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DÜRER, Albrecht and BARTSCH, Adam Von

Published by auf Kosten und im Verlage Josephs Edlen von Kurzbeck, K.K. illyrisch und orientalischen Hofbuckdruckern, Wien, (1781)

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Item Description: auf Kosten und im Verlage Josephs Edlen von Kurzbeck, K.K. illyrisch und orientalischen Hofbuckdruckern, Wien, 1781. Map - 655 by 857mm (25.75 by 33.75 inches). A rare Dürer portfolio including Dürer's rare map of the world Folio, 13 woodcuts (of which are six are single sheet, two are on one sheet, and five are folding), world map with some wear at folds, reinforced, a few stains, portrait cropped to printed margin, chipped, mounted, top and bottom margins extended as issued, light toning to a few sheets, large royal genealogical plate partially toned, manuscript inscription inside of back cover dated 1795. This extremely rare portfolio of printed works by, and associated with, Albrecht Dürer was published in 1781, some 250 years after the great artist's death. The various woodblocks, from which these impressions were taken, had recently been discovered at Castle Ambras in the Tyrol, and the former Jesuit College in Graz. The majority of the woodblocks were found to be extremely rare, with many having no extant example from the sixteenth century. Due to their rarity it was decided to publish a limited edition. Joseph Elden von Kurzbeck, the well known publisher, was approached to fund the project, with editing being carried out by Johann Adam von Bartsch. Von Bartsch (1757-1821), a noted scholar and artist, was then in the employ of the Royal Court Library in Vienna - he would later become head curator of the library's print collection. The finished work comprised of 14 woodcuts with an introduction by von Bartsch. The centrepiece of the portfolio is a striking two sheet world map, dated 1515. Although not signed by Dürer, it is most certainly the work of the artist. The map was produced in collaboration with Johann Stabius, the court astronomer to Maximillian I. The pair had previously worked upon a set of star charts - the first printed charts of the heavens - which also bear the date 1515. It is hard not to assume that these two works were meant as companion pieces. With the world map's rather unsuccessful attempt to render the globular world as a flat sphere, the pieces certainly bear a uniformity of design. The map features are essentially Ptolemaic, with Europe and East Asia appearing on the extreme left and right of the map. The only nod to modernity is the acknowledgement of the circumnavigation of Africa, which was taken from Martin Behaim's globe of 1492. To the bottom right is the priviledge dated 1515, with the arms of Johann Stabius lower left. The borders also bear the arms of, and dedication to, the work's patron, Cardinal Matthaus Lang, Archbishop of Salzburg. However, it is in the depiction of twelve winds that Dürer's hand is most evident. Each wind is depicted as a head borne upon a cloud with a winged headdress, a few bearing peacock feathers.Although the present folio lacks one of the woodcuts and the introduction, only two out of the six known institutional examples are complete. No copies of the folio have appeared at auction in the last thirty years and we are only aware of one coming to market in that time. The woodblocks for all the woodcuts remain in the National Library of Austria. As for the world map, no sixteenth century example exists. Apart from the 1781 re-strikes, a few impressions were pulled in 1864. The OCLC records five institutional examples (Herzogin Ann Amalia Biblothk; Staats Bibliothk Zu Berlin; Bibliotheque Nationale De France (possibly just text); Danish Union Catalogue & National Library; British Library).List of woodcuts in the portfolio:1. The frontispiece is a portrait of Dürer, which is believed to be a copy of an original by Dürer.2.& 3. Two versions of the coat-of-arms of Stabius, both by Dürer. Kurth 322. Both not published until 1781. Both are single page.4. Arms of the Archduke Charles by Dürer. Single sheet.5. Horoscopion omni generaliter (Attributed to Hans Springinklee). The horoscope of Stabius. Dated 1512; no 1781 date, thus possibly the original edition.6. & 7. On single sheet: A. Judith with the head of Holofernis. From a copper etching by Israels von Mecheln. B. Small, fine woodcut of the visitation of a saint. With unid. Bookseller Inventory # 1661

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DURER, Albrecht (1471-1528).

Published by The Hague: Hendrick Hondius, c. 1620. (1620)

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Item Description: The Hague: Hendrick Hondius, c. 1620., 1620. Single sheet, float mounted and framed (sheet size: 8 3/8 x 11 ¾ inches; frame size: 13 1/2 x 16 3/4 inches). EXCEPTIONALLY FINE woodcut engraving by Durer. CONDITION REPORT: Trimmed just outside the borderline above, to or on the borderline elsewhere, lacking the letterpress text above and below, in good condition apart from pale scattered fox marks, light touches of pen and ink on the horizontal crack through the legs, a nick at the tip of the upper right corner, a couple of central vertical folds (mainly visible verso). 6th edition (of 8 total editions), first published in 1515. A nice impression of Durer's famous Rhinoceros, printed by Hendrick Hondius, on paper with a watermark of a single-headed eagle. This immediately recognizable image influenced Western depictions of the rhinoceros well into the 19th - and even the early 20th - century. "It is ironic that Albrecht Durer's most widely distributed image of an exotic animal depicts a subject he had never seen. Typically, Durer's independent animal and plant studies are imbued with a rich sense of realism and were drawn from life.In Durer's 'zoo' the rhinoceros remains unique and unlike his other animal studies for two key reasons. First, the extraordinary and bizarre details of the rhinoceros' appearance are suggestive of embellishment and fanciful creation on the part of the artist, and unusual in the context of Durer's other more faithful depictions of animals. And secondly, despite the creation of other more 'realistic' depictions of the rhinoceros, it was Durer's print that became a point of reference for naturalists and the public alike, accepted as a true likeness of a rhinoceros, with attempts to replace it doomed to failure. "How do we know that Durer did not see the animal? There is a wealth of detail surrounding the rhinoceros that arrived in Lisbon, Portugal on 20 May 1515, the first rhinoceros to reach Europe alive since the third century. As was often the case with exotic creatures, the rhinoceros played an important role in court diplomacy and pageantry. Albuquerque, governor of Portuguese India had received the rhinoceros as a gift from Sultan Muzafar II, ruler of Gujarat. The governor in turn sent the animal, along with a cargo of spices, to his king in Portugal, Dom Manuel I, a rule known (like so many others) for his exotic tastes. Shipped from the region of Cambaia in north-west India, one of the farthest of Portuguese colonies, it is remarkable that the rhinoceros survived the journey - the novelty of this event, and the anticipation and excitement felt at court and amongst citizens of Lisbon cannot be underestimated. "How did Durer come to depict the creature? The source for Durer's image has been documented a sketch by Valentine Ferdinand, a Moravian printer who was present in Lisbon when the animal was shipped there. The usual claim is that a newsletter including the sketch by Ferdinand came into the possession of Durer shortly after the arrival of the rhinoceros. Durer then executed a drawing in brown ink after the image on which he included Ferdinand's original inscription that begins with the statement 'in the year 1515 there was brought to our king at Lisbon such a living-beast on account of its wonderfulness I thought myself obliged to send you a representation of it.' Durer then created his woodcut, including Ferdinand's original inscription, though slightly changed in an attempt to lend the image an air of authenticity, stating 'They call it a rhinoceros. It is represented here in its complete form.' It seems likely that Durer intended for the print to have a wide distribution, since he used a wood block instead of a copper plate, thus allowing for a maximum number of impressions to be made. "This print, obviously intended for public consumption, widely distributed, and the only animal study that Durer inscribed in such a manner, has also been described as the most idiosyncratic of his oeuvre. The rhinoceros appears to be dressed in a suit o. Bookseller Inventory # 72MMS221

