Matthäus Merian Kupferbibel Neues Testament. Faksimile der Kupferbibel Matthäus Merians von 1630, Exemplar in der Württembergischen Landesbibliothek Stuttgart. Neues und Altes Testament. Ledereinband mit Metallbeschlägen und zwei Metallriegeln sowie ca. 77 farbigen Kunstreproduktionen. Edition Coron-Verlag. Mit Begleitband. Größe ca. 45 x 32 cm, Gewicht ca. 5 kg. Matthäus Merian Copper Bible New Testament. Facsimile of Matthäus Merian's Copper Bible from 1630, copy in the Württemberg State Library in Stuttgart. New and Old Testament. Leather binding with metal mountings and two metal latches as well as approx. 77 coloured art reproductions. Edition Coron-Verlag. With accompanying volume. Size approx. 45 x 32 cm, weight approx. 5 kg.
Matthäus Merian Kupferbibel Neues und Altes Testament. Faksimile der Kupferbibel Matthäus Merians von 1630, Exemplar in der Württembergischen Landesbibliothek Stuttgart. Ledereinband mit Metallbeschlägen und zwei Metallriegeln sowie ca. 77 farbigen Kunstreproduktionen. Edition Coron-Verlag. Mit Begleitband. Größe ca. 45 x 32 cm, Gewicht ca. 5 kg. Matthäus Merian Copper Bible Facsimile of Matthäus Merian's copper Bible from 1630, copy in the Württemberg State Library in Stuttgart. New and Old Testament. Leather binding with metal fittings and two metal latches as well as approx. 77 colour reproductions. Edition Coron-Verlag. With accompanying volume. Size approx. 45 x 32 cm, weight approx. 5 kg.
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The occupation of Rostock in 1573, , Copper engraving Technique: Copper engraving on Paper Date: 17th century Description: In the foreground of the depiction are numerous armed soldiers in uniform, engrossed in conversation or overlooking the fighting taking place in front of them. The increasingly difficult relationship between the city and the dukes of Mecklenburg since the feuds of 1534 led to occupations of the Hanseatic city in the years 1565-1573. The smouldering conflict between the city and the sovereign was not settled until the Rostock hereditary treaties of 1573 and 1584. Keywords: 17th century, Baroque, Military, Germany, Size: Paper: 10,4 cm x 14,5 cm (4,1 x 5,7 in), Depiction: 10,4 cm x 14,5 cm (4,1 x 5,7 in)
Martin Luther/Matthäus Merian: Merian Kupferbibel / Biblia 1630. Das Newe Testament durch Herrn Martin Luther verteutscht . Mit Kupferstücken - Faksimile der Ausgabe von 1630 - Exclusivedition, miz Begleitband.
BILDNIS EINES FELDMARSCHALLS Öl auf Leinwand. 122 x 93 cm. Verso auf dem Keilrahmen mit mehreren alten Nummerierungen und einem Etikett mit Verweis auf van Dyck. Frei gestellt auf ebonisierter Holzplatte in ebenso ebonisiertem Rahmen. Elegantes Dreiviertelportrait eines den Betrachter anblickenden geharnischten Mannes mit in geschickter Verkürzung dargestelltem Marschallstab, Spitzenjabot und langem Haar. Neben ihm eine offene Landschaft bzw. Tuch- und Federdraperie. Das Bildnis wurde in der Besitzerhistorie Jan de Baen zugeschrieben, kann jedoch mit einigem Recht eher Matthäus Merian d. J. zugewiesen werden, von dem folgende Vergleichsbeispiele zu nennen wären: Das Portrait des Feldmarschalls Hans Christoffer von Königsmarck (1600-1663) im Schloss Skokloster in Uppsala und das Portrait des Grafen Gustav Adolf Lewenhaupt (1619-1656) im gleichen Museum. Provenienz: Münchener Privatsammlung. Sammlung Max Engelhard Baron von Kienlin. (1440181) (13)
"Grundriss der Beyden Churf. Residentz Stätte Berlin und Cölln an der Spree". Kupferstich von Matthäus Merian d. J. (1621-1687) nach Johann Gregor Memhardt. 26,7×35,7 cm. Aus: Topographia Electorat. Brandenburgici et Ducatus Pomeraniae, verlegt von Merian/Zeiller, Frankfurt 1652. Vgl.: G. Ernst, Berlin in der Druckgraphik, Memhardt-2. (Ungeöffnet). R. (61405)
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Countess Helfenstein asks Jäcklein Rohrbach for mercy for her husband, 17th century, Copper engraving Technique: Copper engraving on Paper Date: 17th century Description: The killing of Count Ludwig von Helfenstein and his companions at the gates of the town of Weinsberg by rebellious peasants during the German Peasants' War on 16 April 1525, an Easter Sunday, went down in history as the bloody deed of Weinsberg. This depiction bears witness to that very event: the kneeling countess, accompanied by her son, begs the rebels for mercy. Margaretha von Helfenstein and her son, however, were spared. Source: Johann Wolfgang von Goethe (1749 Frankfurt-1832 Weimar) Götz von Berlichingen | Theater, Genre Keywords: 17th century, Baroque, Military, Germany, Size: Paper: 10,4 cm x 14,5 cm (4,1 x 5,7 in), Depiction: 10,4 cm x 14,5 cm (4,1 x 5,7 in)
After Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Bird's eye view of Constance on the Rhine, 17th century, Etching Technique: Etching on Paper Inscription: Upper middle inscribed in the printing plate: "Costantz.". Date: 17th century Description: Beautiful veduta of early modern Constance with fortification ring and bridges over the Rhine. Published in: Christoph Riegel, Ausführliche und Grundrichtige Beschreibung des ganzen Rheinstroms, Nuremberg 1686. Keywords: View, City Veduta, Lake Constance, 17th century, Baroque, Cities, Germany, Size: Paper: 5,8 cm x 11,3 cm (2,3 x 4,4 in)
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Hechingen and Hohenzollern Castle in the Swabian Alb(2), 18th century, Etching Technique: Etching on Paper Inscription: Dedicated at the top of the printing plate and signed by the artist: "Illustrissimo Principi Ac Domino. Domino Philippo Comiti In Hohenzollern. Domino In Sigmaring: Vering: Et Schwabeg D: Ded. Submisse Hanc Tabell: Geograph: Matth: Meria". Date: 18th century Description: Etching on two pieces of paper joined in the centre. This depiction comes from the second volume of the comprehensive work "Topographia Germaniae", which was written by Martin Zeller (1589 Ranten - 1661 Ulm) and initiated and illustrated by Merian. To this day, the 16 volumes represent a unique testimony to early topographical work and impress with the accuracy of their depiction. The present sheet is from the second edition from the year 1656. The veduta of Hohenzollern Castle above the town of Hechingen is characterised by Merian's typical style of depiction. Despite the partly schematised architecture, striking buildings are always depicted with a view to their individual character. The topography includes all important elevations, bodies of water and transport routes as well as large and small settlements. Many are labelled with references and explained in the legend printed below. | Watermark: Heraldic eagle with Basel staff Keywords: 18th century, Classicism, Maps, Germany, Size: Paper: 31,5 cm x 39,9 cm (12,4 x 15,7 in), Plate: 28,7 cm x 37,1 cm (11,3 x 14,6 in), Depiction: 26,8 cm x 36,8 cm (10,6 x 14,5 in)
