c 1590 (114 Ergebnisse)

Schönes original Kupferstich-Portrait von ca. 1700. -- Blattformat: ca.25x18 cm. Platte: ca. 15 x 11 cm. -- gut erhalten. || Original copper engraved portrait from c. 1700. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Sewn as issued, pictorial wrappers. Very fine. Provenance: Ulf Cederlöf (1948-2021), chief curator of prints and drawings at the Nationalmuseum, Stockholm. Stockholm, Nationalmuseum, 1985. 8:o. 59 pp. Contents (in English:) "A Reflection on Some Early Works by Bernaert de Rijckere" (9 pp., 8 illustrations) by Lubomir Konecny, and "Peeter Baltens, a forgotten draughtsman of the Bruegel circle: his landscape drawings" by Richard Jung (13 pp., 9 illustrations).

Schönes original Kupferstich-Portrait aus dem 17. Jh. -- Blattformat: ca.25x18 cm. Platte: ca. 14 x 9 cm. -- gut erhalten. || Original copper engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Schönes original Kupferstich-Portrait aus dem 17. Jh. -- Blattformat: ca.25x18 cm. Platte: ca. 14 x 9 cm. -- gut erhalten. || Original copper engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Original Kupferstich-Portrait mit schöner Barock-Umrahmung. -- Bild-Maße: ca. 21,5 x 16,5 cm. -- gut erhalten. || Original engraved portrait with beautiful baroque framing. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Original Kupferstich-Portrait mit schöner Barock-Umrahmung. -- Bild-Maße: ca. 21,5 x 16,5 cm. -- gut erhalten. || Original engraved portrait with beautiful baroque framing. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Schönes original Kupferstich-Portrait aus dem 18. Jh. -- Blattformat: ca.25x18 cm. Platte: ca. 15 x 11 cm. -- gut erhalten. || Original copper engraved portrait from the 18th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

schönes Original Kupferstich-Portrait aus dem 18. Jahrhundert - Blatt-Format: ca. 15,5 x 25 cm | // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 10.

ca. 25x15,5 cm. schönes Kupferstich-Portrait von ca. 1750 Blatt-Format: ca. 25x15,5 cm leicht fleckig sonstgut erhalten // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 10.

4to. menor; 154 pp. Encuadernación original en tela.

Original Kupferstich-Portrait aus dem 17. Jahrhundert. -- Blattmasse: ca. 28 x 18,5 cm. Plattenmasse: ca. 20,5 x 14,5 cm. -- gut erhalten. || Original copper engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Original Kupferstich-Portrait aus dem 17. Jh. -- Blattmasse: ca. 28 x 20 cm. Platte: ca. 20 x 14 cm. -- gut erhalten. || Original copper engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Original Kupferstich-Portrait aus dem 17. Jh. -- Blattmasse: ca. 28 x 20 cm. Platte: ca. 17 x 12 cm. -- gut erhalten. || Original copper engraved portrait from the 17th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

4to.; L pp., 423 pp., 2 hs. Cubiertas originales.

OriginalKupferstich von Francois Perrier von 1638. - Blattmasse: ca.36,1 x 23,5 cm. - etwas fleckig, mit kleinem Rostfleck, seitlich knapp beschnitten - sonst gut erhalten | Original etching by Francois Perrier from 1638. - in very good condition. Francois Perrier hatte als Lehrer von Charles le Brun großen Einfluss auf die französische Malerei. Er wurde in Pontarlier geboren und ging 1625 nach Rom um bei Giovanni Lanfranco zu lernen. 1630 arbeitet er mit dem Hofmaler Simon Vouet zusammen in Paris. Von 1632 bis 1634 war er der Lehrer von Charles le Brun, auf welchen er eintscheidenden Einfluss hatte. 1635 zieht Francois Perrier wieder nach Rom, wo er an den Fresken des Palazzo Peretti-Almagià arbeitet. 1645 arbeitet er mit Eustache Le Sueur am Hôtel Lambert. 1648 gründet er mit zwölf anderen Künstlern die Académie royale de peinture et de sculpture. - Die meisten seiner Werke sind heute leider verschollen. -- -- Perrier was born in Pontarlier. During the years 16201625, he was the pupil of Giovanni Lanfranco in Rome. 1630 he returned to Paris and worked in the classsicising circle of Simon Vouet. In 16321634, he had for a pupil Charles Le Brun, destined to become the central figure of official French painting in the age of Louis XIV. 1635 he returned to Rome, where he publicated his repertory of etchings of classical models. 1645 he painted the ceiling of the gallery of the Hotel de la Vrilliere and worked with Eustache Le Sueur on the cabinet de l'amour in the Hotel Lambert. In 1648 he was one of the twelve founders of the Academie royale de peinture et de sculpture. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 1550.

