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Folio (196 x 275 mm). (10), 306 ff. With about 320 mostly botanical woodcuts in the text, coloured throughout in green, yellow, blue, red and pink in a strictly contemporary hand (3 botanical illustrations repeated on the title-page and a few of the non-botanical illustrations including repeats in the text), about 70 woodcut-decorated initials plus a few repeats (4 series, the largest pictorial and the others white on black, often with multiple blocks for the same letter), many cut by Sebald Beham. Set in roman types with Greek and Schwabacher for the Greek and German names. Restored 18th century calf covers, modern spine rebacked with lighter leather in six compartments with gilt floral ornamentation and giltstamped red morocco label. Marbled endpapers (free endpapers renewed). All edges red. First edition of Theodor Dorsten's Latin adaptation of Eucharius Rösslin's extensive and beautifully illustrated German herbal, "Kreutterbuch", first published (also by Egenolff) in 1535. It includes about 284 botanical illustrations originally cut for the Rösslin edition, many based on the pioneering naturalistic illustrations cut by Hans Weiditz for Otto Brunfels's "Herbarium vivae eicones" (1530-36). Most show complete plants including roots, some show fruits or other parts of plants, and about 36 mostly smaller woodcuts (including a few repeats) show containers for the medicines or other relevant objects. - Egenolff clearly saw the importance of the new and more accurate style of illustration, and engaged the best woodblock cutters to produce his blocks. While Brunfels's "Herbarium" had no text beyond the names of the plants, Egenolff saw the importance of combining the images with detailed botanical medical texts, first in German by Rösslin and here in Latin by Theodor Dorsten (1492-1552), a physician and professor in Marburg, Germany. The book therefore played a considerable role in bringing botanical medical knowledge to a wider public, both in Germany and abroad. Dorsten's adaptation was also further developed in German for Adam Lonitzer's "Kreutterbuch" in 1557. The present first edition of Dorsten is an appealing piece of book production: the roman type (following the "Venetian" style of Nicolaus Jenson, but in the variant form prevalent north of the Alps) perfectly complements the woodcuts, and the presswork is excellent. The present edition appeared in two simultaneous issues, the present issue repeating three of the botanical illustrations on the title-page and the other instead showing Egenolff's woodcut burning heart device (USTC 616902 & VD 16, D2443): most catalogues do not distinguish the two. - Edges of title reinforced with old paper on verso. 17th century ownerships "Andreae Biscontis" and "Miguel Burilly" to lower edge of title-page. Some damp- and brownstaining throughout, several near-contemporary annotations, mostly trimmed at rebinding. First edition of one of the earliest herbals to provide scientifically accurate botanical images. VD 16, D 2442. Adams D 589. BM-STC German 253. Anderson, Herbals, p. 156. Durling 1203. Nissen, BBI 522. Pritzel 2378. Plesch, p. 206. USTC 616903. Wellcome I, 1861. Not in Hunt.
4to (198 x 145mm). 53, (1) ff. Historiated woodcut border on title-page, one white on black woodcut initial, some Greek type. Modern vellum, red edges. Rare early edition of Erasmus's "Praise of Folly", which was first published in Paris in 1511. Conceived by Erasmus on his journey from Italy to England, it was written in a little over a week during his stay at the house of Thomas More in London in 1509 (to whom the work is also dedicated). - More than a mere distraction or trifle, this work is an acerbic, humorous attack on the foolishness that ruled church and state in the period. "It satirizes the old learning, the old medieval world, the monks and friars, the pilgrimages and processions, the cult of saints, in a style of biting humour. Erasmus was a great humourist, subtly ironical and elusive" (F. A. Yates, Ideas and Ideals in the North European Renaissance [1984], 155). It was extremely popular, said to be enjoyed even by Pope Leo X; 35 editions followed its first printing in Paris. While its author remained steadfastly within the Roman Catholic Church throughout his life, this satire and the critiques it contained played a crucial role in the beginnings of the Protestant Reformation. Early versions of this work are hard to find. - In a letter written in May 1515, Erasmus himself described the book as light relief from the kidney-stone by which he was afflicted: "my library had not yet arrived ... so, for want of employment, I began to amuse myself with Praise of Folly, not with the intention of publishing the result, but to relieve the discomfort of sickness by this sort of distraction" (Praise of Folly [Oxford, 1913], Introduction, p. XIV). He had earlier, in a letter to More, described it as a "trifling thing" (Letter 222, June 1511, Correspondence of Erasmus Vol. II). - Attractive textual annotation in margins, in red ink in the same humanist hand (some lost to trimming of pages) that appears to have dated the title-page 1518, four years after publication. There is also sparser annotation in a second, later hand, in darker ink. - Worming to lower blank margins with loss of a few letters, repaired in gatherings E and F; staining throughout, some loss to title due to trimming. VD 16, E 3182. BM-STC German 282.
Small folio (202 x 279 mm). (6), LXXX (but: 84), (1) pp. (collation: A6; B-N4 [N4 blank], O-P4 Q2, R-X4, x2, Y-Z4). Title page printed in red and black surrounded by a border of 10 armorial woodcuts. With full-page woodcut portrait of Emperor Ferdinand I by Donat Hübschmann on verso, large emblematic etching by Johann Schlutpacher von Rauris (A6v), full-page woodcut by Hans Lautensack of the standard-bearer Heinrich the younger, Burgrave of Meissen (E1r), 45 woodcut coat-of-arms in quire x, on Z1r woodcut device incorporating the arms of the printer, a Polish nobleman. 7 large folded etched plates, including two by Hanns Lautensack (at G4 and N4), one attributed to Francesco Terzi (at H2), one by the monogrammist FA (at I3), one attributed to Giovanni Guerra (at Q2), one unsigned (at X3), and one attributed to Johann Thwenger. Early 19th century half calf. First German edition of the finest early printed book on tournaments. It describes in detail and spectacularly illustrates the tournaments, staged battles (including an elaborate naval scene), balls and banquets, held at Vienna to honour the visit of Albrecht V Duke of Bavaria (1528-79), son-in-law of Emperor Ferdinand I and brother-in-law of King Maximilian of Bohemia (Emperor Maximilian II from 1564 onwards). According to Graesse (II, 629), the Latin edition of the same year has different illustrations, which he describes as "moins bonnes", and the same is true for Feyerabend's Frankfurt edition appended to Rüxner's "Thurnier Buch" (1566). The author served as herald to John II Sigismund, King of Hungary. - In complete condition with the full complement of etched plates, the book is of the utmost rarity; both Ruggieri copies were imperfect, and Bartsch describes only three of the etchings. - Fine impressions throughout. Some light browning and marginal fingerstaining; a few tears or flaws to the plates reinforced or rebacked. Rebound in the early 18th century for the Austrian infantry captain and secretary to the military court Franz von Grössing (his handwritten ownership at the bottom of title-page and colophon), preserving the upper third of the original flyleaf with handwritten ownerships dating from the 1560s (Rosina and H. V. Bastrig[o] 1561; gifted to Bernhard Kulmer by his sister Barbara Poltus, but returned to Bastrig in 1563 "as he will not allow the gift, and has a better right to the book"). Latterly in the library of the Viennese collector Werner Habel (1939-2015) with his handwritten and stamped ownership to the new flyleaf. VD 16, F 2207. Ruggieri 827. Brunet Suppl. II, 767. BNHCat F 406. Mayer I, 88f. Watanabe 21.
4to (22 × 16.5 cm). With engraved title-page, folding woodcut plate, 3 woodcut volvelles with moving parts, and numerous woodcut illustrations in text. Including a world map in two hemispheres (incl. America and a scattering of islands at the location of Australia) on two facing pages, they reappear with volvelle attachments on both sides of leaf 149 and leaf 153. Contemporary limp sheepskin parchment. First edition of a well-illustrated encyclopaedia of astronomical and surveying instruments available since classical history, by the Italian astronomer Giovanni Paolo Gallucci (1538-ca. 1621), a well-known private teacher to the Venetian nobility and founding member of the Second Venetian Academy. It gives a comprehensive summary of the knowledge of astronomy, cosmography and mathematics at the time of Galileo. "It describes instruments designed by others (Finé, Apian, Gemma Frisius, etc.) and gives credit to the original inventors. The one exception to this is the Visorio, which Gallucci claims as his own, but an identical instrument by Waldseemüller can be found illustrated in the 1512 edition of Margarita Philosophica by Gregor Reisch. Other instruments, such as the Hemispherical Uranico (a complicated device used for computations dealing with the moon, sun and stars), appear to be of Gallucci's invention. Besides the usual portable instruments, he also includes a simple quadrant and a two-ringed armillary built into the church of Santa Maria Novella in Florence" (Erwin Tomash). For some of the instruments this is the only description available. The present second issue of the first edition appeared a year after the first. With the owner's label of the Capuchin friar and astronomer Agostino da Piacenza (1747-1839) and the relating library stamp "Bibliotheca Capucinorum Placentiae" on the engraved title-page. A few marginal water stains and some occasional spots, otherwise in very good condition. Adams G 167. Burden 96. Cantamessa 1688. Crone 98. Erwin Tomash 23. Shirley 199. for Gallucci: G. Ernst, "Gallucci, Giovanni Paolo" in: Treccani LI (1998).
