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HOLBEIN, HansBiblio.com

Les Simulachres & historiées faces de la mort autant élégammēt pourtraictes que artificiellement imaginées.

ABAA-75TH-VBF-11Lyon Melchior & Gaspar Trechsel 1538.Small 4to of 52 leaves signed A-M4.Full brown morocco blind-stamped central fleuron decorated ribbed spine gilt inner border gilt edges. Binding signed Trautz-Bauzonnet circa 1865.177 x 123 mm." Earliest known edition of this remarkable work with its most fascinating designs of exquisite finish " Murray.Brunet III 254 ; Brun Le livre français illustré de la Renaissance p. 222 ; Mortimer 284 ; Murray 247 ; Massmann S. 8 ; Minns 213 ; Holbein-Kat. Basel 1960 nr. 418 ; Woltmann92-149 ; Hollstein XIVa 202 99 ; 247 ; Brunschwig 428 ; Baudrier V 175 ; Rothschild I 15.'Suite of 41 compositions beautifully engraved after Holbein's drawings. The monogram HL on l. 36 on the duchess's bed is by Hans Lützelbürger plate XX'. Brun.First edition of Holbein's Dance of Death whose iconographic influence continues to the present day. " Holbein's contribution to the traditional Dance of Death was a sharpening of the humor and satire and a heightening of the drama so that the customary procession of figures becomes instead under his hand a series of fully realized scenes " Mortimer.Erste Druckausgabe von Holbeins Basler Totentanz. " Die Folge besteht aus 51 Bildern von denen 41 beim Tode Lützelburgers vor Johannistag 1526 vollendet waren und in der Ausgabe von 1538 erschienen. Melchior Trechsel hatte die Stöcke direkt bei Lützelburger bestellt und am Johannistag 1526 bezogen ; nach Aussage des Vorworts von 1538 getraute man sich nicht die restlichen Stöcke schneiden zu lassen " Holbein-Kat.First printed edition of Holbein's Basel Dance of the Dead. 'The suite consists of 51 images 41 of which were completed at Lützelburger's death before Midsummer 1526 and which were published in the 1538 edition.Very rare first issue of this remarkable and famous suite of The Dance of the Dead imagined by Holbein and 'which' according to the bibliographers 'must be ranked among the most beautiful books ever published'. This very precious dance of the dead comprises 41 prints engraved by Hanz Lützelburger based on drawings by Hans Holbein.The monogram H signs the engraving of the Duchess.In 1536 the brilliant artist was chosen as one of Henri VIII's painters.In 1538 Holbein left for Belgium and then visited Lyon. This trip coincided with the first publication in that city by Gaspar and Melchior Trechsel of 'Simulacres et Historiées faces de la mort'.The 41 woodcuts that adorn the volume had been printed in Basel as early as 1530 but had never been brought together in a collection. Holbein's Basel collaborator Hans Lùtzelburger executed here the engravings from his master's drawings see his monogram 'HL' on f. 36. The first series of these chilling yet humorous images gives great importance to what was to become one of the most famous illustrated books of the Renaissance. Holbein's last known work was a drawing dated 1543 the year in which the great artist was struck down by a plague epidemic.The absolutely remarkable iconography bears witness to Holbein's genius in the originality expression and realism of the scenes evoking the different classes of society as well as in the extreme finesse of the drawing.'The wonderful pictures of his most facinating designs of exquisite finish' were the source of inspiration for many later artists.Each of the engravings is laid out under an extract of 3 Latin lines from the Bible and is accompanied by a quatrain in French.All classes of society are represented in this masterly production with its fascinating realism.The work was so successful that 12 editions were published between 1538 and 1562.The quatrains and epistle in French are attributed to Jean de Vauzelles or Gilles Corrozet.The widest copy height: 177 mm recorded on the market for several decades.Provenance: the copy comes from the famous library of the entrepreneur philanthropist and bibliophile Charles William Dyson Perrins 1864-1958; Sam Josefowitz Pully - then by descent to the present owners. FRLyon