OriginalKupferstich von1638. - Blattmasse ca.26,5 x 19,0 cm - in der Platte signiert - im Aussenrand etwas fleckig, sonst gut erhalten | original copper engraving from 1638. - signed in plate - with some staining in outer margin, otherwise in good condition. Francois Perrier hatte als Lehrer von Charles le Brun großen Einfluss auf die französische Malerei. Er wurde in Pontarlier geboren und ging 1625 nach Rom um bei Giovanni Lanfranco zu lernen. 1630 arbeitet er mit dem Hofmaler Simon Vouet zusammen in Paris. Von 1632 bis 1634 war er der Lehrer von Charles le Brun, auf welchen er eintscheidenden Einfluss hatte. 1635 zieht Francois Perrier wieder nach Rom, wo er an den Fresken des Palazzo Peretti-Almagià arbeitet. 1645 arbeitet er mit Eustache Le Sueur am Hôtel Lambert. 1648 gründet er mit zwölf anderen Künstlern die Académie royale de peinture et de sculpture. - Die meisten seiner Werke sind heute leider verschollen. -- -- Perrier was born in Pontarlier. During the years 16201625, he was the pupil of Giovanni Lanfranco in Rome. 1630 he returned to Paris and worked in the classsicising circle of Simon Vouet. In 16321634, he had for a pupil Charles Le Brun, destined to become the central figure of official French painting in the age of Louis XIV. 1635 he returned to Rome, where he publicated his repertory of etchings of classical models. 1645 he painted the ceiling of the gallery of the Hotel de la Vrilliere and worked with Eustache Le Sueur on the cabinet de l'amour in the Hotel Lambert. In 1648 he was one of the twelve founders of the Academie royale de peinture et de sculpture. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 550.

Original Kupferstich von ca. 1600. -- Platten-Maße: ca. 21 x 27 cm; mit schmalen Rändchen. -- teils etwas fleckig, sonst gut erhalten. || Original copper engraving from c. 1600. --- With narrow margins. -- partly somewhat stained, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 15.

12mo [13 x 8 x 7 cm]. Contemporary leather binding with a red title label. (34) 792 pp. With an engraved frontispiece and 81 other copper engravings (one of the folded) and smaller in-text woodcuts. Some of the engravings with small restorations. Binding slightly rubbed. The first edition of the Dutch translation of a guide to antique and modern" Rome: "Ritratto di Roma moderna" (first published in 1638), as seen in a 6-day trip. With an overview of the most important buildings and monuments of both ancient and "modern" Rome, reconstruction drawings and contemporary views of the city. Pompilio Totti (c.1590-1639), born in Cerreto di Spoleto, worked in Rome from 1611-1612 with the bookseller Martinelli before opening his own bookshop in 1639. He was an Italian librarian, engraving and printseller. This is a very beautiful, early description of the architecture of Rome and its surroundings, with its most famous buildings and monuments: Pons Sublicius, Papal Palace on Monte Cavallo, Palazzo Barberini, Villa Aldobrandini (Frascati), the tomb of Caecilia Metella, the statue of Laocoön and His Sons, etc. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Niederländisch Gewicht in Gramm: 550.

