Xiphilinus was a 12th century<br />
Byzantine monk who wrote this Epitome under<br />
the orders of Emperor Michael VII, and it is now<br />
the only surviving source for books 61-80 which<br />
concern the period 47-235 AD, a most exciting<br />
time in Roman imperial history. The second work<br />
in the volume is Guillaume Leblanc’s Latin<br />
translation of the Epitome and presumably<br />
intended to be bound with the Greek text, although<br />
it is often found as a separate publication.<br />
Possibly the last two books printed by Estienne<br />
in Paris before his departure for Geneva. An early<br />
owner has tried to delete Estienne’s name from<br />
the first title; the second work has the cancel title<br />
with the arms of the dedicatee Cardinal Georges<br />
d’Armagnac (replacing a title-page with<br />
Estienne’s olive-tree device).<br />
Beautifully printed with the first part using the<br />
largest types of the ‘grec du roi’ and the second<br />
part printed in Estienne’s handsome roman types.<br />
Provenance: 17th-century Florentine<br />
ownership inscription inside front cover, book<br />
label of Elizabeth Armstrong, the authority on the<br />
Estiennes and author of Robert Estienne (1954).<br />
Blank upper outer corner of title-page neatly<br />
restored; a very fresh copy internally.<br />
Adams D513 & D515. Mortimer 170 &<br />
171. Renouard p80, nos 8 & 9. Schreiber 108<br />
(Greek text).<br />
25 ERASMUS Moriae Encomium [in Greek, then] Stultitiae Laus.<br />
Cum commentariis Ger. Listrii, & figuris Jo Holbenii. E codice Academiae<br />
Basiliensis... Basle, typis Genathianis, 1676.<br />
Engraved title-page, added, by Kaspar Merian<br />
after Hans Holbein, engraved device on title,<br />
engraved vignette above dedication to Colbert<br />
incorporating his ‘snake’ insignia, engraved<br />
portrait of Erasmus, and two of Hans Holbein,<br />
full-page engraving of Erasmus’ epitaph, and 82<br />
engravings by Merian after Holbein, some<br />
pressed directly into the text and the larger ones<br />
pasted in on folding slips (a little browned).<br />
8vo (194 x 116mm) [40]ff 336pp [6]ff. Contemporary<br />
panelled calf, spine gilt in compartments, red morocco<br />
label (rebacked with original spine laid down). £1,250<br />
First edition of In Praise of Folly to hold the famous<br />
illustrations of Hans Holbein and his brother<br />
Ambrosius. They are here engraved by Kaspar<br />
Merian from the original marginal illustrations,<br />
Holbein’s earliest surviving work, found in a copy<br />
of the 1515 edition now at the Kunstmuseum at<br />
Basle. The editor Charles Patin also adds a life of<br />
Holbein, not always complementary, and the first<br />
catalogue raisonné in which he describes 60 works<br />
over five pages in double columns.<br />
This edition also includes a life of Erasmus<br />
and bibliography, the commentary of Gerard<br />
Lister (which Erasmus also worked on),<br />
Erasmus’ preface to Thomas More, with whom<br />
he stayed in 1509 and wrote In Praise of Folly as<br />
a diversion from a kidney ailment, and letters to<br />
More and Martin van Dorp<br />
Van der Haeghen p122.<br />
34 35
26 ERASMUS Morias enkomion (graece), id est stultitae laus... (Strassburg,<br />
apud Ioannem Knoblouchum, 1521. [Bound with:] De duplici copia verborum.<br />
(Mainz, ex aedibus Ioannis Schoeffer, August 1521. [And] Parabolae sive<br />
similia... Accesserunt annotationes... Ioanne Artopaeo Spirense. Freiburg,<br />
Stephanus Melechus Gravius excudebat, 1544.<br />
I Fine four-piece title-border, some greek letter;<br />
opening initial in red and some rubrication.<br />
II Fine one-piece title-border, large woodcut<br />
initials, some greek letter.<br />
Three works in one volume. 8vo (166 x 102mm).<br />
Contemporary blind-tooled pigskin over bevelled<br />
wooden boards, covers panelled with fillets and outer<br />
roll of half-figures of Justicia, Prudentia and Lucretia,<br />
inner panel made up of repeated decorative roll and<br />
small floral stamps (head and foot of spine restored,<br />
remains of catches). £4,500<br />
A Finely preserved sAmmelbAnd oF three<br />
erAsmiAn works including in prAise oF Folly.<br />
I An early edition of Erasmus’ most enduring<br />
work, continually revised during his lifetime;<br />
the first dated edition had been published in<br />
Strassburg in 1511. In Praise of Folly was<br />
written by Erasmus in little over a week in 1509<br />
as a diversion to a kidney complaint he was<br />
suffering from while staying at the London<br />
home of Thomas More. The idea of universal<br />
folly had been conceived by Erasmus while<br />
crossing the Alps on his way from Italy to<br />
England taking as inspiration all he had seen<br />
in recent years, the idea was then allowed<br />
to develop into this masterpiece of satire.<br />
‘The Praise of Folly is Erasmus’ best work. He<br />
wrote other books, more erudite, some more<br />
pious –some perhaps of equal or greater<br />
influence on his time. But each had its day.<br />
Moriae Encomium alone was to be immortal.<br />
For only when humour illuminated that mind<br />
did it become truly profound. In the Praise of<br />
Folly Erasmus gave something that no one else<br />
could have given to the world’. (J Huizinga,<br />
Erasmus, ch IX, p78).<br />
II An early edition of De duplici copia.<br />
Erasmus was working for a number of years on<br />
a treatise on Latin composition, begun while in<br />
Italy, but completed only in 1512 during his<br />
third stay in England at the request of John<br />
Colet for use in the latter’s newly founded school<br />
in St Paul’s Churchyard. This treatise was<br />
designed to help the young student in acquiring<br />
an elegant and copious style and to provide<br />
abundant examples of how to say the same thing<br />
in different ways. First printed in Paris by Badius<br />
in 1512, it was soon reprinted several times,<br />
becoming a standard textbook in schools across<br />
Europe. This edition contains Erasmus’ long<br />
letter to the Alsatian humanist Jakob<br />
Wimpfeling (1450-1528), dated September<br />
1514 (Allen 305), in which he relates his<br />
previous journey to Basle, mentioning all the<br />
humanist scholars he had met from Alsace and<br />
Basle, where Erasmus had just taken up<br />
residence. Erasmus had first become acquainted<br />
with Wimpheling in August 1514 when he<br />
stopped in Strassburg on his way to Basle, and<br />
was officially welcomed by the members of the<br />
recently founded literary society which included<br />
Sebastian Brant and Joannes Sturm. The work<br />
concludes with three poems by Erasmus<br />
addressed to Sebastian Brant, Joannes Sapidus and<br />
Thomas Didimus, together with the latter’s reply.<br />
III Rare first edition of Johannes Artopoeus<br />
(Peter Becker 1520-66), no copies are located by<br />
OCLC in US libraries. Artopoeus was from<br />
Speier and studied at Freiburg, where he later<br />
taught rhetoric and greek, and became professor<br />
of canon law and eventually rector of the<br />
university. The Parabolarum, first printed in<br />
1514, is a collection of similitudes and<br />
comparisons, metaphors, allusions, poetical and<br />
scriptural allegories, compiled for the use of<br />
rhetoricians and letter writers and an<br />
enormously popular school text.<br />
Provenance: Long 17th-century presentation<br />
inscription inside front cover from Pastor<br />
Johannes Münster to Hilmaro Anthonio with<br />
chronogram at the end. A few examples of early<br />
underlining and annotation in all three works.<br />
Lower blank margin of second title-page cut<br />
away and repaired with old paper, old paper<br />
repairs to last leaf of second and title of third work,<br />
some light staining affecting last few leaves.<br />
I VD16 E3192. Bezzel 1312. II VD16 E2656.<br />
III VD16 E3259.<br />
36 37
27 ERDMANN (ChRISTIAN) ie [FORNER (FRIEDRICh)<br />
Relatio historico-paraenetica, de sacrosanctis, Sacri Romani Imperii, reliquiis,<br />
et ornamentis, quibus Romanorum Caesares, inaugurari, coronari, solennique<br />
ritu investiri conseverunt, aliisque sacris Lipsanis, in Imperiali Thesauro<br />
collectis, ac Norimbergae asservatis... [Nuremberg, np], 1629.<br />
Title within woodcut decorative border, final<br />
leaf with large woodcut headpiece and<br />
emblematic printer’s device.<br />
4to (192 x 150mm) [3]ff 76pp [1]f. Later cream paper<br />
boards (somewhat soiled). £1,200<br />
First And only edition and the copy of the<br />
Nuremberg polymath Christoph Gottlieb von<br />
Murr (1733-1811). Murr wrote on many artrelated<br />
subjects and published an important work<br />
on the art and library treasures of Nuremberg and<br />
Altdorf in both public and private collections,<br />
Beschreibung der vornehmsten Merkwürdigkeiten<br />
in des HR Reichs freyen Stadt Nürnburg (1778).<br />
Friedrich Förner’s (1568-1630) work is a study<br />
of the greater part of the imperial regalia<br />
(Reichskleinodien), known as the ‘Nürnberger<br />
Kleinodien’ which included the imperial crown,<br />
orb, sceptre and sword and the so-called ‘Holy<br />
Lance’ thought to have pierced Christ’s side.<br />
Although Nuremberg was now a Protestant city,<br />
the Catholic author argues for the continued<br />
presence there of the treasure and relics, discusses<br />
the local traditions associated with it, as well as<br />
its history and journey to the city. The regalia<br />
remained in Nuremberg from 1424 to 1796 when,<br />
together with the Aachen regalia, it was removed<br />
to the Schatzkammer in the Hofburg Palace,<br />
Vienna, where it remains today.<br />
Provenance: Inscribed ‘Rariss’ and ‘de Murr’<br />
on title-page, ie Christoph Gottlieb von Murr<br />
(1733-1811). Stamp on front pastedown of<br />
‘Bibliothek Schloss Miltenberg’ (Bavaria).<br />
VD17 23:235105M (one of two variants, each<br />
with a different colophon leaf). OCLC: outside<br />
Germany only British Library, Cambridge,<br />
Paris BN and University of Minnesota.<br />
28 EUSEBIUS pAMphILI, Bp OF CAESARIA Chronico[n]. Paris,<br />
Henri Estienne, 30 October 1518.<br />
Woodcut title-border, printed in red and black<br />
throughout, some Greek letter, criblé initials.<br />
4to (233 x 165mm) [20], 175 [ie 173]ff [1]f (blank).<br />
17th-century mottled calf, spine gilt in compartments<br />
(head of spine and joints restored) £1,600<br />
second henri estienne edition, following his<br />
first of 1512 when the Chronological Tables were<br />
extended to include the years 1482-1512.<br />
Eusebius’ Tables, arranged in parallel columns<br />
illustrating the history of the world year by year,<br />
end during the year 329 and the continuations are<br />
by St Jerome (to 381), Prosper Aquitanus (to 448),<br />
Matteo Palmieri (to 1449), Mattia Palmieri (to<br />
1481) and Joannes Multivallis (to 1512).<br />
Mattia Palmieri under 1457 refers to the<br />
invention of printing, ascribed to Johann<br />
Gutenberg in 1440: ‘Namque a Joanne Gutenberg<br />
Zuniungen equiti Maguntiae rheni solerti ingenio<br />
librorum Imprimendorum ratio 1440 inventa’.<br />
The account goes on to say how printing had<br />
extended over almost the whole world, and that<br />
the whole of antiquity was to be bought with a<br />
little money and would be read by our descendants<br />
in innumerable volumes.<br />
‘For the period covered by Multivallis, more<br />
space is given to an account of the arrival of<br />
seven savages at Rouen in 1509 than to any<br />
other event (leaf Y4v; generally thought to be<br />
Brazilians from this reference)’ (Mortimer).<br />
They could also have been Canadian aboriginals<br />
brought back from his 1508 voyage to the New<br />
World by Thomas Albert, the Dieppe pilot.<br />
Pencil notes and old catalogue cutting on<br />
endpapers. One or two small wormholes only<br />
occasionally affecting a letter.<br />
Renouard Estienne, p20-21, no 9 Mortimer I,<br />
no 217. Schreiber 28 cf Sabin 23114 and<br />
Harrisse 71, add 43 & 54.<br />
38 39
29 FAUJAS DE SAINT-FOND (BARThéLEMI) Descrizione delle esperienze<br />
della macchina aerostatica dei Signori di Montgolfier... seguita da richerche sopra<br />
l’altezza... Da una memoria sopra il Gaz infiammabile... Da una lettere intorno ai<br />
mezzi di dirigere queste Macchine... Venice, alla stamperia Graziosi, 1784.<br />
Nine engraved plates.<br />
8vo (222 x 145mm) xxxii, 320pp Contemporary<br />
cartonnage boards (somewhat soiled). £2,000<br />
the rAre First itAliAn edition of this account<br />
of the invention of the hot air balloon by the<br />
Montgolfier brothers, and also the first<br />
fundamental work in the Italian language on<br />
modern aeronautics. Faujas de Saint-Fond (1741-<br />
1819), later professor of geology at the Musée<br />
d’Histoire Naturelle, was so impressed by their<br />
first experiment on 5 June 1783 that he organised<br />
a subscription to pay for a repeat of the<br />
experiment which took place on 26th August of<br />
the same year. This work begins with accounts of<br />
these experiments and also of the Montgolfiers’<br />
further experiment at Versailles on 19 September<br />
1783, in which a sheep, a cock and a duck were<br />
carried in a cage below the balloon, the first aerial<br />
travellers. The French text appeared in 1783 and<br />
was soon followed by translations in Dutch and<br />
Italian; this edition has new illustrations. An<br />
excellent copy in the original binding.<br />
Morazzoni, Fig Veneziani, p229.<br />
30 FERRERIUS (zAChARIUS) Hymni novi ecclesiastici iuxta veram<br />
metri et Latinitatis normam... et novi Ludovici Vicentini ac Lautitii Perusini<br />
characteribus in lucem traditi... (Rome, in aedibus Ludovici Vicentini<br />
et Lautitii Perusini, 1 February 1525).<br />
4to (212 x 140mm) [12], cxv ff (lacks final blank).<br />
18th-century polished calf, narrow gilt border on<br />
covers, rebacked with original spine laid down. £3,500<br />
First edition oF zAccAriA Ferreri’s lAtin<br />
hymns printed in Arrighi’s exquisite itAlic type,<br />
cut for him by his partner, Lautizio Perugino, the<br />
goldsmith praised by Cellini. Their partnership<br />
only lasted two years, 1524 and 1525, and then<br />
Arrighi printed on his own account until his<br />
death in the Sack of Rome in 1527. In this<br />
brief period he published not less than thirtyseven<br />
humanist and literary works mostly<br />
by contemporary authors. They are almost<br />
all now rare.<br />
Zaccaria Ferreri (1479-c1530), Bishop of<br />
Guardia in the kingdom of Naples, attended the<br />
Council of Pisa in 1511 where he agitated<br />
strongly against the ambition of Julius II. For<br />
this he was rewarded by Leo X who gave him his<br />
bishopric and appointed him apostolic nuncio<br />
to Hungary. Of the present work, published as<br />
part of a tentative reform of the liturgical office,<br />
Tiraboschi says ‘nel 1524 [sic] pubblicò in<br />
eleganza dello stile’.<br />
Provenance: 18th-century ownership stamp<br />
in black ink on title-page of ‘Captne: Michiels.’,<br />
ie JG Michaelis (fl 1775). Armorial bookplate<br />
inside front-cover of Watkin Herbert Williams<br />
(1845-1944), Bishop of Bangor.<br />
Censimento Edit 16 CNCE 18842. Adams F293.<br />
Clement, Bib Curieuse, viii, pp287-9. Gueranger,<br />
Institiutions liturgiques, i, pp369-72.<br />
40 41
31 FONTENELLE (BERNARD LE BOUVIER, SIEUR DE) Oeuvres<br />
diverses... Nouvelle Edition Augmenté & enrichie de Figures gravées par Bernard<br />
Picart le Romain. The Hague, Chez Gosse & Neaulme, 1728-1729.<br />
Engraved frontispiece to vol I and five plates<br />
all by Picart, 174 fine head and tailpieces all by<br />
Picart, title-page vignettes by Picart, titles in<br />
red and black.<br />
Three vols. 4to (295 x 230mm). Contemporary<br />
marbled calf with the ‘Lowther’ crest on covers of<br />
the Earls of Lonsdale, Lowther Castle, spines gilt<br />
in compartments. £2,500<br />
A remArkAble edition oF the works oF<br />
Fontenelle, ‘a man of wide curiosity and<br />
learning’, illustrated by Picart, ‘the outstanding<br />
professional illustrator of the first third of the<br />
eighteenth century’ (Ray). Cohen simply<br />
describes Picart’s numerous inventive vignettes<br />
as ‘Superbes illustrations’.<br />
Fontenelle (1657-1757) wrote many notable<br />
works such as his Dialogues des Morts (1683),<br />
Entretiens sur la pluralité des mondes (1686) –<br />
which awakened general interest in astronomy and<br />
popularized the scientific system of inquiry and is<br />
superbly illustrated by Picart showing the author<br />
and a lady seated in a landscaped garden the author<br />
pointing to the sun and planets above – Histoire<br />
des Oracles (1687) and his Digressions sur les<br />
Anciens et les Modernes (1688). The OCFL<br />
assesses his value in the following way, ‘In general<br />
he was the precursor of the attack which<br />
before long science was to make on religion,<br />
unostentatiously encouraging freedom of thought<br />
by substituting the play of mechanical forces for<br />
Providence in explanations of natural phenomena’.<br />
Fontenelle was an important member of the French<br />
Academies and vol III is dedicated to his writings<br />
on the Academie des Sciences and his Eloges des<br />
Academiciens de l’Academie Royale des Sciences<br />
mort depuis l’an 1699, 51 in all, which include<br />
éloges of Malebranche, Leibniz, Peter the Great<br />
and Isaac Newton. This volume is illustrated by<br />
Picart with delightful vignettes of the various<br />
branches of the Academie such as Les calculs et<br />
l’algebre, la philosophie, la botanique, la physique,<br />
l’anatomie et l’histoire naturelle, l’astronomie et la<br />
geographie, la chimie and so on, all with playful<br />
putti taking the place of the distinguished members.<br />
