[ENCOMPASSING THE REFORMATIONS]
One of theGreat EARLY Chaucerian Collections
(An “Old Book” Trying to LOOK YET OLDER). Chaucer, Geoffrey. The workes of Geffrey Chaucer, newlie printed, with diuers addicions, whiche were neuer in print before: with the siege and destruccion of the worthy citee of Thebes, compiled by Ihon Lidgate, Monke of Berie... [London: Pr. by Jhon [sic] Kyngston for Jhon [sic] Wight, 1561]. Folio (33.7 cm, 13.25"). , CCCLXVII ff. (lacking 6 prelim. ff., incl. t.-p., and “General Prologue”; pagination erratic; CCCLXXVIII lacking but supplied in facsimile).
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Early edition of the first comprehensive collection of Chaucer's works along with several spurious pieces. This is the fourth edition of the Workes, following the first of 1532, which included the first printed appearances of a number of Chaucer's verse and prose pieces, among them the Book of the Duchess and the Legend of Good Women. Editor William Thynne examined a number of manuscripts and printed versions in order to provide what he considered the most accurate renditions possible of the texts; his work helped to shape and direct the Renaissance perspective on Chaucer and his canon.
That the text is printed in double columns ofblack-letter this being late for that, except in realms of serious law or theology will have lent it an air of “auctorite” and, perhaps, of pleasantly suitable archaism for its original readers; the printer has also supplieddecorative woodcut initials in a variety of sizes, some historiated, some signed “I.R.,” and one with a backwards “N,” while the “Knight's Tale” opens witha large woodcut of the armored knight, mounted and with jousting lance in hand. The Romaunt of the Rose is marked by a separate title-page with an elaborate border depicting the genealogy of Henry VIII using the tree motif. As the title-page and prologue are not present in this copy, it is difficult to ascertain which of the two variant states of this edition is represented here.
ESTC S107207; STC (2nd ed.) 5076. Period-style mottled calf framed in double blind fillets, spine with raised bands and gilt-stamped author and date; front free endpaper with recent pencilled annotations. 6 preliminary leaves (including title-page), first part of text through “General Prologue,” and final leaf (CCCLXXVIII) lacking, the latter supplied both in facsimile of original printing and in 18th-century inked manuscript! First four leaves with upper portions repaired, with loss of two paragraphs of “Eight Goodly Questions” (which is bound in between two leaves of the preface), two and a half paragraphs of Hoccleve's “To the Kings Most Noble Grace,” about 14 lines of Thynne's dedication to Henry VIII, and upper portions of the table of contents; tear to first page of the “Knight's Tale” neatly repaired from rear. Pages age-toned, some from the midpoint onwards with waterstaining across text, noticeable but never dark nor obscuring; otherwise the mostly marginal inksmear, chip/tear at an edge, or expectable soiling only. Several paper flaws, one significant and with the printing accomplished over it in instructive fashion; in some sections, apparent bad inking for the press with light spots and dark ones scattered;
pagination notably erratic, with some numerals skipped and some repeated. Occasional instances of early inked annotations and marks of emphasis, particularly in the Romaunt, including long lines drawn marginally and across text. Imperfect (“read hard,” when young?) and priced to reflect that; but still a Chaucerian high spot featuring all the tales of the Canterbury Tales and many other important pieces, withthe array set forth in the 16th century's “antique” style. (32721)
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A PERUVIAN INCUNABLE — In Spanish, Quechua, & Aymara from
the Press of“Antonio Ricardo, primer impressor en estos Reynos del Piru”
Acosta, José de; Juan de Atienza (attrib. authors). Tercero cathecismo y exposicion de la doctrina christiana, por sermones. Para que los curas y otros ministros prediquen y enseñen a los Yndios y a las demas personas. Impresso ... en la Ciudad delos Reyes [i.e., Lima]: Por Antonio Ricardo, 1585. Small 4to in 8s (20.5 cm; 8.125"). [7 of 8], 215 ff., lacking title-leaf (supplied in facsimile) & final blank; 13 ff. supplied from another, shorter, copy.
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Following the fall of the Inca Empire to Pizarro and his men, theshaping of a new social order began but was complicated by a civil war between two factions of the conquering Spaniards. Nonetheless, the development of one of the preeminent colonies of the Spanish empire, there in the coastal and Andean regions of the west coast of South America, progressed at a steady pace.
The society that developed in Peru, as in Mexico, Guatemala, and elsewhere in the Spanish New World, was one ofparallel social systems governed by Spanish laws and royal appointed officials; the Spaniards transplanted their traditional social system from Iberia and the indigenous population maintained its own in modified form. Carefully nurtured points of commonality and interchange ensured that while the populations and cultures were essentially separate, the indigenous one did not develop beliefs and practices that would be in conflict with those of the dominant Hispanic culture.