4to. (8), 115, (1) pp. With armorial title woodcut, several initials and numerous music notes in the text. Contemporary limp vellum with manuscript spine title. Wants ties. Extremely rare first edition of one of the most important of all classic works of musical theory, a book that enjoyed a high reputation even during the author's lifetime. In contrast to his first treatise, the 1532 "Musicae stoicheiosis" which treats exclusively "musica figurata", or polyphony, his present, second work is more comprehensive and more clearly written, though limited "to matters concerning musical compositions withount discussion of purely theoretical matters. This publication was outstanding for its many examples, drawn, according to the author's prefatory statement, from the works of the best and most renowned composers - Josquin, Obrecht, La Rue, Isaac, Brumel, Ghiselin - not only as the most useful examples but also as demonstrations of great music. The examples are presented mostly without texts or with incipits only" (New Grove). "Heyden s'est fait particulièrement connaître d'une manière avantageuse par un livre [...] ce livre est précieux pour l'histoire de l'art et de la science au seizieme siècle. Dans aucun livre de ce temps, les principes des nuances et de la notation ne sont exposés avec autant de clarté et de concision que dans celui-ci. Les nombreux exemples de Josquin, d'Obrecht, de Senfel, de Henri Isaac, de Ghiselin et d'autres, qui s'y trouvent, avec les résolutions de cas embarassants de l'ancien système de proportions, ajoutent encore au prix de cet ouvrage, qui est malheureusement d'une rareté excessive" (Fétis). All of Petreius's "printed music is of exquisite beauty [...] The printer's glory days began in 1537, with Heyden's highly respected work about choral music" (Cohen, Nürnberger Musikdrucker im 16. Jh., p. 25f.). - Occasional insignificant waterstaining to margins, but altogether a splendidly crisp, wide-margined copy with contemporary handwritten ownership of one "Anastasius de Verona" (erased) on the title page. Of the utmost rarity: a single copy in auction records of the past decades (1968, Hauswedell 158, no. 1246), and a single copy of the 1540 second edition (1942: Schab, cat. 5, no. 113; which is also the only edition kept at Cambridge). BM-STC German 404. Eitner V, 137. RISM (Écrits impr.) 412. Hirsch I, 246. Wolffheim I, 705. Teramoto (Petreius) passim. New Grove VIII, 28.
Folio (234 x 351 mm). 90 ff. (first and last blank). Gothic type, 2 columns, 81 lines, headings printed in red. One pink, white, and gilt initial painted on the first text page; red and blue Lombardic initials, rubricated throughout. Brown full calf by Théodore Hagué on bevelled wood boards, covers decorated with interlacing bands painted black and white and a network of gilt tendril designs with green leaves; central cartouches stamped "Io. Grolierii et amicorum" (upper cover) and "Portio mea domine sit in terra viventium" (lower cover). Spine on five raised bands, compartments decorated with gilt rules and floral designs coloured in white, green and black. Edges goffered, painted, and gilt. Stored in custom-made brown cloth case lined with white velvet, signed by Sangorski & Sutcliffe. Fine Koberger edition of the Institutes of Justinian, the students' textbook that forms part of the sixth-century codification of Roman law known as the Corpus Juris Civilis. Printed in red and black Gothic typeface with the gloss of Accursius, this rare edition from the press of Dürer's godfather is sought after for the high quality of its printing. - The present copy was bound, sometime in the 1880s, in a superb faux Grolier binding by the notorious forger Théodore Hagué (1823-91). Hagué had been trained at Reims by the master Jean-Baptiste Tinot whose speciality was, according to his advertisement, the "reproduction of antique bindings of all periods". In 1858 he relocated to London, where he worked in the workshop of Joseph Zaehnsdorf (1816-86), bookbinder to the King of Hanover, who produced bindings "in the Monastic, Grolier, Maioli and Illuminated styles". It was there that Hagué met the famous bookseller Bernard Quaritch as well as Guillaume Libri, who guided him in the restoration of authentic Renaissance bindings. - On his return to France at the end of the 1860s, Hagué began restoring old books and making fake bindings. His clients at that time included Joseph Renard and Ambroise-Firmin Didot. After the Franco-Prussian War he escaped his creditors to Brussels, where he set up his workshop under the name of "J. Caulin" and made many bindings in the 16th century style, which he offered to Quaritch as authentic. Indeed, towards the end of the 1880s Quaritch became doubtful of their authenticity and returned an exemplar with the arms of Catherine de' Medici that seemed recent to him. Hagué passed away in Normandy in 1891 (cf. Fontaine). - In the 1880s Quaritch sold several of Hagué's bindings to Charles Fairfax Murray, but after 1885 the businessman John Blacker (1823-96) became his sole customer for these bindings. In all, Blacker acquired 109 Hagué-bound books; their supposedly prestigious provenances included Jean Grolier, Thomas Mahieu, Anne de Montmorency, François I, Henri II, and Diane de Poitiers. - This specimen is one of those acquired by Blacker, described as no. 59 of his 1897 sales catalogue. One of no fewer than eleven fake Grolier bindings in his collection, it reproduces a painted interlacing decoration typical of those made in the 1550s by the royal binder Gomar Estienne. In the centre of the upper cover is Grolier's supralibros "Io Grolierii et amicorum" (usually placed near the bottom edge in authentic bindings); the lower cover bears Grolier's motto, "Portio mea Domine sit in terra viventium" ("Be Thou my portion, o Lord, in the land of the living", quoted from Psalms 142, verse 5). - A 16th century woodcut pasted to the blank space above the text on the first text leaf. First and final gathering very slightly misaligned, but altogether a complete and very well preserved copy in a splendidly notorious binding. - Provenance: 1) 18th century handwritten ownership "Teige" on first blank, obscured by a black stamp; 2) John Blacker (Sotheby's, Catalogue of a Remarkable Collection of Books in Magnificent Modern Bindings, 11 Nov. 1897, no. 59); 3) the library of the French numismatist Jean-Baptiste Colbert de Beaulieu (1905-95, his bookplate); 4) collection of Jean Marcel Stefgen (1927-2017, his bookplate). HC 9519. Goff J-529. GW 7614. BMC II, 430f. Proctor 2055. BSB-Ink C-651. Cf. J. P. Fontaine, Nouvelles découvertes sur le relieur Théodore Hagué (2013).
4to. (20) pp. With a title woodcut and 4 woodcuts in the text (repeating the title cut). Later quarter vellum over marbled boards. The rarer of two Latin editions of the "Judenbeichte", both published in 1508, after the "Judenspiegel" the second treatise by the fanatical convert Johann Pfefferkorn (1469-1522/23), in which he discusses his former brothers in the Jewish faith and their celebrations, asserting that the Jews were more corrupting than the devil himself and petitioning the Christian authorities to force all Jews to convert or emigrate. The woodcut illustrations in Pfefferkorn's work are the earliest prints depicting Jewish customs and ceremonies. They include a Kapparot scene, ritual bath, matzo preparation, jumbled together with imaginary representations of Jews telling their sins to crows and a Tashlich service during Rosh Hashanah when sins are cast into water. - Pfefferkorn was a German Catholic theologian and writer. Born Jewish, possibly in Nuremberg, he moved to Cologne after many years of wandering. After committing a burglary, he was imprisoned and released in 1504. He converted and was baptized together with his family. Pfefferkorn became an assistant to the prior of the Dominicans at Cologne, Jacob van Hoogstraaten, and under their auspices published several libellous pamphlets in which he tried to demonstrate that Jewish religious writings were hostile to Christianity, and argued for the destruction of all copies of the Talmud. As late as 1509, Emperor Maximilian empowered Pfefferkorn to confiscate all Hebrew writings in Jewish hands and destroy any he found dangerous. After wide-scale protests, the humanist scholar Johannes Reuchlin was commissioned to give an expert opinion on Jewish writings, which led to a long-running battle of pamphlets between Reuchlin and Pfefferkorn, who was defended by the Dominicans. - A single red pencil annotation to the colophon, otherwise entirely unmarked. VD 16, P 2311. Panzer VII, 447, 53. Goedeke I, 452. Freimann 263. BNHCat P 429. Cf. Graesse V, 248. Fürst III, 82. Not in Adams or BM-STC German (only the Cologne edition).
