Eyn new Kunstlichs wolgegründts Visierbüchl

Eyn new Kunstlichs wolgegründts Visierbüchl

$5,765.00 CAD
Sale price  $5,765.00 CAD Regular price 
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Eyn new Kunstlichs wolgegründts Visierbüchl
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Illustrated practical geometry for the wine trade, printed by the son of Gutenberg's collaborator.

Eyn new Kunstlichs wolgegründts Visierbüchl

1531, Straßburg (Strasbourg), Peter Schöffer, bei Hansen Schwyntzern

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Overview

In Folio. Leaves [1] f.e., [1], lvi, [1] folding woodcut plate, [1] r.e.

First edition of Kern's important illustrated German treatise on the practical art of gauging wine casks, a remarkable vernacular work bringing geometry directly into commerce and the wine trade. With provenance from the Library of Owen Gingerich. Completed on 1 April 1531, Kern himself announces its novelty on the title-page, claiming that it is never before printed or issued (dergleichen noch nie getruckt oder außgangen). A wine cask became a commercial object only after its capacity had been determined, and this Visierbuch (gauging book) addresses precisely the practical art by which an irregular barrel could be measured with a graduated Visierrute (gauging rod) and converted into local units of capacity. Written in Early New High German, with Latin mathematical headings, the work identifies its author in both the dedication and closing verses as Ulrich Kern von Freysing, Rechenmeyster und teutscher schreiber (Ulrich Kern of Freising, reckoning-master and German scribe). The dedication to the merchant Hans Volmar of Rottweil reveals the intended audience: merchants, coopers, and tax officials whose livelihood depended upon accurate measurement rather than abstract mathematics. Kern also acknowledges his teacher, Christoff Rudolff of Jauer, author of the first German algebra book and commonly credited with introducing the radical sign, placing the work firmly within the Rechenmeister (reckoning-master) tradition. The printer's family name will not pass unnoticed by any scholar or lover of early printing. Peter Schöffer the Younger was the son of the celebrated Mainz printer Peter Schöffer the Elder, Gutenberg's apprentice and collaborator; he was also the grandson of Johann Fust, Gutenberg's primary financier. The younger Schöffer carried this remarkable printing dynasty into the Reformation era, working successively in Mainz, Worms, Strasbourg, Basel, and Venice. This volume was printed during Schöffer's Strasbourg partnership with Johann Schwintzer, at a moment when practical mathematical knowledge previously transmitted through local teaching and workshop practice was increasingly finding durable printed form. Kern's insistence on adapting the measuring rod to the different weights and measures of individual regions makes the book particularly revealing of the problem it sought to solve: applying a common geometrical method across a commercial world still governed by highly local systems of capacity. The large woodcut printer's device on the colophon leaf is notable in its own right. Signed with the monogram "HG" and traditionally attributed to Hans Baldung Grien, it is Schöffer's elaborate 1531 device, incorporating the family arms and flanked by shepherds and a richly dressed couple. Schöffer reused the block in later publications, including the "Rerum musicorum opusculum" printed with Matthias Apiarius in 1535.

Ref. VD16 K 771 (online); Graesse IV, 13; Muther 1402. For the woodcut attribution: Nagler, III 944; BM, s.v. Monogrammist HG.

Inside the book

The book opens with an illustrated title page: a woodcut depicts a cooper or wine gauger standing behind a large wooden cask, demonstrating the use of a gauging rod (Visierrute). Holding the long graduated rod horizontally across the barrel while taking a measurement with his right hand, he illustrates the practical operation at the heart of the Visierbuch: determining the capacity of a cask geometrically without filling it. The barrel is shown with pronounced staves and iron hoops, emphasizing its commercial rather than decorative function. The following text is divided into three parts. The first explains the construction of gauging rods from geometrical principles, introducing square and cube roots through tables and diagrams. The second applies these methods to the differing systems of measurement used throughout the German lands, illustrating the geometrical constructions with numerous diagrams and a striking folding plate. The final section presents completed gauging rods for the principal regional measures, together with multiplication tables, worked examples, exchange calculations, and the printed rod scales used in practice. Throughout, the units are those of the barrel trade, including Fuder, Saum, Ohm, Eimer, Viertel, and Maß. The volume is illustrated with numerous text diagrams, a large folding plate, and a handsome colophon woodcut. Particularly noteworthy is the use of red and black printing in the rod scales: the red rules form continuous measuring lines while the black dots mark the graduations, making color an essential functional element rather than decoration.

Condition

Modern olive brown morocco, richly gilt- and blind-tooled, spine with four raised bands. The upper margins are somewhat shorter than in an otherwise well-margined copy; in a couple of larger illustrations, the upper margins have been trimmed close to the upper edge, causing minor losses, due to the fact that the images were originally printed well beyond the normal text area. many other small and big woodcuts in the text. Later bookplate of Owen Gingerich on the front pastedown, with the motto "Coeli enarrant gloriam Dei" and the initial G enclosing a globe. Handwritten ownership note at the back of leaf lvi "Alessandro Volpi". A clean, fresh, and attractive copy of this rare work, with distinguished provenance. Fine.

Dimensions (inches): 11 x 7 3/4 x 3/4

Why La Fenice likes it

Wine, geometry, and the dawn of printing, what's not to love? This ingenious little manual taught merchants how to measure a cask without ever filling it, transforming mathematics into an everyday tool of the wine trade. But we also fell for its printing pedigree: produced by Peter Schöffer the Younger, son of Gutenberg's apprentice and grandson of his financier, it leaves you only two degrees of separation from the invention of printing itself. Add handsome diagrams, clever red-and-black typography, and a delightful woodcut or two, and this is exactly the sort of book that makes our hearts skip a beat.

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