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DURER, Albrecht (1471-1528).

Published by Nuremberg, 1498. (1498)

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Item Description: Nuremberg, 1498., 1498. Single sheet, float mounted and framed (sheet size: 15 ½ x 11 inches; frame size: 20 ½ x 16 ¼ inches). Fine engraving. CONDITION REPORT: Trimmed on the outer edge of the black border line, with partial thread margins. First German text edition, early issue. Hollstein 2a with the following imprint: "Ein ende hat das buch.Gedrucket zu Nurnbergk durch Albrecht Durer maler nach Christi geburt M.cccc. vnd darnach im xcviij jar."; but before the cracks in the millstone and dragon's neck have emerged; no discernible watermark, as expected. No impressions of Hollstein 1 are known to exist, making this among the earliest impressions available. "The Apocalypse was Durer's first major work. That this was a breakthrough in his career indicates, tellingly, that he thought in terms and images of the printed book. The Apocalypse appeared simultaneously in two separate editions with separate titles: 'Apocalipsis Cum Figuris' and 'Die heimlich offenbarung iohannis' ('The Apocalypse with Pictures' and 'The Hidden Revelation of John'). The Latin version reprints the text of Jerome's Vulgate with Jerome's introduction; the German edition reprints the text of the Koberger Bible of 1483, the most fluent of the German translations to be printed before Luther's version" (Price, p. 34). "Reformation polemic was accompanied by visual illustration. The German artist Albrecht Durer's woodcuts in his 1498 "Apocalypse" became the precedent for most post-Reformation illustrations of Revelation. Durer's representation of the Whore of Babylon inscribes political and religious differences in and through particular bodies: female, monstrous, angelic, heroic. The body of the Whore is itself an allegorical text to be deciphered and read. Her lavish clothing, jewelry, and gem-encrusted crown mark her as a prostitute, one who has enriched herself on the trade and exchange of others: the elaborate chalice she holds aloft conceals the wine of her (economic) fornication. The true monstrousness of the seemingly beautiful woman is revealed by the beast upon which she rides, with its grotesque heads of goats, asses, and birds, its monstrously scaly skin, its distended claw-feet, and its twisting tail. "In the Durer engraving, female and bestial bodies emblematize the corruption of pagan Rome, which - in its literal form as a city - burns in the upper right-hand corner of the engraving. Durer also depicts the angelic forces that are arrayed against evil. The deceptively beautiful woman and the seven-headed, ten-horned beast upon which she rides are counterpoised in the upper left hand of the engraving by the heroic figures of the heavenly army, following the rider Faithful and True. But the foreground of the engraving belongs to the monstrous and aberrant: the harlot, the false prophet (with a turban), and the gaping crowd that appears foolishly susceptible to the harlot's wiles" (Knoppers, p. 104). Laura Lunger Knoppers, ed., "Monstrous Bodies/Political Monstrosities in Early Modern Europe." David Price, "Albrecht Durer's Renaissance: Humanism, Reformation, and the Art of Faith." Bartsch 73; Meder 177. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Megan Scauri, M.A., M.L.S., in the Rare Book Department. Bookseller Inventory # 72MMS245

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DURER, Albrecht (1471-1528).

Published by Nuremberg, 1511. (1511)

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Item Description: Nuremberg, 1511., 1511. Single sheet, float mounted and framed (sheet size: 15 ½ x 11 ¼ inches; frame size: 20 ½ x 16 ¼ inches). Fine engraving. CONDITION REPORT: Little to no sign of wear. Trimmed on the black border line, with the border line preserved on all sides. Second Latin edition, first published in 1498. Hollstein 3, with text on verso reading "videtur angelus stans sup montem."; one crack in the upper border; and two wormholes; but no discernible watermark. "The Apocalypse was Durer's first major work. That this was a breakthrough in his career indicates, tellingly, that he thought in terms and images of the printed book. The Apocalypse appeared simultaneously in two separate editions with separate titles: 'Apocalipsis Cum Figuris' and 'Die heimlich offenbarung iohannis' ('The Apocalypse with Pictures' and 'The Hidden Revelation of John'). The Latin version reprints the text of Jerome's Vulgate with Jerome's introduction; the German edition reprints the text of the Koberger Bible of 1483, the most fluent of the German translations to be printed before Luther's version Durer's third edition, a Latin printing of 1511 done by a different printer, Hieronymus Holtzel, also uses the original fifteen blocks, but with the addition of a woodcut title page" (Price, p. 34, 36). This woodcut "is one of the most celebrated compositions of the series. The four angels, armed with great swords, hew down in ferocious vengeance all ranks of men alike. An emperor and a pope, as in the former illustration, are amongst the number of the slain, and the beggar's rags protect him no better than the emperor's purple The riders on the lion-headed horses occupy the space immediately above the earth, and the fire, smoke, and brimstone that issue from their mouths destroy those whom the angels have not killed. God the Father, a half figure surrounded by the rainbow, sits above; to the right and left are the angels of the fifth and sixth trumpets. The sense of movement in this plate is something extraordinary. You feel the rush of those awful lion-headed beasts, and hear the wild tumult of the doomed earth, and the fearful cries that go up to heaven in vain" (Heaton, p. 116). "The political and ecclesiastical hierarchies are again joined in the Four Avenging Angels, where, according to the text, a third of humankind is destroyed. This time, the pope is among the leaders of the doomed, and, to be sure, butchering the pope is a vivid part of the composition. This detail became something of a favorite in twentieth-century history books. But looking at the detail alone can be misleading since the slaughter is of the masses: an emperor, a knight, a woman, and a man are murdered simultaneously with the pope" (Price, p. 46). David Price, "Albrect Durer's Renaissance: Humanism, Reformation, and the Art of Faith." Mrs. Charles Heaton, "The History of the Life of Albrecht Durer of Nurnberg." Bartsch 69; Meder 171. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Megan Scauri, M.A., M.L.S., in the Rare Book Department. Bookseller Inventory # 72MMS246