Small folio (308 x 220 mm). (6),158 ff. With full-page woodcut title, 6 full-page woodcut illustrations, 142 smaller woodcuts, and numerous woodcut initials, all in attractive near-contemporary hand colour throughout. 17th c. blindstamped full vellum. The third Grüninger edition, the first to include the numerous specially made smaller woodcuts that adorn the text, hand-coloured throughout in this copy. The full-page illustrations are repeated from the 1496 and 1499 incunabular editions. The woodcuts showcase Grüninger's method of using a large number of separate blocks in ever-changing combinations to create new images: "En 1503, Grüninger publie une édition de Térence avec 745 gravures de l'édition de 1496, dont 86 différentes et 19 nouvelles" (Ritter, Histoire de l'imprimerie alsacienne, p. 92 and cf. 88). The anonymous artist, soon to become Grüninger's favoured illustrator, went on to be known as the "Terenz-Meister" for the lively and attractive illustrations he created for this book. With the commentary by Aelius Donatus and Calphurnius. - First and final quires show numerous small wormholes. Two text leaves with a tear in the blank margin; leaf Z2 with a few tears within the text (no loss). Upper margin trimmed fairly closely, occasionally just touching the headline. Covers slightly buckled; joints starting at spine-ends; upper cover shows a tiny hole in the vellum near the front edge. - Provenance: Two 17th c. manuscript ownerships "S. de Bucquoy" and "A. Avador (?)" on title-page. Later by tradition in the library of the Fraeylemaborg chateau at Slochteren, Netherlands. 19th century engraved armorial bookplate of the Six van Hillegom family of Amsterdam; sold from the estate of the art historian Jan Six (1857-1926). 20th century bookplates of the Amsterdam physician and bibliophile Bob Luza (1893-1980), whose library was sold by Van Gendt & Co. in 1981, and of the musician and Holocaust survivor Helge Loewenberg-Domp (1915-2021). Old catalogue clipping and typed description to front pastedown. No other hand-coloured copies of this edition traced in the trade. BM-STC German 852. Adams T 304. Ritter 2284. Muller II, p. 24, no. 22. Schmidt 61. Fairfax Murray, Early German Books 407. Proctor 9889. Schweiger II, 1054.
Folio (196 x 305 mm). (8), 587, (1) pp. With woodcut printer’s device on title and final verso, ornamental woodcut capitals and diagrams. Latin text with Greek letters used for designating points on geometric diagrams. Contemporary Parisian full calf, panelled in blind with gilt fleur-de-lys at corners and enclosing gilt fleuron centrepiece, spine with raised bands with small rosettes in compartments. First Latin edition of the "Elements" published by Hervagius. Remarkably, this copy clearly was in the hands of an Arabic speaker in France soon after printing, as it bears notes in Arabic and Latin on title and last leaf ("Euclid the Philosopher ... there is no God but God", "The book of Euclid the philospher on geometry in the Latin language ... There is no God but God Amen", and "In the city of Paris centre of the peoples of the earth" etc.). - This edition is joined for the first time in print by Euclid's only work on mechanics, "De levi et ponderosa", not hitherto known in any Greek manuscript. "According to Arabic sources, [Euclid] wrote a Book on the Heavy and Light, and when Hervagius was about to publish his 1537 edition there was brought to him a mutilated fragment [...] it is the most precise exposition that we possess of the Aristotelian dynamics of freely moving bodies" (DSB IV, 431). The edition also contains several of his smaller tracts on spherical geometry ("Phaenomena"), optics ("Perspectiva"), geometrical exercises ("Data"), which had joined previous editions, and commentaries of both Campanus and Zamberti, as well as the "Protheoria" by Marinus of Sichem. This copy is complete with the preface by Melanchthon often censored in other copies (cf. Thomas-S.). Herwagen was responsible for publishing the Greek editio princeps in 1533. - Ink underlinings and marginalia in Greek to preface. Corners of binding repaired, as are the upper joint and head and foot of lower joint. Blank corner of m5 torn away, tiny marginal hole in o5, occasional insignificant spotting and browning. Various pen trials and scoring of front free endpaper into geometric circles. - Provenance: 1) Nicolas Marchant (ink inscriptions on title and front free endpaper, one dated 1632). 2) Claude Simone (ownership inscriptions on title in Latin and Greek). VD 16, E 4154 (M 1009). Adams E 974. BM-STC German 288. Thomas-Stanford, p. 25, no. 9. Riccardi, p. 414/16. Schweiger I, 111. Hoffmann II, 42.
1939ref. ST20331London: Beaconsfield Press 1939. No. 72 OF 125 COPIES SIGNED BY THE ARTIST AND THE EDITOR for sale in the British Empire. 292 x 248 mm. 11 1/2 x 9 3/4". xxvi pp. 46 leaves all leaves French fold. Edited by Cecil Roth. Elegant original blue crushed morocco by Sangorski & Sutcliffe signed on front turn-in covers with gilt French fillet border and large intricate central figure designed by Szyk of a patriarch holding a goblet and book raised bands spine gilt in double ruled compartments with ornate crown centerpiece gilt titling turn-ins with double gilt-ruled and scalloped border surrounding an illustrated silk doublure featuring a Szyk portrait of Moses with the Ten Commandments done in shades of gray within a frame of elaborate design. In an excellent velvet-lined box of blue half morocco over lighter blue cloth upper cover with central lion's head in gilt on blue morocco spine like that of the book. WITH 14 FULL-PAGE AND 32 SMALLER COLOR REPRODUCTIONS OF DESIGNS BY SZYK. English translation printed in black commentary printed in red. Front flyleaf inscribed in ink: "To Mr. and Mrs. Solomon Brachman / very cordially / Arthur Szyk / New York. April 1945." Very faint naturally occurring variations in the grain of the vellum otherwise a pristine copy. With an important Holocaust-related authorial inscription this is a very fine copy of what the London Times described as "a book worthy to be placed among the most beautiful of books that the hand of man has produced." Arthur Szyk 1894-1951 a Polish Jew is considered by scholars to be the greatest 20th century illuminator. Using the style of the Medieval illuminated manuscript artists he has here created a Haggadah for Passover that is at once a beautiful book of devotion a political protest against the rise of Nazism and a plea for England's help for the Jews of Europe. By 1939 Szyk's anti-Nazi cartoons had caused Hitler to put a price on his head forcing him to flee to England. His original illustrations for his "Haggadah" featuring the villains of the Exodus with the heads of Hitler Goebbels and other leading Nazis had to be toned down before publication. All 46 pages of the Hebrew text are illustrated with scenes from the Passover story as well as vignettes of Jewish life in modern Europe—sometimes Szyk mixes the two to great effect. Perhaps the most moving illustration in the book is the elaborately illustrated dedication to King George VI of England appealing for his mercy to European Jews. The great symbols of the British Empire—the lion and unicorn St. George defeating the dragon—surround Szyk's plea to the king: "At the feet of your most gracious majesty I humbly lay these works of my hands shewing forth the affliction of my people Israel." In the lower right corner of the painting we see Jewish refugees beside one of the ships which were usually turned away from British shores while Szyk depicts himself leaning against the painting his brush and easel in hand. The text here is enriched by the historical introduction and the commentary contributed by Cecil Roth 1899-1970 the preeminent British expert on Jewish history. This crowning achievement of Szyk's life was four years in the making and has proved to be an enduring treasure. Szyk presented this copy to Texas oilfield supply magnate Solomon "Sol" Brachman 1896-1974 and his wife Etta. The son of a Latvian Jew Brachman was the founding president of the Jewish Federation of Fort Worth in 1936 and helped arrange an emergency $100000 bank loan for Israel on the eve of statehood in 1948. His wife who served as president of the National Council of Jewish Women was known as "the mother of Hadassah." Szyk's 1945 inscription was no doubt especially meaningful to this devout family whose Latvian relatives were among the 90 percent of that country's Jews who perished in the Holocaust. Beaconsfield Press unknown
