Schedel (312 results)

Hardcover. Condition: Fine. No Jacket. 1st Edition. The Nuremberg Chronicle. Folio. Size of binding: 12 in. x 17 ¼ in. (30.48 cm x 43.8 cm); Size of pages: 11 7/8 in. x 16 9/16 in. (30.16 cm. x. 42.06 cm.) [20 ff.] 300 ff. (last one unnumbered); 6 ff. numbered by hand in pencil. The six folios following the 300 are unnumbered, and consist of one blank folio and five folios with the printed Supplement. This is a tall copy with wide margins on all edges. First Latin edition with two contradictory colophons, the second of which gives the date of July 12, 1493 as the date of completion. This copy begins with an index (table) of 19 leaves, preceded by an impressively lettered title page printed by xylography. The book contains 1809 picture-prints (645 individual woodcuts and 1164 repetitions). There are 26 double-page engravings of views of cities; some of these were apparently based upon sketches made on the spot. Sixty-nine other views of cities are based upon 22 woodcuts. Prints of individuals number 598, based on 96 different woodcuts. (This copy includes, unmarked, the famous portrait of "Pope Joan," which was removed from or defaced in many copies. It appears on the verso of leaf CLXIX [169]). There is no indication on individual prints identifying the artists, but Michael Wolgemut, the well-known teacher of Albrecht Durer, and his stepson, Wilhelm Pleydenwurff, are mentioned in the second colophon (folio CCC). A map of Europe and a map of the World are included. There are two colophons; the first, at folio 266, does not name the printer; it gives the date June 4th (1493). The second colophon is on the verso of (unnumbered) folio CCC, and gives the date of completion as July 12, 1493. Folios numbered 259-261 (CCLVIIII-CCLXI) are blank except for headlines. Full dark brown leather with six raised bands, gilt titling, blind-stamped designs in compartments; blind-stamped borders and designs on the covers. A small label reading "From Leighton's London" appears in the lower right corner of the front paste-down. The first page of the index has an illuminated capital latter "A." The initial letters in the index are finely and delicately illuminated in red and blue; the coloring is contemporary. Folio I shows a large, finely illuminated initial; rubrics are in red and blue throughout this copy. On the xylographic title page there appear additional titling in neat ink inscriptions. The headline on folio 193 (CXCIII) is cropped. Folio 98 (XCVIII) shows a tear to the lower right of the margin on the recto but there is no loss of paper and the text is not affected. These two are the only flaws found. In a cloth-covered, fleece-lined slipcase in fine condition. After the Gutenberg Bible, the Nuremberg Chronicle is the most celebrated book printed in the Fifteenth Century. It is a history of the world ab initio (from the beginning) and includes references to contemporary events such as a possible voyage in 1483 to the New World. THIS COPY IS EXTRAORDINARILY FINE; IT IS ALMOST ENTIRELY WITHOUT FLAWS, SECURELY BOUND. Weight is 15 ½ lbs.

Edition : First Edition in Latin., 17th century full calf over wooden boards, rebacked in style, spine with seven raised bands, gilt roulette on the boards with spandrels in the corners, blind-stamped fillets with gilt spandrels in the corners and central gilt design. Boards stamped in gilt with the name of a previous owner, Pierre de Hacqueville (Contemporary binding or slightly later)., Nuremberg, Antoine Koberger pour Sebald Schreyer and Sebastien Kamermaister, This chronicle represents the history of the world illustrated and divided into seven ages, from creation to 1490, the Last Judgement being the seventh age. Published in 1493 by Anton Koberger, one of the great printers of the time, the Nuremberg Chronicle is the work of the German humanist and physician from Nuremberg Hartmann Schedel (1440-1514), who drew his historical and geographical sources from his extensive library, one of the largest book collections of the 15th century. Among the designers and engravers of the woodcuts were the famous Michael Wolgemut (1434-1519), master of Albrecht Dürer, and his son-in-law Wilhelm Pleydenwurff (1460 ? -1494).The chronicle contains 1,800 figures from 645 different woodcuts, spread over most of the folios, some of them very large, with various motifs, including numerous biblical scenes, representations of cities or groups of monuments, figurative genealogical tables, etc. « One of the most extraordinary works ever produced » (The World encompassed)Provenance: illegible handwritten bookplate on title page. "Pierre de Hacqueville" (on the boards) Pierre de Hacqueville, King's Councillor, Corrector of the Chambre des Comptes, - Pierre de Hacqueville, Lord of Pomponne, Grand Master of the Waters & Forests of Brittany, late 16th-early 17th century ., Size : Folio (45 x 31 cm), The most lavishly illustrated incunabulum known as the "Nuremberg Chronicle"., (20) ff., I-CCLVIIII, CCLXII-CCLXVI, (5) ff.n.ch., CCLXVII-[CCC] 17th century calf, rebacked in style, Blank leaves CCLX and CCLXI missing. The 5 unnumbered leaves "De Sarmacia regione" are bound between ff. CCLXVI and CCLXVII but without the unnumbered blank leaf. Handwritten inscriptions in ink on the title - handwritten annotations to some ff., some ff. restored, some light spotting and staining, last map restored. Generally very good.