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DÜRER, Albrecht

Published by Paris Christian Wechel 1532. (1532)

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Item Description: Paris Christian Wechel 1532., 1532. (4) ff., recto of last leaf blank, woodcut of man with lute on verso, 185 pp., (verso blank), (1) f. (printer’s device on verso, recto blank); folding extensions on P6 & Q1 as required by Mortimer. Bound in 18th-century calf over boards, spine with raised bands re-backed, later red morocco title label. Title dusty; occasional toning; small wormtrack through much of volume, generally in blank margin but occasionally grazing a partial letter or printed border on plates. Withal a fresh copy, very good.[Bound with:]DÜRER, Albrecht. De Urbibus, Arcibus, castellisque condendis, ac muniendis rationes aliquot, praesenti bellorum necessitati accomodatissimae . Paris, Christian Wechel, 1535. (40) ff., including 10 double-page/extended leaves as described by Mortimer. First Latin edition of Dürer’s first book on the theory of art, the Unterweisung der Messung, bound with the first Latin edition of his treatise on fortification, "strictly speaking the first treatise dealing exclusively with this subject" (Krufft), with important material on urban planning and utopianism.1) Illustrated by Dürer himself, the Institutionum Geometricarum outlines the artist’s theory of "the work of art as a natural object", which became an accepted aesthetic dogma until the 19th century. Far more than the German original of 1525, this translation by the humanist Camerarius brought the treatise to the attention of the whole of Europe. As a theoretical statement by "the last major painter to be counted a significant geometer" (Kemp), the work is naturally of interest for applications in Dürer’s own oeuvre as well as for the history of perspective. After his encounter with Luca Pacioli in Italy, Dürer became convinced of how close the links are between art and mathematics and devoted himself to the study of form through the resources offered by arithmetic and geometry. The result was the present work. In this work Dürer teaches the principles of perspective and explains the application of practical geometry to drawing and painting. It became a very influential text as its audience broadened from artists to architects, sculptors, and different craftsmen and was translated and reprinted several times.Panofsky describes the treatise’s importance as three-fold: for the technical innovation in the construction of a perspective apparatus in which the eye of the observer is dispensed with entirely; for being the first literary document "in which a strictly representational problem received a strictly scientific treatment at the hands of a Northerner"; and for emphasizing that "perspective is not a technical discipline destined to remain subsidiary to painting or architecture, but an important branch of mathematics, capable of being developed into what is now known as general projective geometry" (Panofsky, p. 252).Book Three contains Dürer’s famous treatise on the just shaping of Roman capital letters and gothic or ‘Textur’ letters built up by means of small geometrical forms, a method original with Dürer. (This text was translated into English by R.T. Nichol for publication by the Grolier Club, Of the Just Shaping of Letters, New York, 1917.)2) Inspired by the artist’s witnessing the siege of Hohenasperg in 1519 and by fear of the advancing Turkish armies, Krufft writes, De Urbibus "employs a dual approach. On the one hand Dürer develops various alternatives for the construction of bastions to defend existing cities; this is the contemporary aspect. At the heart of the treatise, he outlines a utopian city, in which the nature of fortification merely serves as a spur to the depiction of a social structure organized on the ground. Related trades are placed side by side; Bookseller Inventory # 2727

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DURER, Albrecht (1471-1528).

Published by [?Amsterdam], c. 1495. (1495)

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Item Description: [?Amsterdam], c. 1495., 1495. Single sheet, float mounted and framed (sheet size: 5 1/8 x 5 ¾ inches; frame size: 10 1/4 x 10 3/4 inches). EXCEPTIONALLY FINE EARLY ENGRAVING by Durer. CONDITION REPORT: Trimmed just outside the borderline at right and in places below, trimmed on or 1mm within elsewhere, a minor paper disturbance at upper right corner (due to the hinge) with an associated 8mm vertical repaired tear at right of upper sheet edge, a few scattered pale fox marks, a brown ink (?) stain between the legs of the central figures, a central horizontal fold (mainly visible verso), otherwise in good condition. VERY GOOD Meder B-C impression, on paper with a bull's head watermark (M. 62). This famous, early engraving has also been variously known as "Five Soldiers and a Mounted Turk," "The Assembly of Warriors," "The Six Warriors, "William Tell," and "The Robbers," "the latter on the gratuitous supposition that it represents Durer (the man seen full face) fallen into the hands of brigands. It is probably only a study of costumes. Notice the Scotch plaid pattern on the saddle-cloth of the Turk" ("A Chronological Catalogue of the Engravings, Dry-Points and Etchings of Albert Durer as Exhibited at the Grolier Club, 1897). "As he did for so many categories of sixteenth-century German art, Albrecht Durer established early prototypes for later images of Ottoman Turks. Beginning with his first contact with the art of Venice in 1494, the artist turned his omnivorous gaze onto its Turkish visitors, as he documented their exotic dress and imagined their absent sultan. His series of drawings emphasizes distinctively costumed individuals.Durer's prints also included images of 'Turkish' foes within contemporary German military groups. An early engraving, 'Five Soldiers and a Turk on Horseback' (ca. 1495), celebrates the imperial infantry, bearing pikes and halberds, while a mounted, turbaned Turk behind them glowers disapprovingly, held at bay" (Bohn and Saslow, eds., pp. 93-94). Babette Bohn and James M. Saslow, "A Companion to Renaissance and Baroque Art." B. 88; M, HOLL. 81. For more information about this print, or a warm welcome to see it and other prints and books in our library at 72nd Street, NYC, please contact Megan Scauri, M.A., M.L.S., in the Rare Book Department. Bookseller Inventory # 72MMS222

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Dürer, Albrecht (1471 – Nürnberg – 1528)

