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Displayed below are some selected recent viaLibri matches for books published in 1584

        RERUM BURGUNDICARUM LIBRI SEX in quibus describuntur res gestae Regum, Ducum, Comitumque utriusque Burgundiae; ac in primis Philippi Audacis, Ioannis Intrepidi, Philippi Boni...Caroli Pugnacis;

      Antverpiae: ex officina Christophori Plantini, 1584.. qui e Valesia Francorum Regum familia apud Burgundos imperarunt. Quorum postremus liber, qui est sextus, continet Genealogias familiarum eorum maxime principum de quibus in uniuerso Opere fit mentio; docens quoque rationem stemmatum per avita insignia disponendorum.... Cum Indice rerum memorabilium stemmatumque locupletissimo. FIRST EDITION 1584, separate title page dated 1583 for Book Six: Genealogiae with separate register and pagination. Latin text, folio in sixes, approximately 320 x 205 mm, 12½ x 8¼ inches, printer's device on title page, woodcut genealogical tables and historiated initials in text, early large engraved portrait of the author mounted on blank facing title page, pages: [8], 192; [12], 99, (1), (12), the 12 pages of index and errata to the first 5 books have been misplaced by the binder after Book 6 (R1-6), complete with the Dedication to Philip II of Spain, sometimes excised, bound in full old calf, narrow blind tooled border to covers, rebacked at some time with earlier gilt decorated backstrip laid on, new leather showing at head and tail and on hinges, recent gilt lettered red morocco label, all edges red, marbled endpapers. Boards slightly worn and marked, neat repairs to corners, front inner paper hinge partly cracked, front endpaper pasted to following blank leaf, rear endpapers worn, soiled and chipped, name with date 1896 on second blank, first title page slightly dusty, occasional pale damp staining or light spotting to margins, small pale ink stain on 1 text page, all legible, a few pages lightly age-browned, neat 1 word note in 2 margins, index leaves at rear slightly damp stained all over, easily legible. A good sturdy copy mostly very clean. Pontus Huyter or Heuterus, was a historian and philologist of Delft in the Netherlands (1535-1602). This is the first edition of the history of the Burgundian Netherlands in five books, from Philip the Bold (1334) to Charles the Bold (1477), with an introductory chapter on Burgundy. This work is still important today because the author had access to sources now lost. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Encaenia. In Religiosissimvm Templvm Avgvstae Vindelicorvm Societati Iesv Exaedifidatvm, Et Commvni Salvatori deuotum, dedicatum, consecratum; Cvm Testificatione Meritorvm Maximorvm, Qvae Hvivs Reipvblicae Viri principes in eandem Societatem liberalissime contulerunt.

      (in fine: Dilingae [Dillingen] Excudebat Ioannes Mayer) 1584. - 20 x 16 cm. [1] Bl., 45 S. Titelblatt mit Holzschnitt-Marke. Modernes Halbpergament unter Verwendung von älterer Papiermakulatur. Mäßig gebräunt, vereinzelt etwas fleckig. Letztes Blatt mit Resten eines Blattweisers. VD16 ZV 5001. OCLC 254648464. Lagenkollation A-F4. Text innerhalb einer (wiederholten) vierseitigen gedruckten Bordüre. Mit zahlreichen Holzschnitt-Initialen. Sehr seltene Schrift des berühmten Jesuiten Jacobus Pontanus (eigentlich Spanmüller, 1542 - 1626), von zahlreichen Autoren als der beste Latinist der Gesellschaft bezeichnet. "Nach dem Studium an den Jesuitenkollegien in Prag und Ingolstadt lehrte P. am Dillinger Kolleg 1570-79 die alten Sprachen und Rhetorik. Sein Entschluß, als 'Grammaticus' die aktive Beherrschung der lat. Sprache und vielseitige Kenntnisse der griech.-röm. Kulturgeschichte und Dichtung zu lehren, anstatt zum Theologie-Professor aufzusteigen, beruhte auf der humanistischen Überzeugung, daß rhetorische Gewandtheit, breite Literaturkenntnisse und eine Fülle von Sachwissen für viele Berufe qualifizierten und die moralische Persönlichkeit festigten." Barbara Bauer in NDB 20 (2001), S. 615 f.

      [Bookseller: Antiquariat Peter Fritzen]
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        A Breefe Discourse, declaring and approuing the necessarie and inuiolable maintenance of the laudable Customes of London . . . whereby a reasonable partition of the goods of husbands among their wiues and children is prouided [etc.]. S.T.C. 16747

      Only edition of the first work on London customs, with an emphasis on women and children's testamentary rights, to survive (exceptionally) in London until 1724, as (in Holdsworth's words) "she and her children were entitled to their legitimate parts". Modern brown morocco, a Riviere binding, gilt ruled and lettered, all edges gilt, the title darkened and just trimmed; the Taussig copy. Printed by Henrie Midleton for Rafe Newberie, London, 1584.

      [Bookseller: Meyer Boswell Books, Inc.]
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        The Art of Riding set foorth in a breefe treatise.

      London: Henry Denham 1584 - 2 works in one volume, quarto (177 x 129mm). (Closely trimmed at top margin touching a few titles, occasional light spotting and staining.) Contemporary calf, gilt title to spine (19th-century repair preserving the original spine). Modern cloth box. Provenance: early manuscript annotations &#150; John Shaw Darlington (inscription to fly leaf). [ASTLEY, John (c.1507-1596).] The Art of Riding set foorth in a breefe treatise. London: Henry Denham, 1584. Woodcut head- and tailpieces and initials. [bound with:] CORTE, Claudio. The Art of Riding, translated by Thomas Bedingfield. London: Henry Denham, 1584. Woodcut illustrations in the text, 4 full-page, head- and tailpieces and initials. The exceedingly rare first edition of one of the earliest English treatises on horsemanship, derived in part from Xenophon, Federico Grisone's "Ordini di cavalcare", and other authors, and in part from Astley's own experience. This is, in fact, the first translation into English of Xenophon's treatise "Peri hippikes" ("On horsemanship"). - The publication of Astley's "Art of Riding", perhaps his single most lasting achievement, came late in his life as an Elizabethan courtier. Here, he relays the doctrine of the Italian riding schools as he and other Gentleman Pensioners understood it, particularly on training the horse to respond to the hand. Astley was on friendly terms with Thomas Blundeville, whose Grisone translation two decades earlier counts as the first treatise on horsemanship to be published in English, bound with a common companion piece, Claudio Corte's "Art of Riding" (also published by Denham in the same year) Rare first editions of two important equestrian books, including one of the earliest English treatises on horsemanship. Although distinct in collation, the two works were originally issued together, as here. Dejager 38 & 82; STC 884 & 5797. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        Culiacanae Americae regionis. / Hispaniolae, Cubae?

      Pa?ses Bajos - XVI. Papel verjurado. Grabador: Ortelius, Abraham. Dibujante: Ortelius, Abraham. 1584. Altura papelt: 413. Anchura papel: 520. Altura plancha:357. Anchura plancha: 498

      [Bookseller: Palau Antiguitats]
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        Dell'arte del misurare libri due, nel primo de' quali s'insegna a misurare et partir i campi. Nel secondo a misurar le muraglie, imbottar grani, vini... - Brescia, Bozzola, 1584. (&:) CATANEO, Girolamo. - Avvertimenti et essamini intorno a quelle cose che richiedono a un perfetto bombardiero, così circa all'artiglieria, como anco a fuochi arteficiati... -

      Venezia, Salicato, 1580, 1584. 2 opere in 1 vol. In-4 (20,5 x 14 cm.). Piena pergamena molle coeva, titolo calligrafato sul dorso; legatura con lievi tracce d'uso ma solida. I: moltissimi diagrammi n.t., alcuni a doppia pag. (4), 55, (1) ff.; 62, (2, ultimo bianco) ff. II: diverse silografie n.t. (4), 39, (1 bianco) ff.; internamente esemplare fresco e ben conservato. Buone edizioni di ambedue le opere dell'ingegnere novarese, la prima delle quali interessa anche l'enologia. I: Riccardi I, 316; Oberlé 914 (edizione del 1572, ma solo la seconda parte). II: Riccardi I, 314; Manzi 50; D'Ayala e Cockle altre edizioni. 2 works in 1 vol. Numerous diagrams in the first work, and many text woodcuts in the second. Contemp. limp vellum, ms. title on spine; back cover slightly worn, otherwise an excellent copy.

      [Bookseller: Libreria Antiquaria Rappaport]
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        Trattato dell'arte de la pittura... -

      Milano, Pontio, 1584. In-4 (20,4 x 14,5 cm.). Piena pelle del '700, dorso con fregi oro e tassello; minime tracce d'uso. Ritratto n.t. (40), 698 (mal num. 700), (2) + (4) pp.; piccola mancanza all'angolo sup. della carte B1, uno strappo riparato e qualche macchiolina, tuttavia buon esemplare con alcune antiche note di proprietà nei margini del frontespizio, una datata 1584, e con le rarissime 4 pp. aggiunte in fine. Assai rara prima tiratura della prima edizione ed uno dei rarissimi esemplari con le 4 pagine aggiunte in fine con il capitolo "Dell'Arte di allungare la vista quanto si vuole, & parimenti del far gl'apparati delle scene co'l quadro sopra detto Geometrico." Lomazzo s'accorse solo a stampa avvenuta e dopo la vendita della maggior parte degli esemplari che il capitolo mancava per una svista del tipografo e lo fece aggiungere alle poche copie rimaste. Cf. Gamba 1485 e Cicognara che al n.160 descrive un'esemplare con il capitolo aggiunto in manoscritto: «In alcuni rarissimi esemplari trovasi un foglietto con un Capitolo in più...», mentre al n.161 ne descrive uno completo: «esemplare rarissimo e prezioso... non conosciamo simile esemplare che nella Smithiana». L'opera è «il più grande e più ampio trattato del manierismo, la sua vera Bibbia...» (Schlosser 395 s., descrivendone dettagliatamente il contenuto). BL STC 391. Adams L-1419 (senza le 4 pp. in fine). Arntzen & R. H43. Fowler 186 (ediz. del 1585). The scarce first issue of the first edition and with the very rare additional (4) pp. on perspective. Corner of one leaf torn, a clean tear repaired and a few spots and stains, but a good copy bound in 18th c. calf (small split in one joint).

