LIVERPOOL EARL: (1770-1828) British Prime Minister 1812-27. A.L.S., Liverpool, two pages, 4to, Fife House, London, 12th July 1821, to a Gentleman. Liverpool informs his correspondent, in part, 'I understand the exhibition closes next Saturday & I am desirous of knowing how soon afterwards your picture of Durer could be sent to this house' continuing, 'I go out of town on Sunday & shall not be in town on the day of the Coronation… I am very desirous however of seeing the picture put up & Sir Charles Long has been so good as to promise he would be present.' With minor tears to the edges and horizontal fold, with two taped repairs and signs of former mounting to the verso. About G Charles Long (1760-1838) English Politician and connoisseur of the arts.
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Natalibus (Petrus de, Bishop of Equilio). Catalogus Sanctorum vitas, passiones, & miracula commodissime annectens, ex variis voluminibus selectus..., Lyon: Aegidium & Jacobum Huguetan, 1542, title in red & black with printer's woodcut device and within woodcut decorative border (with early inscription), numerous woodcut illustrations including full-page Nativity illustration of the adoration of Christ by Hans Springinklee (depicting Mary, Joseph and the baby Jesus in the ruins of a classical building instead of the traditional stable), decorative woodcut initials, double-column black letter text, woodcut device to verso of final leaf, early marginalia to verso of bii, light toning and scattered spotting, modern antique style vellum, manuscript title to spine, folio Adams N51. An uncommon collection of saints' legends, first published in 1493 in Vicenza. Hans Springinklee (circa 1490/1495-circa 1540) was a German artist from Nuremberg, a pupil of Durer, and best known for his woodcuts. Springinklee's Nativity engraving first appeared several years earlier, in 1517, in a devotional prayer book known as Hortulus Animae (The Garden of the Soul), published in Lyon by Jean Clein. The image appears to have been used in various works including editions of the Latin Vulgate Bible printed in Lyon. (1)
Albrecht Dürer, 1471-1528, Willibald Pirckheimer Engraving, 1524, with small jug watermark, bearing the following inscription 'Bilbaldi Pirkeymhere effigies Ae Tatis Anno L 111 vivitvr ingenio caetera Mortis Ervnt MDXX1V', bearing monogramme lower right and another later engraving facing left bearing a similar inscription 'Paul de la House au Palais', glazed and framed. Collectors marks to reverse. (approx 11cm x 17cm). N.B. Willibald Pirckheimer (5 December 1470 - 22 December 1530) was a German Renaissance lawyer, author and Renaissance humanist, a wealthy and prominent figure in Nuremberg in the 16th century, and a member of the governing City Council for two periods. He was the closest friend of the artist Albrecht Durer, who made a number of portraits of him and a close friend of the great humanist and theologian Erasmus. Each 17 x 11cm
Abraham Le Blond (1819-1894) after Albrecht Durer (1471-1528)'Forget Me Nots' and 'The Heather'Colour prints24cm x 19cmHoused in ornate gilt frames CONDITION REPORT: If you require further images of this lot or a condition report please contact us with your request as condition reports have not been included in the description
Cristofano Robetta (Italian, 1462-after 1522), Adoration of the Magi, engraving, later impression on laid paper, trimmed, 30.5 x 38.5 (pl.), stuck down, framed; Aegidius Sadeler II (Netherlandish, Antwerp 1568–1629 Prague), Virgin and child in a landscape, lettered in plate lower left "Cum privil S.C.M.tis", in lower margin "ALBERTUS DURER ALMANUS INVENTOR", engraving after a drawing by Durer in Vienna, later impression, trimmed, 33 x 24 cm (pl.), stuck down, framed (2)
Books, a collection of King Penguin small pocket books, approx 70 books inc, Popular Art in the United states, English Book Illustration, Woodcuts of Albrecht Durer, Wood Engravings by Thomas Bewick, Early British Railways, The Bayevx Tapestry, Egyptian Paintings, Magic Books from Mexico, Some British moths, etc, some water staining. Poor/ Good
A large, rare, German Albert Durer leather-bound folio, Ltd Edition 29/100, published in Berlin in 1919, celebrating the anniversary of Durer's death and titled 'Albrecht Durer, Der Rupferftecher Und Holzschnitt-Zeichner' with many prints made from the original copper plate and on handmade paper made in the manner of 15th century, the tan leather cover embossed with Durer's signature mark, inscription in pen to the first page dating to Christmas 1945, 47 x 36 cm.