Melchior & Gaspar Trechsel 1538.Petit in-4 de 52 feuillets signés A-M4.Plein maroquin brun fleuron central à froid dos à nerfs orné filets or sur les coupes roulette intérieure tranches dorées. Reliure signée de Trautz-Bauzonnet vers 1865.177 x 123 mm." Earliest known edition of this remarkable work with its most fascinating designs of exquisite finish " Murray.Brunet III 254 ; Brun Le livre français illustré de la Renaissance p. 222 ; Mortimer 284 ; Murray 247 ; Massmann S. 8 ; Minns 213 ; Holbein-Kat. Basel 1960 nr. 418 ; Woltmann92-149 ; Hollstein XIVa 202 99 ; 247 ; Brunschwig 428 ; Baudrier V 175 ; Rothschild I 15."Suite de 41 compositions merveilleusement gravées d'après les dessins d'Holbein. Le monogramme HL qui se voit au f. 36 sur le lit de la duchesse est celui de Hans Lützelbürger planche XX ". Brun.First edition of Holbein's Dance of Death whose iconographic influence continues to the present day. " Holbein's contribution to the traditional Dance of Death was a sharpening of the humor and satire and a heightening of the drama so that the customary procession of figures becomes instead under his hand a series of fully realized scenes " Mortimer.Erste Druckausgabe von Holbeins Basler Totentanz. " Die Folge besteht aus 51 Bildern von denen 41 beim Tode Lützelburgers vor Johannistag 1526 vollendet waren und in der Ausgabe von 1538 erschienen. Melchior Trechsel hatte die Stöcke direkt bei Lützelburger bestellt und am Johannistag 1526 bezogen ; nach Aussage des Vorworts von 1538 getraute man sich nicht die restlichen Stöcke schneiden zu lassen " Holbein-Kat.Première édition imprimée de la danse macabre bâloise de Holbein. "La suite se compose de 51 images dont 41 étaient achevées à la mort de Lützelburger avant la Saint-Jean 1526 et qui ont été publiées dans l'édition de 1538….Premier tirage de grande rareté de cette remarquable et célèbre suite de la danse des morts imaginée par holbein et " qui doit " selon les bibliographes " être rangée parmi les plus beaux livres qui aient été publiés ". Cette très précieuse danse des morts comprend 41 estampes gravées par hanz lützelburger sur les dessins de hans holbein.Le monogramme H signe la gravure de la Duchesse.en 1536 le génial artiste est choisi comme l'un des peintres de Henri VIII.en 1538 Holbein part pour la Belgique puis visite Lyon. Ce voyage coïncida avec la première publication dans cette ville par Gaspar et Melchior Trechsel des " Simulacres et Historiées faces de la mort ".Les 41 bois gravés qui ornent le volume avaient été tirés à Bâle dès 1530 mais n'avaient jamais été réunis en recueil. Le collaborateur bâlois de Holbein Hans Lùtzelburger exécute ici les gravures d'après les dessins de son maître voir son monogramme "HL" au f. 36. La première réunion en série de ces images à la fois glaçantes et teintées d'humour confère toute son importance à ce qui allait devenir l'un des livres illustrés les plus célèbres de la Renaissance. Le dernier ouvrage connu d'Holbein fut un dessin daté de 1543 année où le grand artiste fut terrassé par une épidémie de peste.L'iconographie absolument remarquable témoigne du génie d'Holbein dans l'originalité l'expression et le réalisme des scènes évoquant les différentes classes de la société ainsi que dans la finesse extrême du dessin." The wonderful pictures of its most facinating designs of exquisite finish " furent la source où plusieurs artistes postérieurs puiseront leur inspiration.Chacune des gravures est mise en page sous un extrait de 3 lignes latines de la Bible et est accompagnée d'un quatrain en français.Toutes les classes de la société sont réunies dans cette mise en scène magistrale au réalisme fascinant.L'ouvrage connut d'ailleurs un tel succès que 12 éditions se succédèrent de 1538 à 1562.Les quatrains et épître en français sont attribués à Jean de Vauzelles ou Gilles Corrozet.Le plus grand exemplaire hauteur : 177 mm répertorié sur le marché depuis plusieurs décennies.Provenance : l'exemplaire provient de la célèbre bibliothèque de l'entrepreneur philanthrope et bibliophile Charles William Dyson Perrins 1864-1958 ; Sam Josefowitz Pully – puis par descendance aux propriétaires actuels. hardcover

