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Displayed below are some selected recent viaLibri matches for books published in 1493

        Jesus im Kreise seiner Jünger).

      0 - Holzschnitt, Nürnberg bei Anton Koberger, 1493. Ca. 36 x 22,5 cm (Blattgröße ca. 42 x 27,5 cm). Kurzer hinterlegter Einriß im Fußsteg. Holzschnitt aus der lateinischen Ausgabe der berühmten Weltchronik von Hartmann Schedel, welche am 12. Juli 1493 erschien. Blatt CI (=101) mit gedrucktem Text auf der Rückseite. Der blattgroße Holzschnitt zeigt Jesus im Kreise seiner Jünger, die Figuren sind mit reicher Bandwerksstaffage mit Texten ausgestattet, in den Ecken finden sich die Symbole der vier Evangelisten. Kurzer hinterlegter Einriß im Fußsteg.

      [Bookseller: Antiquariat Peter Fritzen]
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        Hierosolima

      Nuremberg: Koberger, Anton, 1493. unbound. Wolgemut, Michael. Town Plan. Woodcut with hand coloring. Image measures 7.5 x 8.75", image plus text measures 14.75 x 8.75". Matted with acid-free matting and archival corners. This town plan of Jerusalem is an imaginary representation of the Temple "Templum Salomois" in the midst of the walled-in city. The view also includes the city walls and David's Gate. The plan is from the German edition of the "Liber cronicarum," otherwise known as the Nuremberg Chronicle, and is one of two plans of Jerusalem in the incunabulum. Scarce.

      [Bookseller: Argosy Book Store]
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        Astronomorum peritissimi compendium: id omne quod ad astronomica rudimenta spectat copletens.Paris: Christian Wechel, 1546.

      A rare and early edition of Al-Farghani's best-known and most influential work, the <i>Jawami ilm al-najum wal harakat al-samawiyya</i>, or <i>Elements</i> as it usually known in the West, which was largely responsible for the dissemination of Ptolemaic astronomy in mediaeval Europe.<br/><br/> "The influence of the <i>Elements</i> on mediaeval Europe is clearly attested by the existence of numerous Latin manuscripts in European libraries. References to it in mediaeval writers are many, and there is no doubt that it was generally responsible for spreading knowledge of Ptolemaic astronomy, at least until this role was taken over by Sacrobosco's <i>Sphere</i>. But even then, the <i>Elements</i> of al-Farghani continued to be used, and Sacrobosco's <i>Sphere</i> was clearly indebted to it. It was from the <i>Elements</i> that Dante derived the astronomical knowledge displayed in the <i>Vita nuova</i> and in the <i>Convivio</i>" (DSB). <br/><br/> The <i>Elements</i> has thirty chapters, of which the first describes the Egyptian, Greek, Roman, Russian and Arab calendars and their differences. The remainder of the book covers the principal topics of the <i>Almagest</i>: the inclination of the ecliptic (Al-Farghani finds 23°33' for 829 AD at Baghdad compared with Ptolemy's 23°51'); the circumference and the diameter of the earth as measured by al-Mamun's astronomers (approximately 20,400 miles and 6,500 miles); the ascension of the signs of the zodiac in the direct and oblique spheres and equal and unequal hours; description of the planets, their motions and distances from the earth, movements of the sun, moon and fixed stars, retrograde motions of the wandering planets; magnitudes, eccentricities and epicycles, lunar mansions, comparative sizes of the planets and the earth; parallax and eclipses. It "thus gives a comprehensive account of the elements of Ptolemaic astronomy that is entirely descriptive and non-mathematical. These features, together with the admirably clear and well-organized manner of presentation, must have been responsible for the popularity the book enjoyed" (DSB) <br/><br/> The <i>Elements</i> was written after the death of the Caliph al-Mamun in 833 but before 857. Two Latin translations were made in the twelfth century, one by John of Spain (John of Seville) in 1135 and the other by Gerard of Cremona in 1175. Printed editions of the first translation appeared in 1493, 1537, 1546, 1556, 1564 and 1618 (Gerard's translation was not published until 1910). Jacob Anatoli made a Hebrew translation of the book that served as the basis for a third Latin version published in 1590, and Jacob Golius published a new Latin text together with the Arabic original in 1669. <br/><br/> OCLC lists copies at Michigan, Nebraska, Oklahoma and Göttingen.. 8vo (168 x 103 mm), later flexible vellum, pp. [1-2] 3-109 [110], woodcut illustrations in the text, old name to title and some marginal annotations in the same hand to about six leaves, very light browning and spotting throughout but in all a very good copy

      [Bookseller: Sophia Rare Books]
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        München." Gesamtansicht vom Gasteigberg im Osten aus über die Isar auf die Stadt

      Holzschnitt von Michael Wolgemut und W. Pleydenwurff aus der deutschen Ausgabe von Hartmann Schedel: Das buch der Chroniken (Schedelsche Weltchronik) 1493. 20.5x51.8 cm. auf Doppelfolioblatt. - Duvigneau 1971 10 - Wohl die früheste graphische Darstellung Münchens. "Alles, was für die Stadt wichtig war - die Isarbrücke, die Flößerei - und ihr heutiges Antlitz noch bestimmt - das Isartor, die Frauen- und Peterskirche -, ist bereits festgehalten.

