Rare Books Berlin - Internationale Messe für Bücher und Graphik

[ALBUM AMICORUM - EQUESTRIANISM - HERALDRY].

Beautifully illustrated hand-coloured and highlighted in gold album amicorum in an elaborately gold- and blind-tooled binding dated 1590 [Late 16th- and early 17th-century album amicorum]. [North-western Europe (specifically the vicinity of Brussels?)], [1585-1615]. 4to. With 45 hand-coloured and highlighted in gold engraved plates of horses and their riders from Europe, North Africa, and the Near and Middle East, numbered 1-50 (skipping nos. 2, 21, 27, 35, and 36), 46 hand-coloured and highlighted in gold engraved heraldic plates (sometimes filled in with manuscript notes), 2 hand-coloured manuscript coats of arms on l. 15v, and 1 black and gold hand-coloured manuscript coat of arms on the back paste-down. Contemporary elaborately gold- and blind-tooled mottled calf, with gold lettering on both boards (front: RVB HZC VFB C.) (back: 1590). A remarkable album amicorum containing numerous late 16th- and early 17th-century inscriptions, bound in an elaborately decorated binding (dated 1590) and including more than 90 expertly hand-coloured and highlighted in gold engraved plates on equestrianism and heraldry. The engraved plates of horses (and in two cases dromedaries) and the nine pages of explanatory printed text at the beginning of the album were based on a late 16th-century work by the Flemish engraver Abraham de Bruyn (ca. 1539-1587), titled: Equitum descriptio, quomodo equestres... (ca. 1575/76). This work was published again in Cologne in 1577 with the following title Diversarum gentium armatura equestris; each engraving shows a horseman from a particular country or region, including Germany, the Low Countries, France, Ireland, Italy, Spain, Russia, Romania, Hungary, Poland, Turkey, Persia, Egypt, Arabia, and more. De Bruyn's set of engravings was altered and expanded by the Flemish artist, Caspar Ruts (1530-1607), who later moved to Germany. Ruts (or Rutz) added two different types of plates meant for drawing coats-of-arms and family crests: the first type shows a crest flanked by a woman and a man (signed in the plate "Caspar Ruts excudit") and the second shows a crest in an ornamental frame. This frame is present in several versions: one type contains fruit and insects; a second one contains parrots, squirrels and fruit; a third shows flowers, berries and butterflies. Many blank pages and several engravings are inscribed in ink. Several of these inscriptions are dated, mainly between 1585 and 1615. These inscriptions are made by, for example, Rene de Barnaige (an alderman from Kortrijk, or Courtroi), Jeane(?) Dontremont, Odile de Wilzt, Anne de Brecht, René de Chalon, Konstantin I, Freiherr Fugger, Herr zu Zinnenberg (1569-1627), Marguerite de Horion d'Ordenge and many more. Most of the contributors to the album are from Northwest Europe (the vicinity of Brussels, the Low Countries and Rhineland). Several belong to the bourgeoisie and minor nobility of the Southern Netherlands. René de Chalon (d. 1624) is a grandson of the first Prince of Orange, also named René de Chalon (1519-1544). René de Barnaige owned a fiefdom, his entry is a remembrance "tout se passe ... sans elle ne puis" of Lady Antoinette de Bourgogne (1529-1588). Odile (Marie) de Wiltz was a daughter of Johann Freiherr von und zu Wiltz (1535-1607). Little else is known about her, except that she married Charles de la Hamaïde (1580-1649) and that she was a descendent from Johann I von Nassau Dillenburg and Egbert I van Amstel, therefore, a distant relative of René de Chalon.  

Sachgebiete: Handschriften, Heraldik, Pferde, Stammbücher

35000,- EUR
inkl. 7% USt./incl. 7% VAT

[BEVERSEN, Nicolaas Johannes].

Extensive correspondence with artists and writers in fin de siècle Europe [Collection of letters and postcards received by Nicolaas Johannes Beversen]. [Various places in Europe, 1886-1931]. 825¾ pages on 550 leaves. An extensive collection of correspondence by the Dutch classical scholar, translator, book collector and literary critic Nicolaas Johannes Beversen (1860-1932), who received the letters and postcards, written by more than 90 correspondents, over a period of 45 years. Most of his correspondents were writers or artists including Théophile de Bock, P.C. Boutens, Colette, Georges Duhamel, Henri Fantin-Latour, Paul Fort, John Galsworthy, André Gide, Paul Herrmann, Ricarda Huch, Käthe Kollwitz, Melchior Lechter, F. T. Marinetti, Romain Rolland, Annie Salomons, George Bernard Shaw, Stijn Streuvels, Arthur Symons Émile Verhaeren and T.J. Cobden Sanderson (proprietor of the Doves Pres). A contemporary described Beversen, a voracious collector of Dutch, French, English and German literature, as both a quick and thorough reader. He kept himself informed on all new publications, often corresponding with the authors about when their work would appear. The British writer John Galsworthy (1867-1933) wrote Beversen in 1922, stating his thoughts on Charles Dickens: "I safely received the MS. Yes, I’m afraid I do think Dickens - great as he was - was not what I call a poet." In one of three letters, the French writer Colette (1873-1954) wrote about finishing the second part of La naissance du jour (1928) and promised to have the photographer Henri Manuel send Beversen her latest portrait, where "the two cats are magnificent", thereby dating a famous (and undated) photograph. Many other letters discuss lectures and conferences. Ricarda Huch stated in 1912 that she had a firm dislike of lectures that could not be changed. A year later, the Italian poet Filippo Tommaso Marinetti (1876-1944) regretted that he would not be able to attend a conference in Leiden, as he would be speaking at a Futurist exhibition in Rotterdam.

Sachgebiete: Autographen, Europa, Handschriften, Literatur ab ca. 1900

28000,- EUR
inkl. 7% USt./incl. 7% VAT

BECKER, Wilhelm Gottlieb (editor).

