{"id":89662,"date":"2026-03-10T11:51:26","date_gmt":"2026-03-10T10:51:26","guid":{"rendered":"https:\/\/www.librairieclavreuil.com\/durer-albrecht-sammelband-of-3-works\/"},"modified":"2026-03-10T11:51:31","modified_gmt":"2026-03-10T10:51:31","slug":"durer-albrecht-sammelband-of-3-works","status":"publish","type":"product","link":"https:\/\/www.librairieclavreuil.com\/en\/durer-albrecht-sammelband-of-3-works\/","title":{"rendered":"D\u00dcRER Albrecht Sammelband of 3 works."},"content":{"rendered":"<p style=\"text-align:justify\"><strong>1.<\/strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Etliche underricht zur Befestigung der Stett, Schlosz, und Flecken. <i>Nuremberg, [Hieronymus Andre\u00e4&nbsp;?] october 1527.<\/i> Folio, 36 unn.l. Collation : A-B<sup>6<\/sup> C<sup>8<\/sup> D-E<sup>6<\/sup> F<sup>4<\/sup> including fold-out leaves for: A4 (folding leaf added), B1 (folding leaf), B3 (folding leaf), C1 (folding leaf), C3 (folding leaf), C 5-6 (2 full-page woodcuts) D3 (folding leaf) E1 (folding leaf) E3 (folding leaf) F1 (folding leaf) F 2 (folding leaf).<\/p>\n<p style=\"text-align:justify\"><i>VD-16, D-2853 (Copy corresponding to the digitised copies of the Austrian National Library \u00d6NB 72.D.-6 and the Bayerische Staatsbibliothek Rar.2156&nbsp;; Fairfax-Murray, German, 151. Not in <span style=\"font-variant:small-caps\">Adams which does not list any editions of this title.<\/span><\/i><\/p>\n<p style=\"text-align:justify\"><span style=\"font-variant:small-caps\">Second edition, published shortly after the extremely rare first edition on the same date.<\/span><\/p>\n<p style=\"text-align:justify\">\u00ab&nbsp;Second edition, according to Dodgson, I p. 265&nbsp;: \u00ab&nbsp;there is a very rare first edition [of the same date], briefly mentioned by Brunet, with numerous differences in the text, which contains the signed woodcut Bartsch 137 (the siege of a Fortress), see also Dodgson, who states that he had seen but one copy of the first edition that contained the woodcut, and had never heard of another.<\/p>\n<p style=\"text-align:justify\">&nbsp;<\/p>\n<p style=\"text-align:justify\"><strong>2.<\/strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Underweysung der Messung mit dem Zirckel und Richtscheyt, in Linien undEbnen und gantzen Corpore. <i>Nuremberg, Hieronymus Formschneyder, 1538.<\/i> Small Folio of 94 unn.l. Collation : A-P<sup>6<\/sup>Q<sup>4<\/sup>. P3 (folding leaf) P4 (paste-on) P5 (paste-on) Q3 (folding leaf). 2 folding plates and 2 paste-on.<\/p>\n<p style=\"text-align:justify\"><i>VD16, D-2858&nbsp;; Fairfax-Murray, German, 150. For the first edition of 1525 see Adams, D-1057- PMM, 54 &#8211; Carter-Muir 153 &#8211; Vagnetti, EIIb7 ; Vitry, 240.<\/i><\/p>\n<p style=\"text-align:justify\"><span style=\"font-variant:small-caps\">One of the most beautiful printed books of the German Renaissance. Second edition (first edition 1525) of Albrecht D\u00fcrer&#8217;s famous treatise on perspective, dedicated by its author to his patron Pirckheimer on the verso of the title page.<\/span><\/p>\n<p style=\"text-align:justify\">D\u00fcrer not only composed the entire text, but also produced all the illustrations and supervised the layout of this important work.<\/p>\n<p style=\"text-align:justify\">This edition has been revised from the first. It includes most of the illustrations but contains, for the first time, an illustration of the perspective instrument invented by Jacob de Keyser and used by D\u00fcrer to draw with the help of another tool, this time invented by himself: the perspectograph. Both tools are illustrated in this edition (respectively on leaves Q3r\/v).<\/p>\n<p style=\"text-align:justify\">\u201cLe perspectographe fut invent\u00e9 \u00e0 la Renaissance par D\u00fcrer (1471-1528), on l&#8217;appelle aussi la \u00abfen\u00eatre de D\u00fcrer\u00bb. En effet, cet instrument, compos\u00e9 d&#8217;un cadre en bois et d&#8217;une vitre quadrill\u00e9e, est semblable \u00e0 une fen\u00eatre. Le peintre place ce cadre devant la sc\u00e8ne qu&#8217; il veut repr\u00e9senter. Le peintre regarde la sc\u00e8ne \u00e0 travers un \u00aboeilleton\u00bb, b\u00e2ton se finissant par un cercle de bois \u00e0 travers lequel le peintre regarde en clignant d&#8217;un oeil. La vision du peintre est donc monoculaire (le peintre ne voit la sc\u00e8ne que d&#8217;un oeil), ainsi, la perspective qu&#8217; il dessine n&#8217;est pas tout \u00e0 fait exacte&#8230; Deux si\u00e8cles plus tard, Christopher Wren, Architecte anglais, reprendra le perspectographe de D\u00fcrer et lui apportera de notables perfectionnements. Cette machine est plus simple car elle ne demande ni de calque ni de transfert\u201d (\u00abLe perspectographe: machine de pr\u00e9cision\u00bb en ligne,2009, sur laperspective.canalblog.com).