"Weinerus Landtafeln“ Vollständiger Atlas des Hofkupferstechers Peter Weiner

Atlas: 24 Bayerische Landtafeln, genannt auch "Weinerus Landtafeln“ Kompletter Atlas mit Übersichtskarte „Kurtze Beschreibung des gantzen Fürstentumbs Obern und Nidern Bayrn“ Die vorgebundene Übersichtskarte zeigt verkleinert die 24 Kupferstich-Landtafeln dieses Atlasses einschliesslich ihrer Nummerierung von 1 bis 24. Flankiert ist die Übersichtskarte links und rechts mit 36 Stadtwappen bayerischer Kreisstädte, wovon 34 ausgeführt sind und sich links und rechts je ein nicht ausgeführtes Wappen befindet. Es folgen die 24 doppelblattgrossen Landtafeln, wobei sich die Karten (Tafeln) 1 und 2, sowie die Karten (Tafeln) 3 und 4 auf jeweils einer Atlasseite befinden, da sie im Gegensatz zu allen anderen Karten, nur jeweils die halbe Höhe haben. Karte (Tafel) 1 mit Widmung: „Illustrissimo et sereniss. Principi AC DN. D. Alberto Com. Palatino Rheni superioris infer:que Bavariae Duci.“ Karte (Tafel) 3 mit Titel: „Corographia Bavaria“ Karte (Tafel) 4 mit Widmung: „Ad Illustriss. et Sereniss. Principem ac Dominum. Domin. Albertum Comitem Palatinum Rheni utriusq. Bavariae Ducem. Do. Suum Clementiss.“ Karte (Tafel) 5 mit der grossen bayerischen Wappenkartusche. Karte (Tafel) 24 mit einer Darstellung der ,Justitia’, die im Begriff ist, den bayerischen Löwen mit dem bayerischen Rautenwappen zu krönen. Der Löwe ist das Wappentier der Wittelsbacher. Die einzelnen Karten sind schon buchbindergerecht vorbereitet, um, falls erwünscht, zu einer grossen Karte (ca. 156 x 159 cm) zusammengefügt zu werden. Dabei wird die Gesamtkarte von der dekorativen Renaissance-Früchtebordüre umrahmt. Vollständiger Atlas des Hofkupferstechers Peter Weiner, der sich der Holzschnitte bediente, die Philipp Apian (1531-1589) zuvor angefertigt hatte und 1568 als Atlas herausgegeben hatte. Appian besass die Verlagsrechte an seinem Atlas. Als er Bayern 1569 verliess, beauftragte Herzog Albrecht V. seinen Hofkupferstecher Peter Weiner mit der Anfertigung einer ebenbürtigen Karte, die Weiner im Kupferstich-Verfahren herstellte. Der hier vorliegende Atlas ist ein Original aus dem Jahr 1579. Er ist gebunden. Der Zustand der Karten ist sehr gut. Er ist sauber und hat nur minimale, kaum erwähnenswerte Altersspuren. Strassen sind mit roter Tinte als feine Linien von Hand eingezeichnet. Auf den Karten-Rückseiten sind mit schwarzer Tinte in deutscher Schrift säuberlich Städte, Märkte, Klöster, Schlösser, Sitze und Gewässer, aufgelistet. Die Tinte hat nirgends im Atlas auf die Kartenvorderseite durchgeschlagen. Einband: Pappe aus der Zeit. Bestossen und berieben. Buchrücken: Pergament mit handschriftlicher Titelbezeichnung. Buchecken sind noch teilweise in Pergament gefasst Atlas aussen 35.5 x 25.5 cm ( 13.9 x 9.8") Karten Doppelseite: 31 x 41 cm ( 12.2 x 16.1")

Sachgebiete: Atlanten, Bayern, Landkarten

17730,- EUR
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Raffaelo Santi or Raffaello Sanzio Engraved by Francesco Rainaldi (Rome 1770 - 1805 Florence)

The Vatican Loggie The Loggie del Vaticano are part of the three-story papal palace building, planned by Pope Julian II and finished by Pope Leo X. The building is the living quarter of the popes. And it is imaginable how much emphasis and attention it therefore had. Donato Bramante (1444 - 1514) was first commissioned with the architectural plans and with the artistic configurations and their execution for the building. After his death Raffael da Urbino (1483 - 1520 - also known as Raffaelo Santi or Raffaello Sanzio) received the assignment. One of the grand masters during the Renaissance, Raffael not only continued Bramante's plans, but also added his own ideas. He designed every detail of the frescos for which he drew from the limitless mythologigal sources which had been discovered in the antique world of Rome. Using mythology as a basis, Raffael added artistic elements of his time, thus creating a typical Renaissance melange. An assemblage of artists executed Raffael's visions, among them Giulio Romano, Perin del Vagas and Giovanni da Udine. This copper etching is from a series engraved by Francesco Rainaldi (Rome 1770 - 1805 Florence) after the drawings by Carlo Lasinio (Treviso 1759 - 1838 Pisa). Lasinio based his drawings on the imperial folio sized copper etchings by Giovanni Volpato (Bassano 1733 - 1803 Rome) and Giovanni Ottaviani (Rome 1735 - 1808). Instead of printing individual pilaster frescos, Rainaldi put two of them side by side, thereby achieving a breathtaking effect. The copper etchings of the series were printed in Rome in the year 1802. They have brilliant gouache-hand-coloring, attentively executed even in the smallest detail. An exquisite wall decoration for the discriminating classics-minded homeowner! Image: 44.5 x 33 cm ( 17.5 x 12.9") Page size: 54 x 41 cm 21.2 x 16.1") The condition is very good. Normal age-connected flaws, such as general age toning, miniscule spotting, minor wrinkles, minor creases, minor repaired tears in margins if any at all etc. are normal and will not be mentioned. Pilaster III. - Musical instruments of the Renaissance flanked by mythological scenes Pilaster IV. - Imaginative and fabulous mythological decor

