Matthaeus merian the elder (20 risultati)

paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Softcover/Paperback. Condizione: Good. Good reading condition. Light cover and edge wear are visible in the seller photographs.

ENTIRE TEXT IN GERMAN. Facsimile reprint of the 1653 edition. Hardcover: H 30.75cm x L 20.5cm. Dust jacket toned with slight soiling; a few scuffs at edges. Light toning to boards and spine; bumping to spine ends. Interior leaves are clean. Binding remains fairly crisp. With numerous b/w foldouts. Please note that this large book has an approximate shipping weight of 4 pounds (1.81 kg) and may require additional postage for any postal class other than domestic Media Mail. …

27 x 20 cm. 216 Seiten. Mit ca. 150 Abbildungen. Orig.-Leinenband mit Schutzumschlag. - Sehr schönes Exemplar.

27 x 20 cm. 216 Seiten. Mit ca. 200 Abbildungen. Orig.-Leinenband mit Schutzumschlag . - Sehr guter Zustand.

Hardcover. Condizione: Fine. Bound in original tanned sheepskin (light surface wear, corners bumped, lower edge of rear board abraded), faithfully and almost imperceptibly rebacked, the new spine richly tooled in gold and with a red morocco label. Internally an attractive copy with minor soiling and discoloration to margins of the title page, scattered mild soiling in the text (mainly marginal), a few small rust spots and light blemishes, a discreet contemporary repair to one blank margin, a small tear in the margin (no loss) of leaf G1, a clean tear barely entering the image (no loss) on leaf M1; Memento Mori plate lightly soiled. There is a curious feature in this copy: there is light offsetting -from the text of different book- on one side of the 3 sheets that made up gatherings H, S, and Cc, probably the result of those sheets having been laid upon sheets of the other book while still damp. With the collector's stamp of Johann Carl Conrad Oelrichs (1722-1798) on the title verso. A series of engravings, with accompanying text, by Matthäus Merian the Elder, depicting the Grossbasler Totentanz, the 60-meter long Dance of Death mural, painted circa 1439, which adorned the inner face of the cemetery wall adjoining the Dominican convent and Predigerkirche in Basel. It was, along with the Danse Macabre murals painted in the arcades of the Paris Cimetière des Innocents, one of the two earliest painted Dance of Death fresco cycles. The Basel frescoes were lost in 1805 when the wall was destroyed. Only 19 fragments survive. The murals depicted a communal dance between cadavers and people from all strata of society, from pope to peasant, including members of various trades and professions, from physician to fool. The list of those who join -unwillingly- their macabre dance masters in this dance to the grave are, in order of appearance: pope, emperor, empress, king, queen, cardinal, bishop, duke, duchess, count, abbot, knight, lawyer, councilman, church canon, physician, nobleman, noblewoman, merchant, abbess, lame man, hermit, young man, usurer, maiden, minstrel, herald, mayor, executioner, fool, peddler, blind man, Jew, heathens (a man and a woman), cook, peasant, painter, and a mother holding her child. The dance is preceded by the images of a preacher delivering a sermon and a group of skeletons emerging from a charnel house playing instruments (this image was probably added over the actual ossuary in the cloister during the restoration of 1616.) "The figures of Death were depicted in all kinds of contortions, suggesting movement and presumably intended to evoke an association between the represented action and the variety of dance being performed, particularly round dances (Reigen), popular at that time. This is all the more probable because the introductory part of the dance of death (which did not survive) quite likely depicted figures of Death making music."(Dreier, Der Totentanz, p. 47) "Beneath the pictures was a band containing addresses by Death and replies by the individual representatives of the estates, each of four lines in Basel or eight lines in Paris. These verses were written in the local idiom, generally in iambic rhyming couplets or alternating rhyme. In the verses, the encounter between Death and the human representative was cast as a dialogue in which Death reminded human beings that, in the face of mortality, everything worldly was transitory and vain. Following Erwin Koller's outstanding philological investigations. it may be assumed that the blockbook produced in Basel around 1460, now preserved in Heidelberg University Library under the shelfmark cpg 438, is a contemporary, virtually identical transcription of the original Basel text."(Dreier, p. 48) Merian made his engravings based on his drawings of the Basel frescoes in 1616. He then either gave or sold his engravings to his nephew, Johann Jakob Merian. The first two editions appeared in 1621, one of them printed by Johann Schröter, the other by Matthäus Mieg, who re-published the b.…

Hardcover. Octavo, cuius, 350 pages. In Poor condition. Spine torn open with stitched exposed, formerly repaired with non-archival tape, which has since hardened and is severely flaking. Front board mostly detached. Extremely fragile. Missing title page. Severe worming to lower exterior corner through page ten, open tear from page mus through page III.P. Notable soiling throughout. Occasional graphite and ink annotations. Text in Latin. Shelved in Room A. OCLC: 258125024. 1404548. Special Collections - Upstairs.…

