8.253 resultados
252, (12); 125, (1) ff. With a woodcut caduceus device on title-page and several woodcut initials. Set in roman types. With: (2) [Thorer, Alban]. [De re medica]. (Basel, Andreas Cratander, 1528). With the first leaf of the main text in a 4-piece woodcut border (3 initalled I.F.), Cratander's woodcut device on the last otherwise blank leaf, showing Occasio, the goddess of chance, and dozens of charming woodcut initials. Set in roman types. 2 works in 1 volume. Small folio (300 x 220 mm). 20th-century half parchment. (1): First edition of an ancient compendium of pharmacological preparations by the Gallo-Roman physician Marcellus Empiricus, originally composed ca. 410 AD. "An extraordinary mixture of traditional knowledge, popular (Celtic) medicine, and rank superstition. Interesting also for the historian of botany, because of the great number of plants mentioned" (Sarton). Marcellus was born in Bordeaux and magister officiorum under Theodosius I (379-395). - (2): First edition of a collection of four medical works, compiled by the Swiss physician Albanus Torinus (1489-1550). The main part of the work consists of "De re medica", also known as Medicina Pliniana, a very popular medical text during the Middle Ages. Compiled in the fourth century by an anonymous author, it is generally ascribed to Plinius Valerianus, also called pseudo-Plinius, since it mainly derived from Pliny the Elder's "Historia naturalis". Consisting of five books, it gives various medicines and treatments for different diseases, ailments, wounds, tumours etc. - The work also contains three other medical works from different authors. "The contents are all either spurious works or later compilations from genuine works of the authors to whom they are attributed" (Durling). It starts with an introduction to "the art of healing", ascribed to Soranus of Ephesus. The second text is by Oribasius, a Greek medical writer from the fourth century BC. According to Durling, the text is an extract from the first chapter of his Euporista ad Eunapium. The work closes with a botanical text, De virtutibus herbarum, ascribed to Lucius Apuleius Madaurensis, but written by an anonymous author from the fourth century, known as Pseudo-Apuleius. In one of the manuscripts Torinus used, the text was ascribed to the famous Italian physician Antonio Musa Brassavola (1500-55), an expert on the works of Galen and heavily influenced by his work. - The editor of the work, Torinus, was appointed professor of practical medicine at the University of Basel after receiving the degree of doctor in medicine in Montpellier. He translated many Greek texts into Latin, or Latin works into the vernacular, including Vesalius's De humani corporis fabrica. - With a bookseller's ticket on pastedown and many sentences marked in pencil in the fore-edge margins. The Marcellus Empiricus was originally published together with a work by Galen, here replaced by Thorer's De re medica, lacking the first 12 leaves (title-page and preliminaries). With a minor water stain at the head of the first 25 leaves and the title-page of (1) slightly browned. (1): Durling 2951. USTC 604332. Wellcome I, 4043. Cf. Sarton, Introduction to the hist. of science I, p. 391. - (2): Durling 4351. Parkinson 2410. USTC 605590. Not in Wellcome.
1515ref. 14800Imprimé à Paris, par la veufve feu Jehan Trepperel et Jehan Jehannot, [1515 ca]. In-4 gothique à deux colonnes (180 x 120 mm) de 101 ff. mal chiffrés CVII et (1) f. de table (sign. A8 B4 C8 D4 E4 F8 G4 H8 I4 K4 L8 M4 N8 O4 P8 Q4 R4 S6), maroquin janséniste olive, dos à nerfs orné à froid, coupes filetées, frise intérieure, tranches dorées sur marbrure (reliure du XIXe siècle).
