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Chert ablon's li La Manicre de se bien Preparer a la Mort: 
 
 A nvers, 1740. 
 
 G. E. SEARS LIBRARY. 
 
Collection of Works 
 
 Illuftrative of 
 
 jjp jftanrp of jMttj 
 
 LA DANSE MACABRE LES IMAGES DE LA MORT 
 
 IMAGINES MORTIS LE TRIOMPHE DE LA MORT 
 
 ICONES MORTIS DER TODTEN TANZ. 
 
 IN THE LIBRARY OF 
 
 GEORGE EDWARD SEARS 
 
 With Photographic Reproductions of 
 
 Rare and Curious Title-Pages and Plates 
 
 Selected Therefrom 
 
 Neto ¥orfe 
 
 PRIVATELY PRINTED 
 1889 
 
M-^-S"^ 
 
 :£*t 
 
Artists antr iSnsraims 
 
 WHO ARE KNOWN TO HAVE DELINEATED THE SUBJECT. 
 
 Hans Holbein, 
 
 H. Aldegrever, 
 
 Eberh. Kieser, 
 
 Jobst Amman, 
 
 Wenceslas Hollar, 
 
 Ch. de Mechel, 
 
 Andre Trost, 
 
 Rudolph Meyer, 
 
 i. r. schellenberg, 
 
 Chodowiecki, 
 
 Grand ville, 
 
 T. Rowlandson, 
 
 R. Dagley, 
 
 J. Schlotthauer, 
 
 Bonner, 
 
 Hans L/utzelberger, 
 
 David Denecker, 
 
 Jobst Denecker, 
 
 Anton Sylvius, 
 
 Otho V^enius, 
 
 Matt. Merian, 
 
 M. Rentz, 
 
 Conrad Meyer, 
 
 Callot, 
 
 Geo. Cruikshank, 
 
 D. Deuchar, 
 
 Thos. Bewick, 
 
 M. Frenzel, 
 
 Byfield, 
 
 Alex. Anderson. 
 
Z$t ©ance of S>eo& 
 
 NAME given to a certain class of allegorical representations, 
 illustrative of the universal power of Death, and dating from 
 the fourteenth century. When the introduction of Christianity 
 first banished the ancient Germanic conception of a future 
 state, a new description of death mythology arose, partly out of Biblical 
 sources, partly out of the popular character itself, wherein the Last Enemy 
 was represented under simple and majestic images, such as that of a husband- 
 man watering the ground with blood, plowing it with swords, rooting out 
 weeds, plucking up flowers, or felling trees, sowing it with corpses ; or, of a 
 monarch assembling his armies, making war, taking prisoners, inviting his 
 subjects to a festival, or citing them to judgment. But with a gradual 
 change in national manners came a change in the mode of treating the 
 subject, and it was associated with every-day images, such as the confessional, 
 chess playing, and, above all, with the adjuncts of a festival, viz., music 
 and dancing. This tendency to familiarize the theme increased during the 
 confusion and turmoil of the fourteenth century, when the national mind 
 alternated between fits of devotion and license, or blent both elements in 
 satire and humor. Such a mood as this naturally occupied itself with per- 
 sonifying Death, and adopted by preference the most startling and grotesque 
 images it could find — that of a musician playing to dancing men, or a dancer 
 leading them on ; and as the dance and drama were then intimately connected, 
 and employed on religious occasions, this particular idea soon assumed a 
 dramatic form. This drama was most simply constructed, consisting of 
 short dialogues between Death and " four-and-twenty " or more followers, 
 and was undoubtedly enacted in or near churches by religious orders in 
 Germany during the fourteenth century, and at a rather later period in 
 F ranee . — Cyclopedia . 
 
INTRODUCTORY. 
 
 <©tt0tn Of tfje SttftfeCt. The Dance of Death most probably 
 had its origin in the ancient custom of dancing in churches and church-yards, 
 often conducted in an indecorous and ludicrous manner, and which at times 
 assumed the form of a spiritual or religious masquerade, in which Death was, 
 morally, the leading character. These pageants are known to have frequently 
 occurred, even so late as the middle of the fifteenth century in France. 
 
 2TijC lEaKlg ^atntltlgg. Out of this doubtless grew the many 
 varied representations of the subject, painted or sculptured upon the walls 
 of numerous churches, chapels, nunneries, convents, and bridges in France, 
 Germany, Switzerland, and other continental countries, as well as in some 
 parts of England. The earliest known series are believed to be those that 
 were executed in a nunnery near Basle about 1312. Another series were 
 painted in a church in Basle about 1430-50 (now designated as the Gross- 
 Baseler Todtentanz), copies of both of which were fortunately engraved 
 before their destruction, and to which further allusion will be made. The 
 emperors and pontiffs may have ordered these various paintings, or encour- 
 aged their execution, to gradually draw the people away from the offensive 
 fooleries of earlier times, as well as for the purpose of awakening a deeper 
 religious spirit among the masses. Be this as it may, the painters with a 
 quiet sarcasm seem to have made no exception in favor of the high and 
 mighty rulers of church and state, and the grim, gaunt skeleton was pictured 
 as leading the Pope, the Emperor, and the King with the same power as 
 when grasping the form of the wretched beggar. 
 
 While these numerous frescoes and sculptures were all more or less 
 varied in design, the same ruling idea permeated all, namely, Death as a 
 skeleton, but full of life and frolic, in the act of leading all the different 
 ranks and conditions of mankind, and most frequently in the attitude of a 
 dancing, lively motion. 
 
 In some cases, verses of a religious and moral character were painted 
 underneath. No reliable testimony has thus far been given, nor any records 
 found, by which it can be known who the artists were who first executed 
 
these frescoes. There is certain evidence, however, that one Klauber, an 
 eminent painter of Basle, in the year 1568 restored those in the church of that 
 city most skillfully, and added two to the series, one being a portrait of 
 himself, and the other of his wife and child, with the skeleton introduced in 
 each. 
 
 At the present day these ancient frescoes have almost entirely disap- 
 peared. The last of the Basle paintings were destroyed by the wise 
 magistrates about 1805, and a fine series at Strasburg, demolished by the 
 bombardment of that city in 1870. 
 
 There still exists upon the arches of an old bridge at Luzerne a set of 
 old pictures of the subject, probably dating back three centuries, and a few 
 remnants of others may, without question, be found elsewhere, but if so, 
 sadly defaced and almost obliterated by the ravages of time and want of 
 repairs and restorations. 
 
 iSadg JJrftltrtl iS3E0rft8. Shortly after the discovery of 
 Printing, a few works were issued in Paris, called " La Danse Macabre," 
 " La Grant Danse Macabre," etc., with crude and curious wood-cuts, surely 
 suggested by the ancient pictures, accompanied by text in verses, in which a 
 dialogue was carried on between Death and each of his various victims. 
 
 The origin and meaning of this word Macabre, or Maccabe, have been 
 the subject of much research by the bibliographers of the present century, to 
 whose works those feeling any interest are referred. 
 
 These singular productions of early typography and engraving are now 
 among the most rare and costly gems in the libraries of the curious. Later 
 editions appeared, from the same blocks, for more than a century afterwards, 
 with variations and additions. 
 
 In the well known and beautiful Horse, or Books of Hours, issued at 
 Paris by Vostre, Verard, Godard, Kerver, Geoffroy Tory, 1485-1520, the 
 subject was frequently introduced in the borders surrounding every page, 
 engraved with great skill and cleverness. It is now a question with experts 
 whether these borders are not engraved upon metal, instead of being wood- 
 cuts, as has been the general supposition. 
 
 Kftt PjOlfcCtU DCStflttS. Not a little interest in this subject, 
 at least so far as the art of engraving upon wood is concerned, centres in the 
 great painter, Hans Holbein. In the early part of the sixteenth century, 
 while a youth, he had, without doubt, closely studied and observed the curious 
 old paintings in his native city of Basle, and became imbued with their spirit. 
 The result was the immortal designs and drawings, which may fairly claim to 
 have been almost entirely new and original, upon the forty-one small wood 
 blocks, engraved by Hans LUtzelberger, and which first appeared at Basle, 
 probably about 1525-1530, printed upon one side of sheets, with some text, 
 and in regular book form, at Lyons in 1538. Holbein also about the same 
 
period drew a miniature series of the Dance of Death, in the initial letters 
 of the alphabet, which were engraved with great skill and delicacy by 
 Ltitzelberger. 
 
 There is no reliable evidence that Holbein ever painted any series of a 
 Dance of Death in Basle, or that he retouched or restored any of the old 
 frescoes. Some records are preserved which justify the belief that he painted 
 a Death Dance of some kind upon the walls of the old palace of Whitehall 
 during his residence in London, but if so, no trace of such has thus far been 
 found. It would seem that a fair conclusion must be that the old pictures at 
 Basle, executed long before his birth, were the sources of his inspiration at 
 the period he prepared his drawings on the wood. 
 
 These original forty-one wood-cuts are even to-day considered the 
 master-pieces of the art. No study of, nor history of the development of 
 wood engraving has been written in which they do not prominently appear, 
 and are recognized as expressing the highest type of genius that the art has 
 yet produced. A few years after the first appearance of the originals, there 
 were issued at Lyons in 1547 editions in the French and Latin text, in which 
 were twelve more cuts, making fifty-three in all, and also an edition dated 
 1562, containing in all fifty-eight cuts. It is quite probable that Holbein also 
 designed most of these later ones — possibly some are doubtful. Several 
 other issues from the original blocks appeared during the ensuing twenty 
 years, with verses and copious text, sometimes in the French, and again in 
 the Latin language. All of these issues, especially the earlier ones, are quite 
 rare and costly. 
 
 ffiojues of p?oU) tin's Qtutn on SUKoott. No sooner had 
 
 these remarkable designs appeared, when other artists in various countries 
 made copies of the same, and numerous pirated or surreptitious editions, with 
 these imitations, were published in Venice, Cologne, Basle, and elsewhere. 
 These copies were remarkably clever, more especially those made by an 
 unknown Italian engraver for Valgresi's issue at Venice, 1545, which are by 
 far the best ever executed. 
 