      [Bookseller: Libreria Antiquaria Rappaport]
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        In artem notariae ordinatiss. summulae. Una cum insigni notularum tractatu; necnon de tabellionatus officio in castris vel villis. Novissime post omnes impressiones ubique locorum excussas adamussim recognitae, cunctisque mendis, and erroribus expurgatae per D. Borgarutium a Borgarutijs. Additis quampluribus additionibus, necnon eleganti alphabetico repertorio nuper excogitato ...

      apud Petrum Marinellum, 1584. Cm. 15,5, cc. (8) 156 [mancano le ultime 4 carte dell'indice iniziale]. Affascinante legatura coeva in piena perg. molle con titoli ms. lungo tutto il dorso. Lavoro di tarlo al margine esterno delle prime carte e nella parte bassa di una decina di carte centrali (testo appena sfiorato in pochi punti senza compromissione della leggibilità), qualche lieve alone e sporadiche fioriture. Nel complesso esemplare più che discreto. Rolandino de' Passeggeri (1215 ca.-1300), maestro di diritto notarile nello Studio bolognese, fu la massima autorità nella scienza notarile europea. La Summa (o summula) artis notariae è considerata uno dei massimi capolavori del pensiero giuridico tardo-medievale. Rara edizione veneziana che presenta il solo testo rolandiniano, senza commenti di sorta. Cfr. Iccu; Kvk; non in Sapori..

      [Bookseller: Studio Bibliografico Apuleio]
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        Kst.- Karte, n. Florianus aus Ortelius, "Frisiae orientalis descriptio".

      - mit Flächenkolorit, 1584, 31 x 44 Van der Broecke, Nr. 82. - Erste Fassung der Karte von Ortelius. Sie wurde 1592 durch eine andere Karte ersetzt.

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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        Praxis beneficiorum ... Cui apposuimus Bullam Coenae Domini, Bullam item Ieiuniorum ac supplicationum s.d.n.p. Pauli III multis in locis restituta omnia, et hac editione aliquot additamentis (quae his notis inclusimus) ex postrema Auctoris recognitione locupletata

      apud Floravantem a Prato, 1584. Cm. 21, pp (64) 700 (2). Affascinante legatura coeva in piena perg. molle con titoli ms. al dorso, ripetuti al taglio di piede. Antiche note manoscritte di possesso. Piccola bruciatura al margine interni della prima carta di guardia e del frontespizio, alcuni quaderni bruniti, segno di tarlo al margine esterno di poche carte centrali. Esemplare nel complesso in buono stato di conservazione. Pierre Rebuffi (1487-1557), giureconsulto di Montpellier, insegnò diritto canonico a Montpellier, Tolosa, Cahors, Bourges e Parigi. Oltre all'attività di canonista, culminata con la chiamata di Paolo III ad uditore della Rota romana, Rebuffi ebbe modo di distinguersi anche come civilista, commentando alcuni titoli del Digesto giustinianeo e compilando mumerose monografie. Quest'opera è il suo principale lavoro di diritto canonico. Cfr. Iccu; non in Sapori..

      [Bookseller: Studio Bibliografico Apuleio]
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        Comentari historici... ne' quali oltre a' particolari successi della città di Orvieto, and di tutta l'antichissima, and nobilissima provincia della Toscana, anticamente descritti, si contengono anco in modo di annali

      appresso Francesco Ziletti. Cm. 20, cc. (10, ultima delle quali bianca), 207 (1). Marchio tipografico a frontespizio e colophon, graziosi capilettera xil. Bella legatura settecentesca in piena perg. rigida; dorso a 4 nervi con titoli su tassello; tagli spruzzati. Antica firma di possesso al frontespizio, segno di tarlo lontano dal testo al margine inferiore bianco (cc. 174-190) e al margine superiore (cc. 52-60) con arrossatura, sporadici aloni limitati a poche carte e qualche fioritura sparsa. Esemplare genuino e nel complesso in buono stato di conservazione. Monaldo Monaldeschi Della Cervara (1525 ca.-dopo il 1589), nativo del territorio orvietano, dopo una formazione giuridica giunse alla corte del cardinale Alessandro Farnese. Così la voce M. (D.B.I., vol 75) a proposito di questa importante opera di storia locale orvietana: "L"acme di questa valorizzazione del passato della famiglia fu raggiunto proprio nel 1584. In quell"anno, infatti, il M. pubblicò a Venezia, presso Francesco Ziletti, la propria unica prova d"autore: i Comentari historici ... (rist. an. Bologna 1984), destinati a divenire una delle fonti erudite più utilizzate per ricostruire la storia orvietana". Rara edizione originale. Cfr. Iccu; Adams, M- 1587; Lozzi, 3163n; Cat. Bocca, 3808..

      [Bookseller: Studio Bibliografico Apuleio]
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        Le Metamorfosi. Ridotte Da G.A. Dell'Anguillara In Octava Rima.

      Venice: Bernardo Giunta, 1584. First Edition illustrated with engravings by Venetian publisher and printmaker, Giacomo Franco [1550-1620], of one of the most influential works in the history of Western literature. This is the first of two 1584 editions printed by Giunta, with the dedication on leaf +2r beginning 'Le Metamofosi d'Ovidio...'. Giovanni Andrea dell'Anguillara's Italian translation in ottava rima first appeared in 1561. The commentary is by Giuseppe Dondi dall'Orologio and Francesco Turchi. The plates depict multiple scenes from each book, with the figures labelled. A beautifully printed and illustrated edition: "la plus recherchée des anciennes éditions de cette traduction, devenue classique en Italie." (Brunet) Ovid's long poem written in hexameters is a collection of mythological and legendary stories in which metamorphosis (transformation) plays some part. "In many of the stories, mythical characters are used to illustrate examples of obedience or disobedience toward the gods, and for their actions are either rewarded or punished by a final transformation into some animal, vegetable, or astronomical form...By his genius for narrative and vivid description, Ovid gave to scores of Greek legends, some of them little known before, their definitive form for subsequent generations. No single work of literature has done more to transmit the riches of the Greek imagination to posterity. " (Encyc. Britannica online) Authors such as Dante, Boccaccio, Chaucer, Spenser, Shakespeare, Milton, Pope, and Goethe, all drew inspiration from Ovid, and stories from the Metamorphoses have served as the subject of paintings and sculptures by numerous artists including Titian, Breughel, and Bernini. Mortimer, 16th Century Italian Books, 343. BM STC Italian. Brunet IV 294. Cicognara 1077. This edition not in Adams. 4to. pp. 8 p.l., 547. text in italic type in 2 columns, commentary in roman letter in single column. engraved title within an architectural border, incorporating a medallion portrait of translator, supported by angels, at the head, standing figures of Mercury & Minerva at the sides, & Giunta's armorial device at the foot, executed by Giacomo Franco. 15 full-page engravings within elaborate scroll-work borders with grotesques by Giacomo Franco, one at the head of each book. 4 different engraved scroll-work borders designed for the 'Argomenti of Francesco Turchi alternately printed at the head of each book, 1 with grotesque head & another with putti among the scrollwork, the third incorporating figures of Mercury and Minerva, and the fourth figures of Venus and Mars. woodcut head & tailpieces of putti & grotesque ornaments. putti, grotesque & foliated woodcut initials. An appealing copy bound in 18th century red morocco, gilt edges, monogram 'CM' in gilt on both covers (slightly spotted & rubbed, corners worn, occasional light foxing & browning)

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Callimachi Cyrenaei Hymni, Epigrammata et Fragmenta, quae exstant, et separatim, Moschi Syracusii et Bionis Smyrnaei Idyllia. Bonaventura Vulcanio Brugensi interprete...

      apud Christophorum Plantinum, 1584. 8vo (cm. 11,5), 2 Parti legate in un volume, 8 cc.nn. (la prima bianca), 271(1) pp., 6 cc.nn.; 95 pp. Marca tipografica ai due frontis. Capilettera xilografici n.t. Testo greco e latino. Bella legatura â€˜800 in marocchino rosso a grana lunga con fili e titolo oro al ds. Cornici ai piatti. Tagli dorati. Ex libris cartacei sulle sguardie anteriori. Ottimo esemplare proveniente dalla Biblioteca del dr. Henry Drury (nota di possesso su una carta bianca iniziale), grande studioso dei classici ed amico di Lord Byron. Elegante edizione tascabile dellâ€™opera di Callimaco. Raro. Adams, C-233.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Opera quae adhuc extant omnia, in unum congesta, & in medicinae studiosorum gratiam nunc primum tali ordine excusa. [Opera omnia].

