PINDER (Ulrich). *Speculum passionis domini Ihesu christi*. - Lot 18

PINDER (Ulrich). *Speculum passionis domini Ihesu christi*. Nuremberg, [printer of the Sodalitas Celtica, F. Peypus (?)], August 30, 1507. Folio (303 x 210 mm), havana morocco, embossed garland on the covers within a triple frame of two gilt fillets with corner fleurons and a central oval motif composed of volutes and interlacing in reserve on a gilt background, spined back adorned with gilt fleurons, wide inner return decorated with gilt scrolls and fillets, gilt edges (Lortic). First edition of this account of the Passion accompanied by prayers and commentaries, one of the most beautiful illustrated books of the German Renaissance. It is masterfully decorated with: - thirty-nine large, full-page woodcuts from the first print run, drawn and engraved specifically for this work. Thirty-seven of them—comprising thirty-two compositions plus five repetitions—are the work of Hans Schaüfelein, who signed the figures on folios M2v and N2v with his monogram. This volume is the first to contain woodcuts signed by this artist. The other two compositions are by Wolf Traut (D4v) and Hans Baldung Grien (L6r). - a three-quarters-page woodcut by Hans Baldung Grien and thirty-seven vignettes, including nine large ones, most by Schäufelein and Grien. Grien’s large Crucifixion (L6), as well as most of the vignettes, had previously appeared in the *Beschlossene Garten des Rosenkranzes Mariae* (1505) by the same Pinder, personal physician to Archduke Frederick of Saxony and author of several works. The German Hans Schäufelein (c. 1480–c. 1540) and the Alsatian Hans Baldung, known as Grien (c. 1484–1545) were both trained in Nuremberg in the studio of Albrecht Dürer. The influence of the Great Passion is evident in this work by Schäufelein. A superb copy, with generous margins and a flawless print, finely and elegantly bound by Lortic. In addition to the binder’s usual signature on the first endpaper, this copy features his rare label on the first flyleaf. The front of the last (blank) leaf features a handwritten Latin text, carefully calligraphed in brown ink by a hand from that period. Acquired by Émile Rossignol in 1953. Albert Dürer’s woodcut trilogy

Schätzpreis:€10,000

Alle Objekte ansehen vonGiquellooderKunst und Drucke