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Les dix premiers livres de l'Illiade d'Homere

Les dix premiers livres de l’Illiade d’Homere, prince des poètes : traduit en vers françois par M. Hugues Salel.

HOMER - HOMERUS Paris: J. Loys for V. Sertenas, 1545. Folio (280 x 180 mm). Eighteenth century calf binding, gilt three-line borders, spine richly gilt with seven raised bands. Title page restored: upper part (3 cm) with first line of title reinstated. Havard/Mortimer French, 293; Fairfax Murray French, 250 ("one of the handsomest books printed at Paris"); Brunet III, 290. FIRST EDITION of Salel’s translation, roman type, small italic side-notes, translator’s note in verse to the reader and errata on G4r, colophon on verso with Loys’s large woodcut device, title woodcut of Homer as the Fountain of Poetry (143 x 100 mm.), ten woodcuts at the head of each book, the first the same size as the title cut, the remainder smaller (approx. 86 mm. square) and set within the same four-piece ornamental arabesque border, the upper border containing the French royal arms, the lower a small coat-of-arms (possibly Salel’s), fine 8-line criblé initials. The Lyonese poet Hugues Salel died in 1553 before finishing his translation of the Iliad, the second in French (preceded by J. Samxon’s translation, printed by Jean Petit in 1530); it was completed by Amadis Jamyn and published in its entirety in 1580. The woodcuts, which harmonize perfectly with their borders and with the open leaded roman text, are clearly influenced by Geoffrey Tory with their lack of shading and outline depiction of the figures, and may be the work of the "Maître à l’F gothique" (Brun’s appellation), Mortimer’s "F" artist (sometimes identified as the Lyonese printer François Fradin), whose woodcuts illustrate several of Denys Janot’s imprints. "The italianate style introduced into the French book by Tory, and continued in volumes from the press of Denys Janot, reaches its height in these illustrations" (Mortimer). On the title is a beautiful cut representing Homer as the Fountain of Poetry. There are 10 other cuts in similar style, one to each book and with ornamental borders containing arms of France above and a small coat below, probably Salel’s. Each of these cuts, with the accompagnying handsome initial, occupies most of an entire page. Rare.
Les quatre livres d'Albert Dürer [Bound with:] Les Douze livres de Robert Valturin.

Les quatre livres d’Albert Dürer [Bound with:] Les Douze livres de Robert Valturin.

Dürer A. DÜRER A. Les quatre livres d’Albert Dürer, Peinctre & Geometrien Tres excellent, De la Proportion des parties & pourtraicts des corps humains. Traduicts par Loys Meigret Lionnois, de langue Latine en Françoise. Paris, Charles Périer, 1557. 2p, 124pp. 145 woodcuts after Dürer. [Bound with:] VALTURIO ROBERTO, Les Douze livres de Robert Valturin touchant la discipline militaire, translatez de langue latine en francoys par Loys Meigret Lyonnois. Paris, Charles Périer, 1555. 6p, 234pp. Set of 96 woodcuts including 22 full page. In-folio (340 x 206mm). Original white calf, gilt double fillets and gilt central medallion on sides, spine repaired. [Dürer:] Brunet, II.914; Mortimer French, 186; Fairfax Murray French, 137; Not in Rothschild. First edition of the French translation by Louis Meigret, based on the Latin edition by Joachim Camerarius. (originally published in German, Vier Bücher von Menschlicher Proportion, 1528.) The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both Vitruvius and empirical observations of, "two to three hundred living persons," in his own words. The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learned from Francesco di Giorgio’s De harmonica mundi totius of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors; here Dürer also deals with human physiognomy. The fourth book is devoted to the theory of movement. This book was not only a hallmark in the art world, it also laid the basic foundations of descriptive geometry. "Dürer’s final masterpiece was his Treatise on proportion which was at the proof stage at the time of his death (1528). Descriptive geometry originated with Dürer in this work although it was only put on a sound mathematical basis in later work of Monge. One of the methods of overcoming the problems of projection, and describing the movement of bodies in space, is descriptive geometry. Dürer’s remarkable achievement was through applying mathematics to art, he developed such fundamentally new and important ideas within mathematics itself." (J.J. O’Conner) [Valturio:] Cockle, 50; Fairfax Murray French, 561 The 96 woodcuts are copied from the 2nd edition (1583 – first edition Verona, 1472), " . said to be from da Vinci’s drawings. They represent the machines of war used by the ancients, with medieval modifications, and are remarkably quaint and instructive. As Promis remarks, the work is, for those times, a prodigy of erudition, and was deservedly held in high estimation. The materials are derived from the ancient military writers, with whose works Valtur was well acquainted." (Cockle)
De Zee-Atlas Ofte Water-Wereld

De Zee-Atlas Ofte Water-Wereld, Waer in vertoont werden alle de Zee-Kusten Van het bekende des Aer-Bodems Seer dienstigh voor alle Heeren en Kooplieden, Als oock voor alle Schippers en Stuurlieden. Amsterdam: Pieter Goos, 1672.

