CONTINENTAL BOOKS CATALOGUE 1448 - Maggs Bros. Ltd.

CONTINENTAL 

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1448 

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Front cover: 20, Cats (Jacob), page 28. Inside front cover: 64, Plutarch, page 80. 

Back cover: 2, Albertus Magnus, St, page 6. Inside back cover: 20, Cats (Jacob), page 28. 

1 ALBERTUS MAGNUS, ST De laudibus beatae virginis Mariae. 

[Cologne, Ulrich Zell, not after 1473]. 

Folio (274 x 200mm) 165 leaves (of 166, lacking final 

blank). Gothic type, 36 lines, double column. 2-4 line 

initial spaces, alternating spaces filled in red, red 

paragraph marks, underlining and capital strokes. Single 

pinhole visible in the lower margins. Early 19th-century 

ochre paper boards, red spine label lettered in gilt, red 

edges (spine darkened, a little soiled and marked). £15,000 

First edition. A fine wide-margined copy with 

deep impressions of the types on remarkably 

fresh paper, printed by the prototypographer of 

Cologne, Ulrich Zell. As noted by BMC the copy 

at the University Library of Uppsala is dated 

1473 by the rubricator. 

The works ascribed to Albertus Magnus led 

him to be considered to be the greatest Mariologist 

of the Middle Ages. A product of the mid-13th 

century and a hugely influential work in Marian 

scholarship, ‘the Mariale represents the first 

systematic theology of Mary, inasmuch as all 

assertions about Mary are reduced to one single 

principle, that of the all embracing fullness of 

grace.’ (Encyclopedia of theology: a concise 

Sacramentum mundi, ed Karl Rahner, 1975, p 903.) 

Only relatively recently has Albertus Magnus’ 

authorship been challenged, see A Fries, Die unter 

dem Namen des Albertus Magnus überlieferten 

mariologischen Schriften (1954) pp5-80, 130-131, 

and A Kolping, in Recherches de théologie ancienne 

et médiévale 25 (1958) pp 285-328 (Sack Freiburg). 

By 1473, it was rare for a pinhole to still be 

visible in the lower inner margin as found here. In 

1466 and 1467 all of Zell’s books had four 

pinholes on each page but this was soon reduced 

to two and generally by 1470 they disappear 

from the visible part of the page. (See: Martin 

Boghardt, ‘Pinholes in Large-format Incunabula’, 

The Library s7, vol 1 (2000), pp263-289). 

Provenance: Bibliothecae J[ohann Heinrich 

Joseph] Niesart (1766-1841), pastor in Velen 

1816, with his manuscript inscription on first 

leaf and his bibliographical notes on a loose 

inserted leaf. Inner margin of first leaf lightly 

soiled otherwise extremely fresh. 

H460. GW 678. BMC I, 192. BSB-Ink A185. 

Goff A271. Bod-inc A119. 

5

2 ALBERTUS MAGNUS, ST Sermones de tempore et de sanctis. [Speyer, 

Peter Drach, not after 1475]. [Bound with:] GUILLERMUS pARISIENSIS 

Postilla in evangelia et epistolas. [Speyer, Peter Drach, c1476]. 

Two works in one volume. Folio (293 x 211mm). I 240 

leaves (including f 144 blank). Gothic type, 40 lines, table 

in double columns. 2 to 6-line initials, headlines, paragraph 

marks and capital strokes in red, rubricator’s guideletters 

and quiring sometimes visible. II 170 leaves (last 

blank). Gothic type, 40 lines. Rubricated uniformly with 

the above but without the headlines, manuscript quiring 

often visible. Contemporary blindstamped pigskin over 

wooden boards, covers panelled by fillets into a double 

frame with lozenge shaped compartments inside, each 

containing a round tool of an eagle or a clover leaf or a 

square tool with a rosette (two different stamps), also 

with lettered scrolls ‘Jhesus’ and ‘Maria’; 5 brass bosses 

on each cover, clasps and catches, remains of paper labels 

on front cover (expert restoration to joints). £25,000 

A superb exAmple oF two rAre incunAbles From the 

1470s, published by the sAme printer, And bound 

together soon AFter. The tall, fresh, rubricated 

copies with strong impressions of the types and 

some deckle edges are bound in a fine contemporary 

binding with the ten brass bosses, as well as the 

clasps and catches, still intact. The small stamps 

used to decorate the covers are not found in Kyriss 

but point to a Rhineland origin, probably monastic. 

The two undated works are catalogued in the 

BMC as the earliest impressions from the press of 

Peter Drach at Speyer. The first not after 1475 as a 

copy at München BSB has a buyer’s date of that 

year and the second assigned to the following year. 

ISTC lists few copies of either printing outside 

Germany, for example, the only copies of Drach’s 

Sermones de tempore... and Postilla in the UK are 

at the British Library, only an imperfect copy of the 

first work and one of the second in France, and no 

copies of either in Belgium or the Netherlands. The 

USA fares somewhat better with six locations for 

the first work and three for the second. They are 

also extremely rare on the market with no other 

copy of either book sold in Anglo-American 

auctions since 1934. 

This is the second edition of the Albertus 

Magnus’ Sermones, first published the previous 

year in Cologne. Albertus Magnus (1193/1206- 

1280), Dominican preacher, Bishop of Ratisbon, 

saint, and Doctor (‘Doctor Universalis’) of the 

Catholic Church, was the leading intellectual 

figure of his time and wrote encyclopedically on 

theology, philosophy and the sciences. He applied 

Aristotelian methods and principles to revealed 

doctrine and was, therefore, the pioneer of the 

scholastic method elaborated by his pupil, St 

Thomas Aquinas. 

The second work, the Postilla, first published 

by Zainer in Augsburg 1472, was one of the most 

popular works of the 15th century and justly 

described by Goff as one of the earliest ‘best sellers’. 

The supposed author, Guillermus, was a 

Dominican monk and professor of theology at 

Paris who compiled this work in 1437 ‘expressly 

for the clergy and for those desirous of 

understanding the excerpts from the Epistles and 

the Evangelists, more commonly called lessons, 

which are read at appropriate services throughout 

the church year. It obviously filled a most pressing 

need.’ (Goff, ‘The Postilla of Guillermus 

Parisiensis’, in Gutenberg Jahrbuch 1959, pp73- 

77). Much of the collection has also been attributed 

to Johann Herolt (see Die Deutsche Literatur des 

Mittelalters Verfasserlexikon (Bd 3, 1124, 8). 

Provenance: Some contemporary annotations. 

Early inscription ‘Pertinet ad Fabricam/BMVF’ on 

front pastedown. Book label of George Dunn 

(1865-1912), Woolley Hall (his sale Sotheby’s 2nd 

February 1914, lot 702). 

I HC*469. GW 772. BMC II, 488. BSB-Ink 

A213. Goff A328. II HC*8226. GW 11924. BMC 

II, 488. BSB-Ink H134. Goff G648. 

6 7

3 ALDROVANDI (ULISSE) Serpentum et draconum historiae libri duo... 

Bologna, apud Clementem Ferronium, (1639) 1640. 

Engraved title by Io. Baptista Coriolanus and 

numerous woodcuts, many full-page, of snakes, 

mythical serpents and dragons. 

Folio (355 x 235mm) [5]ff 427pp [15]ff. Contemporary 

vellum with early rebacking in vellum, title and 

shelf-mark lettered on spine (upper joint split). £2,500 

First edition oF AldrovAndi’s posthumously 

published And beAutiFully illustrAted 

history oF serpents And drAgons. In this 

work he combines detailed descriptions of real 

snakes but also gives equal weight to fantastical 

creatures such as a winged dragon, basilisk and 

a multi-headed hydra. This contradiction can be 

understood when one considers that Aldrovandi 

lived through a transitional period for science 

and was obliged to base much of his knowledge 

of the natural history of distant lands from 

the reading of classical texts, such as Pliny, and 

the secondhand accounts related by merchants 

and adventurers. 

The Italian naturalist Ulisse Aldrovandi 

(1522-1605) was and one of the major figures in 

the Renaissance movement that placed a renewed 

emphasis on the study of the nature. He was the 

first professor of natural sciences at the University 

of Bologna and one of the first great specimen 

collectors, he regularly organized expeditions 

across Italy for that purpose. He was also heavily 

involved in the founding of the Bologna’s 

Botanical Garden in 1568, one of the first in 

Europe and left his Wunderkammern ‘cabinets of 

curiosities’, one of the earliest and most 

impressive collections of this kind to the city. 

Half-title and title with small wormhole, a little 

spotted and browned in places but generally 

fresh. Nissen ZBI 78. 

4 ApULEIUS (ULISSE) Metamorphoseos, sive lusus Asini libri IX. Floridoru[m] 

IIII. De Deo Socratia I. De Philosophia I. Asclepius Trismegisti dialogus 

eode[m] Apuleio i[n]terprete... (Graece: Alcinoi philosophi ad Platonis dogmata 

introductio). (Venice, in aedibus Aldi, et Andreae Soceri mense maio, 1521). 

Sm 8v (160 x 95mm) 266, [28]ff. 18th-century vellum 

over paste-boards, blue marbled edges, ink title on 

spine (small split to spine). £2,500 

First Aldine edition oF the collected works 

oF Apuleius including the Metamorphoses (also 

known as the Golden Ass), the sole Latin novel 

that survives in its entirety, with a prefatory 

letter from Asulanus to Francesco Rubrio, 

French legate of Francis I at Venice. The OCD 

describes the Golden Ass as, ‘A delightful work, 

imaginative, humorous, and exciting, it tells the 

adventures of one Lucius who, being too curious 

concerning the black art, is accidentally turned 

into an ass, and thus disguised, endures, sees, 

and hears many strange things. He is at last 

restored to human shape by the goddess Iris. 

Many stories are embedded in the novel, the 

most famous being the exquisite tale of Cupid 

and Psyche’. 

The other works are his Platonic texts which 

include his supposed translation of the lost 

Greek dialogue Asclepius, The Perfect Discourse, 

attributed here to Hermes Trismegistus, the only 

philosophical Hermetic work know in the West 

during the Middle Ages (eight medieval 

manuscripts survive, ie Brussels, Bibliothèque 

Royal 10054-10056, Ms on vellum, 10th-11thcentury). 

The Asclepius has been described as 

the single most important revelation of Hermes 

and it guaranteed the continuation of the 

Hermetic tradition prior to the rediscovery of 

the Corpus Hermeticum in the mid-15th 

century. The text is quoted by amongst others 

Bernardus Silvestris, Alanus ab Insulis, Albertus 

Magnus, Roger Bacon and Thomas 

Bradwardine. Although the magical and 

Egyptian elements in the text were objected to 

by St Augustine in De Civitate Dei they were 

held in high regard by later philosophers such as 

Ficino and Giordano Bruno. 

The final section of 28pp has its own titlepage 

and is printed entirely in Greek. It holds 

the philosopher Alcinous’ (2nd century BC) 

Handbook of Platonism, an epitome of Middle 

Platonism, probably intended as a manual for 

teachers rather than students. 

Renouard p91, no 8. Hoffmann I, p109. 

BMSTC (Italian), p35. Adams A-1362. UCLA 

Ahmanson-Murphy no 202. 

8 9

5 ARISTOTLE Ethicorum, sive ad moribus, ad Nichomachum filium, libri 

decem, a Joachimo Perionio primum conversi... compendium, per Hermolaum 

Barbarum... compendium ac synopsis, a Cuthberto Tonstallo editum. 

Heidelberg, Lodovicus Lucius, April 1562. [With] De moribus ad Nichomachum 

libri decem. Strassburg, Josias Rihel, 1563. 

Printer’s woodcut device, ornamental initials 

and greek letter in second work. 

Two works in one vol. 8vo (168 x 104mm). 

Contemporary German roll-tooled pigskin, central 

panel with the arms of Wurttemberg, signed ‘HC’ [Hans 

Cantzler]; outer border of medallion heads and foliage 

(worn, remains of vellum ties). £1,800 

i perionius’ highly regArded lAtin trAnslAtion 

of the Nicomachean Ethics, edited by Daniello 

Barbaro. It is followed by the epitome of the 

work by Ermolao Barbaro (pp325-384) and by 

the Compendium on Aristotle’s text by Cuthbert 

Tunstall (pp385-562), first published in Paris in 

1556. Tunstall was a renowned scholar and one 

of the most important English diplomats of the 

16th century; he was one of Erasmus’ patrons 

who assisted in the production of the second 

edition of his Greek New Testament, and also 

cast his eye over More’s Moriae Encomium. 

II Third edition of the Greek text of the 

Nicomachean Ethics, to be edited by Joannes 

Sturm, the German educationalist, with prefaces by 

Sturm and the Spanish humanist Juan Luis Vives. 

Bound in a contemporary pigskin binding 

signed by Hans Cantzler (Haebler I, 74, XIX). 

Provenance: Franciscan ownership inscriptions 

on fly-leaf and title-page dated 1657. 

I Adams A1831. VD16 A3424. Hoffmann I, 

p338/9/ II Adams A1808. Ritter 80. Hoffmann 

I, p291. This edition not in VD 16. 

6 BENCI (FRANCISCO), SJ Orationes & carmina. Quae partim nunquam 

antehac, partim in Germania nunc primum in lucem prodierunt. Ingolstadt, 

David Sartorius, 1592. [With:] Carminum libri quatuor eiusdem Ergastus et 

Philotimus, dramata. Ingolstadt, David Sartorius, 1592. 

Woodcut Jesuit device on title-page, ornamental 

woodcut head-pieces and initials. 

2 parts in one vol. 8vo (165 x 102mm) [4]ff 383pp [4]ff 

325pp. Contemporary blind-panelled pigskin with 

roll-tooled borders of medallion heads and foliage, 

both original clasps intact, spine backed with marbled 

paper and label in the 18th century. £950 

First edition. The first part of the book includes 

several discourses on Latin poetry, while the 

four books of Carmina in the second part are 

followed by the texts of the religious dramas (in 

verse) Ergastus and Philotimus which were 

performed before the distribution of prizes in 

the gymnasium of the Jesuit College in Rome in 

November 1587 and January 1590 respectively. 

The author Benci (1542-94) studied in Rome 

for seven years during which time he was a 

pupil of Marc Antoine Muret, and the first part 

of the work includes Benci’s oration delivered 

at Muret’s funeral. Bayle devoted an article to 

Benci in his Dictionnaire calling him ‘un des 

plus excellents orateurs de ce temps-là, et un 

poète latin’. 

Provenance: Jesuit ownership inscription at 

head of title-page, later armorial stamp at foot. 

VD16 B1666. Adams B626. Sommervogel I, 1288. 

10 11

7 BERNARD OF CLAIRVAUX, ST Opuscula Divi Bernardi Abbatis 

Clarevallensis (– Flores Sancti Bernardi). (Venice, per Luceantonium de Giunta, 

1 June & 31 August 1503). 

Fine full-page woodcut of the Annunciation 

facing the opening page of text in each part, first 

title and device (Kristeller 216) printed in red and 

opening chapter heading, second title with same 

device, fine eight-line white-on-black initials 

throughout, printed in double columns. 

Two works in one vol. 8vo (185 x 125mm) [400]ff [205]ff 

(of 206, lacks final blank). Contemporary Buxheim 

binding of blind-tooled calf over wooden boards, covers 

panelled and stamped with a variety of small tools, 

rebacked in vellum in the 18th? century, one clasp 

remains, early paper label with shelf-mark lettered in red 

at foot of spine (old repair to lower portion of upper 

cover, vellum spine scattered with wormholes). £2,750 

the buxheim copy oF two rAre collections 

oF st bernArd oF clAirvAux’s writings both 

illustrated with the same full-page woodcut of 

the Annunciation which is described by Lilian 

Armstrong as ‘an early example of Venetian 

High Renaissance art’. The woodcut was first 

used two years earlier in another of LucAntonio 

Giunta’s publications, the Officium beatae 

Mariae virginis of June 1501. 

‘The traditional figures of the Virgin Mary and 

the Angel Gabriel are set in an elegant Renaissance 

interior, defined by classical architectural 

components: a Corinthian column, a coffered 

barrel vault, and roundheaded windows behind 

Gabriel. The diagonal lines of the tiled floor 

converge to suggest the depth of the room. At the 

edges of the image are decorative columns that 

appear to support a segmented arch; these act as a 

frame through which the viewer looks at the holy 

event’ (Armstrong, Heavenly Craft). This 

spacious setting, perspective, and the idealised 

and lightly modelled figures are to Armstrong the 

indicators of the High Renaissance style. 

Provenance: Contemporary inscription of the 

Buxheim Charterhouse at head of title-page, 

‘Cartusiae Buxheim’, with their library stamp at foot. 

Some neat early annotations in red ink. Another 

inscription inked out. Fine bookplate of the 

celebrated bookseller and publisher Leo S Olschki. 

CNCE 5500 & 5499. Janauschek, Bib Bernardina 

317 & 315 (notes Buxheim Catalogue no 189). 

Sander 961 & 954. Essling 1383 & 1389. COPAC 

I British Library & Oxford. II British Library & 

National Library of Scotland. OCLC US libraries: 

I. Harvard & Western Michigan Uni. II Columbia, 

Brigham Young, NYPL, Yale, UCLA & 3 others. A 

Heavenly Craft. The Woodcut in Early Printed 

Books (LoC, 2004), pp35-37 & cat no 39. 

8 BIBLE (NEw TESTAMENT). LATIN. ERASMUS DESIDERIUS 

Novum Testamentum omne, tertio iam ac diligentius ab ERASMO Roterodamo 

recognitum non solum ad graecam veritatem, verum etiam ad multorum 

utriusque linguae codicum, eorumque veterum simul & emendatorum 

fidem, postremo ad probatissimorum autorum citationem, emendatione & 

interpretationem. Addita sunt in singulas apostolorum epistolas argumenta. 

(Amsterdam [Zwolle? Simon Corver for]: Willem Corver, September 1522). 

Titles within a woodcut frame, the first with 

printer’s mark and initials, six-line and eight-line 

woodcut initials coloured by hand. 

Two parts in one vol. 8vo (145 x 95mm) [176] [144] ff, 

last leaf of part two presumed blank and not present, 

headlines, marginal scripture references. 19th-century 

blind-stamped calf, red edges (worn). £2,200 

A scArce AmsterdAm edition oF the erAsmus 

lAtin new testAment, and a book recorded by 

NK in one copy only at Strasbourg. 1522 saw 

a number of editions of the Erasmus New 

Testament in various formats, and the success of 

the 8vo edition, without Greek text, is a pointer 

to the importance of the Erasmus version in the 

context of Protestantism and of reform within the 

Catholic Church. As is shown in the transcription 

of the title above, the word Erasmus is capitalised. 

Simon Corver is recorded as printing at Zwolle 

from 1519, when he printed an edition of 

Erasmus De octo orationis partium constructione 

(NK 2897), until early 1523. His output as listed 

by NK (III, iii 290-292) consists of some 42 

books, including school texts by Erasmus and 

Listrius with several plays by Plautus, three texts 

by Luther and 4 by the local theologian Gansfort 

Wessel (1420-1489.) On 20 June 1523 in 

Hamburg a printer identified as Corver by NK 

published a Dutch version of a text by Luther 

Eeen nuttige expositie des evangelijs van den tien 

malaetsche (NK 3461) and Dat nyge Testament 

tho dude (VD 16 B4498), the first Dutch version 

of Luther’s New Testament, of which copies are 

located by OCLC at Hamburg and Wurttemberg 

(see also article in Het Boek 23 (1935-36) pp55- 

60, and other articles in the same on Corver.) 

Simon Corver is represented in the British 

Library by some eight titles (four by Wessel), but 

his imprint is found only in three works (of which 

two by Wessel) in five copies elsewhere in the UK. 

Willem Corver is presumed to be a relation who 

acted as a publisher in Amsterdam. 

Provenance: Inscription at foot of title-page 

‘Pal: A: Leith 1711’, some underlining and ms 

notes in part two on B6 and B8 (Romans ix, 14, 

15 note on predestination). Some dampstaining, 

heavier towards end. 

Nijhoff-Kronenburg 2430. 

12 13

9 BLOEMAERT (ABRAhAM) Oorspronkelyk en vermaard konstryk 

tekenboek. Amsterdam, Reinier & Josua Ottens, 1740. 

Engraved title, added, engraved dedication plate, 

portrait of the author and plates numbered 1 

(engraved title) to 166; engraved title, portrait 

and duplicates of plates 80, 94, 95, 108, 137, 

144 & 145 overprinted with chiaroscuro blocks 

in ochre; also duplicates of 87, 88, 98 & 102 

making a total of 179 plates, by Frederick 

Bloemaert after Abraham Bloemaert. 


half-calf, marbled boards (neat repairs to spine). £6,500 

the most complete edition oF the dutch 

mAnnerist Artist AbrAhAm bloemAert’s 

(1564-1651) drAwing book which includes the 

engraved title, portrait and seven duplicate 

plates overprinted in chiaroscuro. First 

published in installments c1650-1656 under the 

title Artis Apellae liber with 100-120 plates, few 

copies of which have survived, the present 

edition is described by Bolten as ‘magnificent... 

due to its costly and attractive design, [it] 

presumably made its way directly to the library 

of the connoisseur’. 

Abraham’s youngest son, Frederick 

Bloemaert (c1610-c1669), had engraved the 

plates after the designs of his father for their 

original publication and they were prepared and 

ordered for this edition by the renowned French 

engraver and publisher Bernard Picart. The 

plates are divided into eight sections each part 

with its own title: I Heads & faces. II Hands & 

feet. III Figures. IV Male & female nudes. V 

Children. VI Figures & groups. VII 

Compositions or historic subjects. VIII Animals. 

‘The leading example of the master model 

in the Netherlands is the drawing book by 

Abraham Bloemaert. This work consists mostly 

of academic drawing examples with depictions 

of both parts of the body and of the human 

figure as a whole. Bloemaert’s drawing examples 

are not derived from those of other authors. 

They represent the fruits of a life of industrious 

study in academies and after nature. Each 

individual example bears the unmistakable 

stamp of Bloemaert. It is not a method or a 

system of construction which is being offered as 

an example, but the maniera of the great and 

respected master himself… This method of 

approach is described by the subtitle on the title/ 

frontispiece, where the idea is expressed, that 

the apprentice would be able to attain his goal, 

the representation of the human figure, provided 

that he first learned to draw the individual parts 

of the human body from this book’ (Bolten). 

Ref: Jaap Bolten. Method and Practice: Dutch 

and Flemish Drawing Books, 1600-1750 

(1985), pp57-67 (ill) & p253. 

14 15

10 BOEThIUS Consolationis philosophiae libros quinque interpretatione 

et notis illustravit Petrus Callyus... in usum serenissimi delphini. Paris, apud 

Lambertum Roulland, 1680. 

Fine engraved frontispiece incorporating the 

dauphin’s arms and a medallion of Boethius, 

engraved dauphin’s arms on title-page, engraved 

dedication headpiece, repeated. 

4to (258 x 185mm) [20]ff 352pp [28]ff. Late 18thcentury 

red morocco, triple filt fillet on covers, spine 

richly gilt in compartments, ieg, ge. £1,500 

A Finely bound copy oF one oF the rArest oF 

the delphin editions of the Latin classics 

created for le Grand Dauphin. The series was 

supervised by Pierre-Daniel Huet from 1670 to 

1680, when he was working with Jacques 

Bossuet, tutor to Louis XIV’s son, the Dauphin 

Louis. The name of the series was derived from a 

Latin inscription on the title page of the books, 

in usum serenissimi Delphini (‘for the use of the 

most serene Dauphin’). 

