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Displayed below are some selected recent viaLibri matches for books published in 1743


         Secrets merveilleux de la magie naturelle & cabalistique du Petit Albert, traduit exactement sur l' original latin, intitulé Alberti Parvi Lucii Libellus de mirabilibus naturae arcanis...

      MAGNUS, A. A Lion: chez les Héritiers de Beringos fratres à l' enseigne d' Agrippa, 1743. Secrets merveilleux de la magie naturelle & cabalistique du Petit Albert, traduit exactement sur l' original latin, intitulé Alberti Parvi Lucii Libellus de mirabilibus naturae arcanis... In-24°, 124 x 78. cartonato con titolo manoscritto al dorso. (12), 252 pp. Fregio decorativo al frontespizio. Presenza di numerose tavole illustrate, alcune leggermente brunite. Carattere tondo e italico. Testo francese. Bell' esemplare. Seconda edizione. Il Petit Albert è una miscela di unlibro di magia nonché di una serie di libri popolari di segreti del Rinascimento pieni di ricevute e rimedi. Da questi scritti si può apprendere come fare una caduta da cavallo e sembrare morti, allontanare gli spiriti maligni e crescere meloni più dolci e più deliziosi. Originariamente pubblicato nella seconda metà del 17° secolo, dal 19° secolo, il Petit Albert aveva superato il Grand Albert in popolarità. E la sua popolarità e i suoi effetti si diffusero non solo nella campagna francese, arrivando a diventar celebre fino ad Haiti e nelle Indie Occidentali. Neg. esot.

      [Bookseller: Brighenti libri esauriti e rari]
 1.   Check availability:     maremagnum.com     Link/Print  


         Imperium Caroli Magni Occidentis Imperatoris.

      Artist: Vaugondy de Didier/ Gilles Robert (d) ; issued in: Paris; date: (d)1743 - - technic: Copper print; - colorit: colored; - condition: Very good; - size (in cm): 48 x 64; - description: Map shows total europe; - vita of the artist: Didier Robert de Vaugondy (1723 -1786) also known as Le Sieur or Monsieur Robert, and his son, were leading cartographers in France during the 18th century. In 1757, Gilles and Didier Robert De Vaugondy published The Atlas Universel, one of the most important atlases of the 18th century. To produce the atlas, the Vaugondys integrated older sources with more modern surveyed maps. They verified and corrected the latitude and longitude of many regional maps in the atlas with astronomical observations. The older material was revised with the addition of many new place names. In 1760, Didier Robert de Vaugondy was appointed geographer to Louis XV.Gilles and Didier Robert De Vaugondy produced their maps and terrestrial globes working together as father and son. Globes of a variety of sizes were made by gluing copperplate-printed gores on a plaster-finished papier-mache core, a complicated and expensive manufacturing process, employing several specialists. In some cases it is uncertain whether Gilles or Didier made a given map. Gilles often signed maps as M.Robert, while Didier commonly signed his maps as "Robert de Vaugondy", or added "fils" or "filio" after his name.The Robert de Vaugondys were descended from the Nicolas Sanson family through Sanson's grandson, Pierre Moulard-Sanson. From him, they inherited much of Sanson's cartographic material, which they combined with maps and plates acquired after Hubert Jaillot's death in 1712 to form the basis the Atlas Universel. [Attributes: Signed Copy]

      [Bookseller: Antique Sommer& Sapunaru KG]
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         The Complaint: Or, Night=Thoughts on Life, Death, & Immortality