Goos Pieter Folio (51 x 32 cm), Old calf covers, rebacked and re-edged with brown leather. Engraved title + 41 double-page engraved charts on thick paper + 16 pages of text, all handcoloured in outline by a contemporary hand. Internally a very fine copy. CONTEMPORARY HAND-COLOURED COPY OF THE ZEEATLAS, WITH 41 MAPS, INCLUDING THE WORLD MAP AND THE 11 CHARTS OF THE AMERICAS. These include California as an island (‘Paskaerte van Nova Granada en t’Eylandt California’; map 40), and the rare and very desirable Hudson River map (‘Paskaert van de Zuydt en Noordt Revier’; map 34). This latter is omitted from later issues with 40 maps only. The text includes a short history of the origin and growth of navigation. Koeman IV Goos 10, Goos was "one of the best known maritime booksellers of Amsterdam" (Koeman), and responsible for publishing a number of different sea-atlases or pilots. His background was more as an engraver – his father Abraham was also a skilled engraver. Unlike Doncker and his other contemporaries, Pieter Goos’s intention was less to produce a functional sea-atlas but more a visually appealing volume to be consulted in a library environment – hence the emphasis on the title-page on the utility of the atlas to "Heeren en Kooplieden" (gentlemen and merchants) in advance of "Schippers en Stuurlieden" (pilots and seamen). The standard form of the index calls for forty charts, but the Zee-Atlas was also available with forty-one charts, and indivudual examples of the various editions can be found with an additional chart, as here, which is the most desirable of the charts in the atlas. This additional chart, the "Paskaerte van de Zuydt en Noordt Revier in Nieu Nederlant", is the first printed Dutch sea-chart to focus on the Dutch possessions in New York, showing the Dutch colony of New Amsterdam with the settlements on Manhattan, Staten Island and Long Island, south to Delaware Bay and including the lower course of the Delaware River. Another important and famous chart in the volume is the "Paskaert van Nova Grenada, en t’Eylandt California", one of the two earliest Dutch printed charts to focus on the "island" of Califormia. "Pieter Goos’ marine atlases were held to be among the finest printed at the time ." (Shirley)
Historia naturalis

Historia naturalis

Plinius Secundus An early incunabula edition of the first encyclopedia of the whole nature, printed in Parma. Royal folio (382 x 253 mm). Finely printed in Roman Type. 356 leaves (of 358, lacks first and last blanks). 50 lines to a full page, with wide margins. Contemporary penwork initials by a Dutch artist, including 37 12-line initials opening each book, of red, blue, and green with red or purple penwork infill and marginal extensions, some with grotesque or reversed ornaments, 2-line Lombard initials in alternating red and blue, red paragraph marks and capital strokes, catchword on each leaf. 18th century full calf gilt, gilt coat-of-arms on sides, spine gilt in 7 compartments, gilt-lettered morocco spine label. A very fine example, in unusually good state, of a rare incunable. Fifth Edition (first edition: Venice, 1469), reprinted from the edition of Jenson, Venice, 1472. This is not only one of the earliest books printed at the second press at Parma, but also one of the most splendid monuments of early Italian typography. There were only fourteen books issued from the press of Stephanus Corallus, of Lyon, who worked at Parma about six years. The book is of interest to the student of the history of medicine. It is also, in a certain way, of interest to the collector of Americana, as Columbus in his journals, letters and writings, not only shows a great familiarity with Pliny, but he also annotated an edition of the same, which is still in existence. On the whole, the work is an inexhaustible storehouse of information. The Historia Naturalis ("Natural History") is Pliny’s only extant work. It is one of the largest single works to have survived from the Roman Empire to the modern day. As he says in the preface, no Greek by himself had compiled an encyclopedia of the whole of nature, and no Roman had done so by himself or with others. By his own account, the 37 books contained 20,000 facts compiled over 100 sources. The Historia Naturalis became a model for later encyclopedias and scholarly works as a result of its breadth of subject matter, its referencing of original authors, and its index. The work is dedicated to the emperor Titus, son of Pliny’s close friend, the emperor Vespasian, in the first year of Titus’s reign. It is the only work by Pliny to have survived and the last that he published, lacking a final revision at the time of his death during the AD 79 eruption of Vesuvius. Provenance: Viscount Bernard Léonard du Bus de Gisignies (1808-1874), Belgian politician, ornithologist and paleontologist (coat-of-arms with motto "Finis laborum palma" on sides; his sale Brussels, Olivier, 28 March 1876). Goff P-790.
Spelen van sinne vol scoone moralisacien vvt leggingen ende bediedenissen op alle loeflijcke consten vvaer inne men claerlijck ghelijck in eenen spieghel/ Figuerlijck/ Poetelijck ende Retorijckelijck mach aenschouwen hoe nootsakelijck ende dienstelijck die selue consten allen menschen zijn.

