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DÜRER, Albrecht

Published by Paris Christian Wechel 1532. (1532)

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From: Martayan Lan (New York, NY, U.S.A.)

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About this Item: 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; Seller Inventory # 2727

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Albrecht Durer, Salvator Rosa

Published by Private, Italy (1514)

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From: St Marys Books And Prints Wisden Dealers (Stamford, United Kingdom)

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About this Item: Private, Italy, 1514. Hard Back. Condition: Very Good. A stunning collection of 139 sixteenth century engravings and prints. Beautifully bound in eighteenth century red morocco, with elaborate gilt tooled borders to boards, and gilt inner dentelles. Five raised bands to the spine, black label band with gilt titles, intricate gilt tooling. Very minor loss to the titles bind, minor rubbing to the extremities and some light marking to the boards but still presents very well overall, gilt to the boards still nice and bright. Marbled endpapers, all edges gilt. Small early Porkington library book plate to the front pastedown. Plates mounted one per page, starting with 24 after Salvator Rosa, then 4 of Saints after Albrecht Durer. The rest are mostly a combination of the Wierix Brothers, Bodart, Brueghel, and Peter Hus among others, most of which are hallmarked with initials. The last 40 depict nuns in various costume and have Latin text to the base. These are numbered and appear to be from the same source. Plates generally in excellent condition, most trimmed within platemark, many biblical scenes with intricate detail. Just slight water damage and minor foxing to a few pages, predominantly the last few. First page a little loose, hinges starting in places but generally binding tight. Two neat ink inscriptions, light pencil annotations through out referencing the engravings. Pencil to the page only, never to the engravings. An astonishing large collection of engravings from the sixteenth century, including two of the best known engravers of the period, very well preserved in a beautiful later period binding. Seller Inventory # 093329

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De Symmetria partium in rectis formis humanorum: DÜRER, Albrecht

DÜRER, Albrecht

Published by in aedib. viduae Durerianae / Formschneider, Nürnberg (1532)

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About this Item: in aedib. viduae Durerianae / Formschneider, Nürnberg, 1532. Hardcover. Condition: Very Good. 1st Edition. De Symmetria partium in rectis formis humanorum corporum, Libri in Latinum conversi (per J. Camerarium). Nürnberg: in aedib. viduae Durerianae, 1532. 79 (of 80) unnumbered leaves, bound without the blank leaf A6. Signatures: (A-E)6 [-A6] F4 (G-N)6 O4. Title with 8-line verse to the reader above Dürer's woodcut monogram, gothic letter text in single and double columns, woodcuts throughout including 85 full-length figures of the human body. [Bound with] DÜRER, Albrecht. De varietate figurarum et flexuris partium ac gestib[um] imaginum, libri duo. . . Nürnberg: Formschneider, 22 Nov. 1534. 56 unnumbered leaves, including 4 folding and a final blank. Signatures: (a-k)6. Unsigned leaves a4, e6, f6, i5 split from bifolio and attached to a3, e5, f1, i4 respectively to gain folding leaves. Errata on k5v. "Elegia Bilibaldi Pirckeymheri in obitum Alberti Dureri" and three epitaphs on k4v-k5r crossed out and with remnant from former obscuring paste downs. Folio (315 x 205 mm). 18th-century vellum over thick boards, spine titled in gilt (vellum soiled, extremities little rubbed), new endpapers, marbled edges. Only little browning and occasional very slight foxing of paper, a small light waterstain at top fore margin of about one third of the leaves, first title page soiled and with repair of torn portion at lower margin plus a closed tear repaired at verso (both not affecting any text), small wormtrack at top blank margin of final 3 gatherings of first work. A fine wide-margined copy, complete except for a single missing blank. ---- Adams D-1044; Fairfax Murray German Books 152; Bohatta 20; DSB IV, pp. 259-60. FIRST LATIN EDITION, in two parts, of Vier Bücher von menschlicher Proportion first published 1528 in German. Unlike his Italian contemporary, Leonardo da Vinci, who published nothing, Dürer lived and worked in the world of printing and engraving. Dürer's treatise on human proportion was the earliest of the three theoretical works written in his later years. He began formulating mathematical rules for the proportions of the human form soon after his first trip to Venice in 1494-95. For his mathematical formulations he drew upon the works of antiquity as well as the Italian rediscoveries; as for his other theoretical works, his goal was to establish a scientific basis for aesthetics and to provide practical guidelines for draftsmanship. "The book is the synthesis of Dürer's solutions to his self-imposed formal problems; in it he sets forth his formal aesthetic. Dürer's aesthetic rules are based firmly in the laws of optics--indeed, he even designed special mechanical instruments to aid in the measurement of human form. He used the height of the human body as the basic unit of measurement." (DSB). Book IV is of the greatest interest as it presents for the first time many "new, difficult, and intricate considerations of descriptive spatial geometry. Dürer's chief accomplishment as outlined in the Four Books is that in rendering figures. he first solved the problem of establishing a canon, then considered the transformation of forms within that canon. In so doing he considered the spatial relations of form and the motions of form within space" (DSB). Camerarius' translation popularised the fame of the book throughout Europe. "Without Camerarius' translation, Dürer's writings would not have achieved exceptional dissamination in Europe. Without Camerarius translation, Michelangelo would never have seen Dürer's theory of proportion" (translation from Dürer Katalog, Nürnberg, 1971). - Visit our website for additional images and information. Seller Inventory # 002846

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DURER, Albrecht (1471-1528).