Encuadernación de tapa dura. Condition: Excelente. 1ª Edición. Fol. (43 x 29,5 cm). Plena piel de época sobre tabla, lomo restaurado, estuche de protección. 20 h. sin num. inc. port., CCIXC h., 2 h. bl., 5 h. sin num. incluyendo el suplemento De Sarmacia y h. bl. Capitulares a mano, en rojo y azul. Magníficamente ilustrado con 1809 grabados en madera, incluyendo mapas del mundo y de Europa, vistas de las principales ciudades europeas. Impresión en caracteres góticos de 64 líneas por plana. El Liber chronicarum, el mayor incunable ilustrado, con más de 1800 grabados en madera, constitye una gran historia universal compilada a partir de fuentes contemporáneas y otras anteriores a su época, por el doctor, humanista y bibliófilo de Nuremberg Hartmann Schedel (1440 1514), y supone uno de los libros más densamente ilustrados y técnicamente avanzados de los comienzos de la imprenta. Contiene 1809 grabados realizados a partir de 645 tacos xilográficos. Michael Wolgemut y Wilhelm Pleydenwurff ejecutaron las ilustraciones hacia 1490, momento en el que su taller estaba en pleno auge artístico y un joven Durero completaba allí su aprendizaje y de quien se cree participó en la elaboración de los grabados (cf. Wilson, The Making of the Nuremberg Chronicle, Amsterdam: 1976). Las vistas de los pueblos y ciudades, grabadas en madera, poseen gran interés artístico y topográfico. Incluye dos mapas a doble página, el mapa mundi basado en la Cosmographia de Pomponio Mela y un mapa de Europa por Münzer. Anotación manuscrita de época en portada, marginalia también de época en algunas páginas. HC *14508; BMC II, 437 (IC. 7451-3); Polain(B) 3469; CIBN S-161; BSB-Ink. S-195; Bod-Inc. S-108; Schreiber 5203; Goff S-307.

First Edition Primera edición. Núremberg, Anton Koberger, 12 de julio de 1493. En gran folio (477 x 330)mm. 326 folios. Tipografía gótica. 64 líneas por página. Con 1.809 magníficos grabados en madera sobre 645 tacos xilográficos diferentes. Encuadernación de mediados del siglo veinte en plena piel, ruedas gofradas en ambos planos. Primera edición de la famosa Crónica de Nuremberg, una narración ilustrada de la historia del mundo, escrita en Núremberg por el Doctor Hartmann Schedel, e impresa por Anton Koberger gracias a la financiación de algunos nobles de la ciudad. Se trata del incunable más densamente ilustrado e integra a la perfección una combinación de texto e ilustraciones. Ejemplar genuino que destaca por sus enormes márgenes. La serie de aproximadamente 1.800 grabados, de varios tamaños, contiene 8 xilografías a toda página, 29 vistas de ciudades a doble página y 2 mapas también a doble página. Los grabados fueron realizados por Michael Wolgemut, Wilhelm Pleydenwurff y Albert Dürer, quien como aprendiz en el taller de Wolgemut, intervino en muchas de las ilustraciones (A. Wilson, The Making of the Nuremberg Chronicle, 1976). Estas ilustraciones representan en su mayoría escenas religiosas tomadas de la Biblia, grandes vistas de ciudades como Hamburgo, Basilea, Colonia, Roma, Viena, etcétera, y dos grandes mapas a doble página, el primero es un mapa del mundo basado en el sistema ptolemaico, el otro es un mapa de Europa. El texto es una revisión histórica, ordenada cronológicamente desde los primeros días de la creación hasta la fecha de publicación en 1493. La Crónica de Núremberg es el incunable más densamente ilustrado y quizá el mejor documentado en cuanto a la historia de su impresión se refiere, del cual se conservan el contrato entre el famoso impresor Koberger y sus socios financieros Sebald Schreyer y Sebastian Kammermaister, el contrato entre Koberger y los artistas que ilustraron el libro, y los manuscritos originales tanto de esta primera edición en latín como la que se publicó varios meses más tarde en alemán; de cada edición se imprimieron unos dos mil ejemplares. Atractivo ejemplar de grandes márgenes, genuino, con algunas anotaciones contemporáneas por el texto y con sus tres hojas blancas excepto por la impresión del encabezamiento y la foliación. Portada restaurada en el margen, sin afectar, ligera mancha en primeras hojas de tabla. fols. 5 y 6 con restauración antigua en el margen interior, fols. 29 y 276 con pequeña mancha de tinta antigua, fol. 53 con mancha en el margen inferior, fols. 76, 85, 104, 221 con pequeña restauración antigua en el margen, fols. 158-9, 170, 238 con pequeña rasgadura en el margen inferior, fol. 169 al verso con etiqueta de expurgación de un párrafo por la Inquisición, sin afectar al texto; fols. 199, 200 y 258 restauración a lo largo del margen inferior, sin afectar; fol. 300 con restauración antigua en la esquina inferior, pequeñas manchas ocasionales generalmente en los márgenes, algunos pliegos ligeramente amarronados. En el verso del folio 298 extensa cita manuscrita en letra humanística elegante "De obitu martini litheri", con fecha de 1545. Procedencia: 1. Joannis Martini, con su escudo dibujado al pie, Doctor en ambos derechos de la Congregación de la Sacra y Santa Inquisición y Protonotario de la Santa Sede Apostólica. First edition of the famous Nuremberg Chronicle, an illustrated narrative of world history, written in Nuremberg by Doctor Hartmann Schedel, and printed by Anton Koberger thanks to funding from some of the city's nobles. It is the most densely illustrated incunabula and perfectly integrates a combination of text and illustrations. Genuine copy that stands out for its huge margins. 477x330mm. (18¾x13").