The editor was the Cartesian scholar Pierre 

Cally, of Mesnil-Hubert, near Argenton. The 

edition is notable for Cally’s use of Cartesian 

philosophy, or at least notions of it, in his 

explanation of the text. It had a lasting influence 

as it was included in Migne’s Patrologia Latina 

(see Lodi Nauta, ‘Platonic and Cartesian 

Philosophy in the Commentary on Boethius’ 

Consolatio Philosophiae by Pierre Cally’, in 

British Journal for the History of Philosophy 

4/1 1996, pp79-100). Schweiger p33. 

12 BOILEAU-DESpREAUX (NICOLAS) Oeuvres... avec des 

éclaircissemens historiques donnez par lui-même... Amsterdam, 

chez David Mortier, 1718. 

Engraved frontispiece by Bernard Picart, folding 

portrait of the Princess of Wales after Kneller, 

frontispiece and 6 full-page engraved plates to 

‘Le Lutrin’ and numerous large head- and tail 

vignettes all by Picart. Each page printed within 

a border made up of typographical ornaments. 

Two vols. Folio (380 x 240mm). Late 18th-century 

polished calf, covers with outer decorative gilt border, 

spines richly gilt in compartments, red morocco labels, ge 

fine gilded floral endpapers (joints rubbed). £1,100 

First edition to hold the fine illustrations of 

Bernard Picart (1673-1733) and the portrait of 

Caroline, Princess of Wales after Sir Godfrey 

Kneller (1646-1723). Gordon Ray describes Picart 

as ‘the outstanding professional illustrator of the 

first third of the 18th century’ while Cohen-de 

Ricci describes the frontispiece as ‘superbe’ and the 

portrait as ‘magnifique’. 

Cohen-de Ricci 165/6. Ray I, p7. 

11 BOEThIUS Consolationis philosophiae libri 

recensuit, emendavit, edidit, Johan Eremita. Paris, 

sumptibus Lamy, 1783. 

Fine engraved frontispiece. 

12mo (130 x 75mm) liv, 85, 280pp 18th-century green morocco 

possibly by Derome, triple filt fillet on covers, flat spine gilt in 

compartments, ieg, ge £850 

A Finely bound edition newly edited by Jean-François Debure de 

Saint Fauxbin (1741-1825) under the pseudonym Johannes 

Eremita, son of the great bibliographer Guillaume-François 

Debure (1731-82) author of Bibliographie instructive: ou traité 

de la connoissance des livres rares et singuliers (1763-69). 

Schweiger pp 33/34. 

16 17

13 BREDERO (GERBRAND ADRIAENSz) Boertigh, Amoreus, 

en Aendachtigh Groot Lied-boeck. Amsterdam, Cornelis Lodowijcksz: 

vander Plasse, 1622. 

Engraved title, added, fine engraved portrait of 

Bredero by Hessel Gerritsz (the only known 

portrait), 20 engravings, three full-page and 17 

half-page by Jan van de Velde II and Michel le 

Blon; full-page calligraphic woodcut of Cupid 

in part two repeated in part three; occasional 

use of civilité type. 

Three parts in one vol. Oblong 4to (150 x 195mm) 

[16]ff 111pp103pp 62pp [1]f. 19th-century vellum 

over pasteboards. £8,500 

First collected edition oF bredero’s FAmous 

groot lied-boeck, a collection of some 200 

popular songs, mostly love and wedding songs. 

The beautiful engravings depict scenes of love and 

courtship although the first full-page engraving by 

van de Velde is a lively scene of peasants drinking 

and dancing in a tavern to illustrate the song 

‘Boeren Geselschap’ (‘Peasant Company’). 

Gerbrand Adriaensz Bredero (1585-1618), 

was a prolific writer of popular lyrics and dramas. 

The son of a well-to-do shoemaker Bredero was a 

product of the Dutch Golden Age and lived his 

entire life in Amsterdam, his works reflecting the 

everyday language of the city. In 1611 he became a 

member of the De Eglantier rederijkerskamer, 

where he was friends with Roemer Visscher and 

PC Hooft, and with Hooft he joined the Costers 

Nederduytsche Academie. He became best known 

for his farces and comedies and in 1617 his comedy 

masterpiece De Spaanschen Brabander Ierolimo 

was first performed. He died suddenly in the 

following year at the age of just 33. 

The engravings are mostly by Jan van de Velde 

the younger (1593-1641) with three by Michel le 

Blon (1587-1658). ‘Jan van de Velde II came from 

an artistic family. His father was a celebrated 

calligrapher and teacher and he was the 

nephew of Esaias van de Velde, an important 

landscape painter. Jan also specialized in 

landscapes but made his mark as a printmaker and 

draftsman. His engraved landscapes were often 

based on drawings from nature and his emphasis 

on naturalistic detail and simple composition 

influenced other artists including Rembrandt 

Harmensz van Rijn’ (Getty). Le Blon was a 

goldsmith and engraver from Frankfurt who was 

active in the Netherlands and England. 

Bookplate of GS Overdiep. 

Tear on pp89/90 of part two neatly repaired 

Scheurleer, Nederlandsche Liedboeken, p142. 

Carter & Vervliet, Civilité Types, 1966, no 360. 

OCLC (US: NGA Washington, Newberry Lib, 

Columbia, Huntington only). 

see pAges 24 And 26 For Further song books. 

18 19

14 BULLINGER (hEINRICh) In omnes Apostolicas epistolas, divi videlicet 

Pauli XIIII et VII canonicas, commentarii Heinrychi Bullingeri... accesserunt ad fine 

quoque duo libelli, alter de Testamento dei unico & aeterno, alter vero de Utraque. 

in Christo natura. Zurich, apud Christophorum Froschouerum, 1558. 

Froschauer’s fine woodcut device on both 

titles, woodcut initials, some large. 

Two vols in one. Folio (323 x 200mm) [20]ff 731pp 

195pp. Contemporary blind-tooled pigskin over 

bevelled wooden boards, covers panelled with fillets 

and outer historiated roll of the muses Calliope, 

Thalia, Euterpe und Terpsichore and inner roll of 

medallion heads, leafy stamps in panels, clasps and 

catches remain, title lettered in ink at head of 

fore-edge (lower cover with tear but no loss). £4,500 

FroschAuer’s edition oF the swiss reFormer 

bullinger’s commentAry on the Apostolic 

letters includes as an appendix his De 

testamento seu foedere Dei unico et aeterno (A 

Brief Exposition of the One and Eternal 

Testament or Covenant of God). This important 

and highly influential treatise was the first 

devoted to covenant theology. It was Bullinger’s 

most distinctive doctrine and taught that there 

was only covenant in history, from Adam to the 

present. First published by Froschauer in a 

separate octavo edition of 1534 (VD16 B9722) 

and subsequently only reprinted in his five folio 

editions of the Apostolic Letters (1537, 1539, 

1544, 1549 & 1558 – see VD16 B9723-9727), 

all of which are rarely found. 

Charles S McCoy and J Wayne Baker in 

Fountainhead of Federalism: Heinrich Bullinger 

and the Covenantal Tradition (1991) argue that 

Bullinger’s covenant doctrine, which went far 

beyond Zwingli’s, was seminal for the further 

development of covenant or federal theology 

and the creation of federal political philosophy. 

‘It is the first work that organizes the 

understanding of God, creation, humanity, 

human history and society around the covenant. 

It must be regarded therefore as the point of 

origin or the fountainhead of federalism as it has 

increasingly come to permeate the world in the 

four and a half centuries since its publication’. 

The present edition is scarce outside 

continental libraries and no copies are located 

by OCLC in the USA. Provenance: Ownership 

inscription inside front-cover dated 1566, a few 

marginal annotations and underlinings. 

VD16 B4974, B9727 & B9740. Adams B3240. 

Ref: J Wayne Baker, in, Oxford Encyclopaedia of 

the Reformation, I, pp227-230). 

20 21

15 (BUONAROTTI (FILIppO)) Osservazioni istoriche sopra alcuni 

medaglioni antichi. Rome, nella stamparia di Domeico Antonio Ercole, 1698. 

Beautiful engraved frontispiece in the manner 

of a large commemorative marble medal. 29 

full-page plates of coins and medals engraved by 

Andreoni; in all, the recto and verso of 129 

medals are illustrated. A full page portrait of 

Emperor Augustus after Marratta engraved by 

Auden Aest, and two double-page plates of large 

cameos, an engraved plate of a ‘patera antica’. 43 

finely engraved text-illustrations by Pietro Santo 

Bartoli (monogrammed pSB) of carved stones, 

coins, medals, and relief sculptures. Engraved 

title-vignette, two engraved historiated initials 

and 12 text-woodcuts. Some Greek printing. 

4to (280 x 200mm) [4]ff xxviii 495pp. 

Contemporary vellum over paste boards. £2,000 

First edition oF this sumptuously 

illustrAted numismAtic work, dedicated to 

the Grand Duke of Tuscany, which records the 

medals and coins from the collection of Cardinal 

Gasparo de Carpegna. The publishing history of 

the present work is interesting in so far as the 

printer/publisher had already printed the 

numismatic plates before he had even heard of 

the existence of Buonarotti’s learned annotations 

of the collection. He subsequently married his 

plates and Buonarotti’s notes without adaption, 

which explains the different chronological order 

of plates and notes. Bartoli was commissioned to 

adorn the volume with engravings of cameos, 

engraved stones etc found in the same collection 

of Cardinal Gasparo (cf publisher’s preface). 

Cicognara 2782. Gamba 1824. Nagler 

Monogrammisten, IV, no. 3308. 

16 CALLOT (JACqUES) Les images de tous les Saincts et Saintes de l’année 

suivant le martyrologe Romain. Paris, Israel Henriet, 1636. 

Engraved title-page with arms of Richelieu, 

printed dedication; etched frontispiece and 

122 plates, with four images per plate, making 

488 in all, by Callot. 

Folio (291 x 180mm). Contemporary sprinkled calf, 

double gilt fillet on covers, fleurons at each corner, 

spine with gilt fleuron in each compartment 

(joints restored). £6,000 

First edition, dedicAted to the cArdinAl 

duc de richelieu, published by Callot’s close 

friend Henriet in 1636 one year after the artist’s 

death. This copy has the first issue of the 119 plates 

of saints, with blank panels, and signed only with 

Israel’s name; the second issue of the three plates 

for the feast days with text in panels; the second 

issue title and imprint with the correct reading 

‘Henriet’; the first issue printed dedication with all 

the text on the recto; and finally the third issue 

frontispiece with the caption reading ‘ny de mort’. 

Jacques Callot’s (1592-1635) Images of Saints 

for Every Day of the Year was one of his 

final works and characterised his later 

productions at Nancy which were mostly 

religious in nature. The plates here ‘differed from 

his contemporaneous work in method, for often 

they were almost completely drawn in line, with 

very little shading. In their first states they are 

entitled to careful study, for they are full of 

individuality and indicate, with their explanatory 

backgrounds of martyrdoms, an incredible 

knowledge of religious history and tradition. The 

frontispiece is Callot’s Tintoretto-like 

Assumption of the Virgin (Bechtel). Between 

1631 and 1635 Callot is thought to have executed 

around 600 religious prints which reflected both 

his deep personal faith (he is said by Félibien to 

have attended mass every day) and the flourishing 

market for spiritual imagery in Lorraine at this 

time, a stronghold of Roman Catholicism. 

A few minor marks and stains but generally a 

very good copy in a contemporary binding with 

contemporary manuscript foliation and note at 

the foot of final plate. Pencil notes in French 

inside front cover dated 12/4/1896 by M Gallier, 

with his more extensive bibliographical notes 

on a loose sheet. 

Brunet I, 1484. Jules Lieure, Jacques Callot: Vie 

artistique et catalogue de l’oeuvre grave, Paris, 

1924-1927, 1252, 1253, 1254 & 1255. E de T 

Bechtel, Jacques Callot, (1955), p32, pls 173-5. 

22 23

17 CAMpANUS (MATThAEUS VAN), COLEVERT (JJ), 

ROBBERTSEN (J) & CRAEN (Ap) Amsterdamsche Pegasus, waer in (uyt 

lust) be een nergadert zijn, deel Minnelijcke Liedekens... Amsterdam, 

p A Ravestyn for Cornelis Willemsz Blaeu-Laken, 1627. 

Engraved title, added, and ten engravings (170 x 

80mm) by Jan van de Velde the younger, musical 

scores in text, use of civilité type. 

Oblong 4to (154 x 191mm) [8]ff 177pp [1] f. 

Contemporary vellum (small cracks to upper 

cover joint). £12,000 

extremely rAre First edition oF this 

collection oF dutch pAstorAl songs 

beautifully illustrated by Jan van de Velde II. 

Only six copies are recorded by OCLC 

(Amsterdam, Leiden, and Utrecht universities, 

Bayerische Staatsbibliothek, British Library and 

an incomplete copy at the Library of Congress) 

while RISM adds copies at Toonkunst- 

Bibliotheek Amsterdam and the Bibliothèque 

Royale Brussels. 

Jan van de Velde II (1593-c1641) was among 

the first artists to create the distinctive Dutch 

landscape genre of the early 17th century 

beautifully depicted in the present work. ‘The 

conceit of nature - or rather, the image of nature 

– as a spur to love is present in Jan van de Velde 

II’s ten etched illustrations to Amsterdamsche 

Pegasus, which may be the first Dutch song-book 

with illustrations not so much of lovers in 

landscapes but of landscapes themselves as 

representations of desire’ (Nevitt). In his pastoral 

scenes he favoured a narrow horizontal format as 

a way to emphasize the low, expansive terrain 

surrounding Haarlem. ‘His engraved landscapes 

were often based on drawings from nature and 

his emphasis on naturalistic detail and simple 

composition influenced other artists including 

Rembrandt Harmensz van Rijn’ (Getty). His 

father was a celebrated calligrapher and teacher 

and he was the nephew of Esaias van de Velde, an 

important landscape painter. 

Provenance: Contemporary Latin inscription 

on front free endpaper of Jacob Rocher, dated 

Amsterdam 24 July 1635. Henry Howard 

(1628-1684), 6th duke of Norfolk, presented to 

the Royal Society in 1667 with stamp ‘Soc Reg. 

Lond ex dono Henr Howard Norfolciensis’ on 

verso of title with their late 19th-century 

disposal stamp beneath. 

Small worm hole in blank lower margin 

expertly repaired, lightly dampstained in places. 

RISM 1627.10. DF Scheurleer, Nederlandsche 

Liedboeken, p152. Brunet I, 248. Ref: H Rodney 

Nevitt, Art and the Culture of Love (2003), p134. 

24 25

18 CAMphUYSEN (DIRK RAphAELSz) Stichelycke rymen, om te lesen 

ofte singhen. Onderscheyden in III. deelen. Op nieuws over-sien en grootelijckx 

vermeerdert, oock de noten van Druck-fauten ghecorrigeert, en verrijckt met vele 

copere figuren. Amsterdam, by Iacob Colom, 1647. 

Folding engraved portrait (255 x 185mm) of the 

author by S Savey after C Castelein, 61 large 

engravings (125 x 80mm), including one 

tipped-in between Q4 and R1 unpaginated and 

with blank recto, by F Allen and P Nolpe 

(Landwehr), fine large historiated woodcut 

initials, musical scores in text. 

Oblong 4to (144 x 196mm) [4]ff 326pp [3]ff. 

Contemporary mottled calf, gilt decorative border on 

covers with central gilt lozenge shaped ornament made 

up of small stamps, spine gilt in compartments (expertly 

rebacked with original spine laid down). £5,000 

First illustrAted edition oF cAmphuysens’ 

importAnt collection oF devotionAl songs, 

first published in 1624. The engravings are 

emblematic, each one with a motto above and a 

four line epigram beneath. In this edition parts one 

and two include musical scores for every poem. 

The Dutch poet and schoolmaster 

Camphuysen (1586-1627) ‘is significant in the 

history of music for his Stichtelycke rymen, om te 

lezen of te zingen (Hoorn, 1624), which in the 

first edition, and in the many subsequent ones, 

was published with music, whereas in Dutch 

Calvinist church services only rhyming psalms 

to Geneva melodies were sung. The 17th 

century, thanks also to Camphuysen’s poetry, 

saw the development of domestic devotional 

songs for one or more voices, which were often 

accompanied by, or arranged for, instruments... 

Camphuysen’s poems enjoyed great popularity 

and gave to Dutch piety of the 17th and 18th 

centuries an individual character comparable 

to that of early Pietism in Germany.’ (Grove). 

Small tear to inner margin of portrait with 

slight loss of image, blank lower corner of C4 

torn away, paper flaw in Oo4 affecting one or 

two letters over three lines, Rr2v and Rr3r 

somewhat soiled. 

Bookplate of GS Overdiep. 

Praz p296 (only calls for 58 engravings). 

Landwehr Dutch Emblem Books, no 40 (‘The 

only edition with emblematic plates’). Scheurleer, 

Nederlandsche Liedboeken, p39. 

19 CARThUSIAN LITURGY Libellus continens modum recipiendi, ac 

incellandi Novitios. Absolendi & inungendi infirmos. Item sepeliendi mortuos: 

cum devotis aspirationibus & precibus. Astheim, 1689. 

Manuscript on paper, in Latin and German. 4to (210 x 

160mm) [1], 91ff (last three blank). 26 lines, rounded 

gothic script in brown, red and blue ink, German text in a 

neat cursive script. Musical notation on four-line staves, 

some penwork ornamentation. Contemporary vellum 

over pasteboard (covers with a few stains). £2,400 

An unusuAl mAnuscript combining the liturgy 

for the reception of novices into the Carthusian 

order with the liturgy and prayers for the 

absolution and anointing of the sick, and burial 

of the dead. The manuscript was produced for 

the Buxheim Charterhouse by the 70-year-old 

Wurzburg born Fr Caspar Hess at the Astheim 

Charterhouse, ‘Scripsi in Cartusia Asthiem. 

Anno 1689. F Caspar Hess. Herbipolensis. 

aetatis an 70. Pro Cartusia Aulae B Mariae V. in 

Buxheim’. The Monasticon Cartusiense, vol II in 

Analecta Cartusiana, no 185: 2 (2004) records 

that Caspar Hess, who became a novice in 1641, 

produced liturgical manuscripts for Astheim and 

other charterhouses of the province (Provincia 

Alemanniae inferioris). 

The manuscript gives a fascinating insight 

into the workings of the Carthusian order where 

life is very nearly eremitical. The monks live in 

solitude in separate houses or ‘cells’ off the great 

cloister and, except on Sundays and feast days, 

meet only three times a day in the church. Here, 

at the beginning of his life as a monk, great 

emphasis is placed on his fellow cloister monks 

bringing the novice to his cell in procession and 

finally, at the end of his life, when extreme 

unction is to be administered, the monks process 

again to the cell, the sick monk is anointed, 

pardoned and blessed and all present give him a 

last kiss of peace. For burial the monk is dressed 

in his robes and cowl, laid on a wooden plank, 

and placed in the grave without a coffin. 

The Carthusian liturgy is unique and differs 

considerably from the Roman Rite, being 

substantially that of Grenoble in the 12th century 

with some admixture from other sources. In the 

manuscript some prayers are in the vernacular for 

the benefit of the lay brothers, written in a cursive 

script. The body of customs that had been the basis 

of Carthusian life became the statutes of the order 

when compiled by Guigo, the fifth prior of the 

Grande Chartreuse, in the mid-12th century 

(Migne, Patrol Lat cliii 631); enlargements and 

modifications of this code were made in 1259, 1367, 

1509 and 1681. The 1681 revision may well have 

prompted the production of this manuscript, a 

change is noted at the foot of f 51v for example. 

Revisions were only ever slight and the unofficial 

motto for the order is ‘Cartusia nunquam reformata 

quia nunquam deformata’ (the order has never been 

reformed, because it was never deformed). 

26 27

20 CATS (JACOB) Swerelts begin, midden, eynde, besloten in den trou-ringh, 

met den proef-steen van den selven. Dordrecht, voor Matthias Havius. Gedruckt 

by Hendrick van Esch, 1637. 

Double-page engraved title by Adriaen van de 

Venne (1589-1662), two divisional titles, portrait 

of Jacob Cats by W Delff after M Miereveld, 

portrait of the dedicatee Anna Maria Schurmans, 

51 half-page engravings by Crispyn van den 

Queboorn, Adriaen Matham and others after 

Adriaen van de Venne, Jan Olis and others, 

woodcut initials, head- and tail-pieces; all are 

superbly hand-coloured and many heightened 

in white and gold. 

4to (238 x 175mm) [22]ff 772pp [4]ff 136pp. Late 

17th-century Dutch gilt panelled calf over pasteboards, 

spine richly gilt in compartments (headcaps 

and joints rubbed). £22,500 

First edition oF one oF the most importAnt 

And populAr works oF the FAmous dutch 

poet JAcob cAts (1577-1660), Proefsteen van de 

Trou-ringh (Touchstone of the Wedding Ring), 

found here with all engraved titles, portraits, halfpage 

engravings and woodcut initials and vignettes 

beautifully hand-coloured at the time of binding in 

the late 17th century. 

The Trou-ringh and Cat’s first work on marriage 

Houwelijck (1625) were extremely popular books 

running through many editions and ‘could be found 

on the bookshelves of persons of all persuasions... 

with their many prints they were geared both to the 

reading abilities of the Dutch and their highly visual 

culture. The combination of literary form, visual 

appeal, and moral message guaranteed a broad 

audience’ (W Frijhoff & M Spies, Dutch Culture in 

a European Perspective (2004), p28). 

The miniature compositions of artists such as 

van de Venne, with so many references to 

contemporary Dutch culture, are brought to life 

here by the superb colouring which is expertly 

applied. The pages that contain illustration have 

been sized to prevent absorption, the colourist has 

added details to dress, interiors and landscape, and 

ample use is made of gold to heighten the colour as 

well as white paint or gesso often used to dramatic 

effect, none more so than in the depiction of the 

skeleton being warded off by Cupid on p709. Very 

little is known of individual colourists working 

during the Golden Age, they were not members of a 

guild, and only one attained any level of recognition 

– Dirck Jansz van Santen (1637-1708), the ‘master 

colourist’ (Meester Afsetter) of the van der Hem 

Blaeu Atlas. Although such colourists worked 

principally on fine atlases they were also 

commissioned by wealthy collectors to colour 

engravings found in Bibles, emblem and festival 

books and other illustrated works; indeed the 

Museum Catsianum notes a similarly coloured 

copy of the present work (no 154). Master colourists 

such as Van Santen and our anonymous artist added 

a specific character to the prints and maps they 

worked on, not just a mechanical process of 

colouring in, and thus their prints became works of 

art in their own right (see: H de La Fontaine Verwey, 

‘The Glory of the Blaeu Atlas and the Master 

Colourist’, Quaerendo, XI, 1981, pp208-229). 

Cats was a born storyteller, who in this work 

illustrated his sharp psychological and social 

insights as easily with examples from the classical 

world or the Bible as from daily life in the Golden 

Age. One important example taken from a modern 

28 29

author is Cervantes’ La Gitanilla (Novelas 

Ejemplares, 1613) the tale of a Spanish nobleman 

marrying a gypsy girl, which appears here for the 

first time in the Netherlands as ‘Het Spaens 

Heydinnetie’. Van de Venne’s illustration of Don 

Jan in a large Spanish ruff before a seated Pretiose 

with Majombe, the gypsy, behind, greatly 

influenced other Dutch artist’s rendering of the 

subject and came to epitomize the tale in visual 

terms; it also provides evidence of the connections 

between Dutch art and contemporary literature 

(see: I Gaskell, Transformations of Cervantes ‘La 

Gitanilla’ in Dutch Art, in Journal of the Warburg 

& Courtauld Institute, vol 45 (1982), pp263-70). 