1939ref. ST20331London: Beaconsfield Press 1939. No. 72 OF 125 COPIES SIGNED BY THE ARTIST AND THE EDITOR for sale in the British Empire. 292 x 248 mm. 11 1/2 x 9 3/4". xxvi pp. 46 leaves all leaves French fold. Edited by Cecil Roth. Elegant original blue crushed morocco by Sangorski & Sutcliffe signed on front turn-in covers with gilt French fillet border and large intricate central figure designed by Szyk of a patriarch holding a goblet and book raised bands spine gilt in double ruled compartments with ornate crown centerpiece gilt titling turn-ins with double gilt-ruled and scalloped border surrounding an illustrated silk doublure featuring a Szyk portrait of Moses with the Ten Commandments done in shades of gray within a frame of elaborate design. In an excellent velvet-lined box of blue half morocco over lighter blue cloth upper cover with central lion's head in gilt on blue morocco spine like that of the book. WITH 14 FULL-PAGE AND 32 SMALLER COLOR REPRODUCTIONS OF DESIGNS BY SZYK. English translation printed in black commentary printed in red. Front flyleaf inscribed in ink: "To Mr. and Mrs. Solomon Brachman / very cordially / Arthur Szyk / New York. April 1945." Very faint naturally occurring variations in the grain of the vellum otherwise a pristine copy. With an important Holocaust-related authorial inscription this is a very fine copy of what the London Times described as "a book worthy to be placed among the most beautiful of books that the hand of man has produced." Arthur Szyk 1894-1951 a Polish Jew is considered by scholars to be the greatest 20th century illuminator. Using the style of the Medieval illuminated manuscript artists he has here created a Haggadah for Passover that is at once a beautiful book of devotion a political protest against the rise of Nazism and a plea for England's help for the Jews of Europe. By 1939 Szyk's anti-Nazi cartoons had caused Hitler to put a price on his head forcing him to flee to England. His original illustrations for his "Haggadah" featuring the villains of the Exodus with the heads of Hitler Goebbels and other leading Nazis had to be toned down before publication. All 46 pages of the Hebrew text are illustrated with scenes from the Passover story as well as vignettes of Jewish life in modern Europe—sometimes Szyk mixes the two to great effect. Perhaps the most moving illustration in the book is the elaborately illustrated dedication to King George VI of England appealing for his mercy to European Jews. The great symbols of the British Empire—the lion and unicorn St. George defeating the dragon—surround Szyk's plea to the king: "At the feet of your most gracious majesty I humbly lay these works of my hands shewing forth the affliction of my people Israel." In the lower right corner of the painting we see Jewish refugees beside one of the ships which were usually turned away from British shores while Szyk depicts himself leaning against the painting his brush and easel in hand. The text here is enriched by the historical introduction and the commentary contributed by Cecil Roth 1899-1970 the preeminent British expert on Jewish history. This crowning achievement of Szyk's life was four years in the making and has proved to be an enduring treasure. Szyk presented this copy to Texas oilfield supply magnate Solomon "Sol" Brachman 1896-1974 and his wife Etta. The son of a Latvian Jew Brachman was the founding president of the Jewish Federation of Fort Worth in 1936 and helped arrange an emergency $100000 bank loan for Israel on the eve of statehood in 1948. His wife who served as president of the National Council of Jewish Women was known as "the mother of Hadassah." Szyk's 1945 inscription was no doubt especially meaningful to this devout family whose Latvian relatives were among the 90 percent of that country's Jews who perished in the Holocaust. Beaconsfield Press unknown books
Folio (208 x 307 mm). (16), 244, 299, (1) pp. 18th century full calf with double gilt rules to covers, giltstamped label and date to richly gilt floral spine. Leading edges gilt. Marbled endpapers. All edges gilt. Very rare first edition. "One of the earliest collections of alchemical writers, containing 53 texts [...] A very important item" (Duveen). Among the authors of these treatises highly sought after by 16th century disciples of the hermetic sciences are Geber (Jabir ibn Hayyan), Avicenna, Roger Bacon, Arnaldus de Villanova, Albertus Magnus, Ramon Llull, Johannes de Rupescissa, Richardus Anglicus, Robertus Tauladanus, Giovanni Battista da Monte, Aristotle, Giovanni Braccesco, and Giovanni Aurelio Augurelli, as well as the editor himself. Grataroli (1510-68), a native of Bergamo, studied philosophy and medicine at Padua and lectured on Avicenna from 1537 to 1539. After his conversion to Calvinism he had to flee the Inquisition. He arrived in Basel in 1552, where he practiced and taught medicine and wrote and edited works on medicine and alchemy, of which this is his most famous effort. He also briefly held the chair of medicine at Marburg. - A substantial part of the first section is devoted to the works of the great Arab alchemist Abu Musa Jabir ibn Hayyan, known as Geber in the Latin tradition. Jabir, who was active at the court of Caliph Harun al-Rashid, was inspired to study alchemy by his master Ja'far al-Sadiq, one of the greatest authorities on the esoteric sciences. One of Jabir's most famous works is the "Kitab al-Zuhra" ("Book of Venus", or the Noble Art of Alchemy) written for Harun al-Rashid. His works are commented on by Braccesco, like Grataroli a Lombard, in his "Dialogus ... cui titulus est Lignum vitae", and by the French alchemist Tauladanus in his "In eundem Braceschum Gebri interpretem, animadversio", presented here in their only edition. - The second part contains four texts attributed to Arnaud de Villeneuve, whose "Practica ad quendam Papam" is published here for the first time. This is followed by several apocryphal treatises attributed to Albert the Great, to Raymond Llull, to Avicenna and to Aristotle. Of these, the most notable are the first edition of one of the most important texts of early alchemy, the "De perfecto magisterio" of Pseudo-Aristotle, and the first edition of Johannes de Rupescissa's "Liber lucis", as well as several medieval texts attributed to the monk Ferrarius or Efferarius, most importantly his "Thesaurus philosophiae". - Near-contemporary faded ownership inscription "... ex dono D. D. Flanet R.P." on the title-page, with some 18th century bibliographical notes in more distinct ink. A few minute wormholes in the blank lower margin (some professionally repaired), otherwise an uncommonly fine copy, sumptuously bound in the 18th century, probably in France. VD 16, G 2915. BNHCat G 379. BM-STC German 366. Adams A 575 (s. v. Alchemy). Wellcome I, 2920. Duveen 268. Ferguson I, 341. Neu 1747. Dorbon 1976. Rosenthal 403. Thorndike V, 545ff. & 600ff. Bolton I, 989. Caillet 4746 (Biogr.). Brüning 333. Manly P. Hall coll. 79 (first part only). Soltesz G 379. USTC 602851. Not in Machiels.
Folio (ca. 225 x 322 mm). (6), 159 ff. Title-page printed in red and black; with woodcut title vignette. - (Bound after) II: Paulus of Aegina. Opus de re medica. Cologne, Johann Soter, 1534. (52), 507, (1) pp. With woodcut title-vignette and printer's device. - (And) III: The same. De chirurgia liber [...]. Basel, [Johann Bebel], 1533. (2), 29, (5) ff. With woodcut printer's device. Original blindstamped full pigskin (dated 1562) with 4 raised bands, 8 brass bosses, and 2 brass clasps. Giltstamped cover-title (oxydized) and handwritten spine title. First Latin edition of the first two books, namely the medical and therapeutic section, of "al-Tasrif", a 30-volume Arabic encyclopaedia on medicine and surgery written ca. 1000 CE by the Arab physician Abulcasis, edited by the physician Paul Ricius, and containing "what is probably the earliest description of haemophilia" (Garrison/M.). Abu al-Qasim, hailed as the "father of modern surgery", specialized in curing diseases by cauterization. He designed several devices used during surgery for purposes such as inspection of the interior of the urethra, applying and removing foreign bodies from the throat, inspection of the ear, etc. In his "Tasrif" he described how to ligature blood vessels almost 600 years before Ambroise Paré. Al-Qasim was also the first to describe a surgical procedure for ligating the temporal artery for migraine. His use of catgut for internal stitching is still practised in modern surgery. - II: Second Latin edition of the "Medical Compendium" by the 7th century Byzantine physician Paul of Aegina, translated by the humanist and physician Johann Winter from Andernach, first published in Paris in 1532. The "Medical Compendium" in seven books remained a standard text throughout the Arabic world for more than eight centuries. The most complete encyclopedia of medical knowledge of its time, it covers 1) hygiene and dietetics; 2) fevers; 3) topical illnesses from head to toe; 4) skin diseases and ailments of the intestines; 5) toxicology; 6) surgery; 7) the composition of medicines. The sixth book on surgery in particular was referenced in Europe and the Arab world throughout the Middle Ages, and is of special interest for surgical history. Indeed, Paul's reputation was particularly great in the Islamic world: the Arabic translation of his works by Hunayn ibn Ishaq was widely received, and it is said that he was especially consulted by midwives, whence he received the name of "al-Qawabeli", or "the Accoucheur". "Paulus Aegineta was the most important physician of his day and a skilful surgeon. He gave original descriptions of lithotomy, trephining, tonsillectomy, paracentesis and amputation of the breast; the first clear description of the effects of lead poisoning also comes from him" (Garrison/M., p. 7). - III: Rare first Latin edition of book six of Paul of Aegina's "Compendium", the celebrated book on surgery, edited by the physician Johannes Bernardus Felicianus. - Some near-contemporary handwritten marginalia in red and black ink. Bookplate of the French neurologist Maurice Villarett (1877-1946), remembered for his studies and experiments involving precision localization of vascular lesions of the brain, to front pastedown. Binding bears blindstamped initials "BF"; the ornaments include floral and tendril motifs as well as heads and vases. Covers somewhat wormed, slightly rubbed. Interior somewhat wormed throughout, wormholes in the first 21 ff. repaired with Japanese paper. Occasionally brownstained; paper slightly wavy. A good copy of two groundbreaking works in the history of medicine. I: VD 16, A 63. Durling 21. Waller 175. Proctor 10896. Wellcome 11. Garrison/M. 3048. Choulant 374, 1. Not in Schnurrer. - II: VD 16, P 1030. Adams II, 494. Wellcome 4866. Durling 3552. Choulant 142, II. Cf. Garrison/M. 36, note (1532 ed.). - III: VD 16, P 1029. Adams II, 492. Choulant 143, III, 3. BNHCat P 166. Cf. Durling 3550 (1532 ed.). Not in Wellcome.