Hardcover. Condition: Very good. First. THE NUREMBERG CHRONICLE. Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 12 July 1493. First edition. Folio (16 5/8" x 11 13/16", 422mm x 300mm). [Full collation available.] Foll. CCLXIIII and CCLXVII supplied in facsimile; lacking the final blank (or two) after De Sarmacia. With some 1809 woodcuts, integral to the text, by Michael Wolgemut, Wihelm Pleydenwurff and almost certainly Albrecht Dürer. Bound in later dark mottled sheep (rebacked, with the original back-strip laid down), with a gilt fillet border. On the spine, six raised bands. Title (OPVS.CHRONIC./HANN.SCHEDEL.) gilt to red sheep in the second panel. Marbled end-papers. Rebacked, with the original back-strip laid down. First two panels of the backstrip split and coming up. Rubbed at the extremities. First free end-paper coming up. Initials (register-XV) and end-matter (CCXCI-end) mounted onto guards. Lacking leaves CCLXIIII and CCLXVII (supplied in facsimile) and the final blank (or two) after De Sarmacia. Leaf CLXXXVIII with loss to the lower spine-corner, supplied in facsimile. Various repairs (including one in thread to the 18th preliminary leaf). Leaf XCVIII slit horizontally. Leaf CCXCVI soiled at the fore-edge. Generally quite a clean copy, with good margins (albeit some shaved head-lines). Scattered marginalia (one (CXVIIIr) dated to 1555), mostly in secretarial hand. Armorial ex-libris of the convent of the Grands Augustins in Lyon and of Lionel H. Pries to the front paste-down. Pries's bibliographical cuttings pasted to the recto of the initial binder's blank. Obliterated bookplate adjacent to the Grands Augustins ex-libris. Armorial bookplate of a French count on the rear paste-down. Hartmann Schedel (1440-1514) is the historian who compiled the text of the Chronicae, but in some ways his was the least important role in the process of the book. In the era of printing's infancy (incunabula means "swaddling-clothes"), the printers and publishers (including investors) were often the more important agents in the creation of a book. Schedel lived on the same street as nearly all of his partners in the venture. This extraordinary neighborhood of book-producers came together to produce something that far surpassed the long-established genre of chronicles to which it belongs. Two colophons give different accounts of the work's completion; we know that it was begun in December of 1491. The first colophon (fol. CCLXVIr) gives 5 June 1493 as the date of completion. The second (fol. CCCv), which is fuller and gives the names of the publishers, gives 12 July 1493. The lasting appeal of the Chronicle, of which 1,205 copies survive according to the census in the Gesamtkatalog der Wiegendrucke, is its extraordinary woodcuts and their contribution to the overall layout. The cuts themselves vary widely in sophistication, from the almost modernist repeated cut of locusts to detailed city-views (for which the Chronicle is perhaps most famous) and the tight repertory of kings and queens, popes and popesses (Pope Joan on fol. CLXIXv is unmutilated; often zealous owners have scratched out her image or her description), which do not vary based on era or nationality. The volume must have resided for a time in Germany, as some of the marginal comments are in German, though most are in French. The unidentified armorial bookplate on the rear paste-down appears to be the oldest, and is likely French. The next point of ownership is the convent of the Grands Augustins in Lyon. Lionel "Spike" Pries (1897-1968) was a Seattle-based architect who studied at U.C. Berkeley and then at the University of Pennsylvania. Pries directed the Art Institute of Seattle (now the Seattle Art Museum) 1931-1932. BMC II, p. 437; BSB-Ink S-195; Gesamtkatalog der Wiegendrucke M40784; Hain (rev. Copinger), Repertorium bibliographicum II.2 *14508; Klebs, Incunabula scientifica et medica 889.1; ISTC no. is00307000; Sabin 77523; Shirley 19.

"Outlandish creatures and beings that were thought to inhabit the furthermost parts of the earth". Double-page woodcut map. From the famous 'Chronicle of the World', known as the Nuremberg Chronicle, a history of the world, published the year that Columbus returned to Europe after discovering America. "The world map is a robust woodcut taken from Ptolemy What gives the map its present-day interest and attraction are the panels representing the outlandish creatures and beings that were thought to inhabit the furthermost parts of the earth. There are seven such scenes to the left of the map and a further fourteen on its reverse" (Shirley). The map is a copy of the Venetian woodcut added to Pomponius Mela's 'Cosmographia' eleven years earlier, and, like the Mela, shows the Portuguese discoveries off the west coast of Africa. The Schedel, however, also includes an unidentified island of this coast. The text of the Nuremberg Chronicle is a year-by-year account of notable events in world history from the creation of the world down to the year of publication. It is a mixture of fact and fantasy, recording events like the invention of printing, but also repeating stories from Herodotus. The world map is decorated in three corners with depictions of the sons of Noah responsible for recolonizing the world after the deluge; Shem, Ham, and Japhet, and the left hand margin displays seven semi-human creatures. These are printed from a separate woodblock and mark the end of a catalogue of human freaks, starting on the preceding page of the 'Chronicle', which derive from the 'Polyhistor' of Solinus (fl. 250 AD). They include a cyclops, and a man with four eyes, a mn without a nose (located in furthest Africa); a man without a head, whose eyes and mouths are in his chest; a man with a dog's head and talons for fingers; and a man with only one leg, but a foot so large that it doubles as a parasol. 645 woodcuts were used to illustrate the Chronicle, but many were used more than once, so there are a total of 1,809 illustrations, making it the most extensively illustrated book of the fifteenth century. The publication history of the Nuremberg Chronicle is perhaps the best documented of any book printed in the fifteenth century, owing to the survival of the contract between the publisher Anton Koberger and his financial partners Sebald Schreyer and Sebastian Kammermeister, the contract between Koberger and the artists, and the manuscript exemplars of both the Latin and German editions (Wilson). The cutters for the illustrations were Michael Wolgemut, his stepson, Wilhelm Pleydenwurff, and their workshop. As Albrecht Dürer was the godson of Anton Koberger and was apprenticed to Wolgemut from 1486 to 1489, it is likely that he was involved in the work. "The Chronicle would appear, at first glance, to follow in the tradition of a conventional structure of human history within the framework of the Bible, in analogy to the six days of creation. A brief Seventh Age follows, reporting the coming of the Antichrist at the end of the world and predicting the Last Judgement. This is followed, somewhat unsystematically, by descriptions of various towns. This narrative pattern conforms with that of the medieval "universal chronicles" written in Latin, as well as with vernacular chronicles. In the known Middle High German chronicles of the world, too, historical events are interwoven with digressions on the subject of natural catastrophes, wars, reports of the founding of cities, etc. Events occurring in other parts of the world are inserted parallel to the biblical stories. Hartmann Schedel chose to place particular emphasis on describing the most important cities of Germany and the Western world. In many cases, we find in the Chronicle the first known illustrations of the cities in question, along with the story of their foundation, the etymology of their names and a painstaking list of facts about the cultural life, economy and trades flourishing there in the period around 1490" (Füssel). The world map is widely regarded as the work of Nuremberg physician and humanist Hieronymous Munzer (1437-1508), who also contributed to the book's text. Campbell 219; Füssel; Shirley 19; Wilson, pp.98-122.