Provenance: Unidentified circular monogrammed 

stamp on title-page. 

Museum Catsianum 153. 

21 CAVALIERI (GIOVANNI BATTISTA) Romanorum imperatorum 

effigies. Elogiis, ex diversis scriptoribus, per Thomam Treteru[m]... Rome, 

apud Franciscum Coattinum, 1590. 

Title engraved within architectural border with 

the crowned arms of the dedicatee Stefan 

Bathory, king of Poland, at the head, full-page 

engraved arms of Cavalieri and 151 full-page 

engraved portraits with the names engraved at 

the foot, Coattino’s ring device on verso of last 

leaf, coloured. 

8vo (171 x 114mm) [8]ff (last two blank) 157 (ie 152) 

ff. Contemporary vellum over thin paste-boards, re 

(ties missing, trifle soiled). £1,500 

An AdditionAl portrAit oF holy romAn 

emperor rudolph ii is found here in the second 

edition of Cavalieri’s portrait book of the Roman 

Emperors, following the first of 1583. Mortimer 

records a second issue of this edition with the 

title-page altered to 1592. The work is dedicated 

to Stefan Bathory, king of Poland, and the short 

biographies are by the Polish polymath Tomasz 

Treter (1547-1610), at that time a canon at 

Santa Maria in Trastevere, who was closely 

associated with the Polish court. 

Giovanni Battista de’Cavalieri (1526-1601) 

was a prolific printmaker producing engravings 

after Michelangelo and other masters as well as 

illustrating a number of books such as the important 

counter-reformation suites of Catholic martyrdoms 

Ecclesiae militantis triumphi (1583) and Ecclesiae 

Anglicanae Trophaea (1584). As Mortimer notes 

Cavalieri’s copperplates were also used to illustrate 

a text by Antonio Ciccarelli, Le vita degli 

imperatori romani, Rome, Domenico Basa, 1590. 

Provenance: Early inscription on title-page 

rubbed away, early shelf-marks. Booklabel of 

Ebenezer Palmer, Bookseller, 18 Paternoster Row, 

London EC, Estd 1819. 20th-century bookplate of 

Thomas Hodgkin, Newcastle on Tyne, designed 

by Harry Soane, London. 

Lower corner, I3 paper flaw affecting one letter. 

Brunet I, 1697. Mortimer Italian 119. OCLC (four 

copies only in US libraries: Newberry, Illinois, St 

John’s MN, & Southern Methodist University) 

30 31

22 ChYTRAEUS (DAVID) Articulorum symboli apostolici de filio dei domino 

nostro Iesu Christi... Explicatio ex praelectionibus Davidis Chytraei collecta, & 

edita a Ioanne Fredero. Wittenberg, excusa per haeredes Ioan. Cratonis, 1584. 

[Bound with:] De baptismo et eucharistia, ex praelectionibus Davidis Chytraei 

excepta. Wittenberg, edita per Zachariam Lemanum, 1584. 

Some greek and hebrew letter, woodcut intials 

and ornaments in both works. 

8vo.(163 x 102mm) [1]f 343pp; [1]f 1-156pp [2]ff 

(blank) [1]f 157-534pp [4]ff (last 3 blank). 

Contemporary vellum, spine gilt ruled in 

compartments, central gilt floral stamp in each, ink 

titles at head of spine. £1,200 

First And only editions oF these two works 

by the lutherAn divine And historiAn, the 

first edited by his son-in-law Johann Freder (1544- 

1604), also professor of theology at Rostock. 

David Chytraeus (1531-1600), or Kochhafe, 

was professor at Rostock and spent considerable 

time travelling around Germany, stabilizing the 

union and harmony of the emerging Lutheran 

Church. He was one of the six theologians 

engaged on the Form of Concord (1576) and had 

completely rewritten two articles of the Swabian 

Concord on Free Will and the Lord’s Supper. In 

his youth he was a favourite of his master 

Melanchthon and lived in his house; in later 

life, however, he came to oppose some of 

Melanchthon’s views. Of the three developing 

Lutheran parties Chytraeus was a member of the 

centre one, along with such theologians as Martin 

Chemnitz and Jakob Andreae. 

I VD16 C2507. Adams C1574. OCLC (US: 

Columbia, Luther Seminary Library only). II 

VD16 C2508. OCLC (no copies in US). 

23 DELAUNE (ETIENNE) Suite of 

six allegorical prints. France, c1560-70. 

Six engraved prints, three oval, three rectangular, all 

except one white-on-black, plate size c 80 x 65mm, 

sheet size 205 x 105mm, sewn together at top 

(trifle soiled). Three signed with variations of 

‘Cum privilegio regis Stephanus fecit’, second Minerva, 

fourth image Arithmetic, fifth Astronomy, last 

image ‘Sacrifice of Abraham’. £1,500 

A rAre collection oF individuAl plAtes 

by the skilled French mAnnerist engrAver 

etienne delAune. Three are taken from his suites 

to illustrate the liberal arts, two are classical 

figures, while the last is the ‘Sacrifice of 

Abraham’ from his Old Testament series. The 

common factor in all the prints is the exquisite 

execution of the mannerist borders and, as has 

often been noted, in his prints he shows a 

precision and intricacy associated with his 

original profession as a goldsmith. 

Etienne Delaune (Orléan 1518/19-1583) was 

trained as an engraver of medals, and worked with 

Benvenuto Cellini during the latter’s stay in Paris 

from 1540-1545. By 1552, Delaune was employed 

as chief medallist at the royal mint, founded by 

Henry II, and in 1556 he furnished designs for 

Henry’s parade armour. His extant prints consist 

mostly of allegorical subjects within rich, 

ornamental surrounds and are exceptional for 

their technical precision despite their often small 

size. Delaune’s rare surviving drawings reveal the 

influence of Primaticcio and the school of 

Fontainebleau and his engravings helped to spread 

the Fontainebleau style among artists and 

craftsmen in France and beyond. 

Ref: Per Bjurstrom, Etienne Delaune and the 

Academy of Poetry and Music, in Master 

Drawings, 1997, vol 34, no 4, pp351-364. 

32 33

24 DIO CASSIUS Rerum Romanarum a Pompeio Magno ad Alexandrum 

Mamaeae, Epitome authore Ioanne Xiphilino. Paris, Robert Estienne, 1551. 

[Bound with:] Rerum Romanarum... epitome, Ioanne Xiphilino authore, 

Guilielmo Blanco Albiensi interprete. Paris, [Robert Estienne], 1551. 

Wittenberg, edita per Zachariam Lemanum, 1584. 

In first work basilisk device of king’s printer on 

title-page, 25 large grotesque ornamental 

woodcut initials and head-pieces, in second 

work woodcut arms of Cardinal d’Armagnac 

and 25 similar initials and head-pieces; first part 

printed in Greek letter throughout. 

Two works in one vol 4to (245 x 165mm) 357pp [1] 

f; [3]ff 280pp [5]ff. 17th-century mottled calf, spine gilt 

in compartments (crack to spine, lower joint 

just splitting). £1,600 

editio princeps of Xiphilinus’ epitome of the 

histories of Dio Cassius printed from manuscripts 

in the French Royal Library. In 1548 Robert 

Estienne had published the first edition in the 

original Greek of the surviving books of Dio 

Cassius’ histories which covered the period 68 BC 

-AD 54. Joannes Xiphilinus was a 12th century 

Byzantine monk who wrote this Epitome under 

the orders of Emperor Michael VII, and it is now 

the only surviving source for books 61-80 which 

concern the period 47-235 AD, a most exciting 

time in Roman imperial history. The second work 

in the volume is Guillaume Leblanc’s Latin 

translation of the Epitome and presumably 

intended to be bound with the Greek text, although 

it is often found as a separate publication. 

Possibly the last two books printed by Estienne 

in Paris before his departure for Geneva. An early 

owner has tried to delete Estienne’s name from 

the first title; the second work has the cancel title 

with the arms of the dedicatee Cardinal Georges 

d’Armagnac (replacing a title-page with 

Estienne’s olive-tree device). 

Beautifully printed with the first part using the 

largest types of the ‘grec du roi’ and the second 

part printed in Estienne’s handsome roman types. 

Provenance: 17th-century Florentine 

ownership inscription inside front cover, book 

label of Elizabeth Armstrong, the authority on the 

Estiennes and author of Robert Estienne (1954). 

Blank upper outer corner of title-page neatly 

restored; a very fresh copy internally. 

Adams D513 & D515. Mortimer 170 & 

171. Renouard p80, nos 8 & 9. Schreiber 108 

(Greek text). 

25 ERASMUS Moriae Encomium [in Greek, then] Stultitiae Laus. 

Cum commentariis Ger. Listrii, & figuris Jo Holbenii. E codice Academiae 

Basiliensis... Basle, typis Genathianis, 1676. 

Engraved title-page, added, by Kaspar Merian 

after Hans Holbein, engraved device on title, 

engraved vignette above dedication to Colbert 

incorporating his ‘snake’ insignia, engraved 

portrait of Erasmus, and two of Hans Holbein, 

full-page engraving of Erasmus’ epitaph, and 82 

engravings by Merian after Holbein, some 

pressed directly into the text and the larger ones 

pasted in on folding slips (a little browned). 

8vo (194 x 116mm) [40]ff 336pp [6]ff. Contemporary 

panelled calf, spine gilt in compartments, red morocco 

label (rebacked with original spine laid down). £1,250 

First edition of In Praise of Folly to hold the famous 

illustrations of Hans Holbein and his brother 

Ambrosius. They are here engraved by Kaspar 

Merian from the original marginal illustrations, 

Holbein’s earliest surviving work, found in a copy 

of the 1515 edition now at the Kunstmuseum at 

Basle. The editor Charles Patin also adds a life of 

Holbein, not always complementary, and the first 

catalogue raisonné in which he describes 60 works 

over five pages in double columns. 

This edition also includes a life of Erasmus 

and bibliography, the commentary of Gerard 

Lister (which Erasmus also worked on), 

Erasmus’ preface to Thomas More, with whom 

he stayed in 1509 and wrote In Praise of Folly as 

a diversion from a kidney ailment, and letters to 

More and Martin van Dorp 

Van der Haeghen p122. 

34 35

26 ERASMUS Morias enkomion (graece), id est stultitae laus... (Strassburg, 

apud Ioannem Knoblouchum, 1521. [Bound with:] De duplici copia verborum. 

(Mainz, ex aedibus Ioannis Schoeffer, August 1521. [And] Parabolae sive 

similia... Accesserunt annotationes... Ioanne Artopaeo Spirense. Freiburg, 

Stephanus Melechus Gravius excudebat, 1544. 

I Fine four-piece title-border, some greek letter; 

opening initial in red and some rubrication. 

II Fine one-piece title-border, large woodcut 

initials, some greek letter. 

Three works in one volume. 8vo (166 x 102mm). 

Contemporary blind-tooled pigskin over bevelled 

wooden boards, covers panelled with fillets and outer 

roll of half-figures of Justicia, Prudentia and Lucretia, 

inner panel made up of repeated decorative roll and 

small floral stamps (head and foot of spine restored, 

remains of catches). £4,500 

A Finely preserved sAmmelbAnd oF three 

erAsmiAn works including in prAise oF Folly. 

I An early edition of Erasmus’ most enduring 

work, continually revised during his lifetime; 

the first dated edition had been published in 

Strassburg in 1511. In Praise of Folly was 

written by Erasmus in little over a week in 1509 

as a diversion to a kidney complaint he was 

suffering from while staying at the London 

home of Thomas More. The idea of universal 

folly had been conceived by Erasmus while 

crossing the Alps on his way from Italy to 

England taking as inspiration all he had seen 

in recent years, the idea was then allowed 

to develop into this masterpiece of satire. 

‘The Praise of Folly is Erasmus’ best work. He 

wrote other books, more erudite, some more 

pious –some perhaps of equal or greater 

influence on his time. But each had its day. 

Moriae Encomium alone was to be immortal. 

For only when humour illuminated that mind 

did it become truly profound. In the Praise of 

Folly Erasmus gave something that no one else 

could have given to the world’. (J Huizinga, 

Erasmus, ch IX, p78). 

II 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. First printed in Paris by Badius 

in 1512, it was soon reprinted several times, 

becoming a standard textbook in schools across 

Europe. This edition contains Erasmus’ long 

letter to the Alsatian humanist Jakob 

Wimpfeling (1450-1528), dated September 

1514 (Allen 305), 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. 

III Rare first edition of Johannes Artopoeus 

(Peter Becker 1520-66), no copies are located by 

OCLC in US libraries. Artopoeus was from 

Speier and studied at Freiburg, where he later 

taught rhetoric and greek, and became professor 

of canon law and eventually rector of the 

university. The Parabolarum, first printed in 

1514, is a collection of similitudes and 

comparisons, metaphors, allusions, poetical and 

scriptural allegories, compiled for the use of 

rhetoricians and letter writers and an 

enormously popular school text. 

Provenance: Long 17th-century presentation 

inscription inside front cover from Pastor 

Johannes Münster to Hilmaro Anthonio with 

chronogram at the end. A few examples of early 

underlining and annotation in all three works. 

Lower blank margin of second title-page cut 

away and repaired with old paper, old paper 

repairs to last leaf of second and title of third work, 

some light staining affecting last few leaves. 

I VD16 E3192. Bezzel 1312. II VD16 E2656. 

III VD16 E3259. 

36 37

27 ERDMANN (ChRISTIAN) ie [FORNER (FRIEDRICh) 

Relatio historico-paraenetica, de sacrosanctis, Sacri Romani Imperii, reliquiis, 

et ornamentis, quibus Romanorum Caesares, inaugurari, coronari, solennique 

ritu investiri conseverunt, aliisque sacris Lipsanis, in Imperiali Thesauro 

collectis, ac Norimbergae asservatis... [Nuremberg, np], 1629. 

Title within woodcut decorative border, final 

leaf with large woodcut headpiece and 

emblematic printer’s device. 

4to (192 x 150mm) [3]ff 76pp [1]f. Later cream paper 

boards (somewhat soiled). £1,200 

First And only edition and the copy of the 

Nuremberg polymath Christoph Gottlieb von 

Murr (1733-1811). Murr wrote on many artrelated 

subjects and published an important work 

on the art and library treasures of Nuremberg and 

Altdorf in both public and private collections, 

Beschreibung der vornehmsten Merkwürdigkeiten 

in des HR Reichs freyen Stadt Nürnburg (1778). 

Friedrich Förner’s (1568-1630) work is a study 

of the greater part of the imperial regalia 

(Reichskleinodien), known as the ‘Nürnberger 

Kleinodien’ which included the imperial crown, 

orb, sceptre and sword and the so-called ‘Holy 

Lance’ thought to have pierced Christ’s side. 

Although Nuremberg was now a Protestant city, 

the Catholic author argues for the continued 

presence there of the treasure and relics, discusses 

the local traditions associated with it, as well as 

its history and journey to the city. The regalia 

remained in Nuremberg from 1424 to 1796 when, 

together with the Aachen regalia, it was removed 

to the Schatzkammer in the Hofburg Palace, 

Vienna, where it remains today. 

Provenance: Inscribed ‘Rariss’ and ‘de Murr’ 

on title-page, ie Christoph Gottlieb von Murr 

(1733-1811). Stamp on front pastedown of 

‘Bibliothek Schloss Miltenberg’ (Bavaria). 

VD17 23:235105M (one of two variants, each 

with a different colophon leaf). OCLC: outside 

Germany only British Library, Cambridge, 

Paris BN and University of Minnesota. 

28 EUSEBIUS pAMphILI, Bp OF CAESARIA Chronico[n]. Paris, 

Henri Estienne, 30 October 1518. 

Woodcut title-border, printed in red and black 

throughout, some Greek letter, criblé initials. 

4to (233 x 165mm) [20], 175 [ie 173]ff [1]f (blank). 

17th-century mottled calf, spine gilt in compartments 

(head of spine and joints restored) £1,600 

second henri estienne edition, following his 

first of 1512 when the Chronological Tables were 

extended to include the years 1482-1512. 

Eusebius’ Tables, arranged in parallel columns 

illustrating the history of the world year by year, 

end during the year 329 and the continuations are 

by St Jerome (to 381), Prosper Aquitanus (to 448), 

Matteo Palmieri (to 1449), Mattia Palmieri (to 

1481) and Joannes Multivallis (to 1512). 

Mattia Palmieri under 1457 refers to the 

invention of printing, ascribed to Johann 

Gutenberg in 1440: ‘Namque a Joanne Gutenberg 

Zuniungen equiti Maguntiae rheni solerti ingenio 

librorum Imprimendorum ratio 1440 inventa’. 

The account goes on to say how printing had 

extended over almost the whole world, and that 

the whole of antiquity was to be bought with a 

little money and would be read by our descendants 

in innumerable volumes. 

‘For the period covered by Multivallis, more 

space is given to an account of the arrival of 

seven savages at Rouen in 1509 than to any 

other event (leaf Y4v; generally thought to be 

Brazilians from this reference)’ (Mortimer). 

They could also have been Canadian aboriginals 

brought back from his 1508 voyage to the New 

World by Thomas Albert, the Dieppe pilot. 

Pencil notes and old catalogue cutting on 

endpapers. One or two small wormholes only 

occasionally affecting a letter. 

Renouard Estienne, p20-21, no 9 Mortimer I, 

no 217. Schreiber 28 cf Sabin 23114 and 

Harrisse 71, add 43 & 54. 

38 39

29 FAUJAS DE SAINT-FOND (BARThéLEMI) Descrizione delle esperienze 

della macchina aerostatica dei Signori di Montgolfier... seguita da richerche sopra 

l’altezza... Da una memoria sopra il Gaz infiammabile... Da una lettere intorno ai 

mezzi di dirigere queste Macchine... Venice, alla stamperia Graziosi, 1784. 

Nine engraved plates. 

8vo (222 x 145mm) xxxii, 320pp Contemporary 

cartonnage boards (somewhat soiled). £2,000 

the rAre First itAliAn edition of this account 

of the invention of the hot air balloon by the 

Montgolfier brothers, and also the first 

fundamental work in the Italian language on 

modern aeronautics. Faujas de Saint-Fond (1741- 

1819), later professor of geology at the Musée 

d’Histoire Naturelle, was so impressed by their 

first experiment on 5 June 1783 that he organised 

a subscription to pay for a repeat of the 

experiment which took place on 26th August of 

the same year. This work begins with accounts of 

these experiments and also of the Montgolfiers’ 

further experiment at Versailles on 19 September 

1783, in which a sheep, a cock and a duck were 

carried in a cage below the balloon, the first aerial 

travellers. The French text appeared in 1783 and 

was soon followed by translations in Dutch and 

Italian; this edition has new illustrations. An 

excellent copy in the original binding. 

Morazzoni, Fig Veneziani, p229. 

30 FERRERIUS (zAChARIUS) Hymni novi ecclesiastici iuxta veram 

metri et Latinitatis normam... et novi Ludovici Vicentini ac Lautitii Perusini 

characteribus in lucem traditi... (Rome, in aedibus Ludovici Vicentini 

et Lautitii Perusini, 1 February 1525). 

4to (212 x 140mm) [12], cxv ff (lacks final blank). 

18th-century polished calf, narrow gilt border on 

covers, rebacked with original spine laid down. £3,500 

First edition oF zAccAriA Ferreri’s lAtin 

hymns printed in Arrighi’s exquisite itAlic type, 

cut for him by his partner, Lautizio Perugino, the 

goldsmith praised by Cellini. Their partnership 

only lasted two years, 1524 and 1525, and then 

Arrighi printed on his own account until his 

death in the Sack of Rome in 1527. In this 

brief period he published not less than thirtyseven 

humanist and literary works mostly 

by contemporary authors. They are almost 

all now rare. 

Zaccaria Ferreri (1479-c1530), Bishop of 

Guardia in the kingdom of Naples, attended the 

Council of Pisa in 1511 where he agitated 

strongly against the ambition of Julius II. For 

this he was rewarded by Leo X who gave him his 

bishopric and appointed him apostolic nuncio 

to Hungary. Of the present work, published as 

part of a tentative reform of the liturgical office, 

Tiraboschi says ‘nel 1524 [sic] pubblicò in 

eleganza dello stile’. 

Provenance: 18th-century ownership stamp 

in black ink on title-page of ‘Captne: Michiels.’, 

ie JG Michaelis (fl 1775). Armorial bookplate 

inside front-cover of Watkin Herbert Williams 

(1845-1944), Bishop of Bangor. 

Censimento Edit 16 CNCE 18842. Adams F293. 

Clement, Bib Curieuse, viii, pp287-9. Gueranger, 

Institiutions liturgiques, i, pp369-72. 

40 41

31 FONTENELLE (BERNARD LE BOUVIER, SIEUR DE) Oeuvres 

diverses... Nouvelle Edition Augmenté & enrichie de Figures gravées par Bernard 

Picart le Romain. The Hague, Chez Gosse & Neaulme, 1728-1729. 

Engraved frontispiece to vol I and five plates 

all by Picart, 174 fine head and tailpieces all by 

Picart, title-page vignettes by Picart, titles in 

red and black. 

Three vols. 4to (295 x 230mm). Contemporary 

marbled calf with the ‘Lowther’ crest on covers of 

the Earls of Lonsdale, Lowther Castle, spines gilt 

in compartments. £2,500 

A remArkAble edition oF the works oF 

Fontenelle, ‘a man of wide curiosity and 

learning’, illustrated by Picart, ‘the outstanding 

professional illustrator of the first third of the 

eighteenth century’ (Ray). Cohen simply 

describes Picart’s numerous inventive vignettes 

as ‘Superbes illustrations’. 

Fontenelle (1657-1757) wrote many notable 

works such as his Dialogues des Morts (1683), 

Entretiens sur la pluralité des mondes (1686) – 

which awakened general interest in astronomy and 

popularized the scientific system of inquiry and is 

superbly illustrated by Picart showing the author 

and a lady seated in a landscaped garden the author 

pointing to the sun and planets above – Histoire 

des Oracles (1687) and his Digressions sur les 

Anciens et les Modernes (1688). The OCFL 

assesses his value in the following way, ‘In general 

he was the precursor of the attack which 

before long science was to make on religion, 

unostentatiously encouraging freedom of thought 

by substituting the play of mechanical forces for 

Providence in explanations of natural phenomena’. 

Fontenelle was an important member of the French 

Academies and vol III is dedicated to his writings 

on the Academie des Sciences and his Eloges des 

Academiciens de l’Academie Royale des Sciences 

mort depuis l’an 1699, 51 in all, which include 

éloges of Malebranche, Leibniz, Peter the Great 

and Isaac Newton. This volume is illustrated by 

Picart with delightful vignettes of the various 

branches of the Academie such as Les calculs et 

l’algebre, la philosophie, la botanique, la physique, 

l’anatomie et l’histoire naturelle, l’astronomie et la 

geographie, la chimie and so on, all with playful 

putti taking the place of the distinguished members. 

A fine copy from the library at Lowther Castle. 

Cohen-Ricci 407-8. 

32 GALLUCCI (GIOVANNI pAOLO) Della fabrica, & uso di un novo 

stromento fatto in quattro maniere per fare gli horologi solari ad ogni latitudine, 

con tutte le sorti di hore, che si usano, ilquale si puo usare per horologio ancora. 

