badius jodocus ascensius (13 Ergebnisse)

Nachdruck einer historische Szene in einer Buchdruckerwerkstatt: zwei Drucker an der Tiegelpresse und ein Drucker rechts am Setzkasten; nach dem Frontispiz eines 1498 von dem flämischen Jodocus Badius Ascensius (1462 - 1535) gedruckten Buches, abgebildet in Charles Knight's "Life of Caxton". - Motiv: 6,8 x 54, auf Japanpapier 11 x 8,3 cm. * Helmut Presser (Passau 1914 - 1995 Mainz) war ein deutscher Bibliothekar, Archivar und Historiker und von 1963 bis 1977 Direktor des Gutenberg-Museums in Mainz am Rhein. Er baute es zu einem "Weltmuseum der Druckkunst" aus. Da Dr. Presser sein Leben vollständig der Buchgeschichte, der Druckkunst und der Bibliophilie gewidmet hatte - unter anderem als Präsident der Gesellschaft der Bibliophilen - besaß er eine umfangreiche private Sammlung von Büchern, die oft mit seinem individuellen Bucheignerzeichen (Exlibris) versehen waren. - Sauber und sehr gut erhalten !

Hardcover. Zustand: Fine. No Jacket. Limited. Blue cloth gilt, slim small 8vo, 4pp. No publisher given. Limited edition of 500 copies, this number 60, signed by the Rector of Nantwich James Richardson. " This booklet reproduces illustrations to, and pages from, the only known perfect copy of the Expositio hymnorum and Expositio sequentiarum by Jodocus Badius Ascensius of Lyons and Paris.". Fine Size: 8vo - over 7¾" - 9¾" tall.

Encuadernación de tapa dura. Zustand: Muy bien. Edición facsímil de la impresa en Burgos por Fadrique Biel de Basilea, no antes del 18 de Febrero de 1500, conservado en la Biblioteca Nacional de Madrid. Encuadernación de tapa dura en pleno pergamino, con estuche en holandesa piel. Firmado y registrado por el editor y el notario. Ejemplar en muy buen estado.

Zustand: New. KlappentextrnrnThis scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have.

Taschenbuch. Zustand: Neu. Neuware - This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Later, panelled, gilt embossed full calf; spine with five raised bands; all edges red., [Colophon:] VENETIIS: Ex Aedibus Francisci Bindoni & Maphei Pasini. Anno a Virginis partu. M D XXXXVIII.1523). Juvenal was a Latin satirical poet of the late first century and early second century AD; his poetry (16), composed between 90 -127 A.D., was assembled in one volume. While not much is otherwise known about the author, his texts refer to the personages of his time. His works follow Lucilius' genre of Roman satire, as do Horace and Persius. All his poetical works, satyrs or satura, are ?in the Roman genre of satire, which, at its most basic in the time of the author, comprised a wide-ranging discussion of society and social mores in dactylic hexameter.[1] The sixth and tenth satires are some of the most renowned works in the collection. The poems are not individually titled, but translators have often added titles for the convenience of readers.?, Size : Small Folio (296x208mm)., Text in Latin.Commentary in two columns surrounding central poetry.Sixteen parts or satura poems in one volume.Illustrated with device of an angel on the printed title and the verso of leaf 143; numerous wood cut historiated and decorative initials in two sizes - each ?Satyra? opens with a large initial beneath one small central woodcut illustration; small initials open surrounding commentaries. Commentary texts are arranged in two columns flanking the centrally positioned poetry., Ff: bl., [6] with title, ad lectorem, index, introduction to the author and work, etc.; [lacks A1-8]; 9-143, printer?s device, bl.; Collation: bl. *? , B1-S?, bl. Attractive, later calf; title reinforced; some expertly restored; some age-related light spots; lacks leaves A1-8; overall, an attractive and very good copy of this rare work.