Outlandish creatures and beings from the furthermost parts of the earth Double-page woodcut map with fine contemporary hand-colour in part. 'The world map is a robust woodcut taken from Ptolemy What gives the map its present-day interest and attraction are the panels representing the outlandish creatures and beings that were thought to inhabit the furthermost parts of the earth. There are seven such scenes to the left of the map and a further fourteen on its reverse' (Shirley) From the famous 'Nuremberg Chronicle', a history of the world, published the year that Columbus returned to Europe after discovering America. The text is a year-by-year account of notable events in world history from the Creation down to the year of publication. It is a mixture of fact and fantasy, recording events like the invention of printing, but also repeating stories from Herodotus. Even the world map is decorated with strange beings from the far reaches, including a cyclops and a four-eyed man. 645 woodcuts were used to illustrate the Chronicle, but many were used more than once, so there are a total of 1,809 illustrations, making it the most extensively illustrated book of the fifteenth century. The cutters were Michael Wolgemut, his stepson, Wilhelm Pleydenwurff, and their workshop. As Albrecht Dürer was the godson of Koberger and was apprenticed to Wolgemut from 1486 to 1489, it is likely that he was involved in the work. The publication history of the 'Nuremberg Chronicle' is perhaps the best documented of any book printed in the 15th-century, owing to the survival of the contract between Koberger and his financial partners Sebald Schreyer and Sebastian Kammermeister, the contract between Koberger and the artists, and the manuscript exemplars of both the Latin and German editions (see A. Wilson 'The making of the Nuremberg Chronicle' 1976). Albrecht Durer, godson of Koberger, was apprenticed to Wolgemut from 1486-89, exactly during the period Wolgemut's shop was busy creating the woodcuts for this volume. 'The Chronicle would appear, at first glance, to follow in the tradition of a conventional structure of human history within the framework of the Bible, in analogy to the six days of creation. A brief Seventh Age follows, reporting the coming of the Antichrist at the end of the world and predicting the Last Judgement. This is followed, somewhat unsystematically, by descriptions of various towns. This narrative pattern conforms with that of the medieval "universal chronicles" written in Latin, as well as with vernacular chronicles. In the known Middle High German chronicles of the world, too, historical events are interwoven with digressions on the subject of natural catastrophes, wars, reports of the founding of cities, etc. Events occurring in other parts of the world are inserted parallel to the biblical stories. Hartmann Schedel chose to place particular emphasis on describing the most important cities of Germany and the Western world. In many cases, we find in the Chronicle the first known illustrations of the cities in question, along with the story of their foundation, the etymology of their names and a painstaking list of facts about the cultural life, economy and trades flourishing there in the period around 1490' (Stephen Fussel, 'Introduction' to the Taschen edition). The world map is widely regarded as the work of Nuremberg physician and humanist Hieronymous Munzer (1437-1508), who also contributed to the book's text. Shirley 19; Wilson, p.98-122.

No Binding. Condition: Very Good. One of the earliest obtainable world maps, this iconic work was produced at a time when mankind s horizons were constantly being expanded and challenged. Schedel endeavored to capture the world as it was understood in his time, and his map stands as one of the finest representations of the world before modern mapping. Hartmann Schedel s map of the world is one of the most important and iconic renditions of the world prior to the discovery and inclusion of the Americas. It was published in 1493 in Schedel s equally iconic encyclopedia, the Liber Chronicarum, colloquially known as the Nüremberg Chronicle. Having been featured in this large scientific tome, one of the things that makes this map so special is its distinct literary feel as if it somehow straddles the divide between printed cartography and illuminated manuscript. The visual field is composed of three distinct elements: the map itself, a band of vignettes along the left, and a text in Latin along the bottom. The latter confirms that this is the rare first state of the map, as subsequent states have the text in German. The three elements have been physically separated and their separation visually enhanced by thin black borderlines around the two images. The visuals in Schedel s chronicle were made as a wood-cuts, with both the map and the elongated panel of seven vignettes being printed from each their block. The map itself was executed in the classic Ptolemaic style that was prevalent among European cartographers in the 15th century. Yet Schedel takes his work a step further by composing a geography that is completely coherent, albeit no more correct than his contemporaries. Among the features that facilitate this streamlining is the omission of both Southern Africa and Scandinavia. Even though Bartolomeu Dias had passed the Cape as early as 1488, by omitting it from the map, Schedel was able to connect Africa with a great southern continent that runs all along the bottom of the map, until it joins up with eastern Asia. In this manner, the Indian Ocean ends up being depicted as a closed maritime space, with an enormous island of Sri Lanka dominating its centre. Other classic tropes of Ptolemaic cartography include an enlarged Red Sea and a quadratic Persian Gulf, a large westward-turning Malay Peninsula that hints at the beginning of the mythical Dragon s Tail peninsula in world maps, and African Mountains of the Moon, which feed the two large lakes that in turn supply the Nile with its life-giving waters. The map includes many decorative features. Most noticeable are the twelve wind heads blowing from the geometric galleries framing the map. At the end of the 15th century, these wind heads were a common feature in the best Ptolemaic world maps, but only rarely do we see all twelve represented so prominently. Standing outside the framing gallery, but clearly figuring as important parts of the map s composition, we find three figures; each of which is holding a corner of the map. Labels identify these figures as the Biblical figures of Ham, Shem, and Japhet, the three sons of Noah that left the Ark after the flood waters had subsided. While Schedel s map is kept in the established tradition of Ptolemaic geographies, it stands out from its peers because of the flanking panel of figures. These represent various strange and remarkable creatures inhabiting the furthest reaches of the world and reveal the fantastical mythology that still shrouded geographic observation and cartography at this stage. We find seven such scenes flanking the map. Neatline is famous for its detailed and in-depth descriptions. To receive the full description for this listing free of charge, please contact us using the 'ask the seller' function below.

