Stoeffler, Johann.
Elucidatio fabricae ususque astrolabii... Ad lectorem P.G.. O…
Description

Stoeffler, Johann. Elucidatio fabricae ususque astrolabii... Ad lectorem P.G.. Oppenheim, Jacob Koebel, 1512-1513. fol. 12 unnum. With woodcut title border, 1 armorial woodcut, 19 folio-sized and 4 smaller woodcuts with astrolabes and astrolabe parts as well as 3 woodcuts with sundials and 12 figurative woodcuts, 5 horoscope diagrams and a printer's mark. Numerous initials, some large, on black ground. Modern half leather binding with gilt-stamped spine title. (Spine faded). VD16 S-9191, Adams S-1886, Ernst Zinner, Geschichte und Bibliographie der astronomischen Literatur in Deutschland zur Zeit der Renaissance, no. 991. Rare edition of Stoeffler's work, the first part of which is devoted exclusively to the construction of astrolabes. Stoeffler (1452-1531) was an astronomer and taught at the University of Tübingen. The work is dated 1513 on the title page, the colophon is dated 1512. Also contains several poems in praise of Stoeffler by Philipp Melnachthon, Georg Simler, Johannes de Wirsperck and Peter Günther, as well as a preface by Koebel on Stoeffler. The conclusion of the medieval development is Stoeffler's extensive and magnificently designed work on the astrolabe, which appeared in Oppenheim in 1513..." (Zinner, Astronomische Instrumente, p.142f.). "To my mind Stoeffler's early treatise on the astrolabe is a more interesting, though certainly less familiar, example of Köbel's press. The illustrations found in this book are very quaint and characteristic, and are extremely original in conception. Certain of the diagrams are excellent examples of the art of the wood engraver at theis early date, and there is a refinement and beauty about the get-up of this work which cannot fail to impress the reader" (G. Redgrave, Some Early Book Illustrations of the Oppenheim Press, in: Transactions of the Bibliographical Society, III, p. 72). A complete copy except for the four fold-out extension slips in the astrolabes. Clean, but with wormholes throughout. The last three leaves with wormholes underneath, with some loss of text and image (handwritten additions). The last leaf with a large brown stain and an underlaid tear in the upper margin. Some old mended marginal tears. Erased stamp of the Acad. Bibl. Lund. At the head of the title a handwritten entry from the Ingolstadt Jesuit College, at the foot noted by the same hand "ex Hereditate Herwartiana". Handwritten ownership entry by Baron Per Hierta, Flämmestad, dated 1902 on the flyleaf.

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Stoeffler, Johann.

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J. GRIGNON (*1640) after KLÖCKER (*1628), Portrait of Palatinate-Zweibrücken-Kleeburg, around 1680, Jacques Grignon (1640 - 1698 ) after David Klöcker (1628 Hamburg - 1698 Stockholm): Portrait of Adolf Johann I of Pfalz-Zweibrücken-Kleeburg (1629 Stegeborg Castle - 1689 Stegeborg Castle), c. 1680, Copper engraving Technique: Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "D. Klööker pinxit. / Grignon sculp.". At the lower part inscribed in the printing plate: "Serenissimus Princeps ac DNS: DN: Adolphus Ioannes Comes Palatinus ad Rhenu Bavariae, Iuliaci, Cliuiae ac Montium Dux, Comes Veldentzij, Spanhemij Marcoe et Ra= *Vensburgi, Dominus Rauensteinij et Mörsi &e.". Date: c. 1680 Description: The portrait of Adolf John I (1629-1689) is full of special compositional features. The landscape in the background is characterised by battle scenes. In the foreground, the bust of the sitter is enthroned on an antique column base, surrounded by 17th century weapons. The heavy brocade drapery with the tassel is a reference to his high lineage. However, the sitter's head is not chiselled from marble as might be expected, but is enthroned on the column in flesh and blood surrounded by Roman military attributes. Person: Adolf Johann I. von Pfalz-Zweibrücken-Kleeburg (1629 Stegeborg Castle - 1689 Stegeborg Castle) Duke of Stegeboprg and Pfalz-Kleeburg; Swedish Imperial Marshal Keywords: 17th century, Baroque, Portraits, Germany, Size: Paper: 33,9 cm x 20,3 cm (13,3 x 8 in), Plate: 30,2 cm x 19,0 cm (11,9 x 7,5 in), Depiction: 28,0 cm x 18,0 cm (11 x 7,1 in) Condition: Good condition. Minimally browned, a small wormhole in the lower white margin.

CIOTTI, John Baptist. First Part of Flowers, and Designs of Various Sorts of Modern Embroidery. Venice, Francesco di Franceschi, 1591 8vo oblong; bind. in cart.; cc. 20 as follows: cc. 2 nn. incl. Frontis. with typogr. mark, 17 cards of wood-engraved plates numbered III-XV, i.e. XVIIII, errata numer. after plate XVI, 1 c. nn.; large typogr. mark and Colophon on recto: "Appresso Nicolo Moretti, Ad instantia di Francesco di Franceschi." Fine copy. Very rare first edition of this work known only in two copies, of which only the first part was published. Important book of models and designs of embroidery, with the most diverse motifs, a precious testimony to a tradition born precisely in Italy in the early sixteenth century; these models were the iconography of reference not only in the area of Venice, where the art of lace-making was historic, but throughout Italy. The practical use that was made of these books, which were often dismembered and whose patterns were pierced to transport the design onto the fabric, makes it particularly rare and valuable to find them in a complete and well-preserved state. Lotz no. 121. Berlin Kat. 1642, describes a specimen with only 15 plates. Oblong 8vo; Binding in boards; leaves 20: 2 not numbered leaves including Titlepage with Printer's device, 17 plates engraved on wood numbered III-XV, i.e. XVIIII, error numbering after plate XVI, 1 not numbered leaf; wide printer's device and Colophon on the recto: "Appresso Nicolo Moretti, Ad instantia di Francesco di Franceschi." Nice specimen. Very rare first edition known in only two specimens of this work published only this first part. Important book of models and designs of embroidery, from different reasons, precious testimony of a tradition actually born in Italy in the early sixteenth century; these models have been the reference iconography not only in the Venice area, where was the historic art of lacemaking, but throughout Italy. The practical use that was made of these books, which often were dismembered and whose models were perforated to carry the design on the fabric, makes it particularly rare and precious the fact to find them in a state of completeness and of good conservation.