Search Results: early printed books from Riverrun Books & Manuscripts

Amsterdam: Elzevir, 1638. Covers somewhat bowed, several internal leaves with careful pen underlining, a handsome, well-preserved copy. 12mo (144 x 85 mm). [12], 518, [1] pages. Woodcut vignette on title, full-page engraved portrait of Badius on **6v. Contemporary vellum over pasteboard. Provenance: Arthur Atherly (1772-1844), English Member of Parliament (bookplate); Edward Heron-Allen (1861-1943), English polymath, writer, scientist and Persian scholar who translated the works of Omar Khayyam (Bibliotheca Elzeviriana bookplate with manuscript notes on the book). The collection includes works by Badius, Thomas More, Desiderius Erasmus, Pieter Schrijver, and other authors. "This collection is more curious than the title suggests: the volume opens, it is true, by a series of letters and poems, in which Baudius ingeniously narrates his amorous misadventures" (translating Willems). Also issued in Leiden, with imprint "Apud Franciscos Hereum & Hackium". Brunet I, 703; Willems 961. A fine copy with fine… Read More

Simmern: Hieronymus Rodler, 1532. Folio (319 x 216 mm). 220 leaves. Gothic type. Title with large woodcut initial A and arms of Charles V on verso. One folding woodcut plate of a tournament (between fols. 33 and 34), two full-page and 246 smaller coats-of-arms and 39 half-page woodcuts including repeats. Contemporary blindstamped pigskin over wooden boards, stamped with ornamental rolls forming panels which contain figures of the Evangelists and Virtues. Lacking one clasp and catch, remnants of original leather spine panel; marginal tear in final leaf, some pale dampstaining in fore-margins at beginning and end, some intermittent pale staining and spotting. Provenance: Windhagen Library (17th-century inscription on title); Charles Fairfax Murray (1849-1919, bookplate; sold Christie's 10 December 1917, lot 386); from the Collection of Arthur & Charlotte Vershbow, purchased from William H. Schab, 1959. THE FAIRFAX MURRAY COPY OF THE SECOND EDITION, printed by the same printer and using the same cuts as… Read More

Vicenza: Giacomo Amadio, 1668. 2 parts in one volume, thick 8vo (215 x 158 mm; 81/2 x 61/4 in.). [16], 466, [6] pages; [12], 376 pages. Two etched and engraved titles and 15 folding plates by Jacopo Ruffoni. Contemporary vellum. An entirely original copy, unrestored, the binding worn and with losses; intermittent dampstaining throughout, several closed tears to folding plates. The plates clean and fresh. Scarce expanded edition of this important genealogical work, unusual to find especially with the second part. First published in Venice by Pinelli in 1652, and with a final 17th-century edition published in 1694 in Bologna by Longhi. The text is an authoritative history of the dynasties and events linked to the kingdoms and republics of France, Spain, Austria, Great Britain, Flanders, Italy (Republic of Venice, Genoa, the Medici, the Estensi, the Savoy, Gonzaga, Farnesi, Alerami, Paleologhi, Montefeltri, Della Rovere, Dukes of Mirandola, and other families). Not mentioned in any of the standard… Read More

[Basel: Lienhart Ysenhut, circa 1490]. 4to (210 x 155 mm). 29 of 30 leaves (lacks first blank or title, see note). 32 lines. Gothic types. 2 full-page woodcuts and 51 woodcuts in text (each circa 75-62 mm). Rubricated in red. Blue morocco gilt. Lower blank margin of a2 and d6 replaced. Provenance: Fritz Kreisler (his sale Sotheby's Parke Bernet, 27 January 1927, lot 141); from the Collection of Arthur & Charlotte Vershbow, purchased from Maggs Bros., 1966. EXTREMELY RARE EDITION CONTAINING A REMARKABLE SERIES OF WOODCUTS. The third edition of this curious text in Latin and German, which compares the relative improbabilities of mythical events and natural phenomena with that of the Immaculate Conception, illustrated with a striking series of early Basel woodcuts. The half dozen known productions from this rare Basel press are all illustrated and Ysenhut may have been a wood-engraver as much as a printer. The two full-page cuts of the Virgin were copied from the first Strasbourg edition of a decade… Read More

