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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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Das Marienleben - [Epitomae in divae parthenices: DÜRER, Albrecht (1471-1528).

DÜRER, Albrecht (1471-1528).

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Item Description: Folio (405 x 310 mm). 20 Holzschnitte, davon 19 mit lateinischem Distichon von Benedictus Chelidonius auf der Rückseite. Passepartoutartig montiert. Moderner bordeauxroter Maroquinband (signiert und datiert: H. Fikentscher, Leipzig 1920) mit Goldfileten und Titel "A. Dürer - Das Marienleben - Holzschnitte" auf dem Vorderdeckel in Goldprägung. In marmoriertem Pappschuber mit lederverstärkten Kanten. Nürnberg, [Hieronmyus Höltzel] per Albertum Durer pictorem. Anno christiano Millesimo quingentesimo undecimo (1511). Prachtvolles, für die Bibliothek des grossen deutsch-französischen Bibliophilen Hans Fürstenberg (1890-1982) in Ganzmaroquin gebundenes Exemplar mit klaren Abzügen der kompletten Folge von Albrecht Dürers Marienleben, die umfangreichste und mit die populärste seiner grossen Holzschnittfolgen. Albrecht Dürer gab die zwanzig Holzschnitte zwischen 1502 und 1510 zuerst als Einblattdrucke heraus ehe er sie 1511 entsprechend den Stationen der Vita Mariens geordnet, als Buch und neu mit den unabhängig von den Graphikblättern entstandenen lateinische Distichen des Nürnberger Humanisten Benedictus Chelidonius (1460-1521) gedruckt verlegte. Mit Ausnahme des Titelholzschnitts sind die Verse jeweils auf der linken Buchseite neben dem rechts stehenden Bild angeordnet. Allein die in Majuskeln gedruckten Ueberschriften der Distichen wurden für die Buchausgabe nachträglich verfasst. "Diese Ueberschriften und weniger die eigentlichen Verse entsprachen inhaltlich den Holzschnitten. Sie stellten so die Brücke zwischen Text und Holzschnitt her und wurden den Ansprüchen des Parallelabdruckes von Text und Holzschnitten gerecht" (Anna Scherbaum). Dürer veröffentlichte Das Leben Mariens zeitgleich mit der Passion und der Apokalypse. "Nach dem hochdramatischen Ton, in dem Leidensgeschichte und Weltuntergang vorgetragen wurden, fand Dürer im Marienleben zu einer den Stoff liebevoll ausmalenden, mit hohem Anspruch volkstümlichen Erzählungsweise. Die menschliche Figur ist aus ihrer dominierenden Stellung in der vordersten Bildebene verdrängt und findet auf den meisten Blättern ihren Platz innerhalb eines Raumes aus Architekturgliedern, deren Stellung und Abfolge durch Perspektivenkonstruktionen festgelegt ist. Auch dort wo eine Landschaft Schauplatz der Erzählung ist, wird mit Hilfe natürlicher Gegebenheiten ein solcher Bildraum geschaffen, in den die Figuren eingestellt sind" (Peter Strieder, Dürer [1981], S. 268). Die vermeintliche Lieblichkeit und Sorglosigkeit der Dürer-Holzschnitte, die das Leben Marias in eine 'gewöhnliche Welt' versetzten, verstellte lange den Blick der Forschung, und es "beginnt sich erst jüngst eine Vorstellung vom 'Marienleben' als humanistisches Buch in der kunstgeschichtlichen Forschung zu etablieren" (Anna Scherbaum). Die hier gebundene Folge der zwanzig Blätter entspricht keineswegs der Chronologie ihres Entstehens. Das früheste - Mariens Verehrung - wird auf 1502 datiert und war ursprünglich als Titelblatt gedacht. das letzte, das hier in der Erstausgabe noch ohne Text am Beginn steht, schuf der Künstler zuletzt. Die zwanzig bis fast zum Bildrand beschnittenen und hier aufwendig gebundenen Holzschnitte wurden passepartoutartig montiert, um die auf der Rückseite gedruckten lateinischen Distichen und die jeweils unten links befindlichen kleinen Stempel sichtbar zu halten. Der Titelholzschnitt 'Maria auf der Mondsichel' ist ohne gedruckten Text auf Vorder- und Rückseite. Er weist in der geraden Mantelkontur rechts eine 1 mm kurze Lücke auf wie bei Schoch/Mende/Scherbaum Nr. 166b erwähnt und ist ohne Wasserzeichen. Bei wenigen der nachfolgenden Holzschnittblätter wurde beim Text verso die erste Zeile vom Passepartoutrand verdeckt. Die meisten weisen das Weisserzeichen Dreieck mit Blume auf, wie sie Meder für die Exemplare der Buchausgabe auflistet). Alle zwanzig Holzschnitte weisen verso in Blei die Nr. A 560 auf sowie den kleinen Sammlungsstempel (Ochsenkopf), nach Frits Lugt von dem 1889 im schlesischen Reichenstein. Bookseller Inventory # B351093

