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Mercier, Jean.MareMagnum

[Luah diqduqa kasda 'a 'o-Arama 'a]: Tabulae in Grammaticen linguae Chaldeae, quae in Syriacae dicitur. Multa interim de Rabbinico & Talmudico stilo traduntur. Paris, Guillaume Morell, (29 Nov.) 1560.

Reusner, Nicolaus.MareMagnum

Icones imagines virorum literis illustrium. Strasbourg, Bernard Jobin, 1587.

Small 8vo (107 x 161 mm). (212) ff. Title-page and text within woodcut borders. With 99 woodcut portraits after Tobias Stimmer in the text. Modern red morocco with giltstamped floral borders and spine, leading edges gilt. Marbled endpapers. All edges gilt. First Latin edition. - An important source for the iconography of 16th-century scholarship, recording theologians, reformers, historians, geographers, physicians, scientists, and printers in this biographical dictionary of German and Swiss humanism. Among the mostly authentic portraits are such famous scholars as Amerbach, Apian, Brant, Bucer, Budé, Bugenhagen, Bullinger, Calvin, Copernicus, Cruciger, Erasmus. Gesner, Eobanus Hessus, Hus, Hutten, Justus Jonas, Lazius, Luther, Oecolampadius, Oporinus, Melanchthon, Sebastian Münster, Paracelsus, Pirckheimer, Beatus Rhenanus, Savonarola, Schwenckfeld, Vadian, Vesalius, Zasius, and Zwingli. - Reusner, a German poet, historian and jurist, assembled his original epigraphic portraits and augmented them with remarks collected from others such as Luther, Melanchthon, and Fabricus. Reusner's fame, and thus his access to the luminaries of his day, resulted from his series of verses for the members of the Diet of Augsburg. The very fine woodcuts are the work of Tobias Stimmer and were probably cut into wood by Jobin. Many of the portraits were adapted from pictures collected by Giovio. - Occasional stains and browning, more pronounced in last gathering, and a few minor edge flaws. A wormhole near the bottom edge of most of the first half of the volume (not affecting portraits). A few contemporary annotations in the text. A prettily bound, good copy of a book rarely found complete, from the library of Pierre Bergé (1930-2017). VD 16, R 1427. BM-STC 734. Adams R 408. Muller III, 592, 175. Ritter 2005. Ritter, Catalogue, 1807. Schottenloher 35735. Andresen III, 76, 141. Cf. Fairfax Murray 362.

Inlibris · Wien, AT4 500,00 €

(COLOR PRINTING, EARLY). (COSTUMES). LE VACHER DE CHARNOIS, JEAN CHARLESBiblio.com

RECHERCHES SUR LES COSTUMES ET SUR LES THÉATRES DE TOUTES LES NATIONS TANT ANCIENNES QUE MODERNES

1790ST14261Paris: Drouhin 1790. FIRST EDITION. 265 x 205 mm. 10 3/8 x 8". Two volumes. VERY ATTRACTIVE CONTEMPORARY MARBLED CALF GILT IN A NEOCLASSICAL DESIGN covers with a cresting palmette frame featuring ornate urn ornaments at corners flat spine divided into compartments by Greek key roll floral spray centerpieces one green and one black label marbled endpapers. With 55 PLATES OF COSTUMES designed by Philippe Chéry and engraved by Pierre-Michel Alix 50 of these PRINTED IN COLOR five in black and white a couple of these with color highlights applied by hand and with a color portrait of the author from the 1802 edition tipped in at front. Colas 717; Hiler p. 542; Lipperheide 3203; Cohen-de Ricci 227; Brunet IV 1135. One corner worn to board joints and extremities lightly rubbed but the bindings lustrous and generally very attractive. First volume slightly browned throughout second volume occasionally so volume II with two-inch marginal stain to upper gutter affecting four quires and six plates but not touching text or images two plates with pen marks in margins touching lettering but not image other trivial defects but still an excellent copy internally the colors especially clear and pleasing. This is an elegant production with the Neoclassical binding being the perfect complement to the color engravings of ancient Greek and Roman costumes that illustrate the present history of theatrical attire. In the two volumes here theater critic and historian Jean Charles Le Vacher de Charnois 1749-92 covers Classical tragedies and comedies as well as later interpretations of these dramas by playwrights including Racine. Le Vacher de Charnois intended a series of books encompassing as the title indicates theatrical costumes from all nations and from the ancient to the modern; however the French Revolution interrupted his scheme and as a monarchist he was imprisoned in 1792 for his writings in support of the aristocracy. It was long thought that he had died in the massacres at the Abbaye prison in September of that year but later research indicates that he may have been executed during the Reign of Terror in 1794. The artists who illustrated this work were at the opposite end of the political spectrum. Painter Philippe Chéry 1759-1838 studied with Jacques-Louis David and adopted his master's passionate support for the Revolution as well as his Neoclassical style. Engraver Pierre-Michel Alix 1762-1817 was a specialist in color printing best known for his portraits of leaders of the French Revolution and later of Napoleon and First Empire dignitaries. While the handsome binding here is unsigned the palmette roll on the covers is very similar but not identical to one used by Bozerian see Culot "Jean-Claude Bozerian" roll #44 and plate #XXIV. Perhaps our binder had trained in that atelier as the design and workmanship are certainly of that level. Drouhin unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 992,00 $US≈ 4 223,73 €