      [Bookseller: Wenner Antiquariat]
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        Nissa." Gesamtansicht, im Vordergrund der Fluss mit einer Brücke. Rechts über der Darstellung als "Neyss" betitelt

      Holzschnitt von Michael Wolgemut und W. Pleydenwurff aus der deutschen Ausgabe von Hartmann Schedel: Das buch der Chroniken (Schedelsche Weltchronik) 1493. 20x52.5 cm. auf Doppelfolioblatt. - Timann / Kott 329 - Jarczyk I, 34 - Früheste graphische Darstellung der Stadt. "Selbst im Vergleich mit Darstellungen späterer Jahrhunderte kann die Zuverlässigkeit des Schedel&#39;schen Neisse-Bildes nicht hoch genug eingeschätzt werden." (Jarczyk). Wenige kleine Wurmlöcher in der Darstellung, Mittelfalte geglättet, kleine Fehlstellen restauriert. Die linke Bildhälfte (Rückseite des Blattes 266) ist auf das Blatt 260 (Vorderseite) der Chronik mit dem Text "Von dem Anticrist" aufgezogen.

      [Bookseller: Wenner Antiquariat]
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        Schedel'sche Weltchronik. Berta etas mundi. Folium CCLV.

      1493 - Blatt 255 der lateinischen Ausgabe der "Schedel'schen Weltchronik" auch bekannt als "Nürnberger Chronik". Herausgeben in Nürnberg im Jahre 1493 mit Holzschnitten von Michael Wolgemut und Wilhelm Pleydenwurff. Mit einem aufwendig gestalteten schönen alten Holzrahmen. Auch das Passpartout aufwendig gestaltet und mit eigenem Holzrahmen. Blatt von uns nicht geöffnet. Druck bis auf einige kleine Flecken am oberen Rand in gutem Zustand. Siehe Photo! Holzschnitte im Text.

      [Bookseller: BerlinAntiquariat. Inh.: Karl-Heinz Than]
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        Mariale [with additions by] Domenico Ponzoni [and] Officium et Missa Immaculatae Conceptionis BMV

      Milan: Leonardus Pachel, 1493 21 May 1493. Modern blindruled calf over original wood (rubbed, catch & clasp gone), spine on 3 raised bands, [388] ff., 58 ll. (single line letterpress title cut out and mounted, marg. staining). Good complete copy. First complete edition of a collection of 63 sermons on the Immaculate Conception of the Holy Virgin by the Franciscan preacher B. de Busti (d. 1513), a pupil of Michael de Carcano. Small woodcut ills (often repeated). Decorative woodcut initials. Woodcut printer&#39;s mark at end. Printed in gothic type in 2 cols. Ownership entry on A2r. Some ms. notes. Ref. ISTC ib01333000. GW 5804. Goff B-1333. Polain 2613 (1). IDL 1089 (1). Not in BSB München.

      [Bookseller: Louis Caron]
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        A SINGLE HAND-COLOURED BIFOLIUM FROM THE FAMED NUREMBERG CHRONICLE, showing the full view of ROME, Leaves LVII and LVIII

      [Nuremberg: Anton Koberger, for Sebald Screyer and Sebastian Kammermeister, 1493]. 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&#39;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 &#147;Nuremberg Chronicle&#148; 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&#39;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).

      [Bookseller: Buddenbrooks, Inc.]
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        Nova Typis Transacta Navigatio. Novi Orbis Indiae Occidentalis. [By Honorius Philoponus, (pseud. of Caspar Plautius, O.S.B.)]

