Amsterdam International Antiquarian Book & Map Fair

Selected Highlights


Exhibitor

Knuf Rare Books
26, Rue des Béguines
F-41100 Vendôme
France

Contact

Anita van Elferen

Phone

+33622732385 +33622732385

Email

fritsknuf@gmail.com

Website

www.fritsknuf.com

Amphitheatres from the Plantin Press
LIPSIUS, JUSTUS. De Amphitheatro Liber. In quo forma ipsa Loci expressa, & ratio spectandi. Antwerp, ex Officina Plantiniana apud Ioannum Moretum, 1598. 4to. 77 pp. Original limp vellum binding with arms in black on both the front- and back covers. A light, but not serious, default on the back coverTraces of ties. A good copy with on the covers (slightly later?) arms in black that I have not been able to identify. A new edition, the last one of the sixteenth century of this work on amphitheatres that was first published in 1584. The work is divided into two parts, each with a separate titlepage but with a continuous pagination. In the first part the author gives a description, in the form of a dialogue, like a guided tour, of the Colliseum of Rome. The second part consists of a short description of some amphitheatres (e.g. Verona in Italy, Nîmes and Doué-la-Fontaine in France, Pula in Croatia etc.). The work is illustrated with 8 copper engravings (two double-page plates; 5 full-page plates and one illustration in the text). For the present edition the engravings have been re-engraved by Lynken van Lancvelt.

Justus Lipsius (1547-1606) was one of the leading classical scholars and humanists of the Low Countries in the second half of the 16th century. Provenance: Signature Prétequin or Pétrequin ? that is repeated several times throughout the work. The first one, on the inside front cover, has a note that says that the owner had exchanged this work on December 4, 1614. Also from the library of Charles vander Elst with his exlibris. And with another exlibris showing the initials E.G.[c.f. Imhof, Jan Moretus and the Continuation of the Plantin Press, pp. 316-317, L-11].
Exhibitor: Knuf Rare Books


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Stichting Europese Antiquarenbeurs, 2017
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