Nice work on landscape gardening, with the often lacking rare second part Der plauische Grund bei Dresden, mit Hinsicht auf Naturgeschichte und schöne Gartenkunst. Nuremberg, Frauenholzischen Kunsthandlung, 1799. 2 parts in 1 volume. Folio. The first part with a fine large folding engraved map and 16 full engraved plates of the "Plauische Grund" between Dresden and Tharand, the second part with 1 folding and 7 full-page hand-coloured engraved plates, illustrating profiles and geological structures of the region and insects. Contemporary half calf, spine gilt. Rare work on landscape gardening, this copy complete with the usually lacking part on natural history. "Meisterwerk der Dresdner Landschaftskunst des späten 18. Jahrhunderts" (Lanck.-Oehler). Twelve of the very fine views of the first part are made after drawings by the famous Johann Christian Klengel (1751-1824). Part 2 comprises three parts, each with its own divisional title: I. Andreas Tauber, Mineralogische Beschreibung des plauischen Grundes bis Tharand (pp. 1-44, containing the 4 fine handcoloured geological plates). II. Friedriech Traugott Pursch, Verzeichnis der im plauischen Grunde und den zunächst angrenzenden Gegenden wildwachsenden pflanzen (pp. 45-94, without plates). III. Ludwig Heinrich Freiherrn von Block, Verzeichnis der merkwürdigsten Insecten welche im plauische Grunde gefunden werde (pp. 95-120, with the 4 fine handcoloured plates of insects).

Sachgebiete: Deutschland, Gartenbau, Illustrierte Bücher, Naturwissenschaften, Topographie

5000,- EUR
inkl. 7% USt./incl. 7% VAT

BLAEU, Joan.

"The greatest and finest atlas ever published", with 610 maps, plans and views, coloured by a contemporary hand Grooten atlas, oft werelt-beschryving, in welcke ’t aerdryck, de zee, en hemel, wort vertoont en beschreven. Amsterdam, Joan Blaeu, 1664-1665. 9 volumes. Imperial folio (55.5 × 36.5 cm). With 9 engraved title pages, an engraved frontispiece and 610 engraved maps, views, plans, etc., mostly double-page (53.5 × 64 cm, plate size ca. 42 × 53 cm), 7 larger folding, a few single-page and a few smaller, many including additional inset maps, plans and views, and decorated with coats of arms, human & mythological figures, animals, produce, etc. With the engraved title-pages, frontispiece, other engravings (except for the compass rose and 2 inscriptions), woodcut devices on 4 title-pages and 1 woodcut initial coloured by a contemporary hand (the maps mostly in outline but with their decorations fully coloured) and some (mostly the engraved title-pages) with extensive use of gold. Contemporary gold-tooled vellum. € First and only Dutch edition of Joan Blaeu’s great terrestrial atlas, often considered the greatest atlas of all time, with 610 engraved maps, views, etc., mostly double-page and all coloured by a contemporary hand. Many maps include inset plans and views and coats of arms. Blaeu first published his great atlas in Latin as Atlas maior in 1662, but the Dutch edition includes a few maps more than the Latin or French editions. The atlases produced by the Blaeus, especially Willem Jansz (1571-1638) and his son Joan (1598/99-1673) are justly famous for the accuracy, originality and beauty of their maps and for the technical quality of their engraving and printing. The Blaeus had close ties with the VOC (Dutch East India Company) and Joan was appointed examiner of their navigators in 1658, giving him access to all the latest surveys and other topographic information the VOC brought back from their voyages throughout the world. The Italian Jesuit Martino Martini (1614-1661), who had lived in China from 1640 to 1651 and was to return in 1658, compiled the atlas of China, printed and published by Joan Blaeu in 1655, the first major atlas of China published in Europe. It remained the most detailed European source for the geography of the Far East far into the 18th century.

Sachgebiete: Atlanten, Kartographie, Landkarten, Niederlande , Vermessungswesen

675000,- EUR
inkl. 7% USt./incl. 7% VAT

BORJA (BORIA), Juan de.

First Latin edition of a Spanish moralistic emblem book, with 100 engraved emblems Emblemata moralia. Berlin, Johann Michael Rudiger, Ulrich Liebpert, 1697. Small 4to. With large engraved device on title-page, 100 finely engraved circular emblems by J.C. Schott. 18th-century blind-tooled mottled sheepskin. First Latin edition of a Spanish emblem book, translated by Ludovicus Camerarius, first published in Spanish at Prague in 1581. Each of the 100 moralistic emblems appears on a recto with a 2-line verse below it and a motto and Latin prose explanation on the facing page. The emblems depict all sorts of subjects: animals, trees and other plants, vases, buildings, the elements, lightning hitting a temple, lamps, a cobweb, a sword, sailing ships, a terrestrial globe, Heracles in his lionskin holding a celestial globe, Noah's Ark on mount Ararat, a huge pair of glasses in the sky above a landscape, and many more.

Sachgebiete: Einbände, Emblemata, Illustrierte Bücher, Literatur bis ca. 1900, Spanien

5500,- EUR
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[CALLOT, Jacques, Carel ALLARD & others].

