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Displayed below are some recent viaLibri matches for books published in 1498
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Bible in Latin]
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| BIBLIA LATINA |
Basel Joh. Amerbach, ed. Anton Koberger 1498 Vol. I complete with the texts of Genesis /Exodus / Leviticus / Numbers / Deuteronomy /Joshua /Juith / Ruth / Regum IIII / Paralipomenon II / Esdre IIII / Tobias / Judith / Hester / Job. Printed in double column in Gothic font, a profusion of large initials with lateral extensions decorated by hand in red and blue and a profusion of smaller letters and initials decorated also by hand in red and blue. There are also: 24 magnificent engraved figures throughout including early reproductions of Noah's Ark, The Sacrificial Alter, The Ten Commandments, The Great Menorah and The Temple of Solomon. The commentary, of significant import, is by Cardinal Hugo di Saint-Chair who was active in the early part of the 13th century and who died in 1262. Folio, ff 464 nn., in a superb contemporary binding of full blindstamped pigskin with clasps, the spine with wide raised bands, the covers blocked beautifully with full Renaissance designs. A wonderfully preserved calligraphic rendering on the inner rear board remains and is dated from 1402. Offset from the original vellum pastedown, this is an inclusion of significant import. 464 folio leaves unnumbered. (signed: a-b8, c6, d8, e6, f-g8, h6, i-k8, l 6, m6, n8, o6, p8, q6, r8, s-t6, v8, x6, y8, z6; A-C8, D6, E-G8, H-L6, M-Z ed aa-vv alternating 8 and 6), complete. A superb copy of this rare book. There is absolutely nothing to complain about. The book is extremely fresh, beautifully preserved, and one conjectures nearly as pristine as could be expected. A RARE AND BEAUTIFUL PRINTING OF THE ILLUSTRATED KOBERGER LATIN BIBLE. Anton Koberger was for a number of years the leading publisher of his time. The total list of his printings for the forty years from 1473 to 1513, when he died, comprises no less than two-hundred and thirty-six separate works, including fifteen impressions of the Biblia Latina, eight of which presented material differences of notes and commentaries which entitled them to be considered as distinct editions. "In the actual number of separate works issued, Koberger was possibly equaled by one or more of his contemporaries, but in respect to literary importance and costliness, and in the beauty and excellence of the typography, the Koberger publications were not equaled by any books of the time excepting the issues of Aldus in Venice" (Putnam II, p. 150). This superb illustrated folio Bible is one of the most beautiful printed by Koberger and is a wonderful example of the magnificent productions made during the first generation of printed Bibles, the state of preservation and the impressive binding making it all the more so. Further volumes of the Bible were not published until 1502. This magnificent example, complete, provides one with the opportunity to have a copy of a great illustrated incunable Bible rarely encountered in the open marketplace. [Attributes: Signed Copy]
[Bookseller: Buddenbrooks, Inc. ABAA] |
| 1. Check availability: AbeBooks |
[Bible, in Latin].
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| BIBLIA LATINA |
(Basel: Joh. Amerbach, ed. Anton Koberger, 1498) Vol. I complete with the texts of Genesis /Exodus / Leviticus / Numbers / Deuteronomy /Joshua /Juith / Ruth / Regum IIII / Paralipomenon II / Esdre IIII / Tobias / Judith / Hester / Job. Printed in double column in Gothic font, a profusion of large initials with lateral extensions decorated by hand in red and blue and a profusion of smaller letters and initials decorated also by hand in red and blue. There are also: 24 magnificent engraved figures throughout including early reproductions of Noah's Ark, The Sacrificial Alter, The Ten Commandments, The Great Menorah and The Temple of Solomon. The commentary, of significant import, is by Cardinal Hugo di Saint-Chair who was active in the early part of the 13th century and who died in 1262. Folio, ff 464 nn., in a superb contemporary binding of full blindstamped pigskin with clasps, the spine with wide raised bands, the covers blocked beautifully with full Renaissance designs. A wonderfully preserved calligraphic rendering on the inner rear board remains and is dated from 1402. Offset from the original vellum pastedown, this is an inclusion of significant import. 464 folio leaves unnumbered. (signed: a-b8, c6, d8, e6, f-g8, h6, i-k8, l 6, m6, n8, o6, p8, q6, r8, s-t6, v8, x6, y8, z6; A-C8, D6, E-G8, H-L6, M-Z ed aa-vv alternating 8 and 6), complete. A superb copy of this rare book. There is absolutely nothing to complain about. The book is extremely fresh, beautifully preserved, and one conjectures nearly as pristine as could be expected. A RARE AND BEAUTIFUL PRINTING OF THE ILLUSTRATED KOBERGER LATIN BIBLE. Anton Koberger was for a number of years the leading publisher of his time. The total list of his printings for the forty years from 1473 to 1513, when he died, comprises no less than two-hundred and thirty-six separate works, including fifteen impressions of the Biblia Latina, eight of which presented material differences of notes and commentaries which entitled them to be considered as distinct editions. "In the actual number of separate works issued, Koberger was possibly equaled by one or more of his contemporaries, but in respect to literary importance and costliness, and in the beauty and excellence of the typography, the Koberger publications were not equaled by any books of the time excepting the issues of Aldus in Venice" (Putnam II, p. 150). This superb illustrated folio Bible is one of the most beautiful printed by Koberger and is a wonderful example of the magnificent productions made during the first generation of printed Bibles, the state of preservation and the impressive binding making it all the more so. Further volumes of the Bible were not published until 1502. This magnificent example, complete, provides one with the opportunity to have a copy of a great illustrated incunable Bible rarely encountered in the open marketplace.
