Ursus Books



De Civitate Dei. 305 ff. of 306 (missing final blank). [a-b8 c-z10 A-G10 H10 (-H10, final blank)], with three blanks (ff. 1, 16, 305). 46 lines, gothic type (2:84) printed double-column, roman headline (4:110). Folio, 286 x 202 mm, bound in contemporary Venetian calf over wooden boards paneled and tooled in blind using a large floral arabesque roll and a smaller interior roll of cords framing a central Islamic-style motif of five knotted lozenges; spine with raised bands separating four compartments blind-tooled in a lattice pattern with pointelle decoration, later paper label; three of four clasps partially intact on front board (traces of four clasps, now lost, on rear board). Venice: Nicolas Jenson, 1475. Second Venetian Edition of Saint Augustine's City of God, a foundational text of European culture, and a typographical masterpiece from the press of Nicolas Jenson. This copy survives in a contemporary fifteenth-century Venetian binding with Islamic motifs incorporated into the tooled decoration. Augustine's De Civitate Dei appeared in print for the first time in 1467 at Subiaco, printed by Conradus Sweynheym and Arnoldus Pannartz. The first Venetian edition of the City of God was printed by Johannes and Vindelinus de Spira in 1470. This second Venetian edition is the only edition of Augustine issued by French printer Nicolas Jenson (1420-1480), the second printer in Venice, whose publications numbered over 100 works and equaled the best, and often surpassed, all Venetian fifteenth-century printed books in beauty and importance. Jenson's types, the often-magnificent impressions, and the mise-en-page of his books, are considered milestones in the history of printing; his very name is synonymous with excellence. Along with his Pliny of 1472 and his Plutarch's Lives of 1478, the City of God is one of Jenson's most beautiful works. The present text is buttressed by wide margins, and entirely rubricated by hand in red and blue. A seminal Christian text, Augustine's City of God had considerable influence not only on Medieval but also Renaissance thought. Augustine has been called "the first medieval man and the last classical man" (Thomas Cahill, How The Irish saved Civilization, chapter 2). Martin Luther, John Calvin, Thomas Aquinas, Emperor Charlemagne, Voltaire, Schopenhauer, Nietzsche, Heidegger, and many other theologians and philosophers were inspired by this work. Like the Bible, the City of God has been a major topic of debate for theologians, historians, politicians, and philosophers throughout the ages. The binding is a refined and elegant example of Italian craftsmanship ca. 1450-1480, incorporating Islamic elements derived from textiles, leathers, and possibly Islamic bindings by way of trade routes between Venice and the near East in the mid-fifteenth century. Scholar Anthony Hobson suggests that Jenson was the first to introduce the Islamic style of binding in Venice (Humanists and Bookbinders, p. 51). A beautiful example of a Jenson incunable in a contemporary Islamic-style Italian binding, this is an exceptional copy of an essential Christian text. Three text leaves trimmed short and with red edges, probably supplied from another copy; internal blank (f. 16) with very light offsetting, indicating it may have also been supplied. Leaves of one quire (i) bound out of order, and some staining, still a bibliophile's treasure. PROVENANCE: Giovanni Battista Contarini, with his donation inscription to a Venetian seminary dated 1 January 1583 on second leaf; Shakespeare collector Doctor John Gott, Bishop of Truro (1830-1906), with his ownership inscription dated 1865 at Rome on front pastedown; Henry H. Runnell, his ownership signature on last leaf; Abel E. Berland, his sale Christie's New York, October 2001. Early ink marginalia throughout, and eighteenth-century equations on rear pastedown. BMC V, 175 (imperfect). Goff A-1235. GW 2879. HC* 2051. IGI 972. ISTC ia01235000. Polain 360. Pellechet 1550 ([310] ff.). Proctor 4096.

