emblem book (15 Ergebnisse)

First edition thus. Translated and edited, with additions, by Richard Pigot. Quarto. pp xvi, 240. Illustrations, freely rendered by John Leighton from designs found in the works of Cats and Farlie. Recent binding of half dark brown morocco with raised bands, gilt devices to spine, marbled boards. All edges gilt. Endpapers renewed. Jacob Cats (1577-1660) was a Dutch poet and statesman and is now best remembered for his emblem books. A bit of foxing here and there. Near fine.

Hardcover. Small octavo (3" x 4-1/2") in contemporary limp vellum; 319 pages. An uncommon later Latin translation of Paradin's DEVISES HEROIQUES, first published in Antwerp in 1583. Illustrated with 216 woodcut devices (some full-page) with Latin captions: 179 for Paradin and 37 for Simeoni. Subjects are varied, including a dragon and a cat, and were re-used by artists and craftsman, even appearing in the embroidery work of Mary Queen of Scots. Marginal loss to the title and page following with loss of a few letters resulting from small holes in the center of those pages; some general toning or occasional unobtrusive staining but text quite clean; lacking endpapers. Binding a bit soiled but solid. Very Good.

Hardcover. Early Edition. Two small quarto (6-1/4" x 8-1/4") volumes bound in full mottled calf leather with marbled endpapers and gilt-lettered contrasting morocco spine labels: [x], 243, [1]; 220, [4] pages. Text in French translation by Issac de Benserade who was commissioned by Louis XIV to make this translation for the education of his son, Louis -- Le Grand Dauphin of France. Illustrated with title vignettes and 226 half-page engravings by Francois Chauveau and Sebastien Le Clerc; lacking the frontispiece. The plates are copies (mostly reversed and unsigned) of the original etchings by Chauveau and Leclerc; they were first published in 1679 (Amsterdam: Abraham Wolfgang). Philip Hofer in BAROQUE BOOK ILLUSTRATION refers to the illustrations as prefigurements of the "grace and elegance of the best French rococo" (page 14). Bookplate of Mr. Edward F. Starbuck on the front pastedown of each volume with ink presentation on the bookplates. Lacking the frontispiece; owner names on front blanks; title page to first volume with short stitched repair of a tear; contents clean with dark impressions of the plates. Bindings solid with light wear and short splits along the joints with covers firm. Near Fine.

circa 19 x 12 cm. VI, IX/X, 11-96 pages (complete like this), with 49 woodcut emblems Later 19th century half-calf "Rare edition of Bunyan's Emblems, that were first published in 1686 with the title "A Book for Boys and Girls, or, Country Rhimes for Children" and from 1724 onwards republished as "Divine Emblems" in differing combinations of verses with varying additions. The present has 49 poems each with a woodcut and at the end als 50th poem the Caution in sixteen verses. John Bunyan (1628-1688) is considered to be the first poet to address specifically children with poetry that aims to amuse as well as instruct them without just trying to scare them into religious and moral behaviour. Most edition are preserved in few copies only as they were so to say consumed until they were disposed of. - Collation: the first four leaves are numbered I-VI and then IX/X which is then followed by 11-96 - this is correct and corresponds with the copies in the British Museum and in Oxford. " - Somewhat dusty, some stains, one page with marginal repair (no loss of text), rubbed, normal traces of use but altogether well preserved.

xvi, 239, [1]pp. 4to. xvi, 239, [1]pp. 4to. Bound in full contemporary brown morocco, a.e.g., by M.R. Holloway, London. Bookplate of Dudley C. Majoribanks. Fine.