To this endit was necessary for there to be individuals in both societies who were fluent in each other's languages and could assist in legal, religious, and social matters. In Spanish society one principal group whose members were expected to learn either Quechua or Aymara, the two principal languages of the Inca empire, were the Catholic missionaries. But works in either of those languages were slow to appear in print andthe number of works in Peruvian indigenous languages printed in the 16th century lagged far behind the number of works in the languages of Mexico. The first two works in the languages of Peru were printed in Europe only in 1560. No more works appeared until 1584 and then they were printed in Peru itself.
In that yearAntonio Ricardo printed the first book in South America, the Doctrina christiana y catecismo para instruccion de los Indios. Antonio Ricardo was an Italian who began working as a printer in Mexico in 1570 in the shops of other printers, almost certainly principally in that of Pedro Ocharte. In 1577 he became the fifth independent printer in the New World but operated under his own name only until 1579, during which time he worked closely with the Jesuits and printed books for students at the Society of Jesus' Colegio de San Pedro y San Pablo; at the urging of the Society he left Mexico in 1580 to establish his press in Peru. There, however, because of a dispute between the Jesuits and the viceroy, he did not receive license to print until 1584, when the first thing he printed, at the insistence of the viceroy, was a four-page explanation of the change from the Julian to the Gregorian calendar. This was quickly followed bythree tri-lingual books in Spanish, Quechua, and Aymara, all works by members of the Society of Jesus. The Tercero cathecismo is only the third book printed in South America and it shows Ricardo as aware and proud of his position as the first printer in South America. He pointedly identified himself as such on the book's title-page: “Antonio Ricardo, primer impressor en estos Reynos del Piru.”
The Tercero cathecismo's importance is multifaceted and goes far beyond its place as an icon in American printing history, for it provided doctrinally approved sermons both for those priests serving the Spanish population who were less than proficient sermonizers and also, specifically, for thosepriests and missionaries working among the indigenous population whose command of Quechua and/or Aymara was not sufficient for them to be safe and fluent deliverers of the word of God and instruction in Christian ethics and practices. Modern study of these sermons additionally considers which indigenous terms were used to convey European concepts (precursor to the Chinese rites controversy of the late 17th century Jesuit missionaries in China), which Spanish words became loan words in Quechua and Aymara, what indigenous practices were of concern to the religious authorities, and of course which dialect of each language was chosen to be the norm of proselytization.
Ricardo was fond of printing his texts witha mix of type faces and a wide variety of large woodcut initials. The inventory of the type, ornamental letters, woodcut illustrations, etc., that he owned when he sold the press shows that he had amassed huge quantities of all of those elements of the black art. (The inventory is in the Manuscript Division of the New York Public Library, the gift of Edward Harkness.) The Tercero cathecismo prints the Spanish text in italic and the indigenous-language texts in roman, with the Spanish printed margin to margin at the top of the pages and the Quechua and Aymara below it in parallel columns to the left and right respectively. And yes, there is goodly use of several woodcut headpieces, many large woodcut initials (some historiated); curiously, no tailpieces.
Provenance: 18th-century ownership inscription in an upper margin of the library of Colegio de Santa Rosa; which one, not clear.
As one would expect of any book that was among the first productions of a press in a remote region, the Tercero cathecismo is a rare book. Searches of NUC Pre-1956, WorldCat, COPAC, CCPBE, and KVK locate only eight U.S., four European, and two South American libraries reporting ownership. However, we know of one other U.S. and one other European library owning copies.
Backer-Sommervogel, I, 34; Sabin 94838; Medina, Lima, 3; Vargas Ugarte, Impresos peruanos, 3; Johnson, The Book in the Americas, 34; Medina, Lenguas quechua y aymará, 4; Viñaza 81. Recased in possibly original limp vellum; new free endpapers and fly-leaves; evidence of long-gone ties. Title-page in facsimile. Thirteen leaves supplied from a shorter copy (ff. 57, 138, 143, 146, 151, 135, 160, 161, 168, 186, 191, 194, 199); heavy staining to ca. fol. 25 and again at the end, other staining scattered. Worming, mostly pinhole but some meander, with loss of letters, parts of words, and occasionally whole words, seldom with injury to reading; a few leaves with repaired margins and repairs to wormed areas.Obviously a sophisticated copy and one that has seen hardships, nonetheless, a copy ready to repay ownership and study. (36505)
Famous Maps of the Holy Land — Based on Sources Now Lost
Adrichem (a.k.a. Adrichom), Christiaan van. Theatrum Terrae Sanctae et biblicarum historiarum cum tabulis geographicis aere expressis. [colophon: Coloniae Agrippinae: Officina Birckmannica, sumptibus Arnoldi Mylij, 1590]. Folio (38.5 cm; 15.125").  ff., 286 pp.,  ff.;  fold. or double-page engr. maps.
