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With double-page world map

Al-Wardi, Siraj al-Din 'Umar ibn. Kitab kharida al-'Aja'in wa farida al-gharaib [The Pearl... of Wonders and the Uniqueness of Strange Things]. [Ottoman provinces, ca 1600]. [Ottoman provinces, ca 1600]. Small folio (215 x 285 mm). Arabic and Ottoman Turkish manuscript on paper, 246 ff. 21 lines of black naskh per page (text area 23 x 13 cm), with section titles in red; fol. 1r with an elaborately calligraphed title in black and red, ff. 1v-2r with red, green and gilt frames; ff. 2v-3r with an illuminated world map and fol. 27r with a coloured, marginal illustration of a nilometer in cross-section, and f. 51v with a diagram of the Ka'aba in red and black. Contemporary morocco binding with fore-edge flap, gilt-tooled and blind-stamped, with manuscript Arabic title to lower edge. Pink-dyed European endpapers watermarked with a six-point star and the letters AF. 19th-c. linen pasted over the original binding.

EUR 45.000,00

An unusually large and attractive copy of the 15th-century cosmographical compilation most often ascribed to Siraj al-Din 'Umar ibn al-Wardi. His authorship and the manner of the text's composition remain a subject of scholarly research, but it was a popular text in the Ottoman world, much copied, and translated into Turkish repeatedly. Its popularity has led to a tangled series of recensions, with different copies incorporating various different elements from the text. While some copies omit the historical and eschatological sections, ours contains all the expected sections. The text notes the world, its regions, seas, cities, rivers, and mountains. Plants and animals are also described and their various properties enumerated. The final, brief sections provide a set of capsule histories and, lastly, a description of the sayings and deeds of the Prophet and his companion. The title and preface of the present copy are in Arabic; the rest of text is an anonymous Turkish translation. Though al-Wardi's cosmography circulated in Arabic and numerous Turkish translations, this hybrid Arabic-Turkish recension is relatively unusual. The scheme of illustrations is conventional in the world map and diagram of Ka'aba, often found in copies of this work with slight variations, but less so in the cross-section of a nilometer on fol. 27r, an illustration we have not seen in other manuscripts of this text. The nilometer is not located or named in the text, but appears beside the section on Fustat, and may be the Abbasid nilometer constructed opposite Fustat in 861. The geometrically rigid map, commonly known as "Ibn-al-Wardi map", renders schematically the mediaeval Islamic image of the world: "At the center of the map are the two holiest cities of Islam, Mecca and Medina. The map shows China and India in the north and the 'Christian sects and the states of Byzantium' in the south. The outer circles represent the seas" (Cat. "World treasures of the Library of Congress: Beginnings" [2002]). - Though the manuscript's binding has suffered from much use and from an unsympathetic attempt to repair it in the 19th century, it provides ample evidence of an expensive, luxuriously produced copy in the traces of the original decoration still visible beneath the later cloth, while its vividly dyed endpapers suggest an unusual taste for colour on the part of the patron who first commissioned this manuscript. - Pastedowns renewed; heavily worn, but sound. Internally, a little staining to the initial folios, and a small dampstain to the gutter, otherwise clean. Ownership inscription of Mustafa, an artillery officer, dated 1067 AH (1676/7 CE). {BN#49137}
¶ GAL II, p. 163.

In meine Auswahl

An Arabic source for Copernicus: the first use of decimal fractions in Europe

Al-Zarqali, Abu Ishaq Ibrahim / Bianchini, Giovanni (ed.). Tabulae de motibus planetarum. [Ferrara, ca 1475]. [Ferrara, ca 1475]. Folio (242 x 340 mm). Latin manuscript on paper. 160 leaves (complete including four blank leaves at the beginning and six at the end). Written in brown ink in a neat humanistic hand, double columns, 37 lines to each page, numerous two and three line initials supplied in red or blue. With one large illuminated initial and coat of arms of the Scalamonte family flanked by floral decoration on first leaf, painted in shades of blue, green and lilac and heightened in burnished gold. With altogether 231 full-page tables in red and brown, some marginal or inter-columnar annotations, and one extended annotation on final leaf. Fifteenth century blind stamped goat skin over wooden boards, remains of clasps.