Antwerp: Henrick Eckert van Homberch, 1503. Small folio (254 x 184 mm). Collation: A8 a-f6 g4 h-z 8 8 A-Z Aa-Gg6. 336 leaves. 41 lines, double columns. Gothic types. Title in nine lines (the first a xylographic block) over a cut of Salvator Mundi flanked by two blocks of architecture, 149 woodcut illustrations, (some composite, 24 full-page, 125 half-page); woodcut printer's device at end. 20th-century vellum. Lacks A2 and gathering A bound out of sequence, some light dampstaining, mostly marginal, Gg1 with strip torn away from mostly blank fore-margin affecting letters. Provenance: M. J. Schretlen (bookplate); from the Collection of Arthur & Charlotte Vershbow, purchased from Marlborough Rare Books, 1960. Eckert's second edition of the Vita Christi, one of the most popular and influential devotional works of the later Middle Ages appearing in many languages by the end of the fifteenth century. Henrick Eckert van Homberch moved to Antwerp from Delft in 1500 and set up his business in the Huys van… Read More

Venice: Manfredus de Bonellis de Monteferrato, 1492. 4to (211 x 145 mm). 70 (of 72) leaves, a2.7 supplied in facsimile. Gothic type, 40-41 lines, initial spaces with printed guide letters. 64 (of 66) woodcuts within any of five decorative historiated frames; a single woodcut initial. Modern russet morocco. Some spotting and soiling. Provenance: Giambattista Giorno (early ownership inscription); some early marginalia at end, and a few early ink outlines of animals; sold by Philip Hofer to Arthur and Charlotte Vershbow in 1967. Bonellis' first edition of Aesop's Fables, illustrated with a superb series of woodcuts that were in part based on the first Venetian series, used by Bernardinus Benalius in his 20 November 1487 edition (GW 431, only a single imperfect copy known). "The book is charmingly illustrated; the designs being redrawn and improved from those in the Venice Aesop of 1487. There is so much artistic freedom in the treatment of the cuts, that they are fully entitled to be regarded as new and… Read More

[Augsburg: Monastery of SS. Ulrich and Afra, circa 1474]. From the Collection of Arthur & Charlotte Vershbow. Royal folio (402 x 268 mm). 287 leaves (of 288, lacking first blank). 55 lines, double-column. Roman type. 12-line woodcut white-vine capitals; spaces for 2-line initials and for one 13-line initial. Printed paragraph marks. Leaves 2/5 and 2/6 disjunct as usual (one or the other a cancel), the stubs preserved. 17th-century German half pigskin, mottled paper boards. Early repair in lower margin of first leaf and old slip mounted over early ownership inscription in upper margin, pale stain in the first 20 leaves and on 28/6, small stains on fore-margin from fol. 139 to end, small mostly marginal wormholes in last thirty leaves touching a few letters, generally very crisp and fresh. Provenance: monastic armorial bookplate of an abbot with initials B.A.Z.W; Geh. Justiz-Rath Gottlieb August Friedrich Barnheim, of Insterburg, East Prussia (name in ink on first text leaf); George and David… Read More

Paris: Regnault and Claude Chaudiére, 1549. From the Collection of Arthur & Charlotte Vershbow. 4to (230 x 158 mm). Collation: a-y8. 176 leaves. Roman types, printed in red and black. Ruled in red. Renaissance woodcut title-border of termini and festoons, printers' device (Colines' Time with his scythe); 14 FULL-PAGE WOODCUTS, combining illustration and architectural frame on a single block, from the Tory atelier (perhaps Jacquemin Woeiriot, three blocks signed with the Lorraine cross, four others similarly signed in the prior Colines state); every text-page within a four-block woodcut or metalcut border, repeated throughout: 12 are outline borders in Geoffroy Tory's Italianate style, 8 black arabesque borders in the niello manner. Binding: contemporary Parisian gold-tooled calf over pasteboard, the sides decorated to a complex design of intersecting curved double fillets, with gouges and open tools, the ribbons painted black, green and white à la cire, name of the original owner, IANE… Read More