      Andreas Wechel,, Frankfurt: 1584 - Collation: *6, a-z6, A-2Z6, 2E4. Pagination: [12], 848, [32]p. Contemporary vellum binding over thick boards, with four raised bands, some soiling, edge repairs, spine head cap worn, lacks original ties. Top of text block with old ink stain, affecting top edge of leaves, primarily first part of book. Title page with original top corner torn away, professionally repaired with matching printed text. *2-*6 (five leaves) with heavy stain to top corner, affecting preface leaf and some of the index text at top, all professionally repaired with tissue, following few leaves with repair to very top edge, no text affect, p329/30 with small clean tear, repaired. A few tiny worm holes at outer margin edge of last few leaves, no affect. Old owners signature at bottom of title page with 1622 date, few contemporary annotations throughout, old library stamp to verso of title, ?Biblio publ. Basileensis? Overall the book is in great condition, it is unfortunate for the first group of leaves and their stain damage, the title page is an excellent repair. At time of description we locate only one other copy for sale. We have priced ours very affordable with condition heavily considered, as well as the rarity and importance of the work. Illustrations: Few small illustrations. First collective edition, published the same year in Venice as well, though this edition with much more content and the indexes appearing here for the first time.?Fallopio (1523-62), often referred to by his Latin name Fallopius, was an Italian anatomist who served as professor of surgery and anatomy at Pisa (1548-51) and Padua (1551-62). While he is associated with the discovery of the fallopian tubes (the oviducts that extend from the ovaries to the uterus), his primary focus was on the anatmoy of the head. Botany was another of his interests, and he made significant contributions to the medicinal use of plants.? [-Kelly, The Scientific Revolution: 1450-1700]. "though a pupil, friend, local supporter an successor to Vesalius in the chair of anatomy at Padua, did have the temerity to point out some errors in the "Fabrica". Included here are his treatises on tumors, ulcers, syphilis, and collected "Observationes anatomicae" from which so many common anatomical terms have been derived. He corrected Vesalius on the course of certain cerebral arteries, described the clitoris and the arteria profunda of the penis, first fully examined the fallopian tubes, and gave a clear account of the ocular muscles and cranial nerves. Also among the contents of this volume are commentaries on Galen and Hippocrates, discussions of metals and fossils, notes on pharmacology, and letters to contemporaries." [-Heirs of Hippocrates 212.] Citations: VD 16, F 579; Adams F 134; Bird 856; Durling 1425; Haeser II, 49; Hirsch/H. II, 475; STC, Suppl. 20; Waller 2937; Heirs of Hippocrates 212. [Attributes: First Edition; Hard Cover]

      [Bookseller: Dark Parks Books & Collectibles]
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        Histoire pitoyable du prince Erastus, fils de Diocletien empereur de Romme ... Traduite d'Italien en Françoise, & nouvellement recorrigée.

      Lyon: Hugues Gazeau, 1584. 16mo (12.2 cm, 4.76"). 424, [8] pp. Early, uncommon edition of this French adaptation of The Seven Sages, in which Prince Erastus is persecuted by his lustful, jealous stepmother Aphrodisia  a framing device for a series of cautionary tales told to the Emperor by the stepmother, the prince's wise tutors, and finally the prince himself. Of Eastern (possibly Persian) origin ca. the 5th century b.c., the work spread throughout Europe in a variety of forms and first appeared in this guise in 1564, translated from an Italian rendition. All of the early printings thus are now rare, with WorldCat locating => only one U.S. institutional holding of the present Gazeau edition.    Binding: Red crushed morocco framed and panelled in blind double fillets with gilt-tooled corner fleurons, spine with raised bands, gilt-stamped title and publication information, and gilt-tooled strawberry leaf decorations in compartments; turn-ins with gilt compound roll, all edges gilt. => Signed binding by Capé, name camouflaged in lower front turn-in.    Provenance: Front free endpaper with ex libris of Panof Grafsos Skinos, with shelving number; most recently in the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.         Pettegree, Livres vernaculaires français 18447. Not in Adams; see Brunet, III, 207 for other eds. Binding as above, minor rubbing to extremities and light scuff to back cover; bookplates as above. Pages mildly age-toned; first text page with tiny nick to upper margin. Scarce edition of => a classic anti-woman romance with much influence throughout the Middle Ages and Renaissance, here in a distinguished, attractive signed binding.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        Il Petrarca con l'espositione di M. Alessandro Velutello

      Venezia, appresso Gio. Antonio Bertano, 1584, 4to legatura ottocentesca in mezza pelle a quattro snodi, titoli e fregi dorati al dorso, cc. (12)- 213-(3) bel frontespizio allegorico inciso in rame (carta anticamente rinforzata) capilettera xilografici e con sei belle incisioni xilografiche nel testo all'inizio di ciascun Trionfo, posto in fine all'opera. Esemplare leggermente rifilato al taglio superiore, con bruniture normali per la carta dell'epoca.

      [Bookseller: Libreria Piani già  Naturalistica]
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        Thesaurus Linguae Romanae et Britannicae [A Latin to English Phrasebook], tam accurate congestus, ut nihil pene in eo desyderari possit, quod vel Latine complectatur amplissimus Stephani Thesaurus, vel Anglice, toties aucta Eliotae Bibliotheca: opera et industria Thomae Cooperi Magdalenensis. Quid fructus ex hoc Thesauro studiosi possint excerpere, et quam rationem secutus author sit in Vocabulorum interpretatione et dispositione, post epistolam demonstratur. Accessit Dictionarium Arium Historicum et poeticum propria vocabula Virorum, Mulierum, Sectarum, Populorum, Urbium, Montium, et caeterorum locorum complectens, et in his iucundissimas et omnium cognittione dignissimas historias.

      London: [Henry Denham], 1584.. SHAKESPEARE SOURCE BOOK, fourth and final edition. Quarto (31 x 22 x 10cm), unpaginated: about 2000 pages with signatures according to the English Short Title Catalogue, but lacking blanks at beginning and end. Latin words and phrases arranged alphabetically with English comments and translations appended in Gothic type. With the original title page including an ampersand between 'Romanae' and 'Britannicae'. Also with the Dictionary of People and Places from History and Literature at rear. This section with text all in English set in Gothic type, apart from the Latin title. In recent brown speckled full panelled calf, with raised bands and gilt titles to red label on spine. First and last leaves a little rubbed and creased. Occasional minor ink splatters; a few very small corrections or additions. Signature Rrr.4 with a slash from the lower edge to the middle of the page. Leaves Bbbb.6 to Ffff.1 with damage to top left corner caused by a brittle browned patch. Marginal pencil sketch of a man with a long belt or scabbard to Mmmm.3. Small black ink inscription to upper margin of Mmmmm.3. Faint humanoid pencil sketch to Nnnnn.1. Black ink marginal inscription of John Ward, c.1646 to Aaaaaaa.4. Slight damage to two small patches of text between Bbbbbbb.4 and.5. Neat black ink emendations in Latin to entries on Asdrubal and Pericles' lover Aspasia on Bbbbbbb.6. Similar ink emendation to Democritus on Eeeeeee.5., and to Hector on Fffffff.6. A series of large loopy initials in black ink to colophon. Good overall. First published in 1565, this large reference work was the closest thing to a Latin dictionary available during Shakespeare's lifetime. Through analysis of the language used in his plays and poetry, it is generally accepted that the Bard would have used this particular 1584 edition while reading Latin source material for his work.

      [Bookseller: Adrian Harrington Rare Books]
 17.   Check availability:     Biblio     Link/Print  


        Carpetaniae partis descr. 1584. / Guipuscoae Regionis Typus. / Hanc insulam Perlustrabat, et sua manu de pingebat Georgius Hoefnaglius Antverpian.

      Artist: Ortelius Abraham d ; issued in: Antwerp; date: d1584 - - technic: Copper print; - colorit: original colored; - condition: Perfect condition; - size (in cm): 39 x 48,5; - description: Decorative map with three inset maps of Toledo, the province Gipuzoka and the capital city of Donostia- San- Sebastian and Cadiz.; - vita of the artist: Abraham Ortelius(1527 ?1598) was a Flemish cartographer and geographer, generally recognized as the creator of the first modern atlas, and the first to imagine that the continents were joint together before drifting to their present position.He began as a map-engraver, in 1547 and entered the Antwerp guild of St Luke as afsetter van Karten. His early career is that of a businessman and most of his journeys before 1560 are for commercial purposes. In 1564 he completed a "mappemonde", eight-leaved map of the world, which afterwards appeared in reduced form in the Theatrum. The only extant copy of this great map is in the library of the University of Basle (cf. Bernoulli, Ein Karteninkunabelnband, Basle, 1905, p. 5). He also published a two-sheet map of Egypt in 1565, a plan of the Brittenburg castle on the coast of the Netherlands in 1568, an eight-sheet map of Asia in 1567, and a six-sheet map of Spain before the appearance of his atlas. Theatrum Orbis Terrarum. In 1573 Ortelius published seventeen supplementary maps under the title Additamentum Theatri Orbis Terrarum. Four more Additamenta were to follow, the last one appearing in 1597. He also had a keen interest and formed a fine collection of coins, medals and antiques, and this resulted in the book.In 1573 Ortelius published seventeen supplementary maps under the title Additamentum Theatri Orbis Terrarum. Four more Additamenta were to follow, the last one appearing in 1597. He also had a keen interest and formed a fine collection of coins, medals and antiques, and this resulted in the book originals of his maps in these days are popular collector's items.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Histoire pitoyable du prince Erastus, fils de Diocletien empereur de Romme ... Traduite d'Italien en Françoise, & nouvellement recorrigée.

