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La Création. Les trois premiers livres de la Genèse suivis de la généalogie adamique. Traduction littérale des textes sémitiques par M. le docteur J.-C. Mardrus

La Création. Les trois premiers livres de la Genèse suivis de la généalogie adamique. Traduction littérale des textes sémitiques par M. le docteur J.-C. Mardrus

SCHMIED, FRANCOIS-LOUIS [ILLUSTRATOR] & MARDRUS, JOSEPH CHARLES [TRANSLATOR] In this illustrated book, the master French book illustrator Francois-Louis Schmied turned his attention to the first three books of Genesis - the creation account. Pairing his illustrations with the literal translation of Charles Madrus, the result is an exquisite interplay between theme, text, and image. The Art Deco style that Schmied brings to this work wonderfully highlights the purity and beauty of the Creation of the heavens, the earth, and all that they contain. The use of geometric shapes allows themes such as light and the elements dramatically enter into the account. Ward Ritchie states: "[This books is] a daring and innovative design with the copy of the first two books set in capital letters in narrow columns with deocrative bars to fill out the lines where necessary. The small illustrations in the columns are brilliant in color. Dominating full-page illustrations break the continuity of the text. The format is completely changed in Book Three with a wider measure of type and the illiustrations integrated with the text." This book was limited to 175 copies on that were numbered and signed, as well as an additional 20 copies for those involved in the production of the book. Our copy includes an additional suite of plates in black. The book was bound by female bookbinder Marie-Jose Guian-Milliaud for her personal library; it is bound in full brown calf, with ivory-toned calf used to recreate the family tree of plate XII on the front cover. A little bit of offsetting. 4to (33.6 x 25.2cm), 8, 16, XCIV. Plates III, VII, and X are bound in with the preface. A stunning work.
book (2)

De’ nove chori de gli angioli. Cioe de’ componimenti poetici del P. F. Marcello.Choro primo che contiene la corona della B. V. Teresia.Raccolta delle Compositioni, che per la Festa della sua Beatificatione si posero, nella Chiesa della Madonna.

MACEDONIO, MARCELLO (1582-1619) Comprehensive and very detailed description of the beatification festival of Spanish female mystic St. Teresa of Avila at the church of Santa Maria della Scala in Rome on the 5th of October, 1614, written by important Neapolitan poet and later Carmelite Friar, Marcello Macedonio. Macedonio's first work was published in 1605 in Venice and was written in Dante's Terze Rime style; it sings of the beauty of the ladies of his time and was authored under the pseudonym Filenio Pellegrino. In 1610 he underwent a conversion and was accepted by the Carmelite community at Santa Maria della Scala in the Trastevere neighborhood in Rome where he adopted the name, Marcello delle Madre di Dio. He continued his poetic output, and leading up the beatification of the famous Carmelite mystic, helped prepare a very elaborate celebration, combining visual effects with music and poetry, all of which is captured in painstaking detail in this book, including large displays in the church celebrating the saint's influence over the four continents, Europe, Asia, Africa, and America. Pamela M. Jones, in her contribution to the book 'Mapping Gendered Routes and Spaces in the Early Modern World', does a superb job helping us to visualize what the festival must have been like, with its use of emblems, machines, and other "apparati" which at the time would certainly have passed as "high-tech" special effects. A book of the utmost rarity, of which I could locate only one other copy worldwide. 4to (21 x 16cm), [xiv], 180pp., [3]. Title-page with small paper repair, occasional light foxing and/or browning throughout. A few light instances of damp-staining. Initial signatures a tad loose at bottom margin. Bound in contemporary limp vellum with some soiling.
In commemoratione Victoriae Bacensis Civitatis apud sanctum Iacobum Hispanorum de urbe: Sermo ad Senatum Cardinalium habitus die dominica. x . Ianuraii . Mcccxc

In commemoratione Victoriae Bacensis Civitatis apud sanctum Iacobum Hispanorum de urbe: Sermo ad Senatum Cardinalium habitus die dominica. x . Ianuraii . Mcccxc

