533J Franz Balthasar (de Porta) (Fl 1480-1505)
Canon sacratissime misse : vna cum Expositione eiusde[m]. vbi in primis premittit[ur] pulchra contemplatio ante missam habe[n]da De cristi pulcritudine. Et quo[modo] ipsa in sua passione ab eo omnino fuerat ablata. Qualiteraq[ue] quilibet celebra[n]s debeat esse dispositus
In Jmperiali ciuitate Nurembergensi : Höltzel, 1503. $5,000
Quarto 16 x 10n cm. Signatures: A-E⁴ (E4 blank) Full-page woodcut on verso of title: an excellent impression showing a beardless St Jerome (with lion!) in the wilderness. Gothic type with Canon text in larger size
Wolf Traut clearly worked closely with several Nuremberg publishers and the names of Johann Weissenburger and Hieronymus Höltzel recur. The earliest woodcuts to be attributed to him are for this volume published in 1503.
VD16 M 5521; urn:nbn:de:bvb:12-bsb00007866-4; urn:nbn:de:bvb:12-bsb10990882-0; urn:nbn:de:bvb:12-bsb10990885-6 ; Katalog der Inkunabeln der Universitätsbibliothek Heidelberg, des …, Volume 1 p 883
Rare Nurnberg pre-Reformation ed. of the Canon of the Mass, with a commentary.. Capital spaces without guide-letters. Ref. VD-16 M-5521. STCGerman (BL) 510. Not in Adams.
Traut was a German painter and draughtsman working in the circle of Dürer. According to the biographer Johann Neudörfer, Traut was the son of the painter Hans Traut, a native of Speyer but active in Nuremberg from 1491. No documentation has survived with regard to his training but he probably began his studies with his father. Around 1505 he was in Dürer’s workshop, having probably completed his training, and together with Hans Baldung Grien and Hans Schäufelein he was involved in the design of prints to illustrate Ulrich Pinder’s book Der beschlossen Gart des Rosenkrantz Marie. By about 1511 Traut was working as an independent master on the altarpiece for the high altar of the Johanneskirche in Nuremberg (in situ), a work that reveals the marked influence of the prints of Dürer and Martin Schongauer. Over the following years and for the same church he painted Saint Barbara and Saint John the Evangelist (both Germanisches Museum, Nuremberg). Traut was also involved in the redecoration of the church at Heilsbronn, executing the altarpiece of The Eleven Thousand Virgins in 1513. Traut’s most important work, The Holy Kinship Altarpiece, was painted in 1514 for the Tuchmacherkapelle in Nuremberg (Bayerisches Nationalmuseum, Munich). It is notable for its brilliant colouring reminiscent of Dürer and its original frame in the form of a triple arch with profuse decoration of an Italianate type.
In addition to his altarpieces, Traut continued to produce designs for books associated with Dürer’s studio and in 1515 collaborated with that artist on the major graphic project of The Triumphal Arch for the Emperor Maximilian. His death in 1520 prevented him from undertaking the important commission that he had received from Cardinal Albrecht of Brandenburg for woodcuts of the treasures in the Stiftskirche in Halle an der Saale.
Secondary literature:
Weale, William Henry James. Bibliographia liturgica: Catalogus missalium ritus latini ab anno MCCCLXXV impressorum. Edited by Hanns Bohatta. London: Quaritch, 1928 (391)
Panzer, Georg Wolfgang. Annales typographici ab artis inventae origine ad annum MD, 11 volumes. Nürnberg: Johannes Eberhard Zeh, 1783-1803 (7:458, 130)
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2) 532J. Liturgies
Vade mecum misale Itinerātium seu Misse Peculiares valde deuote.
(Imp[re]ssum Nuremberge : p[er] Hieronymu[m] Höltzel: Nürnberg, (Anno dñi. 1507. xxiiij. die Mensis Septẽbris.) price. $5,500
Quarto: 18 x 15 cm. Signatures: A-F8, G6; Title printed in red D3 with handwritten prayer in red and black ink dated 1509. I-XXV, [3], XXVI-XLVII 1 full page wood block of Christ on cross.
There is also a hand colored woodcut in the bottom margin of leaf D5, and one ornate woodblock initial. Rare and beautiful German Gothic missal for the use of itinerant priests. First edition printed in Nuremberg of this portable missal of reduced format. It is very elegantly printed with two columns in red (the title, the main capitals, intermediate titles) The full page Crucifixion is assigned to the puil of Dürer, Wolf Traut { Nuremberg ca. 1485-1520. Traut was a German painter and draughtsman working in the circle of Dürer. According to the biographer Johann Neudörfer, Traut was the son of the painter Hans Traut, a native of Speyer but active in Nuremberg from 1491.}
http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11069256-5
Weale-Bohatta 468; VD 16 (online); M 5538; USTC 700231; Adams; L-1166 [s.v. Liturgies]. Verzeichniss der Incunabeln der Stiftsbibliothek von St. Gallen, St. Gallen 1880, bearb. von Gustav Scherrer, Nr. 1017
2US, copies U of Illinois , Boston P.L.