Zustand: Buono (Good). 4to (202x141 mm). 243, [1] leaves. Collation: A-GG8 HH4. Author's woodcut portrait on title page. Large woodcut emblem at the end. Colophon on l. HH3v. 18th-century English calf, red morocco lettering piece on spine, marbled edges (worn and rubbed, joints weakened). On the front pastedown 18th-century bookplate and ownership entry ?MClive at Bromfield 1773? An old hand has numbered all the octaves in each book of the poem. First and last page slightly soiled, margins cut short, all in all a good copy.Rare first edition of this continuation of Ariosto's Furioso written in an Italian interspersed with dialectisms, mostly from the Umbrian region. The work opens with two dedications to Francesco Gonzaga, the first by the author, the second by Pietro Aretino, both dated from Venice, 1 April 1543.The Continuatione di Orlando Furioso con la morte di Ruggiero, by the Umbrian poet Sigismondo Paolucci Filogenio, is the last poem in ottava rima printed by Niccolò Zoppino and is divided into 63 books (or cantos) filled with encomiastic verses in honour of the Gonzaga family. At the time of its publication, the work aroused various criticisms, so much so that Girolamo Ruscelli decided to write an apology (Apologia di M. Hieronimo Ruscelli contra i biasmatori della Continovatione d'Orlando Furioso del Filogenio, Venice, Zoppino, 1543).The Apologia, addressed to the members of the Accademia dello Sdegno, an academy founded by Ruscelli himself in 1541 and to which Paolocci also belonged, is significant because it was published many years before the querelle that would lead to the famous defences of the Furioso by authors such as Fornari, Pigna, Giraldi Cinzio, Toscanella and others, would erupt. According to Ruscelli, Zoppino had decided to publish the second dedication sent to him by Aretino, a great friend of Paolucci's, to make up for having published the poem without the author's consent. In fact, Paolucci is said to have accused Ruscelli of sending the poem to print without his permission and, worse still, without his name. The relationship between Ruscelli and Paolucci, however, is unclear. On the one hand, Paolucci regretted that the book was published before it could be revised and approved by the Accademia dello Sdegno, on the other Ruscelli claimed to have read the manuscript of the unpublished poem, in Rome in 1539, when Paolucci had reached canto 58 (cf. F. Lucioli, Girolamo Ruscelli e l'Apologia della Continuatione di Orlando Furioso di Sigismondo Paolucci Filogenio, in: ?La letteratura degli Italiani. 1 Centri e periferie, Atti del XIII Congresso nazionale dell'Associazione degli Italianisti Italiani, Pugnochiuso, 16-19 settembre 2009?, D. Cofano & S. Valerio, eds., Foggia, 2011).?L'autore più utile per comprendere questo intreccio di tensioni all'originalità e autorepressione edipica è senz'altro Sigismondo Paoluccio. In lui l'originalità è vissuta con un vero senso di colpa, che lo costringe a iper-giustificare ogni scelta narrativa, a motivarla e renderla accettabile, con esiti di involontaria comicità. Si va dalla semplice giustificazione dell'ellissi [?] all'elogio affettuoso [?] Nonostante, come è ovvio in un poema di sessantatré canti, nella Continuazione ci sia molto di nuovo rispetto al Furioso, sorprende anche di vedere come Paoluccio continui ancora a girare ossessivamente intorno ai temi e personaggi della sua fonte, sin nei minimi particolari [?] Del resto, come sappiamo già dall'Apologia di Ruscelli, questa contraddizione in Paoluccio assume una forma ancora più estrema, e originale, ossia l'invenzione di una nuova fonte, alternativa al Turpino ariostesco. Ariosto diventa qui davvero il Turpino del suo continuatore, il quale, invece di scegliere la via, ariostesca, di dissacrare la sua fonte, preferisce quella di inventarne un'altra. Proprio la costante preoccupazione di Paoluccio a questo riguardo indica la difficoltà in cui si invischia quanto più cerca di liberarsi del peso del suo predecessore [?] Rico. Book.

