Beham Sebald (69 results)

Paperback. Condition: New.

Condition: New. In.

Broschur, 0. 8°, 7, 40 S., Ill., Fraktur, Broschur, Buch gut erhalten, Einband berieben u. etwas angeschmutzt, Ecken u. Kanten abgerieben u. leicht bestoßen, normale Gebrauchsspuren, Papier gebräunt RW 18 R 2/B Sprache: Deutsch 0,100 gr.

Condition: New. In.

datierten Kupferstich von Beham "Leda Iove, in cygnum verso, compressa" (Leda is embraced by Jupiter transformed into a swan) high-quality facsimile/reprint in giclée print with narrow, white border on 250g Schwarzwaldmühle art paper (21x30cm) after a copperplate engraving by Beham dated 1548.

38 : 28,5 cm. 20 Blatt mit 18 ganzseitigen Illustrationen. Original Karton mit Kordelheftung. Herausgegeben vom Jugendschriften-Ausschuss des allgemeinen Lehrervereins Düsseldorf.

Paperback. Condition: New.

Origi.Broschur, 8°, 96 Seiten. Umschlag fleckig und stark beschädigt, mit Einrissen und Fehlstellen. Schnitt etwas stockfleckig, Titelseite staubfleckig, sonst unaufgeschnittenes Exemplar sonst innen gut.

Condition: Good. 4to. [ca 40 pp.]. Very Good. Soft covers. Pages fine. B&W Illustrated plates. Price list present. From the library of Pasquale Iannetti, as indicated by stamp and nameplate on front pages.

Condition: New. Print on Demand.

Condition: New. Print on Demand.

4 Textseiten und 17 Seiten mit Abbildungen. Frakturschrift. Titelseite und letzte Seiten mit ein paar leichte Flecken. Einband etwa nachgedunkelt und Einbanddeckel vorne mit ein paar sehr kleine Flecken, sonst gut. Sprache: Deutsch Gewicht in Gramm: 400 Gr.-Fol. , Softcover/Paperback mit Kordelbindung Hausschatz deutscher Kunst der Vergangenheit, Heft 6.

Dürer, Albrecht - Das Holzschnittwerk von Albrecht Dürer. Kupferstiche von Barthel und Hans Sebald Beham. Versteigerung Sonnabend, den 30. April 1921, durch C. G. Boerner, Leipzig im Limburger-Haus, Neumarkt 35, II. Stock. Versteigerungskatalog Nr. CXXXIV. Limburg. 1921. 43, [1] S. Mit zahlreichen Abbildungen. 4°. OBroschur. mäßige Gebrauchsspuren. . Papierbedingt leicht gebräunt, insgesamt gut erhalten.

8° 2 Bll. + ca. 80 ungez. S. mit faksimilierten Holzschnitten. Orig. - Broschur. Sauber und gut erhalten.

Condition: New. PRINT ON DEMAND.

Blattgröße 27,6 x 37 cm (stärker fleckig)--- - Hans Sebald Beham (* 1500 in Nürnberg, gest. 22. November 1550 in Frankfurt am Main) war ein bedeutender Maler und Kupferstecher - 750 Gramm.

Condition: molto buono. Xilografia (mm 133x90 compresi i piccoli margini bianchi), firmata in basso a destra con il monogramma H(ans)S(ebald)B(eham) a lettere capitali . Il soggetto rappresenta l'ultima cena in un ambiente a volte. Hans ed il fratello Barthel furono operosissimi incisori. Entrambi appartengono a quel gruppo detto dei Kleinmeister, tedeschi, e in ispecie di Norimberga, le cui opere di piccolo formato, d'ornamento o di figura, ebbero notevole influenza sulle arti minori.  Ambedue seguaci del Dürer. Grazie a loro le forme dell'arte italiana penetrarono nel Rinascimento tedesco. I motivi ornamentali delle loro incisioni si compongono di grottesche e di volute, di mezze figure, di figure d'uomini e bambini, cui specialmente Barthel riesce a dare mosse e atteggiamenti vivaci. Esemplare ben inchiostrato con piccolo restauro all'angolo (bianco) inferiore destro.This superb original woodcut is entitled ''The Last Supper'', from Passion.   Sebald Beham (1500-1550) was a German painter and printmaker, especially noted for his engravings. Born in Nuremberg, he spent the later part of his career in Frankfurt. He was one of the most important of the ''Little Masters'', the group of German artists making prints in the generation after Dürer. His early work was done under the shadow of Dürer, who was still working in Nuremberg, and one early woodcut ''Head of Christ'', to which the ''AD'' monogram was added in the second state (though probably not by Beham), was long misattributed to Dürer by Adam Bartsch and others. He also borrowed from his brother Barthel's rather more original works. In his later work he boldly re-interpreted many of Dürer's most famous prints in works such as his Melancholia of 1539, exploiting the difference in scale between his work and the original. His name is often given as Hans Sebald Beham, although there is no documentary evidence that he ever used this additional forename Hollstein, German, III, 180. Thieme-Becker, Künstler-Lexikon, III, Lipsia 1909 . Book.

