Erasmus, DesideriusBiblio.com
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1520ref. 2283Basileae Basel: Apud Ioan. Frob. Colophon: Per Hieronymvm Frob. Ioan Filium Johann and Hieronymus Froben 1520. First collected edition. . In 17th century vellum the author’s name lettered in ink to spine tinted edges. Leonhard Bürck’s possessor’s inscription in ink on the title page and p. 431. Woodcut borders to the four title pages. Woodcut initials and headpieces. Woodcut printer’s device at the end. Old underlines and marginal notes in ink to a few pages. Stains occasionally. Old restoration to O1–2 with no effect on the text. Overall in very good condition. First collected edition. . In 17th century vellum the author’s name lettered in ink to spine tinted edges. Leonhard Bürck’s possessor’s inscription in ink on the title page and p. 431. Woodcut borders to the four title pages. Woodcut initials and headpieces. Woodcut printer’s device at the end. 465=495 1 p. Some misnumberred omitted. Coll.: A–K8 L4 M–Z8 2A–2e8 2F4 2G–2I8. Scarce first edition of Erasmus’ paraphrases on the first four Pauline epistles with possessor’s inscription of the important 17th-century publisher in Frankfurt Leonhard Brück. The present volume of Paraphrases is the first collected edition of Erasmus’ monumental commentary on the Gospels which was composed and published between 1517 and 1523. Erasmus began the work on the commentary of the Gospels with the Pauline epistles. They were first issued separately starting with the paraphrase of Romans in 1517 Thierry Martens continued with both epistles of Corinthians 1519 Thierry Martens and the Galatians which was published in 1520 by Martens in Louvain and Froben in Basel. The remaining epistles appeared by 1521 when they were also published in a collected edition by Froben. Any of the lifetime editions of the Paraphrases both separate and collected are rare on the market. Provenance: inscription on title page and on p. 431 “M. Leonhardus Bürck me possidit Anno 162”; Leonhard Bürck Burck Burkius Burcken was a printer and publisher in Frankfurt active between 1611 and 1628. Bürck is identified as the step-grandfather of Hans Jakob Christoffel von Grimmelshausen. USTC 682544 5 copies only in Germany; Bezzel 1163; VD 16 E 3060. Apud Ioan. Frob. [Colophon: Per Hieronymvm Frob. Ioan Filium] [Johann and Hieronymus Froben] unknown
1516ref. 4621Strasbourg: Johann Knobloch 1516. Hardcover. Fine. Bound with: 2. Erasmus Desiderius 1466-1536 De duplici copia verborum ac rerum commentarij duo. Ab authore ipso diligentissime recogniti & emaculati atque in plerisque locis aucti. . ; Item Epistola Erasmi Roterodami ad Iacobum Vuimphelingium Selestatinum. Strasbourg: Mathias Schürer October 1516 And: 3. Hutten Ulrich von 1488-1523; Weiditz Hans 1495- ca. 1536 artist. ΟΥΤΙΣ. Nemo Augsburg: Johann Miller 9 September 1518 Three Publications in One Volume: Quarto: 19.3 x 13.6 cm. I. Burley 8 LII ff. Collation: i-viii8 A-B8 C-D4 E8 F4-H4 I8 leaf 8 in fist gathering blank. II. Erasmus 6 LXXIII 5 ff. Collation: 1-66 a4 b8 c4 d8 e-f4 g8 h-i4 k8 l-m4 n8 o6. III. Hutten 12 ff. Collation: A-C4 A humanist sammelband featuring Ulrich von Hutten's satire championing the liberal arts with the impressive woodcut of Hutten's Odyssean hero surrounded by the equipment of all students: books a flagon board games musical instruments. Bound in 16th c. pigskin signed S.K.E. and dated 1575 soiled and stained corners bumped. The binding tooled in blind with a roll tool with images of Christ St. Paul and King David playing his lyre signed HW Haebler I p. 486/8. Contents in good condition a little careworn binding and contents moderately soiled scattered marginal notes and underscores occasional stains. Text block cut a bit close at the head at the time 1572 of rebinding; text block separating at front of volume. I. Burley: title page with numerous pen-trials 17th c. ownership note; short worm-trail to first three leaves only not affecting text; damp-stain to corner of first gathering. II. Erasmus: Title with white-on-black woodcut border with fools columns and putti supporting a shield with the printer’s initials. The name of Erasmus has been censored on the first two lvs. in ink with shine though onto the following two lvs. and by scratching out the name elsewhere in the text. Small marginal dampstain occ. notes. III. Hutten: With the iconic full-page woodcut title by Hans Weiditz see below for details. Mild soiling throughout final gathering lightly browned/stained cut close at head. I. Medieval Encounters with the Ancient Philosophers Burley Walter Pseudo- ca. 1320; Diogenes Laertius 3rd c. CE Vita Philosophorum et Poetarum : cum auctoritatibus et sententiis aureis eorundem annexis Strasbourg: Johann Knobloch 1516 ONE OF NUMEROUS EARLY EDITIONS. The first edition was printed in 1470. Now believed to have been composed in the early 14th c. from the 15th c. up until the 20th “The Lives of the Philosophers and Poets” was transmitted under the name of Walter Burley ca. 1275–1344 one of the most prominent and influential philosophers of the fourteenth century. Burley had a very long career in both England and France becoming Master of Arts at Oxford by 1301 and Master of Theology at Paris by 1324. He produced a large body of about fifty works many of which were widely read in the later Middle Ages. “In 1990 the image of ‘De vita et moribus’ suffered a terrible blow when Mario Grignaschi severed its connection with Walter Burley Grignaschi “Lo Pseudo Walter Burley” 131–90 and in the same volume “Corrigenda et addenda” 325–54. Grignaschi showed that the work had to have been composed in northern Italy which had the resources in classical materials and that – from the evidence of an anonymous work dated 1326 that made use of it – it had to have been made no later than the 1320s perhaps even about 1310 that is during a period long before Burley arrived in Bologna. Overnight ‘De vita et moribus’ was deprived of its glamorous Burleian associations with Oxford Paris high scholasticism debates about realism and the Plantagenet court to be revealed as the work of an anonymous Italian who is now referred to – teasingly and cruelly – as the ‘Pseudo-Burley.’ How the work came to be attributed to Burley in fifteenth - century manuscripts is unclear although the attribution stuck and was reaffirmed in early prints… “Adding insult to injury the ‘De vita et moribus’ was hack work not the product of thoughtful pedagogical ruminations in the Oxford common rooms. The anonymous Italian was keen to get his work out there in a competitive literary market so he worked quickly. To this end to find lively day-to-day pictures of the ancient philosophers the Pseudo-Burley turned to that eminently chatty anecdootal resource long derided by classicists and philosophers Diogenes Laertius’ Lives and scooped out from it as much detail as suited his purpose supplementing it with anything else to hand to expand his topic. Thus he lumps Pre-Socratics Cynics Skeptics Epicureans Academicians and Stoics together almost indiscriminately with poets dramatists orators and sophists physicians historians and grammarians and he extends the coverage beyond Diogenes’ Hellenic limits to include various authors of Latin antiquity. Some of the gnomic material in the work is derived from the Arabic -Spanish-Latin ‘Bocados de oro’ notably in the chapter on Plato Hasse 50–52; Ferrer 682.”Rita Copeland “Behind the Lives of Philosophers Reading Diogenes Laertius in the Western Middle Ages” A Pleasing Fullness of Expression II. Erasmus Desiderius 1466-1536 De duplici copia verborum ac rerum commentarij duo. Ab authore ipso diligentissime recogniti & emaculati atque in plerisque locis aucti. . ; Item Epistola Erasmi Roterodami ad Iacobum Vuimphelingium Selestatinum. Strasbourg: Mathias Schürer October 1516 An early edition of ‘De duplici copia’. Erasmus was working for a number of years on a treatise on Latin composition begun while in Italy but completed only in 1512 during his third stay in England at the request of John Colet for use in the latter’s newly founded school in St. Paul’s churchyard. This treatise was designed to help the young student in acquiring an elegant and copious style and to provide abundant examples of how to say the same thing in different ways. It was first printed in Paris by Badius in 1512 but was soon reprinted several times becoming a standard textbook in schools throughout Western Europe. This edition contains Erasmus’ long letter to the Alsatian humanist Jakob Wimpfeling 1450-1528 dated 21 September 1514 in which he relates his previous journey to Basle mentioning all the humanist scholars he had met from Alsace and Basle where Erasmus had just taken up residence. Erasmus had first become acquainted with Wimpheling in August 1514 when he stopped in Strassburg on his way to Basle and was officially welcomed by the members of the recently founded literary society which included Sebastian Brant and Joannes Sturm. The work concludes with three poems by Erasmus addressed to Sebastian Brant Joannes Sapidus and Thomas Didimus together with the latter’s reply. "The word ‘copia’ presents a special problem to the translator. Weltkirch a sixteenth-century Erasmian commentator defined ‘copia’ as the ‘faculty of varying the same expression or thought in many ways by means of different forms of speech and a variety of figures and arguments. ‘Copia’ of words has its origins in grammar; ‘copia’ of thought in dialectic.’ However the word is used by Erasmus to denote not only the faculty of varying but also varying itself. Indeed as used by Erasmus ‘copia’ encompasses within its meaning the meaning of four English words: variation abundance or richness eloquence and the ability to vary or enrich language and thought. "In his lengthy discussion of school curriculum in Shakespeare’s age T.W. Baldwin discusses at great length the importance of the ‘De Copia’ in the educational pattern of the time. The schoolmasters’ editions and commentaries that began to appear even in Erasmus’ lifetime provide further evidence of Erasmus’ impact on Renaissance education… "In his study of Renaissance humanism R.R. Bolgar says: ‘The ‘De Copia’ provides us in a sense with a clue to the whole of Humanism. Specifying the techniques on which imitation depended it makes clear what men were attempting not only in Latin but also in the vernaculars . If we want to trace how the Humanist practice of imitation affected creative writing if we want to go behind the scenes and cast an eye on the mechanism of the process.our best guide is Erasmus. The ‘De Copia’ outlines his method. The ‘Adagia’ presents us with the fruits of that method. and finally the ‘Colloquies’ and the ‘Praise of Folly’ show us the finished product.’"Donald B. King and H. David Rix "On Copia of Words and Ideas". Bezzel Erasmusdrucke no. 740; VD16 E 2647; Knaake Reformationsschriften II 144 The Original Liberal Arts Student Hutten Ulrich von 1488-1523; Weiditz Hans 1495- ca. 1536 artist. ΟΥΤΙΣ. Nemo Augsburg: Johann Miller 9 September 1518 FIRST EDITION FIRST ISSUE. With a full-page woodcut title page by Hans Weiditz. First printing of Hutten's second "Nemo" a substantially re-worked and enlarged version of the 1516 original. This edition has been augmented by 60 verses mainly on political subjects an introduction dedicated to Johannes Crotus Rubianus 1480-1545 and a letter to Julius von Pflug 1499-1564. It also marks the first appearance of the celebrated woodcut title page described in detail below. Hutten found the inspiration for his Nemo "Nobody" in Homer's Odyssey where Odysseus calling himself Nobody outwits the Cyclops Polyphemus. Hutten builds on this wordplay to create a new hero a humanist reformer capable of speaking out against the Church "Nobody dares to criticize the luxury of the priests and the idle life of the Pope." and one who appreciates the value of humanistic learning "Nobody gives scholarly studies the rewards they deserve." The title woodcut cleverly illustrates the dual identities of Hutten's satirical hero. Nemo clad in classical garb stands upon a beach with the familiar attributes of the humanities student gaming boards books a lute a drinking flagon strewn about him. In the background the Cyclops threatens to hurl a boulder onto Nemo's waiting ship. The revised "Nemo" is more overtly political than the earlier version. The added distichs reveal Hutten's anger over corruption