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Adversus mathematicos. Graece nunquam, Latine nunc primùm editum, Gentiano Herveto Aurelio interprete. Eiusdem Sexti Pyrrhoniarum hypotyposeon libri tres. Interprete Henrico Stephano. Accessit & Pyrrhonis vita, ex Diogene Laertio . Item, Cl. Galeni contra Academicos & Pyrrhonios, D. Erasmo Roterodamo interprete.

SEXTUS EMPIRICUS Folio (29cm), contemporary blindstamped pigskin with golden coat-of-arms of Thurn und Taxis Duino’s castle library, and two ex-libris at inner side of upper cover, green edges, an attractive, genuine copy with distinguished provenance (upper corners repaired, a little worming at inner margin of first leaves, light browning). Two parts in one vol., pp. (8), 398, 399-583, (1), (30 of index and 2 orig. blanks). Separate title-page to both parts with woodcut printer’s device. First collected edition of Sextus Empiricus (fl. AD 200), the only sceptic philosopher of antiquity whose works have survived. It includes his two major works, the Pyrrhonian Hypotyposes (or Outlines of Pyrrhonism), which had appeared in 1562 and the Adversus mathematicos here in first edition. This work was shared between Christopher Plantin and the Paris bookseller Martin Le Jeune (whose device appears in hte 2nd part). Edwards, Encyclopedia of Philosophy: "Sextus’ extant works constitute the only lucid and firsthand summary of Greek Skepticism available to us. They are usually divided into two works, the Outlines of Pyrrhonism (Hypotyposes) and the Against the Dogmatics (Adversus Mathematicos). The Hypotyposes is divided into three books, the first of which defines the key terms of Skepticism, while the two others make use of these terms to attack dogmatism The Adversus Mathematicos contains 11 books, 5 of which use the method defined and exemplified in the Hypotyposes in order to refute 'philosophers' (logicians, physicists, and ethicists), and six of which use the method to refute 'scientists' (grammarians, rethoricians, geometricians, arithmeticians, astronomers, and musicians)". DSB XII, 340; Adams S-1026; Dorbon 4572.;Houzeau & Lancaster 889; Wellcome I, 5956.
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Trattato Di Teofilo Gallaccini Sopra Gli Errori Degli Architetti Ora Per La Prima Volta Pubblicato. Venice, Giambattista Pasquali, 1767. [With:] VISENTINI, ANTONIO – Osservazioni di Antonio Visentini Architetto Veneto che servono di continuazione al trattato di Teofilo Gallaccini sopra gli errori degli architetti.

GALLACCINI, TEOFILO Folio (342 x 240 mm), contemporary vellum, a clean, wide and genuine copy. The second work bound as first. Gallaccini: Engraved frontispiece (incl. in pagination), pp. xii, (81), 1 blank, with engraved illustrations and plates in the pagination. Visentini. Engraved frontispiece showing "la Perfezione", printed title with Pasquali’s engraved device, pp. vii, [1 blank], 141, [3 blanks], finely illustrated with 61 full page plates in the pagination. First Editions of both works. Gallaccini (1564-1641) was a Professor of Mathematics at the University of Siena and his tract was completed in manuscript about 1625, but not published until 1767. The ‘Trattato sopra gli errori degli architetti’ expresses Gallaccini's views on restraint in art and architecture, which brought him to the attention of proponents of neo-Palladianism such as Visentini and Consul Joseph Smith. Visentini had already engraved Canaletto's views of Venice for Smith and carried out architectural commissions for the Consul, and Smith was involved in the publication of these two architectural treatises. Berlin Kat. 2636 and 2640; Cicognara 513 and 514; Fowler 133 and 390; Millard Italian 43 and 154; Morazzoni 232 and 260; Schlosser-Magnino 544.
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Persio tradotto in verso sciolto.

STELLUTI, FRANCESCO 4to (218 x 158 mm), contemporary vellum with manuscript title on spine, light waterstain to the lower/outer margin of the leaves towards the end, but still a genuine copy in good condition. Engraved title-page by Matthaeus Greuter, pp. [24, including the title and a full-page engraved portrait of Persius], 218, [20], with text engravings, including full-page image of the parts of a bee observed with the aid of a microscope (at p. 52). First Edition of the first book to contain images of organisms as viewed through the Microscope. The full-page image of a magnified bee (p. 52), showing minute details of the antennae, legs, sting, head and tongue, "still has the capacity to arouse the wonder of modern experts" (Freedburg, p. 189). On page 127 is a smaller illustration of a magnified grain weevil, including a detail of the tip of the insect’s snout and mandibles. The ‘Accademia dei Lincei’ is one of Europe’s first scientific societies, and was founded by Stelluti, Federico Cesi and Johannes Eck in 1603; in 1624 Galileo Galilei (another member of the Academy) had sent a microscope to his friend Cesi, and it was most likely this instrument that the latter and Stelluti used to prepare such pioneering images of insects under magnification. Garrison-Morton 259; Nissen ZBI 3988; Cinti 86; NLM/Krivatsy 8806; Wellcome I:4917. Ford, Images of Science: A History of Scientific Illustration, pp. 172-173, 179-180. Freedburg, The Eye of the Lynx: Galileo, His Friends, and the Beginnings of Modern Natural History (2003).
Epistolae [Latin]