Sachgebiete: Dekorative Graphik, Italien, Kupferstich, Renaissance

395,- EUR
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No title. Caesar guiding Cleopatra to the throne of Egypt Aquatinta etching by Andrea Scacciati (1725-1771)

No title. Caesar guiding Cleopatra to the throne of Egypt Aquatinta etching by Andrea Scacciati (1725-1771) After the drawing by Pietro da Cortona (Pietro Berrttini da Cortona (1596-1669) Study work by Pietro da Cortona for a painting he did with this theme. Roman Emperor Caesa, after defeating Ptolemy XII, fell in love with beautiful Cleopatra. He led her to the Egyptian throne while she was in dispute with her brother Ptolemy. We see her here ascending the steps to the throne, ushered there by Caesar. Looking through the windows we see the pyramids, and inside the room as well as outside we see Roman soldiers carrying army signs. A masterful etching! The aquatint was published in "Disegni original d'eccellenti pittori essist. nell a R. Gall. di Firenze etc.". Florence, 1766-1774. This was a folio size gallery book with engravings of the most famous artists. Condition: Only in margins some minor traces of age and use. Margins above and below image are narrow. 27,8 x 36,4 cm (ca. 10.9 x 14.3")

425,- EUR
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Exquisite prints of Orchids by Anton Hartinger "Paradisus Vindobonensis" (Viennese Paradise) Stanhopea Aurea Nat. Ord. Orchideae Guatemala

Author / Artist: Anton Hartinger, Austrian flower painter and lithographer (1806 - 1890). Title:"Paradisus Vindobonensis" Abbildungen seltener und schoenbluehender Pflanzen der Wiener und anderer Gaerten und Museen. Publisher: K.& K. Hof- und Staatsdruckerei Vienna Dedication: To His Majesty Ferdinand I., Kaiser of Austria, King of Hungary, of Lombardy and Venice. The background story: Anton Hartinger, was a Viennese artist specialized in flower painting. He was a member of the Viennese Academy of Arts from 1843 to 1851. Lacking money to publish his extraordinary large folio size and extensive work on flowers, he sought investors. And he found them. But it took from 1844 to 1860 to publish 20 installments, seldom more than one set per year. Obviously a period of 16 years is a too long a time for publishing a book. It became increasingly difficult to keep the sponsors interested. Some may not even have lived to see the final installment printed. That is why there are only two complete copies worldwide in existence to our knowledge. Only the Vienna Library and the British Library seem to have complete sets. Since the sponsors held only loose prints in their hands it is easily understood why most of these prints did not survive. Print size: ca. 56 x 42 cm. (22 x 16.5")

2120,- EUR
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Halle, Sachsen-Anhalt, Salz, Salzbergwerk, Salzgewinnung, Salt, University Johann Baptist Homann

Halle. - „Darstellung des Grundrisses und Prospectes der Königl. Preussisch-Magdeburgischen und des Saal-Crayses Haupt Stadt Halle / welcher daselbst auf Kosten und Verlag Iohann Baptistæ Homanns Der Röm. Kays. Mai. Geographi und Mitglids der Königl. Preuss. Societät der Wissenschaffte[n] ist ausgemessen und Geometrice verzeichnet worden von I. C. Homann, der Medicin und Mathematic Studioso“ Copper etching with very good original hand coloring. Published by Johann Baptist Homann Nuremberg, ca.1720 This large copper etching shows Halle in the upper part as a city plan. Also: Halle as a panoramic view, flanked by a salt mine (left) and The University auditorium (right) An impressive homage to this Sachsen-Anhalt city in very attractive original hand coloring. Very good condition.