Folio (215 x 316 mm). (4), 125 ff., final blank f. Title-page printed in red and black. With woodcut title border and numerous initials. - (Bound after) II: Hyginus, C[aius] Julius. Fabularum liber [...]. Basel, Johann Herwagen, March 1535. (24), 246, (2) pp. With 2 different printer's devices, 48 woodcuts in the text and numerous initials. - (Bound after) III: Alexander Trallianus. De singularum corporis partium, ab hominis coronide ad imum usque calcaneum, vitiis, aegritudinibus, & injuriis [...]. Basel, Heinrich Petri, (March 1533). (18) ff. (last blank), 342, (6) pp. With repeated woodcut printer's device and numerous initials. Contemporary wooden covers with blindstamped leather spine on four double bands. 2 clasps. The principal work of Rhazes, hailed as the "Arabic Galen", frequently reissued with a wealth of commentaries as late as the Renaissance. Dedicated to Prince Almansor of Chorasan, this edition contains the commentary of the physician Galeazzo da Santa Sofia (d. 1427), a native of Padua who served in Vienna as the personal physician to Duke Albrecht IV - likely the only edition of this commentary. The volume was edited by the physician Georg Kraut, who contributed a "Libellus introductorius in artem parvam Galeni de principiis universalibus totius medicinae". - II: Bound before this is the first edition of this variously reprinted collection of Hyginus's mythographical works, "an indispensable aid for the knowledge of the subject matter of Greek tragedy" (Tusc. Lex. Lit.). This is the first appearance in print of the "Fabularum liber", edited by Jacob Micyllus; the finely illustrated "Poeticon astronomicon" had first appeared in 1482. - III: Also bound within the same volume is the second Latin edition of the works of Alexander from Tralles in Lydia (525-ca. 605), the third great physician of the Byzantine epoch, edited by the learned Swiss physician Alban Thorer (Albanus Torinus, 1489-1516). - Traces of a removed title label on the upper cover of the well-preserved binding. Finely penned annotations to Rhazes; the other works contain marginalia in a different hand. An old ownership appears to have been removed from the upper blank margin of Hyginus. Wants the first free endpaper. Some dampstaining to upper margins throughout; other margins show only occasional staining; otherwise largely clean with insignificant browning. I. VD 16, M 6766. Adams R 225. BM-STC German 634. Benzing 115, 5. Bird 2030. Burg 187. Durling 1747. Haeser I, 705. Panzer VII, 111, 362. Wellcome I, 5748. Not in Lesky, Osler or Waller, not in Wolfenbüttel. - II: VD 16, H 6479. Honeyman 1738. Houzeau/L. 762. Panzer VI, 306, 1013. BM-STC German 427. Schweiger II.1, 464. Zinner 1592. Not in Adams. - III. VD 16, ZV 394. BM-STC German 20. Adams A 701 (incomplete). Choulant, Ält. Med. 136. Durling 147. Wellcome I, 206 (incomplete). Cf. Puschmann I, p. 99.
8vo (16.5 x 11 cm). (12), 86, (1 blank), (1) ff. With a finely executed woodcut on the title-page showing a female figure holding a cornucopia and with flowers and wheat growing at her feet (Flora? perhaps influenced by Fortuna and Demeter) repeated on the verso of the otherwise blank last leaf, about 20 woodcut initials with pictorial decoration (2 series, the smaller with a nearly complete alphabet and with more than one block for at least the E) plus about 20 repeats and a vine-leaf ornament (Vervliet 9). Set in an Aldine-style italic with preliminaries in Venetian-style roman and a few words of Greek. With: (2) Valla, Giorgio. De simplicium natura liber unus. Strasbourg, Heinrich Sybold, (August 1528). (104) ff. With the title in a woodcut architectural frame with a shield at the head bearing the (publisher's?) monogram (a cross with S, K and possibly H) and a woman playing a lute in the foot, and a vine-leaf ornament (Vervliet 7). Set in a Venetian-style roman type with frequent Greek printed in the fore-edge margins. (3) Odo of Meung (misattributed to Aemilius Macer). De herbarum virtutibus, cum Joannis Atrociani co[m]mentariis ... Ad haec. Strabi Galli [= Walafrid Strabo] Poetae et theologi clarissimi, hortulus vernantissimus. Freiburg im Breisgau, (Johann Faber, 1530). (4), 108 ff. With a space left for a manuscript initial at the opening of the main text, with a printed guide letter (not filled in). Set in an Aldine-style italic type with incidental Venetian-style roman and a few words of Greek. (4) Marbod of Anjou (with notes and additions by Georg Pictorius). De lapidibus pretiosis encheridion, cum scholiis Pictorii Villingensis. Eiusdem Pictorii De lapide molari carmen. [Freiburg im Breisgau, Johan Faber] 1531. 55, (1) ff. With a woodcut initial with pictorial decoration. Set in an Aldine-style italic. - 4 editions containing 6 works, in 1 volume. Blind-tooled pigskin (Freiburg or vicinity?, ca. 1570?) over tapered wooden boards, sewn on 3 double supports, laced into the boards, each board with fields edged by multiple fillets, the outer field containing a frame made from a large roll with allegorical female figures representing the four theological virtues (204 x 16 mm: "Fides", "Ivsticia", "Caritas", "Spes"), central field containing 3 fleurs-de-lis, the 2 fields to its left and right each containing 2 rosettes and a vine leaf and those above and below each containing 1 vine leaf (these 4 fields separated by diagonals at the corners). On the lower board each of the 2 remaining fields (between these last 2 and the outer frame) contains a rosette and 2 vine leaves, while on the front board the lower one is blank and the upper one contains the owner's initials "AW". The 4 spine compartments have what appear to be larger fleurs-de-lis and perhaps also larger rosettes, but they are difficult to make out. With 2 engraved brass fastenings (catch-plate, clasp on a short pigskin strap and anchor-plate). 19th-century paper spine label. Four editions printed and published in Freiburg and nearby Strasbourg from 1528 to 1531, containing six works of medical and pharmacological interest, all in the original Latin: the first edition of two Byzantine pharmacological works; the first edition of a Renaissance pharmacological work; an 11th-century verse description of nearly a hundred herbal medicines, here in the second edition to include the additions and commentaries of 1527; and the third and best edition of the first lapidary, written around 1100, discussing precious stones, especially the magical and therapeutic properties of gems. - (1): First edition of two pharmacological works by the Byzantine physician Paulus of Aegina (ca. 625-ca. 690). The first, Pharmaca simplicia, prepared for publication by the great German pioneer of scientific botany Otto Brunfels (1488?-1534), provides brief accounts of the properties and uses of about 750 pharmacological simples, the basic ingredients for preparing medicines, listed mostly in alphabetical order. The second, De ratione victus, prepared by Wilhelm Kopp (ca. 1461-1532) from Basel, who moved to Paris in 1512 and became personal physician to King Louis XII, describes about 100 medicines, including mushrooms. - (2): First edition of a posthumous pharmacological encyclopaedia by the humanist professor Giorgio Valla (1447-1500) at Venice. It contains brief instructions on the use of hundreds of herbal and other medicines, arranged alphabetically. - (3): A didactic poem in Latin hexameters explaining the therapeutic value of (originally) 77 kinds of herbs, now usually attributed to the French medieval physician, Odo of Meung in the last quarter of the 11th century, but formerly to Aemilius Macer (70-16 BC) and therefore sometimes called the Macer Floridus. It was a major influence on the Salerno Regimen sanitatis and through it on the Nicolai Antidotarium, making it a central work in the evolution of European medicine. Although first published at Naples in 1477, the present publisher's 1527 Basel edition first combined it with the shorter and more botanical and horticultural poem by Walafrid Strabo (ca. 808-849), first published under the title Hortulus at Vienna in 1510, both with important new commentaries and additions by Johannes Atrocianus (ca. 1495?-ca. 1543?), giving nearly a hundred kinds of medicinal herbs. The present edition is the second to include this additional material. Strabo's poem discusses his own garden and his tending of it, describing the herbs he grows and their medicinal uses. - (4): Third and best edition (the second separate edition) of the first lapidary, written in verse around 1100 by Marbod of Anjou, Bishop of Rennes. It gives a detailed account of a wide variety of precious stones, especially the magical powers and therapeutic properties of gems. It was first published at Vienna in 1511 and was included in a collection of the author's works, Liber Marbodi, at Rennes in 1524, but the present edition was carefully edited and annotated by Georg Pictorius, who also added a few verses of his own, including (perhaps intended as a moral lesson but also no doubt with a sense of humour) one devoted to a millstone. The present edition and the better known one published by Wechel at Paris in the same year, are very similar in text, collation and layout, but since both include Pictorius's dedication to Udalrico Wirtner in Freiburg im Breisgau, Wechel seems likely to have copied the Freiburg edition rather than the other way round. Although the edition gives no place of publication or publisher's name, the main text appears to be set in the same italic as the De herbarum virtutibus bound with it, supporting VD16's attribution to Johannes Faber in Freiburg im Breisgau. Sinkankas gives two entries for what appear to be the same edition, one erroneously giving the place of publication as "Freiburg im Bremen" and inexplicably naming an unidentified "P. Willig" as publisher. - The virtues roll on the binding matches the description of Haebler, Rollen- und Plattenstempel, Landesbibliothek Dresden 123 (on a Venice book dated 1566, not yet digitized), and the paper used for the endpapers and the blank leaves between the editions shows a Prague coat of arms watermark close to Briquet 2335 (recorded at Dresden 1564 but also at Eisenbach in 1571. Freiburg im Breisgau, in southwest Germany near the French and Swiss borders, where ads 3 and 4 were published is only about 30 km from Eisenbach and about 65 km from Strasbourg, where ads 1 and 2 were published, so the book seems most likely to have been bound in the region. - With a Hebrew owner's(?) name in red ink at the foot of the title-pages of ads 1 and 3, and a later owner's inscription at the head of the first title-page, partly erased. With several contemporary and later manuscript notes. With the first title-page slightly dirty, a faint water stain in the second, and minor marginal defects in 3 leaves of ad 3 (not affecting the text), but otherwise in very good condition. The impression of the tooling on the spine is no longer clear and there are a couple small holes and minor wear, but the binding remains in good condition, with most of the tooling on the boards sharp, so that the roll and stamps are very clear. Four rare Latin works from 1528 to 1531 on pharmacology, herbal medicine and the magical and therapeutic properties of gems, bound in blind-tooled pigskin (ca. 1570). (1): Adams P 496. USTC 683278. VD 16, ZV 12239. - (2): USTC 659360. VD 16, V 195. Not in Adams. - (3): Adams O 62. Durling 2892. L. Elaut, "Para-historisch kommentaar op ... de Macer Floridus, in: Scientiarum historia I (1959), pp. 149-159, at p. 153. USTC 609421. VD 16, O 270. - (4): Sinkankas 4170 & 4172. USTC 674861. VD 16, M 931 & P 2691. Ward/Corozzi 1495. Cf. Adams M 519 (1539 Cologne ed.). Wellcome 4039 (1531 Wechel ed.).
