Theo Gerardy in Gutenberg Jahrbuch articles of 1971, 1973 and 1980 showed that the Galliziani and Tower/Crown paper stocks in the Catholicon did not exist in 1460 and therefore suggested a date in the late 1460s for the edition as a whole. This dating of all three issues to c. 1469 was later taken up by Lotte Hellinga, who added numerous details and arguments to support it in a wide-ranging investigation of typographical evidence in the Catholicon and textual evidence in the 4° Aquinas (see Gutenberg Jahrbuch1989, 1990, 1991, Bulletin du Bibliophile 1991, The Book Collector 1992, Archiv für Geschichte des Buchwesens 1993).
HC *2254; GW 3182(3); BMC I, 39 (IC. 303); Goff B-20; CIBN B-13 (II); De Ricci, Mayence 90.71 (one of two "exemplaires disparus"). BMC assigns letters to the collation: a-f10, g4, h-t10, v4+1, A-S10, T4. On the Polling provenance, see Richard van Dülmen, “Aufklärung und Reform in Bayern, I. Das Tagebuch des Pollinger Prälaten Franz Töpsl (1744–1752) und seine Korrespondenz mit Gerhoh Steigenberger (1763–1768),” in Zeitschrift für Bayerische Landesgeschichte(ZBLG, 1969) 32 (1969), p. 733, letter of 7 January 1766 to Steigenberger [attached]; and Aretin, Neunter Brief, in Beyträge zur Geschichte und Literatur, vorzüglich aus den Schätzen der Königl. Hof- und Centralbibliothek zu München. I (Munich: Lindauer, 1803), 89
Contents: The books of the Bible and prologues are very close to the standard Paris sequence (f.1), omitting Psalms, and with a capitula list for Genesis; the Interpretations of Hebrew Names in the version from Aaz to Zuzim (f.167), alphabetised to the first two letters; preceded by added notes on the four types of biblical exposition (historical, tropological, anagogical, typological) and the seven rules of theology (f.
Chancery folio: 29 x 20.7 cm. 290 lvs. unnumbered (of 292, lacking 2 of the 3 blanks). Signatures: a-z⁸ A-I⁸ kk⁸ L-M⁸ N-O⁶ . Lacks blanks a1 and L8. Blank O6 present.
Books printed by Rood are extremely rare. The printer is represented in North America by 10 complete volumes, comprising 3 copies of this title (Folger, Morgan, Brown) [a 4thcopy, at Yale Center for British Art, lacks two text leaves], 1 copy (Morgan) of RichardusRolle de Hampole's "Explanationes in Job" (ISTC ir00305000), and 6 copies (Harvard, Princeton, Morgan, Newberry, UC Law, Yale) of Lyndewode's "Constitutiones provinciales ecclesiae Anglicanae" (ISTC il00413000.
ISTC il00075000; HC (+Add) 9928; GW M17160; BMC XI 236; Bod-inc L-043; Goff L-75; not in BSB. For the Yale copy, see Grolier Club. Fifty-five books printed before 1525 (1968), 38; Madan, F. Early Oxford Press, pages 2-3, 255-256; Madan, F. Oxford books, 9, (10)
An Extraordinary Copy in a Contemporary English Binding, with Contemporary English Provenance
Quarto: 22 x 15.5 cm. Three parts in one volume: 355 (i.e. 359), [1] p. Collation: I. a-s4, t-u6. II. x-z4, A-I4, K6. III. L-T4, V6
"Utopia" was first published at Louvain in 1516, overseen by Pieter Gillies, its dedicatee; it was reprinted at Paris in 1517. Erasmus was then responsible for arranging publication of two editions in 1518 (March and December) by 'his' printer at Basel, Johann Froben, for which More revised his text. More's epigrams, published here for the first time, include the stinging verses on his fellow humanist, Germanius de Brie, which, after bitter exchanges between the two men, More would excise from the next edition printed in 1520.
Strasbourg: Johann Knobloch, [?January] 1524, July 1524, March 1525
$85,000.00
Folio: Three volumes bound as one. 30.5 x 20.8 cm. Vol. I: [6], CLI, [1] lvs. Vol. II: [1], CXC, [1] lvs., Vol. III: LXXXVII lvs. Collation: Vol. I: i-vi, A-Z6, Aa6, Bb8 (Bb8 blank and present.) Vol. II: A-Z6, Aa-Ii6 (Ii6 blank and present). Vol III: A-C6, D4, E-P6
A fine set of an early printing of Luther's German Old Testament, profusely illustrated. The first volume of the Old Testament, including the Pentateuch, was first published at Wittenberg by Melchior Lotter, the Younger, for Lucas Cranach and Christian Döring,in mid-1523.