4to. 3 parts in one vol. (8), 358, (2), (56) pp. (= 28 double-page maps of the ancient world); (56), (72) pp. (= 36 double-page maps of the modern world); 47, (49) pp. A total of 64 double-page engraved maps. Contemporary limp vellum with hand-lettered blue spine label; wants ties. First edition of Girolamo Ruscelli's Italian translation of Ptolemy's "Geography": "a new and important edition in Italian, with a new series of maps" (Stevens). Apart from the 27 traditional Ptolemaic maps, this edition boasts 37 new ones, including three maps of the world, showing the earth according to the description of Ptolemy ("tutta la terra conosciuta fin' à tempi di Tolomeo") and as it was viewed after the discovery of America ("Tavola universal nuova", in two hemispheres - "the first time that such a representation had been used in an atlas", Shirley 110), with a separate navigation map ("carta marina nuova tavola"). Among the "new" maps, the most remarkable ones are those of India, South-East Asia and of America, offering some of the earliest depictions of the newly-discovered continent; other maps include Arabia, Asia Minor, Greece, Italy, Germany, France, Spain, and North and South Africa. Ten of the old Ptolemaic series show Europe, four show Africa, and twelve Asia. Most of the maps are based on the Gastaldi maps from the 1548 Venice edition made by Giulio and Livio Sanuto, but maps not found there include Scandinavia (after Jacob Ziegler, 1532); Brasil (after Ramusio); the Arctic regions; South Africa; and the navigational chart of the World (Shirley 111). - Title-page a little stained and remargined in the lower corner. A few insignificant lower edge flaws to the first quires. Printed on strong paper, all maps in stark, excellent impressions. A fine copy in its first binding. Edit 16, CNCE 38126. BM-STC Italian 543. Adams P 2235. Shirley 110f. Alden/Landis 561/42. Burden 29-31. Norderskiöld Collection 2:216. Stevens p. 50. Phillips (Atlases) 371. Le Gear 5915. Sabin 66503.
4to. (24) pp. With armorial woodcut to title page and printer's device to verso of final leaf. Modern half vellum with handwritten spine title and marbled covers using old material. Exceptionally rare first publication of the libretto of the first opera in musical history, also the first opera libretto ever printed. The music by Jules Caccini and Jacopoto Peri, composed for the first performance on the occasion of a carnival soirée at the Palazzo Corsi in Florence in 1598, is lost. Ottavio Rinuccini (1562-1621), who also wrote the textbook for "Euridice", was not an occasional librettist, but a court poet among who also composed sonnets and verse drama (cf. Honolka, Geschichte des Librettos, p. 22). The present libretto was probably published for a later performance at the Corsis' in August 1600 (for the history of genesis and performance history cf. the extensive account in Sonneck I, p. 339-345). Rinuccini's "Dafne" was again performed, with new music by Marco da Gagliano (1582-1643), in 1608: this score is preserved to this day, and the opera has been performed repeatedly on European stages throughout the 20th century. - Marescotti's fine woodcut device on the final page shows a naval emblem with the motto "Et vult et potest". Very occasional slight browning. On leaf C2v the setting error "DEL" has been corrected by "AL" pasted over the erroneous word. A fine copy. Edit 16, CNCE 29328. BM-STC Italian 556. Sartori 7015. Sonneck 339. Wotquenne 47. Wolffheim II, 1083. Fuld 61.
1900ref. 42501Leipzig und Wien: Franz Deuticke 1900. tall8vo. 23.3cm The First Edition 371iv1p. colophon in plain contemporary dust worn wrappers spine cap frayed and the center of the panel is mostly wanting wrappers loose early pencil notation in Germany on the cover see below text is shaken but holding the text is clean the rare first edition of this most important of books in contemporary style clam shell box designed by Red Bone Bindery in crushed brown morocco grain calf gilt decorated raised bands and spine borders gilt titles matched marbled boards fine. Provenance: The first recorded owner was Dr. Robert Drill. The following is written in pencil now faded in German: "Elgen. Von Dr. Drill mit der Bemerkung übergeben es sei wert aufbewahrt zu werden. Mitte der 30er Jahre". Elgen. By Dr. Drill handed over with the comment that it was worth keeping. mid 30s. The present owner found an article published in 1927 that quotes something Drill wrote in the Frankfurter Zeitung undated praising Freud. In der "Frankfurter Zeitung" schreibt Dr. Robert Drill: "Freud ist ein Entdecker und Wiederentdecker. Großen Formats. Seine Enträtselung des. Traumes ist von menschheitsgeschichtlicher Bedeutung. Hier ist ein Wissen -wiedergefunden das mit der Antike untergegangen war. Freud ist ein Geschenk der Natur an die seelisch Leidenden."