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Wonderfully detailed study of the Holy Land. Adrichem (1533–85) was a Delft-born priest (a.k.a., Christianus Crucius) who wrote several works on Jerusalem and the Holy Land. His important and influential Theatrum Terrae Sanctae is famous for its engraved maps, but because he used contemporary sources that are now lost, his text is justly sought for its descriptions of Palestine and the antiquities of Jerusalem as these were to be known during the last half of the 16th century.
This is universally held to be the first edition, with subsequent editions in 1593, 1600, 1613, 1628, and 1682, and it was translated into several languages, including English. Clouding the bibliographic record however are poorly catalogued copies at Harvard and the Bayerische Staatsbibliothek: A copy at Harvard purports to have been printed in 1589, but with no indication of where or by whom. The Bayerische Staatsbibliothek copy is variously reported as having been printed in Köln in 1582 (Index Aurel.) and 1585 (its OPAC and WorldCat). We believe the Harvard and Bayerische Staatsbibliothek copies to be erroneously catalogued, leading to these questionable dates of production.
The volume here begins with an engraved allegorical title-page, has woodcut initials and tailpieces, and bears12 folding or double-page engraved maps filled with small details, including sea monsters. The text, printed in roman type in double-column format, contains as lagniappe a chronology from Adam to 1585, the year of the author's death, and on pp. 145–81 his “Urbis Hierosolymae,” a listing of 270 landmarks in Jerusalem. An interesting “guide book.”
Provenance: Early inked inscription of Francisci Rolland on title-page with another owner's signature scratched out; later in the “Palestine Institute” at the Pacific School of Religion (properly released).
VD16 A303; Index Aurel. 100.709. 16th-century calf, covers ruled and stamped in blind, rubbed; recently rebacked with neat gilt spine label, all edges stained red. Ex-library and provenance markings as above, institutional rubber-stamp on title-page and one leaf of text, pencilled call number on t.-p. verso. Light to moderate age-toning with spotting, dust-soiling, bent corners, short tears or chipped edges not “throughout” but more than “occasional; several gatherings with a marginal inkstain or medium waterstain. One map with a few inked spots on back, small inked notes on maps to indicate placement, all folds strong. A marvelous series of maps and a well-researched text. (36911)
A 16th-Century Tour of Italy Venice Is an Island
Leandro. Descrittione di tutta l'Italia
& isole pertinenti ad essa. In Venetia: Appresso Gio. Maria Leni, 1577.
4to (21.7 cm, 8.5"). 2 vols. in 1. , 503, [1(blank)], 69 (i.e.,
96),  ff.
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Early, expanded edition, following the first of 1550: An important and widely read account of Italy, written by a Dominican monk and Bolognese scholar who spoke at length about his home city in addition to the other major regions of the country. The Catholic Encyclopedia (1917) online notes that the work contains “many valuable topographical and archaeological observations.”
Nicely printed in italic type (without maps), the work has a good index. The separate title-page of vol. II gives Isole appartenenti alla Italia, dated 1576. Venice is treated here, as an island, not as part of “the mainland.”
Adams A475; Index Aurel. 102.349. Contemporary vellum, worn and darkened, lacking ties. Hinges (inside) with insect damage causing partial opening, text block starting to pull away from spine. Front free endpaper with two inked ownership inscriptions, one dated 1620 and one 1898. Small area of worming to upper inner margins of about 40 leaves, minor and not approaching text. Scattered instances of early inked underlining and a very few marginalia, pages otherwise pleasingly clean. Ready for many more years of use! (26501)
Americana, ALCHEMY, Culinary Recipes, Medical Cures, &Many, MANY SECRETS
Alessio, Piemontese, Girolamo Ruscelli (?). The secretes of the reuerende Maister Alexis of Piemount: contayning excellent remedies agaynste diuers dyseases, woundes, and other accidentes, with the maner to make dystillations, parfumes, confitures, dyings, colours, fusions, and meltings. ... Translated out of French into Englishe, by William Warde. London: Imprinted ... By Henry Bynneman, for Iohn Wight, 1568. 4to (18 cm; 7"). , 117,  ff. [with his] The seconde parte of the Secrets of maister Alexis of Piemont, by him collected out of diuers excellent authors, and nevvly translated out of French into English. With a generall table of all the matters conteyned in the sayde booke. Imprinted at London: By Henry Bynneman, for Iohn Wyght, 1568. 4to. 75,  ff. [also with his] The thyrde and last parte of the Secretes of the reuerende Maister Alexis of Piemont, by him collected out of diuers excellent authors, with a necessary table in the ende, contayning all the matters treated of in this present worke. Imprinted at London: by Henry Denham, for John Wyght, . 4to. , 15, 17–75,  ff. [also with his] A verye excellent and profitable booke conteyning sixe hundred foure score and odde experienced medicines, appertayning vnto phisicke and surgerie, long time practysed of the expert and reuerende Mayster Alexis, which he termeth the fourth and finall booke of his Secretes ... Translated out of Italian into Englishe, by Richard Androse. Imprinted at London: By John Wyght, 1578 [but really Imprinted at London: By Henry Denham, 1569]. 4to. , 52, 57, 50 [i.e., 51] pp.
