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

DÜRER, Albrecht (1471-1528).

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About this Item: 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. Seller Inventory # B351093

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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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From: Milestones of Science Books (Ritterhude, Germany)

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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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From: Arader Galleries - Aradernyc (New York, NY, U.S.A.)

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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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Dürer, Albrecht (1471 – Nürnberg – 1528)

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From: Galerie Joseph Fach GmbH (Oberursel im Taunus, Germany)

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About this Item: 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). Seller Inventory # 066-A

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Dürer, Albrecht

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From: Földvári Books (Budapest, Hungary)

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About this Item: Original engraving, 1526. Very clear, strong contrasts, Meder C impression, with the stray burin strokes to the left of the head and the scratch on the forehead. Wide-margined. Plate size: 127 × 173 mm; sheet size: 182 × 250 mm. Albrecht Dürer's famous, 1526 portrait of Philip Melanchthon, the humanist scholar, religious reformer, theologian and educator. Head and shoulder portrait of Philip Melanchthon (1497-1560), facing right, with the background of sky with clouds, underneath a tablet with date, Dürer's monogram and the Latin inscription "VIVENTIS POTVIT DVRERIVS ORA PHILIPPI MENTEM NON POTVIT PINGERE DOCTA MANVS" (Dürer was able to depict the features of the living Philip, but the skilled hand could not portray his mind.). This image was the last of the series of five portraits with the use of an inscribed tablet, and one of the last of Dürer's portrait prints to be made. In 1525 Melanchthon worked in Nuremberg to establish a new, secular school on behalf of the City Council. While in the city he stayed at Willibald Pirckheimer's home, who was the closest friend of Dürer and the two undoubtedly met either through the host or through other members of the city's humanist circle. A portrait drawing of Melanchthon was probably made at this time and formed the basis of this engraving that was created in 1526. A very well preserved, wide-margined copy. Meder 104; Bartsch 104; Dodgson 102. Numbered by old hand in ink at upper right corner, monogrammed and dated (1602) on verso probably by different hand. Very light foxing mostly at edges, a brown spot beneath the tablet with inscription. In passe-partout. In fine condition. Original engraving, 1526. Very clear, strong contrasts, Meder C impression, with the stray burin strokes to the left of the head and the scratch on the forehead. Wide-margined. Plate size: 127 × 173 mm; sheet size: 182 × 250 mm. Seller Inventory # 1059

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Dürer, Albrecht

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About this Item: Original engraving, 1524. Very clear, strong contrast, but slightly later impression, wide-margined. With the "small coat of arms of Augsburg with 'A' and 'M'" watermark (around ca. 1560-1600; Meder 179; Briquet 2119). The inscription in the box below the portrait with no date and monogram. Plate size: 114 × 183 mm; sheet size: 182 × 250 mm. Albrecht Dürer's famous, 1524 portrait of his closest friend, the humanist scholar and art collector Willibald Pirckheimer. Head and shoulder three-quarter view portrait of Willibald Pirkheimer (1470-1530), facing left, wearing a fur-lined coat, underneath a tablet with Latin inscription "BILIBALDI PIRKEYMHERI EFFIGIES AETATIS SVAE ANNO L III VIVITVR INGENIO CAETERA MORTIS ERVNT" (Portrait of Willibald Pirckheimer at the age of 53. We live by the spirit; the rest belongs to death). The portrait, as well as the original plate, was given by Dürer to Pirckheimer thus he gave up control over future use of the plate. Pirckheimer used it as a bookplate instead of his actual one that was also designed by Dürer. A very well preserved wide-margined copy. Meder 103; Bartsch 106; Strauss 102; Hollstein 103; Dodgson 101. Numbered by old hand in ink at upper right corner. A hole restored at the right margin near the plate with no effect on the print. Very light, sporadic foxing on recto, more to verso. A small red blot to the left edge of the sheet. A trace of folding at to right marginal. In passe-partout. Overall in fine condition. Original engraving, 1524. Very clear, strong contrast, but slightly later impression, wide-margined. With the "small coat of arms of Augsburg with 'A' and 'M'" watermark (around ca. 1560-1600; Meder 179; Briquet 2119). The inscription in the box below the portrait with no date and monogram. Plate size: 114 × 183 mm; sheet size: 182 × 250 mm. Seller Inventory # 1060