First Edition with the German text. The bi-folium with fine hand-colouring to the Rome view. This is one of the large, double-page city-view woodcuts from the workshop of Mighael Wolgemut and Wilhelm Pleydenwurff beneath 22 lines of text. It is handsomely and finely handcoloured in blues, greens, yellows, reds, grays, etc. Double-page folio ( ca. 540 x 380 mm ), handsomely mounted, framed and glazed. Leaves LVII and LVIII. In fine condition and very well preserved and presented. FROM THE FIRST EDITION OF THE NUREMBERG CHRONICLE, ARGUABLY THE GREATEST ILLUSTRATED BOOK OF THE 15TH CENTURY. The artists, Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson, Wilhelm Pleydenwurff have been praised and admired for over five-hundred years for their contributions to one of the monuments of early printing. David Bland calls it "a marvelous book, and a landmark in the history of illustration," and through the ages it has more than fulfilled Koberger's prophecy that it would be "the delight of the men of learning and of everyone who had any education at all." A HIGHLY IMPORTANT INCUNABLE, the "Nuremberg Chronicle" is the most extensively illustrated book of the fifteenth century, and after the Gutenberg Bible the most celebrated book printed in the fifteenth century. Its 1,809 woodcut illustrations (1,164 excluding repeats) depict popes, saints, and other religious figures, kings and emperors, historical and biblical genealogies, mythological and fanciful creatures, natural phenomena, and views of all the major cities of the known world, as well as a brilliant creation sequence. In addition to the full-sheet maps of the world and of Europe, twenty-nine city views such as this one span two pages and eight other cuts (excluding the xylographic title page) are full-page. The colophon explicitly acknowledges the contributions of the artists Michael Wolgemut and Wilhelm Pleydenwurff. Albrecht Dürer was at that time a pupil in Wolgemut's workshop and there is good evidence that he did many of the preliminary drawings for woodcuts and may even have cut some of them (see Adrian Wilson, THE MAKING OF THE NUREMBERG CHRONICLE).

First Edition with the Latin text, the bifolium with fine hand-colouring to the Venice view. This is one of the large, double-page city-view woodcuts from the workshop of Mighael Wolgemut and Wilhelm Pleydenwurff beneith 24 lines of text. The view of Venice was adapted from the 1486 woodcut by Erhard Reuwich in the Sanctae Perigrinationes. It is handsomely and finely handcoloured in blues, greens, yellows, reds, grays, etc. Double-page folio ( ca. 540 x 364 mm ), handsomely mounted, framed and glazed. Leaves XLIII and XLIIII. In fine condition and very well preserved and presented. FROM THE FIRST EDITION OF THE NUREMBERG CHRONICLE, ARGUABLY THE GREATEST ILLUSTRATED BOOK OF THE 15TH CENTURY. The artists, Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson, Wilhelm Pleydenwurff have been praised and admired for over five-hundred years for their contributions to one of the monuments of early printing. David Bland calls it "a marvelous book, and a landmark in the history of illustration," and through the ages it has more than fulfilled Koberger's prophecy that it would be "the delight of the men of learning and of everyone who had any education at all." HIGHLY IMPORTANT INCUNABLE, the "Nuremberg Chronicle" is the most extensively illustrated book of the fifteenth century, and after the Gutenberg Bible the most celebrated book printed in the fifteenth century. Its 1,809 woodcut illustrations (1,164 excluding repeats) depict popes, saints, and other religious figures, kings and emperors, historical and biblical genealogies, mythological and fanciful creatures, natural phenomena, and views of all the major cities of the known world, as well as a brilliant creation sequence. In addition to the full-sheet maps of the world and of Europe, twenty-nine city views such as this one span two pages and eight other cuts (excluding the xylographic title page) are full-page. The colophon explicitly acknowledges the contributions of the artists Michael Wolgemut and Wilhelm Pleydenwurff. Albrecht Dürer was at that time a pupil in Wolgemut's workshop and there is good evidence that he did many of the preliminary drawings for woodcuts and may even have cut some of them (see Adrian Wilson, THE MAKING OF THE NUREMBERG CHRONICLE).

Nuremberg: Anton Koberger, December 1493, German text edition. Coloured woodcut, image 250 x 525mm, set in a page of text. Repairs to stitch holes at centrefold, as usual, tape stains on reverse. A 15th century woodcut prospect of Florence, one of the double-page views published in the famous incunabulum titled: 'Nuremberg Chronicle'. Although not completely accurate, it depicts the dome engineered by Filippo Brunelleschi and the Tower of the Cathedral of Santa Maria del Fiore ( the Duomo di Firenze).

Nuremberg, Anton Koberger, 1493, German text edition. Woodcut, image 190 x 530mm, set in a page of text. One of the earliest obtainable prints of Venice issued in the famous 'Nuremberg Chronicle'. Some of the town views in the Chronicle are pure fiction, especially those furthest from Nuremberg, but here features such as the tower of St Mark's are depicted, although not accurately. On verso is a prospect of Padova and several portraits. MORETTO: 6.