Hardcover. Condizione: Very good. First edition. Oblong folio (leaves: 20.6 by 31.2 cm; plates: 10 to 11.5 by 14.5 to 15.5 cm). Engraved titlepage borders without letterpress; 231 (of 233) engraved plates printed on the rectos with no printed text, depicting biblical scenes from the Old and New Testaments (lacks Gen. XIX: Lot and his daughters after the destruction of Sodom and Gomorrah; Exod. VIII & IX: The plague of frogs). Recent marbled calf (lightly rubbed at extremities), bordered in blind; gilt-tooled spine with raised bands, gilt lettering pieces. Occasional light stains and smudges (especially at the outermost leaves, and almost entirely restricted to the blank margins); old, mostly marginal repairs and reinforcement of tears to about 30 leaves (Matt. IV plate with loss of about 10 words of manuscript text). Protected by wide margins, the plates are clean, fresh and bright, with relatively few minor blemishes. Housed and protected in a custom luxurious modern leather clamshell box. Rare suite of biblical illustrations printed before letter, perhaps as proofs, comprising 231 (of 233) engraved plates from the Icones Biblicae of Matthaeus Merian, the elder (1593-1650). The engravings are printed on large paper and lack any printed text. They are preceded by a leaf of the engraved title borders to the first part, in which the central cartouche which would have contained a letterpress title and imprint is here blank. Neat manuscript annotations appear throughout: atop each engraving is a brief title, along with a notation of the biblical book and chapter(s); beneath each engraving are six-lines of rhyming verse in German; at the top corners are leaf numbers in Arabic numerals. All are penned in black ink in the same old cursive German hand. The engraved title leaf is not included in the manuscript foliation. The first three leaf numbers (and several others among the first 23 leaves) are obscured by wear or later marginal repairs. The foliation ends at leaf 233, and is discontinuous where one would expect to find numbers 15 and 38, corresponding to the missing plates noted above. As noted by Wütrich, only four of the 233 plates are signed by Merian, all in the New Testament series. Each of these signed plates appears in our suite: Matthaei I. - page 7; Johannis VIII. - page 65; Matthaei XXVII. - page 101; Apocalyps. IX. - page 145 (header titles and page numbers from the first edition). The first editions were published at Frankfurt in four parts between 1625 and 1627. The Pentateuch series was published in 1625. The second part, illustrating the Old Testament books from Joshua to Kings, appeared in 1626. These first two series were published under the name of Merian's father-in-law, the printer and bookseller Johann Theodor de Bry (1561-1623), whose heirs retained title to the business. The third part illustrates the remainder of the Old Testament and Apocrypha; the fourth, the New Testament. These last two parts were published in 1627 under the engravers's own name. Verses in Latin, German, and French accompany each plate in the three Old Testament series, the French verses being omitted in the 1627 New Testament series. While the eminent Swiss draughtsman and engraver Matthaeus Merian is best known for his topographical depictions of the German speaking lands which appeared in the Theatrum Europaeum, his novel selection of biblical stories and innovative stylistic approach revealed in the present series of plates proved highly influential, ushering in a new age of copperplate engraving in Bible illustration. Merian broke with the century-long tradition of woodcuts, which had accompanied countless editions of Luther's German Bible. Even as he drew on the Bible illustrations of Jost Amman, Hans Holbein, Virgil Solis, and Tobias Stimmer, Merian greatly expanded the traditional iconographic and compositional repertoire. The Old Testament alone contains 23 prints depicting stories that had never before been the subject of an engraver. While earlier New Testament woodcuts fo. Matthaeus Merian (illustratore).…

Two volumes, 4to., full armorial vellum. Title pages printed in red & black; extra fully-engraved title pages. Vellum splitting along the front hinge of Volume 1, some old stains to the first couple of leaves of Volume 1; in general a clean and very good copy, the velllum bindings a bit sprung as usual. This book, a chronology of world history up to 1660, was first published in German, issued in eight volumes between 1629 and 1634; the first folio edition appeared in 1642. This Dutch edition of 1660 contains Illustrated title pages, full-page plates, and many fine engravings within the text. Although the decorative title pages indicate that the illustrations are by Jacob van Meurs [Met Schloone Koopere Plaaten verciert door Jacob Van Meurs], they are clearly copied from those by Merian which appeared in the original German edition. A handsome set. The engravings are dark and attractive, and are notable for their depiction of battles and other acts of savagery.…