- In the "Frankfurter Zeitung" Dr. Robert Drill: "Freud is an explorer and rediscoverer. Large format. His unraveling of the dream is of significance for human history. Here is some knowledge-rediscovered which had disappeared with antiquity. Freud is a gift from nature to those who suffer mentally.". Mid-1930s: Wilhelm & Elizabeth Hollbach received the book from Dr Robert Drill who was Jewish and fleeing Germany with minimal possessions moving to South Africa. Dr Drill and Wilhelm Hollbach were colleagues and friends. Dr Robert Drill worked at the Frankfurter Zeitung newspaper with Reiner Hollbach's father Wilhelm Hollbach link is to wikipedia page about Wilhelm - he was editor of the newspaper and acting mayor of Frankfurt immediately after the war. Post-WW II: In Germany Elgen Hollbach received the book from their mother Elizabeth Hollbach after the Second World War when she Elgen became interested in psychotherapy and later became a licensed psychotherapist. The inscription see above is assumed to be written by Elizabeth Hollbach. Mid-1990s: The book was received by Canadian relatives from Elgen Hollbach from Germany. Franz Deuticke unknown
1929ref. ST17493München: Weiss & Co. Antiquariat 1929. No. 21 OF 50 SETS issued with accompanying German text; there were also 50 with accompanying English text. 480 x 375 mm. 19 x 14 3/4". With an 87-pp. volume of commentary in German. Loose as issued in a linen-covered chemise titling in black on front cover. Commentary volume in original paper wrapper. WITH 55 LEAVES FROM INCUNABULA issued by German Swiss Dutch Czech and Italian presses ALL WITH ONE OR MORE WOODCUTS 32 OF THESE HAND-COLORED. ◆Front cover of commentary volume with thin six-inch brown stain along head edge but the volume otherwise clean and fresh the leaves with occasional browning or minor staining but excellent specimens overall the hand coloring often quite attractive. Arranged according to the city in which they were printed this is a wonderful collection of 55 incunabular leaves all illustrated with woodcuts. The group includes important early images large and small with 32 of them hand painted often with brilliant memorable color. Although every leaf here is of interest there are some leaves that deserve special mention: the 1471 Zainer printing of "Heiligenleben" the earliest leaf included; a number of leaves from herbals Bibles and lives of the saints; leaves representing two different editions of Brant's "Stultifera Navis" a Basel 1500 edition of Aesop and the celebrated 1499 Aldine "Hypnerotomachia Poliphili." A full-page woodcut from Koberger's "Schatzbehalter" "Treasure Book" 1491 shows Korah Dathan and Abiram being swallowed up by the Earth for their rebellion against God while Moses and Aaron pray as God sends fire to destroy the rebels. Among the hand-painted woodcuts are several that are outstanding both for the composition of large complex images and for exuberant coloring. These include Pharoah's daughter rescuing the baby Moses as well as the adult Moses with the burning bush both from the German Bible printed by Koberger in 1483; a view of the city of Perugia in Schedel's "Weltchronik" 1493; and another Schedel leaf depicting the martyrdoms of the Apostles Andrew and Thomas. The 55 specimens included here would serve very well either as a final capstone in an advanced collection or else an outstanding nucleus for a beginning collector of illustrated incunabular leaves. Several of the books represented are difficult to obtain and most of the ones that can be procured are very expensive. Weiss & Co. Antiquariat unknown
1929ref. ST17493München: Weiss & Co. Antiquariat 1929. No. 21 OF 50 SETS issued with accompanying German text; there were also 50 with accompanying English text. 480 x 375 mm. 19 x 14 3/4". With an 87-pp. volume of commentary in German. Loose as issued in a linen-covered chemise titling in black on front cover. Commentary volume in original paper wrapper. WITH 55 LEAVES FROM INCUNABULA issued by German Swiss Dutch Czech and Italian presses ALL WITH ONE OR MORE WOODCUTS 32 OF THESE HAND-COLORED. ◆Front cover of commentary volume with thin six-inch brown stain along head edge but the volume otherwise clean and fresh the leaves with occasional browning or minor staining but excellent specimens overall the hand coloring often quite attractive. Arranged according to the city in which they were printed this is a wonderful collection of 55 incunabular leaves all illustrated with woodcuts. The group includes important early images large and small with 32 of them hand painted often with brilliant memorable color. Although every leaf here is of interest there are some leaves that deserve special mention: the 1471 Zainer printing of "Heiligenleben" the earliest leaf included; a number of leaves from herbals Bibles and lives of the saints; leaves representing two different editions of Brant's "Stultifera Navis" a Basel 1500 edition of Aesop and the celebrated 1499 Aldine "Hypnerotomachia Poliphili." A full-page woodcut from Koberger's "Schatzbehalter" "Treasure Book" 1491 shows Korah Dathan and Abiram being swallowed up by the Earth for their rebellion against God while Moses and Aaron pray as God sends fire to destroy the rebels. Among the hand-painted woodcuts are several that are outstanding both for the composition of large complex images and for exuberant coloring. These include Pharoah's daughter rescuing the baby Moses as well as the adult Moses with the burning bush both from the German Bible printed by Koberger in 1483; a view of the city of Perugia in Schedel's "Weltchronik" 1493; and another Schedel leaf depicting the martyrdoms of the Apostles Andrew and Thomas. The 55 specimens included here would serve very well either as a final capstone in an advanced collection or else an outstanding nucleus for a beginning collector of illustrated incunabular leaves. Several of the books represented are difficult to obtain and most of the ones that can be procured are very expensive. Weiss & Co. Antiquariat unknown books