OLnbde., 26 x 21 cm. Zustand: Gut. 3 Bände; 3 Bll., 327 Seiten; 2 Bll., 548 Seiten, 2 Bll., 529 Seiten, 3 Bände. Komplett. - (= Burt Franklin bibliographical and reference series. No. 48). - Nachdruck der Ausgabe 1908. - Saubere und wohlerhaltene Exemplare. Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Französisch Gewicht in Gramm: 3500.

kl8° (16x10), 1 wBl., [16], 542, [2] S., 1wBl., (= Sign. a-z8, A-M8), M8recto mit Druckerbezeichnung und M8verso mit Druckermarke (Schlange abwärts um Pfeil), blindgeprägter brauner Ledereinband d.Zt. über Holzdeckel, mit 2 intakten Messingschliessen (1 abgerissenund beiliegend), Bezug an den Kapitalen mit Fehlstellen, Innenspiegel bezogen mit einer gotischen Minuskel, Name auf Titelblatt, gutes gepflegtes Exemplar, [VD16 S 5248].- Kolophon: 'BASILEAE, APVD BARPTHOLOMAEVM VVESTHEMERVM. ANNO M.D.XLI.'.-- Mit Einleitung von Bartholomäus Westheimer.- Enthält neben Sedulius und Iuvencus ausserdem Auszüge aus Epigrammata von Prosper Aquitanus und aus De scriptoribus ecclesiasticis von Johannes Trithemius.---- [A.] Caelius (auch Coelius) Sedulius (+ um 450) war ein lateinisch-christlicher Dichter des 5. Jahrhunderts.- Als sein Hauptwerk gilt das Paschale Carmen, das in fünf Büchern die Evangelien von der Geburt Christi bis zur Himmelfahrt in Hexametern nacherzählt.-- [B.] Gaius Vettius Aquilinus Juvencus war ein hispanischer Presbyter, der zur Zeit Konstantins des Großen (306337) lebte und neben Commodian (um 270) der erste namentlich bekannte christliche Dichter.- Von seinen beiden nachgewiesensen Epen ist nur erhalten das Werk 'Evangeliorum libri quattuor' (Vier Bücher der Evangelien). Dieses Epos ist eine Evangelienharmonie in insgesamt etwa 3200 Hexametern, die sich vor allem auf das Evangelium nach Matthäus, in Teilen auch auf die Evangelien nach Lukas und Johannes stützt. Es fand schnell weite Akzeptanz in der christlichen Gelehrtenwelt. Vor allem in der Zeit der Karolinger wurde das Werk häufig rezipiert, wie die zahlreichen Handschriften aus dem 9. Jahrhundert zeigen. Erstmals gedruckt wurden die Evangeliorum libri um 1490. * * * BTC on-chain & lightning accepted * * * due to EPR-Restrictions NO SHIPPING to Bulgaria, Danmark, Greece, Luxembourg, Poland, Portugal, Romania, Sweden, Slovakia and Spain * * *.