[with]: Della fabrica, & uso del novo horologio universale ad ogni latitudine. 

Venice, appresso Gratioso Perchacino, 1590. 

Printer’s device on both title-pages, numerous 

large woodcut illustrations, many full-page, 

woodcut initials. 

Two parts in one. 4to (205 x 153mm) [4], 36, [2]ff [4], 

28ff. Original cartonnage boards backed with 

decorated paper (tears to spine, a trifle soiled). £2,250 

First edition oF these two importAnt 

treAtises on the manufacture and use of time- 

pieces, profusely illustrated with many full-page 

woodcut designs. The work is of extreme 

importance because of the very detailed and well 

illustrated instructions on how to make 

instruments for navigations. One of the earliest 

lunar clocks is shown as well as a compass with 

32 parts. ‘Gallucci describes the needle as 

inclined 10 degrees from the South towards the 

South-West’ (SP Thompson, Notes to Gilbert, 

De Magnete, p58). 

The two unnumbered leaves at the end of the 

first part of the book contain five woodcut 

illustrations, with instructions to the binder for 

cutting them out and using them as volvelles on 

leaves which are specified. Stain affecting top of 

front cover and next few leaves, little foxing, but 

a good, unsophisticated copy. 

Censimento CNCE 20290 & 20289. Riccardi I, 

569. Turner 56. H & L 11389. Tardy 104. 

Loeske p37. 

42 43

33 GALLUS, ABBOT OF KöNIGSAAL Dyalogus dictus 

Malogranatum. [Cologne, Ludwig von Renchen], 1487. 

Folio (290 x 200mm). 346 leaves. Gothic type, 44 lines 

and head-line, double column. Late 16th-century 

blind-tooled Flemish calf over wooden boards, covers 

panelled by fillets and ornamental rolls, title lettered in 

gilt with gilt fleurons in other compartments, the top 

and bottom concealed by paper shelf-labels (clasps 

missing, some rubbing, neat repairs to headcaps). £9,500 

A rAre cisterciAn text and the second of only 

two incunable editions of the Malogranatum 

(Pomegranate), a guide to Christian and monastic 

perfection in three books, first published by 

Heinrich Eggestein at Strassburg, c1473. The 

author Gallus (fl c1370) was the Cistercian abbot 

of Aula-Regia (Zbraslav/Königsaal) and composed 

this work written in the form of a dialogue for his 

monks. Trithemius held him to be very 

knowledgeable in the scriptures and an eloquent 

minister (see ADB). In recent times the work has 

also been attributed to a predecessor, Pierre de 

Zittau (1275-1339), abbot from 1316-1339. 

The Cistercian abbey of Aula-Regia 

(Zbraslav/Königsaal) close to Prague was 

founded in 1292 by the Bohemian king 

Wenceslas II. The monks came from the Sedlec 

Monastery near Kutná Hora and the medieval 

cloister of Aula Regia became the burial place of 

the Bohemian kings. It was closed in 1785 but 

many of the Baroque buildings still survive. 

Provenance: Inscription on title-page ‘Viridis 

vallis in Zonia, 1614’, ie from the library of the 

Canons Regular at Groenendaal (Viridis Vallis in 

Zonia), Hoeilaart near Brussels. 19th-century 

stamp on title of the Franciscan friary at 

‘Pantasaph, Holywell, N Wales’. 19th-century 

bibliographical notes on front fly-leaf quoting 

from François Xavier Laire’s Index librorum ab 

inventa typographia ad annum 1500, vol II, p 105, 

his catalogue of the incunabula in the library of 

Cardinal Loménie-Brienne (1727-94). 

HC 7451. BMC I, 267. BSB-Ink G15.Goff G48 

(three copies). Bod-inc G026. Chevalier I, col 1641. 

34 GARGIARIA (BATTISTA) Aureum caelimundium, 

seu liber de caelo et mundo. [Bologna?, np, 1569?]. 

Woodcut armorial device on title-page, 20 large 

(45 x 45mm) fine white-on-black initials. 

4to (260 x 200mm) XXX, [4], XXX1-XLIIII, [2]ff (last 

leaf blank). Antique style calf-backed marbled boards, 

red morocco label. £2,400 

extremely rAre First And only edition of 

the only published work of Battista Gargiaria 

listed by Censimento Edit 16. We can locate 

only one other copy outside Italy at the Bodleian 

Library, Oxford. 

In Censimento the author is described as a 

Bolognese jurist who flourished in the second half 

of the 16th century, on the title-page he appears 

as ‘Baptista de Galzaria Bonnoniensis’. Gargiaria 

has compiled a digest of opinions on the physical 

nature of heaven and earth. He follows traditional 

Aristotelian distinctions so in the first part we 

have a wide range of views on the essence and 

‘quiddity’ of the heavens. In the second part there 

are discussions on the generation, nature, 

position, magnitude, figure and movement of the 

heavens from Arabic, Hebrew and Christian 

sources as well as those described as astronomers, 

philosophers, theologians, historians, poets and 

magicians. 

Provenance: Early inscription on title-page 

inked out. Stamp on verso of final leaf, ‘Ex libris 

Prof Romuli Meli Romae’. 

Title-page soiled with some paper repairs with 

two letters and a small piece of banner from the 

armorial device expertly replaces in manuscript, 

ff XXXII-XXXIII heavily spotted. 

Censimento Edit 16 CNCE 43850 (7 locations 

only). COPAC (Bodleian only). Not in OCLC. 

44 45

35 GENTILINI (EUGENIO) Il perfeto bombardiero et real instruttione di 

artiglieri... dove si contiene la Esamina usata dallo strenuo Zaccharia Schiavina... 

(Breve discorso in dialogo sopra le fortezze, etc) Venice, Alessandro de Vechi, 1626. 

Numerous woodcut illustrations throughout, 

two full-page, two of double-page width (ff 38v 

& 39r, ff 119v & 120r) and one showing the 

tower of San Marco (f 138v). 

Two parts in one vol. 4to (200 x 145mm) ff [8], 143 

(foliation continuous). Contemporary vellum-backed 

paste boards. £2,500 

A compendious work on Artillery, bAllistics, And 

FortiFicAtion. Both part one and the Discorso, 

which begins on f 113, are cast in the form of a 

dialogue between the two brothers, Eugenio and 

Marino, about those aspects of fortification 

which are of greatest importance for artillery and 

its practitioners – foremost among these the 

placement and protection of the guns themselves. 

First published in 1592 by Francesco de’ 

Franceschi of Siena and reprinted in 1598 and 

1606 by the same firm, and again in 1641, all 

editions of Instruttione de’ Bombardieri... and the 

Dialogo are uncommon. Of this edition, which 

has a dedication from the publisher to Ferdinando 

Rasponi, OCLC locates just four copies 

(Universities of Minnesota and Michigan, New 

York and Boston Public Library) but there are a 

few copies in European libraries (HAB, Munich). 

Provenance: note in pencil at end ‘Salkeld 20. 

12.1884’ This must be a reference to the London 

bookseller John Salkeld who died in 1908 – 

‘John Salkeld, who died lately in London at the 

age of 81, was a second-hand bookseller of the 

good old type, renowned in fiction, encountered 

frequently in literary biography, but not often 

met with nowadays in one’s walks abroad. He 

began to collect old books and sell them in his 

boyhood. He acquired a large knowledge of 

books and literature, and was the friend of many 

eminent bookish men, including Macaulay, 

Thomas, the elder Dilke, and John Forster. More 

than thirty years ago he moved down to 

Clapham Road, where he had a notable 

bookshop. He had acquired many treasures, and 

was concerned in many now historic discoveries 

of rare books and manuscripts. His catalogues 

of his own collections are treasured in the 

Bodleian Library.’ (The New York Times 11 July 

1908). An illustration of his shop at 306 

Clapham Road is found in W. Roberts The Book 

Hunter in London. 

Light browning, small stain at foot of titlepage, 

marginal stain and very slight tear on f 24, a 

few later interpretative notes in pencil. 

Breman no 143. Cockle 669. Riccardi I, 586. 

36 GOLTzIUS (hUBERTUS) C Iulius Caesar sive historiae imperatorum 

Caesarumque Romanorum ex antiquis numismatibus restitutae. Bruges, (apud 

Hubertum Goltzium) 1562. [Bound with:] Caesar Augustus sive historiae 

imperatorum caesarumque romanorum ex antiquis numismatibus restitutae... 

Bruges, (excudebat Hubertus Goltzius), 1574. 

I. Engraved title-page and 57 pages of plates of 

Roman coins, device on verso of last leaf, 

numerous historiated woodcut initials (signed by 

A. Sylvius; first three with later colouring). II. 

Engraved title-page and 83 pages of plates of 

Roman coins, device on verso of last leaf. 

Two works in one vol. Folio (334 x 235mm) [17]ff 

LVIIpp (plates) [3]ff 231pp [24]ff [12]ff LXXXIIIpp 

(plates) 248pp [20]ff. 17th-century vellum over 

pasteboards, overlapping fore-edges, ink lettering at 

head of spine (ties missing). £1,850 

First editions oF goltzius’ numismAtic 

histories oF Julius cAesAr And cAesAr 

Augustus. In the view of bibliographers such 

as de la Fontaine Verwey the superb title-pages, 

engraved plates, and typography placed these 

works among the most beautiful Dutch books of 

the 16th century. 

Funck relates that Goltzius had come to 

establish himself at Bruges in 1558 on the invitation 

of Marc Laurin (the dedicatee of this work); he 

quotes MV Tourneur’s belief that the taste for 

numismatics in the second half of the 16th century 

shows the importance of the role played by this 

series of antique medals. At the end of the first 

work is a preface addressed to well known 

collectors, scholars and patrons in the Low 

Countries, Germany, Italy and France, followed by 

a long list of 978 names arranged by country and 

town; among many of note are the cartographer 

Ortelius, Vasari, Vico, Sambucus, Michaelangelo, 

three members of the Fugger family, Diane de 

Poitiers, Jean Grolier and Adrien Turnèbe. As in 

other copies the date of 1562 on the first title-page 

has been altered to 1563. 

Hubert Goltzius (1526-1583), Belgian painter 

and numismatist was largely taught in the arts by 

his father Rüdiger, himself a painter. His first work, 

published at the age of 21, was Icones Imperatorum 

(1557) dedicated to Phillip II of Spain. He followed 

this by travelling through Germany, France and 

Italy seeking out collections of antiquities to 

advance his research. On his return to Bruges at the 

end of 1560 he had accumulated a great wealth of 

material which he then sought to publish. To this 

end he set up a press in his house and supervised 

himself the execution of the numerous prints that 

were to accompany his works often engraving the 

plates himself to ensure that they conformed to his 

models. In 1567 the Roman Senate accorded him 

the title Citizen of Rome, a most exulted honour 

which brought him the emnity of his fellow 

distinguished but less favoured scholars. 

A large, wide-margined copy; a little marginal 

dampstaining at the beginning and end. 

I Adams G829. Fairfax Murray (German) no 477. 

Funck, p323. II Adams G832. Ref: J Cunnally, 

Images of the Illustrious: The Numismatic Presence 

in the Renaissance (1999), pp41-46. 

46 47

37 [GRANDVILLE (J-J)] STAhL (p-J) AND OThERS Scènes de la vie 

privée et publique des animaux... Paris, J Hetzel et Paulin, 1842. Large woodcut on title-page of Antoninus and 

Frontispiece in each volume and 199 wood 

engraved plates by Grandville, numerous 

head- and tailpieces and vignettes. 

Two vols. Lge 8vo (280 x 190 mm). 19th-century 

brown morocco, covers ruled in gilt and blind with 

large floral cornerpieces, spine with raised bands with 

compartments decorated to a gilt floral design. £2,000 

A Fine copy with the originAl wrAppers 

bound in and also a selection of the yellow paper 

‘livraison’ wrappers found at the end of each 

volume. The publisher Hetzel, who provided 

many of the chapters under the pseudonym of 

Stahl, remarks in his preface that his objective 

was, ‘to give words to Grandville’s marvellous 

animals, and to join our pen with his pencil, 

thereby coming to his assistance in criticizing 

the aberrations of our epoch, and by preference 

among these aberrations, those which are of 

every period and every country.’ As noted in 

Ray, Hetzel and his collaborators were able, 

through Grandville’s animals, to offer a witty 

and telling commentary on contemporary 

politics and personalities. The results were 

acknowledged as the best satire on French 

manners during the middle of the century. 

Today, however, these allusions are largely 

unnoticed but as Ray concludes, ‘Grandville’s 

animals remain as amusing as ever, thanks to the 

wit and verve of his compositions.’ 

Carteret III, 552-559. Ray II, no 194. 

38 hERODIANUS Der Fürtrefflich Griechisch geschicht schreiber Herodianus, 

den der Hochgelert Angelus Politianus inn das Latein, und Hieronymus Boner in 

nachvolgend Teütsch pracht. Augsburg, Heinrich Steiner, 19th August 1531. 

Gordianus (with names in Roman type above), 

by Jorg Breu the Elder after Hans Burgkmair; 

large cut by Hans Weiditz on folio a1 of an 

emperor, two large ornamental woodcut 

tail-pieces by the Master DS, ornamental 

woodcut initials. 

Sm folio (285 x 205mm) [4], 70ff. 18th-century vellum 

backed boards covered with German gilt embossed 

decorative paper (top of spine restored). £2,000 

First germAn edition, translated from the 

Greek into Latin by Angelo Poliziano and from 

Latin into German by Hieronymus Boner who 

describes himself in the dedication as a magistrate 

(Schultheys) in Colmar. The work is a history of 

the Roman Empire from the death of Marcus 

Aurelius to the beginning of the reign of Gordianus 

III (AD 120-128), and Herodianus states he is 

describing events during the period of his own life. 

The bold title woodcut of Emperors Marcus 

Aurelius and Gordianus III is a copy from 

Burgkmair’s illustrations for the Pappenheim 

Chronicle published in the previous year (see 

Dodgson II, p425). The large cut on the first 

page of text is by Hans Weiditz and shows an 

emperor on a throne granting an audience to a 

man in a fur tippet. One of the large woodcut 

initials is also attributed to Weiditz. 

A little marginal watertstaining, and a few 

small round marginal wormholes; many 17thcentury 

annotations in German (which are 

sometimes cropped). 

VD16 H 2503. Adams H391. Muther 1078. 

Fairfax Murray 1078. 

48 49

39 JOSEphUS (FLAVIUS) Opera... nunc vero ad exemplaria Graeca denuo 

summa fide diligentiaq. collata... Basle, ex officina Frobeniana (per Ambrosium 

et Aurelium Frobenios, fratres), 1567. 

Woodcut printer’s device on title and last leaf 

verso, fine large woodcut initials. 

Folio (330 x230mm) [10]ff 910pp [13]ff (first blank). 

Late 16th/early 17th-century limp vellum with 

overlapping edges, blue cloth ties. £1,400 

A Fine copy oF sigismund gelenius’ 

importAnt edition oF Josephus From the 

librAry At steingAden Abbey, a revised version of 

his edition of 1548. It begins with Gelenius’ 

dedication to the Augsburg patrician and 

bibliophile Johann Jacob Fugger (1516-75), 

Count of Kirchberg and Weissenhorn, dated 

1548. There follows a short life of Josephus, and 

the twenty books of De antiquitates Judaeorum 

which covers the history of the Jews from the 

creation to the outbreak of the war with Rome, 

followed by the eight books of the De bello 

Judaico, the history of the Jewish rebellion 

of 67-73 AD, and the two books of De 

antiquitatibus contra Appionem, a defence 

against current misinterpretations of the Jews. 

The final part De Machabaeis, is an account of 

the martyrdom of Eleazar and of seven youths 

and their mother in the persecution under 

Antiochus Epiphanes; the attribution of this 

piece to Josephus is doubtful. The Bohemian 

humanist Sigismund Gelenius (c1498-1554) had 

moved to Basle in 1524, where he first lived in 

Erasmus’ household, and spent the remainder of 

his life there working for the Froben press as 

scholar, editor, corrector and translator from the 

Greek. He worked on the editio princeps of 

Josephus published by Froben in 1544. 

Provenance: Premonstratensians of Steingaden, 

Bavaria, founded in 1147, with their inscription 

on title-page ‘In usum FF Steingadensium. Emptus 

A 1649’, stamped monogram ‘SC’ on the upper 

cover, spine and head of title-page, and engraved 

armorial bookplate ‘Ex Bibliotheca Canonicorum 

Premonstratensium in Steingaden’ dated 1786 

inside front-cover. The monastery was dissolved in 

1803 during the secularisation of Bavaria. 

Duplicate from the Royal Library, Munich, with 

their pencil mark ‘Dpl A 10362’ on fly-leaf. 

VD16 J964. Adams J366. Schweiger p178. 

40 LIBRO D’ORO BENI (ANDREA) Libro de Nobeli Veneti che vanno in 

Gran Conseglio con l’origine, et arme delle loro famiglie: Aggiustato fino li 4 Agosto 

1631 per Andrea Beni. (Venice, dalla Preggion Giustiniana, 9th September 1631). 

Title-page with geometric border of squares in 

brown, blue, yellow and red, two winged angels 

at top corners and a shield with a centaur in the 

middle; c160 fine armorial shields in 

watercolour, only a very few blank. 

Manuscript on paper. 4to (200 x 145mm) [9]ff 212ff 

(of 213ff, f 41 torn away). Written in brown ink with 

first capitals in red, in a neat scribal hand. 

Contemporary limp vellum. £5,500 

A remArkAble survivAl oF A venetiAn 

politicAl guidebook, an essential reference 

tool for members of the Gran Conseglio who 

needed up to date information on their fellow 

counsellors and their families. This Libro d’oro 

was commissioned by Senator Francesco Pisani, 

Podesta of Padua, with a three page dedication, 

and the Pisani arms are pasted inside the front 

cover. The details of births and marriages are 

given for 145 families who had members in the 

Gran Conseglio, as well as a brief history and 

well executed armorial shields in watercolour 

for each family. The Errizo family also has the 

distinction of the Doge’s corno ducale or cap 

being added in red at the head of their entry as 

Francesco Erizzo had been elected Doge on 10th 

April 1631. 

The copyist Andrea Beni, who signs his name 

on the title-page and at the end of the dedication, 

also produced another Libro d’oro, now in the 

Museo Correr (Cod Cicogna 18), and signed it 

‘Questa libro su fatto da me Andrea Beni 

preggion nella giustigiana’ (dated 20 January 

1631). Both were therefore completed in the 

Giustiniana, the name attributed in the 17th 

century to a section of the ducal prison. The 

Giustiniana served as a form of model prison for 

20-30 citizens imprisoned for minor crimes and 

debts. They were mostly educated persons and 

50 51

to maintain themselves, and sometimes to pay 

their debts as well, they completed small tasks. 

Raines notes, ‘Perhaps Beni, imprisoned for a 

minor misdemeanour, completed the commission 

in order to finance his stay in prison’. 

An official Libro d’oro had been created by the 

patriciate in 1506 to record all legitimate births 

and marriages between patricians and their brides 

and thereby prevent fraudulent claims. It became 

increasingly popular throughout the 16th century 

for manuscript copies to be made for private use 

and by the end of the century these were often 

found in a pocket-sized format and usually 

ranged from 8vo to 64mo. Printed versions do 

not occur, Raines notes a unique attempt in 1603 

which was soon abandoned, as the information 

would soon be out of date and the print run 

deemed not large enough to make it economically 

viable. The bespoke manuscript format was far 

easier to update, examples were often revised 

every three to four years, and there is ample 

evidence of this process in the present volume. 

Paper restoration to blank fore-margin of first 

three leaves; a little minor damp-staining here and 

there but generally very fresh. 

D Raines ‘Office seeking, broglio, and the pocket 

political guidebooks in Cinquecento and Seicento 

Venice’, in Studi Veneziani, 22 (1991), pp137-194 

41 LILIUS zAChARIAS, BIShOp OF SEBASTE Orbis breviarium, 

fide compendio ordineque captu, ac memoratu facillimum, felix gratu legito. 

Venice, ad instantiam domini Petri Facoli ditto dal cavallo, [1540]. 

Fine one-piece white on black woodcut border 

on title-page, f5 verso with a ‘TO’ version world 

map and a division of the globe into six zones, 

woodcut initials throughout. 

8vo (155 x 100mm) [88]ff. Contemporary limp vellum 

(spine defective). £1,500 

First published in 1493, only three 16th-century 

editions of this world gazetter are recorded in 

Censimento, an undated edition of c 1505, one of 

Vicenza c 1507 and the present edition. 

Zaccaria Lilio (1452-c1522), Bishop of 

Sebaste, was compiler of this early geographical 

dictionary, the first to condense the writings of 

the ancient and medieval geographers into one 

work. The gazetter illustrates the state of 

geographical knowledge before Columbus’ 

first voyage, with general descriptions of 

Europe, Africa and Asia as well as oceans, 

climates and islands; at the an index lists over 

260 cities. 

Censimento Edit 16 CNCE 36018. BMSTC 

(Italian), p378. 

52 53

42 LIVIUS (TITUS) Römische Historien mit etlichen neuen translation auss 

dem Latein... sampt nun dem vierdten Theyl der Römischen Historien auss fünff 

lateinischen Büchern Liuii, jetzt newlich im[m] Closter (Lorss genant) erfunden... 

verteutscht, zwey durch Nicolaum Carbachium, die ander drei durch Jacobum 

Micyllum. Mainz, Johann Schöffer, 1533. 

Four section titles with elaborate woodcut 

borders and 248 large text-woodcuts (some 

nearly full-page) made up of 153 blocks. Each 

woodcut is composed of one or up to four 

different blocks. The woodcuts are mostly 

attributed to Conrad Faber von Creuznach, 

in addition 15 blocks by the Meister vom 

Freiburger Altar, taken from the Strassburg 

edition of 1507, were also used; Schöffer’s 

device designed by Faber at end. 

Folio (315 x 205mm) [14], CCCCCXLV, [1]ff. 

Contemporary blindstamped pigskin over bevelled 

wooden boards, covers panelled by blind fillets, an 

outer ornamental roll and an inner historiated roll, 

clasps and catches (neat repair to small splits to 

upper joint). £5,500 

A Fine copy oF the most complete edition 

oF this importAnt germAn trAnslAtion oF 

livy. It was the first to include books 41 to 45 

translated by Nicolas Fabri von Carbach and 

Jakob Micyllus which form the fifth decade (fols 

451-545). In 1530 Carbach had discovered the 

five new books in a manuscript of Livy in the 

Kloster Lorsch, a discovery which is highlighted 

on the title-page. Schöffer had previously 

printed a new edition in 1523 based on Bernhard 

Schöferlin’s 1505 translation with the addition 

of books 33 to 40 translated by Ivo Wittig and 

Fabri von Carbach to end the fourth decade. 

Schöffer commissioned new woodcuts for the 

1523 edition and they are used here. The superb 

woodcuts by Conrad Faber von Creuznach (c 

1490-1533) represent his most significant work 

in book illustration and are famous for their 

landscapes. These are contemporary German 

landscapes and not Roman imaginations and are 

said to be taken from sketches Faber made 

during his travels in the Middle Rhine. The same 

applies to Faber’s Roman soldiers and senators 

who are shown in 16th-century attire and 

one can recognize portraits of the emperor, 

Philipp of Hesse, and Luther amongst others. 

Faber was later to become the favoured 

portraitist of the Frankfurt patriciate in the 

first half of the 16th century. 

