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"ALCIAT;"
Emblemata.
Paris, Jérôme de Marnef & Ve Cavellat, 1583 In-8 de (8) ff., 717 pp., au verso, marque de l'imprimeur, demi-basane noire, tranches rouges (reliure vers 1820).
Reference : CLL-229
"Edition parisienne pirate copiée sur celle publiée par Christophe Plantin en 1581 à Anvers. Elle renferme notamment les commentaires du juriste dijonnais Claude Mignault, professeur de droit canonique à Paris. ""De tous les commentaires d'Alciat, celui de Mignault est le plus important (Jean-Marc Chatelain, Livres d'emblèmes et de devises, n° 13). L'illustration comprend un bel encadrement de titre et 211 figures gravées sur bois. Ces figures sont semblables à celles de l'édition de 1573 déjà donnée par Marnef et Cavellat. Ce sont pour la plupart des copies des planches exécutées par Bernard Salomon pour l'édition Jean de Tournes de 1547. Elles sont ici entourées de jolies bordures. Les 14 derniers emblèmes, attribués à Jean Cousin, représentent diverses essences d'arbres. De la bibliothèque A. Beaucousin avec ex-libris. Adams, Rawles & Saunders, French Emblem Books, F.057. - Landwehr, French, Italian, Spanish and Portuguese Books of Devices and Emblems 1534-1827, n° 82. - Brun, Le Livre français illustré de la Renaissance, p. 108. - Renouard, Imprimeurs et Libraires parisens du XVIe siècle, fasc. Cavellat, n° 408."
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5 book(s) with the same title
Emblemata Florentii Schoonhovii I.C. Goudani, Partim Moralia partim etiam Civilia. Cum latiori eorundem ejufdem Auctoris interpretatione. Accedunt et alia quaedam Poëmatia in alijs Poema : tum fuorum libris non contenta.
LVGDVNI BATAVORUM, Ex officina Elzeviriana, 1726., (1 bl), titre, (3) portrait de l'auteur, 255 pp., (1bl). In-4 en plein vélin d'époque.
Un emblemata très rare, illustré de 74 magnifiques gravures sur cuivre placées en exergue de chaque devise, aussi étranges que délicates dans leur composition. Séduisant exemplaire dans sa reliure en vélin de l'époque.
Emblemata.
Lyon, Guillaume Rouillé, 1564.
Le premier livre d'emblèmes publié. Juriste et poète italien, Andrea Alciati envoya à Augsburg, une série d'épigrammes afin d'être publiée. Son éditeur eut alors l'idée de les illustrer. Un succès immédiat et durable, et le titre d'Emblemata a donné son nom à ce genre de livres. Edition illlustrée par un titre gravé et 211 bois gravés par Pierre Vase dans de très beaux encadrements. La traduction est de Barthelemy Aneau, avec ses commentaires. Le papier est bruni. Bon exemplaire. /// In-8 de 226, (4) pp. Vélin. (Reliure de l'époque //// First book of emblems published. Italian jurist and poet, Andrea Alciati sent to Augsburg, a series of epigrams to be published. His publisher then had the idea to illustrate them. An immediate and lasting success, and the title of Emblemata gave its name to this kind of books. Title-page within Renaissance woodcut border and 211 woodcuts of emblems all within splendid borders of varying design : some bear the monogram P. V.(ase). The translation is by Barthelemy Aneau, with his commentaries. The paper is browned. A good copy. Landwer, Romanic emblem books 68. /// PLUS DE PHOTOS SUR WWW.LATUDE.NET
Emblemata, ad D. Arnoldum Cobelium. Ejusdem Aenigmatum libellus, ad D. Arnoldum Rosenbergum. Edition originale et premier état - rare - sur trois de « l’un des livres d’emblèmes les plus importants avec celui d’Alciat ».