 The Birckmanns, celebrated printers of Cologne, issued several pirated 
 copies, the first in 1555, in which all the cuts were reversed, except one, and 
 of a little larger size than the original. Some of these have the monogram 
 JP , and are attributed to a well-known engraver of the time, Anton Sylvius. 
 Though cleverly executed, they are far inferior to the originals. Jobst 
 DeNecker made very skillful imitations in an edition put forth at Augsburgh 
 in 1544, adding an original one, called "The Adulterer." In the present 
 century Bewick engraved very creditable copies, and Bonner and Byfield, two 
 gifted English artists, made an admirable series for Mr. Douce's " Disserta- 
 tion." Dr. Alexander Anderson, the father of wood engraving in America, 
 engraved copies similar to Bewick's in 1810, probably the only complete set 
 ever executed in the New World. 
 
<£OpftS ttpOU ©OPPEr. During the seventeenth century the 
 copper-plate and metal engravers of Germany and elsewhere seized the 
 subject as portrayed by Holbein. An edition, without date, name or place, 
 but issued at Frankfort sometime between 1590 and 1610, appeared, with a 
 fine frontispiece and sixty copper-plates, surrounded with pretty borders of 
 flowers and fruits, engraved by Eberhard Kieser. All the original designs are 
 copied and several new and curious ones added. These are the first known 
 complete set of copies upon copper. A reproduction of the title-page and 
 of one of the new cuts will be found herein. About 1650 Hollar made his 
 remarkable etchings after Holbein, the beautiful borders being engraved by 
 Diepenbecke. These plates afterwards by some means came into the posses- 
 sion of Mr. Edwards, a London publisher, who about the year 1790-1794 
 reissued them, without the borders, accompanied by text both in English and 
 French. In 1780 C. De Mechel, of Basle, produced a very beautiful set of 
 copies. 
 
 ©tijet Uestflns upon Copper, tofti) joints from 
 
 SjOHjfflT, While Kieser, Hollar and De Mechel confined themselves very 
 closely to the actual designs of Holbein, very many other editions appeared 
 during the seventeenth and eighteenth, as well as present century, in which the 
 engravers, while largely borrowing from the great originals, and in a marked 
 degree embodying their main features, yet added many new and curious 
 designs, in which the manners, customs and follies of the time were satirized, 
 and which were often of a comical and humorous character. These plates 
 were almost always accompanied by texts, discourses, pious and secular 
 verses, dialogues, songs of Death, set to appropriate music, etc., etc. 
 
 (TOPICS Of tfjt OUT JSaSlt PafntftlgS. In the early part 
 of the seventeenth century, Mattheu Merian, a celebrated engraver of Frank- 
 fort, very fortunately made copies of the old pictures in the church at Basle, 
 which were shortly afterwards almost obliterated, and, as before stated, 
 destroyed about 1805. These copies he engraved upon copper in a masterly 
 manner, and they were first issued in book form at Frankfort in the year 1649, 
 with accompanying text in German, followed by several later editions, some 
 having the text in both French and German. A fac-simile of the title-page 
 of this early issue and of one of the cuts of this series is here presented. 
 
 There is some reason to believe that a portion, at least, of the old 
 pictures had also been copied and engraved upon wood previous to the year 
 1600. In a reprint in this collection, dated Basle, 1796, there are several 
 wood-cuts of the Basle Dance, upon one of which there is the mark G. S. 
 with a graver's tool underneath, and dated 1576. If this was the original 
 block, it would prove that fact, but possibly some deception may have been 
 practiced. 
 
 10 
 
.JHOTrptTtt MCJJCClTTUCttOltS. In recent years many very creditable 
 reprints and fac-similes of the Danse Macabre, the Holbein cuts, Hollar's and 
 De Mechel's etchings, the Basle Dance, Merian's plates, etc., etc., have been 
 published, and can be secured at very moderate outlay. The etchings after 
 Holbein, by Frenzel, Leipzig, 1831, and those lithographed by Prof. Schlott- 
 hauer, Munich, 1832, are admirably executed. Many of the very rare and 
 costly early French issues of "La Danse Macabre "have also been cleverly 
 reproduced by the Plinski process, at Paris, while the German publishers 
 have given faithful copies after Merian, Hollar, and De Mechel. 
 
 SlttllOJJtMjH)!}. The bibliography of the subject may be said to 
 date from the past half century, and is amply and fully represented by the 
 labors of Piegnot, Kastner, Langlois, Dufour, and others in France ; by 
 Massmann, Edel, Lippmann in Germany, and Douce and Humphreys in 
 England. To the above studies and dissertations the curious inquirer is 
 referred. Many of these works contain very valuable and interesting plates 
 and facsimiles, and the subject matter evinces thorough research and study 
 into the various phases of this curious and fascinating theme. 
 
 cSUttTinat*!?. After this somewhat hurried outline, it may be 
 mentioned that this sombre Death Dance has been treated in every variety of 
 form and feature that the lively fancy and thoughtful study of artists, painters, 
 poets, scholars and satirists could suggest. It has permeated the literature of 
 the past four centuries ; more especially is it always found in some guise in 
 the innumerable emblem books of the sixteenth and seventeenth centuries. 
 In our own day it has been illustrated by the clever pencils of Rowlandson, 
 Deuchar, Dagley, Cruikshank, Bewick and Grandville, not forgetting our 
 American Bewick, the late Dr. Anderson. The photographic reproductions 
 accompanying this catalogue give but a slight idea of the varied forms in 
 which the subject was treated ; and, so far as known, the most of them appear 
 here for the first time. In nearly every case they have been taken directly 
 from the originals, and may therefore be relied upon for accuracy. 
 
 In the gradual formation of a collection of books intended to illustrate 
 the origin, growth and development of the arts of printing and engraving, it 
 seemed essential that this most important feature should be fairly represented ; 
 and this, together with a study of Mr. Douce's valuable work, and Peignot's 
 researches, inspired a wish to secure what might be obtainable of these 
 literary and artistic curios. 
 
 The collection herein described, though very far from completion, and 
 much yet to be secured if time and opportunity are vouchsafed, has, however, 
 largely gratified the desire and given zest and variety to many leisure hours 
 
of the past ten years. It may also possibly be fairly entitled to the credit of 
 forming a modest link in the chain of rare and valuable acquisitions secured 
 in recent years from the shelves of the old world by our amateur collectors. 
 
 NEWY0RK,c^i^ 1889. 
 
 G. E. S. 
 
\ly d trie f'oix , qui fembk dro'ife deuM I'homme: 
 mm la ji u d'icdk mene <t U mott. 
 
 prover. xirn. 
 
 Telle voye aux hwmains eft "bonne, 
 Etaihomm.' rreilufte femble: 
 Mais la fin d'ellc: a I'homme donne, 
 h a m o r. t, qui touspecheurs 'affenible 
 
 The Nun : 
 
 FROM HOLBEIN, 
 
 hi " Lis Images de la la Mart." 
 
 Lyons, jjjj. 
 
 C. E. SEARS LIBRARY. 
 
iFcom fLouflffUoto's "(Koltreu Heflenti." 
 
 SCENE: — A Covered Bridge at Lucerne. 
 
 Elsie. — How dark it grows ! 
 
 What are these paintings on the walls around us? 
 
 Prince Henry. — The Dance Macaber ! 
 
 Elsie.— What ? 
 
 Prince Henry. — The Dance of Death ! 
 All that go to and fro must look upon it, 
 Mindful of what they shall be, while beneath, 
 Among the wooden piles, the turbulent river 
 Rushes, impetuous as the river of life, 
 With dimpling eddies ever green and bright, 
 Save where the shadow of this bridge falls on it. 
 
 Elsie. — O, yes ! I see it now ! 
 
 Prince Henry. — The grim musician 
 Leads all men through the mazes of that dance, 
 To different sounds in different measures moving; 
 Sometimes he plays a lute, sometimes a drum, 
 To tempt or terrify. 
 
 Elsie. — What is this picture? 
 
 Prince Henry. — It is a young man singing to a nun 
 Who kneels at her devotions, but in kneeling 
 
 13 
 
Turns round to look at him, and Death meanwhile, 
 Is putting out the candles on the altar ! 
 
 Here he has stolen a jester's cap and bells, 
 And dances with the Queen. 
 And here the heart of the new-wedded wife, 
 Coming from church with her beloved lord, 
 He startles with the rattle of his drum. 
 Under it is written, 
 " Nothing but Death shall separate thee and me ! " 
 
 Elsie. — And what is this that follows close upon it? 
 
 Prince Henry. — Death, playing on a dulcimer. 
 Behind him, 
 A poor old woman, with a rosary, 
 Follows the sound and seems to wish her feet 
 Were swifter to o'ertake him. Underneath, 
 The inscription reads, " Better is Death than Life." 
 
 Elsie. — Better is Death than Life ! Ah yes ! to 
 thousands 
 Death plays upon a dulcimer, and sings 
 That song of consolation, till the air 
 Rings with it, and they cannot choose but follow 
 Whither he leads. And not the old alone 
 But the young also hear it, and are still. 
 
 Prince Henry. — Let us go forward, and no longer stay 
 In this great picture-gallery of Death ! 
 I hate it ! ay, the very thought of it ! 
 
 Elsie. — Why is it hateful to you ? 
 
 Prince Henry. — For the reason 
 
 That life, and all that speaks of life, is lovely, 
 And Death, and all that speaks of Death, is hateful. 
 
 Elsie.— The grave itself is but a covered bridge, 
 Leading from light to light, through a brief darkness ! 
 
 14 
 
BIBLIOGRAPHICAL WORKS 
 
 RELATING TO THE SUBJECT. 
 
 DOTJCE (Francis). The Dance of Death exhibited in elegant 
 engravings on wood, with a dissertation on the several representa- 
 tions of that subject, etc. London, (pickering), 1833, 8vo., half 
 calf, gilt back, marbled edges, first edition, scarce. 
 
 *** Contains a very fine set of fac-similes of the Holbein cuts, upon wood, by Bonner and 
 Byfield. Mr. Douce's valuable dissertation is a recognized authority on many disputed points. 
 