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

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About this Item: [?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. Seller Inventory # 72MMS222

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De Symmetria partium in rectis formis humanorum: DÜRER, Albrecht

DÜRER, Albrecht

Published by in aedib. viduae Durerianae, Nürnberg (1532)

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About this Item: in aedib. viduae Durerianae, Nürnberg, 1532. Hardcover. Condition: Very Good. 1st Edition. Folio (301 x 204 mm). 80 unnumbered leaves (last blank). Signatures: A-E6 F4 G-N6 O4. Title with 8-line verse to the reader above Dürer's woodcut monogram, gothic letter text in single and double columns, woodcuts throughout including 85 full-length figures of the human body. 18th-century vellum over pasteboards with gilt-lettered morocco spine label (extremities little rubbed, corners bumped, little worming to boards, head of spine and endpapers), marbled endpapers, blue-colored edges. Minor browning and spotting to text, title and a few other pages with light brown stains, erased stamp(?) on final leaf. Provenance: bookplate with monogram "VGL" to front pastedown and small stamp to title-page. A fine, unmarked and unrestored copy. ---- Adams D-1044; Fairfax Murray German Books 152; Bohatta 20. - First Latin edition by Camerarius of book I and II of the "Vier Bücher der menschlichen Proportion" (books III and IV were published in 1534 under the title "De varietate"). The woodcuts are derived from the German edition of 1528. Unlike his Italian contemporary, Leonardo da Vinci, who published nothing, Dürer lived and worked in the world of printing and engraving. Dürer's treatise on human proportion was the earliest of the three theoretical works written in his later years. Dürer began formulating mathematical rules for the proportions of the human form soon after his first trip to Venice in 1494-5. For his mathematical formulations he drew upon the works of antiquity as well as the Italian rediscoveries; as for his other theoretical works, his goal was to establish a scientific basis for aesthetics and to provide practical guidelines for draftsmanship. "The book is the synthesis of Dürer's solutions to his self-imposed formal problems; in it he sets forth his formal aesthetic. Dürer's aesthetic rules are based firmly in the laws of optics--indeed, he even designed special mechanical instruments to aid in the measurement of human form. He used the height of the human body as the basic unit of measurement." (DSB). Erste lateinische Ausgabe der 1528 deutsch erschienenen grundlegenden Proportionslehre der Renaissance. "De Symmetria" umfaßt Buch I u. II des deutschen Werkes. Die Illustrationen sind die der Original-Ausgabe. Ein von Bohatta vermuteter erster lateinischer Druck der "Symmetria" von 1528 existiert nicht. - Visit our website for additional images and information. Seller Inventory # 002588

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Albrecht DURER

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From: Libreria Antiquarius (Roma, Italy)

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About this Item: 1500. Bulino, 1500 circa, monogrammato in lastra in basso a destra. Esemplare nella prima variante di sette descritte dal Meder. Magnifica prova, ricca di toni, impressa su carta vergata coeva con filigrana "alta corona" (Meder 20 tipica di questa prima tiratura), completa della linea marginale, piccoli interventi di restauro agli angoli, perfettamente eseguiti, in ottimo stato di conservazione. Sebbene presentata dal Dürer a Re Cristiano di Danimarca nel 1521, e ricordi alla lontana lo stemma nobiliare della famiglia Tetzel di Norimberga, l’opera sembra un lavoro di pura fantasia. Heller sosteneva che rappresentasse una sorta di allegoria di devozione, fedeltà ed attenzione verso qualcuno. Insieme alla successiva opera del 1503, Stemma con il teschio, questo lavoro nasce con il preciso intento, da parte dell’autore, di mostrare il virtuosismo tecnico e l’abilità nell’uso del bulino. Elementi stilistici inducono gli studiosi a datare questa lastra al 1500 circa, tuttavia sembra possibile che le due opere siano state realizzate nello stesso anno, nel 1503. Le due opere costituiscono un primo esempio di capriccio. Capolavoro dell’arte ornamentale. Engraving, circa 1500, signed on plate at the bottom right. Example in the first variant of seven described by Meder. A magnificent impression, rich in tone, printed on contemporary laid paper with watermark "high crown" (Meder 20 typical of this first issue), complete with the marginal line, small restoration at the corners perfectly executed, in excellent condition. Although Dürer made by King Christian of Denmark in 1521, and the memories away the coat of arms of the family Tetzel of Nuremberg, the structure resembles a work of pure imagination. Heller claimed to represent a kind of allegory of devotion, fidelity and attention to someone. Together with the subsequent work of 1503, Coat of arms with the skull, this work was created with the specific intent by the author to show the technical virtuosity and skill in the use of the burin. Stylistic elements lead researchers to date this plate from around 1500, but it seems possible that the two works were made in the same year, in 1503. The two works are a prime example of capriccio. Masterpiece of ornamental’s art. Meder 97 a/g; Strauss, The intaglio prints of Albrecht Dürer, p. 96,31; Panofsky 207; Salamon, Albrecht Dürer, Bulini, puntesecche, acqueforti, 25. Dimensioni 120 185mm. Seller Inventory # 4603