EUR 280.000,00

The so-called Toledan Tables are astronomical tables used to predict the movements of the Sun, Moon and planets relative to the fixed stars. They were completed around the year 1080 at Toledo by a group of Arab astronomers, led by the mathematician and astronomer Al-Zarqali (known to the Western World as Arzachel), and were first updated in the 1270s, afterwards to be referred to as the "Alfonsine Tables of Toledo". Named after their sponsor King Alfonso X, it "is not surprising that" these tables "originated in Castile because Christians in the 13th century had easiest access there to the Arabic scientific material that had reached its highest scientific level in Muslim Spain or al-Andalus in the 11th century" (Goldstein 2003, 1). The Toledan Tables were undoubtedly the most widely used astronomical tables in medieval Latin astronomy, but it was Giovanni Bianchini whose rigorous mathematical approach made them available in a form that could finally be used by early modern astronomy. - Bianchini was in fact "the first mathematician in the West to use purely decimal tables" and decimal fractions (Feingold, 20) by applying with precision the tenth-century discoveries of the Arab mathematician Abu'l-Hasan al-Uqilidisi, which had been further developed in the Islamic world through the writings of Al-Kashi and others (cf. Rashed, 88 and 128ff.). Despite the fact that they had been widely discussed and applied in the Arab world throughout a period of five centuries, decimal fractions had never been used in the West until Bianchini availed himself of them for his trigonometric tables in the "Tabulae de motis planetarum". It is this very work in which he set out to achieve a correction of the Alfonsine Tables by those of Ptolemy. "Thorndike observes that historically, many have erred by neglecting, because of their difficulty, the Alfonsine Tables for longitude and the Ptolemaic for finding the latitude of the planets. Accordingly, in his Tables Bianchini has combined the conclusions, roots and movements of the planets by longitude of the Alfonsine Tables with the Ptolemaic for latitude" (Tomash, 141). - The importance of the present work, today regarded as representative of the scientific revolutions in practical mathematics and astronomy on the eve of the Age of Discovery, is underlined by the fact that it was not merely dedicated but also physically presented by the author to the Holy Roman Emperor Frederick II in person on the occasion of Frederick's visit to Ferrara. In return for his "Tabulae", a "book of practical astronomy, containing numbers representing predicted times and positions to be used by the emperor's […] astrologers in managing the future" (Westman, 10ff.), Bianchini was granted a title of nobility by the sovereign. - For Regiomontanus, who studied under Bianchini together with Peurbach, the author of the "Tabulae" counted as the greatest astronomer of all time, and to this day Bianchini's work is considered "the largest set of astronomical tables produced in the West before modern times" (Chabbas 2009, VIII). Even Copernicus, a century later, still depended on the "Tabulae" for planetary latitude (cf. Goldstein 2003, 573), which led to Al-Zarquali's Tables - transmitted in Bianchini's adaption - ultimately playing a part in one of the greatest revolutions in the history of science: the 16th century shift from geocentrism to the heliocentric model. - In the year 1495, some 20 years after our manuscript was written, Bianchini's Tables were printed for the first time, followed by editions in 1526 and 1563. Apart from these printed versions, quite a few manuscript copies of his work are known in western libraries - often comprising only the 231 full-page Tables but omitting the 68-page introductory matter explaining how they were calculated and meant to be used, which is present in our manuscript. Among the known manuscripts in public collections is one copied by Regiomontanus, and another written entirely in Copernicus's hand (underlining the significance of the Tables for the scientific revolution indicated above), but surprisingly not one has survived outside Europe. Indeed, the only U.S. copy recorded by Faye (cf. below) was the present manuscript, then in the collection of Robert Honeyman. There was not then, nor is there now, any copy of this manuscript in an American institution. Together with one other specimen in the Erwin Tomash Library, our manuscript is the only preserved manuscript witness for this "crucial text in the history of science" (Goldstein 2003, publisher's blurb) in private hands. Apart from these two examples, no manuscript version of Bianchini's "Tabulae" has ever shown up in the trade or at auctions (according to a census based on all accessible sources). - Condition: watermarks identifiable as Briquet 3387 (ecclesiastical hat, attested in Florence 1465) and 2667 (Basilisk, attested to Ferrara and Mantua 1447/1450). Early manuscript astronomical table for the year 1490 mounted onto lower pastedown. Minor waterstaining in initial leaves and a little worming at back, but generally clean and in a fine state of preservation. Italian binding sympathetically rebacked, edges of covers worn to wooden boards. A precious manuscript, complete and well preserved in its original, first binding. Provenance: 1) Written ca 1475 by Francesco da Quattro Castella (his entry on fol. 150v) for 2) Marco Antonio Scalamonte from the patrician family of Ancona, who became a senator in Rome in 1502 (his illuminated coat of arms on fol. 1r). 3) Later in an as yet unidentified 19th century collection of apparently considerable size (circular paper label on spine "S. III. NN. Blanchinus. MS.XV. fol. 43150"). 4) Robert Honeyman, Jr. (1928-1987), probably the most prominent U.S. collector of scientific books and manuscripts in the 20th century, who "had a particular interest in astronomy" (S. Horobin, 238), his shelf mark "Astronomy MS 1" on front pastedown. 5) Honeyman Collection of Scientific Books and Manuscripts, Part III, Sotheby's, London, Wed May 2, 1979, lot 1110, sold to 6) Alan Thomas (1911-1992), his catalogue 43.2 (1981), sold to 7) Hans Peter Kraus (1907-1988), sold to 8) UK private collection. {BN#47198}
¶ Bernard R. Goldstein & José Chabas, 'Ptolemy, Bianchini and Copernicus: Tables for Planetary Latitudes,' Archive for the History of Exact Sciences, vol. 58, no. 5 (July 2004), pp. 553-573. Bernard R. Goldstein & José Chabas, Alfonsine Tables of Toledo (= Dordrecht-Boston-Londres, Kluwer Academic Publishers ("Archimedes, New Studies in the History and Philosophy of Science and Technology" 8), 2003. José Chabás & Bernard R. Goldstein, The Astronomical Tables of Giovanni Bianchini (Leiden & Boston: Brill, 2009). Thorndike, 'Giovanni Bianchini in Paris Mss,' Scripta Mathematica 16 (1950) 69ff. & his 'Giovanni Bianchini in Italian Mss.,' Scripta Mathematica 19 (1953) 5-17. Rashed, Development of Arabic Mathematics: Between Arithmetic and Algebra. Boston, 2013. Mordechai Feingold & Victor Navarro-Brotons, Universities and Science in the Early Modern Period. Boston 2006. R. Westman, Copernicus and the Astrologers. Smithsonian 2016. M. Williams, The Erwin Tomash Library on the History of Computing, 2008, 141. Simon Horobin & Linne Mooney, English Texts in Transition: A Festschrift Dedicated to Toshiyuki Takamiya on his 70th Birthday. Woodbridge 2014. Silvia Faschi, Prima e dopo la raccolta: diffusione e circolazione delle Satyrae, di Francesco Filelfo. Spunti dall' epistolario edito ed ineditio. In: Medioevo e Rinascimento. XIV, n.s. XI (2000), 147-166 (mentioning a connection between the Italian Humanist and Marco Antonio Scalamonte). C. U. Faye & W. H. Bond, Supplement to the Census of Medieval and Renaissance Manuscripts in the United States and Canada (1962), p. 21, no. 12 (this manuscript).

In meine Auswahl

(Albertus). Elogia divi Josephi, duodecim titulis exornata. O. O., um 1790. O. O., um 1790. 16 beschr. SS. auf 10 Bll. Taubenblauer Seidenband der Zeit. Gr.-4to.

EUR 120,00

Hübsch ausgeführte, unpublizierte Handschrift, wohl österreichischen Ursprungs, mit 12 thematischen Elogen auf den Hl. Joseph: I. S. Josephus e stirpe regia; II. S. Josephus vir justus; III. S. Josephus Virginis B.mae sponsus; IV. S. Josephus angelorum alloqio honoratus; V. S. Josephus mysterii incarnationis praescius; VI. S. Josephus divinorum mysteriorum praesens sectator; VII. S. Josephus Christi custos; VIII. S. Josephus Christi nutritius; IX. S. Josepho Christus subditus; X. S. Josephus moriens beatissimus; XI. S. Josephus patrum in limbo consolator; XII. S. Josephus thaumaturgus. Am Schluß signiert von einem "Albertus". - An Ecken und Kanten berieben; der Seidenbezug am Rücken fehlt. {BN#19876}

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Richly illustrated manuscript explaining Catholic doctrine to deaf-mutes

(Assarotti, Ottavio Giovanno Battista). Dottrina Christiana. [Genoa, c. 1815-20]. [Genoa, c. 1815-20]. 8vo (233 x 170 mm). Contemp. half calf, spine gilt with with title lettered in gold. With 117 (out of 118) full-page coloured drawings within borders consisting of two lines (206 x 138 mm) illustrating the Christian Doctrine, on strong paper. One leaf with written introduction (one leaf missing), 117 ff. (numbered 1-95, 97-118) with drawings, 3 blank ff.

