SIRIGATTI, LORENZO.Livre Rare Book
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159652658Venice, Girolamo Franceschi, 1596. Folio (400x260 mm). Two parts bound in one later (presumably 19th century) sprinkled full calf with blindstamped geometrical ornamentations to boards. Leather on back board renewed. Engraved title-page neatly restored at inner margin, far from affecting imprint" old owner's inscription (""""Ex libris Ludovici A. la...""), crossed-out previous owner's name, and traces after a stamp to title-page. With Medici arms at the top and those of Sirigatti at foot of title-page, repeated on title-page of part two. As with all other copies we have been able to locate, the title-page is trimmed, affecting approximately 1 cm of the allegorical depictions in margin. Large woodcut printer's device at the end of the volume. Light occassional discolouring, but overall in very fine condition. 1 f. (allegorical frontispiece), 3 ff. (of dedication and index), 43 plates numbered with parallel text, 1 f. (large woodcut printer's device), 22 copper engraved plates (including the title-page of the second part) numbered 44-65. I.e. 65 plates in total - fully complete.
159652658Venice Girolamo Franceschi 1596. Folio 400x260 mm. Two parts bound in one later presumably 19th century sprinkled full calf with blindstamped geometrical ornamentations to boards. Leather on back board renewed. Engraved title-page neatly restored at inner margin far from affecting imprint; old owner's inscription ""Ex libris Ludovici A. la." crossed-out previous owner's name and traces after a stamp to title-page. With Medici arms at the top and those of Sirigatti at foot of title-page repeated on title-page of part two. As with all other copies we have been able to locate the title-page is trimmed affecting approximately 1 cm of the allegorical depictions in margin. Large woodcut printer's device at the end of the volume. Light occassional discolouring but overall in very fine condition. 1 f. allegorical frontispiece 3 ff. of dedication and index 43 plates numbered with parallel text 1 f. large woodcut printer's device 22 copper engraved plates including the title-page of the second part numbered 44-65. I.e. 65 plates in total - fully complete. <br/><br/><em>The rare first edition of this most important work on the art of perspective: "Questa e la più elegante delle edizioni di libri prospettici per i tipi pei caratteri per la carta" Cicognara 860. Sirigatti's work is famous for being one of the very earliest thorough works solely dedicated to the art of perspective. Combining the visual language of the German book tradition of Lencker and Jamnitzer with the Italian tradition of linear perspective treated previously by Serlio and Barbaro and earlier that of Leon Battista Alberti unillustrated as applied to stage design and architectural theory this is one of the seminal Italian works on the subject of perspective. Presumably this work functioned as basis for Galileo’s drawing technique. The book quickly became very popular and several Italian editions were reprinted in the 17th century; its reputation was so long-lived that an English translation was published no less than 160 years after the original. The work is divided in two parts: The first part is dedicated to the elementary rules of perspective to plane and solid geometric figures which also contain musical instruments like the lute plate 41 and 42. The second part depicts architectural elements facades of palaces and churches in polyhedrons of various forms and regular Platonic solids with several references to Luca Pacioli's "divina proportione". Furthermore Sirigatti famously contributed to the study of theatrical perspective: "He is the first to mention that the full effect of the perspective frame for instance in a stage set can be enjoyed only by those sitting along the main axis. This is a fundamental aspect of absolutist theater that no doubt had been noticed by designers of princely entertainments earlier but is first commented on in print by Sirigatti whose observations were taken up more extansively by Pietro Accolti." Millard.Two problems were endemic in perspective designs. First because perspective scenery exploits the difficulty of the eyes in judging the sizes and distances of objects it works best by assigning the spectator to a single point of vision and manipulating relative magnitudes to make small images represent objects that are larger and farther away. Second the apparent magnitude and distance of painted objects tended to clash with the fixed size of live actors when applied to the theater threatening to produce absurd combinations of scale when performers wandered upstage. Sirigatti was first to "acknowledge the problem of spectator position. Sirigatti proposed a way to combine a painted perspective backdrop with fixed three-dimensional scenery that diminished in size as it neared an upstage vanishing point". Camp The First Frame. Sirigatti was not only influential in the theory of architecture and stage design. "Galileo "most certainly studied" La pratica di prospettiva which was published in Venice while Galileo was teaching nearbyby in Padova and that when Galileo and Thomas Harriot simultaneously pioneered the use of the telescope to study the moon's surface it was Galileo's training in chiaroscuro that led him to see mountains and craters where Harriot only saw "strange spottedness"." The Partnership of Art and Science: The Moon of Cigoli and Galileo.Sirigatti was a member of the Academy of Drawing Accademia del Disegno a school for artists and engineers where Galileo studied as a young man. Any young artist or mathematician working his way through Sirigatti and learning to create the spikes on a ring diagram such as this would master perspective and the handling of light and shadow chiaroscuro. Each spike must cast an appropriate shadow not unlike the patches Galileo would later discern through his "perspective tube" and interpret as the shadows of mountains protruding up from the surface of the Moon.Adams S-1224Cicognara 860Fowler 336Graesse VI417 Macclesfield 1896Mortimer 479Millard 129 the 1625-edition </em> hardcover