Sachgebiete: Deutschland, Sachsen

840,- EUR
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Rome. - "Tiburtina die statt" Das sechst alter der werlt. Lag. CXIII (113) Published in: Nuremberg Chronicle ("Weltchronik" (Liber Chronicarum) Author:  Hartmann Schedel. Published: Nuremberg, 1493

Rome. - "Tiburtina die statt" Das sechst alter der werlt. Lag. CXIII (113) Upper left: Portrait of "Secundus philozophus" Most likely holding in his hand the oldest depiction of looking glasses ever in print Type of print: Woodcut Color: Excellent hand coloring Published in: Nuremberg Chronicle ("Weltchronik" (Liber Chronicarum) Author:  Hartmann Schedel. Published: Nuremberg, 1493 Text: German edition. Relating text print below image. Tiburtina is nowadays a city fraction of the City of Rome. The text describes it as being mentioned by Strabo and Virgil, supposedly older than Rome and founded by Greek immigrants to Italy. This print is from the very rare GERMAN EDITION of the Nuremberg Chronicle, which was fist published in LATIN in May 1493 and, with a very small German edition, in December 1493. Since the publishers were located in Nuremberg, Germany, they felt they should also publish this important incunabula work in the German language. But among scholars in all of Europe, the Latin language was the common language for communication, while German had a much smaller radius. That's why the Latin edition was the larger of the two. The philosopher, upper left, is depicted with a pair of looking glasses in his hand. It may be safe to speak of the first ever depicted pair of glasses in print history. Reverse side: 9 portraits of, a medical doctor (holding up and viewing a glass of urine), one philosopher - Justinus, three heretics and three bishops, among them Apollinaris.

Sachgebiete: Geschichte, Graphik, Italien, Optik

480,- EUR
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"Travels in Central America, Particularly in Nicaragua: With a Description of Its Aboriginal Monuments, Scenery and People, Their Languages, Institutions, Religion, & c., illustrated by numerous maps and coloured illustrations, by E. G. Squier, Late Charg

"Travels in Central America, Particularly in Nicaragua: With a Description of Its Aboriginal Monuments, Scenery and People, Their Languages, Institutions, Religion, & c., illustrated by numerous maps and coloured illustrations, by E. G. Squier, Late Charge-D'Affaires of the United States to the Republics of Central America" Volumes I and II. Published by D. Appleton & Co., New York, 1853. Volume I - 424 pages. Volume II - 452 pages Size. 8vo. There is an Ex Libris (see photo) inside the cover from William H. Bartlett. It was William H. Bartlett (1850-1918), a wealthy American business man purchased, in 1902, 205 000 acres of land near Vermejo in New Mexico from the Maxwell Land Grant Company.There he built three residences, one for himself and his wife, the Casa Grande, the other two for their two sons. Later he expanded this property to 300 000 acres. He named his vast possession The Vermejo Club, where, the most important business men regularly met and former US-presidents were guests as well as celebrities from Hollywood. Bartlett owned an important and valuable library. For his "Ex Libris" sticker he used the fire place of his mansion, Casa Grande, for background decoration. Ted Turner bought the property in 1996. The Casa Grande is still standing, and as far as we know, Ted Turner is using it as his residence in Vermejo. The set of two books we offer here were once part of Bartlett's library, which was dissolved after his death. Both volumes have Bartlett's original ãEx Libris". Please see photos. Hardcover, partially leather. Both books are in good, solid condition with signs of age and use on the covers. No loose pages. Texts and illustratons are in good, clean condition. On the page before or after each illustration is a light brown imprint from the colored lithograph. See photos.

Sachgebiete: Archäologie, Indigene Kulturen

555,- EUR
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Bird's Eye View of the City of New York. Anonymous chromolithograph showing the Island of Manhattan in its center from an angular aerial position.

Bird's Eye View of the City of New York. Anonymous chromolithograph showing the Island of Manhattan in its center from an angular aerial position. Manhattan's buildings details are nicely define, not just as a plan but each building showing its architectural specifications, windows, roof tops etc. Same is true of the buildings of Brooklyn, Jersey City and Hoboken. In the foreground we are looking at Governors-Island and a busy News York harbor with plenty of sail ships, paddle steamers and sailboats. To the left we are looking at the Hudson River, to the right we see the East River with spectacular Brooklyn Bridge spanning it. When it opened in 1883 it was the first fixed crossing of the East River and, world-wide, the longest suspension bridge, 1595 feet (486 m) long: An impressive piece of architecture! What makes this view of New York so special is the artist's dedication to detail. Unfortunately the chromo lithograph does not reveal the name of the artist, nor the publisher or the printing date. Since Brooklyn Bridge shows as finished architecture, we may assume that this spectacular view was printed in the mid 1880ies. We may also assume that it was printed in New York, probably as a commissioned piece of art, maybe by a N.Y. galerist. Condition: The chromolithograph is mounted on cardboard, a happy circumstance which helped to keep it unfolded. The lithograph has a transparent glossy surface, which protected it through all these years. Age has slightly darkened the original color. Condition specifics worth mentioning: Lower right margin corner is bent backward, only the extreme corner missing - however not interfering with image. There are minor scratches in the glossy surface and some other minor traces of age and use. All four margins have some rubbing. In general this large spectacular half bird's eye view of New York City is in better than good condition. Type of print: Chromolithograph Artist: Anonymous Publisher / Printer: Unknown Time of printing: Ca. 1885 1890 Measurements: 60,3 x 82 cm (ca. 23.7 x 32.3")

Sachgebiete: Landkarten, Nordamerika

5550,- EUR
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