(Josse Bade & Guillaume de Marnef), (on colophon:) August 6, 1515. 8vo. Wonderfully bound in a mid-19th century full morocco binding with broad gilt ornamental borders to boards, raised bands and richly and exquisitely gilt spine. Broad inner gilt ornamental borders to baords and gilt decoration to edges of boards. All edges gilt. Hinges expertly restored.With the gilt leather bookplate of Edward Hailstone to inside of front board and with the engraved armorial bookplate of C.L.F. Robinson to front free end-paper. Old printed private library number to verso of front free end-paper. Early owner's name to title-page and early, neat handwritten notes to first couple of leaves. Ff. 67-68 with a clean cut tear to the middle, no loss. First couple of leaves a little darkened. Overall in excellent condition with clear and fresh imprints. Title-page printed in red and black, with half-page woodcut ullustration and with Marnef-device. 107, (1) ff. Illustrated throughout with 115 magnificent woodcuts (including the one of the title-page), most of them ca 1/3 page, two of them full-page. Exceedingly scarce early edition of Badius? great Navis Stutifere, his moral magnum opus and one of his most important works. The work was inspired by Brandt?s ?Das Narrenschiff?, and like Brandts? work, Badius? Navis Stultifere (which uses the same title in Latin and refers to Badius on the title-page) is also a treatise on contemporary morals and the vices of man, written in Latin verse and with prose commentaries. This magnificent work is considered one of the most beautiful French books from the beginning of the 16th century. This is the fourth edition of the work, magnificently illustrated with the wonderful suite of the 114 original woodcuts from Brandt?s work (1494). The first edition was published in 1505 and the second and third in 1507 and 1513 respectively. All of the early editions are of the utmost scarcity. Badius? Navis Stultifera must not be confused with his Stultiferae Naves from 1500, which Badius characterized as a supplement to Brandt?s work, directed at women, whereas the present work, which was first published in 1505, is a moral work in its own right, inspired by Brandt?s, together with Badius? own prose interpretations, being a much freer, original, and personal work. The work should also not be confused with a mere Latin translation of Brandt?s work, as this is Badius? interpretation and original rendering of moral values inspired by Brandt, not an actual translation. If anything, it can be called an original reworking, with original prose commentaries, of Brandt?s ?Narrenschiff?, caricaturing the human vices of different social classes. Badius has divided the text into 113 verse parts, each of them accompanied by a prose explanation differing significantly from Brandt?s text. Each verse chapter is also accompanied by one of the magnificent woodcuts as well as a poem. The poems are frequently drawn from the classics such as Virgil, Horace, and Juvenal, but also from Baptista de Mantua. As the frequent reprinting of it also points to, Badius? great moral work was hugely influential. As Renouard suggests (I:164), the quotations and moral commentary, plus its frequent reprinting in the early 16th century, could point to its use as a school text. "The role of printers and the printing press as agents of cultural change in the period of transition between medieval and early modern times is generally considered to be of major importance. The development and spread of printing in the last decades of the fifteenth century and the first half of the sixteenth century was a significant factor in the diffusion of humanist thought and criticism. Some of the printers who presided over the publication of classical and contemporary works were active scholars and committed humanists themselves, supplying comments on the works that came off their presses. In France one of the most influential scholar-printers of the era was the Flemish-born Jodocus Badius Ascensius (1462?1535). From 1503 onwards, he ran his own printing office in Paris, where he published an impressive number of classical and humanist texts, often preceded by a preface in his own hand. Best known for his activities as a printer-publisher, Badius was also a renowned grammarian, poet, commentator and creative writer." (Anne-Marie De Gendt: On Pleasure., p. (67)). This lovely copy has excellent provenance: 1.Edward Hailstone (1818-1890), Yorkshire solicitor and churchwarden, renowned British book collector and antiquary" fifth son of the botanist Samuel Hailstone (1767-1851). 2.Colonel Charles Leonard Frost Robinson, also a great book collector, who immigrated to America from England in 1907 and in 1911 became the president of the Colt Firearms Company in Hartford, Connecticut. Only 9 or 10 copies of the 1515-edition are listed in libraries worldwide, and the book, in all its early editions, is very rare in the trade. We have only been able to find very few copies at auction within the last 50 years. Brunet I, 1206 Renouard II, 84:6.

Strassburg, Johann Pruss, 1502. 4to (195 x 137 mm). Bound in a beautiful 19th-century full calf binding with gilt lettering and ornamentation to spine, elaborate gilt borders to boards, inner gilt dentelles, gilt ornamentation to edges of boards. All edges gilt. Ex-libris to both front and back pasted-down end-papers and front and back free end-papers (see below). Title-page reinforced at inner margin and with loss of paper, slightly touching the woodcut illustration. Last leaf with marginal repair and a closed tear. 33 lines to a page. 24 ff. (A4, B6, C-D4, E6). Withbound are 33 blank leaves in the back. A very nice copy. 7 Woodcut illustrations in the text inspired by (but not an adaptation of) Brant's 'Das Narrenschiff'. Provenance:John William Beaumont Pease, 1st Baron Wardington (1869?1950)Christopher Henry Beaumont Pease, 2nd Baron Wardington (1924?2005)Lucy Anne Paese (1966 - ) Rare second edition - considered more attractive than the first, as it contains a short preface (on the verso of the title) by J. Wimpheling of Schlettstadt ? of Badius? ?Ship of Female Fools?, a supplementary work to Sebastian Brant?s Ship of Fools, which Badius had translated into Latin. In his address to Marnef, the publisher of the original Latin edition of Brant?s work (1500), Badius explains that this book, ?Ship of Female Fools?, serves to fill a gap left by Brant - specifically, the omission of satirical chapters on the faults and follies of women. The work consists of six chapters written in both Latin verse and prose, accompanied by seven woodcut illustrations (including the one on the title-page) that closely follow the Parisian original. These depict the Ships of Eve and the vessels representing the five senses. The ship of fools is an allegory, first appearing in Book VI of Plato's Republic, about a ship with a dysfunctional crew. The allegory is intended to represent the problems of governance prevailing in a political system not based on expert knowledge. The Basel humanist Sebastian Brant described in his famous ?Narrenschiff? (1494) a sea journey of 112 individuals representing the follies of human weakness and vice to 'Naragonia' the paradise of fools: 'The first original work by a German which passed into world literature, and helped to blaze the trail that leads from medieval allegory to modern satire, drama and novel of character' (PMM). ?The Flemish humanist and publisher, Jodocus Badius Ascensius (Josse Bade van Asche), composed an additional text in Latin to Sebastian Brant?s Ship of Fools, in verse and prose addressed to an elite audience, entitled Stultifera navis sensus animosque tractans Mortis in exitium (The Ship of Female Fools and the Five Senses. drawn toward death and ruin). In the preface to his additamentum, Badius notes that he decided to complete the Brantian fleet by adding "a small boat, but with enormous capacity" dedicated to perilous female folly, since, "As I have remarked, the first blemish of mortals came more from the folly of woman than of man."? (Pinson, Led by Eve. The Large Ship of Female Fools and the Five Senses). ?In late medieval and early modern written and visual culture, woman, in the guise of Eve/Venus/Lust, incarnates danger and is conceived as a powerful temptress. The biblical story of the temptation casts the first woman as the deceiver of man, determining his fate. For the Fathers of the Church, Eve, the wicked temptress and devil?s accomplice, became the prototype of the powerful and fatal women whose sexual charms were irresistible to men. This nexus of ideas, particularly influential in northern humanistic circles, especially among the cultivated urban milieu, was incisively imagined as a train of perilous ships of female fools incarnating the senses by Jodocus Badius toward the end of the fifteenth century, elaborated by Jehan Drouyn to include female fools embodying the vices. Badius thus made plain his misogyny by regarding the "additional skiff" in the convoy of ships of fools. The small boat of foolish women, now annexed to Brant?s vision, completes the picture of the folly of mankind.? (Pinson Led by Eve. The Large Ship of Female Fools and the Five Senses) Badius? work not only extends Brant?s satirical allegory but also reflects the deeply entrenched misogynistic perspectives of the late Medieval and early modern periods. By attributing the origins of folly to women and depicting them as the driving force behind moral corruption, Badius underlines the prevailing theological and humanistic views that saw female nature as inherently dangerous and deceptive.'Ship of Female Fools' serves as both a literary expansion of Narrenschiff and a fine testament documenting the anxieties and gendered biases of its time. Adams B-24.Brunet I, 607. BM STC German, 1455-1600, p. 62.

