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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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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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Life of the Virgin Mary]. [Bologna?, ca.: DÜRER, Albrecht and

About this Item: Bartsch 621-637 (also in The Illustrated Bartsch, vol. XXVII); BDPI 1630611; Delaborde 235-251; Shoemaker et al., The engravings of Marcantonio Raimondi (1981), pp. 22 et al. A complete series of 17 engraved prints of the life of the Virgin Mary, printed in Italy ca. 1685/90 from the original copper plates engraved ca. 1506 by Marcantonio Raimondi (ca. 1480-ca. 1527/34) after the 17 woodcuts that had so far been completed of what was to be a series of 20 by Albrecht Dürer (1471-1528). Together with Lucas van Leyden, Dürer and Raimondi were the great pioneers of 16th-century graphic art, and Raimondi in particular established the copperplate print as the medium of choice for reproducing works of art from other media. The series is important both as a high point in the history of art and engraving and for its religious content, but also for the views it gives of life ca. 1500.The coat of arms on the slipcase matches Rietstap's arms for the Milan family Cavazzi, Counts of Somaglia. In very good condition and with large margins. Binding somewhat worn and with a few cracks and minor stains. Seller Inventory # F686L901U79O

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Albrecht Durer, Salvator Rosa

Published by Private, Italy (1514)

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

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De Symmetria partium in rectis formis humanorum: DÜRER, Albrecht

DÜRER, Albrecht

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

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

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DURER, Albrecht (1471-1528).

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

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

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Dürer, Albrecht (1471 – Nürnberg – 1528)

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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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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 right edge. 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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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 Featuring Lady Justice, Her First Appearance in a Book [Nuremberg]. [Durer, Albrecht (1471-1528)]. Reformacion der Stat Nuremberg. [Nuremberg: Fridrichen Peypus, 1522]. [xxxvi], 30, 208 ff. Folio 12" x 8" (30.5 x 20 cm). 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 edition, and only edition with Durer's frontispiece, which includes an image of Lady Justice. This was the first time her image appeared in a book. 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, Dure. Seller Inventory # 60609

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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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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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DÜRER, ALBRECHT.

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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

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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)

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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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Durer (Albrecht)

Published by [c.1596 - 1600]. (1600)

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About this Item: [c.1596 - 1600]., 1600. A woodblock print on paper, with the watermark of a two-headed eagle with a five-petal flower (estimated 1596 - 1600). Size of image is 209mm x 299mm. The sheet measures 230m x 320mm. A little wear to upper corners, short tear at center of upper margin (not touching image), residual paper tape in three spots on the verso of the upper edge, light horizontal crease at center, but quite a nice copy overall. Good margins, well outside the borderline on all four sides. Originally executed in 1504/05 for The Life of The Virgin, published in the 1511 edition. [Bartsch 92. Meder 204]. This impression is estimated to have been printed c.1596 - 1600. Seller Inventory # 55559

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Durer, Albrecht

Published by R. Ackermann, London (1817)

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First Edition
Hardcover

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

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

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About this Item: 1519. Auf Bütten. Meder 100. Schoch/Mende/Scherbaum 89. Dürer ließ 1520 die Platte und 200 Abdrucke an Cardinal Albrecht von Brandenburg ausliefern. Das Blatt wurde als Titelblatt und Illustration des Halleschen Heiligtumbuches, erschienen1520, verwendet (Germanisches Nationalmuseum, Nürnberg), die Anordnung des Textes weicht vom der ursprünglichen Platte ab. - Kardinal Abrecht von Brandenburg (1490-1545) hatte im Laufe seines Lebens viele Ämter und Titel. Er war der Ranghöchste geistliche Würdenträger im Heiligen Römischen Reich Deutscher Nation. Ab 1514 - 1541 war seine Residenz in Moritzburg in Halle an der Saale. Markgraf von Brandenburg, Erzbischof von Magdeburg, Apostolischer Administrator von Halberstadt, Kurfürst und Erzbischof von Mainz, Erzkanzler des Heiligen Römischen Reiches, Kardinalpriester von San Crisogono und Kardinalpriester von San Pietro in Vincoli. Eine umfangreiche Reliquiensammlung, genannt "Hallesches Heiltum", die Albrecht von Brandenburg von seinem Vorgänger übernommen hatte und fleißig erweiterte und mit Ablasshandel finanzierte, wurde in obigem Werk publiziert. - Die Vorzeichnung zu dem Porträt Albrecht von Brandenburgs (1490-1545) entstand 1518 während des Augsburger Reichstags. Heller weist darauf hin, dass aufgrund der Anordnung der kleinen Wappenschilder geschlossen werden könne, dass Albrecht von Brandenburg hier in seiner Würde als Erzbischof von Magdeburg dargestellt sei (Abfolge der Wappen: Erzbistum Magdeburg - Erzbistum Mainz - Halberstadt, Heller Dürer 1827). - Schwache Knickspuren im Textrand geglättet, dort auch kleinere Einrisse. In den oberen Ecken lose montiert. Sprache: Deutsch 12,1 x 9,6 cm (Darstellung) 15,7 x 9,6 cm (mit Text). Gesamte Blatt 34,5 x 20,3 cm. Seller Inventory # 170274