Sachgebiete: Einbände, Inkunabeln, Islam

72000,- EUR



De seer wonderlijke, schoone, triumphelijke Incompst, van den hooghmogenden Prince Philips, Prince van Spaignen, Caroli des vijfden, Keysers sone [The Triumph of Antwerp]. By Cornelius Graphaeus (Scribonius). [56] ff. Illustrated with 31 woodcut illustrations by Pieter Coecke van Aelst comprising: 19 full-page including half-title and privilege borders, 3 double-page, and 4 in-text (2 double-page, including one folding), all in contemporary hand-colouring; and 4 full-page and one in-text black and white plans. 4to., 276 x 190 mm, bound in Dutch 18th-century speckled calf with gilt armorial device of Aaron Joseph de Pinto on both covers framed by gilt triple fillet and roll border, spine in seven compartments with raised bands, gilt extra, board edges gilt, marbled endpapers and blue edges. [Antwerp: Pieter Coecke van Aelst for Gillis van Diest, 1550.] Rare First Edition of this hand-coloured fête book celebrating the entrance of Philip II into Antwerp on September 10, 1549. The thirty one woodcuts were designed and published by Pieter Coecke van Aelst, court painter to Charles V. In all, 21 arcs de triomphe were financed and built by the city, with five erected by foreign merchants from Germany, Spain, England, Florence, and Geneva, plus elaborate tableaux vivants staged in open-air theaters decorated in tapestries, stucco, and trompe l'oeil. There were 895 carpenters, 234 painters, and 498 workers employed to create the grand passage, with the city of Antwerp alone spending 130,000 ecus on the magnificent project (Vinet). Hans Vredeman de Vries, Antonio Palermo, Jan Mandijn, Frans Floris, and Lambert van Noort were among the artists who contributed to "one of the most impressive festive celebrations ever held in the Low Countries" (Bussels, p. 10). The Flemish painter, architect, and designer of woodcuts, stained glass and tapestries, Pieter Coecke van Aelst (1502-1550) was recently the subject of an exhibition by the Metropolitan Museum of Art, which devoted several galleries to his designs for Renaissance tapestries that were commissioned by Charles V, François I, Henry VIII, and Cosimo de Medici. A native of Ghent, Coecke probably trained in Antwerp with his father-in-law Jans Mertens van Dornicke and Bernard van Orley (ca. 1492-1541/42) before establishing his own influential workshop there in the 1520s. Pieter Bruegel the Elder (ca. 1525-1569) was among his apprentices and he later married Coecke's daughter. In addition to being one of the most admired and influential artists of his time, Coecke was an accomplished architect and translator, publishing Vitruvius and Serlio in Flemish, which introduced Italian art theory into the Netherlands. His familiarity with the Italian architectural treatises is obvious in the illustrations of ground plans facing many of the coloured plates. Coecke's taste for architectural detail is on full display in these delicate woodcut illustrations of arches and theaters, Fontainebeau-like structures, in this copy embellished with subtle contemporary hand-colouring in red, blue, pink, green, stone gray, and orange. "Coecke's book is among the first to illustrate this hybrid Netherlandish approach to architecture" (Grand Design, p. 107), combining Florentine classicism, Renaissance strapwork, and Mannerism. His woodcut illustrations are mostly frontal views of the arches and theaters, with the exception of the Florentine arch. A cross-section reveals a line of Corinthian columns, each base with the Medici family crest of six palle, and a continuous iconographical program of sculptural friezes, with a Florentine fleur de lis flag crowning the front pediment. Charles V arranged his son Philip's visit to the Low Countries in order to seal renewed contracts between the Habsburgs and the Burgundian Netherlands -- and consequently each city greeted its future ruler with unparalleled extravagance. This text provides detailed descriptions of the celebrations in Antwerp: performances, decorations, even the weather (rainy). The author, Cornelius Graphaeus from Aalst (Cornelis de Schrijver, or Scribonius, 1482-1558), was secretary of Antwerp and a renowned Latin poet who maintained correspondence with Erasmus and Thomas More. He was jailed in 1522 for supporting Martin Luther, whose De captivitate Babylonica he placed in the hands of Albrecht Dürer in 1521, but later returned to public office in 1540. De Triumphe va[n] Antwerpen was also published in Latin and French in 1550 with the same illustrations. The various translations seem to have been simultaneously published and priority cannot be established, though it is notable that both the author and artist were Flemish, the language of this printing. However, Landwehr states that the Dutch was translated from the Latin text. OCLC finds only four copies of the Dutch version in the U.S. (University of Pennsylvania, Brown, National Gallery, Boston Athenaeum). Final leaf (O4) laid down. PROVENANCE: Aaron Joseph de Pinto (1710-1758), wealthy Amsterdam merchant of Jewish/Portuguese origin, de Pinto sale in 1785 at Jan Willem Smit; Museum Kunstniverheid, stamp to front fly-leaf. Adams S-763 (Scribonius). Vinet 557 (French). E.A.H. Cleland, ed., Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry (exhibition at the Metropolitan Museum of Art, October 8, 2014-January 11, 2015), no. 23 (French). Landwehr, Splendid Ceremonies 25. Berlin Katalog 2938. A. Corbet, Pieter Coecke van Aelst (1950). Stijn Bussels, The Antwerp Entry of Prince Philip in 1549: Spectacle, Rhetoric, and Power (2012). For Provenance see: J. Storm van Leeuwen, Dutch Decorated Bookbinding in the Eighteenth Century, 2006.