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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. 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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Nuremberg; Durer, Albrecht

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Item Description: 1522. Nuremberg, 1522. First edition (illustrator). 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. Special Order. Please allow 2 to 4 weeks for delivery. ; 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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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 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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La Vie de la Vierge: DÜRER (Albrecht) /

DÜRER (Albrecht) / RAIMONDI (Marcantino)

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Item Description: 1550. Couverture rigide. Book Condition: Bon. Suite de 16 planches sur 17 gravées au burin en beau tirage ancien. In-4 en plein vélin à l’imitation des vélins estampés du XVIe siècle. 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. Livre ancien. Bookseller Inventory # 1816

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Institutionum Geometricarum Libri quatuor [with] Neuw Jag: Jacques Du Fouilloux;

Jacques Du Fouilloux; Albrecht Dürer

Published by Johannis Jansonii, Arnhem (1606)

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Item Description: Johannis Jansonii, Arnhem, 1606. Hardcover (Vellum). Book Condition: Very Good Condition. Early Edition. Bound together in early armorial vellum, modest wear at edges, some soiling and discoloration to vellum, remains of ties, edges stained blue, endpapers worn and rumpled. Dürer's Institutionum Geometricarum bound last and lacking the title and 4 preliminary leaves, otherwise complete. A few pages with wear and worming in the outer margin, likely supplied from another copy - slight browning and soiling here and there, esp. in the margins, last few pages worn, a couple signatures slightly loose, but a very good clean copy overall with the paste-on illustrations on 179 and 181 that are very often missing. Bound with the first edition in German (1582) of Du Fouilloux's La Venerie, first published in French in 1531 and here for the first time with the lovely woodcuts after Jost Amman throughout. The Neuw Jag unnd Weydwerck Buch lacking leaves F1-F4 as well as a cancel (S1) and a blank at S4. Light dampstain for most of the two parts, in the outer margin later, but more pronounced early on, light scattered foxing, mostly quite clean. Institutionum Geometricarum: 185, [3, blank] pp; Neuw Jag unnd Weydwerck Buch: 99 (of 103, lacking f1-f4, pages 21-24); 72 (of 73, lacking S1, a cancel). Second title used as a general title.The first of Dürer's theoretical writings that he composed towards the end of his life, his "Course in the Art of Measurement", first published in German in 1525, taught the principles of perspective that changed art forever"Dürer's work first presented to northern Europe the completely new attitude to artistic creation which had crystallized in Italy during the Renaissance." (PMM 54). Neuw Jag unnd Weydwerck Buch was a hugely important and influential treatise on hunting that was translated into English (pirated twice), German and Italian in addition to the more than 20 French editions that appeared. A fine pair of centrally important Renaissance texts . Size: Folio. Quantity Available: 1. Shipped Weight: 2-3 kilos. Category: Art & Design; Fishing & Hunting. Inventory No: 046194. Bookseller Inventory # 046194

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Notitia Utraque cum Orientis Tum Occidentis ultra: Sigismund Gelenius; Albrecht

Sigismund Gelenius; Albrecht Durer; Joachim Caamerarius, Chretien Wechel

Published by Froben/ Christiani Wecheli, Basel, Switzerland (1552)

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From: Caliban Books Pittsburgh PA, ABAA (Pittsburgh, PA, U.S.A.)