LIVERPOOL EARL: (1770-1828) British Prime Minister 1812-27. A.L.S., Liverpool, two pages, 4to, Fife House, London, 12th July 1821, to a Gentleman. Liverpool informs his correspondent, in part, 'I understand the exhibition closes next Saturday & I am desirous of knowing how soon afterwards your picture of Durer could be sent to this house' continuing, 'I go out of town on Sunday & shall not be in town on the day of the Coronation… I am very desirous however of seeing the picture put up & Sir Charles Long has been so good as to promise he would be present.' With minor tears to the edges and horizontal fold, with two taped repairs and signs of former mounting to the verso. About G Charles Long (1760-1838) English Politician and connoisseur of the arts.
A George II Irish mahogany table, on carved lion mask and foliate carved cabriole legs and hairy paw feet 73 x 167 x 173cm (28 x 65 x 67in) Other Notes: Throughout much of the 18th century, Irish furniture was stylistically very different from English. Low relief carvings on the aprons of tables included festoons, winged birds and rosettes. Goblin heads, scallop shells and lion masks were often depicted, and on the cabriole legs of table and chairs, acanthus leaves were caved alongside the masks. Some furniture took on an almost animal nature with muscle or a fetlock being carved above the paw or claw feet; hairs and muzzles were carved in detail. The lion mask, a motif used from antiquity as an emblem of strength, courage, and majesty, was not necessarily realistic, sometimes described as Bacchic with bunches of grapes and often with "human" features, in particular the eyes, reminiscent of paintings such as the Carpaccio St Mark's Lion in Venice, or drawings by Albrecht Durer. Original country house condition, needs restoration.
A large Veneto-Saracenic brass salver or charger, possibly Venetian 16th century, with wide sloping rim and rounded lip, rounded cavetto and flat base, the surface completely covered with intricate engraved and silver-inlaid decoration comprising floral arabesques, and endless knots, arranged in concentric bands 49cm (19in) Literature: S. Auld, Renaissance Venice, Islam and Mahmud the Kurd. A metalworking enigma, London, 2004, Other Notes: Veneto-Saracenic ware is characterised by the technique of inlaying precious silver, gold or black compound onto brass within intricate and all-consuming decorative schemes of arabesques and other abstract motifs. Initially made in the Levant and Persia and subsequently thought to have been manufactured in Northern Italy, this type of metalwork was much sought after in Europe during the 15th and 16th centuries. The pattterns are interpretations of Islamic compositions encompassing the European motifs of curling tendrils, flowers and knotwork. It is interesting to note that the knotwork resembles the designs of artists such as Albrecht Durer who was known to have visited Venice in the late 15th Century.