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Hechingen and Hohenzollern Castle in the Swabian Alb, 18th century, Etching Technique: Etching on Paper Inscription: Dedicated at the top of the printing plate and signed by the artist: "Illustrissimo Principi Ac Domino. Domino Philippo Comiti In Hohenzollern. Domino In Sigmaring: Vering: Et Schwabeg D: Ded. Submisse Hanc Tabell: Geograph: Matth: Meria". Date: 18th century Description: Etching on two pieces of paper joined in the centre. This depiction comes from the second volume of the comprehensive work "Topographia Germaniae", which was written by Martin Zeller (1589 Ranten - 1661 Ulm) and initiated and illustrated by Merian. To this day, the 16 volumes represent a unique testimony to early topographical work and impress with the accuracy of their depiction. The present sheet is from the first edition from the year 1643. The veduta of Hohenzollern Castle above the town of Hechingen is characterised by Merian's typical style of depiction. Despite the partly schematised architecture, striking buildings are always depicted with a view to their individual character. The topography includes all important elevations, bodies of water and transport routes as well as large and small settlements. Many are labelled with references and explained in the legend printed below. | Watermark: "M" in the shape of a coat of arms Keywords: 18th century, Classicism, Maps, Germany, Size: Paper: 31,2 cm x 37,6 cm (12,3 x 14,8 in), Depiction: 27,0 cm x 37,2 cm (10,6 x 14,6 in)
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Depiction of Strasbourg Cathedral with bustling market activity on the forecourt, 17th century, Etching Technique: Etching on Paper Date: 17th century Description: The detailed print shows a side view of Strasbourg Cathedral with its striking Gothic tower. In the foreground, a multitude of people, carriages and market stalls enliven the square, while a Latin inscription describes the building and its history. Keywords: Strasbourg Minster; cathedral; Gothic; architectural vedute; historical city view; 17; century; copper engraving; Strasbourg; square scene; crowd; market bustle; architectural history;, 17th century, Baroque, Architecture, France, Size: Paper: 30,0 cm x 20,0 cm (11,8 x 7,9 in), Plate: 22,5 cm x 18,3 cm (8,9 x 7,2 in), Depiction: 22,4 cm x 18,2 cm (8,8 x 7,2 in)
BIBLIA 1630, Matthäus Merian Kupferbibel, Die 5 Bücher Mose u das Buch Josua, Faksimile, Coron bei Kindler Verlag/ Berlin 2003, goldgeprägter Ledereinbd., Goldschnitt, Messingbeschläge u -schließen, ca. 322 S., ca. 44,5 x 31 cm, dazu Textband, Leineneinbd., 62 S.
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The occupation of Rostock in 1573, 17th century, Copper engraving Technique: Copper engraving on Paper Date: 17th century Description: In the foreground of the depiction are numerous armed soldiers in uniform, engrossed in conversation or overlooking the fighting taking place in front of them. The increasingly difficult relationship between the city and the dukes of Mecklenburg since the feuds of 1534 led to occupations of the Hanseatic city in the years 1565-1573. The smouldering conflict between the city and the sovereign was not settled until the Rostock hereditary treaties of 1573 and 1584. Keywords: 17th century, Baroque, Military, Germany, Size: Paper: 10,4 cm x 14,5 cm (4,1 x 5,7 in), Depiction: 10,4 cm x 14,5 cm (4,1 x 5,7 in)
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The Wiesen or Job's Spa View of the thermal spa Wiesenbad, Ore Mountains, Saxony, c. 1650, Copper engraving Technique: Copper engraving on Paper Date: c. 1650 Description: Landscape depiction of the settlement with individual staffage figures enlivening the settlement. Titled in the graphic above: "Das Wiesen oder Hiobs Badt." Keywords: 17th century, Baroque, Landscape, Germany, Size: Paper: 16,7 cm x 20,5 cm (6,6 x 8,1 in), Depiction: 14,0 cm x 17,3 cm (5,5 x 6,8 in)
Die Kupferbibel Matthäus Merians Faksimile der Ausgabe von 1630, Stuttgart bey Müller und Schindler, o.J., blind- und goldgeprägter Ledereinband mit Messingmontierung, Format Fol., Schließen fehlen, Alters- und Gebrauchsspuren. The Copper Bible of Matthäus Merian 1630 Facsimile Stuttgart bey Müller und Schindler, n.d., blind and gold-stamped leather binding with brass mounting, folio format, clasps missing, signs of age and wear.
M. Z. (Urheber Zeiller, Martin). Topographia Electorat[us] Brandenburgici et Ducatus Pomeraniae. [et]c. das ist Beschreibung der Vornembsten und bekantisten Stätte und Plätz in dem hochlöblichsten Churfürstenthum und March Brandenburg, und dem Hertzogtum Pom[m]eren. In Truck gegeben unndt Verlegt durch Matthaei Merian: Erben. Mit Frontispiz, 90 Stadtansichten und 11 Landkarten. Pergamenteinband. (Auf Vollständigkeit geprüft, alte Notizen auf erster Seite und Frontispiz, kl. Risse, Seitenränder teils ausgefranst, restauriert.) Vgl. fast identische Ausgabe in der Bayerischen Staatsbibliothek, München. (60996)
Matthäus Merian Kupferbibel Faksimile des Neuen Testaments von 1630 Straßburg mit Kupferstichen von Matthäus Merian, Exemplar in der Württembergischen Landesbibliothek Stuttgart. Ledereinband mit Metallbeschlägen und zwei Metallriegeln sowie ca. 77 farbigen Kunstreproduktionen. Edition Coron-Verlag, Gütersloh 20. Jh. Größe ca. 45 x 32 cm, Gewicht ca. 5 kg. Matthäus Merian Copper Bible Facsimile of the New Testament of 1630 Strasbourg with copper engravings by Matthäus Merian, copy in the Württembergische Landesbibliothek Stuttgart. Leather binding with metal fittings and two metal straps as well as ca. 77 coloured art reproductions. Edition Coron-Verlag, Gütersloh 20th century. Size approx. 45 x 32 cm, height approx. 6.5 cm.