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Alessio's four “books of secrets” is a wondrous mix of alchemy, medical advice, and practical hints. Assembled in this one thick volume are the four books of Allesio, Piemontese, in which he assemblesan astonishing complication of formulae, recipes, and prescriptions. In addition to formulae for making people well, curing pimples, and restoring youth, there are concoctions for perfumes, counterfeiting pearls, making false silver, and even fourteen recipes for preserving foods and making conserves.
Americana content is found in the 1568 Secretes on leaves L7r–L8v on the use of Brazilwood for making dyes. The book arts are addressed in that work on M3r where there are instructions for making gilt edges on books; while M6r–N1r discusses making inks, including for printing, and varnishes, including scriveners' varnish.
All four works are printed in black letter with a small admixture of roman and italic. The title-pages of the first three titles bear the woodcut printer's device of Bynneman which clearly Denham was allowed to use (!!) — a woman with two horses with surrounding motto “Armipotenti Angliae.” The fourth work has a large woodcut coat of arms of Sir Francis Russell on the verso of the title-page, as well as a large woodcut initial letter “A”; its title-page border is associated with Bynneman's press but is clearly here used by Wyght, the last page of the work
bearing a large finely cut version of Wyght's printer's device. All four works are spare in their use of ornaments.
Parts one to three are third editions in English, while four is the second. All were translated from French translations out of the original Italian: William Ward was responsible for one to three and Richard Androse for part four.
Alessio was considered by some a pseudonym for Girolamo Ruscelli, but there is no evidence for this association (Ferguson, Bibliotheca Chemica, 1906).
Provenance: 17th-century signature of Thomas Stewarte on title-page of 1568 Secretes.
Secretes (1568): STC (rev. ed.) 297; ESTC S100482; Notaker, Printed Cookbooks in Europe, 1470-1700, 503; Ames & Herbert, IV, 468; Graesse, I, 68; Ferguson, I, p. 22 (for parts 1, 2, 3). Seconde part: ESTC S100483; STC (rev. ed.) 302. Thyrde part: ESTC S100485; STC (rev. ed.) 306. Verye excellent: STC (rev. ed.) 309; ESTC S100486. 19th-century vellum over boards; mystical gilt center device on each board; a plain binding hinting at the secrets it contains. Expectable stains, including on first title-page, with light waterstaining variously. Last leaf of 1568 Secretes reinforced on blank verso; leafcast repairs to fore- and bottom margins of last three leaves of the fourth and last title. Marginalia, some trimmed, in text and especially in the index of the Thyrde part. Over all, good copies of all four parts. A terrific compendium and a great, great “read.” (37205)
“Scroungers” &Their Rights in 13th-Century ARAGON
(Still Scrounging/Foraging in 1542)
Almudevar (Spain). Manuscript document, on paper. In Latin. Aragon: 5 May 1542. Small 4to (21.9 cm; 8.675").  pp.
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A Cremonan Attached to Pope Julius' Entourage onthe Passion of Christ
Andreas Piperarius Cremonensis. Andreae Piperarii Cremonen[sis] protonotarii ap[osto]lici & Julii. II. Pont. Max. cubicularii Or[ati]o de passione Jesu Christi redemptoris nostri. [Rome?]: [publisher not identified], 1508. Small 4to (20.5 cm; 8").  ff.
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Piperarius, a Cremonan, was attached to the entourage of Pope Julius II, “The Warrior Pope.” His sermon on the passion of Christ is here printed in roman type without woodcut ornaments, not even a decorated woodcut initial; however, the work ends with a short laudatory poem by Giovanni Maria Cataneo (d. 1529), the classicist and correspondent ofErasmus.
Provenance: 20th-century bookplate of Arthur Mullin (the Anchor and Dolphin one); sold at Swann Galleries in 1998; in a private collection till 2016.
Searches of NUC and WorldCat locate only three exemplars in U.S. or Canadian libraries.
Not in EDIT16. Modern boards covered with a 16th-century leaf of text from a service book printed in gothic type in black and red, with a large initial “A” nicely placed. Light soiling and spotting on title-leaf and blank last leaf. (36735)
The Best of 16th-Century Italian Satire
Ariosto, Ludovico, & others; Francesco Sansovino, ed.