Xilografia originale (cm. 53,5x23 la veduta, cm. 63,5x45,3 il foglio). Veduta panoramica della città di Roma tratta dal celebre 'Liber Chronicarum'. Bella coloritura antica all'acquarello. Alcuni piccoli strappi al margine bianco superiore e forellini lungo la piegatura centrale, altrimenti esemplare in ottimo stato di conservazione. Al verso del foglio una veduta della città di Genova (cm. 22,5x19,3).

No legatura. Condition: buono. Anton Koberger, Norimberga, 1493 circa. Dal "Liber Chronicarum Nurembergensi", xilografia in b/n, cm 47,5 x 65,5 circa (il foglio), testo in latino. La monumentale opera dello Schedel, il "Liber Cronicarum", rappresenta uno "dei più straordinari lavori mai realizzati" dall editoria del XV secolo. Al verso xilografie con ritratti di imperatori bizantini, Sant'Elena (madre dell'imperatore Costantino I) e Ario, e un gruppo di sacerdoti e pontefici che rappresenta il Concilio di Nicea. Foglio ottimamente restaurato al margine superiore, buono lo stato di conservazione.

No Binding. Condition: Very Good. SCHEDEL, HARTMANN [MAP] Florenz [Map of Florence, Italy]. [INCUNABULUM]. [Nurnberg]: Sebald Schreyer, Anton Koberger, 1493. Coloured woodcut view from the German first edition. 60x43 cm. Joint straightened, slight brown or fingerstained. At the upper margin cropped close. Small worming restored, one edges restored. Very good ISBN: CATALOG: Maps & Engravings KEYWORDS: Map Atlas - Mapbook Geography Italy.

No Binding. Condition: Very Good. SCHEDEL, HARTMANN [MAP] [Constantinopolis - Map of Istanbul - Constantinople]. [INCUNABULUM]. [Nurnberg]: Sebald Schreyer, Anton Koberger, 1493. Woodcut map. 40x50 cm. Very good ISBN: CATALOG: Maps & Engravings KEYWORDS: Map Istanbul - Constantinople Atlas - Mapbook Geography Byzantium.

Silografie, mm 230x536 (Roma) e mm 192x225 (Genova) al verso, su foglio mm 405x575, testo latino. Ottimo stato di conservazione con piccoli fori restaurati al centro.Il "Liber Chronicarum" comunemente chiamato "Cronaca di Norimberga" dalla citt? di stampa, uno dei pi? celebri libri illustrati del XV secolo, fu la prima opera contenente anche raffigurazioni reali delle citt? del mondo ed ebbe un enorme successo, tale da essere considerata una pietra miliare nello sviluppo della conoscenza geografica. Le incisioni sono del maestro di Albrecht Duerer, Michael Wohlgemuth, del suo genero Wilhelm Pleydenwurff e alcune attribuite allo stesso Duerer.Woodcut mm 230x536 (Roma) and mm 192x225 (Genova). From "Liber Chronicarum", a milestone of illustrated travel-books and one of the most famous books of the 15th century. The engravings are by Michael Wohlgemuth, teacher of Albrecht Duerer, by his stepson Wilhelm Pleydenwurff and some are attributed to Duerer when he was young. From "Liber Chronicarum", a milestone of illustrated travel-books and one of the most famous books of the 15th century. Very good general condition, tiny holes expertly repaired at centerfold, as usual. Nr.cat: 3845.

Silografia, colorata, mm 236x525 (l'immagine), mm 465x650 (il foglio completo di testo in latino). Splendida veduta generale della citt? con i maggiori monumenti in evidenza (Santa Sofia, la celebre cinta muraria). Il "Liber Chronicarum" comunemente chiamato "Cronaca di Norimberga" dalla citt? di stampa, fu la prima opera contenente anche raffigurazioni reali delle citt? del mondo ed ebbe un enorme successo, tale da essere considerata una pietra miliare nello sviluppo della conoscenza geografica. Esemplare con un professionale restauro alla piega centrale, come di consueto, ed una reintegrazione perfettamente eseguita nella parte inf. della medesima.

Other. Original woodcut from the famous Nurnberg Chronicle, printed in Nürnberg, in December 1493. Fully hand colored city view. Verso illustrated as well with four smaller hand colored woodcuts of saints. German text edition. This view of Passau is one of the earliest obtainable authentic city views, published only a few years before 1500. This plate was exactly published and printed in December 1493 in Nurnberg at Koberger. The Nurnberg Chronicle was the earliest and most richly illustrated incunable and descripton of the world, which was as well illustrated with a small number of authentic doublepage city views. The woodcuts were mostly cut by Pleydenwurff. In excellent condition. 200 by 518mm (7 by 20 inches). 200 by 518mm (7 by 20 inches).

Kein Einband. Condition: Befriedigend. Passau, anno 1493, Hartmann Schedel, Holzschnitt, altkoloriert Woodcut, edited anno 1493 in Harmann Schedel, Nuremberg Chroncikle, latin edition, size: 40 x 57 and 20 x 52 cm., good condition. Angeboten wird ein originaler Holzschnitt aus Hartmann Schedels berühmten Weltchronik, dem grössten Buchunternehmen der Dürerzeit. Hartmann Schedels berühmte Weltchronik von 1493, deren Inhalt biblische Themen mit Geschichtsschreibung seit der klassischen Antike bis zum Zeitgeschehen des Autors vereint, war ein Buchunternehmen der Superlative: Mit ihren über 1800 Holzschnitten ist sie das bilderreichste Werk aus der Frühzeit des Buchdrucks. Die an ihr beteiligten Persönlichkeiten repräsentieren frühhumanistisches Geistesleben in Nürnberg, der Metropole nördlich der Alpen: der Autor und Arzt Hartmann Schedel, der Maler Michael Wolgemut, der Mäzen Sebald Schreyer, der Dichter Conrad Celtis und der Drucker Anton Koberger. Ihre Entstehungsgeschichte kann dank vieler erhaltener Dokumente heute nachvollzogen werden, denn juristische Unterlagen, einige Vorzeichnungen und die vollständigen Layout-Bände, sowohl für die lateinische wie auch für die deutsche Ausgabe, sind erhalten geblieben. Der Holzschnitt von Passau vermittelt uns die älteste erhaltene gedruckte Ansicht der Stadt Gedruckt auf dem vollen Doppelblatt, Blattmass: 40 x 57 cm, Bild: 20x52 cm. Alt auf Trägerkarton montiert.