Provenance: Armorial bookplate of A 

Broleman. A little light foxing in places but 

generally a very good copy. 

VD16 L 2107. Adams L1359. Schweiger I, 

p545. Not in BMSTC (German). Ref: E 

Thormählen, Der holzschnittmeister de Mainzer 

Livius Illustrationen in Gutenberg-Jahrbuch 

1934, pp137-54. 

54 55

43 LIVIUS (TITUS) Romanae historiae principis, libri omnes quotquot ad 

nostram aetatem pervenerunt... Frankfurt, (apud G Corvinum, S Feierabend, 

et haeredes W Galli), 1568. 

Title within superb woodcut border, and 94 

(including 25 repeats) large text woodcuts 

(150 x 110mm) by Jost Amman, most signed 

with his monogram; printer’s device on each 

part title-page, woodcut intials. 

Six parts in one vol. Folio (410 x 245mm) [18]ff (last 

blank) 988pp [10]ff 56pp [6]ff 119pp 82ff 112pp 93pp 

[1]f. Contemporary blind tooled pigskin over bevelled 

wooden boards, covers panelled with rolls and fillets, 

three historiated with half-length Biblical figures and 

medallions heads of the reformers (splits to front 

cover and spine). £3,000 

First edition to be illustrAted with the 

Fine woodcuts of the Swiss draughtsman, 

woodcutter, engraver, etcher and painter Jost 

Amman (1539-1591). All the woodcuts listed by 

Becker are newly cut for this edition save four 

which are from the Thurnierbuch of 1566. Ilse 

O’Dell-Franke notes in Grove, that a great 

number of Amman’s woodcuts for the Livy 

are after drawings by Hans Bocksberger the 

younger (fl 1564-79). She also concludes that 

‘Amman enjoyed a high reputation among his 

contemporaries and proved an influential source 

for later artists such as Peter Paul Rubens, 

Rembrandt and Joshua Reynolds’. 

‘An uncommon and magnificent edition: it 

has a number of curious woodcuts, and the 

typography is exceedingly splendid. The 

connoisseur will discover many singular traits in 

the engravings – the bustle of a battle and 

solemnity of a march are sometimes well 

represented – but he will smile on finding cannons 

and bombs introduced in a Roman siege. The text 

is printed with frequent contractions, but, from 

what I have perused, it is not incorrect. The 

engravings, and general splendour of the volume, 

will always render it a great acquisition to the 

library of the curious’ (Dibdin). 

Following the extant works of Livy the 

additional parts to this fine edition of include 

Joachim Grellius’ Chronologia in Titi Liuii 

Historiam, Carlo Sigonio’s Scholia, quibus Titi 

Liuii Patavini historiæ, et earum epitomæ... 

explanantur and Wilhelm Godelevaeus’ In Titi 

Liuii Patauini historiarum ab vrbe condita 

libros... omnes, obseruationes’. 

Provenance: Stamp on titles of ‘Stadtbibliothek 

zu Homberg’ (with cancellation). 

A small scattering of wormholes at the 

beginning but generally a good, fresh copy. 

VD16 L2099. Adams L1345. BMSTC 

(German), p521. Dibdin II, pp166-7. Becker, 

Amman 12a. 

56 57

44 MAChIAVELLI Princeps. Ex Sylvestri Telii Fulginatis traductione diligenter 

emendata... Basle, 1580. [Bound with:] Vindiciae contra tyrannos: sive de 

principis in populum, populiq, in principem. legitima potestate. [Np, np], 1580. 

Woodcut vignette on title-page, woodcut initials. 

8vo (165 x 105mm) [8]ff 264 (ie 262pp) [5]ff [6]ff 

303pp [1]f. Contemporary vellum over paste-boards, 

title lettered in ink on spine. £1,700 

A rAre vAriAnt of the 1580 Petrus Perna 

edition of Sylvestre Tellio’s Latin translation of 

Il Principe. The dedicatory epistle from the first 

issue has been replaced with ‘Typographus 

candido lectori sd’ and ‘De Nicolao Machiauello 

p Iouij elog.’ Perna had previously published 

Tellio’s translation in 1560 but here it is 

reprinted with the important addition of the 

Hugenot tract Vindiciae contra tyrannos, which 

is referred to on the Princeps title-page as 

‘scripta de potestate & officio principum, & 

contra tyrannos’. 

This influential tract Defences [of Liberty] 

Against Tyrants, written in the same decade as 

the St Bartholomew’s Day Massacre of 1572, ‘is 

an eloquent vindication of the people’s right to 

resist tyranny, while affirming that resistance 

must be based on properly constituted authority’ 

(PMM 94). It was first published in 1579 also in 

Basle, although with a fictitious Edinburgh 

imprint, and is usually attributed to Hubert 

Languet (1518-81) or possibly Philippe de 

Duplessis-Mornay (1549-1623), and formerly, 

to Beza, Hotman, and others. 

Provenance: Armorial bookplate of Prinz 

Ludwig zu Windisch-Graetz (1830-1904), 

Sarospatak, Hungary. A wax seal on front free 

endpaper is stamped over an inscription from 1881. 

Bertelli/Innocenti sec XVI, *167. Gerber III, 

68, 2c VD16 M10. 

45 MAGNUS (OLAUS) Historia de gentium septentrionalium variis 

conditionibus statibusue... Basle, ex officina Henricpetrina, March 1567. 

[Bound with:] pANTALEON (hENRICUS). Militaris ordinis Iohannitarum, 

Rhodiorum, aut Melitensium Equitum, rerum memorabilium... historia nova. 

Basle, [Tomas Guarinus] 1581. 

I Woodcut printer’s device on title-page and 

verso of last leaf, large folding ‘Carta Marina’ 

map of Scandinavia, and c 450 fine woodcuts. 

II Woodcut printer’s device on title-page, 

Pantaleon’s portrait on a5v and c 60 (including 

repeats) woodcut maps, views and portraits 

(some full-page), including Jerusalem, the 

Middle East, Cyprus, Rhodes, Constantinople, 

Belgrade, Greece, and Malta. 

Two works in one vol. Folio. (320 x 207mm). 

Contemporary pigskin over bevelled wooden boards, 

covers panelled with fillets and rolls, central panelstamp 

of Justicia (90 x 50mm) on upper cover and 

Lucretia on lower cover, clasps and catches intact 

(slight tear on lower cover). £12,000 

First bAsle edition richly illustrAted with 

the Fine Folding woodcut mAp cArtA mArinA oF 

scAndinAviA copied from the original wall map 

of 1539 and with newly cut text woodcuts based 

on those used in the first edition of Rome 1555. 

The large folding woodcut map of northern 

Europe is a reduced and simplified copy of the 

Olaus Magnus’ huge Carta Marina wall map of 

1539 (of which only two copies are extant). The 

map shows Scotland in the west, central Russia in 

the east, southern Sweden in the south and 

Greenland (Gruntlandia) in the north. It was 

formerly attributed to JB Fickler but has been 

identified by Grenacher as being the work of the 

Basle form-cutter Thomas Weber (monogram 

‘THW’ and date 1567 in bottom right-hand 

corner). Grenacher was of the opinion that the 

map was designed for a projected Basel edition of 

Ptolemy, which was never completed. 

Magnus’ Historia, his great description of the 

Scandinavian peoples, is divided into twenty-two 

books, and examines the manners and customs, 

the commercial and political life of northern 

nations, the physical proportions of the land and 

its minerals and zoology. Illustrated throughout 

with vivid woodcuts after Magnus’ own drawings 

58 59

which cover an amazing range of subjects, 

from geography and climate, local customs, 

occupations (including painting and coinage) to 

methods of warfare, animals and fish, witchcraft 

and superstition. Sten Lindroth states in the 

DSB that Magnus was a pioneer in the 

geographic research of Scandinavia; his Carta 

Marina was indispensible for later cartographers 

and the Historia for generations informed 

educated Europeans about Scandinavia. 

Olaus Magnus (1490-1557) was born in 

Linköping and studied in Sweden and abroad 

before embarking on his travels throughout 

Scandinavia which took him as far as the 

wilderness of Norrland and the high mountains 

of Norway. On his return he became a vicar in 

Stockholm and dean of the cathedral in Strangnas. 

His brother was Johannes Magnus, Archbishop 

of Uppsala, and both spent several years in 

Danzig while the Lutheran Reformation took 

hold in Sweden. They eventually settled in Rome 

in 1537, never to return to Sweden and, after the 

death of Joannes in 1544, Olaus succeeded him as 

Archbishop of Uppsala in exile. 

II. First edition of Pantaleon’s contemporary 

history of the Order of St John, the Knights of 

Malta, with many maps illustrating their sphere 

of influence in the Eastern Mediterranean, from 

the Holy Land, to Cyprus, Rhodes and Malta. 

The Order’s international sovereignty allowed it 

maintain and deploy armed forces, including a 

powerful navy, in defence of Christendom and 

further Crusades took place in Syria and Egypt 

following the expulsion from the Holy Land in 

1291. After the fall of Rhodes in 1523 a 

permanent home for the Order was found in 

1530 when the island of Malta was granted to 

the Order by Emperor Charles V with the 

approval of Pope Clement VII. In 1565 the 

Knights, led by Grand Master Fra’ Jean de la 

Vallette, defended the island for more than three 

months during the Great Siege by the Turks. The 

fleet of the Order, then one of the most powerful 

in the Mediterranean, contributed to the 

ultimate destruction of the Ottoman naval 

power in the Battle of Lepanto in 1571. 

Pantaleon (1522-95) was professor at Basle 

University and Poet Laureate. 

A superb copy in a finely preserved 

contemporary blind-stamped pigskin binding. 

Provenance: Jacobus Reutlinger (1545-1611) 

of Uberlingen on Lake Constance with his 

inscription on title-page and armorial ownership 

stamp dated in manuscript 1581. Inscriptions of 

Joa. Guilielmus Reutlinger, Canon Mattheus 

Kofer of Uberlingen and Fr. Johannes Baptista. 

I VD16 M 225. Adams M141. cf Mortimer 

Italian 270. II VD16 P223. Adams P178. 

References: F Grenacher, Imago Mundi XIII 

(1956), p17. 

60 61

46 MAROT (CLEMENT) [Oeuvres]. Lyon, par Iean de Tournes, 1558. 

Fine portrait of Marot on title-page with the 

legend LMNM. ‘La mort n’y mord’ and 22 

woodcut illustrations by Bernard Salomon. 

Two parts in one vol. 16mo (122 x 75mm) [13]ff 

597pp 314pp [1]f. 19th-century marbled calf signed by 

Lloyd, triple gilt fillet on covers, spine richly gilt in 

compartments, red morocco labels, ge. £2,200 

this much revised edition of the poet 

Marot’s Oeuvres was first published by de 

Tournes’ in 1553 but without the portrait of 

Marot which is found here for the first time. 

Cartier states that the portrait shares many 

similarities with an authentic portrait that once 

belonged to Marot’s collaborator Théodore de 

Béze. The first part contains his poetic works 

while the second holds his translations of the 

classics including two books of Ovid’s 

Metamorphoses which are illustrated with the 

fine woodcuts of Bernard Salomon. An edition 

of Marot’s works had first been published in 

1538 with de Tournes’ first appearing in 1546; 

all early editions are rare. 

Provenance: Armorial bookplate of 

Bibliotheca Trautner-Falkiana, ie the library 

of the Augsburg bibliophile Hans-Joachim 

Trautner (1916-2001). Somewhat tightly bound 

but otherwise a good copy. 

Cartier 409 (& 253 for details of revisions). 

BMSTC (French), p303. Tchemerzine VIII, p37. 

Brunet III, col 1457. Not in Adams. 

47 MARTYROLOGY Martyrilogium viola sanctorum. 

(Strassburg, p[er] honestu[m] Matthia[m] Hupffuff, 1516). 

Fine one-piece woodcut title border with 

printer’s monogram in shield at foot, woodcut 

tailpiece and initial. 

4to (202 x 142mm) [6]ff XCIXff [1]f (blank). 

Antique style panelled calf. £1,200 

A scArce strAssburg edition of this early 

martyrology. At the beginning is an alphabetical 

register of martyrs and saints followed by the 

martyrology which is arranged in the calendar 

order of their feast days. 

VD16 V1249. BMSTC (German), p895 

(imperfect). Adams M798. 

62 63

48 MAzARINADES A collection of 84 Mazarinades, almost all from 1652, in 

a contemporary binding, each numbered with a manuscript label and recorded 

in a 10pp manuscript index ‘Table des pieces’ at the end, extra-illustrated with 

seven engraved portraits by Balthasar Moncornet. Paris and elsewhere, 1652. 

Portraits of Henry de la Tour, Mathieu Molé, 

Charles Emanuel de Savoie duc de Nemours, 

Charles de Lorraine duc de Guise, Anthoine 

Daumont Rochebaron, Cardinal Mazarin, Louis 

de Vendosme duc de Mercoeur, all by the French 

painter, engraver and printseller Balthasar 

Moncornet (1600-68), engraved frontispiece for 

Le courier François (no 79) unsigned; woodcut 

arms and vignettes on some titles including a 

portrait of Nostradamus (no 10). 

Thick 4to (230 x 160mm). Contemporary mottled calf, 

double gilt fillet on covers, spine gilt in compartments and 

lettered ‘Recueil 1552’ (joints, headcaps restored). £4,000 

A FAscinAting collection oF mAzArinAdes 

produced towards the end of the Fronde, the series 

of civil wars which afflicted France during the 

minority of Louis XIV. These pamphlets, in verse 

and prose, often scurrilous and mainly anonymous, 

were written in protest at, or sometimes in defence 

of, Cardinal Jules Mazarin (1602-1661) and his 

policies at the time. Mazarin was chief minister and, 

with the Queen Mother, Anne of Austria, the 

real power behind the throne of the boy 

king Louis XIV. The Mazarinades 

provide a fascinating insight into 

the political and social turmoil in 

France during the mid-17th 

century. Their numbers ran into 

the thousands, possibly to 5000 

or above, and some of the 

examples by writers such as 

‘Sandricourt’ (represented here 

by nos 19 L’accouchee 

Espagnole, 59 Le procez du 

Cardinal Mazarin, 72 Le politique 

lutin and 76 Response pour son altesse 

Royalle a la lettre du C Marzarin sur son retour en 

France) have real literary merit. 

Their importance is summed up by Walsh, 

‘Pamphlets, broadsides, and similar pièces 

d’occasion are of incalculable value to the historian, 

capturing as they do the passions of the moment 

and recording actions, reactions, and attitudes in 

quick, unstudied, unpolished prose or verse that are 

often more revealing than the most carefully 

composed accounts written years later... No one can 

study or write about any aspect of the early years of 

Louis XIV, that monarch who was to make himself 

the most absolute in modern history, without taking 

the Mazarinades into account’. (James E Walsh, 

Mazarinades, Harvard, 1976). 

Moreau describes at least 15 as rare and five are 

unlisted: 3 La Genealogie de Mr le premier 

president, garde des sceaux, & ministre d’Estat en 

France. 29. La deffence du pet, pour le galant du 

Carnaval par le sieur de S And. 39 Le manifeste de 

Monseigneur le duc de Beaufort. 43 Suitte veritable 

des conferences de Piairot de S. Ovyn ey Iannin de 

Montmorency. 49 Lettre escrite de Potiers du XX 

Ianvier MDCLII. 82 Arrest de la cour de 

parlement, portant reglement pour le 

cours & l’exposition des Monnoyes. 

Du 10 Ianvier 1652. 

Signature on fly-leaf inked 

over. A little browned and 

spotted in places. 

Celestin Moreau Bibliographie 

des Mazarinades, Paris, 1850- 

51. Hubert Carrier, La presse 

de la Fronde (1648-1653): 

Les Mazarinades, Geneva, 

Droz, 1989. 

Full list oF moreAu numbers 

AvAilAble on request. 

49 MUNTz (GEORG) Ein wunigkliche, schöne, nutzliche und notwendige 

Predig, dern inhalt, welches zu diser unser Zeyt inn teutscher Nation, under den 

funff schwebenden Glauben, die rechte und allein seligmachende Religion sey: 

die bäptistlich, lutherisch, zwinglish, widertäfferisch oder caluinish. 

Thierhaupten, [Klosterdruckerei], 1592. 

Fine full-page woodcut (110 x 77mm) on verso 

of fol 5 with monogram of Hans Schäufelein, 

half-page woodcut of the Crucifixion on recto of 

fol 30 and of the Trinity on the verso; title within 

ornamental border, vignette. 

Sm 8vo (155 x 100mm) [1], 30 ff (lacks final blank). 

19th-century vellum backed paste-boards. £1,600 

rAre First edition of one of a small number of 

books printed by the monastic press at the 

Benedictine abbey of Thierhautpten, Bavaria, in 

the 1590s. VD16 lists 22 imprints published 

between 1591-99 all of which are seldom found 

outside Germany. In the UK although the British 

Library holds eight examples the only other 

Thierhaupten printing is found at Oxford. OCLC 

records only single examples of works located in 

the USA at the Folger, Michigan and Wisconsin 

universities, and in France at the Bibliothèque 

National. It is thought that the press was operated 

by Josias Wörli who had previously printed at 

Augsburg between 1579-1590. 

The present work appears to be the only 

publication of the Dominican Georg Müntz who is 

described on the title-page as a preacher at Botzen 

(South Tyrol). The full-page woodcut is a late 

impression of a woodcut by the great Hans 

Schäufelein (1480-1540) whose ‘shovel’ monogram 

appears in the complicated composite scene which 

includes Christ’s Crucifixion and Resurrection. 

The Benedictine monastery of SS. Peter and 

Paul at Thierhaupten, one of the oldest in Bavaria, 

was founded in the 8th century. 

A little stained in places but generally fresh. 

VD 16 M6739. OCLC (British Library & Folger 

only outside Germany). 

64 65

50 NAOGEORGUS (ThOMAS) Regnum papisticum. Opus lectu iucundum 

omnibus veritatem amantibus: in quo Papa cum suis membris, vita, fide, cultu, 

ritibus, atque caeremoniis... describuntur. [Basle, J. Oporinus], June 1553. 

Sm 8vo (167 x 105mm) 171, [1] ff. Late 19th-century 

half-green morocco over boards, spine lettered and 

ruled in gilt. £950 

First edition, dedicated to Philip Landgrave of 

Hesse, of Naogeorgus’ polemical and unrestrained 

denunciation in neo-latin verse of the Catholic 

Church, attacking not only the papacy itself but 

also the rites and ceremonies of the church and 

practices such as the granting of indulgences and 

the cult of saints. It was translated by the poet 

and passionate protestant Barnaby Googe into 

English and published as The Popish Kingdome, 

or, Reigne of Anti-Christ, London 1570. 

Thomas Naogeorgus (or Kirchmeyer; 1509- 

63) was a Calvinist-orientated theologian, as well 

as a polemical dramatist of a pointedly antipapal 

but also anti-Lutheran orientation. He was raised 

a strict Catholic and became a Dominican but left 

the order in 1526 to pursue a humanist education. 

Subsequently he became a protestant minister 

and produced a number of literary works which 

found favour at the court of Saxony. The 

patronage of the court also offered him some 

protection once he dissented from the Wittenberg 

theologians. This controversy was moderate to 

begin with but became fundamental from 1546 

as Naogeorgus took the Zwinglian view of 

Communion. He then moved from city to city in 

southern Germany and Switzerland and finally 

found a welcome at the court of the Calvinist 

Elector Frederick III of the Palatinate. Although 

he published a number of theological and 

philological works, and translations of classical 

authors, he is best known for his three antipapal 

plays Pammachius (1538), Mercator (1540), and 

Incendia (1541) and three biblical ones Hamanus 

(1543), Hieremias (1551) and Judas (1553). He 

was suitably versatile as a neo-latin poet and 

dramatist, humanist and theologian and 

throughout emphasized education as the primary 

method to attain piety. 

Provenance: Ownership inscription inside 

front-cover of ‘John W Hales, 1883’. 

BMSTC (German), p471. VD16 K985. Adams 

N32. G Oberle. Poetes Neo-Latins (1988), pp126/7, 

nos 137/138. Ref: HJ Hillebrand in the Oxford 

Encyclopaedia of the Reformation, II, p378. 

51 NOVERRE (JEAN GEORGES) Lettres sur la danse, et sur les ballets. 

A Stutgard, et se vend à Lyon, chez Aimé Delaroche, 1760. 

Engraved arms of the Duke of Württemberg 

on dedication leaf. 

8vo (175 x 105mm) [2]ff 484pp. 18th-century 

French mottled calf, ornamental gilt spine, 

morocco label. £1,400 

First edition, first issue with the imprint: 

‘Stutgard’, of this very important of collection of 

letters. Noverre called for the traditional forms of 

ballet, which he felt to be uninspired, to be 

banned from the repertoire and replaced by 

completely new forms. Although he was 

appointed head of Ballet de l’Académie Royale de 

Musique, Noverre gained great animosity from 

his contemporaries and it was left to his 

successors to put his new ideas into place. 

‘No book has exerted so incalculable an 

influence for good on the manners and production 

of ballets and dances’ (Beaumont, pp134-5). 

Noverre wrote many ballets and founded the 

Stuttgart Ballet at the court of the Dukes of 

Württemberg. In 1767 he moved to Vienna where 

he collaborated with Glück, and in 1774 he was 

working in Milan. 

Armorial bookplate of Anatole Bassseville. 

In excellent condition. 

IK Fletcher, Forty Rare Dance Books, no 34. En 

Français dans le Texte, no 161. 

66 67

52 OVIDIUS NASO Metamorphoseon libri XV. In singulas quasque fabulas 

argumeta. Ex postrema Iac Micylli recognitione. Frankfurt, (Georgius Corvinus, 

Sigismund Feyerabent & heirs of Wigandus Gallus, 1563. 

Printers’ device on title-page, and 178 half-page 

woodcut illustrations by Virgil Solis. 

Sm 8vo (173 x 100mm) [8]ff 573pp [9]ff. 

Contemporary German blind-tooled pigskin, covers 

panelled with medallion and shield roll, central panel 

on front cover of Justicia and on lower cover of 

Lucretia, both shown in contemporary dress. £2,800 

A superb copy in its First binding of only the 

second edition of Ovid’s Metamorphoses to be 

illustrated with the fine woodcut illustrations of 

the German mannerist Virgil Solis (1514-1562). 

The great Nuremberg artist and engraver was 

commissioned by a consortium of Frankfurt 

printers, namely Sigmund Feyerabend, Corvinus 

and Gallus’ heirs, to produce the illustrations 

which were first published in 1563. Solis modelled 

his woodcuts on those provided by the Lyonese 

artist Bernard Salomon for the De Tournes’ edition 

of 1557. His lively interpretations proved 

immensely popular with the blocks being re-used 

in c25 editions up to 1652, with accompanying 

texts in Dutch, Flemish, German, Latin, and 

Spanish. Solis has been described as the most 

prolific graphic artist in mid-16th century 

Germany with over two thousand prints and book 

illustrations attributed to his workshop. He was 

active from 1540 until his death in 1562 as a 

graphic artist, and probably painter, noted for his 

designs for goldsmiths and his copies after other 

masters. Following Hans Sebald Beham’s death in 

1550 he became the principal book illustrator for 

Feyerabend and other Frankfurt publishers. 

Provenance: Contemporary ownership 

inscription on title-page. Early ownership 

(partly erased) and two 18th-century ownership 

inscriptions on front free endpaper. Armorial 

bookplate of Thomas Philip Earl de Grey, West 

Park, inside front cover. 