MATTHÄUS MERIAN (1621-1687) A Battle Plan of the Siege of Londonderry (1689) & Irlandiae Mari Portus (Irish Sea Ports) 354 x 263mm; 268 x 354mm together with Greenville Collins A Chart of Carlingford Lough 435 x 323mm Second state from his Great Britain's Coasting Pilot (3)
Matthäus Merian d.J. 1621 Basel – 1687 Frankfurt a. M. Kupferstich, von zwei Platten, auf feinem Bütten mit Wasserzeichen (bekrönter zweiköpfiger Adler mit Monogramm "NN"). Aus: Topographia Galliae, sive descriptio et delineatio famosissimorum locorum in potentissimo regno Galliae. Frankfurt, Caspar Merian 1657. WVZ Wüthrich S. 496. Matthäus Merian d.J. 1621 Basel – 1687 Frankfurt a. M.
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Countess Helfenstein begs Jäcklein Rohrbach for mercy for her husband, 17th century, Copper engraving Technique: Copper engraving on Paper Date: 17th century Description: The killing of Count Ludwig von Helfenstein and his companions at the gates of the town of Weinsberg by rebellious peasants during the German Peasants' War on 16 April 1525, an Easter Sunday, went down in history as the Weinsberg Bloody Deed. The present depiction bears witness to that very event, the kneeling countess, accompanied by her son, begging the insurgents for mercy. Margaretha von Helfenstein and her son, however, were spared. Source: Johann Wolfgang von Goethe (1749 Frankfurt-1832 Weimar) Götz von Berlichingen | Theater, Genre Keywords: 17th century, Baroque, Military, Germany,
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The Wiesen or Job's Spa View of the thermal spa Wiesenbad, Ore Mountains, Saxony, c. 1650, Copper engraving Technique: Copper engraving on Paper Date: c. 1650 Description: Landscape depiction of the settlement with individual staffage figures enlivening the settlement. Titled in the graphic above: "Das Wiesen oder Hiobs Badt." Keywords: 17th century, Baroque, Landscape, Germany,
After Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): View of Wiesbaden around 1655, reprint, after 1655, Etching Technique: Etching on Paper Date: after 1655 Description: Detailed city view of Wiesbaden on the Rhine by the famous veduta engraver Matthäus Merian. From an elevated position on a hill planted with vines, Fußberg, the view of historic Wiesbaden opens up. The small-scale engraved buildings are easily recognisable and explained by the legend at lower left. The depiction is from the Topographia Hassiae of 1655 and shows Wiesbaden still as a well-arranged town with many buildings that are no longer preserved today. To be seen are, among others: Palace with Court Chamber Building, the Parish Church of St. Mauritius, the Stadtpfort, the Sonnenbergerthor, the Heydenpfort, the Badherberg zur Roßen, the "Stumpfe Turm" and many more. Enlarged etching after the original on two sheets of paper, which were joined in the centre after printing. The sheet is numbered "23/25" in pencil on the lower margin and signed(?) "Pasap-Daiberg[?]" on the right. Keywords: 19th century, Romanticism, Architecture, Germany,
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The occupation of Rostock in 1573, 17th century, Copper engraving Technique: Copper engraving on Paper Date: 17th century Description: In the foreground of the depiction are numerous armed soldiers in uniform, engrossed in conversation or overlooking the fighting taking place in front of them. The increasingly difficult relationship between the city and the dukes of Mecklenburg since the feuds of 1534 led to occupations of the Hanseatic city in the years 1565-1573. The smouldering conflict between the city and the sovereign was not settled until the Rostock hereditary treaties of 1573 and 1584. Keywords: 17th century, Baroque, Military, Germany,
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Hechingen and Hohenzollern Castle in the Swabian Alb(2), , Etching Technique: Etching on Paper Inscription: Dedicated at the top of the printing plate and signed by the artist: "Illustrissimo Principi Ac Domino. Domino Philippo Comiti In Hohenzollern. Domino In Sigmaring: Vering: Et Schwabeg D: Ded. Submisse Hanc Tabell: Geograph: Matth: Meria". Date: Description: Etching on two pieces of paper joined in the centre. This depiction is from the second volume of the comprehensive work "Topographia Germaniae", which was written by Martin Zeller (1589 Ranten - 1661 Ulm) and initiated and illustrated by Merian. To this day, the 16 volumes represent a unique testimony to early topographical work and impress with the accuracy of their depiction. The present sheet is from the second edition from the year 1656. The veduta of Hohenzollern Castle above the town of Hechingen is characterised by Merian's typical style of depiction. Despite the partly schematised architecture, striking buildings are always depicted with a view to their individual character. The topography includes all important elevations, bodies of water and transport routes as well as large and small settlements. Many are labelled with references and explained in the legend printed below. | Watermark: Heraldic eagle with Basel staff Keywords: 18th century, Classicism, Maps, Germany,
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Hechingen and Hohenzollern Castle in the Swabian Alb, , Etching Technique: Etching on Paper Inscription: Dedicated at the top of the printing plate and signed by the artist: "Illustrissimo Principi Ac Domino. Domino Philippo Comiti In Hohenzollern. Domino In Sigmaring: Vering: Et Schwabeg D: Ded. Submisse Hanc Tabell: Geograph: Matth: Meria". Date: Description: Etching on two pieces of paper joined in the centre. This depiction is from the second volume of the comprehensive work "Topographia Germaniae", which was written by Martin Zeller (1589 Ranten - 1661 Ulm) and initiated and illustrated by Merian. To this day, the 16 volumes represent a unique testimony to early topographical work and impress with the accuracy of their depiction. The present sheet is from the first edition from the year 1643. The veduta of Hohenzollern Castle above the town of Hechingen is characterised by Merian's typical style of depiction. Despite the partly schematised architecture, striking buildings are always depicted with a view to their individual character. The topography includes all important elevations, bodies of water and transport routes as well as large and small settlements. Many are labelled with references and explained in the legend printed below. | Watermark: "M" in the shape of a coat of arms Keywords: 18th century, Classicism, Maps, Germany,
After Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Theatrum Europaeum, Military Outline Map of the 1694 Battle Plan and Conquest of the Spanish City of Girona, Span Gerona, Catalonia, c. 1700, Copper engraving Technique: Copper engraving on Paper Inscription: Upper right inscribed in the printing plate: "Girone. Die starcke Spanische Stadt der Provintz Catalogne, an dem Fluss du Ter. 40 gr. 50 m. nach der Breite, und 23 gr. nach der Länge, welche durch die Französ. Waffen im Jahr 1694 erobert worden.". Date: c. 1700 Description: The map shows the area of the Catalan region between Gerona in the north and Palamos in the south as well as the Costa Brava from Empuries to Tossa de Mar. Source: Matthäus Merian (1593 Basel-1650 Langenschwalbach) Theatrum Europaeum, 17. + 18. Jahrhundert | Book, Politics Keywords: 18th century, Baroque, Military, France,
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Countess Helfenstein begs Jäcklein Rohrbach for mercy for her husband, 17th century, Copper engraving Technique: Copper engraving on Paper Date: 17th century Description: The killing of Count Ludwig von Helfenstein and his companions at the gates of the town of Weinsberg by rebellious peasants during the German Peasants' War on 16 April 1525, an Easter Sunday, went down in history as the Weinsberg Bloody Deed. The present depiction bears witness to that very event, the kneeling countess, accompanied by her son, begging the insurgents for mercy. Margaretha von Helfenstein and her son, however, were spared. Source: Johann Wolfgang von Goethe (1749 Frankfurt-1832 Weimar) Götz von Berlichingen | Theater, Genre Keywords: 17th century, Baroque, Military, Germany,
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The Wiesen or Job's Spa View of the thermal spa Wiesenbad, Ore Mountains, Saxony, c. 1650, Copper engraving Technique: Copper engraving on Paper Date: c. 1650 Description: Landscape depiction of the settlement with individual staffage figures enlivening the settlement. Titled in the graphic above: "Das Wiesen oder Hiobs Badt." Keywords: 17th century, Baroque, Landscape, Germany,
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Countess Helfenstein begs Jäcklein Rohrbach for mercy for her husband, 17th century, Copper engraving Technique: Copper engraving on Paper Date: 17th century Description: The killing of Count Ludwig von Helfenstein and his companions at the gates of the town of Weinsberg by rebellious peasants during the German Peasants' War on 16 April 1525, an Easter Sunday, went down in history as the Weinsberg Bloody Deed. The present depiction bears witness to that very event, the kneeling countess, accompanied by her son, begging the insurgents for mercy. Margaretha von Helfenstein and her son, however, were spared. Source: Johann Wolfgang von Goethe (1749 Frankfurt-1832 Weimar) Götz von Berlichingen | Theater, Genre Keywords: before 18th century, Baroque, Military, Germany,
An antique hand colored etching on paper, Birds Eye View, Long View of London looking over Southwark to the North, by Matthaus Merian, German, 1621 to 1687, the elder from Gottfried and Merians Neuwe Archontologia Cosmica, Frankfurt, 1638. It is based on earlier views of London published by J. C. Visscher in 1616 and the 1600 engraving Civitas Londini by John Norden. Lettered with title along top between the arms of the King and of the City of London; with key to places in view numbered from 1 to 43, and other identifications within the image. Framed. Antique and Vintage European and British Graphic Art Prints and Collectibles.
Faksimile.- Das Newe Testament Durch D. Martin Luther Verteutscht. Die Bibel Neues Testament. Stuttgart, Belser, 2017 (Nachdruck der Ausgabe Straßburg, Zetzner, 1630). Mit zahlr. farb. Abbildungen nach den Radierungen von Matthäus Merian d.Ä. Folio. Handgebundener Orig.-Lederband mit Blind- und Goldprägung, 2 Messingschließen sowie gepunztem dreiseit. Goldschnitt, zusammen mit dem Kommentarbd. in Orig.-Hldr.-Kassette mit goldgepr. Rücken- u. Deckeltitel. Eines von 999 nummerierten Exemplaren.- Faksimile-Ausgabe des berühmten Straßburger Druckes bei Lazarus Zetzner nach dem handkolorierten Exemplar der Universitätsbibliothek Johann Christian Senckenberg Frankfurt am Main (Ausst. 303).- Mit Kommentarband von Martin Knauer 'Die Kupferbibel mit den Radierungen Matthäus Merians d.Ä.'.
Two historical views of Bremen from: Topographia Saxoniae Inferioris by Matthäus Merian the Younger (1621-1687), colored copper engravings: 1) Brema, historical bird's eye view of Bremen, with legend, centerfold, minimally spotted, sheet approx. 30 x 38 cm, framed behind glass 32 x 39.5 cm, 2) Marckt in Bremmen, historical view of Bremen marketplace with figure staffage, with legend, centerfold, sheet ca. 29 x 38.5 cm, framed behind glass 31.5 x 41 cm, unopened. Zwei historische Bremer Ansichten aus ''Topographia Saxoniae Inferioris'' von Matthäus Merian d. J. (1621-1687), kolorierte Kupferstiche: 1) ''Brema'', historische Vogelschauansicht von Bremen, mit Legende, Mittelfalz, min. fleckig, Blatt ca. 30 x 38 cm, hinter Glas ger. 32 x 39,5 cm, 2) ''Marckt in Bremmen'', historische Ansicht des Bremer Marktplatzes mit Figurenstaffage, mit Legende, Mittelfalz, Blatt ca. 29 x 38,5 cm, hinter Glas ger. 31,5 x 41 cm, ungeöffn.
MATTHÄUS MERIAN the Younger. (Basel 1621–1687 Frankfurt am Main) Cleopatra. Circa 1650–60. Oil on canvas. 90 × 69.3 cm. Provenance: - Probably collection of Count Johannes Septimius Jörger von Tollet (1594–1662). - Sale Christie's, London, 9.12.1993, lot 62 (as circle of Gérard de Lairesse). - European private collection. - Sale Bonhams, London, 29.4.2015, lot 176 (as Flemish School, 17th century). - European private collection. Literature: Jahel Sanzsalazar, I Am Cleopatra. The Seduction and Stoicism of a Newly Identified Painting by Matthäus Merian the Younger (1621–1687), in: Zeitschrift für Kunstgeschichte, Issue 1, 2019, 82nd year, pp. 71–92. The painting offered here is an important new discovery which sheds light on Matthäus Merian's entire oeuvre. While his father Matthäus Merian the Elder (1593–1650) is well known to this day as an engraver and publisher, and the oeuvre of his sister Maria Sibylla (1647–1717) has also become the focus of art historical research in the wake of the increased interest in women artists, the acquisition of Merian's self-portrait by the Historisches Museum Frankfurt in 2008 attests to the new awareness and appreciation of this artist. Matthäus Merian the Younger is known as a pupil of Joachim von Sandrat (1606–1688), with whom he created altarpieces while also working as an engraver. At the age of 18 he joined Anthonis van Dyck's (1599–1641) workshop in London in 1639. After Van Dyck's death he moved to Paris, where he explored the classicist styles of Philippe de Champaigne (1602–1674), Simon Vouet (1590–1649) and