Lomazzo, Giovanni Paolo.MareMagnum

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.).

Inlibris · Wien, AT4 000,00 €

(LEAF BOOK - KELMSCOTT PRESS AND PRINTING HISTORY). PIRAGES, PHILLIP JBiblio.com

LETTERS FROM THE 15TH CENTURY: ON THE ORIGINS OF THE KELMSCOTT CHAUCER TYPEFACE. A STUDY WITH SPECIMEN LEAVES OF THE INFLUENCE OF THE EARLY GERMAN PRINTERS ON WILLIAM MORRIS' MASTERPIECE

ST20503McMinnville Oregon: Phillip J. Pirages 2019. No. VII OF 47 COPIES numbered I-XLVII bound in flexible vellum from a total edition of 165 COPIES. Text: 244 x 154 mm. 9 1/8 x 6 1/8"; Case: 502 x 372 mm. 19 3/4 x 14 5/8". ii 75 pp. Bound in flexible vellum with ties inspired by Kelmscott Press bindings by Amy Borezo who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER WITH woodcut borders woodcut beginning word and A WOODCUT SCENE DESIGNED BY EDWARD BURNE-JONES AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER JOHANN MENTELIN GÜNTHER ZAINER AND ANTON KOBERGER the Zainer leaf featuring at least one woodcut initial. The incunabular leaves consistently excellent with only minor defects and the Kelmscott leaves which were never part of a bound volume in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft a scholarly commentary that contributes to a further understanding of the history of printing and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text as well as an opportunity to share in the ownership of four important incunabula along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012 after purchasing a very incomplete copy of the Kelmscott Chaucer at auction we considered the possibility of producing a leaf book but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris who is known to have owned more than 500 incunables most admired--and was consequently most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz Johann Mentelin of Strassburg Günther Zainer of Augsburg and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. The essay comes in one of three bindings which reflect the degree of decorative elaboration on the accompanying Kelmscott leaf: linen-backed paper boards in imitation of the small format Kelmscott publications with a leaf containing text and small initials; floral patterned cloth after a Morris design with a leaf containing multiple six-line initials; or in the most deluxe version as here in flexible vellum with ties with a leaf featuring a full woodcut frame one or more prominent woodcut initials and a very large and striking Edward Burne-Jones woodcut scene. Phillip J. Pirages unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 680,00 $US≈ 3 959,75 €

(LEAF BOOK - KELMSCOTT PRESS AND PRINTING HISTORY). PIRAGES, PHILLIP JBiblio.com

LETTERS FROM THE 15TH CENTURY: ON THE ORIGINS OF THE KELMSCOTT CHAUCER TYPEFACE. A STUDY WITH SPECIMEN LEAVES OF THE INFLUENCE OF THE EARLY GERMAN PRINTERS ON WILLIAM MORRIS' MASTERPIECE