Second Edition in Latin. 191 x 132 mm. (7 1/2 x 5 1/4"). [57] leaves. ORNATE CONTEMPORARY TAN CALF, INLAID AND GILT, covers with gilt frame of large volutes and small stars enclosing a central panel of terra-cotta-colored calf with decorative compartments of citron calf tooled with either a diapered pattern of stars or a pair of birds, centerpiece of marbled calf, many gilt and painted floral and geometrical ornaments and sprinklings of gilt stars, raised bands, spine gilt in compartments with central rosette enclosed by volutes, floral paste-paper endpapers, all edges gilt. IN THE ORIGINAL PULL-OFF CASE of marbled calf (small portions of the case torn away). WITH 57 BEAUTIFUL ENGRAVINGS (frontispiece and 56 numbered plates) of the Litany of Loreto, all mounted on high-quality paper. Verso of front flyleaf with ink inscription of the title of the work in Italian. Peter Stoll, "Empire of Prints: The Imperial City of Augsburg and the Printed Image in the Seventeenth and Eighteenth Centuries" (Augsburg, 2016). Extremities faintly rubbed, leaves a little wavy (from glue used to affix the engravings), isolated trivial rust spots or smudges to plates but A VERY FINE COPY, the illustrations clean and fresh, the binding extraordinarily unworn, thanks to its protective box. This is a beautifully bound and exceptionally well-preserved devotional book with a litany of prayers to the Blessed Virgin Mary and richly symbolic emblems intended to inspire contemplation. First used ca. 1558 at the Shrine of Our Lady in Loreto, and approved by Pope Sixtus V in 1587, the litany addresses Mary in her attributes of Mother (10 emblems), Virgin (six emblems), and Queen (eight emblems), and in her capacity as Refuge of Sinners, Seat of Wisdom, and Comforter of the Afflicted, among others. The intricate engravings by Joseph Sebastian Klauber (1710-68) and his brother Johann Baptist (1712-87) of Augsburg from designs by Gottfried Bernhard Göz (1708-74) have more than enough allegorical and symbolic elements to inspire hours of study. In "Mater Inviolata," for example, Mary stands atop a crescent moon, the monogram of Christ emblazoned on her chest, the full moon and a circle of stars functioning as a halo. A ring set with the signs of the Zodiac hovers over her, and the dove of the Holy Spirit flutters above her shoulder, emanating a bright ray that reflects off a mirror held by a putto and lights a candle set at the Virgin's feet. To the modern eye, the compositions are almost Surrealistic, but their allegorical and biblical references would be rife with meaning for a contemporaneous reader. In his study of Augsburg printers, "Empire of Prints," Peter Stoll tells us that "the workshop of Joseph Sebastian and Johann Baptist Klauber is often looked upon as an epitome of Augsburg, eighteenth-century print art." The Klaubers were devout Catholics in a Protestant city, and proudly advertised this fact to potential patrons. According to Stoll, "in a city whose print business had long been dominated by Protestants and where it had been a matter of course to assign Catholic subjects to Protestant engravers, the Klaubers' public emphasis on their denomination can only mean that they wanted to entice Catholic patrons away from Protestant engravers by implying that now, in the middle of the eighteenth century, Catholics at last no longer needed to turn to heretics for prints." Possibly Italian in origin, based on design elements and the inscription in that language at the beginning of the book, our elaborately decorated Rococo binding is nothing short of exquisite, and has been well protected over the years by its original sturdy pull-off case.

First Edition in German. 202 x 160 mm. (8 x 6 1/4"). 2 p.l., 151, [2] (blank), 152-53 pp. Original patterned paper boards and calf corners, expertly and sympathetically rebacked with unadorned calf, raised bands. WITH 50 FINE COPPER-ENGRAVED EMBLEMS BY MATTHÄUS MERIAN THE ELDER. Front pastedown with engraved "Mannington Hall" bookplate of English diplomat Horatio Walpole (1678-1757). Ferguson II, 63; Duveen 385; Landwehr, "German Emblem Books" 413; Kindlers Neues Literatur Lexikon X, 886; Nummedal, "How to Read the Alchemical Corpus" (introduction to the digital edition at the Max Planck Institute); Thorndike VII, 173. ?A little soiling to boards, but the binding solid and not without appeal, leaves lightly washed, one small rust spot to text, one ink stain obscuring a couple of letters, but AN EXCEPTIONALLY PLEASING COPY, the text especially clean, with excellent impressions of the engravings. Using the same Merian engravings created for the 1617 original printing (entitled "Atalanta Fugiens"), this is the second edition and the first in German of a work described by Kindlers as "indisputably the most beautiful, the strangest and most inventive work of 17th century esoteric alchemy." Maier begins with the myth of Atalanta told in Ovid's "Metamorphoses" and then brings in poetry, music, alchemical symbols, and emblems. This "Chemical Cabinet" presents 50 emblems, "each containing a motto, a copper plate engraving by the renowned Matthäus Merian, an epigram (in German and Latin), an accompanying fugue (or canon) for three voices, and a discourse explicating the emblem's alchemical meaning. The parts of each emblem and the book as a whole are meant to work together, with the music, image, and text as an interlocking guide to alchemical theory and to the production of the philosophers' stone. The multimedia 'Atalanta fugiens' was meant not only to link sound, sight, and intellect, but also to spark discussion and laboratory practice, making it an intriguing point of entry into an examination of the place of reading and writingand their relationship to other bodily ways of knowingin the production of early modern knowledge." (Nummedal, introduction to "Project Atalanta," the Max Planck Institute's digital edition of "Atalanta Fugiens") German physician, courtier, and alchemist Michael Maier (1568-1622) studied medicine at Padua and at the University of Basel, and he served as physician and counselor to Holy Roman Emperor Rudolf II. According to Thorndike, "Maier was a Rosicrucian and gained Robert Fludd for that fraternity"; DSB notes that he "helped to organize the publication of the works of Fludd in Frankfurt . . . [and] probably had a hand in the publication of the 'Fama Fraternitatis' (1616)." This is a scarce edition in commerce (and a good deal rarer than the dramatically more costly first edition): ABPC and RBH record seven other copies sold at auction in the past 50 years. This book (and books like it) almost never turn up in decent condition, let alone as pleasing as the present copy.