14922680Milan: Phillipus de Mantegatiss 1492. Rare first edition of this funeral oration for Lorenzo de Medici the greatest art patron of the Renaissance. Phillipus de Mantegatiss unknown books
1714ST20995Naples: Bernardo-Michele Raillard 1714. 343 x 223 mm. 13 1/2 x 8 3/4". 6 p.l. CCLXIX 15 pp. <br/> IMPOSING CONTEMPORARY BROWN MOROCCO EXUBERANTLY GILT covers with painted and gilt frames of floral rolls central panel with elaborate volute cornerpieces large central lozenge formed by myriad leafy gilt vines enclosing a coat of arms containing a three-turreted castle topped by a crown held up by two putti raised bands spine compartments framed by floral roll painted and gilt daisy centerpiece tulip cornerpieces all edges gilt. The Academy's engraved device on title page and 75 ENGRAVED PLATES of scientific instruments and experiments. DSB 9:3; Dibner Herald of Science 82 first edition. Joints with modern wear one short crack at top of rear joint head of spine a bit wormed corners and extremities somewhat rubbed gilt a bit rubbed in spots difficult to tell if some of the decoration is dark because painted or is now missing gilt a couple of leaves slightly browned in the text bed occasional minor foxing more pronounced on a couple of quires other trivial imperfections but an excellent copy--quite clean and fresh internally--in a solid binding still bright with gilt.<br/> <br/> Given its binding and provenance this is a uniquely desirable copy of a significant scientific work: our stately Neapolitan edition of the "Essays on Natural Experiments" is offered here in very animated morocco bearing the arms of the man who paid for its printing and to whom the book is dedicated. That remarkable patron Caesare Michelangelo d'Avalos Marquis of Pescara and Vasto prince of Isernia and Francavilla 1667-1729 was a true Renaissance man who took Machiavelli's "The Prince" as inspiration. He was both a wily political conspirator and a generous patron of the arts and sciences. His palace at Vasto was renowned for the beauty of its furnishings for its splendid art gallery and for its impressive library overseen by the humanist scholar Alessandro Berti. The present volume was a worthy addition to that library with its glowing dedication and its regal binding extravagantly gilt but so tastefully composed that it never crosses the line into ostentatious. <br /> First printed in 1666 "Essays" was produced by the Accademia del Cimento the most significant expression of post-Galilean scientific progress in Italy. Founded in 1657 as the first organization formed for the sole purpose of making scientific experiments the Accademia occupies a singular position in the history of the development of science. Prince Leopold of Tuscany the last exceptional member of the Medici family and his brother Ferdinand who followed the Medici family tradition of patronizing the arts and sciences provided the support free-thinking direction and financial patronage for the Academy. A well-equipped laboratory and an apparently inexhaustible supply of apparatus and materials helped to make the work of the 10 scientists associated with the Academy more sustained and broader in scope than anything that had come before it. W. E. K. Middleton "The Experimenters" According to Thorndike among many other subjects the experiments described here "were concerned with air pressure and freezing; or they aimed to prove that water was incapable of compression and that there was no such thing as lightness or positive levity. Some experiments were magnetic and others electric the latter being chiefly performed with amber. Other subjects investigated were the change of colors in fluids the motion of sound and projectiles." Although no author is given by name the title page of the 1666 first edition indicated that this account was written by the secretary to the academy Lorenzo Magalotti 1637-1712. A pupil of Viviani and a friend of Boyle Magalotti was celebrated for his highly finished colorful almost dramatic descriptions of experiments. DSB notes "He has the distinction . . . of having written the best scientific prose in Italian after that of Galileo.". Bernardo-Michele Raillard unknown
14922680<p>4to. 20.5 x 15 cm 4to. 20.5 x 15 cm 8 ff. rather dog-eared at edges and with some light soiling. Disbound in a cloth-covered box.<br /></p><p>Rare first edition of this funeral oration for Lorenzo de Medici read in Santa Maria Nuova on 16 April 1492 evidently the only contemporary printed oration of the many delivered and printed in his honor to survive.</p><p>"Lorenzo de' Medici… born January 1 1449 Florence Italy—died April 9 1492 Careggi near Florence Florentine statesman ruler and patron of arts and letters was the most brilliant of the Medici. He ruled Florence with his younger brother Giuliano 1453–78 from 1469 to 1478 and after the latter's assassination was sole ruler from 1478 to 1492." Brittanica.com</p><p>The present publication is the sole oration devoted to Lorenzo in the Short-Title List of Funeral Orations from the Italian Renaissance Ca. 1374-1534 compiled by John McManamon and the only printed example featured in the 1992 exhibition at the Bibliotheca Nazionale Centrale <i>Lorenzo dopo Lorenzo La Fortuna Storica di Lorenzo il Magnifico. </i>Notwithstanding the poor survival rate of ephemeral publications and the controversial character of the <i>laudandus</i> the statistic remains remarkable. The motive for the present oration was overwhelmingly political and meant to insure continuation of the traditionally strong alliance between Naples and Florence at a difficult time of dynastic transition. According to Miglio <i>DBI </i>X.369-70 the work was published before it was read.