Superbe exemplaire A.A. Renouard et Margaret Winkelman. Anvers, Christophe Plantin, 1565. 2 parties en 1 volume petit in-8 de 149 pp., (1) f., (8) ff. Maroquin vert sombre, triple filet doré encadrant les plats, « Renouard » en lettres dorées en pied du premier plat, dos lisse orné, roulette dorée intérieure, doublures et doubles gardes de peau de vélin, tranches dorées, étui-boîte à dos à nerfs de maroquin rouge. Reliure de la fin du XVIIIe siècle, étui moderne. 163 x 102 mm.
Édition originale, illustrée de 57 bois gravés à mi-page. Rahir, Bibliothèque de l’amateur, p. 476 ; Chatelain, Livres d’emblèmes et de devises, 1993, n°24 ; Landwehr, Emblem and Fable Books printed in the Low Countries, 1988, n°398 ; Voet, The Plantin Press, III, n°1476 ; Praz I, pp. 384. Rarissime premier tirage sur trois. Élégant recueil d'emblèmes moraux et politiques exécuté sur les presses de Christophe Plantin. Chaque page du texte comporte un cadre ornemental finement gravé sur bois. Les emblèmes ont été gravés par Geerard van Kampen et Arnold Nicolai d'après les compositions du parisien Geoffroy Ballain et de Pieter d'Huys. Très rare exemplaire de première émission. Il renferme le premier état du cahier D dont la page 64, qui devait comporter le cinquante- huitième et dernier emblème, n'a pas été imprimée, ainsi qu'une erreur dans la légende de l'emblème 46. Plantin réimprima ce cahier et le remplaça dans la plupart des exemplaires. Un des livres d'emblème les plus importants avec celui d'Alciat : il devait fixer les canons du genre. « Les Emblèmes de Junius [... ] ont été réédités de nombreuses fois jusqu'à l'extrême fin du XVIe siècle tant dans leur version latine originale que dans leur traduction française, due à Jacques Grévin et publiée en 1567, et leur traduction flamande, due à Antoine Gillis » (Jean- Marc Chatelain). Précieux et bel exemplaire de l'imprimeur-libraire et bibliophile Antoine-Augustin Renouard (1765-1853). Comme tous les livres reliés pour cet amateur à la fin du XVIIIe siècle, il porte son nom en lettres dorées en pied du plat supérieur ; comme toujours, les doublures et doubles gardes sont en peau de vélin. « An expensive compositorial misreading : the reset gathering in Hadrianus Junius » Emblemata, 1565. Alison Adams, University of Glasgow “Hadrianus Junius « Emblemata » first appeared in 1565, published by the Plantin Press in Antwerp. In the admirably detailed description of the first edition, Leon Voet notes that gathering D was reset. Indeed Plantin himself details this in his records and obviously it necessitated extra expenditure in the production of the volume.The earlier state, of which Voet evidently had not seen a copy, his evidence relying on a Quaritch sale catalogue, contains only 57 of the full 58 emblems, and Voet concludes that the reason for the resetting was "obviously the fact that in the first issue the last emblem (no. 58, on p. 64) for one reason or another (very likely because the corresponding woodblock was not available in time) had been omitted". The Stirling Maxwell Collection in Glasgow University Library possesses three copies of the 1565 edition, one of which represents the first state. An examination of this copy reveals that in this in the main very carefully executed and accurate edition Plantin had allowed a serious mistake to slip through. Emblem no. 46 here bears the title "Irae maligna philosophia", instead of "Irae malagma philosophia", found in the copies belonging to the second state and subsequent editions. Malagma is an unusual word, which perhaps reflects Junius position as a doctor of medicine as well as a man of letters. Literally, it means "poultice", but here it is used metaphorically to signify "cure" which is manifestly the sense required by the text. That the word was sufficiently unusual that it might not always be understood is supported by the presence in one of two copies in Trinity College Cambridge of an annotation "a molifying plast". We can then assume that the compositor misread the word malagma in the manuscript for the more common maligna which does not fit the context. Jacques Grévin in his French translation of Junius, first published by Plantin in 1567, was evidently puzzled by the erroneous motto, for in the first edition he does not translate the motto at all. The printer, probably likewise puzzIed, sets the first line of the 5- line subscriptio as a title. But by the time of the second edition in 1570 he must have known the corrected version for he gives as the French motto, "La philosophie est la guerison de la cholere", a close translation. It seems likely to me that it was primarily this significant error which necessitated the resetting of gathering D. Voet mentions elsewhere that Junius was sufficiently unwell in 1565 that he could not correct the proofs of his edition of Marcellus De proprietate sermonum which vas printed between January and March 1565 ; maybe he was similarly unable to check over the proofs of