EUR 18.500,00

Interesting manuscript by Padre Ottavio Giovanni Battista Assarotti (1753-1829), containing a method to teach and explain the 'Dottrina Christiana' to Genoese deaf-mutes. Assarotti was an Italian philanthropist and founder of the first school for deaf-mute people in Italy. After qualifying for the church, he entered the society of the Pietists, Scuole Pie, who devoted themselves to the training of young men. In 1801 he heard of the Abbé Sicard's education of deaf people in Paris, and resolved to do something similar in Italy. He began with one pupil, and by degrees collected a small number around him. In 1805, Napoleon, hearing of his endeavours, ordered a convent to give him a school-house and funds for supporting twelve scholars, to be taken from the convent revenues. This order was poorly heeded until 1811, when it was renewed, and the following year Assarotti, with a considerable number of pupils, took possession of the new school. He continued here until his death in 1829. The traditional and distinctive Italian manual alphabet is said to have been invented by Assarotti. - It is not certain that Assarotti himself is the author of the manuscript: while it may equally well have been conceived by one of his collaborators, it is based on the method invented and developed by Assarotti, who also designed the plates. The introduction explains how difficult it is to teach abstract concepts, such as religion, to deaf-mute pupils, so he painted these plates, invented by Assarotti: "He (Assarotti) never wrote down his educational philosophy and methods, and so fell into obscurity after his death" (Deaf History Unveiled, 244f.). As far as we know this manuscript is the only surviving witness of his theories. - The style of the watercolours is somewhat primitive and popular, but very rich in detail, including elaborate plates illustrating Faith in general ('Fede'; nos. 1-42); Commandments ('Legge'; nos. 43-51); Prayers ('Preghiera' 1-10; nos. 52-61); 42 Sacraments ('Sacramenti'; nos. 62-95, 97-104); Virtues ('Virtu' 1-14; nos. 105-118). The illustrations include views of paradise, hell, creation, functions of priests, symbols of all kinds of aspects of the Catholic faith, etc. - In very good condition. {BN#24497}
¶ Dizionario biogr. degli Italiani IV, 433f. S. Monaci, Storia del R. Istituto nazionale dei sordomuti in Geneva (1901), 17-88 and passim. F. Donaver, "Il padre Assarotti", in: La Rass. naz. 23 (1901), 79-87. Deaf History Unveiled, ed. John Vickrey van Cleve (1993), 244f.

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Manuscript astrological volvelle with 3 rotating dials and detailed instructions for use

[Astrological Volvelle]. [Dell' hore planetarie]. [Italy (Genoa?), ca. 1650?]. [Italy (Genoa?), ca. 1650?]. 4to (225 x 160 mm). [6 blank], "31" [= 30], [1], [1 blank] pp. including the paste-downs. Manuscript in dark brown and red ink on paper, written in Italian, with a brown and red astrological volvelle on the paste-down at the end, with 3 rotating dials (5.5, 7.5 and 10.5 cm diameter, those for the sun and moon with pointers) over a fixed dial (13.5 cm diameter), secured with a copper pin through a small round copper disk. Further with planetary signs in the text, and 4 tables on 6 pages. Sewn as a single quire through 6 holes, in heavy, plain paperboard wrappers, cut flush with the text leaves (except for the paste-downs, which are a couple millimetres smaller).

EUR 12.500,00

A carefully constructed and drawn, and beautifully preserved astrological volvelle with one fixed and three rotating dials, with a 30-page Italian manuscript discussing planetary dials, with tables associating the planets (including the sun and moon) with the 24 hours of the seven days of the week and providing other data, and with explanations of the tables and volvelle and instructions for their use. Although the manuscript has no title-page or general drop-title, the eight numbered chapters are titled: 1) Dell' origine dell' hore planetarie. 2) Dell' hore planetarie, e loro distributione. 3) Ordine della successione de i pianeti nell' hore planetarie. 4) Modo d'adoperare la precedenti tavola. 5) Modo di sapere quanto longa sia l'hora planetaria in qualtitia hora del giorno in tutto l'anno. 6) Spiegatione della tavola, e modo d'adoperarla. 7) Spiegatione delle ruote mobili posti nil fine di questo libretto. 8) Modo d'adoperare queste ruote. - The outer (fixed) dial of the volvelle has the daytime hours in red in the upper half and the nighttime hours in brown in the lower half, labelled "hore planetarie diurne" and "hore planetarie notturne" respectively. The hours of both the day and the night are numbered twice from 1 to 12 (clockwise and counterclockwise). The first rotating dial gives the 12 months and the twelve zodiac signs, the latter indicated with both the abbreviated name and the sign. The second rotating dial gives the days of the month, numbered 1 to 29 with a space left for 30 (or 30 and 31 together). It has a pointer with a red sun that can be rotated to align with the desired hour and time of year in the outer two dials. The third rotating dial has only a pointer, with a brown moon, which can be aligned with the desired day of the month. Its centre is attractively coloured with a brown square (a separate slip, covering the axis) on a white hexagon on a red circle. - The three-page table with data to relate the planetary hours to the Italian hours for the entire year is based on a latitude of 44 degrees, 30 minutes, which corresponds to Genoa and Bologna, but not to Rome or any of the other largest Italian cities. - The manuscript collates: [A]20 (- A9) = 19 ll. A9 was probably removed during production of the manuscript, for A8v (p. 11) has a catchword pointing to the heading on A10r (p. 12) and there is no gap in the text. The number 7 was accidentally omitted in the pagination. There is a small correction slip on part of the table on p. 26. The paper of the entire manuscript is watermarked: bird in a 45 mm circle = --, the mark centred on a chainline with about 27.5 mm between the chainlines (so that the mark nearly fills two spaces) and with initials A and N inside the circle (the A left above centre and the N right below centre). There is nothing in the circle below the bird (where many marks of this style show three hills). We have found no close match in the literature, but the closest examples seem to date from the 1640s (Heawood 177, 179, 182) and marks in the general style were used in Rome and Genoa but rarely in Bologna. Heawood 748 also records similar initials "AN" in a different mark that may also date from the 1640s. The general style of the manuscript (including that of the lettering for the volvelle) make an earlier date unlikely. - The ink sometimes shows through and has occasionally eaten a small hole through the paper, but the manuscript is otherwise in very good condition, with the volvelle well-preserved and its three rotating dials working smoothly. An Italian manuscript astrological volvelle with 3 rotating dials and detailed instructions for use. {BN#49481}

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Das Laster des Würfelspiels

Augustinus von Hippo, Hl. Sermones de verbis domini [und andere Werke]. [Österreich?], 1448. [Österreich?], 1448. Lateinische Handschrift (gotische Buchkursive) auf Papier. 550 SS. (um 1900 mit Bleistift paginiert; davon 547 beschrieben). Blattgröße 210 x 295 mm, Schriftspiegel zumeist 140 x 190 mm. 2 Spalten, meist 30-31 Zeilen (letzte Lage: 41-43 Zeilen), teils rubriziert bzw. mit roten Kapitelüberschriften und -enden; zahlreiche rote Lombardinitialen. Zeitgenöss. gotischer Ledereinband über Holzdeckeln mit Rahmeneinfassung und schräg gekreuzten Streicheisenlinien; blindgepr. 2 verschiedene Rosetten- sowie Adlerstempel (Raute). Beschläge, Schließbänder und -haften fehlen. Kl.-Folio (235 x 314 mm).