A truly remarkable work, the “Observationes” has been called the first true lunar atlas (preceding that of Hevelius by one year.) Moreover, the work includes the first illustrations of the planet Mars made from telescopic observation (in 1636 and 1638). The first chapter includes a very early history of the telescope. Fontana claims to have invented both the “Keplerian” telescope (composed of two convex lenses) in 1608, and the compound microscope (consisting of two converging lenses, one functioning as objective, the other as eyepiece) in 1618; while his claims to have invented these instruments have been proven untrue, Fontana did in fact construct and use both of these instruments and with them he observed Mars, Venus, Jupiter, Saturn, and the Moon; as well as fleas, flies, ants, bees and human hairs.
Carli and Favaro 211; Houzeau and Lancaster II, 1328; Riccardi I/1 467 (‘raro ed apprezzato’); Literature: King, The History of the Telescope p. 46; Clay, The History of the Microscope p. 9; Ashworth, The Face of the Moon: Galileo to Apollo, p. 4)
There were two series of woodcut illustrations used in 15thand 16thc. editions of the "Canterbury Tales": one by William Caxton, used in his 1483 edition, in 1498 by Wynkyn de Worde, and the 1532 and 1542 editions of the "Works". The second set, modeled on Caxton's, was made for Richard Pynson's 1492 edition of the "Tales". For the second Pynson edition (1526), some of the original 1492 blocks were used while others were re-cut on new blocks.
Pforzheimer 176; ESTC S107206 (STC 5075); Langland to Wither, 42; Literature: E.P. Hammond, Chaucer, p. 119-122; David Carlson, "Woodcut Illustrations of the Canterbury Tales, 1483-1602", The Library, Vol. s6-19, Issue 1 (1 March, 1997), pages 25-67; David Carlson, "Woodcut Illustrations in Early Printed Editions of Chaucer's Canterbury Tales", in Chaucer Illustrated: Five Hundred Years of The Canterbury Tales in Pictures; Joe Dane, "Press-Variants in John Stow's Chaucer (1561) and the Text of Adam Scriveyn" (with Seth Lerer). Transactions of the Cambridge Bibliographical Society 11 (1999): 468-79.
One of the Most Sought-after Illustrated Books of English Poetry
Quarto: 19 x 14.5 cm. A-C4, A-Z4, Aa16, Bb6, Cc8, Dd12, Ee16, Ff14, Gg8, Hh-Ss4.
“‘The Spider and the Flie’ is an allegorical mock-heroic bestiary in rhyme royal by John Heywood. It was printed in 1556 but, according to Heywood’s epilogue, was begun nineteen years earlier. The time span between composition and publication may account in part for the generally acknowledged obscurities and inconsistencies of Heywood’s political and religious allegory.
Two of the most important literary works of the English Renaissance, Together with Ascham’s Essay on Historiography - With Manuscript waste from a 15th c. Breviary with several lines in Middle English
London: Printed by Iohn Daye, dwelling ouer Aldersgate, [1571], London: In Fletestreate neare to Saint Dunstones Churche by Thomas Marshe, 1571, London, Printed by Iohn Daye, dwelling ouer Aldersgate, ca. 1570
$45,000.00
Quarto: Three volumes bound as one: 19.5 x 14.2 cm. I. [manicule]2, B-T4. II. *4, A-H8, III. A-I4
I. “The Schoolmaster”:
“The indispensable link between the earlier Tudor writers and the great Elizabethan and Jacobean writers of English prose”(Ryan, 292)
The Cambridge-educated Ascham, one of the best known of the English humanists, produced two works that had a great influence on the use of English as a literary language as well as on the education of children and the conduct of English gentlemen.
Oblong quarto: 21 x 27.6 cm. 29 unnumbered leaves, comprising 1 blank, 2 calligraphic title pages, a portrait of the author (aged 75), 4 leaves of text with ruled borders, and 20 full-page architectural drawings in brown ink and wash.