120 prints, nearly all 1601-1725, including at least 4 complete series, most brought together ca. 1745 [Collection of 120 engravings by French, Dutch, Italian and German artists]. Venice, Paris, [Amsterdam], etc., 1601-1725 (album ca. 1745?), with additions [1788] & [ca. 1790]. 8vo, 4to, etc. (19 x 13 cm). 120 engraved prints, namely 44 from 4 complete print series (1 with a title-print), 57 (including 3 title-prints) from 10 or 11 other series and 19 prints apparently not from any series, by Jacques Callot (1 complete series), Odoardo Fialetti, Herman Weyen, Balthasar Moncornet, Henri Bonnart, Carel Allard (3 complete series), P. Landry and others (see contents, below). Mottled sheepskin (ca. 1745?). A remarkable collection of prints, many very rare, assembled by an unidentified collector ca. 1745 (with about 5 prints added later), with 120 prints by French, Italian, Dutch and German artists such as Odoardo Fialetti, Herman Weyen, Balthasar Moncornet, including 1 complete series by Jacques Callot and 3 by Carel Allard. Items 5, 15, 18 and 22 are complete series. With many contemporary manuscript annotations in French, written in pencil and brown ink. About 25 leaves have been removed from the book, probably including additional prints. The head of a few prints in the Landry landscapes and Allard military scenes (ads 17 & 18) very slightly shaved at the head, with only about 1 mm of the sky or tree tops lost, a small scuff on one scene and some small stains in some prints of the Bonnet circus series, affecting only the border of one print, but most prints remain in good condition. With chips and cracks at the head of the spine and a few other superficial cracks, hinges worn, and board slightly scuffed, but nearly all of the tooling remains clear. A ca. 1745 collection of 120 prints, many very rare. Contents: (1) (on front paste-down): LE CLERE. Ascension. Paris, Jean-Baptist Derbois, [ca. 1745?]. (2) (on first free endleaf): [ANONYMOUS]. Sternwarte zu Paris|l'Observatoire à Paris.[Paris, before 1667?]. (3) (1v): ERTINGER, Franz. [Last Judgement]. [Paris?, ca. 1690?]. (4) (2-11): FIALETTI, Odoardo. Scherzi d'amore. Al magnanimo ... Baron Roos. Venice, 1618. (5) (12-36): CALLOT, Jacques. Capitano de Baroni. [Paris]. (6) (37-41): CALLOT, Jacques. Balli di Sfessania. [Paris?, ca. 1660?]. (7) (42r): [ANONYMOUS]. [Tomb of a soldier].Paris, Jacques Chéreau, [ca. 1720?]. (8) (43r): [ANONYMOUS]. Portrait de Madame Quilira. Ha voila mon portrait. [Paris, ca. 1720?]. (9) (44r, 46r, 47r, 48r, 49r, 50r, 51r, 52r): MONCORNET, Balthasar, [and Herman WEYEN?]. [Passion and martyrdom scenes]. [Paris, ca. 1640/60?]. (10) (45r): CALLOT Jacques. [Road to Calvary with Veronica kneeling]. [Paris, ca. 1640/60?]. (11) (46v, 47v, 48v): WEYEN, Herman. [3 landscapes with scenes from the New Testament]. [Paris,[ca. 1660?]. (12) (53r-64r): BONNART, Henri. [12 views of Dutch and English circus acrobats jumping, vaulting and walking a tightrope]. (13) (54v): [ANONYMOUS]. [Dramatic scene in a church with an apparent victim of a sword fight]. (14) (62v): BERCHEM, Nicolas. Animalia ad vivum delineata at aqua forti aeri impressa studio et arte Nicolai Berchemii. [Amsterdam?, ca. 1660?]. (15). (65r-71r): ALLARD, Carel. [The seven vices]. [Amsterdam], Carl Allard, [ca. 1690?]. (16) (71v-75v): [ANONYMOUS]. [Scenes in which several European kings and emperors play a role]. [France?, ca. 1725?]. (17) (72r-75r): LANDRY, Pierre, after "E.B.". [French (or Italian) landscapes].[Paris]. (18) (76-78 and 88v): ALLARD, Carel. [4 Military scenes: army marching, in battle and in encampment]. [Amsterdam], Carl Allard, [ca. 1690?]. (19) (79-83, 85): WEIJER, D.G. [Landscapes with a theme of love]. Nürnberg, Heinrich Ulrich, 1601. (20) (84r): [ANONYMOUS]. [Landscape with the ruins of a castle]. (21) (81v-83v): [ANONYMOUS]. [Scenes from a chivalrous story]. [Amsterdam & Paris, Nyon aîné & fils, 1788]. (22) (86-93): ALLARD, Carel. Venationes piscationis et aucupii typi. [Amsterdam], Carl Allard, [ca. 1690?]. (23) (86v): [ANONYMOUS]. [Military messenger with horse, bringing a message to an officer]. [France?, ca. 1790?]. (24) (89v): CLERC, S. le. [Landscape]. (25) (90v): [ANONYMOUS]. Les songes du sage tradruit[!]. [Paris, 1664]. (26) (94r-95r): [ANONYMOUS]. [Miscellaneous engravings]. 1725.

Sachgebiete: Illustrierte Bücher, Militaria, Theater, Zirkus

9500,- EUR
inkl. 7% USt./incl. 7% VAT

[COOK, James (subject)].

Very rare first account of the death of Captain Cook Nachrichten von dem Leben und den Seereisen des berühmten Capitain Cook. Reval [= Tallinn, Estonia] & Leipzig, Albrecht und Compagnie, 1780. With: (2) Briefe aus England historisch-statistisch und artistischen Inhalts. 1s Heft. Reval [= Tallinn, Estonia] & Leipzig, Albrecht und Compagnie, 1780. 2 works in 1 volume. 8vo. With a woodcut ship on the title-page of ad 2 and woodcut headpieces in both works. Contemporary half calf, brown sprinkled paper sides, brown morocco spine label with title in gold. Extremely rare German account of Captain Cook’s death, published in Tallinn in Estonia, "undoubtedly the first account of Cook's death to be published in book form" (Beddie), together with a letter concerning the 1775 Spanish voyage to the west coast of North America by Bodega y Quadra (1744-1794), also in German, with many references to Cook. The first work opens with a short poem on the death of the English navigator and hydrographer James Cook (1728-1779), who died during a scuffle with the Hawaiian natives on 14 February 1779, after his relations with them had deteriorated. It is followed by a foreword and "a short account of Cook's life, his voyages and his death, with many inaccuracies on his early career" (Beddie), also in German. Much of the information in this small booklet comes from a letter, Auszug des Briefes von Kensington den 4ten Febr. 1780 die Nachrichten von Kapitain Cook betressend. This letter "includes paraphrases of passages in Captain Charles Clerke's letter to the Admirality, written at Kamchatka on June 8, 1779, announcing the death of Cook at Hawaii" (Forbes). Beyond the book’s importance as the first published account of Cook's death, it also includes many passing references to the Hawaiian Islands. It ends with a laudatory poem on Cook's death, "An elegy on the death of the late Captain Cook", followed by a German translation. In addition to the present edition in the original German, Albrecht published a French translation more or less simultaneously: Précis de la vie & des voyages du Capitaine Cook. Écrit de Kensington ce 4 février 1780. The author of this account of Cook's death is uncertain, though it has been attributed to Georg Forster (1754-1794) or Johann Reinhold Forster (1729-1798), German natural scientists who accompanied Cook on his second voyage. The second work in this volume, by the same publisher in matching format in the same year, is a letter concerning the 1775 voyage to the west coast of North America by the Spanish voyager Juan Francisco de la Bodega y Quadra. It contains many references to the voyages of Cook and is even rarer than the Nachrichten.

Sachgebiete: Deutschland, Geschichte, Großbritannien

148500,- EUR
inkl. 7% USt./incl. 7% VAT

[DRAWING - RIO DE JANEIRO]. [MARY, Benjamin (attributed)].