 DOUCE (Francis). Holbein's Dance of Death, exhibited in ele- 
 gant engravings on wood, with a dissertation, etc. ; also, Holbein's 
 Bible cuts, consisting of 90 illustrations on wood, with introduction 
 by Thos. Frognall Dibdin. London, (bohn), 1858, nmo., cloth, 
 uncut. 
 
 *** A later and inexpensive reprint of Mr. Douce's dissertation, with copies of Holbein's 
 Bible cuts, added, etc. 
 
 DUFOUR (L'Abbe - Valentin). La Danse Macabre peinte en 1425 
 au Cimetiere des Innocents. Fac-simile de 1'edition 1484 Pr6ced6 
 de Recherches par L'Abbe' Valentin Dufour. Paris, (willem), 
 1875, large 4to, broche, uncut, only 250 copies printed sur papier 
 verge" teinte", epuise. 
 
 *«*This valuable treatise by Dufour, has an elegant etched frontispiece of an ancient 
 painting of the Dance of Death, by Lenoir; also, a fac-simile of an edition of the Danse 
 Macabre, 1484. 
 
 EDEL (Fr. W.) Die Neue Kirche in Strassburg. Nachrichten 
 von ihrer entstehung, ihren schicksalen und merkwiirdigkeiten, bes. 
 auch vom neuentdeckten Todtentanze. Strassburg, 1825, 8vo., half 
 red morocco, gilt top edges, uncut, rare. 
 
 *** Contains copies of the Dance of Death, painted on the walls of the old Dominican 
 Convent at Strassburg, now entirely destroyed by the bombardment of the city in 1870. 
 
FORTOUL (Hippolytye). La Danse des Morts dessin6e par Hans 
 Holbein, grav6e sur pierre par Joseph Schlotthauer, epliquee* par 
 Hippolytye Fortoul. Paris y n. a 7 ., (1842), Small 4to, half calf gilt 
 top edges, uncut, scarce. 
 
 *** M. Fortoul has given a very complete study of the subject, and also a faosimile of the 
 title-page and preface to first edition issued at Lyons, 1538, and a complete faosimile of the first 
 edition at Basle, 1554. The copies of the 53 cuts, by Schlotthauer, of Munich, are among the 
 finest of the modern reproductions of Holbein's cuts. 
 
 HUMPHREYS (H. N.) Hans Holbein's celebrated Dance of 
 Death, illustrated by a series of photo-lithographic fac-similes from a 
 copy of the first edition, now in the British Museum, etc. London, 
 (quaritch), 1868, i2mo., cloth, red edges. 
 
 JUBINAL (Achille). Explication de la danse des morts de la 
 Chaise-Dieu, fresque in^dite due quinzieme siecle, pr6c6dde de 
 quelques detail sur les autres monumens de ce genre. Avec quatre 
 figures en couleur. Paris, 1841, large 4to, half morocco, uncut, 
 scarce. 
 
 *** This work gives an account of the frescoes of the Danse Macaber, on the walls of an 
 old church at Auvergne, in France, also very fine copies of same, in colors. AutogTaph letters 
 of the author are inserted in the present copy. 
 
 KASTNER (Georges). Les Danses des Morts, dissertations et 
 recherches, historiques, philosophiques, littdraires et musicales sur 
 les divers monuments de ce genre qui existent ou qui ont existe" 
 tant en France qu'a L'Etranger, accompagncfes de La Danse 
 Macabre, etc., etc., Paris, 1852, large 4to, half morocco, gilt top 
 edges, uncut, very scarce. 
 
 *** Contains nearly 200 beautiful fac-similes and original designs not found elsewhere. 
 The musical researches are especially valuable. 
 
 LANGLOIS (E. H.) Essai historique, philosophique, et pitto- 
 resque, sur les danses de morts, etc. Rouen, 1852, 2 vols., 8vo., half 
 calf, gilt top edges, uncut, very fine copy. 
 
 *»* This able work contains several fine fac-similes of the various old paintings ■ a few 
 of Holbein's designs, and others new and curious. Also, a valuable list of editions, their 
 titles, dates, etc. 
 
 MERINO (A. Fernandez). La Danza Macabre, estudio, critico, 
 literario. Madrid, 1884, 8vo., brochtf, uncut. 
 
 *** A recent critical essay on the Macabre Dance, issued in Spain. 
 
 16 
 

 
 \yy ^ MASSMAN (H. F.) Die Baseler Todtentanze in getreuen ab 
 
 \ 
 
 bildungen, nebst geschichtlicher untersuchung, sowie vergleichung 
 
 y • mit den iibrigen deutschen Todtentanzen, sammt einem 
 
 V anhange : Todtentanz in Holzschnitten des ftinfzehnten Jahr- 
 
 hunderts von H. F. Massman. Stuttgart, 1847, 2 vols., Text, in 8vo., 
 Atlas, in 4to., with eighty-one engravings upon twenty-two copper-plates ; 
 also, twenty-seven facsimiles from early Block-Books, half morocco, gilt 
 top edges, uncut. 
 
 *** Massman gives complete copies of the old paintings at Basle, after Merian and Bucbel, 
 a valuable list of various editions of works on the Dance of Death, etc., etc. 
 
 PEIGNOT (Gabriel). Recherches historiques sur les danses des 
 morts et sur l'origine des cartes a jouer, ouvrage orne" de cinq litho- 
 graphies et de vignettes, par Gabriel Peignot. Dijon, 1826, 8vo., 
 half calf , sprinkled edges, very scarce. 
 
 *** It is enough to know that Mons. Peignot gave this subject his thought and attention 
 to be assured that his researches are of great value. There are several plates and fac- 
 similes in the work. 
 
 SCHLOTTHATJER (J.) Hans Holbein's Todtentanz in 53 getreu 
 nach den Holzschnitten lithographirten blattern, Herausgegeben 
 von J. Schlotthauer, etc. Munchen, 1832, 12010., half vellum, uncut, 
 
 SCARCE, FIRST IMPRESSIONS. 
 
 *** In this volume are the 53 Holbein cuts so cleverly lithographed, as almost to be 
 mistaken for the wood originals, accompanied by bibliographical and literary remarks on the 
 Dance of Death, by Massman and Schubert. These plates were afterwards used in later 
 editions by Fortoul, (1842) ; Smith, (1849). 
 
 SCHULTZ JACOBI (J. C.) De Nederlandsche Doodendans. 
 Utrecht, 1849, 8vo., half morocco, gilt top, folding plates. 
 
 ***An interesting monograph on several rare Editions of the Dance of Death, printed in 
 the Netherlands. 
 
 SMITH (J. Russell). Holbein's Dance of Death, with an histori- 
 cal and literary introduction. London, 1849, small 8vo., full morocco, 
 gilt edges, fine copy. 
 
 *** The fac-simile plates in this work are by Schlotthauer, of Munich, engraved upon stone 
 in a masterly manner, beautiful impressions. 
 
 VALLARDI (G.) Trionfo e danza della morte, o danza Macabra 
 a Clusone, dogma della morte a pisogne nella provincia de Ber- 
 gamo, etc., etc. Milan, 1859, imp. 8vo., boards, uncut, very 
 scarce. 
 
 *** Contains several folding plates, one beautifully colored, of Death and Childhood. 
 
 17 
 
PLATE III. 
 
 
 Title-Page : 
 
 liber h. AVeser's Plates. Frankfort, circa iboo. 
 
 * 
 
 G. E. SEARS LIBRARY. 
 
3E)oflktn + ©ance of ©*<*$♦ 
 
 Editions, with Original Wood-cuts designed by Holbein 
 and engraved by hans lutzelberger. 
 
 Lyons, 1547. 
 
 3LfS KtttafltS "St la JttOtt, auxquelles sont adiouste^s douze 
 figures. Davantage, la mddecine de l'ame la consolation des 
 malades, un sermon de mortality, etc. A la fin : Imprime' a Lyon a 
 1'escu de Coloigne, par Jehan Frellon, 1547, with 53 wood-cuts by 
 Holbein, nmo., full Levant morocco, elegant binding by Trautz- 
 Bauzonnet, very rare, original impressions. 
 
 *»* This is the first edition, containing 53 cuts, the earlier ones having; but 41. Being- very- 
 fine impressions from the genuine blocks, and equally well printed, if not surpassing the first 
 issue by the Trechsels in 1538, it is a very desirable example. Most of the modern bibliog- 
 raphers have made use of this issue in reproducing fac-similes. A copy of one of the cuts, 
 "The Nun," is given herein. 
 
 Antwerp, 1654. 
 
 WOLSSCHATEN (G. van). De Doodt vermaskert met des 
 weerelts ydelheyt afghedaen door Geeraerdt van Wolsschaten. 
 Verciert met de constighe Beldher van den vermaerden schilder 
 Hans Holbeen. (Death masked with the world's vanity, ornamented 
 with the ingenious images of the famous painter, Holbein.) 
 Antwerp, 1654, with 18 wood-cuts, 14 of which are the 
 original blocks retouched. Small 8vo., newly bound, full 
 maroon calf y gilt top edges by Stikeman, rare. 
 
 *»* This volume has special interest, as showing the preservation of some of the original 
 wood-blocks more than a century after their first appearance (about 1530-1538). The monogram 
 jj} appears upon some of them, probably to indicate that this engraver of Antwerp, into 
 whose hands they had fallen, had retouched them. Thought to be the mark of Anton Sylvius. 
 Douce, pp. 109-110. 
 
 19 
 
Editions, with Copies of the Holbein Cuts upon Wood. 
 
 First Edition of the First Copies. Issued 
 
 at Venice, 1545. 
 
 SIMOLACHKI I Historie, E. Figvre | De La Morte. || oue fi 
 contiene, || La Medicina de L'Anima vtile, || etc : etc : (Printer's 
 device of the brazen serpent.) Con gratia e priuilegio de l'illuftrif 
 Senato | Vinitiano, per anni dicci. || Appreffo Vincenzo Vaugris al 
 segno d'Erasmo. MDXLV., with 41 remarkably fine wood- 
 cuts, IMITATING THE MASTER PIECES OF HOLBEIN. I2mO., full 
 dark olive crushed Levant morocco, symbolically tooled, by Alfred 
 Matthews, very rare. 
 