4to. (16), 265, (1) pp. With a large woodcut on the title-page showing a gardener at work with his tools, and about 800 woodcut illustrations in the text. About 700 show trees, fruit, edible and medicinal plants, while the rest show insects, a tick, coral, shells, various sea and land animals and a view of a pond with plants and birds. It includes a two-headed snake, dragon, griffin, and a few other mythical creatures. With all woodcuts coloured by a contemporary hand. Contemporary pigskin over wooden boards, richly blind-tooled in a panel design with two rolls (one alternating heads and coats of arms, the other with standing figures), a large acorn and other stamps; brass clasps and catch-plates with engraved decoration. Rare first dated edition of an extensively illustrated early herbal in contemporary hand-colour, with the title and most of the plant and animal names in Latin and German. The title-page is followed by a 13-page index of the Latin and German names. About 200 of the woodcuts are about half-page, while the last six pages show 16 small animal woodcuts per page. The Folger Library notes that F. W. E. Roth attributes this herbal to Adam Lonicer (1528-86) of Marburg and Frankfurt, who married Egenolph's daughter and became a partner in the firm after Egenolph died in 1555. The firm published herbals and related works under his name beginning in 1551. Egenolph published all three editions of the present herbal. VD 16 lists the undated one as ca. 1545 (citing only the Wellcome Library copy), which would make the present 1546 edition the second. Another appeared in 1552. Egenolph's successors were to become famous not only as printers but also as one of the largest and most important early typefoundries. The present book uses Roman and Italic for the Latin, but Fraktur and Schwabacher for the German, giving a good overview of the firm's stock of type at this early date. - This copy has early owner's inscriptions by the Nuremberg pharmacist Georg Volland (d. 1631) in Latin at the foot of the title-page and in Greek on the facing endleaf. - Binding worn; some browning and stains to interior, especially to the first and last leaves. VD 16, H 2193 (4 copies). Adams H 294 (1 copy). Nissen, BBI 2345. Cf. Klebs, Early Herbals 71 (undated Egenolph ed.). Wellcome I, 1983 (same undated Egenolph ed.). Not in Stiftung Botanik.
Small folio (278 x 185 mm). 3 vols. (8), 294, (16) ff. (1), 308 (but: 310), (8) ff. (2), CXVII ff. 19th century full calf with giltstamped spine (but spine of 3rd volume rebacked). Marbled endpapers. Extremely rare first edition of this important 16th century description of Muslim Africa, complete with the frequently missing third volume, printed at Malaga. "Ouvrage toujours fort recherché" (Brunet). A native of Granada, Luis Marmol Carvajal (1520-1600) took part in the 1535 Tunis campaign of King Charles V against the Ottoman Empire's Mediterranean forces. He was taken prisoner and spent more than 22 years in North Africa, including seven or eight years as a captive in Morocco, Fez and Tunis, where he learned Arabic. In his work, he gives an historical account of Christian-Muslim conflict, as well as of inter-Muslim strife, from the time of Muhammad until 1571, when Pope Pius V created the "Holy League" to drive Ottoman forces from the eastern Mediterranean. However, Marmol discusses not only military aspects, but also and more specifically Muslim North Africa, the Moorish militias, institutions, and customs, paying particular attention to Spanish commercial interests in these territories. He provides descriptions of many Maghreb cities as well of their various sieges and sacks by the Spanish, Portuguese, Genoese, and the Ottomans. - Corners slightly bumped; the first sheets of the third volume have been washed and pressed. A good copy splendidly rebound in the 19th century, with fine provenance: from the library of the great Spanish historian Emilio Lafuente y Alcántara (1825-68), with his signature in vols. 1 and 2. Later in the library of Feliciano Ramirez de Arellano, Marqués de la Fuensanta del Valle (1826-96), founder of the Society of Spanish Libraries, with his armorial bookplate to all pastedowns; additional bookplate of the bibliographer Antonio Moreno Martin of Almería (d. 1990) to the third volume. Auction records list only two appearances of the present work, both copies lacking the third volume (present here). Ibrahim-Hilmy II, 18. Brunet III, 1439f. Heredia 3294. Palau 152.431, 152.432 & 152.433. Salvá 3356. For Acuña cf. Ticknor, History of Spanish Literature I, 497; S. Cory, Reviving the Islamic Caliphate in Early Modern Morocco, p. 6; D. Thomas, Christian-Muslim Relations. A Bibliographical History VI, 284.