Original drawing relating to an important work on Brazilian plants [Ink drawing of Guanabara Bay]. [Rio de Janeiro?, 1837?]. With: (2) [LEBSCHÉE, Carl August (attributed)]. [Drawing of Guanabara Bay]. [Germany?, 1837?]. Ad 1: 19 x 32 cm. Passe-partout: 36,5 x 47 cm. Sepia ink on paper. Ad 2: 24,5 x 34 cm. Passe-partout: 37 x 44 cm. Sepia ink on paper, with blue and sepia ink washes. Two ink drawings on paper depicting the same view of Guanabara bay, with a banana plantation and the Pao de Açucar, near Rio de Janeiro in Brazil. This scene has also been included in Flora Brasiliensis, as plate LV in volume 1.1. Plate LV is lithographed after a drawing by Belgian artist and botanist Benjamin Mary (1792-1846), made in 1837. The largest drawing of the two present here (ad 1) is believed to be this drawing by Mary. Flora Brasiliensis is a 15-volume work on Brazilian plants edited by botanist Carl Friedrich Philipp von Martius and others. It was published between 1840 and 1906 and systematically categorised the known plants in the region. The numerous plates were designed by many different artists, including Benjamin Mary. He lived in Rio de Janeiro from 1832-1837, so his Brazilian drawings were based on his own observations. Although the present drawing is unsigned, it can be attributed to Mary due to stylistic similarities with his other works, its exact likeness to the litho in Flora Brasiliensis and its provenance (both drawings are from the collection of the Von Martius family). The second drawing depicts the same scene, but is clearly made by a different artist. It is signed "A. L." in the lower left corner. This work has been attributed to Carl August Lebschée (1800-1877), a German artist who also made drawings for the Flora Brasiliensis. However, this is uncertain, because he typically monogrammed his work with C. L.

Sachgebiete: Botanik, Brasilien , Handzeichnungen, Naturwissenschaften

6500,- EUR
inkl. 7% USt./incl. 7% VAT

ENGELBRECHT, Martin & C.P. MAJ.

A magnificent and extremely rare contemporary hand-coloured suite of 115 numbered plates of the protagonists of the Austrian Succession wars [115 contemporary hand-coloured engraved plates picturing 18th-century European military life]. Augsburg, Martin Engelbrecht, ca. 1742. Folio. 115 engraved and magnificent hand-coloured plates, highlighted with gold and silver, drawn by C.P. Maj and executed and printed by the Augsburg engraver and art publisher Martin Engelbrecht (1684-1756). With separately printed engraved captions consisting of a (sometimes 2-line) title and a poem of 4 or 5 lines in French below each plate (except plates 55-56 which have a German caption printed below and a French caption in the plate), pointing out the characteristics of the man depicted. Modern red morroco, marbled sides. Extremely rare suite with 115 hand-coloured plates of the protagonists of the Austrian Succession wars. This collection of costume plates is very rare: neither Lipperheide nor Colas records it and we find only a few separate plates on the market and in libraries. We find only 7 sets recorded in the last 100 years with varing make-up and number of plates. The work was apparently also published and sold with the title Theatre de la milice etrangere: Schau-Bühne verschiedener bisher in Teutschland unbekant gewester Soldaten von ausländischer Nationen, also published by Engelbrecht (ca. 1746?), but with other, bilingual French and German captions printed below the plates. The plates show us lively pictures of the protagonists, especially of the foreign mercenaries, in action - often fiercely and ruthlessly - on the battlefields of 18th-century Europe during the War of the Austrian Succession and the first and second Selesian wars (ca. 1740-1748), the last Great Power conflict with the Bourbon-Habsburg dynastic conflict at its heart, and marked by the rise of Prussia as a major power. Thirty engravings are devoted to the Habsburg monarchy's military border, including a portrait of their famous commander Colonel Baron Francis von der Trenck (1711-1749), while fifteen more show Scottish Highlanders (“Montagnards d’Ecosse”), eleven Hungarian foot soldiers (“Tolpatches”), six Prussian Hussars from the regiment of Baron Johann Daniël von Menzel, including a portrait of him, six Fantasins (infantry from Carlstadt (Karlovac, Croatia), Uhlanen (light Polish-Lithuanian cavalry), Hajduk (irregular infantry), Dalmatians (Morlachs), Serbs and Croats (Varasdin). There are plates of officers and commanders as well as common soldiers, many fighting on horseback; some soldiers waving the flag of their unit, or playing the flute, trumpet, drums or bagpipes. Some are depicted with their wives (or mistresses) and children, including a plate of a sutler (someone who sold provisions); many apear against an interesting background picturing camps, cities, fortresses and soldiers cooking or being punished.

Sachgebiete: Österreich, Illustrierte Bücher, Militaria, Porträts, Preußen

38000,- EUR
inkl. 7% USt./incl. 7% VAT

HEYDT, Johann Wolffgang.

Fine work illustrating the cities, ports, and factories of the Dutch East India Company in Asia and Africa Allerneuester Geographisch und Topographischer Schau-Platz, von Africa und Ost-Indien. Nuremberg, C. Tetschner, 1744. Oblong folio (31 x 36.5 cm). With 115 numbered engraved maps and plates, an engraved frontispiece, and an engraved title page. Contemporary vellum, with the author and title lettered in gold on the spine, red edges. First, complete edition of an exceptional work showing the ports and bases of the Dutch East India Company (VOC) in Asia and Africa. It is one of the finest executed and illustrated publications of a voyage from Europe to the East Indies. The work is illustrated with 115 large and handsome full-page plates and maps. Together are one of the richest iconographic renderings of the Dutch settlements and colonies in Asia and Africa, all beautifully drawn and engraved. Complete copies of this work, with the frontispiece and all the plates, are quite rare. The illustrations show the influence of the VOC in Africa and Asia (ports, cities, factories, etc.), and are engraved after Johann Wolffgang Heydt’s (1702-1750) original drawings, which he made during his voyage to the East Indies. The plates are of great topographical and ethnological value. Heydt accompanied them with an account of his journey, which also contains much important information. Johann Heydt was a German engraver, surveyor and traveller, who was employed by the VOC. He travelled to the East Indies in 1734 and stayed until 1740. His drawings caught the attention of Adriaan Valckenier (1695-1751), Governor General of the VOC, who appointed Heydt in 1738 as artist and architect of the VOC. In this function, he made many views and plans of fortresses, towns, and hamlets. Many of which were included in the present work.

Sachgebiete: Afrika, Asien, Niederlande , Topographie, Ortsansichten

17500,- EUR
inkl. 7% USt./incl. 7% VAT

MAU, August.