</p><p>A Naples edition was published the same year from the press of Cristannus Preller IGI VI.1722-A. The work was re-published in the 19th century by Vito Capialbi <i>in Memorie di R. Zeno e A. Bienato</i> Naples 1838 49-86. Milanese born Aurelio Bienato was Reader in Rhetoric at the University of Naples 1470-80 and later elected Bishop of Martirano modern Catanzaro in which sinecure he remained until his death. Miglio also lists an unpublished commentary on Quintilian <i>Iter Italicum</i> I.415-16 II.570 and a collection of Latin verses <i>Elegantiarum epithomata</i> an epitome of Lorenzo Valla's <i>Elegantiae linguae latinae</i> which went through a number of incunable editions 1479/80; 1488; 1491. </p><p>US copies ISTC: Huntington Newberry and Yale. </p><p>Provenance: Ritman copy.</p>Goff B-667; BMC vi.784; GW IV.1346; Paolo Pira ed. Lorenzo dopo Lorenzo. La Fortuna Storica di Lorenzo il Magnifico Florence Biblioteca Nazionale 1992 I.24; John M. McManamon Funeral Oratory and the Cultural Ideals of Italian Humanism 1989 p. 256 & 41-43. Phillipus de Mantegatiss
179640343PRIMERA EDICION De orden del Rey.- Madrid: En la Imprenta Real Año de 1796.- 1 h. 54 p.: Al final 2 h. con sendos modelos plegados de 42 x 473 cm. uno con el "Modelo del Pasaporte ó Patente de Mar que se concede á los Buques para navegar en Europa citado en el Artículo XVII" y el otro con el "Modelo del Pasaporte ó Patente de Mar que se concede á los Buques para navegar en América citado en el Artículo XVII"; 4º 23 x 173 cm.; Excelente impresión a dos columnas sobre magnífico papel verjurado; Edición bilingüe en español e inglés; Enc. moderna ca.1925 finamente ejecutada en Media Piel lomo dorado.- MUY RARO. El tratado de San Lorenzo de 1795 también conocido como tratado de amistad límites y navegación o tratado Pinckney en los Estados Unidos fue firmado por España y los Estados Unidos para definir las fronteras entre los Estados Unidos y las colonias españolas en Norteamérica y regular los derechos de navegación en el río Mississippi. El acuerdo fue firmado en San Lorenzo de El Escorial el 27 de octubre de 1795 por Manuel de Godoy en nombre de Carlos IV de España y por Thomas Pinckney en representación de Estados Unidos; sería ratificado por el presidente estadounidense George Washington el 7 de marzo de 1796 en Filadelfia y por el rey de España en Aranjuez el 25 de abril del mismo año. SIGLO XVIII ESPAÑOL Libro en español En la Imprenta Real hardcover
168829719Firenze: Stamperia di S.A.S. alia Condotta 1688. Rare First Edition of this very early work on football. Engraved armorial title-vignette featuring a figure with a football by Francesco Nacci two folding engraved plates one with players lined up for play in the Piazza Sante Croce by Alexander Cecchini and one a diagram of player's positions. 4to in nineteenth-century marbled boards backed in black morocco the spine gilt lettered and with multi-line gilt ruled flat bands additional gilt tooling at the foot bookplate of Franco Niccoli to front paste-down. xii 118 2 manuscript entries pp. A very handsome and proper copy of this rare book with a couple of contemporary marginal annotations and one contemporary manuscript leaf bound at the end a little scattered foxing throughout but not obtrusive. RARE FIRST EDITION OF PIETRO BINI'S ANTHOLOGY ON FLORENTINE FOOTBALL a forerunner to the modern games of soccer rugby and American football. THIS IS ONE OF THE EARLIEST TREATISES ON THAT PREDECESSOR TO OUR MODERN GAMES.<br> In the game of calcio two teams each consisting usually of 27 men are engaged on an enclosed ground of 172 x 82 braccie fiorentine just little smaller than a modern football field. The action consists of carrying and kicking a pumped ball of medium size with fists and feet hence the name calcio in order to make it pass beyond the terminal barriers of the adversaries' half. One such successful action is called caccia. The team making the most caccie is the winner. Games typically last one hour and are played 'for honour's sake'.<br> The wonderfully detailed description of the game is largely by Giovanni de' Bardi and though it was first published anonymously nearly a century earlier the text included here is greatly expanded and illustrated. It fully explains the rules and manners of the game and describes a number of games that had recently been played in and near Florence. The double-page plate depicts a match in the Piazza Santa Croce is very impressive and provides us with a lasting 17th century "instant replay" of the event. Stamperia di S.A.S., alia Condotta hardcover