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Item Description: Froben/ Christiani Wecheli, Basel, Switzerland, 1552. Hardcover. Book Condition: Ex-Library. Two volumes bound as one. 1552/ 1535. Hardcover, large 4to, 13 by 8.5 inches (33 x 23 cm), in full limp vellum. Notita: 108pp, collated complete, illustrated with copious woodcuts. Durer: 41pp, collated complete, with five folding plates, four double plates, and three regular plates of Durer's architectural works. Ex-library, with spine label, institution plate, and perforated stamp to title page. Tattering to front and rear endpapers. Staining to last several pages. Sadly, one of the folding plates had been clipped at the fold and lacks the extension. An earlier folding plate has a one by one-half inch tear, which does not affect engraved area. The volume is generally good, binding quite wrinkled and stained, mild ex-library with old library bookplate and withdrawn stamp to the verso of the front cover, perforated stamp to the Notitia title page and ink number stamp to the following page. Soil and waving to the vellum, with a circumscribed on the cover as well as a faded decorative motif; knife splice, mostly closed, to the rear panel with old script writing in Latin. Faint tidemark to the last three pages, flyleaves worn and with loss, rear pastedown shows wear and tears, occasional dampstain to margins, Notitia has old ink rules to margins, and very long repaired tear to page with plate 'Dux Phoenices.' FULL TITLES: Notitia utraque cum Orientis tum Occidentis ultra Arcadii Honoriique Caesarum tempora. Praecedit autem D. And. Alciati libellus, de magistratibus civilibus ac militaribus officiis. Cui succedit descriptio urbis Romae, quae sub titulo Pub. Victoris circumfertur: & altera urbis Constantinopolitanae incerto authore, nunquam antehac typis excusa . Subiungitur notitiis vetustus liber de rebus bellicis ad Theodosium Aug. & filios ejus. ut videtur, scriptus, incerto autore; Item, ne quid de antiquo exemplari omitteretur, disputatio Adriani Aug. & Epicteti philosophi. // Alberti Dureri pictoris et architecti praestantissimi de vrbibus, arcibus, castellísque condendis, ac muniendis rationes aliquot, praesenti bellorum necessitati accommodatissimae : nunc recens è lingua Germanica in Latinam traductae. The first volume is an official listing of offices in the Roman empire, including illustrations of insignia and uniforms of the legions, illustrations of ancient scrolls and books in which these records were contained, maps, and depictions of cities and towns, coins and medallions, weapons of war and costumes./ Edited by Sigmund Gelen, with his preface to Andreas Vesalius . The Durer volume is First ed. of Joachim Camrarius' Latin translation. The ill. are close copies of the 1527 Nuremberg German ed. RARE. Adams N354 and Adams D1056 respectively. Housed in protective mylar. Digital images available upon request. Bookseller Inventory # z09609

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Durer, Albrecht

Published by R. Ackermann, London (1817)

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Item Description: R. Ackermann, London, 1817. Hardcover. Durer, Albrecht (illustrator). First edition. 8 pages in text. Folio, 38 x 28 cm. Portrait, title in red and black, forty-three lithographic plates of borders printed in various colors. An important printing milestone, the first book printed by lithography in England. ABBEY LIFE 202. "Attempts had been made earlier at lithography, as witness Forbes's Oriental Memoirs,' which contain a few specimens engraved in 1811, but this book is the first serious attempt to popularize the new method. Books from Ackermann's Lithographic Press' are scanty." Bookplate, contents fresh and clean, light dampstain to a few leaves at hinge head, slight rubbing to joints. Recased in quarter brown morocco and maroon boards. Very good. Bookseller Inventory # 19583