      2 volumes. First Edition, second, enlarged issue of this famous account of the Benedictine missionaries who accompanied Columbus on his second voyage to the Americas. Illustrated with 18 numbered engraved plates (all but the first and plates 8 and 15 bound in lengthwise and folding), plus the unnumbered "Owl" plate; 3 woodcut diagrams on f. 2)(1v, woodcut factotum initials, type ornament head-pieces, woodcut tail-piece. Printed music on f. E2. Folio, (300 x 196 mm), bound in contemporary German limp vellum. Collation: )(4, 2)(2, A-N4. Engraved emblematic title (included in first quire), [10], 101, [3] pp. A fine, tall copy with full margins and fresh impressions of the famous engraved plates. Rare. Engraved title with short clean tear along platemark, neatly repaired tear in pl. 7, short tear into pl. 10, binding recased. The book has been called "one of the most curious and interesting pictorial volumes of Americana, and of great rarity." Part history, part fantasy, this odd work chronicles the evangelisation of America by the Catalonian Benedictine Bernardo Buil (or Boyl), Abbot of Monserrat, who with twelve of his followers travelled with Christopher Columbus on his second voyage to Hispaniola (Haiti) in 1493. Considered the first Patriarch of the region, Buil served as Viscount General of the West Indies. In this capacity he often quarreled vehemently with Columbus, and upon returning to Spain lodged a formal complaint with King Ferdinand against the explorer&#39;s conduct. Ferdinand ruled in Columbus&#39;s favor, and Buil retired to the Abbey of Cuxa. The work was written pseudonymously by Caspar Plautius, O.S.B. of Munich, and Abbot of Seitenstetten (Austria) from 1610 to 1627. Plautius&#39; account of the early Benedictine missionaries&#39; achievements is laced with marvels and miracles, the actual voyage of the monks being conflated with other, legendary voyages (notably that of the Irish Saint Brendan), and he dwells on the cruelties of the native inhabitants in support of the notion that Satan ruled the native American religions. The work is nonetheless filled with authentic details of Caribbean customs, agricultural products, local flora and fauna, and arts. The specimen of printed music on pp. 35-36 represents one of the earliest printed examples of Native American chants. The notoriously immodest dedicatory epistle from the author to himself attests to his own great learning. "In the most fulsome style&#133; he inscribes the work to himself in a long and highly complimentary dedication. He accuses the DeBrys, in their great collection of voyages, of telling outrageous lies, forgetting apparently his own whackers."--Henry Stevens, Bibiotheca. Historica, 1549. Although the place of publication is not given, the book was printed in nearby Linz, according to H.J. Wynkelmann&#39;s near contemporary work entitled Der Amerikanischen neuen Welt beschreibung (Oldenburg, 1664, p. 30). Most interesting are the copperplate engravings, first-rate examples of the dense narrative style associated with the de Bry Voyages. Only the first engraving is signed, by Wolfgang Kilian (1581-1662), Augsburg master-engraver, but the others are comparable in style and were probably also executed by him. The engraved architectonic title shows at top a reptilian Satan vanquished by the Pascal lamb amidst other emblematic objects; flanking the title are St. Brendan and Father Buil, the latter baptizing an Indian; at their feet a phoenix and a pelican with her piety, and at bottom center a small map showing India and America, with ship-studded seas between, on either shore a crowned column. This issue contains an additional emblematic plate of an owl between a royal crown and a bishop&#39;s mitre, symbolizing the Benedictine&#39;s achievements for the crown of Spain. Plate 1, purportedly Columbus with a hemispherical map, is a copy of the de Bry portrait of Francisco Pizarro on a map in the Great Voyages series. Plate 2 represents St. Brendan celebrating mass on the back of a whale; to the east are the landmasses of Spain and Africa, to the north the mythic island of St. Brendan (whose existence was not definitively disproved until the nineteenth century). The other extraordinary engravings depict the Spanish court, the fleet disembarking from Spain, cannibals attacking and roasting members of the Spanish crew, several friendlier scenes of local hospitality, one showing mounds of local fruit and an iguana served on European silver, the missionaries toppling the Indians&#39; altar with disastrous consequences, a front- and back view of the Indians&#39; idol, indigenous fruit and flowers, construction of a Christian church, Indian noblemen riding a sea-monster, a Christian mass, and various acts of barbaric cruelty, some perpetrated by Church dignitaries. All of exceptionally high quality, the engravings are here present in crisp, dark impressions. The specimen of printed music on pp. 35-36 represents an early printed example of Native American chants. In this second issue quires )( & N were reset, the latter now including a final errata page, and a new quire containing observations on the lodestone was added. The Owl plate is here bound in preceding the errata leaf (N4), instead of at the end of the preface to the reader, as instructed in the printed placement note for the binder.

      [Bookseller: Buddenbrooks, Inc.]
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        WELTCHRONIK (THE CHRONICLES OF NUREMBERG) Fine Facsimile Edition of Hand Coloured Encyclopedia

      Il Bulino. New. Hardcover. <p>Il The book of world historyThis sumptuous work is the result of the largest publishing company in the history of the press in the age ofincunabula.  Output from the printing presses Koberger in July 1493 in Latin under the title Liber chronicarum, was reprinted in December of the same year in German under the title Weltchronik, then widely known andsought after in Italy and in Europe as the Nuremberg Chronicles. Author was Hartmann Schedel, a famous German humanist, who,  with the publisher and sponsors, created apool of scholars, illustrators  (including the young Albrecht Dürer) ,  pressmen and bookbinders to equip theGerman and European culture of an encyclopedia on history of the world from the Creation until the eve of thediscovery of America. </p><p>The work consists of 596 pages in size of 30,8 × 40.3 cm and contains 1809 woodcut illustrations (including645 from original timbers) entirely hand colored, as was required for the most luxurious pieces intended forthe princely libraries.  The mapping system is one of the most important features: all the then known world is represented with more or less fantasy.  Stand for truth, however,  large plants topographical area of the city ofFranco-German and Italian cities most important and famous: Rome,  Venice, Florence and Genoa. </p><p>The facsimile editionIt was built in Germany to celebrate the 500th anniversary of the work. The international edition of 800 numbered copies,  bound in parchment and kept in a box. The commentary is in German. There is also an abstract in Italian. </p> .