his emblems which were printed in April : certainly the error was not picked up during printing, and the full complement (1250 copies) of D containing the error, but minus emblem 58, appears to have been completed. From Plantin's statement of expenses, it would appear that the reprinting of D took place alongside that of gatherings I and K, in early May. Gatherings E-K contain Junius learned commentaries on his emblems. The fact that gatherings I and K were printed at more or less the same time as the new setting of D would account for the inclusion of the Explicatio for emblem 58 even in all copies of the edition, even though it seems it had not originally been anticipated that the emblem would appear in this edition, since there is no catchword on the preceding page, below emblem 57. Presumably, the missing woodcut had become available in the meantime and so it was possible to incorporate the final emblem, "Assuiditas duri victrix", dedicated to Junius' son, Petrus Junius, in the resetting. At the same time, Plantin effected another obvious correction : in the first issue, the page number "61" on D7R had been on the wrong side of the page. In addition, two changes in punctuation are made, on D3R and D7R, "concitat:" for "concitat," and "amaro." for "amaro,". These can probably be regarded as improvements, and certainly constitute the readings that go forward into subsequent editions. Directly or indirectly, 1 have consulted libraries which, according to the standard reference works, possess copies of the 1565 adition. Of the 39 copies about which I have been able to acquire information, only five correspond to the first state of the edition. Given the fact that the reprinting of D appears to have been done more or less alongside the final gatherings of the work, it is surprising that so many are in circulation, though not surprising that Jacques Grévin, charged with the translation, should have been in receipt of a copy as soon as one was available. An examination of many différent copies of the second state of gathering D has provided a point of comparison for the two copies of the second state in the Stirling Maxwell Collection. lnterestingly, both are, as it were, rogue copies. SM 658.2, bound in vellum, with gauffered edges, is a particularly fascinating book. It was bound and used as an album amicorum from as early as 1569. This would seem to guarantee the basic integrity of this copy, but in fact, although in other respects it manifestly belongs to the second state, the leaf D4 corresponds to the first. The lack of gauffering on this leaf, which is slightly smaller than the norm, alerts us to the fact that the page has been inserted into this copy, glued at the inner margin to the following interleaved page. In fact, A4, A5 and A6 are similarly glued in and lack gauffering, though here there is no textual variation. The problem is to establish at what stage in the book's history these leaves were added, presumably to replace pages which had been damaged or lost. It belonged first to Solinus a Sixma in 1569 and there are numerous inscriptions dating from 1569 to at least 1577, and worthy of study in their own right. Most are in Latin, but Greek and even Hebrew are also present as well as several vernaculars. A number are beautifully illuminated with coats of arms and even four portraits. In 1654 the book belonged to Aggaeus a Sixma, and a smaller number of inscriptions are from this later period. The name of an intermediate owner has been erased, but he evidently did not use the book in the same way. It was evidently rebound in about the time of Aggaeus, to assume its present state : a number of blank leaves were added for further use as an album amicorum, at the very end of the volume, and in the rebinding some of the early inscriptions have been savagely cropped. It must be at this stage that the decorative gauffering was done. The appearance suggests that the replaced leaves have been in position at least since the rebinding, since the gluing positions them tightly in to the spine of the book, but, short of taking the binding of the book down, this cannot be proved. But in terms of the textual history of Junius Emblemata, SM 658 is more interesting. Here two leaves have been inserted from another copy in the earlier state, D3 and D7. Since this copy has a modern Stirling Maxwell binding, it is impossible to say at what stage the insertions were made, and without my particular interest in the D gathering, I doubt whether I would ever have noticed, although the paper is, in fact, slightly different. What cannot fail to arouse our interest is the observation that these are precisely the pages on which the changes of punctuation referred to above are made. This may, of course, be a coïncidence. » Superbe exemplaire d’Antoine-Augustin Renouard, avec son nom doré sur le premier plat (Catalogue de la bibliothèque d’un amateur, 1819, III, pp. 268-269). Margaret Winkelman, avec son ex-libris.