A remarkable, unpublished manuscript treatise by Domenico Bianconi, an architect and scenographer who worked in the style of Ferdinando Galli Bibiena (1657-1743). The manuscript was written while Bianconi was professor of perspective at the French Academy in Rome.
Quarto: 19.5 x 14.3 cm. 60 lvs. Collation: a-g8, h4. 30-31 lines, Gothic type
A fine copy of Erhard Ratdolt’s beautiful printing of Sacrobosco’s “Sphere”, the core astronomical textbook from the Middle Ages to the early 16th century. This edition is the first to include key texts by two of the most influential 15th c. astronomers: Johannes Regiomontanus and Georg Peurbach.
Working in the vein of the Renaissance humanists, Peurbach and his student Regiomontanus sought out the extant scientific writings of antiquity, the classical foundations of medieval European and Arabic science.
Strasbourg: Printer of the 1481 Legenda aurea, 22 March 1482
$35,000.00
Folio: 29.2 x 21.8 cm. 274 unsigned leaves. [A-C]8, [D]10; [a-m]8, [n]6,[o-z]8, [aa-ff]8, [gg]10. Complete with the initial and final blanks.
The arrival of printed books is so often regarded as one of the inaugural moments of the renaissance that it is sometimes forgotten that the first years of print also represented the last great flowering of the Middle Ages. The “Lumen Anime” (Light of the Soul), is testament to that. Formerly attributed to the Carmelite friar Mathias Farinator of Vienna (who compiled the index), the “Lumen Anime” is now known to be Berenger of Landorra, General of the Dominican order and archbishop of Campostella from 1317 to 1325.
BMC I, 97; Hain-Copinger 10333*; Goff L-396; Proctor 413; Polain 1468; Wellcome I, 2175; Klebs 631.3; Thorndyke III, 546ff. Sources: Mary A. and Richard H. Rouse, ‘The Texts called Lumen Anime,’ Archivum Fratrum Praedicatorum, 41 (Rome, 1971), 5-113; N.R. Ker, Records of All Soul’s College Library. 1437-1600 (Oxford, 1971), 27.
The First Edition of Spenser’s Complaints. The Sole 16th Century Edition
London: Imprinted by Thomas Orwin for VVilliam Ponsonbie, dwelling in Paules Churchyard at the signe of the Bishops head, 1591
$35,000.00
Quarto: 18.5 x 14 cm. [184] p. Collation: A-Z4 (lacking final blank Z4)
The contents are as follows: 1. The Ruines of Time. 2. The Teares of the Muses. 3. Virgils Gnat. 4. Prosopopoia, or Mother Hubberds Tale. 5. The Ruines of Rome: by Bellay. 6. Muiopotmos, or The Tale of the Butterflie. 7. Visions of the Worlds vanitie. 8. Bellayes visions. 9. Petrarches visions.
“Of the nine poems in the volume, four are sonnet sequences while the others are in rhyme royal, ottava rima, sixaines, or couplets.
Folio: 34.8 x 22.5 cm. [6] lvs. 24, 196 pp. Collation: )( 6, )(4, )()(4, )()()(4, A-Z4, AA6. With engraved title page vignette and 7 (1 double-page) engraved plates.
“Annus Climactericus” was the last of Hevelius’ works published in the author’s lifetime. The book comprises observations of the planets, sun, moon, and fixed stars, many of which were made alongside the English astronomer Edmond Halley. The observations were made from 8 January until 25 September 1679, subsequent to the publication of the second volume of Hevelius’ “Machina Coelestis”, almost the entire press run of which was lost in the fire that destroyed Hevelius’ observatory on 26 September 1679.
VD17 39:125045B; DSB 6, 363; Honeyman 1675. For a thorough discussion of the Hevelius-Hooke controversy, see Saridakis, “Converging Elements in the Development of Late Seventeenth-Century Disciplinary Astronomy: Instrumentation, Education, and the Hevelius-Hooke Controversy”, p. 129 ff.; For an assessment of the relative accuracy of Halley’s and Hevelius’ computations at Danzig, see Cook, “Edmond Halley: Charting the Heavens and the Seas”, p. 93 ff.; For Hevelius’ work on the binary star Mira Ceti, see Hatch, “Hevelius- History and Identity”, in “Change and Continuity in Early Modern Cosmology”, p 158 ff.; For D. Capellus’ contemporary account of the fire and a detailed inventory of Hevelius’ losses, see MacPike, “Hevelius, Flamsteed, Halley”, Appendix I. (London, 1937)
The Souls in Purgatory Speak - The Bradley Martin Copy
First edition of Thomas More's reply to Simon Fish's "Supplication for the Beggars." Fish represented the clergy as "thieves," responsible for the distress of the poor; he denies the existence of Purgatory and, appealing to Henry VIII in the voice of the English beggars, calls for the dissolution of the monasteries. More counters each of Fish's arguments, and using Fish's own literary device against him, has the very souls in Purgatory "supplicate" the living for the continuance of the prayers offered by the clergy for their release.
