Search Results: Authors starting with B from Liber Antiquus

Mainz: [Peter Schoeffer], 1469. SECOND IMPRESSION (of three) of the original edition, using the two-line printing slugs created by Gutenberg for the first printing. Hardcover. Fine. Collation: [1-610, 74]: grammar, 1r incipit (P)rosodia quedam pars grammatice nuncupatur. Partes siquidem grammatice sunt quattuor (contractions resolved); [8-1910 204(4+1)]: dictionary A-H, 8/1r incipit (I)am divina potencia auxiliante supra determinavimus de quatuor particulis principalibus huius operis. Nunc restat ut de quinta parte, 20/4+1r incipit manus cum suis derivativis, verso blank; [21-3810 394]: dictionary I-Z, 21/1r incipit (I) est imperativus de eo is it, 39/3r colophon Altissimi presidio cuius nutu infantium lingue fiunt diserte... Hic liber egregius, catholicon, dominice incarnacionis annis M cccc 1x Alma in urbe maguntina nacionis inclite germanice ... Non calami, stili, aut penne suffragio, sed mira patronarum formarum que concordia proporcione et modulo, impressus atque confectus est (followed by… Read More

Rome: Chez Bouchard et Gravier Libraires françois rüe du Cours près l'Eglise de S. Marcel, de l'imprimerie de Komarek, 1763. FIRST EDITION. Hardcover. Fine. This is a very fine, broad-margined copy bound in 19th c. half vellum (worn, small splits at head and foot of spine and another along the spine. The text and plates are in excellent condition with only a few instances of light marginal foxing or the occasional light blemish. One plate loose. Magnificently illustrated with 44 double-page etched and engraved plates of Renaissance and Baroque Roman architecture, with captions in Italian and French. All plates are signed by Barbault as draftsman ("Barbault del[ineavit") and most signed by Domenico Montagù ("D. Montegu Sculp[sit]"), Freicenet, or Giraud as engraver. With an etched and engraved title vignette; 21 small etched and engraved plates as tailpieces. The plates are on guards so that they lie flat when opened, rather than running into the gutter. The French artist Jean Barbault arrived in… Read More

Rome: Chez Bouchard et Gravier Libraires François rüe du Cours près de Saint Marcel, de l'imprimerie de Komarek, 1761. FIRST EDITION. A fine copy in contemporary calf. Hardcover. Fine. Magnificently illustrated with 73 etched and engraved plates comprising 88 half-page and 29 full-page images of ancient Roman architecture and sculpture. These were designed by Barbault (83 engravings), Carlo Nolli (1), and L. Bufalino (1) and engraved by Barbault (56), Domenico Montagù (52), Giuseppe? Bouchard (6), and Freicenet (4). The title page bears an etched and engraved vignette, the text is further illustrated with an engraved head-piece for the dedication and 9 engraved illustrations of ancient bas-reliefs and sculptures as tail-pieces. The French artist Jean Barbault arrived in Rome in 1747 and quickly became involved with the circle of Piranesi, with whom he worked on the "Varie Vedute di Roma Antica e Moderna" and for whose "Antichità Romane" he contributed figures for 14 plates "thus becoming one of… Read More

Rome: Antonio Lafréry, 1552. Hardcover. Fine. First state (of three.) A rich impression with wide margins, light marginal foxing and a little light soiling, extreme upper margin a little ragged. Inscribed on the pedestal: "LVPAE ROMVLVM ET REMVM VRBIS CONDITORES LACTANTIS ANTIQVVM AC AENEVM IN CAPITOLIO SIGNVM." (Ancient bronze image of the she-wolf nursing Romulus and Remus, founders of the city, on the Campidoglio). Signed "ANT. LAFRERII FORMIS ROMAE MDLII". An icon of central importance to the mythology and history of the city of Rome, and an artwork that served as the nucleus of Europe's first public museum. This print, attributed to the French emigree engraver Nicolas Béatrizet, was issued by Lafréry in 1552, the year before he agreed to a partnership with his rival, Antonio Salamanca. After Lafréry's death the plate passed to his nephew Claudio Duchet. It was reprinted by Giovanni Orlandi in 1602 and afterwards (before 1622) by Hendrick van Schoel. The first definitive reference to this… Read More