A fine copy from the library at Lowther Castle.<br />
Cohen-Ricci 407-8.<br />
32 GALLUCCI (GIOVANNI pAOLO) Della fabrica, & uso di un novo<br />
stromento fatto in quattro maniere per fare gli horologi solari ad ogni latitudine,<br />
con tutte le sorti di hore, che si usano, ilquale si puo usare per horologio ancora.<br />
[with]: Della fabrica, & uso del novo horologio universale ad ogni latitudine.<br />
Venice, appresso Gratioso Perchacino, 1590.<br />
Printer’s device on both title-pages, numerous<br />
large woodcut illustrations, many full-page,<br />
woodcut initials.<br />
Two parts in one. 4to (205 x 153mm) [4], 36, [2]ff [4],<br />
28ff. Original cartonnage boards backed with<br />
decorated paper (tears to spine, a trifle soiled). £2,250<br />
First edition oF these two importAnt<br />
treAtises on the manufacture and use of time-<br />
pieces, profusely illustrated with many full-page<br />
woodcut designs. The work is of extreme<br />
importance because of the very detailed and well<br />
illustrated instructions on how to make<br />
instruments for navigations. One of the earliest<br />
lunar clocks is shown as well as a compass with<br />
32 parts. ‘Gallucci describes the needle as<br />
inclined 10 degrees from the South towards the<br />
South-West’ (SP Thompson, Notes to Gilbert,<br />
De Magnete, p58).<br />
The two unnumbered leaves at the end of the<br />
first part of the book contain five woodcut<br />
illustrations, with instructions to the binder for<br />
cutting them out and using them as volvelles on<br />
leaves which are specified. Stain affecting top of<br />
front cover and next few leaves, little foxing, but<br />
a good, unsophisticated copy.<br />
Censimento CNCE 20290 & 20289. Riccardi I,<br />
569. Turner 56. H & L 11389. Tardy 104.<br />
Loeske p37.<br />
42 43
33 GALLUS, ABBOT OF KöNIGSAAL Dyalogus dictus<br />
Malogranatum. [Cologne, Ludwig von Renchen], 1487.<br />
Folio (290 x 200mm). 346 leaves. Gothic type, 44 lines<br />
and head-line, double column. Late 16th-century<br />
blind-tooled Flemish calf over wooden boards, covers<br />
panelled by fillets and ornamental rolls, title lettered in<br />
gilt with gilt fleurons in other compartments, the top<br />
and bottom concealed by paper shelf-labels (clasps<br />
missing, some rubbing, neat repairs to headcaps). £9,500<br />
A rAre cisterciAn text and the second of only<br />
two incunable editions of the Malogranatum<br />
(Pomegranate), a guide to Christian and monastic<br />
perfection in three books, first published by<br />
Heinrich Eggestein at Strassburg, c1473. The<br />
author Gallus (fl c1370) was the Cistercian abbot<br />
of Aula-Regia (Zbraslav/Königsaal) and composed<br />
this work written in the form of a dialogue for his<br />
monks. Trithemius held him to be very<br />
knowledgeable in the scriptures and an eloquent<br />
minister (see ADB). In recent times the work has<br />
also been attributed to a predecessor, Pierre de<br />
Zittau (1275-1339), abbot from 1316-1339.<br />
The Cistercian abbey of Aula-Regia<br />
(Zbraslav/Königsaal) close to Prague was<br />
founded in 1292 by the Bohemian king<br />
Wenceslas II. The monks came from the Sedlec<br />
Monastery near Kutná Hora and the medieval<br />
cloister of Aula Regia became the burial place of<br />
the Bohemian kings. It was closed in 1785 but<br />
many of the Baroque buildings still survive.<br />
Provenance: Inscription on title-page ‘Viridis<br />
vallis in Zonia, 1614’, ie from the library of the<br />
Canons Regular at Groenendaal (Viridis Vallis in<br />
Zonia), Hoeilaart near Brussels. 19th-century<br />
stamp on title of the Franciscan friary at<br />
‘Pantasaph, Holywell, N Wales’. 19th-century<br />
bibliographical notes on front fly-leaf quoting<br />
from François Xavier Laire’s Index librorum ab<br />
inventa typographia ad annum 1500, vol II, p 105,<br />
his catalogue of the incunabula in the library of<br />
Cardinal Loménie-Brienne (1727-94).<br />
HC 7451. BMC I, 267. BSB-Ink G15.Goff G48<br />
(three copies). Bod-inc G026. Chevalier I, col 1641.<br />
34 GARGIARIA (BATTISTA) Aureum caelimundium,<br />
seu liber de caelo et mundo. [Bologna?, np, 1569?].<br />
Woodcut armorial device on title-page, 20 large<br />
(45 x 45mm) fine white-on-black initials.<br />
4to (260 x 200mm) XXX, [4], XXX1-XLIIII, [2]ff (last<br />
leaf blank). Antique style calf-backed marbled boards,<br />
red morocco label. £2,400<br />
extremely rAre First And only edition of<br />
the only published work of Battista Gargiaria<br />
listed by Censimento Edit 16. We can locate<br />
only one other copy outside Italy at the Bodleian<br />
Library, Oxford.<br />
In Censimento the author is described as a<br />
Bolognese jurist who flourished in the second half<br />
of the 16th century, on the title-page he appears<br />
as ‘Baptista de Galzaria Bonnoniensis’. Gargiaria<br />
has compiled a digest of opinions on the physical<br />
nature of heaven and earth. He follows traditional<br />
Aristotelian distinctions so in the first part we<br />
have a wide range of views on the essence and<br />
‘quiddity’ of the heavens. In the second part there<br />
are discussions on the generation, nature,<br />
position, magnitude, figure and movement of the<br />
heavens from Arabic, Hebrew and Christian<br />
sources as well as those described as astronomers,<br />
philosophers, theologians, historians, poets and<br />
magicians.<br />
Provenance: Early inscription on title-page<br />
inked out. Stamp on verso of final leaf, ‘Ex libris<br />
Prof Romuli Meli Romae’.<br />
Title-page soiled with some paper repairs with<br />
two letters and a small piece of banner from the<br />
armorial device expertly replaces in manuscript,<br />
ff XXXII-XXXIII heavily spotted.<br />
Censimento Edit 16 CNCE 43850 (7 locations<br />
only). COPAC (Bodleian only). Not in OCLC.<br />
44 45
35 GENTILINI (EUGENIO) Il perfeto bombardiero et real instruttione di<br />
artiglieri... dove si contiene la Esamina usata dallo strenuo Zaccharia Schiavina...<br />
(Breve discorso in dialogo sopra le fortezze, etc) Venice, Alessandro de Vechi, 1626.<br />
Numerous woodcut illustrations throughout,<br />
two full-page, two of double-page width (ff 38v<br />
& 39r, ff 119v & 120r) and one showing the<br />
tower of San Marco (f 138v).<br />
Two parts in one vol. 4to (200 x 145mm) ff [8], 143<br />
(foliation continuous). Contemporary vellum-backed<br />
paste boards. £2,500<br />
A compendious work on Artillery, bAllistics, And<br />
FortiFicAtion. Both part one and the Discorso,<br />
which begins on f 113, are cast in the form of a<br />
dialogue between the two brothers, Eugenio and<br />
Marino, about those aspects of fortification<br />
which are of greatest importance for artillery and<br />
its practitioners – foremost among these the<br />
placement and protection of the guns themselves.<br />
First published in 1592 by Francesco de’<br />
Franceschi of Siena and reprinted in 1598 and<br />
1606 by the same firm, and again in 1641, all<br />
editions of Instruttione de’ Bombardieri... and the<br />
Dialogo are uncommon. Of this edition, which<br />
has a dedication from the publisher to Ferdinando<br />
Rasponi, OCLC locates just four copies<br />
(Universities of Minnesota and Michigan, New<br />
York and Boston Public Library) but there are a<br />
few copies in European libraries (HAB, Munich).<br />
Provenance: note in pencil at end ‘Salkeld 20.<br />
12.1884’ This must be a reference to the London<br />
bookseller John Salkeld who died in 1908 –<br />
‘John Salkeld, who died lately in London at the<br />
age of 81, was a second-hand bookseller of the<br />
good old type, renowned in fiction, encountered<br />
frequently in literary biography, but not often<br />
met with nowadays in one’s walks abroad. He<br />
began to collect old books and sell them in his<br />
boyhood. He acquired a large knowledge of<br />
books and literature, and was the friend of many<br />
eminent bookish men, including Macaulay,<br />
Thomas, the elder Dilke, and John Forster. More<br />
than thirty years ago he moved down to<br />
Clapham Road, where he had a notable<br />
bookshop. He had acquired many treasures, and<br />
was concerned in many now historic discoveries<br />
of rare books and manuscripts. His catalogues<br />
of his own collections are treasured in the<br />
Bodleian Library.’ (The New York Times 11 July<br />
1908). An illustration of his shop at 306<br />
Clapham Road is found in W. Roberts The Book<br />
Hunter in London.<br />
Light browning, small stain at foot of titlepage,<br />
marginal stain and very slight tear on f 24, a<br />
few later interpretative notes in pencil.<br />
Breman no 143. Cockle 669. Riccardi I, 586.<br />
36 GOLTzIUS (hUBERTUS) C Iulius Caesar sive historiae imperatorum<br />
Caesarumque Romanorum ex antiquis numismatibus restitutae. Bruges, (apud<br />
Hubertum Goltzium) 1562. [Bound with:] Caesar Augustus sive historiae<br />
imperatorum caesarumque romanorum ex antiquis numismatibus restitutae...<br />
Bruges, (excudebat Hubertus Goltzius), 1574.<br />
I. Engraved title-page and 57 pages of plates of<br />
Roman coins, device on verso of last leaf,<br />
numerous historiated woodcut initials (signed by<br />
A. Sylvius; first three with later colouring). II.<br />
Engraved title-page and 83 pages of plates of<br />
Roman coins, device on verso of last leaf.<br />
Two works in one vol. Folio (334 x 235mm) [17]ff<br />
LVIIpp (plates) [3]ff 231pp [24]ff [12]ff LXXXIIIpp<br />
(plates) 248pp [20]ff. 17th-century vellum over<br />
pasteboards, overlapping fore-edges, ink lettering at<br />
head of spine (ties missing). £1,850<br />
First editions oF goltzius’ numismAtic<br />
histories oF Julius cAesAr And cAesAr<br />
Augustus. In the view of bibliographers such<br />
as de la Fontaine Verwey the superb title-pages,<br />
engraved plates, and typography placed these<br />
works among the most beautiful Dutch books of<br />
the 16th century.<br />
Funck relates that Goltzius had come to<br />
establish himself at Bruges in 1558 on the invitation<br />
of Marc Laurin (the dedicatee of this work); he<br />
quotes MV Tourneur’s belief that the taste for<br />
numismatics in the second half of the 16th century<br />
shows the importance of the role played by this<br />
series of antique medals. At the end of the first<br />
work is a preface addressed to well known<br />
collectors, scholars and patrons in the Low<br />
Countries, Germany, Italy and France, followed by<br />
a long list of 978 names arranged by country and<br />
town; among many of note are the cartographer<br />
Ortelius, Vasari, Vico, Sambucus, Michaelangelo,<br />
three members of the Fugger family, Diane de<br />
Poitiers, Jean Grolier and Adrien Turnèbe. As in<br />
other copies the date of 1562 on the first title-page<br />
has been altered to 1563.<br />
Hubert Goltzius (1526-1583), Belgian painter<br />
and numismatist was largely taught in the arts by<br />
his father Rüdiger, himself a painter. His first work,<br />
published at the age of 21, was Icones Imperatorum<br />
(1557) dedicated to Phillip II of Spain. He followed<br />
this by travelling through Germany, France and<br />
Italy seeking out collections of antiquities to<br />
advance his research. On his return to Bruges at the<br />
end of 1560 he had accumulated a great wealth of<br />
material which he then sought to publish. To this<br />
end he set up a press in his house and supervised<br />
himself the execution of the numerous prints that<br />
were to accompany his works often engraving the<br />
plates himself to ensure that they conformed to his<br />
models. In 1567 the Roman Senate accorded him<br />
the title Citizen of Rome, a most exulted honour<br />
which brought him the emnity of his fellow<br />
distinguished but less favoured scholars.<br />
A large, wide-margined copy; a little marginal<br />
dampstaining at the beginning and end.<br />
I Adams G829. Fairfax Murray (German) no 477.<br />
Funck, p323. II Adams G832. Ref: J Cunnally,<br />
Images of the Illustrious: The Numismatic Presence<br />
in the Renaissance (1999), pp41-46.<br />
46 47
37 [GRANDVILLE (J-J)] STAhL (p-J) AND OThERS Scènes de la vie<br />
privée et publique des animaux... Paris, J Hetzel et Paulin, 1842. Large woodcut on title-page of Antoninus and<br />
Frontispiece in each volume and 199 wood<br />
engraved plates by Grandville, numerous<br />
head- and tailpieces and vignettes.<br />
Two vols. Lge 8vo (280 x 190 mm). 19th-century<br />
brown morocco, covers ruled in gilt and blind with<br />
large floral cornerpieces, spine with raised bands with<br />
compartments decorated to a gilt floral design. £2,000<br />
A Fine copy with the originAl wrAppers<br />
bound in and also a selection of the yellow paper<br />
‘livraison’ wrappers found at the end of each<br />
volume. The publisher Hetzel, who provided<br />
many of the chapters under the pseudonym of<br />
Stahl, remarks in his preface that his objective<br />
was, ‘to give words to Grandville’s marvellous<br />
animals, and to join our pen with his pencil,<br />
thereby coming to his assistance in criticizing<br />
the aberrations of our epoch, and by preference<br />
among these aberrations, those which are of<br />
every period and every country.’ As noted in<br />
Ray, Hetzel and his collaborators were able,<br />
through Grandville’s animals, to offer a witty<br />
and telling commentary on contemporary<br />
politics and personalities. The results were<br />
acknowledged as the best satire on French<br />
manners during the middle of the century.<br />
Today, however, these allusions are largely<br />
unnoticed but as Ray concludes, ‘Grandville’s<br />
animals remain as amusing as ever, thanks to the<br />
wit and verve of his compositions.’<br />
Carteret III, 552-559. Ray II, no 194.<br />
38 hERODIANUS Der Fürtrefflich Griechisch geschicht schreiber Herodianus,<br />
den der Hochgelert Angelus Politianus inn das Latein, und Hieronymus Boner in<br />
nachvolgend Teütsch pracht. Augsburg, Heinrich Steiner, 19th August 1531.<br />
Gordianus (with names in Roman type above),<br />
by Jorg Breu the Elder after Hans Burgkmair;<br />
large cut by Hans Weiditz on folio a1 of an<br />
emperor, two large ornamental woodcut<br />
tail-pieces by the Master DS, ornamental<br />
woodcut initials.<br />
Sm folio (285 x 205mm) [4], 70ff. 18th-century vellum<br />
backed boards covered with German gilt embossed<br />
decorative paper (top of spine restored). £2,000<br />
First germAn edition, translated from the<br />
Greek into Latin by Angelo Poliziano and from<br />
Latin into German by Hieronymus Boner who<br />
describes himself in the dedication as a magistrate<br />
(Schultheys) in Colmar. The work is a history of<br />
the Roman Empire from the death of Marcus<br />
Aurelius to the beginning of the reign of Gordianus<br />
III (AD 120-128), and Herodianus states he is<br />
describing events during the period of his own life.<br />
The bold title woodcut of Emperors Marcus<br />
Aurelius and Gordianus III is a copy from<br />
Burgkmair’s illustrations for the Pappenheim<br />
Chronicle published in the previous year (see<br />
Dodgson II, p425). The large cut on the first<br />
page of text is by Hans Weiditz and shows an<br />
emperor on a throne granting an audience to a<br />
man in a fur tippet. One of the large woodcut<br />
initials is also attributed to Weiditz.<br />
A little marginal watertstaining, and a few<br />
small round marginal wormholes; many 17thcentury<br />
annotations in German (which are<br />
sometimes cropped).<br />
VD16 H 2503. Adams H391. Muther 1078.<br />
Fairfax Murray 1078.<br />
48 49
39 JOSEphUS (FLAVIUS) Opera... nunc vero ad exemplaria Graeca denuo<br />
summa fide diligentiaq. collata... Basle, ex officina Frobeniana (per Ambrosium<br />
et Aurelium Frobenios, fratres), 1567.<br />
Woodcut printer’s device on title and last leaf<br />
verso, fine large woodcut initials.<br />
Folio (330 x230mm) [10]ff 910pp [13]ff (first blank).<br />
Late 16th/early 17th-century limp vellum with<br />
overlapping edges, blue cloth ties. £1,400<br />
A Fine copy oF sigismund gelenius’<br />
importAnt edition oF Josephus From the<br />
librAry At steingAden Abbey, a revised version of<br />
his edition of 1548. It begins with Gelenius’<br />
dedication to the Augsburg patrician and<br />
bibliophile Johann Jacob Fugger (1516-75),<br />
Count of Kirchberg and Weissenhorn, dated<br />
1548. There follows a short life of Josephus, and<br />
the twenty books of De antiquitates Judaeorum<br />
which covers the history of the Jews from the<br />
creation to the outbreak of the war with Rome,<br />
followed by the eight books of the De bello<br />
Judaico, the history of the Jewish rebellion<br />
of 67-73 AD, and the two books of De<br />
antiquitatibus contra Appionem, a defence<br />
against current misinterpretations of the Jews.<br />
The final part De Machabaeis, is an account of<br />
the martyrdom of Eleazar and of seven youths<br />
and their mother in the persecution under<br />
Antiochus Epiphanes; the attribution of this<br />
piece to Josephus is doubtful. The Bohemian<br />
humanist Sigismund Gelenius (c1498-1554) had<br />
moved to Basle in 1524, where he first lived in<br />
Erasmus’ household, and spent the remainder of<br />
his life there working for the Froben press as<br />
scholar, editor, corrector and translator from the<br />
Greek. He worked on the editio princeps of<br />
Josephus published by Froben in 1544.<br />
Provenance: Premonstratensians of Steingaden,<br />
Bavaria, founded in 1147, with their inscription<br />
on title-page ‘In usum FF Steingadensium. Emptus<br />
A 1649’, stamped monogram ‘SC’ on the upper<br />
cover, spine and head of title-page, and engraved<br />
armorial bookplate ‘Ex Bibliotheca Canonicorum<br />
Premonstratensium in Steingaden’ dated 1786<br />