HOLBEIN, HansBiblio.com

Historiarum veteris instrumenti icones ad vivum expressae.

CA38Lyon Melchior et Gaspard Treschel 1538.12mo 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. Binding signed by Lortic.First edition of this super series of 92 fine woodcuts after Holbein's drawings.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 "Holbein's Old Testament woodcuts" pp. 161-174."In the first issue of 1538 Judith Esther and Job appear respectively in the order of leaves I1 verso –I4 recto. In the second issue Job is in I2 instead of Judith".It is the case in our copy with Job's figure placed instead of the one of Judith in I2. Harvard p. 341 with reproduction.Brunet III 252 Suppl. 1646; Baudrier 5 p. 175; Rotschild I 15; Duplessis p. 49; Green p. 82; Woltmann Holbein vol. 2 p. 172; Didot Essai colonne 70-73; not in Fairfax-Murray.Of great beauty this series has been engraved by Hans Lützelburger that Passavant proclaims"The Prince of all the wood-engravers". E. Picot. Catalogue James de Rotschild n°15.It contains 4 upright vignettes 63 x 48 mm from the series "Simulachres et historiées faces de la mort" published the same year and 88 wide 59 x 85 mm of an excellent engraving attributed to Hans Lützelburger Brun Le livre français illustré de la Renaissance p. 130.Brunet III column 252 mentions: "These plates have been engraved with great delicacy after the drawings entirely or partly from Hans Holbein's hand. Copies are extremely rare."There is a great similitude between Holbein's drawings and those published in the Bible published by Pierre Bailly in 1521 which reinforces the hypothesis according which bibles from Lyons were under the same influence.P. Ganz in " L'influence de l'art français dans l'œuvre de Hans Holbein le jeune " Actes du Congrès d'Histoire de l'art 2nd volume part I 1924 pages 292-299 distinguishes the model of the "Icones" in the Bible by Etienne Gueynard printed in Lyons in 1520 and also mentions Bailly's Bible.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 "all the humanism of the Renaissance".Deschamps Supplément au Manuel des libraires I 636 mentions impressive auctioning in comparison with the prices of the time "700 Fr Yemeniz ; 700 Fr Morante". One could find at the time books of bibliophily for 10 gold Fr.A precious copy of this very rare series bound in a very elegant inlaid binding by Lortic.Provenance: ex-libris Georges Wendling. FrançaisIn-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. Reliure signée Lortic.165 x 113 mm.Première édition de cette superbe suite de 92 belles figures gravées sur bois d'après les dessins d'Holbein.La distinction de deux tirages de cette toute première édition a été rendue possible en 1948 par l'étude consacrée par Philip Hofer dans " Holbein's Old Testament woodcuts " pp. 161-174." Dans le premier tirage de 1538 Judith Estheret Job apparaissent respectivement dans l'ordre sur les feuillets I1 verso –I4 recto. Dans le second tirage Job est en I2 à la place de Judith ".Tel est le cas de notre exemplaire avec la figure de Job replacée à la place de celle de Judith en I2. Harvard p. 341 avec reproduction.Brunet III 252 Suppl. 1646 ; Baudrier 5 p. 175 ; Rotschild I 15 ; Duplessis p. 49 ; Green p. 82 ; Woltmann Holbein vol. 2 p. 172 ; Didot Essai colonne 70-73 ; manque à Fairfax-Murray.De toute beauté cette suite a été gravée par Hans Lützelburger que Passavant proclame" Le Prince de tous les graveurs sur bois ". E. Picot. Catalogue James de Rotschild n°15.Elle contient 4 vignettes en hauteur 63 x 48 mm tirées de la suite des " Simulachres et historiées faces de la mort " parue la même année et 88 en largeur 59 x 85 mm d'une gravure excellente attribuée à Hans Lützelburger Brun Le livre français illustré de la Renaissance p. 130.Brunet III colonne 252 mentionne : " Ces planches ont été gravées avec beaucoup de délicatesse d'après des dessins en tout ou partie de la main de Hans Holbein. Les exemplaires en sont fort rares. "Il y a une grande similitude entre les dessins d'Holbein et ceux parus dans la Bibleéditée par Pierre Bailly en 1521 ce qui renforce l'hypothèse selon laquelle les bibles lyonnaises subissaient une influence commune.P. Ganz dans " L'influence de l'art français dans l'œuvre de Hans Holbein le jeune " Actes du Congrès d'Histoire de l'art volume 2 partie I 1924 pages 292-299 discerne le modèle des " Icones " dans la Bible d'Etienne Gueynard imprimée à Lyon en 1520 et mentionne aussi la Bible de Bailly.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 " de tout l'humanisme de la Renaissance ".Deschamps Supplément au Manuel des libraires I 636 cite des adjudications impressionnantes en regard des prix de l'époque " 700 Fr Yemeniz ; 700 Fr Morante ". L'on trouvait alors des livres de bibliophilie à 10 Fr or.Précieux exemplaire de cette suite très rare revêtu d'une très élégante reliure mosaïquée de Lortic.Provenance : ex-libris Georges Wendling. hardcover