Folio (210 x 294 mm). (48), 421 pp., 1 leaf of errata, plus 2-leaf illustrated insert after p. 354 as called for. With 10 full-page woodcuts in text. Bound in contemporary vellum with endpapers skillfully renewed. Stored in custom-made half calf clamshell box. Rare first edition, and the only folio printing, of the author's chef d'oeuvre, published in the same year as "De corporis humani fabrica", the similarly grand production of his most famous pupil, Andreas Vesalius. Although lesser-known as a text than his student's groundbreaking masterpiece, Tagault's "De chirurgica institutione" provides an essential piece of the puzzle in understanding the context in which Vesalius came to break new ground. The book's publishing history uncannily mirrors that of "De fabrica", and several of its anatomical diagrams were in fact plagiarized from the "Tabulae sex" through a chain of events yet to be elucidated. - Although he cannot be held in the same light as his eminent pupil, Tagault was an important figure on the cusp of the Vesalian revolution. O'Malley calls him "one of the few members of the faculty actively interested in anatomical studies" (p. 425) and notes that he was performing public dissections as early as 1535, during the period in which Vesalius studied under him (cf. p. 58). O'Malley also notes a story to the effect that the anatomist Jacobus Sylvius - a successful instructor at the University of Paris, but also terribly jealous of Vesalius's rising star - was responsible for advising Tagault on stylistic changes to improve the presentation of his "De chirurgica institutione". - The five books of Tagault's treatise elaborate the writings of Guy de Chauliac (1300-68) on the surgical aspects of tumors, wounds, hernias, ulcers, fractures, and dislocations. 2 full-page woodcut figures ultimately based on Gersdorff show the wound-man and the extraction of an arrow on the battlefield; a further three, in fact plagiarized from the "Tabulae sex", are found on the two leaves inserted at p. 354 following Tagault's treatise, accompanied by numbered legends in Latin and Greek. The precise circumstances surrounding their appearance in this work are intriguing; their position suggests a late addition, perhaps in a nod to the growing popularity of his former student. According to Cushing, the four chief suspects in the transfer of the woodcuts are the anatomist Louis Vassé, the printers Charles Estienne and Christian Wechel, and Tagault himself. Moritz Roth (Andreas Vesalius Bruxellensis, 1892) indeed traced in detail the extent of the plagiarism and cross-flow of the woodblocks between successive editions of Tagault and Vesalius. - The sixth book contains the first appearance in print of Jacques Houiller's "De materia chirurgica", discussing and illustrating the tools of surgery in use during Vesalian times before Pare and Wurtz. - Like "De fabrica", later editions of "De chirurgica institutione" were issued only in reduced format to make the work more widely accessible; the present first edition is the only printing in folio, presenting its marvellous full-page woodcuts to full effect. The large number of editions which Tagault's text enjoyed during the 16th century certainly rivals that of Vesalius and perhaps suggests that the two texts might have competed on the European stage. - Unlike the first edition of "De fabrica", which is readily obtainable in commerce, we have not traced any copy of the first edition of "De chirurgica institutione" at Anglo-American or German auctions in the last 50 years. It is one of just two editions edited by Tagault himself and published during his lifetime; the second edition (1544) was a much less impressive (and far more commonly-encountered) octavo. - A very good copy, fresh and charming despite a very light dampstain to the upper blank margin of a few leaves. Cushing 27. Waller 9444 (lacking index). Not in the Wellcome. Heirs of Hippocrates 190 (the earliest edition noted being 1560).
Royal folio (273 x 398 mm). Gothic type. 248 ff. (incl. final blank). 49 lines. 2 columns. Contemporary south German decoration: each of 4 books opening with an illuminated initial with extensions; rubricated throughout in red and blue. Modern calf, early index tabs. Editio princeps. Magnificent copy of the rare first edition of one of St. Thomas Aquinas's two masterpieces which systematized Latin theology. The printer is commonly referred to as "the printer of Henricus Ariminensis"; the ISTC suggests the Eichstädt printer Georg Reyser (active until 1503; cf. ADB 28, 368f.) known for his characteristic type, or, following Pellechet, Heinrich Eggestein. - "The combination of theology and philosophy which was the basis of scholasticism found its finest expression in [St. Thomas's] writings. Aquinas held that knowledge came from two sources: the truths of Christian faith and the truths of human reason. Each is a distinct source, but the revelation which comes from faith is the greater of the two, and its chief characteristic is that it consists of mysteries to be believed rather than understood" (PMM 30 for the editio princeps of the 'Summa Theologiae' published in 1485). The 'Summa de veritate catholicae fidei contra gentiles' (Treatise on the Truth of the Catholic Faith, against Unbelievers), written in Rome, 1261-64, was composed at the request of St. Raymond of Pennafort, who desired to have a philosophical exposition and defence of the Christian Faith, to be used against the Jews and Moors in Spain. It is a perfect model of patient and sound apologetics, showing that no demonstrated truth (science) is opposed to revealed truth (faith). It is worthy of remark that the Fathers of the Vatican Council, treating the necessity of revelation (Coast. "Dei Filius", c. 2), employed almost the very words used by St. Thomas in treating that subject in this work (I, cc. iv, V). - First leaf a little defective and repaired, minor marginal repairs in first 4 leaves, small stain at a few extreme upper margins, decoration just shaved. A stamp erased from fol. 4/10r. Hain 1385*. Goff T-190. GW M46563. BMC I 77. ISTC it00190000. CIBN T-162. Collijn, Uppsala 1420. IBP 5291. IDL 4382. IGI 9568. Madsen 3951. Aquilon 644. Michelitsch, Thomasschriften 60. Ohly (Gutenberg-Jahrbuch 1956) 6. Ohly-Sack 2729. Pellechet 986. Polain, Belgique 4761. Proctor 322. Rhodes, Oxford Colleges 1697. Sack, Freiburg 3437. Sajó-Soltész 3256. Schüling 816. Sheppard 233. Voulliéme, Berlin 2179. Walsh S-110B.
Large folio (280 x 360 mm). Including Menardus monachus. (1), CCCCLXI, (6) ff., with two coloured historiated initials. 16th century blindstamped pigskin binding over wooden boards, wants clasps. Koberger's third Latin Bible, printed with the same types as the second: in the splendid Gothic typeface which Koberger used exclusively for his Bibles; at the same time, the earliest type he is known to have used (cf. Klemm, Bibliogr. Mus., 722). The initial on fol. i shows the evangelist Mark with the lion; the tendril decoration reaches from the upper edge (slightly trimmed) to the lower one, ending in a coat of arms bearing the monogram "S-A-B". The second historiated initial on fol. iiii shows the Fall from Grace (Adam and Eve in paradise, with the apple tree and the serpent in the centre); here, the tendrils reach as far as the lower third of the page and also end in a coat of arms. Very exactingly rubricated throughout; signed at the end: "91 Jo fec". Several handwritten ownerships to fol. A1r, some contemporary, others as late as 1876: the name and printed bookplate of "C. R. Earley, Ridgway, Pa." (1823-98). Several manuscript marginalia. Some slight browning to the gutter of the first few leaves, staining to upper edge of fol. i. Insignificant waterstaining to upper edge of several leaves; occasional foxing or tiny smudged inkstains. Handwritten marginalia trimmed in places, but altogether a crisp, wide-margined copy. Some staining to the hefty binding; edges as well as a crack to the upper cover have been unobtrusively repaired. Hain 3068. Goff B-556. GW 4232. BMC II, 415. Polain 648. Pellechet 2296. Oates 988. Hase 27.