inside front-cover. The monastery was dissolved in<br />
1803 during the secularisation of Bavaria.<br />
Duplicate from the Royal Library, Munich, with<br />
their pencil mark ‘Dpl A 10362’ on fly-leaf.<br />
VD16 J964. Adams J366. Schweiger p178.<br />
40 LIBRO D’ORO BENI (ANDREA) Libro de Nobeli Veneti che vanno in<br />
Gran Conseglio con l’origine, et arme delle loro famiglie: Aggiustato fino li 4 Agosto<br />
1631 per Andrea Beni. (Venice, dalla Preggion Giustiniana, 9th September 1631).<br />
Title-page with geometric border of squares in<br />
brown, blue, yellow and red, two winged angels<br />
at top corners and a shield with a centaur in the<br />
middle; c160 fine armorial shields in<br />
watercolour, only a very few blank.<br />
Manuscript on paper. 4to (200 x 145mm) [9]ff 212ff<br />
(of 213ff, f 41 torn away). Written in brown ink with<br />
first capitals in red, in a neat scribal hand.<br />
Contemporary limp vellum. £5,500<br />
A remArkAble survivAl oF A venetiAn<br />
politicAl guidebook, an essential reference<br />
tool for members of the Gran Conseglio who<br />
needed up to date information on their fellow<br />
counsellors and their families. This Libro d’oro<br />
was commissioned by Senator Francesco Pisani,<br />
Podesta of Padua, with a three page dedication,<br />
and the Pisani arms are pasted inside the front<br />
cover. The details of births and marriages are<br />
given for 145 families who had members in the<br />
Gran Conseglio, as well as a brief history and<br />
well executed armorial shields in watercolour<br />
for each family. The Errizo family also has the<br />
distinction of the Doge’s corno ducale or cap<br />
being added in red at the head of their entry as<br />
Francesco Erizzo had been elected Doge on 10th<br />
April 1631.<br />
The copyist Andrea Beni, who signs his name<br />
on the title-page and at the end of the dedication,<br />
also produced another Libro d’oro, now in the<br />
Museo Correr (Cod Cicogna 18), and signed it<br />
‘Questa libro su fatto da me Andrea Beni<br />
preggion nella giustigiana’ (dated 20 January<br />
1631). Both were therefore completed in the<br />
Giustiniana, the name attributed in the 17th<br />
century to a section of the ducal prison. The<br />
Giustiniana served as a form of model prison for<br />
20-30 citizens imprisoned for minor crimes and<br />
debts. They were mostly educated persons and<br />
50 51
to maintain themselves, and sometimes to pay<br />
their debts as well, they completed small tasks.<br />
Raines notes, ‘Perhaps Beni, imprisoned for a<br />
minor misdemeanour, completed the commission<br />
in order to finance his stay in prison’.<br />
An official Libro d’oro had been created by the<br />
patriciate in 1506 to record all legitimate births<br />
and marriages between patricians and their brides<br />
and thereby prevent fraudulent claims. It became<br />
increasingly popular throughout the 16th century<br />
for manuscript copies to be made for private use<br />
and by the end of the century these were often<br />
found in a pocket-sized format and usually<br />
ranged from 8vo to 64mo. Printed versions do<br />
not occur, Raines notes a unique attempt in 1603<br />
which was soon abandoned, as the information<br />
would soon be out of date and the print run<br />
deemed not large enough to make it economically<br />
viable. The bespoke manuscript format was far<br />
easier to update, examples were often revised<br />
every three to four years, and there is ample<br />
evidence of this process in the present volume.<br />
Paper restoration to blank fore-margin of first<br />
three leaves; a little minor damp-staining here and<br />
there but generally very fresh.<br />
D Raines ‘Office seeking, broglio, and the pocket<br />
political guidebooks in Cinquecento and Seicento<br />
Venice’, in Studi Veneziani, 22 (1991), pp137-194<br />
41 LILIUS zAChARIAS, BIShOp OF SEBASTE Orbis breviarium,<br />
fide compendio ordineque captu, ac memoratu facillimum, felix gratu legito.<br />
Venice, ad instantiam domini Petri Facoli ditto dal cavallo, [1540].<br />
Fine one-piece white on black woodcut border<br />
on title-page, f5 verso with a ‘TO’ version world<br />
map and a division of the globe into six zones,<br />
woodcut initials throughout.<br />
8vo (155 x 100mm) [88]ff. Contemporary limp vellum<br />
(spine defective). £1,500<br />
First published in 1493, only three 16th-century<br />
editions of this world gazetter are recorded in<br />
Censimento, an undated edition of c 1505, one of<br />
Vicenza c 1507 and the present edition.<br />
Zaccaria Lilio (1452-c1522), Bishop of<br />
Sebaste, was compiler of this early geographical<br />
dictionary, the first to condense the writings of<br />
the ancient and medieval geographers into one<br />
work. The gazetter illustrates the state of<br />
geographical knowledge before Columbus’<br />
first voyage, with general descriptions of<br />
Europe, Africa and Asia as well as oceans,<br />
climates and islands; at the an index lists over<br />
260 cities.<br />
Censimento Edit 16 CNCE 36018. BMSTC<br />
(Italian), p378.<br />
52 53
42 LIVIUS (TITUS) Römische Historien mit etlichen neuen translation auss<br />
dem Latein... sampt nun dem vierdten Theyl der Römischen Historien auss fünff<br />
lateinischen Büchern Liuii, jetzt newlich im[m] Closter (Lorss genant) erfunden...<br />
verteutscht, zwey durch Nicolaum Carbachium, die ander drei durch Jacobum<br />
Micyllum. Mainz, Johann Schöffer, 1533.<br />
Four section titles with elaborate woodcut<br />
borders and 248 large text-woodcuts (some<br />
nearly full-page) made up of 153 blocks. Each<br />
woodcut is composed of one or up to four<br />
different blocks. The woodcuts are mostly<br />
attributed to Conrad Faber von Creuznach,<br />
in addition 15 blocks by the Meister vom<br />
Freiburger Altar, taken from the Strassburg<br />
edition of 1507, were also used; Schöffer’s<br />
device designed by Faber at end.<br />
Folio (315 x 205mm) [14], CCCCCXLV, [1]ff.<br />
Contemporary blindstamped pigskin over bevelled<br />
wooden boards, covers panelled by blind fillets, an<br />
outer ornamental roll and an inner historiated roll,<br />
clasps and catches (neat repair to small splits to<br />
upper joint). £5,500<br />
A Fine copy oF the most complete edition<br />
oF this importAnt germAn trAnslAtion oF<br />
livy. It was the first to include books 41 to 45<br />
translated by Nicolas Fabri von Carbach and<br />
Jakob Micyllus which form the fifth decade (fols<br />
451-545). In 1530 Carbach had discovered the<br />
five new books in a manuscript of Livy in the<br />
Kloster Lorsch, a discovery which is highlighted<br />
on the title-page. Schöffer had previously<br />
printed a new edition in 1523 based on Bernhard<br />
Schöferlin’s 1505 translation with the addition<br />
of books 33 to 40 translated by Ivo Wittig and<br />
Fabri von Carbach to end the fourth decade.<br />
Schöffer commissioned new woodcuts for the<br />
1523 edition and they are used here. The superb<br />
woodcuts by Conrad Faber von Creuznach (c<br />
1490-1533) represent his most significant work<br />
in book illustration and are famous for their<br />
landscapes. These are contemporary German<br />
landscapes and not Roman imaginations and are<br />
said to be taken from sketches Faber made<br />
during his travels in the Middle Rhine. The same<br />
applies to Faber’s Roman soldiers and senators<br />
who are shown in 16th-century attire and<br />
one can recognize portraits of the emperor,<br />
Philipp of Hesse, and Luther amongst others.<br />
Faber was later to become the favoured<br />
portraitist of the Frankfurt patriciate in the<br />
first half of the 16th century.<br />
Provenance: Armorial bookplate of A<br />
Broleman. A little light foxing in places but<br />
generally a very good copy.<br />
VD16 L 2107. Adams L1359. Schweiger I,<br />
p545. Not in BMSTC (German). Ref: E<br />
Thormählen, Der holzschnittmeister de Mainzer<br />
Livius Illustrationen in Gutenberg-Jahrbuch<br />
1934, pp137-54.<br />
54 55
43 LIVIUS (TITUS) Romanae historiae principis, libri omnes quotquot ad<br />
nostram aetatem pervenerunt... Frankfurt, (apud G Corvinum, S Feierabend,<br />
et haeredes W Galli), 1568.<br />
Title within superb woodcut border, and 94<br />
(including 25 repeats) large text woodcuts<br />
(150 x 110mm) by Jost Amman, most signed<br />
with his monogram; printer’s device on each<br />
part title-page, woodcut intials.<br />
Six parts in one vol. Folio (410 x 245mm) [18]ff (last<br />
blank) 988pp [10]ff 56pp [6]ff 119pp 82ff 112pp 93pp<br />
[1]f. Contemporary blind tooled pigskin over bevelled<br />
wooden boards, covers panelled with rolls and fillets,<br />
three historiated with half-length Biblical figures and<br />
medallions heads of the reformers (splits to front<br />
cover and spine). £3,000<br />
First edition to be illustrAted with the<br />
Fine woodcuts of the Swiss draughtsman,<br />
woodcutter, engraver, etcher and painter Jost<br />
Amman (1539-1591). All the woodcuts listed by<br />
Becker are newly cut for this edition save four<br />
which are from the Thurnierbuch of 1566. Ilse<br />
O’Dell-Franke notes in Grove, that a great<br />
number of Amman’s woodcuts for the Livy<br />
are after drawings by Hans Bocksberger the<br />
younger (fl 1564-79). She also concludes that<br />
‘Amman enjoyed a high reputation among his<br />
contemporaries and proved an influential source<br />
for later artists such as Peter Paul Rubens,<br />
Rembrandt and Joshua Reynolds’.<br />
‘An uncommon and magnificent edition: it<br />
has a number of curious woodcuts, and the<br />
typography is exceedingly splendid. The<br />
connoisseur will discover many singular traits in<br />
the engravings – the bustle of a battle and<br />
solemnity of a march are sometimes well<br />
represented – but he will smile on finding cannons<br />
and bombs introduced in a Roman siege. The text<br />
is printed with frequent contractions, but, from<br />
what I have perused, it is not incorrect. The<br />
engravings, and general splendour of the volume,<br />
will always render it a great acquisition to the<br />
library of the curious’ (Dibdin).<br />
Following the extant works of Livy the<br />
additional parts to this fine edition of include<br />
Joachim Grellius’ Chronologia in Titi Liuii<br />
Historiam, Carlo Sigonio’s Scholia, quibus Titi<br />
Liuii Patavini historiæ, et earum epitomæ...<br />
explanantur and Wilhelm Godelevaeus’ In Titi<br />
Liuii Patauini historiarum ab vrbe condita<br />
libros... omnes, obseruationes’.<br />
Provenance: Stamp on titles of ‘Stadtbibliothek<br />
zu Homberg’ (with cancellation).<br />
A small scattering of wormholes at the<br />
beginning but generally a good, fresh copy.<br />
VD16 L2099. Adams L1345. BMSTC<br />
(German), p521. Dibdin II, pp166-7. Becker,<br />
Amman 12a.<br />
56 57
44 MAChIAVELLI Princeps. Ex Sylvestri Telii Fulginatis traductione diligenter<br />
emendata... Basle, 1580. [Bound with:] Vindiciae contra tyrannos: sive de<br />
principis in populum, populiq, in principem. legitima potestate. [Np, np], 1580.<br />
Woodcut vignette on title-page, woodcut initials.<br />
8vo (165 x 105mm) [8]ff 264 (ie 262pp) [5]ff [6]ff<br />
303pp [1]f. Contemporary vellum over paste-boards,<br />
title lettered in ink on spine. £1,700<br />
A rAre vAriAnt of the 1580 Petrus Perna<br />
edition of Sylvestre Tellio’s Latin translation of<br />
Il Principe. The dedicatory epistle from the first<br />
issue has been replaced with ‘Typographus<br />
candido lectori sd’ and ‘De Nicolao Machiauello<br />
p Iouij elog.’ Perna had previously published<br />
Tellio’s translation in 1560 but here it is<br />
reprinted with the important addition of the<br />
Hugenot tract Vindiciae contra tyrannos, which<br />
is referred to on the Princeps title-page as<br />
‘scripta de potestate & officio principum, &<br />
contra tyrannos’.<br />
This influential tract Defences [of Liberty]<br />
Against Tyrants, written in the same decade as<br />
the St Bartholomew’s Day Massacre of 1572, ‘is<br />
an eloquent vindication of the people’s right to<br />
resist tyranny, while affirming that resistance<br />
must be based on properly constituted authority’<br />
(PMM 94). It was first published in 1579 also in<br />
Basle, although with a fictitious Edinburgh<br />
imprint, and is usually attributed to Hubert<br />
Languet (1518-81) or possibly Philippe de<br />
Duplessis-Mornay (1549-1623), and formerly,<br />
to Beza, Hotman, and others.<br />
Provenance: Armorial bookplate of Prinz<br />
Ludwig zu Windisch-Graetz (1830-1904),<br />
Sarospatak, Hungary. A wax seal on front free<br />
endpaper is stamped over an inscription from 1881.<br />
Bertelli/Innocenti sec XVI, *167. Gerber III,<br />
68, 2c VD16 M10.<br />
45 MAGNUS (OLAUS) Historia de gentium septentrionalium variis<br />
conditionibus statibusue... Basle, ex officina Henricpetrina, March 1567.<br />
[Bound with:] pANTALEON (hENRICUS). Militaris ordinis Iohannitarum,<br />
Rhodiorum, aut Melitensium Equitum, rerum memorabilium... historia nova.<br />
Basle, [Tomas Guarinus] 1581.<br />
I Woodcut printer’s device on title-page and<br />
verso of last leaf, large folding ‘Carta Marina’<br />
map of Scandinavia, and c 450 fine woodcuts.<br />
II Woodcut printer’s device on title-page,<br />
Pantaleon’s portrait on a5v and c 60 (including<br />
repeats) woodcut maps, views and portraits<br />
(some full-page), including Jerusalem, the<br />
Middle East, Cyprus, Rhodes, Constantinople,<br />
Belgrade, Greece, and Malta.<br />
Two works in one vol. Folio. (320 x 207mm).<br />
Contemporary pigskin over bevelled wooden boards,<br />
covers panelled with fillets and rolls, central panelstamp<br />
of Justicia (90 x 50mm) on upper cover and<br />
Lucretia on lower cover, clasps and catches intact<br />
(slight tear on lower cover). £12,000<br />
First bAsle edition richly illustrAted with<br />
the Fine Folding woodcut mAp cArtA mArinA oF<br />
scAndinAviA copied from the original wall map<br />
of 1539 and with newly cut text woodcuts based<br />
on those used in the first edition of Rome 1555.<br />
The large folding woodcut map of northern<br />
Europe is a reduced and simplified copy of the<br />
Olaus Magnus’ huge Carta Marina wall map of<br />
1539 (of which only two copies are extant). The<br />
map shows Scotland in the west, central Russia in<br />
the east, southern Sweden in the south and<br />
Greenland (Gruntlandia) in the north. It was<br />
formerly attributed to JB Fickler but has been<br />
identified by Grenacher as being the work of the<br />
Basle form-cutter Thomas Weber (monogram<br />
‘THW’ and date 1567 in bottom right-hand<br />
corner). Grenacher was of the opinion that the<br />
map was designed for a projected Basel edition of<br />
Ptolemy, which was never completed.<br />
Magnus’ Historia, his great description of the<br />
Scandinavian peoples, is divided into twenty-two<br />
books, and examines the manners and customs,<br />
the commercial and political life of northern<br />
nations, the physical proportions of the land and<br />
its minerals and zoology. Illustrated throughout<br />
with vivid woodcuts after Magnus’ own drawings<br />
58 59
which cover an amazing range of subjects,<br />
from geography and climate, local customs,<br />
occupations (including painting and coinage) to<br />
methods of warfare, animals and fish, witchcraft<br />
and superstition. Sten Lindroth states in the<br />
DSB that Magnus was a pioneer in the<br />
geographic research of Scandinavia; his Carta<br />
Marina was indispensible for later cartographers<br />
and the Historia for generations informed<br />
educated Europeans about Scandinavia.<br />
Olaus Magnus (1490-1557) was born in<br />
Linköping and studied in Sweden and abroad<br />
before embarking on his travels throughout<br />
Scandinavia which took him as far as the<br />
wilderness of Norrland and the high mountains<br />
of Norway. On his return he became a vicar in<br />
Stockholm and dean of the cathedral in Strangnas.<br />
His brother was Johannes Magnus, Archbishop<br />
of Uppsala, and both spent several years in<br />
Danzig while the Lutheran Reformation took<br />
hold in Sweden. They eventually settled in Rome<br />
in 1537, never to return to Sweden and, after the<br />
death of Joannes in 1544, Olaus succeeded him as<br />
Archbishop of Uppsala in exile.<br />
II. First edition of Pantaleon’s contemporary<br />
history of the Order of St John, the Knights of<br />
Malta, with many maps illustrating their sphere<br />
of influence in the Eastern Mediterranean, from<br />
the Holy Land, to Cyprus, Rhodes and Malta.<br />
The Order’s international sovereignty allowed it<br />
maintain and deploy armed forces, including a<br />
powerful navy, in defence of Christendom and<br />
further Crusades took place in Syria and Egypt<br />
following the expulsion from the Holy Land in<br />
1291. After the fall of Rhodes in 1523 a<br />
permanent home for the Order was found in<br />
1530 when the island of Malta was granted to<br />
the Order by Emperor Charles V with the<br />
approval of Pope Clement VII. In 1565 the<br />
Knights, led by Grand Master Fra’ Jean de la<br />
Vallette, defended the island for more than three<br />
months during the Great Siege by the Turks. The<br />
fleet of the Order, then one of the most powerful<br />
in the Mediterranean, contributed to the<br />
ultimate destruction of the Ottoman naval<br />
power in the Battle of Lepanto in 1571.<br />
Pantaleon (1522-95) was professor at Basle<br />
University and Poet Laureate.<br />
A superb copy in a finely preserved<br />
contemporary blind-stamped pigskin binding.<br />
Provenance: Jacobus Reutlinger (1545-1611)<br />
of Uberlingen on Lake Constance with his<br />
inscription on title-page and armorial ownership<br />
stamp dated in manuscript 1581. Inscriptions of<br />
