Holbein, HansBiblio.com
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1019600349.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
16-6255Paris: SocieÌteÌ Française d'EÌditions d'Art- L. Henry May ca. 1880. Large folio. 31 x 455 cm. Original cloth boards repaired . OCLC Number / Unique Identifier: 58894772 : 2 preliminary leaves 201 pages illustrations 27 plates.Heavy book. Paris: SocieÌteÌ Française d'EÌditions d'Art- L. Henry May, [ca. 1880] hardcover
1026143136.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1988BN258656Basel : Kunstmuseum 1988. 1988. Hans Holbein d. J. / der Jüngere : Zeichn. aus d. Kupferstichkabinett d. Öffentl. Kunstsammlung Basel ; diese Publ. erscheint aus Anlass d. Ausstellung "Zeichnungen Hans Holbeins d.J. aus d. Sammlung I.M. Königin Elizabeth II. in Windsor Castle und aus der Öffentlichen Kunstsammlung Basel" Kunstmuseum Basel 12. Juni - 4. September 1988. Katalog von Christian Müller <br/><br/>Hans Holbein d. J. / der Jüngere : Zeichn. aus d. Kupferstichkabinett d. Öffentl. Kunstsammlung Basel ; diese Publ. erscheint aus Anlass d. Ausstellung "Zeichnungen Hans Holbeins d.J. aus d. Sammlung I.M. Königin Elizabeth II. in Windsor Castle und aus der Öffentlichen Kunstsammlung Basel" Kunstmuseum Basel 12. Juni - 4. September 1988. Katalog von Christian Müller Holbein Hans und Christian Müller Basel : Kunstmuseum unknown
96842Basel Schwabe 2017. 4° 336 S. m. unzähl. Abb. OLwd. m. OU. Min. gebrauchspurig tadell. Der Katalog erschien anlässlich der gleichnamigen Ausstellung im Kunstmuseum Basel 14. Mai - 7. September 1997. 010 Basel, Schwabe, 2017 unknown
1014078717.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
25092Köln DuMont 1997. 4° 256 S. über 250 teilw. farb. Abb. OLwd. m. OU OU tlw. etw. wellig sonst tadellos. Dt. EA nach der ebnglischsprachigen EA. Mit dem «oft vernachlässigten Teil» von Holbeins Schaffen «den nur in wenigen Resten erhaltenen Monumentaldekorationen». 010 Köln, DuMont, 1997 unknown
1832233834München 1832. 53 lithographs on tissue tipped in. 1 vols. 8vo. Bound in full brown morocco a.e.g. Very good. Bookplate of Van Nest. 53 lithographs on tissue tipped in. 1 vols. 8vo. unknown
199768950Schwabe & Co. AG. New. 1997. Hardcover. 3796510442 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in German. 336 pp. With 410 ills. 2 col. one foldout. 29 x 24 cm. -- with a bonus offer-- . Schwabe & Co. AG hardcover
200672221Prestel Publishing. New. 2006. Hardcover. 3791335804 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English. 528 pp. With 439 ills. 217 col. . 29 x 25 cm. -- with a bonus offer-- . Prestel Publishing hardcover
1879057FR1A. Quantin 1879. 1879 pp. 201 27 Wonderful engraved plates. Illustrated with 49 gravures in the text fleurons ornamental letters and culs-de-lampes engraved after Holbein. Folio. 47 cm. Soiled original full cloth binding. Includes the important "Catalogue des Peintures de Holbein" pp. 185-194 and bibliographical references. Hans Holbein the Younger 1497-1543 was born in Augsburg Bavaria. He received his first lessons in art from his father. In 1515 the younger Holbein went to Basel Switzerland with his brother Ambrosius. Among the many scholars living in Basel at that time was the famous Dutch humanist Erasmus who befriended the young artist and asked him to illustrate his satire Encomium Moriae The Praise of Folly. Holbein also illustrated other books including Martin Luther's German translation of the Bible. In addition he painted pictures and portraits and like his father designed stained-glass windows. He also created designs for a series of 41 woodcuts called The Dance of Death. About 1525 the factional strife that accompanied the Reformation made Basel a difficult place for an artist to work. In 1526 Holbein carrying a letter of introduction from Erasmus to the English statesman and author Sir Thomas More set out for London. He met with a favorable reception in England and stayed there for two years. In 1528 he returned to Basel where he painted portraits and murals for the town hall. In 1532 he left his wife and children there and