Adon Chasdecha with Italian translation. Venice: Zuan di Gara, 1609.
The book comprises the piyyut Adon Chasdecha, better known as Mi Kamocha, composed by R. Yehuda HaLevi. Text of piyyut and Italian translation in Hebrew characters on facing pages. The piyyut recounts the story of Megillat Esther, and was originally intended to be recited on Shacharit of Shabbat Zachor, after the verse Mi Kamocha shortly before the Amidah. In some communities, this Shabbat is called Shabbat Mi Kamocha after the piyyut. The piyyut is a double alphabetical acrostic, with the name of the author added after each alphabet.
The first part of the piyyut contains two stanzas beginning with the letter Resh. According to Sefer HaDorot, R. Yehuda HaLevi experienced difficulty composing a stanza for the letter Resh, and R. Avraham ibn Ezra, who disguised himself at the time as a servant in the home of R. Yehuda HaLevi, completed it for him. Upon realizing his servant's true greatness, R. Yehuda HaLevi embraced him and selected him as a groom for his daughter. R. Yehuda HaLevi later also composed a stanza for the letter Resh, and this resulted in the piyyut eventually comprising two stanzas beginning with Resh.
The piyyut was cherished by many communities, and over the years, it served as a model for many other piyyutim, all beginning with Mi Kamocha and commemorating various local miracles (these are known as Mi Kamocha piyyutim).
In the present printing, the name of the piyyut Mi Kamocha was omitted, and the title given is Adon Chasdecha. This may reflect the move of the piyyut from its original location in the prayers. The recital of the piyyut between Kriyat Shema and the Amidah prayers aroused the halachic problem of an interruption in the prayers, and over the years, the piyyut was relocated to various places in the prayers. In 1586, the piyyut was printed in the press of Zuan di Gara, under the title of Mi Kamocha, to be recited between Mi Sheberach and Ashrei on the Shabbat preceding Purim. Though the piyyut was not anymore recited after Mi Kamocha, it retained the name Mi Kamocha in that printing. Several decades later, in the present printing (by the same printer), the name Mi Kamocha was omitted from the title page and piyyut, and the piyyut was titled instead Adon Chasdecha, after its opening words. Nevertheless, the piyyut is known until this day as Mi Kamocha.
16 leaves. 15 cm. Good condition. Stains, including dark stains. Inscriptions. New parchment binding, slipcased.

Tefillat Yesharim, order of prayers and Psalms for every day of the week, Pirkei Shira, Tefillat HaDerech and Hatavat Chalom. Pisa: Gad ben Shmuel Foà [1769]. Miniature edition.
Miniature edition with original, gilt-decorated leather binding. Owner's initials lettered on both front and back boards: "M. S. V.".
80 leaves. Approx. 8 cm. Good condition. Stains. Small tear slightly affecting text on one leaf. Leaves trimmed close to headings in several places. Original leather binding. Minor damage to binding. Placed in original leather case.
Not recorded in the Bibliography of the Hebrew Book. Not listed in Yaari, HaMadpisim Bnei Foà (the first book Yaari lists as printed by Foà in Pisa is from 1779; see: Yaari, Mechkarei Sefer, p. 414).

Babylonian Talmud, Tractate Sotah – with Rashi and Tosafot, Piskei Tosafot and the Rambam's commentary on Mishnayot. Venice: Daniel Bomberg, 1520. First edition.
Volume from the first Talmud edition printed by Daniel Bomberg in Venice. This famous edition (The Venice Talmud), the first to comprise the entire Babylonian Talmud, served as prototype for all future Talmud editions. It established the text of the Talmud, the page layout and foliation used until this day.
Diagram illustrating Rashi's commentary on folio 43a. This is the only printed diagram in Bomberg's Talmud edition. In all other instances where there were supposed to be diagrams and illustrations, Bomberg left an empty space for the drawing to be added after printing.
"Registro" table on final page, listing the gatherings and opening text of each sheet (to facilitate bookbinding).
Complete copy, including title page. 53 leaves (final leaf numbered 54). 6 gatherings of 8 leaves each, seventh gathering – 5 leaves. 35 cm. Good condition. Stains, including large dampstains (ink stains to front endpaper, first leaf and final leaf). Worming to all leaves, affecting text, repaired in part with tape. Wear and several tears, repaired in part with paper. Glosses in early Oriental script (sources and corrections). Stamps (deleted) and ownership inscriptions. New binding.

Mishnayot Order Zera'im – with the commentaries of the Rambam and Rabbenu Shimshon (the Rash) of Sens. Venice, 1522. From the first Talmud edition published by Daniel Bomberg.
With the preface of the Rambam to Order Zera'im, and the translator's foreword.
Ownership inscription on verso of title page – "Shimshon son of Weidel Shapira".
Handwritten inscriptions in several places.
86; 6 leaves. 35 cm. Fair condition. Stains, including dampstains and traces of past dampness (significant stains in several places). Extensive worming, affecting text, mostly repaired with paper. Many open tears (large tears to title page), affecting text, repaired with paper (photocopy text replacement in several places). New leather binding.

Book of Iyov, with the commentary of the Ralbag. [Naples: Joseph son of Jacob Ashkenazi Gunzenhauser, 1487].
This is presumably the first printing of the Book of Iyov, or at least the first dated printing (there are fragments of a Bible edition, which some estimate was printed in Spain or Portugal before the expulsion, but those fragments have not been dated. See: A. K. Offenberg, Hebrew Incunabula in Public Collections, Nieuwkoop 1990, no. 33). The present Book of Iyov was printed as part of a Ketuvim edition printed that year in Naples. The commentary of the Ralbag on Iyov was printed earlier, in Ferrara 1477, without the text of Iyov.
The text of Iyov is printed in vocalized, square type (soft consonants marked). The commentary is printed in semi-cursive script (Rashi script).
Initial word on leaf [2] within a decorative woodcut frame (initial word printed in enlarged, Ashkenazic script; the letter Yud ends in a leaf-shaped ornament).
Handwritten inscriptions beside the text in several places; handwritten catchwords.
The printer, Joseph son of Jacob Ashkenazi Gunzenhauser (from Gunzenhausen, Bavaria), was a pioneer in Hebrew printing, active in Italy. Joseph Ashkenazi worked alongside the Soncino family, who set up presses in various Italian cities. He established his printing press in Naples, ca. 1487, and passed away in 1490. That year, the Soncino press moved to Naples (run by Yehoshua Shlomo Soncino). Joseph Ashkenazi's son, Azriel, continued operating the printing press for another two years, until 1492 (the year of the Spanish expulsion) – when both Ashkenazi's and Soncino's printing presses were closed. Joseph Ashkenazi's press produced all of 15 Hebrew titles.
[48] leaves. Six gatherings, 1-6, of 8 leaves each. 24.5 cm. Fair condition. Stains, including large dampstains (several leaves with dark stains, minor singeing and some mold). Worming, affecting text (and affecting decorative initial word panel), repaired in part with paper. Open tears, repaired with paper. New binding, with worming.
Regarding this edition and the year of printing, see: Y. Yudlov, A Document Regarding the Sale of Incunabulum in Naples in the Fifteenth Century, Asufot, X, 1997, p. 79.