EUR 45.000,00

Schöne spätmittelalterliche Handschrift, in der Hauptsache Predigten des Hl. Augustinus (S. 1-410) umfassend, außerdem aber vier kürzere Abhandlungen seines nur wenig älteren Zeitgenossen, des Kirchenlehrers Gregor von Nazianz (S. 411-523) und am Ende datiert (1448). Abschließend eingebunden finden sich 12 Blätter, anscheinend wenig später von einer anderen Hand geschrieben, mit theologischen Schriften des frühen 15. Jahrhunderts, nämlich zwei Abhandlungen des französischen Mystikers Jean Gerson (S. 527-540) sowie dem Traktat des Wiener Domkanonikers Johann Geuss über das Laster des Würfelspiels (S. 541-550). - Inhalt im einzelnen: A) Augustinus von Hippo. 1-121: Sermones de verbis domini secundum Mattheum (mit Gesamtverzeichnis zu Beginn, dann inc. "Evangelium audivimus ... agite penitentiam"); 122-181: Sermones de verbis domini secundum Lucam (inc. "Petite et dabitur"); 182-344: Sermones de verbis domini secundum Johannem (inc. "Capitulum Evangelii quod lectum est"); 345-347: Sermo de verbis domini evangelio secundum Lucam de verbis apostoli, omnes nos manifestari oporte ante tribunal Christi (inc. "Omnium Christianorum spes"); 348-410: Liber de spiritu et anima (inc. "Quoniam dictum est mihi", expl. "quem cernere finis est doloris"). - B) Gregor von Nazianz. 411-470: De urbana vita [ad Pronianum; tr. Rufinus] (inc. "Proficiscenti mihi ex urbe magnopere iniungebas Aproniane fili"); 470-487: De nativitate domini [oratio XXXVIII] (inc. "Christus nascitur"); 487-506: De luminibus et secundis epiphaniis [oratio XXXIX] (inc. "Iterum Jesus meus et iterum"); 506-523: De pentecoste [oratio XLI] (inc. "De sollemnitate huius diei pauca dicenda sunt"; expl. "et potestas in spiritu sancto in secula seculorum. Amen"); danach Datierung: "et finitus est liber anno etc. 1448"; 524-526 vacant. C) Johannes Gerson: 527-537: Tractatus de trepidantibus accedere ad celebrationem misse post pollutionem in sompniis habitum (inc. "Dubitandum est aput me"); 537-540: De duplicii stuatu in dei ecclesia, curatorum et privilegiatorum (inc. "Pax quam omnibus"; expl. "inveniri. Deo gratias. Deo gratias"). D) [Johannes Geuß]. 541-550 [Sermo de ludo alearum] (inc. "Confundatur sorcium distributio scribitur Numeri ultimo. Hec verba possunt intellegi de sortilegio lusorum et confusione ipsorum"; expl. "unam libram et sic posset fieri recompensatio" (fehlt Text im Umfang von vier Spalten). - Durchgehend von annähernd gleichzeitiger Hand gelegentliche Ergänzungen und Marginalien im breiten weißen Rand. Auf die letzte, nachgebundene Lage von 12 Bll. (Wasserzeichen: Typus Piccard V [Waage], Abt. V, Nr. 294 ["Wien 1461"]) dürfte ursprüglich noch ein letztes Blatt Text gefolgt sein. Einband beschabt und bestoßen; Vorderdeckel mit kl. Sprung; Spuren eines stellenweise angeklebten grauen Papierumschlags. Die Handschrift gelegentlich leicht gebräunt bzw. mit minimalem Wasserrand zu Beginn. Die ersten 3 Bll. zeigen einen kl. Randeinriss ohne Textberührung, das erste außerdem einen Eckausriss (Verlust der Paginierung und eines klösterlichen Besitzvermerks des 17. Jhs.: "Conven[tus] C[...]"). {BN#44879}

In meine Auswahl

Balogh de Galantha, László, kgl. ungar. Archivar (fl. 2. Hälfte 18. Jh.). Abschrift einer Rechtsurkunde zu Prozessangelegenheiten des Nikolaus Ladislaus... Nagy de Csöppöny im Komitat Nytra mit eigenh. U. "Comes Ladislaus Balogh de Galantha" (als "Tabulae Judiciariae Octavalis Archi-Episcopalis Praeses"). Pozsony (Pressburg, Bratislava), 1778. Pozsony (Pressburg, Bratislava), 1778. 46 SS. Geheftet. Papierumschlag der Zeit. Reste eines roten Lacksiegels am letzten Blatt verso. Folio (ca. 245 x 360 mm).

EUR 850,00

Am vorderen Umschlag bezeichnet: "Nikolaus Ladislaus Nagy de Csöppöny contra Franciscum Vörös". Ladislaus (László) Balogh de Galántha (1773 geadelt) wirkte als königlich ungarischer Schatzmeister (altárnok) und ab 1760 als Reichsarchivar (országos levéltárnok). - Bindung etwas gelockert; durchgehend leicht braunfleckig und angestaubt. Ausriss am unteren Umschlagrand (kein Textverlust). {BN#33041}

In meine Auswahl

Das Künstleralbum des kaiserlichen Deckenmachers J. F. Hörmannsperger

Barockes Musterbuch und Album des Deckenmacher-Gesellen Johann Franz Hörmannsperger. Wien, 1736. Wien, 1736. 118 numerierte Bll. (recte 115, Bll. 96, 106 und 112 in der Numerierung übersprungen). Auf das kalligraphierte Geleitwort Hörmannspergers folgen 58 von ihm gefertigte Blätter mit Textilentwürfen (meist in Rot, Blau, Grün und Gold, davon 1 doppelblattgr. gefalteter und vier Bll. mit jeweils 2 Entwürfen) und die 7 prachtvollen gold- und silbergehöhten Gouachen; zwischengebunden sind ingesamt 52 Kupfer auf 48 gestochenen Tafeln, diese durchgehend im hervorragenden, teils gold- und silbergehöhten Kolorit der Zeit. Marmorierter Pappband der Zeit. Quer-Folio (390:252 mm).