Sachgebiete: Festlichkeiten, Illustrierte Bücher

32000,- EUR



Die Saltzburgische Kirchen-Prospect. / Les Prospects des Eglises de Salsbourg... Illustrated with an etched title and 20 engraved plates. Augsburg: Johann Andreas Pfeffel, ca. 1730. Millard, Northern 19. BOUND WITH: _____________. [Schloss Mirabell, Salzberg]. Illustrated with etched and engraved dedication leaf and 5 engraved plates. Augsburg: Johann Andreas Pfeffel, ca. 1730. Millard, Northern 21. BOUND WITH: _____________. [Hoch-Furstl. Gebaudes und Garten zu Mirabell in Salzburg]. Illustrated with 9 engraved plates. Augsburg: Johann Andreas Pfeffel, ca. 1730. Millard, Northern 20. BOUND WITH: _____________. Vier Prospect des Schloss zu Salzburg. / Les Quatre Prospects du Chateau de Salsbourg. Illustrated with 4 etched and engraved plates. Augsburg: Johann Andreas Pfeffel, ca. 1730. Millard, Northern 22. BOUND WITH: _____________. Die Garten Prospect von Hellbrun. / Les Prospects du Jardin d'Hellbrun. Illustrated with 20 etched and engraved plates. Oblong folio, 332 x 465 mm, bound in contemporary mottled and tanned sheepskin, with the later blind-stamped monogram of William Sterling Maxwell on front and back cover, and title information stamped on lower edge of text block. Augsburg: Johann Andreas Pfeffel, ca. 1730. Millard, Northern 17. Five volumes on 18th-century Salzburg architecture and gardens, all in First Editions, with an important provenance. A total of 60 etched and engraved plates after designs by Franz Anton Danreiter. Includes two title-pages and 58 images of gardens, cathedrals and other structures, landscape design, and schematic plans for important castles and gardens in and around Salzburg. The first title has an engraved title-page and 20 plates depicting cathedrals and a hospital; the second with engraved dedication leaf and 5 plates of plans and buildings of Schloss Mirabell; the third, 9 plates of gardens and a garden plan of Mirabell; the fourth consists of 4 plates showing Schloss Salzburg; and the fifth with an allegorical engraved title and 19 images of gardens, fountains, and other structures at Hellbrun. Text at bottom of plates in German and French. Franz Anton Danreiter (d. 1760) was appointed by Leopold Prince of Salzburg as Inspector of Gardens (Oberaufseher aller Salzburgichen Hofgärten). Leopold was the owner of the estate at Hellbrun, and the present work provides some of the very few eighteenth-century visual records of the gardens. Danreiter was responsible for planting the famous garden of the Schloss Mirabell and later supervised the construction of the Sebastiankirche in Salzburg. The palace of Hellbrun, located three miles south of Salzburg, was built around 1615. It contains the famous mechanical theaters, as well as the acclaimed fountains. Danreiter's Garten Propect von Hellbrun contains an allegorical title-page, a plan of the estate showing the designs of the gardens, a view of the entrance of the Jardin de Plaisance, a view of the Batiment de Plaisance, two views of the gardens from the park, three views of the courtyards of the palace, views of the Grotto of Neptune and of Thetis, a view of the eerie sculptures in the woods entitled: Le Monstre de la Forêt, views of the fountains of Cleopatra, of Actaeon, and of Diane, views of the garden theaters of stones and of shells, a view of the garden pond, a view of the Édifice de Plaisance, and finally, a view of Belvedere, the Maison de Plaisance. The plates are in fine condition, in a beautiful binding. PROVENANCE: Sir William Sterling Maxwell, baronet, (1818-1878) with his large ex-libris on inside front cover and blind-stamped monogram on covers; Keir Art of Design, with ex-libris on inside back cover; Liberna "L" in circular blind-stamp at foot of first blank leaf. Sterling-Maxwell was one of the thirty-five original members of the Philobiblon Society and a member of the Athenaeum Club. Historian, scholar, bibliographer, collector, and a main figure in the literary circles of Victorian England. All of these works are quite scarce. OCLC gives one copy of the second, at University of Illinois. Not in Hunt, Plesch, Nissen or Pritzel. First and third not in Berlin Katalog, second 3335, fourth 2109, fifth 3334. Thieme-Becker VIII, 376.

Sachgebiete: Österreich, Gartenbau, Illustrierte Bücher

28500,- EUR


Jean-Pierre (Abel) Remusat

CHINESE GRAMMAR. Elemens de la grammaire chinoise, ou, Principes generaux du kou-wen ou style antique, et du kouan-hoa. By Jean-Pierre (Abel) Remusat. xxxii, 214, [2] pp. Illustrated with 2 folding plates and innumerable Chinese characters executed in woodcut throughout. 8vo., 230 x 155 mm, bound in contemporary calf with the front wrapper, printed on yellow paper, bound in. Paris: Imprimerie Royale, 1822. First Edition, a fine copy of this early Chinese grammar book which features both Literary Chinese and Mandarin. It was a major achievement of Chinese philology in the early nineteenth century, as well as being one of the earliest successful books with movable Chinese and Roman types. The folding lithograph plates were executed by Charles Philibert de Lasteyrie de Saillant. Rémusat (1788-1832), along with Julius Klaproth, is recognized as one of the founders of modern Oriental scholarship in the West. In 1811 he produced an Essai sur la langue de la literature chinoise, and a paper on foreign languages among the Chinese, which procured him the patronage of Silvestre de Sacy. In 1814 a chair of Chinese was founded at the College de France for Rémusat. From this time he gave himself wholly to the languages of the Far East, and published a series of classic works, among which his contributions from Chinese sources to the history of the Tatar nations claim special notice. Rémusat became an editor of the Journal de Savants in 1818, and founder and first secretary of the Paris Asiatic Society in 1822. Between 1821 and 1831, Rémusat's heated scholarly correspondance with Wilhelm von Humbolt on the Chinese language is well documented in Lettres édifiantes et curieuses sur la langue chinoise: Un débat philosophico-grammatical (1999). Lust 1027. Brunet IV, 1216. See Walravens, China Illustrata p. 269. Not in Cordier.