CARVAJAL, BERNARDINO DE (1456-1523) A sermon given on the 10th of January, 1490 in Rome by the Spanish Cardinal Bernardino Lopez de Carvajal y Sande before a gathering of Cardinals, commemorating the Spanish victory over the Moors at the Siege of Baza (1489), one of the last battles of the Reconquista. Shortly after the fall of Baza, the Kingdom of Granada fell to the Spanish forces, and the Moors were forced to retreat completely from the Iberian peninsula, which they had occupied continuously in one place or another since 711 A.D. The obvious importance of this event to Christendom hardly needs to be emphasized, and the military feats of King Ferdinand and Queen Isabella are celebrated in this sermon, as well as the historical importance of this final blow to Muslim forces in Europe. Queen Isabella, after hearing of the drooping morale of the Spanish troops during the prolonged siege of Baza, decided to personally visit the soldiers on November 7, 1489 - a visit which has become the stuff of songs and poetry. An interesting side note concerns how this visit changed the rules for the game of chess. Prior to Queen Isabella's visit, the piece next to the King in chess only had limited movement. In homage to Queen Isabella's brave intervention, however, the rule was changed to allow the Queen piece broad movement - a change that was excitedly welcomed by chess players, and permanently changed the rules of the game. The Siege of Baza was immortalized in Washington Irving's work 'Chronicle of the Conquest of Granada' published in 1829. The printer, Stephan Plannck, was a native of Germany, and in Rome worked in the print shop formerly belonging to Ulrich Hans, one of Italy's earliest printers. This incunable is not common and the work exists only in this edition. I could locate only three copies in United States' institutions. The date of 1493 is only a conjecture, but in fact the work could have been published any time between 1490-1495. Small Folio (21 x 15cm) 12 leaves (including blank). Includes a number of blank filler leavaes. A few slight blemishes to first two leaves, small numbers inked in on top right corner of leaves in antique hand. Bound in modern vellum. [Goff C-229; Madsen 1053; BMC IV 98].
Biblia Sacra quid in hac editione a theologis Lovaniensibus praestitum sit

Biblia Sacra quid in hac editione a theologis Lovaniensibus praestitum sit, eorum praefatio indicat

Called by Voet one of the most beautiful books to come from the Plantin Press, this monumental Bible employed copper-plate illustrations extensively at a time when wood-cut illustrations were still frequently used as a result of their easier handling. The large folio format, combined with the large margins and high quality paper, shows that the Plantin Press spared no expense in the production of this work, which was financed in part by the King of Spain. Some of the engravings were reused from earlier works, including the large double-page map of the world. 36 of the illustration were especially cut for this edition. Artists involved in the work include Jan Wiericx, Jan de Sadeler, and A. de Bruyn after Crispin van den Broeck and Peter van der Borcht. The translation into Latin was the work of Louvain School, which in the 16th century was one of the most prestigious Catholic institutions of higher learning. The 16th century saw a rise in interest for accurate and scholarly translations, and this work certainly strove to appeal to serious scholars, both in terms of its revised translation as well as its copious notes at the end (117 pages of them!). The text is not divided into verses (expect in the poetical books), but the verse numbers are given in the central margin. Marginal references also include notes of variant readings and cross-references. This particular copy has been rubricated throughout; a previous owner seeming to treat it like a medieval manuscript. He also added short introductions in Latin and red letters in the margins, presumably for study purposes or perhaps for ease of public reading in a church or monastery. The result is a very unique and beautiful presentation of the text. The two illustrations of Adam & Eve seem to have fallen under a censor's hand with vestments painted on them. These additions appear the work of a 17th or 18th century owner. This copy does not include short dedication to Cardinal Albert (thus making it the Voet B variant) - the reason for its absence is due to religious controversies in the city of Antwerp at the time. Otherwise the book is complete with 7 full-page plates, 3 double-page maps, and 2 double-page diagrams, together with 81 engravings in the text. Double-map map of the world is backed with cloth. A few paper repairs, but overall this is an important work in excellent condition that is still rare in institutions. Rebound in 19th or 20th century full morocco with blind-ruling. All edges gilt. Large Folio (42 x 30pp), [1200], 117pp. [Voet, L. Plantin press (1555-1589), 690]
Breve relazione della republica

Breve relazione della republica, che i religiosi Gesuiti delle provincie di Portogallo e di Spagna hanno stabilita ne’domini Oltromarini delle due monarchie e della guerra.

