Sefer HaIkkarim by R. Yosef Albo, principles of Jewish faith. Rimini (Italy): [Jeronimo of Soncino – Gershom son of Moshe], 1522. The title page states that this is the third printing, though this is in fact the fourth edition of the book (see: A.M. Habermann, HaMadpisim Bnei Soncino, Vienna 1933, pp. 61-62).
Printer's foreword on the verso of the title page, copied in its entirety from the first edition of the book, Soncino 1485 (see previous item), including date and place of printing. At the end of the foreword, Gershom Soncino added several paragraphs, mentioning his name and the name of his grandfather, Israel Nathan Soncino, whose sons printed the first edition on his behalf.
Colophon on final leaf.
Initial word on leaf [5] set in a fine woodcut panel.
Signature on title page: "Wolf Segal". Another ownership inscription, partially deleted with ink. Ownership inscription on leaf [5]: "My acquisition, Avraham Lapapa". Handwritten sources in margins of some leaves.

[154] leaves. Approx. 20 cm. Fair-good condition. Stains, including dark dampstains. Minor worming, affecting text. Tears to title page, affecting printer's device and text on verso, and minor marginal open tears, repaired with paper (paper covering some text and printer's device). Marginal tears to several leaves, including minor open tears, repaired with paper. Paper repairs in several other places, partially over text. Inscriptions. Stamps. New leather binding.

Gershom Soncino's famous printer's device, which was later included in many of his books, appeared for the first time on the title page of this book. It depicts a fortified tower set in a frame, accompanied with a verse from Mishlei, "A tower of strength is G-d, into it shall run the righteous and be saved" (see: A. Yaari, Diglei HaMadpisim HaIvriim, Jerusalem 1944, no. 6, note on pp. 123-124).

Liber Chronicarum [the "Nuremberg Chronicle"], by Hartmann Schedel. [Nuremberg: Anton Koberger, July 12, 1493 (print details in colophon)]. First edition, Latin (a German edition was published later that same year).
Complete copy of the first edition of the illustrated incunabulum known in English as the "Nuremberg Chronicle", compiled by Hartmann Schedel, in its original Latin version.

The "Nuremberg Chronicle" presents an account of the history of the world from the creation of man to the time of its writing. It is widely regarded as one of the most important works of the earliest days of the printing press, and one of the first books to incorporate illustrations into the body of the text. 325 ff. (out of 328; missing three blank leaves); with some 1,800 beautiful woodcuts (including many repeats). With a few hand-painted initials. Handwritten notations in Latin in the margins of several leaves.
The "Nuremberg Chronicle" bears the distinction of being one of the most beautiful works of the early years of the printing press, mainly thanks to the numerous woodcuts it contains, including: Ptolemy's map of the world; a map of Central and Northern Europe after Nicholas of Cusa, considered to be the very first modern map of Central Europe; woodcuts presenting a wide array of biblical scenes and historical events, among them two early blood libels, specifically the blood libels of William of Norwich (England) and Simon of Trent (Trento, Italy); numerous portraits of prophets, kings, and other figures; and, in addition, views of cities in Europe and the Near East – among them, Jerusalem – in woodcuts regarded as the earliest visual representations of many cities ever to have appeared in print.
The woodcuts were created by the painter and print artist Michael Wohlgemut (1433/37-1519) – among the most prominent of Nuremberg's artists at the time, and stepson of Wilhelm Pleydenwurff (ca. 1450-1494) – in Wohlgemut's own workshop studio. Among the apprentices and students in this workshop was Albrecht Dürer, who is thought by a number of scholars to be responsible for some of the illustrations appearing in the "Chronicle, " including "The Seventh Day of Creation" (f. V) and "The Sun and the Moon (f. CLVII). The process of creating the illustrations and printing the book took roughly three years; in all, some 100 artists were involved, operating 24 printing presses in Anton Koberger's large printing house in Nuremberg.
Included among the woodcuts: • Creation of Eve (f. VI); • Noah's Ark (f. XI); • Tower of Babel under construction (f. XVII); • Destruction of Sodom and the meeting between Abraham and Melchizedek (f. XXI); • Binding of Isaac (f. XXII); • the Lord's Revelation to Moses through the Burning Bush, and Job and Satan (f. XIXX); • the Golden Calf (f. XXXI); • the Menorah (Seven-Branched Candelabrum (f. XXXII); • the Priest in his Priestly Attire, the Ritual Laver (Basin) and the Altar (f. XXXIII); • Judgement of Solomon (f. XLVII); • Eliyah's Ascent to Heaven (f. L); • the Blinded Zedekiah being led to Babylonia (f. LXII); the Third Temple: plans of the interior of the Temple and illustrations of the building (ff. LXVI and LXVII); views of the cities of Nuremberg (double plate), Würzburg (Herbipolis), Magdeburg, Basel, Prague, Strasbourg (Argentina in medieval Latin), Venice, Padua, Rome, Mantua (Mantova), Florence, Alexandria, Damascus, Jericho, Tiberias, Jerusalem (with Solomon's Temple at its center, f. XVII), and more; • "Destruccio Iherosolime, " a woodcut depicting the destruction of Jerusalem and the First Temple; • Jews being burnt alive in mass execution; • Crucifixion of William of Norwich (f. CCI); • Jews torturing the boy Simon of Trent (Trento, Italy, f. CCLIII); • The Dance of Death (f. CCLXIII); • and more.
The content of the "Chronicle" provides a survey – based on the Bible, and the science, history, and philosophy of that period – of the most important events in human history, from the creation of the world to the time of the book's writing. Schedel compiled the text from numerous sources, but like other academic authors and historians of the time, he did not provide citations or references. He adhered to the traditional system of distinguishing seven discrete eras of human history: From the creation of the world till the Great Flood; from the Great Flood to the birth of Abraham the Patriarch; from the birth of Abraham to the coronation of King David; from the Kingdom of David till the Babylonian Exile; from the Babylonian Exile till the Nativity of Jesus; from the birth of Jesus to the time of the author (a number of pages were notably left blank at the end of this particular chapter, allowing for the documentation of events in this last era that were yet to occur); and the final, seventh era, namely the future, marked by the coming of the Antichrist in the End of Days, and the Final Day of Judgement.
In addition to the above, the book includes detailed descriptions of cities in Europe and the Near East. Many of these descriptions are accompanied by large woodcut illustrations, widely regarded as the earliest known visual depictions in print of many of these cities. The illustrations are distinguished by their precision and attention to detail, on a level of quality unprecedented at the time. Owing to the limitations of travel in those days, many of the illustrations were not based on any direct experience of the artist with the site in question; rather, they were copied or inspired by earlier works, or were simply the fruits of the artist's imagination.
The "Chronicle" was popular in its day as an authoritative historical text, and as a reliable source of contemporarily available scientific and historical knowledge. It was consequently printed three times in the ten years following its earliest publication. Nevertheless, from the standpoint of its publishers, it was not a particularly profitable venture; only some 1,400 copies of the original (Latin) edition were printed in total, and of these, it is estimated that roughly 400 have survived. There were some 700 copies of the German edition printed later that same year, of which a total of only about 300 have survived (see: "Chronicle of the World: The Complete and Annotated Nuremberg Chronicle of 1493," Taschen [Köln, London, Madrid, New York, Paris, Tokyo], 2001, German edition, annotation and commentary in English, pp. 7-37).