ST15039cAMcMinnville Oregon: Phillip J. Pirages 2019. ONE OF 47 COPIES numbered I-XLVII bound in flexible vellum from a total edition of 165 COPIES. Text: 244 x 154 mm. 9 1/8 x 6 1/8"; Case: 502 x 372 mm. 19 3/4 x 14 5/8". ii 75 pp. Bound in flexible vellum with ties inspired by Kelmscott Press bindings by Amy Borezo who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER WITH woodcut borders woodcut beginning word and A WOODCUT SCENE DESIGNED BY EDWARD BURNE-JONES AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER JOHANN MENTELIN GÜNTHER ZAINER AND ANTON KOBERGER the Zainer leaf featuring at least one woodcut initial. ◆The incunabular leaves consistently excellent with only minor defects and the Kelmscott leaves which were never part of a bound volume in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft a scholarly commentary that contributes to a further understanding of the history of printing and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text as well as an opportunity to share in the ownership of four important incunabula along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012 after purchasing a very incomplete copy of the Kelmscott Chaucer at auction we considered the possibility of producing a leaf book but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris who is known to have owned more than 500 incunables most admired--and was consequently most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz Johann Mentelin of Strassburg Günther Zainer of Augsburg and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. Phillip J. Pirages unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 680,00 $US≈ 3 959,75 €

(VELLUM PRINTING). (BINDINGS - RAMAGE). SCOTT, ALEXANDERBiblio.com

THE POEMS OF ALEXANDER SCOTT

1882ST16453Glasgow: Printed by Robert Anderson for Private Circulation 1882. ONE OF ONLY 50 COPIES. 195 x 122 mm. 7 3/4 x 4 7/8". 1 p.l. x 103 1 pp.From George Bannatyne's manuscript compiled A.D. 1568. BEAUTIFUL CITRON CRUSHED MOROCCO ELABORATELY TOOLED IN GILT BY RAMAGE stamp-signed on front turn-in covers with six concentric frames--intricate filigree roll pointillé-tooled floral vine and alternating small ornaments--enclosing a central panel with cornerpieces semé with rows of fleurs-de-lys large oval medallion at center radiating ornate fleurons raised bands spine compartments with large central medallion containing a vase of flowers delicate tooling in corners gilt titling turn-ins framed by filigree roll and alternating small ornaments brown and tan silk jacquard endleaves patterned in a Medieval motif top edge gilt. Printer's device on title page decorative woodcut initials and headpieces. Spines evenly sunned to a warm honey brown corners lightly rubbed short faint scratch to lower board but the binding virtually unworn and happily free of the splaying that plagues vellum books. Leaves lightly rumpled but A VERY FINE COPY the vellum leaves creamy clean and bright and the binding glittering with gold. Printed on luxurious vellum and limited to just 50 copies presumably for private circulation among friends of the printer this is a lovely edition of 16th century poems by a mysterious author believed to have been a poet and musician associated with the court of Mary Queen of Scots. This work contains all 36 extant poems attributed to Scott ca. 1520-82/3 including what is considered to be his most historically important work "Ane New Yeir Gift to Quene Mary" 1562 written in support of the young Scottish queen caught between Catholic and Protestant agendas. His other poems consist largely of lyric verses on love and sexuality which DNB describes as possessing "exceptional metrical variety and vernacular directness" with "a musician's ear for rhythm and melody." Scott's poems are known to us via the Bannatyne manuscript now held in the National Library of Scotland which ranks among the most important documents of Scottish Medieval literature. Written by George Bannatyne in 1568 during a period of confinement due to an outbreak of plague it contains a mixture of both secular and religious material including the sole extant copies of several texts. In the preface to the present work the publisher notes that Scott's poetry has been faithfully reproduced from that manuscript and thus "for the first time accurately printed." Very little is known regarding the life of Alexander Scott but he seems to have been attached to the court of Mary Stuart through John Erskine a guardian and counselor to the queen. Given the very limited number of copies made it is not surprising that this work is extremely rare on the market. Printed [by Robert Anderson] for Private Circulation unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 680,00 $US≈ 3 959,75 €

Imprimerie

[Luah diqduqa kasda 'a 'o-Arama 'a]: Tabulae in Grammaticen linguae Chaldeae, quae in Syriacae dicitur. Multa interim de Rabbinico & Talmudico stilo traduntur. Paris, Guillaume Morell, (29 Nov.) 1560.