Folio (220 x 328 mm). (24), 474, (4), 475-476 pp, 477-480 ff., 481-608 pp., 609-612 ff., 613-1162, (2) pp. (complete thus). With woodcut title border, Münster's portrait on the verso, printer’s device on the final page by Urs Graf, 14 maps (11 double-page and 3 triple-page) as well as 37 double-page views and approximately 970 woodcuts in the text (including repeats). Contemporary full calf on six raised double bands with gilt central oval ornaments and corner fleurons to both covers; spine sparsely gilt. An early edition of Münster’s monumental work. The Cosmographia by Sebastian Münster (1488-1552), the German cartographer and cosmographer, was one of the most successful and popular books of the 16th century. The most highly valued of all cosmographies, it passed through 24 editions within 100 years and was of principal importance for reviving the interest in geography in 16th century Europe. In spite of its numerous maps, Münster's Cosmography is largely a work of historical geography and history, and it was thus that it soon became the most popular work of its kind throughout Europe - not only in Germany, but also in France (where it saw several editions), Italy, and Bohemia. "The Latin edition, more scientific in many respects, was intended for the scholars in all of Europe" (cf. Burmeister, p. 14). - In good condition, with some frequent but slight waterstaining. A few near-contemporary underlinings and annotations, some in red ink. Binding rubbed, chafed and bumped. Provenance: handwritten ownership of Carl Isaak Rothovius, dated 1649 (possibly related to Isaacus Rothovius [1572-1652], the bishop of Turku, who oversaw the first complete translation of the Bible into Finnish). Late 18th century engraved armorial bookplate of the naturalist and Swedish civil servant Mathias Benzelstierna (1713-91), who studied with Carl Linné and became a member of the Royal Swedish Academy of Sciences in 1786. VD 16, M 6718. Burmeister 90. Hantzsch 77.33. Adams M 1911. Sabin 51382. Graesse IV, 622. Cf. Borba de Moraes II, 90f. Not in BM-STC German.
4to (142 x 196 mm). 119 ff. (of 122, without initial blank and two final blanks). 38 lines, single column, roman type. With 38 woodcut illustrations in the text showing constellations. Modern full calf with double blind rules to covers, spine on five raised bands with gilt title "Aratus". All edges red. First edition of Avienus's translation of this influential astronomical poem, rarely found complete, pre-dating the editio princeps of the Greek text by 11 years. Based on Eudoxus of Cnidus, Aratus's didactic poem about celestical phenomena (written soon after 276 BC, probably at the Macedonian court) enjoyed immense success and was frequently translated in Roman times - an interest occasioned by the increasing degree to which men viewed their fates tied to astrology and the stars. Avienus's 4th-century Latin text, informed by the Neoplatonic tradition, is expanded considerably from the original. The volume includes additional translations of Aratus by Cicero and by Germanicus Caesar, who offer earlier viewpoints. The latter version is accompanied by 38 zodiacal woodcuts, almost all of which were designed and executed for this volume and thus are present in brilliant early proofs. Four beautiful cuts in the Venetian manner are especially remarkable (cf. Essling, 431). - The "Ora maritima", on the other hand, is a short poetic account of early sea routes used by Greek and Carthaginian traders along the coasts of the Mediterranean, Caspian, and Black Seas. A few scholars have speculated that one of Avienus's sources for his work was the now-lost Massiliote Periplus, a conjectural sailing guide from the 6th century BC, although this idea is controversial. The final text in the volume constitutes the first dated edition of the most popular Roman medical work (by Serenus Samonicus), likewise couched as a didactic poem. The collective volume is thus of the greatest interest for the history of science. The editor, Vettore Pisani, was a pupil of Giorgio Valla. - Folio a4 remargined at foot and p6 (the final leaf present) repaired at head (both barely touching text). A few contemporary manicules. A very clean copy (entirely complete save for 3 blank leaves) of an edition usually encountered only in parts or even fragments, even in institutional collections. - Provenance: from the library of the surgeon, meteorologist, and antiquarian Charles Leeson Prince (1821-99) of Crowborough, Sussex, with his large bookplate (dated 1882) to front pastedown. Later in the collection of the meteorologist George James Symons (1838-1900); bequeathed to the Royal Meteorological Society with the Symons bequest bookplate (dated 1900) on lower pastedown. HC 2224* (= H 2223). Goff A-1432. GW 3131. Proctor 4593. Klebs 137.1. Sander 718. Essling 431. Pellechet 1673. Bod-inc A-639. Sheppard 3709-3711. BMC V 294. BSB-Ink A-969. Stillwell A 1277. ISTC ia01432000.