Spelen van sinne vol scoone moralisacien vvt leggingen ende bediedenissen op alle loeflijcke consten vvaer inne men claerlijck ghelijck in eenen spieghel/ Figuerlijck/ Poetelijck ende Retorijckelijck mach aenschouwen hoe nootsakelijck ende dienstelijck die selue consten allen menschen zijn.

2 parts in one volume, quarto (245 x 175 mm). Woodcut vignette on titles, large woodcut folding plate, 2 full-page woodcut illustrations and 35 woocut illustrations in text. Modern calf binding. A rare complete copy including the ‘extra’ plates ‘tSpeeltanneel’ and ‘Haachspel’ (big plate) which are sometimes missing in other copies. Illustrated account of the texts and plays performed in Antwerp on the 3rd and 24th August 1561 and organized by the different chambers of rhetoricians, the most splendid and famous drama contests of this kind ever held. It is also a fine example of Renaissance book publishing in the Netherlands. The first book is illustrated with a folding plate showing the invitation from Antwerp Chamber, woodcuts with scenes from the theatrical performances, a complicated rebus, a woodcut showing the monumental stage on the great square, and small woodcuts showing emblems. Belg. Typogr. 4400 [De Gulden Passer 1995] Geheime activiteiten van Plantin, Paul Valkema Blouw: "Plantin had nog een ander boek voor Silvius onderhanden toen het noodlot toesloeg, en wel diens tot dusver meest ambitieuze onderneming: de teksten van de Spelen van Sinne, opgevoerd tijdens het vermaarde Antwerpse landjuweel van 1561. Silvius wilde er een spectaculaire uitgave van maken, liet een fraaie reeks van illustraties snijden en vertrouwde het eerste deel, de zinnespelen, toe aan de zorgen van Plantin. Deze begon aan de productie van het boek, maar ook hier kwam het ingrijpen van de overheid tussenbeide. Silvius zag nog kans de afgedrukte vellen aan inbeslagneming te onttrekken (met medewerking van de betrokken autoriteiten?), maar moest een vervangende drukker vinden om het begonnen werk af te maken. Gillis Coppens van Diest voltooide het eerste deel, Tavernier drukte het tweede."
Opera.

Opera.

HORATIUS FLACCUS, Quintus Opera. Commentary by Nicolaus Perottus (1429-1480). Edited by Jacobus Locher (1471-1528). Strassburg: Johann (Reinhard) Grüninger, 12 March 1498. Median 2° (300 x 212mm) or (11.8 x 8.3 inches). Collation: s6 A-Z6 AA-II6 KK-LL8 s6 (r title with woodcut, v blank, r editor’s preliminary verses and letter to Margrave Karl von Baden, life of Horace, table of meters, A1r text, V6v blank, LL7v woodcut printer’s device, colophon, LL8 blank, r table). 219 leaves (of 220, without blank LL8). 74 lines of commentary surrounding text and headline, prefatory quire in double column, table in 3 columns. Types: 22:89R (text), 23:64bR (commentary), 19:280G (title), 17:145G (headlines, headings), 4:48G (interlinear gloss). 168 woodcut illustrations from 101 blocks by the Terence Master, most printed from composite blocks, many repeated, woodcut printer’s device (Davies 168). 2- and 3-line initial spaces, printed guide-letters. (Title laid down and repaired at inner margin, further repairs to inner margin of preliminaries and final leaf, occasional small repairs elsewhere, persistent wormhole at inner margin and scattered wormholes to last three quires, KK3 torn at margin, waterstaining throughout, mainly affecting top third of page.) Early 19th-century panelled calf, covers with contrasting border of blind-tooled drawer-handles within gilt rules, spine gilt, red edges (corners a little bumped, spine label chipped). FIRST ILLUSTRATED EDITION. Brunet considered this an editio princeps because it was edited from a German manuscript, whereas previous editions published in Italy were derived from printed sources. According to Kristeller and von Arnim, only 37 of the Terence Master’s fine woodcuts are new to this edition; 6 of these were cut for thePlenarium, which Grüninger published only three weeks later. The remaining cuts had previously appeared in his own editions of Terence, Locher’s Libri philomusi, and Brant’s Narrenschiff printed in 1496, 1497, and 1494-95, respectively. HC 8898*; BMC I, 112 (IB. 1471-2); Bod-inc H-214; BSB-Ink H-370; CIBN H-285; Fairfax MurrayGerman 205; Schreiber 4240; Goff H-461.
Den eersten boeck der Architecturen 1553 / Den tweeden Boeck van Architecturen 1553 /Des Antiquites