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[Luah diqduqa kasda 'a 'o-Arama 'a]: Tabulae in Grammaticen linguae Chaldeae, quae in Syriacae dicitur. Multa interim de Rabbinico & Talmudico stilo traduntur. Paris, Guillaume Morell, (29 Nov.) 1560.

Metamorphosis cum luculentissimis Raphaelis Regii enarrationibus, quibus cum alia quaedam ascripta sunt, quae in exemplaribus antea impressis non inueniuntur, tum eorum apologia quae fuerant a quibusdam repraehensa. Venice, Georgio Rusconi, 1521.

Opera. Lyon, Guillaume Rouillé, 1567.

Icones imagines virorum literis illustrium. Strasbourg, Bernard Jobin, 1587.

De laudibus urbis, Etruriae, et Italiae. (Bologna, in aedibus Hieronymi de Benedictis, 1520).

Computus, vel calendarium astronomicum, continens praecipuarum partium temporis descriptiones: anno MDLXII conscriptum, et in Academia Witebergensi Scholasticae iuventuti propositum. Wittenberg, Johann Schwertel, 1567.

[Facta et dicta memorabilia]. Addito indice perbrevi, ceu ad omneis historias asylo tutissimo.

Ihro Kaiserlichen Hoheit der Frau Gross-Fürstin Maria Paulowna Erb-Grossherzogin zu Sachsen-Weimar-Eisenach bei Höchst erfreulichem Kirchgange. Unterthänigst-ehrerbietigst gewidmet vom Stadtrathe und der Bürgerschaft der Grossherzoglichen Residenz Weimar

RECHERCHES SUR LES COSTUMES ET SUR LES THÉATRES DE TOUTES LES NATIONS TANT ANCIENNES QUE MODERNES

[Sexte de Boniface VIII (latin). 1541] Sextus Decretalium liber per Bonifacium VIII in concilio Lugdunensi aeditus: jam recens ex antiquissimis exemplaribus ad amussim castigatus.

Sylva sermonum iucundissimorum, in qua novae historiae, & exempla varia, facetiis undique referta, continentur. Omnibus itinerantibus & comessantibus cùm gratissima, tum lectu lepidissima: quorum seriem statim post prefationem ordine alphabetico, invenies. Basel, Samuel Apiarius, 1568.

Tractatus de compromissis inter coniunctos ex statutorum dispositione et de exceptionibus litis ingressum impedientibus. (Venice, Aurelio Pinzi, 1543).

L'Anastase de Lengres tirée du tombeau de son antiquité.

L'Iliade. L'Odyssée. Avec des Remarques ; Précédée de Réflexions sur Homère et sur la traduction des Poëtes par M. Bitaubé

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.

Wie man alle Gebresten und Kranckheiten des menschlichen Leibs, außwendig und ynnwendig, von dem Haupt an biß auff die Füß, ärtzneyen und vertreyben soll [...]. (Augsburg, Heinrich Steiner, 7. April) 1533.

A Specimen of Printing Types, By Fry, Steele, and Co. Letter-Founders to the Prince of Wales, Type-Street. [Bound with:] Specimens of Metal Cast Ornaments, Curiously Adjusted to Paper, by Edmund Fry and Isaac Steele...

A Specimen of Printing Types, By Fry, Steele, and Co. Letter-Founders to the Prince of Wales, Type-Street.

LETTERS FROM THE 15TH CENTURY: ON THE ORIGINS OF THE KELMSCOTT CHAUCER TYPEFACE. A STUDY WITH SPECIMEN LEAVES OF THE INFLUENCE OF THE EARLY GERMAN PRINTERS ON WILLIAM MORRIS' MASTERPIECE

LETTERS FROM THE 15TH CENTURY: ON THE ORIGINS OF THE KELMSCOTT CHAUCER TYPEFACE. A STUDY WITH SPECIMEN LEAVES OF THE INFLUENCE OF THE EARLY GERMAN PRINTERS ON WILLIAM MORRIS' MASTERPIECE

THE POEMS OF ALEXANDER SCOTT

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