4to (193 x 252 mm). (8), X-LXXIII, (46 [instead of 49]) ff. With 9 full-page (instead of 11 full-page and 1 double-page-sized) woodcuts (2 by Albrecht Dürer) and small printer's device, all in contemporary hand colour. Later brown leather over wooden boards, using parts of the original blind-and gold-tooled binding. Upper cover has giltstamped title "Conrad Cel. Amores / Norimb. Scrip.". Rare first edition of one of the finest and most interesting German woodcut books of its age. "Als Frucht der Erlebnisse während der zehnjährigen Wanderungen 1487/97 durch Deutschland erschien 1502 das Kaiser Maximilian I. gewidmete lyrische Hauptwerk des Celtis, 'Quatuor libri Amorum secundum quattuor latera Germaniae': vier kleine in sich geschlossene lyrische Liebesromane, zyklisch verbunden in architektonisch-gesetzmäßigem Aufbau, bebildert mit Holzschnitten Dürers und aus der Schule Michael Wolgemuts [...] Celtis gilt als der deutsche Erzhumanist. Er war die stärkste poetische Begabung der humanistischen Bewegung um 1500" (NDB III, 182f.). - The "Amores" are the second of only two verified products of the "Sodalitas Celtica", the society founded by Celtis with the support of Willibald Pirckheimer (the printer remains unidentified). Two of the woodcuts are by Dürer: an allegory of Philosophy and the dedication (showng Celtis presenting the book to the emperor). "Die Seltenheit erhaltener Exemplare wie das Fehlen eines Faksimiles erklären, warum die 'Amores' als herausragendes Werk der Buchkunst im Sinne der Dürerschen 'Wiedererwachung' erst in neuerer Zeit wirklich gewürdigt worden sind" (Schoch/M./Sch.). Occasionally even the title woodcut has been ascribed to Dürer; the remaining, somewhat less delicate but no less impressive woodcuts are variously attributed to the workshops of Wolgemut, both Peter Vischers, Hans Süss von Kulmbach, or simply a "Celtis master". - Wants fol. IX (b1) with the Elegia prima (replaced by a blank leaf), the unnumbered bifolium between m2 and m3 with a view of Nuremberg after Schedel and the city's three coats of arms on the reverse, and the final leaf r6 with a full-page woodcut of Daphne and Apollo (replaced by a blank leaf). The contained woodcuts are all in especially fine contemporary colour, as are the colophon and printer's device. Printed on strong, very wide-margined laid paper. A few leaves near the end show light waterstains in the margins, otherwise a nearly spotless copy. Title has old stamp "EB"; lower corner remargined with slight loss to woodcut; fols. p8r and r5v also stamped in the blank margin. Insignificant worming to gutter of final gatherings. - The present variant of the first quire departs in several details from the copy of Hartmann Schedel kept at the BSB in Munich: a3r, headline "Ad Maxmil. Regem" (BSB: "Ad Maxmyl. Regem:"); a4v, headline: "Panegyri: Pars Prima" (BSB: "Panegyr. Prima Pars"); a5v, first line: "interuisse carmia & quae castas inoce[n]tu[m] adolesce[n]tiu[m]" (BSB: "centuadolesce[n]tiu[m] aures ledat & iebriet. Fatebimur"), etc. The present variant corresponds to the copy in the SSB Augsburg, formerly owned by Daniel Carnerius. - Provenance: Hartung & Karl, sale 53 (1986), lot 617. VD 16, C 1911. IA 135.114. Brunet I, 1730 & Suppl. I, 231. Dodgson I, 264 & 279ff. Ebert 3903. Graesse II, 101. Meder 244f. Murray 106. Muther 459 & 835. Panzer VII, 441, 17. Proctor 11029. Reske/Benzing 660. Schoch/M./Sch. 269. Strauss 66-68. Not in Adams.
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.