8vo, pp. 147, woodcut printer’s device on title; with 36 half-page woodcuts in the text; some faint spotting, mostly marginal, but a very good copy in eighteenth-century polished calf, flat spine richly gilt, brown morocco lettering-piece, gilt edges; extremities slightly rubbed.
Added to your basket:
Antithesis Christi et Antichristi, videlicet Papae.
Rare edition of this satirical attack on the Catholic Church and the Pope by the Protestant minister Simon Du Rosier (or Rosarius), first published in Wittemberg in 1521. An excellent example of the ‘antithesis genre’, of which Luther’s Passional Christi und Antichristi is the most famous expression, Du Rosier’s work is illustrated by a series of woodcuts, attributed to Bernard Salomon after Lucas Cranach, which cleverly juxtapose the life of Christ with the luxury and dissolution of the Pope in order to back the Lutheran tenet that the Pope is the Antichrist.
Provenance: Richard Heber, with his stamp on front free endpaper; Samuel Ashton Thompson Yates (1842–1903), with his bookplate.
Adams R777; Manning, The emblem p. 206.
You may also be interested in...
CHERTABLON, M. de.
La maniere de se bien preparer a la mort. Par des considerations sur la Cene, la Passion, et la Mort de Jesus-Christ, avec de très-belles estampes emblematiques.
First edition with the present text. Romeyn de Hooghe’s fine series of engravings were first printed for David de la Vigne’s Miroir de la bonne mort (Amsterdam or Antwerp, 1673). The artist was still working in 1700, but because the plates in this work are unsigned and several are reversed from the earlier versions or have other minor differences, they were most likely copied by another artist.
WOOD, John George.
The Principles and Practise of Sketching Landscape Scenery from Nature, systematically arranged and illustrated by numerous examples, from simple and easy subjects, to the more complicated and difficult combinations of objects. In four parts.
First edition of J. G. Wood’s last and most ambitious drawing book. Wood was a landscape painter speciallising in watercolour and exhibited at the Royal Academy between 1793 and 1811. Here his drawing lessons deal with sketching cottage scenery, trees and woods, village streets, and general views incorporating grandiose landscape settings and glimpses of houses and villages. Some plates have faint perspective lines drawn on to enable the student to understand the correct perspective.