Sette libri di satire di Ludovico Ariosto, Hercole Bentivogli, Luigi Alemanni, Pietro Nelli,
Antonino Vinciguerra, Francesco Sansovino, ed altri scrittori. Venice: Appresso Fabio, &
Agostin Zopini fratelli, 1583. 8vo (14.6 cm, 5.75"). , 206,  ff. (lacking original final
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Later edition of collected satires by famous Italian authors, edited by one of them,
Francesco Sansovino (1521–86).
Sansovino dedicates this collection to the historian Camillo Portio (Porzio, 1526 – ca.
1580), and introduces it with an essay on the material of satire, which he breaks down as “pure
simplicity, with severe acerbity, sometimes mixed with a bit of salt, or with some feature [that is]
tasty, and acute.” Prior to this, Sansovino also worked on the satires of Ariosto (1474–1533),
The text is divided into sections by author, each of whom the editor introduces with a
brief biography. A short abstract printed in roman precedes each poem, printed in italic. Fine
woodcut head- and tailpieces, and a variety of initials in historiated, patterned, and factotum
designs, decorate the text; and the title-page features the woodcut printers' device of Truth
personified, flanked by an eagle, a lion, a bull, and an angel, representing the Four Evangelists.
Provenance: Ownership inscription on front fly-leaf of Luigi Pagani Cesa, possibly the
Italian jurist born at Belluno in 1855, who served as a member of Parliament for 1904–13; and
the words “penso che” (“I think that . . .”) written above, in an earlier hand?
Adams A1691; CNCE 2806. Later glazed cream-colored boards, title and date
inked on upper spine, small paper label on lower spine, marbled red edges; boards soiled and
front joint opening. One spot of worming on front pastedown and on colophon leaf; traces of
former mounting on colophon leaf verso. Title-page with one letter added in manuscript (o, in
Bentivoglio). Trimmed close at margins almost grazing headline on a few leaves. Very minor
stains on a few leaves, generally bright and crisp.
Two Church Fathers Two Scholar Printers
Athanasius, Saint, Patriarch of Alexandria. Athanasii Episcopi Alexandrini sanctissima, eloquentissma que opera ... que omnia olimia[m] latina facta Christophoro Porsena, Ambrosio Monacho, Angelo Politiano, interpretibus, una cum doctissima Erasmi Roterodani ad pium lectorem paraclesi. [bound with another work as below]. Parisiis: Joanne Paruo [i.e., Jean Petit] , . Folio extra. , 255,  ff. [bound with] Basil, Saint, Bishop of Caesarea. Basilii Magni Caesariensium in Cappadocia Antistitis sanctissimi opera plane diuina, variis e locis sedulo collecta: & accuratio[n]e ac impe[n]sis Iodici Badii Asce´sii recognita & coimpressa, quorum index proxima pandetur charta. [Paris: Venundantur eidem Ascensio [i.e., Badius Ascensius, 1520]. Folio extra. , 178 ff.
An Apparatus by Erasmus
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mouse-over, for an enlargement.
Two editions of Church Fathers from two scholar/printer presses. St. Athanasius's text was translated into Latin by three noted Renaissance scholars, edited by Nicholas Beraldus, and has the added prestige of apparatus by Erasmus. The title-page is printed within a four-piece woodcut border, with the title in red and black, and the page bears the famous Petit printer's device. The text enjoys handsome typography, side- and shouldernotes, and large woodcut initials.
The St. Basil is from Badius Ascensius's press and he acted as the editor, the translators having been Johannes Argyropoulos, Georgius Trapezuntius, and others. The title-page uses the same four-part woodcut title-page border as found on the St. Athanasius, bound in at the front, which makes much sense given the familial relationship between Ascensius and Petit.
Athanasius: Index Aurel. 109.388; Moreau, II, 1982. Basil: Index Aurel. 114.440; Renouard, Ascensius, II, 145/146; Moreau, II, 2246. Alum-tawed pigskin, elaborately tooled in blind over wooden boards with metal and leather clasps; one clasp perished. Binding with one corner tip broken off; small hole in leather on rear board; dust-soiled. Inside, some early marginalia and underlining in red; narrow arc of old, light waterstaining to fore-edges of one part. Pages generally very clean. (19915)
Sermons to Hermits, Attributed toAugustine 16th-Century Edition in Italian
Augustine, Saint, Bishop of Hippo. Sermoni agli eremiti del divo Aurelio Agostino Hipponense ... Nuovamente stampati. Et ... espurgati. Venice: [colophon: Domenego Zio e fradelli], 1538. 8vo (15.3 cm, 6").  ff.