[20], CCXCIX, [1] ff; [5] ff. (the gathering "De Sarmacia regione Europe"). In total, 325 ff., out of 328. Three blank leaves missing. Leaves CCLVIIII-CCLXI are blank, except for the headers. 46 cm. Overall good-fair condition. Approx. 60 leaves with smaller margins (some apparently supplied from another copy); some of them remargined. Map at end of book partly missing and professionally restored; missing half (with colophon on verso) supplied from another copy; strips of paper glued to edges. Inner margins of several leaves mended with paper. Stains (some dark) and blemishes, affecting text and illustrations on several leaves. Tears, some of them lengthy, to several leaves, some causing minor damage to text and illustrations, in some cases repaired. Worming, with minor damage to text. Handwritten notations. Several lines of text and one illustration on f. CLXIX deleted with ink. First leaf mounted on paper and partly detached. Old binding, with gilt decorations (gilt title on spine). Minor blemishes to binding. Bookplates on front pastedown.

Enclosed: Facsimile of the German edition of the "Nuremberg Chronicle":
"Chronicle of the World: The Complete and Annotated Nuremberg Chronicle of 1493," Köln, London, Madrid, New York, Paris, Tokyo: Taschen, 2001. Annotation and commentary in English.

Volume of four books printed in the late 16th / early 17th centuries, including polemic works. First and only editions:
1. Sefer HaKuzari, based on the debate of R. Yitzchak HaSangri, composed in Arabic by R. Yehuda HaLevi, with the Kol Yehuda commentary by R. Yehuda Moscato. Venice: Zuan (Giovanni) di Gara, [1594]. First edition of the Kol Yehuda commentary.
2. Mifalot Elohim, philosophical essays on the Creation of the World and faith, by R. Yitzchak Abarbanel. Venice: Zuan (Giovanni) di Gara, [1592]. First edition.
The book was published based on a manuscript from the collection of the Rema of Fano, as stated on the title page.
3. Perush Derech Yemin, concerning the direction for shaking the lulav, by R. Yosef Samega. [Venice, printer not indicated, 1606]. Only edition. Originally printed without title page.
Brief work clarifying the direction of Lulav shaking, and discussing the meaning of the Talmudic saying "All turns that you turn should be only to the right". A ruling was published in Toldot Adam by R. Shmuel Algazi, Venice 1605, regarding the way of performing the Hakafot and shaking the Lulav, with approbations by the Rema of Fano, R. Ovadia Sforno, and R. Zion Franzes. R. Yosef Samega and several other Torah scholars published their opposition to this ruling, and in return the Rema of Fano and R. Ovadia Sforno published the Yemin Hashem Romema booklet, Venice 1605. The present work, Perush Derech Yemin, was printed in response to the rulings published in Yemin Hashem Romema (regarding the controversy and the various booklets published during its course, see: Y. Yudlov, Sinai, 84, 1979, p. 167, note 10).
4. Mashbit Milchamot, collection of rulings by rabbis allowing the use of the Rovigo mikveh, which was at the center of a famous polemic. Venice: Zanetto Zanetti, 1606. Only edition.
The mikveh in the house previously owned by R. Avtalyon Consiglio in Rovigo was at the center of a polemic which stirred the rabbinic world in Italy. The rulings of rabbis permitting the use of the mikveh were compiled in the present work. Objections to the present rulings were published in the book Palgei Mayim, edited by R. Moshe Porto, Venice 1608, and in Mikveh Yisrael by R. Yehuda da Saltara of Fano, Venice 1607.
Printed signatures of eleven rabbis approving the use of the mikveh on p. 94b. In some copies, leaf 94 was rearranged, and the signature of R. Yosef son of R. Moshe of Kremnitz was added. Those copies include [2] additional leaves, with errata. The present copy includes the original leaf 94, without the additional signature and is without the [2] leaves of errata.