Nicolas Poussin (1594–1665). From 1643 to 1647, he travelled through Italy and visited the most important art centres of the time, including Venice, Rome and Naples. There the works of Guido Reni (1575–1642) and José de Ribera (1591–1652) in particular aroused Merian's interest. After his return to Frankfurt he took over his father's publishing house and received numerous official commissions for portraits, which brought him great renown. While a considerable number of those portraits still survive, only three historical-mythological works have come down to us today: the painting ‘Vertumnus and Pomona’ (oil on canvas, 186 x 130 cm, private collection, Barcelona) and two versions of ‘Artemisia’ (1647, oil on canvas, Museum of Art and Archaelogy, University of Missouri at Columbia; 1655, oil on canvas, 133.3 x 120.3 cm, Anhaltische Gemäldegalerie in Dessau). Consequently, these are considered key works within this lesser-known facet of Merian's oeuvre, while at the same time illustrating his innovative potential in this field and demonstrating his closeness to his former teacher Van Dyck in terms of technique and elegance. Based on stylistic comparisons with these three well-known works, Dr Jahel Sanzsalazar identifies our painting as the work of Matthäus Merian the Younger (see Literature). Parallels in style and motif can also be found in the ‘Portrait of the Merian Family’ in the Kunstmuseum Basel (inv. no. 2318, circa 1642–43, oil on canvas, 118.5 x 140 cm). A similar oriental carpet is used there and employed to great effect to provide spatial structure. Supporting the stylistic comparisons, Merian's engraving ‘Cleopatra with the Asp’ (Fig. 1, after 1656–1657, 23.7 x 17.8 cm, Stuttgart, Staatsgalerie, Graphische Sammlung , inv. no. An 2205) also confirms its authorship. One of the artist's finest engravings, so far it has not been possible to connect it with any painting, although the mirror image suggests that the engraving was made after our painting. As the caption of the engraving reveals, it was dedicated to Count Johannes Septimius Jörger von Tollet (1594–1662). He had made a name for himself as a passionate art collector and was a close friend of the Merian family. Jahel Sanzsalazar considers it probable that our painting once belonged to him too, and could have been sold by his son in 1667 when the family fell into debt. According to Sanzsalazar, the stylistic analogies to the two versions of Artemisia (1647 and 1655) and to the painting ‘The Martyrdom of Saint Catherine’ (1653) as well as the dating of the aforementioned engraving, speak in favour of dating the present painting to the 1650s. In addition to the dedication to Jörger, the Latin inscription on the engraving also contains a poem by Merian as a moral warning against the pitfalls of love. As in our painting, Merian depicts Cleopatra as the embodiment of the seductive femme fatale to whom all men fall prey. In doing so, the two depictions skilfully reflect the ambiguity that surrounds the traditional understanding of Cleopatra and which inspired both literature and art: Cleopatra, who was the last queen of the Egyptian Ptolemaic Empire and at the same time the last female pharaoh to rule from 51 BC to 30 BC, wanted to expand her empire. To this end, she succeeded in winning over the two most powerful Romans of her time as her lovers, first Gaius Iulius Caesar and, after Caesar’s assassination, Marcus Antonius (Marc Antony), and, with their help, significantly improved the standing of the Ptolemaic Empire for some time. Antony's defeat by the later Emperor Augustus meant the end of her rule. Cleopatra and Antony committed suicide and Egypt became the Roman province of Aegyptus. While ancient authors describe our protagonist as a historical-political figure and interpret her suicide as cowardice, in the 16th century her image was rehabilitated by Dante and Boccaccio, who idealised the figure of Cleopatra as a heroine and martyr who chose suicide out of dignity and pride. In the 17th century, authors begin to paint a more human vision of Cleopatra, understanding her in all her various aspects, the most egregious vices and the most sublime virtues. Her suicide is interpreted as an act of freedom and a sign of her unremitting love. Subsequently, she became a model of moral constancy, which was idealised as a higher virtue within the neo-Stoicism of Justus Lipsius. A convinced neo-Stoicist, Merian depicts Cleopatra in stoic repose and anticipation of her death, without any hint of pathos or suffering. Instead, he portrays a woman who seems almost at ease in her predicament. Her eyes lowered, she looks towards the serpent and awaits it with clasped hands. Merian consequently shows Cleopatra as a majestic, but not untouchable queen, rather as a woman who invites us to witness her gentle poisoning. --------------- MATTHÄUS MERIAN d. J. (Basel 1621–1687 Frankfurt am Main) Kleopatra. Um 1650–60. Öl auf Leinwand. 90 × 69,3 cm. Provenienz: - wohl Sammlung des Grafen Johannes Septimius Jörger von Tollet (1594–1662). - Auktion Christie's, London, 9.12.1993, Los 62 (als Umkreis Gérard de Lairesse). - Europäische Privatsammlung. - Auktion Bonhams, London, 29.4.2015, Los 176 (als flämische Schule, 17. Jh.). - Europäische Privatsammlung. Literatur: Jahel Sanzsalazar: I am Cleopatra. The Seduction and Stoicism of a Newly Identified Painting by Matthäus Merian the Younger (1621–1687), in: Zeitschrift für Kunstgeschichte, Heft 1, 2019, 82. Jahrgang, S. 71–92. Bei dem hier offerierten Gemälde handelt es sich um eine bedeutende Neuentdeckung, die aufschlussreich für Matthäus Merians gesamtes Schaffen ist. Während sich sein Vater Matthäus Merian d. Ä. (1593–1650) bis heute grosser Bekanntheit als Kupferstecher und Verleger erfreut und auch das Œuvre der Schwester Maria Sibylla (1647–1717) im Zuge des gesteigerten Interesses für weibliche Kunst in den Fokus der kunsthistorischen Forschung gerückt ist, attestiert die Akquise von Merians Selbstporträt durch das Historische Museum Frankfurt 2008 das neue Bewusstsein und die Wertschätzung dieses Künstlers. Bekannt ist Matthäus Merian d. J. als Schüler von Joachim von Sandrat (1606–1688), mit dem er Altarstücke schuf, während er gleichzeitig als Kupferstecher arbeitete. Mit 18 Jahren trat er im Jahre 1639 in Anthonis van Dycks (1599–1641) Werkstatt in London ein. Nach van Dycks Tod übersiedelt er nach Paris, wo er sich mit den klassizistischen Stilen von Philippe de Champaigne (1602–1674), Simon Vouet (1590–1649) und Nicolas Poussin (1594–1665) auseinandersetzte. Von 1643 bis 1647 begab sich der Künstler auf eine Italienreise und besuchte unter anderem die wichtigsten Kunstzentren der Zeit Venedig, Rom und Neapel. Dabei