Joa. Guilielmus Reutlinger, Canon Mattheus<br />
Kofer of Uberlingen and Fr. Johannes Baptista.<br />
I VD16 M 225. Adams M141. cf Mortimer<br />
Italian 270. II VD16 P223. Adams P178.<br />
References: F Grenacher, Imago Mundi XIII<br />
(1956), p17.<br />
60 61
46 MAROT (CLEMENT) [Oeuvres]. Lyon, par Iean de Tournes, 1558.<br />
Fine portrait of Marot on title-page with the<br />
legend LMNM. ‘La mort n’y mord’ and 22<br />
woodcut illustrations by Bernard Salomon.<br />
Two parts in one vol. 16mo (122 x 75mm) [13]ff<br />
597pp 314pp [1]f. 19th-century marbled calf signed by<br />
Lloyd, triple gilt fillet on covers, spine richly gilt in<br />
compartments, red morocco labels, ge. £2,200<br />
this much revised edition of the poet<br />
Marot’s Oeuvres was first published by de<br />
Tournes’ in 1553 but without the portrait of<br />
Marot which is found here for the first time.<br />
Cartier states that the portrait shares many<br />
similarities with an authentic portrait that once<br />
belonged to Marot’s collaborator Théodore de<br />
Béze. The first part contains his poetic works<br />
while the second holds his translations of the<br />
classics including two books of Ovid’s<br />
Metamorphoses which are illustrated with the<br />
fine woodcuts of Bernard Salomon. An edition<br />
of Marot’s works had first been published in<br />
1538 with de Tournes’ first appearing in 1546;<br />
all early editions are rare.<br />
Provenance: Armorial bookplate of<br />
Bibliotheca Trautner-Falkiana, ie the library<br />
of the Augsburg bibliophile Hans-Joachim<br />
Trautner (1916-2001). Somewhat tightly bound<br />
but otherwise a good copy.<br />
Cartier 409 (& 253 for details of revisions).<br />
BMSTC (French), p303. Tchemerzine VIII, p37.<br />
Brunet III, col 1457. Not in Adams.<br />
47 MARTYROLOGY Martyrilogium viola sanctorum.<br />
(Strassburg, p[er] honestu[m] Matthia[m] Hupffuff, 1516).<br />
Fine one-piece woodcut title border with<br />
printer’s monogram in shield at foot, woodcut<br />
tailpiece and initial.<br />
4to (202 x 142mm) [6]ff XCIXff [1]f (blank).<br />
Antique style panelled calf. £1,200<br />
A scArce strAssburg edition of this early<br />
martyrology. At the beginning is an alphabetical<br />
register of martyrs and saints followed by the<br />
martyrology which is arranged in the calendar<br />
order of their feast days.<br />
VD16 V1249. BMSTC (German), p895<br />
(imperfect). Adams M798.<br />
62 63
48 MAzARINADES A collection of 84 Mazarinades, almost all from 1652, in<br />
a contemporary binding, each numbered with a manuscript label and recorded<br />
in a 10pp manuscript index ‘Table des pieces’ at the end, extra-illustrated with<br />
seven engraved portraits by Balthasar Moncornet. Paris and elsewhere, 1652.<br />
Portraits of Henry de la Tour, Mathieu Molé,<br />
Charles Emanuel de Savoie duc de Nemours,<br />
Charles de Lorraine duc de Guise, Anthoine<br />
Daumont Rochebaron, Cardinal Mazarin, Louis<br />
de Vendosme duc de Mercoeur, all by the French<br />
painter, engraver and printseller Balthasar<br />
Moncornet (1600-68), engraved frontispiece for<br />
Le courier François (no 79) unsigned; woodcut<br />
arms and vignettes on some titles including a<br />
portrait of Nostradamus (no 10).<br />
Thick 4to (230 x 160mm). Contemporary mottled calf,<br />
double gilt fillet on covers, spine gilt in compartments and<br />
lettered ‘Recueil 1552’ (joints, headcaps restored). £4,000<br />
A FAscinAting collection oF mAzArinAdes<br />
produced towards the end of the Fronde, the series<br />
of civil wars which afflicted France during the<br />
minority of Louis XIV. These pamphlets, in verse<br />
and prose, often scurrilous and mainly anonymous,<br />
were written in protest at, or sometimes in defence<br />
of, Cardinal Jules Mazarin (1602-1661) and his<br />
policies at the time. Mazarin was chief minister and,<br />
with the Queen Mother, Anne of Austria, the<br />
real power behind the throne of the boy<br />
king Louis XIV. The Mazarinades<br />
provide a fascinating insight into<br />
the political and social turmoil in<br />
France during the mid-17th<br />
century. Their numbers ran into<br />
the thousands, possibly to 5000<br />
or above, and some of the<br />
examples by writers such as<br />
‘Sandricourt’ (represented here<br />
by nos 19 L’accouchee<br />
Espagnole, 59 Le procez du<br />
Cardinal Mazarin, 72 Le politique<br />
lutin and 76 Response pour son altesse<br />
Royalle a la lettre du C Marzarin sur son retour en<br />
France) have real literary merit.<br />
Their importance is summed up by Walsh,<br />
‘Pamphlets, broadsides, and similar pièces<br />
d’occasion are of incalculable value to the historian,<br />
capturing as they do the passions of the moment<br />
and recording actions, reactions, and attitudes in<br />
quick, unstudied, unpolished prose or verse that are<br />
often more revealing than the most carefully<br />
composed accounts written years later... No one can<br />
study or write about any aspect of the early years of<br />
Louis XIV, that monarch who was to make himself<br />
the most absolute in modern history, without taking<br />
the Mazarinades into account’. (James E Walsh,<br />
Mazarinades, Harvard, 1976).<br />
Moreau describes at least 15 as rare and five are<br />
unlisted: 3 La Genealogie de Mr le premier<br />
president, garde des sceaux, & ministre d’Estat en<br />
France. 29. La deffence du pet, pour le galant du<br />
Carnaval par le sieur de S And. 39 Le manifeste de<br />
Monseigneur le duc de Beaufort. 43 Suitte veritable<br />
des conferences de Piairot de S. Ovyn ey Iannin de<br />
Montmorency. 49 Lettre escrite de Potiers du XX<br />
Ianvier MDCLII. 82 Arrest de la cour de<br />
parlement, portant reglement pour le<br />
cours & l’exposition des Monnoyes.<br />
Du 10 Ianvier 1652.<br />
Signature on fly-leaf inked<br />
over. A little browned and<br />
spotted in places.<br />
Celestin Moreau Bibliographie<br />
des Mazarinades, Paris, 1850-<br />
51. Hubert Carrier, La presse<br />
de la Fronde (1648-1653):<br />
Les Mazarinades, Geneva,<br />
Droz, 1989.<br />
Full list oF moreAu numbers<br />
AvAilAble on request.<br />
49 MUNTz (GEORG) Ein wunigkliche, schöne, nutzliche und notwendige<br />
Predig, dern inhalt, welches zu diser unser Zeyt inn teutscher Nation, under den<br />
funff schwebenden Glauben, die rechte und allein seligmachende Religion sey:<br />
die bäptistlich, lutherisch, zwinglish, widertäfferisch oder caluinish.<br />
Thierhaupten, [Klosterdruckerei], 1592.<br />
Fine full-page woodcut (110 x 77mm) on verso<br />
of fol 5 with monogram of Hans Schäufelein,<br />
half-page woodcut of the Crucifixion on recto of<br />
fol 30 and of the Trinity on the verso; title within<br />
ornamental border, vignette.<br />
Sm 8vo (155 x 100mm) [1], 30 ff (lacks final blank).<br />
19th-century vellum backed paste-boards. £1,600<br />
rAre First edition of one of a small number of<br />
books printed by the monastic press at the<br />
Benedictine abbey of Thierhautpten, Bavaria, in<br />
the 1590s. VD16 lists 22 imprints published<br />
between 1591-99 all of which are seldom found<br />
outside Germany. In the UK although the British<br />
Library holds eight examples the only other<br />
Thierhaupten printing is found at Oxford. OCLC<br />
records only single examples of works located in<br />
the USA at the Folger, Michigan and Wisconsin<br />
universities, and in France at the Bibliothèque<br />
National. It is thought that the press was operated<br />
by Josias Wörli who had previously printed at<br />
Augsburg between 1579-1590.<br />
The present work appears to be the only<br />
publication of the Dominican Georg Müntz who is<br />
described on the title-page as a preacher at Botzen<br />
(South Tyrol). The full-page woodcut is a late<br />
impression of a woodcut by the great Hans<br />
Schäufelein (1480-1540) whose ‘shovel’ monogram<br />
appears in the complicated composite scene which<br />
includes Christ’s Crucifixion and Resurrection.<br />
The Benedictine monastery of SS. Peter and<br />
Paul at Thierhaupten, one of the oldest in Bavaria,<br />
was founded in the 8th century.<br />
A little stained in places but generally fresh.<br />
VD 16 M6739. OCLC (British Library & Folger<br />
only outside Germany).<br />
64 65
50 NAOGEORGUS (ThOMAS) Regnum papisticum. Opus lectu iucundum<br />
omnibus veritatem amantibus: in quo Papa cum suis membris, vita, fide, cultu,<br />
ritibus, atque caeremoniis... describuntur. [Basle, J. Oporinus], June 1553.<br />
Sm 8vo (167 x 105mm) 171, [1] ff. Late 19th-century<br />
half-green morocco over boards, spine lettered and<br />
ruled in gilt. £950<br />
First edition, dedicated to Philip Landgrave of<br />
Hesse, of Naogeorgus’ polemical and unrestrained<br />
denunciation in neo-latin verse of the Catholic<br />
Church, attacking not only the papacy itself but<br />
also the rites and ceremonies of the church and<br />
practices such as the granting of indulgences and<br />
the cult of saints. It was translated by the poet<br />
and passionate protestant Barnaby Googe into<br />
English and published as The Popish Kingdome,<br />
or, Reigne of Anti-Christ, London 1570.<br />
Thomas Naogeorgus (or Kirchmeyer; 1509-<br />
63) was a Calvinist-orientated theologian, as well<br />
as a polemical dramatist of a pointedly antipapal<br />
but also anti-Lutheran orientation. He was raised<br />
a strict Catholic and became a Dominican but left<br />
the order in 1526 to pursue a humanist education.<br />
Subsequently he became a protestant minister<br />
and produced a number of literary works which<br />
found favour at the court of Saxony. The<br />
patronage of the court also offered him some<br />
protection once he dissented from the Wittenberg<br />
theologians. This controversy was moderate to<br />
begin with but became fundamental from 1546<br />
as Naogeorgus took the Zwinglian view of<br />
Communion. He then moved from city to city in<br />
southern Germany and Switzerland and finally<br />
found a welcome at the court of the Calvinist<br />
Elector Frederick III of the Palatinate. Although<br />
he published a number of theological and<br />
philological works, and translations of classical<br />
authors, he is best known for his three antipapal<br />
plays Pammachius (1538), Mercator (1540), and<br />
Incendia (1541) and three biblical ones Hamanus<br />
(1543), Hieremias (1551) and Judas (1553). He<br />
was suitably versatile as a neo-latin poet and<br />
dramatist, humanist and theologian and<br />
throughout emphasized education as the primary<br />
method to attain piety.<br />
Provenance: Ownership inscription inside<br />
front-cover of ‘John W Hales, 1883’.<br />
BMSTC (German), p471. VD16 K985. Adams<br />
N32. G Oberle. Poetes Neo-Latins (1988), pp126/7,<br />
nos 137/138. Ref: HJ Hillebrand in the Oxford<br />
Encyclopaedia of the Reformation, II, p378.<br />
51 NOVERRE (JEAN GEORGES) Lettres sur la danse, et sur les ballets.<br />
A Stutgard, et se vend à Lyon, chez Aimé Delaroche, 1760.<br />
Engraved arms of the Duke of Württemberg<br />
on dedication leaf.<br />
8vo (175 x 105mm) [2]ff 484pp. 18th-century<br />
French mottled calf, ornamental gilt spine,<br />
morocco label. £1,400<br />
First edition, first issue with the imprint:<br />
‘Stutgard’, of this very important of collection of<br />
letters. Noverre called for the traditional forms of<br />
ballet, which he felt to be uninspired, to be<br />
banned from the repertoire and replaced by<br />
completely new forms. Although he was<br />
appointed head of Ballet de l’Académie Royale de<br />
Musique, Noverre gained great animosity from<br />
his contemporaries and it was left to his<br />
successors to put his new ideas into place.<br />
‘No book has exerted so incalculable an<br />
influence for good on the manners and production<br />
of ballets and dances’ (Beaumont, pp134-5).<br />
Noverre wrote many ballets and founded the<br />
Stuttgart Ballet at the court of the Dukes of<br />
Württemberg. In 1767 he moved to Vienna where<br />
he collaborated with Glück, and in 1774 he was<br />
working in Milan.<br />
Armorial bookplate of Anatole Bassseville.<br />
In excellent condition.<br />
IK Fletcher, Forty Rare Dance Books, no 34. En<br />
Français dans le Texte, no 161.<br />
66 67
52 OVIDIUS NASO Metamorphoseon libri XV. In singulas quasque fabulas<br />
argumeta. Ex postrema Iac Micylli recognitione. Frankfurt, (Georgius Corvinus,<br />
Sigismund Feyerabent & heirs of Wigandus Gallus, 1563.<br />
Printers’ device on title-page, and 178 half-page<br />
woodcut illustrations by Virgil Solis.<br />
Sm 8vo (173 x 100mm) [8]ff 573pp [9]ff.<br />
Contemporary German blind-tooled pigskin, covers<br />
panelled with medallion and shield roll, central panel<br />
on front cover of Justicia and on lower cover of<br />
Lucretia, both shown in contemporary dress. £2,800<br />
A superb copy in its First binding of only the<br />
second edition of Ovid’s Metamorphoses to be<br />
illustrated with the fine woodcut illustrations of<br />
the German mannerist Virgil Solis (1514-1562).<br />
The great Nuremberg artist and engraver was<br />
commissioned by a consortium of Frankfurt<br />
printers, namely Sigmund Feyerabend, Corvinus<br />
and Gallus’ heirs, to produce the illustrations<br />
which were first published in 1563. Solis modelled<br />
his woodcuts on those provided by the Lyonese<br />
artist Bernard Salomon for the De Tournes’ edition<br />
of 1557. His lively interpretations proved<br />
immensely popular with the blocks being re-used<br />
in c25 editions up to 1652, with accompanying<br />
texts in Dutch, Flemish, German, Latin, and<br />
Spanish. Solis has been described as the most<br />
prolific graphic artist in mid-16th century<br />
Germany with over two thousand prints and book<br />
illustrations attributed to his workshop. He was<br />
active from 1540 until his death in 1562 as a<br />
graphic artist, and probably painter, noted for his<br />
designs for goldsmiths and his copies after other<br />
masters. Following Hans Sebald Beham’s death in<br />
1550 he became the principal book illustrator for<br />
Feyerabend and other Frankfurt publishers.<br />
Provenance: Contemporary ownership<br />
inscription on title-page. Early ownership<br />
(partly erased) and two 18th-century ownership<br />
inscriptions on front free endpaper. Armorial<br />
bookplate of Thomas Philip Earl de Grey, West<br />
Park, inside front cover.<br />
Small ink stain to front endpaper and fore-edge,<br />
not affecting margins or text.<br />
VD16 O1651. Schweiger 649. Not in BMSTC<br />
(German) or Adams. Only a three copies listed<br />
on OCLC outside Germany (Victoria & Albert<br />
Museum, BN Madrid, and Bowdoin College,<br />
Maine). Ref: Grove Dictionary of Art, vol 29,<br />
pp43-44.<br />
53 OVIDIUS NASO) Metamorphoseon libri XV. Raphaelis regii Volaterrani<br />
luculentissima explanatio, cum novis alterius viri eruditissimi, additionibus...<br />
Venice, apud Nicolaum Moretum, 1586.<br />
Printer’s device on title-page and 60 woodcuts<br />
(c 60 x 80mm), woodcut initials.<br />
Folio (300 x 210mm) [6]ff 315pp [1]f. Contemporary?<br />
vellum-backed cartonnage boards. £1,500<br />
A Fine lAte 16th-century edition of the<br />
Metamorphoses richly illustrated with unsigned<br />
woodcuts reminiscent of editions of much earlier<br />
in the century. The central column of text and<br />
illustration is flanked by extensive commentaries<br />
of Raffaele Regio and others to the left and right<br />
and sometimes at head and foot as well.<br />
17th-century ink drawing on rear endpaper<br />
and some pen trials.<br />
Light dampstaining affecting a few quires but<br />
generally a fresh copy possibly in its original<br />
‘interim’ binding of cartonnage boards.<br />
Censimento Edit 16 CNCE 31201. Adams O502.<br />
BMSTC (Italian), p481. Schweiger II, 649.<br />
68 69
54 pETIT (pIERRE)Disseration sur la nature des cometes au Roy.<br />
Avec un discours sur les prognostiques des eclipses & autres matieres<br />
curieuses. Paris, chez Thomas Jolly, 1665.<br />
Folding engraved planisphere celeste, engraved<br />
plate and six woodcut text diagrams.<br />
4to (212 x 156mm) 350pp [18]ff. Contemporary<br />
mottled calf with gilt ecclesiastical arms on covers,<br />
spine gilt in compartments with gilt monogram ‘HC’<br />
(repairs to head and foot of spine, some wear to<br />
covers, new endpapers). £2,200<br />
First edition oF this importAnt work on comets<br />
dedicated to Louis XIV. Petit (1594-1677) was<br />
an influential figure in government and scientific<br />
circles in mid-17th century France. He<br />
advocated the establishment of scientific<br />
organisations and the value of experimental<br />
science notably in the field of astronomy. Petit<br />
himself had a fine collection of astronomical<br />
instruments and several of these were of his own<br />
invention, notably a filar micrometer to measure<br />
the diameters of celestial objects such as the sun,<br />
moon and planets, later used by Cassini. He was<br />
a regular correspondent of Oldenburg, secretary<br />
of the Royal Society in London, and was one of<br />
the first foreign fellows of that Society when<br />
elected in April 1667. The present work was<br />
praised in England and on the Continent for the<br />
accuracy and completeness of its observations<br />
and discussions.<br />
DSB X, pp546/7.<br />
55 pETRARCA (FRANCESCO) (MALIpIERO (GIROLAMO))<br />
Il Petrarcha spirituale. (Venice, stampato Francesco Marcolini, 1536).<br />
Fine title-page woodcut of Petrarca (118 x 96mm)<br />
within an ornamental frame and on verso a<br />
woodcut of Malipiero speaking to Petrarca on<br />
the edge of a forest with Arquà and the poet’s<br />
tomb in the distance, signed ‘B’ with a crossbar.<br />
4to (207 x 150mm) 161 (ie 159f) ff. Bound in dark<br />