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Nuremberg; Durer, Albrecht

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About this Item: 1522. Nuremberg, 1522. First edition (illustrator). Nuremberg, 1522. First edition. 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. $12,500. * First and only edition with Durer's frontispiece. 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. Enacted in 1479, the Reformacion, or Reformed Civic Legal Code, of Nuremberg is known for its humanistic orientation, straightforward language and elegant production. It is also notable as the collection of German city laws to be issued in print. 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. Seller Inventory # 60609

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Dürer Albrecht

Published by Friessem, Köln (1680)

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From: Incunable (LUXEMBOURG, Luxembourg)

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About this Item: Friessem, Köln, 1680. Cuir. Condition: Très bon. Dust Jacket Condition: Très bon. Dürer (illustrator). 1ère Édition. 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. Seller Inventory # 000063

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Albrecht DURER

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From: Libreria Antiquarius (Roma, Italy)

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About this Item: 1505. Bulino, 1505, datato in lastra il altro al centro e monogrammato in basso a destra. Esemplare della quinta variante di sei descritta dal Meder. Bellissima prova, nitida e contrastata, impressa su carta vergata coeva con filigrana "armi di Memmingen" (Meder 237, Briquet 931), con margini, in ottimo stato di conservazione. Il titolo Il grande cavallo è legato non alle dimensioni della stampa, ma alle proporzioni dell’animale. La stampa è coeva a quella del Piccolo cavallo e riflette la fase in cui Dürer studiava e si cimentava nelle proporzioni dei corpi e in particolare su quelle dei cavalli, fino a pubblicare nel 1525 il Manuale delle misure e nel 1528 quattro libri delle Umane proporzioni, dai quali però rimasero esclusi proprio gli studi dell'artista sulle proporzioni del cavallo, poi riprese da Hans Sebald Beham dopo la morte di Dürer. Sono stati individuati quali precedenti per questa stampa due disegni del 1503 (Winkler n. 360 e n. 361). Mende ha proposto che in questa stampa sia in realtà rappresentato Bucefalo, il mitico cavallo di Alessandro Magno. In quest’opera il cavallo è ripreso dal dietro secondo una prospettiva che ha l’effetto di rafforzare l’idea del volume, di mettere in risalto la sua forma e la monumentalità, e di ingrandire le sue dimensioni apparenti. Da questa prospettiva infatti, il cavallo riempie lo spazio da un margine all’altro. A quest’opera si ispirò Caravaggio per la Conversione di San Paolo, per ottenere il massimo di naturalismo e monumentalità. Bell’esemplare di questa affascinante opera. Engraving, 1505, signed and dated on plate. Example of the fifth issue described by Meder. A fine impression, with tones, printed on laid paper with "arms of Memmingen" watermarks (Meder 237, Briquet 931), with margins and in very good conditions. The title The big horse is not tied to the size of the print , but the proportions of the animal. The print is coeval with that of Small horse and reflects the stage where Dürer studied and engages in the proportions of the body and in particular those of the horses, to be published in the 1525 Handbook of the measures in 1528 and four books of Human proportions , which, however, were excluded from their study of the artist on the proportions of the horse, by Hans Sebald Beham then resumed after the death of Dürer. Has been identified as the previous two drawings for this print in 1503 (Winkler n. 360 and n . 361 ) . Mende has proposed that this print is actually represented Bucephalus , the legendary horse of Alexander Magno. In this work the horse is taken from behind from a perspective that has the effect of reinforcing the idea of the volume, to put in emphasize its form and monumentality , and magnify its apparent size . From this perspective, in fact , the horse fills the space from one edge to another. In this work was inspired by Caravaggio for the Conversion of St. Paul, to get the most of naturalism and monumentality. A nice example. Bartsch, 97; Meder, 94 e/f; Salamon, n. 36; Panofsky, p. 116; Strauss p. 138, 45. Dimensioni 147 204mm. Seller Inventory # 4906

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Albrecht DURER

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From: Libreria Antiquarius (Roma, Italy)