Paris: Simon Du Bois for Geoffroy Tory, 1527. 4to (196 x 139 mm). Collation: a-r8 s4. 140 leaves, bâtarde type, title printed in red and black, initials and headings printed in red throughout, printer's "pot cassé" device (Bernard, no. 9) on title and on verso of last leaf, each page within a four-part woodcut border of flowers, insects, animals and other ornaments, 13 large outline woodcuts, including the Annunciation on two facing pages, ruled in red. 18th-century French marbled calf gilt, edges gilt. Front joint repaired; slight marginal worming, repaired. Provenance: Pierre Bosuiel (bookplate); from the Collection of Arthur & Charlotte Vershbow, purchased from Georges Heilbrun, 1968. A FINE COMPLETE COPY OF THE THIRD TORY HOURS, AND THE FIRST APPEARANCE OF THESE ILLUSTRATIONS AND BORDERS. Each of Tory's three sets of Horae woodcuts represents an independent cycle of design. The renewed privilege granted to Tory on 5 September 1526 appears in both this edition (on a1v-a2r) as well as the octavo… Read More

Milan: Geronimo Bordoni, 1613. 4to (221 x 165 mm). Engraved title, portrait, one engraved head-piece, one full-page and 38 half-page engravings by Cesare Bassano after Carlo Antonio Procaccini. 17th-century mottled calf, gilt spine. Short repaired tear in title and portrait, portrait slightly short, generally a very attractive copy in a near-contemporary binding. Provenance: From the Collection of Arthur & Charlotte Vershbow, purchased from E.P. Goldschmidt, 1962. FIRST EDITION, FIRST ISSUE, containing the portrait found only in some copies. Italian literary scholars have speculated that Andreini's play influenced Milton during his trip to Italy, and is therefore a primary source for Paradise Lost. "The action is grandiose. With the Biblical story which forms the groundwork of the picture are interwoven many extravagances and that spectacular display which so pleased the public" (Joseph Spencer Kennard, The Italian Theatre). The performance included fantastical sets, which are captured in Bassano's… Read More

Paris: The Author, 1588. Folio (375 x 252 mm). Text in French and Italian, in roman and italic types respectively. Engraved title within architectural frame, engraved portrait of the author on verso of title, title and portrait by Léonard Gaultier, 194 engravings, of which 174 full-page and 20 double-page [numbered to 195, numbers 148-149 a single double-page plate], three signed with the monogram "JG", text and engravings printed within borders of typographic floral ornaments, 4-line historiated and 2-line floriated initials, woodcut tail-pieces and corner ornaments. Green-stained vellum over boards. Title and a few leaves repaired (including: d4, l1, z2, B2, C7, D1. M1, X2 and Kk1-2), L3 with hole affecting text and image. Provenance: from the Collection of Arthur & Charlotte Vershbow, purchased from George Staack, 1963. FIRST EDITION of this foundational work in the histories of technology and book design. Ramelli explains in his preface that the extravagance of the book was meant as much to foil… Read More

Paris: Abel l'Angelier...et le veuve M. Guillemot, 1615. From the Collection of Arthur & Charlotte Vershbow. Folio (415 x 272 mm). Elaborate engraved title by Jasper Isac, depicting architectural and garden perspectives with putti and angelic musicians; 66 large (230 x 180mm) engraved and etched classical subjects by Isac, L. Gaultier and Thomas de Leeu after Antoine Caron and other artists, large woodcut head- and tail-pieces. Contemporary French gilt-paneled russet morocco, spine gilt-lettered. Minor rubbing to binding and a few repairs; some leaves lightly browned, 3 plates lightly spotted, marginal repaired tears to 10 leaves, engraving on p. 463 with ink additions in two places, I4 on a guard. Provenance: Alexis Noisilier (bookplate); purchased from Walter Schatzki, 1961. MOST COMPLETE EDITION, describing a series of paintings ("imagines") reportedly seen at Naples by Philostratus. His descriptions were taken by Goethe, among others, to be of actual paintings, while other… Read More

Amsterdam: Elzevir, 1656. Modern ink gift inscription on verso of title, lacks front free endpaper. 12mo. 404pp. Engraved title. Contemporary vellum, manuscript lettering on spine. Provenance: Princes of Liechtenstein (bookplate). Willems 1193; Copinger 186; Brunet I, 633; Berghman 1408; Berghman Supplement 332; Rahir 1216; Tchemerzine I, 427.