blue/black morocco in antique style by Rinda of Milan,<br />
signed along inner edge, with central gilt arms on<br />
covers of the Marchese d’Adda. £2,400<br />
First edition of Girolamo Malipiero’s (1480-<br />
1547) theological and spiritual rendering of<br />
the Canzoniere. The delightful woodcut of<br />
Malipiero’s meeting with Petrarca introduces an<br />
imaginary dialogue between the two of June 8<br />
1534 in which the poet asks the Franciscan to<br />
adapt his work for spiritual uses. L Panizza<br />
explains that Malipiero’s solution to ‘correcting’<br />
the Canzoniere, ‘giving Wisdom and Virtue a<br />
chance to prosper, and, of course, procuring<br />
Petrarch’s salvation’ is to banish Laura ‘because<br />
she led Petrarch astray, and must not be<br />
allowed to tempt imitators of Petrarch’s lyrics to<br />
sensual adulterous lusts’. Malipiero also provides<br />
a poetics of Franciscan spiritual poetry (ff 89-97),<br />
‘His ambition is evidently to take advantage of<br />
and compete with the tidal wave of Petrarch<br />
enthusiasm by relaunching a vogue for mystical<br />
poetry going back to Jacopone da Todi and<br />
his followers’.<br />
Printed by Marcolini in his fine Italic type<br />
‘with some unusual swash capitals’ (Mortimer).<br />
Our copy has the correction on C1r, changing<br />
‘Devenuto’ to ‘Divenuto’, as noted by Mortimer<br />
in some other copies.<br />
Provenance: Gilt arms on covers of Marchese<br />
d’Adda. Bookplate of Erich von Rath.<br />
A fine clean copy, neat repair to the blank<br />
inner margins of last four leaves.<br />
Adams P803. Sander II, 4378. Essling part 2,<br />
vol II, 666. Speck no 638. Casali, Marcolini,<br />
pp21-26, no 14. Ref: Letizia Panizza,<br />
Impersonations of Laura in 16th- and 17th-<br />
Century Italy, Proceedings of the British<br />
Academy, 146 (2007), 177-200.<br />
70 71
56 pETRARCA Il Petrarca con l’espositione di M. Alessandro Vellutello: di<br />
nuovo ristampato con le figure a i Trionfi, con le apostille, e con piu cose utili<br />
aggiunte. Venice, appresso Nicolo Bevilacqua, 1563. [Bound with:] AMADI<br />
(Anton Maria). Ragionamento di M Anton Maria Amadi intorno a quel sonetto<br />
del Petrarca che incomincia; Quel; che infinita providentia, & arte; Tratto dal suo<br />
Convivio, sopra’l Canzoniere di esso Petr. celebrato, come nella seguente lettera<br />
appare. Padua, appresso Gratioso Percacino, 1563.<br />
I Printer’s device on title-page, historiated<br />
cartouche above title, six woodcuts 60 x 78mm<br />
for the Trionfi, cartouche headpieces and initials.<br />
II Printer’s device on title-page, woodcut initials<br />
Two works in one vol 4to (207 x 147mm) [12], 213,<br />
[3]ff [4], 42, [2]ff (last blank). 19th-century vellum,<br />
spine ruled in gilt (lightly soiled). £1,250<br />
i A hAndsome edition of Petrarca’s Sonetti,<br />
Canzoni e Triomphi with the commentary of<br />
Vellutello. The elaborately composed woodcuts<br />
for the Triomphi of processions against a<br />
landscape background illustrate superbly the<br />
triumphs of Love, Chastity, Death, Fame, Time<br />
and Divinity.<br />
II First and only edition of Anton Maria<br />
Amadi’s extensive commentary of the fourth<br />
poem of Petrarca’s Canzone, ‘Que’ ch’infinita<br />
providentia et arte’ (What infinite providence and<br />
art). Little is known of the author and Censimento<br />
lists only one other work by him, Annotationi<br />
sopra vna canzon morale; in che alcuni utili<br />
discorsi si contengono, & molti errori si scoprono<br />
de’ moderni intorno alla lingua toscana, & al<br />
Boccaccio. Con un brieue, & catolico discorso<br />
del santissimo sacramento dell’altare, contra<br />
Gio. Caluino published in a single edition of<br />
Padua, Lorenzo Pasquatto, 1565 (Censimento<br />
Edit 16 CNCE 1381).<br />
Provenance: Near contemporary initials either<br />
side of printer’s device ‘CR’. Seven lines of early<br />
notes in Latin on blank verso of final leaf of second<br />
work. Inscription at head of title-page of ‘?<br />
Dunlop, 1797’. Armorial bookplate of John<br />
Charles Wilson, his inscription on fly-leaf dated<br />
1858. Inscription beneath of CG Allen, Nov 1934.<br />
Small paper repair to blank lower outer of<br />
title-page, upper margin closely cropped by the<br />
binder but no loss to headlines.<br />
I Censimento CNCE 33478. Fiske/Fowler 107.<br />
Speck 301. Not in Mortimer. II Censimento<br />
CNCE 1380. BMSTC (Italian), p22. Fiske/<br />
Fowler 199. Speck 673.<br />
57 phILOSTRATUS Opera quae exstant. Philostrati iunioris imagines, et<br />
Callistrati ecphrases… Graece Latinis è regione posita; Fed Morellus Professor<br />
et interpres regius cum Mss. contulit, recensuit: et hactenus nondum Latinitate<br />
donata, verit… Paris, ex officina typographica Claudii Morelli, 1608.<br />
Printer’s device on title-page, title in red and<br />
black, fine foliate headpiece and initial, text in<br />
Latin and Greek in double columns.<br />
Folio (345 x 220mm) [14]ff 914pp [11]ff. 18th-century<br />
marbled calf, label on spine. £1,200<br />
First collected edition of the writings of Flavius<br />
Philostratus (2nd/3rd c), Philostratus of Lemnos<br />
(3rd c) and Philostratus the Younger (3rd c) as well<br />
as writings from Callistratus (3rd/4th c), all edited<br />
and translated from the Greek into Latin by<br />
Fédéric Morel (ca 1552-1630). The work is<br />
beautifully printed in fine large Greek types by the<br />
King’s printer Claude Morel, brother of Fédéric.<br />
Flavius Philostratus’ most important works<br />
were his life of the Pythagorean philosopher<br />
Apollonius of Tyana, commissioned by the Syrian<br />
Empress of Rome, Julia Domna, his Lives of the<br />
Sophists, which began with the classical Sophists<br />
of the 5th c BC and ended with the philosophers<br />
of his own times, and the Heroicos, a dialogue in<br />
which the dead heroes of Troy appear. Of his<br />
letters, one was to inspire Ben Jonson’s ‘Drink to<br />
Me Only with Thine Eyes’. Philostratus of<br />
Lemnos, the son-in-law of the above, was author<br />
of the first series of the Imagines discussing 65<br />
real or imaginary paintings on mythological<br />
themes housed in Naples, with his grandson,<br />
Philostratus the Younger, composing a second<br />
series. The Sophist Callistratus’ descriptions of<br />
fourteen statues, also found here, is in imitation<br />
of the Imagines.<br />
Provenance: From the library of St Benedict’s<br />
Abbey, Fort-Augustus, Scotland, with their label<br />
and shelf-mark.<br />
Hoffman III, 77. Schweiger 231.<br />
72 73
58 pICART (BERNARD)<br />
Le temple des muses ...<br />
ou sont représentés les<br />
evenemens les plus<br />
remarquables de l’antiquité<br />
fabuleuse. Amsterdam,<br />
Zacherie Chatelian, 1733.<br />
Engraved half title, title in red and<br />
black with vignette, coat-of-arms of<br />
Prince Philippe-Charles on dedication<br />
and 60 engraved plates surrounded by<br />
ornamental borders, designed and<br />
engraved by Picart.<br />
Large folio (476 x 308mm) [5]ff 152pp<br />
[2]ff. Contemporary marbled calf, spine<br />
compartments tooled in gilt (head and<br />
foot of spine rubbed). £3,000<br />
First picArt edition, a reworking of the<br />
illustrations for Michel de Marolles’ Temple des<br />
Muses of Paris 1655, designed by Diepenbeeck,<br />
with added ornamental borders. The original<br />
designs were taken from the collection of Jaques<br />
Favereau (1590-1638), poet, advocate and<br />
councillor, who had commissioned them from<br />
Abraham Diepenbeeck, one of Ruben’s most<br />
talented pupils. The work explores classical<br />
mythology from seven aspects starting naturally<br />
with l’origine du Monde through les amours des<br />
Dieux & des Hommes and les avantures de l’air<br />
& des eaux and finally to la mort, le Deuil, les<br />
Enfers, & le Sommeil. Those illustrated include<br />
Pandora, Daphne, Achilles, Castor & Pollux,<br />
Narcissus, Jason, Cassandra and Orpheus, and<br />
their legends are taken chiefly from Ovid,<br />
Homer, Virgil and Euripides. Picart’s edition<br />
includes two new plates, Leucothoé (pl. XIV)<br />
and Lycaon (pl. XVII) and the legends<br />
throughout are in French, English, German and<br />
Dutch. The explanatory text for each plate is by<br />
Antoine de La Barre de Beaumarchais.<br />
‘Bernard Picart was the outstanding<br />
professional illustrator of the first third of the<br />
eighteenth century, an age during which the<br />
designs for the finest illustrated books were<br />
typically drawn by leading painters. He worked<br />
for the most part in the fading baroque tradition,<br />
but there are elements in his immense production<br />
which herald the new age. When his diverse<br />
accomplishments are finally catalogued and<br />
analyzed, his standing as a book artist will be<br />
greatly enhanced,’ (Ray).<br />
Ray I, p7. Brunet V, 696. Cohen-de-Ricci 531.<br />
59 pLATINA (BARTOLOMMEO SACChI DE) De honesta voluptate<br />
ac valitudine libri decem qz emendatissime impressi: cum nova impressi<br />
& indice. (Venice, per Ioannes Tacuinus de Trino, 2nd January 1517.<br />
Woodcut initials of various sizes.<br />
4to (207 x 153mm) [4], LXXIIff. 19th-century boards,<br />
leather label on spine (lightly soiled). £2,000<br />
An eArly venetiAn edition oF plAtinA’s<br />
cookery clAssic and, as recorded by Censimento,<br />
the last edition to be published in Italy in the 16th<br />
century. The De honesta voluptate, first published<br />
in Rome 1475, was the first printed cookery book<br />
and provides a reflection of humanist sensibilities<br />
and attitudes to food, health and good living.<br />
Successive editions and translations made it one of<br />
the most important works on food in early<br />
modern Europe.<br />
The author Platina (1421-1481), the first<br />
librarian of the Vatican Library, wrote this work as<br />
a guide to how best to enjoy one’s meals and have<br />
good health, with discourses on the quality of<br />
varieties of meat, fish, vegetables and the best way<br />
to prepare them for the table, as well as noting their<br />
medical and dietetic properties. A whole chapter is<br />
devoted to wine and vinegar, another for the sauces<br />
to be served with various dishes. The recipes are<br />
derived from the Libro de arte coquinaria of the<br />
great chef Maestro Martino de Rossi.<br />
Title-page browned, some light browning<br />
throughout.<br />
Vicaire 690. Simon, Bibliotheca Bacchica II, 521.<br />
Censimento Edit 16 CNCE 34836.<br />
74 75
60 pLATINA (BARTOLOMMEO SACChI DE) De honesta voluptate.<br />
De ratione victus, & modo vivendi. De natura rerum & arte coquendi libri X.<br />
(Paris), in aedibus Ioannis Parvi, 1530.<br />
Title within fine four piece woodcut<br />
architectural border also enclosing Petit’s<br />
device, woodcut initials.<br />
Sm 8vo (168 x 112mm) xcviiipp [2]ff (last leaf blank).<br />
Later vellum over paste boards. £1,500<br />
the First lAtin edition to be printed in France of<br />
Platina’s cookery classic, first published in Rome,<br />
1475. The De honesta voluptate was<br />
the first printed cookery book and provides a<br />
reflection of humanist sensibilities and attitudes to<br />
food, health and good living. Successive editions<br />
and translations made it one of the most important<br />
works on food in early modern Europe.<br />
The author Platina (1421-1481), the first<br />
librarian of the Vatican Library, wrote this work<br />
as a guide to how best to enjoy one’s meals and<br />
have good health, with discourses on the quality<br />
of varieties of meat, fish, vegetables and the<br />
best way to prepare them for the table, as well<br />
as noting their medical and dietetic properties.<br />
There is a whole chapter is devoted to wine<br />
and vinegar and another for the correct sauces<br />
to be served with various dishes. The recipes<br />
themselves are derived from the Libro de<br />
arte coquinaria of the great chef Maestro<br />
Martino de Rossi.<br />
Vicaire 691. Simon, Bibliotheca Bacchica, no<br />
523 (illustrated). Adams P1407.<br />
61 pLINIUS CAECILIUS SECUNDUS Epistolarum lib X. Eiusdem<br />
Panegyricus Traiano dictus. Cum commentariis Ioannis Mariae Catanei. Paris,<br />
Josse Badé & Iean Roigny, Jan 1533.<br />
Title printed within wide ornamental border,<br />
with large device of Jean Roigny in centre; many<br />
hundred ornamental and historiated initials<br />
throughout, some on criblé ground; text ruled<br />
in red throughout.<br />
Folio (350 x 220mm) [8]ff CCXXXI [1] (blank) ff.<br />
18th-century marbled boards with pink spine. £1,200<br />
beAutiFully printed edition of Pliny the<br />
Younger’s letters, edited by Badius, and followed<br />
at the end by the Panegyricus Traiano. It is the<br />
only Badius edition and it follows earlier editions<br />
with the commentaries of Giovanni Maria<br />
Cataneo. This edition is adorned with many<br />
ornamental woodcut initials including numerous<br />
large ones on criblé ground.<br />
Provenance: From the Sunderland Library<br />
with the shelf mark C7 18 at top of inside front<br />
cover. This is a large copy in very good condition<br />
(apart from a tear which is repaired at the top of<br />
title-page), with many deckle edges preserved.<br />
Renouard III, 170-171. Schweiger II, p804.<br />
BMSTC (French), p356.<br />
76 77
62 pLINIUS SECUNDUS Historia mundi naturalis... (Ed Sigismund Gelenius).<br />
Frankfurt, (officina Martini Lechleri impensis Sigismundi Feyerabendis), 1582.<br />
Two large woodcut devices, large woodcut arms<br />
and 50 woodcuts of various sizes by Jost<br />
Amman, Hans Weiditz, Hans Burgkmair and<br />
others, title in red and black.<br />
Folio (355 x 220mm) [18]ff (2 blanks) 528pp [26]ff;<br />
[92]ff. Index with separate title-page. 17th-century<br />
Dutch vellum over paste-boards with large blindstamped<br />
arabesque ornament in centre of covers,<br />
title lettered in ink (covers a little soiled). £2,500<br />
First lAtin edition to hold the Fine<br />
woodcuts oF Jost AmmAn, hAns weiditz And hAns<br />
burgkmAir. Many of the woodcuts were<br />
originally used in other works such as Weiditz’s<br />
illustrations for editions of Cicero and Petrarch,<br />
and Amman’s for Frauentrachten, Jagdbüchern<br />
and De conceptu et generatione hominis.<br />
This is also one of the few illustrated early<br />
editions of the Naturalis historia, the most<br />
thorough zoological and botanical treatise known<br />
from the ancient world. Plinius Secundus<br />
attempted to record all knowledge of the world<br />
and nature preserving that written by earlier<br />
authors and adding to it from his own observations.<br />
Provenance: 18th-century armorial bookplate<br />
of Johnstone, with the clan motto ‘Nun Quam<br />
Non Paratus’, inscription on fly-leaf.<br />
A little browned and stained in places but<br />
generally a fresh copy with good impressions of<br />
the woodcuts.<br />
VD 16, P 3550. BMSTC (German), p705.<br />
Adams P 1579. Graesse V, 340. Nissen, ZBI,<br />
3191. Becker, Amman 47, 7c.<br />
63 pLUTARCh La prima (-secunda) parte delle vite di Plutarcho,<br />
nuovamente da M. Lodovico Domenichi tradotte... Venice, appresso<br />
Gabriel Giolito de Ferrari et fratelli, 1567.<br />
Giolito’s fine device on title-page and final leaf<br />
of each part, fine historiated woodcuts and<br />
headpieces, all pages of the indexes enclosed<br />
within a decorative border.<br />
Two volumes. 4to (255 x 183mm). 18th-century<br />
mottled calf, single gilt fillet on covers, spine richly gilt<br />
in compartments, labels in red and green (expert<br />
restoration to headcaps, joints and corners). £1,500<br />
A very hAndsome set of Lodovico Domenichi’s<br />
(1515-64) Italian translation of Plutarch’s Vitae,<br />
parallel lives of famous Greeks and Romans, first<br />
published by Giolito in 1555. Bongi and Gamba<br />
note that the editions are hard to come by, ‘E<br />
difficile trovare uniti i due volumi di questa bella<br />
originale edizione’ (Bongi), Gamba states<br />
‘edizione assai rara’ in his note to the 1560 edition<br />
(no 1583, pp462/3). Lightly browned in places.<br />
Censimento Edit 16, 26532. Bongi I, pp479/80.<br />
78 79
64 pLUTARCh Vitae illustrium virorum (ed Johannes Antonius Campanus).<br />
[Rome], Ulrich Han (Udalricus Gallus), [1470].<br />
Illuminated opening page with white-vine stem<br />
border ‘bianchi girari’ on three sides extending<br />
into the fore-margin, the border incorporates a<br />
nine-line initial ‘P’ in gold and a wreath in each<br />
border, the one in the lower margin left blank<br />
for a coat-of-arms, the remaining two with<br />
rosettes, also four birds are found in the lower<br />
border, all in burnished gold, blue, green,<br />
purple; 54 further initials in gold, mostly nine<br />
to 11-lines, against intricate white-vine<br />
backgrounds infilled with blue, green, and<br />
purple, which extend into the margins; four-line<br />
initial in gold infilled with green and purple<br />
against a blue background; some rubrication;<br />
early manuscript headings and foliation.<br />
Volume 1 (& 24ff of vol 2). Large Folio. Binding size: 412<br />
x 295mm. Paper size: 390 x 280mm. 316 of 320ff.<br />
(lacking d10 and 3 blanks). [*4 a10 b8 c10 d9(of 10) e10<br />
fg8 h6 i-o10 p8 q10 r12 s10 t3(of 4 -t4 blank) v-y10 z8<br />
aa-cc8 dd12 ee9(of 10 - ee10 blank) gg12 hh10 ii3(of 4<br />
-ii4 blank); A10 B8 C6]. Quires c & d misbound. 45 lines<br />
(257 x 160mm), roman type (113R.), spaces left for<br />
greek letter. Mid-late 19th-century dark brown<br />
morocco over bevelled boards by William Townsend<br />
and Son, Sheffield, with their blindstamp inside front<br />
cover, covers panelled with simple blind fillets and<br />
ornamental rolls, spine decorated in the same<br />
way, red morocco label, re. Price upon request<br />
