Beschreibung:

German old Master. SCHÄUFELEIN. Doctrina vita et passio Very rare first edition German old Master. SCHÄUFELEIN, Leonhard. Doctrina, vita et passio Iesu Christi Iuxta Novi Testamenti fidem et ... Frankfurt, apud Christianum Egenolph, 1537 Small 4to, 188x125 mm; Contemporary limp vellum, manuscript title on the spine. 40 unnumbered leaves, included Title page and last blank leaf. Sign: A-I4, K2, one leaf with Colophon and date 1537, 1 blank. 73 woodcuts, one on each page with the title in Latin above with Scriptural reference and the German equivalent below. On verso of leaf E4, title of followings illustrations ?Sequuntur Historiae Evangeliorum?. Schäufelein?s Monogram on the Title page and on 48 cuts. Unsophisticated fine copy.
Very rare first edition. In seventy-three woodcuts, Jesus' life is beautifully represented in the original style of Dürer's school: the work starts with the Annunciation and ends with the Universal Judgment. Title page and forty-eight cuts are signed with the IS and a small shovel, the monogram of the author whose name means ?small shovel?. British Museum: ?Painter and designer of woodcuts and glass-paintings. Probably born in Nuremberg, where his father, a successful merchant from Nördlingen, a town to the south-west, moved in 1476. Strongly influenced by Albrecht Dürer in whose studio in Nuremberg he worked from c. 1503. His early woodcuts include illustrations for Ulrich Pinder's ?Der beschlossen Gart des Rosenkrantz Maria? (1505) and ?Speculum passionis? (1507). After Dürer left Nuremberg for Italy in 1505, Schäufelein was instructed to paint the altarpiece for Ober-St-Veit (Vienna, Diözesanmuseum) after Dürer's design, for which four of Dürer's drawings have survived. His earliest dated painting is the ?Crucifixion? of 1508 (Nuremberg, Germanisches Nationalmuseum). Probably worked with Hans Holbein the Elder in Augsburg during this period. From 1510 to 1515 he was active in Augsburg, where he designed numerous woodcuts for the local printers. In 1513 he painted the high altarpiece for the Benedictine abbey at Auhausen. In 1515 Schäufelein settled in Nördlingen where he was granted citizenship; his most important painting, the ?Ziegler altarpiece?, dated 1521 is in Nördlingen (St Georgskirche). He also produced a number of portraits (Warsaw, National Museum; Washington DC, National Gallery of Art, and elsewhere) and many woodcuts, which include contributions to the Emperor Maximilian's ?Weisskunig? (1514-16), ?Theuerdank? (1517) and ?Triumphal Procession? (1516-18). About ninety drawings, mostly from the first fifteen years of Schäufelein's activity, are known to have survived, many of which are signed with his monogram, some with the addition of a small shovel (?Schäufelein?).? Getty Museum: ?Hans Schäufelein was one of Dürer's first group of journeymen and even after he had become a master himself and had developed his own style he retained Dürer's friendship and confidence. Nothing is known about the date and place of Hans Schäufelein's birth or his initial training, but he is considered to have been born c. 1480/1485. Although often called Hans Leonhard Schäufelein, there is apparently no documentation for the name Leonhard. Schäufelein probably entered Albrecht Dürer's Nuremberg workshop c. 1503/1504 and Dürer's influence is evident in Schäufelein's earliest graphic works, the woodcuts he produced for Der Beschlossen Gart der Rosenkranz, published by Ulrich Pinder in 1505, and in 1507 the illustrations to the Speculum Passionis Domini Nostri Ihesu Christi. According to the Getty Museum biography, Schäufelein made most of the 150 woodcuts for a 1507 collection of New Testament passages and texts. A born storyteller, he conceived his scenes as narratives, which he populated with well-observed details. ? Among his last works are the illuminations of 1537/1538 in a prayer book done for the Counts of Oettingen. Hans Schäufelein died sometime between 1538 and 11 November 1540, when his wife is mentioned as a widow.? Bartsch, VII, 244 e ss; Brunet, II, 780. Dodgson, II, p. 14 (31); Fairfax Murray, German books, II, 393; Thieme Becker, XXIX, 558; Hollstein 710-738.