traveled once again to London. In England where he became court painter to Henry VIII Holbein was known chiefly as a painter of portraits. His services were much in demand. The more than 100 miniature and full-size portraits he completed at Henry's court provide a remarkable document of that colorful period. An old account of his services at court relates that he painted the portrait of the king "life size so well that everyone who looks is astonished since it seems to live as if it moved its head and limbs." In spite of their richness of detail Holbein's portraits provide remarkably little insight into the personality and character of the people he painted. Holbein also found time to perform numerous services for Henry. He designed the king's state robes and made drawings that were the basis of all kinds of items used by the royal household from buttons to bridles to bookbindings. In 1539 when Henry was thinking of marrying Anne of Cleves he sent Holbein to paint her portrait. In 1543 Holbein was in London working on another portrait of the king when he died a victim of the plague. FIRST EDITION. FR1 Language: eng. 1st Edition. Hardcover. Very Good. A. Quantin, 1879. hardcover
181273591London: John Chamberlaine 1812. Bartolozzi developed his style to imitate the subtleties of renaissance and baroque chalk drawings and became deservedly famous for his stipple engraving. The portraits in this collection show how effective this technique was in reproducing with such incredible fidelity Holbein's original designs. Engraved by BARTOLOZZI Francesco in IMITATIONS OF ORIGINAL DRAWINGS BY HANS HOLBEIN IN THE COLLECTION OF HIS MAJESTY FOR THE PORTRAITS OF ILLUSTRIOUS PERSONS OF THE COURT OF HENRY VIII. WITH BIOGRAPHICAL TRACTS. Stipple engraving. Printed colour. Size: 333 x 250 mm Fine condition. unknown
CA38<p>Lyon Melchior et Gaspard Treschel 1538.</p><p>12mo 165 x 113 mm of 48 leaves. Brown morocco double frame of triple gilt fillet on the covers foliage fleurons in the corners large oval of vine branches with green morocco mosaic pattern in the center spine ribbed decorated with gilt fleurons and green inlaid morocco gilt inner border gilt over marbled edges. <i>Binding signed by Lortic.</i></p><p><b>First edition of this super series of 92 fine woodcuts after Holbein's drawings.</b></p><p>The distinction of two issues of this very first edition has been made possible in 1948 thanks to the study dedicated by Philip Hofer in "<i>Holbein's Old Testament woodcuts</i>" pp. 161-174.</p><p>"In the first issue of 1538 <i>Judith Esther </i>and <i>Job</i> appear respectively in the order of leaves I1 verso –I4 recto. In the second issue <i>Job</i> is in I2 instead of <i>Judith</i>".</p><p>It is the case in our copy with <i>Job</i>'s figure placed instead of the one of <i>Judith</i> in I2. Harvard p. 341 with reproduction.</p><p>Brunet III 252 Suppl. 1646; Baudrier 5 p. 175; Rotschild I 15; Duplessis p. 49; Green p. 82; Woltmann <i>Holbein</i> vol. 2 p. 172; Didot <i>Essai</i> colonne 70-73; not in Fairfax-Murray.</p><p><b>Of great beauty this series has been engraved by Hans Lützelburger that Passavant proclaims</b>"<i>The Prince of all the wood-engravers</i>". E. Picot. <i>Catalogue James de Rotschild</i> n°15.</p><p>It contains 4 upright vignettes 63 x 48 mm from the series "<i>Simulachres et historiées faces de la mort</i>" published the same year and 88 wide 59 x 85 mm of an excellent engraving attributed to Hans Lützelburger Brun <i>Le livre français illustré de la Renaissance</i> p. 130.</p><p>Brunet III column 252 mentions:<b> "These plates have been engraved with great delicacy after the drawings entirely or partly from </b><i><b>Hans Holbein</b></i><b>'s hand</b><i><b>. </b></i><b>Copies are extremely rare."</b></p><p>There is a great similitude between Holbein's drawings and those published in the <i>Bible</i> published by Pierre Bailly in 1521 which reinforces the hypothesis according which bibles from Lyons were under the same influence.