168340699Bologna: ex typographia HH. Antonij Pisarrii 1683. First edition. <p> Inscribed by Bellini</p> <p>Bellini Lorenzo 1643-1704. De urinis et pulsibus de missione sanguinis de febribus de morbis capitis et pectoris. 4to. 20 606 i.e. 608pp. Woodcut ornaments. Bologna: ex typographia HH. Antonij Pisarrii 1683. 216 x 161 mm. Vellum c. 1683 title hand-inked on spine. Leaf Aaaa2 torn and repaired at an early date without loss of text otherwise a fine copy. Presentation copy from the author inscribed at the foot of the title: "All' Illmo Conte Tommaso della Gherardesca. l'Autore." </p> <p>First Edition inscribed by the author. This is the first inscribed copy of a major seventeenth century medical classic that has been on the market in more than a decade. Bellini professor of anatomy and medical theory at Pisa was one of the Italian founders of iatromechanics a system that framed physiologic events such as the circulation of the blood in terms of mathematical and physical principles. Bellini's De urinis et pulsibus represents the first important attempt by an Italian scientist to systematically apply iatromechanics to medical theory. "William Harvey's theory of the circulation was of fundamental importance to Bellini and other proponents of iatromechanism. Bellini asserted that good health depended on optimal function of the circulation of the blood and that disease was a manifestation of an inefficient circulation. Rejecting ancient humoral pathology he viewed blood as a physical fluid with specific properties that could be interpreted in terms of mathematical and physical principles. . . . Bellini emphasized that disease was often due to alterations in the elasticity or 'tone' of the solids or in the density of the fluids which hindered their motion. This in turn could cause local congestion or stagnation. Bellini's enthusiastic support of therapeutic bleeding reflected this pathophysiologic concept. He tried to prove that this phlebotomy increased the velocity of the circulation thereby washing away 'morbid matter' and restoring health" Fye pp. 181-82. </p> <p>In the book's section on diseases of the chest Bellini reported "several forms of heart disease especially of the syncopal type . . . in his book De urinis et pulsibus Bellini discusses the state of the coronary arteries and admits that the condition which he calls 'pressio' is dangerous and may cause the contraction of the heart to be abolished p. 541. He also has in mind external pressure by tumors fat and so on. However an intra-arterial coronary impediment of blood-flow by calcification was clearly described by this author. Bellini reported of a patient who died of a condition similar to the clinical picture of coronary disease as we now understand it in whose coronary arteries he found a 'stone.' It seems quite reasonable to deduce that Bellini saw in the post-mortem a coronary occlusion" Leibowitz History of Coronary Heart Disease p. 71. </p> <p>Bellini's work is also important in the history of urology as it marks the first important contribution to the chemical analysis of urine. Recognizing the value of urine as a diagnostic aid Bellini insisted on its chemical analysis in pathologic conditions. </p> <p>Bellini presented this copy of De urinis et pulsibus to Tommaso della Gherardesca 1654-1721 a distinguished member of an important Tuscan aristocratic family and as such a likely patron. Gherardesca was appointed bishop of Fiesole in 1702 and archbishop of Florence in 1703; he also founded the Seminario Maggiori di Firenze in 1712. The rarity of this inscription by Bellini cannot be overestimated. This is the first inscribed book by Bellini we have seen on the market in more than 40 years and it is also the first inscribed copy of a major seventeenth century classic on any aspect of medicine that we have seen on the market in more than a decade possibly longer. In addition this copy is clearly in the original binding in which it was presented and with the exception of one leaf which was inexplicably torn through and repaired the copy is in fine even very fine condition for a work of this period</p> . <p>Garrison-Morton 762.1 4162. Fye "Lorenzo Bellini" Clinical Cardiology 20 1997: 181-82. Dictionary of Scientific Biography. Willius & Dry History of the Heart and the Circulation p. 64. Murphy History of Urology pp. 147-48.</p> . ex typographia HH. Antonij Pisarrii unknown books
18401613Florence: Lorenzo Bardi 1840. Very good. Oblong quarto 7 3/4 11 inches 195 x 280 mm. 18 aquatint plates engraved by G. Carrocci and others image size 14 x 19 cm plate mark size 18 x 25 cm with superb hand coloring in heavy watercolor and gouache within black line and grey gouache borders. Preceded by a dedication page printed on blue paper; original upper wrapper with aquatint vignette also printed on blue paper bound in. Contemporary red sheep-backed boards rubbed with brown calf spine. <br /> Provenance: Library of Norman Bobins.<br /> Bobins vol. 5 1675. Exceptionally fine series of views of Florence landmarks with a few from Pisa being a new version of Zocchi's "Scelta di XXIV vedute delle principali contrade piazze chiese e palazzi della città di Firenze" first published in 1744. Lorenzo Bardi unknown
1827007797Napoli: Stamperia Real 1827. First Edition. Quarter Morocco. Very Good. A glorious memorial to the fun-loving Bourbon Neapolitan court of the day. Folio 33.5 by 23.5 cm. 19 1 pp. followed by 11 hand-colored plates and 220 cm long concertina or leporello depicting a procession of sorts or perhaps a frieze of the masqueraders 84 in all and all of whom are hand-colored figures. Below the line-up of dancers on the frieze are nine separate excerpts of musical notation. Eight of these are for various quadrilles with the title of the particular dances above the bars of music. The ninth music quotation is for a Persian march its participants the ones depicted in the eleven larger plates. The actual people at the masquerade and represented by the illustrations are listed and keyed in the text portion. The names are rich in the titled and the English are also well-represented with a few familiar names such as Acton among them. Contemporary binding both leather spine and paper pastedown on boards fairly heavily rubbed. Light foxing throughout. Repaired closed tear repair on frieze. The concertina is folded in an unusual manner and thus requires care when opening it up. Hand-colored figures are all bright. Stamperia Real unknown