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Item Description: Book Condition: sehr guter Zustand. Kupferstich, 1518, auf Bütten. 14,8:10 cm. Literatur: Bartsch 39; Dodgson 87; Meder 38, b-c (von e); Hollstein 38. – Ausgezeichneter, vollkommen warmtoniger Abdruck vor der Vertikalen zwischen der zweiten und dritten Zaunstange rechts, mit kräftigen Bergkonturen im Hintergrund. Wie immer auf Bütten ohne Wasserzeichen. Ringsum mit minimalem Rändchen um die Plattenkante, links teils auf die Plattenkante geschnitten. Abgesehen von einigen kleinen braunen Flecken tadellos erhalten. Provenienz: Sammlung F. Oppermann, Berlin, Lugt 887. Besonders reizvolle Madonnendarstellung aus der späten reifen Schaffensperiode Dürers. Nach Vollendung der wichtigsten ihm von Kaiser Maximilian aufgetragenen Arbeiten im Jahr 1518 „wendet sich Dürer bis zu den Jahren 1521/22 noch einmal besonders dem Bild Mariens zu. Dabei geht es ihm darum, die im Marienleben erreichte Bindung an die irdische Realität mit einer neuen Betonung des Sakralen zu verbinden." (zitiert aus: Ausst. Katalog: Albrecht Dürer, Nürnberg 1971, S. 337). Bookseller Inventory # 066-A

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DURER, Albrecht (1471-1528).

Published by [Nuremberg, 1508]. (1508)

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Item Description: [Nuremberg, 1508]., 1508. Single sheet, float mounted and framed, (sheet size: 4 ¼ x 2 ¾ inches; framed size: 9 ¾ x 8 inches). Exceptionally fine engraving by Durer, signed (monogram) and dated within the plate. CONDITION REPORT: A superb, richly-inked and dark Meder a-b impression, with very strong contrasts and no sign of wear. Provenance: The Philadelphia Museum of Art, their sale, Swann Auction Galleries, sale 2381, April 29, 2015, lot 29. First edition. Excellent condition and a lovely example of a Meder a-b impression. This moving scene, also known as "Agony in the Garden," is part of Durer's Engraved Passion series. It is one of three passion series that he produced at the turn of the 16th century; the other two are the Small Passion and the Large Passion, both woodcut, which were accompanied by Latin text. The 16 engravings of the Engraved Passion series, on the other hand, were produced without accompanying text over a longer period of time and sold singly before the entire series was completed, and probably never as a bound book. Though the Engraved Passion is also small-format, it differs by what Panofsky called "an aristocratic slenderness of proportion," measuring about 4 ½ x 3 inches, as compared to the woodcut Small Passion's 5 x 4 inches. The prints of the Engraved Passion were intended for a more elite audience of connoisseurs, collectors, and intellectuals, while the woodcuts were produced with a more general audience in mind. Panofsky compares the Engraved Passion favorably to the more robust Small Passion, noting that "it has something sumptuous about it. It stresses spiritual suffering rather than physical torture and never loses sight of the preterhuman dignity of Christ" (Panofsky). "Durer's Netherlandish diary entries of 1520/21 document the artist's lasting affinity with the 'Engraved Passion' series: at least twelve sets are described as presents given to friends and superiors; and one instance records the artist's wish to be remembered by it. The series is conceived as an intimate visual dialogue with the viewer. It employs a powerful narrative pace, that is accentuated by the protagonists' agitation, dramatic tonal grading, and the artist's manipulation of the viewpoint "The 'Engraved Passion' is the only one of the artist's series of prints that is completely self contained, the images were conceived without an accompanying explanatory text in mind, and thus not published in book format Conversely the immense popularity of the series over time among both the Catholic and the Protestant clergy suggests a continued awareness of its devotional purpose "What immediately strikes us as unusual in this version of the 'Agony' [as here] is Durer's unrestrained exposure of Christ's humanity. Deeply affected by the ordeal he knows is awaiting him Christ kneels on the ground raising his arms imploringly and on the brink of despair; even his gown, only momentarily reflecting the angel's light, seems to be weighing him down. " [T]he 'Engraved Passion' seems to have been created with the type of devotee in mind with whom Durer himself identified and socialized, a vivacious, intellectually and culturally demanding minority, devout and personally involved in the religious debates leading up to the Reformation" (Angela Hass, "Two Devotional Manuals by Albrecht Durer: The 'Small Passion' and the 'Engraved Passion.' Iconography, Context and Spirituality"). Bartsch 4. Meder 4. For more information about this print, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Megan Scauri, M.A., M.L.S., in the Rare Book Department. Bookseller Inventory # 72MMS331

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Nuremberg; Durer, Albrecht

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Item Description: 1522. With a Full-Page Allegorical Frontispiece by Albrecht Durer [Nuremberg]. [Durer, Albrecht (1471-1528)]. Reformacion der Stat Nuremberg. [Nuremberg: Fridrichen Peypus, 1522]. [xxxvi], 30, 208 ff. Folio (12" x 8"). Contemporary panel-stamped reversed calf (with traces of gilt stamping), early repairs to spine ends, clasps present and intact, endpapers renewed at some point. Some rubbing to extremities, chipping to head of spine, a few scuffs and stains to boards, small crack to front joint, rear hinge cracked due to worming, minor worming to fol. 208. Allegorical frontispiece by Durer featuring Lady Justice and a female figure representing charity, attractive woodcut decorated initials throughout. Light toning to text, some leaves lightly browned, faint stains and foxing to a few leaves, wide margins. "1522/ jahre" to title page in near-contemporary hand, interior otherwise clean. * First edition. Nuremberg was the center of the Renaissance in Germany and was its leading cultural and intellectual center until the end of the sixteenth century. These qualities are reflected in the contents and design of this volume. The Reformation, or civic legal code, of Nuremberg is known for its humanistic orientation, straightforward language and elegant production. It revised the code enacted in 1498. The 1522 issue by Peypus is notable for its splendid full-page frontispiece by the great Nuremberg artist Albrecht Durer, which was originally issued as an independent print in 1521. The bottom half depicts two putti displaying the arms of the city and empire. The upper half depicts Lady Justice, holding scales and a sword, and a female figure representing charity, who is pouring coins from a purse and opening her bodice to bear her heart, which is represented by a flame. The woodcut initials are finely carved and possibly the work of Durer or his workshop. OCLC locates 4 copies in North America, 1 in a law library (Harvard). Verzeichnis der im Deutschen Sprachraum Erschienenen Drucke des 16. Jahrhunderts N2027. Meder, Durer-Katalog 285. Bookseller Inventory # 60609

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Hartmann Schedel; Albrecht Durer