</p><p>P. Ganz in " <i>L'influence de l'art français dans l'œuvre de Hans Holbein le jeune</i> " <i>Actes du Congrès d'Histoire de l'art</i> 2nd volume part I 1924 pages 292-299 distinguishes the model of the "<i>Icones</i>" in the Bible by Etienne Gueynard printed in Lyons in 1520 and also mentions Bailly's Bible.</p><p>The various editions of Jean de Tournes and of P. Eskrich in the years 1550-1560 in the same spirit illustrate the success of the edition of 1538 of which engravings are filled with "<i>all the humanism of the Renaissance</i>".</p><p>Deschamps <i>Supplément au Manuel des libraires </i>I 636 mentions impressive auctioning in comparison with the prices of the time "<i>700 Fr Yemeniz ; 700 Fr Morante</i>". One could find at the time books of bibliophily for 10 gold Fr.</p><p><b>A precious copy of this very rare series bound in a very elegant inlaid binding by Lortic.</b></p><p>Provenance: ex-libris <i>Georges Wendling</i>.</p><p><br /></p><p><b><u>Français</u></b></p><p>In-12 de 48 feuillets. Maroquin brun double encadrement de triple filet doré fleuron feuillagé aux angles large ovale de pampres de vignes mosaïque de maroquin vert au centre dos à nerfs ornés de fleurons dorés et mosaïqués de maroquin vert double filet or sur les coupes dentelle intérieure dorée tranches dorées sur marbrures. <i>Reliure signée Lortic.</i></p><p>165 x 113 mm.</p><p><b>Première édition de cette superbe suite de 92 belles figures gravées sur bois d'après les dessins d'Holbein.</b></p><p>La distinction de deux tirages de cette toute première édition a été rendue possible en 1948 par l'étude consacrée par Philip Hofer dans " <i>Holbein's Old Testament woodcuts</i> " pp. 161-174.</p><p>" Dans le premier tirage de 1538 <i>Judith Esther</i>et <i>Job</i> apparaissent respectivement dans l'ordre sur les feuillets I1 verso –I4 recto. Dans le second tirage <i>Job</i> est en I2 à la place de <i>Judith</i> ".</p><p>Tel est le cas de notre exemplaire avec la figure de <i>Job</i> replacée à la place de celle de <i>Judith</i> en I2. Harvard p. 341 avec reproduction.</p><p>Brunet III 252 Suppl. 1646 ; Baudrier 5 p. 175 ; Rotschild I 15 ; Duplessis p. 49 ; Green p. 82 ; Woltmann <i>Holbein</i> vol. 2 p. 172 ; Didot <i>Essai</i> colonne 70-73 ; manque à Fairfax-Murray.</p><p><b>De toute beauté cette suite a été gravée par Hans Lützelburger que Passavant proclame</b>" <i>Le Prince de tous les graveurs sur bois</i> ". E. Picot. <i>Catalogue James de Rotschild</i> n°15.</p><p>Elle contient 4 vignettes en hauteur 63 x 48 mm tirées de la suite des " <i>Simulachres et historiées faces de la mort</i> " parue la même année et 88 en largeur 59 x 85 mm d'une gravure excellente attribuée à Hans Lützelburger Brun <i>Le livre français illustré de la Renaissance</i> p. 130.</p><p>Brunet III colonne 252 mentionne : <b>" Ces planches ont été gravées avec beaucoup de délicatesse d'après des dessins en tout ou partie de la main de </b><i><b>Hans Holbein. </b></i><b>Les exemplaires en sont fort rares. "</b></p><p>Il y a une grande similitude entre les dessins d'<i>Holbein</i> et ceux parus dans la <i>Bible</i>éditée par Pierre Bailly en 1521 ce qui renforce l'hypothèse selon laquelle les bibles lyonnaises subissaient une influence commune.</p><p>P. Ganz dans " <i>L'influence de l'art français dans l'œuvre de Hans Holbein le jeune</i> " <i>Actes du Congrès d'Histoire de l'art</i> volume 2 partie I 1924 pages 292-299 discerne le modèle des " <i>Icones</i> " dans la Bible d'Etienne Gueynard imprimée à Lyon en 1520 et mentionne aussi la Bible de Bailly.</p><p>Les nombreuses éditions de Jean de Tournes et de P. Eskrich dans les années 1550-1560 dans le même esprit illustrent le succès de l'édition de 1538 dont les gravures sont chargées " <i>de tout l'humanisme de la Renaissance</i> ".</p><p>Deschamps <i>Supplément au Manuel des libraires </i>I 636 cite des adjudications impressionnantes en regard des prix de l'époque " <i>700 Fr Yemeniz ; 700 Fr Morante</i> ". L'on trouvait alors des livres de bibliophilie à 10 Fr or.</p><p><b>Précieux exemplaire de cette suite très rare revêtu d'une très élégante reliure mosaïquée de Lortic.</b></p><p>Provenance : ex-libris <i>Georges Wendling</i>.</p> hardcover