98472Milano Giovanni Silvestri 1811. . Second enlarged edition 4to 29 x 21.5 cm. 4 98 2pp. half-title errata explanation of plates III-V engraved vignette to title 5 maps and plans on 3 sheets 1 double-page 2 folding green straight-grained morocco gilt covers with broad gilt borders spine faded to olive all edges gilt a fine copy.<br /> A superb large copy in contemporary green morocco of the preferred enlarged second edition. <br /><br />Ferrer Maldonado's account of a spurious 1588 voyage through the Polar seas during which the Spanish navigator claimed to have discovered the fabled Northwest Passage here called the Strait of Anian depicted in the folding maps. A scarce item in any edition.<br /> Hill p103; Howes F95; Lada-Mocarski 66; Sabin 44109. Milano, Giovanni Silvestri, 1811. unknown
16660000696Bononiae Bologna: Sumptibus haeredum Euangelistae de Duccijs 1666. First Edition. Vellum. Very good . Folio 31.4 x 21cm. Contemporary vellum. Collation: 16 576 70 p. engraved frontispiece and 36 woodblock prints in text or singly. The frontispiece has allegorical figures in a garden with arms of the University of Bologna. Bottom of spine repaired with new vellum. The internal condition is very good. This is a very scarce title from an Italian botanist and brother of naturalist Batolomeo Ambrosini. He succeeded his brother to the chair of botany at the University of Bolognia and also assumed direction of the botanical garden. His first work was Hortus Bononia studiosirum consistus which was followed posthumously with the Phytologiae offered here. The Phytologiae was intended to be the first of a two-volume dictionary of plants with the second to be on trees. The second volume was never completed. The woodcuts in this work on herbaceous plants were done by Tinti and provide a good working illustration for the plant described in the text. This very scarce work comes from a period of great botanical study and characterization in Italy. The genus Ambrosinia is named after the two brothers. Hunt 303; Pritzel 132. <br/><br/>This very scarce work comes from a period of great botanical study and characterization in Italy. The genus Ambrosinia is named after the two brothers. Hunt 303; Pritzel 132. Sumptibus haeredum Euangelistae de Duccijs hardcover books
Il Virgilio Riccardiano (Ms. Ricc. 492). Vergilius Publius Maro: Bucolicon, Georgicon, Aeneis Biblioteca Riccardiana, Firenze. ArtCodex, Modena, 2002. Riproduzione in facsimile delle Bucoliche, Georgiche, Eneide di Virgilio con miniature che rappresentano il viaggio di Enea ambientato città di Firenze al tempo di Lorenzo il Magnifico. Legatura in pelle con cornici di filetto impresse a secco sui piatti. Formato 20x31 cm. Pagine 512. Commentario (21x31 cm. pagine 173) in italiano. Cofanetto in legno pregiato, formato 34x44x13 cm. Tiratura limitata e numerata di 999 copie. Condizioni ottime.
Libro d’Ore di Bonaparte Ghislieri (Libro d’Ore del Perugino, Hours of Bonaparte Ghislieri). British Library, Yates Thompson MS 29, Londra. Franco Cosimo Panini Editore, 2007. Riproduzione in facsimile del manoscritto con miniature, a piena pagina, realizzate dal Perugino altri miniatori quali Lorenzo Costa, Amico Aspertini, Francesco Francia, Matteo da Milano. Legatura in marocchino con, sui piatti, due castoni di pietre dure e due medaglioni centrali raffiguranti l’Annunciazione. Formato 15x21 cm. Pagine 270. Commentario, in italiano, di Benevolo Giancarlo, Kidd, Peter e Medica Massimo. Cofanetto di custodia. Tiratura limitata e numerata di 980 copie. Condizioni ottime.
Album in 4° oblungo cm. 50x35, br. orig. color verde con ill. xilografiche dell'A. (Il Martirio sulla prima di copertina e dati editoriali con figura alla seconda di copertina), legatura con corda verde. Contiene 12 xilografie impresse al recto, e come da prefazione dell'A. tratte dal suo quadro "La benedizione dei morti nel mare": La Bendizione dei morti in mare - La cattiva notizia - Il vicinato - Il ritorno - Particolare del ritorno - Il naufrago - La madre - Particolare del naufrago - L'attesa - L'offerta - La preghiera - (Madre con bambino) pag. della pref. Rara raccolta di Lorenzo Viani, con firma autografa dello stesso. Buon es.
17466973Madrid: Imprenta de Juan de Zúñiga 1746. First Edition — Primera edición. Hardcover — Tapa dura. 190x145mm. 7½x5¾". Madrid Juan de Zúñiga 1746. En 4º 190 x 145mm. frontis y retrato dibujados y grabados por irala 40 167 8 96 pp. Encuadernación en pergamino de época autor rotulado de época en la cubierta delantera. Primera edición de esta obra importante. A partir de la página 167 comienza con portada propia: "<em>Catálogo del Museo Histórico Indiano</em>". Palau dice de este libro: "Obra estimada e indispensable a todo americanista". Lorenzo Boturini 1702-1755 nació en Sondrino obispado de Como en Italia. Pasó a las Indias en 1736 sin licencia permaneciendo en la Nueva España hasta 1743. Allà se dedicó a la búsqueda de testimonios sobre la Virgen de Guadalupe y a su gran afición de las antigüedades mexicanas prehispánicas reuniendo manuscritos y documentos y aprendiendo el idioma Nahuatl. Su fervor guadalupano le llevó a querer coronar a la Virgen consiguiendo un breve pontificio y recaudando dinero; todo ello y su condición de extranjero levantó sospechas del virrey quien le arrestó confiscó su colección y finalmente le expulsó a España sin sus papeles. Nunca más volverÃa a ver lo que él mismo llamó su "Museo histórico indiano". Ya en España fue nombrado Cronista de Indias pero murió en 1755 sin haber recuperado sus manuscritos. Parte de la Colección Boturini se perdió por desidia de sus custodios y el resto se dispersó; los documentos más valiosos son los que se conservan en la BN de ParÃs además de muchos otros depositados en la Real Academia de la Historia de Madrid. Para la redacción de la obra estableció tres grandes edades o perÃodos de evolución de las culturas novohispanas: la edad de los dioses la de los héroes y la de los hombres. En el texto continuamente hace gala de su erudición clásica justificable en un autor que quiso demostrar el parentesco de la historia de los pueblos americanos con la del resto del mundo. Eduardo Anglada "Testimonios cinco siglos del libro en Iberoamérica" 1992 nº 3 Buen ejemplar generalmente limpio. Primeras hojas de preliminares con ligera mancha en la esquina inferior pequeña restauración marginal al verso del frontis sin afectar por lo demás perfecto. Procedencia: Huating anotación manuscrita del siglo diecinueve Imprenta de Juan de Zúñiga hardcover