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Item Description: Il Bulino. Hardcover. Book Condition: New. Special Order. Please allow 2 to 4 weeks for delivery. ; 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.; Signed by Author(s). Bookseller Inventory # 51727

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Item Description: Verona,Mardersteig, 1971. Rilegato. Book Condition: ottimo. prima edizione. Trentasei poesie latine con le trentasei xilografie a fronte e quella del frontespizio reincise da Leonardo Farina secondo la prima edizione del 1511,con la traduzione tedesca in versi di Kosmas Ziegler e uno studio di Giovanni Mardersteig sull'opera del Dürer e di Fra' Chelidonius. Tiratura di 115 esemplari numerati (1-115) su carta a mano Magnani. (Nostro n° 21). Carattere Dante corpo 11 e 12 tondo e corsivo. Schmoller,172. 23g. Bookseller Inventory # 2475

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DURER] The Little Passion by Albrecht Durer,: Benedictus Chelidonius Musophilus;

Benedictus Chelidonius Musophilus; Robert Fitzgerald (Translator)

Published by [Officina Bodoni], Verona (1971)

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Item Description: [Officina Bodoni], Verona, 1971. Hardcover. Book Condition: Fine. Durer, Albrecht; Farina, Leonardo (illustrator). Limited Edition. 8vo - over 7¾ - 9¾" tall. Limited Edition of 140 copies of the English version, this no. 19, with the woodcuts re-engraved by Leonardo Farina, the eminent Italian master in this field, with prospectus. Albrecht Durer (1471¿1528) was the most renowned German artist of the Renaissance in Northern Europe; painter, draughtsman, printmaker, and writer, Durer was extraordinarily gifted and influential in the development of the art of printmaking. Among his most famous works were a series of woodcuts on religious subjects: in 1511, he produced the Little Passion series, which were published that same year with the poetry of Brother Benedictus Chelidonius (d. 1521) in a book entitled "Passio Christi ab Alberto Durer". This release of "The Little Passion" was produced in 1971, with the Italian master engraver Leonardo Farina commissioned to re-engrave Durer's original woodcuts in honor of the 500th anniversary of his birth. In addition to the superb woodcuts, this edition features an English translation of the original Latin poetry. ***DESCRIPTION: Bound in brown half-leather over tan laid paper boards, publisher's device in gilt on front, gilt lettering on the spine, top edge gilt, plain endpapers, thirty-seven woodcuts by Durer including the smaller one on the title page, the woodcuts are interspersed with the Latin text, English text follows in a separate section, limitation statement on the colophon page; octavo size (almost 9" tall), pagination: (1)-215, blank (216), colophon page (217), prospectus loosely laid in. Publisher's matching slipcase is covered in the tan laid paper, brown leather at the top and bottom openings. ***CONDITION: Volume is fine, with a strong, square text block, solid hinges, perfectly straight corners with no rubbing, the interior is clean and bright, and it is entirely free of prior owner markings. The publisher's matching slipcase is near fine, with a very light stray mark on one side, else fine. ***POSTAGE: International customers, please note that additional postage may apply as the Abe standard does not always cover costs; please contact us for details. ***Swan's Fine Books is pleased to be a member of the IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help. Bookseller Inventory # CNJL264

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Item Description: Verona,Mardersteig, 1971. Rilegato. Book Condition: ottimo. La celebre commedia di Terenzio tradotta in inglese nel 1598 da Richard Bernard nella revisione di Betty Radice che ha scritto una breve nota sul traduttore, con 25 xilografie conservate nel Kunstmuseum di Basilea disegnate da Dürer verso il 1492 su legni mai completati; ora i disegni sono stati riportati e incisi per la prima volta da Fritz Kredel per questa edizione. Segue uno studio di Giovanni Mardersteig, con alcune riproduzioni, sul giovane Dürer a Basilea e sulle edizioni illustrate del Terenzio di questo periodo.Tiratura di 170 esemplari su carta a mano Magnani, di cui 160 numerati (1-160) e 10 "ad personam". (Nostro n° 12). Carattere Dante corpo 13 e 14 tondo e corsivo, titolo nel frontespizio in Zeno corpo 48. Schmoller,176. 34g. Bookseller Inventory # 2478

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Dürer, Albrecht (1471-1528):

Published by O.O.