      [Bookseller: New Boston Fine and Rare Books]
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        NUREMBERG CHRONICLES (2 LEAVES FLORENCE, ITALY ) -- DIE SCHEDELSCHE WELTCHRONIK

      GERMANY: ANTON KOBERGER, 1493 THIS EDITION ONLY PREDATED BY THE LATIN OF EARLIER 1493. HAND COLORED AFTER PUBLICATION. 400 LATIN AND 300 GERMAN EDITIONS SURVIVE TODAY. TRANSLATED INTO GERMAN BY GEORG ALT. THIS ILLUSTRATION OF FLORENCE WAS BASED ON A VIEW BY FRANCESCO ROSSELLI. POSTAGE TO BE DETERMINED.

      [Bookseller: Longed for Books]
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        Pisa

      Nuremburg: Koberger, Anton, 1493. unbound. very good(+). Wolgemut, Michael. Woodcut, uncolored. Image measures 8" x 9", image plus text measures 13.75" x 9". From the German edition of the Liber cronicarum (Nuremberg Chronicle). The first secular published book, it tells the history of the earth through seven "ages". As the verso of blat XLV, this piece shows a fictitious view of Pisa. Although many towns and cities in Europe and the Near East are illustrated in the book, 49 of them were printed with only 14 different woodblocks. Therefore, this illustration is identical to the page describing the Roman town of Tiburtina. Some very minor foxing and a fold along bottom margin, not affecting image.

      [Bookseller: Argosy Book Store]
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        Etymologiae (Ethymologiae). De summo bono

      Venice: Bonetus Locatellus, for Octavianus Scotus, 1493 11 December 1493. Small 2° (280 x 200mm). 100 leaves, 66 lines and headline, types 130 G., 74 G., and 80 Gk., double columns, full-page woodcut of the consanguinity on ff35v, small woodcut diagrams and symbols, woodcut initials, mostly ornamental, a few historiated, printer&#39;s device at end (full-page woodcut shaved at margins, lower margin of title repaired, worming in inner margin and gutter throughout, mostly repaired, light, mainly marginal waterstaining, a few stains). Later vellum (new endpapers, lightly soiled and rubbed). Provenance: old marginal annotations (some shaved). BMC V 442; Hain *9280; Sander 3527; Goff I186. Photos available upon request.

      [Bookseller: Louis Caron]
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        Institutiones Oratoriae.

      per Bonetum Locatellum mandato, Octaviani Scoti 1493 XVI Kalendas Sextiles. In-folio (307x210mm), ff. (206) [inclusa la carta bianca finale, sovente mancante], legatura cinquecentesca in piena pergamena molle con titolo e fregio manoscritto in antico al dorso. Alcuni capilettera xilografici elegantemente ornati su fondo nero e spaziguida per i capilettera. Il testo di commento di Raffaele Regio, su 61 linee, circonda il testo di Quintiliano, impresso in corpo tipografico più grande e disposto su 41 linee. In principio ed in fine il legatore antico ha inserito due fogli pergamenacei con notazione musicale neumatica rubricata in rosso ed in bistro ed il testo latino di un inno sacro. Alcune figure di diagrammi n.t. Explicit tipografico al verso della penultima carta di testo; al verso della carta finale di testo, registro e impresa tipografica su fondo nero, di straordinaria modernità grafica, dell'editore Ottaviano Scoto, con cerchio con croce doppia e iniziali "O. S. M.". Alcune glosse manoscritte coeve al margine delle cc. Alcune bruniture lievi, qualche sporadico lavoretto di tarlo marginale di minima entità. Qualche alone lieve alla pergamena. Esemplare eccezionalmente fresco. Raro incunabolo veneziano, probabilmente il primo col commento del Regio (umanista nato a Bergamo e morto a Venezia nel 1520, professore di lettere a Padova e a Venezia), del più grande trattato di retorica dell'antichità romana, ripartito in 12 libri (l'Hain-Copinger cita un incunabolo milanese del 1491 col commento del Regio ma di esso non è mai stato trovato riscontro e nella stessa bibliografia esso è citato senza alcuna collazione). Ebbe a scrivere Theodor Mommsen sull'opera: "È una delle più eccellenti opere che possediamo dell'antichità romana, ispirata a buon gusto e retto giudizio, semplice nel senso e nella composizione, istruttiva senza pedanteria, attraente senza necessità di sforzo personale, in contrasto intenzionale con la letteratura vuota e manierata del tempo". Brunet, IV, 1024; Hain Copinger, 13652. Una sola copia censita in SBN / ICCU, alla Biblioteca Comunale Francesco Pometti di Corigliano Calabro.

