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Summa Conciliorum et Pontificum à Petro usque ad Iulium tertium, succincte complectens omnia quae alibi sparsum traditasunt: per F. Bartholomaeum Carranzam Miranden, instituti sancti Dominici theologiae professorem & regentem in collegio sancti Gregorii in valle Oletana.

CARRANZA, Bartolomé (1503–1576) 8vo (160 x 100mm). Pagination: [36], 278 [i.e. 276], [21]. Signatures: *-***8, ****4, a(8), A-Z(8), AA-LL(8), MM(4), ã(8), è(8), ì(6). 18th century mottled calf, five raised bands, (title slightly creased with some marginal wear and light browning; calf chipped at outer edges with some loss, hinges slightly loose, otherwise good and complete copy). Front flyleaf inscribed in 18th century English hand by "Hugh (possibly Friel) of Bridgend" (Wales) and "the true owner of the this book. June 1790" and similarly inscribed on rear blank. Embossed owner’s stamp "Ex Libris J.J. Rolbiecki," John J. Rolbiecki (1889–1983) was a cleric, scholar, and author of numerous works in philosophy and Renaissance literature. First printed in Venice in 1546, the title of the Summa Conciliorum et Pontificum ("Summary of the Council Meetings") was printed in two states: A. "Paulum tertium" and B. "Julium tertium;" this copy printed in state B. This discrepancy in pope names is owed to the death ofPaul III on November 10, 1549, and the installment of Julius III on February 22, 1550. According to the Bibliographie des éditions parisiennes du 16e siècle, at least two editions of the Summa Conciliorum et Pontificum appear in Paris in 1550; one was produced by Poncet le Preux in collaboration with Vivant Gaultherot, Jean Foucher, and Oudin Petit, as here, and the other was printed by the brothers Jérôme & Denise de Marnef. The author Bartolomé de Carranza (1503–1576), sometimes "de Miranda," a Dominican priest and theologian from Toledo, was persecuted during the Spanish Inquisition for propagating the idea of limited papal power. He was nevertheless known for his controversial publications, among them the Quattor Controversiae ("Four Controversies"), which appeared the same year as the Summa Conciliorum et Pontificum. The latter work is prefaced by four dissertations that question the authority for the traditions of the Catholic Church, including episcopal residences and the manner of hearing the Mass. The last three books include a decree of the Council of Trent of 1546. Carranza dedicated this work to the Spanish novelist and diplomat Diego Hurtado de Mendoza (1503–1575), who would later denounce him for heretical ideas. Rare; OCLC locates this exact imprint only in Lille and Strasbourg (OCLC 494595637), but BP16provides further details for "état B" and is not found in US collections. See French Books III & IV, no. 60202 (for "Paulum") and the Bibliographie des éditions parisiennes du 16e siècle, no.BP16_113876. USTC 150702.
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Description des Festes, Données par la Ville de Paris, à l’Occasion du Mariage de Madame Louise-Elizabeth de France, & de Dom Philippe, Infant & Grand Amiral d’Espagne

BLONDEL, Jean-Francois (engraver) Contemporary French red morocco gilt, covers with a decorative border composed from fillets and two decorative rolls, the inner roll including fleur-de-lys, large single fleur-de-lys tooled at corners, all surrounding the large centrally-placed arms of the City of Paris blocked in gilt, spine in eleven compartments with raised bands, green morocco lettering-piece in the second, the others with repeat overall decoration of various small tools surrounding a large centrally-placed fleur-de-lys tool; large folio (622 x 470 mm); title with engraved vignette of the arms of Paris by P. Soubeyran after E. Bonchardon, engraved headpiece by Rigaud, two engraved initials, 13 engraved plates (8 double-page) by Blondel after Blondel, Gabriel, Salley, Rousset, and Servandoni. Small tears to lower blank margins of A1 and A2 and plates 2,8 and 13, light old staining to blank margins; binding with neat repairs to joints, corners and head and foot of spine. Commemorates the festivities with which the city of Paris honored the wedding of the son of Philip V of Spain to Louise-Elisabeth, daughter of Louis XV. The celebration was held along the Seine between the Pont Royal and the Pont Neuf, and also on an island specially constructed on the river after plans by the architect Giovanni Nocolo Servandoni (1695-1766). There are several plans and sectional views of the Hôtel de Ville showing its decoration for the Grand Ball, but the most famous plate is the magnificent double-page engraving of the fireworks. Berlin Kat. 3012; Cohen/de Ricci 288; Lipperheide Sg 19; Ruggieri (1873) 570; Vinet 519.
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Les Institutions imperialles, avec certaines glos[s]es & arbre civil, ou sont inserées les formules des dema[n]des ou libelles iudiciaux sur chascune action le tout mis de Latin en Fra[n]cois par maistre Nicolle de L’Escut, secretaire du Duc de Lorraine; fideleme[n]t reueues & corrigées par hommes scauans, selon la maniere de playder par les Francois. Avec priuilege.