 *** This work is described by Douce (p. m) as containing the first, and by far the best 
 copies of Holbein's designs. Whoever the artist was, he certainly displayed extraordinary 
 merit, and only an expert could distinguish the slight inferiority. The printer, Valgresi, goes 
 so far as to assert in his preface, that they are finer than the originals. They far excel the 
 copies made in Germany, first issued by Birckmann at Cologne, 1555, ten years later, upon 
 which appear the monogram d. , which is believed to be that of Anton Sylvius. 
 
 Rare and Curious Edition, issued 
 at Venice, 1596. 
 
 GLISSENTI (Fabio). Discorsi morali dell' eccellente Sig. Fabio 
 Glissenti, contra il dispiacer del morire. Detto athanatophilia, divisi 
 in cinque Dialoghi, occorsi in cinque giormate... con trenta vaghi 
 et utili Ragionamenti, come tante piaceuoli Nouelle, etc. Venetia, 
 Dom. Farri, 1596, with over 300 wood-cuts, illustrating the 
 Dance of Death, including copies of the Holbein series. 
 Thick 4to, vellum gilt, uncut, very tall, clean copy, first 
 edition, extremely rare. 
 
 *** Premiere Edition d'un ouvrage peu connu. Cest une sorte de tragedie de la vie 
 humaine en cinq tableaux, dans lesquels sont comprises trente nouvelles. On trouve dans le 
 courant du volume trois cent quatre-vingt-une gravures sur bois, ayant toutes plus ou 
 moins rapport aux Danses des Morts. (La suite de Holbein y est copide en entier.) Le beau 
 portrait de Glissenti, repete 1 6 fois, est entoure' d'emblemes funebres, ainsi que la plupart des 
 autres planches. 
 
 Exemplaire rempli de temoins en tous sens. 
 
 Douce (p. 112) notices an edition of this work dated 1609, and claims for it extreme rarity. 
 This first and earlier issue seems to have escaped him. 
 
 ■M 
 
PLATE [V. 
 
 , _ JlucM tvt ccm Co i*t . -<"z 
 
 tytrl rot tit Wn^vn tmfto-u ticvem\ 
 lVwmux..T(rxw.<). vL' 
 
 be K7M ais drrMjuisthuTTi KjPtut. , • 
 £)fm B^Llwffkdffrn zttderjiundt 
 \, X)a i/im iJif m^its mi/ qtofn. fmrtmen - 
 
 ' n -5" "'''/*''' ii*M&i 'i"« /y^/fl hackfchmummtii 
 Hit's fit ihn tuMm ij^farfrr^ m < 
 
 Up hxrukylu Htottl nrrmrjt n 
 fin duvdrnuinfl in dieftm iiMcHy 
 
 t 
 
 W?» dupdrnurnft in diefhn ieklr H? 
 Sic'her z^J'cm vor mevm. qejcnofk^' 
 
 FROM 
 
 Eberh. Kteser's Edition. 
 
 Circa 1600. 
 
 E- REARS LIBRARY. 
 
Early Surreptitious Editions issued in Germany. 
 
 Copied after Holbein, Engraved upon Wood. 
 
 Cologne, 1555. 
 
 Kmaijtncg JWOttfS J His accesserunt epigrammata e Gallico 
 idiomate a Georgio ^Emylio in Latinum translata. Ad haec 
 Medicina Animae, etc. Colonioe Apud haeredes Arnoldi Birck- 
 manni, Anno 1555, with 53 wood-cuts after Holbein. Small 
 8vo., full morocco extra, first edition, fine impressions, rare. 
 
 %* Douce calls this a pirated edition, copied from the Lyons issue of 1547. The size of 
 the cuts is somewhat larger than the originals, and all are reversed, save one. The mark <& 
 appears on a few, supposed to be the monogram of Anton Sylvius. The two demons in the 
 cut of the Pope are left out. In the Soldier, the thigh-bone in the hand of Death is altered to a 
 spear. As a whole they are creditable, but greatly inferior to the masterpieces. Douce, pp. 
 113-114. Peignot, p. 60. Langlois, Tom. II., p. 118. 
 
 Nuremberg, 1560. 
 
 Her SToBtenftant? durch alle Stende vnd Geschlecht der 
 Menschen, darinnen jr herkommen vnd ende, nichtigkeit vnd 
 sterbligkeit als in einem Spiegel zu beschawen, fiirgebildet, vnnd 
 mit schonen Figuren gezieret (herausgegeben von Caspar Scheyi) 
 S. L. (Nuremberg), Im Jar MDLX., with 53 wood-cuts after 
 Holbein. Small 8vo., full morocco, gilt top edges, by Alfred 
 Matthews. Fine copy, very rare. 
 
 *** These cuts appear very coarsely executed, although the same mark ^ appears on a 
 few. The text is in German by Gaspard Scheyt. Langlois, Tom. II., p. no. Not cited by 
 Douce. 
 
 Cologne, 1567. 
 
 KltiaflfHtS iWOCttS, his accesserunt epigrammata e Gallico 
 idiomate a Georgio ^Emylio in Latinum translata. Ad haec Medi- 
 cina Animae, etc. Colonioe Apud haeredes Arnoldi Birckmanni, 
 Anno 1567, with 53 wood-cuts after Holbein. Small 8vo., 
 interesting contemporary binding, old stamped pigskin, rare. 
 
 *** This is simply a later issue of Birckmann's 1555 edition, and in all respects similar, 
 calling for no further remark. 
 
 Wittemberg, 1590. 
 
 CHYTRiEI. — Libellvs Davidis Chytrsei de morte et vita aeterna, 
 editio postrema cui additae sunt Imagines Mortis, illustratae epi- 
 grammatis D. Georgii ^Emilli [wood-cut of a skull]. Witebergae, 
 Impressus a Matthaeo Welack. Anno MDXC, with 53 wood-cuts 
 copied after Holbein. Small thick 8vo., vellum, fine clear 
 impressions, very scarce. 
 
 *** In the middle of this rare book, preceded by another title-page, " Imagines Mortis," 
 etc., are found copies of the Holbein designs, evidently by other engravers. Some have the 
 mark *f* and one the mark \X/ with a graver underneath. Langlois, Tom. II., p. 122. 
 Douce, p. 117. 
 
Bewick's Copies on Wood. 
 London, 1789. 
 
 Emblems Of JWortalttS, representing in upwards of fifty 
 cuts, Death seizing all ranks and degrees of people, with historical 
 account of paintings on this subject in divers parts of Europe. 
 London [printed for T. Hodgson] 1789, with 51 wood-cuts of 
 Holbein by John Bewick. Small 8vo., full blue morocco, extra 
 tooled sides, gilt top edges by Bedford, first edition, uncut, 
 
 SCARCE. 
 
 *»* Douce states these cuts were engraved by the brother of Thomas Bewick, of 
 Newcastle. There is an essay upon the subject added, written by John Sidney Hawkins, 
 Esq. Douce, pp. 118-iig. 
 
 Dr. Anderson's Copies on Wood. 
 New Haven, Conn., 1846. 
 
 lEmfclems Of J&Ortalttfi, representing by numerous engrav- 
 ings Death seizing all ranks and conditions of people, etc., with an 
 apostrophe to each, translated from the Latin, etc. Charleston, S. C, 
 New Haven, Ct., 1846, with wood-cut copies after Holbein 
 by Alex. Anderson, first wood engraver in America. Small 
 i2mo., half calf , gilt top edges, fine copy, uncut, scarce. 
 
 *** These cuts first appeared in an edition at New Haven in 1810, and 36 years later, being 
 found in fine condition, the present issue was put forth. Anderson had evidently secured a 
 copy of Bewick's work, and as an ardent disciple of that school had made his blocks from 
 those copies. 
 
**$yr X . ». 
 
 
 Title-Page : 
 Rudolph and Conrad Meyers' Issue. 
 
 Zurich, /6jo. 
 
 G. E. SEARS LIBRARY. 
 
jE)ctf6ein + © ance f ®^ + 
 
 Copies Engraved in Copper. 
 
 Frankfort, circa 1600. 
 
 JTOtTtPIT UBaHtf durch alle stande und Geschlecht der Menschen, 
 etc., (Death's Dance through all ranks and conditions of men.) 
 s. 1. n. d. \Frankfort circa 1600],- with frontispiece and 60 
 
 COPPER PLATES, INCLUDING COMPLETE SET AFTER HOLBEIN, EN- 
 GRAVED by Eberh. Kieser. 4to., original vellum cover, in salander 
 case, excessively rare. 
 
 *** Probably this is the earliest issue in which the entire Holbein series were engraved 
 upon copper. The plates are within borders of flowers and fruits, accompanied by Scripture 
 texts and verses. Some new and original cuts also appear. The title-page and one of these 
 new designs will be found reproduced in this catalogue. It is a volume of great rarity. 
 Douce, pp. 121-122. Langlois, Tom. II., p. 125. 
 
 Laybach-Saltzburg, 1682. 
 
 VALVASOR (J. W.) Theatrum mortis humanse tripartitum. 
 I. Pars. Saltum Mortis. II. Pars. Varia genera Mortis. III. Pars. 
 Paenas Damnatorum continens, cum figuris aeneis illustratum (same 
 title repeated in German), etc. Gedrucht zu Laybach und zu finden 
 bey Joh. Bap. Mayr, in Saltzburg, Anno 1682, with frontispiece 
 and 54 beautiful plates of dance of death after holbein. 
 Also 66 others, representing the tortures of the wicked, 
 engraved by Andr£ Trost. Small 4to., full morocco, super extra 
 gilt edges by De Coverly, very fine copy, first edition, rare. 
 
 * t * In the first part of this work the artist has engraved very elegant copies of the Holbein 
 series. In the latter part are many frightful and curious designs of Tortures. Dibdin, in his 
 *' Bibliographical Decameron," Vol. I., p, 42, notices this work. Also, Douce, pp. 129-130 
 Langlois, Tom. II., p. 130. 
 
 Copies by Chretien de Mechel. 
 Basle, 1780. 
 
 ILt STrfOmplje Ht la JWort, gravd d'apres les dessins origi- 
 naux de Jean Holbein par Chr. de Mechel graveur a Basle, 
 MDCCLXXX., with frontispiece and 47 plates after 
 Holbein. Royal 4to., half morocco, gilt top edges, uncut, bril- 
 liant FIRST IMPRESSIONS, SCARCE. 
 