Emblemata elucidata doctissimis Claudij Minois Commentarijs: Quibus additae sunt eiusdem Auctoris Notæ Posteriores.suivi de: Notæ posterioresad Alciata emblemata per Claudium Minoem
A Lugduni, Gulielmi Rouillij, 1614. Fort in-12 (17 x 11 cm) reliure plein velin du temps, titre manuscrit sur le dos, Lyon, Apud Hæredes Gulielmi Rouillii, 1614. Lyon, Apud Hæredes Gulielmi Rouillii, 1614. In-8, plein vélin du temps (un mors int. dét.), 20 f. non ch., 818 p., 11 f. (index). Illustré de 213 d'emblèmes gravées in-texte
Andrea Alciato (ou Alciati), connu sous le nom d'André Alciat en français et d'Andreas Alciatus en latin, (1492 - 1550) jurisconsulte et écrivain italien de langue latine, émule d'Ulrich Zasius et de Guillaume Budé. Il fut l'un des premiers représentants du courant dit de l'humanisme juridique. Il était un correspondant d'Érasme. Ses Emblemata s’inspirent des Adages d'Érasme pour leur composition en forme de collection et pour leur constante référence à l’antiquité. Les deux recueils connurent un vif succès dès leur parution et fournirent aux hommes de la Renaissance des modèles et des clés qu'ils allaient utiliser dans leur vie intellectuelle et sociale. Son œuvre la plus connue sont les Emblèmes (Emblemata), recueil d'allégories en vers latins sur des sujets moraux, qui eut beaucoup de succès en Europe.
Emblemata Amatoria. Emblèmes d'Amour en Quatre langues.
Amsterdam, A Londe chez l'Amoureux, c. 1682-1690. In-12 de (4) ff. (frontispice et titre-frontispice, dédicace et sonnet) 88 ff. imprimés sur un seul côté dont 44 planches numérotées avec leur explication en regard, demi-chagrin rouge, dos orné à nerfs (reliure du XIXe siècle).
Première édition quadrilingue des Emblemata Amatoria gravée par Jan van Vienen (1660?-1726?), complète des 44 planches gravées et numérotées, dont les numéros 30 à 40 sont signés J.v.V. (pour Jan van Vianen) - établie d'après Amorum Emblemata de Vaenius, Ambacht van Cupido de Heinsius (1613) et Tronus Cupidinis (c. 1616).Texte explicatif des emblèmes d'après Vaenius gravé en regard, en latin, italien, français et néerlandais. Feuillets liminaires : titre-frontispice gravé par Jan van Vianen suivi par "De Liefde aan de Juffers Klinkdicht" et frontispice "L'Amour aux Dames" d'après Vaenius (Amorum Emblemata 1608) avec le sonnet éponyme en regard.Landwehr situe l'impression vers 1682, antérieure selon lui à l'édition anglaise gravée par Ayres en 1683, tandis que Mario Praz la date vers 1690.Ex-libris "Biblioteca de D. Francisco Domecq Victor Cadiz 1852".Landwehr, 267 ; Mario Praz, Studies in seventeenth-century imagery, p. 323 : « Scarce ».