Hardcover. Condizione: Good. Frankfurt: 1625-7. Oblong octavo: [11], [99] pp. + 1-6, 9-42, 45-80, 83-114, 117-136 pp. with 110 copperplate engravings. The first part appears to be missing one leaf and the second four leaves. In a period full vellum binding, with a handwritten paper label affixed to the spine. The contents are toned, more so the first part, with some occasional soiling and staining. Archival restoration to the extremities of the first 14 leaves and periodically thereafter. Some general soiling to the vellum. The famous sequence of biblical engravings, which Platt Zetzner used for the first time in 1630 to illustrate an edition of the Bible. Each of the striking images is accompanied by verses in Latin, German, and French.…

Bust-length portrait of Johann van Giffen, turned to the left, looking forward. Johann van Giffen (active around 1648) was a German lawyer and diplomat. Engraving and etching on hand laid paper, sheet size 312 x 191 mm., platemark 177 x 127 mm. Made by Matthäus Merian the Elder, and published by his heirs in: Schleder, J.G. Theatrum Europaeum. Frankfurt am Main: Merian, 1652. Vol. 6, p. 921. Matthäus Merian the Elder (1593-1650) was a Swiss-born engraver who worked in Frankfurt, Germany for most of his career, where he also ran a publishing house. He was a member of the patrician Basel Merian family. In very good condition, ample margins. Some offsetting of letterpress on the opposite page (when this was still in it's book). Some small creases in the margin edges, lower margin lightly soiled (well outside image area). References: Wütrich (Das druckgraphische Werk von Matthaeus Merian d. AE.) vol. 3, p. 113.…

Bust portrait of admiral Michiel de Ruyter in an oval. On the bottom an inscription: "MICHAEL ADRIANUS de RUYTER / Vice-Admiralis Generakuis Holandiae / et Frislandiae Occidentalis" From Merian s "Theatrum Europaeum". Engraving on paper with margins; plate mark: 182 x 132 mm, total: 331 x 198 mm; very nice impression. Made in 1682. …

A group of seated figures in front of a pond, with a man playing lute close by. Several other couples, as well as a group of dogs sniffing a deer's head. Etching on hand laid paper, sheet size 216 x 98 mm., made by Matthäus Merian (I) (1593-1650), and published by Peter Aubry (II), c. 1600-1650. This print bears the number 4 in the lower right corner. In fair condition, cropped within platemark, some paper loss in the right edge, a few dark stains in the image area. The collection mark of Pim van Eekelen (Lugt 5105) stamped on the verso. …

Episodes from the Eight years war with the invasion by Count Hendrik van den Bergh of the Veluwe. Lettered above the three upper engravings: 'Eijnfall Graffen Heinrichs von dem Berg In die Velawe Im Jahr 1624.' and above the fourth below:' Der Holländer Anzug Wider ihre Feindt Anno 1624.' From the Theatrum Europaeum by Merian, 1635. l Four engraving in one sheet (two pages attached in the middle) with margins; platemark: 198 x 310 mm; total: 285 x 388 mm; traces of folding in the middle and on the margins. Some notes in pencil on the recto.…

Episodes from the Eight years war with the invasion by Count Hendrik van den Bergh of the Veluwe. Lettered above the three upper engravings: 'Eijnfall Graffen Heinrichs von dem Berg In die Velawe Im Jahr 1624.' and above the fourth below:' Der Holländer Anzug Wider ihre Feindt Anno 1624.' From the Theatrum Europaeum by Merian, 1635. l Four engraving in one sheet (two pages attached in the middle) with broad margins; platemark: 198 x 310 mm; total: 306 x 365 mm; traces of folding in the middle. Some stains on the top margin.…

River landscape with old fortess on the left; signed on the bottom left: 'P. Brill Jnu. ' 'M. Merian fec.' 'P. Aubry Excud.' Etching on paper: platemark: 187 x 288 mm, total: 205 x 307 mm; rather dirty and with weak margins reinforced.

'EIGENTLICHE DELINEATION DER EYLANDEN S. MARGARITE UND S. HONORAT IM JAHR 1637."'Antique map of the Îles de Lérins near Cannes with fortifications, naval fleets and military actions during the Franco-Spanish War.Made by Matthäus Merian the Elder after own design.Medium: Engraving on hand laid (verge) paper. Watermark: Lotharingen cross.Sheet size: 38.2 x 31.8 cm (15.04 x 12.52 inch). Image size: 34.7 x 27.5 cm. (13.66 x 10.83 inch).FRANCE MAP, ST. MARGARITE, ST. HONORAT, ÎLES DE LÉRINS, CANNES, MATTHÄUS MERIAN, FRANCO-SPANISH WAR, NAVAL BATTLE MAP, MEDITERRANEAN FORTIFICATIONS | PCO-A29-43BACKGROUND INFORMATIONPublished in Frankfurt as part of Matthäus Merian's historical and topographical works concerning the Franco-Spanish conflicts.Biography engraver: Matthäus Merian the Elder (15931650) was a Swiss-born engraver, publisher and cartographer active in Frankfurt. He became renowned for his detailed topographical views, city plans and historical engravings, notably in the Theatrum Europaeum and Topographia series. Condition: very good, given age. Light foxing, creasing, and soiling. Original central fold as issued. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Matthäus Merian the Elder (illustratore).…