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Attributed to St. Augustine but now relegated to the “spurious, doubtful” category of his works, these sermons enjoyed a wide audience within the Church for centuries. This is an early Italian edition of the famous text first published in Latin in 1477, here printed in roman type, double-column format, with many woodcut initials in various styles (historiated, floriated, criblé, black on white and reverse) and sizes. The title-page features a woodcut device of three fleurs-des-lis; and the printer's device of a circle with a double cross and the initials D.Z.V.F. appears below the colophon, which is dated 1537.
A Doctor of the Church, St. Augustine (354–430) “dominates the Christian tradition of the West, of which he may be considered the founder” (NCE).
Binding: 19th-century paneled calf rather elaborately bordered with multiple rules and rolls in blind, with a flower tool at the inner corners of the border on each board; gilt turn-ins and all edges gilt.
Provenance: Early ink ownership signature of M. Bains(?) and pen marks on title-page.
WorldCat finds no copies in the U.S. of this edition, which is not in NUC Pre-1956. COPAC locates only the British Library copy.
Index Aurel. 110.240; Edit16 CNCE 25866; NCE, I, pp. 1041–58. This ed. not in Adams. Bound as above, recently rebacked with title and date gilt on spine, new endpapers. Light age-toning throughout, turning moderate on last few leaves. (33128)
8th-Century Spanish Settlers in theYucatan!
“Opera veramente molto curiosa, & dilettevole” for Italian Readers, 1556
Beuter, Pere Antoni. Cronica generale d'Hispagna, et del regno di Valenza. Nella quale si trattano gli avenimenti, & guerre, che dal diluvio di Noe insino al tempo del re Don Giaime d'Aragona, che acquistò Valenza in Spagna si seguitarono: insieme con l'origine delle città, terre & luoghi piu notabili di quella, & di tutte de nationi, & popoli del mondo: opera veramente molto curiosa, & dilettevole. In Vinegia: appresso Gabriel Giolito de' Ferrari, 1556. Small 8vo (15.5 cm; 6.125").  ff., 533,  pp., map.
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A translation of the author's Primera part de la Història de València, the first edition of which appeared in 1538, written in the Valencian dialect of Catalan. Beuter (ca. 1490–1554), of German origin, was born in Valencia, educated at the university there, and had a successful career as a historian, university professor, and preacher.
The work at hand was a widely read and respected history of the founding and history of Valencia, and Spain, through the 11th century, with the last chapters having much to say aboutEl Cid. The translation is the work of Alfonso de Ulloa, who translated a number of important Spanish texts into Italian.
Gabriel Giolito, the most prolific printer in Italy during the 16th century, printed about 850 books from the date of founding his press in 1539 to his death in 1578; he exercised great influence on his contemporaries and successors in the form and decoration of books. This work is printed in his italic type, has a woodcut printer's device on title-page and a different one on the verso of final leaf, woodcut head- and tail-pieces, and decorative and historiated woodcut initials. The preliminary matter containsa double-page woodcut map of Spain.
A curious aspect of the text is the claim that Spaniards fleeing the Moorish invasion settled in America in the Yucatan! What a fable!
Provenance: 17th-century private ownership stamp on title of a heart surrounding the letters COP; late 20th- and early 21st-century bookplate of Kenneth Rapoport.
EDIT 16 CNCE 5679; Index Aureliensis 118418; Palau 28828; Alden & Landis 556/6. Contemporary limp vellum, evidence of lost ties. Tear in rear joint (outside), unidentified monogram stamp on title-page, light dampstaining in lower inner corner of early leaves. A complete copy with the sometimes missing map. (31270)
HEAVILY ANNOTATED — The Gospels & Acts in an Important Edition
Bible. N.T. Greek & Latin. 1588. Testamentum Novum, sive novum foedus Iesu Christi, D.N. Cuius Graeco contextui respondent interpretationes duae: vna, vetus altera, Theodori Bezae, nunc quartò diligenter ab eo recognita... [Genevae]: [Henricus Stephanus], 1588. Folio (33 cm; 13").  ff., 555, [1 (blank)] pp.,  ff. (lacks final blank leaf); lacks vol. II (Epistles, Revelation).
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An interleaved and heavily annotated copy of the Gospels and Acts of “Beza's third major edition [of the Greek New Testament]. The text follows that of the second major edition (1582) with only five exceptions” (Darlow and Moule). One should note that the title-page proclaims this “quarta editio,” and that this is Estienne's third folio printing of Beza's N.T.
Beza's New Testament Greek text is here accompanied by his Latin and the Vulgate (i.e., Catholic Latin) translations, the trio appearing in parallel columns on each page withextensive notes that often fill as much as one-third to one-half of a page and with parallel references additionally set in the margins. The volume's title-page is printed in red and black and bears Henri Estienne's printer's device; a different finely wrought woodcut headpiece opens each book, with each column on those pages bearing a woodcut initial at its head, and a few of the books of the N.T. end with woodcut tailpieces.