<\/p>\n<p style=\"text-align:justify\">\u00ab&nbsp;There are numerous woodcuts throughout, including geometrical diagrams, architectural figures, designs for roman and gothic alphabets, triumphal columns (dated 1525), &amp;c., as well as four half-page cuts of draughtsmen using apparatus for drawing in perspective, the 2<sup>nd<\/sup> of these with monogram and date 1525; the two latter appear in this edition for the first time. They are on Q3vo., and, with that on recto, are considerably wider (215 mm.) than the others in the book, and are in consequence folded on the fore-edge\u201d (Fairfax-Murray).<\/p>\n<p style=\"text-align:justify\">The volume is divided into four books: the first, devoted to lines, deals with the genesis of curves; the second, devoted to surfaces, examines the construction of polygons and tackles the great mathematical problems of antiquity, namely the trisection of angles and the quadrature of circles; the third and fourth books are devoted to regular and semi-regular solids and teach the construction of columns and monuments. The work concludes with a brief introduction to perspective, highlighted by the perspectograph to which D\u00fcrer gave his name (the famous \u201cD\u00fcrer window\u201d), which allows a perspective view to be drawn using a simple eyepiece device.<\/p>\n<p style=\"text-align:justify\">Erasmus was one of the first, in 1528 in his<i> De recta Latini Graecique sermonis pronuntiatione<\/i>, to publicly mention the existence of \u2018a book by Albert D\u00fcrer, written, it is true, in German, but of admirable erudition\u2019. Through this mention and thanks to the Latin translation made by the humanist Joachim Camerarius in 1532, the <i>Underweysung <\/i>had an impact on scholars from Europe to China ; among others, the young Galileo Galilei, Tycho Brahe, Johannes Kepler, Simon Stevin, Christoph Clavius and Geoffroy Tory, who became familiar with D\u00fcrer&#8217;s Latin letterforms and began his famous <i>Champfleury, ou l&#8217;Art et Science de la proportion des lettres<\/i> with a tribute to the German painter.<\/p>\n<p style=\"text-align:justify\">\u00ab&nbsp;<i>This book was the first of the theoretical writings on art which Albrecht D\u00fcrer composed towards the end of his life. Its immediate object was to explain the application of practical geometry to drawing and painting and to teach the principles of perspective. These methods were to be applied architecture, painting, lettering (D\u00fcrer designed both Roman and Gothic letters) and ornamental forms in general, and his book is therefore addressed not only to artists but also to sculptors, architects, goldsmiths, stonemasons and other craftsmen&#8230; D\u00fcrer&#8217;s work first presented to northern Europe the completely new attitude to artistic creation which had crystalized in Italy during the Renaissance<\/i>&nbsp;\u00bb (PMM).<\/p>\n<p style=\"text-align:justify\">\u201cThe <i>Underweysung der Messung<\/i> was published by D\u00fcrer himself in Nuremberg in 1525, and represented the fruits of mathematical endeavors which can be dated back to at least 1508. As a treatise on geometry in the German vernacular \u2013 which is in itself remarkable, though not unique \u2013 it was aimed at all those professions whose skills are (or should be) underpinned by techniques of precise mensuration\u2026 The <i>Underweysung\u2026<\/i> is divided into four books, following a broadly Euclidian progression\u201d (Kemp).<\/p>\n<p style=\"text-align:justify\">&nbsp;<\/p>\n<p style=\"text-align:justify\"><strong>3.<\/strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hjerin sind begriffen vier B\u00fccher von menschlicher Proportion. <i>Nuremberg, Hieronymus Formschneider, 31 oct. 1528.<\/i> Small folio, 130 unn.l. Collation : A-M<sup>6<\/sup> N<sup>4<\/sup> O<sup>4<\/sup> P-R<sup>6<\/sup> S<sup>6<\/sup> T<sup>4<\/sup> V-X<sup>6<\/sup> Y<sup>4<\/sup> Z<sup>6<\/sup>. O2 O2 (folding leaf) S1 (folding leaf) S4 (folding leaf) S5 (folding leaf) Y 3 (folding leaf). 