Condition: Good. Reichsdruckerei facsimile of the woodcut. 25 x 117.5 cm. Reichsdruckerei Nr. 248.

Condition: Good. Reichsdruckerei facsimile of the woodcut. 24.5 x 16.5 cm. Reichsdruckerei Nr. 247.

Condition: New. Print on Demand.

Condition: New. Print on Demand.

Lithographie v. Franck, 1813, 8 x 7 (H) Blattgr. 31 x 23,3 Inkunabel der Lithographie. Winkler 223, 15. - Kreidelithographie von Maximilian Franck. - Minimal fleckig, insgesamt gut erhalten.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1907 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set and contains approximately 44 pages. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: German.

Condition: New. PRINT ON DEMAND.

Condition: Very good. - sc - A superb reproduction of Hans Sebald Beham's 1542 engraving "The Little Buffoon" on 4-1/4 inch high by 6 inch wide watermarked paper. The 1-7/8 inch high by 3-1/8 inch wide measurements of the engraving matches that of the original as do all other details. The image protrays a "fool" with donkey ears and bells on his helmet, carrying a noisemaker, his stool in a pile beneath him. The buffoon has, in two places, broken through the banderoles upon which is written the crude verse "On dir hab ich gerisen das ich mich hab beschisen" [I have written on you that I have beshit myself]. There are stains at the top corners from the remnant of glue from the mounting tape which once adhered to the verso. Else, a near fine strong engraving. Born in Nuremberg Hans Sebald Beham (1500-1550) was one of the Northern Renaissance Little Masters, so called because of their eminence in producing small scale engravings such as "Ornament with Two Genii Riding on Two Chimeras". Although, as with his brother Barthel it can't be determined with any certainty, some believe he may have trained under Durer and produced his first engraving in 1518.

8° 12 Bl. Einleitung, 91 S. mit 11 Abb. im Text, Opgt. m. goldgepräg. Rückentitel, Nr. 96 von 100 Exempl. auf Bütte, nicht beschnitten, leicht angestaubt, guter Zustand 24, gr schr Sprache: en.

Sebald Beham (illustrator). '(MONOGRAM) DH'3 Military figures (Landsknechten)Made by Daniel Hopfer after Sebald Beham.Medium: Etching on iron plate on hand laid (verge) paper. Watermark: unclear.Sheet size: 38 x 21.1 cm (14.96 x 8.31 inch). Image size: 37 x 20.2 cm. (14.57 x 7.95 inch).5 GERMAN LANDSKNECHTEN-SOLDIERS-MUSIC-DRUM-FLUTE | EXPO-GERMANBACKGROUND INFORMATIONThe Hopfers signed the majority of their prints with a device resembling a fir-cone, the emblem of Augsburg. Many of their iron plates were reprinted at least twice: 230 plates were reissued, with numbers added, in the seventeenth century by David Funck (1642-1709) at Nuremberg, part of 'Oparae Hopferianae' and in 1802 ninety-two plates were published by C.Wilhelm Silberburg at Frankfurt (British Museum, inv. nos. 1940,0810.20(1/92)), part of 'Opera Hopferiana'. The existence of certain numbered impressions on good sixteenth-century paper has also been noted (see T. Falk in Hollstein, p. 5). The paper on this impression appears to be 16th.c.Reference: Bartsch 66; Hollstein 74 I (of III).Provenance: Collection marks: AB (Andreas Boerner, c. 1860; Lugt 68), vD in double circle (Baron H.A. von Derschau (-1824): Lugt 2510), Kupferstichsammlung der Königl. Museen (Lugt 1606), Tilgungs Stempel K.K.C. (Staatliche Museen; Lugt 2398).Biography engraver: Daniel Hopfer (1471-1536) was the son of the painter Bartholomäus Hopfer of Kaufbeuren in Swabia, Daniel became a citizen of Augsburg in 1493 and is recorded as a master painter in the same year. Worked as an armourer in Augsburg. He was the earliest artist to adapt the practice of etching on iron to printmaking and to make a significant profession out of it. He produced 145 etchings and his sons, Hieronymus (c.1500-63) and Lambert (active c. 1525-50), continued the family reputation as etchers for a generation in Augsburg and Nuremberg. Daniel also designed a few woodcuts, chiefly ornamental borders for book illustrations (Hollstein, 146-155). In 1524 the Emperor Charles V conferred on Hopfer a coat of arms for his "true accomplishments in the service of the Emperor and Empire" (Eyssen, p. 37). He was an active supporter of the Reformation. Source: British Museum. Condition: very good, given age. Some remains of paper tape on rear from attachment. Litht creasing. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Engraving on laid paper, 1 7/8 x 3 5/8 inches (47 x 92 mm), thread margins. Ex-collection D.G. de Arozarena (Lugt 109) with his collector's mark in blue ink on verso. Scattered superficial skinning throughout with a soft central crease, as well as several scattered light pencil inscriptions on the verso. All condition points are consistent with age. [Hollstein 97]. Hans Sebald Beham (1500 - 1550) is mainly known for his very small engravings. Born in Nuremberg, he spent the later part of his career in Frankfurt. He was one of the most important of the "Little Masters," the group of German artists making prints in the generation after Dürer. A note on the provenance: D.G. de Arozarena was a collector of South American origin; he arrived in France in 1859 and after two years had built an important collection of prints and drawings. He sold it in 1861 on his return to South America.