Small ink stain to front endpaper and fore-edge, 

not affecting margins or text. 

VD16 O1651. Schweiger 649. Not in BMSTC 

(German) or Adams. Only a three copies listed 

on OCLC outside Germany (Victoria & Albert 

Museum, BN Madrid, and Bowdoin College, 

Maine). Ref: Grove Dictionary of Art, vol 29, 

pp43-44. 

53 OVIDIUS NASO) Metamorphoseon libri XV. Raphaelis regii Volaterrani 

luculentissima explanatio, cum novis alterius viri eruditissimi, additionibus... 

Venice, apud Nicolaum Moretum, 1586. 

Printer’s device on title-page and 60 woodcuts 

(c 60 x 80mm), woodcut initials. 

Folio (300 x 210mm) [6]ff 315pp [1]f. Contemporary? 

vellum-backed cartonnage boards. £1,500 

A Fine lAte 16th-century edition of the 

Metamorphoses richly illustrated with unsigned 

woodcuts reminiscent of editions of much earlier 

in the century. The central column of text and 

illustration is flanked by extensive commentaries 

of Raffaele Regio and others to the left and right 

and sometimes at head and foot as well. 

17th-century ink drawing on rear endpaper 

and some pen trials. 

Light dampstaining affecting a few quires but 

generally a fresh copy possibly in its original 

‘interim’ binding of cartonnage boards. 

Censimento Edit 16 CNCE 31201. Adams O502. 

BMSTC (Italian), p481. Schweiger II, 649. 

68 69

54 pETIT (pIERRE)Disseration sur la nature des cometes au Roy. 

Avec un discours sur les prognostiques des eclipses & autres matieres 

curieuses. Paris, chez Thomas Jolly, 1665. 

Folding engraved planisphere celeste, engraved 

plate and six woodcut text diagrams. 

4to (212 x 156mm) 350pp [18]ff. Contemporary 

mottled calf with gilt ecclesiastical arms on covers, 

spine gilt in compartments with gilt monogram ‘HC’ 

(repairs to head and foot of spine, some wear to 

covers, new endpapers). £2,200 

First edition oF this importAnt work on comets 

dedicated to Louis XIV. Petit (1594-1677) was 

an influential figure in government and scientific 

circles in mid-17th century France. He 

advocated the establishment of scientific 

organisations and the value of experimental 

science notably in the field of astronomy. Petit 

himself had a fine collection of astronomical 

instruments and several of these were of his own 

invention, notably a filar micrometer to measure 

the diameters of celestial objects such as the sun, 

moon and planets, later used by Cassini. He was 

a regular correspondent of Oldenburg, secretary 

of the Royal Society in London, and was one of 

the first foreign fellows of that Society when 

elected in April 1667. The present work was 

praised in England and on the Continent for the 

accuracy and completeness of its observations 

and discussions. 

DSB X, pp546/7. 

55 pETRARCA (FRANCESCO) (MALIpIERO (GIROLAMO)) 

Il Petrarcha spirituale. (Venice, stampato Francesco Marcolini, 1536). 

Fine title-page woodcut of Petrarca (118 x 96mm) 

within an ornamental frame and on verso a 

woodcut of Malipiero speaking to Petrarca on 

the edge of a forest with Arquà and the poet’s 

tomb in the distance, signed ‘B’ with a crossbar. 

4to (207 x 150mm) 161 (ie 159f) ff. Bound in dark 

blue/black morocco in antique style by Rinda of Milan, 

signed along inner edge, with central gilt arms on 

covers of the Marchese d’Adda. £2,400 

First edition of Girolamo Malipiero’s (1480- 

1547) theological and spiritual rendering of 

the Canzoniere. The delightful woodcut of 

Malipiero’s meeting with Petrarca introduces an 

imaginary dialogue between the two of June 8 

1534 in which the poet asks the Franciscan to 

adapt his work for spiritual uses. L Panizza 

explains that Malipiero’s solution to ‘correcting’ 

the Canzoniere, ‘giving Wisdom and Virtue a 

chance to prosper, and, of course, procuring 

Petrarch’s salvation’ is to banish Laura ‘because 

she led Petrarch astray, and must not be 

allowed to tempt imitators of Petrarch’s lyrics to 

sensual adulterous lusts’. Malipiero also provides 

a poetics of Franciscan spiritual poetry (ff 89-97), 

‘His ambition is evidently to take advantage of 

and compete with the tidal wave of Petrarch 

enthusiasm by relaunching a vogue for mystical 

poetry going back to Jacopone da Todi and 

his followers’. 

Printed by Marcolini in his fine Italic type 

‘with some unusual swash capitals’ (Mortimer). 

Our copy has the correction on C1r, changing 

‘Devenuto’ to ‘Divenuto’, as noted by Mortimer 

in some other copies. 

Provenance: Gilt arms on covers of Marchese 

d’Adda. Bookplate of Erich von Rath. 

A fine clean copy, neat repair to the blank 

inner margins of last four leaves. 

Adams P803. Sander II, 4378. Essling part 2, 

vol II, 666. Speck no 638. Casali, Marcolini, 

pp21-26, no 14. Ref: Letizia Panizza, 

Impersonations of Laura in 16th- and 17th- 

Century Italy, Proceedings of the British 

Academy, 146 (2007), 177-200. 

70 71

56 pETRARCA Il Petrarca con l’espositione di M. Alessandro Vellutello: di 

nuovo ristampato con le figure a i Trionfi, con le apostille, e con piu cose utili 

aggiunte. Venice, appresso Nicolo Bevilacqua, 1563. [Bound with:] AMADI 

(Anton Maria). Ragionamento di M Anton Maria Amadi intorno a quel sonetto 

del Petrarca che incomincia; Quel; che infinita providentia, & arte; Tratto dal suo 

Convivio, sopra’l Canzoniere di esso Petr. celebrato, come nella seguente lettera 

appare. Padua, appresso Gratioso Percacino, 1563. 

I Printer’s device on title-page, historiated 

cartouche above title, six woodcuts 60 x 78mm 

for the Trionfi, cartouche headpieces and initials. 

II Printer’s device on title-page, woodcut initials 

Two works in one vol 4to (207 x 147mm) [12], 213, 

[3]ff [4], 42, [2]ff (last blank). 19th-century vellum, 

spine ruled in gilt (lightly soiled). £1,250 

i A hAndsome edition of Petrarca’s Sonetti, 

Canzoni e Triomphi with the commentary of 

Vellutello. The elaborately composed woodcuts 

for the Triomphi of processions against a 

landscape background illustrate superbly the 

triumphs of Love, Chastity, Death, Fame, Time 

and Divinity. 

II First and only edition of Anton Maria 

Amadi’s extensive commentary of the fourth 

poem of Petrarca’s Canzone, ‘Que’ ch’infinita 

providentia et arte’ (What infinite providence and 

art). Little is known of the author and Censimento 

lists only one other work by him, Annotationi 

sopra vna canzon morale; in che alcuni utili 

discorsi si contengono, & molti errori si scoprono 

de’ moderni intorno alla lingua toscana, & al 

Boccaccio. Con un brieue, & catolico discorso 

del santissimo sacramento dell’altare, contra 

Gio. Caluino published in a single edition of 

Padua, Lorenzo Pasquatto, 1565 (Censimento 

Edit 16 CNCE 1381). 

Provenance: Near contemporary initials either 

side of printer’s device ‘CR’. Seven lines of early 

notes in Latin on blank verso of final leaf of second 

work. Inscription at head of title-page of ‘? 

Dunlop, 1797’. Armorial bookplate of John 

Charles Wilson, his inscription on fly-leaf dated 

1858. Inscription beneath of CG Allen, Nov 1934. 

Small paper repair to blank lower outer of 

title-page, upper margin closely cropped by the 

binder but no loss to headlines. 

I Censimento CNCE 33478. Fiske/Fowler 107. 

Speck 301. Not in Mortimer. II Censimento 

CNCE 1380. BMSTC (Italian), p22. Fiske/ 

Fowler 199. Speck 673. 

57 phILOSTRATUS Opera quae exstant. Philostrati iunioris imagines, et 

Callistrati ecphrases… Graece Latinis è regione posita; Fed Morellus Professor 

et interpres regius cum Mss. contulit, recensuit: et hactenus nondum Latinitate 

donata, verit… Paris, ex officina typographica Claudii Morelli, 1608. 

Printer’s device on title-page, title in red and 

black, fine foliate headpiece and initial, text in 

Latin and Greek in double columns. 

Folio (345 x 220mm) [14]ff 914pp [11]ff. 18th-century 

marbled calf, label on spine. £1,200 

First collected edition of the writings of Flavius 

Philostratus (2nd/3rd c), Philostratus of Lemnos 

(3rd c) and Philostratus the Younger (3rd c) as well 

as writings from Callistratus (3rd/4th c), all edited 

and translated from the Greek into Latin by 

Fédéric Morel (ca 1552-1630). The work is 

beautifully printed in fine large Greek types by the 

King’s printer Claude Morel, brother of Fédéric. 

Flavius Philostratus’ most important works 

were his life of the Pythagorean philosopher 

Apollonius of Tyana, commissioned by the Syrian 

Empress of Rome, Julia Domna, his Lives of the 

Sophists, which began with the classical Sophists 

of the 5th c BC and ended with the philosophers 

of his own times, and the Heroicos, a dialogue in 

which the dead heroes of Troy appear. Of his 

letters, one was to inspire Ben Jonson’s ‘Drink to 

Me Only with Thine Eyes’. Philostratus of 

Lemnos, the son-in-law of the above, was author 

of the first series of the Imagines discussing 65 

real or imaginary paintings on mythological 

themes housed in Naples, with his grandson, 

Philostratus the Younger, composing a second 

series. The Sophist Callistratus’ descriptions of 

fourteen statues, also found here, is in imitation 

of the Imagines. 

Provenance: From the library of St Benedict’s 

Abbey, Fort-Augustus, Scotland, with their label 

and shelf-mark. 

Hoffman III, 77. Schweiger 231. 

72 73

58 pICART (BERNARD) 

Le temple des muses ... 

ou sont représentés les 

evenemens les plus 

remarquables de l’antiquité 

fabuleuse. Amsterdam, 

Zacherie Chatelian, 1733. 

Engraved half title, title in red and 

black with vignette, coat-of-arms of 

Prince Philippe-Charles on dedication 

and 60 engraved plates surrounded by 

ornamental borders, designed and 

engraved by Picart. 

Large folio (476 x 308mm) [5]ff 152pp 

[2]ff. Contemporary marbled calf, spine 

compartments tooled in gilt (head and 

foot of spine rubbed). £3,000 

First picArt edition, a reworking of the 

illustrations for Michel de Marolles’ Temple des 

Muses of Paris 1655, designed by Diepenbeeck, 

with added ornamental borders. The original 

designs were taken from the collection of Jaques 

Favereau (1590-1638), poet, advocate and 

councillor, who had commissioned them from 

Abraham Diepenbeeck, one of Ruben’s most 

talented pupils. The work explores classical 

mythology from seven aspects starting naturally 

with l’origine du Monde through les amours des 

Dieux & des Hommes and les avantures de l’air 

& des eaux and finally to la mort, le Deuil, les 

Enfers, & le Sommeil. Those illustrated include 

Pandora, Daphne, Achilles, Castor & Pollux, 

Narcissus, Jason, Cassandra and Orpheus, and 

their legends are taken chiefly from Ovid, 

Homer, Virgil and Euripides. Picart’s edition 

includes two new plates, Leucothoé (pl. XIV) 

and Lycaon (pl. XVII) and the legends 

throughout are in French, English, German and 

Dutch. The explanatory text for each plate is by 

Antoine de La Barre de Beaumarchais. 

‘Bernard Picart was the outstanding 

professional illustrator of the first third of the 

eighteenth century, an age during which the 

designs for the finest illustrated books were 

typically drawn by leading painters. He worked 

for the most part in the fading baroque tradition, 

but there are elements in his immense production 

which herald the new age. When his diverse 

accomplishments are finally catalogued and 

analyzed, his standing as a book artist will be 

greatly enhanced,’ (Ray). 

Ray I, p7. Brunet V, 696. Cohen-de-Ricci 531. 

59 pLATINA (BARTOLOMMEO SACChI DE) De honesta voluptate 

ac valitudine libri decem qz emendatissime impressi: cum nova impressi 

& indice. (Venice, per Ioannes Tacuinus de Trino, 2nd January 1517. 

Woodcut initials of various sizes. 

4to (207 x 153mm) [4], LXXIIff. 19th-century boards, 

leather label on spine (lightly soiled). £2,000 

An eArly venetiAn edition oF plAtinA’s 

cookery clAssic and, as recorded by Censimento, 

the last edition to be published in Italy in the 16th 

century. The De honesta voluptate, first published 

in Rome 1475, was the first printed cookery book 

and provides a reflection of humanist sensibilities 

and attitudes to food, health and good living. 

Successive editions and translations made it one of 

the most important works on food in early 

modern Europe. 

The author Platina (1421-1481), the first 

librarian of the Vatican Library, wrote this work as 

a guide to how best to enjoy one’s meals and have 

good health, with discourses on the quality of 

varieties of meat, fish, vegetables and the best way 

to prepare them for the table, as well as noting their 

medical and dietetic properties. A whole chapter is 

devoted to wine and vinegar, another for the sauces 

to be served with various dishes. The recipes are 

derived from the Libro de arte coquinaria of the 

great chef Maestro Martino de Rossi. 

Title-page browned, some light browning 

throughout. 

Vicaire 690. Simon, Bibliotheca Bacchica II, 521. 

Censimento Edit 16 CNCE 34836. 

74 75

60 pLATINA (BARTOLOMMEO SACChI DE) De honesta voluptate. 

De ratione victus, & modo vivendi. De natura rerum & arte coquendi libri X. 

(Paris), in aedibus Ioannis Parvi, 1530. 

Title within fine four piece woodcut 

architectural border also enclosing Petit’s 

device, woodcut initials. 

Sm 8vo (168 x 112mm) xcviiipp [2]ff (last leaf blank). 

Later vellum over paste boards. £1,500 

the First lAtin edition to be printed in France of 

Platina’s cookery classic, first published in Rome, 

1475. The De honesta voluptate was 

the first printed cookery book and provides a 

reflection of humanist sensibilities and attitudes to 

food, health and good living. Successive editions 

and translations made it one of the most important 

works on food in early modern Europe. 

The author Platina (1421-1481), the first 

librarian of the Vatican Library, wrote this work 

as a guide to how best to enjoy one’s meals and 

have good health, with discourses on the quality 

of varieties of meat, fish, vegetables and the 

best way to prepare them for the table, as well 

as noting their medical and dietetic properties. 

There is a whole chapter is devoted to wine 

and vinegar and another for the correct sauces 

to be served with various dishes. The recipes 

themselves are derived from the Libro de 

arte coquinaria of the great chef Maestro 

Martino de Rossi. 

Vicaire 691. Simon, Bibliotheca Bacchica, no 

523 (illustrated). Adams P1407. 

61 pLINIUS CAECILIUS SECUNDUS Epistolarum lib X. Eiusdem 

Panegyricus Traiano dictus. Cum commentariis Ioannis Mariae Catanei. Paris, 

Josse Badé & Iean Roigny, Jan 1533. 

Title printed within wide ornamental border, 

with large device of Jean Roigny in centre; many 

hundred ornamental and historiated initials 

throughout, some on criblé ground; text ruled 

in red throughout. 

Folio (350 x 220mm) [8]ff CCXXXI [1] (blank) ff. 

18th-century marbled boards with pink spine. £1,200 

beAutiFully printed edition of Pliny the 

Younger’s letters, edited by Badius, and followed 

at the end by the Panegyricus Traiano. It is the 

only Badius edition and it follows earlier editions 

with the commentaries of Giovanni Maria 

Cataneo. This edition is adorned with many 

ornamental woodcut initials including numerous 

large ones on criblé ground. 

Provenance: From the Sunderland Library 

with the shelf mark C7 18 at top of inside front 

cover. This is a large copy in very good condition 

(apart from a tear which is repaired at the top of 

title-page), with many deckle edges preserved. 

Renouard III, 170-171. Schweiger II, p804. 

BMSTC (French), p356. 

76 77

62 pLINIUS SECUNDUS Historia mundi naturalis... (Ed Sigismund Gelenius). 

Frankfurt, (officina Martini Lechleri impensis Sigismundi Feyerabendis), 1582. 

Two large woodcut devices, large woodcut arms 

and 50 woodcuts of various sizes by Jost 

Amman, Hans Weiditz, Hans Burgkmair and 

others, title in red and black. 

Folio (355 x 220mm) [18]ff (2 blanks) 528pp [26]ff; 

[92]ff. Index with separate title-page. 17th-century 

Dutch vellum over paste-boards with large blindstamped 

arabesque ornament in centre of covers, 

title lettered in ink (covers a little soiled). £2,500 

First lAtin edition to hold the Fine 

woodcuts oF Jost AmmAn, hAns weiditz And hAns 

burgkmAir. Many of the woodcuts were 

originally used in other works such as Weiditz’s 

illustrations for editions of Cicero and Petrarch, 

and Amman’s for Frauentrachten, Jagdbüchern 

and De conceptu et generatione hominis. 

This is also one of the few illustrated early 

editions of the Naturalis historia, the most 

thorough zoological and botanical treatise known 

from the ancient world. Plinius Secundus 

attempted to record all knowledge of the world 

and nature preserving that written by earlier 

authors and adding to it from his own observations. 

Provenance: 18th-century armorial bookplate 

of Johnstone, with the clan motto ‘Nun Quam 

Non Paratus’, inscription on fly-leaf. 

A little browned and stained in places but 

generally a fresh copy with good impressions of 

the woodcuts. 

VD 16, P 3550. BMSTC (German), p705. 

Adams P 1579. Graesse V, 340. Nissen, ZBI, 

3191. Becker, Amman 47, 7c. 

63 pLUTARCh La prima (-secunda) parte delle vite di Plutarcho, 

nuovamente da M. Lodovico Domenichi tradotte... Venice, appresso 

Gabriel Giolito de Ferrari et fratelli, 1567. 

Giolito’s fine device on title-page and final leaf 

of each part, fine historiated woodcuts and 

headpieces, all pages of the indexes enclosed 

within a decorative border. 

Two volumes. 4to (255 x 183mm). 18th-century 

mottled calf, single gilt fillet on covers, spine richly gilt 

in compartments, labels in red and green (expert 

restoration to headcaps, joints and corners). £1,500 

A very hAndsome set of Lodovico Domenichi’s 

(1515-64) Italian translation of Plutarch’s Vitae, 

parallel lives of famous Greeks and Romans, first 

published by Giolito in 1555. Bongi and Gamba 

note that the editions are hard to come by, ‘E 

difficile trovare uniti i due volumi di questa bella 

originale edizione’ (Bongi), Gamba states 

‘edizione assai rara’ in his note to the 1560 edition 

(no 1583, pp462/3). Lightly browned in places. 

Censimento Edit 16, 26532. Bongi I, pp479/80. 

78 79

64 pLUTARCh Vitae illustrium virorum (ed Johannes Antonius Campanus). 

[Rome], Ulrich Han (Udalricus Gallus), [1470]. 

Illuminated opening page with white-vine stem 

border ‘bianchi girari’ on three sides extending 

into the fore-margin, the border incorporates a 

nine-line initial ‘P’ in gold and a wreath in each 

border, the one in the lower margin left blank 

for a coat-of-arms, the remaining two with 

rosettes, also four birds are found in the lower 

border, all in burnished gold, blue, green, 

purple; 54 further initials in gold, mostly nine 

to 11-lines, against intricate white-vine 

backgrounds infilled with blue, green, and 

purple, which extend into the margins; four-line 

initial in gold infilled with green and purple 

against a blue background; some rubrication; 

early manuscript headings and foliation. 

Volume 1 (& 24ff of vol 2). Large Folio. Binding size: 412 

x 295mm. Paper size: 390 x 280mm. 316 of 320ff. 

(lacking d10 and 3 blanks). [*4 a10 b8 c10 d9(of 10) e10 

fg8 h6 i-o10 p8 q10 r12 s10 t3(of 4 -t4 blank) v-y10 z8 

aa-cc8 dd12 ee9(of 10 - ee10 blank) gg12 hh10 ii3(of 4 

-ii4 blank); A10 B8 C6]. Quires c & d misbound. 45 lines 

(257 x 160mm), roman type (113R.), spaces left for 

greek letter. Mid-late 19th-century dark brown 

morocco over bevelled boards by William Townsend 

and Son, Sheffield, with their blindstamp inside front 

cover, covers panelled with simple blind fillets and 

ornamental rolls, spine decorated in the same 

way, red morocco label, re. Price upon request 

First edition oF the First oF two volumes 

published in this yeAr oF plutArch’s vitAe, 

A wide-mArgined copy lAvishly illuminAted 

in rome with A superb opening border And 

55 exquisite white vine-stem initiAls. 

‘The whole (sixty Vitae) was on sale at Milan 

by 27th April 1470 (see E Motta, ‘Pamfilio 

Castaldi, Antonio Planella, Pietro Ugleimer ed il 

vescovo d’Aleria’, Rivista storica italiana, 1 

(1884), 252-72, at 255 note 2)’ (Bod-Inc). 

Complete copies are known but many 

institutions have only one of the two volumes 

(see ISTC). A note at the foot of the first page 

appears to suggest that this volume was on its 

own when bought in Logrono, northern Spain, 

by Dean Munor de Suessa in 1632. 

Examples are very rare on the market with 

Anglo/American auctions recording only an 

incomplete copy of volume I appearing at 

auction since 1936 when at the celebrated 

Mensing sale, the Sykes-Syston Park-William 

Morris copy was sold. Our copy was auctioned 

at Sotheby’s 18th November 1918, lot 609, and 

sold to Francis Edwards for £18.10s. 

This copy of the first volume of Plutarch’s 

Vitae ends with the life of Lucullus unlike most 

other examples which end with the life of 

Sertorius. Our volume one, therefore, holds a 

further 24 leaves and three incipits with initial 

spaces which are illuminated with three further 

white vine initials. The three blanks are missing 

from this copy and also f d10 which holds only 

the final 16 lines of the comparison between 

Lycurgus and Numa on the recto of the leaf, the 

remainder of the leaf is blank. The leaves have 

80 81

een absent since the 17th century at least as the 

early foliation is continuous. 

It is rare to find such lavish use of white vinestem 

illumination or bianchi girari as very few 

books of the period printed in Rome or Venice had 

so many opening initial spaces, one exception being 

the Sweynheym and Pannartz Pliny of the same year 

although the Natural History has only 37 initial 

spaces. White vine-stem illumination developed in 

early fifteenth-century Florence as decoration for 

humanistic or classical texts, seemingly copied from 

manuscripts of the classical period which were in 

reality Italian manuscripts of the 12th century. The 

style of illumination spread throughout Italy and in 

the 1460s and 1470s suitable printed books were 

also decorated in this way before making way for 

woodcut ornaments. 

Ulrich Han (Udalricus Gallus), a native of 

Ingolstadt and a citizen of Vienna, was the 

second printer in Rome. He followed Sweynheym 

and Pannartz, the first to print in Italy, who had 

moved to Rome from Subiaco in 1467, the year in 

which Han began printing. 