POMBAL, SEBASTIAO JOSE DE CARVALHO (1699-1782) Part of a larger smear campaign leveled against the Jesuits in the latter part of the 18th century, this small book is a relation of the "Republic" the Jesuits established in the South American regions of Paraguay and Brazil. In actuality this "Republic" was a series of autonomously governed Jesuit missions (much like Junipero Serra's missions in California) among the Guarani territory of South America in which each mission included a church, basic housing, a school, farms, and light industry. These highly successful ventures endured for over 150 years, and provided protection for the Guarani people from the ruthless slave-traders of the area, particularly the Portuguese. Pombal, who either wrote or sponsored this work, was the Portuguese Prime Minister and was vehemently anti-Jesuit. After the Jesuits were expelled from the territory, under pressure from both the Spanish and Portuguese Crowns, the European powers moved in to destroy these "Reducciones". The Guarani's led a brief armed resistance (the Guarani War, 1756), but ultimately were defeated and forced to flee back into the rain forest. This book appears to mention the war in the title, and is published only a year following it. This work was first published in Portuguese in 1757 in Lisbon. 8vo (17 x 11cm), 48p., 16p., 38p. Bound in wrappers with some wear and chips. [Variant of Sabin, 63895]
L'Idea del Theatro

L’Idea del Theatro

CAMILLO, GIULIO (1480-1544) The first edition of a book that has continued to amaze, perplex, and inspire for centuries since its publication, and of which interest in it shows no signs of abating. L'Idea del Theatro was dictated by the Italian philosopher Giulio Camillo during a seven day period shortly before his death in 1544, and his secretary published the manuscript in 1550 at the press of Lorenzo Torrentio in Florence. The idea behind the work was a lifelong project of Camillo, who at one point attracted the admiration of the French King Francis I and was able to secure financing to undertake his project of building his "Theater" which would encompass and categorize all the knowledge that could be known by man. Recently a letter was discovered in Milan which proves at at least part of Camillo's Theater was actually built, although there are no remains of it today. The Theater has been visualized by artists in several variations, but the key points are the same. The spectator, instead of taking a seat in the audience, is actually standing on the stage, and looking at the rows of seats which are divided into seven tiers and seven sections. Each section is dedicated to a different planet, which exerts its own force on that section, and each tier is concerned with some aspect of creation or the cosmos, beginning with elemental matter and ascending to the arts and works of human beings. The interplay between the tiers and the sections includes a very wide assortment of visual and textual cues which are suppose to work on the spectators intelligence and imagination in order to bring him or her to kind of recollection, eloquence, and enlightenment. Although Kabbalistic and Astrological concepts are strong in Camillo's description, the Theater is by no means only, and even primarily, an occult or magical experience, but is a real attempt to scientifically appeal to man's psyche in a way to both improve his skills as well as order and categorize knowledge in a very physical way. For this reason, Camillo's Theater has found admirers both in the area of mnemonics (Frances Yate famously wrote about Camillo in her book 'The Art of Memory' published in 1966), as well as in modern day computing, with some writers seeing in Camillo's system a precursor to computers and the internet, especially in its growing use of graphic interfaces. It is probably because of this link with the digital age that interest in Camillo's work is continuing to grow, although his work was never entirely forgotten. However one may approach the work, there is no doubt that its sheer ingeniousness, originally, and enigmatic nature makes it one of the most fascinating works of the 16th century. 4to (22 x 15c,), 86pp. + colophon. Pagination erratic but continuous. A few leaves with scattered foxing, ownership inscription effaced on title-page, antique marginalia in Italian on some leaves. Bound in contemporary limp vellum, loosely held by ties, spine with a few chips. This first Florentine edition is uncommon on the market, with only three copies that have gone up for auction in the last forty years.
Theologia vivificans. Cibus solidus. Dionysii Celestis hierarchia. Ecclesiastica hierarchia. Divina nomina. Mystica theologia. Undecim epistole. Ignatii. Undecim epistole. Polycarpi Epistola una.

Theologia vivificans. Cibus solidus. Dionysii Celestis hierarchia. Ecclesiastica hierarchia. Divina nomina. Mystica theologia. Undecim epistole. Ignatii. Undecim epistole. Polycarpi Epistola una.