LIBRAIRIE CAMILLE SOURGET · France22 000,00 €

HOLBEIN, HansBiblio.com

Imitations of Original Drawings by Hans Holbein

1792160199London: W. Bulmer and Co. Shakespeare Printing-Office 1792-1800. This magnificent work" - Holbein rendered by Bartolozzi First edition of this superlative folio about which the leading authorities are in full agreement: "in every way a splendid book" Abbey and "this magnificent work is surely the finest early example of English colour printing" Ray. This is a most handsome copy in contemporary red morocco. "During his second stay in England 1532-43 Hans Holbein made a series of drawings of sitters connected with the court of Henry VIII that ranks among his finest achievements. Most of these were discovered as a group pasted into an album in a bureau at Kensington Palace by Queen Caroline in 1728 and the majority are now in the Royal Collection Windsor" Oliver et al p. 168. The album had a chequered history passing through several royal and noble hands - Charles I swapped it for a single painting by Raphael - before finding its way into the celebrated collection of Thomas Howard 14th earl of Arundel who "amassed what stands as the first major British art collection" British Library. It then returned to royal ownership a reunion that was recorded in Alexander Browne's Ars Pictoria 1675: "this book has been long a Wanderer but is now most happily fallen into the King's Collection". It then lay undisturbed until Queen Caroline's discovery. Solicitous of artworks in the royal collections she had them removed from their binding individually framed and hung in her country residence of Richmond Lodge. A native of Florence Francesco Bartolozzi 1728-1815 had by the early 1760s established himself as one of the finest engravers in Italy. An invitation to London in 1764 led to his employment to make prints after drawings by Guercino which entered the Royal Collection. He became engraver to the king and was a founder member of the Royal Academy. His imprimatur on an engraving was in high demand and he established "a vogue for dotted prints or 'stipples' and this became his characteristic manner" ODNB. Extensive work for many of the leading London print-sellers followed for which he employed a large studio to cope with commissions. This led to accusations of shoddy workmanship about which Bartolozzi was very sensitive; and yet he continued to attract high-level commissions such as the present work the admirable presswork for which was by the best London printer of the day William Bulmer. It was published under the auspices of the antiquary John Chamberlaine Keeper of George III's drawings with biographical notices provided by Edmund Lodge. Dr Lucy Peltz Head of Collection Displays Tudor to Regency at the National Portrait Gallery notes a contemporary "patriotic fashion for collecting engraved portraits of illustrious figures" ODNB entry for Edmund Lodge. "Published in parts during the years 1792 to 1800. the book evidently had a very considerable success for the plates appear in several states" Abbey. The present copy includes hand-coloured plates on white paper pink paper and trimmed pink paper mounted to white sheets with a double-border in wash. The sitters include Anne Boleyn Edward VI Sir Thomas Eliot Catherine Howard Sir Thomas More Jane Seymour Henry Howard earl of Surrey and Sir Thomas Wyatt. Folio 543 x 400 mm. With 84 colour-printed stipple engravings on 83 sheets all but four by Francesco Bartolozzi after Holbein on white or pink paper some on pink paper mounted on card. Contemporary red straight-grain morocco gilt spine with seven pairs of raised bands gilt lettered direct in second compartment and at foot each compartment filled with decorative blind tooling sides with intersecting gilt frames enclosing blind panels comprising interlocking drawer-handle tools and anthemion rolls 12-point corner rosettes gilt chain-link edge roll gilt rope-twist turn-ins drab bluish green surface-paper endpapers gilt edges. Binding professionally refurbished a few old abrasions to binding front leaves creased one mounted plate with repaired closed tear some foxing to plates on white paper a few captions shaved rear free endpaper sympathetically renewed. A handsome copy. Abbey Life 205 the plates accord with Abbey's states 2 3 and although not examined by him possibly 5; Lowndes I p. 405; Ray The Illustrator and the Book in England from 1790 to 1914 1991 19. Lois Oliver et al "New evidence towards an attribution to Holbein of a drawing in the Victoria and Albert Museum" The Burlington Magazine Vol. 148 No. 1236 March 2006. hardcover