Den eersten boeck der Architecturen 1553 / Den tweeden Boeck van Architecturen 1553 /Des Antiquites, Le Troisiesme livre translaté d’ Italien en Franchois 1550 / Reigles generales d’ Architecture 1550 / De Vijfsten Boeck van Architecturen 1553

SERLIO, Sebastiano Den eersten -[tweeden] boeck van Architecturen Sebastiani Serlii, tracterende van Geometrye. Ouergesedt wten Italiaenische in nederlandts, duer Peeter Cocke van Aelst doen ter tijt Schildere der K. Maiesteyt . Antwerp, Marie Hulst, 1553. [Bound with :] Des Antiquites, Le troisiesme liure translaté d’italien en franchois. Antwerp, G. van Diest, 1550. [and:] Reigles generales d’Architecture, sur les cincq manieres d’edifices, asauoir Thuscane, . Antwerp, P. Coecke van Aelst, 1550. [and:] Den vijfften boeck van Architecturen Sebastiani Serlij inden welcken van diuersche formen der Templen getracteert wordt nae de maniere vanden Antijken ende oock voer de Kerstenen. Antwerp, Marie Hulst, 1553. Folio, modern panelled calf. (34 x 24 cm). first 15 leaves stained and browned, occasional marginal staining, bottom corners of last 8 leaves repaired (one with small loss of image). Fowler, 305, 310, 318, 323; Ornamentstichsammlung Berlin, 2569, 2562 Book I – II: 42p including title page and illustrations. The first Flemish edition of Serlio’s Book I – II. The woodcuts of this edition, many in reverse, were copied from the undated Venice edition, and were in turn used in the Amsterdam 1606, Basel 1608, and London 1611 editions. Both titles are within a woodcut strap-work border, the first copied in reverse by Pieter Coecke van Aelst from the original French plate, with a lion’s head in place of the salamander. Book III: 73 + 3p including title page and illustrations. First edition in French, printed at Antwerp. The title page and illustrations were copied from those of the Venice 1540 edition. Book IV: 71 + 1p, including title page and woodcut illustrations. Third edition in French. The title-page border and woodcut are from the same plates as the German and French editions of 1542 and 1545. The verso of leaf 72 contains the shields not included in the earlier editions by Pieter Coecke van Aelst. Book V: 16p including title page and illustrations. First edition of the Flemish translation. Title within strap-work border, copied from the 1547 French edition. Provenance: F. Vander Haeghen, bibliographer of Ghent, his stamps in the book. This compilation has an identical composition as the one described by Fowler.
Beschreibung allerfürnemisten Mineralischen Ertzt unnd Bergwercks arten

Beschreibung allerfürnemisten Mineralischen Ertzt unnd Bergwercks arten, wie dieselbigen, unnd eine jede in sonderheit, jrer Natur und Eigenschafft nach, auff alle Metaln Probirt, und im kleinem ewer sollen versucht werden, mit Erklerung etlicher fürnehmen nützlichen Schmeltzwercken im grossen fewer, auch schaidung Goldt, Silber vnnd andere Metalln sampt einem Bericht des Kupffer saigerns, messing brennens unnd Salpeter Siedens, auch aller saltzigen Minerischen proben und was denen allen anhengig in fünff Bücherverfast vergleichen zuuorn niemals in Druck kommen.

