Tobias Fendt - Monumenta Sepulcrorum - 1574

Tobias Fendt - Monumenta Sepulcrorum - 1574
Architektur, Gräber - Anzahl: 1 - tipped in plate- Illustration - Buch

First edition. In Folio. 1574
Large collection of funerary monuments, including the tombs of Dante, Petrarch, Ariosto, Valla, Melanchthon, Celtes.
126 Illustrations: pictorial title page and plates numbered from 1 to 125.
An extremely rare copy.

VERY RARE: according to the American Book Price Current no copy of this edition has appeared at auction in at least the last forty years. German BM/STC, p. 300; Berlin Kat. 3673 (1574 edition); Cicognara 4008 (1589 edition: "A precious series of great rarity, which preserves some memories otherwise lost and dispersed").

Magnificent Renaissance print, entirely engraved work, taken from the drawings of the Silesian nobleman, Siegfried Ribisch (1530-1584), executed throughout Europe, during his ten-year "peregrinatio academica" (1545-1554).
A remarkable and highly desirable copy.

Nineteenth-century black calfskin binding with rounded corners and gold titles on the spine. Printed title within architectural frame designed by Jobst Amman. From an illustrious library: bookplate with coat of arms "Henricus Baro de Gudenus" Philipp Friedrich Gabriel Heinrich Maria von Gudenus, Graf von Gudenus. Pp: 1 + 6 ff. + 129 + 1

Siegfried Rybisch, an eminent citizen of Wrocław in Silesia, commissioned the artist Tobias Fendt to engrave this series of plates, taken from a collection of sketches of funeral monuments and epitaphs that Rybisch collected during a trip to Europe. Among the numerous illustrations of Roman antiquity, the work combines monuments of famous classical authors with illustrations of monuments of humanists from Northern Europe, such as Erasmus, Ulrich Hutten and Melanchthon.

Tobias Fendt - also Fhend, or Vendt - was trained at the workshop of Lambert Lombard in Liège. The first evidence of him in Wrocław dates back to 1565, when he created a painting for the epitaph of Magdalena Mettel with his signature.

The painter published at his own expense ‘Monumenta sepulclorum cum epigraphis ingenio et doctrina excellentium virorum...’ in 1574, dedicated to Emperor Rudolf II. It is a collection of 129 copper engravings modelled on the drawings collected by Seyfried Rybisch during the latter's travels in Italy.

Fendt created a polychrome baptismal font for the church of St. Mary Magdalene in Wrocław in 1570. He became a senior craftsman of the guild in 1571 and a year later bought a house in Wrocław, located in today's Wita Stwosza street. The painter was married to Eva Adam. A year before his death, he was given the privilege of the emperor for his publication of copper engravings dedicated to Rudolf II.

Fendt signed his works with the monogram "TF" inscribed in the dates of the painting. Wizja Ezechiela / Vision of Ezekiel, a painting of the former epitaph of Magdalena Mettel in the church of St. Mary Magdalene, is considered the most outstanding among his confirmed works and is in the collection of the National Museum of Wrocław. It contains this signature, rendered as "15 TF 65". Fendt's second confirmed work is the polychromy of the baptismal font of the church of St. Mary Magdalene - today also in the National Museum in Wrocław. In creating it, Fendt collaborated with Hans Fleiser, a Dutch sculptor who settled in Wrocław.

Fendt is associated with the paintings Chrystus zapowiada Sąd Ostateczny / Christ announces the Last Judgment (1567) from the epitaph of the Mohrenberg family, today in the National Museum in Wrocław; Józef przedstawia faraonowi Jakuba / Joseph presents Jacob to Pharaoh (c. 1567) from the epitaph of Andreas Nauck in Świdnica and Wskrzeszenie Łazarza / The Resurrection of Lazarus in Trzebnica (1569). In addition, the series of prints about the book of Genesis, produced around 1570, is associated with the Wrocław painter.

Fendt's style strongly corresponds to the works of Dutch painters such as Jan van Scorel, Lambert Lombard and Frans Floris. The charm of Dutch pictorial traditions is manifested in elaborate landscapes with ancient ruins in the background. Joseph introduces Jacob to Pharaoh, the painting of Świdnica, shows the artist's in-depth knowledge of perspective and the rules of painted architecture. Fendt's pictorial compositions are often multifigurative. The dynamic representation of the figures is emphasized by their vivid gestures. The painter also presents the then current subject of the male act (Ezekiel's vision) by modelling strongly muscular bodies. The palette of that painting is quite bright, with dominant reds and yellows prevailing over the robes of the figures.

Tobias Fendt was one of the main artists active in ​Silesia in the third quarter of the XVI century. To this day, his vision of Ezekiel is considered the outstanding achievement of Mannerist painting in Silesia.

Full title:
Monumenta sepulcrorum cum epigraphis ingenio et doctrina excellentium virorum: aliorumque tam prisci quam nostri seculi memorabilium hominum: de archetypis expressa.
Breslavia, Crispin Scharffenberg, 1574
Fendt (Tobia), c. 1520/1530-1576


Anzahl der Bücher
Architektur, Gräber
Autor/ Illustrator
Tobias Fendt
Monumenta Sepulcrorum
Erscheinungsjahr (ältestes Objekt)
Breslavia, Crispin Scharffenberg
tipped in plate- Illustration
Anzahl der Seiten
312×229 mm
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