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From: EOS Buchantiquariat Benz AG (Zürich, Switzerland)

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Item Description: 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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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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Wierix, Johannes (1549-c. 1618) after Dürer, Albrecht (1471-1528)

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From: Antiquariaat A.G. van der Steur (Den Haag, Netherlands)

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Item Description: 1563. Engraved at the age of 14 (as inscribed in the stone in the foreground) by Johannes Wierix after Dürer. On the plate on the right the date and the monogram of the German master:'1520 / AD' Engraving on paper, trimmed to platemark; total: 145 x 100 mm; state II/2; Hollstein 989; MH 749; Alvin 628. Bookseller Inventory # 60570

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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: Deutsch 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: Deutsch Gewicht in Gramm: 2100 11,5 x 7,2 cm. Papier: 12 x 7,7 cm. Bookseller Inventory # 140855

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DURER ALBRECHT.

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Item Description: 1700. Incisione di cm. 30 x 21. Bookseller Inventory # 17129

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TAGEBUCH DER REISE IN DIE NIEDERLANDE.: Albrecht DÜRER /

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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Albrecht DÜRER (1471 - 1528), Wenzel HOLLAR (1607 - 1677) London 1646 (Vorlage: Nürnberg 1497). Kupferstich nach einem Ölgemälde von Albrecht Dürer, 20,5 x 27,5 cm (leicht gebräunt, obere Blattecken angerissen, Bild nicht beschädigt, insgesamt in sehr gutem Zustand.

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From: Antiquariat Dasa Pahor (München, Germany)

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Item Description: This finely engraved copper engraving by Wenzel Hollar from 1646 is based on a Renaissance painting by a Nuremberg artist and one of the most famous German painters Albrecht Durer. The portrait shows a young woman with loose hair, looking downwards, holding her hands in a prayer. Durer’s monogram shows at a neutral background as well as a coat of arms of a noble family Furleger from Nuremberg. The original painting named "Women with Unloosened Hair", today in the Städel Museum in Frankfurt, probably represents Katharina Furleger, who was posing for Durer twice, also for a pendant version of this portrait. The other possibility is that Durer painted two sisters from the same family. The young woman on the other portrait has her hair pulled up in a neat Renaissance style. Durer painted the young Katharina Furleger as a Virgin Mary, what resembles his autoportrait painting himself with christomorphic features. VáclavHollar: Restoration England’s Greatest Engraver Václav Hollar (1607 – 1677), also known as Wenceslaus (in English) or Wenzel (in German) Hollar, was born in Prague, the capital of Bohemia in 1607, into a bourgeois Protestant family. At the time of his birth, Prague was perhaps the greatest artistic center in Europe, due to the extravagant patronage of Emperor Rudolf II, who sponsored many of the continent’s greatest artists to reside in the city. However, by the time of Václav’s adolescence, Prague and indeed all of Bohemia, was being ravaged by the Thirty Years’ War (1618-48). The fortunes of his family were ruined and his plans to become a lawyer were doomed owing to his Protestant faith in a country now governed by Catholic zealots. Hollar learned drawing, etching and engraving as a gentlemanly hobby, but in light of his new circumstances and his natural talent, became a professional artist. While Hollar developed his own distinct style, he was very much influenced by the German Renaissance master Albrecht Dürer. Many of his finest achievements are interpretations of Dürer’s works, including Women with Unloosened Hair (1646). Hollar moved to the Stuttgart area in 1627, before continuing on to Strasbourg. By 1633, he was in Cologne. In 1636, that city, Hollar had the great fortune to encounter Thomas Howard, the 21st Earl of Arundel, who was on his way down the Rhine, returning to England from an embassy to Vienna. Arundel was perhaps the greatest contemporary English connoisseur of the visual arts and, amazed by the young Czech’s awesome talent, he immediately invited him to join his entourage as his official artist. By 1637, Hollar had relocated to England, and while he executed many assignments for Arundel, he was still free to pursue commissions from other patrons. Shortly after his arrival in England, Hollar engraved a View of Greenwich, a massive panorama of the Thames port town featuring Inigo Jones’s pioneering work edifice, the Queen’s House. Upon Arundel’s hasty departure from England (due to political reasons), Hollar switched to the employ of the Duke of York. While the advent of the English Civil War (1642-8) ensured many new commissions, it also led to great financial troubles for Hollar, as many of his clients proved unable to pay the promised fees. His etching Civilis Seditio (1643) is considered to be on of the most evocative images epitomizing the internecine conflict. Hollar was eventually compelled to relocate to Antwerp, where his best-known work was the magnificent view, the Cathedral of Our Lady (1649). Hollar returned to London in 1652. Upon the Restoration of the monarchy in 1660, Hollar found himself in difficult position. While he was apolitical and had many connections with leading Royalists, he was also close to some prominent members of Cromwell’s late administration. While no outward punitive action was taken, Royalist officials suspected him of being disloyal and ungrateful to the king’s court and thus for years Hollar had great difficulty gaining commissions from the crown or the hig. Bookseller Inventory # 62472