in the Church and his mounting frustration with German politics. Shortly after he published "Nemo" Hutten assumed a central role in the politics of the nascent Reformation. In the letter to Pflug that concludes this edition Hutten praised Erasmus with whom he had maintained a good relationship since 1514 as the "Forger of a new way"; Erasmus spoke approvingly of Hutten's work Ep 961 967. Soon after publication of "Nemo" however relations between the two men became strained eventually leading to hostility between them. In 1522 Erasmus would lament that "This whirlwind of Luther" had torn Hutten away from him. See "Contemporaries of Erasmus" vol. II p. 218 ff. "Ulrich Von Hutten German humanist neo-Latin poet and political publicist in the service of the Reformation was born into a family of imperial knights in Steckelberg castle in Franconia. Between 1505 and 1511 Hutten pursued humanistic studies at various Germany universities. In 1512 on his way to Italy to study law he visited Joachim Vadian in Vienna and other humanists in the circle of the Emperor Maximilian. He then turned from personal literary interests to political matters. After studying at the universities of Pavia and Bologna and serving briefly in the army of Maximilian Hutten returned to Germany in 1514. There he met Erasmus who expected much of the young poet and who dedicated his epistolary biography of Thomas More to him. During his second stay in Italy 1515-17 he wrote a series of epigrams denouncing not only the enemies of the Emperor Maximilian -the French and the Venetians- but also Pope Julius II. "On his return from Italy Hutten was crowned poet laureate by Maximilian and entered the service of Albert of Brandenburg archbishop of Mainz as councilor; in four dialogues Hutten nonetheless castigated not only the luxury and moral excess of the papal court and the concept of celibacy but also Rome’s fiscal exploitation of the German nation. With its pointed triplets Hutten’s "Vadiscus sive trias Romana" 1521 contains the most comprehensive catalogue of German grievances against Rome. "Despite his antipapal stance Hutten initially viewed the controversy following Luther’s postings of the Ninety-five Theses in Wittenberg as a monks’ squabble and a welcome rift among his opponents. It was only after two years of virtually ignoring Luther that Hutten began to consider himself as an ally. Although Luther’s opposition to Rome was rooted primarily in religious-theological concerns and Hutten’s was prompted by political-nationalist aspirations the two men exercised considerable influence on each other. "In 1520 Hutten embarked on a feverish campaign in which he challenged the Emperor the German nobility the princes the cities and the general reader to take up the fight against Rome if necessary with arms. During the Diet of Worms he next to Luther became the most prominent representative of the antipapal party in Germany. Realizing in the wake of the Diet that a general uprising would not occur Hutten launched the so-called "Priests’ War" in the hope that it would provide the spark that would ignite the German powder keg. In 1522 having lost the protection of Sickingen Hutten fled to Basel and then in 1523 to Zurich where he died on 29 August of Syphilis." Oxford Encyclopedia of the Reformation Benzing Hutten 62; Fairfax-Murray 211; Musper "Petrarka Master" L7; Roettinger 7; Adams H 1237; BM STC German p. 427; VD 16; H 6384; Worst Brock German humanism 1480-1520 2009 p 1200 f. No. 10.2; Röttinger Weiditz 7; Fairfax Murray 211; Richard C. Kessler Reformation Collection I 114. Johann Knobloch hardcover
1516ref. 4621Strasbourg: Johann Knobloch 1516. Hardcover. Fine. Bound with: 2. Erasmus Desiderius 1466-1536 De duplici copia verborum ac rerum commentarij duo. Ab authore ipso diligentissime recogniti & emaculati atque in plerisque locis aucti. . ; Item Epistola Erasmi Roterodami ad Iacobum Vuimphelingium Selestatinum. Strasbourg: Mathias Schürer October 1516 And: 3. Hutten Ulrich von 1488-1523; Weiditz Hans 1495- ca. 1536 artist. ΟΥΤΙΣ. Nemo Augsburg: Johann Miller 9 September 1518 Three Publications in One Volume: Quarto: 19.3 x 13.6 cm. I. Burley 8 LII ff. Collation: i-viii8 A-B8 C-D4 E8 F4-H4 I8 leaf 8 in fist gathering blank. II. Erasmus 6 LXXIII 5 ff. Collation: 1-66 a4 b8 c4 d8 e-f4 g8 h-i4 k8 l-m4 n8 o6. III. Hutten 12 ff. Collation: A-C4 A humanist sammelband featuring Ulrich von Hutten's satire championing the liberal arts with the impressive woodcut of Hutten's Odyssean hero surrounded by the equipment of all students: books a flagon board games musical instruments. Bound in 16th c. pigskin signed S.K.E. and dated 1575 soiled and stained corners bumped. The binding tooled in blind with a roll tool with images of Christ St. Paul and King David playing his lyre signed HW Haebler I p. 486/8. Contents in good condition a little careworn binding and contents moderately soiled scattered marginal notes and underscores occasional stains. Text block cut a bit close at the head at the time 1572 of rebinding; text block separating at front of volume. I. Burley: title page with numerous pen-trials 17th c. ownership note; short worm-trail to first three leaves only not affecting text; damp-stain to corner of first gathering. II. Erasmus: Title with white-on-black woodcut border with fools columns and putti supporting a shield with the printer’s initials. The name of Erasmus has been censored on the first two lvs. in ink with shine though onto the following two lvs. and by scratching out the name elsewhere in the text. Small marginal dampstain occ. notes. III. Hutten: With the iconic full-page woodcut title by Hans Weiditz see below for details. Mild soiling throughout final gathering lightly browned/stained cut close at head. I. Medieval Encounters with the Ancient Philosophers Burley Walter Pseudo- ca. 1320; Diogenes Laertius 3rd c. CE Vita Philosophorum et Poetarum : cum auctoritatibus et sententiis aureis eorundem annexis Strasbourg: Johann Knobloch 1516 ONE OF NUMEROUS EARLY EDITIONS. The first edition was printed in 1470. Now believed to have been composed in the early 14th c. from the 15th c. up until the 20th “The Lives of the Philosophers and Poets” was transmitted under the name of Walter Burley ca. 1275–1344 one of the most prominent and influential philosophers of the fourteenth century. Burley had a very long career in both England and France becoming Master of Arts at Oxford by 1301 and Master of Theology at Paris by 1324. He produced a large body of about fifty works many of which were widely read in the later Middle Ages. “In 1990 the image of ‘De vita et moribus’ suffered a terrible blow when Mario Grignaschi severed its connection with Walter Burley Grignaschi “Lo Pseudo Walter Burley” 131–90 and in the same volume “Corrigenda et addenda” 325–54. Grignaschi showed that the work had to have been composed in northern Italy which had the resources in classical materials and that – from the evidence of an anonymous work dated 1326 that made use of it – it had to have been made no later than the 1320s perhaps even about 1310 that is during a period long before Burley arrived in Bologna. Overnight ‘De vita et moribus’ was deprived of its glamorous Burleian associations with Oxford Paris high scholasticism debates about realism and the Plantagenet court to be revealed as the work of an anonymous Italian who is now referred to – teasingly and cruelly – as the ‘Pseudo-Burley.’ How the work came to be attributed to Burley in fifteenth - century manuscripts is unclear although the attribution stuck and was reaffirmed in early prints… “Adding insult to injury the ‘De vita et moribus’ was hack work not the product of thoughtful pedagogical ruminations in the Oxford common rooms. The anonymous Italian was keen to get his work out there in a competitive literary market so he worked quickly. To this end to find lively day-to-day pictures of the ancient philosophers the Pseudo-Burley turned to that eminently chatty anecdootal resource long derided by classicists and philosophers Diogenes Laertius’ Lives and scooped out from it as much detail as suited his purpose supplementing it with anything else to hand to expand his topic. Thus he lumps Pre-Socratics Cynics Skeptics Epicureans Academicians and Stoics together almost indiscriminately with poets dramatists orators and sophists physicians historians and grammarians and he extends the coverage beyond Diogenes’ Hellenic limits to include various authors of Latin antiquity. Some of the gnomic material in the work is derived from the Arabic -Spanish-Latin ‘Bocados de oro’ notably in the chapter on Plato Hasse 50–52; Ferrer 682.”Rita Copeland “Behind the Lives of Philosophers Reading Diogenes Laertius in the Western Middle Ages” A Pleasing Fullness of Expression II. Erasmus Desiderius 1466-1536 De duplici copia verborum ac rerum commentarij duo. Ab authore ipso diligentissime recogniti & emaculati atque in plerisque locis aucti. . ; Item Epistola Erasmi Roterodami ad Iacobum Vuimphelingium Selestatinum. Strasbourg: Mathias Schürer October 1516 An early edition of ‘De duplici copia’. Erasmus was working for a number of years on a treatise on Latin composition begun while in Italy but completed only in 1512 during his third stay in England at the request of John Colet for use in the latter’s newly founded school in St. Paul’s churchyard. This treatise was designed to help the young student in acquiring an elegant and copious style and to provide abundant examples of how to say the same thing in different ways. It was first printed in Paris by Badius in 1512 but was soon reprinted several times becoming a standard textbook in schools throughout Western Europe. This edition contains Erasmus’ long letter to the Alsatian humanist Jakob Wimpfeling 1450-1528 dated 21 September 1514 in which he relates his previous journey to Basle mentioning all the humanist scholars he had met from Alsace and Basle where Erasmus had just taken up residence. Erasmus had first become acquainted with Wimpheling in August 1514 when he stopped in Strassburg on his way to Basle and was officially welcomed by the members of the recently founded literary society which included Sebastian Brant and Joannes Sturm. The work concludes with three poems by Erasmus addressed to Sebastian Brant Joannes Sapidus and Thomas Didimus together with the latter’s reply. "The word ‘copia’ presents a special problem to the translator. Weltkirch a sixteenth-century Erasmian commentator defined ‘copia’ as the ‘faculty of varying the same expression or thought in many ways by means of different forms of speech and a variety of figures and arguments. ‘Copia’ of words has its origins in grammar; ‘copia’ of thought in dialectic.’ However the word is used by Erasmus to denote not only the faculty of varying but also varying itself. Indeed as used by Erasmus ‘copia’ encompasses within its meaning the meaning of four English words: variation abundance or richness eloquence and the ability to vary or enrich language and thought. "In his lengthy discussion of school curriculum in Shakespeare’s age T.W. Baldwin discusses at great length the importance of the ‘De Copia’ in the educational pattern of the time. The schoolmasters’ editions and commentaries that began to appear even in Erasmus’ lifetime provide further evidence of Erasmus’ impact on Renaissance education… "In his study of Renaissance humanism R.R. Bolgar says: ‘The ‘De Copia’ provides us in a sense with a clue to the whole of Humanism. Specifying the techniques on which imitation depended it makes clear what men were attempting not only in Latin but also in the vernaculars . If we want to trace how the Humanist practice of imitation affected creative writing if we want to go behind the scenes and cast an eye on the mechanism of the process.our best guide is Erasmus. The ‘De Copia’ outlines his method. The ‘Adagia’ presents us with the fruits of that method. and finally the ‘Colloquies’ and the ‘Praise of Folly’ show us the finished product.’"Donald B. King and H. David Rix "On Copia of Words and Ideas". Bezzel Erasmusdrucke no. 740; VD16 E 2647; Knaake Reformationsschriften II 144 The Original Liberal Arts Student Hutten Ulrich von 1488-1523; Weiditz Hans 1495- ca. 1536 artist. ΟΥΤΙΣ. Nemo Augsburg: Johann Miller 9 September 1518 FIRST EDITION FIRST ISSUE. With a full-page woodcut title page by Hans Weiditz. First printing of Hutten's second "Nemo" a substantially re-worked and enlarged version of the 1516 original. This edition has been augmented by 60 verses mainly on political subjects an introduction dedicated to Johannes Crotus Rubianus 1480-1545 and a letter to Julius von Pflug 1499-1564. It also marks the first appearance of the celebrated woodcut title page described in detail below. Hutten found the inspiration for his Nemo "Nobody" in Homer's Odyssey where Odysseus calling himself Nobody outwits the Cyclops Polyphemus. Hutten builds on this wordplay to create a new hero a humanist reformer capable of speaking out against the Church "Nobody dares to criticize the luxury of the priests and the idle life of the Pope." and one who appreciates the value of humanistic learning "Nobody gives scholarly studies the rewards they deserve." The title woodcut cleverly illustrates the dual identities of Hutten's satirical hero. Nemo clad in classical garb stands upon a beach with the familiar attributes of the humanities student gaming boards books a lute a drinking flagon strewn about him. In the background the Cyclops threatens to hurl a boulder onto Nemo's waiting ship. The revised "Nemo" is more overtly political than the earlier version. The added distichs reveal Hutten's anger over corruption in the Church and his mounting frustration with German politics. Shortly after he published "Nemo" Hutten assumed a central role in the politics of the nascent Reformation. In the letter to Pflug that concludes this edition Hutten praised Erasmus with whom he had maintained a good relationship since 1514 as the "Forger of a new way"; Erasmus spoke approvingly of Hutten's work Ep 961 967. Soon after publication of "Nemo" however relations between the two men became strained eventually leading to hostility between them. In 1522 Erasmus would lament that "This whirlwind of Luther" had torn Hutten away from him. See "Contemporaries of Erasmus" vol. II p. 218 ff. "Ulrich Von Hutten German humanist neo-Latin poet and political publicist in the service of the Reformation was born into a family of imperial knights in Steckelberg castle in Franconia. Between 1505 and 1511 Hutten pursued humanistic studies at various Germany universities. In 1512 on his way to Italy to study law he visited Joachim Vadian in Vienna and other humanists in the circle of the Emperor Maximilian. He then turned from personal literary interests to political matters. After studying at the universities of Pavia and Bologna and serving briefly in the army of Maximilian Hutten returned to Germany in 1514. There he met Erasmus who expected much of the young poet and who dedicated his epistolary biography of Thomas More to him. During his second stay in Italy 1515-17 he wrote a series of epigrams denouncing not only the enemies of the Emperor Maximilian -the French and the Venetians- but also Pope Julius II. "On his return from Italy Hutten was crowned poet laureate by Maximilian and entered the service of Albert of Brandenburg archbishop of Mainz as councilor; in four dialogues Hutten nonetheless castigated not only the luxury and moral excess of the papal court and the concept of celibacy but also Rome’s fiscal exploitation of the German nation. With its pointed triplets Hutten’s "Vadiscus sive trias Romana" 1521 contains the most comprehensive catalogue of German grievances against Rome. "Despite his antipapal stance Hutten initially viewed the controversy following Luther’s postings of the Ninety-five Theses in Wittenberg as a monks’ squabble and a welcome rift among his opponents. It was only after two years of virtually ignoring Luther that Hutten began to consider himself as an ally. Although Luther’s opposition to Rome was rooted primarily in religious-theological concerns and Hutten’s was prompted by political-nationalist aspirations the two men exercised considerable influence on each other. "In 1520 Hutten embarked on a feverish campaign in which he challenged the Emperor the German nobility the princes the cities and the general reader to take up the fight against Rome if necessary with arms. During the Diet of Worms he next to Luther became the most prominent representative of the antipapal party in Germany. Realizing in the wake of the Diet that a general uprising would not occur Hutten launched the so-called "Priests’ War" in the hope that it would provide the spark that would ignite the German powder keg. In 1522 having lost the protection of Sickingen Hutten fled to Basel and then in 1523 to Zurich where he died on 29 August of Syphilis." Oxford Encyclopedia of the Reformation Benzing Hutten 62; Fairfax-Murray 211; Musper "Petrarka Master" L7; Roettinger 7; Adams H 1237; BM STC German p. 427; VD 16; H 6384; Worst Brock German humanism 1480-1520 2009 p 1200 f. No. 10.2; Röttinger Weiditz 7; Fairfax Murray 211; Richard C. Kessler Reformation Collection I 114. Johann Knobloch hardcover books
1536ref. ABC_49637Paris: Chrétien Wechel 1536. Half vellum and brown sprinkled paper sides with the faded manuscript title on the spine red edges. 8vo. Ad 1 with Wechels woodcut device on the title page and 3 woodcut decorated initials. Ad 2 with Wechels woodcut device on the title page and the verso of the blank last leaf and 1 woodcut decorated initial. Ad 3 with a woodcut architectural frame on the title page and 2 woodcut decorated initials. Ad 4 with Frobens woodcut device on the title page and the verso of the last blank leaf. 4 works in 1 volume. With:2 ERASMUS Desiderius. Responsio ad Petri Cursii defensionem nullo adversario bellacem.Paris Chrétien Wechel 1535.3 ERASMUS Desiderius. Responsio ad epistolam paraeneticam clarissimi doctissimicque viri. Alberti Pii carporum principis. Paris Pierre Vidoux April 1529.4 ERASMUS Desiderius. Purgatio adversus epistolam non sobriam Martini Luteri.Basel colophon: Hieronymus Froben and Nikolaus Episcopius April 1534. Together these four works capture the remarkable breadth of Erasmuss influence from his visionary humanist pedagogy to his forceful engagement in the theological controversies of the Reformation. Brought together in this volume they reflect both the moral urgency and intellectual sharpness that defined his contribution to early modern thought.Ad 1: First published in September 1529 De pueris statim ac liberaliter instituendis and De ratione instituendi discipulos represent Erasmus principal contribution to Renaissance pedagogy. He argues for the early and liberal education of children stressing mildness rather than severity moral formation alongside learning and the formative power of classical texts. Ad 2: An exceptionally rare edition of a polemic against the Louvain theologian Petrus Curtius in which Erasmus defends his humanist theology whilst ridiculing Curtius as a fighter without an adversary. First issued by Froben and Episcopius earlier that year with only that edition and the present Wechel edition extant; the text was not reprinted until the Opera omnia.Ad 3: A spirited reply to the accusations of Alberto Pio Prince of Carpi coupled with sharp extemporaneous notes against Edward Lee Beda. This double defence displays Erasmus wit and sharpness at the height of the Reformation debates. A very scarce edition; the editio princeps had appeared from Froben in March of the same year.Ad 4: An early witness to the high demand in 1534. Erasmus rejoinder to Luthers intemperate letter written in the wake of De servo arbitrio. Here Erasmus defends himself against charges of paganism whilst censuring Luthers furious and mendacious tone. After 1534 the text was no longer issued separately.With a manuscript owners inscription and a later purple stamp of the library of the Franciscan church and convent of Saint Clare in Kotor Montenegro on the title page of the ad 1. Further with a few manuscript annotations in the margins and some of the text underlined and crossed out throughout the work. The binding shows signs of wear the boards have been rubbed with some loss of material some occasional slight browning. Otherwise in good condition.l Ad 1: Adams 338; Inventaire chronologique des editions Parisiennes du XVIe siecle V no. 144; USTC 185690 1 copy; Vander Haeghen I 164; not in BM STC German; Ad 2: Inventaire chronologique des editions Parisiennes du XVIe siecle IV no. 1299; USTC 185562 1 copy lost; Vander Haeghen I 174; WorldCat 492052585 1 copy; cf. for the 1535 Froben edition see: Bezzel 1782; USTC 635442; VD16E3622; not in Adams; BM STC German; Ad 3: Adams 828; Inventaire chronologique des editions Parisiennes du XVIe siecle III no. 1758; USTC 181160; not in Vander Haeghen; BM ST C German; Ad 4: Vander Haeghen I 164; cf. Adams 809 later edition; USTC 635432 6 copies; VD 16 E 3481; not in BM STC German. Chrétien Wechel, hardcover
ref. 17078Bâle, J. Froben, 1526 - 1527.
1675ref. 009581Various places: Various publishers 1675. Book. Very good condition. Hardcover. First Edition. Numerous works bound in one volume. Half vellum binding with marbled paper-covered boards; moderately soiled. Previous owner's bookplate Bilharz on front paste-down endpaper and circular private library sticker at bottom of spine. Works include: 1. Moller D. G. "Dissertatio De Technophysiotameis Von Kunst- und Naturalien- Kammern." Henrici Meyeri: Altdorfii 1704. Dissertaion/Thesis F. S. Wuffbain respondent. 68 pages. 2. Fermin Phillipe. "Memoire sur l'origine de la belemnite contenant la decouverte de l'animal analogue a ce fossile." 4 page manuscript with folding manuscript illustration. Apparently a fair copy of the above named article published in Ph. Renard's "Considerations d'histoire naturelle" pp.63-76 in 1775. 3. Camerarius R. J. "Dissertation inauguralis medica de lapidum figuratorum usu medico." Johannis Cunradi Reissi: Tubingae 1718. Dissertaion/Thesis J. J. Straskircher respondent. 32 pages. 4. Marbodus Bishop of Rennes; edited by F. E. Bruckmann. "Marbodei Galli Poetae Uetustissimi de Lapidibus Pretiosis Enchiridion Cum Scholiis Pictorii Villingensis." Bruckmanniana: Wolffenbuttleae 1740. 82 2 pages. 5. Stella Erasmus; edited by F. E. Bruckmann. "Interpretament Gemmarum Libellus Unicus Plinius Secundus de Gemmis." Carol. Frid. Jungnicolium: Erfurti et Lipsiae 1736. 68 pages. 6. Hebenstreit J. E. "De Ordinibus Gemmarum Verbis C. Plinii ex eius Naturalis Historiae Libr. XXXVII. Qui Totus de Gemmis Est Disserens Panegyrin Medicam." Lipsiae 1747. 16 pages. 7. Hueber G. L. "Disssertatio Inauguralis Physico-Chemico-Medica de Margaritis Earumque Virtute Medica." Joannis Jacobi Christophori Kleyer: Wirceburgi 1744. Dissertaion/Thesis J.G. Gross respondent. 71 xv pages. 8. Vogel R. A. "Terrarum Atque Lapidum Partitio Disputatio Medica Solemnis." Schulzianis Rosenbusch: Gottingae 1762. Dissertaion/Thesis A. F. C. Hempel respondent. 54 pages. 9. Roederer J. G. "Decanus Ordinis Medici in Academia Georgia Augusta Jo. Georg Roderer D. Dissertationem Inauguralem" Schulzianis Rosenbusch: Gottingae 1762. Dissertaion/Thesis with vita of A. F. C. Hempel. 12 pages. 10. Reiske Johannes. "M. Joh. Reiskii de Glossopetris Luneburgensibus ad Virum Nobilissimum Atque Esperientissimum Joh. Georg Hieronymi." Joh. Georg. Lipperi: Lipsiae 1684. 56 pages one folded leaf of illustrations. 11. Guettard Jean Etienne; Philippe Buache. Folding Map. "Carte Mineralogique de la Suisse par Philippe Buache." 1752. 12. Hottinger J. H. "Dissertatio de Crystallis." Bodmeriano: Tiguri 1698. iv 44 pages illustrated by one folding leaf of gems/crystals. 13. Hensing J. T. "Dissertatio Chemica de Germinatione Metallica Arificiali Ejusdemque Novo Invento." Joh. Reinh. Vulpii: Giessae-Hassorum 1718. Dissertaion/Thesis Joh. Georgio Beck respondent. 35 pages. 14. Muller P. L. S. "Dubia Coralliorum Origini Animali Opposita." Io. Diter. Mich. Camerarii: Erlangae 1770. 22 pages. Probably another dissertation: Suscipiet Philippus Ludovicus Statius Muller. 15. Frank Johann. "Disertatio Physica de Coralio Juxta Ductum Plinii Hist. Nat. Lib.32.c.2. adornata." Praelo Bauhoferiano: Jenae 1675. Dissertaion/Thesis Paulus Linsius respondent. 12 leaves. 16. Folding leaf with text and illustrations of tube worms. Measures 10 x 14 inches. "Kurtze Abbildung und Beschreibung der ungewohnten entsetzlichen Wuermen.in gank Nord-holland." Circa 1735. Various publishers Hardcover