Provenance: Near contemporary marginal 

annotations, plentiful for first 35ff and 

intermittent thereafter. Acquisition note at foot 

of first page of Dom Munor de Suessa, Dean of 

Albelda-Logrono, 1632, his inscription also at 

foot of final leaf. 18th-century inscription of ‘D 

Gregorio Lopez Malo’ on first page, ie Gregorio 

López de la Torre y Malo (1700-1770), an 

historian from Molina de Aragón (Guadalajara, 

central Spain). Annotations to ff cc1v-cc2r, Life 

of Gracchi probably in his hand. Two pages of 

19th-century bibliographical notes cut down 

and mounted at the end, stating that the volume 

was acquired in Valencia in 1834. Sold at 

Sotheby’s 18 November 1918, lot 609. 

The final leaf C6 is cut down and mounted. 

Heavy ink stain affecting folios v1v and v2r and 

the white vine initial. Some dampstaining, 

mostly marginal but heavier towards the end, 

affecting circa 9 initials. Foxed and spotted in 

places, also mostly marginal. 

HC 13125*. BMC IV, 21. Goff P-830. Bod-Inc 

P-390. BSB-Ink P-624. Pr 3348. 

65 pOLE (REGINALD) De summo 

pontifice Christi in terris vicario, eiusque 

officio & potestate… Louvain, John 

Fowler, 1569. [Bound with:] URANIUS 

(hENRICUS). De re numaria, 

mensuris, et ponderibus. Cologne, ad 

intersignium Monocerotis, 1569. 

Printer’s device on title-page of first work. 

Two works in one vol. 8vo (150 x 100mm) [8], 151, [5] 

ff; [32]ff (final leaf blank). Contemporary limp vellum 

stained orange (lacks ties). £900 

i First edition of Cardinal Pole’s influential work 

on the Papacy edited posthumously by Henry 

Joliffe (d 1573), who also provides a dedicatory 

letter addressed to Pope Pius V. Pole’s treatise on 

the powers and duties of the papal office was 

conceived soon after the death of his friend Pope 

Paul III at a time when Pole himself was 

considered the most likely candidate for the 

pontificate. However, to appease the French party 

a compromise candidate was found in Cardinal 

de Monte who was elected Pope on 8 February 

1550 and took the name of Julius III. The editor, 

Joliffe, had been Dean of Bristol but escaped 

England following the accession of Elizabeth I 

and settled in Louvain. 

II Second edition. ‘Henricus Uranius was a 

German classicist, born at Reesz, Prussia. He 

lived at Emmerlich (Emrich) when he wrote this 

work. This is a semi-historical discussion of the 

various measures which the 16th century received 

from the Roman civilization, or which were 

mentioned in the most commonly read classics of 

the Renaissance period. No arithmetical 

operations are given in the book. It begins with 

the fractional parts of the as, the twelfth being 

called the uncia (the Troy ounce), the sixth the 

sextans, the fourth the quadrans, and so 

on’(Smith). Smith erroneously states that there 

was no edition other than the first of 1540. 

First title stained partially obscuring two 

early inscriptions. 

I Allison & Rogers I, no 915. Adams P1746. II 

Dekesel U2. Smith Arithmetica pp208/9 (1540 

ed). Not in Adams. 

82 83

66 pORCACChI (ThOMASO) Funerali antichi di diversi popoli et nationi; 

forma, ordine et pompa di sepolture, di obsequie, di consecrationi antiche et 

d’altro. Venice, (appresso Simon Galignani), 1574. 

Elaborate engraved architectural title-page and 

23 half-page text engravings (95 x 155mm) by 

Girolamo Porro, depicting funeral ceremonies of 

various cultures. Galignani’s large woodcut 

device on recto of last leaf; woodcut initials and 

decorative tail-pieces. 

4to. (265 x 210mm) [4]ff 109pp [1]f. Early 19th-century 

vellum over pasteboards, covers panelled in blind, flat 

spine gilt with two red morocco labels, the lower one 

a library label ‘Col Gr Gioia X’ (duplicate morocco 

labels also pasted inside front cover). £2,600 

A Fine copy oF the First edition of this beautifully 

illustrated work. The book discusses in detail the 

funeral preparations, rites, burials, tombs and 

other customs of antiquity for the Greeks, 

Romans, Egyptians, Hebrews and early 

Christians, among others. It is written in the form 

of a dialogue between two men discussing the 

illustrations which introduce each chapter. The 

discussion starts with a deliberation about the 

merits of the chosen artist and the publisher. It is 

agreed that the Paduan born designer and 

engraver of the illustrations, Girolamo Porro 

(1520-1604), although affected by the handicap 

of a defective eye, is an extraordinarily gifted 

artist; he even constructed a kind of flying 

machine which will carry many men (cf folio 3/4). 

The author Tommaso Porcacchi (1530-85) was a 

Tuscan historian, philologist, and poet whose 

L’isole piu famose del mondo, also illustrated by 

Porro, was published in 1572. The book proved 

popular and even held the status as a handbook 

for princely funerals and was notably consulted 

for the obsequies of Cosimo I de’ Medici who 

died in the year of publication. 

Provenance: Armorial bookplate with ducal 

crown and motto ‘Espérance avec Dieu’, 1867. 

Cicognara 1766. Adams P1903. Mortimer II, 

395. Brunet IV, 820 ‘Ouvrage recherché à cause 

des 24 gravures dont il est orné’. 

67 [RAphAEL] AqUILA (FRANCESCO) Picturae Raphaelis Sancti 

Urbinatis ex Aula et Conclavibus Palatii Vaticani ad publicum terrarum orbis 

ornamentum in aereas tabulas nunc primum omnes deductae, explicationibus 

illustratae... Rome, typis ac sumptibus Domenici de Rossi Jo. Jacobi filii, 1722. 

Engraved throughout: architectural and 

allegorical title-page incorporating dedication 

and address to Pope Innocent III, and 21 etched 

plates by Aquila after Raphael (numbered 1-19, 

with three on four sheets) 

Oblong folio (582 x 790 mm). Bound in contemporary 

vellum backed limp paste boards, large part of the 

contemporary mottled paper on front cover missing 

exposing paste board beneath, corners and 

extremities bumped and scuffed, new endpapers, 

but in surprisingly good condition. £3,800 

First edition of Francesco Aquila’s magnificent 

series of engravings after Raphael; this is the 

earliest series of complete reproductions in print 

of the famous Raphael Stanze in the Vatican. 

Included also on four sheets (plate three) is 

the grandiose Battle at the Milvian Bridge from 

the Sala di Constantino painted by Giulio 

Romano after the designs of Raphael and here 

etched and engraved by Francesco Aquila’s 

uncle Pietro Aquila; this print was originally 

issued in 1683. 

Franceso Aquila (fl 1690-1740) was a native 

of Palermo (Sicily) but spent most of his life 

working as an engraver at Rome. He was a 

nephew and the student of Pietro Aquila. 

A very good, large and uncut copy with fine 

impressions of the plates. 

Passavant, Raphael, II, p98. Pezzini, Raphael 

inventit, pp120-124. 

84 85

68 [SALINAS (MIGUEL)] Rhetorica en lengua castellana en la qua se pone 

muy en breve lo necessario para saber bien hablar y escrevir: y conoscer quien 

habla y escrive bien. Alcala, Joan de Brocar, 8 Feb1541. 

Title printed in red and black within ornamental 

woodcut border, on verso of title the imperial 

Spanish arms within border of architectural 

columns, two large historiated initials and many 

smaller ornamental and historiated initials, text 

in gothic letter. 

Sm 4to (192 x 138mm) [4] cxvii ff. Late 18th-century 

Spanish tree calf, morocco label, marbled 

end papers. £7,000 

rAre First edition of the first book on rhetoric to 

be printed in Spanish, one of the main subjects 

taught at renaissance schools and universities. 

The author writes at the beginning of the 

work that although there were many books on 

rhetoric in Greek and Latin he found it necessary 

to write this book in his native language, since 

he had asked in many bookshops if such a work 

existed in Castilian but had never found one. 

His aim was to help people to write and speak 

well which would be to the advantage of the 

Catholic commonwealth. Ignorance of rhetoric 

sometimes results from ignorance of Latin, but 

by studying this book in Spanish, Salinas states, 

one can make more progress in one year than 

students can in three years in the schools. 

In the main text, Salinas offers advice to 

preachers, lawyers and orators on how to speak 

and preach effectively and on how to move the 

emotions of the audience, on how to persuade 

others and how best to rebuke them: ‘Rebuking 

the evils of the great and powerful is dangerous 

and might also give scandal; it is better to ignore 

their errors’ (folio 38r). Oratory was particularly 

important at that time when most people were 

illiterate and relied on the spoken word for 

information and knowledge. Salinas makes 

interesting remarks on rhetorical devices such as 

aids to memory, but surprisingly makes no mention 

of St Augustine, the early master of that subject. 

Also noteworthy is Salinas’ recommendation that 

when some thing or place is mentioned in a speech 

or sermon, realistic details should be added to make 

the image more vivid and realistic and hence 

memorable. ‘If it is a garden, say what fruit grows 

there’, ‘if a house, what is it built of’, ‘if a river, how 

deep is it, if a mountain, how high’. 

The text also has some surprises, Salinas cites 

Erasmus as one who could be trusted (folio lxx), 

although at that time Erasmus was theologically 

suspect to many orthodox Catholics, especially 

in Spain. More surprisingly still, he shows 

knowledge of the contemporary play La 

Celestina (1499), an erotic classic and still one 

of the greatest works in Spanish literature. 

Little is known about Salinas (d 1577), a 

Hieronymite monk who spent his life in the 

monastery of Santa Engracia, Saragossa. He 

was Master of Novices for 35 years and was 

singled out for praise by José de Siguenza, the 

historian of the Hieronymite Order. 

Provenance: Ownership inscription on titlepage 

of ‘es de Dr. Juan Manuel de Miranda y 

Ortiz Abocado de la Real... 1751’. Title-border 

just cropped, a little staining at beginning and 

end, but generally a good copy. 

Palau 263182 & 287547. BMSTC (Spanish), 

p163. OCLC (US: Harvard, Michigan, 

Washington, Pennsylvania only). Not in Adams. 

86 87

69 SALLUST Histoire de la conjuration de Catilina (& Guerre de Jugurtha) 

traduit en français... par CA Thomas, géomêtre. Np, nd, (Paris?, c 1816-1818). 

Manuscript on paper. Two parts in one vol. Folio 

(338 x 223mm) [44]ff (last blank) [75]ff. Calligraphic 

title-pages and heading, each text page of 27 lines in a 

neat cursive hand in brown ink. Contemporary pale 

calf over boards, flat spine with gilt label lettered 

‘SALLUSTE’ (a little rubbed, a few short tears 

to covers). £2,400 

A Fine cAlligrAphic mAnuscript of Sallust in 

French for the education of the two young sons of 

Louis Philippe, Duc d’Orleans, the future King 

Louis Philippe of France, with his library stamp 

of the Bibliothèque de Roi at the Palais Royal. 

This unpublished translation is by ‘CA 

Thomas, géomêtre’ who dedicates the 

manuscript to ‘son Altesse royale, Monseigneur 

le Duc D’Orleans, premier prince du sang’. In his 

dedication he writes that he has undertaken this 

work for the benefit of the Duc’s two young sons 

so that they can read and study the Roman 

historian Sallust. He continues, ‘May my 

translation procure for them the easy 

understanding of this author and spare them 

precious time in years to come and most of all in 

their youth. May I have the joy of assisting in the 

development of the two offspring who, like their 

elders, are the love and pride of my country and 

the happy hope of your house.’ Louis Philippe’s 

first two sons, Ferdinand Philippe d’Orléans and 

Louis d’Orléans were born in 1810 and 1814 

respectively, while his third son Louis d’Orléans 

was not born until August 1818. 

The translator signs the dedication ‘Thomas, 

expert; dernier parent de l’auteur des éloges,’ 

which refers to his famous kinsman the poet and 

critic Antoine-Léonard Thomas (1732-1785) best 

known for his series of éloges of great men whose 

Oeuvres complètes in six volumes were published 

1822-25 (see: NBG, 45, pp223-6). Nothing else, 

however, is known about his descendant. 

Provenance: Library stamp on title-page 

‘Bibliothèque de Roi, Palais Royal’. 

70 SANDRART (JOAChIM VON) Iconologia deorum, oder Abbildung 

der Götter, welche von den Alten verehret worden. Nuremberg, Christian 

Siegmund Froberger for the author, 1680. 

Fine frontispiece, Sandrart’s portrait by R. 

Collin, and 34 plates on 33 sheets (seven 

double-page), mostly engraved by Johann Jakob 

Sandrart after Joachim von Sandrart, two by 

Susanna Maria Sandrart (1658-1716); two 

engraved headpieces. 


mottled calf, spine gilt in compartments (some expert 

restoration to joints and headcaps). £3,500 

First edition of Sandrart’s beautifully illustrated 

iconography of the ancients gods based on 

Cartari’s indispensable guide to artists Imagini de 

i Dei degli antichi (1556). ‘The monumental 

Iconologia deorum reveals its remoter origins 

from the first page on; Boccaccio’s Demogorgon 

is given the place of honour. The work, it is true, 

boasts of its use of antique monuments: “Greek 

and Roman statues, objects in marble, ivory, 

agate and onyx”; but it is still in large part 

founded on the Italian mythographers and 

emblematists of the preceding century – 

Alexander of Naples, Alciati, Valeriano, Conti, 

Cartari’ (Seznec). 

Sandrart (1606-1688) was a renowned painter 

and art historian and is described by Klemm 

as ‘the most famous German painter of his day 

and the most important German writer on art 

between Dürer and Johann Joachim 

Winckelmann’. His most famous work was 

Teutsche Akademie der edlen... Künste (1675), 

with numerous portraits of artists and notices of 

German painters. 

Provenance: 18th-century engraved armorial 

bookplate of ‘Am Gruberi’. 

VD-17 3:312576U. Faber du Faur 1835. See: C 

Klemm in Grove Dictionary of Art, vol 27, 

pp725/6. J Seznec, Survival of the Pagan Gods 

(1972), p317. 

88 89

71 SChERER (GEORG) Rettung der Jesuiter Unschuld wider die Giftspinnen 

Lucam Osiander. Ingolstadt, Sartorius, 1586. [Bound with:] Ob es wahr sey, Dass 

auff ein Zeit ein Bapst zu Rom Schwanger gewesen, und ein Kind geboren habe. 

Ingolstadt, Sartorius, 1584. [And:] Bericht, Ob der Bapst zu Rom der Antichrist 

sey. In etliche Predigen kürtzlich verfasset. Inglostadt, Sartorius, 1585. 

First title with woodcut of a rose in bloom with 

a beetle and a wasp on the petals; titles in red and 

black, second and third titles within type 

ornament borders. 

Three works in one vol. 4to (205 x 160mm) [3] ff 72pp 

[1]f; [36]ff (last blank); [6]ff 153pp [1]f (blank). 

Contemporary limp vellum. £2,000 

First editions oF All three works by the Jesuit 

georg scherer, A leAding Figure oF the counter- 

reFormAtion. 

I A defence of the Jesuits against the ‘venemous 

spider’ Osiander in response to his 1585 treatise 

Warnung Vor der Jesuiter blutdurstigen 

Anschlagen (Warning of the Jesuit’s bloody plans 

and malicious practices) which also defends the 

Jesuits’ missionary work in the New World 

(pp55/66) and lists all the Jesuit Provinces 

worldwide including those in India, Japan, Brazil 

and Mexico. Lucas Osiander was Protestant court 

preacher to the Duke of Württemberg at Stuttgart 

and in his pamphlet accused the Jesuits of working 

towards the extinction of the protestant religion by 

using undue influence over sovereigns. The violent 

controversy lasted between 1585-89 and produced 

a succession of pamphlets from both sides. 

II An important polemical work which helped 

the Church to move on from its long held stance 

of accepting the existence of Pope Joan. This 

process began in Italy with Panvinio’s corrected 

version of Platina’s Lives of the Popes in 1562. 

However, Scherer’s was ‘The first work entirely 

devoted to refuting the existence of Joan. Scherer 

had nothing to add to Panvinio’s arguments but 

his work was new in two ways; it was written in 

German, thus carrying the debate into the 

Lutherans own linguistic domain; it signalled the 

arrival of the Society of Jesus on the ideological 

terrain of the popess. The Jesuits were better 

qualified to adapt to the new struggles than the 

older congregations, and they had no need to 

take on the medieval inheritance of the 

Dominicans and the Franciscans’ Alain Boureau, 

Myth of Pope Joan, (2001) p248. 

III A defence of Rome and the Pope, long 

regarded by some more virulent Protestant 

authors as the Antichrist. 

Georg Scherer was a ‘Pulpit orator and 

controversialist, born at Schwaz, in the Tyrol, 

1540, he died at Linz, 30 Nov, 1605; entered the 

Society of Jesus in 1559. Even before his 

ordination he was famed for his preaching 

powers. For over forty years he labored in the 

Archduchy of Austria. To Scherer, in part, it owes 

the retention of the Faith. In 1577 he was Court 

preacher to the Archduke Matthias; he retained 

the post until 1600. In 1590 he was appointed 

Rector of the Jesuit College at Vienna; the 

sternness of his character scarcely fitted him for 

the office, and he was transferred (1594) to Linz. 

‘Scherer was a man of boundless energy 

and rugged strength of character, a strenuous 

controversialist, a genuinely popular orator and 

writer. He vigorously opposed the Tübingen 

professors who meditated a union with the Greek 

Schismatics, refuted Lutheran divines like 

Osiander and Heerbrand, and roused his 

countrymen against the Turks... His eloquence 

and zeal made many converts, amongst them the 

future Cardinal Khlesl’ (Catholic Encyclopaedia). 

Provenance: Ownership stamp on verso of 

title of the Counts of Fürstenberg, Court Library 

Donaueschingen. 

I VD16 S2734. Stalla 1562. Alden-L. 586/65. 

Sommervogel III, 609, no 8 II VD16 S2725. Stalla 

1512a. Sommervogel III, 607, no 4. III VD16 

S2680. Stalla 1535. Sommervogel III, 610, no 16. 

90 91

72 [SOBIUS (JACOBUS)] Philalethis civis Utopiensis dialogus, de facultatibus 

Rhomanensium nuper publicatis. Henno rusticus. [Np, nd, ie Basle, Andreas 

Cratander, 1520]. 

Sm 8vo (155 x 100mm) [28]ff. Modern marbled 

boards, paper label on front cover. £1,200 

A rAre exAmple oF the only edition of this early 

reformation satire which lampoons the sale of 

indulgences by the papal legate (Giovanni Angelo 

Arcimboldi?) and was later put on the index. The 

supposed author is one ‘Philalethis civis 

Utopiensis’ and it is written in the form of a 

dialogue between Henno, Polypragmon, Bruno, 

Bartolinus and the Legatus Romanus. 

The satire has been wrongly ascribed to 

Hutten and to Erasmus and is attributed to the 

prominent Cologne humanist Jacobus Sobius 

(1493-1527) by VD16. Contemporaries of 

Erasmus notes, however, that ‘this lampoon of 

an unnamed papal legate has normally been 

attributed to Sobius on the strength of an 

explicit statement to this effect by Henricus 

Cornelius Agrippa. However, a letter to Zwingli 

(Z VII Ep 148) by Jacobus Nepos dating from 

the time when the manuscript was published in 

Basel would seem to cast some doubt on the 

traditional attribution’. The work appears in 

Böcking’s edition of Hutten Opera, 1859-1862, 

IV, pp485-514. 

Provenance: 19th-century circular stamp on 

verso of title ‘Ad Bibl Acad Land’ and inscription 

in lower margin of f a3 ‘bib acad Ingolst [adt]’. 

VD16 S6833. Adams S1341. BMSTC 

(German), p691. Contemporaries of Erasmus 

III, pp252/3. Index des livres interdits (Ed JM 

de Bujanda), Centre d’Études de la Renaissance, 

1995, no 486. 

73 SUCqUET (ANTOINE), SJ Via vitae aeternae iconibus illustrata 

per Boetium a Bolswert. Antwerp, typis Martini Nutii, 1620. 

Engraved frontispiece title and 32 engraved 

emblematic plates by Boetius a Bolswert. 

8vo (190 x 125mm) [8]ff 875pp [10]ff. Contemporary 

vellum (later endpapers, a few minor marks). £2,400 

A Fine presentAtion copy of the first edition of this 

very popular emblem book, a meditative guide to 

the path of eternal life by the Belgian Jesuit, 

Antoine Sucquet (1574-1627). Each emblem has 

an annotation or quotation from the Bible and an 

lengthy explanation of the plate. The fine 

emblems are by the great baroque engraver 

Boetius a Bolswert (c 1580-1633), who also 

illustrated the emblem books of Herman Hugo 

and also engraved many plates after Rubens. Praz 

calls him ‘the illustrator of the sentimental and 

ecstatic states of the soul’. 

Provenance: Presentation inscription at foot 

of the engraved title from the author to an 

unidentified fellow Jesuit, ‘Ab auctore donatus 

A dg SJ’, and dated at head of page ‘4 Novemb 

1620’. Later inscription at foot dated 1720 of 

‘Joan Toll?’. On fly-leaf presentation inscription 

of Pater J de Beare, 1912, to Mount St Mary’s 

Jesuit College. 

Praz, p506. De Backer-Sommervogel, VII, col 

1690, no 1. 

92 93

74 TERESA DE AVILA ST Camino di perfettione. - [Le Mansioni overo 

castello interiore]. [Trans. Francesco Soto]. Rome. Stefano Paolini, for 

Giacomo Vernice, 1603. 

Large woodcut portrait with a wide border of 

typographical ornaments, Jesuit device on 

each title-page. 

2 parts in one. 4to (205 x 150mm) [8]ff 157pp [1]f [4] 

ff 177-368pp. 19th-century quarter calf. £900 

First edition in Italian of two important works of 

Santa Teresa de Avila (1515-1582), generally 

regarded as the most famous and most original of 

all the mystical writers; these two works are 

printed before her beatification in 1614 and 

canonisation in 1622. She became a Carmelite at 

the age of 19 and later set out, in collaboration 

with San Juan de la Cruz, to reform the order; she 

managed to reform 32 convents throughout 

Spain and founded the Order of Discalced 

(Barefoot) Carmelites. Of her many writings her 

autobiographical Vida was denounced to the 

Inquisition by conservative Carmelites. 

Her mysticism is simple, pure and 

spontaneous, easily understood by the average 

believer yet susceptible of multiple interpretations 

by the theologian. ‘In her writings the Saint 

reveals herself as an admirable organiser and an 

expert diplomat, quick to penetrate human 

motives. She united in remarkable fashion 

realistic practical talents and the most 

extraordinary poetic imagination and abstract 

power of absorption. The rare alliance of gifts 

which appear contradictory constitutes the truly 

original side of her genius. (Merimée, History of 

Spanish Literature, p267). 

Title repaired in inner margin, a few light 

stains in places. 

Palau 299043. 

75 TERRACINA (LAURA) Quarte rime della Signora Laura Terracina detta 

Phebea nell’Academia de gl’Incogniti. Venice, appresso Domenico Farri, 1560. 

Fine woodcut half-length portrait of Laura 

on verso of folio 6, device and cartouche on 

title-page, initials. 

Sm. 8vo (160 x 100mm) 75ff (lacks final blank). 

Modern marbled boards. £1,200 

lAurA terrAcinA’s Fourth book of poems was 

first published in 1550 and reprinted here by 

Farri in 1560. Both editions are very rare with 

Edit 16 only locating four copies of the first 

edition (OCLC adds BL, John Rylands 

Manchester & Yale only) and four of the present 

edition. Another edition of Lucca, Vincenzo 

Busdraghi, 1551 is recorded by Edit 16 but no 

locations are given and we can trace no copy. 