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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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From: Milestones of Science Books (Ritterhude, Germany)

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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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Albrecht DURER

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About this Item: 1498. Xilografia, circa 1498 con il monogramma dell’artista in basso verso il centro. Splendido esemplare, con toni ricchi e ben contrastati, rifilata alla linea marginale, in ottimo stato di conservazione. Nella prima variante di tre descritta da Meder, avanti i fori di tarlo nella linea marginale. La datazione dell’opera, intorno al 1498, è basata principalmente sulla forza espressiva della composizione che è comune a quella dei fogli dell’Apocalisse. Caterina, figlia di Costis re di Cipro, fu condannata alla tortura della ruota uncinata in quanto si era rifiutata di rinunciare, come le era stato ordinato dall’Imperatore Massenzio, alla sua fede cristiana. Un’improvvisa pioggia di fuoco distrusse la ruota uncinata. Ciò non valse tuttavia a salvarle la vita in quanto successivamente Caterina venne decapitata. Si conservano due studi a penna relativi alla figura di S. Caterina inginocchiata (Winkler 73 e 74), datati ai tempi del primo soggiorno veneziano del Dürer, che hanno fornito la base per l’elaborata redazione della veste, che è un costume veneziano. La matrice origianle si conserva al Metropolitan Museum di New York. Woodcut, 1498 circa, signed in the bloc with the monogram AD. A very good Meder a impression, before the two thin gaps at the lower borderline. Pinted with a strong contrast, trimmed close to the border line, in very good condition. This print is closely related in style to the Apocalypse., so it is dated around 1498. The woodcut confirms the function of costume studies as independent source material, for here the saint appears in Venetian costume. St Catherine, an Alexandrian princess, suffered a martyr's death during the reign of the heathen Roman emperor Maxentius, as a result of her missionary work during the period when Christians were being persecuted. She was condemned to be broken on the wheel, but it collapsed at God's command and a rain of fire killed many heathens. Here, this event is shown together with the beheading of St Catherine. The woodblock is in The Metropolitan Museum of Art, New York Bartsch VII.141.120; TIB 1001.320; Meder 1932 236; Strauss, 57; Fara, p. 347 n. 116. Dimensioni 285 388mm. Seller Inventory # S35004

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Dürer Albrecht

Published by Friessem, Köln (1680)

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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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Dürer, Albrecht (1471 – Nürnberg – 1528)

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About this Item: 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. Seller Inventory # 067-A

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Albrecht DURER

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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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About this Item: 1502. Bulino, 1502 circa, monogrammato in lastra a sinistra al centro. Esemplare nella prima variante di tre descritta dal Meder. Bellsiima prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame o con sottilissimo margine, in perfetto stato di conservazione. Sullo sfondo di un paesaggio marino, si staglia in primo piano la figura dello sbandieratore, in una delle posizioni standard. La bandiera reca lo stemma dell’ordine del Toson d’Oro - istituito a Bruges nel 1431 da Filippo il Buono duca di Borgogna con il compito di diffondere la religione cattolica. Crollato lo Stato di Borgogna, in seguito al matrimonio di Maria di Borgogna con l’arciduca Massimiliano, l’ordine passò alla casa d’Asburgo. Sotto la bandiera, su un tronco d’albero, la tavoletta col monogramma dell’artista. L’incisione risale al periodo in cui Dürer, stimolato dall’incontro con il pittore veneziano Jacopo de’ Barberi, riprende lo studio delle proporzioni dei corpi e i problemi inerenti la prospettiva. L’interesse per questa materia era stato suscitato nell’artista durante il viaggio di studio in Italia, nell’autunno del 1494, dalle opere rinascimentali del Bellini, del Mantegna e di altri artisti toscani quali Pollaiuolo e Lorenzo di Credi. Al 1502 risalgono anche il San Giorgio in piedi e la Grande Fortuna. Ottimo esemplare. Engraving, 1502 circa, signed at lower center. Example of the first issue described by Meder. A fine impression, printed on laid paper, trimmed to the platemark or with thin margins, in excellent condition. The elastic posture of the lansquenet has been viewed as as by-product of Durer’s preoccupation at about that time with the figure of the Apollo Belvedere, culminating in the figure of Adam in his "Adam and Eve" of 1504. The banner with the Cross of St. Andrew, emblematic of the Order of the Golden Fleece and of the Dukes of Burgundy, was used by Maximilian I in that capacity during the Swiss War of 1499. The background is quite similar to the one in "St. George on foot". A very good example of this engraving. Bartsch 87; Meder, pag. 107, 92 a/c.; Strauss, p. 108 n. 35; Salamon, n. 30. Dimensioni 69 114mm. Seller Inventory # S31781