FIRST EDITION. 145 x 183 mm. (5 3/4 x 7 1/4"). [44] leaves (complete). ELEGANT 19TH CENTURY NAVY BLUE CRUSHED MOROCCO, GILT, BY DAVID (stamp-signed on front turn-in), covers with French fillet frame and floral cornerpieces, raised bands, spine compartments with floral centerpiece, paisley cornerpieces, gilt titling, gilt-rolled turn-ins, marbled endpapers and flyleaves, all edges gilt. WITH 50 OVAL PORTRAIT-STYLE ENGRAVINGS AND ONE FULL-PAGE ENGRAVING. Front free endpaper with morocco bookplates of Robert Hoe and Cortlandt Bishop and with engraved armorial bookplate of Hermann Marx; old seller's description pasted on to front marbled flyleaf. Text in French, Dutch, and German. Franken, "L'oeuvre grav? des van de Passe" 1372; Brunet I, 22 ("rares et fort recherch?s"); USTC 1010417. Joints and extremities with just a hint of rubbing, text lightly washed and pressed (in keeping with bibliophilic fashion at the time of binding), but AN ESPECIALLY APPEALING COPY--clean, fresh, and rather bright internally, with excellent impressions of the engravings, in a lustrous and extremely attractive binding. This is the very pleasing Hoe-Bishop copy of a rare and much sought-after emblem book that cynically illustrates the pitfalls of marriage--primarily the problem of adultery. Wanton wives, neglectful husbands, pimps, madams, and lusty clerics who offer a comfort very different from absolution populate these sly and amusing vignettes, accompanied by rhymes in French, Dutch, and German. In portraits with wonderful period details, we see beautifully dressed women who accept the advances of courtiers to further their husbands' careers, cunning servants who help arrange assignations for cheating spouses, discreet midwives who provide methods to prevent conception or attend the birth of bastards to ruined virgins, and distressed wives of brutal or unfaithful men, who seek advice from priests only to be taken advantage of. The second part of the book is devoted to the cuckolds of Italy and Spain, men pictured at the jobs that command all of their time and attention, while their beautiful younger wives assuage their boredom with handsome lovers. The final full-page engraving shows the satyr Pan driving a wagon of couples drinking wine and laughing, two of them holding a pair of horns with which they plan to crown a cuckold. Called by Moseley one of the most "polished emblematists," our artist, Crispin Van de Pass (or Passe) was born in Utrecht in the final quarter of the 16th century. Like his brother Simon and sister Magdalena, the younger Crispin followed his father's trade of artist and engraver. Our copy has passed through three important libraries. The great American collector Robert Hoe (1839-1911), founding member and first president of the Grolier Club, likely commissioned our tasteful binding. According to Beverly Chew, Hoe's library was "the finest [America] has ever contained," rich in illuminated manuscripts, early printing (Hoe owned a Gutenberg Bible on paper and one on vellum), fine bindings, French and English literature, and Americana. Cortlandt F. Bishop (1870-1935) collected rarities of great value in the fields of illuminated manuscripts, early printing, and English literature, and was in many ways the heir to the bibliophilic eminence of Hoe. Financier Hermann Marx (d. 1947) was also a bibliophile of some distinction and a print collector who bequeathed some of the highlights of his collection to the British Museum. The present work, which exists in slightly variant forms, is uncommon in the marketplace and in institutional libraries. Our variant (with verses in French, Dutch, and German, rather than with English replacing, or partially replacing, German) is said by Franken to be the earliest.