Peter Harrington · Royaume-Uni16 500,00 £GB≈ 18 839,70 €

HolbeinBiblio.com

Todtentantz

157288The Dance of the Dead described in the British Museum as follows: " A series of 40 woodcuts by Jost de Negker which are free and enlarged copies after Hans Holbein the Younger's " Dance of Death " series with exception of the first two leaves all leaves with woodcuts on verso and German letterpress on recto both text and images in decorative woodcut borders the woodcuts with traces of colour and with a titlepage mutilated the text partly cut up and rearranged mounted and in modern binding ; fourth edition published in Leipzig by David de Negker. 1572Woodcut and letterpress.According to Hollstein there were four editions of Jost de Negker's 'Todtentantz' after Holbein : Augsburg 1544 n.p.; n.d; Augsburg 1561 and Leipzig1572 the last two by David de Negker.The BL holds an imperfect coloured copy of the 1544 Jobst Denecker Jost de Negker edition C.43.d.3. A comparison of that and the 1572 edition would confirm that the woodcuts are by Jost de Negker as stated by Hollstein and not by David de Negker as stated by Paisey. The 1544 edition appears to have two woodcuts with inscriptions fol.F2 verso with date '1542' and fol.D3 verso with monogram 'HVE' see Dodgson II.207 which however this edition does not have.The original woodcuts for Holbein's Dance of Death series were cut by Lützelberger. " B.M.Engraved title framed by a large woodcut frieze depicting faces animals and plant decorations 10 pages of text 2 blank pages and 40 full-page engravings framed by a large frieze 4 types repeated text in Latin gothic characters framed by identical friezes opposite.Jost de Negker c. 1485-1544 was a cutter of woodcuts and also a printer and publisher of prints during the early 16th century mostly in Augsburg Germany. He was a leading "formschneider" or blockcutter of his day but always to the design of an artist. He is "closely tied to the evolution of the fine woodcut in Northern Europe". For Adam von Bartsch although he did not usually design or draw the quality of his work along with that of Hans Lützelburger and Hieronymus Andreae was such that he should be considered as an artist. Some prints where the designer is unknown are described as by de Negker but it is assumed there was an artist who drew the design although it has been suggested that de Negker might fill in a landscape background to a drawing of a figure…On Maximilian's death in 1519 the large teams assembled for his projects dispersed and de Negker became as much a publisher as a cutter retaining many blocks by Burgkmair Hans Weiditz and others and infringing many works such as the Dance of Death by Holbein Lützelburger's masterpiece as a cutter. Negker's edition of this was published in 1544 and is his last known work. Rare complete copy of this very interesting Danse des Morts. Durch David de Necker Formschneider hardcover

Librairie Amelie Sourget · France15 000,00 €

Holbein - NegkerBiblio.com

Todtentantz

1572117A rare complete copy of de Jost de Negker's Dance of Death well described by the British Museum.From A. Brölemann's library.The Dance of Death's description by theBritish Museum : " A series of 40 woodcuts by Jost de Negker which are free and enlarged copies after Hans Holbein the Younger's " Dance of Death " series with exception of the first two leaves all leaves with woodcuts on verso and German letterpress on recto both text and images in decorative woodcut borders the woodcuts with traces of colour and with a titlepage mutilated the text partly cut up and rearranged mounted and in modern binding ; fourth edition published in Leipzig by David de Negker. 1572Woodcut and letterpress.According to Hollstein there were four editions of Jost de Negker's 'Todtentantz' after Holbein : Augsburg 1544 n.p.; n.d; Augsburg 1561 and Leipzig1572 the last two by David de Negker.The BL holds an imperfect coloured copy of the 1544 Jobst Denecker Jost de Negker edition C.43.d.3. A comparison of that and the 1572 edition would confirm that the woodcuts are by Jost de Negker as stated by Hollstein and not by David de Negker as stated by Paisey. The 1544 edition appears to have two woodcuts with inscriptions fol.F2 verso with date '1542' and fol.D3 verso with monogram 'HVE' see Dodgson II.207 which however this edition does not have.The original woodcuts for Holbein's Dance of Death series were cut by Lützelberger. " B.M.Engraved title with an engraved border illustrated withfaces animals vegetal 10 pages of text 2 blank pages and 40 full page engravings with border text in Latin gothic.Jost de Negker c. 1485-1544 was a cutter of woodcuts and also a printer and publisher of prints during the early 16th century mostly in Augsburg Germany. He was a leading "formschneider" or blockcutter of his day but always to the design of an artist. He is "closely tied to the evolution of the fine woodcut in Northern Europe". For Adam von Bartsch although he did not usually design or draw the quality of his work along with that of Hans Lützelburger and Hieronymus Andreae was such that he should be considered as an artist.Some prints where the designer is unknown are described as by de Negker but it is assumed there was an artist who drew the design although it has been suggested that de Negker might fill in a landscape background to a drawing of a figure…On Maximilian's death in 1519 the large teams assembled for his projects dispersed and de Negker became as much a publisher as a cutter retaining many blocks by Burgkmair Hans Weiditz and others and infringing many works such as the Dance of Death by Holbein Lützelburger's masterpiece as a cutter. Negker's edition of this was published in 1544 and is his last known work. A rare complete copy of this very interesting Dance of Death. Durch David de Necker Formschneider hardcover