ref. 12140s.l. s.n. 16XX. 465 x 355 cm. Not dated not signed early XVII century. Painted on a thin wooden panel consisting of two parts with a small indentation at the top. The original engraving was made in 1526 in Rotterdam by the Germain painter Albrecht Dürer 1471-1528 and is now in The Metropolitan Museum of Art in New York. A Roman Catholic reformer and one the most important Netherlandish humanists Erasmus of Rotterdam held a deep admiration for Albrecht Dürer whom he praised in a eulogy as the greatest of graphic artists: ""And is it not more wonderful to accomplish without the blandishment of colors what Apelles accomplished with their aid"" In likening Dürer to Apellesindeed in asserting the German's superiority over the Greek artistErasmus echoed a tradition dating back to antiquity of judging artists and the visual character of their work by the standards set by their predecessors. Dürer would certainly have appreciated the praise for his graphic talents. The portrait amply demonstrates the virtuous effects Dürer was able to achieve without the benefit of color or a liquid medium. Convincingly aligned at an angle to the picture plane Erasmus stands writing in his study with the books that indicate his substantial intellect and scholarship arranged around him. The vase of lilies probably refers to the purity of his mind while the Latin and Greek inscription prominently framed like a picture on the wall underscores the scholar's humanistic interests: ""This image of Erasmus of Rotterdam was drawn from life by Albrecht Dürer."" Below is the date 1526 in Roman numerals. Dürer met Erasmus at least once in Brussels and twice in Rotterdam during a trip to the Netherlands in 1520 and 1521. Although he sketched Erasmus several times during his trip he did not execute the engraving until six years later and only then with the encouragement of his close friend Willibald Pirkheimer. For certain reasons Dürer had been disappointed by the well-known Protestant reformer. Dürer based the portrait on a medal of 1519 in Pirkheimer's collection by Quentin Massys and reproduced the Greek inscription found on the medal which states: ""A better portrait his writings show."" Presumably Erasmus agreed because he made known his disappointment with this portrait to at least two of his colleagues. And yet Dürer's Erasmus remains one of history's richest and most powerful depictions of scholarly preoccupation and the humanist ideal. 465 x 36 cm. Niet gedateerd niet gesigneerd begin XVII eeuw. Geschilderd op een op een dun houten paneel bestaande uit twee delen met aan de bovenzijde een kleine inkeping. De originele gravure werd in 1526 gemaakt in Rotterdam door de Duitse schilder Albrecht Dürer 1471-1528 en bevindt zich nu in The Metropolitan Museum of Art in New York. Erasmus van Rotterdam een rooms-katholiek hervormer en een van de belangrijkste Nederlandse humanisten had grote bewondering voor Albrecht Dürer die hij in een lofrede prees als de grootste van alle grafische kunstenaars: ""En is het niet wonderbaarlijker om zonder de verleiding van kleuren te volbrengen wat Apelles met hun hulp heeft volbracht"" Door Dürer met Apelles te vergelijken ja door de superioriteit van de Duitser over de Griekse kunstenaar te bevestigen herhaalde Erasmus een uit de oudheid stammende traditie om kunstenaars en het visuele karakter van hun werk te beoordelen naar de maatstaven van hun voorgangers. Dürer zou de lof voor zijn grafische talenten zeker op prijs hebben gesteld. Het portret laat goed zien welke fraaie effecten Dürer kon bereiken zonder het gebruik van kleur of een vloeibaar medium. Erasmus staat overtuigend in een hoek ten opzichte van het beeldvlak schrijvend in zijn studeerkamer met om hem heen de boeken die getuigen van zijn grote intellect en geleerdheid. De vaas met lelies verwijst waarschijnlijk naar de zuiverheid van zijn geest terwijl de Latijnse en Griekse inscriptie prominent ingekaderd als een afbeelding aan de muur de humanistische belangstelling van de geleerde onderstreept: ""Deze afbeelding van Erasmus van Rotterdam is naar het leven getekend door Albrecht Dürer."" Daaronder staat de datum 1526 in Romeinse cijfers. Dürer ontmoette Erasmus ten minste eenmaal in Brussel en tweemaal in Rotterdam tijdens een reis naar de Nederlanden in 1520 en 1521. Hoewel hij Erasmus tijdens zijn reis verschillende malen schetste voerde hij de gravure pas zes jaar later uit en dan nog alleen op aanmoediging van zijn goede vriend Willibald Pirkheimer; kennelijk was Dürer om bepaalde redenen teleurgesteld in de bekende protestantse hervormer. Dürer baseerde het portret op een penning uit 1519 in Pirkheimers verzameling van Quentin Massys en reproduceerde de Griekse inscriptie die op de penning te vinden was en die luidt: ""Een beter portret tonen zijn geschriften."" Vermoedelijk was Erasmus het daarmee eens want hij heeft zijn teleurstelling over dit portret aan tenminste twee van zijn collega's kenbaar gemaakt. En toch blijft Dürers Erasmus een van de rijkste en krachtigste afbeeldingen uit de geschiedenis van de wetenschappelijke preoccupatie en het humanistische ideaal. s.l., s.n. unknown
ref. LCS-17326conservées dans leur première reliure estampée à froid. Strasbourg, 1523, 1525. Cologne, 1525. Argentorati, Iohannem Heruagium, 1525. [Suivi de] : Erasme. De octo orationis partium constructione libellus, tum elegans imprimis, tum dilucida brevitate copiosissimus. Erasmo roterodamo autore. A la fin « Augustae Vindelicorum, in officina D. Sigismum Grim, 11 Aout Anno 1523. » [Suivi de] : Valla. Laurentii vallae elegatiarum adeps, exeius de lingua latina libris per Bonum Accursium Pisanum studiosissime collectus. (Les élégances de la langue latine). Apud Sanctam Romanorum Colonia, 1525. Soit trois textes reliés en un volume in-8 de I/ 184 ff., le dernier blanc ; II/ (28) ff. ; III/ (1) p. de titre, 148 pp., (10) pp. d’index, (1) p.bl. Nombreuses annotations manuscrites sur les 2 derniers ff. du 1er texte. Relié en peau de truie estampée à froid sur ais de bois, dos à nerfs, attaches et fermoirs de laiton. Reliure de l’époque. 148 x 100 mm.
1525ref. LCS-17326Erasmus and his master Laurent Valla: three founding works of the Renaissance preserved in their contemporary blind-stamped binding. Strasbourg 1523 1525. Cologne 1525. From the Campana collection with this 16th century handwritten ex-libris "Jacobi Campana et Amicorum 1530". In total three texts bound in one 8vo volume 148 x 100 mm of: I/ 184 ll. the last one blank; II/ 28 ll. ; III/ 1 title-page 148 pp. 10 pp. of index 1 bl.p. Numerous handwritten notes on the last 2 ll. of the 1st text. Bound in blind-stamped pigskin over wooden boards brass clasps. Contemporary binding. Collection in quite rare and very early editions of 3 important founding works of the Renaissance in philology and grammar by Erasmus and by his master Laurent Valla. Laurent Valla "the greatest humanist of the first half of the 15th century" was born in Rome around 1407. Guilio Vallese. "Deeply convinced of the superiority of the antique culture renewed at the time in which he saw an incomparable ferment of regeneration Valla in order to defend it didn't hesitate to take the chance of being condemned in front of the Inquisition court. As other humanists of this time he claimed to be of the rationalist moral antique transmitted in the books of Wisdom when the Middle Ages had impoverished or lost the very meaning of it." Valla's most famous treatise "Des élégances de la langue latine"that had most contributed to his reputation in six books was quickly given in every school and kept on being a teaching text for the greatest part of the 16th century. Erasmus who professes many times in his letters a vivacious admiration for the author and for this particular work had made in his youth an extract for his personal use which was printed twice without his consent. Valla's observations are about the value of certain forms of words about the value of several difficult terms and even more about the synonymy of the Latin language. This work proves a great sagacity of researches and a great judgment. "King Alphonse who really liked this kind of studies didn't get tired of hearing Valla and let him sometimes battling with Antoine de Parlerme "inde ivae". He gave him a diploma enriched with a golden speech bubble in which he declared him illustrious in almost every science as well as in poetics." Are joined to this major work of Valla the two great founding texts it inspired to Erasmus: -The first one De Conscribendis epistolis in the second edition from Strasbourg of 1525. It was such a success that it was after this one reprinted 77 times in the 16th century alone. -The second one De Constructione octo partium orationis libellus printed for the first time in 1514 is here in the edition printed on August 11th 1523 at Sigismon Grim. It was followed by 61 editions in the 16th century alone. A magnificent copy with wide margins preserved in its first blind-stamped binding; the clasps and ties are intact. It comes from the collections Jacob Campana and Gaspar Campana and bears these two handwritten ex-libris "Jacobi Campanae et Amicorum 1530" and "Gaspari Campanae et Amicorum". The Campanas illustrious Neapolitan family counted César Campana among their members a fine erudite from the 16th century. FRANCAIS Erasme et son maître Laurent Valla : trois uvres fondatrices de la Renaissance conservées dans leur première reliure estampée à froid. Strasbourg 1523 1525. Cologne 1525. De la bibliothèque Campana avec cet ex-libris manuscrit du XVIe siècle " Jacobi Campana et Amicorum 1530 ". Soit trois textes reliés en un volume in-8 de I/ 184 ff. le dernier blanc ; II/ 28 ff. ; III/ 1 p. de titre 148 pp. 10 pp. d'index 1 p.bl. Nombreuses annotations manuscrites sur les 2 derniers ff. du 1er texte. Relié en peau de truie estampée à froid sur ais de bois dos à nerfs attaches et fermoirs de laiton. Reliure de l'époque. 148 x 100 mm. Réunion en éditions fort rares et très précoces de trois grands textes fondateurs de la Renaissance en philologie et grammaire d'Erasme et de son maître Laurent Valla. Laurent Valla " le plus grand humaniste de la première moitié du XVe siècle " naquit à Rome vers 1407. Guilio Vallese. " Profondément convaincu de la supériorité de la culture antique alors renaissante dans laquelle il voyait un ferment incomparable de régénération Valla pour la défendre n'hésita pas à courir le risque d'une condamnation devant le tribunal de l'Inquisition. Comme d'autres humanistes de ce temps il se réclamait de l'antique morale rationaliste transmise dans les livres de la Sagesse dont le Moyen Age avait appauvri ou perdu la signification même. " Le traité le plus célèbre de Valla qui avait le plus contribué à sa réputation" Des élégances de la langue latine " en six livres se répandit rapidement dans toutes les écoles et continua de faire texte d'enseignement pendant la plus grande partie du XVIe siècle. Erasme qui professe en beaucoup d'endroits de ses lettres une vive admiration pour l'auteur et pour cet ouvrage en particulier en avait fait dans sa jeunesse un extrait pour son usage qui fut imprimé deux fois sans son consentement. Les observations de Valla portent sur la valeur de certaines formes de mots sur celle de plusieurs termes difficiles et plus encore sur les synonymies de la langue latine. Ce travail atteste une grande sagacité de recherches et un rare discernement. " Le roi Alphonse auquel ce genre d'études plaisait singulièrement ne se lassait pas d'entendre Valla et le mettait quelquefois aux prises avec Antoine de Parlerme " inde ivae ". Il lui donna un diplôme enrichi d'une bulle d'or dans laquelle il le déclarait illustre en presque toutes les sciences ainsi qu'en la poétique. " Sont joints à cette uvre phare de Valla les deux grands textes fondateurs qu'elle inspire à Erasme : -Le premier De Conscribendis epistolis dans la seconde édition strasbourgeoise de 1525. Son succès fut tel qu'elle fut après celle-ci réimprimée 77 fois pour le seul XVIe siècle. -Le second texte De Constructione octo partium orationis libellus imprimé pour la première fois en 1514 est ici dans l'édition achevée d'imprimer le 11 août 1523 chez Sigismon Grim. Elle fut suivie de 61 éditions pour le seul XVIe siècle. Magnifique exemplaire à belles marges conservé dans sa première reliure estampée à froid dont les fermoirs et les attaches sont conservés intacts. Il provient des bibliothèques Jacob Campana et Gaspar Campana et porte ces deux ex-libris manuscrits " Jacobi Campanae et Amicorum 1530 " et " Gaspari Campanae et Amicorum ". Les Campana illustre famille napolitaine comptèrent parmi leurs membres César Campana fin lettré du XVIe siècle. Iohannem Heruagium.