198026635Italy: Rizzoli. As New. 1980. Paperback. 0847803112 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - -- with a bonus offer-- . Rizzoli paperback
1980Q-0847803112Rizzoli 1980-01-01. Paperback. New. New. In shrink wrap. Looks like an interesting title! Rizzoli paperback
1985Q-0486249379Dover Publications 1985-10-01. Paperback. New. New. In shrink wrap. Looks like an interesting title! Dover Publications paperback
1025254414.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1947042128New York New York U. S. A.: Sylvan Press 1947. Limited Edition . Hardcover. Very Good/No Jacket. 4to - over 9¾ - 12" tall. This Copy Is An Unnumbered Probably Used As A Review Copy. The Book Is Bound In Decorative Black Cloth Over Boards With Pale Yellow Lettering On The Spine. The Top Edges Are Dyed Red. The Book Has Minor Wear With A Small Area Of The Top Stain Lightened. <br/> <br/> Sylvan Press hardcover
1164900838.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1437101976.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
EEZZ7488bKöln u.a. J. M. Heberle H. Lempertz & Comp. 1849. Kl. 8°. 2 Bll. 24 S. 1 Bl. Neuer Pappband mit mont. Orig.-Umschlag mit kleiner mont. Etikette Vortitelbl. alt gestempelt. Erste Ausgabe. Rümann 1521; Oppermann 23. Köln u.a., J. M. Heberle (H. Lempertz & Comp.) 1849. unknown
ABAA6<p>Lugduni Apud Ioannem Frellonium1547. </p><p>Small 4to of 52 ll. sign. A-N with 98 woodcuts l. L2 remargined brown Jansenist morocco spine ribbed gilt edges gilt inner border. <em>Chambolle-Duru</em>. </p><p>198 x 135 mm. </p><p>First issue "<em>of this beautiful book</em>" Brunet supplément 647 exceedingly rare with such wide margins height 198 mm; it is taller than the superb copy of <em>James de Rothschild.</em></p><p>Harvard 281; Baudrier vol. 5 p. 209; Rothschild vol. 1 n°16 ; Duplessis op. cit. N°276 p. 60-62 ; Woltmann <em>Holbein</em> vol. 2 p. 172-173 e ; Bouchereaux Corrozet n°127 ; Didot <em>Essai</em> col.73.</p>Each one of the 94 Holbein's engravings occupies a page with Latin <br />text above and French quatrains by <em>Gilles Corrozet</em> below.<p>Didot<em></em> in his <em>Essai sur la gravure sur bois</em> analyzes what he calls a "<em>masterpiece</em>":</p><p><em>"</em><em>The compositions in this masterpiece are of the highest style and as in The Simulacra of Death the expressions of the figures are </em><em>righteous</em><em> and offer a blend of simplicity energy and naivety that characterize Holbein.</em><em>"</em> </p><p>"First edition of 1547. There were two editions of the <em>Icones</em> printed by Frellon in 1547. These are often cited as issues but the text was entirely reset. This edition described by Brunet III 252-253 and others as the earlier may be identified by the fifth line of the title ending in "emenda-" and the first line of the French text on leaf LIr ending in "uices". A distinguishing feature of this edition is the use of v for u at the beginning of words in the Latin text. Brunet initiated a certain amount of controversy by quoting from E. Tross a theory that the second edition of 1547 No. 282 was printed from clichés rather than from the original blocks. Both Hofer op. cit. No. 276 ; p. 166-167 and Davies Murray vol. I no. 244 reject the idea of clichage. On the basis of breaks in the woodblocks Davies reverses Brunet's order of the two editions but evidence is introduced in the Hofer article to indicate that the condition of the blocks is in this case insufficient to prove priority. Aside from the woodcuts the changes in the text support the order of editions given by Brunet. Comparison of the French text of 1539 with that of this 1547 edition shows that out of the ninety-four verses fifty-one have from one to four lines revised. Signatures D and L are the only ones in which the text is unchanged. The text of the other 1547 edition corresponds to this one but has in addition seven of the eight quatrains in signature L revised. "Harvard. <br /></p>Known for their beauty and fine execution these <em>Icones</em> <br />are considered as a significant milestone in the illustrated <br />book of the Renaissance.Superb copy bound in Jansenist morocco by Chambolle-Duru <br />like the copy of James de Rothschild.