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DURER, Albrecht (1471-1528).

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

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

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

DÜRER, Albrecht (1471-1528).

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

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DÜRER, Albrecht

Published by Paris Christian Wechel 1532. (1532)

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

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DURER, Albrecht (1471-1528).

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

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

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Dürer, Albrecht (1471 – Nürnberg – 1528)

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

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Dürer, Albrecht

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Item Description: 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. Bookseller Inventory # 1059

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Dürer, Albrecht

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Item Description: 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. Bookseller 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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Item Description: in aedib. viduae Durerianae, Nürnberg, 1532. Hardcover. Book Condition: Very Good. 1st Edition. Folio - over 12 - 15" tall. 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. Bookseller Inventory # 002588

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Nuremberg; Durer, Albrecht

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Item Description: 1522. Nuremberg, 1522. First edition (illustrator). With a Full-Page Allegorical Frontispiece by Albrecht Durer [Nuremberg]. [Durer, Albrecht (1471-1528)]. Reformacion der Stat Nuremberg. [Nuremberg: Fridrichen Peypus, 1522]. [xxxvi], 30, 208 ff. Folio (12" x 8"). Contemporary panel-stamped reversed calf (with traces of gilt stamping), early repairs to spine ends, clasps present and intact, endpapers renewed at some point. Some rubbing to extremities, chipping to head of spine, a few scuffs and stains to boards, small crack to front joint, rear hinge cracked due to worming, minor worming to fol. 208. Allegorical frontispiece by Durer featuring Lady Justice and a female figure representing charity, attractive woodcut decorated initials throughout. Light toning to text, some leaves lightly browned, faint stains and foxing to a few leaves, wide margins. "1522/ jahre" to title page in near-contemporary hand, interior otherwise clean. * First 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. Bookseller Inventory # 60609

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Dürer Albrecht

Published by Friessem, Köln (1680)

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

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Dürer, Albrecht (1471 – Nürnberg – 1528)

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

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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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From: Pazzo Books (ABAA-ILAB) (Boston, MA, U.S.A.)

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

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Item Description: 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. * Bartsch 79, Meder 191. Printed with the original woodblock. Bookseller Inventory # 598046

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DÜRER, ALBRECHT.

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From: Vangsgaards Antikvariat Aps (Copenhagen, Denmark)

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Item Description: 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. * Bartsch 43, Meder 152. From an Italian book edition of The Small Passion. Printed with the original woodblock. Bookseller Inventory # 598043

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

Dürer, Albrecht

Published by (Germany (1511)

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Item Description: (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). Bookseller 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 Hardcover First Edition

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

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Item Description: Arnhem : Jean Jeansz, 1614., 1614. Hardcover. Book 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. Bookseller Inventory # ABE-1490480306742

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Item Description: Original woodcut. (Nürnberg/Nuremberg c. 1501-1502). Impression from c. 1600. Signed in plate with monogram. 29,8x21,2 cm. Trimmed to the edges. A well-preserved, clean print. * Bartsch 90, Meder 202. Printed with the original woodblock. Bookseller Inventory # 598048

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Durer, Albrecht

Published by R. Ackermann, London (1817)

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

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DÜRER, Albrecht

Published by [Officina Bodoni], Verona (1971)

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From: Leopolis (Kraków, Poland)

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Item Description: [Officina Bodoni], Verona, 1971. Hardcover. Book Condition: Fine. 8o (23 x 15 cm), publisher's morocco backed boards, slipcase. Copy No. 1 from 135 published. Bookseller Inventory # 004392

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Maria mit dem Jesuskind im Kreise einiger: Dürer, Albrecht (

Item Description: Bildmaß ca. 29 x 21,5 cm. Das Blatt untenstehend mit dem typischen *AD *- Monogramm Dürers sowie der Nummerierung 17. Links unten mit Signatur *ND F* sowie oben auf dem Kerzensockel mit *MA F*. Das Blatt unter Passepartout und Glas gerahmt ( ungeöffnet ), Rahmenmaß: 42,5 x 34 cm. Das Blatt unten links berieben und zu den Ecken hin jeweils gering fleckig ( wohl durch alte Montage bedingt ) das Blatt rechts außen im Bereich der Säule mit kleiner Fehlstelle durch Bereibung, Das Passepartout gering fleckig, der Rahmen gering bestoßen. ( Lagerort Richey: 1.OG ) ( ungeöffnet - leider sind einige Pics mit Blitzlichtreflexion - diese sich bitte wegdenken ) ( Pic erhältlich // webimage available ). Bookseller Inventory # 14864

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

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

Benedictus Chelidonius Musophilus; Robert Fitzgerald (Translator)

Published by [Officina Bodoni], Verona (1971)

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From: Swan's Fine Books, ABAA, ILAB, IOBA (Walnut Creek, CA, U.S.A.)