 *** This forms the first part of a collection of Holbein's works, issued and engraved by 
 de Mechel. Mr. Douce gives full details of the work, see pp. 132-135. 
 
Copies by Wenceslaus Hollar. 
 
 London, 1794. 
 
 JEijC 23antE OC Drati), painted by H. Holbein and engraved 
 
 by W. Hollar, to which is added The Daunce of Machabree, by 
 
 Dan John Lydgate, s. 1. n. d. \_London, J. Edwards, 1794], with 
 
 PORTRAITS OF HOLBEIN AND HOLLAR, AND 30 ETCHINGS BY 
 
 W. Hollar after Holbein, 410., full calf, scarce. 
 
 *** This title is deceiving, Holbein not known to have painted any series on the subject, 
 but simply to have designed the wood-cuts, of which these are copies. Hollar probably 
 produced these plates at Antwerp about 1651. Mr. Edwards, a London bookseller, in some 
 way secured them, had them rebitten, and issued them as above. These impressions, while 
 very fair, are of course greatly inferior to the first impressions, which were surrounded by 
 elegant borders, engraved by Diepenbecke, and are of excessive rarity and value. Douce, 
 pp. 125-129. 
 
 Same Edition, French Text, 
 Paris, 1794. 
 
 &f aTrtOmptje &* l« f&Ort, grav6 d'apres les dessins de 
 Holbein par W. Hollar. Explication des sujets du Triomphe de la 
 Mort de Jean Holbein, s. 1. n. d. [a fan's, 1794], with portraits 
 of Holbein and Hollar, and 30 etchings by Hollar after 
 Holbein, 4to., full calf gilt, blind toolings, very scarce. 
 
 *** This appears to be exactly similar in all respects to the London edition just described, 
 and was probably issued for the publishers and booksellers of Paris. 
 
 Later Editions — Hollar's Etchings. 
 London, 1816. 
 &f)t UatUe Of Beatl), from the original designs of Hans 
 Holbein, illustrated with thirty-three plates engraved by W. Hollar, 
 with descriptions in English and French. London, 1816, with 
 portraits and plates by Hollar, 8vo., half morocco, gilt top 
 edges, scarce. 
 
 Another copy of same edition, of which a very limited number 
 were issued, with the plates finely colored, 8vo., fine old 
 English red morocco, gilt toolings, gilt edges, very scarce. 
 
 *** These appear to be still later reprints of the same etchings of Hollar, as issued by 
 Mr. Edwards in 1794, with introductory notes and a brief memoir of Holbein. See Douce 
 p. 128. ' ' 
 
 Etchings by M. Frenzel. 
 
 Leipzig, 1831. 
 
 BECHSTEIN (L.) Der Todtentanz, ein gedicht von Ludwig 
 
 Bechstein, mit 48 kupfern in treuen conturen nach H. Holbein. 
 
 Leipzig, 1831, with 48 etchings after Holbein, by M. Frenzel, 
 
 8vo., half vellum, gilt top edges, uncut. 
 
 *»* The 48 beautiful etchings in this work were executed by M. Frenzel Director of 
 the Print Museum at Dresden. The Poem by Bechstein expresses the power of Death 
 over Humanity. Douce, pp. 136-7. 
 
n.AI 'I' VI. 
 
 73 
 
 Koch- . 
 
 -K-eiVv JT'et/i ^tkothf vorm Tod be-freyi , 
 
 Da? Jfi'tit&t Uracil aCieirt dedeyit . 
 ^fleiL xch day Setdatn-Jpeijs dath meiden , 
 Dftujs ich ictz. %\pi£ ^Hunger Ietden . 
 
 The Cook : 
 Meyers' Edition. Zurich, ibso. 
 
 % 
 
 G. E. SEARS LIBRARY. 
 
David Deuchar's Etchings, 
 London, 1803. 
 
 DEUCHAR (D.) The Dances of Death, through the various 
 stages of human life, wherein the capriciousness of that tyrant is 
 exhibited in forty-six copper-plates, done from the original designs, 
 which were cut in wood and afterwards painted by John Holbein in 
 the town house at Basle, to which is prefixed descriptions of each 
 plate in French and English, with the Scripture text from which 
 the designs were taken. London, 1803, with portrait of 
 
 DEUCHAR, FRONTISPIECE AND 46 ETCHINGS OF HOLBEIN'S DESIGNS, 
 
 4to., half calf , clear impressions, scarce. 
 
 *** Deuchar followed closely Hollar's copies— some have been copied from the spurious 
 Cologne editions, with slight variations. The same inaccuracy is observed in the title, 
 alluding to the paintings of Holbein. The etchings are much below Hollar's work, but many 
 are very creditable. Douce, pp. 135-6. 
 
 Copies by Hellmuth. 
 Magdeburg, 1836. 
 
 HELLMUTH (C.) Der Todtentanz oder der Triumpf des Todes, 
 nach den original Holzschnitten des Hans Holbein, von C. H. 
 Magdeburg, 1836, with engraved title, and 46 lithograph 
 copies after Holbein. Large 4to., half morocco, clear impres- 
 sions, scarce. 
 
 *** Douce does not notice this work, having most likely been issued after his own 
 dissertation on the subject. The copies seem to be after the celebrated copies on wood made 
 by Denecker in 1544, who introduced "The Adulterer" and "Christ on the Cross'' to the 
 series. This is one of the earliest editions in which copies were made on stone. 
 
 Modern Reprints of de Mechel's Copies. 
 Paris, circa i860. 
 
 ILt Cr(om})l)C tit la JttOtt, grave d'apres les dessins origi- 
 naux de Holbein, par Chretien de Mechel, graveur a Bale, 1780. 
 (Reprint by Simon Racon et Cie.) Paris, n. d., circa, i860, with 
 48 beautiful plates of Holbein's dance of death, after de 
 Mechel's copies, Small 4to, full morocco, extra gilt edges, by 
 Bardisser, scarce. 
 
 *** A very fine recent reprint of the copies by de Mechel. The descriptions of the 
 plates are upon India paper, and the plates themselves are upon papier velin. Only a very 
 limited number were issued. 
 
 Uttweil, 1858. 
 
 JBtV STOtftttttSttf, von Hans Holbein, nach den originalen ge- 
 stochen von Chr. von Mechel in Basel, 1780. Uttweil, 1858, with 
 48 colored lithographic plates of de Mechel's copies, 4to, 
 cloth, gilt edges. 
 
 25 
 
Stuttgart, 1883. 
 
 Another copy, same plates, but not colored, 4to, half morocco, 
 gilt back. 
 
 *** These are two inexpensive modern issues with lithographic plates, accompanied by 
 text in German. The plates in both are taken from the de Mechel designs first issued at 
 Basle, 1780. 
 
 Berlin, 1878. 
 
 LIPPMANN (F.) Der Todtentanz von Hans Holbein, nach dem 
 exemplare der ersten ausgabe im Kgl. Kupferstich-Cabinet zu Berlin, 
 in Lichtdruck nachgebildet, von Dr. Freidrich Lippmann. Berlin, 
 1878. Small 4to., half brown morocco, gilt top, uncut, by Alfred 
 Matthews. 
 
 *#* Contains very meritorious fac-similes of Holbein's designs. Dr. Lippmann has 
 recently issued a very valuable work on Italian Wood Engraving. 
 
 Recent Reprint of Lyons Issue, 1538. 
 1884. 
 %ZU <Sl'ttUtlacJ)rCS et histories faces de la Mort avtant elegam- 
 ment pourtraictes, que artificiellement imagindes. A Lyon, soubz 
 l'escu de Coloigne, MDXXXVIII. (Reprinted, 1884), with 41 fac- 
 similes of the original holbein cuts, 4to, half light calf, gilt top 
 edges, uncut. 
 
 *** A late fac-simile copy of the very rare edition of 1538, in which the 41 wood-cuts 
 of Holbein appeared for the first time in book form. The original edition of 1538 is now 
 of great value and scarcity. This reprint was produced in Germany, is very nicely 
 executed, and quite inexpensive. 
 
 London, n. d. 
 
 GRIGGS (W.) Holbein's Dance of Death, a photo-lithographic 
 fac-simile by W. Griggs, from the Ottley Collection in the British 
 Museum. London, n. d., Folio, 16 leaves, paper cover. 
 
 *** Mr. Ottley, the well-known writer of the " History of Wood Engraving," possessed 
 a set of the Holbein cuts evidently printed on sheets, one side only, before they appeared 
 in book form ; also, other and very early impressions of the Death Alphabet, etc. etc. 
 which he bequeathed to the British Museum. These are fac-similes of the same. 
 
 immmm 
 
PLATE VII. 
 
 Title-Page : 
 Matthen Merian's Issue. Frankjort, j6^. 
 
 G. H. SEARS LIBRARY. 
 
Q9<xxiatioft&+ 
 
 Editions, where New Designs are Introduced, 
 Serious and Comical, 
 
 WLittf %}lnta from HjoVbtin. 
 
 Engravings by the Brothers Rudolph and Conrad Meyer. 
 
 Zurich, 1650. 
 
 MEYERS (Rud. and Con.) Todten-Dantz. Ergantz et und 
 herausgegeben durch Conrad Meyern, Maalern in Zurich, im Jahr 
 1650. On engraved title, followed by printed title, — Sterbenspiegel, 
 das ist sonnenklare vorstellung menschlicher nichtigkeit durch alle 
 Stand und Geschlechter : vermitlest 60 dienstlicher Kupferblatteren 
 lehrreicher uberschriften, etc., etc. (The Mirror of Death, that is, 
 a brilliant picture of human nothingness, in all ranks and conditions, 
 moving Songs of Death, etc., etc.) Getruckt zu Zurich, bey Joh. 
 Jac. Bodmer, MDCL., with frontispiece, and 60 beautiful 
 copper plates of Dance of Death, 4to, full crushed levant morocco, 
 antique by Bradstreet, first edition, fine original impressions, 
 rare. 
 