An engraving by Albrecht Durer "Madonna crowned by two angels" scene showing The Madonna cradling the infant Jesus and with two angels above lowering the crown, inscribed on a tablet in the lower right with the artists initials "AD 1518" mounted in decorative wooden frame, 14 cm high 9.5 cm wide
•MICHAEL CANNEY (1923-1999) RHINOCEROS Etching with aquatint and plate tone, 1947, signed and dated 14.5 x 21cm. * Evidently inspired by Albrecht Durer's famous woodcut of 1515. The animal in Dürer's print was a gift from an Indian sultan to King Manuel of Portugal and was the first to have been seen in Europe for nearly 1500 years. The King donated the rhino to Pope Leo X but the beast died en route to Italy. Durer never saw a rhino and based his famous print upon a sketch and a descriptive letter. ++ Slight time toning
A collection of prints and drawings by or after Old Masters and others The Judgement of Paris engraved by R. G. Woodman after Rubens, 1813; and another similar; Circle of Michel Corneille the Younger, Landscape with huntsmen and a barge, red chalk on laid paper, 20 x 30 cm; Luca Giordano, 'Sancta Anna', engraving on laid paper, 31 x 22 cm, framed, with folds, heavy creasing and staining throughout; After Honoré Daumier, Court Scene, photogravure, François Perrier, two engravings after ancient statues in Rome, no. 62 from a set of 100 and a Roman consul from the Villa Ludovisi; After Guercino, The Guardian Angel, by Stephanie Keeth Goldman, 1994, no. 2/30, signed lower right, etching, After Albrecht Durer, The Knight, Death and the Devil, later impression, engraving on laid paper, 22.5 x 16.5 cm; Giovanni F. Venturini after Galles, Polidoro, etching on laid paper, 18 x 18 cm; together with some portrait engravings, mostly 18th and 19th century; few watercolours of London river views and other hand-coloured prints, some modern including Hedley Fitton etc. (a quantity, approximately 100)
*Burgkmair (Hans, 1473-1531). The Triumph of Emperor Maximilian I (Kaiser Maximilians I. Triumph. Le Triomphe de l'Empereur Maximilien I, Une Suite de Cent Trente Cinq Planches grav‚es en bois d'apres les desseins de Hans Burgkmair), Vienna & London, Matthias Andr‚ Schmidt & J. Edwards, 1796, a collection of 88 woodcuts (from the total of 135), including 56 full sheet (385 x 554mm), each with oval library ink stamp to verso, the remaining 32 cut down (approximately 385 x 400mm) and with mounting adhesive remains to versos, printed plate numbers sometimes altered in an old hand, occasional fraying, scattered old dampstaining and browning, a few tears and crude repairs, mostly to cut down plates, plate 82 (renumbered 83) highly defective, all loosely contained in old quarter morocco portfolio, soiled and worn, large folio The original drawings for the woodcuts of The Triumph of Maximilian were made between 1512 and 1516, chiefly by Hans Burgkmair but with contributions by Albrecht Altdorfer, Hans Schaufelein, Hans Springinklee, and others, including one by Albrecht Durer. The woodcuts form a continuous procession measuring approximately 177 feet, celebrating the achievements of the young emperor, whose death in 1519 at the age of 60 put an end to the production. The illustrations are especially interesting for the depiction of regional officials and professions, and exotic peoples and animals. The blocks were first printed in a very small edition in 1526 at the instruction of Ferdinand, younger brother of the succeeding Emperor Charles V, and were not reprinted until this edition in book form in 1796. The 135 surviving blocks are conserved in the Albertina in Vienna. Lipperheide Sba 2. The full sheet plates present are: 2, 3, 4, 6, 8, 14, 16, 18, 20, 24, 26, 28,30, 31-40, 42, 44-46 [45-47], 48 [49], 57, 61, 63, 64, 68, 69, 71, 72, 76-79, 88 [80], 80 [81], 84 [85], 86 [87], 94 [110], 95 [109], 96 [111], 97 [112], 101-106 [116-121], 108-109 [123-124]. The cut-down sheets present are: 5, 7, 9, 11, 13, 15, 17, 19, 22, 25, 27, 41, 43 [44]. 47 [48], 49-50 [50-51], 62, 65, 67, 70, 73-75, 82 [83], 87 [88], 89-92 [104-107], 107 [122]. The engraving by Durer known as 'The Small Triumphal Car' appeared as the final plate (135) and is not present here. (1)