      [Bookseller: Studio Bibliografico Benacense]
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        (Roma)

      Veduta panoramica della città tratta dalla celebre Cronaca di Norimberga. La monumentale opera di Schedel, il Liber Cronicarum, rappresenta uno ?dei più straordinari lavori mai realizzati? dall?editoria del XV secolo. Gli incisori erano Michael Wolgemut, famoso maestro di Albrecht Dürer, e il figliastro Wilhelm Pleydenwurff. Wolgemut fu il tutore di Albrecht Dürer tra il 1486 e il 1490; recenti studi hanno dimostrato come Durer abbia collaborato alla realizzazione di quest?opera, poiché alcuni dei tratti hanno somiglianze stupefacenti con quelli dell?Apocalisse; alcune opere sono infatti attribuite al maestro di Norimberga. La stampa venne supervisionata dal grande stampatore Anton Koberger, le cui opere erano famose in tutta Europa. Xilografia, finemente colorata a mano, consuete tracce di restauro alla piega centrale, nel complesso in ottimo stato di conservazione. Schedel's monumental Liber Cronicarum was ?one of the most extraordinary works ever produced? The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and recent scholarship has shown, Albrecht Dürer may also have collaborated, 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 printing were famous throughout Europe . Woodcut, fine hand colouring, in good condition. Norimberga Nurnberg 540 380

      [Bookseller: Libreria Yelets]
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        Roma.

      Silografia, 230x530 (l'immagine), 440x605 (il foglio completo testo). Molto ben conservata, minimi restauri alla piega centrale. Il "Liber Chronicarum" comunemente chiamato "Cronaca di Norimberga" dalla città di stampa, fu la prima opera con raffigurazioni reali delle città del mondo ed ebbe un enorme successo, tale da essere considerata una pietra miliare nello sviluppo della conoscenza geografica.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Praga

      La monumentale opera di Schedel, il Liber Cronicarum, rappresenta uno ?dei più straordinari lavori mai realizzati? dall?editoria del XV secolo. Gli incisori erano Michael Wolgemut, famoso maestro di Albrecht Dürer, e il figliastro Wilhelm Pleydenwurff. Wolgemut fu il tutore di Albrecht Dürer tra il 1486 e il 1490; recenti studi hanno dimostrato come Durer abbia collaborato alla realizzazione di quest?opera, poiché alcuni dei tratti hanno somiglianze stupefacenti con quelli dell?Apocalisse; alcune opere sono infatti attribuite al maestro di Norimberga. La stampa venne supervisionata dal grande stampatore Anton Koberger, le cui opere erano famose in tutta Europa. Xilografia, in buone condizioni. Schedel's monumental Liber Cronicarum was ?one of the most extraordinary works ever produced? The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and, as recent scholarship has shown, Albrecht Dürer may also have collaborated, 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 printing were famous throughout Europe. Woodcut, in good condition. Norimberga Nurnberg

      [Bookseller: Libreria Antiquarius]
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        La creazione di Eva

      Xilografia, 1493, priva della firma dell?artista. Bellissima prova, impressa su carta vergata coeva priva di filigrana, con margini, lievi restauri di carta al margine sinistro che non toccano l?incisione, per il resto in eccellente stato di conservazione. Tratta del celebre Liber Chronicarum meglio conosciuto come Cronaca di Norimberga. L?opera, stampata da Anton Koberger e scritta da Hartman Schedel, si compone di 645 xilografie, che la rendono il libro illustrato più importante dell?epoca. Le opere vennero realizzate, in diversi anni, dalla bottega del maestro di Durer Michael Wolgemut. Prima edizione latina. Woodcut, 1493, without signature. Magnificent work, printed on laid paper without watermark, with margins and slight repairs on the left margin which do not impair the image, in excellent condition. Part of the famous Liber Chronicarum, better known as the Chronicle of Nuremberg. The work was printed by Anton Koberger and wrote by Hartman Schledel. It contains 645 woodcuts and it is considered the most important illustrated book of the period. Every single work in it has been realized, along the years, in Wolgemut?s workshop. First Latin edition. The Illustrated Bartsch 509b. 225 255

      [Bookseller: Libreria Antiquarius]
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        Florencia

      La monumentale opera di Schedel, il Liber Cronicarum, rappresenta uno ?dei più straordinari lavori mai realizzati? dall?editoria del XV secolo. Gli incisori erano Michael Wolgemut, famoso maestro di Albrecht Dürer, e il figliastro Wilhelm Pleydenwurff. Wolgemut fu il tutore di Albrecht Dürer tra il 1486 e il 1490; recenti studi hanno dimostrato come Durer abbia collaborato alla realizzazione di quest?opera, poiché alcuni dei tratti hanno somiglianze stupefacenti con quelli dell?Apocalisse; alcune opere sono infatti attribuite al maestro di Norimberga. La stampa venne supervisionata dal grande stampatore Anton Koberger, le cui opere erano famose in tutta Europa. Xilografie, con fine coloritura (coeva?), in buone condizioni. Schedel's monumental Liber Cronicarum was ?one of the most extraordinary works ever produced? The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and, as recent scholarship has shown, Albrecht Dürer may also have collaborated, 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 printing were famous throughout Europe. Woodcut with later colouring, some foxing otherwise in good condition. Norimberga Nurnberg 580 400

      [Bookseller: Libreria Antiquarius]
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        Martirio di San Simone.