Paris: Impensis Gerardi Morrhij & Ioannis Petri, 1532
$35,000.00
Large Folio: 33.5 x 24 cm. Collation: AA8, A-L6, M-N6, O-Z8, Aa-Bb8, Cc6, Dd8 (including both blanks, F8 and N6.) Complete.
The “Protomathesis”, a universally acclaimed monument of book production and design, is profusely illustrated. The book is introduced by a fine architectural title page border with a lunette of Hercules defeating the Lernean Hydra. This is followed by the well-known full-page image of the goddess of astronomy, Urania, lecturing Finé, who holds a book and an astrolabe, beneath a spherical model of the solar system.
Hoover 312, Lalande, p. 50; Smith, Rara Arithmetica, pp. 160-61; Stillwell, The Awakening Interest in Science during the First Century of Printing, 838
The First Printed Illustrations of the Constellations
Quarto: 19 x 14 cm. Collation: a-f8 g10 (a1 blank, a2r dedication to M. Fabius [Quintilianus?], a3r text, g9r commendatory poem by Jacobus Sentinus, g10r poem and verse colophon by Johannes Santritter, g10v blank). 58 leaves. 31 lines.
The “Poeticon Astronomicon” (more correctly, the “Astronomica”) is an ancient Roman work on the constellations chiefly based on the work of the Greek scientist Eratosthenes (3rdc. B.C.). The work was traditionally attributed to the first century writer C.
London: In Paules churche yarde at the sygne of the holy Ghost, by Ihon Cawoode, prynter to the Kynge and Quenes Maiesties, 1556
$30,000.00
Quarto: 20 x 14 cm. [A]4, B-Z4, Aa-Ff4 (blank Ff4 lacking)
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 marginal glosses and explanatory notes, including the tale of the sword of Damocles.
Folio: 30.8 x 21.5 cm. Collation: Pt. I: 216 lvs. Collation:*10, a-z8, aa-bb8, cc6 (cc6 blank). Pt. II: 342 lvs. Collation: ††8, A-Z8, AA-QQ8, RR-SS6, TT10
These blocks were cut for Grüninger’s 1502 edition of Vergil, the first illustrated Vergil. The book, edited by Sebastian Brant, was extraordinary in the number and variety of its illustrations. “Grüninger’s artist applied to the work a skilled hand and a lively imagination… The blocks must have passed to Saçon at Lyon shortly after the printing of the Strasbourg 1515 edition of Thomas Murner’s German translation of the ‘Aeneid,’ described in Murray’s catalogue of German books, vol.
Brunet V 1282; Baudrier vol 12, pp. 344-346; Renouard, Badius Ascensius, vol. 3 p. 370-372, no. 11. Cf. Eleanor Winsor Leach, "Brant's and Dryden's Editions of Vergil" in "The Early Illustrated Book", pp. 176 ff.) and Rabb, Theodore K. "Sebastien Brant and the First Illustrated Edition of Vergil." in "Princeton University Library Chronicle 21", 1960: 187-99.
Teaching Egyptian Monasticism in 4th Century Gaul - The first edition of Cassian's "Institutes"
Chancery folio: 2 parts in one volume. 30 x 21 cm. [208] lvs. Collation: [*]10, a-b8, c-d6, e-h6.8, i8, k-n6.8, o-t8, v6; A-B8, C-F6.8, G8
Johannes Cassianus is an elusive and remarkable figure. As a young man, he lived as a monk in Palestine for about three years, before venturing on to Egypt. While it is unclear how much time Cassian spent in Egypt, he learned a great deal about the Egyptian monastic tradition. He would later use the Egyptian monastic model as a blueprint when forming his own community in Gaul, and would incorporate the philosophy of the Egyptian monks in his major writings.
