![CELTIS, Conrad (1459-1508). Quattuor libri amorum. -Germania Generalis. -De origine, situ, moribus & institutis Norimbergae -Hymnus Saphicus in Vitam Sancti Sebaldi. -Ludus Dianae. - Privilegium Erectionis Collegii Poetarum et Mathematicorum in Vienna. - Vincentius Longinus ELEUTHERIUS. Panegyricus ad Maximilianum pro instituto & erecto collegio poetarum & mathematicorum. - Sebald SCHREYER. C. Cel. Poetae & Philosopho [Epistola] with Celtis' response. Nuremberg: [Printer for the Sodalitas Celtica], 5 April 1502.](https://www.christies.com/img/LotImages/2006/NYR/2006_NYR_01769_0187_000(122632).jpg?w=1)
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CELTIS, Conrad (1459-1508). Quattuor libri amorum. -Germania Generalis. -De origine, situ, moribus & institutis Norimbergae -Hymnus Saphicus in Vitam Sancti Sebaldi. -Ludus Dianae. - Privilegium Erectionis Collegii Poetarum et Mathematicorum in Vienna. - Vincentius Longinus ELEUTHERIUS. Panegyricus ad Maximilianum pro instituto & erecto collegio poetarum & mathematicorum. - Sebald SCHREYER. C. Cel. Poetae & Philosopho [Epistola] with Celtis' response. Nuremberg: [Printer for the Sodalitas Celtica], 5 April 1502.
4o (240 x 171 mm). Collation: a-b8 c-d6 e-f8 g4 h-l6.8 m8 n6 o-q8 r6. 120 leaves (errata on r5, woodcut on r6r). Woodcut title-page, 10 full-page woodcuts, one folding woodcut view of Nuremberg outside collation bound between m2,3, woodcut device of the Sodalitas Celtica on r4v; TWO OF THE WOODCUTS ARE BY ALBRECHT DÜRER (presentation of the book by Celtis to Maximilian [Meder 244]; Philosophia [Meder 245]), and the remaining cuts are the work of the Celtis-Master; the figure of St. Sebald is closely modelled after Dürer and possibly by Wolf Traut (cf. Meder 233, Dodgson I, p.277-9). Roman, Greek and Hebrew types; initial spaces with guide-letter. (Single wormhole from i3 to end catching some letters, some intermittent pale spotting and light browning, a few marginal tears repaired.) Modern blind-tooled morocco antique, edges gilt, by Leighton. Provenance: Thomas Brooke (bookplate); Fritz Kriesler (his sale Parke Bernet, 27 January 1949, lot 41, Emil Offenbacher agent).
FIRST EDITION of Celtis' love elegies, published as a thank-you to Emperor Maximilian for the establishment of a College of Poets and Mathematicians at Vienna in 1502. It comes close to being a collected edition of Celtis' works, although the odes would not appear until after his death. Celtis' awareness of his role at the forefront of German humanistic poetry is witnessed by his preparation of a manuscript--apparently for publication--of his collected works, plus works conceived but not yet executed. The manuscript was never published in that form, but the present edition satisfied some of its aims. (Cf. Amor als Topograph, pp. 41-44.)
Two of the striking woodcuts are the work of Albrecht Dürer. The association between the young Dürer and the older poet laureate was a strong one. Celtis praised the artist in epigrams written in 1500, in which he refers to Dürer's forthcoming depiction of Philosophia. Appropriately, this woodcut embodies the complex philosophy shared by the two men (cf. Dodgson I, p. 282 for an interpretation of its iconography). Dürer had illustrated Celtis' edition of Hroswitha (1501) and a broadside edition of Celtis' sapphic hymn, 'Regie stirpis soboles Sebalde...'; in 1508 Dürer honoured the recently deceased poet by painting Celtis in Martyrdom of the 10,000, placing him at the artist's own right shoulder. Amor als Topograph, exhibition catalogue, Bibliothek Otto Schäfer, 2002, no. 1; BMC/STC German, p. 189; Davies, Murray German, 106. Cf. Muther 459, 835.
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FIRST EDITION of Celtis' love elegies, published as a thank-you to Emperor Maximilian for the establishment of a College of Poets and Mathematicians at Vienna in 1502. It comes close to being a collected edition of Celtis' works, although the odes would not appear until after his death. Celtis' awareness of his role at the forefront of German humanistic poetry is witnessed by his preparation of a manuscript--apparently for publication--of his collected works, plus works conceived but not yet executed. The manuscript was never published in that form, but the present edition satisfied some of its aims. (Cf. Amor als Topograph, pp. 41-44.)
Two of the striking woodcuts are the work of Albrecht Dürer. The association between the young Dürer and the older poet laureate was a strong one. Celtis praised the artist in epigrams written in 1500, in which he refers to Dürer's forthcoming depiction of Philosophia. Appropriately, this woodcut embodies the complex philosophy shared by the two men (cf. Dodgson I, p. 282 for an interpretation of its iconography). Dürer had illustrated Celtis' edition of Hroswitha (1501) and a broadside edition of Celtis' sapphic hymn, 'Regie stirpis soboles Sebalde...'; in 1508 Dürer honoured the recently deceased poet by painting Celtis in Martyrdom of the 10,000, placing him at the artist's own right shoulder. Amor als Topograph, exhibition catalogue, Bibliothek Otto Schäfer, 2002, no. 1; BMC/STC German, p. 189; Davies, Murray German, 106. Cf. Muther 459, 835.