      Hugues Gazeau, 1584. Early, uncommon edition of this French adaptation of The Seven Sages, in which Prince Erastus is persecuted by his lustful, jealous stepmother Aphrodisia -- a framing device for a series of cautionary tales told to the Emperor by the stepmother, the prince's wise tutors, and finally the prince himself. Of Eastern (possibly Persian) origin ca. the 5th century b.c., the work spread throughout Europe in a variety of forms and first appeared in this guise in 1564, translated from an Italian rendition. All of the early printings thus are now rare, with WorldCat locating => only one U.S. institutional holding of the present Gazeau edition. Binding: Red crushed morocco framed and panelled in blind double fillets with gilt-tooled corner fleurons, spine with raised bands, gilt-stamped title and publication information, and gilt-tooled strawberry leaf decorations in compartments; turn-ins with gilt compound roll, all edges gilt. => Signed binding by Capé, name camouflaged in lower front turn-in. Provenance: Front free endpaper with ex libris of Panof Grafsos Skinos, with shelving number; most recently in the library of American collector Albert A. Howard, small booklabel ("AHA") at rear.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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        L'Histoire des Plantes, traduite de Latin en François: avec leurs pourtraicts ? a laquelle sont adjoustes celles des Simples Aromatiques, Animaux à quatre pieds, Oiseaux, Poissons, Serpens & autres bestes veneineuses, ensembles les Distillations

      Macé, Paris 1584 - First edition in French. Linocier's translation of Antoine Du Pinet's Historia plantarum, first published in 1561. Sectional titles for quadrupeds, birds, fish, distillation. Pp. [1]-943, [1, avertissement]; Index Oo-Pp8; Table Qq8, Rr4 [Rr4v is extraict du privilège]. 16mo (111 x 72 mm). There are American plants mentioned herein.The first 2 parts of this compendium are translations by Linocier of Antoine du Pinet's Historia Plantarum, first published in 1561 in Lyon. Pinet (d. 1584) condensed the work of Mattioli to make a very early pocket herbal. Aromatic herbs are drawn from L'Ecluse. Arranged alphabetically, each plant is illustrated in woodcut, named in several languages and described briefly, including information on where the plant can be found and a description of its qualities. The next 5 parts were added by Linocier and come from Gesner, et al : L'Histoire des Animaux a quatre pieds; L'Histoire des Oyseaux; L'Histoire des Poissons; L'Histoire des Serpens; Entier discours et maniere de distiller les eaux de toutes sortes de plantes, & la vertu qui en provient. Adams D1146 & L-734; European Americana 584/29 (under Du Pinet); Pritzel 2539n; not in Sabin (Florida plant at p. 650) Contemporary dark green morocco , spine with author and sectional titles in gilt, a.e.g. Provenance: de Warnecamp (early inscription on title) Sectional titles for quadrupeds, birds, fish, distillation. Pp. [1]-943, [1, avertissement]; Index Oo-Pp8; Table Qq8, Rr4 [Rr4v is extraict du privilège]. 16mo (111 x 72 mm) First edition in French. Linocier's translation of Antoine Du Pinet's Historia plantarum, first published in 1561. [Attributes: First Edition]

      [Bookseller: James Cummins Bookseller, ABAA]
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        The Execution of Justice in England for maintenaunce of publique and Christian peace, against certeine stirrers of sedition, and adherents to the traytors and enemies of the Realme, without any Persecvtion of them [etc.]. S.T.C. 4903; Beale T326

      The reissue of Cecil's famous tract, "one of the first literary examples of a change in men's conceptions about religious toleration", defending the execution of Edmund Campion and other Catholics, but for treason, not for their religious beliefs. Modern calf, the title soiled and top margin cut close touching some running heads (legibility not affected), else clean; the Taussig copy. Imprinted at London mense Ian. 1583. An. Reg. Eliz. 26 [etc.], London, 1584.

      [Bookseller: Meyer Boswell Books, Inc.]
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        Thesaurus Linguae Romanae et Britannicae [A Latin to English Phrasebook], tam accurate congestus, ut nihil pene in eo desyderari possit, quod vel Latine complectatur amplissimus Stephani Thesaurus, vel Anglice, toties aucta Eliotae Bibliotheca: opera et industria Thomae Cooperi Magdalenensis. Quid fructus ex hoc Thesauro studiosi possint excerpere, et quam rationem secutus author sit in Vocabulorum interpretatione et dispositione, post epistolam demonstratur. Accessit Dictionarium Arium Historicum et poeticum propria vocabula Virorum, Mulierum, Sectarum, Populorum, Urbium, Montium, et caeterorum locorum complectens, et in his iucundissimas et omnium cognittione dignissimas historias.

      London: [Henry Denham], 1584. SHAKESPEARE SOURCE BOOK, fourth and final edition. Quarto (31 x 22 x 10cm), unpaginated: about 2000 pages with signatures according to the English Short Title Catalogue, but lacking blanks at beginning and end. Latin words and phrases arranged alphabetically with English comments and translations appended in Gothic type. With the original title page including an ampersand between 'Romanae' and 'Britannicae'. Also with the Dictionary of People and Places from History and Literature at rear. This section with text all in English set in Gothic type, apart from the Latin title. In recent brown speckled full panelled calf, with raised bands and gilt titles to red label on spine.First and last leaves a little rubbed and creased. Occasional minor ink splatters; a few very small corrections or additions. Signature Rrr.4 with a slash from the lower edge to the middle of the page. Leaves Bbbb.6 to Ffff.1 with damage to top left corner caused by a brittle browned patch. Marginal pencil sketch of a man with a long belt or scabbard to Mmmm.3. Small black ink inscription to upper margin of Mmmmm.3. Faint humanoid pencil sketch to Nnnnn.1. Black ink marginal inscription of John Ward, c.1646 to Aaaaaaa.4. Slight damage to two small patches of text between Bbbbbbb.4 and.5. Neat black ink emendations in Latin to entries on Asdrubal and Pericles' lover Aspasia on Bbbbbbb.6. Similar ink emendation to Democritus on Eeeeeee.5., and to Hector on Fffffff.6. A series of large loopy initials in black ink to colophon. Good overall.First published in 1565, this large reference work was the closest thing to a Latin dictionary available during Shakespeare's lifetime. Through analysis of the language used in his plays and poetry, it is generally accepted that the Bard would have used this particular 1584 edition while reading Latin source material for his work. ESTC: S121950.

      [Bookseller: Adrian Harrington]
 22.   Check availability:     Direct From Seller     Link/Print  


        The History of Wales (David Powel 1584 Edition, 2 Vols.)

      David Powel, 1584, Hardcover, Book Condition: Good Condition, Dust Jacket Condition: No Dust Jacket, 1584 David Powel Edition. A two-volume set formerly belonging to Llewelyn Lloyd of Caerwys, and bearing an introduction by David Powel dated 1584. Both volumes have been subject to scholarly editing and restoration throughout (c. 1700), with some missing/damaged sections hand-written and inserted, various scattered annotations in ink and pencil, and hand-written appendices, indeces, and other inserts. The handwritten note, 'Wynne's Wales' on both front covers, appears to be either erroneous or pre-emptive on the part of the scholar; Wynne's edition is published in 1697, whilst this edition is dated 1584 and typeset differently (see images). No preface, and no notes regarding reprinting (as seen throughout the 1697 edition) support the identification. Covers are very worn, with front of vol. 2 loose, overall browned and grubby but largely intact. Contents are mostly very well-preserved, with printed text remaining clear and readable throughout apart from the short missing sections transcribed by hand and inserted. Why do most sellers not describe their actual item on Amazon? Buy with confidence, support a genuine Independent Bricks & Mortar Real Bookshop and help to preserve our High Streets as interesting places to shop. We are Maynard & Bradley CAMBO & PBFA (now lapsed) members here in Leicester City Centre. UK. +44 116 253 2712 Size: 150 x 190 mm. 600 pages. Text is in German. Item Type: Book. Quantity Available: 1. Shipped Weight: Under 1 kilogram. Category: Antiques & Collectibles; Wales; Renaissance 16thc to 17thc; German Language; Pictures of this item not already displayed here available upon request. Inventory No: 07262.