First edition. Small quarto. pp [28], 249, [27]. One of the great Flemish emblem books, with an impressive engraved title-page by Theodore van Merlen and fifty beautiful engraved emblems by Andries Pauwels after Abraham van Diepenbeek. The charm and importance of these illustrations, intended to guide us away from Vanity and towards the Truth, lie in the touchingly detailed glimpses many of them provide of domestic and social scenes of the time. Each plate is followed by two or three pages of text elaborating on the general lesson. Many of these texts have decorative woodcut endpieces. The plates are clear and sharp. Eighteenth century panelled calf, sympathetically rebacked.A few early ownership signatures. Some light wear to the covers. Very good.

Second edition. Second edition. Engraved and illustrated t.p., engraved port., and 74 engraved emblems, printed from the plates of the first ed. by Crispin van de Passe, The Younger. [12], 235 pp. Small 4to. One of the more famous emblem books of the seventeenth century, this particular emblem book went through four editions, of which this is the second. The very fine emblems designed and engraved by Crispijn de Passe were familiar to audiences at the time, but the text by Florentius Schoonhovius was largely new. Willems 261; Landwehr, Dutch Emblem Books 205b Contemporary vellum, good, covers cupped Engraved and illustrated t.p., engraved port., and 74 engraved emblems, printed from the plates of the first ed. by Crispin van de Passe, The Younger. [12], 235 pp. Small 4to.

Second (?) edition (first published in Vienna, 1676). Frontispiece and 7 engraved emblematic plates by Franz-Ambros (or Christoph) Dietel. [20], 240 pp. Text in Latin. 1 vols. 12mo. An extremely rare and curious emblem book, with the text in the form of seven dialogues between Vir Politicus and Theologicus by the Hungarian Jesuit theologian Johann Raicsani (or Janos Rajcsanyi). The dialogues concern (1) The Existence of God; (2) Divine Providence; (3) Fate; (4) Predestination and Divine Prescience; (5) Immortality of the Soul; (6) On Gehenna; and (7) Resurrection of the Dead. Along with a frontispiece, each dialogue is preceded by an emblematic engraving by the Viennese artist/engraver Franz-Ambros Dietel (d. 1737?). They are extraordinary, and frequently visionary, pictorial representations of the substance of each of the dialogues. The frontispiece is signed "A. Dietel fecit" and others simply "D." Dietel and his brother Christoph, sons of Stephan Dietel, were engravers residing in Vienna during the early 18th-century. The plates depart from the usual format of the emblem book in that there is no motto; but the symbolic content of the images, each with an accompanying verse from the Vulgate, places it squarely in the tradition. Evidently Raicsani's text was first published in Vienna in 1676; this appears to be the second Vienna edition (possibly preceded by a 1700 edition printed in Passau - the date is uncertain); and reprints appear as late as 1757. It is not at all clear whether the Dietel plates appeared in the 1686 edition. As Franz-Ambros' birth is frequently given as 1682, it may be that the father contributed to the first edition, and the brothers to the 1704 edition. The fact is, all editions are rare: we can locate no copy of any edition in the united states; only one copy (the Passau edition, at Oxford) in the British Isles; and only two copies anywhere (Bavaria State Library and Austrian National Library) of this 1704 edition. OCLC (no copies of the 1704 edition) Contemporary sheep, worn, small vertical tear at top of spine, but binding sound, first plate with small chip at outer edge (not affecting image), three small wormholes through first two leaves (reduced to one small hole through the next few), generally quite clean and crisp internally, with only occasional minor spotting Frontispiece and 7 engraved emblematic plates by Franz-Ambros (or Christoph) Dietel. [20], 240 pp. Text in Latin. 1 vols. 12mo Second (?) edition (first published in Vienna, 1676). Signed.

Second edition (first printed 1629). Second edition (first printed 1629). Engraved title-page, 55 full-page emblematic engravings by Boetius van Bolswert, decorative initials. [30], 631, [25]. Lacking first leaf *1 (printed title). 1 vols. 8vo. Van Haeften (1588-1648) was a Bendictine writer and provost of the Monastery of Afflighem, Belgium. Landwehr, Dutch Emblem Books 77b Contemporary vellum, ms title on spine. Vellum a bit soiled, first gathering darkened, otherwise very good. Institutional bookplate Engraved title-page, 55 full-page emblematic engravings by Boetius van Bolswert, decorative initials. [30], 631, [25]. Lacking first leaf *1 (printed title). 1 vols. 8vo.