No legatura. Condition: discreto. Anton Koberger, Norimberga, 1493. Anton Koberger, Norimberga, 1493. Dal "Liber Chronicarum Nurembergensi", xilografia, b/n, cm 47,5 x 67,5 circa (il foglio). Difetti nella parte superiore del foglio, al testo e in parte nella zona bianca dell'inciso, peraltro ottima. .

Woodcut, mm 380x240 (sheet 470x320), original colour, verso with german text and a manuscript capital initial coloured with grey colour, text with red underlinings and rubrications. A fine example with light marginal water stain and minor defects in marginsFrom the rare german edition of "Liber Chronicarum", a milestone of illustrated travel-books and one of the most famous books of the 15th century. The engravings are all by Michael Wohlgemuth, teacher of Albrecht Duerer., his stepson Wilhelm Pleydenwurff and some are attributed to the young Duerer.The views from "Liber Chronicarum" or "Nuremberg Chronicle" as it is commonly referred to, are among the earliest realistic obtainable views in the market. This impressive woodcut depicts God the Father seated on a throne surrounded by the firmament. Cherubs cavort in the heavens above and two devilish creatures holding armorial crests are at bottom. A banner reads "God said Let there be and all things were made".Silografia. mm 380x240 (foglio 470x320). Coloritura originale, verso con testo tedesco con una iniziale miniata in grigio con decori policromi, rubricature e sottolineature in rosso. Tratta dalla pi? rara edizione tedesca del "Liber Chronicarum" comunemente chiamato appunto "Cronaca di Norimberga": fu la prima opera con raffigurazioni reali delle citt? del mondo ed ebbe un enorme successo, tale da essere considerata una pietra miliare nello sviluppo della conoscenza geografica. Fu stampato in due edizioni, la prima latina nel luglio 1493 in circa 1500 copie, la seconda, tedesca, in dicembre dello stesso anno, in circa 800 esemplari. Le incisioni sono opera di Michael Wohlgemuth, maestro di Albrecht Duerer, del figliastro Wilhelm Pleydenwurff e del giovane Duerer stesso.Bell'esemplare con minimi aloni e piccoli difetti al margine Nr.cat: p1170386.

Silografia, mm 225x222 (foglio 287x440). Foglio V. Testo latino. Colorata, raffigura Dio nell'atto della creazione e benedizione dell'uomo. Sullo stesso foglio al verso compare una grande silografia (mm 275x223) raffigurante l'universo geocentrico sovrastato da Dio in trono con gli angeli; nei quattro angoli soffiano i venti. Tratta da "Liber Chronicarum" comunemente chiamato appunto "Cronaca di Norimberga": fu la prima opera con raffigurazioni reali delle citt? del mondo ed ebbe un enorme successo, tale da essere considerata una pietra miliare nello sviluppo della conoscenza geografica. Fu stampato in due edizioni, la prima latina nel luglio 1493 in circa 1500 copie, la seconda, tedesca, in dicembre dello stesso anno, in circa 800 esemplari. Le incisioni sono opera di Michael Wohlgemuth, maestro di Albrecht Duerer, del figliastro Wilhelm Pleydenwurff e del giovane Duerer stesso.Bell'esemplare in piacevole coloritura. Ä 1.200Woodcut, mm 225x222 (sheet 287x440), leaf V. Latin text. Coloured. Shows God creating man; on verso another large woodcut shows the geocentric universe. A good example.From "Liber Chronicarum", a milestone of illustrated travel-books and one of the most famous books of the 15th century. The engravings are all by Michael Wohlgemuth, teacher of Albrecht Duerer. his stepson Wilhelm Pleydenwurff and some are attributed to Duerer when he was young.The views from "Liber Chronicarum" or "Nuremberg Chronicle" as it is commonly referred to, are among the earliest realistic obtainable views in the market. Nr.cat: P1080014/P1080009.

Paperback. Condition: Very Good+. Four illustrated leaves, uncolored (one mounted). 1) One leaf from chapter "Tercia etas mundi" (fol. XXVII) depicting in woodcuts the lineage of Christ (Linea Christi) and the Kings of Egypt (Reges Egipti) and vignette of Joseph interpreting dreams before the Pharaoh. On verso, kings and lineage continued and a vignette of an imaginary view of Athens or Minerva. The earliest obtainable view of this period. Three leaves from chapter "Sexta etas mundi" 2) (fol. CV) depicting authors, Seneca, Lucanus, Persius, and the martyrdom of Apostle Philip. On verso, bust portraits of the Popes Linus, Anacletus, and Appollinaris and the martyrdom of Apostle Bartholomew. 3) (fol. CXL) bust portrait of Euthices hereticus and right portion of view of Strassburg. On verso, bust portraits of Popes Simplicius, Felix, Helasius, Anastasius and bishops, Mamercus and Remigius. 4) Mounted (fol. CCLIII). Verso only visible, circumcision of Simon the Sellig child of Trent. One of the most anti-semitic illustrations of the entire book, Simon of Trent was at the center of a suspicious kidnapping case where the Jewish community of Trent was subsequently severely punished. The woodblock engravers of the famous Liber chronicarum were Michael Wolgemut, the famed teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Recent scholarship has shown that Albrecht Dürer may also have collaborated on this work given his associations, and since some of the cuts bear a remarkably close resemblance to the Apocalypse illustrations. The printing was carried out under the supervision of the great scholar-printer Anton Koberger, whose press was famous throughout Europe. While it is purported that these leaves are all from the same editions they may have come from different disbound copies. Still, an opportunity to own the illustrated pages of this most famous world chronicle. (Size: 18 x 13 in.).

