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A deluxe copy, printed on vellum for presentation by Emperor Maximilian, of the first edition of this privately printed chivalric poem celebrating the heroic deeds of Emperor Maximilian, one of the finest illustrated books of the German Renaissance. Theuerdanck was conceived as a deluxe production and Maximilian himself was closely involved in all aspects of its creation, from its composition to its distribution after printing. Maximilian had composed first drafts in 1505-8, portraying himself as Theuerdanck overcoming the difficulties of his journey to win his bride, Mary of Burgundy (Kunigin Ernreich in the poem). He turned over the completion and general editing of the work to Melchior Pfintzing, his private secretary. Maximilian called Schönsperger from Augsburg to the imperial city of Nuremberg; it was the only work Schönsperger printed there. A remarkable series of woodcut illustrations - among the finest of the German Renaissance - were cut, commissioned from some of the greatest woodcut artists of the day, Schäufelein, Beck, and Burgkmair, and a calligraphic type was specially cast. The design of the type is traditionally attributed to Vinzenz Rockner, Maximilian's court secretary, though it seems to derive from the writing books of Leonhard Wagner of Augsburg. It is one of the earliest Fraktur types, which was quickly adopted as a national typographic style which lasted for centuries. No copies of the first edition were available for sale; A deluxe copy, printed on vellum for presentation by Emperor Maximilian, of the first edition of this privately printed chivalric poem celebrating the heroic deeds of Emperor Maximilian, one of the finest illustrated books of the German Renaissance. Theuerdanck was conceived as a deluxe production and Maximilian himself was closely involved in all aspects of its creation, from its composition to its distribution after printing. Maximilian had composed first drafts in 1505-8, portraying himself as Theuerdanck overcoming the difficulties of his journey to win his bride, Mary of Burgundy (Kunigin Ernreich in the poem). He turned over the completion and general editing of the work to Melchior Pfintzing, his private secretary. Maximilian called Schönsperger from Augsburg to the imperial city of Nuremberg; it was the only work Schönsperger printed there. A remarkable series of woodcut illustrations - among the finest of the German Renaissance - were cut, commissioned from some of the greatest woodcut artists of the day, Schäufelein, Beck, and Burgkmair, and a calligraphic type was specially cast. The design of the type is traditionally attributed to Vinzenz Rockner, Maximilian's court secretary, though it seems to derive from the writing books of Leonhard Wagner of Augsburg. It is one of the earliest Fraktur types, which was quickly adopted as a national typographic style which lasted for centuries. No copies of the first edition were available for sale; the edition was intended uniquely for presentation by the emperor. Maximilian had time to distribute only a few copies before his death in 1519. "The whole stock of copies lay in six chests at Augsburg until March 1526, when the Archduke Ferdinand decided to distribute, through Max Treitzsauerwein, the contents of five of the chests to different German subjects as memorials of the late Emperor. The other chestful the archduke kept for himself" (Fairfax Murray, German). About 40 copies of the first edition were printed on vellum; Van Praet records 31 copies, including some without the final quire, as here. It contained a key (clavis), identifying the characters by their true names. Provenance: Paul Harth (booklabel; sale Paris, 1985); A. W. Flühmann (monogram booklabel); J. R. Ritman (sold Sotheby's, 6 December 2000, lot 68). READ MORE Royal folio (362 x 243 mm). Nineteenth-century purple cross-grain morocco gilt, spine gilt and lettered, wide gilt turn-ins, vellum doublures and endleaves, gilt edges; modern black morocco folding case. Printed on vellum, 281 leaves (of 290, without blank P5 and postliminary quire A8). Gothic (fraktur) type, flourished, xylographic title and 118 large woodcuts in the text by Jost de Negker and Heinrich Kupferworm after Leonhard Beck (77), Hans Burgkmair Printed correction slips on g6v, m1v, r3v, r5r, and v5r. Flourishes shaved on only three leaves (a2, v5 and y4,5), light discoloration on v1-2, a superb copy. Adams P-962; Brunet V, 787; Fairfax Murray, German 329; USTC 633810; VD16 M1649.

"Theuerdank" is an epic poem that stands as a monument to chivalric romance, commissioned by none other than the Holy Roman Emperor Maximilian I. Authored by Melchior Pfinzing at Maximilian's behest, this literary work was published in 1517, embodying the ideals, ambitions, and the persona of the emperor himself. The narrative, rich in allegory and symbolism, recounts the adventurous journey of its eponymous hero, Theuerdank (a thinly veiled representation of Maximilian), as he overcomes various perils to win the hand of his betrothed, Princess Ehrenreich (symbolizing Mary of Burgundy). This essay explores the thematic depth, historical context, and literary significance of "Theuerdank," highlighting its role in the propagation of Maximilian's legacy and its standing in the canon of early modern European literature. "Theuerdank" is more than just a chivalric epic; it is a carefully crafted piece of Habsburg propaganda, designed to glorify Maximilian's reign and his personal virtues. Melchior Pfinzing, the principal author, was a cleric and a close confidant of Maximilian, who meticulously wove the emperor's real-life exploits and aspirations into the fabric of the narrative. The text is accompanied by a series of woodcuts, attributed to the likes of Hans Burgkmair and Leonard Beck, among others, which are as integral to the work as the prose, providing visual dramatization of Theuerdank's journey and trials. The narrative structure of "Theuerdank" follows the hero's quest motif, a staple of chivalric literature, but imbues it with a complexity that mirrors the political and personal challenges faced by Maximilian himself. The perils that Theuerdank encounters are allegorical representations of the obstacles Maximilian navigated in his own life, including political alliances, warfare, and the quest for dynastic marriage. The hero's ultimate triumph is a metaphor for Maximilian's successful marriage to Mary of Burgundy, a union that expanded Habsburg influence and laid the groundwork for the future European hegemony of the Habsburg dynasty. "Theuerdank" occupies a unique place in the history of European literature. It is among the last major works of the chivalric tradition, a genre that would soon give way to the humanist and realist narratives of the Renaissance. Its publication, featuring innovative typography and an unprecedented integration of text and woodcut illustrations, represents a milestone in the history of the printed book. Furthermore, "Theuerdank" is a testament to the power of literature as a tool for political and personal myth-making. Through its pages, Maximilian I immortalized his idealized self-image and political vision, crafting a legacy that would endure well beyond his reign.