174312853Madrid: Juan de Zúñiga 1743. 193x135mm. 7½x5¼". Madrid Juan de Zúñiga 1743. 2 obras en un volumen. En 4º 193 x 135mm. -I: 8 504 pp.1 bl. -II: 4 42 pp. Encuadernación de la época en piel lomera cuajada de dorados. Segunda edición del "Arte o cartilla del nuevo beneficio de la Plata" publicado por primera vez en Lima en 1738 donde se describen las minas del Perú y se explica el nuevo beneficio que consiste en el empleo de la colpa o caparrosa en lugar del magistral consiguiendo no solo un ahorro de costo por el escaso precio y abundancia de la primera comparado con el del segundo sino también y principalmente por el consumo menor de azogue y un rendimiento mayor de plata o "aumento de ley". Explica como se ha de hacer el beneficio con el nuevo ingrediente en las diferentes clases de metales y termina doliéndose de la indiferencia con que se ha mirado este asunto en el pasado. Sus maestros según él mismo dice habÃan sido 25 años de trabajo y experiencia estudiando en casi todos los metales conocidos en el reino del Perú y empleando el servicio de muchas y diferentes minas entre ellas las famosas de Nuestra Señora de la Regla y la de San Juan de Lucanas donde habÃa sido minero azoguero beneficiador y al final dueño de la mina. La segunda obra del volumen el "Resumen del arte" impreso por Zúñiga el mismo año es un compendio del "Arte o cartilla" del mismo autor. "Este resumen es solamente dar a los dueños de minas de los reynos del Perú y Nueva España las reglas prácticas que deben observar en el nueo methodo de beneficio de la plata". MagnÃfico ejemplar de ambas obras en perfecto estado. Juan de Zúñiga unknown
108299Giuseppe Vanni Florence 1776 . Two hand-coloured etchings with engraving. Original colour. Very good condition with strong fresh colour and full margins. Framed and glazed overall dimensions: 50 x 43 x 4cm.<br /> Storia naturale degli uccelli. was one of the finest bird books issued to that date and one of the most sumptuous publications of the eighteenth century in Italy" Christine Jackson Dictionary of Bird Artists of the World.<br /> Fine Bird Books 1990 p.92; Nissen "Zoologische Buchillustration" IVB 588; Zimmer p.241. [Giuseppe Vanni, Florence 1776] unknown
M10355Extremely rare. Typis Matthiae Beckeri impensis vero dictorum fratrum & viduae Theodori de Bry matris eorundem Francofurti 1608. First edition. In-8 43 pages 16 plates. Modern half-leather stain on title page otherwise a very nice copy. From the library of Egyptologist Charles Cornell Van Siclen III VSX. Language: Latin. This book ships from the USA shipping costs will be updated accordingly TXR. Relevant subjects: Egypt: Language Texts & Writing. unknown
16993149<p>Full vellum with titles inked to spines. 6 raised bands. Red speckled edges. Fissure in vellum at front hinges but quite firm. Wine colored stain to front cover of vol. II near spine. Many foldout plates. Late 17th century compilation of medical specialties. A nice clean copy without previous owners' names or other markings. ; Folio 13" - 23" tall; 1072; 1223 pages; All shipments through USPS insured Priority Mail.</p> Johan. Anthon. Chouet & Davidis Ritter hardcover
16993149Full vellum with titles inked to spines. 6 raised bands. Red speckled edges. Fissure in vellum at front hinges but quite firm. Wine colored stain to front cover of vol. II near spine. Many foldout plates. Late 17th century compilation of medical specialties. A nice clean copy without previous owners' names or other markings. ; Folio 13" - 23" tall; 1072; 1223 pages; All shipments through USPS insured Priority Mail. Johan. Anthon. Chouet & Davidis Ritter hardcover books
1681000434Barcelona Spain: Joseph Forcada. Very Good with no dust jacket. 1681. Original Vellum. AN EXCEEDING RARE SPIRITUAL TREATISE VIRTUALLY UNKNOWN IN SUCH AN EARLY SPANISH EDITION AND THE BOOK USED AS AN EARLY CONVERSION MANUAL IN THE NEW WORLD. Printed 1681 in Fine Original Vellum with gilt! COMBATTING OF THE DEVIL! The Book: Scupoli Lorenzo 1530-1610; Juan de Castaniza d. 1598 COMBATE ESPIRITUAL ESCRITO POR EL VENERALE SCUPOLIU. Barcelona Joseph Forcada 1681 64mo. Fine contemporary limp vellum with gilt blindstamping usual woodcut illustrated title of the devil firing an arrow into the breastplate of a Christian soldier. 