London: Printed for Humphrey Robinson, at the three Pidgeons, and for Humphrey Moseley, at the Princes Armes in St Pauls Church-yard, 1647. FIRST EDITION of BOTH WORKS (See below). Hardcover. Fine. With the full-paged portrait of Fletcher by Marshall bound before the title page. Bound in 18th c. blind-ruled mottled calf, very nicely re-backed with the original label preserved; corners bumped, minor scrapes and light wear to boards. Complete with the engraved portrait (first state, with "vates duplex" with v and d in lower case, and with "J. Berkenhead" engraved in smaller letters than those in the first state.) Title page printed in red and black. A fine copy of the first edition of the plays, bound with a very good copy of the 1652 single play. Marginal dampstain in lower margin of gatherings Bb, Ii, Aaa, Ddd, Bbbb, and Ffff, and a few other scattered leaves. Very small wormtrail in the gutter of some gatherings, occ. affecting a letter or touching the printed rule. Leaf 6K1 with light ink smear,… Read More

N.p. [France]: No printer [by the artist], 1900. FIRST STATE (of two), before the addition of the artist's signature in the plate. Hardcover. Fine. All plates in fine condition, with some glue residue on the versos at the upper corners (probably from earlier mounting), far from the images. One sheet lightly spotted. Housed in a modern custom, chemise-lined black Morocco box (41.5 x 29 cm.). A complete set of Albert Besnard's striking suite of 26 etchings on the theme of death, printed on vellum and signed by the artist. This is one of only four copies printed on vellum. The other five sets (the edition was limited to nine impressions) were printed on paper (vélin d'Arches.) At least one of the other vellum copies has been dispersed (a single print on vellum is held, as part of a set (of the second, 1921 issue) on paper, at the National Gallery of Art, Washington D.C.) Coppier (1920) and Delteil (1926) tell us that Besnard used the technique known as "retroussage" (using a piece of soft, fine… Read More

Ulm: Johann Zainer, 29 January, 1480. FIRST BIBLE PRINTED AT ULM. Hardcover. Fine. An excellent copy, with noble provenance, of this magnificent Bible. A very large, impressive copy, with broad margins, preserving numerous deckled edges. The quires are numbered in a contemporary hand, in red ink, at the foot of leaves. The stub for the canceled blank leaf ll3 (the conjugate of leaf ll9) is visible, with instructions to the binder. With numerous blue fabric tabs, each marking an individual book of the Bible. Rubricated throughout, with a few larger red brushwork initials and red and blue Lombard capitals, red paragraph marks and capital strokes. The book is adorned with Zainer's distinctive, large woodcut initials, a larger decorative marginal decoration, and a woodcut of Saint Jerome in his study, working on the Vulgate. on first text leaf (a few corners torn away, one affecting the woodcut decoration in the margin; damp-staining in gutter and lower margin, some light dust-soiling at ends. Occ.… Read More

Augsburg: Silvan Otmar, 11 June, 1523. SECOND APPEARANCE OF HANS BURGKMAIR'S COMPLETE APOCALYPSE WOODCUT CYCLE. Hardcover. Fine. A very early edition of Luther's December Testament, appearing within six months of the first (Wittenberg, December 1522). With a large title woodcut by Hans Schäufelein, 25 large historiated woodcut initials (numerous repeats) with scenes of the Evangelists writing the Gospels, Paul writing the Epistles, and John writing the Book of Revelations. The Apocalypse is illustrated with 21 large woodcuts by Hans Burgkmair the Elder. The complete cycle first appeared less than three months earlier, in Otmar's edition of 21 March. With a large title woodcut by Hans Schäufelein, 25 large historiated woodcut initials (numerous repeats) with scenes of the Evangelists writing the Gospels, Paul writing the Epistles, and John writing the Book of Revelations. The Apocalypse is illustrated with 21 large woodcuts by Hans Burgkmair the Elder. Bound in contemporary alum-tawed pigskin over… Read More