Evidence of readership: An interleaved copy withthe vast majority of the leaves bearing an early 19th-century reader's notes and annotations. The notes cite references published as late as 1809 and it is clear that the natively German-speaking scholar was comfortable in Greek, Hebrew, Latin, and English.
Provenance: Ownership signature on title-page of Leon St. Vincent. Later in The Howell Bible Collection, Pacific School of Religion (properly released; no markings).
The paper stock used for the interleaving has the classic ProPatria watermark and that and its countermark match Churchill's 151, which has a starting date of 1799.
Darlow & Moule 4650; Adams B1711. On the interleaves' watermarks, see: Churchill, Watermarks in paper in Holland, England, France, etc., in the XVII and XVIII centuries. 19th-century half vellum with German pastepaper over boards, spine with tinted and tooled label, text recased and new endpapers; vol. I (only) of this production, without the Epistles and Revelation. Title-page creased and dust-soiled, all leaves before pp. 9/10 rodent-gnawed in lower outside corner with loss of paper but not of text or manuscript annotation, and a bit of light waterstaining to rearmost leaves only. An important edition and a singular copy. (37032)
A “Breeches” Bible — But Not Really the 1599 — Illustrated
& in a Red Morocco Binding by Hering
Bible. English. 1599. Geneva–Tomson–Junius. The Bible, that is, the holy Scriptures conteined in the Olde and Newe Testament, translated according to the Ebrew and Greeke, and conferred with the best translations in diuers languages. With most profitable annotations vpon all the hard places, and other things of great importance. London: Impr. by the deputies of Christopher Barker, 1599 [i.e., 1633 or later]. 4to (22 cm, 8.6"). Add. t.-p., , 190, 127, 121,  ff.; illus.
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At least five editions appeared with this 1599 imprint, almost none of which were actually printed that year. Darlow and Moule note, “The phenomena of the various editions described under the year 1599 . . . constitute one of the most curious problems in the bibliography of the English Bible.” Clearly there was a demand (by English Puritans and by
Pilgrims in the Low Countries and America, among others) for Geneva Bibles, with their
strongly Protestant marginal notes, well after they could no longer be printed openly in London.
Pocock is of the opinion that recognizing this, Robert Barker “adopted” various early-17th-century Amsterdam and Dort Genevas; the back-dating and “back-attributing” on their title-pages
would have associated these with and effectively disguised them as a popular and approved Bible
printed by his own father, who died in that year and whose press he took over in the year
following. STC attributes the whole array of editions purely to Stam in Amsterdam, who as
publisher also would have benefitted from the fame and innocuousness in England of
Christopher Barker's actual 1599 edition, though he would have had no reason in Dutch law for
The text at hand here is the Geneva version (as usual, without the Apocrypha), with
Tomson's revised New Testament and Junius's Revelation — but this copy thoroughly muddies
the waters with a title-page supplied from another copy, possibly even the genuine 1599 printing.
The New Testament title-page also gives 1599 (as does the colophon), but is original to the
The woodcut title-page border (repeated for the New Testament's separate title-page) is the classic depiction of the Twelve Tribes of Israel in panels on the left and the Twelve Apostles
on the right, with rondelles of the Four Evangelists. The text is illustrated with woodcuts of Noah's Ark, the crossing of the Red Sea, the artifacts associated with the Tabernacle and the
Temple, the vision of Ezekiel, etc., along with maps of the suggested location of the Garden of Eden, the Israelites' wanderings in the wilderness, and the Holy Land.
Binding: Early 19th-century signed binding by Hering (stamped on front free endpaper): oxblood morocco framed and panelled in gilt triple fillets, spine with gilt-stamped title and dateline and gilt-ruled compartments, turn-ins with gilt roll. All edges gilt. Hering, one of the most prominent London binders of his period, was spoken of by Timperley as“the head of the craft” at that time.
Provenance: Laid-in letter from a London bookseller to Pennsylvania collector John S.
Cochran of Lancaster, dated 1948, optimistically but incorrectly affirming this to be “the earliest
of many editions of this date.”
See Rumball-Petre, Rare Bibles, 116; Darlow & Moule 193; Herbert 254; STC 2178. For note on Hering, see: Charles Henry Timperley's
Dictionary of printers and printing (1839), p. 835. Binding as above, lightly
rubbed and spine slightly sunned; front hinge (inside) cracked, joint holding strongly. Two
original brown silk bookmarks present and still attached. Front free endpaper with affixed slip of
earlier cataloguing. A few early leaves with old repairs to upper or outer areas, in one case
resulting in slight darkening of one woodcut and in another with loss of printed text, very
carefully and neatly supplied in ink. Scattered light spotting, pages clean overall. A sound copy
of an interesting Bible, modestly but elegantly bound.