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About this Item: 1502. Bulino, circa 1502, monogrammato in lastra in basso a sinistra. Esemplare nella prima variante di sei descritta dal Meder, con il graffio di lastra verticale nella parte superiore destra. Bellissima prova, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. L’incisione illustra la leggendaria uccisione di un drago ad opera di San Giorgio. Il Santo, qui raffigurato nell'atto finale, nel momento di vittoria sul drago ucciso, domina la scena con la sua possente corazza, armato di spada e della lancia che tiene con la sinistra. L’elmo piumato è deposto a terra, sulla sinistra, mentre sulla destra giace il drago, parzialmente occultato dietro le gambe del Santo, a conferirgli maggiore rilievo. Sullo sfondo si distingue un paesaggio marino con un centro abitato. Circa la data di esecuzione della stampa, i pareri sono discordanti. Alcuni riconducono l’opera agli anni 1507-1508, quando l’imperatore Massimiliano I mostrava particolare interesse per l’ordine di San Giorgio, fondato da suo padre. Con l’aiuto del Santo l’imperatore sperava di poter allestire una crociata contro i Turchi, progetto che maturò proprio nel 1507. Panofsky ne anticipa l’esecuzione di tre o quattro anni, mentre Hollstein e Strauss la riconducono al 1502, dal momento che a partire dal 1503 Dürer datò tutte le sue opere. A far propendere per questa datazione, è anche l’omogeneità stilistica e compositiva (una figura che domina la scena sullo sfondo di un paesaggio marino) con Lo Sbandieratore, che la precede in questo catalogo e che risalirebbe proprio al 1502. Il tema di San Giorgio e il drago ricorre frequentemente nelle opere artistiche per il forte valore simbolico di cui è portatore: il drago rappresenta il male, in particolare per i primi cristiani rappresentava il paganesimo. La conversione di una nazione al cristianesimo veniva rappresentata simbolicamente come un mostro ucciso da un guerriero corazzato armato di lancia, simbolo della fede cristiana. Così veniva rappresentato San Giorgio, a significare la conquista della Cappadocia - regione che diede i natali al santo - alla fede cristiana. Engraving, circa 1502, signed at lower left. Meder a impression, with the vertical scratch nea the upper half of the right edge. Very good impression, printed on laid paper, trimmed to the platemark, in very good conditions. The engraving shows the legendary slaying a dragon by St George. The Saint, pictured here in the final act , in the moment of victory over the dragon slain, dominates the scene with his powerful armor , armed with sword and spear holding with his left hand . The plumed helmet is placed on the ground , on the left , while on the right lies the dragon, partially hidden behind the legs of the saint, to give it greater prominence. In the background stands a seascape with a town. About the date, the opinions are divided. Some relate the work to the years 1507-1508 , when Emperor Maximilian I showed particular interest in the Order of St. George, founded by his father. With the help of the Holy Emperor hoped to set up a crusade against the Turks , a project that just matured in 1507. Panofsky anticipates the execution of three or four years, while Hollstein and Strauss lead back to 1502, since starting from 1503 Dürer dated it all his works. To do this favor for dating, it is also the stylistic and compositional homogeneity ( a figure that dominates the scene in the background of a sea landscape ) with The flag-waver that just goes back to 1502. The theme of St. George and the dragon occurs frequently in works of art for the strong symbolic value which is the bearer of the dragon represents evil , especially for the early Christians represented paganism . The conversion of a nation to Christianity was represented symbolically as a monster killed by an armored warrior armed with a spear , the symbol of the Christian faith . So was represented St. George , signifying the conquest of Cappadocia - a region that gave birth to. Seller Inventory # 4904

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La Vie de la Vierge: DÜRER (Albrecht) /

DÜRER (Albrecht) / RAIMONDI (Marcantino)

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From: L'Oeil de Mercure (Paris, France)

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About this Item: 1550. Couverture rigide. 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. Seller Inventory # 1816

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Albrecht DURER

Art / Print / Poster
Hardcover

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From: Libreria Antiquarius (Roma, Italy)

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About this Item: 1516. Xilografia, circa 1516, priva della firma. Il lavoro è l’ultima delle cinque incisioni realizzate per illustrare il Freydal, opera sulla vita dell’imperatore Massimiliano I. Esemplare di primo stato, avanti l’indirizzo dell’editore Glaser, nella seconda variante di sette descritta dal Meder. Bellissima prova, impressa su carta vergata coeva priva di filigrana, con sottili margini oltre la linea marginale, in ottimo stato di conservazione. Molto rara. Timbro di collezione al verso non identificato. Bibliografia: Bartsch appendice 38, TIB 533, Meder 250 b/g. Dimensioni 243x223. Woodcut, 1516 circa, without signature. This work is the last engraving, out of five, realized to illustrate Freydal, a book describing the life of the emperor Maximilian I. Example in the first state, before the addition of the address of the publisher Graser, and second version of seven, described by Meder. Excellent work, printed on contemporary laid paper without watermark, with thin margins beyond the marginal line, in perfect condition. Very rare. Unidentified collection stamp on verso. Bartsch appendice 38, TIB 533, Meder 250 b/g. Dimensioni 243x223. Dimensioni. Seller Inventory # 3803

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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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About this Item: Johannis Jansonii, Arnhem, 1606. Hardcover (Vellum). 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. Seller Inventory # 046194

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1614 German Old Master Albrecht Durer Renaissance: Albrecht Durer; Louis

Albrecht Durer; Louis Meigret (transl.)