      A. Koberger, Norimberga. 1493 Xilografia di dimensioni 36,5x25 cm. Stampa quattrocentesca raffigurante il martirio del Simonino, tratta dalla celebre opera ?De temporibus mundi? di Hartman Schedel, meglio nota come le ?Cronache di Norimberga?. L?autore Michael Wolgemut (1434-1519) aveva acquisito la bottega di Hans Pleydenwurff sposandone la vedova e collaborava con il figliastro Wilhelm, ma è noto soprattutto in relazione al grande Dürer, che aveva studiato presso di lui. Il foglio comprende la stampa e il testo in latino. In cornice.

      [Bookseller: Studio Bibliografico Adige]
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        Padua

      La monumentale opera di Schedel, il Liber Cronicarum, rappresenta uno ?dei più straordinari lavori mai realizzati? dall?editoria del XV secolo. Gli incisori erano Michael Wolgemut, famoso maestro di Albrecht Dürer, e il figliastro Wilhelm Pleydenwurff. Wolgemut fu il tutore di Albrecht Dürer tra il 1486 e il 1490; recenti studi hanno dimostrato come Durer abbia collaborato alla realizzazione di quest?opera, poiché alcuni dei tratti hanno somiglianze stupefacenti con quelli dell?Apocalisse; alcune opere sono infatti attribuite al maestro di Norimberga. La stampa venne supervisionata dal grande stampatore Anton Koberger, le cui opere erano famose in tutta Europa. Xilografia, in buone condizioni. Schedel's monumental Liber Cronicarum was ?one of the most extraordinary works ever produced? The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and like recent scholarship has shown, Albrecht Dürer may also have collaborated, 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 printing were famous throughout Europe. Norimberga Nurnberg 255 395

      [Bookseller: Libreria Antiquarius]
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        Perusia

      Silografia, 190x225 la sola incisione, 470x315 il foglio completo. Veduta fantastica tratta da una edizione latina di "Liber Chronicarum", una delle primissime opere illustrate pubblicate, che ebbe un enorme successo. La veduta è inserita nella parte sup. del foglio, il testo descrittivo in basso. Il testo è rubricato in rosso così come vi sono accenni di colore a contorno dei tetti. Ottimo esemplare assai marginoso con parziale mancanza all'angolo inf. sin.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Italia

      Veduta fantastica raffigurante una sorta di rappresentazione allegorica dell'Italia tratta dalla monumentale opera di Schedel, il Liber Cronicarum, che rappresenta uno ?dei più straordinari lavori mai realizzati? dall?editoria del XV secolo. Gli incisori erano Michael Wolgemut, famoso maestro di Albrecht Dürer, e il figliastro Wilhelm Pleydenwurff. Wolgemut fu il tutore di Albrecht Dürer tra il 1486 e il 1490; recenti studi hanno dimostrato come Durer abbia collaborato alla realizzazione di quest?opera, poiché alcuni dei tratti hanno somiglianze stupefacenti con quelli dell?Apocalisse; alcune opere sono infatti attribuite al maestro di Norimberga. La stampa venne supervisionata dal grande stampatore Anton Koberger, le cui opere erano famose in tutta Europa. Xilografia, in buone condizioni. Schedel's monumental Liber Cronicarum was ?one of the most extraordinary works ever produced? The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and recent scholarship has shown, Albrecht Dürer may also have collaborated, 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 printing were famous throughout Europe. Woodcut,,in good condition. Norimberga Nurnberg 230 230

      [Bookseller: Libreria Antiquarius]
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        Florencia.

      [Norimberga, Antonio Koberger, 1493], grande veduta prospettica in xilografia, mm. 252x540 + margini bianchi. Proveniente dall'edizione in latino del "Liber Chronicarum" di Hartmann Schedel. Bell'esemplare. Mori-Boffito, p. 24, ill. n.t. a p. 25 e tavola f.t.

      [Bookseller: Libreria Antiquaria Gozzini]
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        Liber epistolarum beati Augustini episcopi hipponensis ecclesie.

      Basilieri, Iohanes de Amerbach, 1493. 1493 In 4°, mm 216 x 313; ff 328, testo di 52 linee in carattere romano tondo; ricco capolettera iniziale a due colori su 11 righe (mm 49) e capilettera rubricati in rosso e blu su 3 righe (mm 16) per tutto il testo, ampissimi margini. Legatura coeva in piena pelle bruna su assicelle originali con impressioni a secco, 3 nervi al dorso, mancanti come spesso accade gli antichi fermagli dei quali sono ancora presenti gli attacchi sui lati esterni dei piatti. Cerniere fragili, sbucciature abilmente riparate ai piatti mentre sono sani e originali sia le cuffie che i capitelli. Lo stampatore Jean de Amerbach (1444-1516), fu uno dei primi grandi tipografi di Basilea e fu considerato dallo Zwinger uno degli "Eroi della tipografia". Importanti le sue edizioni di testi dei Padri della Chiesa (tra cui Sant'Agostino). I suoi figli continuarono l'attività, imprimendo insieme a Froben le opere di Erasmo da Rotterdam e furono noti, oltre che come tipografi, anche come insigni giuristi. Assai bello questo esemplare con carta in magnifico stato di conservazione e solo una trascurabile gora ai margini delle prime 12 carte. Esemplare assolutamente completo in ogni sua parte. Terza edizione non comune, della quale si trovano 9 esemplari nelle Biblioteche Pubbliche Italiane. IGI, 995; BMC, III, 755; GOFF, A-1268.