Librairie Amelie Sourget · France15 000,00 €

HOLBEIN, HansBiblio.com

Imitations of Original Drawings by Hans Holbein

179265216London: W. Bulmer & Co 1792. HOLBEIN Hans; CHAMBERLAINE John. artist. CHAMBERLAINE John. 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. Published by John Chamberlaine Keeper of the King's Drawings and Medals and F.S.A. London: W. Bulmer & Co. 1792. First edition of Chamberlaine's magnificent volume of 86 color stipple-engraved plates rarely found complete. Large folio 21 1/4 x 16 1/2 inches; 540 x 415 mm. Complete with the 80 listed plates all of which are mounted frontispiece portraits of Holbein and Holbein's wife and a third frontis of a group portrait two hand-colored miniatures and an additional plate of Henry Howard Earl of Surry engraved by Scriven. An impressive collection of full-page engravings after Holbein's legendary portraits of Jane Seymour Anne Boleyn Sir Thomas More a young Edward VI Anne of Cleves and other court figures with frontispiece portraits of Holbein and his wife. Of the listed plates all but four portraits are engraved by the great Bartolozzi. In total eighty-two plates are in color with four on lavender paper sixty-three on pink thirteen on white/buff inclusive of one sheet with double portrait of Henry and Charles Brandon finished by hand. With one leaf of publisher's advertisements. 19th-century full red morocco rebacked with original spine laid down. Boards elaborately stamped with floral devices and with thirteen gilt rules. Spines elaborately stamped in blind and gilt lettered in gilt. With one-inch gilt dentelles. All edges gilt. Green coated endpapers. Plates exceptionally bright and clean with only very minor instances of foxing. Most foxing is to leaves and not engravings. Title-page with 11/2-inch x 1/2 piece torn from fore-edge and a 2-inch closed tear at fore-edge neither affecting text. Many of the plates are a somewhat wrinkled. The plate of Lord Clinton with a small tear to the pink paper not affecting engraving. Occasional marginal closed tears professionally repaired. Binding a bit rubbed and bumped. Overall a very good copy of a magnificent work. German artist Hans Holbein the Younger ranks "as one of the best portrait-painters in the world. He combined artistic beauty and precision of technical execution with extraordinary truth to nature and power of interpretation of character." Holbein born in 1497 first "arrived in England in the 18th year of the reign of Henry VIII. Sir Thomas More was then Chancellor of the Exchequer and Warham. was Archbishop of Canterbury. Through them Holbein obtained easy access to the leading men of the court" painting portraits of Moore Warham and many others before returning home. He journeyed back to England in 1532 where by 1536 he was in service as "'the king's painter' and in that year he painted the new queen Jane Seymour." In 1539 as a New Year's gift to the king "he gave 'a table of the pictour of the prince's grace' possibly the portrait of the infant Edward VI at Hanover. His portrait of Anne of Cleves perhaps the one now in the Louvre was sufficiently attractive to decide the king in her favour" DNB. The majestic portraiture of Holbein who died in London in 1543 "remains unsurpassed for sureness and economy of statement penetration into character and a combined richness and purity of style" Waterhouse. At the end of the 18th century John Chamberlaine in the court of George III sought to bring together a work to pay tribute to Holbein's magnificent artistry. There had been previous unsuccessful attempts to publish the portraits in engraved reproductions such as a 1792 volume containing 33 plates of poor quality titled The Court of Henry the Eighth. Yet Chamberlain succeeded where others failed for as the king's Keeper of the Drawings he assembled in this Imitations of Original Drawings by Hans Holbein 84 splendid color stipple-engraved full-page portraits of Edward VI Anne Boleyn Thomas More Jane Seymour the Archbishop of Canterbury Anne of Cleves and other major figures of the age. "One of the most magnificent books that we have ever seen and whether we consider the genius of the painter or the talents of the engravers reflects high honor on the age and nation which produced it" London Monthly Review. Sir Walter Scott praised it as "a collection which at once satisfies the imagination and the understanding showing us. how the most distinguished of our ancestors looked moved and dressed and. how they thought acted lived and died" Allibone 1120. Color-inked on the plates these intricate stipple-engraved portraits comprise "inestimable examples of English color printing at its best" Joan Friedman. "This magnificent work is surely the finest early example of English color printing. The reduced reissue of 1812 reprinted in 1828 gives no idea of the book's quality" Ray English 19. "In every way a splendid book" Abbey Life 205. Initially issued serially in 14 parts from 1792-1800. This volume's 86 beautiful portraits were achieved with techniques that admirably succeed in honoring Holbein's portraiture. The plates were etched or engraved in gray or sepia ink with additional colored inks applied a la poupee two hand-colored. Text by Edmund Lodge. Abbey Life 206. Lowndes 1381. Abbey Life 205 206. HBS 65216. $12500. W. Bulmer & Co unknown

Heritage Book Shop, LLC · États-Unis12 500,00 $US≈ 10 576,25 €

HOLBEIN, HansBiblio.com

Icones Historiarum Veteris Testamenti. Advivum expressæ extremaque diligentia emendatiores factæ Gallicis in expositione homœoteleutis ac versuum ordinibus qui priùs turbati ac impares suo numero restitutis.

