FRIDOLIN, Stephan (first third of the 15th century - 1498)]. Schatzbehalter oder schrein der waren reichtümer des heils und ewyger seligkeit. Nuremberg: Anton Koberger 8th November 1491. Median 2 o (329 x 227 mm). Collation : a-z ab-ad 6 ae 8 A-Z Aa-Gg 6 Hh 1 0 (a2r first preface, a3r the other preface, a4v text of the Schatzbehalter , Hh9 colophon). 352 leaves (of 354 lacks first and final blank). 2 columns, 40 lines and head-lines. Gothic types 11:162, head-lines (subjects), first heading in each book; 10:120, text. Capital-spaces with guide-letters, 96 FULL-PAGE NUMBERED WOODCUTS (including 5 repeats) by Michael Wolgemut (Washed and pressed.) Dark brown morocco decorated in blind and gilt, spine gilt lettered, edges gilt, by Riviere and Son; cloth slipcase. Provenance : Vienna, Fidei-Commiss Bibliothek (small ink stamp on a2v) -- Friedrich, Archduke of Austria (1856-1932) (small ink stamp on a2v, see Lugt 1016, 960 and Supplement) -- Sinclair Hamilton (bookplate) -- Princeton University Library duplicate, sold Christie's New York, 19 November 1982, lot 38 -- purchased at the sale. FIRST EDITION of one of the earliest German illustrated books with woodcuts that can be attributed to specific artists, and one of the great monuments of late gothic woodcut design. Little is know about the author of the Schatzbehalter. The devotional and edificational text was written for the Sisters of the Nuremberg Order of St. Clare (Poor Clares) and edited by Sister Caritas Pirckheim. The content is mainly concerned with the contemplation of the life of Christ and his suffering. It is set in a large and beautiful gothic type. The 91 large full-page woodblocks (252 x 176 mm) are designed to illustrate the text faithfully. They depict scenes from the Old and New Testament but also allegorical images with theological subjects. The beginning and end of the illustration sequence are marked by illustrations of hands and an illustration of the cross (cuts 1 and 87). The woodcuts "...are not signed, nor is their authorship mentioned in text, but they have always been attributed to Wolgemut on the strength of their resemblance to his pictures and to the cuts in Schedel's Chronicle (see lot 436), which are certified as his work by the colophon" (Dodgson I pages 241-42). Apart from Michael Wolgemut many of the woodcut illustrations can also be attributed to Wilhelm Pleydenwurff and a few others to apprentices in Wolgemut's workshop, including perhaps Albrecht Duerer. BMC II, 434; BSB-Ink. F-263; Fairfax Murray German 392; Goff S-306; HC 14507 * ; Muther 423.
FRIDOLIN, Stephan (first third of the 15th century - 1498)]. Schatzbehalter oder schrein der waren reichtümer des heils und ewyger seligkeit. Nuremberg: Anton Koberger 8th November 1491. Median 2 o (329 x 227 mm). Collation : a-z ab-ad 6 ae 8 A-Z Aa-Gg 6 Hh 1 0 (a2r first preface, a3r the other preface, a4v text of the Schatzbehalter , Hh9 colophon). 352 leaves (of 354 lacks first and final blank). 2 columns, 40 lines and head-lines. Gothic types 11:162, head-lines (subjects), first heading in each book; 10:120, text. Capital-spaces with guide-letters, 96 FULL-PAGE NUMBERED WOODCUTS (including 5 repeats) by Michael Wolgemut (Washed and pressed.) Dark brown morocco decorated in blind and gilt, spine gilt lettered, edges gilt, by Riviere and Son; cloth slipcase. Provenance : Vienna, Fidei-Commiss Bibliothek (small ink stamp on a2v) -- Friedrich, Archduke of Austria (1856-1932) (small ink stamp on a2v, see Lugt 1016, 960 and Supplement) -- Sinclair Hamilton (bookplate) -- Princeton University Library duplicate, sold Christie's New York, 19 November 1982, lot 38 -- purchased at the sale. FIRST EDITION of one of the earliest German illustrated books with woodcuts that can be attributed to specific artists, and one of the great monuments of late gothic woodcut design. Little is know about the author of the Schatzbehalter. The devotional and edificational text was written for the Sisters of the Nuremberg Order of St. Clare (Poor Clares) and edited by Sister Caritas Pirckheim. The content is mainly concerned with the contemplation of the life of Christ and his suffering. It is set in a large and beautiful gothic type. The 91 large full-page woodblocks (252 x 176 mm) are designed to illustrate the text faithfully. They depict scenes from the Old and New Testament but also allegorical images with theological subjects. The beginning and end of the illustration sequence are marked by illustrations of hands and an illustration of the cross (cuts 1 and 87). The woodcuts "...are not signed, nor is their authorship mentioned in text, but they have always been attributed to Wolgemut on the strength of their resemblance to his pictures and to the cuts in Schedel's Chronicle (see lot 436), which are certified as his work by the colophon" (Dodgson I pages 241-42). Apart from Michael Wolgemut many of the woodcut illustrations can also be attributed to Wilhelm Pleydenwurff and a few others to apprentices in Wolgemut's workshop, including perhaps Albrecht Duerer. BMC II, 434; BSB-Ink. F-263; Fairfax Murray German 392; Goff S-306; HC 14507 * ; Muther 423.
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