First edition oF the First oF two volumes<br />
published in this yeAr oF plutArch’s vitAe,<br />
A wide-mArgined copy lAvishly illuminAted<br />
in rome with A superb opening border And<br />
55 exquisite white vine-stem initiAls.<br />
‘The whole (sixty Vitae) was on sale at Milan<br />
by 27th April 1470 (see E Motta, ‘Pamfilio<br />
Castaldi, Antonio Planella, Pietro Ugleimer ed il<br />
vescovo d’Aleria’, Rivista storica italiana, 1<br />
(1884), 252-72, at 255 note 2)’ (Bod-Inc).<br />
Complete copies are known but many<br />
institutions have only one of the two volumes<br />
(see ISTC). A note at the foot of the first page<br />
appears to suggest that this volume was on its<br />
own when bought in Logrono, northern Spain,<br />
by Dean Munor de Suessa in 1632.<br />
Examples are very rare on the market with<br />
Anglo/American auctions recording only an<br />
incomplete copy of volume I appearing at<br />
auction since 1936 when at the celebrated<br />
Mensing sale, the Sykes-Syston Park-William<br />
Morris copy was sold. Our copy was auctioned<br />
at Sotheby’s 18th November 1918, lot 609, and<br />
sold to Francis Edwards for £18.10s.<br />
This copy of the first volume of Plutarch’s<br />
Vitae ends with the life of Lucullus unlike most<br />
other examples which end with the life of<br />
Sertorius. Our volume one, therefore, holds a<br />
further 24 leaves and three incipits with initial<br />
spaces which are illuminated with three further<br />
white vine initials. The three blanks are missing<br />
from this copy and also f d10 which holds only<br />
the final 16 lines of the comparison between<br />
Lycurgus and Numa on the recto of the leaf, the<br />
remainder of the leaf is blank. The leaves have<br />
80 81
een absent since the 17th century at least as the<br />
early foliation is continuous.<br />
It is rare to find such lavish use of white vinestem<br />
illumination or bianchi girari as very few<br />
books of the period printed in Rome or Venice had<br />
so many opening initial spaces, one exception being<br />
the Sweynheym and Pannartz Pliny of the same year<br />
although the Natural History has only 37 initial<br />
spaces. White vine-stem illumination developed in<br />
early fifteenth-century Florence as decoration for<br />
humanistic or classical texts, seemingly copied from<br />
manuscripts of the classical period which were in<br />
reality Italian manuscripts of the 12th century. The<br />
style of illumination spread throughout Italy and in<br />
the 1460s and 1470s suitable printed books were<br />
also decorated in this way before making way for<br />
woodcut ornaments.<br />
Ulrich Han (Udalricus Gallus), a native of<br />
Ingolstadt and a citizen of Vienna, was the<br />
second printer in Rome. He followed Sweynheym<br />
and Pannartz, the first to print in Italy, who had<br />
moved to Rome from Subiaco in 1467, the year in<br />
which Han began printing.<br />
Provenance: Near contemporary marginal<br />
annotations, plentiful for first 35ff and<br />
intermittent thereafter. Acquisition note at foot<br />
of first page of Dom Munor de Suessa, Dean of<br />
Albelda-Logrono, 1632, his inscription also at<br />
foot of final leaf. 18th-century inscription of ‘D<br />
Gregorio Lopez Malo’ on first page, ie Gregorio<br />
López de la Torre y Malo (1700-1770), an<br />
historian from Molina de Aragón (Guadalajara,<br />
central Spain). Annotations to ff cc1v-cc2r, Life<br />
of Gracchi probably in his hand. Two pages of<br />
19th-century bibliographical notes cut down<br />
and mounted at the end, stating that the volume<br />
was acquired in Valencia in 1834. Sold at<br />
Sotheby’s 18 November 1918, lot 609.<br />
The final leaf C6 is cut down and mounted.<br />
Heavy ink stain affecting folios v1v and v2r and<br />
the white vine initial. Some dampstaining,<br />
mostly marginal but heavier towards the end,<br />
affecting circa 9 initials. Foxed and spotted in<br />
places, also mostly marginal.<br />
HC 13125*. BMC IV, 21. Goff P-830. Bod-Inc<br />
P-390. BSB-Ink P-624. Pr 3348.<br />
65 pOLE (REGINALD) De summo<br />
pontifice Christi in terris vicario, eiusque<br />
officio & potestate… Louvain, John<br />
Fowler, 1569. [Bound with:] URANIUS<br />
(hENRICUS). De re numaria,<br />
mensuris, et ponderibus. Cologne, ad<br />
intersignium Monocerotis, 1569.<br />
Printer’s device on title-page of first work.<br />
Two works in one vol. 8vo (150 x 100mm) [8], 151, [5]<br />
ff; [32]ff (final leaf blank). Contemporary limp vellum<br />
stained orange (lacks ties). £900<br />
i First edition of Cardinal Pole’s influential work<br />
on the Papacy edited posthumously by Henry<br />
Joliffe (d 1573), who also provides a dedicatory<br />
letter addressed to Pope Pius V. Pole’s treatise on<br />
the powers and duties of the papal office was<br />
conceived soon after the death of his friend Pope<br />
Paul III at a time when Pole himself was<br />
considered the most likely candidate for the<br />
pontificate. However, to appease the French party<br />
a compromise candidate was found in Cardinal<br />
de Monte who was elected Pope on 8 February<br />
1550 and took the name of Julius III. The editor,<br />
Joliffe, had been Dean of Bristol but escaped<br />
England following the accession of Elizabeth I<br />
and settled in Louvain.<br />
II Second edition. ‘Henricus Uranius was a<br />
German classicist, born at Reesz, Prussia. He<br />
lived at Emmerlich (Emrich) when he wrote this<br />
work. This is a semi-historical discussion of the<br />
various measures which the 16th century received<br />
from the Roman civilization, or which were<br />
mentioned in the most commonly read classics of<br />
the Renaissance period. No arithmetical<br />
operations are given in the book. It begins with<br />
the fractional parts of the as, the twelfth being<br />
called the uncia (the Troy ounce), the sixth the<br />
sextans, the fourth the quadrans, and so<br />
on’(Smith). Smith erroneously states that there<br />
was no edition other than the first of 1540.<br />
First title stained partially obscuring two<br />
early inscriptions.<br />
I Allison & Rogers I, no 915. Adams P1746. II<br />
Dekesel U2. Smith Arithmetica pp208/9 (1540<br />
ed). Not in Adams.<br />
82 83
66 pORCACChI (ThOMASO) Funerali antichi di diversi popoli et nationi;<br />
forma, ordine et pompa di sepolture, di obsequie, di consecrationi antiche et<br />
d’altro. Venice, (appresso Simon Galignani), 1574.<br />
Elaborate engraved architectural title-page and<br />
23 half-page text engravings (95 x 155mm) by<br />
Girolamo Porro, depicting funeral ceremonies of<br />
various cultures. Galignani’s large woodcut<br />
device on recto of last leaf; woodcut initials and<br />
decorative tail-pieces.<br />
4to. (265 x 210mm) [4]ff 109pp [1]f. Early 19th-century<br />
vellum over pasteboards, covers panelled in blind, flat<br />
spine gilt with two red morocco labels, the lower one<br />
a library label ‘Col Gr Gioia X’ (duplicate morocco<br />
labels also pasted inside front cover). £2,600<br />
A Fine copy oF the First edition of this beautifully<br />
illustrated work. The book discusses in detail the<br />
funeral preparations, rites, burials, tombs and<br />
other customs of antiquity for the Greeks,<br />
Romans, Egyptians, Hebrews and early<br />
Christians, among others. It is written in the form<br />
of a dialogue between two men discussing the<br />
illustrations which introduce each chapter. The<br />
discussion starts with a deliberation about the<br />
merits of the chosen artist and the publisher. It is<br />
agreed that the Paduan born designer and<br />
engraver of the illustrations, Girolamo Porro<br />
(1520-1604), although affected by the handicap<br />
of a defective eye, is an extraordinarily gifted<br />
artist; he even constructed a kind of flying<br />
machine which will carry many men (cf folio 3/4).<br />
The author Tommaso Porcacchi (1530-85) was a<br />
Tuscan historian, philologist, and poet whose<br />
L’isole piu famose del mondo, also illustrated by<br />
Porro, was published in 1572. The book proved<br />
popular and even held the status as a handbook<br />
for princely funerals and was notably consulted<br />
for the obsequies of Cosimo I de’ Medici who<br />
died in the year of publication.<br />
Provenance: Armorial bookplate with ducal<br />
crown and motto ‘Espérance avec Dieu’, 1867.<br />
Cicognara 1766. Adams P1903. Mortimer II,<br />
395. Brunet IV, 820 ‘Ouvrage recherché à cause<br />
des 24 gravures dont il est orné’.<br />
67 [RAphAEL] AqUILA (FRANCESCO) Picturae Raphaelis Sancti<br />
Urbinatis ex Aula et Conclavibus Palatii Vaticani ad publicum terrarum orbis<br />
ornamentum in aereas tabulas nunc primum omnes deductae, explicationibus<br />
illustratae... Rome, typis ac sumptibus Domenici de Rossi Jo. Jacobi filii, 1722.<br />
Engraved throughout: architectural and<br />
allegorical title-page incorporating dedication<br />
and address to Pope Innocent III, and 21 etched<br />
plates by Aquila after Raphael (numbered 1-19,<br />
with three on four sheets)<br />
Oblong folio (582 x 790 mm). Bound in contemporary<br />
vellum backed limp paste boards, large part of the<br />
contemporary mottled paper on front cover missing<br />
exposing paste board beneath, corners and<br />
extremities bumped and scuffed, new endpapers,<br />
but in surprisingly good condition. £3,800<br />
First edition of Francesco Aquila’s magnificent<br />
series of engravings after Raphael; this is the<br />
earliest series of complete reproductions in print<br />
of the famous Raphael Stanze in the Vatican.<br />
Included also on four sheets (plate three) is<br />
the grandiose Battle at the Milvian Bridge from<br />
the Sala di Constantino painted by Giulio<br />
Romano after the designs of Raphael and here<br />
etched and engraved by Francesco Aquila’s<br />
uncle Pietro Aquila; this print was originally<br />
issued in 1683.<br />
Franceso Aquila (fl 1690-1740) was a native<br />
of Palermo (Sicily) but spent most of his life<br />
working as an engraver at Rome. He was a<br />
nephew and the student of Pietro Aquila.<br />
A very good, large and uncut copy with fine<br />
impressions of the plates.<br />
Passavant, Raphael, II, p98. Pezzini, Raphael<br />
inventit, pp120-124.<br />
84 85
68 [SALINAS (MIGUEL)] Rhetorica en lengua castellana en la qua se pone<br />
muy en breve lo necessario para saber bien hablar y escrevir: y conoscer quien<br />
habla y escrive bien. Alcala, Joan de Brocar, 8 Feb1541.<br />
Title printed in red and black within ornamental<br />
woodcut border, on verso of title the imperial<br />
Spanish arms within border of architectural<br />
columns, two large historiated initials and many<br />
smaller ornamental and historiated initials, text<br />
in gothic letter.<br />
Sm 4to (192 x 138mm) [4] cxvii ff. Late 18th-century<br />
Spanish tree calf, morocco label, marbled<br />
end papers. £7,000<br />
rAre First edition of the first book on rhetoric to<br />
be printed in Spanish, one of the main subjects<br />
taught at renaissance schools and universities.<br />
The author writes at the beginning of the<br />
work that although there were many books on<br />
rhetoric in Greek and Latin he found it necessary<br />
to write this book in his native language, since<br />
he had asked in many bookshops if such a work<br />
existed in Castilian but had never found one.<br />
His aim was to help people to write and speak<br />
well which would be to the advantage of the<br />
Catholic commonwealth. Ignorance of rhetoric<br />
sometimes results from ignorance of Latin, but<br />
by studying this book in Spanish, Salinas states,<br />
one can make more progress in one year than<br />
students can in three years in the schools.<br />
In the main text, Salinas offers advice to<br />
preachers, lawyers and orators on how to speak<br />
and preach effectively and on how to move the<br />
emotions of the audience, on how to persuade<br />
others and how best to rebuke them: ‘Rebuking<br />
the evils of the great and powerful is dangerous<br />
and might also give scandal; it is better to ignore<br />
their errors’ (folio 38r). Oratory was particularly<br />
important at that time when most people were<br />
illiterate and relied on the spoken word for<br />
information and knowledge. Salinas makes<br />
interesting remarks on rhetorical devices such as<br />
aids to memory, but surprisingly makes no mention<br />
of St Augustine, the early master of that subject.<br />
Also noteworthy is Salinas’ recommendation that<br />
when some thing or place is mentioned in a speech<br />
or sermon, realistic details should be added to make<br />
the image more vivid and realistic and hence<br />
memorable. ‘If it is a garden, say what fruit grows<br />
there’, ‘if a house, what is it built of’, ‘if a river, how<br />
deep is it, if a mountain, how high’.<br />
The text also has some surprises, Salinas cites<br />
Erasmus as one who could be trusted (folio lxx),<br />
although at that time Erasmus was theologically<br />
suspect to many orthodox Catholics, especially<br />
in Spain. More surprisingly still, he shows<br />
knowledge of the contemporary play La<br />
Celestina (1499), an erotic classic and still one<br />
of the greatest works in Spanish literature.<br />
Little is known about Salinas (d 1577), a<br />
Hieronymite monk who spent his life in the<br />
monastery of Santa Engracia, Saragossa. He<br />
was Master of Novices for 35 years and was<br />
singled out for praise by José de Siguenza, the<br />
historian of the Hieronymite Order.<br />
Provenance: Ownership inscription on titlepage<br />
of ‘es de Dr. Juan Manuel de Miranda y<br />
Ortiz Abocado de la Real... 1751’. Title-border<br />
just cropped, a little staining at beginning and<br />
end, but generally a good copy.<br />
Palau 263182 & 287547. BMSTC (Spanish),<br />
p163. OCLC (US: Harvard, Michigan,<br />
Washington, Pennsylvania only). Not in Adams.<br />
86 87
69 SALLUST Histoire de la conjuration de Catilina (& Guerre de Jugurtha)<br />
traduit en français... par CA Thomas, géomêtre. Np, nd, (Paris?, c 1816-1818).<br />
Manuscript on paper. Two parts in one vol. Folio<br />
(338 x 223mm) [44]ff (last blank) [75]ff. Calligraphic<br />
title-pages and heading, each text page of 27 lines in a<br />
neat cursive hand in brown ink. Contemporary pale<br />
calf over boards, flat spine with gilt label lettered<br />
‘SALLUSTE’ (a little rubbed, a few short tears<br />
to covers). £2,400<br />
A Fine cAlligrAphic mAnuscript of Sallust in<br />
French for the education of the two young sons of<br />
Louis Philippe, Duc d’Orleans, the future King<br />
Louis Philippe of France, with his library stamp<br />
of the Bibliothèque de Roi at the Palais Royal.<br />
This unpublished translation is by ‘CA<br />
Thomas, géomêtre’ who dedicates the<br />
manuscript to ‘son Altesse royale, Monseigneur<br />
le Duc D’Orleans, premier prince du sang’. In his<br />
dedication he writes that he has undertaken this<br />
work for the benefit of the Duc’s two young sons<br />
so that they can read and study the Roman<br />
historian Sallust. He continues, ‘May my<br />
translation procure for them the easy<br />
understanding of this author and spare them<br />
precious time in years to come and most of all in<br />
their youth. May I have the joy of assisting in the<br />
development of the two offspring who, like their<br />
elders, are the love and pride of my country and<br />
the happy hope of your house.’ Louis Philippe’s<br />
first two sons, Ferdinand Philippe d’Orléans and<br />
Louis d’Orléans were born in 1810 and 1814<br />
respectively, while his third son Louis d’Orléans<br />
was not born until August 1818.<br />
The translator signs the dedication ‘Thomas,<br />
expert; dernier parent de l’auteur des éloges,’<br />
which refers to his famous kinsman the poet and<br />
critic Antoine-Léonard Thomas (1732-1785) best<br />
known for his series of éloges of great men whose<br />
Oeuvres complètes in six volumes were published<br />
1822-25 (see: NBG, 45, pp223-6). Nothing else,<br />
however, is known about his descendant.<br />
Provenance: Library stamp on title-page<br />
‘Bibliothèque de Roi, Palais Royal’.<br />
70 SANDRART (JOAChIM VON) Iconologia deorum, oder Abbildung<br />
der Götter, welche von den Alten verehret worden. Nuremberg, Christian<br />
Siegmund Froberger for the author, 1680.<br />
Fine frontispiece, Sandrart’s portrait by R.<br />
Collin, and 34 plates on 33 sheets (seven<br />
double-page), mostly engraved by Johann Jakob<br />
Sandrart after Joachim von Sandrart, two by<br />
Susanna Maria Sandrart (1658-1716); two<br />
engraved headpieces.<br />
Folio (400 x 253mm) [21]ff 212pp [8]ff. Contemporary<br />
mottled calf, spine gilt in compartments (some expert<br />
restoration to joints and headcaps). £3,500<br />
First edition of Sandrart’s beautifully illustrated<br />
iconography of the ancients gods based on<br />
Cartari’s indispensable guide to artists Imagini de<br />
i Dei degli antichi (1556). ‘The monumental<br />
Iconologia deorum reveals its remoter origins<br />
from the first page on; Boccaccio’s Demogorgon<br />
is given the place of honour. The work, it is true,<br />
boasts of its use of antique monuments: “Greek<br />
and Roman statues, objects in marble, ivory,<br />
agate and onyx”; but it is still in large part<br />
founded on the Italian mythographers and<br />
emblematists of the preceding century –<br />
Alexander of Naples, Alciati, Valeriano, Conti,<br />
Cartari’ (Seznec).<br />
Sandrart (1606-1688) was a renowned painter<br />
and art historian and is described by Klemm<br />
as ‘the most famous German painter of his day<br />
and the most important German writer on art<br />
between Dürer and Johann Joachim<br />
Winckelmann’. His most famous work was<br />
Teutsche Akademie der edlen... Künste (1675),<br />