      [Bookseller: Maynard&Bradley]
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        Il Riposo. in cui della Pittura, e della Scultura si favella, de' piu illustri Pittori, e Scultori e delle piu famose opere loro si fa mentione; e le cose principali appartenenti à dette arti s'insegnano

      Firenze, Giorgio Marescotti 1584 - 8vo (160x109 mm). [24], 648 pp. With the printer's device on the title-page and an allegorical woodcut on the verso of the second leaf. Later vellum, some light browning and spots, title-page a bit soiled, a few ink stains, but a fine copy. FIRST EDITION of what is generally regarded as the best source for the biographies of the later Florentine Mannerists and the first Italian art treatise aimed specifically at the non-specialist connoisseur. "Whereas Vasari had written his Vite for both artists and non-artists, Raffaele Borghini's published his Riposo explicitly for those who do not practice either painting or sculpture. His book enables such laymen to talk about art in an informed way. Borghini considers talking about art to be an art form in its own right, and he maintains that through their verbal endeavours all laymen may become immortal artists. His Risposo will allow them to attain this goal" (T. Frangenberg, The Art of Taking about Sculpture: Vasari, Borghini and Bocchi, in: "Journal of the Warburg and Courtauld Institutes", 58, 1995, p. 118). The work is dedicated to Giovanni de' Medici, natural son of Cosimo I and Eleonora degli Albizzi. The work is written as an imaginary conversation between four members of the Florentine society (among them Borghini) during a visit to a villa near Florence, named Il Riposo, which belonged to the collector Bernardo Vecchietti, one of the interlocutors (cf. M. Bury, Bernardo Vecchietti: Patron of Giambologna, in: "I Tatti Studies", 1, 1985, pp. 13-56). The others were two Florentine noblemen, Baccio Valori and Girolamo Michelozzo and the sculptor Ridolfo Sirigatti (cf. D. Pegazzano, Lorenzo Sirigatti: Gli svaghi eruditi di un dilettante del Cinquecento, in: "Mitteilungen des kunstistorischen Institutes in Florenz", 42/1, 1998, pp. 144-175). The volume opens with a poem by Piero di Gherardo Capponi and on the verso an allegorical woodcut. Then follow a comprehensive index of the painters, sculptors and other names mentioned in the book as well a long subject index pointing to Borghini's marginal subheadings (cf. L.H. Ellis, Jr., Introduction, in: "Raffaello Borghini's "Il Riposo' ", Toronto, 2007, passim). "Raffaello Borghini's Il Riposo is, to an extent, a continuation of Vasari's Vite of 1568. This in- tent is testified to, not so much by the verses composed by Piero di Gherardo Capponi and addressed "A' pittori, et a gli scultori fiorentini', which follow immediately the title page (where the book is explicitly dedicated to "il Sig. Don Giovanni Medici'), as by the verso of this page, which bears the same woodcut of Eternal Fame with the Arts of Design and the Artists of the Past that served as an emblem for the first edition of Vasari's Vite (1550). But Borghini's book was primarily addressed to collectors and amateurs of art, an educated lay audience. Borghini writes, "I have written for those who do not practice these precepts, but, either for use or delight, are seized with pleasure in knowing them' (pp. 127-128). The first two books contain dialogues which treat, not the artists's vite, but more general questions relating to the arts. Thus the book is of a composite nature. Borghini's conception of the "vita' also differs significantly from Vasari's, as well as from a humanist conception of biography. And, as opposed to Vasari's often discursive and anecdotal vite, which offer ample biographical detail, Borghini provides, as he says, only a brief summary of the vite of the modern painters and sculptors (pp. 249f.), explicitly referring the reader to the fuller expositions found in Vasari. Borghini's Vite are constituted largely by lists of works by the artists. But, again as he writes, he includes many artists of the present, many treated for the first time. The vite begin in Book III, where accounts of artists from Cimabue to Giulio Romano are found. Following a brief introduction, Book I contains vite of artists beginning with Baccio Bandinelli. In addition to very many Fl [Attributes: Hard Cover]

      [Bookseller: Libreria Alberto Govi di F. Govi Sas]
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        Tractatus de decretis caeterisque solemnitatibus, in Contractibus Minorum, aliorumâ€™ue his similium, adhibendis... Per Auctorem in hac nova Editione additionibus quamplurimis exornatus, & ab erroribus diligenter expurgatus

      Typis Comini Venturae, 1584. 8vo (cm. 21), 4 cc.nn., 167 cc., 22 cc.nn. Testo su due colonne. Legatura coeva in piena pergamena floscia con titolo manoscritto al dorso. Ottimo stato di conservazione, salvo una piccola mancanza allâ€™angolo inferiore della seconda carta. Rara edizione.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
 25.   Check availability:     maremagnum.com     Link/Print  


        Le storie della citta di Firenze... Doue con tutte particolarità, che si possono disiderare si contiene cio che dall'anno 1494. fino all'anno 1531. è successo. Con la Tauola della cose Notabili, e co' Sommari à ciascun libro[.] Aggiuntoui vn'istruzione per leggere le storie ordinatamente

      Florence, Bartolomeo Sermartelli, 1584. Second edition of Nardi's chief work, an account of the previous century of Florentine history from the standpoint of the defeated Savonarolian republicans. The first edition had been published in Lyon, in 1582, and this reprint is testimony to the new freedom of speech then prevailing in Florence, and extended by Ferdinando I. Our copy has on its title-page the black ink ownership stamp of an unidentified member of the Martelli family of Florence; the family's exlibris is pasted to an endpaper. The copy presumably was supplied directly by the printer, Bartolomeo de' Libri (Bartolomeo Sermartelli), who for commercial reasons had adopted the name of his patrons, the Martelli family. Nardi (Jacopo) Florence 1476 - 1563 Venice Le storie della citta di Firenze... Doue con tutte particolarità̀, che si possono disiderare si contiene cio che dall'anno 1494. fino all'anno 1531. è successo. Con la Tauola della cose Notabili, e co' Sommari à ciascun libro[.] Aggiuntoui vn' istruzione per leggere le storie ordinatamente. Florence, Bartolomeo Sermartelli, 1584 quarto (210 mm), (212) ff., signed a8 A-Z8 Aa-Bb8 Cc4 and paginated (16) 1-390 (18), woodcut of Medici insignia on title-page (printed in black), beneath Cardinal's hat (printed in red); woodcut initials. provenance early ink stamp of a member of the Martelli family of Florence, in lower margin of title-page; engraved armorial exlibris of the Martelli family (motto 'Sola virtus vera nobilitas' in a banderol), pasted to free-endpaper. 1 Margins of the title-page reinforced at an early date, occasional spotting, but overall in good state of preservation. In an Italian 18th century half-calf binding, patterned endpapers, painted pages edges. Second edition of Nardi's chief work, an account of the previous century of Florentine history from the standpoint of the defeated Savonarolian republicans. The author was descended from an old patrician family, traditionally anti-Medicean. He had been active in both political and literary life in Florence, serving on the Signoria (1509) and on the Sedici Gonfalonieri (in 1512, 1519, 1522, 1527), writing plays and poetry, and the programmes for festive triumphs. 2 After sentenced to exile, in 1533, he settled in Venice, where he became a free-lance writer of political and historical works in favour of the re-establishment of a republican constitution. [img-2470-left-large_default] Exlibris and ink ownership stamp of the Martelli family of Florence By most accounts, Nardi commenced writing the present work in 1552 or 1553. 3 It remained in manuscript at the time of his death, with the tenth and final book incomplete, and a testamentary instruction that the manuscript be burned. 4 The first edition was published in Lyon by Ancelin, in 1582, dedicated by its editor, the Florentine theologian, Francesco Giuntini, a religious exile in Lyon, to Niccolò Arrighi. A second edition followed at Florence two years later, testimony to the new freedom of speech then prevailing in Florence, and extended by Ferdinando i. Both editions print Books i-ix only; the fragmentary Book x was first printed in 1842. 5 Our copy of the second edition bears on its title-page the black ink ownership stamp of an unidentified member of the Martelli family; the family exlibris is pasted to an endpaper. The copy presumably was supplied directly by the printer, Bartolomeo de' Libri, son of the printer Michelagnolo de' Libri, who for commercial reasons had adopted the name of his patrons, the Martelli family. 6 'Bartolomeo Sermartelli' dedicates the book (4 April 1584) to Alessandro Ottaviano de' Medici, Archbishop of Florence, drawing attention to his recent elevation into the cardinalate (12 December 1583) on the title-page. references Domenico Moreni, Bibliografia storico-ragionata della Toscana, o sia Catalogo degli scrittori che hanno illustrata la storia delle città, luoghi, e persone della medesima (Florence 1805), ii, pp.108-109; Bartolommeo Gamba, Serie dei Testi di Lingua e di altre opere importanti nella Italiana letteratura scritte dal secolo xiv al xix (Venice 1839), pp.449-450; Edit 16, CNCE 33723 1. Achille Bertarelli and David Henry Prior, Gli ex libris italiani (Milan 1902), p.247; Jacopo Gelli, 3500 ex libris italiani (Milan 1908), pp.245-246 and fig. 462; Egisto Bragaglia, Gli ex libris italiani dalle origini alla fine dell'Ottocento (Milan 1993), ii, no.1541 (as circa 1730). Cf. Alessandra Civai, Dipinti e sculture in casa Martelli: storia di una collezione patrizia fiorentina dal Quattrocento all'Ottocento (Florence 1990), p.94: 'nel corso dell'Ottocento la biblioteca Martelli... era considerata una delle più cospicue della città'. 2. Nardi was the principal planner of the celebrations held in Florence for the entry of Pope Leo x in 1515 and gives an account here of the Pope's entry and sojourn, as well as an account of the elaborate carnival parades which he planned in February 1513; see Bonner Mitchell, Italian civic pageantry in the High Renaissance: a descriptive bibliography of triumphal entries and selected other festivals for state occasions (Florence 1979), pp.38-39. 3. Lucie De Los Santos, 'La Vita di Giacomini et les Istorie de Iacopo Nardi: genèse de deux projets historiographiques post res perditas' in Storiografia repubblicana fiorentina (1494-1570), edited by Jean-Jacques Marchand and Jean-Claude Zancarini (Florence 2003), pp.311-323, argues for an earlier date (1548). 4. Vanni Bramanti, 'Sulle Istorie della città di Fiorenza di Jacopo Nardi: Tra autore e copista (Francesco Giuntini)' in Rinascimento 37 (1997), pp.321-340 (pp.321, 325-326). Nicholas Scott Baker, 'The Remembrance of Politics Past: Memory and Melancholia in Jacopo Nardi's Istorie della città di Firenze' in After Civic Humanism: Learning and Politics in Renaissance Italy, edited by Nicholas Scott Baker and Brian Maxson (Toronto 2015), pp.261-274. 5. Théa Picquet, 'Jacopo Nardi. Regards sur un passé perdu: le livre x des "Istorie della città di Firenze"' in Rinascimento 36 (1996), pp.407-430. 6. D.E. Rhodes, 'Postille alla carriera di Bartolomeo Sermartelli' in La Bibliofilia 85 (1983), pp.41-48.