Stunning collotypes and chromolithographs of Pompeii wall paintings in situ soon after their excavation Geschichte der decorativen Wandmalerei in Pompeji … Mit 20 Tafeln in einer Mappe. Berlin, G. Reimer, 1882. 1 text volume & 1 portfolio with plates. 8vo (text volume) and 1mo (plates portfolio 53 x 43 cm). With 20 large numbered plates showing Pompeii wall paintings in situ, mounted on card stock, loose in a separate portfolio with letterpress title-leaf and contents leaf: 9 sepia collotypes (21 x 16 to 26.5 x 24.5 cm) and 11 chromolithographs (21.5 x 19 to 37 x 36 cm), no. 18 actually comprising 7 small chromolithographs on 1 card, each plate with a letterpress label on the back; and 7 black and white floor plans in the text. Contemporary half sheepskin parchment (text); contemporary blue half cloth portfolio (plates). First and only edition of a detailed and beautifully colour-illustrated study of Pompeii wall paintings by Augustus Mau, who "knew as much about Pompeii as any other scholar at the time and seems always to have been willing to share the latest information from new excavations with visiting scholars" (Pedley, p. 23). In the present book he established the classification scheme still often used today, distinguishing four different styles that he believed represented chronological phases, though this remains a point of dispute among archaeologists. Most importantly his stunning and richly-coloured chromolithographs and detailed collotypes show the wall paintings in situ and in the state they were found during the archaeological excavations. Besides their extraordinary beauty and their interest as examples of the scientific use of these reproduction techniques, they therefore also provide an extremely important record of the material, before attempts at restoration, the removal of items from their original context,

Sachgebiete: Antike, Archäologie, Geschichte, Illustrierte Bücher, Italien

7500,- EUR
inkl. 7% USt./incl. 7% VAT

[MINIATURE - GERMAN].

Charming and finely executed miniature, probably by a German follower of Simon Bening [The Arrest of Christ]. [Flanders (Bruges?), or Nürnberg, ca. 1520]. Miniature painted on vellum (7.8 x 5.6 cm) in numerous colours, highlighted with gold and in a gold border, probably from a book of hours, but with no text. A finely rendered miniature showing great detail in bright colours, highlighted with gold, depicting the Arrest of Christ, most likely from a diminutive book of hours. Surrounded by a bustling throng of Roman soldiers carrying spears and wearing halberds, Christ appears calm just at the moment when a soldier takes him captive. An elder of the Jewish Temple stands directly behind him, dressed in red. To the right stands Simon Peter, sword raised, having cut off the ear of the High Priest's servant, Malchus, who sits nursing his bleeding ear in the lower left corner of the composition. An earlier episode, Christ's Agony in the Garden of Gethsemane, when he learns that one of his disciples will betray him, appears in the background at left. A genre scene, with men working the fields and crossing a river on a narrow plank bridge, occupies the middle ground to the left of the main scene, and the towers of a castle or city the middle ground to the right. The general style recalls the art of the last generation of Ghent-Bruges painters, especially that of the famed Simon Bening. Though the anonymous artist owes much of his style to Bening's model, he was most likely German. The acidic palette, bright yellow juxtaposed with blue and lime green, and the facial types (remarkably expressive, even at this tiny scale) recall Nürnberg painters in the circle of Glockendon. It is worth remembering that Bening himself collaborated with several Nürnberg painters whose presence in Flanders is thus confirmed.

Sachgebiete: Kirchengeschichte, Deutschland, Miniaturbücher, Malerei, Religion

7500,- EUR
inkl. 7% USt./incl. 7% VAT

[OSKAMP, Dirk Leonard, Maarten HOUTTUYN and Carl KRAUSS].

The Dutch Zorn: 600 hand-coloured plates of medicinal plants Afbeeldingen der artseny-gewassen met derzelver beschryvingen. Icones plantarum officinalium cum earum descriptionibus. Amsterdam, Jan Christiaan Sepp and son, "1794" [= 1796] - 1800 (or 1801). 6 volumes. 8vo. With a wood-engraved vignette on the title page of each volume and 600 numbered full-page engraved plates (100 in each volume), all coloured by a contemporary hand. Contemporary gold-tooled mottled calf. First and only edition of the Dutch adaptation of Johannes Zorn's (1739-1799) celebrated Icones plantarum medicinalium (1779-1790), one of the finest illustrated botanical works devoted to medicinal plants. The six volumes contain 600 full-page engraved plates, all beautifully coloured by a contemporary hand, depicting medicinal plants, trees, shrubs, and herbs. Several plates are signed by the artist B. Thanner and the engravers J.S. Leitner, J.M. Burucker, J.C. Claussner, J.K. Mayr, Lindau, and Pemsel. The plates are accompanied by concise descriptions in Dutch, largely derived from Martin Houttuyn's (1720-1798) Natuurlijke Historie, and in Latin, based on Johann Friedrich Gmelin's (1748-1804) edition of Carl Linnaeus's (1707-1778) Systema Naturae, together with notes on the medicinal and pharmaceutical uses of each plant. The work was edited by Dirk Leonard Oskamp (1756-1802), Maarten Houttuyn (1720-1798) and Johan Carl Krauss (1759-1826), adapting Zorn's botanical atlas for a Dutch readership while incorporating contemporary Linnaean taxonomy. Zorn, physician and botanist at Kempten in Bavaria, ranks among the foremost illustrators of medicinal botany of the late 18th century. His Icones plantarum medicinalium remains his principal achievement and is admired for its extensive visual documentation of medicinal species.

Sachgebiete: Botanik, Illustrierte Bücher, Naturwissenschaften, Niederlande

6950,- EUR
inkl. 7% USt./incl. 7% VAT

SACK, Baron Albert von.