      London: R. Dodsley; G. Hawkins, 1743-1745. Leatherbound. Very good. Multiple paginations. 26 cm. Engraved frontispiece and title page vignette. Decorations throughout. Red and black print on title page. Full leather. Red text block edge. Respined with repaired corners. Hinges repaired internally. Chipped top corner on front free endpaper. Bottom corner torn off last page with no loss of text. Repair to title page for second part of "Infidel reclaimed." Tiny ink notation bottom of "The Consolation" title page. The poem contains nine parts: The complaint; On time, death, friendship; Narcissa; The Christian triumph; The relapse; The infidel reclaim'd (in two parts); Virtue's apology; The consolation. Publication of the first "Night" began in 1742 and was followed by other "Nights," the eighth and ninth appearing in 1745. Its success was enormous, being translated into French, German, Italian, Spanish, Portuguese, Swedish, Welsh and Magyar. In France it became a classic of the romantic school. In more recent times this masterpiece fell into obscurity but was restored to fame when mentioned in Edmund Blunden's World War One memoir, Undertones of War (1928); the author refers to the poem as a source of comfort during his time in the trenches.

      [Bookseller: Attic Books]
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         Essai sur la marine et sur le commerce. Par Mr. D****. Avec des remarques historiques & critiques de l'auteur. - Mémoire historique sur les Indes Braves, et les Forbans François du Golfe de Darien.

      Chez François Changuion 1743 - 2 ouvrages reliés en 1 volume in-12 ( 160 X 100 mm ) de XX-252 pages ( pagination continue ) et 6 ffnch. de catalogue, pleine basane tabac racinée, dos à nerfs orné de caissons et fleurons dorés, pièce de titre de maroquin citron, tranches brique ( Reliure de l'époque ). Edition originale. Bel exemplaire. Voyages Explorations Marine Pirates Corsaires Indes [Attributes: First Edition; Hard Cover]

      [Bookseller: Tiré à Part]
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         Dissertatio inauguralis de prima Alcorani sura [.].

      Altdorf, Johann Adam Hessel, 1743. - 4to. 56 pp. Slightly later papered spine. Very rare sole edition of this detailed study of the Al-Fatihah, the first Surah of the Holy Qu'ran. By the mid-18th century the text of the Qu'ran had become less of a heretical menace to European scholars and more of a document of serious study: the present work focuses on philological subtleties within the various manuscripts of the Qu'ran known to Europeans including Erpenius, Hinckelmann, Wasmuth, and Schiefferdecker. A printed dissertation defended by one of Nagel's students, Jakob Holste, the text presents a word-for-word comparison of two manuscripts of the Al-Fatihah: one in the possession of Nagel himself, and the other of Christoph Fürer von Haimendorf (1541-1610), who had brought a copy back from his visit to the Middle East in 1565. To these are further compared printed editions of Marracio, Hinckelmann, Erpenius, and others. Because no Arab typeface was available in Nuremburg at the time, the author is forced here to write the text of the Al-Fatihah in Hebrew characters (!). The last section of the work gives no less than 17 translations into Latin of the Al-Fatihah drawn from Arabic, Persian, and Turkish. Nagel and his student Holste finally propose a 'perfect' conglomerate translation of the Surah based on their findings. Much space is devoted to the question of whether Al-Fatihah was revealed in Medina or Mecca, and Nagel's discussion of this point even includes topographical details collected from previous authors (cf. pp. 13-15, 31-36). - OCLC shows just a handful of copies in institutions worldwide, including one in America at the University of Chicago. The present copy is deaccessioned from the library of the Ludwig-Maximilian University in Munich with small release stamps on verso of title-page. Printed glosses trimmed closely, with occasional loss of a few letters; otherwise a good copy. Schnurrer 382. Chauvin I, LXI. Not in Enay. Cf also Encyclopedia of the Qu'ran IV, 250.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         The Book of Common Prayer, and Administration of the Sacraments, and other rites and ceremonies of the Church, according to the use of the Church of England: together with the Psalter or Psalms of David ...

      Printed by Thomas Baskett and Robert Baskett, printers to the King's most Excellent Majesty. 1743, 1737 [388]pp. 4to. BOUND WITH: The Whole Book of Psalms, collected into English metre by Thomas Sternhold, John Hopkins, and others conferred with the Hebrew ... Printed by A. Wilde, for the Company of Stationers. [52]pp. 4to. Some pages sl. browned, the odd spot, C4 & C5 in Common Prayer with sl. marginal tear and crease, not affecting text. Contemp. full black morocco, delicately panelled in filigree-type gilt, raised bands; sl. rubbing to boards & corners, a few small expert repairs. A nice copy in a very attractive contemporary binding. a.e.g.ESTC N32769, Duke, Huntington, Penn only in U.S.; ESTC T88820, no copies recorded in U.S.