 *** Many of the subjects in this work are entirely new and original, while a number 
 are evidently suggested by Holbein's masterpieces. A curious feature is the pious Death 
 Songs set to music, at the end. A reproduction of the engraved title-page, and also of 
 two of the plates, will be found in this catalogue. Douce, pp. 148-149. 
 
 Milan, 167 i. 
 
 MANNI (Gio. Bap.) Varii e veri retratti della morte disegnati in 
 imagini ed espressi in essempii al peccatore duro di cuore, dal padre 
 Gio. Battista Marmi della compagnia de Giesu. In Milano, 1671, 
 with frontispiece and 29 curious copper plates of Dance of 
 Death, 8vo., full brown crushed morocco, gilt edges, by Bradstreet, 
 
 FINE COPY, RARE. 
 
 * t *A curious Italian issue. A few of the plates are closely copied from Holbein, the 
 others are new and original. Douce appears not to have seen this issue, but quotes one at 
 Venice dated 1669. See Douce, p. 120- 
 
 37 
 
Dr. Salomon van Rusting's Series. 
 Amsterdam, 1707. 
 
 RUSTING (S. van). Het Schouw-Toneel des Doods, waar op na't 
 leeven vertoont wort de Doot op den Throon, etc., etc., heerschende 
 over alle Staatten en Volkeren, etc., door Salomon van Rusting, Med. 
 Doct. (The Show-place, or Theatre of Death, where his power is 
 shown over all classes and conditions of men, etc.) t' Amsterdam, 
 by Jan ten Hoorn, 1707, with engraved title and 30 plates, 
 new and curious, of Dance of Death, i2mo, full maroon calf, 
 gilt top edges, by Alfred Matthews, very fine copy, first 
 
 EDITION, ORIGINAL IMPRESSIONS, VERY RARE. 
 
 *** This is the first issue of the series prepared by Dr. van Rusting, some of which 
 were in Low Dutch, and others in the German text. Many of the plates axe very curious 
 and clever, notably, "The Tight-Rope Dancer," and "The Skaters." A photograph of the 
 title-page and one of the plates, taken from the 1735 edition, will be found herein. 
 Douce, p. 131. 
 
 Amsterdam, 1735. 
 
 Another copy, same title and plates as above, with same text, 
 i2mo., full red morocco, gilt edges, fine and clean copy, good 
 
 IMPRESSIONS, SCARCE. 
 
 *** As before stated, a reproduction of this engraved title and one of the plates is 
 given in this Catalogue. 
 
 Nuremberg, 1736. 
 
 RUSTING (S. van). Schau-platz des Todes, oder Todten-Tanz, 
 in Kupfern und Versen vorgestellet, von Sal. van Rusting, Med. 
 Doct. in Nieder-Teutscher Sprache, nun aber in Hoch-Teutscher 
 mit nothigen Anmerkungen, herausgegeben von Joh. Georg. Meintel, 
 etc., etc. (The Theatre or Show-place of Death, in Low German, 
 but now in High German, copper-plates and verses, with notes by 
 John Georg. Meintel, etc.) Nurnberg, 1736, with engraved title, 
 
 AND 30 ORIGINAL DESIGNS ILLUSTRATING THE DANCE OF DEATH, 
 
 8vo., full Cambridge sheep, paneled sides, by Alfred Matthews, 
 
 TALL AND CLEAN COPY, FIRST IMPRESSIONS, RARE. 
 
 *** The first appearance in German, of a larger and more complete series of van Rusting's 
 Low Dutch versions of earlier date as heretofore described. These plates are exactly the 
 same designs, but newly engraved upon a larger scale, and the figures and dresses slightly 
 modernized. As usual, the Holbein ideas pervade a number. Douce, pp. 131-132. 
 
 Another copy, exactly similar to above, at the end of 
 
 which is bound in another work on Death, viz. : BUQUOIT. Krastiges 
 Mittel wieder den Schrecken des Todes, with fine frontispiece. 
 Franckfurt, 1733, 2 vols, in 1, 8vo., brown morocco, extra gilt edges, 
 by Charles Smith, very fine copy. 
 
 *«* This volume was formerly in the " Beckford " Collection at Fonthill. 
 
 88 
 
l'l.AI'K Vlll. 
 
 &£>mm ftaUyr yxm wcrtrw &ft <mt/ 
 £>r 3Mc.£ cucjj indji Ijiffff vav\wnl 
 
 47 
 
 «^ £>f>n ©£w S>cr§ckl>(*fu§rn'cf?mcm @w«0; 
 &craMaf?t&<it miliar nwJlognat/ 
 
 7/^ /■<?/<? .• 
 Mattheu Merian's Edition. Frankfort, /041/. 
 
 G. K. SEARS LIBRARV. 
 
Father Sancta Clara's Text. 
 Amsterdam, 1741. 
 
 SANCTA CLARA (Abraham). De Kapelle der Dooden Of 
 de Algemeene Doodenspeigel, etc., van Pater Abraham a Sancta 
 Clara, etc. (The universal Mirror of Death, taken from the Chapel 
 of the Dead, in which all men may see themselves laughing and 
 weeping, etc.) Te Amsterdam, 1741, with frontispiece and 68 
 
 CURIOUS AND ORIGINAL PLATES OF DANCE OF DEATH. Small 8vO., 
 
 full brown calf, gilt top edges, by Bradstreet, fine copy, clear 
 
 IMPRESSIONS, VERY SCARCE. 
 
 *** The greater number of these engravings are new, and some can scarcely be called 
 fitting to the subject treated ; others show the Holbein features. " The Drunkard," " The 
 Hen-pecked Husband," and "The Blind Beggar," are very cleverly done. Douce, pp. 
 151-152. 
 
 Schellenberg's Designs. 
 
 WlNTERTHUR, 1 7 85. 
 
 SCHELLENBERG (J. R.) Freund Heins Erscheinungen in Hol- 
 bein's manier, von J. R. Schellenberg. Winterthur, 1785, with 
 
 FRONTISPIECE AND 24 CLEVER ORIGINAL DESIGNS OF A DEATH 
 
 Dance, 8vo., polished calf, gilt top edges, uncut, by Francis Bed- 
 ford, VERY FINE COPY, FIRST EDITION, RARE. 
 
 ***A thoroughly original series. One of these plates represents a death by Balooning, 
 (but lately invented). Another borders on the indecent. The frontispiece contains portraits 
 of Voltaire, Frederick of Prussia, and others. A representation of one of the plates, " The 
 Student," is herein given. This copy is from the library of the late distinguished London 
 binder, Mr. Bedford. 
 
 M. Rentz's Designs. 
 Passau-Lintz, 1753. 
 
 RENTZ (M.) Geistliche Todts-Gedanchen bey allerhand Gemahl- 
 den und Tchildereyn in vorbildung Unterscheidlichen geschlechts, 
 alters, standes, und wurdens persohnen sich des Todes, etc., etc. 
 (The Spiritual Dance of Death in all kinds of pictures, whereby 
 persons of every age, rank and sex, may be reminded of Death, first, 
 put upon copper, and afterwards brought to light in Death's own 
 colors, etc., etc.) Passau-Lintz, 1753, with 52 large, full page 
 
 COPPER PLATES, ENTIRELY NEW AND STRIKING DESIGNS, ENGRAVED 
 
 by M. Rentz, folio, half morocco, cloth sides, first edition, origi- 
 nal, CLEAR IMPRESSIONS, FINE, CLEAN COPY, RARE. 
 
 *** These designs are upon a much larger and grander scale than usual, and exhibit 
 marked originality and spirit. Occasional hints from Holbein are discovered in some of 
 the pictures. This first edition in good state is rare, and not easily obtainable. Douce, 
 pp. 152-153- 
 
FREUND HEINS War>derungen 
 boards, good, sound copy, scarce. 
 
 Gorlit2, 1795. 
 
 Gorlitz, 1 7 95 . 
 
 Small 8vo., 
 
 ***Has a copper-plate frontispiece, an old man conversing with a grave-digger; also 
 vignette, on title-page, engraved by Boettger. The text is a series of poems in German, 
 relating to Death as connected with all the trades, professions, and dignities of men. Very 
 quaint and curious. No other plates. 
 
TLATE IX. 
 
 Tit I e- P ag c : 
 Dr. Van Rusting 's Series. Amsterdam, 1733. 
 
 G. E. SHAKS LIBRARY. 
 
Copke of ifc Qgfoffe (painting 
 
 First Issue of Mattheu Merian's Plates. 
 Frankfort, 1649. 
 
 MEBJAN (M.) Todten-Tantz, wie derselbe in der loblichen 
 in der weitberiihmpten Stadt Basel als ein Spiegel Menslicher 
 Beschaffenheit ganz kiinstlich gemahlet zu sehen ist, etc. Nach dem 
 Original in Kupffer gebracht und heraus gegeben durch Matthaeum 
 Merian den Eltern. Frankfurt, Im Jar MDCXLIX., with en- 
 graved TITLE AND 42 COPPER PLATES OF THE BASLE DANCE OF 
 
 Death, 410, half vellum, first edition, very rare. 
 
 *#* Merian made these copies of the old paintings in Basle, early in the 17th century. 
 Douce pronounces them the most complete and perfect of any. There were several editions 
 issued, some with French and some with German text. In this issue the text is entirely 
 German. A photograph copy of the title-page, and also of one of the cuts, "The Pope," 
 appears herewith. Douce, p, 41. Langlois, Tome II., pp. 176-181. 
 
 Frankfort, 1696. 
 
 Another copy, similar to the above, with same title, plates, 
 etc., issued by the heirs of Merian. Frankfurt, 1696, 4to., full 
 purple morocco, gilt toolings, gilt top edges, by Alfred Matthews, 
 
 FINE COPY, CLEAR IMPRESSIONS. 
 
 Merian's Plates, French Text. 
 Berlin, 1698. 
 
 MERIAN (M.) La Danse des Morts, telle qu'on la voit depeinte 
 dans la celebre ville de Basle qui represente la fragility de la vie 
 humaine, comme dans un Miroir. Enrichie de Tailles-douces, faites 
 apres l'original de la Peinture, etc., etc. Imprime a Berlin, aux 
 d6pens des Heritiers de lAuteur, MDCXCVIII., with engraved 
 title and 42 plates by M. Merian, 410., full dark calf, gilt top 
 edges, by Alfred Matthews, fine, clear impressions, scarce. 
 