Zustand: Buono (Good). THE FIRST TREATISE ON DOMESTIC ECONOMY AND AGRICOLTURE WRITTEN BY A TUSCAN AUTHOR4to (cm 203x135). [80], 561, [3] pp. Collation: a-k4 A-Zzz4 Aaaa6. The last leaf is a blank. Printer's device on title page and on l. Aaaa5v. Colophon on l. Aaaa5v. Woodcut historiated initials. Slightly later stiff vellum, inked title on spine (minor restoration to spine, slightly soiled). On title page ownership entry ?ex codicibus Gabrielis Ritii [?] et equitis aureati? Some occasional staining and foxing, a few tiny round wormholes to the last fifty leaves, all in all a good, genuine copy.Rare first edition, dedicated to Giulio Pallavicini, of this comprehensive treatise on domestic economy, education of children and agriculture: the first by a Tuscan author.In the preface, Tommasi gives a brief history of the literature on household economy, lamenting the scarcity of texts devoted to the subject: Besides Aristotle, Xenophon and St Thomas, he surprisingly quotes Leon Battista Alberti's then unpublished treatise Della Famiglia (cf. D. Frigo, Il padre di famiglia. Governo della casa e governo civile nella tradizione dell' ?economica? tra Cinque e Seicento, Rome, 1985, p. 17; see also pp. 40-41 and 180-181)The first part of the work deals mainly with family management: marriage, role of women, choice of servants, household government, etc. Christian education is achieved, according to the author who follows the precepts of the Council of Trent, mainly through love for children. Religious instruction, imparted by the father following the different stages of the child's growth (with more authority in the childhood years and then moving to greater depth toward adolescence), must be accompanied by moral instruction, for which the father figure provides the example, and by intellectual instruction, to which, according to Tommasi, all children are entitled, whether rich or poor (cf. G. Mu?ller, Bildung und Erziehung im Humanismus der italienischen Renaissance, Wiesbaden, 1969, pp. 89-91).The second part is a complete treatise on agriculture and farming. It discusses the cultivation of vegetables, animal husbandry, tree care (including vines, olive and palm trees), beekeeping, as well as the preparation of numerous products such as cheese, olive oil, vinegar, dried figs, wine, etc.The author, a native of Colle Val d'Elsa in Tuscany, studied medicine in Naples, where he began practicing his profession. He was later in Montepulciano, Acquapendente, Rieti, Cortona and Rome at the hospital of Santo Spirito. He authored several medical treatises, including one on plague, and a poem in praise of the women of his hometown (cf. M. Berengo, Un agronomo toscano del Cinquecento: Francesco Tommasi da Colle Val d'Elsa, in: ?Studi di storia medievale e moderna per Ernesto Sestan?, Florence, 1980, II, pp. 495-518).BMSTC Italian, p. 675; Edit 16, CNCE28918; Gamba, 1700; G. Guarducci, Annali dei Marescotti tipografi editori di Firenze (1563-1613), Florence, 2001, no. 135, pp. 63-64; A. Erdmann, My gracious silence, Luzern, 1999, p. 195. Book.

OriginalKupferstich von Francois Perrier von 1638. - Blattmasse: ca.36,2 x27,2 cm - etwas fleckig - sonst gut erhalten | Original etching by Francois Perrier from 1638. - in very good condition. Francois Perrier hatte als Lehrer von Charles le Brun großen Einfluss auf die französische Malerei. Er wurde in Pontarlier geboren und ging 1625 nach Rom um bei Giovanni Lanfranco zu lernen. 1630 arbeitet er mit dem Hofmaler Simon Vouet zusammen in Paris. Von 1632 bis 1634 war er der Lehrer von Charles le Brun, auf welchen er eintscheidenden Einfluss hatte. 1635 zieht Francois Perrier wieder nach Rom, wo er an den Fresken des Palazzo Peretti-Almagià arbeitet. 1645 arbeitet er mit Eustache Le Sueur am Hôtel Lambert. 1648 gründet er mit zwölf anderen Künstlern die Académie royale de peinture et de sculpture. - Die meisten seiner Werke sind heute leider verschollen. -- -- Perrier was born in Pontarlier. During the years 16201625, he was the pupil of Giovanni Lanfranco in Rome. 1630 he returned to Paris and worked in the classsicising circle of Simon Vouet. In 16321634, he had for a pupil Charles Le Brun, destined to become the central figure of official French painting in the age of Louis XIV. 1635 he returned to Rome, where he publicated his repertory of etchings of classical models. 1645 he painted the ceiling of the gallery of the Hotel de la Vrilliere and worked with Eustache Le Sueur on the cabinet de l'amour in the Hotel Lambert. In 1648 he was one of the twelve founders of the Academie royale de peinture et de sculpture. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 20.

Original Kupferstich von ca. 1600. -- Platten-Maße: ca. 21 x 28 cm; mit schmalen Rändchen. -- leicht fleckig, sonst gut erhalten. || Original copper engraving from c. 1600. --- With narrow margins. -- slightly stained, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 15.

Prächtiger Kupferstich von c. 1635 nach einer antiken Statue. -- Blatt-Maße: ca. 50 x 33,5 cm. -- gut erhalten. || Splendid engraving from c. 1635 after an antique Roman statue. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Italienisch Gewicht in Gramm: 25.