with numerous portraits of artists and notices of<br />
German painters.<br />
Provenance: 18th-century engraved armorial<br />
bookplate of ‘Am Gruberi’.<br />
VD-17 3:312576U. Faber du Faur 1835. See: C<br />
Klemm in Grove Dictionary of Art, vol 27,<br />
pp725/6. J Seznec, Survival of the Pagan Gods<br />
(1972), p317.<br />
88 89
71 SChERER (GEORG) Rettung der Jesuiter Unschuld wider die Giftspinnen<br />
Lucam Osiander. Ingolstadt, Sartorius, 1586. [Bound with:] Ob es wahr sey, Dass<br />
auff ein Zeit ein Bapst zu Rom Schwanger gewesen, und ein Kind geboren habe.<br />
Ingolstadt, Sartorius, 1584. [And:] Bericht, Ob der Bapst zu Rom der Antichrist<br />
sey. In etliche Predigen kürtzlich verfasset. Inglostadt, Sartorius, 1585.<br />
First title with woodcut of a rose in bloom with<br />
a beetle and a wasp on the petals; titles in red and<br />
black, second and third titles within type<br />
ornament borders.<br />
Three works in one vol. 4to (205 x 160mm) [3] ff 72pp<br />
[1]f; [36]ff (last blank); [6]ff 153pp [1]f (blank).<br />
Contemporary limp vellum. £2,000<br />
First editions oF All three works by the Jesuit<br />
georg scherer, A leAding Figure oF the counter-<br />
reFormAtion.<br />
I A defence of the Jesuits against the ‘venemous<br />
spider’ Osiander in response to his 1585 treatise<br />
Warnung Vor der Jesuiter blutdurstigen<br />
Anschlagen (Warning of the Jesuit’s bloody plans<br />
and malicious practices) which also defends the<br />
Jesuits’ missionary work in the New World<br />
(pp55/66) and lists all the Jesuit Provinces<br />
worldwide including those in India, Japan, Brazil<br />
and Mexico. Lucas Osiander was Protestant court<br />
preacher to the Duke of Württemberg at Stuttgart<br />
and in his pamphlet accused the Jesuits of working<br />
towards the extinction of the protestant religion by<br />
using undue influence over sovereigns. The violent<br />
controversy lasted between 1585-89 and produced<br />
a succession of pamphlets from both sides.<br />
II An important polemical work which helped<br />
the Church to move on from its long held stance<br />
of accepting the existence of Pope Joan. This<br />
process began in Italy with Panvinio’s corrected<br />
version of Platina’s Lives of the Popes in 1562.<br />
However, Scherer’s was ‘The first work entirely<br />
devoted to refuting the existence of Joan. Scherer<br />
had nothing to add to Panvinio’s arguments but<br />
his work was new in two ways; it was written in<br />
German, thus carrying the debate into the<br />
Lutherans own linguistic domain; it signalled the<br />
arrival of the Society of Jesus on the ideological<br />
terrain of the popess. The Jesuits were better<br />
qualified to adapt to the new struggles than the<br />
older congregations, and they had no need to<br />
take on the medieval inheritance of the<br />
Dominicans and the Franciscans’ Alain Boureau,<br />
Myth of Pope Joan, (2001) p248.<br />
III A defence of Rome and the Pope, long<br />
regarded by some more virulent Protestant<br />
authors as the Antichrist.<br />
Georg Scherer was a ‘Pulpit orator and<br />
controversialist, born at Schwaz, in the Tyrol,<br />
1540, he died at Linz, 30 Nov, 1605; entered the<br />
Society of Jesus in 1559. Even before his<br />
ordination he was famed for his preaching<br />
powers. For over forty years he labored in the<br />
Archduchy of Austria. To Scherer, in part, it owes<br />
the retention of the Faith. In 1577 he was Court<br />
preacher to the Archduke Matthias; he retained<br />
the post until 1600. In 1590 he was appointed<br />
Rector of the Jesuit College at Vienna; the<br />
sternness of his character scarcely fitted him for<br />
the office, and he was transferred (1594) to Linz.<br />
‘Scherer was a man of boundless energy<br />
and rugged strength of character, a strenuous<br />
controversialist, a genuinely popular orator and<br />
writer. He vigorously opposed the Tübingen<br />
professors who meditated a union with the Greek<br />
Schismatics, refuted Lutheran divines like<br />
Osiander and Heerbrand, and roused his<br />
countrymen against the Turks... His eloquence<br />
and zeal made many converts, amongst them the<br />
future Cardinal Khlesl’ (Catholic Encyclopaedia).<br />
Provenance: Ownership stamp on verso of<br />
title of the Counts of Fürstenberg, Court Library<br />
Donaueschingen.<br />
I VD16 S2734. Stalla 1562. Alden-L. 586/65.<br />
Sommervogel III, 609, no 8 II VD16 S2725. Stalla<br />
1512a. Sommervogel III, 607, no 4. III VD16<br />
S2680. Stalla 1535. Sommervogel III, 610, no 16.<br />
90 91
72 [SOBIUS (JACOBUS)] Philalethis civis Utopiensis dialogus, de facultatibus<br />
Rhomanensium nuper publicatis. Henno rusticus. [Np, nd, ie Basle, Andreas<br />
Cratander, 1520].<br />
Sm 8vo (155 x 100mm) [28]ff. Modern marbled<br />
boards, paper label on front cover. £1,200<br />
A rAre exAmple oF the only edition of this early<br />
reformation satire which lampoons the sale of<br />
indulgences by the papal legate (Giovanni Angelo<br />
Arcimboldi?) and was later put on the index. The<br />
supposed author is one ‘Philalethis civis<br />
Utopiensis’ and it is written in the form of a<br />
dialogue between Henno, Polypragmon, Bruno,<br />
Bartolinus and the Legatus Romanus.<br />
The satire has been wrongly ascribed to<br />
Hutten and to Erasmus and is attributed to the<br />
prominent Cologne humanist Jacobus Sobius<br />
(1493-1527) by VD16. Contemporaries of<br />
Erasmus notes, however, that ‘this lampoon of<br />
an unnamed papal legate has normally been<br />
attributed to Sobius on the strength of an<br />
explicit statement to this effect by Henricus<br />
Cornelius Agrippa. However, a letter to Zwingli<br />
(Z VII Ep 148) by Jacobus Nepos dating from<br />
the time when the manuscript was published in<br />
Basel would seem to cast some doubt on the<br />
traditional attribution’. The work appears in<br />
Böcking’s edition of Hutten Opera, 1859-1862,<br />
IV, pp485-514.<br />
Provenance: 19th-century circular stamp on<br />
verso of title ‘Ad Bibl Acad Land’ and inscription<br />
in lower margin of f a3 ‘bib acad Ingolst [adt]’.<br />
VD16 S6833. Adams S1341. BMSTC<br />
(German), p691. Contemporaries of Erasmus<br />
III, pp252/3. Index des livres interdits (Ed JM<br />
de Bujanda), Centre d’Études de la Renaissance,<br />
1995, no 486.<br />
73 SUCqUET (ANTOINE), SJ Via vitae aeternae iconibus illustrata<br />
per Boetium a Bolswert. Antwerp, typis Martini Nutii, 1620.<br />
Engraved frontispiece title and 32 engraved<br />
emblematic plates by Boetius a Bolswert.<br />
8vo (190 x 125mm) [8]ff 875pp [10]ff. Contemporary<br />
vellum (later endpapers, a few minor marks). £2,400<br />
A Fine presentAtion copy of the first edition of this<br />
very popular emblem book, a meditative guide to<br />
the path of eternal life by the Belgian Jesuit,<br />
Antoine Sucquet (1574-1627). Each emblem has<br />
an annotation or quotation from the Bible and an<br />
lengthy explanation of the plate. The fine<br />
emblems are by the great baroque engraver<br />
Boetius a Bolswert (c 1580-1633), who also<br />
illustrated the emblem books of Herman Hugo<br />
and also engraved many plates after Rubens. Praz<br />
calls him ‘the illustrator of the sentimental and<br />
ecstatic states of the soul’.<br />
Provenance: Presentation inscription at foot<br />
of the engraved title from the author to an<br />
unidentified fellow Jesuit, ‘Ab auctore donatus<br />
A dg SJ’, and dated at head of page ‘4 Novemb<br />
1620’. Later inscription at foot dated 1720 of<br />
‘Joan Toll?’. On fly-leaf presentation inscription<br />
of Pater J de Beare, 1912, to Mount St Mary’s<br />
Jesuit College.<br />
Praz, p506. De Backer-Sommervogel, VII, col<br />
1690, no 1.<br />
92 93
74 TERESA DE AVILA ST Camino di perfettione. - [Le Mansioni overo<br />
castello interiore]. [Trans. Francesco Soto]. Rome. Stefano Paolini, for<br />
Giacomo Vernice, 1603.<br />
Large woodcut portrait with a wide border of<br />
typographical ornaments, Jesuit device on<br />
each title-page.<br />
2 parts in one. 4to (205 x 150mm) [8]ff 157pp [1]f [4]<br />
ff 177-368pp. 19th-century quarter calf. £900<br />
First edition in Italian of two important works of<br />
Santa Teresa de Avila (1515-1582), generally<br />
regarded as the most famous and most original of<br />
all the mystical writers; these two works are<br />
printed before her beatification in 1614 and<br />
canonisation in 1622. She became a Carmelite at<br />
the age of 19 and later set out, in collaboration<br />
with San Juan de la Cruz, to reform the order; she<br />
managed to reform 32 convents throughout<br />
Spain and founded the Order of Discalced<br />
(Barefoot) Carmelites. Of her many writings her<br />
autobiographical Vida was denounced to the<br />
Inquisition by conservative Carmelites.<br />
Her mysticism is simple, pure and<br />
spontaneous, easily understood by the average<br />
believer yet susceptible of multiple interpretations<br />
by the theologian. ‘In her writings the Saint<br />
reveals herself as an admirable organiser and an<br />
expert diplomat, quick to penetrate human<br />
motives. She united in remarkable fashion<br />
realistic practical talents and the most<br />
extraordinary poetic imagination and abstract<br />
power of absorption. The rare alliance of gifts<br />
which appear contradictory constitutes the truly<br />
original side of her genius. (Merimée, History of<br />
Spanish Literature, p267).<br />
Title repaired in inner margin, a few light<br />
stains in places.<br />
Palau 299043.<br />
75 TERRACINA (LAURA) Quarte rime della Signora Laura Terracina detta<br />
Phebea nell’Academia de gl’Incogniti. Venice, appresso Domenico Farri, 1560.<br />
Fine woodcut half-length portrait of Laura<br />
on verso of folio 6, device and cartouche on<br />
title-page, initials.<br />
Sm. 8vo (160 x 100mm) 75ff (lacks final blank).<br />
Modern marbled boards. £1,200<br />
lAurA terrAcinA’s Fourth book of poems was<br />
first published in 1550 and reprinted here by<br />
Farri in 1560. Both editions are very rare with<br />
Edit 16 only locating four copies of the first<br />
edition (OCLC adds BL, John Rylands<br />
Manchester & Yale only) and four of the present<br />
edition. Another edition of Lucca, Vincenzo<br />
Busdraghi, 1551 is recorded by Edit 16 but no<br />
locations are given and we can trace no copy.<br />
Terracina’s (1519-1577?) poems were<br />
published from 1548 and eight slim volumes<br />
appeared by the time of her death including her<br />
commentaries on Ariosto’s Orlando Furioso; her<br />
last collection composed just before her death<br />
remained unpublished. She was member of the<br />
Neapolitan Accademia degli Incogniti between<br />
1545-47 where she was known as ‘Phebea’, as<br />
noted on the title-page here. As well as cultivating<br />
friendships with the leading Neapolitan writers<br />
and intellectuals of the time she also corresponded<br />
with figures such as Anton Francesco Doni, Luigi<br />
Tansillo and Lodovico Dolce.<br />
Title word ‘Quarte’ has been rubbed away<br />
from cartouche.<br />
Censiment Edit 16 CNCE 37714 4 locations<br />
only (Piazza Armerina, Padova, Urbania,<br />
Bassano del Grappa). BMSTC (Italian), p666.<br />
OCLC (US: NYPL, Wellesley, Duke & Utah<br />
only; Germany BSB only).<br />
94 95
76 TERREVERMEILLE (JEAN DE) Contra rebelles suorum Regum...<br />
(Lyon, in edibus Ioannis Crespin, 3 December 1526).<br />
Title in red and black within fine four-piece<br />
woodcut border, with central woodcut device of<br />
Constantin Fradin, woodcut initials.<br />
4to (262 x 180mm) 22, CXXI, [1] (blank) ff. Double<br />
columns. 18th-century marbled calf, ornate gilt border<br />
on covers and central gilt arms of Pius VI (1717-99),<br />
pope from 1775. £2,500<br />
rAre First edition of this important 15th-century<br />
legal treatise on the monarchy by Jean de<br />
Terrevermeille or Terrerouge (1370?-1430?),<br />
avocat at Nîmes and a legal expert in the turbulent<br />
reign of Charles VI (1368-1422) and the Dauphin,<br />
the future Charles VII (1403-61). This, his only<br />
known work, was written for the Dauphin between<br />
February and September 1419 in defence of his<br />
rightful succession. In the three tracts Terrevermeille<br />
concentrates on the laws and prerogatives of kings<br />
and emperors and in particular the kings of France.<br />
In the first tract in he develops the idea that the king<br />
is only a custodian of the authority of the crown and<br />
the importance of rightful succession. The text is<br />
augmented by the copious commentary of Jaques<br />
Bonaud de Sausete. The printing of the text a<br />
century after it was written allowed it to gain<br />
considerable influence in French constitutional<br />
thinking from the Renaissance onwards.<br />
Provenance: Gilt arms on covers of Pius VI<br />
(1717-99), pope from 1775, born Count Giovanni<br />
Angelo Braschi, whose long reign culminated in his<br />
being taken prisoner by Napoleonic troops in 1798,<br />
he died a year later. A few early underlinings and<br />
marginal notes. Some light browning in places.<br />
Baudrier XI, 131 (no locations outside France).<br />
OCLC (USA: Yale Law, NYPL) Copac (Oxford).<br />
77 TORY (GEOFFROY) L’art et<br />
science de la vraye proportion des<br />
lettres attiques... Paris, par Viuant<br />
Gaultherot, 1549.<br />
116 woodcuts designed and cut by Tory mostly<br />
illustrating the formation of letters with several<br />
more elaborate blocks, one ‘Le Hercule françois’<br />
is signed with the Lorraine cross and dated 1526,<br />
in addition 13 alphabets are found on 36 pages<br />
plus three pages of ciphers.<br />
8vo (163 x 105mm) 184ff. 18th-century marbled<br />
calf covered in 19th-century purple silk which is<br />
sewn together inside the front and back covers,<br />
paper label on spine (spine lightly faded, small tears<br />
at head of spine). £8,500<br />
the second edition of the Champ Fleury, ‘the<br />
most famous single work in the early history of<br />
French typography’ (Mortimer). Both the<br />
format and layout have been revised and, as<br />
Mortimer notes, the title has reverted the one<br />
first recorded in Tory’s 1526 privilege. Although<br />
almost all the illustrations from the first edition<br />
are found here, there are three substitutions in<br />
the letter diagrams, the format is now octavo<br />
and the title and colophon are unornamented<br />
making this, ‘a strictly utilitarian volume in<br />
contrast to the 1529 printing’ (Mortimer).<br />
Among the alphabets the ‘lettres fleuries’ have<br />
been changed to criblé initials adapted from the<br />
set belonging to Robert Estienne.<br />
Tory’s reputation as renaissance scholar,<br />
printer and artist is based on this work which is<br />
divided into three books, the first on the French<br />
language, the second on the origin of roman<br />
letters and the third on the construction of<br />
letters. The woodcuts in the second section<br />
demonstrate proportions of letters based on the<br />
human form, and Bernard suggests they may be<br />
attributed to Jean Perréal, whom Tory credits with<br />
96 97
designs elsewhere. In the third section Tory<br />
provides a detailed account of and practical advice<br />
on the design and execution of letter-cutting.<br />
The idea of the Champ Fleury first came to<br />
him in 1523, inspired partly by an Attic letter<br />
which he had recently made for his friend, Jean<br />
Grolier. Tory’s earlier travels in France and Italy,<br />
visiting the Coliseum, and seeing many ancient<br />
monuments, provided further inspiration for his<br />
ideas on letter-forms. In addition to the many<br />
woodcuts illustrating letters are two allegorical<br />
scenes by Tory which he signed with the Lorraine<br />
cross, one of ‘Le Hercules françois’ (dated 1526),<br />
and one in two parts of ‘Le triumphe d’Apollo’.<br />
Title-page just shorter and lightly soiled,<br />
index quire * misbound after title-page and x2.7<br />
misbound in quire v, stain affecting lower blank<br />
portion of final leaf, slight loss to upper blank<br />
margin of last few leaves; overall a very good<br />
unwashed copy in an unusual binding. The use<br />
of a silk ‘dust jacket’ is reminiscent of the<br />
‘Cottonian’ bindings found in the collection of<br />
the poet Robert Southey, covered in material by<br />
his daughters.<br />
Provenance: Early inscriptions on title-page<br />
(faded). Armorial bookplate of Richard Shute<br />
inside front cover which is inscribed by the<br />
Oxford historian Frederick York Powell (1850-<br />
1904), ‘Given me by Mrs Shute in memory of<br />
[Richard Shute]’ and dated ‘23.3.1887’. Rowley<br />
Atterbury (b 1920), designer and printer at Faber<br />
& Faber and founder of the Westerham Press.<br />
Mortimer (French) no 526. BMSTC (French),<br />
p423. Brun, p315. See: Bernard Tory 12-27, 81-<br />
84, 189-196.<br />
78 TOSCANO (GIOVANNI MATTEO) Psalmi Davidis ex hebraica veritate<br />
latinis versibus exoressi... quibus praefixa sunt argumenta singulis distichis<br />
comprehensa, opera Io. Aurati poetae regii. [Bound with:] Octo cantica sacra e<br />
Sacris Biblis latino carmine expressa... praefixis argumentis Io. Aurati... eiusdem<br />
Toscani Hymni, & Poemata. Paris, ex officina Federici Morelli typographi 1575.<br />
Fine four-piece arabesque woodcut border on<br />
title-page, woodcut headpieces and initials.<br />
Two vols in one. 8vo (175 x 110mm) [8], 141, [9]ff;<br />
[60]ff. Late 17th/early 18th-century calf, single gilt<br />
fillet on covers, spine gilt with arms of the Dauphin<br />
in four compartments (upper joint and<br />
headcaps restored). £1,200<br />
First editions oF both volumes of Toscano’s<br />
(1500?-1576) verse translations from the Hebrew<br />
of the Psalms and eight Canticles, followed by his<br />