 *,* This is the first edition with French text throughout. It was issued by the heirs 
 of Merian. The plates appear to be the same as in the earlier issues. 
 
 31 
 
Merian's Plates, 
 
 Copied and Engraved by Chovin. 
 
 Basle, 1744. 
 
 Ha BaitSE TJfS JttortS, comme elle est depeinte dans la 
 
 louable et celebre ville de Basle, pour servir d'un miroir de la 
 
 nature humaine. Dessinde et Gravde sur l'original de feu Mr. 
 
 Matthieu Merian, etc., etc. A Basle, chez Jean Rod. Im-Hoff. 
 
 1744, WITH TITLE AND 42 PLATES, AFTER MERIAN, BY ChOVIN, 
 
 4to, paper covers, remarkable copy, entirely uncut, as first 
 
 ISSUED. 
 
 *** It appears that Mons. Chovin, a French or Swiss engraver, has here copied the 
 Merian plates. His name is found upon some of them. The text is in both French and 
 German. This copy is noticeable as being in same condition as when published, even the 
 top leaves remaining uncut, and plates very fresh and clean. 
 
 Merian's Plates. 
 
 Curiously Burlesqued and Modernized. 
 
 Locle, 1788. 
 
 Ha Battsr tt?S J&OrtS, pour servir de miroir a la nature 
 
 humaine. Avec le costume dessine' a la moderne, et des vers a 
 
 chaques figures. Au Locle chez SI. Girardet Libraire, 1788, with 
 
 FRONTISPIECE AND CURIOUS PLATES, AFTER MERIAN, 8vO., half 
 
 bound, GOOD, SOUND copy, clean ORIGINAL IMPRESSIONS, very 
 
 SCARCE. 
 
 ***In this volume an unknown artist has copied the Merian plates, but has arranged 
 the various figures in modern costumes, producing a very curious effect. Two of these 
 figures have been copied in this Catalogue. The text is also in verses. At the end of the 
 volume is a queer treatise, " L'Art de bien vivre et de bien mourir," (The Art of living 
 and dying well), with an additional plate. It is a very scarce book, and difficult to pro- 
 cure. Douce, p. 42. Langlois, Tome II., pp. 177-181. 
 
 Copies of the Basle Paintings, 
 
 Engraved on Wood. 
 
 Basle, 1796. 
 
 29 tr JEotrtetlsftantj, wie derselbe in der Weitberuhmten Stadt 
 Basel als ein Spiegel menschlicher Beschaffenheit ganz Kuntslich 
 mit lebendigen Farben gemahlet nicht ohne nutzliche verwunderung 
 zu sehen ist. Basel, bey gebrudern von Mechel, 1796, with 42 
 wood-cuts copied after the Basle Paintings, and also after 
 Holbein, 8vo., half levant crushed morocco, gilt top edges, uncut, by 
 Alfred Matthews, fine, clean example, clear impressions, 
 very scarce. 
 
 *** This seems to be a modern reprint of some cuts that possibly had been engraved 
 in the latter 16th century. Upon one of the blocks is found the mark, G. S., and the 
 date, 1576. Only a few of these wood-cuts are copies of the old paintings at Basle ; the 
 most of them are derived from the Holbein series. The text is in verses, and in the 
 German language. Douce, pp. 40 and 41. 
 
 82 
 
TLATB X. 
 
 Verbeeldende een Koorde-danfTer. 
 
 JJte gek tJierrt liter met totjy/y 
 
 icr . 
 
 'tis zeAerly/c a cert ?!'isjewasje : 
 Eigi~ maa/ct /ty eenty jtas/en vats ; 
 c~/t va/r, typ't mtrtste va/sc/re pasje 
 Tart boy en. /teer, e.t ireeJci: den bats 
 
 The Rope-Dancer : 
 Van Rusting' s Series. Amsterdam, r?jj. 
 
 G. E. SEAKS L1BRAKV. 
 
Basle, 1843. 
 
 Another copy, same title. Small 4to, half levant morocco, gilt top 
 edges, uncut, by Alfred Matthews. 
 
 *** A modern reprint of the cuts, etc., of the 1796 edition above described, the cuts 
 evidently newly engraved. Text in German and French. 
 
 Recent Reprint, Basle, circa i860. 
 
 5T0trentaU| tret Stafct Uasrl, mit 42 Abbildungen, Deut- 
 schem, Englischem und Franzos. text. Basel, n. d., circa i860, with 
 copies of the Basle Paintings, 8vo., half sheep, gilt top edges, 
 
 UNCUT. 
 
 Basle, 1858. 
 
 STotontailf fcer Statlt EaStL Basel, Otto Stuckert, 1858, 
 with copies of the Basle Paintings. Small, square i2mo., 
 half morocco. 
 
 *** Two inexpensive modern issues, giving the Basle pictures, accompanied by interesting 
 remarks, and text in German, French and English. 
 
©anfe QUacaBre 
 
 Editions Copied After the Early Danse Macabre. 
 Troyes, 1728. 
 
 Ha dfranfce JBatlSC Jttacatirt des Hommes et des Femmes, 
 renouvell6e de vieux Gaulois en langage le plus poli de notre temps, 
 etc. Troyes, n. d., (1728), with 52 curious and crude cuts of 
 the early Danse Macabre, 4to, half morocco, good, sound copy, 
 scarce. 
 
 *,*The wood-cuts that illustrate this volume form one of the earliest representations 
 of the Dance of Death, being originally engraved about 1480. Of the first editions issued 
 in Paris, only one or two copies are known to exist. The text is in verses, or form of a 
 dialogue. 
 
 Modern Re-impression on Vellum. 
 Paris, circa i860. 
 
 DattSC J&aca&rt. Chorea ab eximio Macabro versibus 
 alemanicis edita. et a Petro Desray trecacio quod a oratore nuper 
 emendata. Parisiis, per magistrum Guidonem mercatorem pro 
 Godeffrido de marnef ad intersignium pellicani in vico divi Iacobi 
 commorati. Anno Domini quadringentesimo nonagesimo supra 
 millesimum idibus octobris impressa. Paris, n. d., (circa i860), 
 
 WITH CUTS COPIED FROM AN EARLY FRENCH DANSE MACABRE, 4tO, 
 
 full red morocco, printed upon vellum, very scarce. 
 
 *** This is a scarce and curious re-impression by the Baron Plinski process, of the 
 celebrated work, " La Danse Macabre," printed at Paris by De Marnef in 1490. Only a 
 very few copies were printed upon vellum. The cuts are reproduced in a very masterly 
 manner, and excellently printed. 
 
 Paris, 1858. 
 
 fLa flCatlt BatTSe JWacafcr* des homes et des femes, avec les 
 dis des trois mors et trois vifs, etc. A Paris, 1858, with copies of 
 the Danse Macabre. Small 410, half cloth, uncut. 
 
 *,♦ Modern reprint of an early 15th century French edition, reduced in size. 
 
 35 
 
Danish Edition. 
 Copenhagen, 1814. 
 
 BORUP (T. L.) Det menneskelige Livs Flugt, eller Dode-Dands, 
 befarget til sine Landsmaends Nytte og Fornejelfe af Thomas 
 Larsen Borup. (The Human Life's Flight, or Death-Dance, pro- 
 vided for his countrymen's use and pleasure by T. L. B.) Kjoben- 
 havn, 1814, with 36 very curious original wood-cuts, after 
 the manner of the Danse Macabre, 4to, half roan, entirely 
 uncut, top leaves unopened, very scarce. 
 
 *#* A curious version, not cited by the bibliographers. The text is in verses, and in 
 the form of a dialogue between Death and various characters. 
 
 Edition with Burlesque Verses, 
 Lyons, 1702. 
 
 JAQTJES-JAQUES. Le Faut-Mourir, et les excuses inutiles qu'on 
 aporte a cette necessity. Augmente de l'avocat nouvellement mari6, 
 et des pens^es sur l'eternite\ Le tout en vers burlesques. A Lyon, 
 1702, 8vo., half calf , scarce and curious. 
 
 *** This work has no plates except a frontispiece, in which two Deaths, with other 
 figures, are presenting themselves before the Pope. 
 
 The text consists of a series of rhymes, after the manner of the early Danse Macabre. 
 All conditions of mankind going to their death, and each reciting the most ridiculous and 
 inappropriate excuses for their arriving at this inevitable result. Douce, (p. a6), quotes this 
 as a very scarce and uncommon work. 
 
 Recent Reprint, 
 Paris, n. d. 
 
 TLa Bant? Jttacafcre, composed par Maistre Jehan Gerson, 
 1425. Paris, (Willem), n. d., with fac-simile plates of an 
 early manuscript of the Danse Macabre, 8vo., half calf, gilt 
 top edges, uncut. 
 
 *** Tiri a tres-petit xombre sur papier de Hollande. Epuise\ 
 
 3(i 
 
The Physician — The Gentleman. 
 
 FROM 
 
 * La Danse des Moris." Ah Loch, i~S$ 
 
 G. K. SEARS LI BRAKY. 
 
Bonbon <B?oiftone + 
 
 Rowlandson's Designs. 
 
 London, 1815-1816. 
 
 COMBE (Wm.) The English Dance of Death, a Poem from the 
 
 designs of Thomas Rowlandson, with metrical illustrations by the 
 
 author of "Doctor Syntax." London, (Ackermann), 1815-1816, 
 
 WITH 74 FINELY COLORED AND SPIRITED PLATES, BY ROWLANDSON, 
 
 2 vols., Royal 8vo., half russia, good, sound copies, original 
 
 IMPRESSIONS, FIRST EDITION, VERY SCARCE. 
 
 ***The clever and humorous Rowlandson found an ample and congenial field for his 
 facile pencil in this subject, and he has given some remarkably curious and original ideas 
 in his numerous plates, conveying a powerful moral lesson,— while the poetical text by 
 Combe, is in thorough harmony with the artist's labors. This has become a very dear 
 and costly edition, ranging in price from £g to £15 Sterling. Douce, pp. 156-157. 
 
 Rowlandson's Designs. 
 London, 1817. 
 