Published by Il Bulino

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Item Description: Il Bulino. Hardcover. Book Condition: New; New; IlThe bookof world historyThis sumptuouswork is the resultof the largestpublishing companyin the historyof the pressin the age ofincunabula. Output fromthe printingpressesKobergerinJuly 1493in Latinunder the titleLiberchronicarum, was reprintedin Decemberof the same yearin Germanunder the titleWeltchronik, thenwidely known andsought after in Italyandin Europe asthe NurembergChronicles. Authorwas HartmannSchedel, a famousGerman humanist, who, with the publisherand sponsors, created apool of scholars, illustrators (including the youngAlbrechtDürer) , pressmenand bookbindersto equip theGermanand Europeancultureofan encyclopediaonhistory of the worldfrom the Creationuntil the eveof thediscovery of America. The work consistsof596 pagesin sizeof 30,8×40.3cmand contains1809woodcut illustrations(including645fromoriginal timbers) entirelyhand colored, as wasrequired forthe most luxuriouspiecesintended fortheprincelylibraries. Themappingsystemis one of themost important features: allthe then known worldis represented withmore or lessfantasy. Standfortruth, however, large plantstopographicalareaof thecity ofFranco-GermanandItalian citiesmost important and famous: Rome, Venice, Florenceand Genoa. Thefacsimile editionIt was builtinGermany to celebratethe 500th anniversaryof the work. Theinternationaleditionof 800numbered copies, bound in parchmentandkept in abox. The commentaryis inGerman. There is also anabstract inItalian. Bookseller Inventory # 51746

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Dürer, Albrecht (1471 – Nürnberg – 1528)

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From: Galerie Joseph Fach GmbH (Frankfurt am Main, Germany)

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Item Description: Book Condition: sehr guter Zustand. Kupferstich, um 1503, auf Bütten mit Wasserzeichen: Kleines Stadtwappen mit einem Spitzturm und zwei Zinnentürmen (vgl. Meder 275, um 1560/80). 18,5:12,1 cm. Literatur: Bartsch 100; Meder 97, f (von g). – Mit dem Monogramm in der Platte. Mit ca. 1 cm breitem Rändchen um die Plattenkante. – Guter, tiefschwarzer Abdruck mit feinen Kratzern, schwach fleckig und mit winziger Nadelspur. Dieser Kupferstich entstand in einer Zeit, in der sich Dürer ganz besonders in die Arbeit mit dem Grabstichel vertiefte und die unterschiedlichen Materialoberflächen zu gestalten suchte. Provenienz: Verso Sammlervermerk von 1861. Bookseller Inventory # 067-A

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DÜRER, ALBRECHT].

Published by (Germany c. 1511) (1511)

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Item Description: (Germany c. 1511), 1511. Woodcut measures 12 1/4 by 9 inches, in a handsome 18 1/2 by 15 1/4-inch frame. This original woodcut print by one of the masters of the Northern Renaissance is part of a series of illustrations depicting scenes from The Life of the Virgin. According to Meder, this separate print was made after the 1511 Latin text edition of The Life of the Virgin. The print’s paper bears the fischblase (fish bladder) watermark, which indicates that the print dates to the sixteenth century; this is Meder's state e. In "The Circumcision," a sorrowful Mary watches as Christ, her child, undergoes the sacred rite. A man carrying a tall, braided candle stands on the left side, while Mary and the crowd of people in attendance fill the right side of the temple nave. Dürer’s signature monogram is incorporated into the design, located on a slate in the bottom right of the scene. Dürer is known for his masterful, detailed wood engraving, and is recognized as one of the first European landscape artists. A few faint crease marks present. A rare, extremely fine example of the artist’s virtuosic technique. (Bartsch 86, Meder 198). Bookseller Inventory # 22858

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Dürer Albrecht

Published by Friessem, Köln (1680)

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Item Description: Friessem, Köln, 1680. Cuir. Book Condition: Très bon. Dust Jacket Condition: Très bon. Dürer (illustrator). 1ère Édition. In-12. Preces ac meditationes piae in mysteria passionis ac resurrectionis D.N. Iesu Christi collectae per Georgium Scherer ~ A Cologne, Wilhelmi Friessem, 1680. ~ Indiqué 1580 sur frontispice pour édition de 1680. ~ In-12, 176 pp., reliure d'époque en pleine basane, dos à 4 nerfs Janséniste, plats ornés de fleurons angulaires sur les plats et roulette d'encadrement, tranches dorées ~ Illustré d'un frontispice de Goossens et de 15 fines figures de Dürer sur la Passion du Christ, portant et des dates différentes allant de 1506 à 1512. ~ 1.Frontispice 2.Le Christ au Mont des Oliviers 3.Le baiser de Judas 4.Le Christ devant Ponce Pilate 5.Le Christ devant Hérode 6.La flagellation 7.Le couronnement d'épines 8.Le Christ présenté au people 9.Ecce Homo 10. Ponce Pilate se lave les mains 11.Sainte Véronique essuyant le visage du Christ montant au Golgotha 12.Le Christ sur la croix 13.La descende de croix & lamentations 14.La mise au tombeau 15.La descente aux Limbes 16.La Résurrection ~ Brunet V, 198 :"Recherché à cause des gravures ~ Très rare. Bookseller Inventory # 000063

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DÜRER (Albrecht) / RAIMONDI (Marcantino)

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Item Description: 1550. Couverture rigide. Book Condition: Bon. Dust Jacket Condition: Bon. Livre ancien Suite de 16 planches sur 17 gravées au burin en beau tirage ancien. La Vie de la Vierge a été gravée par Raimondi d’après les bois d’Albrecht Dürer (Bartsch, 621 à 637). Cette remarquable suite de 16 planches (sur 17, il manque la planche 8 représentant la Visitation) gravées au burin (environ 210 x 290 mm) en très beau tirage ancien a été montée dans un recueil in-4 en plein vélin à l’imitation des vélins estampés du XVIe siècle. Elles sont monogrammées et numérotées, légères rousseurs sur certaines d'entre elles, elles sont rognées au trait carré et montées sur un feuillet réglé à l'encre brune, chacun monté sur onglets. Condition : In-4 en plein vélin à l’imitation des vélins estampés du XVIe siècle. Livre ancien. Bookseller Inventory # 1816