      [Bookseller: Robin Halwas | Rare Books]
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        Francisci Petrarchae Poetae Oratorisqve clarissimi de Remediis vtriusque Fortunae Libri II.

      - In quorum priore prospera fortuna refutatur: in posteriore vero aduersa defenditur. Iam denuò accuratius quàm antea ab innumeris mendis repugnati & emendati. Pesnot, Lyon 1584. 884 S., 5 Bl. 16°. Flex. Pergament d. Zeit mit hs. Rückentitel. Berieben u. etwas fleckig. Eintragungen auf dem Titel v. alter Hand. Schnitt mit Fleck. Gutes Exemplar. Hübsche Taschenausgabe.

      [Bookseller: Antiquariat Engel & Co GmbH]
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        The Safegard of Saylers: or, Great Rutter. Containing the Courses, Distances, Soundings, Flouds and Ebbes, with the Markes for the entring of sundry Harboroughs, both of England, France, Spaine, Ireland, Flaunders, and the Sounds of Denmarke, with Other Necessary Rules of Common Navigation. Translated... by Robert Norman... Newly Corrected with Discovery of a new Spits.

      Small 4to, A-S4, T2, title within an historiated woodcut border [McKerrow & Ferguson 302], (3), 142 pp, black letter, woodcut diagrams in text, disbound, preserved in a cloth folder and 1/4 morocco slip-case, engraved bookplate of "Harriet Aldrich and Winthrop Williams Aldrich", fineAn English translation of Cornelis Antoniszoon's Het leeskaartboek van Wisbuy, it was first published in 1584 and went through at least 5 editions, all of which are rare. Wing lists only a copy of the 1671 edition at BL. This 1647 edition is unrecorded in all the usual catalogues. It is however alluded to in McKerrow & Ferguson (see above)

      [Bookseller: H M Fletcher]
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        L'Histoire des Plantes, traduite de Latin en François: avec leurs pourtraicts ... a laquelle sont adjoustes celles des Simples Aromatiques, Animaux à quatre pieds, Oiseaux, Poissons, Serpens & autres bestes veneineuses, ensembles les Distillations

      Paris: Macé, 1584. First edition in French. Linocier's translation of Antoine Du Pinet's Historia plantarum, first published in 1561. Sectional titles for quadrupeds, birds, fish, distillation. Pp. [1]-943, [1, avertissement]; Index Oo-Pp8; Table Qq8, Rr4 [Rr4v is extraict du privilège]. 1 vols. 16mo (111 x 72 mm). Contemporary dark green morocco , spine with author and sectional titles in gilt, a.e.g. Provenance: de Warnecamp (early inscription on title). First edition in French. Linocier's translation of Antoine Du Pinet's Historia plantarum, first published in 1561. Sectional titles for quadrupeds, birds, fish, distillation. Pp. [1]-943, [1, avertissement]; Index Oo-Pp8; Table Qq8, Rr4 [Rr4v is extraict du privilège]. 1 vols. 16mo (111 x 72 mm). There are American palnts metioned herein. The first 2 parts of this compendium,, are translations by Linocier of Antoine du Pinet's Historia Plantarum first published in1561 in Lyon. Pinet (d. 1584) condensed the work of Mattioli to make a very early pocket herbal. Aromatic herbs are drawn from L'Ecluse. Arranged alphabetically, each plant is illustrated in woodcut, named in several languages and described briefly including information on where the plant can be found, and what its "qualities" were. The next 5 parts were added by Linocierand come from Gesner, et al : L'Histoire des Animaux a quatre pieds; L'Histoire des Oyseaux; L'Histoire des Poissons; L'Histoire des Serpens; Entier discours et maniere de distiller les eaux de toutes sortes de plantes, & la vertu qui en provient. Adams D1146 & L-734; European Americana 584/29 (under Du Pinet); Pritzel 2539n; not in Sabin (Florida plant at p. 650)

      [Bookseller: James Cummins Bookseller]
 29.   Check availability:     Biblio     Link/Print  


        Romaniae, (quae olim Thracia dicta) Vicinarvmq3 Regionvm, vti Bvlgariae, Walachiae, syrfiae, etc. Descriptio

      Anversa 1584 - Tratta dal "Thetarum Orbis Terrarum". Edizione spagnolla del 1612. Incisione in rame, bellissima coloritura coeva,in ottimo stato di conservazione. Taken from " Thetarum Orbis Terrarum". Spanish edition of 1612. Etching on copperplate with original hand colour, in good conditions M. Van den Broecke "Ortelius Atlas Maps" (2011), n. 159 Dimensioni 505 370mm

      [Bookseller: Libreria Antiquarius]
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        Praxis beneficiorum â&#128;¦ Cui apposuimus Bullam Coenae Domini, Bullam item Ieiuniorum ac supplicationum s.d.n.p. Pauli III multis in locis restituta omnia, et hac editione aliquot additamentis (quae his notis inclusimus) ex postrema Auctoris recognitione locupletata.Venetiis, apud Floravantem a Prato, 1584.

      Venetiis, apud Floravantem a Prato 1584 - Cm. 21, pp (64) 700 (2). Affascinante legatura coeva in piena perg. molle con titoli ms. al dorso, ripetuti al taglio di piede. Antiche note manoscritte di possesso. Piccola bruciatura al margine interni della prima carta di guardia e del frontespizio, alcuni quaderni bruniti, segno di tarlo al margine esterno di poche carte centrali. Esemplare nel complesso in buono stato di conservazione. Pierre Rebuffi (1487-1557), giureconsulto di Montpellier, insegnÃ² diritto canonico a Montpellier, Tolosa, Cahors, Bourges e Parigi. Oltre all'attivitÃ  di canonista, culminata con la chiamata di Paolo III ad uditore della Rota romana, Rebuffi ebbe modo di distinguersi anche come civilista, commentando alcuni titoli del Digesto giustinianeo e compilando mumerose monografie. Quest'opera Ã¨ il suo principale lavoro di diritto canonico. Cfr. Iccu; non in Sapori. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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        Die Ruhe auf der Flucht; die Heilige Familie unter einem Kirschbaum.

      - Kupferstich, 1584, auf Bütten mit Wasserzeichen: bekrönter Wappenschild mit Stern und dem Buchstaben M. 44,2:29,3 cm. Mit zweizeiligem lateinischen Text unter der Darstellung: &#132;Ioseph Monitvs in Somnis ab Angelo fvgiens Ducit pvervm et Matrem eivs in Aegiptvm. Matthaei I". Provenienz: Vom Vorbesitzer erworben bei Colnaghi, London, 18.11.1969. Literatur: Bartsch 71, I. Gleichmäßiger und klarer Abdruck in vorzüglicher Erhaltung. Über Passeri und seine Lebensumstände ist relativ wenig bekannt. Er wurde um 1540 in Ancona oder Rom geboren und starb in Rom um 1590. Er heiratete 1571 und wurde 1583 Mitglied der Congregazione Virtuosi in Rom. Von ihm sind 5 zwischen 1577 und 1584 datierte Kupferstiche bekannt. Die Brüder Wierix haben zahlreiche Kupferstiche nach Zeichnungen angefertigt, die im Besitz der Königl. Bibliothek in Brüssel befinden. Möglicherweise ist er mit Bernardino Passarotti identisch, der aber bereits 1582 Mitglied der Congregazione Virtuosi in Rom wurde.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Hassiae Descriptio, Ioanne Dryandro Auctore. 1579 Cum Gratia, & Privilegio decen.' und 'Holsatiae Desrip. Cum gratia et Privilegio. Marcus Jordanus Holsatus describeb.':.

      - Kolorierter Kupferstich v. J. Dryander u. M. Jorden b. Abraham Ortelius in Antwerpen, 1584, 33,5 x 49,5 van den Broecke, Ortelius Atlas Maps, Nr. 92. - Zeigt Nieder- u. Oberhessen zwischen Werra und Main sowie Holstein. - Zwei Karten auf einem Blatt. - Hessen mit Rollwerkskartusche am linken oberen Rand. - Holstein mit Banderole im Kartenhimmel und Rollwerkskartusche unten rechts.