Sachgebiete: China

2850,- EUR



Emblematum Christianorum Centuria / Cent Emblemes Chrestiens. [8], 100, [8, incl. final blank] ff. Illustrated with an etched portrait of the author and 100 engraved plates by Pierre Woeiriot, printed on rectos. Small 4to., 192 x 147 mm, bound in nineteenth-century purple crushed morocco by Lortic, gilt-lettered spine, gilt board edges, turn-ins, and marbled edges. Tiguri [Zurich]: Christoph Froschauer, 1584. First Latin Edition, Only Emblem Book written by a Woman, the First Emblem Book with Engraved Picturae (instead of woodcuts), and one of the First Protestant Emblem Books. The first edition of 1567 survives in only one copy in the Royal Library in Copenhagen! The latest research by Adams, Rawles and Saunders indicates that de Montenay's Emblemes "was withdrawn from circulation…but this remarkable publishing history does not stop there; in 1620, the first edition (from Lyons) is reissued in La Rochelle: we have to envisage printed sheets being preserved for over 50 years from 1567, and ultimately making their way across France to La Rochelle" (A Bibliography of French Emblem Books, p. 177). The coppperplate engravings by Pierre Woeiriot (1532-1599), French engraver, goldsmith, painter, sculptor and medallist, are all signed with the artist's mark of the Lorraine cross. Woeriot's engraved designs are highly imaginative, delicate and artistic renderings. They are set within in-depth backgrounds of lush landscapes and/or architectural settings of castles, churches, private and public houses, street scenes, and atmospheric cottages in local villages. "The first book of Christian emblems printed in French" and the only emblem book written in any language by a woman (Larsen & Winn, Writings by Pre-Revolutionary French Women, p 125). De Montenay's dedication beginning on a2 is to Jeanne d'Albret, Queen of Navarre, a well-known supporter of Calvinistic ideas, thus offering a clear signal of the author's Calvinist sympathies. The first emblem in the series depicts Jeanne d'Albret laying the foundations of the Protestant faith with bricks (or is it books?). Georgette de Montenay (1540-1581), one of an exceptionally small number of sixteenth-century women poets, was part of the entourage of the daughter of fellow poet Marguerite de Navarre. In the dedication, De Montenay claims to be the first to write religious emblems: "Alciat feit des Emblémes exquis//Lesquels voyant de plusieurs requis//Desir me prit de commencer les miens//Lesquels ie croy estre premier Chrestiens." Woeriot's etched portrait of Montenay is dated 1567. The same engraved plates, including the portrait, were used in Lyon in 1571, then for the present edition published in Zurich 1584, the Heidelberg 1602 (a reissue of this edition), and Frankfurt 1619 with a Latin text. There was also a 1620 reissue in La Rochelle of the 1567/1571 edition. All are very rare. PROVENANCE: S.A.Yates Thompson with his 1894 bookplate on front pastedown (his sale, Christie's, 16 July 2014, lot 137). Adams, Rawles & Saunders, French Emblem Books, F 437. Mortimer, French 380 (1571 edition). Baudrier X, 381. Fairfax Murray French 387. Landwehr, Romantic Emblem Books 533. Landwehr, German 443. Brunet III, 1853. Adams M1715. Praz 431. Vinet 849. See also: Facsimile reprint of Montenay, Georgette de, Emblemes ou devises chrestiennes (1571), ed. Christopher N. Smith (Menston: Scolar Press, 1973); Adams, Alison, 'Les emblemes ou devises chrestiennes de Georgette de Montenay: édition de 1567', BHR 62 (2000), 637-639 and Webs of Allusion: French Protestant Emblem Books of the Sixteenth Century (Geneva: Droz, 2003); Reynolds-Cornell, Regine, Witnessing an Era: Georgette de Montenay and the Emblemes ou Devises Chrestiennes (Birmingham, AL: Summa Publications, 1987).

Sachgebiete: Emblemata, Illustrierte Bücher

18500,- EUR



Fabbriche e Disegni di Giacomo Quarenghi Architetto di S. M. L'Imperatore di Russia, Cavaliere di Malta e di S. Waldimiro, Illustrate Dal Cav. Giulio suo Figlio. [5], 6-46, [2] pp. Illustrated with an engraved frontispiece portrait of Quarenghi, and 59 full-page engraved plates. Folio, 480 x 330 mm, bound in contemporary Italian light blue paste-paper boards. Milan: Presso Paolo Antonio Tosi, 1821. First Edition. The Italian architect and painter Giacomo Quarenghi (1744-1817) spent his entire architectural career in Russia. "During his thirty-eight-year practice he made significant contributions to the architectural identity of St. Petersburg, the last of the great European capitals to be founded (in 1703 by Peter the Great), and to neoclassical taste. Like Bartolomeo Rastrelli, his distinguished Italian predecessor in establishing the grandeur of St. Petersburg, Quarenghi also designed projects for buildings in Moscow... During his long and busy Russian career, Quarenghi designed numerous public and private buildings, churches, palaces, country houses, military installations, and triumphal arches" (Millard). Five years after his arrival in St. Petersburg, Catherine II claimed (to Melchior Grimm) that the city was filled with Quarenghi's charming buildings. His first major work was the Hermitage Theater (1783-1787, now destroyed), followed by the State Bank (1783-1799), the State Duma (1790s), and the first shopping arcade (1797-1798). He was also commissioned to design small buildings such as bath houses, coffee houses, and garden pavilions. Fabriche e Disegni was published seven years after Quarenghi's death. Literary descriptions of buildings designed by Quarenghi accompany the full-page engraved plates in the book. In each description, Quarenghi identifies the original commissioner, and the current occupant. Most of the engravings were executed after Quarenghi's designs by I.I. Kolpakov (1771-1840), one of the best Russian engravers active at that time, and several of Quarenghi's favorite buildings were engraved by himself. A fine, unsophisticated copy. PROVENANCE: Antonio Vassallo, with his ex-libris stamp on front paste-down, along with his signature. Berlin Katalog 2776. Millard, Italian and Spanish 108. RIBA 2677.