Terracina’s (1519-1577?) poems were 

published from 1548 and eight slim volumes 

appeared by the time of her death including her 

commentaries on Ariosto’s Orlando Furioso; her 

last collection composed just before her death 

remained unpublished. She was member of the 

Neapolitan Accademia degli Incogniti between 

1545-47 where she was known as ‘Phebea’, as 

noted on the title-page here. As well as cultivating 

friendships with the leading Neapolitan writers 

and intellectuals of the time she also corresponded 

with figures such as Anton Francesco Doni, Luigi 

Tansillo and Lodovico Dolce. 

Title word ‘Quarte’ has been rubbed away 

from cartouche. 

Censiment Edit 16 CNCE 37714 4 locations 

only (Piazza Armerina, Padova, Urbania, 

Bassano del Grappa). BMSTC (Italian), p666. 

OCLC (US: NYPL, Wellesley, Duke & Utah 

only; Germany BSB only). 

94 95

76 TERREVERMEILLE (JEAN DE) Contra rebelles suorum Regum... 

(Lyon, in edibus Ioannis Crespin, 3 December 1526). 

Title in red and black within fine four-piece 

woodcut border, with central woodcut device of 

Constantin Fradin, woodcut initials. 

4to (262 x 180mm) 22, CXXI, [1] (blank) ff. Double 

columns. 18th-century marbled calf, ornate gilt border 

on covers and central gilt arms of Pius VI (1717-99), 

pope from 1775. £2,500 

rAre First edition of this important 15th-century 

legal treatise on the monarchy by Jean de 

Terrevermeille or Terrerouge (1370?-1430?), 

avocat at Nîmes and a legal expert in the turbulent 

reign of Charles VI (1368-1422) and the Dauphin, 

the future Charles VII (1403-61). This, his only 

known work, was written for the Dauphin between 

February and September 1419 in defence of his 

rightful succession. In the three tracts Terrevermeille 

concentrates on the laws and prerogatives of kings 

and emperors and in particular the kings of France. 

In the first tract in he develops the idea that the king 

is only a custodian of the authority of the crown and 

the importance of rightful succession. The text is 

augmented by the copious commentary of Jaques 

Bonaud de Sausete. The printing of the text a 

century after it was written allowed it to gain 

considerable influence in French constitutional 

thinking from the Renaissance onwards. 

Provenance: Gilt arms on covers of Pius VI 

(1717-99), pope from 1775, born Count Giovanni 

Angelo Braschi, whose long reign culminated in his 

being taken prisoner by Napoleonic troops in 1798, 

he died a year later. A few early underlinings and 

marginal notes. Some light browning in places. 

Baudrier XI, 131 (no locations outside France). 

OCLC (USA: Yale Law, NYPL) Copac (Oxford). 

77 TORY (GEOFFROY) L’art et 

science de la vraye proportion des 

lettres attiques... Paris, par Viuant 

Gaultherot, 1549. 

116 woodcuts designed and cut by Tory mostly 

illustrating the formation of letters with several 

more elaborate blocks, one ‘Le Hercule françois’ 

is signed with the Lorraine cross and dated 1526, 

in addition 13 alphabets are found on 36 pages 

plus three pages of ciphers. 

8vo (163 x 105mm) 184ff. 18th-century marbled 

calf covered in 19th-century purple silk which is 

sewn together inside the front and back covers, 

paper label on spine (spine lightly faded, small tears 

at head of spine). £8,500 

the second edition of the Champ Fleury, ‘the 

most famous single work in the early history of 

French typography’ (Mortimer). Both the 

format and layout have been revised and, as 

Mortimer notes, the title has reverted the one 

first recorded in Tory’s 1526 privilege. Although 

almost all the illustrations from the first edition 

are found here, there are three substitutions in 

the letter diagrams, the format is now octavo 

and the title and colophon are unornamented 

making this, ‘a strictly utilitarian volume in 

contrast to the 1529 printing’ (Mortimer). 

Among the alphabets the ‘lettres fleuries’ have 

been changed to criblé initials adapted from the 

set belonging to Robert Estienne. 

Tory’s reputation as renaissance scholar, 

printer and artist is based on this work which is 

divided into three books, the first on the French 

language, the second on the origin of roman 

letters and the third on the construction of 

letters. The woodcuts in the second section 

demonstrate proportions of letters based on the 

human form, and Bernard suggests they may be 

attributed to Jean Perréal, whom Tory credits with 

96 97

designs elsewhere. In the third section Tory 

provides a detailed account of and practical advice 

on the design and execution of letter-cutting. 

The idea of the Champ Fleury first came to 

him in 1523, inspired partly by an Attic letter 

which he had recently made for his friend, Jean 

Grolier. Tory’s earlier travels in France and Italy, 

visiting the Coliseum, and seeing many ancient 

monuments, provided further inspiration for his 

ideas on letter-forms. In addition to the many 

woodcuts illustrating letters are two allegorical 

scenes by Tory which he signed with the Lorraine 

cross, one of ‘Le Hercules françois’ (dated 1526), 

and one in two parts of ‘Le triumphe d’Apollo’. 

Title-page just shorter and lightly soiled, 

index quire * misbound after title-page and x2.7 

misbound in quire v, stain affecting lower blank 

portion of final leaf, slight loss to upper blank 

margin of last few leaves; overall a very good 

unwashed copy in an unusual binding. The use 

of a silk ‘dust jacket’ is reminiscent of the 

‘Cottonian’ bindings found in the collection of 

the poet Robert Southey, covered in material by 

his daughters. 

Provenance: Early inscriptions on title-page 

(faded). Armorial bookplate of Richard Shute 

inside front cover which is inscribed by the 

Oxford historian Frederick York Powell (1850- 

1904), ‘Given me by Mrs Shute in memory of 

[Richard Shute]’ and dated ‘23.3.1887’. Rowley 

Atterbury (b 1920), designer and printer at Faber 

& Faber and founder of the Westerham Press. 

Mortimer (French) no 526. BMSTC (French), 

p423. Brun, p315. See: Bernard Tory 12-27, 81- 

84, 189-196. 

78 TOSCANO (GIOVANNI MATTEO) Psalmi Davidis ex hebraica veritate 

latinis versibus exoressi... quibus praefixa sunt argumenta singulis distichis 

comprehensa, opera Io. Aurati poetae regii. [Bound with:] Octo cantica sacra e 

Sacris Biblis latino carmine expressa... praefixis argumentis Io. Aurati... eiusdem 

Toscani Hymni, & Poemata. Paris, ex officina Federici Morelli typographi 1575. 

Fine four-piece arabesque woodcut border on 

title-page, woodcut headpieces and initials. 

Two vols in one. 8vo (175 x 110mm) [8], 141, [9]ff; 

[60]ff. Late 17th/early 18th-century calf, single gilt 

fillet on covers, spine gilt with arms of the Dauphin 

in four compartments (upper joint and 

headcaps restored). £1,200 

First editions oF both volumes of Toscano’s 

(1500?-1576) verse translations from the Hebrew 

of the Psalms and eight Canticles, followed by his 

own hymns, epigrams and poems. Jean Dorat 

(1508-1588) provides the introductory distich to 

each psalm and canticle. In the appendix to the 

first part, Morel the younger describes the variety 

of meters used by Toscano. Two leaves, which 

contain an elegy to Chauvet and the privilege, are 

found at the end of the first part and are not 

present in all copies. 

Giovanni Matteo Toscano (1500?-1576) was 

born in Milan at the beginning of the 16th century 

and little is known of his early life. He came to 

know Dorat at the court of Catherine de Medicis 

and they became good friends. Dorat helped in the 

publication of the present work and Toscano, in 

turn, was proud to be his student. He also compiled 

a collection of Latin works by Italian poets 

Carmina illustrium poetarum italorum (1576-77). 

The great Hellenist Jean Dorat (c 1502-88) 

counted Ronsard among his pupils at the College 

de Coqueret as well as Baif and du Bellay. He had 

the honour of being named leader of La Pleiade 

which had been formed by these young poets as a 

society for the reformation of the French language. 

Dorat’s importance, however, lay in the study of 

Greek and Latin and in 1555 he was appointed 

professor of Greek at the College Royale and was 

named by Charles IX as poeta regius . 

Provenance: Inscription on title-page of 

‘Antheaume Parisin 1683’ with a one-line note 

before each psalm in the same hand. Ownership 

inscription inside front-cover of ‘James Ford, 

1848. Very Scarce.’ and bookplate of the Phillpotts 

Library, Truro, ‘presented by Rev. James Ford, 

1872’. 18th/19th-century engraving of King David 

with his Harp pasted on to front free endpaper. 

I Adams B1464. OCLC (US: Harvard, Kansas, 

Michigan only). II Adams T843. OCLC (US: 

Harvard, Folger & Columbia only). Ref: G 

Oberle, Poesie Neo-Latine, no 242. 

98 99

79 TYRE (wILLIAM, ARChBIShOp OF) Historia della guerra sacra di 

Gierusalemme, della Terra di Promissione, e quasi di tutta la Soria ricuperata 

da’ Christiani. Tradotta in Lingua Italiana da G. Horologgi. Venice, appresso 

Vincenzo Valgrisi, 1562. 

Printer’s device on title-page and verso of last 

leaf, woodcut historiated initials. 

4to (210 x 160mm) [14]ff 702pp [1]f. Contemporary 

vellum over thin paste boards, upper cover stamped with 

ownership initials ‘HIK’ (remains of vellum ties). £1,250 

First itAliAn edition, translated by Giuseppe 

Orologi (1520-76), of the archbishop and 

chronicler William of Tyre’s (d 1190) History of 

the Kingdom of Jerusalem, the only source for 

the history of twelfth-century Jerusalem written 

by a native. The first Latin edition had only been 

published a decade or so before by Nicholas 

Brylinger, Basle 1549. 

‘The chief work of his which has reached us is 

the Historia rerum in partibus transmarinis 

gestarum, or Historia Hierosolymitana, in 

twenty-three books. It is a general history of the 

Crusades and the Kingdom of Jerusalem down 

to 1184. The work was begun between 1169 and 

1173, at the request of King Amaury. The first 

sixteen books (down to 1144) were composed 

with the assistance of pre-existing sources, 

Albert of Aix, Raimond d’Aguilen, Foucher of 

Chartres, etc. On the other hand books 17 to 23 

have the value of personal memoirs. As 

chancellor of the kingdom the author consulted 

documents of the first importance, and he 

himself took part in the events which he 

recounts. He is therefore a chief source for the 

history of the Kingdom of Jerusalem. His 

account is in general remarkable for its literary 

charm. Very intelligent and well informed, the 

author had very broad views; from his stay at 

Constantinople he acquired a certain admiration 

for the Byzantine Empire, and his temperate 

opinions of John and Manuel Comneus are in 

contrast with the tone of other European 

chronicles’ (Catholic Encyclopaedia). 

Provenance: Unidentified initials on upper 

cover, small armorial stamp on title-page. 

Engraved bookplate of the Augustinian Canons 

of Polling Abbey, Bavaria, dated 1744, 

‘Franciscus Praepositus S Salvatoris Pollingae. 

Ad bibliothecam ibidem.’ Franz Töpsl (1711- 

1796), provost at Polling for 50 years, was 

one of the great leaders of the Catholic 

Enlightenment in Bavaria. He oversaw the 

building of the large library at the abbey which 

held some 80,000 volumes by the time of his 

death and was therefore one of the largest in 

southern Germany. 

Light dampstain to lower margin, otherwise a 

very fresh copy. 

Censimento Edit 16 CNCE 22407. BMSTC 

(Italian), p322. Adams W179. 

80 UBALDINUS (JOANNES pAULUS) Carmina poetarum Nobilium. 

Io Pauli Ubaldini conquista. Milan, apud Antonium Antonianum, 1563. 

Fine large woodcut printer’s device on title-page 

repeated on verso of final leaf. 

Sm 8vo (180 x 115mm) 107, [1]ff. Early binding of 

cartonnage boards. £1,100 

First edition of this important anthology of Neo- 

Latin poetry which holds 224 poems by forty 

writers. John Sparrow describes it as ‘one of the 

most remarkable of such collections ... some of the 

contributors are contemporary nonentities, 

distinguished poets, both contemporary and of 

earlier generations are represented (eg Tebaldeo, 

Navagero, Aonio Paleario, Bonfadio, the brothers 

Amalteo, Giano Vitale and Niccolò d’Arco). 

Although some of the contents may well have been 

taken from printed editions, Ubaldini declares that 

his texts were ‘magna cura ac studio conquisitos’, 

and he must have gone to manuscript sources for 

much of his materials, eg the three odes of Giovanni 

Casa, the three poems of Niccolò d’Arco and the 

ten important poems of Molza, which alone give 

distinction to this anthology.’ 

Censimento CNCE 29215. 

100 101

81 ULRICh III, hERzOG 

zU MECKLENBURG Kurtze 

wiederholung etlicher fürnemer 

Heuptstücke Christlicher Lehre, nach 

ordung des Catechismi. Durch eine 

hohe Fürstliche Person zusammen 

getragen. Mit einer Vorrede Andreae 

Celichii Mecklenburgischen 

Superintendenten. Leipzig, (bey 

Michael Lantzenberger. In verlegung 

Werneri Langen/ Buchbinders und 

Buchendlers zu Güstrow), 1594. 

Title in red and black, 17 woodcuts c. 65 x 

60mm most within ornamental border strips, 

each page printed within one of eight different 

four-piece woodcut borders of finely detailed 

ornamental and historiated blocks, one pair 

dated ‘1566’ another with the arms of the 

Electorate of Saxony at foot, full-page woodcut 

Mecklenburg coat-of-arms (148 x 106) on verso 

of title-page after Lukas Cranach d A, printer’s 

device on verso of final leaf; gothic and some 

roman letter. 

4to (195 x 145mm) [324]ff. Contemporary vellum 

over paste-boards decorated in gilt (now mostly 

oxidised), covers panelled by double gilt fillets, small 

star and fleuron stamps at corners, large central oval 

fleur-de-lys ornament on front cover, oval arabesque 

stamp on rear cover (ties missing). £7,500 

extremely rAre First edition of the richly 

illustrated Lutheran catechism of Duke Ulrich 

of Mecklenburg. The only surviving copies 

that we can trace in Germany are at the 

Herzog August Bibliothek, Landesbibliothek 

Mecklenburg, Universitätsbibliothek Rostock, 

Gotha Forschungs Bibliothek and Museum der 

Stadt Güstrow. Outside Germany only three 

copies can be traced, in France at the Bibliothèque 

Nationale and Université de Strasbourg and in 

Denmark at the Danish National Library. 

A devout Lutheran, Ulrich was a well educated 

and modern prince whose court at Güstrow was a 

centre of artistic and intellectual activity. His 

catechism reflected his thorough knowledge of 

the Lutheran faith. He organised the work in 23 

chapters in the form of questions and answers. 

The excerpts used to illustrate the answers are 

taken from the Bible but also reflect his wide 

reading of the Church Fathers and other early 

theologians including Bede and some classical 

authors such as Pliny and Euripides. He intended 

it to serve as a pedagogical and theological work 

which guided the reader to a better Christian life. 

Neumann notes that he discussed his plans for 

the Catechism with his daughter Sophie and that 

he also had a strong influence on the layout of 

the printed form. Later editions appeared in 

1595 and 1600 with some changes. 

The richly ornamented borders, found on every 

page save the title-verso, incorporate scenes from 

the Bible, figures of Old Testament prophets, the 

symbols of the evangelists, the arms of Saxony and 

the date ‘1566’. The woodcuts are from a variety of 

102 103

sources and follow the text. Three are signed, the 

woodcut of the Creation is marked with a cross ‘+.’ 

and Adam and Eve with an initial ‘H’, neither 

marks are found in Nagler. The woodcut of Moses 

holding the ten commandments is signed by the 

initial ‘L’ with the symbol of a cutter’s knife 

alongside (Nagler, IV, p257, unknown artist); it 

also appeared in Ambrosius Lobwasser’s very rare 

paraphrase of the Bible printed in Leipzig, 1584 

(VD16 L 2186). A number of the other woodcuts 

are likely to have been produced for the Catechism, 

including a Lutheran baptism with Ulrich in 

attendance, a Memento mori of a Putto with an 

Hourglass commonly used in sepulchral art at 

Güstrow and the Day of Judgement woodcut 

which has close parallels to the important painting 

of that subject by Hans Metzger in 1584 (Neumann 

M28, Abb 74). The woodcut of the Mecklenburg 

arms bears the small serpent-like mark of Cranach 

in the lower left-hand corner. Cranach designed an 

armorial woodcut which appeared in the 

Mecklenburg service book of 1552 and also at 

least two other bookplates for the family. 

Ulrich III Nestor Herzog von Mecklenburg- 

Güstrow (1527-1603), was the son of Albrecht VI 

(1488-1547) and Anne von Hohenzollern (1507- 

1567). He married Elizabeth Oldenburg, Princess 

of Denmark, daughter of Frederik I von Gottorp, 

King of Denmark on 16 February 1556. From 

1558 he rebuilt the medieval castle at Güstrow in 

a synthesis of Italian, French and German 

architectural styles which become the most 

important renaissance palace in North Germany. 

Tycho Brahe dedicated a copy of Astronomiae 

instauratae mechanica (Wandesbeck, 1598) to 

him, and he corresponded with humanists such as 

Heinrich Rantzau. 

Provenance: Contemporary inscription on titlepage 

of ‘Albert: Moller’ who has underlined a 

number of passages, likely to be the Hamburg 

pastor who had a number of works published 

between 1589-1596 (see VD16). 20th-century 

bookplate inside front cover of Athol H Lewis. 

VD16 U109. OCLC (outside Germany only 

France: Bibliothèque Nationale, Uni. Strassburg; 

Denmark: Danish National Lib.). No copies 

located in USA or UK. No copy has appeared in 

German auction records in recent decades (JAP 41- 

60, 1990-2009), nor Anglo/American auctions. 

Ref: Carsten Neumann Die Renaissancekunst 

am Hofe Ulrichs zu Mecklenburg (2009), cat no 

G23 pp294-5. 

82 VEGETIUS (FLAVIUS) De re militari libri quatuor. Sexti Iulii Frontinu 

... de stratagematis libri totidem. Aeliani de instruendis rei militaris liber 

unus. Modesti de vocabulis rei militaris liber unus (Ed G Budé). Paris, apud 

Christianum Wechelum, 1535. [Bound with:] VALTURIUS (R). De re militari 

libri XII. Paris, apud Christianum Wechelum, 1534. 

I. Wechel’s device on title-page, large woodcut of 

a lansquenet (German foot-soldier) on verso and 

repeated twice more, one half-page diagram and 

119 other full-page woodcuts of military men, 

arms and armour. Letter diagrams of military 

positions to text of Aelianus. Wechel’s device on 

verso of last leaf. II. Woodcut printer’s device at 

beginning and end and 85 near full-page 

woodcuts with 97 illustrations of military 

engines and demonstrations 

Two works in one vol. Folio (292 x 195mm) [4]ff 279pp; 

[6]ff 383pp. 18th-century speckled calf, spine gilt in 

compartments, re (joints and headcaps restored). £6,750 

i wechel’s third edition with illustrations 

from his first of 1532. Mortimer regards them as 

close copies of the cuts in Heinrich Steiner’s 

Augsburg edition of 1529. With the exception of 

the two smaller cuts at the beginning, Steiner’s 

series are free copies, the majority in reverse, of 

blocks used in the 1511 Erfurt edition printed by 

Hans Knappe. Following Vegetius are the texts 

of Frontinus, Aelianus Tacitus and Modestus. 

Among the more remarkable cuts are pneumatic 

beds, similar boots for walking in the water, 

diving suits, an ‘armoured train’, impenetrable 

footwear, while on K4v is a farrier at work with 

an enlarged illustration of a horseshoe with nails 

and on 01 is a soldier using a flint and steel with 

a tinder box divided into three compartments. 

II Wechel’s second edition with the errata 

corrected from his 1532 edition, the first to be 

printed in France. The fine military plates are 

reversed free copies of those found in the 1483 

Venice edition, which in turn were reduced free 

copies of those in first edition printed in Verona 

in 1472. Three of the cuts appear with the 

Mercury sign of the artist Jean Jollat who has 

added small details to many of the illustrations, 

although Mortimer remarks that the strong 

outline characteristic of the Italian illustrations 

was retained in the French copies. 

The illustrations include numerous military 

engines: catapults, rams, cannons, grenades, scaling 

ladders, water-raising machines, a clepsydra or 

water-clock (with 17 hours marked on the dial), 

bridges, rafts and paddle boats. 

Mortimer 487 & 536. Fairfax Murray 563 & 

560. Adams V332 & 225. 

104 105

83 [VINCENTIUS (pETRUS)] Von kleglichem vnzeitigem Tod Eduardi des 

Sechsten, Königs zu Engelland etc. Warhafftiger gründlicher Bericht vnd erzelung 

der dinge vnd veranderung[n], so sich in dem löblichen Königreich Engelland, 

Anno Christi 1553. im Monat Julio zugetragen. Leipzig, [Jakob Barwald], 1554. 

4to (197 x 147mm) [12]ff. Bound in later 

vellum wrappers. £1,800 

A rAre eye-witness Account of the struggle for 

succession following the death of Edward VI. It 

relates the events of July 1553 when John Dudley, 

Duke of Northumberland, attempted to put his 

daughter-in-law Lady Jane Grey on the English 

throne. The account accuses Dudley, who was de 

facto regent, of causing or accelerating Edward’s 

death by poison or the dagger, and describes him 

as ‘gaping like a crow for carrion’ after the king’s 

demise. It also makes clear the lack of public 

support in London and the country for Lady Jane 

Grey as monarch, as well as describing the 

wavering loyalties of the privy counsellors bullied 

by the primus inter pares Dudley, and the scenes of 

jubilation when Mary was proclaimed rightful 

Queen on 19 July. The author ends his tract with 

details of Mary’s magnificent entry into London 

on 3 August, which was full of regal pomp and 

ceremony, and notes that, ‘It is highly worthy of 

the consideration of all good men that this 

wonderful vicissitude of the greatest revolutions 

was experienced in the kingdom of Britain within 

the space of a month without slaughter or 

bloodshed, excepting the murder of King Edward, 

owing to the singular beneficence of God’. 

Authorship has been ascribed to the Lutheran 

pedagogue Petrus Vincentius (Peter Vietz, 1519- 

81), who was in England at the time as a member 

of the Hansa delegation. His authorship shows 

the international interest in the succession 

question. Germany was particularly interested 

as Mary was Charles V’s cousin and, although 

Northumberland’s government was protestant, 

this legitimacy of succession was the main 

concern. Other important factors included 

Northumberland’s pro-French policy and the 

possible restriction of German trade. Other 

suggested authors are the Italian theologian 

Pietro Martire Vermigli, a close friend of 

Thomas Cramner, and the Swiss protestant 

theologian Peter Viret. 

The account was first published in Wittenberg 

in a Latin and a German edition in 1553 with this 

sole Leipzig edition appearing in the following 

year. According to VD16 no further editions were 

published and all are very rare. OCLC records 

only one copy of our edition in US libraries and 

no copies of the Wittenberg printing. 

VD16 V1093 (online four copies). OCLC (Yale 

copy only in US). COPAC (BL only). Ref: Denys 

Hay, The ‘Narratio Historica’ of Petrus 

Vincentius, 1553, in English Historical Review, 

Vol 63, No 248 (Juli 1948), pp350-356. 

106 107

108

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