ERCKER, Lazarus Printed in Prague. Folio (310 x 200 mm) 4p, CXXXXp, 5p, new endpapers. Title in red and black with woodcut illustration of a labiratory. 33 large woodcut illustrations in text. Small worm trace filled in first four leaves. Old blind-tooled calf (original?), flat back with old handwritten paper label, lacking ties. First edition of this first manual of analytical and metallurgical chemistry and, along with Agricola’s De Re Metallica, the most important book on metallurgy and assaying in the sixteenth century. Ercker systematically reviews methods of testing alloys and minerals, and describes processes for manufacturing acids, salts, and saltpetre. He also details the laboratory equipment necessary to perform such tasks. Chiefly as a result of this work, Emperor Rudolf II made Ercker chief inspector of the mines in Bohemia. Ref.: Norman 707.
Navigatio ac itinerarium Johannis Hugonis Linscotani in orientalem sive lusitanorum Indiam

Navigatio ac itinerarium Johannis Hugonis Linscotani in orientalem sive lusitanorum Indiam

LINSCHOTEN, Jan Huygen van Printed in Den Haag. Folio, contemporary vellum. Two parts in one volume. First Latin Edition. Engraved title, full-page author portrait, 36 engraved plates (all double-page or folding) and 7 folding engraved maps. Rare first Latin edition of the explorer, merchant, and historian Jan Huygen van Linschoten’s (1553-1611) famous travel book, an account rich in information concerning the Dutch expansion in the East Indies and here richly illustrated with the same 36 engraved plates and 5 engraved maps of the Dutch first edition (1596), the important world map of Plancius, and the celebrated – and often missing – first edition of Willem Barentsz’s (1550-97) iconic polar map. "This edition of Linschoten is the only one in which Barentsz’s famous map of the North Polar Regions appears. For some reason or other, possibly on account of the size and thick paper on which it was engraved, this map of Barentsz is nearly always lacking in otherwise perfect copies of this work" (Humphreys, p. ix). The map is considered the "first contribution of the Dutch cartography related to the Arctic Seas" and here illustrates a unique digest – not found outside this edition of Linschoten – of Gerrit de Veer’s diary concerning Barentsz’s three arctic journeys, a digest likely compiled and translated from the Dutch by Linschoten himself who accompanied Barentsz on two of his Arctic voyages. The Barentsz map is the first of the Arctic based upon first-hand exploration, and which dispenses with the mythological arctic islands of Mercator. Barentsz sailed further north towards the arctic pole than any previous explorer. He was responsible for the discovery of Spitsbergen, and for much of Nova Zembla. The Barents Sea is named in his honour. This map was the finest and most accurate of the polar region that had appeared to date. It shows the track of Barentsz’s third voyage, and the magnetic pole 75 degrees north. It was not surpassed in much of its detail for many decades, and would be copied by the firm of Hondius as late as circa 1660. It is thought that Barentsz drew this map while stranded in his winter quarters on Nova Zembla and that after his death it was brought home by commander Jacob van Heemskerk (1567-1607) to be published in 1598 by Cornelius Claeszoon. The first part of Linschoten’s book offers descriptions of the varied peoples, customs, costumes, flora and fauna of the Far East, all wonderfully illustrated with engravings, panoramas and town plans, many designed by Linschoten himself and executed by Johannes van Doetecum and his sons. The first part contains the world map, the east Africa map and both the Arabia/India map and the famous 1595 Spice Islands map, all designed and engraved by the brothers van Langren. Notable views and plans include Linschoten’s Goa and Angra, and his two engravings of St. Helena. The second part of the volume, entitled Descriptio totius Guineae tractus ., treats Africa, South America, and the polar journeys of Barentz and includes the Barentz map and maps of east Africa and of South America by Arnoldus. The Itinerarium is the best account of that period with the sailing routes to the East Indies and the Portuguese establishments in India, the Spice Islands; and southeast Asia. The publication ofthis work was a crucial element in breaking the 16th-century monopoly enjoyed by the Portuguese in the East-Indian trade and the subsequent successes of the Dutch East India Company (VOC). From the time of it’s publication until the end of next century, Linschoten was essential aid to navigators in the East Indies. Provenance: Iacopo Loranzo 1730 – Biblioteca di Pier Paolo Vaccarini (Italy). Ref. Sabin 41366 ; Muller AMERICA 2196 ; Adams L735.