Missels et bréviaires imprimés (Supplément aux catalogues de Weale et Bohatta). Propres des Saints (édition princeps)
There is a prayer dated 1509 on the bottom half of leaf Dii verso (see above)
Wolf Traut clearly worked closely with several Nuremberg publishers and the names of Johann Weissenburger and Hieronymus Höltzel recur. The earliest woodcuts to be attributed to him are for this volume (Below) published in 1503. Traut was a German painter and draughtsman working in the circle of Dürer. According to the biographer Johann Neudörfer, Traut was the son of the painter Hans Traut, a native of Speyer but active in Nuremberg from 1491. No documentation has survived with regard to his training but he probably began his studies with his father. Around 1505 he was in Dürer’s workshop, having probably completed his training, and together with Hans Baldung Grien and Hans Schäufelein he was involved in the design of prints to illustrate Ulrich Pinder’s book Der beschlossen Gart des Rosenkrantz Marie. By about 1511 Traut was working as an independent master on the altarpiece for the high altar of the Johanneskirche in Nuremberg (in situ), a work that reveals the marked influence of the prints of Dürer and Martin Schongauer. Over the following years and for the same church he painted Saint Barbara and Saint John the Evangelist (both Germanisches Museum, Nuremberg). Traut was also involved in the redecoration of the church at Heilsbronn, executing the altarpiece of The Eleven Thousand Virgins in 1513. Traut’s most important work, The Holy Kinship Altarpiece, was painted in 1514 for the Tuchmacherkapelle in Nuremberg (Bayerisches Nationalmuseum, Munich). It is notable for its brilliant colouring reminiscent of Dürer and its original frame in the form of a triple arch with profuse decoration of an Italianate type.
In addition to his altarpieces, Traut continued to produce designs for books associated with Dürer’s studio and in 1515 collaborated with that artist on the major graphic project of The Triumphal Arch for the Emperor Maximilian. His death in 1520 prevented him from undertaking the important commission that he had received from Cardinal Albrecht of Brandenburg for woodcuts of the treasures in the Stiftskirche in Halle an der Saale.
Höltzel was educated as a bookbinder and worked as a printer in Nuremberg in the late autumn of 1499. [3] In October 1500, he was granted and recognized a citizen of Nuremberg. As a printer he was registered in the city office register until 1528. Before 1503 he married Ursula Schmid; the couple certainly had two daughters. Ten dates by him are known as early as 1500. In the years 1496 to 1525, several prints of magnificent choral books were made in his workshop. During these early years he also printed textbooks, grammar and texts, some in several editions, for the Latin schools in Nuremberg. In addition to council announcements and other official publications, he produced Albrecht Dürer’s first wood carvings , several humanistic prints and later numerous Reformed prints, including works by Hans Sachs . He worked on contract printing with publishers Johann Haselberg , Lukas Alantsee (1400–1523) (Vienna), Johann Schönsperger (Augsburg), Johann Rynmann (Augsburg) and Kaspar Rosenthaler .
But he also kept in touch with Czech book printers , such as Mikuláš Bakalář from Pilsen . So some Czech works were created with the help and for the Czech proofreader, doctor and pharmacist Mikuláš Klaudián . [4] The first map of Bohemia for the pharmacist Mikuláš Klaudyán (Nikolaus Klaudian or Claudianus) was also published by Höltzel in Nuremberg in 1518. However, these Czech orders led him to a conflict with the Nuremberg Council.
Martin Luther’s 95 essays by Wittenberg also appeared in a single printed paper in two columns, of the Latin text in 1517 by Hieronymus Höltzel in Nuremberg. [5]
In 1524 he also turned to the Reformation. Thus Andreas Bodenstein , known as Karlstadt, wrote anonymously, as he was soon identified as a printer and was also accused of being a printer by Thomas Müntzer “Hochverurschte Schutzrede” (1524). In 1525 he was arrested and interrogated. But in March 1525 he got to print again.
In May 1525, he and his son-in-law Hans Aichenauer were again in distress over the printing of an anonymous pamphlet to the General Peasant Congress . A search was made of Höltzel’s workshop and house, and he was subsequently expelled from the city. At the end of 1526, he asked the authorities to allow him to return, so he printed again in the city from 1527 to 1528.
Eventually, various debts should have led him to leave the city again. But also the commitment to sell his printed work to the city of Budweis was asserted after the death sentence of his other son-in-law, the armorer Fritz Endres, January 27, 1532. [6]
Archive for Gesch. d. German book trade 10, 1886;
F. Spina, Czech. Book printing at the beginning d. 16th century , in: Festschr. Joh. V. Kelle, T. 2, 1909;
K. Schottenloher, Hans Sachs and H. H. , in: Festschr. Paul Schwenke, 1913;
E. Voulliéme, The German book printer d. 15th Jh. , 2 1922, p. 132;
J. Volf, Gesch. d. Book printing in Bohemia and Moravia until 1848, 1928, pp. 20, 152;
J. Benzing, in: Mitt. Ad Stadtbibl. to Nuremberg 4, 1955(with 85 prints to 1532) ;
F. Geldner, Die dt. Inkunabeldrucker I, 1968, p. 184;
Benzing, printer .
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