From the library of Empress Marie Louise Duchess of Parma, the second wife of Napoleon Bonaparte Beschreibung einer Reise nach Surinam und des Aufenthaltes daselbst in den Jahren 1805, 1806, 1807, so wie von des Verfassers Rückkehr nach Europa über Nord-Amerika. (Vol. 2:) Beschreibung einer Reise nach Surinam und des Aufenthaltes daselbst in den Jahren 1810, 1811, 1812, so wie von des Verfassers Rückkehr nach Europa über Nord-Amerika. Berlin, in der Haude und Spenerschen Buchhandlung, 1821. 2 volumes. Large 4to (23.5 x 28.7 cm). Volume 1: an engraved title page with a large illustration by S. Middiman after W.M. Craig, an engraved frontispiece, a map of Surinam "nach M.A. de Laveaux entworfen" (here bound in volume 2), and 4 full-page engraved plates (numbered I-IV); plates II and IV by J. Pye after W.M. Craig, from the first English translation which had been published in 1810 in London by Nicol. Volume 2: an engraved title page with a large illustration, an engraved frontispiece, a full-page engraved map of the interior of Surinam by F. Guimpel, and 4 full-page engraved plates, two of which by L. Meyer after W.M. Craig (numbered V-XI); some tables in the text. Contemporary gold-tooled half red morocco and red leather-grained cloth, with the author, title, and volume number lettered in gold on the spines, and with the gold-tooled crowned monogram of Marie Louise as a centrepiece on both boards of both volumes. Second German edition, uncut and with wide margins, of this illustrative account of two journeys to Surinam and, on his way back to Europe, the east coast of America. The first German edition was published in Berlin in 1818. The first part, although originally written in German, was in fact first published in English with the title: A Narrative of a voyage to Surinam ... (London 1810, see Sabin 74750). A Dutch translation of this first part was published in Haarlem, in the same year as the present second German edition. The account was written in the form of 17 letters to an unknown addressee. It includes also an interesting account of the author's visit to Barbados and the cities on the east coast of America, and an appendix of 18 pages describing the plants, animals, birds, reptiles, etc. of Surinam. The frontispiece in volume 1 depicting the ship Jason with a dolphin hunting for a flying fish and plate IV in volume 1 of a black slave sowing cotton plants are taken from the first English edition. The other plates are engraved in Berlin and depict among other things the Governors house in Paramaribo (plate V, the illustration on the title page of volume 2), the steamer Phoenix of the second journey with a view of the city of Philadelphia in the background and two Indians in the foreground (plate VI), the map of the interior of Surinam (plate VII), the flora and fauna of Surinam (plates VIII-IX), and two plates of a steamer: plan and side view (plates X-XI). Sebastian Albert Freiherr von Sack (d. Berlin 1828), since 1821 Count von Sack, was a royal chamberlain, a knight of St. John, but above all an explorer who liked to travel. He made his first journey, described in volume 1 of the present work, to Surinam in 1805. From there, he went to North America in 1807, where he visited the cities Providence, Boston, New York, Philadelphia, Baltimore, Washington DC, and Alexandria. He made his return-journey to Germany via New York and Lisbon. Sack's second journey to Surinam, as described in volume 2, started in 1810 and ended in England in 1812. In this second volume, he describes among other things the climate, topography and geography of Surinam, its inhabitants, including the Indians and "bosnegers", the trade with foreign countries from 1700 to 1784, adding many interesting observations on slavery. Both parts are very interesting accounts of two long voyages including many letters, accounts of other authors, digressions on poisonous snakes, yellow fever, Indians in northern America, and steamships.

Sachgebiete: Illustrierte Bücher, Napoleon, Naturwissenschaften, Südamerika, Reisen/Reiseliteratur

13500,- EUR
inkl. 7% USt./incl. 7% VAT

SOYTER, Magnus.

Important German gothic art collection, reproduced in watercolour by the collector himself [Collection of watercolour drawings with manuscript captions]. [Augsburg], 1849-1853. 13 loose wove paper folio leaves and 1 loose wove paper bifolium. Large folio (55 x 35 cm). With 64 watercolours and manuscript captions on 15 leaves (each leaf drawn on one side only). Collection of impressive watercolour drawings after Medieval art objects by Magnus Soyter (1806-1884). Soyter was an Augsburg-based collector of German medieval art who made watercolour reproductions of the objects that he owned with added captions in ink containing information about the object depicted. He was highly skilled in the art of watercolour and his large reproduction drawings are exquisite. He is now best known for his collection of medieval knight's helmets that have ended up in museum collections worldwide. The objects displayed in the present drawings come from Soyter’s private collection, as the manuscript captions indicate. Many of the artifacts included in the drawings are now lost so that the present watercolour drawings are the only record of some superb Medieval German pieces.

Sachgebiete: Zeichnungen, Deutschland, Mediävistik, Aquarelle

18000,- EUR
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STEINGRUBER, Johann David.

3 very rare pint series on garden ornament, architecture and architectural ornament Architecture civile erster Theil ... | Architecture civile premiere partie ... [all published]. Augsburg, Johann Andreas Pfeffel, [ca. 1740/48]. With: (2) DANREITER, Franz Anton. Lust-Stück der Gärten ... | Parterres ou broderies des jardins ... [Erster-]Anderer Theil. Augsburg, Johann Andreas Pfeffel, [ca. 1730/1735]. (3) CHARMETON, Georges. Plans de divers edifices et corniches choisies ... | Abrisse unterschiedener Gebälcke und Kronwercke ... Augsburg, Johann Andreas Pfeffel, [ca. 1740/48]. 3 works, ad 2 in 2 parts, in 1 volume. Oblong folio (25 x 38.5 cm). Ad 1: with an engraved plate with a German note to the reader, and 25 numbered plates of architectural plans, elevations and sections engraved by J.D. Ringlin after Steingruber, plate 1 with the German title in and French title flanking a decorative cartouche, each further plate with a heading in German and French. Ad 2: with 2 engraved illustrated title pages from the same plate (ruins in a landscape, with 2 putti holding a drape with the title, the second title page with "Anderer Theil" in the foot margin) plus 22 and 20 numbered illustration plates showing garden plans, decorations, fountains, etc. Ad 3: with 12 engraved plates, including the title page, the illustrations showing the entablatures of various classical Roman buildings. Near contemporary half white vellum and beige paper sides, sewn on 4 vellum tapes, laced through the joints, with a hollow back, gold-tooled author and title for the Steingruber (with ornaments) near the head of the spine, with that part of the vellum coloured red, red sprinkled edges, headbands in yellow and blue. A remarkable volume containing three rare print series on architecture, architectural ornament and garden ornament, all published by the important Augsburg engraver and print publisher Johann Andreas Pfeffel the elder (1674-1748). The title pages for the Danreiter explicitly note that he engraved its plates. Ad 1: First edition of Johann David Steingruber's first published architectural book, showing working drawings with plans, elevations and sections of town houses and palaces, mostly with scales. It includes several designs for a garden pavilion in an aristocratic park, lavish town houses for the haute bourgeois, and finally a ducal residence. Each design is shown in as much detail as possible. The grander houses are shown including streets and gardens. The Margrave of Brandenburg-Ansbach appointed Steingruber (1702-1787) court architect in 1734. In the course of his nearly 60-year tenure, he transformed the townscape of Ansbach following his own designs. He is best remembered for his playful Architektonisches Alphabet (1773), a remarkable series of designs in which each building has a ground plan based on a different letter in the alphabet. Ad 2: First and only edition of a very rare ornamental garden pattern book (part 2 is especially rare) by the recently appointed court gardener and inspector of the Salzburg gardens, Franz Anton Danreiter (1695-1760). In 1728 Danreiter was appointed court gardener and inspector to related buildings by the ducal bishop of Salzburg. He translated Dezallier's La theorie et la pratique du jardinage into German, helping introduce French garden design to German-speaking countries. His own designs in the present work show more than 100 ornamental and fanciful planting patterns on 42 plates, many including fountains. This was his first and rarest model book with garden plans for parterres. They show that far from endlessly repeating the strict symmetrical canon of French Baroque garden design, Danreiter developed a never-ending variety of ornamental designs which herald the German rococo. Danreiter served five successive bishops in Salzburg. Between 1727 and 1735 he also engraved a number of large-scale views of the city which represent a unique documentation of Salzburg in its 18th-century baroque glory. Ad 3: Rare 18th century copy of selections from the equally rare Diverses corniches choisies sur l'anticque, originally issued in 30 plates ca. 1670 by the ornamentalist and painter George Charmeton (1623-1674). It shows ornamental designs from classical Roman entablatures (architraves, friezes and cornices). The three works are printed on three different paper stocks, so there is no reason to suppose they were printed together. We have found no close match to the paper of the Steingruber: large monogram "4" and "G"(?) = --, cf. several marks in the group Heawood 3179-3231. The Danreiter must have been printed after 1728 and is on paper watermarked: shield bearing monogram (N superimposed on a reversed N?) = --, very close to Heawood 3220 (Augsburg and Ulm, 1731-1735). The paper of the Charmeton is unwatermarked. All were probably published before Peffel's death in 1748. The endpapers are watermarked: angel (with a staff or sword) in a wreath or flaming circle = "IHI", not found in the literature but mid- or late-18th-century in style.