ref. TBF4Argentorati Iohannem Heruagium 1525. Followed by: Erasmus.De octo orationis partium constructione libellus tum elegans imprimis tum dilucida brevitate copiosissimus. Erasmo roterodamo autore. At the end "Augustae Vindelicorum in officina D. Sigismum Grim 11 Aout Anno 1523." Followed by: Valla.Laurentii vallae elegatiarum adeps exeius de lingua latina libris per Bonum Accursium Pisanum studiosissime collectus. Les élégances de la langue latine. Apud Sanctam Romanorum Colonia 1525. In total three texts bound in one 8vo volume 148 x 100 mm of: I/ 184 ll. the last one blank; II/ 28 ll. ; III/ 1 title-page 148 pp. 10 pp. of index 1 bl.p. Numerous handwritten notes on the last 2 ll. of the 1st text. Bound in blind-stamped pigskin over wooden boards brass clasps. Contemporary binding. Collection in quite rare and very early editions of 3 important founding works of the Renaissance in philology and grammar by Erasmus and by his master Laurent Valla. Laurent Valla "the greatest humanist of the first half of the 15th century" was born in Rome around 1407. Guilio Vallese. "Deeply convinced of the superiority of the antique culture renewed at the time in which he saw an incomparable ferment of regeneration Valla in order to defend it didn't hesitate to take the chance of being condemned in front of the Inquisition court. As other humanists of this time he claimed to be of the rationalist moral antique transmitted in the books of Wisdom when the Middle Ages had impoverished or lost the very meaning of it." Valla's most famous treatise "Des élégances de la langue latine"that had most contributed to his reputation in six books was quickly given in every school and kept on being a teaching text for the greatest part of the 16th century. Erasmus who professes many times in his letters a vivacious admiration for the author and for this particular work had made in his youth an extract for his personal use which was printed twice without his consent. Valla's observations are about the value of certain forms of words about the value of several difficult terms and even more about the synonymy of the Latin language. This work proves a great sagacity of researches and a great judgment. "King Alphonse who really liked this kind of studies didn't get tired of hearing Valla and let him sometimes battling with Antoine de Parlerme "inde ivae". He gave him a diploma enriched with a golden speech bubble in which he declared him illustrious in almost every science as well as in poetics." Are joined to this major work of Valla the two great founding texts it inspired to Erasmus: -The first oneDe Conscribendis epistolis in the second edition from Strasbourg of 1525. It was such a success that it was after this one reprinted 77 times in the 16th century alone. -The second one De Constructione octo partium orationis libellus printed for the first time in 1514 is here in the edition printed on August 11th 1523 at Sigismon Grim. It was followed by 61 editions in the 16th century alone. A magnificent copy with wide margins preserved in its first blind-stamped binding; the clasps and ties are intact. It comes from the collections Jacob Campana andGaspar Campana and bears these two handwritten ex-libris "Jacobi Campanae et Amicorum 1530" and "Gaspari Campanae et Amicorum". The Campanas illustrious Neapolitan family counted César Campana among their members a fine erudite from the 16th century. Français Argentorati Iohannem Heruagium 1525. Suivi de : Erasme. De octo orationis partium constructione libellus tum elegans imprimis tum dilucida brevitate copiosissimus. Erasmo roterodamo autore. A la fin " Augustae Vindelicorum in officina D. Sigismum Grim 11 Aout Anno 1523. " Suivi de : Valla. Laurentii vallae elegatiarum adeps exeius de lingua latina libris per Bonum Accursium Pisanum studiosissime collectus. Les élégances de la langue latine. Apud Sanctam Romanorum Colonia 1525. Soit trois textes reliés en un volume in-8 de I/ 184 ff. le dernier blanc ; II/ 28 ff. ; III/ 1 p. de titre 148 pp. 10 pp. d'index 1 p.bl. Nombreuses annotations manuscrites sur les 2 derniers ff. du 1er texte. Relié en peau de truie estampée à froid sur ais de bois dos à nerfs attaches et fermoirs de laiton. Reliure de l'époque. 148 x 100 mm. Réunion en éditions fort rares et très précoces de trois grands textes fondateurs de la Renaissance en philologie et grammaire d'Erasme et de son maître Laurent Valla. Laurent Valla " le plus grand humaniste de la première moitié du XVe siècle " naquit à Rome vers 1407. Guilio Vallese. " Profondément convaincu de la supériorité de la culture antique alors renaissante dans laquelle il voyait un ferment incomparable de régénération Valla pour la défendre n'hésita pas à courir le risque d'une condamnation devant le tribunal de l'Inquisition. Comme d'autres humanistes de ce temps il se réclamait de l'antique morale rationaliste transmise dans les livres de la Sagesse dont le Moyen Age avait appauvri ou perdu la signification même. " Le traité le plus célèbre de Valla qui avait le plus contribué à sa réputation" Des élégances de la langue latine " en six livres se répandit rapidement dans toutes les écoles et continua de faire texte d'enseignement pendant la plus grande partie du XVIe siècle. Erasme qui professe en beaucoup d'endroits de ses lettres une vive admiration pour l'auteur et pour cet ouvrage en particulier en avait fait dans sa jeunesse un extrait pour son usage qui fut imprimé deux fois sans son consentement. Les observations de Valla portent sur la valeur de certaines formes de mots sur celle de plusieurs termes difficiles et plus encore sur les synonymies de la langue latine. Ce travail atteste une grande sagacité de recherches et un rare discernement. " Le roi Alphonse auquel ce genre d'études plaisait singulièrement ne se lassait pas d'entendre Valla et le mettait quelquefois aux prises avec Antoine de Parlerme " inde ivae ". Il lui donna un diplôme enrichi d'une bulle d'or dans laquelle il le déclarait illustre en presque toutes les sciences ainsi qu'en la poétique. " Sont joints à cette œuvre phare de Valla les deux grands textes fondateurs qu'elle inspire à Erasme : -Le premierDe Conscribendis epistolis dans la seconde édition strasbourgeoise de 1525. Son succès fut tel qu'elle fut après celle-ci réimprimée 77 fois pour le seul XVIe siècle. -Le second texteDe Constructione octo partium orationis libellus imprimé pour la première fois en 1514 est ici dans l'édition achevée d'imprimer le 11 août 1523 chez Sigismon Grim. Elle fut suivie de 61 éditions pour le seul XVIe siècle. Magnifique exemplaire à belles marges conservé dans sa première reliure estampée à froid dont les fermoirs et les attaches sont conservés intacts. Il provient des bibliothèques Jacob Campanaet Gaspar Campana et porte ces deux ex-libris manuscrits " Jacobi Campanae et Amicorum 1530 " et " Gaspari Campanae et Amicorum ". Les Campana illustre famille napolitaine comptèrent parmi leurs membres César Campana fin lettré du XVIe siècle. hardcover
1524ref. 2455Paris: Jodocus Badius Ascensius 1524. THE 1524 BADIUS ASCENSIUS EDITION. Written in 1509 as a visitor's gift to Thomas More whose name -Morus- was so aptly similar to the Greek "moros" folly the "Moriae Encomium" was first printed by Gilles de Gourmont at Paris probably in 1511. Hardcover. Fine. Bound in contemporary limp vellum lightly soiled. The contents are in very good condition with a few pencil annotations and light soiling to the title page. With Badius' device of his print shop the “Praelum Ascensianum” showing printers working a press on the title page. With large attractive crible initials and smaller charming historiated initials. Passages in Greek. A fine unsophisticated copy of this rare edition. From the personal library of Bob and Emily De Graaf. The rare 1524 Parisian “Praise of Folly” printed by Erasmus’ friend the scholar-printer Badius Ascensius who printed the first authorized edition in 1512. This edition contains all of the supplementary texts found in the Froben edition of 1519 see the note “additional Moria texts” below including the dedicatory letter to Thomas More and the letter to Martin Dorp in which Erasmus explains his motives for writing the “Moria”: “My aim in the ‘Folly’ was exactly the same as in my other works. Only the presentation was different. In the ‘Enchiridion’ I simply outlined the pattern of a Christian life. In my little book the ‘Education of a Christian Prince’ I offered plain advice on how to instruct a prince. In my ‘Panegyric’ I did the same under the veil of eulogy as I had done elsewhere explicitly. And in the ‘Folly’ I expressed the same ideas as in the ‘Enchiridion’ but in the form of a joke.” “The ‘Praise of Folly’ is Erasmus’ most famous and controversial work… In Erasmus’ lifetime the ‘Moria’ was condemned in 1527 by the theologians of Paris for its attacks on faith and morality and again in 1533 by the Franciscans who found it full of heresies. The officials of the Sorbonne put it on the list of condemned books in 1542 and 1543 a list that was the basis of the Tridentine Index of 1564… “The ‘Moria’ may start as a learned joke to amuse a fellow humanist Thomas More but it moves into sharp criticism of contemporary mores and ends with a plea for a return to the Christianity of the Gospels… Erasmus writes in a Lucianic spirit of irreverent burlesque of the gods of classical mythology and light-hearted amusement at the irrationality of mankind. Folly argues that she is all that is natural youthful fecund and happy and that life would be intolerable if it were not ruled by civilized conventions which necessitate a degree of humbug and illusion. By contrast the Stoic ideal rational man is a ‘kind of marble statue of a man devoid of sense and any sort of human feeling.’ She then shifts her viewpoint and lists the people who enjoy her benefits insofar as they try to preserve their illusions or are happy in their ignorance self-deception or self-love. She even adds superstitious piety to alchemy gambling and the nobility’s obsession with hunting and extravagant building… “Next Erasmus starts to deliver a sharp and often bitter attack on all the victims of blind folly those who are deaf to the voice of true religion and lacking the gentler Christian virtues among whom are sycophants self-seekers money-makers pedants scholastics lawyers theologians superstitious worshippers of images and relics courtiers and kings worldly monks and irreligious pontiffs. This section culminates in a savage thrust at Pope Julius II the bellicose pope. The keen wit and ingenuity of the satire can be highly entertaining but there is no note of gaiety now. As Erasmus surveys the gulf between the Church and the ‘true philosophy of Christ’ he moves into the final section where the alternative offered to barren scholasticism is the vision of reality taken from Plato and folly in the sense used by Saint Paul that of receptivity to the Christian message by the ‘fool in Christ.’ All irony is dropped until the final short epilogue when Folly light-heartedly cuts short her ‘hotch-potch of words’; this is a direct and simply worded account of Erasmus’ personal belief moving into an exposition of the Neoplatonist concept that the soul’s ascent to beatitude ends in ecstasy a form of folly which is its supreme fulfillment.”Betty Radice Collected Works of Erasmus Vol. 27 pp. 78 ff. Additional Moria Texts: In addition to Erasmus' main text this edition includes two ancient examples of the mock-encomium Seneca's "Ludus de Morte Claudii Caesaris" and Synesius of Cyrene's "De Laudibus Calvitii" "In Praise of Baldness" translated from the Greek by the Englishman John Phreas d. 1465. In his introductory letter to Thomas More Erasmus cites both the "Ludus" and the "Praise of Baldness" in a pre-emptive defense against those who will object to his literary frivolity "levitas et ludicrum argumenti" pp. 102-104 in this edition. The text of the "Moria" is accompanied by the commentary of Gerard Listrius with assistance from Erasmus. Jodocus Badius Ascensius hardcover
1520ref. 253908Basel: Johann Froben 1520. First collected editions. Titles within ornamental woodcut border initials printer's device in colophon. 465 i.e. 495 1; 167 1; and 141 3 pp. 1 vols. 8vo. Contemporary blindstamped pigskin over wooden boards spine in four compartments with raised bands over doubled cords ruled in blind and crossed floral ornaments boards tooled with floral borders about a central field edges ochre. Covers somewhat soiled one brass clasp missing upper joint just starting but quite firm; internally a SUPERB near flawless copy. Bookplate and ownership signature of scholar and author Nathan Comfort Starr. First collected editions. Titles within ornamental woodcut border initials printer's device in colophon. 465 i.e. 495 1; 167 1; and 141 3 pp. 1 vols. 8vo. First collected editions of these "Paraphrases" of the letters of Paul which were undertaken shortly after Erasmus's revolutionary edition of the Greek New Testament of 1516. As part of that monumental reconstruction of the New Testament Erasmus' intention was to "retell" the books of the New Testament in one uninterrupted voice without the clutter of textual commentary or critical interruption. It was a bold undertaking and in 1517 Erasmus began with the letters of Paul. They were first issued separately starting with Romans in 1517; and editions appeared in Louvain Thierry Martens Leipzig Valentin Schumann and Basel Johann Froben. The collected issues - such as the three which are bound together in this exquisite volume - began to be issued in Basel by Froben in 1519; and finally in 1521 Froben issued a collected edition of all of the Pauline letters. All of the lifetime editions both separate and collected are rare on the market; this copy is in a well preserved contemporary pigskin binding first binding. Adams E790; E792; E791; VD16 E 3060; E 3324; E 3328 Johann Froben unknown