Sachgebiete: Architektur, Illustrierte Bücher, Russland

8000,- EUR


LOUIS XV, King of France

Fêtes Publiques Donnees par la Ville de Paris, à l'occasion du Mariage de Monseigneur le Dauphin, les 23 et 26 Fevrier M.DCC.XLV. Engraved throughout. With title-page, allegorical frontispiece, [18] pp. of calligraphic text within ornamental borders, and 19 plates, of which 10 are double-page. Folio, 620 x 470 mm, bound by Padeloup (signed with his ticket at foot of title-page): in contemporary full red morocco, outer border of fleurs-de-lis, spine gilt with the royal monogram in spine compartments, marbled endpapers, a.e.g. [Paris], 1745. First and Only Edition. "Très beau livre de fêtes" (Cohen-De Ricci), and a politically important Official French work of art issued during the reign of Louis XV, being the record of the royal wedding of Louis, Dauphin de France (aged 16) to Marie-Thérèse de Bourbon (of Spain, aged 19). The marriage took place on February 23, 1745, in Versailles with all the expected ostentation. There were major celebrations in Paris as well; and the present volume illustrates the problems - and ingenious solutions - in accommodating the greatest number of "celebrants." Magnificent "Pleasure Halls" were erected throughout Paris wherein the French court and populace danced, dined and drank till the wee hours of the night on the royal wedding day. These Halls left the outer walls exposed, and thus the festivities literally spilled out into the streets, as shown by the scenes of revelry depicted herein. The monarchy held their private ceremonies at Versailles, which are also illustrated with great fidelity in the present volume. The plates offer a wealth of details of every aspect of the festivities, with cross sections, ground plans and elevations; two plates supply illustrations of the great banquet tables adorned with elaborate centerpieces, silverware and ornamental candlesticks. Unfortunately, the marriage was short-lived, as the young bride, Marie-Thérèse, died shortly thereafter. To insure the succession of the throne, a second marriage was arranged; the Dauphin and Marie-Josephe of Saxony were married in 1747. To them were born eight children of which 3 ruled as Kings of France: the future Louis XVI, Louis XVIII, and Charles X. The Dauphin himself never ascended the throne, and died before his father (Louis XV) in 1765. The identity of the artists of the unsigned plates has been the subject of some confusion: Cohen-De Ricci grant authorship of the large plates to C. N. Cochin the elder, engraved by Cochin and his son (although one plate was certainly engraved by Oubvrier, and was so signed). However, this copy offers an important piece of evidence as to source of the illustrations: at the foot of the title-page is a MS label inscribed: "Dessiné et gravé par les soins de François Blondel, Architect du Roy." Two other copies (including the Furstenberg-Schäfer copy) bear a similar MS label, thus clearly assigning authorship to Blondel (or his workshop). Certainly the title-page was designed by Eisen (engraved by De Lafosse; the verso of title-page gives a rare instance of a woman's participation: "Marie F. Verard femme Lattré scrip."). The first plate, which includes a portrait of the Dauphin, is drawn by Charles Hutin and engraved by Le Bas. Hutin is recognized as one of the great master painters and decorators of the eighteenth century; and Portalis and Béraldi claim "ce n'est pas une exagération de dire que Le Bas est l'incarnation la plus complète de la gravure du XVIIIe siècle." In this copy, the lettering of the plate "Vue perspective de la salle du bal ... de l'Hotel de ville" is within a frame of double rules & has a background of wavy vertical lines; other copies exist with the said lettering without a frame and the background is plain (priority indeterminate). A splendid copy in a deluxe binding by the royal binder, Padeloup (signed with his ticket). Cohen-De Ricci, col. 392. Brunet II, col. 1239. Graesse, v. 2, p. 574. Vinet 522.

Sachgebiete: Architektur, Einbände, Festlichkeiten, Illustrierte Bücher

29000,- EUR


Bonaventura ANGELI

La Historia della Citta di Parma, et la Descrittione del fiume Parma...divisa in otto libri. [16], 783 (i.e., 795), [1]; [160] pp. Illustrated with large woodcut historiated initials at the beginning of each chapter, ornamental head- and tailpieces, plus the printer's woodcut device on title-page and colophon (f. Ddd4v). 4to., 203 x 147 mm, bound by Le Gascon in contemporary French blonde calf, double-ruled in gilt, framing a central armorial device with the monogram of Antoine de Sève at corners of inner panel on each board and in spine compartments (interlacing A.D.S.E.V.; Olivier 683, fer 2 and 3); spine with raised bands and title gilt in second compartment of six, the remaining five with same monogram; endpapers and fly-leaves ruled in red, contemporary document in secretary hand used as binder's waste visible (illegible) beneath endpapers; edges speckled red. In Parma: Appresso Erasmo Viotto, 1591. A history of the city and river of Parma, including regions in the surrounding Emilia Romagna. Angeli's history contains a plethora of detailed information on the buildings, sites, the Bapistry, the Ducal palace of Ottavio Farnese by Vignola, and accounts of the ruling noble families San Vitali, Pallavicino, Rossa, Torella, and Terza. Angeli dedicated his book to the Prince of Parma, Don Ranuccio Farnese. Bonaventura Angeli (ca. 1525-1592) Italian writer from Ferrara, along with his friend Gianbattista Pigna, formed an academy for the cultivation of literature called the Parthian Academy. For some time he was in the employ of the Dukes of Ferrara. His Historia della Citta di Parma is the most important of many works written by Angeli. At the time little was recorded of the city of Parma, of the history of the Parma river, or of the surrounding Emilia-Romagna region. Angeli consulted whatever archives he could locate in Parma and composed the book in eight chapters with several digressions on a general history of Italy. He supplied an exhaustive index of 160 pages at the end, printed in double columns. This volume was in the library of Philippe Desportes (1546-1606), the French courtier poet who was famous for composing villanelles, elegies and sonnets, many copied by English Elizabethan poets. Desportes was one of the major poets competing with Pierre de Ronsard for the favor of the Duke of Anjou. He worked under the patronage of King Henry III, for whom Desportes wrote poems upon royal request. He was granted the abbey of Tiron as a royal benefice for literary services rendered. The other early owner of this volume was Antoine de Sève (d. 1662), a counselor and chaplain to Louis XIV, prior at Champdieu, and Abbey of l'Isle-en-Barrois. His books, forming an important library of more than six thousand volumes on the sciences, were mainly bound by Antoine Ruette and Le Gascon. One of the tools found in this binding was used by de Sève only during his time at Champdieu. Binding extremities repaired. Trimmed close at upper margin near but not touching headline, two pages with small repair obscuring a few words of text, minor browning or foxing in a few quires, a beautiful book overall in an absolutely sumptuous binding. PROVENANCE: Philippe Desportes, with his ink inscription on title-page; Antoine de Sève, with his coat-of-arms and monogram on binding, from his famous library, see above. Adams 1095 (different collation). Brunet I, 287. Affo, Memorie degli Scrittori e Letterati Parmigiani IV, 209-240. Barotti, Memorie Istoriche di Letterati Ferraresi II, 187-194. CNCE 1768 (the pagination matches ours however the publication year given is "1590 (1589)").