Nuremberg, Anton Koberger, 1493, Latin text edition. Original colour. Woodcut, image 190 x 220mm, set in a page of text. Corner of margin with an old patch, small crack in bottom edge One of the oldest views of Genoa, published in the famous 'Nuremberg Chronicle', a history of the world. Although not completely accurate, the Lanterna (the third oldest lighthouse in the world) is recognisable on the left side of the harbour entrance. On the reverse is half of a two-sheet prospect of Rome, with Vatican and the Castel de San Angelo.

Pas de couverture. Condition: Bon. Edition originale. 1 feuillet tirée de LA CHRONIQUE DE NUREMBERG par HARTMANN SCHEDEL Imprimé à Nuremberg 1493 (1er tirage en latin) Tirage sur papier épais à la forme Papier abimé dans les coins avec des marques de champignons rose (voir les photos) 56 x 41 centimètres TIRAGE ORIGINAL DE 1493 !!!!.

Pas de couverture. Condition: Très bon. Edition originale. CARTE VILLE DE RATISBONNE 1 feuillet tirés de LA CHRONIQUE DE NUREMBERG par HARTMANN SCHEDEL Imprimé à Nuremberg 1493 (1er tirage en latin) Tirage sur papier épais à la forme Atteinte par un champignon sur les coins (voir les photos) 56 x 41 centimètres (par pages) TIRAGE ORIGINAL DE 1493 !!!!.

Silografia, mm 255x220; l'incisione mostra Eva che allatta Caino e Abele mentre Adamo lavora sodo il terreno dopo la cacciata dall'Eden. Dipinta a mano ad acquarello coevo. Tratta da "Liber Chronicarum" di Hartmann Schedel, comunemente chiamato appunto "Cronaca di Norimberga": fu la prima opera con raffigurazioni reali delle citt? del mondo (circa 2000 silografie) ed ebbe un enorme successo, tale da essere considerata una pietra miliare nello sviluppo della conoscenza geografica. Fu stampato in due edizioni, la prima latina nel luglio 1493 in circa 1500 copie, la seconda, tedesca, in dicembre dello stesso anno, in circa 800 esemplari. Le incisioni sono opera di Michael Wohlgemuth, maestro di Albrecht Duerer, del figliastro Wilhelm Pleydenwurff e del giovane Duerer stesso. Walter L. Strauss nel testo Woodcuts and woodblocks (New York: Abaris book, 1980) attribuisce appunto alcune xilografie al giovane artista.Bell'esemplare in fascinosa coloritura coeva con testo latino, tracce di sporco superficiale ai margini e antichi restauri professionali ad antiche crepe dovute all'ossido dei colori antichi. Woodcut, mm 255x220, original colour by hand; shows Eve nursing Kain and Abel driven out of the Garden of Eden. Adam dressed in animal skin is hard working the soil. On verso a genealogy of Adam.The engraving comes from the Schedel's Nuremberg Chronicle, woodblock cutters were Michael Wolgemut and Albrecht D rer, printed by Anton Koberger in Nuremberg, 1493.The Nuremberg Chronicles was the first printed history of the known world with about 2000 woodcuts the most picturesque work of the early time of printing. It became one of the most popular book of the 15th. century. Latin edition. Walter L. Strauss - Woodcuts and woodblocks (New York: Abaris book, 1980).

Kein Einband. Condition: Befriedigend. "Die siben churfursten". (Schedel), anno 1493, dt. Ausgabe-sehr selten Reichsstände. "Die siben churfursten des heilligen romischen reichs" (Kopftitel). Abb. des thronenden Kaisers mit den Kurfürsten u. den wichtigsten Reichsfürsten u. -städten mit ihren Wappen. Holzschnitt (aus der Schedel'schen Weltchronik, dt. Ausg., 1493). 36:52 cm. Meurer, Germania Abb. S. 60. - Rückseit. linke Hälfte der Phantasiekarte von Deutschland ("Das sechst alter - Ordnung der churfursten des reichs") mit fiktiven Ansichten wichtiger Städte, darunter Augsburg, Regensburg, Mainz u. a. - Gereinigt u. stabilisiert, dabei Fehlstreifen mittig (ca. 35:4,5 cm) ergänzt u. nachgezeichnet; noch leicht fleckig.

Other. Original Holzschnitt, handkoloriert im Stil der Zeit. Gedruckt und verlegt bei Anton Koberger in Nürnberg in der berühmten Schedelschen Weltchronik im Dezember 1493. Prächtig handkolorierte Stadtansicht, rückseitig ebenfalls illustriert mit kleineren handkolorierten Darstellungen von Heiligen im Holzschnitt. Deutsche Textausgabe. Diese Ansicht von Ulm ist eine der frühesten erhältlichen authentischen Stadtansichten, gedruckt und verlegt kurz vor 1500. Dieser Holzschnitt wurde exakt im Dezember 1493 gedruckt und verlegt bei Anton Koberger in Nürnberg. Die Holzschnitte wurden überwiegend von Pleydenwurff geschnitten. Breitrandiges Exemplar, im tadellosen Erhaltungszustand. 370 by 525mm (14 by 20 inches). 370 by 525mm (14 by 20 inches).