452 pgs and tabla complete. A precious Spanish edition of this classic treatise on evangelical perfection through spiritual exercises including several chapters in partcular to the promotion of Christian faith and the combatting of the devil as evidenced particularly in the title and frontispiece illustration. This manual was among the often used in the New World for conversion of the native from their "vices and the snares of the devil." There are no traces of the first Spanish edition. The present volume is among the earliest surviving Spanish copies all of which are extremely rare and the next readily traceable one being from 1722. Scupoli Lorenzo 1530-1610; Juan de Castaniza d. 159. Combate espiritual o Tratado de la perfeccion Christiana. Traduxolo en la lengua Espanola de la Italiana y de la Latina; y lo consagra a la Emperatriz y Reina nuestra Senora Don Damian Gonzalez del Cueto doctor en ambos derechos. Vienna Johann Baptist Schilgen 1722. A precious illustrated Spanish edition of this classic treatise on evangelical perfection through spiritual exercises Combattimento spirituale The spiritual combat with engravings by Martin Engelbrecht. This work is commonly attributed to Juan de Castaniza who is here identified in the preface. Castaniza a Benedictine monk of Ona active in Italy was known for his chronicles of the life of P. Rivadeneyra and St. Romuald. The work was written by the Italian father Lorenzo Scupoli however and translated shortly after its appearance by Castaniza into Spanish. Combate espiritual in this pocket-sized and compact duodecimo format is a handbook of devotional exercises presented in sixty-six chapters modeled after Loyola's famous text. It aims at perfecting the soul through prayer meditation and examination of the conscience. It is thus a guide for the conquest of the spirit over unruly passions the senses and conscious acts offering a method for self-regulation leading to virtue and salvation. Indeed it prescribes the imitation of Christ's life through empathic contemplation on the Passion assisted by the text and images. The stirring devotional image of the Crucifixion engraved by Engelbrecht 1684-1756 depicts the cross as the fountain of life "apud me est fons vitae"; Christ's blood pours into the cups of his disciples who stand at his feet. The engraving is appropriate for the work a visual experience provoking empathy for Christ through inward meditation and complete sensitization through reflection on the image. The frontispiece also by Engelbrecht depicts Christ as the exemplar of complete virtue. An unsigned engraving of St. Francis de Sales 1567-1622 accompanies a short elegy by this great ascetic bishop of Geneva who endorsed in his spiritual teachings the mortification of the senses will and mind for the sake of perfection. The more simple depiction of St. Francis de Sales is likely produced by a different engraver as Engelbrecht's compositions are here characterized by fully-modeled figures and atmospheric effects through the use of fine linework. Engelbrecht was the brother of Christian Engelbrecht 1672-1735. These well-known printsellers and engravers were dominant figures in Augsburg at this time and are remembered for their portrait studies and their landscape religious and allegorical illustrations. Martin is also noted for his engravings used in perspective boxes or peepshows. Scupoli's work makes its first appearance in the Italian in Venice in 1589. By the mid- seventeenth century this very popular devotional work was frequently republished in German and Latin. There are no traces of the first Spanish edition which must have appeared shortly after the Italian edition. This present illustrated edition a late Spanish translation of this important work reproduces the text as it originally appeared in Castaniza's translation. All Spanish translations of this text remain very rare. This popular meditative manual produced in this small format for a large and pious public instructively suggests the ways in which its readers responded to the text and images. It is an early publication from the press of Schilgen printer to the university of Vienna. A nice copy of this very important and scarce devotional work in Spanish. Duodecimo: 12 26 A-R12 R1112 blank; xxxvi 396 12 pp. Engraved frontispiece and full-page engraving signed Martin Engelbrecht full-page engraved portrait of St. Francis de Sales signed I.A.P. woodcut historiated initial typographic and woodcut head- and tailpieces. Occasional text browning. Contemporary sprinkled calf backstrip divided into five compartments with naturalistic tool at center and corners in blind remains of morocco label title stamped in blind raised bands outer edges hatched in blind contemporary combed marbled endpapers all edges gilt worn at extremities. Very good. Not in OCLC or RLIN; not in German or Spanish union catalogues including Gesamtkatalog GBV and the Osterreicher Bibliothekverbund. For Engelbrecht see NDB 4.512; Thieme-Becker 10.534; F. Schott Der Augsburger Kupferstechner und Kunstverlager Martin Engelbrecht und sein Nachfolger Walluf 1972.; Spanish; 48mo - over 3" - 4" tall; OCCULT NECROMANCY SORCERY EXORCISM SATANISM ASTROLOGY DIVINATION RELIGION MAGIC SATAN DEVIL WORSHIP PENTACLE WICCA WICCAN . Joseph Forcada hardcover
161352482Augsburg: C. Daberholtzer for Marcus Welser At the sign of the Pine 1613. First Edition. 4to pp. xii 280 10 2 blanks. Illustrated with six full page and 21 text woodcuts with a woodcut title device. Bound in contemporary vellum over thin soft boards ms spine title. A fine copy spot on two leaves early ownership signature of D. Attanzio Arcelli. Krivatsy 8979; RISM B VI2 654; UCBA I:1603; Cicognara 1759;. This is the first edition of this illustrated encyclopaedia of the duties of rural and urban servants in the ancient world. This covers the family life and legal status of a wide range of tradesmen and blue collar workers: gladiators scribes bookkeepers musicians physicians and surgeons comedians artisans tutors gardeners cooks midwives teachers and fishermen. There are plates of musical instruments ball players ships jewelry and a wine cellar. The text draws on ancient medieval and contemporary sources. The distinguished doctor Fabricus ab Aquapendente contributed a short essay on food addressed to the Augusburg merchant and historian Marcus Welser. A learned antiquary born in Padua in 1591 Pignoria was educated by the Jesuits and a canonry of Treviso was conferred upon him by cardinal Fr. Barberini. This present work is called "a valuable work" although criticised as being diffuse. This offers an interesting glimpse into the working of the classical household. [C. Daberholtzer for Marcus Welser] At the sign of the Pine unknown books