Sachgebiete: Einbände, Italien, Reisen/Reiseliteratur

12500,- EUR


Amable Louis Marie Michel Brèchillet JOURDAIN

La Perse ou tableau de l'histoire, du government, de la religion, de la literature, etc., de cet empire; des moeurs et coustumes de ses habitans. 5 volumes. [4], xxi, 218; [4], 268; [4], 226; [4] 288; [4] 327, pp. Illustrated with 5 hand-colured engraved frontispieces, 7 hand-coloured engraved fold-out plates, 25 hand-coloured full-page plates and 2 black-and-white engraved full-page plates. 12mo., 130 x 80 mm, bound in contemporary full speckled tan calf, spine and boards gilt, green morocco spine label, rebacked with original spine laid down, a.e.g., some quires unopened and original silk bookmarks. Paris: Ferra et Imbert, 1814. First edition. An illustrated portrait of Persia; its cultural, political, and religious history by the Orientalist Amable Louis Marie Michel Brèchillet Jourdain (1788-1818). "Jourdain was born at Paris in 1788, became a distinguished Orientalist, and studied under Silvestre de Sacy and Langlès. His principal work is entitled, La Perse, ou Tableau de l'Histoire, du Gouvernement, de la Religion, de la Literature, &c. de cet Empire, 1814, 5 vols, 18mo. He was one of the contributors to the Biographie Universelle; the Annales des Voyages; the Mines de l'Orient; and he supplied Michaud with valuable materials for his History of the Crusades, collected from Arabic writers. He also obtained a prize from the Academy of Belles-Letters for a dissertation of those works of Aristotle, and other Greek philosophers, for the preservation of which we are indebted to the Arabians." - Rose, New General Biographical Dictionary, vol. 9, pp. 49. The finely coloured plates depict costumes, trades, ceremonies, sporting, landscapes, ruins and much more. The work is much in the style of the Nepveu publications of around the same time. A handsome set. PROVENANCE: From the library of George R., with his bookplate on the front pastedown. Hiler, pp. 486.

Sachgebiete: Illustrierte Bücher, Reisen/Reiseliteratur

6200,- EUR



Lucidum prospectivae speculum: das ist ein heller Spiegel der Perspective. in welchem so wohl der Grund dieser Kunst als auch die in Praxi täglich vorfallende mannigfältige Application derselben durch viele behörige Exempel klar gezeiget wird ; wozu noch beygefügt sind achtzehen Plafonds oder Decken-Stücke von diversen Sorten ; den Liebhabern und Anfängern dieser schönen Science zum Besten aufgestellt ; mit 96 Kupfer-Taffeln. [4], 32 pp. Illustrated with engraved frontispiece by Nessenthaler after Heineken and 105 copper-engraved figures on 95 plates, 21 of which are folding. Folio, 390 x 230 mm, bound in full contemporary armorial polished calf. Augsburg: Johann Jacob Lotters, 1753. A splendid example of German Baroque book-making. First published in Augsburg in 1727, the present copy is most likely a re-issue with the frontispiece engraved by Nessenthaler still bearing the indication heirs of J. Wolff (publisher of the first edition). Heineken (1680-1746), a painter from the city of Lubeck, provides highly accomplished illustrations of column orders, confessionals, capitals, altars, pulpits, tombs, stairwells, polyhedra as well as illusionistic ceiling renderings that rival those of Andrea Pozzo in his great work Perspectiva pictorum, et architectorum. A fine, handsome copy with an important provenance. In the US, OCLC lists only the Harvard copy of this edition and 4 copies of the first edition. PROVENANCE: Count Brühl with his coat of arms on both covers. Brühl (1700-1763), favorite of the August III, King of Poland and elector of Saxony, lived and extravagant lifestyle and had a large important library in the city of Dresden. Thomas Vroom with his bookplate on the front paste-down. Berlin Kat, 4730.