First edition. First edition. Engraved allegorical title page, engraved coat of arms of Pope Urban VIiI, initial introductory enblem, and 45 leaves of engraved emblematic plates by Boëce van Bolswert; [32], 412, [3]. 1 vols. 8vo. First edition of the most popular spiritual love emblem book, which made the genre popular throughout Europe in the 17th century and beyond. By the end of the 18th century the Pia Desideria had been reprinted nearly 40 times in Latin, French, German, Spanish, Dutch, Polish, English, Danish, and Italian. This emblem book mixes tender messages of care with dire warnings to sinners, and while it is written in Latin, demanding a well-educated reader, it proved to be wildly popular. One of the keys of the popularity of this work are the emblematic designs of Boetius Adamsz. van Bolswert (ca. 1580-1633), each of which is accompanied by an explanatory caption. Born in Bolsward, Friesland, Boetius was a pupil of Abraham Bloemaert at Utrecht and went to Antwerp around 1618, joining the painter's guild in 1620. Boetius also worked in Brussels, where he met and was inspired by Pieter Paul Rubens. Herman Hugo (1588-1629), a Brussels Jesuit, was teacher at the Jesuit College in Antwerp and confessor of the Duke of Aerschot, with whom he went to Spain, where he was appointed army chaplain to Spinola. This book was used as a rhetorical example for students of Rhetoric at the Jesuit College at Brussels. Landwehr, Emblem & Fable Books 345 Contemporary vellum (slightly soiled). Preliminary leaves misbound Engraved allegorical title page, engraved coat of arms of Pope Urban VIiI, initial introductory enblem, and 45 leaves of engraved emblematic plates by Boëce van Bolswert; [32], 412, [3]. 1 vols. 8vo.

Second edition of the translation by Flitner of Murner's Der Schelmen Zunfft (1512). With engraved title and 33 half-page engravings. 183 pp. 1 vols. Small 8vo. Second edition of this Renaissance emblem book, first published in Frankfurt in 1620. Flitner's Latin text, from the 1512 German satire of Thomas Murner (1475 - 1537), Der Schelmen Zunfft ("The League of Rogues"), is accompanied by 33 delightful engravings in the text. A superb copy -- rare in the market -- with an impressive provenance. Landwehr (Emblem & Fable Books) 235 & 236 Full citron morocco, spine gilt, black morocco label, a.e.g. Huth book label; bookplate of Fairfax of Cameron. Slightest rubbing to extermities. Fine With engraved title and 33 half-page engravings. 183 pp. 1 vols. Small 8vo Second edition of the translation by Flitner of Murner?s Der Schelmen Zunfft (1512).

Tot Amsteldam, (By de Weduwe van Jan Jacobsz Schipper), 1681. With engraved title preceding the printed title, and 92 half-page copperplate engravings after A. van de Venne in the text. Four parts in two volumes, bound in one. (14, including the engraved title), 320 pp.; 447, (5, last blank) pp. 4to. Contemporary blind tooled vellum with raised bands. Praz 390; Landwehr, Emblem Books in the Low Countries, 309. Third and last edition (first published in 1644) of this collection of amorous, moralizing, and dramatic poetry.The first print in this work, (on page 11), has been attributed to Rembrandt for a long time, but consensus now attributes the print to Ferdinand Bol. Not only of great artistic value because of the fine plates, but also of great literary interest. Some of the plates are by G. Donck after A. van de Venne. There are 43 copperplates of emblematical interest depicting everyday life in the seventeenth century.Van de Venne began working as a book illustrator, print designer, political propagandist, and poet, collaborating with his brother Jan, a well-known publisher and art dealer. Holland's leading writers employed Van de Venne, whose illustrations contributed greatly to the popularity of Dutch emblem books, which combined pictures and prose to present a moral lesson. After moving to The Hague and joining the Guild of Saint Luke in 1625, Van de Venne was probably employed at court. In 1640 he became the guild's dean. He continued his book and printmaking projects and painted most of his well-known grisaille paintings, many depicting the destitute and maimed. A real master-piece of the Dutch Golden Age. - Quire I in last part slightly misbound.