Published by Arnhem : Jean Jeansz, 1614. (1614)

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About this Item: Arnhem : Jean Jeansz, 1614., 1614. Hardcover. Condition: Very Good. 1st Edition. 1614 German Old Master Albrecht Durer Renaissance Art Drawing Artistic Anatomy EXQUISITE translation by the famous Meigret A fascinating work of the drawing of the human figure by Albrecht Durer translated by 16th-century grammarian Louis Meigret. Meigret was most known for writing the very first grammatical description of the French language. Due to this, his French translations are exceptionally accurate and respected. During his life, however, he struggled to find a suitable printer that would take on his work. This was because Meigret sought to simplify French spelling by focusing only on pronunciation. This was a highly unpopular move with the public. However, 19th-century linguist Charles Livet said “It is not Dubois, it is not Henri Etienne who is the father of French grammar: it is Meigret.” Albrecht Dürer (1471 – 1528) was a German painter, engraver, printmaker, mathematician, and theorist from Nuremberg. His high-quality woodcuts (nowadays often called Meisterstiche or "master prints") established his reputation and influence across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance. We do not find another example of this exceedingly rare title for sale worldwide. Main author: Albrecht Durer; Louis Meigret (transl.) Title: Les quatre livres d'Albert Durer : peinctre & geometrien tres excellent, de la proportion des parties & pourtraicts des corps humains Published: Arnhem : Jean Jeansz, 1614. Language: French Notes & content: • 1st edition • Collation: predominantly complete, but lacking the preface and the numbered sheets 1, 7, 9, 11, 13, 15, 20, 31, 33-35, 50, 53, 55, 60-61, 63, 65-66, 69, 72, 75-77, 88, 94, 97-100, 105, 111, 119 and 124 • Many of the pages have illustrated figures and descriptions of drawing FREE SHIPPING WORLDWIDE Wear: wear as seen in photos Binding: tight and secure exquisite leather binding; professionally rebound Publisher: Arnhem : Jean Jeansz, 1614. Size: ~13in X 8in (32.5cm x 21cm) FREE SHIPPING WORLDWIDE Shipping: Very Fast. Very Safe. Free Shipping Worldwide. Satisfaction Guarantee: Customer satisfaction is our first priority. Notify us within 7 days of receiving your item and we will offer a full refund guarantee without reservation. $1750 Photos available upon request. Seller Inventory # ABE-1490480306742

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Instruction sur la fortification des villes, bourgs: Dürer, Albert (Albrecht);

Dürer, Albert (Albrecht); A. (Alexandre) Ratheau.

Published by Paris, Charles Tanera (1870)

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From: Librarium of The Hague (The Hague, Netherlands)

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About this Item: Paris, Charles Tanera, 1870. Hardcover. Small folio 37x24 cm. Pp. xxi, 75 (verso blank), (5) (verso blank). Plus 10 double-page leaves of plates tipped-in at end with a total of 30 engraved illustrations. Printed on fine laid paper with manufacture's armorial watermark. Hardcover, bound in handsome contemporary royal blue pebbled calf and matching marbled boards, spine with raised band, gilt lettering in second compartment, gilt fleurons in remainders, publishing place and date in gilt at foot of spine, marbled endpapers, cloth ribbon marker; corners rubbed. In fine condition. Excellent, very wide-margined copy. ~ French edition. Extremely rare. Dürer's famous treatise on the fortification of towns, villages and castles, was published in 1527 as "Etliche Unterricht, zur Befestigung der Städte, Schlösser und Flecken". Translated from the German by Alexandre Ratheau who contributed an extended introduction which examines Dürer's work in historical perspective. Ratheau is also responsible for the fine illustrations in the book, engraved and printed in Paris. "The book goes beyond being an instruction manual on the design of a fortified city. Dürer's plan was functional, pragmatic, and socially responsible, and the purpose of its design was to improve the status and lifestyle of German artisans." - Tessa Morrison: "Albrecht Dürer and the Ideal City" (Parergon 2014). See also: Tessa Morrison: "Unbuilt Utopian Cities 1460 to 1900: Reconstructing their Architecture and Political Philosopy." (Ashgate, 2015). Albrecht Dürer (1471-1528). Alexandre-Felix Ratheau (1822-1882). Seller Inventory # 9999_00361

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Durer, Albrecht

Published by R. Ackermann, London (1817)

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From: Royoung Bookseller, Inc. ABAA (Ardsley, NY, U.S.A.)

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About this Item: 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, front cover rehinged. Recased in quarter brown morocco and maroon boards. Very good. Seller Inventory # 19583

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Die Kleine Passion. Mit den Gedichten der: DÜRER, Albrecht:
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About this Item: Verona, Editiones Officina Bodoni 1971. 216 S. mit 37 Holzschnitten Dürers im Nachschnitt von Leonarda Farina. Brauner Original-Halblederband mit goldenem Deckelsignet und Kopfgoldschnitt im OSchuber 23,4 x 16,6 cm. Nr. 51 von 115 num. Exemplaren. Kleiner Exlibris-Stempel auf Titel (ca. 1,5 cm). Sehr gutes Exemplar. Seller Inventory # 59289

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About this Item: Verona,Mardersteig, 1971. Rilegato. 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. Seller Inventory # 2475

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Die Kleine Passion: Chelidonius illus. Albrecht