Sachgebiete: Architektur, Einbände, Illustrierte Bücher, Perspektive

6200,- EUR


Friedrich Christian WEBER

Nouveaux Memoires sur l'Etat Present de la Grand Russie ou Moscovie. Two volumes. With 2 large folding maps, one of the Russian empire and a plan of the town of Saint Petersburg. xxiv, 438; [6], 426, [4] pp. misnumbering throughout. 12mo., 162 x 90 mm, bound in full French contemporary speckled calf, five raised bands, gilt-tooled compartments, edges stained red. Paris: Chez Pissot, 1725. First Edition in French. The work first appeared in a German edition in Frankfurt 1721. Friedrich Christian Weber was an ambassador from the Hanovarian court of Brunswick-Lunebourg at Moscow representing English interests at the time of Czar Peter the Great. Weber was not credited with being a brilliant diplomat during his sojourn in Russia from 1714 to 1720, however, his Memoires are considered to be one of the most important accounts of the period in Russia during the reign of Peter the Great. "While there [Weber] observed city development, improvements in industry, cultural identification, and the spread of Russian hegemony in Northwestern Europe... [in this publication] Weber details the Russian improvements in politics, economics, and social aspects of the Baltic region with admiration. In doing so, he provides evidence that the region was still profitable to Britain, even when under Russian rule… Weber first arrived in Riga in 1714 finding it a desolate center of trade; tired and distraught from plague, famine, and war while in the hands of a new ruler…. Weber saw that the power of Russia had yet to culturally affect the indigenous people of the region. The aspects of life in Russia's Baltic region that Weber commented on were religion, alcohol, language, innovations, and assimilation. Religion was emphasized in Riga in 1714 as a practice that people would be free to commence with as they had been doing so in the past. But at the same time, it was Peter I's goal to spread Christianity through his dominions. During Weber's travels he saw the conversion as a slow process….One of the most present aspects of the Czar's diplomacy was in mimicking the French and the British. He introduced entertainment, dress, and health practices that followed after the places he admired most for their success. The Russian high culture was fond of parties where dancing, card playing, smoking, drinking, and entertainment were present. However, unlike the parties of the French, Peter I regulated the gatherings in print by restricting how to conduct one self as a host, invitee, and how the party should be organized in order to ensure the barbarities of the Russians did not come out" (Jennifer Donogh, British Interest in the New Russia (1714-1720). In the second volume a large section (pp 89- 144) contains the Journal de Voyage de Laurent Lange à la Chine." Lange was originally in China with the Ismailov embassy. His problem was to get himself accepted, to cope with official worries about the frontiers, Manchu xenophobia, imperial megalomania, court intrigues. He blundered by making contact with Koreans, thus rousing suspicions about Russian designs, and about their export of articles for use, as against mere chinoiserie (which would conflict with court tribute supplies)." See: Lust. A fine set. PROVENANCE: Sieur de Sailly, or C. de Sailly, perhaps the family of Charles de Sailly, the famous Huguenot who tried to resettle large numbers of Huguenot-Walloon refugees in Ireland and then in Virginia, with his signature on title of each volume. Quérard X, 494. Cordier, Sinica 2471. See: Cox I, 193.

Sachgebiete: Russland, Reisen/Reiseliteratur

4000,- EUR



Officia. By Marcus Tullius Cicero. [8], XCI ff. Collation: [*]8 A-O6 P8 (lacking blank leaf P8). Illustrated with a large woodcut on title of Caesar enthroned and surrounded by eight counsellors, with Cicero shown writing in the background (repeated on G2 verso), large woodcut portrait of Johann von Freiherr Schwarzenberg by Hans Weiditz after Albrecht Dürer on verso of title, the head within a circle surrounded by sixteen coats-of-arms, and 101 woodcut illustrations in the text by Hans Weiditz and Hans Burgkmair. Decorative woodcut tailpieces, decorative and historiated woodcut initials. Folio, 298 x 200 mm, bound in contemporary German blind-tooled calf, upper cover bearing armorial device of the Benedictine Abbey of Lambach (Upper Austria), two catches on upper cover, one clasp lacking. Augsburg: Heinrich Steiner, 1537. A German Renaissance woodcut book of supreme elegance. Third edition of the first German translation of De officiis (first published by Heinrich Steiner 16 February 1531), containing 103 woodcuts, including one of the earliest illustrations of a Conjurer. The German Cicero is considered one of the masterpieces of sixteenth-century woodcut art. According to Dodgson, there are "one hundred cuts by Hans Weiditz, in addition to borders and initials. Thirty-three of these belong to [Steiner's] Petrarch set, while the remaining sixty-seven (from sixty-four blocks, three of which are used twice) were designed for the Cicero. One cut (fol. LXXIX) is by Hans Burgkmair; two (50, 71 v.) are anonymous" (Dodgson II, p. 143). Of remarkable interest is the profusion of woodcuts depicting daily life in early sixteenth-century Germany. The subjects include a conjurer performing sleight-of-hand tricks at a table; a calculating board; breaking on the wheel; an astrolabe and hornbooks; a dancing bear; a pendulum clock; a painting studio; beehives; a hand press; a child's walker, or perambulator; phlebotomy; a surgical amputation; a spider's web; card playing; a pilgrim; a notary's office; draper's and armourer's shops; 'Poverty,' 'Disease,' 'Sensuality' and 'Death' dragging a knight down from a ladder reaching to heaven, etc. There is much in these extraordinary woodcuts that offer particular interest for Renaissance historians; the myriad details of contemporary life, costume and interior architectural settings are often exceptional. Sympathetically rebacked; unobtrusive marginal wormholes. Overall, an excellent copy. Of this edition only two copies are recorded in institutional collections worldwide: Wellcome Institute (London) and Nieder-sachsische Staats- und Univ. Bibliothek. PROVENANCE: Benedictine Abbey of Lambach (Upper Austria) with ex-libris stamps and armorial device on upper cover. Fairfax Murray German, 118 (the 1531 edition). STC German, p. 209. Worstbrock 141. Dodgson II, 143 (12). Graesse II, 180. Cf. Rosenwald 659.