[Bookseller: Buddenbrooks, Inc.] |
| 2. Check availability: ILAB |
HOCHNER ( Nicole )
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| LOUIS XII : Les dérèglements de l'image royale ( 1498-1515 ) |
Champ Vallon 2006 Paris 2006. 1 volume/1. -- NEUF -- Broché cousu . Format in-8°( 24 x 156,5 cm )( 496 gr ). ----- 320 pages avec quelques illustrations in-texte . *************** "" L'image rend l'État visible ; elle permet de représenter l'abstraction du politique. Cette figuration est fréquemment synonyme de propagande, une forme de narration iconique et symbolique qui viserait à glorifier et à célébrer le pouvoir derrière le simulacre de sa représentation. C'est vers la fin du XVe siècle que l'image de la monarchie, d'une symbolique médiévale, se métamorphoserait en une symbolique antiquisante, vivifiée par l'humanisme conquérant de la Renaissance, bouleversant non seulement le langage iconographique et mythographique, mais aussi l'idéologie du pouvoir : le roi pasteur très chrétien céderait progressivement la place à un roi de gloire détenteur d'un pouvoir absolu. Contre ces deux postulats, Nicole Hochner soutient qu'il est faux de considérer l'image du roi comme une image de propagande et qu'une lecture évolutionniste masque les véritables enjeux de la représentation du pouvoir. Le règne de Louis XII (1498-1515), délaissé par les historiens, nous offre un extraordinaire laboratoire des figures du pouvoir : c'est une période de rupture, de parenthèse et de recherche pendant laquelle s'élaborent et se superposent des images issues de la représentation religieuse et chrétienne, d'une symbolique antiquisante et mythologique, du langage de la courtoisie et de la chevalerie, du mythe du " père du peuple " consacré par la réunion des États à Tours en 1506. L'image royale épouse alors une multitude de formes et rejette aussi bien le profil autoritaire et coercitif d'un Louis XI " tyran ", que les nouveaux topoi de l'Antiquité, qui séduiront tant François Ier, " nouveau César ". Le fait remarquable est que le pouvoir ne semble pas vouloir trancher ou réguler le débat majeur suscité par ces figurations plurielles et contradictoires. La monarchie française se cherche et s'affirme au cours de cette fascinante controverse sur la nature du pouvoir royal, qui oppose et confronte les partisans d'une monarchie modérée basée sur un système de " freins " et les défenseurs d'une souveraineté absolue, non consultative. L'étude de l'image du roi met ainsi au jour une crise des représentations à la veille de l'émergence de l'absolutisme français. En faisant de l'image une source à part entière, Nicole Hochner démontre l'originalité d'une recherche centrée sur les relations entretenues entre le pouvoir politique et les formes visuelles qui lui donnent sens et consacrent l'autorité du prince. Elle nous permet de mesurer tout à la fois la richesse et la fécondité d'interrogations neuves, toutes centrées sur les significations des formes visuelles, dans leur multiple diversité. "" **************
[Bookseller: okmhistoire] |
| 3 Check availability: AbeBooks |
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