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Item Description: Il Bulino. Hardcover. Book Condition: New; New; The Small Passion is one of the most famous works of Albrecht Dürer. Madebetween 1509 and 1511, when it was published in a book by the same artist, publisher himself of his great graphic works. The work consists of 36 woodcut plates, plus the title page, "vir dolorum", and a further table, already repudiated by Dürer, but included for documentation, the average size of the woodcuts is 128 x 96 mm, printed onsheets of 21 x 15 cm. The original volume was completed with the comment to the tables of Philip Chelidonio. A few years after, the entire suite was sold by Dürer to the engraver Marcantonio Raimondi in Bologna, with whom Dürer then came into conflict, accusing him of plagiarism. In fact, Raimondi used the tables to do the same work in etching, as well as copied other works - particularly the leaves of the "Life of the Virgin" - to sell them on the Italian and European market. Such was the popularity of Dürer's work in the first decades of the sixteenth century, that many artists were inspired fortheir works: Romanino by Pontormo, but also many German and Flemish illuminators, as Nicolaus Glockendon and Simon Bening. The original drawings reappeared in Venice, and after an edition in the mid-sixteenth century, in 1600 the work on the initiative of the cartographer and engraver Donato Rasciotti, was reprinted by the publisher Venetian Daniele Bisuccio with a dedication to the Archduke of Austria, with a newtitle and with the new commentary in Italian by Maurizio Moro. The facsimile edition of the work wak taken by one of the rare examples of test printing of the seventeenth century, from a private collection, withaout the text by Maurizio Moro, but with all the original woodcut apparatus: the title "Vir dolorum", the36 tablets of the Passion, preceded by two woodcuts dedicated to Progenitors in Eden, and the first version of the table "Christ on the Mount of Olives", then repudiated by Dürer and replaced with the new one . The format (21 x 15) and the number of pages (76 + VIII endpapers and imprint) are similar to the original work. The work is printed on Fabriano Gentile paper, the leather binding with a frame engraved on the plates, is by Ancient Bookbinding Gozzi of Modena. Facsimile editione is completed by a volume (in Italian) about life and work of Albrecht Dürer. The author is the same publisher, Mauro Bini, who has re-read the story of the artist of Nuremberg in an innovative way: a long journey to the "modernity." Since its first youth in Germany, the two journeys in Italy and Venice, to the last stay in Flanders in 1520-21, Dürer went to the discovery of new trends in the Renaissance and the new dimension of man and of scientific knowledgeas in Anversa, capital of trade and balance of political world, discovered the new European bourgeois society. The Small Passion wood and this commentary volume are kept in a brown silk box. The print run consists of 199 copies, numbered and certified, + 26 signed from A to Z reserved for Bulino. S friends. Bookseller Inventory # 51727

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Dürer, Albrecht (1471-1528):

Published by 0, O.O.,

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From: EOS Buchantiquariat Benz AG (Wollerau, Switzerland)

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Item Description: 0, O.O., Bildgrösse: 59 x 75 cm. Reprint des 20. Jahrhunderts nach dem Kupferstich von 1513, gerahmt. O.O., o. J. Bildgrösse: 59 x 75 cm. Blattgrösse: 75 x 96 cm. Leicht stockfleckig. Bookseller Inventory # 285BG

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DURER, Albrecht

Published by Editiones Officinae Bodoni Verona 1971 First Edition Thus. Hardback. (1971)

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From: Any Amount of Books ABA (London, United Kingdom)

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Item Description: Editiones Officinae Bodoni Verona 1971 First Edition Thus. Hardback., 1971. [218pp]. 8vo [23 x 18cm]. Published to commemorate the 500th anniversary of Durer's birth, a superb edition of the artist's 1511 Passio Christi with the woodcuts re-engraved by Leonardo Farina, the eminent Italian master in the field. Woodcuts preceded by the Latin poems of Brother Benedictus Chelidonius (Benedikt Schwalbe); these followed by a literal prose version in English by Robert Fitzgerald. A postscript by Giovanni Mardersteig deals with the printing of Durer's woodcuts and gives the first survey of the life and poetic work of Benedictus Chelidonius. One, number 132, of 140 copies printed on the hand-press on Managni handmade paper of Pescia. Dante type. Textured brown paper-covered boards quarter bound with brown pigskin lettered gilt. Gilt design to front board. Top edge gilt; other page edges untrimmed. Original flyer loosely inserted. Bookplate (v sl smudged) of Gerald Goldberg, Lord Mayor of Cork (1997-78), to ffep. Otherwise fine. Bookseller Inventory # C7188

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Brant, Sebastian

Published by Jodocus Badius Ascensius (Josse Badius), Paris (1505)

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From: Read'Em Again Books, ABAA (Montclair, VA, U.S.A.)

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Item Description: Jodocus Badius Ascensius (Josse Badius), Paris, 1505. Leaf. Book Condition: Very Good. Dürer, Albrecht (illustrator). Original Leaf with Two Woodcuts from Sebastian Brant's Nauis Stultifera Collectanea. (Das Narrenschiff or The Ship of Fools) - "Learning from Fools" & "Not Paying Attention to All Talk" by Albrecht Dürer. Published by Jodocus Badius Ascensius (Josse Badius) in Paris, 1505. The leaf is approximately 5.25" x 8". Each woodcut is approximately 85 x 115 mm. The woodcuts have dark, crisp impressions. The leaf has some minor marginal toning. Very nice example of Dürer's earliest woodcut designs. Thirteen editions were published between 1494 and 1521 (six authorized and seven pirated. Leaves from these editions are very easily confused and many later printings are often listed as firsts; in all but the very first edition, the woodcuts were done by other craftsmen based on Dürer's original designs. This leaf is from the second Latin edition. This leaf contains two woodcuts (most leaves only have one) featuring Dürer's fools who always wear cowls with ass-ears and a coxcomb of bells (a convention Dürer established). The first, "Learning from Fools," illustrates a careless fool who has stumbled while following in the same path of a foolish predecessor. On the reverse, "Not Paying Attention to All Talk," shows a fool who is worrying about gossip, which is symbolized by a bell that can't ring true because it is upside down on the ground and has a foxtail for a clapper. One of the most famous and popular works during the early years of printing was Brant's Ship of Fools, a satire on the many then current ecclesiastical abuses as exemplified by his imaginary character, Saint Grobian, the patron saint of vulgarity and coarse manners. A substantial part of the Ship of Fools' popularity was no doubt due to its marvelous woodcut illustrations, most of which were created by Albrecht Dürer, then a young journeyman woodcut designer working in Basel. His work in these woodcuts, Dürer's first significant commissioned effort, is not as impressive as his later efforts as a master in Nuremberg; e.g., the hatching consists of only simple parallel lines and contours are crude, thick, and without much variation. Still, they are superior to other illustrations in the book desisgned by an assortment of masters. Size: 8vo - over 7¾" - 9¾" tall. Bookseller Inventory # 008108

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Brant, Sebastian

Published by Jodocus Badius Ascensius (Josse Badius), Paris (1505)