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Albrecht DURER

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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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Albrecht DURER

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About this Item: 1501. Bulino, 1501, monogrammato in lastra in basso a sinistra. Esemplare nella prima variante di tre descritte dal Meder. Magnifica prova, ricca di toni, impressa su carta vergata coeva priva di filigrana, rifilata al rame, in ottimo stato di conservazione. Descritta dal Meder come rara, questa bellissima incisione di Durer fa parte di un gruppo di opere di transizione del Maestro, tra il perfetto stile tecnico dei primi lavori e la perfezione grafica delle opere del periodo seguente al viaggio in Italia. Il soggetto rappresenta il tema delle tre generazioni, piuttosto in auge presso gli artisti nordici del periodo. L’iconografia con le due figure in piedi fu presto soppiantata dalla più comune delle tre figure sedute l’una accanto all’altra con il Bambino nel mezzo. Bibliografia: Meder 43,a/c. Dimensioni 71x116. Engraving, 1501, signed with monogram on lower left plate. Example in the first version of three, as described by Meder. Magnificent work, rich in shades, printed on contemporary laid paper without watermark, in excellent condition. Meder describes this subject as quite rare; this engraving is part of a group of works realized by Durer in his period of transition, between the perfect technical style of his first works and the perfect graphic production realized after his journey to Italy. This subject depicts the three generations theme, quite common among the Northern artists. The old iconography with two standing figures was soon changed into three sitting figures, with the child in the middle. Bibliografia: Meder 43,a/c. Dimensioni 71x116. Meder 43,a/c. Dimensioni 71x116. Dimensioni. Seller Inventory # 4301

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La Vie de la Vierge: DÜRER (Albrecht) /

DÜRER (Albrecht) / RAIMONDI (Marcantino)

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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

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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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Di Alberto Durero [.] Della simmetria de: Dürer, Albrecht

About this Item: presso Domenico Nicolini (In Venetia: appresso Domenico Nicolini, 1591)., In Venetia, 1591. Folio (324x216 mm), modern half vellum binding, with decorated paper at boards, lettering in black types at spine; pp. [6], 143 [i.e. 141], [1] leaf, [3] leaves of folding plates. Nicolini's device on title and colophon leaf. One folding woodcut plate and 3 double-page woodcut plates on 3 leaves (one inserted at quire Q), woodcut illustrations throughout (folding plate repaired on verso). Xyl. historiated initials. Some mistakes in page numbering. UNCOMMON FIRST ITALIAN TRANSLATION OF THE FAMOUS TREATISE BY ALBRECHT DÜRER ["VIER BÜCHER VON MENSCHLICHER PROPORTION"], A FUNDAMENTAL WORK IN ANATOMY PICTORIAL HISTORY. First edition in Italian, translated from Latin by Gallucci with the addition of a fifth book with considerations about art and poetry. The woodcuts are copied from the first edition, posthumously published at Nuremberg in 1528. This famous Durer's work was the synthesis of his belief that beauty was related to mathematical proportion. He makes the height of the human body the basic measurement of form. Books I and II treat of the mathematical and geometrical construction of forms; books III and IV consider the problems of variation and movement, leading to difficult and intricate considerations of spatial geometry, and finally the construction of his famous 'cube man'. Provenance: Handwritten inscription at bottom of title-page (Libro di Domenico Falia .) and at last leaf verso (Addi, 21. Febraro 1651 .). Armorial ex-libris on a label glued at front paste-down (Ugo Sissa). References: IT\ICCU\BVEE\002937 and IT\ICCU\PARE\067808. CNCE 17841. OCLC, 8386627. Cond.: Beautiful copy with restorations of small worm-holes on the bottom margins of some leaves, other little holes not restored; some little tears well repaired. Presence of occasional brownings, ink-spots and water-stains, but overall a good to very good copy, complete. 1155g. BUONO/MOLTO BUONO (GOOD/VERY GOOD). Seller Inventory # 1679