Chelidonius illus. Albrecht Durer

Published by Officina Bodoni (1971)

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From: Woodbridge Rare Books (Martlesham, United Kingdom)

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About this Item: Officina Bodoni, 1971. Hardcover. Condition: Fine. Albrecht Durer (illustrator). 23x16cm, 217pp. With thirty-seven woodcuts re-engraved by Leonardo Farina after the originals of 1511 by Albrecht Durer. Copy 54 of 115 copies of the German edition, printed in Dante roman and italic on Fratelli Magnani handmade paper, bound in quarter-brown pigskin with gilt rules over fawn Ingres paper-covered boards, t.e.g., red silk headbands, Press device blocked in gold to the front, title in gilt to backstrip, clear acetate wrapper, the single-sheet prospectus laid-in, in a slipcase of similar paper-covered board with pigskin reinforcement to the head and foot of the opening. A beautiful as-new copy of an Officina Bodoni jewel, modestly proportioned and done in the usual immaculate and restrained style of the Press. The Latin poems of Chelidonius are printed facing the woodcuts, followed by the German translations by Kosmas Ziegler and an essay by Mardersteig on the printing of the woodcuts and Chelidonius. There were also slightly larger editions of 140 copies with an English translation, and 135 with an Italian translation. The matching curves of the backstrip and slipcase reinforcements at the head and the foot gives an extremely well-finished look to the book, further enhanced by the bevelling of the long edges of the opening, which are cut away just enough to facilitate easy removal - a very elegant touch. Fine (in fact mint) but for a small (16x8mm) inked ownership stamp to the front pastedown, and similarly below the imprint on the title page, with a Fine slipcase and Near Fine (light puckering, but quite possibly not original in any case) acetate wrapper. Mardersteig & Schmoller 172. Seller Inventory # W0627

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About this Item: Verona,Mardersteig, 1971. Rilegato. 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. Seller Inventory # 2478

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Dürer, Albrecht:

Published by Dietikon u. Zürich, Stocker u. Schmid. (1966)

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From: EOS Buchantiquariat Benz (Zürich, Switzerland)

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About this Item: Dietikon u. Zürich, Stocker u. Schmid., 1966. 4°. 220 Seiten. Orig.-Pappband mit Titel- und Rückenschild und Pergaminumschlag in Schuber und Holzkassette. Nr. VI (von 75) Ex. der Vorzugsausgabe (Gesamtausgabe 975 Ex.). – Ab Seite 181 mit deutsch-englischem Kommentar von Christine Papesch. Seller Inventory # 3996CB

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1875 1ed Albrecht Durer Illustrated Life of: DURER, Albrecht

DURER, Albrecht

Published by Utrecht : P.W. van de Weijer, [ca. 1875]. (1875)

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About this Item: Utrecht : P.W. van de Weijer, [ca. 1875]., 1875. Hardcover. Condition: Near Fine. 1st Edition. 1875 1ed Albrecht Durer Illustrated Life of Virgin Mary Mariology Medieval Poems Albrecht Durer was a famous 15th-century painter and humanist. His engravings have become some of the most desirable Renaissance illustrations and have been repeatedly analyzed and studied by landscape and human-form artists. In 1511, Durer became resolved to increase his knowledge and study of printing and illustrations. He produced a series of woodcut engravings entitled ‘Life of the Virgin’ which were paired with poetry from Benedictine monk Benedictus Chelidonius. The woodcuts depict various aspects of the Virgin Mary’s life including her birth, visitation from Gabriel, adoration of the Magi, and the nativity. Item number: #2480 Price: $499 DURER, Albrecht La vie de la Sainte Vierge Marie en vingt gravures sur bois par Albert Durer, Nuremberg anno 1511 : decrite en vers latins par Chelidonius Utrecht : P.W. van de Weijer, [ca. 1875]. Details: • Collation complete with all pages: 64p o 20 EXQUISITE prints • Language: English • Binding: Hardcover; tight & secure o Some pages loose but present • Size: ~14.75in X 11.75in (37.5cm x 30cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 2480 Photos available upon request. Seller Inventory # ABE-1515859911846

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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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About this Item: 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). Seller Inventory # 3456

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Dürer, Albrecht u. Cranach, Lukas [et al.] / Leidinger, Georg (Texte).

Published by München, Kunstverlag Riehn & Reusch 1922. (1922)

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From: Franz Kühne Antiquariat und Kunsthandel (Affoltern am Albis, Switzerland)