      [Bookseller: Antiquariat Norbert Haas]
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        Il Riposo... in cui della Pittura, e della Scultura si favella, de' piu illustri Pittori, e Scultori e delle piu famose opere loro si fa mentione; e le cose principali appartenenti à dette arti s'insegnano

      Florence: Giorgio Marescotti, 1584 8vo (160x109 mm). [24], 648 pp. With the printer's device on the title-page and an allegorical woodcut on the verso of the second leaf. Later vellum, some light browning and spots, title-page a bit soiled, a few ink stains, but a fine copy.FIRST EDITION of what is generally regarded as the best source for the biographies of the later Florentine Mannerists and the first Italian art treatise aimed specifically at the non-specialist connoisseur. "Whereas Vasari had written his Vite for both artists and non-artists, Raffaele Borghini's published his Riposo explicitly for those who do not practice either painting or sculpture. His book enables such laymen to talk about art in an informed way. Borghini considers talking about art to be an art form in its own right, and he maintains that through their verbal endeavours all laymen may become immortal artists. His Risposo will allow them to attain this goal" (T. Frangenberg, The Art of Taking about Sculpture: Vasari, Borghini and Bocchi, in: "Journal of the Warburg and Courtauld Institutes", 58, 1995, p. 118).The work is dedicated to Giovanni de' Medici, natural son of Cosimo I and Eleonora degli Albizzi. The work is written as an imaginary conversation between four members of the Florentine society (among them Borghini) during a visit to a villa near Florence, named Il Riposo, which belonged to the collector Bernardo Vecchietti, one of the interlocutors (cf. M. Bury, Bernardo Vecchietti: Patron of Giambologna, in: "I Tatti Studies", 1, 1985, pp. 13-56). The others were two Florentine noblemen, Baccio Valori and Girolamo Michelozzo and the sculptor Ridolfo Sirigatti (cf. D. Pegazzano, Lorenzo Sirigatti: Gli svaghi eruditi di un dilettante del Cinquecento, in: "Mitteilungen des kunstistorischen Institutes in Florenz", 42/1, 1998, pp. 144-175). The volume opens with a poem by Piero di Gherardo Capponi and on the verso an allegorical woodcut. Then follow a comprehensive index of the painters, sculptors and other names mentioned in the book as well a long subject index pointing to Borghini's marginal subheadings (cf. L.H. Ellis, Jr., Introduction, in: "Raffaello Borghini's 'Il Riposo' ", Toronto, 2007, passim)."Raffaello Borghini's Il Riposo is, to an extent, a continuation of Vasari's Vite of 1568. This in- tent is testified to, not so much by the verses composed by Piero di Gherardo Capponi and addressed 'A' pittori, et a gli scultori fiorentini', which follow immediately the title page (where the book is explicitly dedicated to 'il Sig. Don Giovanni Medici'), as by the verso of this page, which bears the same woodcut of Eternal Fame with the Arts of Design and the Artists of the Past that served as an emblem for the first edition of Vasari's Vite (1550). But Borghini's book was primarily addressed to collectors and amateurs of art, an educated lay audience. Borghini writes, 'I have written for those who do not practice these precepts, but, either for use or delight, are seized with pleasure in knowing them' (pp. 127-128). The first two books contain dialogues which treat, not the artists's vite, but more general questions relating to the arts. Thus the book is of a composite nature... Borghini's conception of the 'vita' also differs significantly from Vasari's, as well as from a humanist conception of biography. And, as opposed to Vasari's often discursive and anecdotal vite, which offer ample biographical detail, Borghini provides, as he says, only a brief summary of the vite of the modern painters and sculptors (pp. 249f.), explicitly referring the reader to the fuller expositions found in Vasari. Borghini's Vite are constituted largely by lists of works by the artists. But, again as he writes, he includes many artists of the present, many treated for the first time. The vite begin in Book III, where accounts of artists from Cimabue to Giulio Romano are found. Following a brief introduction, Book I contains vite of artists beginning with Baccio Bandinelli. In addition to very many Florentine artists too late for Vasari, many artists active in Venice and Rome are included, as well as ones from Bologna, Milan, Urbino, and elsewhere. The dialogues treat disparate subjects. Religious decorum is a central concern, and religious narrative and sacred iconography receive much consideration, along with erotic or lascivious content and transgressions. Artistic technique is treated at length as well as criteria for artistic judgement... What is one to make of the striking contrast between the hastily compiled, uninformative summaries purloined from Vasari and the extraordinarily well-informed and detailed lists of works by living Florentine artists? And this, despite the fact that Borghini maintains that the latter are discussed with brevity, mentioning only the principal works (p. 542). At several points Borghini implies that what he writes is dependent upon the sources available to him (e.g., pp. 249f.), but there has been scarcely any attempt to define in detail his sources and to engage the text critically. In the dialogues, following the vita of Michelangelo, Sirigatti states that he will discuss the best artists of a later time, those of whom he has personal knowledge, although it seems unlikely that he knew all the artists working in Venice whom he describes. After treating artists who have died in recent years, the book turns to artists still living (p. 551). For the works of Venetian painters Borghini comes close to saying that he is relying upon detailed written reports (p. 559). Information about Bolognese painters seem to have been supplemented by a Florentine informant, Giovambattista Dei (pp. 566f.). Urbino is represented by Federigo Barocci, Rome by Federico Zuccari, Girolamo Muziano, and Scipione Pulzone. In some of these vite, Borghini may rely on information received from Egnazio Danti, who is mentioned at several points, and whose rather obscure younger brother, Girolamo, is, exceptionally, accorded a vita, and whose historicising collection of drawings representing all the good artists is also reported (p. 566: 'di mano di tutti i valenti huomini dell'arte'). Returning to Florence (p. 579), Borghini treats foreigners in Florence (Stradanus and Giovanni Bologna) and then native Florentines. Much in these vite relies on first hand information from the artists (e.g., Stradanus, Ammannati, and others), and an exemplary and more extensive treatment is often devoted to one of the individual artist's principal works. In these vite a number of mistakes by Vasari are impatiently corrected. The book concludes, rather abruptly, with remarks about the youthful sculptor Giovanni Caccini, who is presented as a hope for the future" (Ch. Davis, Raffaello Borghini and his 'Il Riposo', in: "Fontes. Quellen und Dokumente zur Kunst, 1350-1750", 59, 2011, pp. 23-24; see also T. Frangenberg, Der Betrachter: Studien zur florentinischen Kunstliteratur des 16. Jahrhunderts, Berlin, 1990, pp. 77-103).Also an interesting aspect of Il Riposo is that Borghini offers in it codes of conduct for the aging artist. "The key source for this courtly image of the artist appears in that most gracious of texts, Raffaello Borghini's Il Riposo... [His] image of artists such like Pontormo, who creates a spectacle by continuing to paint in old age, finds parallel in Castiglione's depiction of the aging courtier who fails to relinquish the pursuits of his youth... In light of Pontormo's negative example, Borghini offers a mod- el for artistic behaviour inspired by the role fashioned for the elderly courtier in courtesy literature. Through a transcendent rhetoric that echoes Castiglione's characterization of the final years of the courtier, Borghini aligns artistic practice with youth and the senses, and old age with pedagogy and contemplation" (E.J. Campbell, The Art of Aging Gracefully: The Elderly Artist as Courtier in Early Modern Art Theory and Criticism, in: "The Sixteenth Century Journal", 33/2, 2002, p. 327-8).Raffaello Borghini was born into a noble Florentine family. As a young man he was connected with those Florentine nobles who opposed the Medici; but later became a supporter of the powerful family. He spent most of his life in Florence, except for a period in France (1572-5), where he enjoyed the patronage of the Jean I de Pontève, Comte de Carcès and his wife Marguerite in Provence. On his return to Florence he began his career as a man of letters, poet and playwright, producing two successful comedies La donna costante (1578) and L'amante furioso (1583) and a pastoral play Diana pietosa (1586). He also began to frequent the cultured society around the court of Francesci I de' Medici and moved in the circles of the Capponi, Vecchietti, Valori and Pitti families. In this milieu, under the in- fluence of Francesco I, he assembled a collection that included not only works of art, but also bizarre and curious natural objects, achieving a mixture of naturalia and artificialia that was typical of the German Wunderkammer. He was buried in the church of Santa Croce in Florence (cf. R. Ceserani, Raffaello Borghini, in: "Dizionario biografico degli italiani", XII, 1971, pp. 677-680).Edit 16, CNCE 7120; H.M. Adams, Catalogue of Books printed on the Continent of Europe, 1501-1600 in Cambridge Libraries, Cambridge, 1967, B-2495; B. Gamba, Serie dei testi di lingua, Venice, 1839, no. 241; Index Aureliensis, 122.394; P. Barocchi, ed., Scritti d'arte nel Cinquecento, Milan-Naples, 1971-1977, I, pp. 674-90, 936-944, II, 1982-1991; A. Blunt, Artistic Theory in Italy, 1450-1600, London, 1985, p. 101; L.H. Ellis, ed. & transl., Raffaello Borghini's 'Il Riposo', Toronto, 2007, passim; G.M. Fara, Appunti per una storia critica della pittura toscana dal naturale fra Cinque e Seicento: da Raffaello Borghini a Luigi Lanzi, in: "Luce e ombra: caravaggismo e naturalismo nella pittura toscana del Seicento", O. Carofano, ed., Pisa, 2005, pp. 33-39; J. Schlosser, La letteratura artistica, Florence, 1956, pp. 349-354.

      [Bookseller: Govi Rare Books LLC]
 34.   Check availability:     Biblio     Link/Print  


        Valentiae Regni, olim Contestanorum Si Ptolemaeo, Edetanorum si Plinio Credimus Typus.

      Christopher Platin, Antwerp 1584 - Copper engraving, uncolored as published. A very good example in excellent condition.

