Architecture.- Dietterlin (Wendel) Architectura von Ausstheiling, Symmetria und Proportion der Fünff Seülen, 5 parts in 1, first collected and enlarged edition, 5 etched and engraved titles, 196 plates (3 folding), illustrations, colophon (trimmed and mounted), occasional very faint spotting, occasional faint marginal water-staining, early eighteenth century mottled calf by Amsterdam's 'Elite Bindery', gilt, red morocco spine label, rebacked with original spine laid down, a little rubbed, [Brunet II 706, Berlin Katalog 1942, Fowler 105], folio, Nuremberg, Balthazar Caymox, 1598. ⁂ The Strassburg painter and decorator Wendel Ditterlin (1550-1599) provided a rich source of models for architects, designers, painters, sculptors, and cabinetmakers. His work was instrumental in disseminating Renaissance decorative and architectural forms in Germany. Some of the plates, with their plunging views and simultaneous perspectives, prefigure the impossible realities of the twentieth-century Dutch artist M. C. Escher. This is a composite copy, assembled in the early eighteenth century by a Dutch owner, from two separate copies, one of the first issue and one of the second issue. Provenance: Effaced inscription at head of title. The empty tombstone on plate 170 inscribed and dated 1880 ?Henriette Jentine, Geraldine Feltzer.
Architecture.- Dietterlin (Wendel) Architectura von Ausstheiling, Symmetria und Proportion der Fünff Seülen, 5 parts in 1, first collected and enlarged edition, 5 etched and engraved titles, 196 plates (3 folding), illustrations, colophon (trimmed and mounted), occasional very faint spotting, occasional faint marginal water-staining, early eighteenth century mottled calf by Amsterdam's 'Elite Bindery', gilt, red morocco spine label, rebacked with original spine laid down, a little rubbed, [Brunet II 706, Berlin Katalog 1942, Fowler 105], folio, Nuremberg, Balthazar Caymox, 1598. ⁂ The Strassburg painter and decorator Wendel Ditterlin (1550-1599) provided a rich source of models for architects, designers, painters, sculptors, and cabinetmakers. His work was instrumental in disseminating Renaissance decorative and architectural forms in Germany. Some of the plates, with their plunging views and simultaneous perspectives, prefigure the impossible realities of the twentieth-century Dutch artist M. C. Escher. This is a composite copy, assembled in the early eighteenth century by a Dutch owner, from two separate copies, one of the first issue and one of the second issue. Provenance: Effaced inscription at head of title. The empty tombstone on plate 170 inscribed and dated 1880 ?Henriette Jentine, Geraldine Feltzer.
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