Sachgebiete: Architektur, Österreich, Gartenbau, Deutschland, Illustrierte Bücher

18000,- EUR
inkl. 7% USt./incl. 7% VAT

VOGEL VON VOGELSTEIN, Carl Christian (artist); DANTE Alighieri.

Carl Vogel’s 108 original drawings for Dante’s Divine Comedy La divina commedia ... Rome, Stamperia de Romanis, 1815-1817. 4 volumes. Large 4to (27 x 21 cm). With 3 etched illustration plates and an engraved portrait of Dante, all part of the edition. Interleaved copy owned by the German painter Carl Christian Vogel von Vogelstein (1788-1868), with 108 of his original lead pencil sketches, pen and ink drawings, watercolours, etc. (mostly illustrating Dante’s Divine comedy), some drawn directly on the interleaves, some on separate leaves tipped in and a few on the leaves of the printed book. Further with a few additional images (including an etched portrait of Vogel and 5 sepia albumen(?) photographic prints: one showing an early portrait of Dante on coated paper, and 4 on uncoated paper showing details from Vogel’s oil painting of Dante and ten episodes from the Divine Comedy), along with many letters, clippings and other documents inserted, extensive notes by Vogel on the interleaves and some inserted leaves, and some manuscript notes in pen or pencil in the margins of the printed pages. Uniform half calf (ca. 1850?), sewn on 4 recessed cords, each volume with 2 dark brown morocco labels on the smooth, gold-tooled spines, the upper with “Divina Commedia|di Dante” and the lower with the volume number and relevant volume title (“Inferno”, “Purgatorio” and “Paradiso”), glazed yellow paper sides, green edges, glazed ruddy blue endpapers, each volume with a pink ribbon marker and vols. 1-3 with numerous vellum tabs on the fore-edge and a few at the head and foot. The monumental 1815-1817 Rome edition of Dante’s Divine comedy, with 4 plates and 2082 pages in 4 volumes, interleaved by the German painter Carl Christian Vogel von Vogelstein (1788-1868), active mostly in Dresden, who added 108 of his original drawings (pencil sketches, pen and ink drawings, sometimes with ink washes and occasionally white chalk, watercolour drawings, etc.), mostly illustrations for the Divine comedy. A few are hardly more than doodles, but many are carefully finished full-page drawings. The dated ones range from 1813 to 1865, but most date from the 1830s and 40s. Four sepia photographic images, probably albumen prints on uncoated paper, show details of Vogel’s colour panel, “Dante and ten episodes from the Divine Comedy” (oil on paper, at the Uffizi Galleries in Florence, variously dated 1842 or 1860): one full-page, showing the upper part of the panel (down to the portrait of Dante), another nearly full page, again showing the central portrait but including two lower scenes, not in the larger photograph, while the other two are smaller, showing the scene at the lower right as well as an alternative version, perhaps a preparatory study. Vogel also inserted some images that do not show his own drawings: one is a sepia photograph (albumen print?) on coated paper showing what appears to be an early portrait of Dante, perhaps used as a model for Vogel’s own portrait of Dante. Another is a finely etched portrait of Vogel himself by Johann Moritz Edlinger, dated 1846. In addition to pictorial matter, Vogel added extensive notes on the interleaves and inserted numerous letters, clippings and other documents concerning Dante and the illustrations for the Divine comedy. The drawings also reveal valuable information about Vogel’s working methods, showing, for example, facing pages 71, 74, 82 and 86, four different versions of one scene (where an angel chases the devil away from a fallen soldier): a pencil sketch with a grid, a finished pencil drawing in mirror image, an ink and ink-wash drawing, right reading, and a part of the scene rendered in more detail and in colour. When Volkmann wrote about Dante illustrations in 1897, he was aware that Vogel had added illustrations to his copy of this edition, but extensive efforts to find it had failed, so that he lamented that we must consider this important work by Vogel to be lost. He reported 96 drawings in total, with 60, 20 and 16 in volumes I, II and III respectively. This must have included some items in volume I that were not actually original drawings by Vogel and must have omitted some of his smaller sketches in volumes II and III. Counting only the original Vogel drawings, but including even the smallest, we count 56, 29 and 23 in those three volumes for a total of 108.

Sachgebiete: Handzeichnungen, Deutschland, Literatur bis ca. 1900, Renaissance , Aquarelle

85000,- EUR
inkl. 7% USt./incl. 7% VAT

WRIGHT, Frank Lloyd.