      [Bookseller: Antiquariat Reinhold Berg eK]
 35.   Check availability:     IberLibro     Link/Print  


        Le Metamorfosi di Ovidio Ridotte da Gio Andrea Dell' Anguillara in Ottava Rima: Con le Annotationi Di M. Gioseppe Horologgi, & gli Argomenti, & Postille Di M. Francesco Turchi: In questa nuova Impressione Di Vagle Figure adornate

      Venice: Presso Bern. Giunti, 1584. First edition with Giacomo Franco etchings. Engraved title within architectural border and 15 engraved plates by Giacomo Franco, woodcut initals, engraved chapter prologue borders. Italic text in two columns. †^8, A-Z^8, 2A-2K^8, 2L^10. 18th century half-vellum, leather spine label (some loss). Head of gutter cracked at title-page, lower tip of first five leaves repaired, F4 with repair to lower outer blank corner; P5 with one-inch tear from margin, V8 with short repaired tear to outer blank margin, text lightly soiled in spots, textblock edges a bit rough. First edition with Giacomo Franco etchings. Engraved title within architectural border and 15 engraved plates by Giacomo Franco, woodcut initals, engraved chapter prologue borders. Italic text in two columns. †^8, A-Z^8, 2A-2K^8, 2L^10. Beautifully Illustrated Giunta Ovid. The first Giunta edition of Ovid's Metamorphoses with illustrations by the Venetian artist and publisher Giacomo Franco (1550-1620). Each of the fifteen books of the Metamorphoses is preceded by a full-page engraving which compresses multiple scenes into one image. The Italian text is the ottava rima translation of Giovanni Andrea dell'Anguillara (1517-1570) which first appeared in the 1553 Griffio edition; a commentary by Giuseppe Orologi and Francesco Turchi follows the text. The first Giunta printing of the Metamorphoses appeared in 1554; this is the first of two 1584 Giunta editions - a second edition had alterations to the Dedication, commentary and marginalia. Mortimer, Italian, 343; Brunet, IV, 294 ('la plus recherchee des anciennes éditions de cette traduction, devenue classique en Italie''). Provenance: Ambrosius Franco (contemporary inscriptions at foot of 6th page, perhaps a relative of the illustrator), with another contemporary inscription effaced from bottom margin of title-page

      [Bookseller: James Cummins Bookseller]
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        In Ciceronis Officia Catonem Laelivm Paradoxa et Scipionis Somnivm commentarij atque scholia ad uitam rectè instituendam methodumque scholarum exercendam accommodata with the textBasel ex officina Herwagiana for Eusebius Episcopius 1583 March    

      2 wooduts in text. 5 parts in one vol. Folio (310 x 200mm. ). German blind-stamped pigskin over wooden boards, the upper cover with  portrait of Duke Ludwig III of Wurttemberg and the initials 'A N L' with date 1588, and the lower cover having the arms of the city of Wurttemberg  (Haebler II, 93, IX u. X), the two covers decorated  blind-stamped rolls with heads of Erasmus, Luther and others enclosing the central panel, spine lettered in ms., edges coloured blue.    

      [Bookseller: Maggs Bros. Ltd.]
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        Emblemata Latinogallica... Les emblems Latin Francois... la version Françoise non encorveue cy devant Paris Jean Richer

      Woodcut device on title-page and last leaf, portrait on verso of title and 211 woodcut emblems. 12mo (130 x 75mm). Contemporary vellum (remains of later ties).                  

      [Bookseller: Maggs Bros. Ltd.]
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        Trattato dell'arte de la pittura, di Gio. Paolo Lomazzo milanese pittore. Diviso in sette libri. Ne' quali si contiene tutta la theorica, & la prattica d'essa pittura.

      Milano, Paolo Gottardo Da Ponte, 1584. - 4to. (40), 700 (but: 698), (2) pp. With armorial title woodcut and half-page woodcut portrait on fol. B1. Contemporary full vellum with marbled edges. Second edition, the earliest one obtainable and usually considered the first altogether (a single copy of an edition published by Da Ponte in 1582 has been discovered in the Biblioteca della Collegiata S. Pietro Apostolo in Broni near Pavia). The principal work of the Milan artist and theoretician of art, Giampaolo Lomazzo, has been called "the most complete treatise on the art theory, design, and iconography of the Mannerist period" (Arntzen/R.); indeed, "the true Bible of Mannerism" (cf. Schlosser). Purposefully divided into the mystical number of seven books, Lomazzo's treatise describes first proportions (with a discussion of Dürer, who was much-received in Italy), then the expression of feelings, colours, light and shade, linear perspective, and practical painting; the seventh and final book treats matter and substances, touching upon - and greatly expanding on - Armenini. "These last two chapters are of the greatest importance for understanding the essence of Mannerism, providing quite simply one of the most extensive accounts" (ibid.). - Some occasional browning and waterstaining near beginning; slight paper flaw to fol. E3 (not affecting legibility). Numerous errors in pagination; quire Y jumbled but complete. A small perforation to the spine; textblock curled. Old ownership on front flyleaf obliterated in ink. A single copy in German auction records. Edit 16, CNCE 24452 (Var. A). Adams L 1419. BM-STC Italian 391. Cicognara 159. Schlosser 352 Arntzen/Rainwater H 43. Kat. der Ornamentstichslg. Berlin 4612. Chamberlin 2015. Bibl. Trivulziana 261. Cf. Haym, Libri rari 265; Fowler 185 (1585 ed.).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Leichpredigt, bey der Begrebnus weiland Des Durchlauchtigen Hochgebornen Fürsten und Herrn, Herrn Georg Ernsten, Graven unnd Herrn zu Hennenberg, etc. Christlicher löblicher gedechtnus, So geschehen in Schleusingen, den 9. Januarij, dieses newen 84. Jhars ; Zusampt dem Proceß, so bey ermelter Fürstlichen Leichbestattungen gebraucht werden

      Schmück, Schmalkalden 1584 - VD16 S 2675. Unvollst.: Titel- und Folgebl. fehlen, 21 von 23 Bl., Holzschnitt am Ende. Enthält weiterhin: VD 16 M 5834: Möller, Wolfgang: Oratio de illustrissimo et incomparabili principe Georgio Ernesto Hennebergico . Schmalkalden, Schmück, 1584. [4] Bl., 22 S., Titelholzschnitt. VD 16 M 5836: Möller, Wolfgang: Oratio de vita et rebus gestis Bertoldi cognomento sapientis, principis Hennebergici . Schmalkalden, Schmück, 1584. [4] Bl., 33 von 38 S. (unvollst.), Titelholzschnitt. 3, offenbar aus einem Sammelband herausgetrennte Leichenreden, Seiten im 1. und 3. Druck fehlen. etwas braunfleckig.

      [Bookseller: Sebastian Vogler]
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        Emblemata Latinogallica? Les emblems Latin-Francois? la version Françoise non encorveue cy devant.Paris, Jean Richer,

      1584 - Woodcut device on title-page and last leaf, portrait on verso of title and 211 woodcut emblems. 12mo (130 x 75mm). Contemporary vellum (remains of later ties). First edition thus, a new translation into French by Claude Mignault and a newly cut series of 211 emblems in thematic order. ?Mignault's translation, he tells us in his Preface, was undertaken merely to pass the time while travelling, and he endeavours to play down its value, emphasising only his desire to convey to others the pleasure he himself has taken in the emblems. This does not prevent his criticising his predecessors, Jean Lefevre (1536) and Aneau (1549). Mignault's translations are much more varied than Lefevre or Aneau's: some are weak, while others show a certain literary intention. As well as the emblems and their brief commentaries in Latin and French, the 1584 edition contains an important account of Alciati's life, likewise in the two languages.? (Glasgow University Emblem Project, online). Provenance: Title-page with a contemporary inscription of Fr. Gilbertus of Bethune. Booklabel of Bibliotheque Deprins. Bookplate of Samuel Ashton Thompson Yates. Landwehr, 83. Green, 106-107. [Attributes: First Edition]

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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        Kurtze und warhafftige Beschreibung des Landes zu Preussen. (Nebst:) Kurtze und einfeltige Beschreibung aller Hohemeister Deutsches Ordens S. Mariae, des Hospitals zu Jerusalem. Derer so wol, so zu Ackers und Venedig, als derer, so in Preussen zu Marienburg und Königsberg regirt haben. 2 Bde in 1. 6 nn., 43 num.; 52 nn. Bl. Mit großer, mehrfach gefalt. Holzschnitt-Karte, 4 ganzseitigen Textholzschnitten und 36 (1 ganzseitig, 35 halbseitig) heraldischen Holzschnitten, alle altkoloriert, sowie Druckermarke. 4°. Älterer Pergamentbd. aus zeitgenöss. Material. Goldschnitt.

      Königsberg, (am Schluss: Georg Osterberger), 1584. - Einzige Ausgabe der ersten und geographisch wertvollen Landesbeschreibung Ostpreußens durch den Pfarrer und Kartographen Caspar Hennenberger (1529-1600); äußerst selten. Vollständig mit den beiden Teilen und vor allem mit der fast immer fehlenden Karte 'Des Preusserlandes Austeylung'. Diese "erste frühgeschichtlichen Karte Ostpreußens" (Jäger) überhaupt stellt die Verhältnisse des Landes vor der Ankunft des Deutschen Ordens im 13. Jahrhundert dar. Diese Beschreibung Ostpreußens &#132;kann man nicht hoch genug bewerten" (ADB), da sie auf eigenen Anschauungen beruhte, die Hennenberger während seiner siebenjährigen Reise durch das Land gewann. Die schöne Karte trägt die Bogensignatur &#132;G" und füllt damit die Lücke zwischen den Textlagen &#132;F" und &#132;H". Ein großer Holzschnitt zeigt die Tracht des Hochmeisters, die Wappenholzschnitte sind die der Hochmeister. &#150; Teils gering fleckig, die letzten 4 Bl. mit etwas Textabklatsch. Kurze Einrisse im Rand der Kartenfalzung teils alt hinterlegt. Nur ein vollständiges Exemplar wie dieses im deutschsprachigen Auktionshandel seit 1950. &#150; VD 16 H 1929-30 (irrige Kollation für Bd 2). BM, German Books 391. Wermke 102 und 1882. Jäger 281.

      [Bookseller: Antiquariat Wolfgang Braecklein]
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