      [Bookseller: Biggio Giuseppina]
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        POZZUOLO.

      Magnifica veduta, incisa in rame e colorata d?epoca (mm. 405 x 550) di ?Pouzol ville du Royaume de Naples?. Bell?esemplare marginoso. Cfr. Cremonini, ?L?Italia nelle vedute e carte geografiche dal 1493 al 1894?, n. 206, p. 88.

      [Bookseller: Libreria Antiquaria Malavasi]
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        Das Buch der Chroniken und Geschichten.

      [10], 287 Blätter. Mit über 1800 teils blattgroßen Illustrationen (teilweise wiederholt) und 2 doppelblattgroßen Karten in Holzschnitt von Wohlgemuth und Pleydenwurff. Die ersten 65 Blätter altkoloriert. Imp.-2°. Aufwendig restaurierter und teils erneuerter dunkelbrauner Halblederband auf fünf Bünden über alten, teilweise unbezogenen Holzdeckeln unter Verwendung überwiegend originaler Beschläge. Zwei Hakenschließen mit Lederscharnieren. Pergamentverstärkte Innengelenke. Erste deutsche Ausgabe, 6 Monate nach der lateinischen Edition erschienen und seltener als diese. - Reichhaltigst illustrierte, kunst- und druckgeschichtlich überaus bedeutende und wohl bekannteste Inkunabel überhaupt; "größtes Buchunternehmen der Dürerzeit" (Rücker). Mit zahlreichen, erstmals individualisierten Stadtansichten, u.a. von Konstantinopel, Straßburg, Florenz, Rom, Venedig, Köln, Mainz, Regensburg, Wien, Nürnberg, Salzburg, Bamberg, Prag, Breslau, Konstanz, Basel, Lübeck. - Zur Editionsgeschichte vgl. ausführlich Chr. Reske, Die Produktion der Schedelschen Weltchronik in Nürnberg (Wiesbaden 2000). - Aufwendig und fachgerecht restauriertes Exemplar: Diverse Ergänzungen und Anfaserungen an den Blatträndern, einige hinterlegte Einrisse. Ein Dutzend Blätter mit leichtem Text- bzw. Bildverlust. Teils etwas fleckig und gebräunt, leicht fingerfleckig. - Kein makelloses, aber insgesamt gutes, überwiegend sauberes Exemplar. Reizvoll durch den Kontrast der kräftigen Altkolorierung zum nichtkolorierten Teil der Holzschnitte; diese alle in guten Abdrucken. - Hain 14510 - Polain 3471 - Goff S309 - BMC II, 437. - Restored copy of the monumental incunabula, binding carefully renewed using original materials. Many leaves professionally strengthened and completed, a few single leaves with faults to margins and loss of text & illustrations. Expressively coloured by old hand in parts. Some minor browning, some leaves foxed and brown-stained. - Not absolutely mint, but still good copy. - Don't hesitate to ask for further informations.

      [Bookseller: Antiquariat Kretzer - www.bibliotheca-th]
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        Leaf CCXV from the Liber Chronicarum (Nuremberg Chronicle)

      Nuremberg, Germany: Kobergerger, 1493. The leaf is approximately 12"x17". Strong print with attractive hand-coloring. The Chronicle, one of the best examples of early printing, is an illustrated history of the world from the beginning of time until its publication in 1493. Its format generally follows a Biblical history of mankind with inclusions of natural catastrophes, royal genealogies, and important cities. This leaf contains eight hand-colored woodcuts: 1) St. Thomas Aquinas, 2) Two heretical flagellants, 3) Charles of Sicily, 4) Philip, son of St. Louis, 5) Pope Gregory the Tenth, 6) Pope Innocent the Fifth, 7) Pope Adrian the Fifth, and 8) the Second Council of Lyons in 1274. An English translation of the leaf (with some historical notes) is included. . Unbound. Very Good. Illus. by Wohlgemut, Michael and Wilhelm Pleydenwurff.