1520ref. 253908Basel: Johann Froben 1520. First collected editions. Titles within ornamental woodcut border initials printer's device in colophon. 465 i.e. 495 1; 167 1; and 141 3 pp. 1 vols. 8vo. Contemporary blindstamped pigskin over wooden boards spine in four compartments with raised bands over doubled cords ruled in blind and crossed floral ornaments boards tooled with floral borders about a central field edges ochre. Covers somewhat soiled one brass clasp missing upper joint just starting but quite firm; internally a SUPERB near flawless copy. Bookplate and ownership signature of scholar and author Nathan Comfort Starr. First collected editions. Titles within ornamental woodcut border initials printer's device in colophon. 465 i.e. 495 1; 167 1; and 141 3 pp. 1 vols. 8vo. First collected editions of these "Paraphrases" of the letters of Paul which were undertaken shortly after Erasmus's revolutionary edition of the Greek New Testament of 1516. As part of that monumental reconstruction of the New Testament Erasmus' intention was to "retell" the books of the New Testament in one uninterrupted voice without the clutter of textual commentary or critical interruption. It was a bold undertaking and in 1517 Erasmus began with the letters of Paul. They were first issued separately starting with Romans in 1517; and editions appeared in Louvain Thierry Martens Leipzig Valentin Schumann and Basel Johann Froben. The collected issues - such as the three which are bound together in this exquisite volume - began to be issued in Basel by Froben in 1519; and finally in 1521 Froben issued a collected edition of all of the Pauline letters. All of the lifetime editions both separate and collected are rare on the market; this copy is in a well preserved contemporary pigskin binding first binding. Adams E790; E792; E791; VD16 E 3060; E 3324; E 3328 Johann Froben unknown books
1524ref. 2455Paris: Jodocus Badius Ascensius 1524. THE 1524 BADIUS ASCENSIUS EDITION. Written in 1509 as a visitor's gift to Thomas More whose name -Morus- was so aptly similar to the Greek "moros" folly the "Moriae Encomium" was first printed by Gilles de Gourmont at Paris probably in 1511. Hardcover. Fine. Bound in contemporary limp vellum lightly soiled. The contents are in very good condition with a few pencil annotations and light soiling to the title page. With Badius' device of his print shop the “Praelum Ascensianum” showing printers working a press on the title page. With large attractive crible initials and smaller charming historiated initials. Passages in Greek. A fine unsophisticated copy of this rare edition. From the personal library of Bob and Emily De Graaf. The rare 1524 Parisian “Praise of Folly” printed by Erasmus’ friend the scholar-printer Badius Ascensius who printed the first authorized edition in 1512. This edition contains all of the supplementary texts found in the Froben edition of 1519 see the note “additional Moria texts” below including the dedicatory letter to Thomas More and the letter to Martin Dorp in which Erasmus explains his motives for writing the “Moria”: “My aim in the ‘Folly’ was exactly the same as in my other works. Only the presentation was different. In the ‘Enchiridion’ I simply outlined the pattern of a Christian life. In my little book the ‘Education of a Christian Prince’ I offered plain advice on how to instruct a prince. In my ‘Panegyric’ I did the same under the veil of eulogy as I had done elsewhere explicitly. And in the ‘Folly’ I expressed the same ideas as in the ‘Enchiridion’ but in the form of a joke.” “The ‘Praise of Folly’ is Erasmus’ most famous and controversial work… In Erasmus’ lifetime the ‘Moria’ was condemned in 1527 by the theologians of Paris for its attacks on faith and morality and again in 1533 by the Franciscans who found it full of heresies. The officials of the Sorbonne put it on the list of condemned books in 1542 and 1543 a list that was the basis of the Tridentine Index of 1564… “The ‘Moria’ may start as a learned joke to amuse a fellow humanist Thomas More but it moves into sharp criticism of contemporary mores and ends with a plea for a return to the Christianity of the Gospels… Erasmus writes in a Lucianic spirit of irreverent burlesque of the gods of classical mythology and light-hearted amusement at the irrationality of mankind. Folly argues that she is all that is natural youthful fecund and happy and that life would be intolerable if it were not ruled by civilized conventions which necessitate a degree of humbug and illusion. By contrast the Stoic ideal rational man is a ‘kind of marble statue of a man devoid of sense and any sort of human feeling.’ She then shifts her viewpoint and lists the people who enjoy her benefits insofar as they try to preserve their illusions or are happy in their ignorance self-deception or self-love. She even adds superstitious piety to alchemy gambling and the nobility’s obsession with hunting and extravagant building… “Next Erasmus starts to deliver a sharp and often bitter attack on all the victims of blind folly those who are deaf to the voice of true religion and lacking the gentler Christian virtues among whom are sycophants self-seekers money-makers pedants scholastics lawyers theologians superstitious worshippers of images and relics courtiers and kings worldly monks and irreligious pontiffs. This section culminates in a savage thrust at Pope Julius II the bellicose pope. The keen wit and ingenuity of the satire can be highly entertaining but there is no note of gaiety now. As Erasmus surveys the gulf between the Church and the ‘true philosophy of Christ’ he moves into the final section where the alternative offered to barren scholasticism is the vision of reality taken from Plato and folly in the sense used by Saint Paul that of receptivity to the Christian message by the ‘fool in Christ.’ All irony is dropped until the final short epilogue when Folly light-heartedly cuts short her ‘hotch-potch of words’; this is a direct and simply worded account of Erasmus’ personal belief moving into an exposition of the Neoplatonist concept that the soul’s ascent to beatitude ends in ecstasy a form of folly which is its supreme fulfillment.”Betty Radice Collected Works of Erasmus Vol. 27 pp. 78 ff. Additional Moria Texts: In addition to Erasmus' main text this edition includes two ancient examples of the mock-encomium Seneca's "Ludus de Morte Claudii Caesaris" and Synesius of Cyrene's "De Laudibus Calvitii" "In Praise of Baldness" translated from the Greek by the Englishman John Phreas d. 1465. In his introductory letter to Thomas More Erasmus cites both the "Ludus" and the "Praise of Baldness" in a pre-emptive defense against those who will object to his literary frivolity "levitas et ludicrum argumenti" pp. 102-104 in this edition. The text of the "Moria" is accompanied by the commentary of Gerard Listrius with assistance from Erasmus. Jodocus Badius Ascensius hardcover books
1521ref. 16988Colophon: Mainz: Johannes Schoeffer 1521. German contemporary blind-tooled calf sewn on 3 double cords in a panel design each board with a 15 mm-wide border roll with fillets on either side containing 4 different heads in medaillions separated by quatrefoils. The central panel on each board is filled with dozens of impressions of 3 floral stamps 1 on the front board and 2 on the back. Titles in ink written on the spine partly upside down and the fore-edge; later paper spine label; 2 holes near the fore-edge of each board from fastenings now lost. 8vo. Ad 1: with the title in woodcut architectural border with 3 coats of arms the Isenburg bars and Mainz wagon wheel above left and right and Schoeffer's device here with 2 stars above and a rosette below rather than 3 stars at the foot under his IS-monogram; 6 large beautiful woodcut initials the largest 45 mm with 2 human figures. Both works set throughout in italic types still with upright capitals as always at this date. With 1 initial coloured by hand. Ad 2: with the title in an elaborate woodcut border dated "MDXX" at the head first page of the dedicatory letter by Erasmus to Petrus Aegidius dated Basle 5 October 1514 on back of the title page with a border made of woodcut strips Froben's large woodcut device on the last page and 2 decorative woodcut initials 2 series the 30 mm Q with a scorpion. 2 works in 1 volume. With: 2 ERASMUS Desiderius. Parabolae sive similia.Colophon: Basel Johannes Froben July 1521. Ad 1: Good scholarly edition of Erasmus's famous guide to writing and speaking style in Latin designed to provide the student of Latin with a wide range of words and expressions. Ad 2: A collection of similes or comparisons composed along the same lines and with the same intentions as those that had brought Erasmus much success in his Adagia. In a sense the Parabolae are an addition to and continuation of the Adagia. With some contemporary annotations. In very good condition with only a few minor marginal smudges or chips. Binding lacking fastenings and with damage to the spine and edges but still in good condition with most of the tooling very clear.l Ad 1: VD 16 E 2656; Allen I 260; II 305 311; Bezzel 748; Vander Haeghen Bibl. Erasm. p. 66; Reedijk 95 97; De Reuck Bibl. Erasm. Bruxel. 135 with illus. of the title; ad 2: VD 16 E 3246 2 copies; Bezzel 1371; Vander Haeghen Bibl. Erasm. p. 138; for the binding: cf. K. von Rabenau Deutsche Einbände der Renaissance von Jakob Krause Berlin 1994 7 & 8 similar bindings using stamps with the same motifs. Johannes Schoeffer, unknown
1523ref. ABC_50124Antwerp: Michiel Hillen van Hoogstraten 1523. Later vellum with the manuscript title and year of publication on the spine red sprinkled edges. 8vo. With a decorative woodcut border on the title page and 2 decorated woodcut initials. Very rare early edition of Erasmus first written work a letter in praise of monastic life which was only published later in his career. Erasmus wrote it in 1488 or 1489 when he was 20 years old at the request of Theodoricus of Haarlem a fellow canon at the Augustine monastery at Steyn in order to persuade his nephew to join the order. It circulated in manuscript form for many years and was likely used to entice prospective candidates to enter the order of Canons Regular of St. Augustine.The work is divided into three parts: the first seven chapters focus on the evils of this world; chapter eight through eleven on the pleasures of the religious life; and chapter twelve on the ultimate choice between the material world or the religious state. This final chapter appears to counteract the rest of the work as it advises Theodoricus' nephew to carefully consider whether he truly wanted to enter a religious order since being a Christian is enough in itself. As such it has been suggested that Erasmus rewrote the text before its publication adding the 12th chapter but as he apologises for his adolescent writing style in the preface the work was likely mostly unedited.The first edition was published in Louvain in 1521 more than 30 years after it was written. The present edition is the first by Michiel Hillen van Hoogstraten and one of four printed in 1523. It is exceptionally rare on both the market and in institutions as only four copies have been recorded in libraries and we have not been able to find any others in sales records of the past century.The vellum is slightly soiled. The work is slightly browned throughout. Otherwise in good condition.l Adams E-569; Erasmus Online 1383; Nijhoff & Kronenberg 804; USTC 403708 4 copies; Vander Haeghen p. 64; WorldCat 71746606 2 copies; cf. De Molen R. "First fruits. The place of Antibarbarorum Liber and De contemptu mundi in the formulation of Erasmus Philosophia Christi" in: Colloque érasmien de Liège 1986 pp. 177-196; not in Bezzel; De Reuck; STCV. Michiel Hillen van Hoogstraten, hardcover
1523ref. 3722Paris: apud Simon de Colines 1523. First edition. Contemporary French blind-stamped calf over wooden boards panelled with intersecting fillets and lozenge tools; remains of clasps present metal attachments preserved; spine with raised bands. Wide-margined and notably clean throughout. Early manuscript moral sonnet signed "Frater Hugo Thubert" on the front flyleaf and a biblical motto "Si quis vult post me venire." in a seemingly different sixteenth-century hand on the rear flyleaf. With a few early marginal annotations in a sixteenth-century hand on ff. 39 and 253 and f. 9 ruled with brown-ink frames. Leather somewhat worn including a damaged area on the front panel and some loss at the lower corners with surface abrasions and light cracking along the joints; spine rubbed at head and foot. A complete unsophisticated copy in its original binding retaining notable early reader's marks; overall in very good condition. First edition. Contemporary French blind-stamped calf over wooden boards panelled with intersecting fillets and lozenge tools; remains of clasps present metal attachments preserved; spine with raised bands. ff. 373 22. A rare example of early educational use of Erasmus's Adagia in its contemporary French leather binding and preserved with a handwritten French moral sonnet by its sixteenth-century owner Hugues Thubert. First edition of Jean Brouchier's pedagogical epitome of Erasmus's Adagia printed by Simon de Colines in the early years of his Paris press. Though derived entirely from Erasmus's celebrated Chiliades the structure and didactic programme are Brouchier's: an abridged sequence of selected adages arranged for the studiosa iuventus intended to make the moral historical and rhetorical substance of the Adagia usable in the Latin classroom at an elementary stage. Brouchier's dedicatory epistle explains the rationale behind the epitome: while the Adagia had become essential reading for humanist education their full scope far exceeded what younger students could manage. His selection extracts the most serviceable sententiae supplying a compact repertory suited to memorization written exercises and introductory rhetorical training. The epitome reflects early humanist classroom practice when teachers adopted shorter selections to provide beginners with a practical corpus for variation and elementary composition while still introducing Erasmus's ethical and stylistic programme. A dedicatory letter to the magistrates of Florence precedes the text outlining Brouchier's aims and directing readers to Erasmus for fuller commentary. The work aligns with Colines's broader programme of humanist educational printing which equipped collèges and monastic schools with clear reliable editions of classical and contemporary authors. Colines's architectural title border clean roman types and spacious mise-en-page underscore the book's intended function as a school text designed for legibility and daily use. As an adaptation of one of Erasmus's most influential works Brouchier's Epitome documents an early stage in the mediation condensation and classroom transmission of the Adagia illustrating the practical needs of humanist teaching in early sixteenth-century France. Brouchier's biography is largely undocumented; he is known only through a small group of humanist pedagogical editions issued in Paris between 1511 and 1534. Three of these-the present Epitome and the two editions of the Commentarii in Septem Sapientum Graeciae Apophthegmata-were printed by Simon de Colines placing Brouchier within the circle of authors associated with Colines's early humanist programme. This copy preserves an unpublished French moral sonnet in the hand of Hugues Thubert written on the front flyleaf and signed "Frater Hugo Thubert." The poem belongs to the broad and often fragmentary vernacular literary production of the sixteenth century when humanist education and the widespread use of printed and manuscript verse encouraged even non-professional writers to adopt classical forms for ethical reflection. Autograph poems of this type-especially those entered into the flyleaves of school and humanist books-are relatively uncommon and they offer intimate evidence of personal reading practices. Thubert's sonnet in fluent but regionally inflected French adapts the sonnet structure to a concise moral argument setting impurity and chastity in rhetorical opposition a mode familiar from contemporary humanist and devotional writing. An early owner of the present volume Hugues Hugo Thubert was a Benedictine of the Congregation of Chezal-Benoît listed in the 1529 matricule as a monk of Saint-Germain-des-Prés and later recorded as having left the order TELMA IRHT. He signs himself in this volume and appears again as owner of another book-Jean Grolier's former copy of Gaspar Bracellus's Ortus delitiarum Milan Minutianus 1515; Austin 357; Michon 24A-which he inscribed with his name and the date 1580 and which subsequently entered the abbey library of Saint-Germain-des-Prés. These traces collectively document a Paris-based sixteenth-century reader whose surviving books display consistent humanistic engagement. Rare; USTC lists 14 copies only six outside France and RBH records a single sale 2024. References: USTC 180884; IRHT-CNRS. n.d. Matricule de la Congrégation de Chezal-Benoît 1529. In TELMA - Traitement électronique des manuscrits. . apud Simon de Colines unknown