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Albrecht DURER

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About this Item: 1525. Xilografia, 1525, datata in lastra in basso. Magnifica prova, particolarmente contrastata, impressa su carta vergata coeva con filigrana "scudo sormontato da corona", completa della linea marginale , piccolo restauro all’angolo superiore destro, in ottimo stato di conservazione. Assolutamente controversa la catalogazione di questa importante opera; attribuita dal Bartsch ad Albrecht Durer, quindi dal Pauli ad Hans Sebald Beham, recentemente Zurwesten la inserisce di nuovo nell’opera del Durer, considerandola come il più importante lavoro del maestro nel campo degli ex-libris. Gli esperti oggi concordano sul fatto che il Durer stesso disegnò questo lavoro, poi intagliato da Hieronymus Andreae Resch, come dimostrato dal monogramma posto vicino alla data "R A 1525" (Resch anno 1525). Nell’Europa del nord del primo Rinascimento un considerevole gruppo di artisti si dedicò alla realizzazione degli ex-libris, molto richiesti da personaggi importanti per identificare il possesso di libri ed oggetti d’arte. Dal 1490 sono riscontrati diversi esempi di lavori del genere, nella scuola di Norimberga ed in particolare dei Piccoli Maestri; la loro qualità estetica ebbe un notevole sviluppo con il passare degli anni, aumentando nel numero degli ornamenti e nella finezza dell’intaglio. Hector Pomer era un prelato della chiesa di San Lorenzo in Norimberga, per questo l’ ex-libris raffigura San Lorenzo, nella classica iconografia con la graticola e la palma del martirio. Fantastico esemplare. Woodcut, 1525, dated on plate at lower edge. Magnificent work, particularly disputed, printed on contemporary laid paper with "shield with crown" watermark, with complete borderline, tiny restoration on the upper right corner, in excellent conditions. The cataloguing of this work is extremely controversial; it has been first ascribed to Albrecht Durer by Bartsch; then to Hans Sebald Beham by Pauli. Zurwesten has lately included it again in Durer’s work, considering it the most important piece of the master in the field of ex-libris. Nowadays, the experts agree that Durer himself prepared the drawing of this work, afterwards carved by Hieronymus Andreae Resch, as it is shown by the monogram "R A 1525" (Resch, year 1525). In the northern Europe of the first Renaissance,a large group of artists was used to realize many ex-libris, much in demand among famous people to identify their possession of books and pieces of art. Starting from the year 1490, we have had many examples of the genre, mainly from the school of Nuremberg and particularly from the so called Little Masters; their aesthetic qualities have had a great development in the years, increasing the number of ornaments and the perfection of the carving. Hector Pomer was a Provost of the church of St. Laurence in Nuremberg; that is why here we find St. Laurence portrayed with the gridiron and the palm of martyrdom, according to the classical iconography. Excellent work. Bartsch 163, Pauli 1352, von Zurwesten p. 24. Dimensioni 197 295mm. Seller Inventory # 2608

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Albrecht DURER

Art / Print / Poster
Softcover

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From: Libreria Antiquarius (Roma, Italy)