      [Bookseller: Read'Em Again Books]
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        ["Northern and Central Europe"] Untitled

      Woodcut map, 39x58cm Nuremberg July 12th , 1493 This copy has a Latin colophon text on the back. It was reissued in German half a year later. As one of two maps (see our entry 34) it was included in Hartmann Schedel's "Nuremberg Chronicle". Cartographically the Scandinavia map is based on the "Ulm map" (see entry 34) and a map of Europe by N. Cusanus.. The map was bound at the end of a thick volume and most surviving copies have condition issues. Our copy has new margins skillfully restored, the upper and lower left corners of the map with areas filled in. Some restorations along the centerfold. W. B. Ginsberg "Printed Maps of Scandinavia and the Arctic 1482 - 1601" Entry 2, fig. 2,0 and 1, Hoem "Norge på gamle kart" no.9, Campbell 220, I, Benedicte Gamborg Briså "Northward Bound At The Far Edge Of The World" Nordkappmuseet 2010, page 15 illustrated

      [Bookseller: Kunstantikvariat PAMA AS]
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        Florencia (Firenze).

      Dal "Liber Chronicarum Nurembergensi", bottega di Michael Wolgemut e Wilhem Pleydenwurff, Norimberga fine XV secolo, pubblicata in Schedel Hartmann nel "Liber Chronicarum", xilografia in antica coloritura, cm 48 x 67 (il foglio); tutte le lettere maiuscole, sia al recto che al verso, sono ritoccate in rosso, insieme ai dettagli dei personaggi che compaiono al verso del foglio. La prima edizione, in latino, fu stampata a Norimberga il 12 luglio del 1493, la seconda edizione, con testo in tedesco, fu stampata sempre a Norimberga nel dicembre dello stesso anno. Un'altra versione, in edizione ridotta, fu pubblicata in Augsburg nel 1496 da Johann Schonsperger. Mentre nelle edizioni veneziane della cronaca del Foresti il rapporto tra editore e illustratore, e tra testo e immagine configura la dominanza del primo termine, nella cronaca di Norimberga i ruoli tendono a rovesciarsi. Ô Michael Wolgemut, pittore e designatore, e erede della bottega di Hans Pleydenwurff e maestro di disegno silografico del giovane Durer, che in societ? col figliastro Wilhem si procura i finanziamenti, coopta l'importante tipografo Anton Koberger, e alla testa di un buon gruppo di collaboratori produce circa seicentocinquanta silografie, per un totale di milleottocentonove illustrazioni che costituiscono il fondamento editoriale dell'opera. Il testo ? affidato al dotto medico e umanista norimberghese H. Schedel, gi? studente a Padova, il cui nome non compare n? in incipit n? in colophon. L'ingente corpus grafico ? assai disomogeneo per stile e valore del disegno e peripezia d'intaglio, ma nel suo complesso fornisce, secondo E. Panofsky "una nuova espressione delle possibilit? espressive e rappresentative della tecnica silografica". Se le silografie veneziane che illustrano il Foresti sono di piccolo formato, di stile squisitamente grafico e tendenti alla stilizzazione decorativa, le vedute disegnate dal Wolgemut sono al contrario di stile pittorico, di dimensioni medio - grandi, ricche di modellato e complicate di arditi scorci prospettici. Di circa centotrentaquattro scenari urbani solo una trentina ? pi? o meno verosimile; di quelle italiane solo Roma, Firenze, Venezia e Genova. I restanti tre quarti sono figure arbitrarie, come Pisa, Ravenna, o l'inglese Towered Town, "metafisico" assemblaggio di moduli architettonico - urbanistici e paesaggistici estratti dal formulario di un tedesco; strutture fortificate a sezione prevalentemente cilindrica, con torrini a sbalzo, caditoie e casematte, edifici con facciata a dentelli, tetti spioventi con abbaini, multipli addossati a schiera, una visione iconografica del tutto scollata dal testo dello Schedel che, all'opposto, ricopia diligentemente la cronaca del Foresti. Bell'esemplare in buona conservazione.

      [Bookseller: Studio Bibliografico Botteghina D'arte G]
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        Pisa

      Koberger Anton Nuremburg: Koberger, Anton, 1493. unbound. very good(+). Wolgemut, Michael. Woodcut, uncolored. Image measures 8" x 9", image plus text measures 13.75" x 9". From the German edition of the Liber cronicarum (Nuremberg Chronicle). The first secular published book, it tells the history of the earth through seven "ages". As the verso of blat XLV, this piece shows a fictitious view of Pisa. Although many towns and cities in Europe and the Near East are illustrated in the book, 49 of them were printed with only 14 different woodblocks. Therefore, this illustration is identical to the page describing the Roman town of Tiburtina. Some very minor foxing and a fold along bottom margin, not affecting image.

      [Bookseller: Argosy Book Store ]
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        No exact title but: "Secunda etas mundi"

      Woodcut map, ca. 37x51cm, the full sheet 46x60,5cm Nuremberg NUREMBERG, July 12th, 1493 From the first edition in Latin, published six month before the German language issue. Three corners illustrated with Noah's sons and surrounding the map there are 12 windheads. On the left hand-side and verso, there are figure panels representing the outlandish creatures and human beings that were thought to inhabit the furthermost part of the earth.. A very fine and wide-margin copy. R. Shirley "The Mapping of the World" entry 19, Benedicte Gamborg Briså "Northward Bound At The Far Edge Of The World" Nordkappmuseet 2010, page 8 illustrated

      [Bookseller: Kunstantikvariat PAMA AS]
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