4to. 48 unnumbered pages. With the Guidonian hand woodcut in red and black, 4 woodcut initials, woodcut device at end, several xylographic tables and music examples. Modern white boards with title lettered on spine. Rare first edition, of which just a few copies survive: the author's presentation copy, a partly erased inscription at the end reading "Munus Autoris [...] An 11, 7 martii [...]". Quercu was choirmaster to Duke Ludovico Sforza of Milan and accompanied his two sons as a tutor to the court of Vienna. The present treatise, a famous and highly original book on musical theory for young scholars, was probably used in the musical education of the duke's sons. "The first part, 'Musica plana', deals with the modes, intervals, note names, solmization and solmization syllables, and mutation. The second part, 'Musica mensuralis', deals with note lengths, rests, ligatures, mensuration signs, alteration, imperfection and mensural proportions. The third part, 'Contrapunctus', considers consonances, dissonances and polyphonic writing. His teaching is illustrated with many music examples" (New Grove). The finely printed book includes on p. (4) the Guidonian hand, named after Guido of Arezzo (992?-1050), who introduced into music theory this mnemonic device to help teach singers learn to sight-read. Each portion of the hand represents a specific note in the hexachord system; during instruction, a teacher would indicate the series of notes by pointing to them on their hand to have the students sing them. - Light washing traces. Inscription recording "A gift from the author, 7 March [15]11", on the final page. German dealer’s catalogue clipping bound in before title. A monogram stamp on the lower pastedown identifies the collection of Otto Schäfer in Schweinfurt (purchased in 1958). No auction record for this edition (and only one for the second edition; cf. ABPC/RBH). USTC lists 5 copies only held in libraries including this copy. VD 16, Q 39. Denis p. 22. Panzer IX, p. 3, no. 13. New Grove XV, 504. MGG X, 1811. USTC 679907.
Folio (308 x 430 mm). (408) ff. (first and last leaf blank), bound without Baldus de Ubaldis's "Repertorium super Innocentio" and the following leaf containing table of contents. Gothic letter in double columns, large initials at the beginning of each book supplied in red and blue with penwork flourishing, smaller initials supplied alternately in red and blue, headline supplied in red and blue. Three coats of arms finely painted at foot of first page by a contemporary hand. Contemporary pigskin-backed wooden boards (clasps and catches missing), title in handsome gothic lettering along lower edge. First edition of the commentary of Innocent IV on the Decretals of Gregory IX (known as the Liber Extra), one of the most important collections of medieval canon law. A handsome copy in a contemporary binding. Innocent's commentary was completed ca. 1251 and was never superseded. Beautifully printed by Heinrich Eggestein of Strasbourg; "le plus beau livre que cet imprimeur ait produit" (fin-de-siècle catalogue note pasted to first blank). Like a handful of other copies, the present copy contains the Apparatus only and was bound without Baldus de Ubaldis's "Repertorium super Innocentio" (an index to Innocent's work) which, although a separate work, seems to have been intended to form part of the edition. - Several contemporary annotations, manicules and other markings; summary of contents supplied in upper outer corners of recto of each leaf in a contemporary hand. Binding insignificantly rubbed; professional remarginings to first blank leaf. Occasional light browning, some light dampstaining, a few small wormholes at beginning and end of volume, occasionally affecting a letter or two. Generally a very fresh, wide-margined and crisp copy (hailed in the catalogue note as "superbe exemplaire dans toutes ses marges, parfaitement propre et d'une fraîcheur étonnante, sans le moindre défaut"). - Provenance: 1) painted at the foot of the first page by an accomplished contemporary (German?) artist are the arms of Pope Innocent VIII (1484-92), flanked by two coats of arms, one resembling a printer's device, possibly signifying an intended gift by an unidentified German scholar to the Pope in the 1480s or early 1490s. 2) Late 16th century ownership of Konrad Fuchs von Ebenhofen zu Saldenburg, a Tyrolean nobleman who acquired the Bavarian demesne of Saldenburg in 1587 and died on 14 January 1614 (his inscription "Conradt Fuchs" under the arms and "Fuchs zu Saldenburg" on front pastedown). 3) Owned by the Marquis de Villoutreys in the later 19th century (bookplate of the Bibliothèque Du Plessis-Villoutreys on pastedown). The Villoutreys family occupied the castle of Bas-Plessis in Chaudron-en-Mauges (Maine-et-Loire) from 1666. The castle was largely destroyed by fire in 1794 during the French Revolution; the central neoclassical section was erected in 1845, and a wing added in 1875 to house the Marquis’s library. When restoration began in 1982, the castle’s library was transferred to the Université Catholique de l'Ouest, and then to the Bibliothéque des Archives Départementales du Maine-et-Loire. The present incunable left the Villoutreys' library for an unidentified private collection at some time prior to this transfer. 4) British private collection. HC *9191. Goff I-95. GW M12156. BMC I, 69 ("the contents of each leaf are shortly noted at the top"). Sheppard 205. Proctor 267. Bod-inc I-013. BSB I-176.
Folio (197 x 280 mm). (179) ff. [instead of 180, lacking first blank]. 2 columns, 50 lines. Rubricated throughout in red and blue. With a large "O" initial (15 lines high) and a 10-line "Q" initial, both beautifully illuminated in blue, orange, green, purple, and gold; decoration extending along the inner margin. Contemporary vellum with handwritten title to flat spine; remains of two ties. First edition of this important commentary on Aristotle's "Posterior Analytics" by the leading logician of the Middle Ages, Paul of Venice (1368-1428), an Augustinian hermit from Udine and the period's foremost authority on Aristotle. His commentary is the first dated work from the press of Reynaldus de Novimagio (Rainald von Nimwegen), probably in collaboration with Theodor von Raynsburch. It is here edited by Francesco Benzoni e Mariotto da Pistoia. - This copy has a large armorial illumination (a bull Or on a shield Vert, annotated "R.D. ... da Bagno") in the lower margin of the first leaf (slightly trimmed at the bottom). Wants the first blank leaf, otherwise entirely complete. A small wormhole in the blank margin of the first leaves. A beautifully illuminated copy, annotated throughout in several early hands. HC 12511*. Goff P-212. GW M30316. BMC V, 253. BSB-Ink P-93. Proctor 4427.
Folio (ca. 315 x 465 mm). 4 vols. 252, (1 blank) ff. 321 ff. 462, (1 blank) ff. (1 blank), 336, (1 blank) ff. With 7 large penwork initials. Contemporary blindstamped full brown calf bindings over wooden boards with brass corner and edge fittings and 2 clasps. Edges sprinkled. The complete four-volume set of this very early and rare edition of a principal work, usually encountered only in separate volumes. This encompassing account of moral philosophy by the Florentine archbishop Antoninus (1389-1459, canonized in 1523) exerted a powerful influence over later studies; it is regarded as "probably the first - and certainly the most comprehensive - treatment from a practical point of view of Christian ethics, asceticism, and sociology in the Middle Ages" (NCE, I, 647). - Koberger's edition was preceded merely by that printed almost simultaneously in Venice (1477-80), and for the first (17 Oct. 1478) and fourth volume (29 April 1479) his is in fact the first: volume 2 (10 Oct. 1477) had already appeared in Venice separately in 1474 and 1477, and again in Speyer in 1477; vol. 3 (26 Jan. 1478) had appeared in Venice in 1477. - Volumes 1, 3, and 4 each boast two large penwork initials in red and blue, volume 2 has a large penwork initial in red, blue, and purple that incorporates a long marginal decoration. Entirely complete save for the blank first leaf not present in vols. 1-3, a wide-margined copy printed on strong, light-coloured paper, rubricated throughout and with Lombardic initials drawn alternately in red and blue. First and last leaved insignificantly soiled with minute worming. Occasional marginalia by an early hand. The uniform bindings show a central compartment composed of a blossom role not identified by Kyriss or Schunke on the covers; the spines were not decorated. - Bindings professionally restored. Some damage to several of the brass edge and corner fittings with some loss; clasps and endpapers repaired, using early material. - Provenance: all volumes bear the lithographic bookplate of the German historian and bibliophile Johann Georg Kloss (1787-1854), whose extensive collection of incunabula and early printing was sold by Sotheby's in 1935 in a sale notorious for the auctioneer spuriously claiming many items to have been owned by Melanchthon (Catalogue of the Library of Dr Kloss, of Franckfort a. M., Professor, lot 231). Hain/C. 1242. Goff A 871. GW 2186. BMC II, 415. Proctor 1981, 1983, 1988 & 1992. BSB-Ink A 594. IGI 689. Pell. 877. Polain 265. Voull., Bln. 1649, 1652, 1657 & 1659. Hase 23, 25, 31 & 35. ISTC ia00871000. Not in Oates.