In the foreground two men on foot with a woman on horseback, accompanied by a dog, cross water by stepping on stones. In the background additional figures on horseback and foot. Etching on hand laid paper, sheet size 157 x 118 mm., made by Matthäus Merian (I) (1593-1650), c. 1600-1650. In very good condition, cropped within platemark.…

Condizione: Excellent. Engraving with hand coloring and heightening in watercolor on two leaves of expertly conjoined handmade laid paper, one leaf with a large watermark a feathered dragon, 7 1/4 x 11 1/4 inches (183 x 285 mm). In excellent condition with superb coloring and heightening. The pigments and ink are extremely fresh and vibrant, as originally presented.…

Please email for Photographs or further information. Good - Present: engraved title + 128 plates (single-sided; versos blank). One plate is duplicated (the Sacrifice of Isaac scene appears twice). Accordingly, one subject from the standard 128-plate suite is absenta not-uncommon issue in surviving plate suites, where plates may have been gathered or replaced at some point in the book's history. (The missing subject can be identified definitively by matching the plates to a reference suite such as VD17.) Later patterned-paper boards with printed/handwritten label; rubbing and edgewear, with bumps/scuffs consistent with age and handling. Internally generally clean and well-contrasted for the period, with scattered toning/foxing and occasional light handling marks. Margins with minor wear. Prior-owner pencil numbering and a bibliographic note on the front pastedown/blank. Collation: pp. 129 Please see Photos as part of condition report. 1631 Köln: Johann von Kreps Oblong ICONES BIBLICAE PRAECIPUAS SACRAE SCRIPTURAE Historias eleganter et graphicae repraesentantes = Biblische Figuren; darinnen die fu?rnembsten Historien in Heiliger Go?ttliger Schrifft begriffen(Biblical Icons Elegantly and Graphically Representing the Main Stories of the Holy Scriptures) By after Matthäus Merian the Elder Format: Hardcover, Super octavo (8vo 7 × 11 in 178 × 279 mm ) Note: Binding/size selection follows standard bibliographic conventions and is approximate; exact measurements may vary. Language: German/Latin Published By: Johann Krebs, Cologne (Koln), Germany Condition Report: Dust Jacket: No Jacket, Dust Jacket Condition: No Jacket Good - Present: engraved title + 128 plates (single-sided; versos blank). One plate is duplicated (the Sacrifice of Isaac scene appears twice). Accordingly, one subject from the standard 128-plate suite is absenta not-uncommon issue in surviving plate suites, where plates may have been gathered or replaced at some point in the book's history. (The missing subject can be identified definitively by matching the plates to a reference suite such as VD17.) Later patterned-paper boards with printed/handwritten label; rubbing and edgewear, with bumps/scuffs consistent with age and handling. Internally generally clean and well-contrasted for the period, with scattered toning/foxing and occasional light handling marks. Margins with minor wear. Prior-owner pencil numbering and a bibliographic note on the front pastedown/blank. Collation: pp. 129 Please see Photos as part of condition report. Author Bio: Matthäus Merian der Ältere (or "Matthew", "the Elder", or "Sr."; 22 September 1593 19 June 1650) was a Swiss-born engraver who worked in Frankfurt, Germany for most of his career, where he also ran a publishing house. He was a member of the patrician Basel Merian family. Synopsis: Cologne (Köln) / Johann Krebs issue, 1631 (first Kreps issue). A compact, image-led Bible in copper: 128 finely etched scenes spanning the principal narratives of Scripture, issued here as an oblong picture-book with an engraved title. A Cologne imprint closely related to the widely-collected "Icones Biblicae" suites associated with the Merian tradition (the series also appears in later expanded and reordered states). A striking early 17th-century suite of biblical imagerysmall, dramatic "stage-sets" of sacred history rendered with the lively line and atmospheric hatching typical of German Baroque book-illustration. The plates function as a visual concordance: creation and patriarchal scenes, prophetic and royal narratives, the life of Christ, and emblematic moments of judgement and revelation, each designed to be read quickly as a devotional prompt or teaching aid. This kind of compact iconographic "core set" is notably desirable to collectors because it sits at the intersection of: print-history (a portable, coherent suite of copperplates), devotional culture (pictures meant t - For full description please contact the seller 2.…