5 folding plates (S1 only very slightly).<\/p>\n<p style=\"text-align:justify\">&nbsp;<\/p>\n<p style=\"text-align:justify\"><i>VD-16, D-2859&nbsp;; see Fairfax-Murray, German, 152 (only the latin translation of 1532)&nbsp;; Choulant-Frank, pp. 141-147 ; Garrison-Morton 149 ; Meder p. 288 ; Norman, 666 (incomplete copy; Albrecht Durer : das druckgraphische Werk, vol III (2001), pp.319-473.<\/i><\/p>\n<p style=\"text-align:justify\"><span style=\"font-variant:small-caps\">First edition of D\u00fcrer&#8217;s treatise on the geometry of the human body.<\/span><\/p>\n<p style=\"text-align:justify\">D\u00fcrer&#8217;s Four Books on Human Proportions codify his approach to figurative representation: using more than 140 full-length studies of men, women and children, as well as some 35 additional vignettes depicting heads, hands, arms and feet, he elucidates the fundamental geometry to which the human form can be reduced. D\u00fcrer argued that the essence of true form was the primary mathematical figure (e.g., the straight line, circle, curve, conical section) constructed arithmetically or geometrically and made beautiful by the application of a canon of proportion. However, he was also convinced that the beauty of form was a relative, not an absolute, quality; thus, the purpose of his system of anthropometry was to provide the artist with the means to delineate, on the basis of pure measurements, all possible types of human figures.<\/p>\n<p style=\"text-align:justify\">The entire work is richly illustrated with figurative diagrams engraved on wood by D\u00fcrer. Choulant asserts that these include&#8221;the first attempts to represent shades and shadows in wood engraving by means of cross-hatching\u201d (Norman)<\/p>\n<p style=\"text-align:justify\">\u201cThe later sections of his <i>Vier B\u00fccher von menschlicher Proportion<\/i> (Four Books on Human Proportion), which seems to have been complete by 1523 but was only published posthumously in 1528, are devoted to the stereometry of the body as it moves in space. His starting-point is again similar to that of Piero, or perhaps in this instance even closer to Leonardo. In this relatively early scheme, the basic technique of planar transformation of a human head appears to have suggested its subsequent description in transparent sections as a kind of stereometric cage. This was later developed by D\u00fcrer into a technique in which three-dimensional portions of the human body are inscribed within geometrical solids, rather like joints of meat frozen in blocks of ice. These basic blocks can be utilised to describe the jointed motions of the human figure and can be tilted in different planes as required\u201d (Kemp, p. 56).<\/p>\n<p style=\"text-align:justify\">Magnificent copy. For all the texts, the folding leaves have been folded differently from the structure of the first binding, revealing folds and stitches in the middle with some minor old restorations.<\/p>\n<p style=\"text-align:justify\">A very beautiful collection bringing together Albrecht D\u00fcrer&#8217;s three major books.<\/p>\n","protected":false},"excerpt":{"rendered":"<p style=\"text-align:justify\">Small folio (298 x 195 mm) Blind-embossed pigskin on wooden boards, 4 metal corner pieces and 1 central metal knob on each cover, 2 intact clasps, spine with raised bands, blue edges (<i>late 17th-century German binding<\/i>).<\/p>\n","protected":false},"featured_media":89632,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[550],"product_tag":[1199,1450,1204],"class_list":{"0":"post-89662","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-science","7":"product_tag-fine-arts","8":"product_tag-first-edition","9":"product_tag-perspective-2","10":"pa_auteur-durer-albrecht-2","11":"pa_type-de-livre-printed-book","13":"first","14":"instock","15":"shipping-taxable","16":"purchasable","17":"product-type-simple"},"acf":{"artist":" Albrecht D\u00dcRER","chapeau":"An important D\u00fcrer sammelband\r\nThe first work printed in Europe devoted entirely to fortifications","adresse_bibliographique":"Nuremberg, 1527, 1528 & 1538","book_type":"Printed book","provenance":"","afficher_prix":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.7 - 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