PSEUDO-DIONYSIUS [EDITED BY: JACQUES LEFEVRE D'ETAPLES (1450-1536) Date 6 Februrary 1498. The Editio Princeps of French humanist and scholar Jacques Lefevre d'Etaples's edition of Pseudo-Dionysius with his extensive commentary and diagrams. This incunable also includes the editio princeps of the Latin version of the letters of the early Church Father St. Ignatius of Antioch (c. 35 - 108 A.D.). D'Etaples decision to prepare and publish the works of Pseudo-Dionysius were no doubt inspired by his then recent encounter with Italian Renaissance philosophers Marsilio Ficino and Pico della Mirandola, whom he met during his trip to Italy in 1491-2. Both were part of a wide Platonist revival that fit in very nicely with increased focus on the mysterious 6th century Neo-Platonist theologian. The fact that the author of the Pseudo-Dionysian corpus was confused with the Dionysius who met St. Paul in the Acts of the Apostles only lent more authority to the author of these works. During the period of this publication D'Etaples was teaching at the College of Cardinal Lemoine and used the best manuscripts available to compare and revise the text. The Latin translation used was that of Ambrogio Traversari, completed in 1436. D'Etaples substitutes Traversari's brief notes with his own extensive commentary. The printers, John Higman and Wolfgang Hopyl formed a partnership in 1496, after having worked separately in Paris for several years prior. Higman was a German from Meissen who graduated from the University of Paris in 1478 and went to work at the press of Ulrich Gering. Hopyl was from the Netherlands and focused on academic and liturgical works. Although each kept their own shop in Paris, their collaboration produced the early works of D'Etaples, among other projects. Henri Estienne, the famous 16th century printer of Paris, married Higman's widow, Guyone Viart, and likely learned the printing craft under the mentorship of Higman, or Hopyl, or both. The fine woodcut border on the title-page is uniquely theirs. Rubricated initials throughout. A beautifully printed work using Gothic rotunda type; sixteen wood-cut diagrams in text, including an astronomical figure on leaf 87, and a very attractive title-page depicting two eagles. Bound in new limp vellum with ties. Lacking last blank, but otherwise complete. Extensively restored and repaired. Title-page with paper repairs, some words at bottom of recto and verso affected. The first five leaves with smaller paper repairs at bottom margins with loss of a few words. Occasional staining, heaviest on lower margin of the first ten or so leaves. Last five leave with small paper repairs and loss of a few words including colophon. Occasional bleeding of colored initials. A bit of marginalia in an antique hand, contemporary ownership inscription on title-page. 4to (28 x 22cm), [iv], 117 leaves. Small portion of final blank present. [Hain-Copinger, 6233 - Goff, D-240 - Pr., 8140 - BMC, VIII, 140 - GW, 8409 - Pellechet, 4297 - Polain, 1302 - Pettegree, 65111 - Brunet, II, 724 - Graesse, II, 399 - Dionysiaca, p. xxiii, n ° 6 - Charles-Henri Graf, Essay on the life and the writings of Jacques Lefèvre d'Étaples, Strasbourg, 1842, pp. 18-19 - Eugene R. Rice, The Prefatory Epistles of Jacques Lefevre of Etaples and related texts, New York, 1972, pp. 65-66 and pp. 549-550, nr. CLV.]
Notes on the Bedouins and Wahabys

Notes on the Bedouins and Wahabys, Collected During His Travels in the East, by the Late John Lewis Burckhardt. Published by Authority of the Association for Promoting the Discovery of the Interior of Africa

