albrech dürer albrech dürer

ALBRECH DÜRER
(1471 Nürnberg 1528)
ALBRECH DÜRER
(1471 Nürnberg 1528)
Maria mit dem Kinde am Baum. Kupfer. 1513. Meder
34 a-b; B. 35; SMS. 67a-b (v. e.); Dürer als Erzähler, Collection Dr. Otto Schäfer, Schweinfurt 1996, p.
44. 11,7:7,4 cm
In medieval piety, the Madonna and its cult took up a
wide space. In the main parish churches of Nuremberg
daily devotions were held in honor of the Mother of God.
For his representations of Mary, Durer was able to
draw on a rich stock of images whose origin is found in
the Byzantine Eastern Church. By the touching of the
heads of mother and child, Durer highlights the intimate
and natural relationship between them. Also by eliminating the halos, the relationship to reality is reinforced
for the viewer. Mary can be recognized as the queen of
heaven only by the coat which is reserved for her and
the pearl diadem, which then distinguishes this depiction from an ordinary mother and child representation.
Very fine toned impression with tone on white paper.
Trimmed within and partly on the subject line. Margins
added.
Saint Jerome in Penitence. Engraving. C. 1497. M.
57 c/d. Hollst.57. Schoch/Mende/Scherbaum 6. B.
61. NGA, 1971, p. 118, 10. Bartrum 46. Wm.: Town
shield. Com.: Meder 276 (1570). 31.8 : 22,5 cm.
Saint Jerome in the desert, dated to about 1496 is
Albrecht Dürer’s earliest large size compositions.
In this engraving Dürer focuses on the landscape
which is enlarged in size and importance. The artist was inspired by his latest travels through the
Alps and in the vicinity of Nuremberg. He referred
to several watercolor drawings of quarries and cliffs
around Nuremberg to give the basis for the rocky
setting.
Trimmed to the borderline.
JOHANN LUDWIG BLEULER
(Feuerthalen 1792 – 1850 Schloss Laufen)
Andeer. Sepia watercolor with white heightenings.
19,1:29,2 cm.
Watercolor to plate no. 14 from: «Die Rheingegenden
in 80 malerischen Ansichten von den Quellen bis zur
Mündung in Aquatinta geätzt», Schaffhausen 1826.
The idea to publish a Rhine album came from Father
Johann Heinrich Bleuler. However, only his son Johann Ludwig Bleuler has realized the plan. The Rhine
series, at the which cooperated a number of renowned
artists at the side of Johann Ludwig Bleuler, was created over a period of 25 years and is one of the most
representative works of the 19th century.
Detailed, finely worked watercolor.
JOHANN JAKOB MEYER Meilen (1787 – 1858 Zürich)
Farmhouse near the Bürgli in Zürich. Watercolor. 21,3:29,9
cm.
Johann Jakob Meyer of Meilen on the lake of Zurich was
one of the most skilled watercolorists of his time. At age 14,
Meyer started his apprenticeship with the landscape painter
Heinrich Füssli in Zurich. Then with Franz Hegi, he learned
the techniques of etching and aquatint. Important for his
further education were the years from 1811 onwards, which
he spent with the renowned Lory family in Neuchâtel. In inspiring walks, he drew many studies of nature, which he later
processed in his studio into the most colorful and impressive, large-format watercolors.
LEONARD TRIPPEL
(1745 Schaffhausen 1783)
La Chutte du Rhin dedié à mes Prodecteur Messieurs
les Freres Amman au parc à Schaffhouse par leur trés
humble et tres Obeissant Serviteur Léonard Trippel.
Dessiné et Gravé par Léonard Trippel. 1778: Colored
outline etching. 34:45 cm.
Trippel was a painter, draftsman and engraver in
Schaffhausen. Besides the two beautifull Rhine Falls,
only a further engraved work is known, an unnamed
river landscape. From his paintings a small oil painting
is owned by the Kunstverein Schaffhausen.
Beautiful, strong coloring. Mounted and some foxing.
HANS CONRAD GYGER
(1599 Zürich 1674)
Wahrhaffte Verzeichnus des Prättigöws, der Herschafft
Meÿenfeldt, gelegenheit vmb Chur, und Angräntzenden
Landschafften, Sampt den Treffe so die Pündtner mit Ihren Feinden gethan, Im Jahr 1622. H. C. Gÿger desig:
Etching. 25,8:35,1.
From: Johann Philipp Abelin, Theatrum Europaeum,
Frankfurt a. M., Merian d. Ä., 1635. The single sheet
edition shows on the lower right a latin title: Praetigoiae live Rhaetigoiae et Meyenfeldensis dittoing, circa oppidum curium situs vera description, cum finitimis ferris
et divorces aliquot Conflictibus Rhaetii hosts suos probe
multarunt, fustibus cum illis congressi anno 1622.“
B. Weber, Graubünden in alten Ansichten, p. 176 f., no.
7. Beautiful map of the Prättigau made by the most famous Swiss cartographer of the 17th century.
ANTON LABHART Bodensee. - Lacus Acroniani Terraeque adiacentis Tabula Geographica iam olim regnante Leopoldo Magno C. A.
a. David Nic. Hauttio, Typogr. Const. aeri diligentissime
incisa, nunc vero elapsum post soeculum denuo edita et
Augustissimo Leopoldi Pronepoti Imperatori Caesari P. F.
Isepho II. P. P. ex Gallia per Constantiam redeunti, in sempiternam Memoriam consecrata a devoto Maiestatique
Eisu Antonio Labhart Hauttii, Pronepote et Constatiens,
Typogr. Anno M.DCC.LXXVII (1777). Engraving after David Nikolaus Hautt published by Anton Labhart in Constance. 38,5:52 cm.
Not in the Collection Ryhiner; Dürst/Bonaconsa 77b. The
template for this map was the map of Lake Constance
which was designed by Andreas Arzet and engraved and
published in 1675 by David Hautt. Anton Labhart changed the cartridges in all 4 corner (for example the top right
showed before Castle Monfort, now a view of Constance).
He took away also the previously shown compass rose.
The map shows the Lake of Constance with the surrounding areas. Extremely rare.

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