JUSTINIAN I, EMPEROR – L’ESCUT, Nicolaus de, ed. (d. 1580) 16mo (113 x 80mm). Gaultherot’s woodcut printer’s placard and cherub head "Avec Privilege" on title page. Pagination: [8], 332pp. Signatures: [dagger](8), a-z(8), A-S(8), T(4). Later French calf, embossed with heraldic lion passant on covers, gilt tooled cornerpieces and fivegilt fleurons on spine, four raised bands, still with manuscript binder’s waste; (good compact copy of this cornerstone publication for 16th century French legal education, a rare survival; some light edgewear: headcap slightly chipped, corners lightly bumped; internally clean, though, some minor marginal worming at times in text, altogether solid). Title inscribed with former owner’s initials and dated 1702, possibly "von Clodh," suggesting German ownership by the early 18th century. Rare pocket edition of the Institutes of Justinian, known as the Institutions impériales in French, and printed in Paris by Vivant Gaultherot in 1547; following two earlier editions in 1543 and 1544. There were at least five more editions of this French translation printed between 1547 and 1558. As early as the 12th century, French legal students began to refine their study and practice of law toward a "perfected" Justinian system. This interest was largely owed to the spread of the scientific study of "pure Roman law" initiated at the University in Bologna. The "Bologna revival," as it was known, made its way first to the law university at Montpellier and then spread elsewhere in France. Over the following centuries, demands for new translations of the Justinian Institutes were doubtless tied to the foundation of several new French universities. Nicolaus de L’Escut (d. 1580), editor and translator of the Institutions impériales, was an early modern jurist, diplomat, and secretary to Antoine the Good, Duke of Lorraine. L’Escut’s translator’s note states he took grosse peine, or "great trouble," in this undertaking so the reader would understand the text plus facilement. The "Bologna revival" at medieval universities across Europe and the growing interest in newtranslations of the Justinian Institutes introduced ideas of Roman law to the provinces. See Sherman, Roman Law in the Modern World, pp. 227-228. Rare, OCLC locates one copy held in the US by the LC (no. 77227442). See also Bibliographie des éditions parisiennes du 16esiècle, no. BP16_112725.
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October

Bacall, Lauren]; Isherwood, Christopher; Bachardy, Don (illus.) Wraps; tall 4to; pp. 85, [3], illustrated in b/w throughout (portraits of artists). Mended tear to bottom half of front wrap. Inscribed by Isherwood and Bachardy to Lauren Bacall on the title-p., "for dearest Betty, with our lasting love, Christopher and Don / 11 September 1983." (Lauren Bacall was born in the Bronx as Betty Joan Perske, and only close friends and loved ones used her real name.) Covers a little dust-smudged; spine somewhat tanned; corners thumbed. Internally nice and clean. Thirty-two portraits by Don Bachardy, including Christopher Isherwood, Joyce Howard, Frank London, Julia Alexander, Nicholas Wilder, Gore Vidal, David Hockney, Joan Didion, Malcolm McDowell, and others -- and accompanying text by Isherwood. With an invitation to the gallery exhibition, held September 14 - October 15, at the James Corcoran Gallery in Los Angeles. Isherwood and Bachardy were a much-loved couple (David Hockney painted their portrait in 1968), whose home was a safe haven for friends and celebrities. Bachardy sketched or painted portraits of Gore Vidal, Truman Capote, Aldous Huxley and Tennessee Williams, director John Boorman, actors Charles Laughton and Montgomery Clift, composer Igor Stravinski as well as painter Hockney, but also countless Hollywood legends, among them Marlene Dietrich, Katherine Hepburn, Lauren Bacall and Humphrey Bogart as well as Warren Beatty, Henry and Jane Fonda, Mia Farrow, Sharon Tate, Roman Polanski and Jack Nicholson. Though Bacall's portrait is not included in this volume, it is highly unlikely that Bachardy would've let such a beautiful portrait slip through his fingers without at least a sketch. Lauren Bacall (1924-2014) was an American actress known for her distinctive voice and sultry looks. Howard Hawks (director, producer, screenwriter) changed her first name to Lauren, and Perske adopted "Bacall," a variant of her mother's maiden name (of Romanian Jewish descent), as her screen surname. The young Lauren Bacall, worked as an usher at the St. James Theatre, and as a fashion model. She made her acting debut on Broadway in 1942, at age 17, as a walk-on in "Johnny 2x4." By then, she lived with her mother on Bank Street, Greenwich Village, and in 1942 she was crowned Miss Greenwich Village. Though Diana Vreeland is often credited with "discovering" Bacall, putting her on the cover of "Vogue" in 1943, much of the iconography surrounding Bacall she cultivated herself with the help of Nancy Hawks, Howard Hawks's wife, who advised Bacall on clothing, elegance, manners, and taste. Even Bacall's trademark voice required arduous training -- at Hawks's suggestion, Bacall worked with a voice coach to make her voice lower and deeper. Her screen debut as the leading lady in the Humphrey Bogart film "To Have and Have Not" (1944) made her an instant star. She married Bogart in 1945, and continued in the film noir genre alongside him in "The Big Sleep" (1946), "Dark Passage" (1947), and "Key Largo" (1948). She starred in the romantic comedies "How to Marry a Millionaire" (1953) with Marilyn Monroe, and "Designing Woman" (1957) with Gregory Peck. She co-starred with John Wayne in his final film, "The Shootist" (1976). Bacall worked on Broadway in musicals, earning Tony Awards for "Applause" (1970) and "Woman of the Year" (1981).