A Catholic Bible The Second Edition, REVISED Vervliet, 1600
Bible. N.T. English. 1600. Rheims. The New Testament of Iesus Christ, faithfully translated into English, out of the authentical Latin, diligently conferred with the Greeke, and other editions in divers languages. Antwerp: By Daniel Vervliet, 1600. Small 4to (21 cm; 8.25").  ff., 745,  pp.,  ff.
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The second edition of the Roman Catholic new Testament in English. The translation is the work of a number of English Catholic priests, but principally of Gregory Martin, who fled to France in 1568 because of persecution in their native land, and, under the direction of Dr. (later, Cardinal) William Allen, founded the English College at Douai. (The college moved for a short time to Rheims, but subsequently returned, as the title-page here attests.)
The first edition of this translation was issued at Rheims in 1582, in over-sanguine hopes that its sale would be successful enough to underwrite the cost of a prompt production of the Old Testament. The two-volume O.T. did not appear, however, until 1609/1610.
The second edition of the Rheims N.T. is a revision of the first, not merely a reprinting of it, and contains a “Table of Heretical Corruptions” not found in the 1582 printing and a new preface. In an era of noticeable decline in the art of printing, this Testament enjoys far better than average typography.
Darlow & Moule 198; Herbert 258; STC 2989; ESTC S102510. Late 17th-, early 18th-century English calf, with concentric blind panels on covers in contrasting tones of brown and tan, all edges deep red; covers with scrapes and bumps, rebacked with hinges (inside) strengthened, new endpapers with 1906 owner's inscription on front free one. Title-page dust-soiled and torn in upper margin with some loss of decorative border, page skillfully remargined with blank paper. Some foxing and age-soiling in early leaves; this similarly at rear (starting around p. 640 and most notable in Tables), with also some dust-soiling and with light waterstaining across a good number of upper outer corners. Overall a good to very good copy, sturdy and appealing. (33612)
The First Complete Printed English Bible — Translation by COVERDALE / Printing by BAGSTER
Bible. English. Coverdale. 1838. The Holy Scriptures of the Olde and Newe Testamente, with the Apocrypha, faithfully and truly translated in to Englishe. London: Samuel Bagster (pr. by J. Rider), 1838. 4to (27.6 cm, 10.8"). Frontis., engr. t.-p., iv, , dcccxvi, clxxxvii, , cclxvi, [2 (adv.)] pp.
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A 19th-century type reproduction, itself now venerable, of Coverdale's 1535 Bible: the first complete translation of the Old and New Testaments into Modern English, as well as the first complete printed English translation. Bagster, who had reprinted Tyndale's New Testament in 1836, here had the text set — preserving all original orthography and abbreviations — in what the New York Review described at the time as “a clear type of the antique cast,” with black-letter headers. John Brain steel-engraved the frontispiece portrait of Coverdale, which is followed by a facsimile of the original woodcut title-page by Holbein the Younger. An advertisement for Bagster's “just published” memorials of Coverdale is tipped in.
Copies of the 1535 first edition have been scarce virtually ever since it was printed, and this Bagster reprinting made the landmark work widely and handsomely available for the first time.
Darlow & Moule 1152; Rumball-Petre 58. Later black buckram, spine with neat gilt-stamped lettering; one back corner bumped. Frontispiece portrait with a little foxing not affecting appearance of image; engraved title-page with light smudge in lower margin; one leaf with small paper flaw and short tear in lower outer margin. Title-page with old pencilled annotation: “(original ed. quoted @ 3000.00 by Beauchamp)”; otherwise, a few instances of pencilled underlining of single words only, and pages very clean. An eminently solid, attractive copy of this important edition of an important work from an important printer. (36746)
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The Printer's Art Enhanced by theILLUMINATOR — On Vellum
(Book of Hours). Catholic Church. Prayers & devotions.
Single vellum leaf from an unidentified Latin-language printed book of hours. France: ca. 1490–1525. 20 x 13 cm.; 7.75" x 5".  f.
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The recto of this leafprinted on vellum contains the end of its Office's excerpt from the Gospel of Matthew and the more striking verso presents its excerpt from Mark's Gospel preceding Matins. The text is printed in French gothic, i.e., batarde font, with one one-line initial on the recto and another on the verso, each illuminated on a field of blue; on the verso is a two-line illuminated initial “I” on a red field, delicately embellished.
The verso also offers aneight-line miniature of St. Mark, with his lion just peeping in from the edge of the frame, hand-colored with blue, red, and greenish-gray and with both figures carefully illuminated.
Removed from a volume; light soiling only. In a Mylar folder. A good example of the marriage of the printing art, during the early era of the printing press, with the art of the scribe-illuminator. (36564)
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