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Item Description: [Officina Bodoni], Verona, 1971. Hardcover. Book Condition: Fine. Durer, Albrecht; Farina, Leonardo (illustrator). Limited Edition. 8vo - over 7" - 9" tall. 217 p. Limited Edition of 140 copies of the English version, this no. 19, with the woodcuts re-engraved by Leonardo Farina, the eminent Italian master in this field, with prospectus. Albrecht Durer (1471-1528) was the most renowned German artist of the Renaissance in Northern Europe; painter, draughtsman, printmaker, and writer, Durer was extraordinarily gifted and influential in the development of the art of printmaking. Among his most famous works were a series of woodcuts on religious subjects: in 1511, he produced the Little Passion series, which were published that same year with the poetry of Brother Benedictus Chelidonius (d. 1521) in a book entitled "Passio Christi ab Alberto Durer". This release of "The Little Passion" was produced in 1971, with the Italian master engraver Leonardo Farina commissioned to re-engrave Durer's original woodcuts in honor of the 500th anniversary of his birth. In addition to the superb woodcuts, this edition features an English translation of the original Latin poetry. ***DESCRIPTION: Bound in brown half-leather over tan laid paper boards, publisher's device in gilt on front, gilt lettering on the spine, top edge gilt, plain endpapers, thirty-seven woodcuts by Durer including the smaller one on the title page, the woodcuts are interspersed with the Latin text, English text follows in a separate section, limitation statement on the colophon page; octavo size (almost 9" tall), pagination: (1)-215, blank (216), colophon page (217), prospectus loosely laid in. Publisher's matching slipcase is covered in the tan laid paper, brown leather at the top and bottom openings. ***CONDITION: Volume is fine, with a strong, square text block, solid hinges, perfectly straight corners with no rubbing, the interior is clean and bright, and it is entirely free of prior owner markings. The publisher's matching slipcase is near fine, with a very light stray mark on one side, else fine. ***POSTAGE: International customers, please note that additional postage may apply as the Abe standard does not always cover costs; please contact us for details. ***Swan's Fine Books is pleased to be a member of the IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help. Bookseller Inventory # CNJL264

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

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DÜRER, Albrecht

Published by [Officina Bodoni], Verona (1971)

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From: Leopolis (Kraków, Poland)

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Item Description: [Officina Bodoni], Verona, 1971. Hardcover. Book Condition: Fine. 8o (23 x 15 cm), publisher's morocco backed boards, slipcase. Copy No. 129 from 140 published. Mardersteig 173. Bookseller Inventory # 004394

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Dürer, Albrecht (1471-1528):

Published by O.O., o. J

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From: EOS Buchantiquariat Benz (Zürich, Switzerland)

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

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

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

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

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

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Dürer, Albrecht (1471-1528):

Published by Augsburg, datiert 1608. (1608)

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From: Antiquariat Braun (Gengenbach, Germany)

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

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

Used

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Item Description: 1516. Gleichmäßiger, feinzeichnender Druck mit schmalem Rändchen um die Plattenkante. Auf feinem Bütten. Vgl. Bartsch 32; Meder 37a; Hollstein German 37; Strauss 85; Schoch / Mende / Scherbaum 81. Gegenseitige Kopie nach Dürer. Verso mit zwei Sammlerstempeln: Freiher von und zu Aufsess, Nürnberg (vgl. Lugt 2749, 2750). "ER" (Nicht identifiziert, Lugt 899) - Sammlerstempel nach recto durchschlagend. Verso Montierungsreste. Randeinrißchen an der linken Blattkante, untere rechte Ecke restauriert. Sprache: Deutsch Gewicht in Gramm: 0 11,5 x 7,2 cm. Papier: 12 x 7,7 cm. Bookseller Inventory # 140855

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DURER ALBRECHT.

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

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