([Nuremberg: Anton Koberger, for Sebald Screyer and Sebastian Kammermeister, 1493]).

FROM THE FIRST EDITION OF THE NUREMBERG CHRONICLE, ARGUABLY THE GREATEST ILLUSTRATED BOOK OF THE 15TH CENTURY. The artists, Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson, Wilhelm Pleydenwurff have been praised and admired for over five-hundred years for their contributions to one of the monuments of early printing. David Bland calls it "a marvelous book, and a landmark in the history of illustration," and through the ages it has more than fulfilled Koberger's prophecy that it would be "the delight of the men of learning and of everyone who had any education at all."
HIGHLY IMPORTANT INCUNABLE, the  Nuremberg Chronicle is the most extensively illustrated book of the fifteenth century, and after the Gutenberg Bible the most celebrated book printed in the fifteenth century. Its 1,809 woodcut illustrations (1,164 excluding repeats) depict popes, saints, and other religious figures, kings and emperors, historical and biblical genealogies, mythological and fanciful creatures, natural phenomena, and views of all the major cities of the known world, as well as a brilliant creation sequence. In addition to the full-sheet maps of the world and of Europe, twenty-nine city views such as this one span two pages and eight other cuts (excluding the xylographic title page) are full-page. The colophon explicitly acknowledges the contributions of the artists Michael Wolgemut and Wilhelm Pleydenwurff. Albrecht Dürer was at that time a pupil in Wolgemut's workshop and there is good evidence that he did many of the preliminary drawings for woodcuts and may even have cut some of them (see Adrian Wilson, THE MAKING OF THE NUREMBERG CHRONICLE). Item #25186

First Edition with the Latin text, the bifolium with fine hand-colouring to the Venice view. This is one of the large, double-page city-view woodcuts from the workshop of Mighael Wolgemut and Wilhelm Pleydenwurff beneith 24 lines of text. The view of Venice was adapted from the 1486 woodcut by Erhard Reuwich in the Sanctae Perigrinationes. It is handsomely and finely handcoloured in blues, greens, yellows, reds, grays, etc. Double-page folio ( ca. 540 x 364 mm ), handsomely mounted, framed and glazed. Leaves XLIII and XLIIII. In fine condition and very well preserved and presented.