EUR 85.000,00

Unikales Dokument der bürgerlichen Handwerkskunst des Spätbarock von musealer Qualität: Das Album enthält neben 58 sauber ausgeführten Textilentwürfen Hörmannspergers 7 großformatige Gouachen, die den selbstbewußten Urheber derselben bei der Ausübung seines Handwerks im Atelier, im Umgang mit der Kundschaft bei Anpreisung und Verkauf seiner Produkte, aber auch beim Musizieren und Kegeln sowie bei der Hauptversammlung der Wiener Deckenmacherzunft zeigen. Als Zwischenblätter zu den eigenen Arbeiten hat Hörmannsperger durchwegs profane Sujets (Zwerge, Soldaten, Karikaturen u. ä.) verwendet; einige der reizvollsten und seltensten Blätter aus der Produktion der Augsburger Stecherschule um 1720 sind jeweils alternierend zwischen seine eigenhändigen Textilentwürfe und Gouachen gebunden. - Eingeleitet wird das Album durch das Selbstportrait Hörmannspergers im Atelier (am Tisch liegend sein Zirkel und einer der nachfolgenden Textilentwürfe), am gegenüberliegenden Blatt äußert sich der damals 26jährige zur Enstehungsgeschichte desselben: "dann rechte kunst lobet den Maister: allhier ist ein buech und daß ist mein mit vill riss und zig, wie sie nacheinander zu sehen sein. Thue mich darmit zwar nit prallen, habe es doch alle mit meiner Hand gemallen. mit viller Zeit und mihe beschwernus [...] Ich Johann Frantz Hörmansperger". In den Unterschriften zu den prächtigen Gouachen beweist Hörmannsperger ebenso Humor wie überraschendes Selbstbewußtsein. Eine selbstgefertigte Decke preist er der ihn aufsuchenden Kundin im Verkaufsgespräch folgendermaßen an: "Mein schönes frauenzimmer hier habens ein schöne döcken: darunter könnens sie braf ströchken: Sie ist anter halb Ehlen breit und zwey Ehlen lang: da könens sie sich darunter umköhren mit ihrem Mann" (Bl. 94), die nächste Darstellung zeigt ihn beim Verkauf von Satteldecken an hochgestellte Offiziere ("so kauffens wir und nimens mit uns ins feld", Bl. 86); daraufhin sehen wir ihn in der Freizeit beim Kegeln in einem barocken Garten ("Lustig und frölich inß gemein: weilen wir döcken machergesellen sein: Jungfrauen auch inß gleichen: es wird ihnen die Zeit nicht vellen: hier stett roter und weißer wein. da können wir lustig und frölich sein", Bl. 94) sowie beim Tanz ("Lustig wohl auf. Musicanten streichts drauf. So seindt die Döckenmacher wohl auf. und tantzen mit schönen frauen zimer bis die schue werden zu trimer", Bl. 104). Das letzte Blatt zeugt dann von der Aufnahme eines Lehrlings bei der Quartalsvollversammlung der Wiener Deckenmacher ("[Die] Döckenmacher verßamlen ßich zu disem Haubt Quartal und bereden ßich was der Lad zu nutzen falt: der Jung will zwar aufgedinet sein. er ist nit zu groß. und auch nit zu klein. doch mues er ßeine lehr iahr erfillen. bis man ihn macht zu einen gesellen", Bl. 118). Die von Hörmannsperger unter Verwendung eines Zirkels gefertigten ornamentalen Textilentwürfe teils mit frei gestalteten heraldischen bzw. figuralen Mittelstücken; ein Deckentwurf (Bl. 113) ist durch Monogramm und kaiserliche Insignien als Auftragsarbeit für Kaiser Karl VI. ausgewiesen und wurde laut späterer Bildunterschrift auch für diesen ausgeführt. Zwischen seine eigenen Entwürfe hat Hörmannsperger die Blätter der großen Augsburger Meister seiner Zeit eingebunden: So finden sich - durchwegs in hervorragendem Kolorit mit Gold- und Silberhöhung - acht Blätter des Zwergenkabinetts von Elias Bäck (Fechtschule, Saufbegierde, Fresslust und Tabakrauchfreude), ein vollständiger Jahreszeiten- und Lebensalterzyklus von Martin Engelbrecht ("Der Menschen Jahr Veränderung"), insgesamt 19 der berühmten Blätter von Pfeffel, Schmidt und Engelbrecht zum Soldatenleben (davon zwei mit beweglichen Teilen), von Albrecht Schmidt außerdem ein schönes Flugblatt mit Darstellung der sieben redlichen Schwaben, zuletzt noch ein 8 Bll. umfassender, unbezeichneter Zyklus der weiblichen Temperamente (Die Kaltsinnige, Die Scherzhaffte, Die Furchtsame usw.). - Die österreichische, speziell Wiener Bettwarenerzeugung genoss zur Zeit ihrer Hochblüte im 18. Jahrhundert einen exzellenten Ruf. Exportiert wurde an die souveränen Höfe Europas, aber auch nach Griechenland, der Türkei sowie vielen Ländern des Orients. Zur Entstehungszeit des vorliegenden Albums produzierten in Wien zehn Meister dieses Gewerbes Decken, Matratzen und dergleichen, aber auch Tornister und Kürasse. - Provenienz: 1893 "vom Schwiegersohn d. Herrn Josef Lang" durch den k. u. k. Hof-Bettwaren-Lieferanten Josef Pauly erworben und von diesem 1896 an den damaligen Genossenschaftsvorsteher der Bettwarenerzeuger, Herrn Junghofer, weitergegeben (vgl. Paulys eigenh. Geschenkvermerk am fliegenden Vorsatz); zuletzt in österreichischem Privatbesitz. Der Deckenbezug des schlichten Pappbands am unteren Kapital unauffällig erneuert, innen teils etwas fingerfleckig, zwei Bll. mit kleinen Einrissen, im ganzen aber hervorragend erhalten. {BN#30828}

In meine Auswahl

Baudrand, Barthélemi, SJ / [Basile, Vincent, SJ (Übs.)]. Rasmiscgljajte ova dobro. Otza Bartola Baudrand Druscbe Jesussove.... Prinesegne u jesik slovinski. [Wohl Balkan, um 1845]. [Wohl Balkan, um 1845]. Titel, 11-130 (recte: 129), (1) SS. (Lagen 9 und 10 hinter 12 verbunden; S. 66 in der Zählung übersprungen). Marmorbroschur um 1880. 4to.

EUR 250,00

Zeitgenössische Abschrift von Vincent Basiles illyrischer (kroatischer) Übersetzung von Baudrands erbaulicher Meditation "L'Ame Penitente" (erstmals Lyon 1778). Der sizilianische Jesuit Basile (1811-82) wurde 1840 von seinem Orden nach Albanien und anschließend nach Dalmatien und die Herzegowina versetzt. Er gab mehrere Jesuitenschriften im südslawischen Idiom heraus; die vorliegende erschien erstmals 1844 in Rom und erlebte mehrere Auflagen. - Etwas braunfleckig und angestaubt. {BN#27227}
¶ Vgl. de Backer/Sommervogel I, 1000, 1 & 1040. OCLC 55609485.

In meine Auswahl

[Beethoven, Ludwig van]. Grand Sonate pour le Piano-Forte composée par Louis... van Beethoven oeuvre 28. O. O., nach 1802. O. O., nach 1802. Notenmanuskript. Quer Folio (240 x 330 mm). 30 Bll. letzte Seite leer. 8 Doppelblätter in 2 Lagen, Fadenbindung, starke Bütte, handrastriert, 10-zeilig, die beiden letzten Seiten 8-zeilig.