erweckten insbesondere die Arbeiten von Guido Reni (1575–1642) und José de Ribera (1591–1652) Merians Interesse. Nach seiner Rückkehr nach Frankfurt übernahm er den Verlag seines Vaters und erhielt zahlreiche offizielle Aufträge für Porträts, die ihm grosses Ansehen einbrachten. Während eine beachtliche Anzahl dieser Porträts noch erhalten ist, sind uns heute lediglich drei historisch-mythologische Arbeiten überliefert: Das Gemälde Vertumnus and Pomona (Öl auf Leinwand, 186 × 130 cm, Privatsammlung, Barcelona) sowie zwei Versionen der Artemisia (1647, Öl auf Leinwand, Museum of Art and Archaelogy, Universität Missouri in Columbia; 1655, Öl auf Leinwand, 133,3 × 120,3 cm, Anhaltische Gemäldegalerie in Dessau). Folglich gelten diese als Schlüsselwerke für Merians bislang weniger bekannte Facette und verdeutlichen zugleich sein innovatives Potenzial auch auf diesem Gebiet, das in Technik und Eleganz die Nähe zu seinem einstigen Lehrer Van Dyck belegt. Basierend auf stilistischen Vergleichen zu diesen drei bekannten Werken, identifiziert Dr. Jahel Sanzsalazar unser Gemälde als Werk des Matthäus Merian d. J. (siehe Literatur). Stilistische und motivische Parallelen lassen sich ferner im "Bildnis der Familie Merian" im Kunstmuseum Basel finden (Abb. 1, Inv.-Nr. 2318, um 1642–43, Öl auf Leinwand, 118,5 × 140 cm). Ein ähnlicher orientalischer Teppich wird dort aufgegriffen und zur räumlichen Strukturierung effektvoll eingesetzt. Die stilistischen Vergleiche stützend, bekräftigt auch der Stich Merians "Cleopatra with the Asp" (Abb. 2, nach 1656–1657, 23,7 × 17,8 cm, Stuttgart, Staatsgalerie, Graphische Sammlung, Inv.-Nr. An 2205) seine Autorschaft. Als einer der feinsten Stiche des Künstlers, konnte dieser bislang mit keinem Gemälde in Verbindung gebracht werden, wenngleich die spiegelverkehrte Darstellung nahelegt, dass der Stich nach unserem Gemälde gefertigt wurde. Wie die Bildunterschrift des Stichs verrät, war dieser dem Grafen Johannes Septimius Jörger von Tollet (1594–1662) gewidmet. Dieser hatte sich als leidenschaftlicher Kunstsammler einen Namen gemacht und war eng mit der Familie Merian befreundet. Jahel Sanzsalazar hält es für wahrscheinlich, dass ihm auch unser Gemälde einst gehörte, das im Zuge der Verschuldung der Familie im Jahre 1667 von dessen Sohn veräussert worden sein könnte. Die Stilanalogien zu den beiden Versionen der Artemisia (1647 und 1655) und zu dem Gemälde "das Martyrium der Heiligen Katharina" (1653) sowie die Datierung des genannten Stichs sprechen gemäss Sanzsalazar für eine Datierung des vorliegenden Gemäldes in die 50er-Jahre des 17. Jahrhunderts. Die lateinische Inschrift des Stichs enthält neben der Widmung an Jörger auch ein Gedicht Merians als moralische Warnung vor den Tücken der Liebe. Wie auch in unserem Gemälde, stellt Merian Kleopatra als Verkörperung der verführerischen Femme Fatale dar, der alle Männer verfallen. Dabei spiegeln die beiden Darstellungen gekonnt die Zweideutigkeit wider, die das traditionelle Verständnis von Kleopatra umgibt und die sowohl Literatur als auch die Kunst inspirierte: Kleopatra, die als letzte Königin des ägyptischen Ptolemäerreiches und zugleich als letzter weiblicher Pharao von 51 v. Chr. bis 30 v. Chr. regierte, wollte ihr Reich ausbauen. Zu diesem Zwecke konnte sie die beiden mächtigsten Römer ihrer Zeit, zuerst Gaius Iulius Caesar und nach dessen Ermordung Marcus Antonius, als Geliebte gewinnen und mit deren Hilfe für einige Zeit die Machtstellung des Ptolemäerreichs deutlich verbessern. Antonius’ Niederlage gegen den späteren Kaiser Augustus bedeutete das Ende ihrer Herrschaft. Kleopatra und Antonius begingen Suizid und Ägypten wurde zur römischen Provinz Aegyptus. Während antike Autoren unsere Protagonistin als historisch-politische Person beschreiben und ihren Selbstmord als Feigheit interpretieren, wird ihre Rezeption im 16. Jahrhundert mit Dante und Boccaccio rehabilitiert und die Figur der Kleopatra als Heldin und Märtyrerin idealisiert, die sich aus Würde und Stolz für den Freitod entscheidet. Im 17. Jahrhundert beginnen die Autoren eine menschlichere Vision von Kleopatra zu zeichnen, die sie in all ihren verschiedenen Aspekten, den ungeheuerlichsten Lastern und erhabensten Tugenden versteht. Ihr Selbstmord wird als ein Akt der Freiheit interpretiert und als Zeichen für ihre unermüdliche Liebe. In der Folge wurde sie zu einem moralischen Modell der Beständigkeit, was vom Neo-Stoizismus des Justus Lipsius als höhere Tugend idealisiert wurde. Als überzeugter Neo-Stoizist zeigt Merian Kleopatra in stoischer Ruhe und Erwartung ihres Todes, ohne irgendeinen Hauch von Pathos oder Leiden. Stattdessen porträtiert er eine Frau, die sich in ihrer Notlage geradezu wohl zu fühlen scheint. Ihre Augen gesenkt, schaut sie der Schlange entgegen und erwartet sie mit verschränkten Händen. Merian zeigt Kleopatra folglich majestätisch, aber nicht als unantastbare Königin, vielmehr als Frau, die uns einlädt, ihrer sanften Vergiftung beizuwohnen. ---------------
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Conquest of the city of Girona in 1694, c. 1700, Copper engraving Technique: Copper engraving on Paper Inscription: Upper right inscribed in the printing plate: "Girone. Die starcke Spanische Stadt der Provintz Catalogne, an dem Fluss du Ter. 40 gr. 50 m. nach der Breite, und 23 gr. nach der Länge, welche durch die Französ. Waffen im Jahr 1694 erobert worden.". Date: c. 1700 Description: The map shows the area of the Catalan region between Gerona in the north and Palamos in the south as well as the Costa Brava from Empuries to Tossa de Mar. Source: Matthäus Merian (1593 Basel-1650 Langenschwalbach) Theatrum Europaeum, 17. + 18. Jahrhundert | Book, Politics Keywords: 18th century, Baroque, Military, France,
Matthäus Merian - engraving Heidelberg Mid-17th c. Copperplate engraving on paper. Inscribed "Heidelberga". Framed with mount under glass. Good condition. Overall dimensions h. 50cm, w. 62cm. Matthäus Merian - Stich Heidelberg Mitte 17. Jh. Kupferstich auf Papier. Bez. "Heidelberga". Gerahmt mit Passepartout unter Glas. Guter Zustand. Gesamtmaße H. 50cm, B. 62cm.
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The Meadows or Job's Bath, Ore Mountains, c. 1650, Copper engraving Technique: Copper engraving on Paper Date: c. 1650 Description: Landscape depiction of the settlement with individual staffage figures enlivening the settlement. Titled in the graphic above: "Das Wiesen oder Hiobs Badt." Keywords: 17th century, Baroque, Landscape, Germany,
Ffm. 1646. Folio. Mit zahlreichen Kupferstichtafeln (Titelblatt, 3 Kupferstichkarten und 59 Ansichtentafeln). Ex libris \"Karoli H. Eberth a. d. 1859\". Pgt. und HLwd. Stockfleckig. Min. besch. Rest.