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About this Item: München, Kunstverlag Riehn & Reusch 1922., 1922. Folio (40.5 x 31 cm). 27+1 SS. (Texte), 2 Bll. (davon 1 blanko), 58 Bll. (= SS.) Faks. in Planobindung, 1 Bl. (blanko). Bibliophiler (wohl: O-)Pergamenteinband (marginal mit etwas Korrosionsspuren, Rückendeckel mit kleiner Craqueléstelle, diese kaum gravierend) mit 6 durchgezogenen Bünden, schwarzem Dürer-Monogramm a. Vorderdeckel u. Kopfgoldschnitt. Vorsätze marginal u. Vorderschnitt etwas stockfleckig (eher blass). Neueres grosses Exlibris (20.3 x 14 cm) in Holzschnitt a. Vorsatz. Leichte Alters- u. Lagerungs-, kaum eigentliche Gebrauchsspuren. Gesamthaft attraktives und gepflegtes, weitestgehend sauberes u. recht gutes Exemplar. Vortitel: Albrechten Dürers weitberhüembten Malers Handrüß Anno 1515. - Die DNB erwähnt Einbände in: Halbleinen, Pergament und Leder. - Text des Gebetbuches in Latein. Es waren von diesem frühen Druckwerk (Postinkunabel auf Pergament) von 1513/1514 seinerzeit nur fünf Exemplare bekannt (davon zwei in englischen Sammlungen und je 1 in der Wiener Nationalbibliothek und der Vatikanischen Bibliothek). Das ?fünfte Exemplar ist durch ein merkwürdiges Geschick in zwei Teile zertrennt worden, die an zwei verschiedenen Orten aufbewahrt werden, der eine Teil in der Bayerischen Staatsbibliothek zu München, der andere in der Stadtbibliothek zu Besançon. Dieses fünfte Exemplar ist [.] für uns das wichtigste und interessanteste der Exemplare.? (p. 8). ?Die Wiedergabe beschränkt sich auf den Münchener Teil des Gebetbuches. Unter den heutigen politischen Verhältnissen war es unmöglich, die Blätter von Besançon heranzuziehen, zumal sie von untergeordnetem Werte sind.? (ibid.). - ?1508 scheint der Plan entstanden, eigene Lettern werden geschnitten, November 1512 oder März 1513 beginnt der Druck bei Schönsperger in Augsburg, der am 30. Dezember 1513 abgeschlossen ist. Alle berühmten Holzschneider sollen herangezogen werden; der Humanist [Johann Konrad] Peutinger hat die Aufteilung zu überwachen. Als erster erhält Dürer etwa Sommer 1514 27 Doppelblätter zugeteilt, von denen er 50 Seiten mit Zeichnungen oder Ornamenten versieht. Der Anteil der anderen ist viel geringer [.]. [.] Nach des Kaisers Tod [1519] gerät das so weit vorgeschrittene Werk völlig in Vergessenheit.? (F. Juraschek, in: Albrecht Dürer 1471 bis 1528. München 1970, Bd. 1, p. 746 f.). Die Dürer- und Cranachblätter wurden dann von Maximilian von Bayern erworben. ?Der Rest blieb in Besançon. In einem prächtigen Lederband aufbewahrt [.], genossen die Münchener Blätter höchstes Ansehen.? (Juraschek, p. 747; Beitrag mit zahlreichen Abbn. bis p. 805). -- Sehr schönes, in Anbetracht der Zeitumstände und der technischen Möglichkeiten ausserordentlich aufwendig produziertes und ausgestattetes Werk in fachlich hoch qualifizierter Herausgabe. Leidinger erwähnt zu den drucktechnischen Umständen die frühere Reprint-Version des ?Gebetbuches? von Karl Giehlow aus dem Jahre 1907, die in manuell überarbeiteter Photolithographie hergestellt worden war. ?Die neuen Proben, in farbigem Lichtdruck hergestellt, vermieden jede zeichnerische Einwirkung und suchten das, was die Aufnahme allein nicht schon herausbrachte, nur durch photochemische und phototechnische Massnahmen in Erscheinung treten zu lassen. So war man dem Eindruck, welchen das Urstück auf das Auge macht, um einen erheblichen Grad nähergekommen.? (p. 7 f.) -- Georg Leidinger (Ansbach 1870-1945 Marquartstein), Studium der Rechtswissenschaft und der Geschichte in München, Historiker, Bibliothekar. ?Aufgeschlossen für die neuen technischen Möglichkeiten der Photographie [.], macht er die seiner Obhut anvertrauten Handschriftenschätze durch Reproduktionen einer breiteren Öffentlichkeit bekannt, u.a. durch Faksimileausgaben des Codex aureus (1921) sowie von Albrecht Dürers und Lukas Cranachs Randzeichnungen zum Gebetbuch Kaiser Maximilians I. (1922). Für das hohe Ansehen, das sich Leidinger weit über München hinaus erworben hat, zeugt die Tatsache, dass er nach dem 1. Weltkrieg in Erfüllung der Bestimmungen des Versaill. Seller Inventory # BU011143

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Dürer, Albrecht

Published by Hamburg, Hoffmann & Campe (1968)

Art / Print / Poster
Hardcover

Quantity Available: 1

From: van Eck Antiquariat (Triesen, Liechtenstein)

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About this Item: Hamburg, Hoffmann & Campe, 1968. Hardcover. Condition: Sehr gut. Folio Oln.-Mappe (in Pp. Schuber). 350 Abbild. auf losen Tafeln. Mit einer Einleitung von Friedrich Piel (24 S.) als Beilage. Lizenzausgabe. Seller Inventory # 120906-792

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Albrecht Dürers sämtliche Kupferstiche in Größe der: Dürer, Albrecht