<br /><br /><p><strong>French</strong></p><p>Lugduni Apud Ioannem Frellonium1547. </p><p>Petit in-4 de 52 ff. non chiffrés sign. A-N avec 98 figures sur bois f. L2 réenmargé maroquin brun janséniste dos à nerfs tranches dorées roulette intérieure dorée. <em>Chambolle-Duru</em>.</p><p>198 x 135 mm.</p><p>Premier tirage "<em>de ce beau livre</em>" Brunet supplément 647 de la plus extrême rareté avec d'aussi grandes marges hauteur 198 mm ; il dépasse le superbe exemplaire <em>James de Rothschild.</em></p><p>Harvard 281 ; Baudrier vol. 5 p. 209 ; Rothschild vol. 1 n°16 ; Duplessis op. cit. N°276 p. 60-62 ; Woltmann <em>Holbein</em> vol. 2 p. 172-173 e ; Bouchereaux Corrozet n°127 ; Didot <em>Essai</em> col.73.</p><p>Chacune des 94 gravures d'Holbein occupe une page avec texte latin au-dessus et quatrains français de <em>Gilles Corrozet</em> au-dessous.</p><p>Didot<em></em> dans son <em>Essai sur la gravure sur bois</em> analyse longuement ce qu'il nomme " <em>chef-d'œuvre</em> " :</p><p>" <em>Les compositions de ce chef-d'œuvre sont du plus haut style et comme dans les Simulachres de la Mort les expressions des figures sont justes et offrent un mélange de simplicité d'énergie et de naïveté qui caractérisent Holbein</em> ".</p><p>"First edition of 1547. There were two editions of the <em>Icones</em> printed by Frellon in 1547. These are often cited as issues but the text was entirely reset. This edition described by Brunet III 252-253 and others as the earlier may be identified by the fifth line of the title ending in "emenda-" and the first line of the French text on leaf LIr ending in "uices". A distinguishing feature of this edition is the use of v for u at the beginning of words in the Latin text. Brunet initiated a certain amount of controversy by quoting from E. Tross a theory that the second edition of 1547 No. 282 was printed from clichés rather than from the original blocks. Both Hofer op. cit. No. 276 ; p. 166-167 and Davies Murray vol. I no. 244 reject the idea of clichage. On the basis of breaks in the woodblocks Davies reverses Brunet's order of the two editions but evidence is introduced in the Hofer article to indicate that the condition of the blocks is in this case insufficient to prove priority. Aside from the woodcuts the changes in the text support the order of editions given by Brunet. Comparison of the French text of 1539 with that of this 1547 edition shows that out of the ninety-four verses fifty-one have from one to four lines revised. Signatures D and L are the only ones in which the text is unchanged. The text of the other 1547 edition corresponds to this one but has in addition seven of the eight quatrains in signature L revised. "Harvard.</p><p>Reconnues pour leur beauté et leur finesse d'exécution ces <em>Icones </em>sont considérés comme un jalon marquant du livre illustré de la Renaissance. </p><p>Superbe exemplaire relié comme l'exemplaire James de Rothschild en maroquin janséniste de Chambolle-Duru.</p> hardcover
0846701472New. paperback. New. Satisfaction Guaranteed or your money back. paperback
1976Q-0846701472Imprint unknown 1976-09-27. Paperback. New. New. In shrink wrap. Looks like an interesting title! Imprint unknown paperback
1947009782Buenos Aires: Laclaustra Y Compania. Very Good. 1947. First Thus. Full-leather. One of eighty copies. This is a facsimile edition of Hans Holbein Le Jeune's 1549 edition as a set of two volumes in a marbled slipcase. The text volume with illustrations is full leather with five bands. Leather along the bands and edges is rubbed with a small crack at the head of the spine. Front endpapers are marbled and rear endpapers are brown suede. The second volume is a folder with a leather spine with spine ends rubbed off over marbled boards. It contains an etched copperplate with image and text. A unique presentation of the work of Hans Holbein the Younger a famous 16th century artist and supporter of the Reformation. ; 10 3/4" x 7 1/2" . Laclaustra Y Compania hardcover