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): The occupation of Rostock in 1573, before 18th century, Copper engraving Technique: Copper engraving on Paper Date: before 18th century Description: In the foreground of the depiction are numerous armed soldiers in uniform, engrossed in conversation or overlooking the fighting taking place in front of them. The increasingly difficult relationship between the city and the dukes of Mecklenburg since the feuds of 1534 led to occupations of the Hanseatic city in the years 1565-1573. The smouldering conflict between the city and the sovereign was not settled until the Rostock hereditary treaties of 1573 and 1584. Keywords: before 18th century, Baroque, Military, Germany, Size: 10,4 cm x 14,5 cm (4,1 x 5,7 in), Depiction: 10,4 cm x 14,5 cm (4,1 x 5,7 in) Condition: Good condition. The sheet is mounted in a paper passe-partout.
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Countess Helfenstein begs Jäcklein Rohrbach for mercy for her husband, before 18th century, Copper engraving Technique: Copper engraving on Paper Date: before 18th century Description: The killing of Count Ludwig von Helfenstein and his companions at the gates of the town of Weinsberg by rebellious peasants during the German Peasants' War on 16 April 1525, an Easter Sunday, went down in history as the Weinsberg Bloody Deed. The present depiction bears witness to that very event, the kneeling countess, accompanied by her son, begging the insurgents for mercy. Margaretha von Helfenstein and her son, however, were spared. Source: Johann Wolfgang von Goethe (1749 Frankfurt-1832 Weimar) Götz von Berlichingen | Theater, Genre Keywords: before 18th century, Baroque, Military, Germany, Size: 10,4 cm x 14,5 cm (4,1 x 5,7 in), Depiction: 10,4 cm x 14,5 cm (4,1 x 5,7 in) Condition: Good condition. The sheet is mounted in a paper passe-partout.
Matthäus Merian der Ältere, Ansicht von Plauen Blick vom Süden, aus der Vogelschau, auf die Stadt an der Weißen Elster im sächsischen Vogtland, mit St. Johanniskirche, Rathaus, dem Schloss, Komturhof und anderen erkennbaren Bauwerken, oben mittig betitelt ”Blauen”, unten auf Schriftband ausführliche Legende zur Stadt, links und rechts ungefüllte Wappenkartusche, Kupferstich auf Bütten, aus ”Topographia Superioris Saxoniae, Thuringiae, Misniae, Lusatiae …”, um 1650, unsigniert, mit sauberer Faltlinien und Knitterspuren, Plattenmaß ca. 18,5 x 50,5 cm, Blattmaße ca. 21,5 x 52,5 cm. Künstlerinfo: schweizerischer Kupferstecher, Buchhändler und Verleger (1593 Basel bis 1650 Schwalbach), 1606–09 Schüler des Kupferstechers Dietrich Meyer und des Glasmalers Christof Murer in Zürich, 1610 bei Friedrich Brentel in Straßburg, 1625 Übernahme der Kunsthandlung seines Schwiegervaters Johann Theodor de Bry in Frankfurt am Main, nach seinem Tod führten seine Söhne Matthäus der Jüngere und Caspar sowie später deren Nachkommen den Verlag unter der Bezeichnung ”Merians Erben” bis 1727 weiter und vervollständigten seine Hauptwerke ”Topographia Germaniae” und ”Theatrum Europaeum”, Quelle: Thieme-Becker und Internet.
Matthäus Merian d. Ä., Leipzig aus der Vogelschau Ansicht von Leipzig mit Befestigungsanlagen, aus "Topographia Superioris Saxoniae, Thuringiae, Misniae, Lusatiae ...", in den beiden oberen Ecken Legende mit Wappen, Kupferstich, um 1650, schöner kräftiger Druck, mittig geglättete Faltlinie, minimale Verluste, unter Passepartout und hinter Glas gerahmt, Darstellungsmaße ca. 28 x 35,5 cm. Künstlerinfo: schweizerischer Kupferstecher, Buchhändler und Verleger (1593 Basel bis 1650 Schwalbach), 1606-09 Schüler des Kupferstechers Dietrich Meyer und des Glasmalers Christof Murer in Zürich, 1610 bei Friedrich Brentel in Straßburg, 1625 Übernahme der Kunsthandlung seines Schwiegervaters Johann Theodor de Bry in Frankfurt am Main, nach seinem Tod führten seine Söhne Matthäus der Jüngere und Caspar sowie später deren Nachkommen den Verlag unter der Bezeichnung ”Merians Erben” bis 1727 weiter und vervollständigten seine Hauptwerke ”Topographia Germaniae” und ”Theatrum Europaeum”, Quelle: Thieme-Becker und Internet.
Matthäus Merian d. Ä., Ansicht von Rostock Blick über die Warnow, mit zahlreichen Schiffen, auf Rostock, im Bereich des Himmels bezeichnet "Prospect der Statt Rostock" und drei Wappen, im unteren Bereich Schmuckband und hierauf Legende zu den dargestellten Gebäuden, Kupferstich, erschienen 1653, gedruckt auf zwei verbunden Büttenbögen, hinterlegter Einriss, Darstellungsmaße ca. 26,5 x 65,5 cm, Blattmaße ca. 31 x 70 cm. Künstlerinfo: schweizerischer Kupferstecher, Buchhändler und Verleger (1593 Basel bis 1650 Schwalbach), 1606–09 Schüler des Kupferstechers Dietrich Meyer und des Glasmalers Christof Murer in Zürich, 1610 bei Friedrich Brentel in Straßburg, 1614 in Nancy und Paris, 1615 in Basel, wandert 1616 über Augsburg und Stuttgart in die Niederlande, 1617 Verlagsmitarbeiter bei Johann Theodor Dietrich de Bry (1561–1623) in Oppenheim, 1620–24 eigene Werkstatt in Basel, 1625 Übernahme der Kunsthandlung seines Schwiegervaters Johann Theodor de Bry in Frankfurt am Main, nach seinem Tod führten seine Söhne Matthäus der Jüngere und Caspar sowie später deren Nachkommen den Verlag unter der Bezeichnung “Merian Erben” bis 1727 weiter und vervollständigten seine Hauptwerke “Topographia Germaniae” und “Theatrum Europaeum”, Quelle: Thieme-Becker und Internet.