 COMBE (Wm.) The English Dance of Life, a Poem with metri- 
 cal illustrations, by William Combe, author of " Doctor Syntax." 
 London, (Ackermann), 1817, with 26 humorous colored plates 
 by Rowlandson. Royal 8vo., half russia, first edition, fine 
 original impressions, very scarce. 
 
 *** Though this work might not properly be placed in this collection, as the skeleton 
 Death is not present in the plates ; yet, as it is a sequel to the Dance of Death, with 
 Rowlandson's designs, it has seemed fitting ro record it. The three volumes are generally 
 sold in one set. 
 
 Van Assen's Designs. 
 London, 1825. 
 
 VAN ASSEN. The British Dance of Death, exemplified by a 
 series of engravings from drawings by Van Assen, with explanatory 
 and moral essays. London, n. d., (circa 1825), with colored fron- 
 tispiece BY CRUIKSHANK, AND 18 SEMI-HUMOROUS COLORED PLATES 
 
 by Van Assen, 8vo., Mack morocco, gilt edges, fine copy, very 
 
 SCARCE. 
 
 *«* These drawings are all original, and very neatly engraved and tinted. Douce, 
 pp. 158-159. 
 
 37 
 
Dagley's Etchings. 
 London, 1826. 
 
 DAGLEY (R.) Death's Doings, consisting of numerous original 
 compositions in prose and verse, principally intended as illustrations 
 of 24 plates, designed and etched by R. Dagley, author of " Select 
 Gems from the Antique," etc. London, 1826, with frontispiece 
 
 AND 24 ORIGINAL DESIGNS BY DAGLEY, 8vO., half Calf, GOOD, CLEAR 
 
 IMPRESSIONS, SCARCE. 
 
 *** This work is highly praised by Douce, p. 157. Some of the best writers of the day 
 contributed to the text. 
 
 Hull's Drawings. 
 London, 1827. 
 
 HULL (E.) Death's Ramble, Illustrations of. A series of seven 
 colored drawings in stone by Edward Hull, taken from the Whims 
 and Oddities of Tom. Hood. London, n. d., (circa 1827), with 7 
 colored plates by Hull. Large 4to, half morocco, scarce. 
 
PLATE X1J. 
 
 ^.» .«JW, A$vA*<^>"^ 
 
 The Student : 
 
 BY 
 
 Schelletlberg Winterthur, ri$s- 
 
 C. E. SEARS LIBRARY, 
 
©ifotfe &*itiom+ 
 
 Two Curious Works in which the 
 Subject is Introduced. 
 Dilingen, 1621. 
 WALASSER (Adam). Kunst wol zu sterben. Ein gar nutzliches 
 hochnothwendiges Biichlein, auss heyliger Schrifft und alten 
 bewehrten Lehrern, mit sonderm fleisz gezogen, und mit schonen 
 Exempeln und Figuren gezieret. Gedruckt zu Dilingen, 162 1, 
 with upwards of 20 very curious wood-cuts, after the old 
 Block Book, "Ars Moriendi," and a series of small Dance of 
 Death cuts upon one page. Small 8vo., in the original stamped 
 hogskin binding, with metal clasps, clean, perfect copy, very 
 rare. 
 
 *** On one page of this work is found a series of very small cuts in which the Dance 
 of Death is portrayed in several curious and comical forms, all new and original. The 
 work is very rare. The binding of this copy and the old wood-blocks representing death- 
 bed scenes, are most curious and interesting. The cuts were evidently engraved during the 
 15th or 16th century. Douce, pp. 173-174, alludes to an earlier issue of this work dated 
 1569, and describes the cuts. 
 
 Strasburg, 1744. 
 STEINHAUER (Ant.) Vado Mori, das ist Bereitschaft zum Tod, 
 oder der weg alles fleisches, durch eine ordentliche Todten-Proces- 
 sion, etc. Strasburg und Augspurg, 1744, with curious frontis- 
 piece of deaths, etc., 8vo., boards, scarce. 
 
 *** A very curious work in German and Latin text, in which all classes of mankind 
 hold a dialogue in rhyme or verse with Death. There are no plates except the frontispiece. 
 
 Eglin's Copies of Von Wyl's Paintings. 
 Lucerne, 1843. 
 EGLIN. Todtentanz oder Spiegel menschlicher Hinfalligkeit 
 in acht Abbildungen, welche, von Von Wyl gemalt, im ehemaligen 
 Jesuitenkloster in Luzern aufbewahrt werden, mit Deutschem und 
 Franzosischem Texte. Luzern, 1843, with 8 fine lithographs, 
 copies of Von Wyl's Paintings, by Eglin. Oblong folio, half 
 bound, cloth, epuisIs. 
 
 *** Jacques de Wyl, about 1620-1630, painted in oil a Dance of Death, entirely original, 
 portions of which, we believe, are still preserved in the library at Luzerne. The above 
 work contains faithful and spirited copies of these paintings. 
 
Rethel's Designs. 
 Leipzig, 1849. 
 
 KETHEL (Alfred). Audi ein Todentanz, mit erklarendem Texte 
 von R. Reinick, etc. Leipzig, n. d, (circa 1849), with 6 full-page 
 wood-cuts, designed by Rethel. Oblong 4to, cloth, boards, good, 
 clean impressions. 
 
 *** Rethel's very powerful and bold designs were inspired by the civil wars of 1848. 
 They are handled in a masterly manner and present the Dance of Death in an original 
 form not before attempted. 
 
 Modern Reprints of Holbein's 
 Alphabet of Death. 
 
 H'^ljJfjatiet "St la |Hort de Hans Holbein, par Anatole de 
 Montaiglon. Paris, (Tross), 1856, with beautiful wood-cut 
 copies, borders, initials, etc., after the style of the early 
 Books of Hours, 8vo., half morocco, gilt top edges, large paper, 
 uncut. 
 
 Another Copy. Italian Text, same plates. Paris, (Tross), 1856, 
 8vo., half vellum, gilt edges. 
 
 KXHin Pauses Keg JttOttS. Soixante-douze gravures en bois. 
 epreuves d'artiste. Paris, (Tross), 1856, exemplaire sur papier 
 de Chine fort. Small 8vo., half calf , gilt top edges, uncut, rare. 
 
 *** Artist proofs of the Holbein Death Alphabet, also of figures of the Dance of 
 Death taken from the French Horse, or Books of Hours, printed early in the Fifteenth 
 Century. 
 
 (^ a> Only 50 copies printed on Chinese paper. 
 
PLATE XIII. 
 
 'Heures a /' Usa(i?e de Rome." Printed by Kerver. 
 
 Paris, 1502. 
 
 G. E. SEARS LIBRARY. 
 
BEK3»^lM^^'* s i"?^S^ 
 
 ftj^"Bg?*jgKffrK 
 
 
 Wffa^«$W< 
 
 r: \ ML v s*2 u liaf' V, 
 
 
 fc^J '.A\JCJW^ - ^^ Mi milii^r\li\^^fr ' 
 
 
 
 ■f3&C - V"^ IBfrablSI 
 
 ™£hw*."^\*^?S^1»^ 
 
 ■^r Jj^'ffc w ^^ ^a 
 
 
 \\u1k'™,** y&l&L W^ 
 
 Introducing the Subject Pictorially. 
 
 An Illuminated Manuscript upon Vellum, of the 15th Century, con- 
 tains a beautiful miniature of three youths, upon horseback, 
 elegantly attired, accosted by three skeletons. " Le Trois 
 
 MORTS ET LES TROIS VlFS." 
 
 ' The Nuremberg Chronicle," printed by Ant. Koburger, in 
 
 Nuremberg, 1493. Folio. 
 ' Brandt's Stultifera Navis," (Ship of Fools), printed by J. B. 
 
 de Olpe. Basle, 1497. 4to. 
 ' Heures a l'usaige de Rome," printed by T. Kerver. Paris, 1502. 
 
 8V0. (f5^"A reproduction of one of these plates is given in this Catalogue.) 
 
 ' Heures a l'usaige de Tou," printed by Guill. Godard. Paris, 
 
 15 15. Large 8vo. 
 ' Heures a l'usaige de Rome," printed by Gillet Hardouin. 
 
 Paris 15 1 8. 8vo. 
 ' Ruesneri, N. — Emblematum." Frankfort, 1581. 4to. 
 ' Boissardi. — Emblematum Liber." Frankfort, 1 593. 4to. 
 ' Boissardi. — Theatrum Vit* Human*." Frankfort, 1596. 4to. 
 ' Passe Crisp, de. — Anthropomorphose Eikones." Colonics, 1599. 
 
 Small Folio. 
 'Typotius. — Symbola Divina." Frankfort, 1601. Folio. 
 ' VOiNii Otho. — Emblemata Horatiana." Antwerp, 1607. 4to. 
 ' Rollenhagius. — Nucleus Emblematum." Colonics, 1611-1613. 
 
 Small 4to. 
 ' David. — Viridicus Christianus." Antwerp, 1606. 4to. 
 ' Musart. — Adolescens Academicus." Duaci, 1633. i2mo. 
 ' De Chertablon. — Maniere de se bien Preparer A la Mort." 
 
 Anvers, 1700. 4tO. dK^"A plate from this work is reproduced in this Catalogue.) 
 
 'Alciati. — Emblemata," numerous editions. 1531-1661. 
 ' Quarle s Emblems." London, 17 77. i2mo. 
 
" Till the slow sea rise and the sheer cliff crumble, 
 Till the terrace and meadow the deep gulfs drink, 
 
 Till the strength of the waves of the high tides humble 
 The fields that lessen, the rocks that shrink ; 
 
 Here now in his triumph, where all things falter, 
 
 Stretched out in the spoils that his own hand spread, 
 
 As a god self-slain on his own strange altar, 
 
 Uratf) fLfes Ueatr." 
 
 — Swinburne. 
 
 Wnz last enemg tfjat sfjall tie tresttrogeir 
 
 tS 20 eatl). — i Cor. xv., xxvi. 
 
PI.A'I'K XIV. 
 
 r i 7 "" r 
 
 
 
 Christ's Triumph : 
 Meyer's Edition. Zurich, 1650. 
 * 
 
 G. E. SEARS LIBRARY. 
 
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