*Durer (Albrecht, 1471-1528). The Martyrdom of St. Catherine, circa 1498, woodcut on laid paper, with watermark of a chalice with bunch of grapes, trimmed outside printed black line border, some marks and a few short closed marginal tears, top right corner restored, restrengthened to verso with paper to lower quarters, sheet size 396 x 291 mm (15.4 x 11.5 ins) Bartsch 120. Meder-Hollstein 236. (1)
*Durer (Albrecht, 1471-1528). Saint Michael Fighting the Dragon, plate 11 from The Apocalypse, circa 1498, woodcut on laid paper, trimmed inside the image, some marginal closed tears, creases, etc, several repairs, generally toned and some wear, sheet size 380 x 268 mm, together with The Whore of Babylon, plate 14 from The Apocalypse, circa 1497-98, woodcut on laid paper, trimmed inside the image, some marks, closed tear to right margin, generally toned and damp marked, sheet size 385 x 270 mm (15.2 x 10.6 ins), plus The Whore of Bablyon, plate 14 from The Apocalypse, circa 1497-98, woodcut on laid paper, trimmed to or just inside borderline, some defects, mainly to margins, with small losses, laid down, sheet size 391 x 280 mm (15.4 x 11 ins), and The Martyrdom of Saint John, plate 1 from The Apocalypse, circa 1497-98, woodcut on wove paper, probably early 19th century, sheet size 391 x 280 mm (15.4 x 11 ins), plus and 11 other Durer woodcuts and engravings, various, all later impressions, including Saint Simon, Saint Thomas, two scenes from The Life of the Virgin (The Meeting of Joachim and Anne at the Golden Gate & The Adoration of the Magi) and six late reprintings of scenes from the Small Passion, probably later 19th century (15)
*Durer (Albrecht, 1471-1528). Salome and the Head of John the Baptist, 1511, woodcut on laid paper, trimmed to image, probably a posthumous impression, the block fairly worn, with some marks, laid down, sheet size 192 x 131 mm (7.55 x 5.2 ins), together with The Nailing to the Cross, from The Small Passion, circa 1508-09, woodcut on laid paper, trimmed inside the border line, laid down and with some small losses to left margin, sheet size 128 x 99 mm (5.1 x 3.9 ins), plus two other Durer woodcuts: The Lamentation, from the Italian edition of 1612 (Bartsch 43, Hollstein 152) and The Ascension, a later reissue, without the monogram lower left, laid down on old paper Bartsch 126. Hollstein 232 for the first work. Bartsch 28. Hollstein 137 for the second work. (4)
*Durer (Albrecht, 1471-1528). The Holy Family with Three Hares, circa 1496/98, woodcut on laid paper, no visible watermark, a late impression, possibly Meder g or h (of i) impression of circa 1580, with the border line broken in places, especially at top left and right corners, some light soiling, image size 394 x 285mm (15.5 x 11.25 ins), sheet size 402 x 293 mm (15.8 x 11.5 ins) Bartsch 102. Meder, Hollstein 212. Schoch, Mende, Scherbaum 108. One of only four large woodcuts produced by Durer prior to 1500 intended as single prints - the others being the Samson, the Martyrdom of Saint Catherine, and the Martyrdom of the Ten Thousand. (1)
*Durer (Albrecht, 1471-1528). Christ in Limbo (Harrowing of Hell), from The Large Passion, 1510, woodcut on laid paper, a late impression without text to verso, with most of the border line intact, laid down, some repaired marginal tears to left margin, with slight loss, a few small stains, a good impression with strong contrasts, image size 395 x 280 mm (15.5 x 11ins), sheet size 400 x 282 mm (15.75 x 11.1 ins) Bartsch 14. Meder, Hollstein 121. Schoch, Mende, & Scherbaum 164. Strauss 150. (1)
*Durer (Albrecht, 1471-1528). Christ on the Mount of Olives from The Large Passion, circa 1496/97, woodcut on laid paper, with indistinct watermark, laid down, a late impression, with strong contrasts, some loss to top left and right corner (old repairs with borderline supplied in ink), trimmed just outside the borderline, a few minor marks, sheet size 393 x 283 (15.5 x 11.15ins) Bartsch 6. Meder, Hollstein 115. Schoch, Mende, Scherbaum 156. With early 19th century collector's ink monogram to verso 'MS' or 'NS' and code 'XIBX' above. (1)
*Durer (Albrecht, 1471-1528). The Resurrection, from The Large Passion, 1510, woodcut on laid paper, faint indistinct watermark, laid down, a late impression, after the text edition of 1511, trimmed to or touching borderline on all sides, a few small repairs to extreme edges, sheet size 391 x 274 mm (15.4 x 10.75ins), tipped to backing card with blindstamped initials JDH to lower left corner Bartsch 15. Meder, Hollstein 124. Schoch, Mende, Scherbaum 165. (1)