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About this Item: 1526. Bulino, 1526, datato e monogrammato in lastra in basso a sinistra. Esemplare nella seconda variante di cinque descritta dal Meder. Ottima prova, impressa su carta vergata coeva, rifilata alla linea marginale, in ottimo stato di conservazione. Opera della tarda maturità del Dürer, il San Filippo, appartiene alla serie degli Apostoli, questa risulta la più nobile e gradevole figura della serie. Engraving, 1526, dated and monogrammed on plate at the bottom left. Example in the second variant of five described by Meder. Excellent proof, printed on contemporary laid paper, trimmed to the marginal line, in excellent condition. Work of the late age of Dürer, San Filippo, belongs to the series of the Apostles, this is the most noble and attractive figure in the series. Meder 48 b/e; Strauss, The intaglio prints of Albrecht Dürer, p. 286, 103; Panofsky 153; Winkler p. 328. Dimensioni 70x120. Dimensioni. Seller Inventory # 4703

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Albrecht DURER

Art / Print / Poster

Quantity Available: 1

From: Libreria Antiquarius (Roma, Italy)

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About this Item: 1512. Bulino, 1512, monogrammato e datato in lastra. Della serie "La Piccola Passione su rame". Esemplare nella prima variante di tre descritta da Meder (Meder a). Magnifica prova, nitida e ben contrastata, impressa su carta vergata coeva, rifilata alla linea marginale, in ottimo stato di conservazione. Engraving, dated 1512, with monogram at lower left. From the series "The Small engraved Passion". Example of the first issue (of three) described by Meder. Magnificent impression, printed on contemporary laid paper, trimmed to the platemark, in very good conditions. Bartsch, 9; T.I.B. 009; Meder 9 a/c. Dimensioni 72 116mm. Seller Inventory # s29878

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About this Item: Original woodcut. (Nürnberg/Nuremberg) 1504. Impression from c. 1600. Signed in plate with monogram. 29,6x20,8 cm. With 0,5 cm margins. A well-preserved, clean print. Mounted in modern silver-painted wooden frame. * Bartsch 79, Meder 191. Printed with the original woodblock. Seller Inventory # 598046

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DÜRER, ALBRECHT.

Used
Signed

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From: Vangsgaards Antikvariat Aps (Copenhagen, Denmark)

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About this Item: Original woodcut. (Nürnberg/Nuremberg c. 1509). Impression from Venice 1612. With Italian printed text on verso. Signed in plate with monogram. 12,6x9,9 cm. Trimmed to the edge. A minimal hole in middle of motive (only visible from verso). Small marginal tear on the lower right side. Mounted in modern silver-painted wooden frame. * Bartsch 43, Meder 152. From an Italian book edition of The Small Passion. Printed with the original woodblock. Seller Inventory # 598043

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Grabador: Dürer, Albrecht, Dibujante:Dürer, Albrecht

Published by Alemania

Art / Print / Poster

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From: Palau Antiguitats (Barcelona, Spain)

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About this Item: Alemania. A partir de ALBRECHT DÜRER (1471-1528) Copia de la famosísima estampa de Dürer realizada en 1513, probablemente realizada en Alemania o en Holanda en el siglo XVII. Estampación ligeramente movida en la zona superior izquierda. Buen estado de conservación. Siglo: XVII.Buril. Papel verjurado. Grabador: Dürer, Albrecht. Dibujante: Dürer, Albrecht. 1513. Edición siglo XVII. Altura papelt: 245. Anchura papel: 188. Altura plancha:. Anchura plancha: Seller Inventory # G01553

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Die Beschneidung Christi (The Circumcision of Christ): Dürer, Albrecht

Dürer, Albrecht

Published by (Germany (1511)

Used

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From: Bromer Booksellers, Inc., ABAA (Boston, MA, U.S.A.)

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

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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)

Used
First Edition
Hardcover

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From: Schilb Antiquarian (Columbia, MO, U.S.A.)

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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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