Highlight of architectural history: extremely rare and important plate collection by the master architect Frank Lloyd Wright Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright. Berlin, Ernst Wasmuth, [1910]. 1 text volume and 2 portfolios with lithographed plates. 1mo (plates, ca. 64 x 40 cm) and folio (text volume, ca. 41 x 32 cm). Text volume with the title printed in gold. With a total of 100 lithographed plates in 2 portfolios: 72 plates numbered I-LXIV, printed on grey or white paper and mostly printed in brown, some in grey, grey & white or brown & white, one in gold (plate I), one in colour (plate LXIV) and one plate folding (plate LX), and 28 overlays, printed in brown on tissue paper. Each plate embossed with Wright’s blind stamp. Kept loose, as issued, in the original two portfolios (64 x 41.5 cm), both dark blue half cloth with the original publisher's printed grey wrappers over boards with all white ties present. Both portfolios and text leaves are kept in a larger, later beige half cloth portfolio (ca. 65 x 43 cm) with brown paper sides, three protective flaps and white ties. Extremely rare first edition, of the complete collection of plates prepared from drawings made by master architect Frank Lloyd Wright (1867-1959) at his Oak Park Studio, illustrating seventy buildings and projects completed between 1893 and 1909. It is the first major publication by one of the greatest innovators of modern architecture. The work boosted Wright's fame in European architectural circles and influenced key figures in contemporary architecture including Ludwig Mies van der Rohe, Peter Behrens and Le Corbusier. The plates show perspective views, plans, sections and interior and exterior details. Plate LVI, with an interior view of the living room of the Coonley House, is one of the most important and desirable of the series. The edition is scarce due to a fire at Wright’s home and studio, Taliesin, in August 1914.

Sachgebiete: Amerika, Architektur, Deutschland, Illustrierte Bücher

65000,- EUR
inkl. 7% USt./incl. 7% VAT

ZEHENDTNER VOM ZEHENDTGRÜB, Paul.

Splendid ceremonies for the presentation of the Order of the Golden Fleece, Prague 1585, with 20 plates Ordenliche Beschreibung mit was stattlichen Ceremonien und Zierlichheiten, die Röm. Kay. May. unser aller gnedigster Herr, samt etlich andern Ertzhertzogen, Fürsten und Herrn, den Orden dess Guldin Flüss, in disem [15]85. Jahr zu Prag und Landshüt, empfangen und angenommen. Dillingen, Johann Mayer, 1587. 4to (20 x 15.5 cm). With title printed in red and black, 7 full-page engraved illustrations (showing the collar (chain) of the Order, the Emperor Rudolf II in his robes and 5 coat-of-arms), and 13 large folding engraved plates showing the splendid ceremonies held at Prague and Landshut, probably all drawn by Anthony Boys. Contemporary gold-tooled tanned sheepskin; rebacked with most of the original backstrip laid down. Rare first and only edition (especially rare with all 20 plates) of a richly illustrated account on the receipt of the Order of the Golden Fleece by the Holy Roman Emperor Rudolph II and several members of his family and his entourage, mostly at Prague. The book opens with a history of the Order of the Golden Fleece. The illustrations are attributed to Anthony Boys, Bays or Waiss (ca. 1545?-post 1593), who was appointed court painter to the Archduke Ferdinand of Austria in 1579 and is best known as a portrait painter for the courts of the Austrian Habsburg Emperors. The text was written by Archduke Ferdinand's secretary, Paul Zehendter. The full-page plates include the coats-of-arms of Christoffel d'Assonleville (1528-1607); Wilhelm de S. Clemente, Rudolf's ambassador to Spain; Alexandre le Blancq, Seigneur de Meurchin (fl. 1520-1585) and Ranuccio I de Farnese, Duke of Parma (1569-1622). Some of these noblemen also appear in the precessions in the folding plates, along with Rudolf himself and his family. Four of the folding plates show the interior of St Vitus Cathedral in Prague Castle during the ceremonies. Others show outdoor processions, fireworks before the palace, a shooting tournament in the lists, the grand banquet and more. All appear, of course, in their finest ceremonial costumes. The 1585 festivities were also important for their music.

Sachgebiete: Tschechien , Festlichkeiten, Geschichte, Illustrierte Bücher, Ordensgeschichte

28000,- EUR
inkl. 7% USt./incl. 7% VAT

TEMPESTA, Antonio (designer) and Claes Jansz. VISSCHER (engraver).

A theatre of the hunt: 16 dramatic hunting scenes after Tempesta [Set of engravings designed by A. Tempesta and engraved by C.J. Visscher]. [Amsterdam, Claes Jansz. Visscher, 1624]. Oblong (19.5 x 29.5 cm). 19th-century half light blue cloth and marbled paper sides. Rare collection of 16 engraved hunting scenes after designs by the celebrated Italian painter and printmaker Antonio Tempesta (1555-1630), published in Amsterdam by Claes Jansz. Visscher (1587-1652) in 1624. The engravings are numbered in the plate and comprise an impressive survey of hunting subjects, ranging from traditional European game to exotic and highly imaginative scenes. The series presents a remarkably varied repertoire of hunting subjects. It opens with a dramatic stag hunt in which the exhausted animal is brought down by hounds, followed by scenes of hare and fox hunting. Other plates depict hunters on horseback and on foot pursuing a porcupine with packs of dogs, several further hare hunts, and a lively duck hunt. Stag hunting reappears in different forms, including scenes showing deer captured in traps and hunters disguised as decoys to lure their quarry. The series also includes several wolf hunts, among them the celebrated composition in which a dead ram is dragged through a forest to attract wolves before concealed hunters attack them with firearms and spears. More spectacular subjects include a bull hunt staged within an arena, complete with an extraordinary smoke-emitting wheeled contrivance, indigenous hunters pursuing an imaginary hoofed beast, an antelope hunt employing leopards, and a dramatic lion hunt culminating in the death of one of the hunters. The engravings are based on Tempesta's celebrated hunting compositions, first engraved in Rome in the late 16th century. Tempesta was one of the foremost printmakers of his generation, renowned for his dynamic battle scenes, hunts and equestrian subjects, while Visscher was among the leading Dutch publishers and engravers of the 17th century. His Amsterdam workshop played a pivotal role in the dissemination of prints, maps and atlases throughout Europe, and his editions after Tempesta remain among the finest Dutch interpretations of the Italian master's work. The prints were also published under the title Jachtboeck gheteykent door Antoni Tempest ende gedruckt by Claes Jansz. Visscher.

Sachgebiete: Jagd, Illustrierte Bücher, Italien

6500,- EUR
inkl. 7% USt./incl. 7% VAT