EUR 2.500,00

Zeitgenössische Abschrift des Op. 28, deren Vorlage Rätsel aufgibt: Ein Vergleich mit dem Autograph und dem Erstdruck (Bureau des Arts et d'Industrie, PN 28, Wien 1802) sowie mit Titelauflagen und frühen Nachdrucken (Autograph, Abschrift und Originalausgabe im Querformat, Simrock 240 [1802] und Zulehner 130 [ca. 1807] im Hochformat, Hummel 1321 [1805/1806] im Querformat) führt zu folgenden Resultaten: Das Manuskript hat einige Gemeinsamkeiten mit dem Erstdruck und dem Autograph, die es von späteren Drucken unterscheidet, die daher nicht als Vorlage in Frage kommen. Es gibt aber auch Gemeinsamkeiten mit dem Autograph, in denen sich dieses vom Erstdruck unterscheidet (!), sodass auch eine zwischenzeitliche Abschrift der Sonate aus dem Manuskript vor dem Erstdruck als Kopiervorlage in Frage kommen kann. - Eine mögliche Erklärung dafür wäre der verhältnismäßig lange Zeitraum zwischen Entstehung im Herbst 1801 und Veröffentlichung der Sonate im August 1802 aufgrund der personellen Veränderungen in der Gründungsphase des Verlages: 1. Gesellschaftsvertrag vom 1. 5. 1801 "Kunst- und Industrie-Comptoir" Kappeller und Holer. 2. Dem Gesuch zur Firmenprotokollierung vom 23. 10. 1801 legten die Verleger eine "Kontraktliste" bei, nach der sie bereits über eine Reihe von Kompositionen für die Veröffentlichung verfügten, darunter auch Beethovens Sonate Op. 28. 3. Die neue Firma wurde am 1. 5. 1802 protokolliert, 4. aber erst ab August 1802 die Musikalien des Verlages in der Wiener Zeitung (WZ) annonciert, wobei mit Beethovens Op. 28 (und der dazu passenden Verlags-/Plattennummer 28) ein öffentlichkeitswirksamer Paukenschlag gesetzt werden sollte: Beethovens Sonate wurde am 14.8.1802 (WZ 65) alleine vorgestellt, 4 Tage später folgte dann die Ankündigung der Werke von Krommer, Call, Albrechtsberger, Förster, Eberl, etc. mit den Verlagsnummern 1-30 (ohne die bereits vorgestellte VN 28, 18.8.1802, WZ 66, Weinmann, S. 220 f). - Gertsch/Prahia erwähnen im Vorwort zur Henle Urtext-Ausgabe (2008) zur Erklärung der ungewöhnlichen Zeitspanne zwischen Entstehung und Druck auch die - nicht belegbare - Hypothese, dass Beethoven "dem Widmungsträger Joseph Freiherr von Sonnenfels (1732-1817) auf die Sonate ein Exklusivrecht von einigen Monaten oder gar einem Jahr eingeräumt" hätte. - Das Papier ist nach Auskunft des Archivs der Gesellschaft der Musikfreunde für Wien um 1800 untypisch, und zeitlich nur grob auf die ersten Jahrzehnte des 19. Jahrhunderts bestimmbar. - Etwas fingerfleckig, ansonsten sauber. {BN#48302}

In meine Auswahl

Berg (eig. Ebersberg), Ottokar Franz, Schriftsteller (1833-1886). Die Pfarrersköchin. Lebensbild mit Gesang in vier Acten.... O. O., um 1881. O. O., um 1881. 157, (3) SS. und ein durchschossenes Bl. zwischen S. 128 und 129. Marmorierter Halbleinenband der Zeit. Kl.-4to.

EUR 200,00

Zeitgenössische Abschrift von Ebersbergs 1868 geschriebener "Pfarrersköchin". Am letzten Blatt die Freigabe der Zensur (dat. Dauba 28. X. 1881) und mit einigen von derselben im Text gestrichenen Stellen; am Titel ein eh. Besitzeintrag von Johann Hugo Kochansky v. Kochan, einem Theaterunternehmer aus Hirschberg, der das Stück aufführen wollte. - Etwas gebräunt und fingerfleckig. {BN#27242}

In meine Auswahl

[Binding]. An early 16th century ledger in a fine... limp vellum binding. Probably Italy, early 16th century. Probably Italy, early 16th century. Small folio (ca. 220 x 300 mm). Contains 128 blank leaves, foliated in ink by a contemporary hand 17-144 (a first quire of 16 leaves, likely containing notes, has been removed). Contemporary limp vellum binding sewn on three leather bands with wide fore-edge flap. Remains of a handwritten spine label "Debitori [...] 1511" (?).

EUR 3.500,00

An attractive binding for an account book in the late mediaeval style, captioned "Debitori et creditori dipacta" along the top edge of the upper cover in a narrow Gothic majuscule written in brown ink, and an initial "A" within an ornamental circular border and acanthus ornaments drawn in the centre of the cover. The wide bands of dark leather, sewn down with crisscrossed lighter-coloured thongs, add to the binding's stark appeal. The volume encloses 128 blank leaves watermarked with a pear-shaped flower with two leaves, similar to Briquet 7386 (Florence 1507). Since the removal of the first quire, which must be assumed to have been used by the owner for keeping accounts, the only handwriting remaining in this book of otherwise blank leaves are a few notes in a Renaissance hand on the final page. - Some brownstaining to lower edge of some leaves; some staining and wrinkling to binding. Leather spine bands and thongs loosened in places; wants the tie which would have fastened the fore-edge flap. {BN#47490}

In meine Auswahl

The book of the noble science: an illustrated 16th century manuscript manual on astronomy

Bonsignorius, Joannes. Il libr[o] [...] dela nobil[e] s[c]ienza.... Probably Northern Italy (or Switzerland?), 1579. Probably Northern Italy (or Switzerland?), 1579. Small folio (185 x 275 mm). Italian manuscript on paper. 154 leaves (including 19 blank leaves, 268 written pages), with one full-page drawing of an armillary sphere in red and black (signed "Jo[annes] Bap[tis]ta Bonsignorius"), 9 subject diagrams and 77 astronomical tables. Italian semi-cursive script in black ink, rubrics and astronomical symbols supplied in red, 24 lines to each page. Bound in 16th century limp vellum with manuscript title to spine ("Manoscritti di Astronomia"). Remains of ties.

EUR 45.000,00

An intriguing, elegantly written and well illustrated handwritten manual about the "noble science of the movements of the planets", forming a detailed display of 16th century astronomical knowledge and all related information available, compiled by an otherwise unrecorded author. Joannes Bonsignorius, likely a member of the Sienese noble Bonsignori family noted for their important role in the history of banking, brings together all the information which a contemporary might need to read the planets and the stars. He begins with explanations of the Metonic cycle, leap years, and ascendants, proceeds to the calculation of new moons and moveable feasts, then expands on the qualities and characteristics of the signs of the zodiac, the influence of the ascendants on each, planetary aspects and their influence on 'air' and climate, lunar and solar eclipses, the planetary houses, triplicity rulers, friend and enemy planets, elaborates on the effects of the planets on the human body (perceived as pain in various body parts) and on the movement of the ascending lunar mode before finally enumerating which countries and cities of the world are ruled by which zodiacal sign (while England, for example, comes under the influence of Aries, Damascus is listed under Leo; Egypt, Babylon and Constantinople are under the sign of Cancer, and Alexandria is said to be ruled by Gemini). - Condition: written on paper assembled from various stocks, showing five different watermarks. While none of them can be positively identified with the specimens illustrated by Briquet, it is interesting to note that they all largely conform to types common among Swiss and Southern German papermills: three show the "Crosse de Bâle" (types: Briquet I, 1313, 1339 & 1357), one shows the griffin-head of Freiburg im Breisgau (type: Briquet I, 2216), and another shows an eagle with an F (type: Briquet I, 154), originating in Frankfurt am Main but used throughout the Rhine Valley and even in the Habsburg provinces. One leaf stained at foot; some light browning; the final leaves of index a bit brown-stained in the outer margins; overall in excellent condition, and in its original first binding. - Provenance: as stated on the first page in the author's own hand, the present manuscript was written in 1579 and dedicated by Bonsignorius to a member of his family named Nicolo. Later in an unidentified European collection (shelfmark "XXII" on front pastedown). Recently acquired from a U.S. private collection. {BN#47185}