Engraving on laid paper, 7/8 x 5 3/8 (22 x 136 mm), thread margins. Fine impression. A fine first state (of 3) impression, with the collector's stamp of Pieter M.M. Hoogeweegen in black ink on verso (variant of Lugt 2101A). In very good condition with some light notations in pencil on the verso. [Hollstein/Bartsch 143]. Hans Sebald Beham (1500 - 1550) is mainly known for his very small engravings. Born in Nuremberg, he spent the later part of his career in Frankfurt. He was one of the most important of the "Little Masters," the group of German artists making prints in the generation after Dürer. German Renaissance artist Hans Sebald Beham created many "Triumphfzug" engravings, which depict processions, most notable is the series Triumphfzug der edlen und sieghaften Weiber (Triumphal Procession of the Noble Glorious Women), from which this image comes. The series, which was completed in 1549, features a grand, continuous frieze of exalted figures, chariots, and musicians, often with classical or allegorical themes.

Titel innerhalb figürl. Holzschnittrahmen. Folge von 80 Orig.-Holzschnitten mit lateinischen und deutschen Legenden in Typographie. Zus. 81 Holzschnitte. 40 Bll., davon das letzte leer. Kl.-4to. Olivfarbenes Ganzmaroquin über 5 Bünden mit goldgepr. Rückentitel, Steh- und Innenkantenvergoldung. Spiegel in rotem Maroquin, marmor. Vorsätze (sign. Thibaron-Joly). Vollständige Folge der achtzig in Holz geschnittenen Figuren zum Alten Testament von der Hand des deutschen Kleinmeisters Sebald Beham (Nürnberg 15001550 Frankfurt a. M.). Die Holzschnitte Behams wurden 1533 in Frankfurt a. M. erstmals als Folge publiziert und kamen ein Jahr später in der bei Egenolph gedruckten Vollbibel zur Verwendung. Die vorliegende, ohne Impressum erschienene Ausgabe wird von Rosenthal und Pauli auf 1538 datiert. Unser Exemplar wurde im 19. Jahrhundert stellenweise fachmännisch restauriert, gewaschen und gelatinisiert und im Atelier Thibaron-Joly (Paris 18741885) meisterhaft gebunden. Ein hervorragendes Beispiel von bis heute nicht mehr erreichter konservatorischer Handwerkskunst in Verbindung mit höchster französischer Einbandkunst. Eine bibliophile Perle! Provenienz: Hans Fretz, Zürich (18881955), mit vierzeiliger Widmung seines Geschäftspartners Günther Wasmuth (gest. 1974) an denselben aus dem Jahr 1948. 1928 gründeten Fretz und Wasmuth einen Verlag in Zürich, zu dessen Autoren auch Hermann Hesse gehörte. VD 16 B 1470; Ludwig Rosenthal, H. S. Behams alttestamentarische Holzschnitte und deren Verwendung zur Bücherillustration. In: Repertorium f. Kunstwiss. Bd. V, S. 379ff. (dort die Nr. 27 mit 2 in München nachgewiesenen Exemplaren); Gustav Pauli, H. S. Beham. Ein kritisches Verzeichnis seiner Kupferstiche, Radierungen und Holzschnitte () (1974), Nrn. 277356 (die 80 Holzschnitte) und Nr. XI, S. 271 (die gesamte Folge in der vorliegenden Edition).