Original Kupferstich von ca. 1600. -- Platten-Maße: ca. 21 x 25 cm; mit schmalen Rändchen. -- teils etwas fleckig, sonst gut erhalten. || Original copper engraving from c. 1600. --- With narrow margins. -- with some staining, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 15.

"Single sheet (15 6/8 x 20 4/8 inches; 12 6/8 x 15 6/8 inches to the neat line). Fine engraved view of the city of Douai, the title within a fine mannerist strapwork cartouche, all with exceptionally fine deep, rich original hand-colour in full, with German text on the verso (surface abrasion restored). A magnificent view of the city of Douai in northern France, from the very rare German edition of George Braun and Frans Hogenberg's landmark "Civitates orbis terrarium", completed in Cologne between 1572 and 1618, and among the most beautiful and important images of Renaissance cities. The celebrated University at Douai was founded in 1562 and provided a Catholic education for English boys who were prevented from practicing their faith in their home country. As such the city became a center for the Counter-Reformation, translating the bible into English and publishing the New Testament in Rheims in the same year as this view was published. The "Civitates" was the first extensive series of town views that treated its subject matter in an accurate and meaningful way. Earlier collections of town views were far more limited in scope, and often made no real attempt to render the subject city with any degree of realism being simply a record of the existence of a town. Certainly the striking beauty and accuracy of Braun and Hogenberg's production was entirely unprecedented. Earlier collections contained no more than a handful of views, usually only of the more important cities, while the "Civitates" contained literally hundreds of views, including many of smaller towns for which no earlier views are known. Even for the larger, important cities, the "Civitates" is of the utmost importance to the history of their topography.".

"Single sheet (15 6/8 x 20 4/8 inches; 13 4/8 x 18 4/8 inches to the neat line). Fine engraved view of the city of Frankenberg, decorated with the Royal arms and the arms of the city, all with exceptionally fine deep, rich original hand-colour in full, with German text on the verso (lower margin with separation at centerfold affecting the image, one or two small surface abrasions). A magnificent view of the city of Frankenberg on the banks of the Eder, from the very rare German edition of George Braun and Frans Hogenberg's landmark "Civitates orbis terrarium", completed in Cologne between 1572 and 1618, and among the most beautiful and important images of Renaissance cities. An impressive view of the city built on a mountain above the river Eder and at the site of an ancient crossroads. Frankenberg burnt down in the 15th-century and was later rebuilt in the 16th, as it appears here. The "Civitates" was the first extensive series of town views that treated its subject matter in an accurate and meaningful way. Earlier collections of town views were far more limited in scope, and often made no real attempt to render the subject city with any degree of realism being simply a record of the existence of a town. Certainly the striking beauty and accuracy of Braun and Hogenberg's production was entirely unprecedented. Earlier collections contained no more than a handful of views, usually only of the more important cities, while the "Civitates" contained literally hundreds of views, including many of smaller towns for which no earlier views are known. Even for the larger, important cities, the "Civitates" is of the utmost importance to the history of their topography.".

"Single sheet (15 6/8 x 20 4/8 inches; 12 x 18 4/8 inches to the neat line). Fine engraved views of the cities of Eschwege and Fritzlar, decorated with the Royal arms and the arms of the cities, all with exceptionally fine deep, rich original hand-colour in full, with German text on the verso (one or two minor marginal stains). Magnificent views of the cities of Eschwege on the Werrar and Fritzlar on the Eder in Hesse, from the very rare German edition of George Braun and Frans Hogenberg's landmark "Civitates orbis terrarium", completed in Cologne between 1572 and 1618, and among the most beautiful and important images of Renaissance cities. Fritzlar is celebrated as the birthplace of Christianity in Germany, and of the German Empire. The "Civitates" was the first extensive series of town views that treated its subject matter in an accurate and meaningful way. Earlier collections of town views were far more limited in scope, and often made no real attempt to render the subject city with any degree of realism being simply a record of the existence of a town. Certainly the striking beauty and accuracy of Braun and Hogenberg's production was entirely unprecedented. Earlier collections contained no more than a handful of views, usually only of the more important cities, while the "Civitates" contained literally hundreds of views, including many of smaller towns for which no earlier views are known. Even for the larger, important cities, the "Civitates" is of the utmost importance to the history of their topography.".