In meine Auswahl

Devotional manuscript in Dutch

Bossche, Johannes Baptista van den. Instructie om deuchdelick synen tyt [...] ghemaeckt by... den Eerwerdighen heere, Johannes Baptista vanden Bossche, prioor en pater van het Syon [...] int Jaer 1617. [No place], 1617. [No place], 1617. 8vo. Dutch manuscript on paper. 87 ff., last blank pasted to back cover (collation: A-L8).

EUR 3.500,00

Interesting devotional manuscript in Dutch containing extensive instructions and rules for behaving, praying and meditating, and living a good religious life in a monastery from hour to hour. The booklet also gives the texts prayers and meditations to perform during the day. It is a sort of "Diurnale" (a shortened Breviary), written by the prior of a monastery ("het Syon"), for his brothers. - Strangely enough the text seems to have been written by a Dutchman from the northern Netherlands where all the monasteries were demolished during the beginning of the Eighty Year's War, and where the Roman-Catholic faith was tolerated at best. "Het Syon" is an often used name for a monastery, for example one near Beverwijck, or near Delft, but, again, these cloisters were no longer in existence. Possibly, Johannes Baptista van den Bossche was a refugee from the north and active in the Southers Netherlands. The manuscript is written in a clear, sophisticated, and almost calligraphical handwriting (by Johannes van den Bossche himself?) in two scripts: italic and a script reminding the civilité type. - Very well preserved. {BN#26608}

In meine Auswahl

Brewing Manual

Brewing [Brauerei] - Welhorn, Gregor, Ingolstädter Brauer (fl. um 1786). Ganz trefliche höchstgeheime Wissenschaften, und vollkomene Explicirung der... höchst nutzbaren edlen Bierbräukunst. Ingolstadt, 1786. Ingolstadt, 1786. Deutsche Handschrift auf Papier. (2), 86 SS. (davon 66f. und 70f. weiß). Pappband der Zeit mit gepr. Deckelschildchen, datiert "1786". 4to (170 x 195 mm).

EUR 3.500,00

Umfangreiches Rezeptbuch zur Braukunst, in sechs Kapitel unterteilt. Enthält neben den Erklärungen zur Reinigung der Gerste und zur Zubereitung und Gärung von Malz auch "geheime Kunstmittel" und "fürtreffliche Arcana", etwa "wie man ein völlig sauer gewordenes Bier wieder annehmlich machen kann". Der Haupttext umfasst die Seiten 1-63 der alt paginierten Handschrift; er ist von einer Hand durchgehend in sauberer Kurrente geschrieben einschließlich der dreiseitigen rühmenden Vorrede. Laut Eintrag am Vortitel (datiert 15. Feb. 1786) wurde das Rezeptbuch angelegt von Gregor Welhorn, "Bürgerlicher Büer Brauer in der Churfürstlichen Haubt- und Vestungsstadt Ingolstadt". Als urspünglicher Verfasser wird im Vorwort jedoch Melchior Schlögl genannt, "Professor", "praxator peritissimus" (hocherfahrener Brauer) und "einer der berühmtesten Breumeister in Deutschland", der das Buch "mit allen seinen geheimen Chunstmitteln und Hauptarcanen für sich selbst zu seinen eigenen Behuf" geschrieben habe, "alles haarklein beschrieben im Jahr 1782". Dieser "berühmte Frater" wird bezeichnet als "leiblicher Bruder" von Vicelinus Schlögl, einem der "führnehmsten Professoren" - nämlich des Bäckerssohns Anton Vicelinus Schlögl (1743-1811), der es nach seiner Ausbildung im Augustinerchorherrenstift Polling bei Weilheim bis zum Professor der Mathematik und Physik an der Universität Ingolstadt brachte; beim Brauer Melchior dürfte es sich um dessen jüngeren Bruder (1752-88) handeln, der unter der Ordensnamen "Quarinus" als regulierter Chorherr und Professor der Physik im oberbayerischen Kloster Rottenbuch wirkte und am Observatorium Hohenpeißenberg meteorologische Beobachtungen anstellte (vgl. zu beiden Poggendorff II, 805). - Auf den letzten Blättern finden sich wohl zumeist in den 1790er Jahren entstandene Notizen, etwa zu Malzeinkäufen und anderen Ausgaben, weitere Braurezepte oder ein Rezept zum Vertreiben von Fliegen und Mücken. Bemerkenswert ist auch ein Eintrag über die Verstoßung einer Frau nach nur drei Ehejahren: "selben Samstag nach Willibaldi 1797 ist sie von mir zu ihren Eltern geschaft worden, aber nicht von Oberigkeits wegen, sondern blos alleinig habe ich es gedan" (S. 68). - Einband berieben und bestoßen, Rücken fehlt. Am Beginn Bindung etwas gelockert, noch vor der Paginierung zwei Blätter zwischen S. 82 und 83 herausgeschnitten. Gebräunt bzw. etwas fleckig. {BN#47516}

In meine Auswahl

[Buddhist manuscript]. Sutra. Burma, [ca. 1896 ]. Burma, [ca. 1896 ]. 600 x 65 mm. 21 palm leaves between two painted wooden boards with cord.

EUR 1.250,00

Burmese manuscript in Pali, most likely a register of Buddhist monastic rules. - Signs of age. {BN#49412}

In meine Auswahl

[Buddhist manuscript]. Sutra. Tibet, 18th/19th century. Tibet, 18th/19th century. 340 x 100 mm. Manuscript on ca. 240 palm leaves between two wooden boards. In the original wrapping cloth.

EUR 1.500,00

Signs of age. {BN#49422}

In meine Auswahl

[Buddhist manuscript]. Sutra. Tibet, 19th century. Tibet, 19th century. 355 x 90 mm. 38 ff. Printed from woodblocks, all edges red.