BURCKHARDT, JOHANN LUDWIG (1784-1817) First edition of the posthumously published work on Swiss explorer Burckhardt's travels through the deserts of Arabia among the desert nomads. Burckhardt was the first European to visit Mecca (disguised as a Muslim) and participate in its religious ceremonies. His keen eye for observation records abundant information on every imaginable aspect of desert nomad life, including the differences between the many tribes, the history of the region, etc. Previous books by Burckhardt include his travels to Mecca and Medina, and to Syria and the Holy Land. This work was published both as a large one-volume quarto and a smaller two-volume octavo set. Our Quarto edition is beautifully printed, with occasional small sketches in the text and Arabic words. The preface to the work is written by the British Orientalist William Ouseley (1767-1842). The book is divided into two parts, each with a separate dividing title. The first part is entitled: "Account of the Bedouin Tribes"; the second part is entitled "Materials for a History of the Wahabys."4to (28 x 22cm), frontispiece map, title-page, ix, 439pp. Lacking half-title. Small corner stain to map; interior very clean and fresh. A few very small pencil marks to the first few pages. Bound in half calf over boards, new endpapers, corners rubbed. [not in Blackmer; Rohricht 1627; not in Tobler]
Epigrammata clarissimi dissertissimique viri Thomae Mori Britanni ad emendatum exemplar ipsius autoris excusa

Epigrammata clarissimi dissertissimique viri Thomae Mori Britanni ad emendatum exemplar ipsius autoris excusa

SAINT THOMAS MORE [CORNELIUS DE SCHEPPER'S (c. 1503-1555) COPY] The third edition, but the first that was published separately, of St. Thomas More's Epigrams. This 1520 edition is the definitive edition, and include the author's corrections. Froben, who first published the epigrams in 1518 in an edition that included More's Utopia, worked from More's manuscript that was delivered to him by Erasmus; unfortunately, in the process of transferring the writing to print many errors cropped up which certainly frustrated More. Because of the popularity of the first 1518 edition, a second edition was quickly printed later that year, using a different title-border engraving, but including the same errors. It was this second printing that made its way to More. More, using the printed text, made extensive corrections and annotations, and sent the work back to Froben for use in the edition that is being offered here. This 1520 edition was entirely reset and uses the title-page engraving from the first printing (done by Hans Holbein). Aside from the much improved text, this 1520 edition includes more poems than the 1518 edition, including several at the end of a highly personal nature; there is a beautiful and long poem More must have written between the two editions addressed to his four children, describing his intense fatherly love them; there is also a poem addressed to More's first love, Elizabeth, who he met when he was just 16 years old. One poem from the 1518 edition which dealt with England's then enemies, Scotland and France, was suppressed in the 1520 edition, evidently due to political reasons. The epigrams have been categorized by experts as falling into several categories (see Bradner & Lynch): 23 on kings and government; 20 on the faults and foibles of women; 11 on astrologers; 8 on animals; and 5 on physicians. "Only a half-dozen are complimentary, and there are no poems of conventional piety. Although erotic poems are lacking, there is a fair amount of sexual humor of the fabliau type." The epigrams are preceded by a poetic contest between More and William Lily (1468-1522), English grammarian and scholar - a close friend of More's, and the first to teach Greek in London. This 'Progymnasmata', as the section is called, includes a verse printed in Greek, and then two competing translations of the verse into Latin by More and Lily, each vying for the better translation. The epigrams themselves are a mix of original Latin poems by More and numerous translations by More of Greek verses into Latin (taken from the Byzantine source known as the Planudean Anthology). This edition has a very distinguished provenance, having once belonged to the Flemish humanist, ambassador, and sometime spy, Cornelius de Schepper of Nieuwpoort (c. 1503-1555), and bears him autograph on the title-page. Schepper, although quite politically active, found time to befriend such eminent humanists as Erasmus, Vives, and Melancthon, and even visited England in the 1524, being received by Henry VIII and Cardinal Wolsey. It is quite possible that he met More during this time, and perhaps even acquired this book while in England. The year prior, de Schepper traveled to Wittenberg, and there met Martin Luther. In 1531 and 1532 de Schepper engaged in debate against Lutheranism as Charles V's envoy in Switzerland, Germany, Bohemia, and Poland. In 1533 de Schepper traveled to Constantinople on a peace mission where he met Suleiman. This book of epigrams, part of de Schepper's personal library, shows the humanistic and leisurely side of this very active 16th century political man. Small 4to (15.5 x 20.7cm), 116pp. Staining to first sixteen pages, then mostly clean leaves with occasional small marks, and one leaf with a small 1cm hole without loss of text. Wide margins. Bound in a modern marbled board binding, new endpapers. Attractive colophon. A couple small book-plates on front endpapers. ( Adams M-1753; Gibson 57; VD-16 M-6296]