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

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

Published by Paris, Charles Tanera (1870)

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

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

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DÜRER, Albrecht der Ältere (1427-1502) Goldschmied:

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Softcover

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About this Item: Lithographie m. Tonplatte v. Strixner n. Dürer, 1814, 50 x 37,1 (H) Winkler, 831 - 34, 2 (hellgrau/dunkelgrau, glattes Papier). - Laut Winkler außen mit vollem Ton eingedruckt und nur ein Rand von 2mm blieb ohne Druck. Alt auf einen Untersatzkarton geheftet. Sehr schön erhaltene Inkunabel der Lithographie. - Selten. Seller Inventory # 323175

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DÜRER, Albrecht der Ältere (1427-1502) Goldschmied:

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Softcover

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From: Antiquariat Nikolaus Struck (Berlin, B, Germany)

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About this Item: Lithographie m. Tonplatte v. Strixner n. Dürer, 1814, 50 x 37,1 (H) Winkler, 831 - 34, 2 (hellgrau/dunkelgrau, glattes Papier). - Laut Winkler außen mit vollem Ton eingedruckt und nur ein Rand von 2mm blieb ohne Druck. Alt auf einen Untersatzkarton geheftet. Sehr schön erhaltene Inkunabel der Lithographie. - Selten. Seller Inventory # 323175

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Dürer Albrecht (1471 - 1528)

Published by Artist: Dürer Albrecht ( - 1528); date: ca 1800 (1471)

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From: Antique Sommer& Sapunaru KG (München, Germany)

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About this Item: Artist: Dürer Albrecht ( - 1528); date: ca 1800, 1471. - technic: Copper print; - colorit: - condition: Perfect condition; - size (in cm): 32 x 22; - description: Albrecht Dürer, Hercules at the crossraod. Later copy of the copperprint from Albrecht Dürer, with copperplate margin on deckle edged paper, ca 1800. Seller Inventory # DA0699_500

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

About this Item: 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. Laut dem dankenswerten Hinweis von Dr. Cox / Niederlande könnte es sich bei dem alten Holzschnitt aber auch um eine Arbeit von Marcantonio Raimondi ( *1480 - ca. 1534 ). handeln mit der Blätter von Dürer wie auch anderer Renaissance-Künstler nachgeahmt hatte, hier unter mißbräuchlicher Verwendung des Dürer-Monogramms. ( Lagerort Richey: 1.OG ) ( ungeöffnet - leider sind einige Pics mit Blitzlichtreflexion - diese sich bitte wegdenken ) ( Pic erhältlich // webimage available ). Seller Inventory # 14864

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Die Kleine Passion. Mit den Gedichten der: DÜRER, Albrecht:

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

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

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Die Kleine Passion: Chelidonius illus. Albrecht

Chelidonius illus. Albrecht Durer

Published by Officina Bodoni (1971)

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From: Woodbridge Rare Books (Martlesham, United Kingdom)

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

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Dürer, Albrecht (1471-1528):

Published by O.O., o. J.

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From: EOS Buchantiquariat Benz (Zürich, Switzerland)

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About this Item: 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. Seller Inventory # 285BG

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

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Prayer Book of Emperor Maximilian I 1515: Maximilian I. Albrecht

Maximilian I. Albrecht Durer. Lucas Cranach. James Layng Mills

Published by James Layng Mills (1960)

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From: Zubal-Books (Cleveland, OH, U.S.A.)

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About this Item: James Layng Mills, 1960. Condition: Very Good. color facsimile reprint of the 58 plates from the illuminated manuscript; folio, 58 loose plates with title leaf, each plate laid onto heavy white stock with pencilled details in Mills' hand in the top and bottom margins; very good. Photos available upon request. Seller Inventory # ZB1108587

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