EUR 500,00

BN#49424 {BN#49424}

In meine Auswahl

[Carniolan legal manuscript]. Schönleben, Johann Ludwig, historiographer and theologian (1618-1681) (ed.). Varia Statum Politicum, Judicialem, et Oeconomicum Carnoliae Concernentia.... Conscripta per Anonymum circa annum 1590. Descripta manu scribae, et famuli Joannis Ludovici Schönleben St. Theol. Doct. Proton. Ap.lici Archidiaconi Inf. Carn. Anno MDCLXXIX. [Probably Laibach, likely 1620s, with additions to 1681]. [Probably Laibach, likely 1620s, with additions to 1681]. Small folio (205 x 300 mm). German and Latin manuscript on paper. (2), 188 (but: 186, omitting 88); (15); (4), 25; (32); (9 blanks); 4 ff. (ca. 530 written pages). With a contemporary sanguine portrait of Emperor Leopold I on the front pastedown and a receipe for aloe pills, dated 1679, written on the lower. 17th century vellum.

EUR 8.500,00

A collection of mainly German (and a few Latin) legal texts, assembled thus in the 1670s by the Carniolan protonotary apostolic and sometime Jesuit J. L. Schönleben. His title page (as quoted above) is followed by a single, frayed leaf of contents covering folios 1-62, so that at least two further leaves of contents may be assumed to be lacking at the beginning. This is followed by the first and earliest part of the collection, foliated to leaf 188 and written in an earlier 17th century hand, containing the common law of the Duchy of Carniola. Because this section incorporates large parts of the so-called Private-Law Treatises of Bernhard Walther (the "father of Austrian law" who in the mid-16th century collected the Lower Austrian customary law), the present manuscript served as an important source for Max Rintelen's 1937 edition of the Treatises (cf. references below). As a form of oath on f. 5r refers to Emperor Ferdinand II, this section can be dated to no earlier than 1620; occasional textual amendments in Schönleben's later hand suggest that it was closely studied by the scholar. - The remainder of the collection is written in a different single, later scribal hand, likely by an assistant of Schönleben's, containing copies of rare legal codes and mandates: "N. ainer Ersamen Landschafft in Crain verpesserte Landschrannen Ordnung" (copied from the book printed in Graz in 1565); "Neu-auffgerichte Bergkwerchs-Ordnung über all Eisen-, Pergk- und Hammerwerch deß Fürstenthumbs Crain" (copied from the book printed in Laibach in 1587, with a facsimile of the title page traced in ink on now browned translucent paper), various addenda ("Lebensberueff Formular", "Generale ratione ecclesiasticorum bonorum de dato 1. Januar 1587", "Cassatio privilegiorum a privatis concessorum"); a long collection of the decrees of the apostolic visitation of Laibach in 1621 (extracts of which were published in 1862 based on this MS; cf. below); the milling ordinances issued by Emperor Maximilian II in 1572; instructions issued to the verderer of Crain by Emperor Ferdinand III in 1650, and numerous similar mandates mostly issued in the 17th century (but also including a Papal bull from 1122). The end is brought up by the copy of a communication of a Laibach Capuchin monk concerning the traditional Good Friday penance procession (dated 1 June 1681), a tax list for 1633-75, and a curious, extensive and apparently unpublished polemical version of the Lord's Prayer levelled against the King of Sweden ("Des Khinigs in Schwöden Vatter Unser"), juxtaposed line for line with the received text of the prayer: "Ach Khinig du khanst noch nicht recht betten / Ich glaub nit daß auf Erden Einmall / Ein solcher Khirchenrauber gewesen sey alß / Du stilst, raubst, bringst mir schaden [...]". - Provenance: 1) autograph ownership of the Carniolan jurist and historian Johann Gregor Thalnitscher von Thalberg (Dolnitscher, in Slovene: Janez Gregor Dolnicar, 1655-1719), dated 1679, on the pastedown, and his printed bookplate, dated 1680, on the title page. Thalnitscher, who obviously received the book during Schönleben's lifetime, has been called "the spirit of cultural rebirth in the Baroque in Ljubljana". He was keenly interested in the arts, and it is likely that the gifted portrait of Emperor Leopold I (here called "Semper Augustus Princeps Carniolae") under his handwritten ownership is his own work. 2) Private collection of Baron Anton Codelli (fl. 1850s), director of the Historical Society for Carniola. 3) Acquired by the Historical Society for Carniola from Codelli in 1856. 4) Traded to the Austrian legal historian and numismatist Arnold Luschin von Ebengreuth (1841-1932) in 1880, as confirmed by a signed and sealed statement issued by the Society (represented by their secretary, August Dimitz) mounted on the reverse of the title page: "Bestätigung daß die Handschrift 'Tractate Walters, Landschrannenordnung für Krain etc.' vom historischen Verein für Krain im Tauschwege an Herrn Prof. Dr. Arnold Luschin v. Ebengreuth gegen 'Rosolenz Anti-Rungius Gründlicher Gegenbericht etc. Gräz 1607' und mehrere Familie Khisel betreffende Archivalien überlassen wurde. Laibach, 29. März 1880". 5) Given to Lushin's former student, the legal historian Max Rintelen (1880-1965), by Lushin's heirs ca. 1933 (cf. his signed note in blue ink on the reverse of the title page: "Von Luschins Erben erhalten"); his visiting card (as lecturer in Königsberg, 1909) is loosely inserted. - Spine and extremeties professionally repaired. Interior very well preserved and clean throughout; entirely complete save for the table of contents; the extant leaf of contents frayed at the edges with some loss to text (professionally repaired). {BN#47691}
¶ Von dem historischen Vereine für Krain im J. 1856 erworbene Gegenstände, in: Mittheilungen des historischen Vereins für Krain 11 (1856), p. 111 no. LXXV. A. Dimitz, Decreta visitationis Apostolicae Ecclesiae ac Diocesis Labacensis a Fre Sixto Carcano Ep.o Germanicense Visitatore Apostolico peractae ao. 1621, in: Mittheilungen des Historischen Vereins für Krain 17 (1862), pp. 11f., 30-32. A. Dimitz, Geschichte Krains von der ältesten Zeit bis auf das Jahr 1813 (Laibach 1874), p. 251 note 1. M. Rintelen, Bernhard Walthers privatrechtliche Traktate (Leipzig 1937), Ms. LK (p. XVIII).

In meine Auswahl

Carolus Franciscanus. XXV Jahre. (1864-1889). Ein silbernes Hochzeitscarmen. No place, (1889). No place, (1889). 4to. (20) pp. on 5 bifolia. German (and English) manuscript on paper, with ink and watercolour title vignette and 8 drawings, as well as ink and watercolour initials and 3 tailpieces. Contemporary calf portfolio with giltstamped title. Blue silk pastedowns.

EUR 150,00

A lovingly illustrated poem composed for the silver wedding anniversary of Eveline, née Gassenheimer (1843-1914) and Gyula Juhos (ca. 1837-1917), a landowner and member of an administrative commission in Krassó-Szörény county (now Romania). Written in attractive calligraphy; the talented ink and watercolour drawings mostly show scenes from the life of the married couple. Loosely enclosed is a folded family tree. As stated in the second stanza, the author was a friend of the groom's. - Margins slightly fingerstained, otherwise well preserved. From the library of the Viennese collector Werner Habel. {BN#48970}

In meine Auswahl