Coloniae: Prostant apud Iacobum à Meurs Amstelodami, 1655. Binding with wear at extremites; pale dampstain throughout the text. Volume 1 only: 12mo (15 x 8.8 cm). [8], 683, [29] pages. Text in double-columns. Engraved title signed I.v. Meaurs and 52 engraved emblems in text. COntemporary mottled calf, spine gilt. Provenance: early shelfmark of S. Maurity in manuscript on upper sheet edges. Jacobus van de Walle's laudetory poem is at the beginning on pages [6-10]. The second volume contained an additional 52 engraved emblems. Engelgrave was a Belgian theologian, brother of the preceding, was born at Antwerp in 1610. He joined the society of Jesus in 1628; became successively director and then prefect of the lower classes; directed for fifteen years several convents; became rector of the colleges of Oudenarde, Cassel, and Bruges. The present work was put on the Index at Rome on 27 July 1686, but it was reprinted several times.

London: Printed by E. Everingham at the Author's Expences, and sold by James Round, Joseph Archez, and by the Bookseller in St Tames's Street, 1709. Slightly browned, marginal wormtrack at the end, touching a few words; several lines scratched out on p. 69, perhaps where the content ('Expressions of Kindness') was deemed inappropriate; else a very good copy, the binding rubbed, joints cracked. 8vo. [2], iv, [2], 102 pages. Contemporary panelled calf. Provenance: ownership inscription of Edw. Chamberlayne. First and only edition, very rare, the only publication by Casotti, 'Italian Minister, and Professor', dedicated to Henry Petty, Baron Shelburne, (1675-1751) but printed at the author's expense. A pronunciation guide and simplified grammar is followed by Familiar Words and Phrases (pp. 63-72), fifteen Dialogues (pp. 72-97) and twelve 'pleasant and facetious stories' (pp. 98-102). The Dialogues includes one between and Italian gentleman and an English coachman ('Will you take Eighteen Pence? /… Read More

Lyons: printed for the author, 1553. Two parts in one volume, 4to (243 x 168 mm). First title-page illuminated in gold and colors incorporating the coat of arms of Philip II and Mary I (slightly rubbed). 828 medallion portraits, vignettes and initials equally illuminated. Ruled in red. Contemporary beige velvet. Binding worn at extremities; lacking final leaf of text qq4, title with small loss at lower corner and some flaking of pigment, some marginal worming to last few leaves. Provenance: KING PHILIP II (1527-1598) and QUEEN MARY I (1516-1558), (arms on title); Maurice Kyffin (d.1599), Welsh poet and translator, author of The Blessedness of Brytaine (1588), pupil of John Dee (signatures on title and a2 dated 1592 [cropped]); Sir Henry Palmer (circa 1623-1706), 3rd Baronet of Wingham, Kent (29 June 1703 ex dono inscription to:) John Battely (?his manuscript list of names on rear endleaf); Thomas Robinson (1738-86), 2nd Baron Grantham, British Foreign Secretary from 1782-83 (armorial bookplate);… Read More

London: John Crook, 1656. Discreet repairs to joints, a wide-margined copy with shoulder-notes uncropped. 8vo (156 x 106 mm). [24], 151, [9] pages. Title printed in red and black, complete with errata leaf and initial and final blanks. Contemporary English blind-ruled calf, printer's waste endpapers; cloth clamshell case. Provenance: Robert Davies (early signature on title); with Bernard Quaritch (collation note on rear pastedown). FIRST EDITION, in a contemporary binding, of this selection of Saint Patrick's works, edited by the Anglo-Irish historian James Ware (1594-1666). An important text, containing the editiones principes of St. Patrick's 'Confessio' and 'Epistola,' based on the 'Book of Armagh' and the manuscripts from the British Library (Cotton Nero E.1) and the Salisbury Cathedral Library. These are the two sole surviving manuscripts generally accepted as having been written by "The Apostle of Ireland." The first gives a short account of his life and mission. The 'Letter to Coroticus' (or… Read More

Amsterdam: Jean Janson, 1632. 16mo (109 x 51 mm). [64], 767, [24] pages. Engraved title, portrait on verso. Contemporary vellum, yapp-edges.