Null Regiomontanus (d.I. Johannes Müller von Königsberg).
[Calendarium latinum:]…
Description

Regiomontanus (d.i. Johannes Müller von Königsberg). [Calendarium latinum:] Avreus hic liber est: non est preciosor ulla Ge[m]ma kalendario: quod docet istud opus... Venice, Bernhard Maler (Pictor), Petrus Löslein and Erhard Ratdolt, 1476. 4°. Roman type; 28-30 lines. Printed in red and black. 28 unnum. (instead of 32 leaves; without the four leaves with the astronomical figures; without quire designation; original quires dissolved, the leaves mounted on new rebates). With a beautiful five-part woodcut title border, 13 initials printed in red and 12 floral initials in black as well as 60 woodcuts, some colored yellow, for the eclipses. Modern, light brown half pigskin binding (signed Hedberg, Stockholm). ISTC ir00093000. BMC V 243 (IB 20481). Goff R-93, Proctor 4365, Klebs 836.2, Schramm 6400, not in Schreiber. Not in Zinner. Second Latin edition of Regiomontanus' calendar, the first book printed by Ratdolt in Venice. The first book to have a title with a border on which the author, the place of printing, the printers and the date of printing are given. In the tables of conjunctions and oppositions and in the calendar, individual dates and feast days of saints are printed in red, also in the table of movable feast days. The woodcuts on leaves 14-18, some of which are colored yellow, show the eclipses up to the year 1530 - Handwritten additions for the new and full moon at the head of the tables of conjunctions and oppositions, and handwritten astronomical entries by the same hand on leaf 19. Our copy lacks the four leaves with the full-page woodcuts of the astronomical instruments. E.P. Goldschmidt offered a complete copy in his catalog 6 (January 1925, no. 48) and praised it as "one of the finest, rarest and most interesting of early printed books". To emphasize the rarity of the work, Goldschmidt refers to the copy in C.W. Dyson Perrin's collection, which lacks the same four leaves as our copy. A good copy with wide margins. Detached from an anthology, with old handwritten foliation at the head. Only insignificantly stained. - ╔The first printed book with a title page.╗

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Regiomontanus (d.i. Johannes Müller von Königsberg). [Calendarium latinum:] Avreus hic liber est: non est preciosor ulla Ge[m]ma kalendario: quod docet istud opus... Venice, Bernhard Maler (Pictor), Petrus Löslein and Erhard Ratdolt, 1476. 4°. Roman type; 28-30 lines. Printed in red and black. 28 unnum. (instead of 32 leaves; without the four leaves with the astronomical figures; without quire designation; original quires dissolved, the leaves mounted on new rebates). With a beautiful five-part woodcut title border, 13 initials printed in red and 12 floral initials in black as well as 60 woodcuts, some colored yellow, for the eclipses. Modern, light brown half pigskin binding (signed Hedberg, Stockholm). ISTC ir00093000. BMC V 243 (IB 20481). Goff R-93, Proctor 4365, Klebs 836.2, Schramm 6400, not in Schreiber. Not in Zinner. Second Latin edition of Regiomontanus' calendar, the first book printed by Ratdolt in Venice. The first book to have a title with a border on which the author, the place of printing, the printers and the date of printing are given. In the tables of conjunctions and oppositions and in the calendar, individual dates and feast days of saints are printed in red, also in the table of movable feast days. The woodcuts on leaves 14-18, some of which are colored yellow, show the eclipses up to the year 1530 - Handwritten additions for the new and full moon at the head of the tables of conjunctions and oppositions, and handwritten astronomical entries by the same hand on leaf 19. Our copy lacks the four leaves with the full-page woodcuts of the astronomical instruments. E.P. Goldschmidt offered a complete copy in his catalog 6 (January 1925, no. 48) and praised it as "one of the finest, rarest and most interesting of early printed books". To emphasize the rarity of the work, Goldschmidt refers to the copy in C.W. Dyson Perrin's collection, which lacks the same four leaves as our copy. A good copy with wide margins. Detached from an anthology, with old handwritten foliation at the head. Only insignificantly stained. - ╔The first printed book with a title page.╗

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Axel Nordgren, Coast in the Moonlight atmospheric nocturnal coastal landscape with a lonely rowing boat on the water in front of fishermen's cottages on the beach, atmospheric, glazed, partially impasto painting in almost monochrome colours, Brita Linde comments "... Together with his younger colleague Gustaf Rydberg, Nordgren discovered the beaches of Arild and Skälderviken in the 1870s. From here he mainly painted moonlight pieces. The dark, stony beach usually forms an ellipse ... and contrasts with the wide expanse that glistens on the slightly undulating water surface. The horizon is low, so that the sky with the full moon between clouds dominates the scenery. ...", c. 1870, signed "A. Nordgren" on the reverse of the canvas, framed in gilt stucco moulding, folded dimensions approx. 49 x 84.5 cm. Artist information: actually Axel Wilhelm Nordgren, Swedish portrait and landscape painter (1828 Stockholm - 1888 Düsseldorf), first instructed by his father, the painter Carl Vilhelm Nordgren (1804-1857), studied at the Stockholm Academy from 1845-48, travelled with a scholarship from the Swedish crown prince Karl Ludvig Eugen Bernadotte, later King Charles XV (1826-1872). (1826-1872) travelled to Düsseldorf, from 1851 further training in Düsseldorf, among others with Hans Fredrik Gude and Andreas Achenbach, then freelanced in Düsseldorf, maintained friendship with Morten Müller, undertook annual summer study trips with Gude and Müller to Småland, Norway and Finland, in the 1860s to Trollhättan, Huskvarna, Bohuslän, Arild and Skälderviken and in the 1870s trips to southern Sweden (Skåne), was appointed Swedish court painter in 1869 and became a member of the Stockholm Academy, travelled to the Netherlands in 1871, suffered a stroke in 1883 and gave up travelling, exhibited in Berlin, Stockholm, Gotenburg, Königsberg, Düsseldorf, Bergen/Norway, Dresden, London, Lyon, Mainz, Munich, Bremen, Hamburg, Hanover and Vienna, member of the Düsseldorf artists' association "Malkasten" from 1857-88, active in Düsseldorf-Pempelfort, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Swedish biographical lexicon, Boetticher, Müller-Singer, Baumgärtel/Schroyen "Die Düsseldorfer Malerschule und ihre internationale Ausstrahlung 1819-1918", Bruckmann "Lexikon der Düsseldorfer Malerschule", Seubert, Müller-Klunzinger and Wikipedia.