On verso of title page, foreword by R. Yitzchak Gershon, who presumably compiled the book and brought it to print (in his foreword, R. Yitzchak Gershon writes that he also approves the use of the mikveh; his name appears in the list of approving rabbis on p. 94b; regarding the Rovigo mikveh polemic, and the various publications on both sides, see: A. Yaari, Mechkarei Sefer, Jerusalem 1958, pp. 420-429).
Four books in one volume. Kol Yehuda: 299 leaves. Leaves 58, 136 and 196 are blank. Mifalot Elohim: 96 leaves. Perush Derech Yemin: 20, [2] leaves. Mashbit Milchamot: 94 leaves. 20 cm. Light-colored, high-quality paper. Most leaves in good condition. Perush Derech Yemin in good-fair condition. Stains, including some dampstains. Traces of past dampness with mold stains to Perush Derech Yemin. Worming to some leaves, not affecting text. Minor tear slightly affecting text on one leaf. Inscriptions. Early, gilt-ornamented leather binding. Defects and worming to binding; open tears to spine.

Orden de Roshasanah y Kipur – Machzor for Rosh Hashanah and Yom Kippur, translated to Spanish, by Abraham ben Salomon Usque. Ferrara: Printed by the author, 1553. Spanish, some Hebrew headings.
In the mid-16th century, Ferrara was the spiritual center of Italian Jewry. The rulers of Ferrara, the dukes from the House of Este, were sympathetic to the Marranos from Spain and Portugal, many of whom returned to openly practicing Judaism. The city housed a separate Spanish community, several synagogues and a printing press for Hebrew, Spanish and Portuguese books.
The printer of this machzor, Abraham son of Solomon Usque, was born in Portugal, fleeing the Inquisition to Ferrara in ca. 1543. There, he worked with the printer Yom Tov Levi Athias (a Spanish Marrano). The year this machzor was printed, the two printed the Ferrara Bible, the first bible with Ladino translation in Latin characters (the bible was published in two parallel editions: one for a Christian audience, dedicated to the Duke of Ferrara, and the second for the Jewish public, dedicated to Doña Gracia Nasi).
Usque's printer's device on final leaf – astrolabe set in a frame, surrounded by verses (see: Yaari, Diglei HaMadpisim HaIvriim, Jerusalem 1944, illustration 22 and pp. 133-134).
XXV-CCLXII leaves (i.e. XXV-CCLXXII. Misfoliated). Altogether: [248] leaves. Lacking 24 leaves at beginning of book (including title page). Good-fair condition. Many stains, including dampstains. Open tears to first leaf, not affecting text, repaired with paper. Minor marginal open tears to several leaves. Minor marginal worming to several leaves. Censorship deletions (some words scraped off on one leaf). Early binding, repaired.

Orden de Roshasanah y Kipur, machzor for Rosh Hashanah and Yom Kippur, with selichot, translated into Spanish. [Dordrecht (the Netherlands)]: [P. Verhagen] for Yahacob Israel, [1584].
This machzor edition is considered the first prayer book printed in the Netherlands for the Sephardic Jews who settled there (the first part of this machzor, for the three festivals, was printed two months prior). At that time, Jewish settlement in the Netherlands was still in its infancy, and the Amsterdam Jewish community had not yet been founded.
Owner's initials lettered on front board: "E. B.".

170, 175-327 leaves. Lacking 4 leaves: 171-174. 13.5 cm. Gilt edges. Fair-good condition. Stains, including dampstains. Worming to title page and other leaves, with significant damage to text. Tear to title page, affecting border and text on verso, without loss. Title page trimmed with slightly damage to border. First leaves loose and partially detached. Stamps. Early leather binding, with marbled endpapers (back endpaper lacking), and gilt decorations to spine. Defects and worming to binding.

The colophon on the final page states Mainz (Maguntia) as place of printing (based on this colophon, this machzor is known as "Machzor Maguntia"). The place of printing was presumably forged to mislead the Christian censorship, and the machzor was actually printed in Dordrecht in the P. Verhagen press (see enclosed material).
Rare edition, which to the best of our knowledge has never before been offered at auction.