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Dürer, Albrecht; Rupprich, Hans

Published by Deutscher Verein für Kunstwissenschaft, Berlin (1956)

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From: Walkabout Books, ABAA (Laguna Hills, CA, U.S.A.)

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Item Description: Deutscher Verein für Kunstwissenschaft, Berlin, 1956. Hardcover. Book Condition: Near fine. First Edition. Complete set of three volumes: pp. 346 + [16] (plates); 510, 80 (plates); 481, 96 (plates). 9.25 x 12 inches, uniformly bound in beige cloth. No dust jackets. Bookplate on front pastedown of each volume, very minor shelfwear to boards, else a fine set. This is a large and heavy set; shipping will be substantially more than standard for priority or international orders. The definitive edition of Durer's own writings and original sources mentioning him. Bookseller Inventory # 17380

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Dürer, Albrecht (Illustr.)

Published by München, Druck und Verlag Ars sacra Jos. Müller (1924)

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Item Description: München, Druck und Verlag Ars sacra Jos. Müller, 1924. Sehr seltene Luxusausgabe über das Marienleben in einem prachtvollen und reich goldverziertem Maroquin-Einband. Der Schuber innen mit weichem Filz. - In makelloser Erhaltung 86, (4) Seiten, 20 montierte Tafeln Blaues Original-Maroquin mit reichster Rücken-, Deckel-, Steh- u. Innenkantenvergoldung auf 5 Bünden, Kopfgoldschnitt, in Orig.-Leinenkasette mit goldgepr. Rückenschild, Kl.8°. Bookseller Inventory # 9201

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The Great Procession from the Church of: Museum Press) Dürer,

Museum Press) Dürer, Albrecht

Published by The Museum Press, for the Metropolitan Museum of Art, New York City, New York (1919)

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From: James Cummins Bookseller, ABAA (New York, NY, U.S.A.)

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Item Description: The Museum Press, for the Metropolitan Museum of Art, New York City, New York, 1919. Durer, Albrecht. First Edition thus, one of 10 copies, none for sale. Title page dedsign and ornamentation from drawings by Dürer. 1 vols. Sm 8vo. The First Production of the Museum Press, One of 10 Copies. Written by Dürer about 1620 and reprinted from a volume by Sir Martin Conway, this was the first item of the Press, which was under the personal direction of Henry Watson Kent. Ransom, Private Presses, p. 356 An 8-pp. pamphlet, printed wrappers bound with white silk cord, unopened, slight dust-staining to wrapper, else fine Title page dedsign and ornamentation from drawings by Dürer. 1 vols. Sm 8vo First Edition thus, one of 10 copies, none for sale. Bookseller Inventory # 10405

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