PINDER, Ulrich (d. 1510 or 1519). Speculum passionis domini nostri Jesu Christi. Nuremberg: Friedrich Peypus for Georg Glockendon, 11 October 1519.
2° (295 x 192mm). Collation: A-N6. 78 leaves. Gothic type, with roman type for the biblical text in the second part, double column. 41 woodcut illustrations, 38 full-page, including 5 repeats, 2 full-page width, one single-column width, woodcut white-on-black initials. (Some light browning, a few leaves inkspotted or marked, unobtrusive small wormhole on first leaf.) Early 17th-century [?]Austrian panelled limp vellum, the panel formed by a gilt- and blindstamped chequered roll within blindstamped triple fillets, inner and outer gilt-stamped floral cornerpieces, surrounded by a border of a gilt pomegranate-spray roll within blind-stamped triple fillets, the upper cover with central gilt oval stamp depicting the Madonna and child, with initials C H A M above and date 1606 below in gilt, lower cover with central gilt oval stamp of leaves and flowers, yapp fore-edges, green silk ties, flat spine divided into compartments by chequered gilt and blind rolls, later morocco lettering-piece, the upper compartment titled in manuscript in a 17th-century hand with shelfmark [?]96, gilt edges gauffered with a ropework roll (a little discolored, rubbed and bowed, gilt oxidised, one tie torn with loss). Provenance: C.H.A.M. 1606 (binding); Melk, Austria, the Benedictine Abbey of SS. Peter and Paul, 1642 (erased inscription on title, another dated 1657, erased and illegible inkstamps on title and N6v); inscription dated 16 February 1660 on front free endpaper; early underlinings and marginalia in various hands; Hermann Marx (sale Sotheby's, 19 April 1948, lot 120, to); Davis & Orioli (typed description tipped onto front free endpaper).
A FRESH COPY OF A RARE WORK, IN A DATED 17TH-CENTURY BINDING, FROM THE CELEBRATED LIBRARY OF THE BENEDICTINE MONASTERY AT MELK. Pinder's Speculum passionis was first printed in Nuremberg in 1507, at his own press, and was followed by the present, second edition in 1519. The fine sequence of 38 large woodcuts depicting Christ's life and the Passion was cut by 4 engravers: Hans Leonard Schäufelein (30 illustrations, 5 repeated on D4r, E1r, F4r, F5r, and H6v), Hans Baldung Grien (2, on H3r and H5r), an anonymous artist (one, on K2r, a new image replacing a cut by Grien used in the 1507 edition), and either Hans Süss von Kulmbach or Wolf Traut (one, on C6r). Schäufelein (c.1480-c.1539), worked with both Grien and von Kulmbach in Dürer's studio from c.1504 to 1507, before joining the studio of Hans Holbein the Elder in Augsburg in c.1508, where he stayed until c.1512. The large woodcut on N6r is by Erhard Schön (cf. Dodgson I, p.423).
The binding was probably executed in Austria at the Benedictine monastery of SS. Peter and Paul at Melk, from whose celebrated library of printed books and manuscripts this volume comes. The watermark on the endpapers conforms to a mark described by Briquet as used in Graz in 1580 and 1589, Prague in 1603 and Vienna between 1600 and 1609, citing Uhlirz (cf. Briquet 915). Brunet IV, col.665; Dodgson I, p.423 and II, pp.12 (also cf. pp.5-6 for 1507 edition); Hollstein German XLIII, pp.95-131.