About this Item: F.W. Hendel, Leipzig, 1928. Leinen. Condition: Sehr gut. Folio, 45,3 x 34 x 5 cm 4 Blatt Text und 106 Tafeln in einer Kassette. Neue, stabile Leinenkassette mit aufmontiertem Original-Deckel. (die Kassette tadellos, die Tafeln teils an den Ränder leicht angestaubt oder leicht angestoßen, im Ganzen sehr gutes Exemplar). Reproduktionen in hervorragender Druckqualität auf gutem Papier, vollständiges Exemplar. - Weitere Bilder auf Anfrage oder auf unserer Homepage. 4000 Gramm. Buch. Seller Inventory # 952471

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Durer, Albrecht; de Pacioli, Luca

Published by Seattle: Tabula Rasa Press (1993)

Used
Hardcover

Quantity Available: 1

From: Peter Keisogloff Rare Books, Inc. (Brecksville, OH, U.S.A.)

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About this Item: Seattle: Tabula Rasa Press, 1993. Hardcover. Condition: Fine. No Jacket. Limited Edition. Three miniature books, each measuring 2 1/8 in. x 2 5/8 in. In a paper-covered slipcase. 1. (Alphabet) 47 pp. No. 51 of 125 copies. Black cloth with purple metallic design on front cover and title on spine. Drawings in purple throughout. 2. (Divine) ) 55 pp. No. 14 of 200 copies. Maroon cloth with copper metallic design on front cover and title on spine. Drawings in maroon throughout. 3. (Quadrate) 74 pp. No. 34 of 150 copies. Green cloth with blue design on front cover and title on spine. Drawings in blue throughout. Each has illustrated end-papers. All three books and the slipcase are in fine condition. Seller Inventory # ABE-5186928403837992560

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Hollander, Eugen

Published by S. Fontane & Co., Berlin, Germany (1923)

Used
First Edition
Hardcover

Quantity Available: 1

From: Certain Books, ABAA (Westhampton, NY, U.S.A.)

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About this Item: S. Fontane & Co., Berlin, Germany, 1923. Leather. Condition: Good. Albrecht Durer (illustrator). First Edition. Limited edition, Number 74 of 1000; this being one of 200 very nicely done, printed on Holland van Gelder paper with hand--colored decorations and illustrations; being the play recounting the Resurrection of Jesus Christ; with 3 tipped-on colored illustrations, artwork of Albrecht Durer; German text; approx. 10 1/4" x 13" size; small booksellers ticket of B. Westermann Co. Inc. New York on the front endpaper; original illustrated and titled paper-covered boards; red leather spine, gilt spine titles; rubbing and wear to spine and board edges, darkened; text and plate pages generally very good and clean, occasional finger-soiling; in good condition overall. Seller Inventory # 22686

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Albrecht Durer, Cranach, Rembrandt, Others

Published by Fischer & Franke, Berlin (1910)

Art / Print / Poster
Hardcover

Quantity Available: 1

From: Resource Books, LLC (East Granby, CT, U.S.A.)

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About this Item: Fischer & Franke, Berlin, 1910. Hardcover. Condition: Very Good. Berlin: Fischer & Franke, 1910. Undated, ca. 1910. In German. Third in series of portfolios, each containing fifty prints each of works by noted artists of the fifteenth through eighteenth centuries. This one contains 41 (of fifty) plates by Durer, Cranach, Rembrandt, many others. Boards printed in red and black, 42.5 x 31.5 cm, cord ties, plates laid loosely with title page at front (list of contents on the back), each plate numbered and with explanatory text at the bottom corner of the reverse side. Of the fifty plates, ten are good quality prints directly on the pages, the other forty are printed on tan paper and tipped onto the pages. Missing plates are: 104-6, 108, 116, 119, 122, 131, 135. Some cover wear and rubbing, ties intact with some wear, plates very good with some minimal edgewear to a few, no tears, foxing or markings. Hard Cover. Very Good. Folio - over 12" - 15" tall. Seller Inventory # 012799

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The Painter's Manual: Albrecht Dürer

Albrecht Dürer

Published by Abaris Books, Inc. (1977)

ISBN 10: 0913870528 ISBN 13: 9780913870525

Used
First Edition
Hardcover

Quantity Available: 1

From: Shoestring Collectibooks (Cinebar, WA, U.S.A.)

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About this Item: Abaris Books, Inc., 1977. Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. Translated and with a commentary by Walter L. Strauss. A manual of measurement of lines, areas, and solids by means of compass and ruler assembled by Albrecht Dürer for the use of all lovers of art with appropriate illustrations arranged to be printed in the year MDXXV (1525). 190 illustrations. Reference plates and bibliography. Internally fine. Clean pages. No writing or other prior owner labels or stamps. Not ex-library. Tight binding. Light soiling to page edges. Red cloth boards with gilt lettering, faint wear to edges. Unclipped dust jacket edge worn. 472 pp. Smoke-free environment. Careful packing and prompt shipping. Additional shipping cost required by size and weight. Media mail. Satisfaction guaranteed. 182. Seller Inventory # 003935

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