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Item Description: Jodocus Badius Ascensius (Josse Badius), Paris, 1505. Leaf. Book Condition: Very Good. Dürer, Albrecht (illustrator). Original Leaf with Two Woodcuts from Sebastian Brant's Nauis Stultifera Collectanea. (Das Narrenschiff or The Ship of Fools) - "Teaching of Wisdom" and "Stroking a Fallow Stallion" by Albrecht Dürer. Published by Jodocus Badius Ascensius (Josse Badius) in Paris, 1505. The leaf is approximately 5.25" x 8". Each woodcut is approximately 85 x 115 mm. The woodcuts have dark, crisp impressions. The leaf has some minor marginal toning. Very nice example of Dürer's earliest woodcut designs. Thirteen editions were published between 1494 and 1521 (six authorized and seven pirated). Leaves from these editions are very easily confused and many later printings are often listed as firsts; in all but the very first edition, the woodcuts were done by other craftsmen based on Dürer's original designs. This leaf is from the second Latin edition. This leaf contains two woodcuts (most leaves only have one) featuring Dürer's fools who always wear cowls with ass-ears and a coxcomb of bells (a convention Dürer established). The first, "The Teaching of Wisdom," illustrates both wise men and fools reacting to a sermon. The reverse, "Stroking a Fallow Stallion," is depiction of a fool being trampled by a horse he feigned to respect which symbolizers the ultimate fate of false flatters. One of the most famous and popular works during the early years of printing, Fools was a satire on the many then current ecclesiastical abuses as exemplified by Brant's imaginary character, Saint Grobian, the patron saint of vulgarity and coarse manners. A substantial part of the Ship of Fools' popularity was no doubt due to its marvelous woodcut illustrations, most of which were created by Albrecht Dürer, then a young journeyman woodcut designer working in Basel. His work in these woodcuts, Dürer's first significant commissioned effort, is not as impressive as his later efforts as a master in Nuremberg; e.g., the hatching consists of only simple parallel lines and contours are crude, thick, and without much variation. Still, they are superior to other illustrations in the book designed by an assortment of masters. Size: 8vo - over 7¾" - 9¾" tall. Bookseller Inventory # 008110

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Item Description: Officina Bodoni, Verona, 1971. Gr.-8vo. (23 x 15,5 cm). Mit 37 Holzschnitten Dürers im Nachschnitt von Leonarda Farina. Pressensignet in Rot. 3 w. Bl., 5 Bl., 216 S., 2 Bl., 1 w. Bl., 1 loses Bl. Verlagsankündigung. OHldr. m. goldgpeprägt. Pressensignet u. Goldfilete auf d. Vorderdeckel sowie Rückentitel in lederverstärktem OPp.-Schuber. Kopfgoldschnitt, sonst unbeschnittene Büttenkanten. Mardersteig 172. - Editiones Officinae Bodoni. - Nummer 9 von 115 numer. Ex., auf der Handpresse auf Magnani-Bütten gedruckt. - Schuber etw. berieben. Am Rücken geringfügige kl. Flecke u. geringe Bestoßung unten, sonst tadellos. gr. Bookseller Inventory # 6914

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Dürer, Albrecht (1471-1528):

Published by Augsburg, datiert 1608. (1608)

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From: Antiquariat Braun (Gengenbach, Germany)

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Item Description: Augsburg, datiert 1608., 1608. Book Condition: Gut. Blattgröße: 338 x 200 mm - Plattengröße: 338 x 200 mm. *Nagler 45. Hollstein 178. Eines der schönsten und klassischen Dürerbildnisse, gestochen von Lukas Kilian nach dem Bildnis welches Rottenhammer nach einem Selbstporträt in einem Gemälde Dürers schuf, im vorliegenden Originalabzug recht selten. "Dies ist eines der besten Bildnisse von Dürer, ganz wie der Mann war. Es wurde öfter kopiert" (Nagler). - "Although this image became one of the best known representations of Dürer to posterity, it is in fact, twice removed from Dürer`s own work. As the inscription states, it was engraved by Kilian after Johann Rottenhammer`s copy of Dürer`s Feast of the Rose Garlands painting of 1506 which was commissioned by the German merchants of the Confraternity of the Rosary for the church of San Bartolommeo in Venice (Anzelewsky 93)" (Bartum in Dürer catalogue British Museum 2002). - Guter und klarer Abzug. - Bis an den Plattenrand beschnitten (Einfassungslinie noch sichtbar), um 1850 alt aufgezogen und an den Ecken auf Trägerpapier montiert. Die rechte obere und untere Ecke mit ganz kleinem Papierverlust im weißen Rand (wenige Millimeter). Insgesamt gut erhalten. - Provinienz: Aus der berühmten Kunstsammlung Max Speck von Sternburg (kleiner Blindstempel im Unterrand). Sprache: de Gewicht in Gramm: 1000. Bookseller Inventory # 119463

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Dürer, Albrecht (1471 - Nürnberg - 1528) - Kopie nach,

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Item Description: 1516. Gleichmäßiger, feinzeichnender Druck mit schmalem Rändchen um die Plattenkante. Auf feinem Bütten. Vgl. Bartsch 32; Meder 37a; Hollstein German 37; Strauss 85; Schoch / Mende / Scherbaum 81. Gegenseitige Kopie nach Dürer. Verso mit zwei Sammlerstempeln: Freiher von und zu Aufsess, Nürnberg (vgl. Lugt 2749, 2750). "ER" (Nicht identifiziert, Lugt 899) - Sammlerstempel nach recto durchschlagend. Verso Montierungsreste. Randeinrißchen an der linken Blattkante, untere rechte Ecke restauriert. Sprache: de Gewicht in Gramm: 2100 11,5 x 7,2 cm. Papier: 12 x 7,7 cm. Bookseller Inventory # 140855

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Albrecht DÜRER / Fedja ANZELEWSKY

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From: Librairie de l'Univers (Lausanne, Switzerland)

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Item Description: Zürich, seefeld, 1988, 33x26. Reliure en demi maroquin brun-vert, dans un emboîtage cartonné, Monogramme d'Albrecht Dürer sur le premier plat. Richement illustré. Texte en allemand. Magnifique exemplaire, à l'état neuf. L'un des 185 exemplaire (105). Bookseller Inventory # 3456

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Item Description: No Binding. Book Condition: Good. 30 x 21 cm. Houtsnede uit de reeks "Marienleben/ Life of the Virgin / La vie de la Sainte Vierge Marie, door Dürer gemaakt in 1501 - 1502. Deze houtsneden werden een tiental jaren later opgenomen in het boek "Epitome in Divae Parthenices Mariae Historiam" van Chelidonius Benedictus. Monogram in het blok. Ref: Albertina, Wien. Zwarte lijnen als omkadering op ongeveer 0,5 cm van de randen. Goede toestand. Bookseller Inventory # 90913

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Dürer, Albrecht

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From: Celler Versandantiquariat (Eicklingen, Germany)

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Item Description: Orig. Kupferstich, (17. Jahrhundert). 21 cm x 28,5 cm unter Passepartout. Bookseller Inventory # 515aa

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Dürer, Albrecht 1471 to 1528 / Durer / Italia Venecia / Gallucci, Giovanni Paolo, Ca.1538 to 1621 Translation / Traducción

Published by Italia Venecia : In Venetia : appresso Roberto Meietti, 1594 : Appresso Domenico Nicolini 1591 / 1594, A Bound / Flex Cover / Reprint / FBRE, Ltd. (1594)

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From: GREAT PACIFIC BOOKS (Ventura, CA, U.S.A.)

