Liber Chronicarum. [The Nuremberg Chronicle].

SCHEDEL, Hartmann.

$350,000.00

Item Number: 146920

Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 12 July 1493.

Exceptionally rare colored example of the first edition of the Nuremberg Chronicle, the most extensively illustrated book of the 15th century. Imperial folio, bound in full 17th-century pigskin over bevelled wooden boards with elaborate blind tooling and scrolling to the spine and panels, brass cornerpieces, 2 fore-edge clasps, 325 leaves (of 328, without blank 55/6 and 61/5-6; fos. 9/3.4, 25/1, 53/6, 54/5 and possibly others supplied from another copy), quire 55 bound at end, fos. CCLVIIII-CCLXI blank except for printed headlines. 1809 woodcut illustrations printed from 645 blocks (S.C. Cockerell’s count, some German woodcuts of the fifteenth century, 1897, pp.35-6), by Michael Wolgemut, Wilhelm Pleydenwurff and their workshop, including Albrecht Durer, lombards, woodcuts coloured by a near-contemporary hand, 14-line initial opening text in interlocking red and blue with purple penwork decoration, other initial spaces left blank, red capital strokes. In near fine condition. (Quires 4 and 5 rehinged, some leaves remargined at hinge and upper or lower margin with some loss [primarily of headline, replaced in pen-and-ink], section of Europe map expertly repaired in facsimile, some light browning, minor repairs). Provenance: annotated throughout in Arabic. Colored copies of the first edition are exceptionally rare.

Published in 1493, the monumental Nuremberg Chronicle remains the most extensively illustrated book of the 15th century. Albrecht Durer, the printer Koberger's godson, is thought to have contributed to the celebrated series of c.1800 woodcuts while working for the workshop of Michael Wolgemut. The publication history of the Nuremberg Chronicle is perhaps the best documented of any book printed in this period: the contracts between Schedel and his partners Schreyer and Kammermaister, and between Schedel and the artists, all survive in the Nuremberg Stadtsbibliothek, as do detailed manuscript exemplars of both the Latin and the German editions (see A. Wilson, The Making of the Nuremberg Chronicle, Amsterdam: 1976). The Nuremberg Chronicle also includes two double-page maps: a world map (Shirley 19) based on Mela's Cosmographia (1482), and a map of northern and central Europe by Hieronymus Munzer (1437-1508) after Nicolas Khyrpffs. The world map is one of only three 15th-century maps showing Portuguese knowledge of the Gulf of Guinea of about 1470. The map of Europe is closely associated with Nicolas of Cusa's Eichstatt map, with which it is thought to share a common manuscript source of c. 1439-54. It is therefore claimed to be the first modern map of this region to appear in print. Although published later than the map of Germany in the 1482 Ulm Ptolemy, it was constructed earlier (Campbell, The Earliest Printed Maps, 1472-1500, 1987). BMC II, 437; Schreiber 5203; Goff S-307; ISTC is00307000. Hartmann Schedel was a medical doctor, humanist and book collector. He earned a doctorate in medicine in Padua in 1466, then settled in Nuremberg to practice medicine and collect books. According to an inventory done in 1498, Schedel's personal library contained 370 manuscripts and 670 printed books. He compiled this elaborate history of the world from “the first day of creation” to his own time in an effort to correct what he felt was a slight to German history by other chroniclers. He divided his work into the usual six ages of the history of mankind, adding a seventh in which he foretold the coming of the Antichrist, the destruction of the world, and judgment day. The invention of printing is mentioned on verso of leaf CCLII: “born in Germany… in the city near the Rhine [i.e. Mainz]… in the year 1440”; on verso of leaf CCXC is a brief account (not appearing in the subsequent German edition of the same year) of the “Portuguese voyage of discovery along the coast of Africa in 1483 [1484], under the direction of Diego Cam and Martin Behaim of Nuremberg, which has been used as a basis for the unwarranted theory that the expedition reached America” (Sabin). The legacy of the volume rests on its illustrations. “There are 1809 woodcuts printed from 645 different blocks. They picture the major events of the Old and New Testaments, episodes in the lives of many saints, portraits of prophets, kings, popes, heroes, and great men of all centuries, freaks of nature, and panoramic views of cities. Nuremberg artists Michael Wolgemut and Wilhelm Pleydenwurff were responsible for the production of the book… The wood blocks were designed by the two masters and their assistants, including the young Albrecht Dürer, who was apprenticed to Wolgemut at the time. The printing was carried out under the supervision of the great scholar-printer Anton Koberger, whose illustrated books were famous throughout Europe” (Legacies of Genius 5).