1520ref. ABC_49643Colophon: Basel 1520. Small 8vo. Johann Froben Later blind-tooled pigskin over bevelled wooden boards each board in a panel design with a lozenge-shaped ornament and cornerpieces in the central panel surrounded by a decorative border 2 metal clasps and catches the manuscript title at the head edge a blank paper label on the spine and 4 pigskin tabs. With a decorative woodcut border on the title page of each work a woodcut printer's device at the end of the first 2 works 9 decorative woodcut borders in the text 16 decorative woodcut initials and 4 woodcut headpieces. 4 works in 1 volume. 141 3; 167 1; 91 1 blank; 14 2 blank pp. Compilation of first or early editions of four of the most important religious works by Desiderius Erasmus all printed during his lifetime. The texts which were incredibly popular in his own time were written to promote a more accurate understanding of the scriptures and make them more accessible to the public. Lifetime editions of these four works are quite rare on the market.In 1516 Erasmus published his revolutionary Latin edition of the Greek New Testament. It was not so much a translation but more a correction as Erasmus intended to free the text of the imperfections that had built up over time. When finished he began working on other parts of the scriptures with the same goal. The first two works in the present volume include his paraphrases of the letters of Paul. They were first issued separately in 4 parts starting in 1517. The present works are part of the first collected edition of the Pauline letters published by Froben in 1520 and 1521. This edition is praised for the fine title borders and initials some of them are known to have been cut by Johann Faber after drawings by the renowned artist Hans Holbein the Younger who often worked for Froben. The beautiful border on fol. 2A1 has been monogrammed by Ursus Graf "VG".The third work of this collection Modus orandi Deum is considered a centrepiece of Erasmus teachings on prayer. In it he explains the importance of prayer and provides a manual for how one should pray. He criticises monastic prayer long church services and practices that place the focus on the number of psalms said rather than their content. Instead he emphasises inner devotion and personal communication with God. The work was first published in October 1524 by Froben and in December 1524 by Knobloch. The present March 1525 edition is the second by Knobloch.The final work of the compilation was first published anonymously in 1520 as Consilium cujusdam . cupientis esse consultum & R. Pontificis dignitati & christianae religionis tranquillitati. Only two Latin editions and two German translations of it have been recorded by Vander Haeghen.With a contemporary ownership annotation at the head of the title page "Martini i iouilliami Vinter" a later annotation at the foot "Bernardhus Chymel alias Thalheuser" and a faded library stamp a few contemporary annotations and nota signs in the margins in 2 different hands. The pigskin has been washed with later clasps a few worm holes on the spine. The work is lightly browned throughout with water stains on some of the leaves mostly in the margins a brown stain on the title-page of ad 3. Otherwise in good condition.l Ad 1: Adams E 791; BM STC German p. 115; Erasmus Online 2919; USTC 682536 11 copies; Vander Haeghen I 144; VD16 E 3329; Ad 2: Adams E 792; BM STC German p. 115; Erasmus Online 2914; Vander Haeghen I 144; this ed. not in the USTC; VD 16; Ad 3: Adams E 697; Erasmus Online 2427; USTC 676364 10 copies; Vander Haeghen I 120; VD16 E 3176; not in BM STC German; Ad 4: Erasmus Online 5731; USTC 623273 3 copies; Vander Haeghen I 59; VD16 E 2542; not in Adams; BM STC German. hardcover
1569ref. ABC_49477Basel: Ambrosius & Aurelius Froben 1569. Contemporary half elaborately blind-tooled pigskin over wooden boards sewn on 5 supports volume 1 on 4 with two brass clasps on the fore edge leather anchor plate brass clasp and catch plate. With the manuscript titles on the spines and the contents of each volume in manuscript on the bottom edge of all but one volume. Probably bound by Michael Hermann in Stuttgart before 1580. See for the workshop einbanddatenbank no. 502297b the rolls used: nos. r004651 and r003964. Folio 38 x 25.5 cm. With the general title page in volume 1 set within an elaborate woodcut frame all other title pages show the large woodcut Froben printer's device repeated on all but one verso of the final page in each part. Further with woodcut decorated initials. 11 parts in 10 volumes. A complete and uniformly bound set of the monumental edition of the complete works of Saint Augustine of Hippo printed by the celebrated Froben press. This edition follows the editorial tradition established by Erasmus and Johann Froben in the early 16th century and reflects the enduring influence of Augustines thought on early modern theology. The present work includes a broad range of Augustines writings: his dogmatic treatises De Trinitate De civitate Dei polemical works notably against Pelagianism and Manichaeism exegetical texts Enarrationes in Psalmos Gospel homilies ascetic and moral discourses and the Epistolae. This edition represents an early attempt to consolidate Augustines vast corpus for academic and ecclesiastical use during period following the Council of Trent. It demonstrates the persistence of Augustinian authority in Reformation-era intellectual life as well as the role of the Swiss printing houses in disseminating patristic texts throughout Europe.Aurelius Augustine 354-430 CE commonly known as Augustine of Hippo was a North African bishop theologian and philosopher widely regarded as one of the most influential figures in Western Christianity and Latin patristic thought. Born in Thagaste modern-day Souk Ahras Algeria Augustine received a classical education in rhetoric and philosophy before embracing Manichaeism and later Neoplatonism.After a period of moral and spiritual searching chronicled in his Confessiones he converted to Christianity in 386 CE under the influence of Ambrose of Milan. He was baptised in 387 ordained a priest in 391 and became bishop of Hippo Regius in 395 a position he held until his death.Augustines vast body of work addresses themes such as original sin grace free will the nature of the Church and the interpretation of Scripture. His most notable writings include Confessiones De civitate Dei the City of God and De Trinitate. His thought shaped the theological foundations of both medieval Catholicism and later Protestant traditions particularly through his doctrines of grace and predestination. He died in 430 CE during the Vandal siege of Hippo. Augustine was later declared a Doctor of the Church and his intellectual legacy remains foundational to Western theology and philosophy.With a manuscript inscription on each of the title pages and a small printed book plate mounted on the front pastedown of volume 1. The bindings are slightly stained and are occasionally slightly bumped and rubbed. The front hinge of volume one is slightly weakened lacking the upper clasp and anchor plate of volume 7 and the front board of volume 9 is slightly damaged along the fore edge. Internally the volumes are variably slightly foxed and/or browned some volumes show very minor water staining most volumes contain some minor worm holes which affect small parts of the letters. A more detailed condition report including collations etc. per volume is available upon request. The 10 volumes are overall in very good condition. A handsome and important Renaissance printing of one of the most significant corpora of Christian antiquity. Rare complete in all ten volumes here uniformly bound.l USTC 686573; VD 16 A 4153; WorldCat 1828402 1406901978 1090145458 1002789099 35656998 222081178 1322263024 1114269923; cf. for the binder see Einbanddatenbank no. 502297b rolls nos. r004651 and r003964. Ambrosius & Aurelius Froben, hardcover
1522ref. 5299Basel: Johann Froben August 21 1521 - January 1522. FIRST EDITION. Hardcover. Fine. A superb copy bound in contemporary alum-tawed pigskin over beveled wooden boards ruled and tooled in blind with the original clasps catches and straps preserved. Binding mildly soiled a few scrapes mild surface wear. Internally crisp and bright with just a few lightly toned leaves and a few trivial stains. With 16th c. manuscript annotations scattered throughout and a 16th c. ownership inscription on the paste-down. The errata lvs. have been tipped in possibly indicating early issue. Excellent. Title page with the fine ‘Triumph of Humanitas’ historiated woodcut border by Urs Graf Lüthi 50a and Hieronymus Oberrheinische Buchillustration 172 enclosing Froben’s printer’s device; two preliminary pages with fine four- and five-piece woodcut borders by Ambrosius Holbein; white-on-black woodcut headpiece two 10-line woodcut initials and numerous smaller ones verso of final leaf with large printer’s device enclosed in five-piece woodcut border; some Greek printing. First edition of this collection of 671 letters of which 171 are newly printed. The majority of the new letters are from 1519-1521 but some are earlier the first dated 11 July 1513. The collection is far larger than its predecessors: the ‘Epistolae aliquot’ of January 1518 52 letters the ‘Auctarium’ of October 1518 63 letters and the ‘Farrago’ of Nov 1519 333 letters. Erasmus provides a preface to his correspondence for the first time in this edition. The letter to his editor Beatus Rhenanus Ep 1206 tells of his dislike of two earlier collections edited by him Beatus and published by Froben the ‘Auctarium’ of October 1518 and the ‘Farrago’ of Nov 1519 and implies that they were published surreptitiously without his consent. After the present edition no further collections were printed until the ‘Opus epistolarum’ of 1529. The introduction in the Collected Works to Erasmus’ prefatory letter to Beatus Rhenanus illustrates his personal involvement in the production of this collection: "Even as the Farrago was being printed Erasmus spoke of another edition with new letters added and others revised. The last thing he desired was a straight reprint either by Froben or another publisher. So in the summer of 1520 he was going through all his letters and in November the review of the ‘Farrago’ was apparently completed. Before the middle of January 1521 the revised copy together with a substantial number of new letters had reached Basel. When he sent the first part of the revised New Testament shortly afterwards he apparently asked to have all letters old and new back for another review but was sent none and told instead that a volume of 41 quires pages 1-490 was set in type lacking only a preface and an epilogue. So he wrote this preface as well as dispatching more letters to Basel. “Froben next prepared a preliminary quire containing the title-page dated 31 August Epp 1206 1225 and to fill some space left over on the last page Ep. 1239. All was printed and ready to be launched at the Frankfurt autumn fair but with the certain prospect of Erasmus’ return to Basel a delay was indicated. As Froben now preferred his volume not to reach the public and his rivals until the time of the spring fair of 1522 Erasmus could add more letters including the last in time dated from Basle 22 November 1521 which appears on page 639 but is followed by thirty more pages of letters. Presumably as a result of Erasmus’ review of the printed volume over three pages of corrigenda were added at the end" Collected Works vol. 8 pp. 215/7. The correspondents for the newly printed letters include Johann Reuchlin Justus Jonas Guillaume Bude Petrus Mosellanus Polydore Vergil Pope Leo X Cardinal Albert of Brandenburg Thomas More William Warham Thomas Wolsey and John Fisher. Many of the letters reflect Erasmus’ changing stance regarding Luther but at the same time continue his attacks on the friars and Louvain theologians. Bietenholz singles out a long letter of 10 May 1521 Ep 1202 to Justus Jonas as one of the finest of the period in which Erasmus expresses his alarm that Jonas as well as a whole group of German humanists especially Melanchthon are committing themselves irrevocably to the Lutheran cause Collected Works vol. 8 pp. 201. Another letter to Jonas of June 1521 Ep 1211 holds an important biography of his friend John Colet the humanist and educational pioneer who had died in September 1519 “Sixteenth-century Europe’s image of Colet owes everything to Erasmus. Much is still today known only from that source. Erasmus’ encomium is the fullest and most explicit portrait.” Contemporaries of Erasmus I p. 327. Also included in this collection and previously published in the Farrago is one of Erasmus’ most famous letters “which will always rank among his finest writing and the great accomplishments of Renaissance literature” Collected Works vol. 7 p. xii. Addressed to Ulrich von Hutten in July 1519 Ep 999 it contains Erasmus’ intimate pen portrait of his close friend Thomas More. It serves as earliest biographical account of More and is the most substantial of three letters the others Ep 1233 see below & Ep 2750 “which are indispensable for any historical assessment of More’s character” Contemporaries of Erasmus II p. 458. It is full of memorable phrases such as “in a word if you want a perfect model of friendship you will find it in no one better than in More” and “no one is less led by the opinions of the crowd yet no one departs less from common sense”. The friends met for the last time in Bruges in August 1521 and in his letter to Budé Ep 1233 first printed here Erasmus writes of the invigorating impact of their meeting and of the shining example set in More’s household for the education of women. Johann Froben, August 21 1521 - January hardcover