London: Printed by Isaac Jaggard, for Mathew Lownes, 1625 and, 1620. SECOND EDITION OF VOLUME ONE (1st 1620). FIRST EDITION OF VOLUME TWO. The first volume comprises Books 1-5. The second Books 6-10. Hardcover. Fine. Bound in contemporary English calf ruled in blind, neatly rebacked retaining the original spine, corners mended, later end-leaves. A crisp copy with minor scattered stains and clean tears (no loss). Light ink stain to first title, light dampstain to lower blank margin of first two gatherings, slight chipping to lower corner of first two lvs. Small rust holes in lvs. E3-4, M3-4, and Dd1-2; small marginal paper flaw to lvs. M1 and 2nd Dd3, lvs. O6 and Ss3 (Pt. 2) with tears in text (no loss), 2nd Oo2 with sm. repaired hole. With the bookplates of Shuttleworth Forcett; Kap Shuttleworth, Cawthorpe Hall; and Stuart W. Jackson; housed in chemise and half-morocco slipcase. Title page of the first volume printed with a woodcut border (McKerrow & Ferguson 212); The second volume with an… Read More

London: In Paules churche yarde at the sygne of the holy Ghost, by Ihon Cawoode, prynter to the Kynge and Quenes Maiesties, 1556. FIRST EDITION of Coleville's translation. Hardcover. Fine. Bound in contemporary English calfskin, rebacked in the 19th c., a few patches to the leather of the boards. Text in very good condition with occasional browning, darker in signatures I and K. Light dampstain to signatures T, Z, Bb, and Ff. Text in Latin and English in two columns, the former printed in italics and the latter in black letter, small woodcut initials. Very rare. Only 5 U.S. copies in ESTC: Folger (Defective), Harvard, Huntington, Yale, Illinois. Dedicated to Queen Mary Tudor, Coleville's English translation of Boethius' masterpiece is the only early English translation to include the original Latin text, indicating that, in addition to those readers with no knowledge of Latin, the author took into consideration the more educated, Latin-literate English audience. Coleville provides interesting… Read More

Leiden: Joannes Maire, 1647. THIRD EDITION, EXPANDED AND WITH ADDITIONAL TEXTS. Hardcover. Fine. Bound in contemporary Dutch vellum (lower "yapped" edge a bit warped). Complete with both folding tables. Illustrated with eighty-seven (87) woodcuts of gems and minerals, including geodes, hematite, crystals, corral, and fossils. A very good copy, with scattered mild soiling and light foxing, very lightly stained at upper margin; a few gatherings lightly toned, tables a little browned at the head. Tiny marginal tear on title, second leaf, and leaf N2; some dog-eared corners. Nick in blank lower margin of gatherings M and N (second sequence) far from the text, corners of leaves in gathering L (second sequence) lightly creased. Third and best edition (1st 1609, 2nd 1636), edited by the Belgian physician Adrian Toll (1610-1675), of "one of the most important mineralogical works of the seventeenth century, marking a transition over previous lapidaries" (Schuh). The mineralogical researches of Jan De Laet… Read More

Oxford: Printed [by Leonard Lichfield] for Henry Cripps, 1632. FOURTH EDITION (1st ed. 1621). Hardcover. Fine. Bound in attractive contemporary English calf (rebacked, with the majority of the original spine preserved), both boards richly and ornately tooled in gold with large central arabesques, roll-tooled compartments, and floral tools. Surface of the boards lightly rubbed, corners bumped, a few scrapes to the lower board. Modern endpapers. A very good, crisp copy, complete with the engraved title page depicting various types of melancholy and the explanatory "Argument of the Frontispiece". A small piece of the upper blank corner of the first leaf has been excised (not affecting the text.); outer edge of first leaf and engraved title chipped; edges of first few leaves lightly browned, blank corner of engraved t.p. with 17th c. ownership scored through and illegible; small rust holes in lvs. M3, Rr1 and Yy4; small loss to blank lower margin of leaf Cc2 (far from the text), tiny natural flaw in… Read More