Sachgebiete: Alte Drucke 16. Jahrhundert , Altphilologie, Illustrierte Bücher, Altmeistergraphik

15000,- EUR



Die Träumenden Knaben. 10 ff. Illustrated with 10 lithographs (8 in colour and 2 in black & white), by Oscar Kokoschka. 4to., 240 x 275 mm, bound in original publisher's tan cloth with lithographic label, in a protective cloth box. Vienna: Wiener Werkstätte, 1908. Earliest Issue of this remarkable illustrated book in its original Wiener Werkstätte binding. This was the first graphic work by the painter Oskar Kokoschka. Found here in a brilliant copy, Die Träumenden Knaben represents a major document of modern art, in part because Kokoschka's colour lithographs foreshadow the expressionist movement. From 1903 to 1909 Kokoschka studied at the Kunstgewerbeschule in Vienna; one of his professors being Gustav Klimt. Klimt commissioned this livre de peintre for the Kunstschau which exhibited some of the earliest art works of Viennese Art Nouveau, or Jugendstil. Kokoschka dedicated the book to Klimt. "In works like his illustrated fable Die Träumenden Knaben ("The Dreaming Youths"), Kokoschka's stream-of-consciousness nursery-rhyme narrative style, and his quirky magic-garden vision -- in which schematic figuration and bluntly stylized organic form floated in uncertain fields of space -- seemed in direct communication with the uncorrupted resources of a child's imagination" (Varnedoe, Vienna 1900 p. 94). The strong colours of his lithographs provide an exotic landscape to support Kokoschka's text. "This book, and Slevogt's Sinbad, Berlin, 1908, are the first important modern livres de peintres from east of the Rhine" (Garvey). At the time Kokoschka published this book, he was an unknown, twenty-one year old prodigy; sadly, only a few copies were sold, and the remainder of the edition was only issued ten years later in a new binding by the German publisher Kurt Wolff. This is a fine copy, with wear to the fragile fabric of the binding, which seems always to be the case.. The Artist and the Book 147. A Century of Artists Books p. 107. From Manet to Hockney 24. Johnson, Artists' Books in the Modern Era 1870-2000, No. 24 . Andel, Avant Garde Page Design 41

Sachgebiete: Kinderbücher, Illustrierte Bücher

41000,- EUR



Stirpium historiae pemptades sex sive Libri XXX. [xvi], 872, [66] pp. Illustrated with an engraved allegorical title (included in pagination), ca. 1330 botanical woodcuts after Pieter van der Borcht. Folio, 348 x 214 mm, bound in contemporary Dutch dark brown calf, sides paneled with double gilt fillet, spine compartments similarly paneled and with gilt lozenge ornament, author's name gilt-lettered in second compartment. Antwerp: Plantin-Moretus, 1616. Definitive Edition of Dodoens' most important work, containing Dodoens' corrections and additions plus 32 van der Borcht woodcuts not in the first edition of 1583. Bringing together material from several of his earlier works, including the popular Cruydeboeck (1554), the present work was Dodoens' most comprehensive botanical treatise. Considered the first great Flemish botanist, Dodoens (1518-1585) modeled his work after Fuchs, but possessed a superior grasp of plant structure. The woodcuts of this edition comprise the full suite of botanical illustrations commissioned by Christopher Plantin from the prolific and gifted Flemish artist Pieter van der Borcht (1545-1608) a pupil of Pieter Brueghel the Elder. Van der Borcht had fled his native Mecheln after its destruction by the troops of the Duke of Alba in 1572, taking refuge in Antwerp. A series of albums containing van der Borcht's exceptionally-detailed watercolours survives in the Staatsbibliothek Berlin. Plantin issued the woodcuts in a somewhat simplified manner, focusing on the essential parts of the plant; they are nonetheless of very high quality; Nissen (p. 63) comments that while the scientific accuracy of the cuts is not surprising given the learned editors who supervised their production, the woodcuts, which exhibit some unmistakably Baroque stylistic elements, are also artistically excellent, and in certain aspects, superior to those of Fuchs. The engraved title is a reworking of the plate used for the 1601 edition of Clusius' Rariorum plantarum historia; it shows the musing figures of Adam, Solomon, Theophrastus and Dioscorides resting on a flower-bedecked architectural structure. A few sheets slightly browned, but a fine, tall and wide-margined copy of this important botanical work, in its original Dutch binding. Hunt 201. Nissen, BBI 517. Stafleu & Cowan 1489. Voet, The Plantin Press 1101.

Sachgebiete: Kräuterbücher, Illustrierte Bücher, Naturwissenschaften

5700,- EUR

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