1577LD6849Antwerp: Christoph Plantin 1577. Hardcover. Very Good. 4to 205 x 155mm. 194pp. 1. Engraved title after Bernadino Passeri with coats of arms of Alessandro Farnese cardinals hat surmounting escutcheon bearing six fleurs-de-lis and Antonio Perenotto cardinals hat over double headed eagle and seven bends emblems of Pope Gregory XIII papal tiara and crossed keys of Rome over medallion enclosing head of dragon two putti and heads of putti amid boughs of fruit hanging from architectural frame. All 55 copperplate engravings 54 in cartouche representing religious scenes mainly scenes of Christs life the Presentation Transfiguration Entry into Jerusalem Crucifixion Resurrection Ascension Pentecost various judgments visionary and moralistic scenes mainly for saints and a fight against the Turks all from drawings of Bernardino Passeri one repeated on p. 160 p. 191 and one The Raising of Lazarus p. 88 of a different style and signed I. H. W.-P. B. i. e. Hieronymus Wierix after Pierre van der Borcht of the Plantin stock. Early 19th-century half morocco over marbled boards marbled endpapers and edges; margins trimmed close title browned some toning throughout lightly worn otherwise complete and sound. Armorial bookplate of T. Graham three escallops joined with chevron charged with three crescents with motto Omne meum nihil meum tis all mine and none mine on front pastedown. Few annotations in margins mainly on poem for St. Anthony of Padua beginning p. 183. <br/><br/>Gambaras rare neo-Latin treatise discouraging Christian poets from using pagan symbols the Liber Rerum Sacrarum finely illustrated by Passeri and from the Plantin press in 1577. Rare original edition of Lorenzo Gambaras Liber Rerum Sacrarum a collection of Latin religious poems in which he dissuades Christian poets from using pagan mythology in their work. Gambara was born in Brescia in 1506 but spent most of his life in Rome in service to Cardinal Alessandro Farnese and Pope Gregory XIII where he had regular contact with many writers of the day. He himself was a prolific poet and translator of Greek lyric poetry perhaps better known for his work on the Navigation of Christopher Columbus 1581. Gambara died in 1596 at the age of 90. Each of Gambaras poems in the Liber Rerum Sacrarum feature saints or religious feasts which were dedicated to a prominent prelate starting with a brief argumentum or appeal and with an illustration adapted to the text. As pointed out in letters by Plantin the plates were made in Italy by an unknown engraver probably after the designs of the Roman painter Bernardino Passeri whose name figures on the title page and shipped to Antwerp. Rare copies located at Stanford Duke Newberry Library Brigham Young and the National Art Library in London and another on market. Christoph Plantin hardcover books
1577LD6849Antwerp: Christoph Plantin 1577. Hardcover. Very Good. 4to 205 x 155mm. 194pp. 1. Engraved title after Bernadino Passeri with coats of arms of Alessandro Farnese cardinals hat surmounting escutcheon bearing six fleurs-de-lis and Antonio Perenotto cardinals hat over double headed eagle and seven bends emblems of Pope Gregory XIII papal tiara and crossed keys of Rome over medallion enclosing head of dragon two putti and heads of putti amid boughs of fruit hanging from architectural frame. All 55 copperplate engravings 54 in cartouche representing religious scenes mainly scenes of Christs life the Presentation Transfiguration Entry into Jerusalem Crucifixion Resurrection Ascension Pentecost various judgments visionary and moralistic scenes mainly for saints and a fight against the Turks all from drawings of Bernardino Passeri one repeated on p. 160 p. 191 and one The Raising of Lazarus p. 88 of a different style and signed I. H. W.-P. B. i. e. Hieronymus Wierix after Pierre van der Borcht of the Plantin stock. Early 19th-century half morocco over marbled boards marbled endpapers and edges; margins trimmed close title browned some toning throughout lightly worn otherwise complete and sound. Armorial bookplate of T. Graham three escallops joined with chevron charged with three crescents with motto Omne meum nihil meum tis all mine and none mine on front pastedown. Few annotations in margins mainly on poem for St. Anthony of Padua beginning p. 183. <br/><br/>Gambaras rare neo-Latin treatise discouraging Christian poets from using pagan symbols the Liber Rerum Sacrarum finely illustrated by Passeri and from the Plantin press in 1577. Rare original edition of Lorenzo Gambaras Liber Rerum Sacrarum a collection of Latin religious poems in which he dissuades Christian poets from using pagan mythology in their work. Gambara was born in Brescia in 1506 but spent most of his life in Rome in service to Cardinal Alessandro Farnese and Pope Gregory XIII where he had regular contact with many writers of the day. He himself was a prolific poet and translator of Greek lyric poetry perhaps better known for his work on the Navigation of Christopher Columbus 1581. Gambara died in 1596 at the age of 90. Each of Gambaras poems in the Liber Rerum Sacrarum feature saints or religious feasts which were dedicated to a prominent prelate starting with a brief argumentum or appeal and with an illustration adapted to the text. As pointed out in letters by Plantin the plates were made in Italy by an unknown engraver probably after the designs of the Roman painter Bernardino Passeri whose name figures on the title page and shipped to Antwerp. Rare copies located at Stanford Duke Newberry Library Brigham Young and the National Art Library in London and another on market. Christoph Plantin hardcover