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Item Description: Italia Venecia : In Venetia : appresso Roberto Meietti, 1594 : Appresso Domenico Nicolini 1591 / 1594, A Bound / Flex Cover / Reprint / FBRE, Ltd., 1594. Soft Cover / Cloth Binding. Book Condition: Very Good. Dust Jacket Condition: No Dust Jacket. Fully Illustrated (illustrator). Clean and Unmarked Text. 290 pages. Paper / Soft cover reprint edition in very good or better condition, slight wear to edges. Overall good copy of this scarce title. Excellent read. A good book to enjoy and keep on hand. Or would make a great gift for the fan / reader in your life. Archival reprint. Size: Facsimile Bound Reprint Edition. Art History / Reference. Bookseller Inventory # 5026928

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Item Description: Dietikon-Zürich, Verlag Bibliophile Drucke von Josef Stocker, 1971. 4°. Book Condition: Gut. 145 Seiten, 1 Bl., mit zahlr. Abbildungen im Faksimiletei Gut erhaltenes Exemplar., Erschienen in einer Auflage insgesamt 700 numerierten Exemplaren. Hier Nr. 400 Der Druck erfolgte auf Weiss Büttenkupferdruck der Hahnemühle Dassel. 3580 Sprache: de Gewicht in Gramm: 1160. Bookseller Inventory # 416404

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Dürer, [Albrecht]:

Published by Eugrammia Press,, London, (1964)

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From: Rainer Kurz - Antiquariat (Oberaudorf, Germany)

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Item Description: Eugrammia Press,, London, 1964. Ca. 43,5 x 30 cm. 2 Bände (Faksimile und Kommentarband). London, Eugrammia Press, 1964. Ca. 43,5 x 30 cm. (32) unpagin. Seiten mit 15 ganzseitigen Illustrationen; 8 Seiten Text. Original-Halblederband mit reicher Deckelgoldprägung (Faksimile); Original-Broschur mit reicher Deckelgoldprägung (Kommentarband). In Original-Leinenschuber mit reicher Deckelgoldprägung. Exemplar 162/535. Faksimile von "Die heimliche Offenbarung Johannis". Text des Kommentarbandes in englisch. Rücken der Broschur berieben. Sonst tadelloser Zustand. Original-Halblederband mit reicher Deckelgoldprägung (Faksimile); Original-Broschur mit reicher Deckelgoldprägung (Kommentarband). In Original-Leinenschuber mit reicher Deckelgoldprägung. Bookseller Inventory # 32670AB

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Albrecht Dürer (1471-1528), deutscher Maler, Graphiker, Mathematiker und Kunsttheoretiker

Published by Berlin: Bundesdruckerei ohne Jahresangabe (um ) (1960)

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From: historicArt Antiquariat & Kunsthandlung (Wiesbaden-Breckenheim, Germany)

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Item Description: Berlin: Bundesdruckerei ohne Jahresangabe (um ), 1960. Faksimile-Reprint von der Original-Platte auf schwerem Büttenblatt in der Größe des Originals mit fein abgesetztem Plattenrand, Plattengröße 26 x 20,5 cm, Blattgröße 40 x 30 cm, links unten in Kartusche im Blatt signiert "S(sculpsit) 1513 A(lbrecht) D(ürer)", rückseitig blauer Stempel "Faksimile Reproduktion der Bundesdruckerei Berlin", im unteren Rand Spuren einer Ausrahmung, ansonsten sauberes und tadellos erhaltenes Blatt mit breitem unbeschnittenen Rand, sehr selten und für uns antiquarisch anderenorts nicht nachweisbar Der Kupferstich "Ritter, Tod und Teufel" gilt als einer der drei Meisterstiche des deutschen Malers und Graphikers Albrecht Dürer (1471-1528) und ist voller Symbole aus der Ikonographie. Der Ritter, kampfbereit in vollem Harnisch, reitet auf seinem Pferd, begleitet von seinem Hund (Treue = fides) geradewegs in den nahen Tod (= Totenschädel auf dem Weg), was im Hintergrund der Tod mit Sanduhr (= Vergänglichkeit) und der Teufel (= grausige Tiergestalten) ankündigen, während eine Eidechse (= Gotteseifer) in die entgegen gesetzte Richtung zu entfliehen versucht, doch das Wurzelwerk der Waldes (= lebendig begraben) symbolisiert schon das nahende Ende. 2100 gr. Bookseller Inventory # GA-0001

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Dürer, Albrecht.

Published by Wien. Verlag Anton Schroll & Co., o.J.

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Item Description: Wien. Verlag Anton Schroll & Co., o.J. 30 von 42 Blatt, meist in Farbe, Folio. 61,3 x 45,5 cm. 31 + Doppelblatt Seiten, Albertina - Facsimiles, Albertina - Facsimiles In gutem Zustand. die kassettenartige Flügelmappe etwas angestaubt und fleckig und leicht beschädigt, die Blätter alle unter Passepartout und in Originalgröße abgebildet, meist mit einer kleinen Eckstauchung außerhalb der Darstellung, die Abbildungen im Lichtdruck von "hohen Reizen", nicht vollständig, 12 Blätter fehlen, ES FEHLEN 12 BLÄTTER: Tafel 2, 8, 10, 20, 21, 23, 25, 34, 36, 37, 38, 39. enthält die Tafeln: 1, 3, 4, 5, 6, 7, 9, 11, 12, 13, 14, 15, 16, 17, 18, 19, 22, 24, 26, 27, 28, 29, 30, 31, 32, 33, 35, 40, 41, 42. Flügelmappe mit papierbezogenen Pappdeckeln, Hardcover in Halbleinwand, Bookseller Inventory # 109041

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