ABAA6Lugduni Apud Ioannem Frellonium1547. Small 4to of 52 ll. sign. A-N with 98 woodcuts l. L2 remargined brown Jansenist morocco spine ribbed gilt edges gilt inner border. Chambolle-Duru. 198 x 135 mm. First issue "of this beautiful book" Brunet supplément 647 exceedingly rare with such wide margins height 198 mm; it is taller than the superb copy of James de Rothschild.Harvard 281; Baudrier vol. 5 p. 209; Rothschild vol. 1 n°16 ; Duplessis op. cit. N°276 p. 60-62 ; Woltmann Holbein vol. 2 p. 172-173 e ; Bouchereaux Corrozet n°127 ; Didot Essai col.73.Each one of the 94 Holbein's engravings occupies a page with Latin text above and French quatrains by Gilles Corrozet below.Didot in his Essai sur la gravure sur bois analyzes what he calls a "masterpiece":"The compositions in this masterpiece are of the highest style and as in The Simulacra of Death the expressions of the figures are righteous and offer a blend of simplicity energy and naivety that characterize Holbein." "First edition of 1547. There were two editions of the Icones 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. Known for their beauty and fine execution these Icones are considered as a significant milestone in the illustrated book of the Renaissance.Superb copy bound in Jansenist morocco by Chambolle-Duru like the copy of James de Rothschild. FrenchLugduni Apud Ioannem Frellonium1547. 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. Chambolle-Duru.198 x 135 mm.Premier tirage "de ce beau livre" Brunet supplément 647 de la plus extrême rareté avec d'aussi grandes marges hauteur 198 mm ; il dépasse le superbe exemplaire James de Rothschild.Harvard 281 ; Baudrier vol. 5 p. 209 ; Rothschild vol. 1 n°16 ; Duplessis op. cit. N°276 p. 60-62 ; Woltmann Holbein vol. 2 p. 172-173 e ; Bouchereaux Corrozet n°127 ; Didot Essai col.73.Chacune des 94 gravures d'Holbein occupe une page avec texte latin au-dessus et quatrains français de Gilles Corrozet au-dessous.Didot dans son Essai sur la gravure sur bois analyse longuement ce qu'il nomme " chef-d'œuvre " :" 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 "."First edition of 1547. There were two editions of the Icones 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.Reconnues pour leur beauté et leur finesse d'exécution ces Icones sont considérés comme un jalon marquant du livre illustré de la Renaissance. Superbe exemplaire relié comme l'exemplaire James de Rothschild en maroquin janséniste de Chambolle-Duru. hardcover