4to. (4), LIV pp. With title woodcut and several woodcut initials. - (Bound after) II: Ryff, Walther Hermann. Ein wolgegründet, nutzlich und heilsam handtbüchlin, gmeyner Practick der gantzen leib artzney [...]. (Strasbourg, Balthasar Beck), 1541. 4 parts. (224) ff. (last blank), (140), XC, (12) ff. (last blank). With 21 woodcuts in the text. Contemporary full pigskin over wooden boards with bevelled edges, blindstamped with evangelists' roll. 2 clasps. I: Very rare first edition of this book on the equipping and the managing of pharmacies. A single copy in auction records (2011, Reiss, sale 142: 40,000 Euros, also bound in a medical sammelband). The pretty woodcut on the title page shows the interior of a pharmacy, with one apothecary taking over a client's recipe, another fetching a can from a shelf, and a third at work with mortar and pestle. - The humanist, physician and theologian Brunfels (1490-1534), "first in time and importance among the German botanists of the 16th century" (Garrison/Morton 279), turned to Lutheranism in 1521, after which he had to flee; Ulrich von Hutten found him a parish near Frankfurt. Later, Brunfels turned to Basel, where he earned an M.D. degree, and Strasbourg, where he published several works on pharmacy and paediatrics. - Slight brownstaining and waterstaining; a few occasional edge flaws. The lower margin of fol. 30 contains an extensive, roughly contemporary note on camphor: "Der recht natürlich campher wirdt also probiert: Nimm ein new backen brot als bald es auß dem ofen kommen ist, schneids mitten entzwei, leg den campher darein: so er wässerecht wirdt, ist er rechtschaffen, so er aber dierr und trucken bleibt ist er gemacht, sol wol bewart werden verschwinden liederlich, man soll in behalten in aine marmelsteinen oder Alabastunen geschirr, darzu gethan leinsamen [...]". - II: First edition of this copious medical manual. The woodcuts show babies in the womb, two Phlebotomy Men, the blood vessels of the head (used twice), and two different diagrams of the eye (one a cross-section such as it would be used three decades later in Alhazen's "Opticae Thesaurus"). Leonhard Fuchs would challenge the publication as an adaptation of his own "De medendis singularum humani corporis partium libri IV". - Old handwritten ownership on title page deleted; some browning and waterstaining. Slight worming to front endpapers; endpapers at rear have additional recipes in a contemporary hand. The pretty binding shows slight worming, otherwise well preserved. I: VD 16, B 8567. Durling 730. IA 125.663. Muller 394, 6. Adlung/Urdang 83f. - II: VD 16, R 4007-4008. Benzing 115. Muller II, 312, 94. Ritter (Rép.) 2035. Waller 8350. Not in Bird, Durling, Lesky, Osler, Ritter (Cat.), STC, Wellcome etc.
Folio (210 x 325 mm). 328 pp. Set in roman type. Titles within a ornamental woodcut border, with 8 full-page woodcuts by Hans Wechtlin and numerous woodcuts in the text. Rebound in the 19th century by Ludwig Eichhorn in half roan, brown paper spine label with manuscript title, drawn circle on the back board with the (faded) title within it, manuscript title on the bottom edge, new pastedowns and endpapers. Two esteemed 16th century medical works, originally written in the 4th and 11th century, here issued together in an early printed edition. Especially the second work in this early printed book is important: it is the only exclusively surgical work left by an Arab source. This treatise was written by Albucasis (Abu al-Qasim al-Zahwari) and was translated into Latin at Toledo by Gerard of Cremona (ca. 1114-87). Albucasis, a native of Cordoba in Moorish Spain, was an Arab physician of the 11th century who is sometimes described as "the father of surgery". The present work, which is the 30th and most popular volume of his 30-volume medical encylopedia entitled "Kitab al-Tasrif", can without doubt be regarded as the principal work of Albucasis, which established his authority. It is the first illustrated surgical guide ever written. - Albucasis' treatise is divided into three books, each treating a different surgical topic: the first, cauterization (a procedure recommended by the Prophet, the medical practice of burning a part of the body to remove or close off a part of it), the second on cutting and bloodletting, and the third on luxations of the limbs. It contains numerous small woodcuts of surgical instruments within the text. The author describes these instruments and how and when to use them. Added to the text of Albucasis are eight rather gruesome full-page woodcuts of specific operations, made by the German renaissance artist Hans Wechtlin (active between at least 1502 and 1526), probably his only surviving work. They show (1) a man wounded by many instruments, (2) a cauterization, (3) an amputation, (4) the extraction of an arrow, (5) bloodletting, (6) a full-page skeleton, and (7 & 8) trepanning operations. These woodcuts were not made specifically for this work, but were re-used by Schott after they had appeared in a manual printed by the German surgeon Hans von Gersdorff in 1517, entitled "Feldtbuch der Wundartzney". - Albucasis' surgical treatise was first printed (in Latin) in 1497. His guide remained a famous pharmacopoeia as late as the mid-16th century. The contents and descriptions contributed to many technological innovations in medicine, especially concerning the tools required for specific operations. - The work of Albucasis is preceded by the "Rerum medicarum libri quator", a therapeutic compendium written by the 4th century Greek physician Theodorus Priscianus, also known under his pseudonym Octavianus Horatianus. It here appears in print for the first time, in a Latin translation, though originally written in Greek, and edited by Hermann von Neuenahr (ca. 1492-1530), a German humanist with particular interest in medicine and pharmacy besides history and theology. The work is better known as the "Euporista" (Easily Obtained Remedies). - Priscianus' work consists of four books, treating several diseases and their remedies: the first two books treat external and internal diseases, the third gynecology, and the last physiology. - Both works together are printed by the German printer Johann Schott (1477-1548), the son of the printer Martin Schott and the grandson of the pioneering printer Johann Mentelin in Strasbourg. - Contemporary inscription in ink on last blank page in the same hand as the manuscript title written on the bottom edge. Binding a little worn and showing some stains, with two holes in the front board and two in the back board, probably from (now lost) clasps. A few tiny holes in the first two pages. The first four leaves browned, some minor foxing to the title-page. Paper slightly browned overall. Title in ink on the lower edge. A small tear in the first two full-page woodcuts, printed on both sides of the same leaf, not affecting the illustrations. Some stains in the margins throughout, not affecting the text or plates, otherwise in very good condition. VD 16, T 84. Adams P 2119. Choulant, Handb. 217. Durling 3764. Stillwell, Awakening III, 532. Wellcome I, 5256.
Folio (ca. 26 x 39 cm). 5 vols. bound in 3. - I: De quadrupedibus viviparis. Ed. secunda. Frankfurt, Cambier, 1602. 20 ff., 967 pp. with 125 woodcuts. - II: De quadrupedibus oviparis. Ed. secunda. Frankfurt, Wechel for Cambier, 1586. 4 ff., 119 pp. with 19 woodcuts. - III: De avium natura. Nunc denuo recognitus. Frankfurt, Wechel for Cambier, 1585. 6 ff., 806 pp. with 222 woodcuts, 13 ff. - IV: De piscium & aquatilium animantium natura. Ed. secunda. Frankfurt, Cambier, 1604. 20 ff., 1052, 30 pp. with 616 woodcuts, final blank leaf. - V: De serpentium natura. Zurich, Froschauer, 1587. 6 ff., 85 pp., 1 blank leaf, 11 numbered ff. with 30 woodcuts. - With a total of 4 title vignettes and more than 1000 woodcuts (some page-sized). Contemporary brown full calf with floral and ornamental cover borders stamped in black between rules; all volumes rebacked. The fundamental zoological work of the Renaissance, "an encyclopedia of contemporary knowledge, intended to replace not only medieval compilations but even Aristotle's work of the same title" (PMM). For nearly two centuries it survived as the standard reference book; "even Georges Cuvier later delighted in recognizing its enduring interest" (DSB) - a success story also attributable to the fact that the newer, systematic publications of John Ray (1693) and Linné (1735) were not illustrated. "Like contemporary herbals, and some earlier works on zoology, Gesner's encyclopaedia was enriched by crude but often lively woodcuts. Most were prepared specially for this work; others - like the rhinoceros after Dürer - were borrowed. They are realistic enough to act as a valuable supplement to the text" (PMM). - First (lib. V) and second edition (lib. I-IV. the first of the Frankfurt editions). Occasional light browning; almost no staining; a few slight creasemarks. Pages 41f. in lib. 1 have small tears to upper edge; ff. 1-4 in lib. III and pp. 961 f. in lib. IV show edge tears in the margins. Quire d (pp. 31-38) misbound before c in the appendix to lib. IV. A few edge defects to the final leaves of lib. V. The appealing bindings show a few small cuts and chafe marks, all professionally restored, as are the spines and the upper corner of the lower cover to vol. 3. Altogether a very fine copy. Provenance: flyleaves of vols. 1 & 2 recto have ownership "A. Van Burch 27 M[arch] 1612". Flyleaves of all three volumes bear the same seven-line inscription on the verso: "Anno 1723 die 10 maert heb ick dese drie boeken in folio, handelende van Beeste & vogelen & vischen door Conradus Gesnerus beschrevig aende pastorij van t' over Eyndt van Zutphaes verëert en de selve dy 14 d.o an de Eerw. H. pastoor Servatius Verhofstadt over gelanckt. G. F. Vander Burch van Wynesteyn". Pastedown of lib. III has handwritten ownership "Jannigje Bogaart" (18th c.); all pastedowns bear the bookplate of the Amsterdam physician and bibliophile Bob Luza (1893-1980), whose library was sold by Van Gendt & Co. in 1981. Last at Hartung & Hartung's sale 94 (1999), lot 342. PMM 77. Wellisch A 23.2 (dated "1603", as Nissen), 24.2, 25.2, 26.2 & 27.1 = A 28.2 (entire work, bound chronologically). DSB V, 379. Nissen, ZBI 1549 (I), 1550 (II), 1553 (IV), 1556 (V); IVB 349 (III). VD 16, G 1725 (II), 1731 (III), 1744 (V). Adams G 534 (II), 536 (III), 539 (V). BM-STC G 532 (I), 538 (IV). Rudolphi 827; Vischer C 1093 (V).