*Durer (Albrecht, 1471-1528). The Beast with two Horns like a Lamb, plate 12 from The Apocalypse, circa 1496/97, woodcut on laid paper, a late impression, without watermark, good impression with heavy black ink, trimmed to or just touching the borderline, some pinholes and small defects, restrengthened to outer margins, a few marks and small stains, sheet size 395 x 275 mm (15.5 x 10.8ins) Bartsch 74. Meder, Hollstein 175. Schoch, Mende, Scherbaum 123. (1)
*Durer (Albrecht, 1471-1528). The Apocalyptic Woman, plate 10 from The Apocalypse, circa 1497, woodcut on laid paper, without watermark, laid down, with central horizontal crease and some consequent loss repaired, a good, even impression, trimmed outside the borderline, some minor stains and soiling, sheet size 395 x 282 mm (15.5 x 11.1ins) Bartsch 71. Hollstein VII 140.173. Schoch, Mende, and Scherbaum 121. (1)
*Durer (Albrecht, 1471-1528). The Martyrdom of Saint John plate 1 from The Apocalypse, circa 1496/97, woodcut on laid paper, with faint indistinct watermark, trimmed just inside the borderline on all sides, and with 2 or 3 mm loss to the image along right margin, small loss and repair to lower left margin, some marks and overall browning and soiling, sheet size 381 x 270 mm (15 x 10.6ins) Bartsch 61. Meder, Hollstein 164. Schoch, Mende, Scherbaum 112. (1)
*Durer (Albrecht, 1471-1528). Saint John devouring the Book, plate 9 from The Apocalypse, circa 1498, woodcut on laid paper, watermark not visible, a good, early strongly inked impression of the Latin text edition of 1498, laid down, trimmed to the borderline, with some loss of the border, closed tear to lower right edge, several small losses to margins and corners repaired, sheet size 392 x 284 mm (15.5 x 11.1ins) Bartsch 70. Meder, Hollstein 172. Schoch, Mende, Scherbaum 120. (1)
Fries (Lorenz). Geographicae Enarrationis Libri Octo, printed in Vienne and published in Lyons by Gaspar Trechsel, 1541, title page trimmed at base, two woodcuts attributed to Albrecht Durer, twenty-nine (only of fifty) double page woodcut maps, occasional staining, one map wormed along gutter, index bound at rear, text block broken and split, later endpapers, 19th century half vellum with marbled boards, later printed label to spine, folio The second edition of Ptolemy edited by Servetus. The maps were printed from the unaltered blocks used in Lorenz Fries's earlier edition which was printed by Gruninger in 1522. Several of the maps in this edition are printed without their descriptive text on the verso. This was because of the malignant effect of Calvinism, which meant that many copies of the earlier editions were burnt on Calvin's orders and the unfortunate Michael Servetus, a Spanish theologian and physician, was burned at the stake in 1553, condemned by Calvin for his doctrinal heresies. Although not complete a scarce collection of early 16th century maps, Sold as a collection of maps, not subject to return. (1)
Dodgson (Campbell). Durer's Drawings in Colour, Line & Wash, a selection of 56 facsimiles of the originals preserved in the Albertina Collection at Vienna, B.T. Batsford, 1928, 56 fine colour reproductions, each mounted in passepartout, loose in original publisher's cloth (backstrip deficient), rubbed and a few marks, library bookplate to front pastedown and stamps to title, and ink stamps to verso of mounts, large folio, together with others on Renaissance prints and drawings, including Willi Kurth, Complete Woodcuts of Albrecht Durer, Foyle, 1927, limited edition of 500 copies (worn on spine), The Durer Society 9th & 10th Series, 1906 & 1908, George William Reid, Works of the Italian Engravers of the Fifteenth Century, published Bernard Quaritch, 1884, Grosvenor Gallery, The Royal Collection of Drawings by the Old Masters at Windsor, 4 Portfolios, 1878, British Museum, Reproductions of Prints in the British Museum, Third Series, Parts I-VII, 1907-1913, etc., all ex-library copies with usual marks, some wear, large folio Sold with all faults, not subject to return. (approx. 30)
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