Zustand: Gut. [8], CCCXII, [16], CCLXVII, [1] ff. Holzschnitt Drucker Emblem auf dem Titel, einige Initialen und Zierstücke in Holzschnitt. Äußerst wichtige, seltene und erste Ausgabe von Philipp de Greves 130 (!) Psalmen Predigten, in deren Vorwort Badius diesen als "der Kanzler" identifiziert. Mit dem berühmten Badius-Holzschnitt einer solchen an der munter und unermüdlich in Paris gearbeitet wurde. Die Presse stand in der Werkstatt von Jodocus Badius (* 1462 in Gent; 1535 in Paris) einem flämischer Buchdrucker und Humanist. Häufig wird er mit dem Beinamen Ascensius nach dem Ort Asse bezeichnet. Badius studierte in Ferrara und lehrte in Lyon die lateinische und griechische Sprache, wo er 1493 eine Terenzausgabe veröffentlichte. 1499 zog Badius nach Paris, wo er 1503 seine Druckerei eröffnete, deren Emblem das Innere einer Druckwerkstatt berühmt wurde. Badius übte auf die Entwicklung des französischen Verlagswesens großen Einfluss aus. Er gab viele Frühwerke von #Erasmus von Rotterdam und Guillaume Budé heraus. In diesem umfangreichen Band finden 130. (!) #Predigten zu den #Psalmen von Philippus de Grevia (Kanzler von Paris (* 1160/85 10. 4. 1236) Philippus Cancellarius de Parisiis (Philipp der Kanzler), Philippus de Grevia (Gravia). et. Im Jahre 1217 (Alberich nennt das Jahr 1223) finden wir ihn als Kanzler des Kapitels von Notre Dame und bald als bekannten scholastischen Theologen, der aber auch Dichter und Komponist war. So schrieb er die Texte für zahlreiche Motetten von Perotin. In diesem Buch von 1523 identifiziert der Drucker Badius eben jenen Phillip de Greve als Philipp den Kanzler. Die reiche Familientradition des Buchdrucks wurde von seinem Sohn Konrad und seinem Schwiegersohn R. Estienne fortgeführt. Vollständig und sehr wohl erhalten, mit denüblichen Sprüngen in der Paginierung. la Gewicht in Gramm: 4500 Flexibler Ganzpergamenteinband mit einem Schliessband.