1522ref. 5299Basel: Johann Froben August 21 1521 - January 1522. FIRST EDITION. Hardcover. Fine. A superb copy bound in contemporary alum-tawed pigskin over beveled wooden boards ruled and tooled in blind with the original clasps catches and straps preserved. Binding mildly soiled a few scrapes mild surface wear. Internally crisp and bright with just a few lightly toned leaves and a few trivial stains. With 16th c. manuscript annotations scattered throughout and a 16th c. ownership inscription on the paste-down. The errata lvs. have been tipped in possibly indicating early issue. Excellent. Title page with the fine ‘Triumph of Humanitas’ historiated woodcut border by Urs Graf Lüthi 50a and Hieronymus Oberrheinische Buchillustration 172 enclosing Froben’s printer’s device; two preliminary pages with fine four- and five-piece woodcut borders by Ambrosius Holbein; white-on-black woodcut headpiece two 10-line woodcut initials and numerous smaller ones verso of final leaf with large printer’s device enclosed in five-piece woodcut border; some Greek printing. First edition of this collection of 671 letters of which 171 are newly printed. The majority of the new letters are from 1519-1521 but some are earlier the first dated 11 July 1513. The collection is far larger than its predecessors: the ‘Epistolae aliquot’ of January 1518 52 letters the ‘Auctarium’ of October 1518 63 letters and the ‘Farrago’ of Nov 1519 333 letters. Erasmus provides a preface to his correspondence for the first time in this edition. The letter to his editor Beatus Rhenanus Ep 1206 tells of his dislike of two earlier collections edited by him Beatus and published by Froben the ‘Auctarium’ of October 1518 and the ‘Farrago’ of Nov 1519 and implies that they were published surreptitiously without his consent. After the present edition no further collections were printed until the ‘Opus epistolarum’ of 1529. The introduction in the Collected Works to Erasmus’ prefatory letter to Beatus Rhenanus illustrates his personal involvement in the production of this collection: "Even as the Farrago was being printed Erasmus spoke of another edition with new letters added and others revised. The last thing he desired was a straight reprint either by Froben or another publisher. So in the summer of 1520 he was going through all his letters and in November the review of the ‘Farrago’ was apparently completed. Before the middle of January 1521 the revised copy together with a substantial number of new letters had reached Basel. When he sent the first part of the revised New Testament shortly afterwards he apparently asked to have all letters old and new back for another review but was sent none and told instead that a volume of 41 quires pages 1-490 was set in type lacking only a preface and an epilogue. So he wrote this preface as well as dispatching more letters to Basel. “Froben next prepared a preliminary quire containing the title-page dated 31 August Epp 1206 1225 and to fill some space left over on the last page Ep. 1239. All was printed and ready to be launched at the Frankfurt autumn fair but with the certain prospect of Erasmus’ return to Basel a delay was indicated. As Froben now preferred his volume not to reach the public and his rivals until the time of the spring fair of 1522 Erasmus could add more letters including the last in time dated from Basle 22 November 1521 which appears on page 639 but is followed by thirty more pages of letters. Presumably as a result of Erasmus’ review of the printed volume over three pages of corrigenda were added at the end" Collected Works vol. 8 pp. 215/7. The correspondents for the newly printed letters include Johann Reuchlin Justus Jonas Guillaume Bude Petrus Mosellanus Polydore Vergil Pope Leo X Cardinal Albert of Brandenburg Thomas More William Warham Thomas Wolsey and John Fisher. Many of the letters reflect Erasmus’ changing stance regarding Luther but at the same time continue his attacks on the friars and Louvain theologians. Bietenholz singles out a long letter of 10 May 1521 Ep 1202 to Justus Jonas as one of the finest of the period in which Erasmus expresses his alarm that Jonas as well as a whole group of German humanists especially Melanchthon are committing themselves irrevocably to the Lutheran cause Collected Works vol. 8 pp. 201. Another letter to Jonas of June 1521 Ep 1211 holds an important biography of his friend John Colet the humanist and educational pioneer who had died in September 1519 “Sixteenth-century Europe’s image of Colet owes everything to Erasmus. Much is still today known only from that source. Erasmus’ encomium is the fullest and most explicit portrait.” Contemporaries of Erasmus I p. 327. Also included in this collection and previously published in the Farrago is one of Erasmus’ most famous letters “which will always rank among his finest writing and the great accomplishments of Renaissance literature” Collected Works vol. 7 p. xii. Addressed to Ulrich von Hutten in July 1519 Ep 999 it contains Erasmus’ intimate pen portrait of his close friend Thomas More. It serves as earliest biographical account of More and is the most substantial of three letters the others Ep 1233 see below & Ep 2750 “which are indispensable for any historical assessment of More’s character” Contemporaries of Erasmus II p. 458. It is full of memorable phrases such as “in a word if you want a perfect model of friendship you will find it in no one better than in More” and “no one is less led by the opinions of the crowd yet no one departs less from common sense”. The friends met for the last time in Bruges in August 1521 and in his letter to Budé Ep 1233 first printed here Erasmus writes of the invigorating impact of their meeting and of the shining example set in More’s household for the education of women. Johann Froben, August 21 1521 - January hardcover books
1520ref. 375736Basel: Froben 1520. First edition printed in May. Woodcut borders to title leaf and dedication by Hans Holbein printer's device on last page. 150 2 imprint pp. 4to. Eighteenth-century marbled boards ink label. Some toning to spine. Very good fresh copy. First edition printed in May. Woodcut borders to title leaf and dedication by Hans Holbein printer's device on last page. 150 2 imprint pp. 4to. Ignorantiam esse superbiae matrem. Eruditionem contra modestiam parere. Ignorance is the mother of pride; it is from learning on the contrary that modesty is born. First edition of Antibarbari Erasmus' manifesto "defending the arts against the scruples of the barbarians" Tracy. Erasmus argues for the primacy of poetry among the liberal arts for the importance of critical understanding of the writers of classical antiquity and for appropriating what is good in their work. He is also scornful of rote learning and blind repetition of earlier scholarship where "cuckoo calls to cuckoo". In Petro summus erat ardor fidei in Hieronymino summa doctrina: alterius animum alterius studia imitar. In Peter there was the ardour of faith at its highest; in Jeronme there was learning at its best. It is for you to imitate the spirit if the one and the scholarship of the other. This was a work of very long ripening. Erasmus began the earliest version circa 1490 when he was a newly ordained monk but that manuscript was left behind in his wanderings. Decades later when he came across his earlier work he was at the center of intellectual controversy following publication of of his edition of the New Testament. He revised his Antibarbari to assert the humanist position and Froben published it in May 1520. There were six editions of the work in the early 1520s Froben himself published another edition later the same year and ten editions in his lifetime. "it is ignorance rather than erudtion which makes men insolent" FIRST EDITION OF A KEY WORK BY ERASMUS. VD16 E1997; Valentina Sebastiani Johann Froben Printer of Basel 170; Bibliotheca Erasmiana p. 9; Adams E-463; Bezzel 157. The standard modern text iwith translation by Margaret Mann Phillips˜The Antibarbarians" is in the Toronto Collected Works vol. 23 1978 Froben unknown
1520ref. 375736Basel: Froben 1520. First edition printed in May. Woodcut borders to title leaf and dedication by Hans Holbein printer's device on last page. 150 2 imprint pp. 4to. Eighteenth-century marbled boards ink label. Some toning to spine. Very good fresh copy. First edition printed in May. Woodcut borders to title leaf and dedication by Hans Holbein printer's device on last page. 150 2 imprint pp. 4to. Ignorantiam esse superbiae matrem. Eruditionem contra modestiam parere. Ignorance is the mother of pride; it is from learning on the contrary that modesty is born. First edition of Antibarbari Erasmus' manifesto "defending the arts against the scruples of the barbarians" Tracy. Erasmus argues for the primacy of poetry among the liberal arts for the importance of critical understanding of the writers of classical antiquity and for appropriating what is good in their work. He is also scornful of rote learning and blind repetition of earlier scholarship where "cuckoo calls to cuckoo". In Petro summus erat ardor fidei in Hieronymino summa doctrina: alterius animum alterius studia imitar. In Peter there was the ardour of faith at its highest; in Jeronme there was learning at its best. It is for you to imitate the spirit if the one and the scholarship of the other. This was a work of very long ripening. Erasmus began the earliest version circa 1490 when he was a newly ordained monk but that manuscript was left behind in his wanderings. Decades later when he came across his earlier work he was at the center of intellectual controversy following publication of of his edition of the New Testament. He revised his Antibarbari to assert the humanist position and Froben published it in May 1520. There were six editions of the work in the early 1520s Froben himself published another edition later the same year and ten editions in his lifetime. "it is ignorance rather than erudtion which makes men insolent" FIRST EDITION OF A KEY WORK BY ERASMUS. VD16 E1997; Valentina Sebastiani Johann Froben Printer of Basel 170; Bibliotheca Erasmiana p. 9; Adams E-463; Bezzel 157. The standard modern text iwith translation by Margaret Mann Phillips˜The Antibarbarians" is in the Toronto Collected Works vol. 23 1978 Froben unknown books
1653ref. 6648Full yapped vellum; large gilt arabesque decor to boards; particulars debossed in blind to spine. Encased in 1566 edition of J.L. Vives 1493-1540 De Officio Mariti published in Frankfurt. Text and plates from the original 1609 printing but now with the Frankfurt 1653 title page. Without additions or corrections but lacking two tables "amphitheatri aeternae" & "primordialiter constituunt mundum". Maintains same curious pagination as 1609 editon 61-42-63; 145-146-145-146-147; 190-192-193-193. No missing pages. Eleven plates from the 1609 edition 9 of which are folding attached to rear and twelfth plate at 1653 title page. Rear plates most wholly or partially rebacked include: original 1609 title page portrait of Khunrath Tablet of Jesus Tablet of Adam Table of Rebis Laboratorium Designation of the Pyramids or Designatio Porta Amphitheatri Adumbratio Gymnasii Hypotposis Arcis and Feinde Figure of the Panel of Enemies this last with creature-caused losses to top peripheral text see image. Minor loss to upper margin of center fold of plates 8 & 9. Peripheral dampstaining to upper margin of plates 3 4 & 7. Watermark of a crest with 3 towers in a shield over a moat to plate 5. This reissue bound without the elusive wise owl. Peripheral worming throughout margins with two exceptions; one of which travels without side-tracking from a2 through z4 see images. Wear and moderate soiling to boards. No previous owners' names or other markings. 222 pp. 1. 8 1/4 x 12 1/4 inches; 20 x 31 cm. Tobiam Gundermannum; Guilielmus Antonius hardcover
1523ref. ABC_49639Strassburg 1523. 8vo. Colophon: Johann Knobloch Contemporary elaborately blind-tooled pigskin over wooden boards remnants of brass anchor plates. Ad 1 with a woodcut frame on the title page 1 woodcut decorated initial and Knoblochs large woodcut device on the verso of the last blank leaf. Ads 2 and 3 with 1 woodcut decorated initial each. Ad 4 with a woodcut architectural frame on the title page and 1 large woodcut decorated initial. 4 works in 1 volume. 106; 57 1 blank; 49 1 blank ll.;158 pp. Four significant early 16th-century works that illuminate the intellectual and theological tensions of the Reformation. Ad 1: The Enchiridion militis christiani Poinard of the Christian Knight one of Erasmus most influential writings serves as a practical manual for inner reform and devout living. Emphasising moral integrity over ritual this widely reprinted work became a cornerstone of Christian humanist thought.Ad 2: The two homilies in De immensa Dei misericordia include a sermon on divine mercy likely composed for the dedication of a chapel in Basel and a second comparing virginity and martyrdom written for the Benedictine nuns of Cologne. Both reflect Erasmuss pastoral sensibilities and rhetorical skill.Ad 3: In De libero arbitrio Erasmus directly challenges Luthers doctrine of predestination in a pivotal treatise on free will. This foundational text marking the definitive break between the two reformers is one of the periods most significant theological works.Ad 4: The volume concludes with an early -and apparently rare- edition of Henry VIIIs Assertio septem sacramentorum a fierce rebuttal of Luthers De captivitate Babylonica. This work earned the English king the title Fidei Defensor from Pope Leo X. A splendid collection that captures the core tensions of the Reformation and the humanist response to it.Ad 1 with some of the text underlined. Ad 2 with manuscript annotations in the margins. Ad 3 with some marginal annotations and some of the text underlined. Ad 4 with a manuscript inscription on the title page and a few annotations in the margins. The binding shows signs of wear some small pieces of leather missing on the back board revealing the wood below remnants of fastenings along the fore-edge ads 2 and 3 with some minor worm holes in the paper barely affecting the text some staining and browning in places. Otherwise in good condition.l Ad 1: USTC 650175 7 copies; Vander Haeghen I 80; VD 16 E 2772; Ad 2: Bezzel 1131; VD 16 E 3041 and VD 16 E 3659; not in the USTC; Ad 3: VD 16 E 3151; not in the USTC; Ad 4: VD 16 H 2166; this ed. not in USTC. hardcover