"Single sheet (15 6/8 x 20 4/8 inches; 14 4/8 x 16 4/8 inches to the neat line). Fine engraved views of the cities of Halberstadt and Quedlinburg, the titles within fine mannerist strapwork cartouches, all with exceptionally fine deep, rich original hand-colour in full, with German text on the verso (central vertical crease, short tears in the lower margin). Magnificent views of the cities of Halberstadt and Quedlinburg in Herz Germany, from the very rare German edition of George Braun and Frans Hogenberg's landmark "Civitates orbis terrarium", completed in Cologne between 1572 and 1618, and among the most beautiful and important images of Renaissance cities. During the 17th-century Halberstadt attracted an increasingly Jewish population, while Quedlinburg became Protestant during the Reformation. The "Civitates" was the first extensive series of town views that treated its subject matter in an accurate and meaningful way. Earlier collections of town views were far more limited in scope, and often made no real attempt to render the subject city with any degree of realism being simply a record of the existence of a town. Certainly the striking beauty and accuracy of Braun and Hogenberg's production was entirely unprecedented. Earlier collections contained no more than a handful of views, usually only of the more important cities, while the "Civitates" contained literally hundreds of views, including many of smaller towns for which no earlier views are known. Even for the larger, important cities, the "Civitates" is of the utmost importance to the history of their topography".

"Single sheet (15 6/8 x 20 4/8 inches; 13 4/8 x 18 4/8 inches to the neat line). Fine engraved view of the City of Weimar, the title and sub-title within fine mannerist strapwork cartouches, decorated with the Royal arms and the arms of the city, all with exceptionally fine deep, rich original hand-colour in full, with German text on the verso (central vertical crease, short tears in the lower margin affecting the image). A magnificent views of the celebrated city of Weimar, from the very rare German edition of George Braun and Frans Hogenberg's landmark "Civitates orbis terrarium", completed in Cologne between 1572 and 1618, and among the most beautiful and important images of Renaissance cities. Long considered the focal point of the German Enlightenment, the place where Germany's first democratic constitution was signed after WWI, and the birthplace of the Bauhaus movement, Weimar's cultural heritage is huge. The "Civitates" was the first extensive series of town views that treated its subject matter in an accurate and meaningful way. Earlier collections of town views were far more limited in scope, and often made no real attempt to render the subject city with any degree of realism being simply a record of the existence of a town. Certainly the striking beauty and accuracy of Braun and Hogenberg's production was entirely unprecedented. Earlier collections contained no more than a handful of views, usually only of the more important cities, while the "Civitates" contained literally hundreds of views, including many of smaller towns for which no earlier views are known. Even for the larger, important cities, the "Civitates" is of the utmost importance to the history of their topography.".

"Single sheet (15 6/8 x 20 4/8 inches; 13 x 16 6/8 inches to the neat line). Fine engraved view of the city of Lille, the key within a fine mannerist strapwork cartouche and decorated with the Royal arms and the arms of the city, all with exceptionally fine deep, rich original hand-colour in full, with German text on the verso (short marginal tear in the lower edge, just touching the image). A magnificent view of the city of Lille, in French Flanders, near the border with Belgium, from the very rare German edition of George Braun and Frans Hogenberg's landmark "Civitates orbis terrarium", completed in Cologne between 1572 and 1618, and among the most beautiful and important images of Renaissance cities. During the 16th-century the area around Lille was beset by religious conflict. The first Calvinists appeared in there in the 1540s and by 1555 the Catholics were actively repressing the Protestants. In 1581, at the instigation of Elizabeth I of England, the northernmost, and mostly Protestant, of the Seventeen Provinces, successfully revolted and formed the United Provinces. The "Civitates" was the first extensive series of town views that treated its subject matter in an accurate and meaningful way. Earlier collections of town views were far more limited in scope, and often made no real attempt to render the subject city with any degree of realism being simply a record of the existence of a town. Certainly the striking beauty and accuracy of Braun and Hogenberg's production was entirely unprecedented. Earlier collections contained no more than a handful of views, usually only of the more important cities, while the "Civitates" contained literally hundreds of views, including many of smaller towns for which no earlier views are known. Even for the larger, important cities, the "Civitates" is of the utmost importance to the history of their topography".