own hymns, epigrams and poems. Jean Dorat<br />
(1508-1588) provides the introductory distich to<br />
each psalm and canticle. In the appendix to the<br />
first part, Morel the younger describes the variety<br />
of meters used by Toscano. Two leaves, which<br />
contain an elegy to Chauvet and the privilege, are<br />
found at the end of the first part and are not<br />
present in all copies.<br />
Giovanni Matteo Toscano (1500?-1576) was<br />
born in Milan at the beginning of the 16th century<br />
and little is known of his early life. He came to<br />
know Dorat at the court of Catherine de Medicis<br />
and they became good friends. Dorat helped in the<br />
publication of the present work and Toscano, in<br />
turn, was proud to be his student. He also compiled<br />
a collection of Latin works by Italian poets<br />
Carmina illustrium poetarum italorum (1576-77).<br />
The great Hellenist Jean Dorat (c 1502-88)<br />
counted Ronsard among his pupils at the College<br />
de Coqueret as well as Baif and du Bellay. He had<br />
the honour of being named leader of La Pleiade<br />
which had been formed by these young poets as a<br />
society for the reformation of the French language.<br />
Dorat’s importance, however, lay in the study of<br />
Greek and Latin and in 1555 he was appointed<br />
professor of Greek at the College Royale and was<br />
named by Charles IX as poeta regius .<br />
Provenance: Inscription on title-page of<br />
‘Antheaume Parisin 1683’ with a one-line note<br />
before each psalm in the same hand. Ownership<br />
inscription inside front-cover of ‘James Ford,<br />
1848. Very Scarce.’ and bookplate of the Phillpotts<br />
Library, Truro, ‘presented by Rev. James Ford,<br />
1872’. 18th/19th-century engraving of King David<br />
with his Harp pasted on to front free endpaper.<br />
I Adams B1464. OCLC (US: Harvard, Kansas,<br />
Michigan only). II Adams T843. OCLC (US:<br />
Harvard, Folger & Columbia only). Ref: G<br />
Oberle, Poesie Neo-Latine, no 242.<br />
98 99
79 TYRE (wILLIAM, ARChBIShOp OF) Historia della guerra sacra di<br />
Gierusalemme, della Terra di Promissione, e quasi di tutta la Soria ricuperata<br />
da’ Christiani. Tradotta in Lingua Italiana da G. Horologgi. Venice, appresso<br />
Vincenzo Valgrisi, 1562.<br />
Printer’s device on title-page and verso of last<br />
leaf, woodcut historiated initials.<br />
4to (210 x 160mm) [14]ff 702pp [1]f. Contemporary<br />
vellum over thin paste boards, upper cover stamped with<br />
ownership initials ‘HIK’ (remains of vellum ties). £1,250<br />
First itAliAn edition, translated by Giuseppe<br />
Orologi (1520-76), of the archbishop and<br />
chronicler William of Tyre’s (d 1190) History of<br />
the Kingdom of Jerusalem, the only source for<br />
the history of twelfth-century Jerusalem written<br />
by a native. The first Latin edition had only been<br />
published a decade or so before by Nicholas<br />
Brylinger, Basle 1549.<br />
‘The chief work of his which has reached us is<br />
the Historia rerum in partibus transmarinis<br />
gestarum, or Historia Hierosolymitana, in<br />
twenty-three books. It is a general history of the<br />
Crusades and the Kingdom of Jerusalem down<br />
to 1184. The work was begun between 1169 and<br />
1173, at the request of King Amaury. The first<br />
sixteen books (down to 1144) were composed<br />
with the assistance of pre-existing sources,<br />
Albert of Aix, Raimond d’Aguilen, Foucher of<br />
Chartres, etc. On the other hand books 17 to 23<br />
have the value of personal memoirs. As<br />
chancellor of the kingdom the author consulted<br />
documents of the first importance, and he<br />
himself took part in the events which he<br />
recounts. He is therefore a chief source for the<br />
history of the Kingdom of Jerusalem. His<br />
account is in general remarkable for its literary<br />
charm. Very intelligent and well informed, the<br />
author had very broad views; from his stay at<br />
Constantinople he acquired a certain admiration<br />
for the Byzantine Empire, and his temperate<br />
opinions of John and Manuel Comneus are in<br />
contrast with the tone of other European<br />
chronicles’ (Catholic Encyclopaedia).<br />
Provenance: Unidentified initials on upper<br />
cover, small armorial stamp on title-page.<br />
Engraved bookplate of the Augustinian Canons<br />
of Polling Abbey, Bavaria, dated 1744,<br />
‘Franciscus Praepositus S Salvatoris Pollingae.<br />
Ad bibliothecam ibidem.’ Franz Töpsl (1711-<br />
1796), provost at Polling for 50 years, was<br />
one of the great leaders of the Catholic<br />
Enlightenment in Bavaria. He oversaw the<br />
building of the large library at the abbey which<br />
held some 80,000 volumes by the time of his<br />
death and was therefore one of the largest in<br />
southern Germany.<br />
Light dampstain to lower margin, otherwise a<br />
very fresh copy.<br />
Censimento Edit 16 CNCE 22407. BMSTC<br />
(Italian), p322. Adams W179.<br />
80 UBALDINUS (JOANNES pAULUS) Carmina poetarum Nobilium.<br />
Io Pauli Ubaldini conquista. Milan, apud Antonium Antonianum, 1563.<br />
Fine large woodcut printer’s device on title-page<br />
repeated on verso of final leaf.<br />
Sm 8vo (180 x 115mm) 107, [1]ff. Early binding of<br />
cartonnage boards. £1,100<br />
First edition of this important anthology of Neo-<br />
Latin poetry which holds 224 poems by forty<br />
writers. John Sparrow describes it as ‘one of the<br />
most remarkable of such collections ... some of the<br />
contributors are contemporary nonentities,<br />
distinguished poets, both contemporary and of<br />
earlier generations are represented (eg Tebaldeo,<br />
Navagero, Aonio Paleario, Bonfadio, the brothers<br />
Amalteo, Giano Vitale and Niccolò d’Arco).<br />
Although some of the contents may well have been<br />
taken from printed editions, Ubaldini declares that<br />
his texts were ‘magna cura ac studio conquisitos’,<br />
and he must have gone to manuscript sources for<br />
much of his materials, eg the three odes of Giovanni<br />
Casa, the three poems of Niccolò d’Arco and the<br />
ten important poems of Molza, which alone give<br />
distinction to this anthology.’<br />
Censimento CNCE 29215.<br />
100 101
81 ULRICh III, hERzOG<br />
zU MECKLENBURG Kurtze<br />
wiederholung etlicher fürnemer<br />
Heuptstücke Christlicher Lehre, nach<br />
ordung des Catechismi. Durch eine<br />
hohe Fürstliche Person zusammen<br />
getragen. Mit einer Vorrede Andreae<br />
Celichii Mecklenburgischen<br />
Superintendenten. Leipzig, (bey<br />
Michael Lantzenberger. In verlegung<br />
Werneri Langen/ Buchbinders und<br />
Buchendlers zu Güstrow), 1594.<br />
Title in red and black, 17 woodcuts c. 65 x<br />
60mm most within ornamental border strips,<br />
each page printed within one of eight different<br />
four-piece woodcut borders of finely detailed<br />
ornamental and historiated blocks, one pair<br />
dated ‘1566’ another with the arms of the<br />
Electorate of Saxony at foot, full-page woodcut<br />
Mecklenburg coat-of-arms (148 x 106) on verso<br />
of title-page after Lukas Cranach d A, printer’s<br />
device on verso of final leaf; gothic and some<br />
roman letter.<br />
4to (195 x 145mm) [324]ff. Contemporary vellum<br />
over paste-boards decorated in gilt (now mostly<br />
oxidised), covers panelled by double gilt fillets, small<br />
star and fleuron stamps at corners, large central oval<br />
fleur-de-lys ornament on front cover, oval arabesque<br />
stamp on rear cover (ties missing). £7,500<br />
extremely rAre First edition of the richly<br />
illustrated Lutheran catechism of Duke Ulrich<br />
of Mecklenburg. The only surviving copies<br />
that we can trace in Germany are at the<br />
Herzog August Bibliothek, Landesbibliothek<br />
Mecklenburg, Universitätsbibliothek Rostock,<br />
Gotha Forschungs Bibliothek and Museum der<br />
Stadt Güstrow. Outside Germany only three<br />
copies can be traced, in France at the Bibliothèque<br />
Nationale and Université de Strasbourg and in<br />
Denmark at the Danish National Library.<br />
A devout Lutheran, Ulrich was a well educated<br />
and modern prince whose court at Güstrow was a<br />
centre of artistic and intellectual activity. His<br />
catechism reflected his thorough knowledge of<br />
the Lutheran faith. He organised the work in 23<br />
chapters in the form of questions and answers.<br />
The excerpts used to illustrate the answers are<br />
taken from the Bible but also reflect his wide<br />
reading of the Church Fathers and other early<br />
theologians including Bede and some classical<br />
authors such as Pliny and Euripides. He intended<br />
it to serve as a pedagogical and theological work<br />
which guided the reader to a better Christian life.<br />
Neumann notes that he discussed his plans for<br />
the Catechism with his daughter Sophie and that<br />
he also had a strong influence on the layout of<br />
the printed form. Later editions appeared in<br />
1595 and 1600 with some changes.<br />
The richly ornamented borders, found on every<br />
page save the title-verso, incorporate scenes from<br />
the Bible, figures of Old Testament prophets, the<br />
symbols of the evangelists, the arms of Saxony and<br />
the date ‘1566’. The woodcuts are from a variety of<br />
102 103
sources and follow the text. Three are signed, the<br />
woodcut of the Creation is marked with a cross ‘+.’<br />
and Adam and Eve with an initial ‘H’, neither<br />
marks are found in Nagler. The woodcut of Moses<br />
holding the ten commandments is signed by the<br />
initial ‘L’ with the symbol of a cutter’s knife<br />
alongside (Nagler, IV, p257, unknown artist); it<br />
also appeared in Ambrosius Lobwasser’s very rare<br />
paraphrase of the Bible printed in Leipzig, 1584<br />
(VD16 L 2186). A number of the other woodcuts<br />
are likely to have been produced for the Catechism,<br />
including a Lutheran baptism with Ulrich in<br />
attendance, a Memento mori of a Putto with an<br />
Hourglass commonly used in sepulchral art at<br />
Güstrow and the Day of Judgement woodcut<br />
which has close parallels to the important painting<br />
of that subject by Hans Metzger in 1584 (Neumann<br />
M28, Abb 74). The woodcut of the Mecklenburg<br />
arms bears the small serpent-like mark of Cranach<br />
in the lower left-hand corner. Cranach designed an<br />
armorial woodcut which appeared in the<br />
Mecklenburg service book of 1552 and also at<br />
least two other bookplates for the family.<br />
Ulrich III Nestor Herzog von Mecklenburg-<br />
Güstrow (1527-1603), was the son of Albrecht VI<br />
(1488-1547) and Anne von Hohenzollern (1507-<br />
1567). He married Elizabeth Oldenburg, Princess<br />
of Denmark, daughter of Frederik I von Gottorp,<br />
King of Denmark on 16 February 1556. From<br />
1558 he rebuilt the medieval castle at Güstrow in<br />
a synthesis of Italian, French and German<br />
architectural styles which become the most<br />
important renaissance palace in North Germany.<br />
Tycho Brahe dedicated a copy of Astronomiae<br />
instauratae mechanica (Wandesbeck, 1598) to<br />
him, and he corresponded with humanists such as<br />
Heinrich Rantzau.<br />
Provenance: Contemporary inscription on titlepage<br />
of ‘Albert: Moller’ who has underlined a<br />
number of passages, likely to be the Hamburg<br />
pastor who had a number of works published<br />
between 1589-1596 (see VD16). 20th-century<br />
bookplate inside front cover of Athol H Lewis.<br />
VD16 U109. OCLC (outside Germany only<br />
France: Bibliothèque Nationale, Uni. Strassburg;<br />
Denmark: Danish National Lib.). No copies<br />
located in USA or UK. No copy has appeared in<br />
German auction records in recent decades (JAP 41-<br />
60, 1990-2009), nor Anglo/American auctions.<br />
Ref: Carsten Neumann Die Renaissancekunst<br />
am Hofe Ulrichs zu Mecklenburg (2009), cat no<br />
G23 pp294-5.<br />
82 VEGETIUS (FLAVIUS) De re militari libri quatuor. Sexti Iulii Frontinu<br />
... de stratagematis libri totidem. Aeliani de instruendis rei militaris liber<br />
unus. Modesti de vocabulis rei militaris liber unus (Ed G Budé). Paris, apud<br />
Christianum Wechelum, 1535. [Bound with:] VALTURIUS (R). De re militari<br />
libri XII. Paris, apud Christianum Wechelum, 1534.<br />
I. Wechel’s device on title-page, large woodcut of<br />
a lansquenet (German foot-soldier) on verso and<br />
repeated twice more, one half-page diagram and<br />
119 other full-page woodcuts of military men,<br />
arms and armour. Letter diagrams of military<br />
positions to text of Aelianus. Wechel’s device on<br />
verso of last leaf. II. Woodcut printer’s device at<br />
beginning and end and 85 near full-page<br />
woodcuts with 97 illustrations of military<br />
engines and demonstrations<br />
Two works in one vol. Folio (292 x 195mm) [4]ff 279pp;<br />
[6]ff 383pp. 18th-century speckled calf, spine gilt in<br />
compartments, re (joints and headcaps restored). £6,750<br />
i wechel’s third edition with illustrations<br />
from his first of 1532. Mortimer regards them as<br />
close copies of the cuts in Heinrich Steiner’s<br />
Augsburg edition of 1529. With the exception of<br />
the two smaller cuts at the beginning, Steiner’s<br />
series are free copies, the majority in reverse, of<br />
blocks used in the 1511 Erfurt edition printed by<br />
Hans Knappe. Following Vegetius are the texts<br />
of Frontinus, Aelianus Tacitus and Modestus.<br />
Among the more remarkable cuts are pneumatic<br />
beds, similar boots for walking in the water,<br />
diving suits, an ‘armoured train’, impenetrable<br />
footwear, while on K4v is a farrier at work with<br />
an enlarged illustration of a horseshoe with nails<br />
and on 01 is a soldier using a flint and steel with<br />
a tinder box divided into three compartments.<br />
II Wechel’s second edition with the errata<br />
corrected from his 1532 edition, the first to be<br />
printed in France. The fine military plates are<br />
reversed free copies of those found in the 1483<br />
Venice edition, which in turn were reduced free<br />
copies of those in first edition printed in Verona<br />
in 1472. Three of the cuts appear with the<br />
Mercury sign of the artist Jean Jollat who has<br />
added small details to many of the illustrations,<br />
although Mortimer remarks that the strong<br />
outline characteristic of the Italian illustrations<br />
was retained in the French copies.<br />
The illustrations include numerous military<br />
engines: catapults, rams, cannons, grenades, scaling<br />
ladders, water-raising machines, a clepsydra or<br />
water-clock (with 17 hours marked on the dial),<br />
bridges, rafts and paddle boats.<br />
Mortimer 487 & 536. Fairfax Murray 563 &<br />
560. Adams V332 & 225.<br />
104 105
83 [VINCENTIUS (pETRUS)] Von kleglichem vnzeitigem Tod Eduardi des<br />
Sechsten, Königs zu Engelland etc. Warhafftiger gründlicher Bericht vnd erzelung<br />
der dinge vnd veranderung[n], so sich in dem löblichen Königreich Engelland,<br />
Anno Christi 1553. im Monat Julio zugetragen. Leipzig, [Jakob Barwald], 1554.<br />
4to (197 x 147mm) [12]ff. Bound in later<br />
vellum wrappers. £1,800<br />
A rAre eye-witness Account of the struggle for<br />
succession following the death of Edward VI. It<br />
relates the events of July 1553 when John Dudley,<br />
Duke of Northumberland, attempted to put his<br />
daughter-in-law Lady Jane Grey on the English<br />
throne. The account accuses Dudley, who was de<br />
facto regent, of causing or accelerating Edward’s<br />
death by poison or the dagger, and describes him<br />
as ‘gaping like a crow for carrion’ after the king’s<br />
demise. It also makes clear the lack of public<br />
support in London and the country for Lady Jane<br />
Grey as monarch, as well as describing the<br />
wavering loyalties of the privy counsellors bullied<br />
by the primus inter pares Dudley, and the scenes of<br />
jubilation when Mary was proclaimed rightful<br />
Queen on 19 July. The author ends his tract with<br />
details of Mary’s magnificent entry into London<br />
on 3 August, which was full of regal pomp and<br />
ceremony, and notes that, ‘It is highly worthy of<br />
the consideration of all good men that this<br />
wonderful vicissitude of the greatest revolutions<br />
was experienced in the kingdom of Britain within<br />
the space of a month without slaughter or<br />
bloodshed, excepting the murder of King Edward,<br />
owing to the singular beneficence of God’.<br />
Authorship has been ascribed to the Lutheran<br />
pedagogue Petrus Vincentius (Peter Vietz, 1519-<br />
81), who was in England at the time as a member<br />
of the Hansa delegation. His authorship shows<br />
the international interest in the succession<br />
question. Germany was particularly interested<br />
as Mary was Charles V’s cousin and, although<br />
Northumberland’s government was protestant,<br />
this legitimacy of succession was the main<br />
concern. Other important factors included<br />
Northumberland’s pro-French policy and the<br />
possible restriction of German trade. Other<br />
suggested authors are the Italian theologian<br />
Pietro Martire Vermigli, a close friend of<br />
Thomas Cramner, and the Swiss protestant<br />
theologian Peter Viret.<br />
The account was first published in Wittenberg<br />
in a Latin and a German edition in 1553 with this<br />
sole Leipzig edition appearing in the following<br />
year. According to VD16 no further editions were<br />
published and all are very rare. OCLC records<br />
only one copy of our edition in US libraries and<br />
no copies of the Wittenberg printing.<br />
VD16 V1093 (online four copies). OCLC (Yale<br />
copy only in US). COPAC (BL only). Ref: Denys<br />
Hay, The ‘Narratio Historica’ of Petrus<br />
Vincentius, 1553, in English Historical Review,<br />
Vol 63, No 248 (Juli 1948), pp350-356.<br />
106 107
108