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细节
FRIDOLIN, Stephan (d.1498). Schatzbehalter der wahren Reichtümer des Heils. Nuremberg: Anton Koberger, 8 November 1491.
Median 2o (327x 230 mm). Collation: a-z6 ab-ad6 ae8 A-Z6 Aa-Gg6 Hh10 (a1 blank, a2r prologues, a4v text, Hh9r colophon, Hh9v-10 blank). 352 (of 354) leaves (lacking blanks). 40 lines and headline, double column, printed guide-letters. Type: 10:120G, 11:162G mixed with sorts from 9:165G. ILLUMINATED BY A CONTEMPORARY SOUTH GERMAN, PROBABLY NUREMBERG, ARTIST: 8- 9- and 11-line opening initial in various colors on gilt ground, each with wide floral border extension in blue, red, green and gilt on fore- and lower-margins, a 6 line initial in blue and red, other 2-4 line initials and paragraph marks in alternating red and blue, some leaves ruled in red. 96 FULL-PAGE WOODCUTS from 91 blocks by Michael Wolgemut, Michael Pleydenwurff and their workshop, woodcut Hebrew letters on d4r. (G2, t1 and t6 probably supplied from another copy, a few leaves with marginal repairs, P6 with marginal worming and P1 with upper inner corner renewed, affting a few letters.) 19th-century pastiche of a 15th-century binding (upper cover detached). Provenance: Michael Balehus (contemporary inscription on a2r); Edgar S. Oppenheimer (pencil note on front paste-down); acquired from William Schatzki, 1961.
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. The powerful woodcuts are considered to have made a significant impact on Albrecht Dürer and influenced directly his own monumental work in woodcut (Nuremberg 1971 cat., no 115). He had been apprenticed to the Wolgemut-Pleydenwurff workshop from 1486-89, and returned to Nuremberg from Basel soon after publication of the Schatzbehalter. The Schatzbehalter was written by Stephan Fridolin, spiritual guide and confessor to the Poor Clares at Nuremberg, almost certainly at the behest of the nuns and their abbess, Caritas Pirckheimer, sister of Willibald. The text is based on Scripture and tells the story of the life and passion of Christ in 100 events; the accompanying illustrations were intended to impress the story more firmly on the mind of the audience, specifically those unable to read, as Fridolin states in the preface. It thus joins other late medieval works popularizing Scripture in text and image, such as the blockbook Biblia Pauperum. In his discussion of each woodcut, Fridolin explicates the literal and metaphysical meaning of the image, thus giving the modern reader an invaluable insight into medieval interpretation of imagery. He even specifies the coloring in certain woodcuts. BMC II, 434 (IB. 7413-7414); BSB-Ink. F-263; Bod-Inc. F-107; Fairfax Murray German 392; GW 10329; Goff S-306; HC *14507; Harvard/Walsh 715 and 716; Muther 423.
Median 2o (327x 230 mm). Collation: a-z6 ab-ad6 ae8 A-Z6 Aa-Gg6 Hh10 (a1 blank, a2r prologues, a4v text, Hh9r colophon, Hh9v-10 blank). 352 (of 354) leaves (lacking blanks). 40 lines and headline, double column, printed guide-letters. Type: 10:120G, 11:162G mixed with sorts from 9:165G. ILLUMINATED BY A CONTEMPORARY SOUTH GERMAN, PROBABLY NUREMBERG, ARTIST: 8- 9- and 11-line opening initial in various colors on gilt ground, each with wide floral border extension in blue, red, green and gilt on fore- and lower-margins, a 6 line initial in blue and red, other 2-4 line initials and paragraph marks in alternating red and blue, some leaves ruled in red. 96 FULL-PAGE WOODCUTS from 91 blocks by Michael Wolgemut, Michael Pleydenwurff and their workshop, woodcut Hebrew letters on d4r. (G2, t1 and t6 probably supplied from another copy, a few leaves with marginal repairs, P6 with marginal worming and P1 with upper inner corner renewed, affting a few letters.) 19th-century pastiche of a 15th-century binding (upper cover detached). Provenance: Michael Balehus (contemporary inscription on a2r); Edgar S. Oppenheimer (pencil note on front paste-down); acquired from William Schatzki, 1961.
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. The powerful woodcuts are considered to have made a significant impact on Albrecht Dürer and influenced directly his own monumental work in woodcut (Nuremberg 1971 cat., no 115). He had been apprenticed to the Wolgemut-Pleydenwurff workshop from 1486-89, and returned to Nuremberg from Basel soon after publication of the Schatzbehalter. The Schatzbehalter was written by Stephan Fridolin, spiritual guide and confessor to the Poor Clares at Nuremberg, almost certainly at the behest of the nuns and their abbess, Caritas Pirckheimer, sister of Willibald. The text is based on Scripture and tells the story of the life and passion of Christ in 100 events; the accompanying illustrations were intended to impress the story more firmly on the mind of the audience, specifically those unable to read, as Fridolin states in the preface. It thus joins other late medieval works popularizing Scripture in text and image, such as the blockbook Biblia Pauperum. In his discussion of each woodcut, Fridolin explicates the literal and metaphysical meaning of the image, thus giving the modern reader an invaluable insight into medieval interpretation of imagery. He even specifies the coloring in certain woodcuts. BMC II, 434 (IB. 7413-7414); BSB-Ink. F-263; Bod-Inc. F-107; Fairfax Murray German 392; GW 10329; Goff S-306; HC *14507; Harvard/Walsh 715 and 716; Muther 423.