Venezia, 1526, Augustinum Bendonû, ( Agostino Bindoni ) , in-folio, 30 x 21 cm, title printed in red & black within a large woodcut ornamental border + (24)nn pp + (282)pp numbered I-CXLI, later (17th-18th century) full vellum binding, leather title label on back, edges painted red, some wormholes mostly at lower margin, a small gallery at 10 leaves (31-41), resulting in the loss of approx. 1 cm of text in leaves 33 - 36, these pages have also a marginal dampstain, a few pages sligthly browned, notwithstanding these defects a fine/good copy. This is a rare edition of this text by Lorenzo Valla. (USTC 861881 ; Not in Adams ).

2 Teile in einem Band. 14 (nicht paginierte) Blätter (Titel + Tabula); CCC Blätter; 6 (nicht paginierte) Blätter (Titel + Tabula); CLXXVIII Blätter. Blindgeprägter Lederband der Zeit über Holzdeckeln. (23,3 x 15,5 cm) Gr.8°. Panzer VII, 503. 28. Adams A 2170. Index Aureliensis 110.073. Pettegree ("French Books. Books published in France before 1601 in Latin and Languages other than French") 55104 u. 55105. USTC 142825. Schöne, zweispaltige Postinkunabel mit je einer hübschen, größeren Holzschnitt-Druckermarke des Iehan Petit in beiden Teilen, sowie zahlreichen, eingedruckten Initialen, diese oft illustriert. Der wohl etwas später entstandene blindgeprägte Lederband mit Alters-, Gebrauchs- und alten "Restaurierungs"spuren. Handschriftlicher Rückentitel auf der oberen der "Reparaturen", einem die Deckel und den Rücken umgreifenden, breiten Pergamentstreifen am oberen Kapital angesetzt, am unteren wurde dieses Verfahren wierderholt. Nur noch zwei Fragmente der Schließenbeschläge vorhanden, die Schließen selbst fehlen. Berieben, bestoßen, kleinere Fehlstellen. Ehemaliger Besitz u.a. einer Klosterbibliothek. Auf dem Titelblatt des ersten Teils im äußeren rechten weißen Rand alt mit weißem Papier überklebt, dadurch die Druckermarke im Rand etwas verdeckt. Innenspiegel und fliegende Vor- bzw. Nachsätze alt erneuert. Auf dem Titelblatt zahlreiche Besitzvermerke von alter Hand u.a. aus einer Klosterbibliothek in "Remich" in divers latinisierten Schreibweisen, entweder im heutigen Luxemburg (Remich (luxemburgisch Réimech) oder Kroatien (Remete) gelegen. Im ersten Teil das Blatt 287 mit großem Eckabriß oben, dadurch Textverlust (recto: linke Spalte drei, rechte siebzehn Zeilen, verso linke Spalte achtzehn Zeilen, rechte Spalte fünf Zeilen betroffen, älteres weißes Papier angesetzt. Der fehlende Text liegt für beide Seiten des Blattes lose in Kopie bei). Beim letzten Blatt, das verso blank ist, (Teil 2; Blatt 178) die untere Ecke abgerissen, hier jedoch keinerlei Textverlust! Altes weißes Papier eingeflickt. An Blatt lxxiii verso im zweiten Teil wurde alt ein Einriß semitransparent überklebt. Der Block ist gelockert. Meist anfangs lagenweise zahlreiche Fehlpaginierungen, jedoch textlich, bis auf den einen Eckabriß, vollständig. Alters- und gebrauchsbedingt einige Seiten teils stärker gebräunt, wasserrandig und/ oder fleckig, wenige Anstreichungen, kaum Anmerkungen, insgesamt jedoch erfreulich gut erhalten. Das letzte, blanke Blatt mit handschriftlichen Schwungübungen für den klösterlichen Besitzvermerk, sowie weiteren Vorbesitzervermerken, ein weiterer auf dem Titelblatt des zweiten Teils. Wir vermuten nach den recht unleserlichen sonstigen Besitzeinträgen, das es aus vormaligem Privatbesitz dem Kloster gestiftet wurde, können uns nur leider geographisch nicht völlig festlegen, tendieren jedoch durch den Zusatz "B.M.V." in einem der vielen klösterlichen Besitzvermerke zum kroatischen Marienwallfahrtsort der Pauliner in Remete bei Zagreb. * Auf Wunsch senden wir Ihnen umfangreiche weitere Anmerkungen. * * Customers from outside the EU ask please for real shipping costs! - Ask for more pics ! * 5100 gr.