LIBRAIRIE CAMILLE SOURGET · France9 900,00 €

[Henry VIII; Holbein, Hans, artist]; Chamberlaine JohnBiblio.com

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

181234168London: Published by John Chamberlaine the Keeper of the King's Drawings and Medals. Printed by William Bulmer and Co. Shakespeare Printing Office 1812. 2 volumes. First Edition of the century First Issue the second edition overall. A RARE EXAMPLE WITH THE PLATES BOTH IN COLOURED AND UNCOLOURED STATE THUS WITH DOUBLE THE NUMBER OF PLATES NORMALLY ENCOUNTERED. With 84 hand-coloured plates and 84 plates uncoloured all separately printed on India paper and tipped onto full-page leaves each facing the other the plates with protective leaf separating the two each image with two variations mezzotint portraits of Holbein and his wife a total of 168 illustrations on full-page plates four plates dated from the first printing in 1792 the other 164 dated 1812 as with the publishing date. The plates are printed on a variety of papers slightly different from one another--grey buff white lavender and pink. Folio 34.5 x 2 beautifully bound in full red morocco gilt extra the spines with gilt tooled raised bands separating the compartments which are elaborately gilt decorated within triple gilt filleted frames gilt stippling to the borders of the frames lettered in gilt in one compartment the covers beautifully gilt decorated in all-over designs the borders with gilt stippled lines enclosing three gilt filleted borders surrounding an elaborate gilt inner border of floral tooling bordered again by a stippled and multi-filleted gilt frame the whole surrounding elaborate and large gilt tooled decorations at the inner corners and along the rules the edges gilt ruled the turnovers gilt rolled marbled endleaves all edges gilt very elaborate and beautifully preserved binding work. unpaginated. Fine copies beautifully preserved very light wear or age evidence to the bindings which remain strong the pages and plates all in good order some very occasional light foxing to the papers as is typical the colours remain vibrant and as printed the giltwork on the bindings is in very pleasing condition a very handsome set indeed. FIRST EDITION AND AN UNUSUALLY SPECIAL COPY BOUND IN FULL RED MOROCCO GILT EXTRA WITH THE PLATES PRINTED ON INDIA PAPER IN BOTH COLOURS AND BLACK AND WHITE A COPY WITH DOUBLE THE NUMBER OF PLATES USUALLY ENCOUNTERED. Hans Holbein the Younger; c. 1497 – between 7 October and 29 November 1543 was a German-Swiss painter and printmaker who worked in a Northern Renaissance style and is considered one of the greatest portraitists of the 16th century. He also produced religious art satire and Reformation propaganda and he made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father Hans Holbein the Elder an accomplished painter of the Late Gothic school. Holbein was born in Augsburg but worked mainly in Basel as a young artist. At first he painted murals and religious works and designed stained glass windows and illustrations for books from the printer Johann Froben. He also painted an occasional portrait making his international mark with portraits of humanist Desiderius Erasmus of Rotterdam. Holbein travelled to England in 1526 in search of work with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More where he quickly built a high reputation. He returned to Basel for four years then resumed his career in England in 1532 under the patronage of Anne Boleyn and Thomas Cromwell. By 1535 he was King's Painter to Henry VIII. In this role he produced portraits and festive decorations as well as designs for jewellery plate and other precious objects. His portraits of the royal family and nobles are a record of the court in the years when Henry was asserting his supremacy over the Church of England. Holbein's art has sometimes been called realist since he drew and painted with a rare precision. His portraits were renowned in their time for their likeness and it is through his eyes that many famous figures of his day are pictured today such as Erasmus and More. He was never content with outward appearance however; he embedded layers of symbolism allusion and paradox in his art to the lasting fascination of scholars. In the view of art historian Ellis Waterhouse his portraiture "remains unsurpassed for sureness and economy of statement penetration into character and a combined richness and purity of style." For Holbein "everything began with a drawing". A gifted draughtsman he was heir to a German tradition of line drawing and precise preparatory design. Holbein's chalk and ink portraits demonstrate his mastery of outline. He always made preparatory portraits of his sitters though many drawings survive for which no painted version is known suggesting that some were drawn for their own sake. Ellis Waterhouse wrote that "modern" painting in England may be said to have begun with Holbein. That later artists were aware of his work is evident in their own sometimes explicitly. Hans Eworth for example painted two full-length copies in the 1560s of Holbein's Henry VIII derived from the Whitehall pattern and included a Holbein in the background of his Mary Neville Lady Dacre. The influence of Holbein's "monumentality and attention to texture" has been detected in Eworths' work. According to art historian Erna Auerbach: "Holbein's influence on the style of English portraiture was undoubtedly immense. Thanks to his genius a portrait type was created which both served the requirements of the sitter and raised portraiture in England to a European level. It became the prototype of the English Court portrait of the Renaissance period". Holbein worked for Thomas Cromwell as he masterminded Henry VIII's reformation. Cromwell commissioned Holbein to produce reformist and royalist images including anti-clerical woodcuts and the title page to Myles Coverdale's English translation of the Bible. Henry VIII had embarked on a grandiose programme of artistic patronage. His efforts to glorify his new status as Supreme Head of the Church culminated in the building of Nonsuch Palace which started in 1538. By 1536 Holbein was employed as the King's Painter on an annual salary of 30 pounds—though he was never the highest-paid artist on the royal payroll. see C. Müller et al. This striving for perfection is very evident in his portrait drawings where he searches with his brush for just the right line for the sitter's profile. The critical faculty in making this choice and his perception of its potency in communicating decisively the sitter's character is a true measure of Holbein's supreme greatness as a portrait painter. Nobody has ever surpassed the revealing profile and stance in his portraits: through their telling use Holbein still conveys across the centuries the character and likeness of his sitters with unrivalled mastery. see J. Rowlands Hans Holbein the Younger 1985 Published by John Chamberlaine, the Keeper of the King's Drawings and Medals. Printed by William Bulmer and Co., Shakespeare Pri hardcover

Buddenbrooks, Inc. · États-Unis9 625,00 $US≈ 8 143,71 €