Matthäus Merian (1621 Basel - 1687 Frankfurt on the Main): Le Havre, Schematic Plan of City & Fortress, 1702, Copper engraving Technique: Copper engraving on Wove paper Date: 1702 Description: The main works of the famous engraver Matthäus Merian include the vedute and city views of Germany and Central Europe. Whether in relation to historical events, such as the battles and political turmoil of the Thirty Years' War, or as a topographical representation to record the territories of the empire, he engraved and etched almost every stretch of land on the soil of the Holy Roman Empire and its neighbouring territories. This illustration is from Merian's "Theatrum Europaeum" of c. 1700 and shows the schematic plan of the town and fortress of Havre de Grace in Normandy. Title of the picture within the printing plate: "Die mit einer schönen Citadelle best-befestigte Stadt und der berihmte See-Haven Havre de Grace." Inscribed below the image: "Das Meer, oder der Ausfluss der Seine in dasselbige". Le Havre, lying on the right bank of the Seine estuary, is the site of France's second largest port after Marseille. From a famous antiquarian bookshop in Munich. Keywords: 18th century, Figurative, Maps, France, Size: 23,8 cm x 35,0 cm (9,4 x 13,8 in), Depiction: 20,8 cm x 28,0 cm (8,2 x 11 in) Condition: Good condition. Lightly foxed, occasionally with brownish stains. Vertical centrefold, as the map comes from a book, torn at the bottom. The map makes a very good impression.
Peter Carl Geissler (1802 Leipzig - 1872 Nuremberg): Frederick William I (1688 Berlin-1740 Potsdam) and his Tobacco College, 19th century, Steel engraving Technique: Steel engraving on Paper Date: 19th century Description: inscribed "P. C. Geissler gez.", "Stahlstich v. Carl Mayer's Kunst-Anstalt in Nürnberg". The picture shows a table party with Friedrich Wilhelm I of Prussia sitting in the centre. The men are smoking a pipe and are looking attentively at a man at the left edge of the picture, who seems to be reading from a document. During the tobacco colleges, the courtly rules of conduct were largely suspended, everyone was to be allowed to speak uninhibitedly, no one had to rise when the king entered the room. Keywords: 19th century, Romanticism, Portraits, Germany, Size: 14,6 cm x 23,1 cm (5,7 x 9,1 in), Depiction: 9,1 cm x 15,6 cm (3,6 x 6,1 in) Condition: Good condition. Isolated pale discolourations, especially in the area of the typesetting.
Merian, Matthäus Die Kupferbibel Matthäus Merians von 1630. Die fünf Bücher Mose und das Buch Josua. Faksimile der Ausgabe Straßburg 1630. Berlin, Coron bei Kindler, 2003. Folio. Handgebundener OLdr. im Stil des 17. Jhs. mit punziertem dreis. Goldschnitt, reicher Goldprägung u. 2 Metallschließen. Mit Kommentarband (OLwd., 62 S.). - Dabei: Die Kupferbibel mit den Radierungen Matthäus Merians d.Ä. von 1630. Das Neue Testament. Faksimile der Ausgabe Straßburg 1630. Lachen am Zürichsee, Coron, 2001. - Schwarz- u. goldgepr. OLdr. im Stil d. Zt. mit Eckbeschlägen u. 2 Schließen aus Metall. Folio. - Mit Kommentarband von Stefan Strohm (OLwd., 83 S.) - Faksimile des handkolorierten Exemplars der Stadt-und Universitätsbibliothek Frankfurt am Main und Faksimile-Ausgabe des berühmten handkolorierten Straßburger Druckes (Straßburg, Lazarus, 1630). - Gerhard Mercator. Atlas sive cosmographicae meditationes de fabrica mundi et fabricati figura. Faksimile der Ausgabe Duisburg 1595. Mit 58 farb. doppelblattgr. Karten. Ebd., 2001. 10 Bll., Kartenteil, 31 S. Gr.-Fol. Gold- u. schwarzgepr. OLdr. auf 5 Bünden mit RSchild. Faksimiledruck nach dem Originalatlas aus der Fürstl. Fürstenbergischen Hofbibliothek zu Donaueschingen im Originalformat und in Farbe. - Sehr gute, beinahe verlagsfrische Exemplare. 3 facsimile prints as listed above. - Very good copies as fresh from the press. *
Matthäus Merian (1621 Basel - 1687 Frankfurt am Main), View of Wiesbaden around 1655, reprint, after 1655, Etching Technique: Etching on Paper Date: after 1655 Description: Detailed city view of Wiesbaden on the Rhine by the famous veduta engraver Matthäus Merian. From an elevated position on a hill planted with vines, Fußberg, the view of historic Wiesbaden opens up. The small-scale engraved buildings are easily recognisable and explained by the legend at lower left. The depiction is from the Topographia Hassiae of 1655 and shows Wiesbaden still as a well-arranged town with many buildings that are no longer preserved today. To be seen are, among others: Palace with Court Chamber Building, the Parish Church of St. Mauritius, the Stadtpfort, the Sonnenbergerthor, the Heydenpfort, the Badherberg zur Roßen, the "Stumpfe Turm" and many more. Enlarged etching after the original on two sheets of paper, which were joined in the centre after printing. The sheet is numbered "23/25" in pencil on the lower margin and signed(?) "Pasap-Daiberg[?]" on the right. Keywords: 19th century, Romanticism, Architecture, Germany, Size: 46,1 cm x 92,7 cm, Depiction: 31,2 cm x 78,0 cm Condition: Good Condition. Still in good condition. The sheet is slightly wavy and weakly rubbed in places. The paper is discoloured due to its age. Light damage in the form of former framing is visible around the image. Stains and soiling are visible on the margins.
Matthäus Merian (1621 Basel - 1687 Frankfurt am Main), Hechingen and Hohenzollern Castle in the Swabian Alb, 18th century, Etching Technique: Etching on Paper Watermark: "M" in Wappenform Inscription: Dedicated at the top of the printing plate and signed by the artist: "Illustrissimo Principi Ac Domino. Domino Philippo Comiti In Hohenzollern. Domino In Sigmaring: Vering: Et Schwabeg D: Ded. Submisse Hanc Tabell: Geograph: Matth: Meria". Date: 18th century Description: Etching on two papers joined in the centre. This depiction is from the second volume of the comprehensive work Topographia Germaniae, written by Martin Zeller (1589 Ranten - 1661 Ulm) and initiated and illustrated by Merian. The 16 volumes still represent a unique testimony of early topographical work and impress with the accuracy of the representation. The present sheet is from the first edition of 1643. In the veduta of Hohenzollern Castle above the town of Hechingen, Merian's typical style of depiction is striking. Despite the partly schematised architecture, striking buildings are always depicted with regard to their individual character. The topography includes all important elevations, bodies of water and traffic routes as well as large and small settlements. Many are referenced and explained in the legend printed below. Keywords: 18th century, Classicism, Maps, Germany, Size: 31,2 cm x 37,6 cm, Depiction: 27,0 cm x 37,2 cm Condition: Good Condition. The sheet is discoloured due to its age and shows light damages in the form of a former framing. There is a print-related box pleat in the upper centre. Strips of paper have been glued to the sides. The edges of the sheet are slightly trimmed. In the lower third of the sheet weak rubbing is visible in places. Long crease on the left side of the print.