Epistolae [Latin], Franciscus Griffolinus Aretinus, translator

Phalaris 4to (198x139 mm), early 19th century brown half calf with gold fillets on spine, and title on red label, a clean good copy. Roman letter in 29 lines, 40 leaves with signature a-e8. The first Latin edition of these spurious letters, written in the period of Roman Emperor Antonius under the name of Phalaris of Agrigento (570-555 bC), was printed in Rome: [Han, about 1468]. The work had significant success with more than 35 editions before 1500, even if the Greek editio princeps was printed only 30 year later (1498) than the Latin edition. In this collection of letters, Phalaris, the prototype of a Tyrant, is depicted as a benefactor of Human Studies and a close friend and generous supporter of the most important writers and oligarchs of Sicily: "You remember none of the good services I have done you, and I continue still to serve you" To Megareans in The Epistles of Phalaris, London: Barnes, 1706, ep. 2. (leaf a5 in 1481 edition). A remarkable copy with many contemporary manuscript text corrections. It seems to be a copy used by a later printer in order to publish a corrected text of Phalaris. The manuscript emendations in our copy are correctly printed, for example, in the subsequent edition printed by Planck in Rome: 1481-1487 (Goff P560). In the Roman edition the final manuscript Disticon "Qui modo notus erat nulli penitusque latebat / Nunc Phalaris doctum protulit ecce caput" here added in manuscript by a contemporary hand is instead properly printed. See also i.e. some interesting corrections: ff. a1v l.9 cuiusn ominis : cuis nomini; ff. a2v, ll. 7-8 ut si laudo : ut simulando; ff. a3r, l. 27 medicae attis inuentoraes culapius : medicae artis inuentor Aesculapius; ff. d4v, l. 20 admonitione poenas iure : admonitione poenas lueree; ff. 3r, ll. 24-25 malus et inimicus : malus et iniquus. Goff P559; HC 12895*; IBE 2391; Voull(B) 3920; Hubay(Augsburg) 1653; BMC V 297; BSB-Ink P-415; GW M32901. Rare, only 3 copies in public libraries in America, but not at either Yale or Harvard.
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La Comedia, con la vita di Dante e il commento di Cristoforo Landino.

DANTE ALIGHIERI "Folio (380 x 240 mm), in 20th century binding in imitation of a contemporary one, half brown calf over wooden boards, the first leaves restored in margins (not affecting text), 3 other leaves restored in the margins at the end (one with some missing text supplied by a 18th cent hand), a few leaves with some repaired tears, otherwise still a clean and wide copy for study, also with a few interesting textual manuscript additions or corrections. Several leaves are supplied from another slight shorter copy. Collation: Lacking leaves *1 (beginning, ‘Proemio’ letter by Landino), *7 (supplied in manuscript in an 18th century hand), **2 (supplied in manuscript by a 18th cent hand), a1 (preliminary leaf by Landino before the beginning of text of Inferno), b1 (text, should have contained the 2nd illustration), i3-4-5-6 (text), aa1 (preliminary leaf by Landino before the beginning of text of Purgatorio), aaa1 (preliminary leaf by Landino before the beginning of text of Paradiso). Lacking also the 6 blank leaves. In this copy are not present illustrations (usually present in cantos I-II of the Inferno in the most part of copies), here the leaf with beginning of canto I is trimmed under the layout of text at bottom – where the illustration was expected to be placed – and the leaf b1 with beginning of canto II is lacking. First illustrated edition of Comedy, first edition with the commentary of Landino, the first printed in Florence, birthplace of the poet, and at the same time one of the earliest books bearing copper engravings as illustrations to be printed in Italy. As known the typographical phase of printing the illustrations encountered substantial difficulties (the publisher aimed to illustrate all the songs of the poem) because of the enormous technical difficulty in printing the copper plates in the text (the double passage in the print would have entailed probable losses of sheets already printed), and so was limited to the first two cantos; the remaining 16 or 17 engravings were printed separately and sometime pasted in to the appropriate spaces in a minority of copies. There are in fact a few copies known with some more illustrations (till the number of 19, but mostly we find 2 or 3 illustrations, where the 3rd is a repetition od that one placed in Canto II). The engravings are by Baccio Baldini, based on drawings by Sandro Botticelli. For more information on the origin and subsequent history of the corpus illustrative Botticelli, see the work of K. Clark "The drawings by Sando Botticelli for Dante’s Divine Comedy". Hain/Cop. *5946; GW 7966; BMC VI, 628; IGI 360; Sander 2311; Arnim 115; Goff D-29; Pellechet 4114; Cat. Martini 145; De Batines, Bibl. Dante I, 36-40: " Prima edizione figurata per l’esecuzione tipografica bellissima edizione veramente magnifica"; Mambelli, Annali delle ediz. dantesche, 17-22: "stampata in bellissima veste con bellissimi caratteri tondi, assai ricercata". "