      [Bookseller: Jarndyce Rare Books]
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         Mercurio geographico overo guida geographica in tutte le partie del Modo.

      Artist: Rossi Giacomo Giovanni ca ; issued in: Rome; date: ca1743 - - technic: Copper print; - colorit: original colored; - condition: Margins cutted; - size (in cm): 41,5 x 26; - description: Titlepage from the Atlas Mercurio Geographico from De Rossi; - vita of the artist: Giovanni Giacomo De' Rossi was the son of the founder of the most important and active printing press of the 17th century in Rome. Begun in 1633 by his father Giuseppe (1570-1639), the press passed firstly to Giacomo and to his brother Giandomenico (1619-1653), and then later to Lorenzo Filippo (1682-?); in 1738 it became the Calcografia Camerale, from 1870 until 1945 the Regia Calcografica, and today it is known as the Calcografia Nazionale. Here are conserved, amongst many others, the plates of Giambattista Piranesi (1720-1778). Giacomo De' Rossi was the most involved of all the various family members who ran the press, and he worked between 1638 and 1691, and was to take the company to the height of its success.

      [Bookseller: Antique Sommer& Sapunaru KG]
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         Das Buch Jezira das ist das große Buch der Bücher Moses das sechste, das siebente, das achte, das neunte, das zehnte und das elfte. Aus ältesten kabbalistischen Urkunden. Kabbala denudata. Offenbarungen aus den Büchern Moses. Das Geheimnis aller Geheimnisse. Sämtliche 40 Hauptwerke über Magie, verborgene Kräfte und geheimste Wissenschaften.

      208, 207, 128, 144 S., mit zahlreichen Abb. im Text, 8, Neues marmoriertes Halbleinen Enthält: Das Buch Jezira, die älteste kabbalistische Urkunde der Hebräer. Nebst den zweiunddreißig Wegen der Weisheit Der goldene Habermann Neuntägiges Gebet zu der heiligen Jungfrau und Martyrin Corona in Armuth und Noth zu gebrauchen Taglöhners-Gebet Charakters u. Zettelchen gegen den Hagel, wie auch andere Hagel- und Blitzableitungen Der heiligen Corona Schutzgebet Ein oft probirtes Stück wie man einen verborgenen Schatz heben soll Daß durch einen Geist alle Dinge geoffenbart werden Arcanum Experientia praetiosum Nobilis Johannes Kornreutheri, Ordnis St. Augustini Prioris Magia Ordinis artium et Scientiarum abstrusarum Unterricht vom Gebrauch des Erdspiegels Der goldene Brunn Das alte Colomanns-Büchlein Doctoris Johannis Fausti sogenannter Manual-Höllenzwang Entdeckte höhere Kenntniß des Geheimnisses, aus der Karte sich zukünftige Dinge vorherzusagen Mittel, aus bekannten Zahlen unbekannte, die man wünschet, zu finden, und aus diesen unbekannten Zahlen dann weiter die Schicksale des forschenden Menschen zu entziffern Die Salomonische Conjuration Claviculae Salomonis et Theosophia Pneumatica, das ist wahrhaftige Erkenntnis Gottes und seiner sichtigen und unsichtigen Geschöpfe, die Heil.-Geist-Kunst genannt Cabulaischer Schlüssel Die Länge unseres lieben Herrn und Heilandes Jesu Christi Gewisse und wahrhafte Länge unserer lieben Frau, der gebenedeiten Himmelskönigin Maria Englisches Glücks-Gebet Arcanum Magicum nempe Speculum magicum metallicum Verum et Approbatum. De Speculi Metallici Confectione. Das ist: Der magische Metallspiegel Theophrastus Paracelsus von Bereitung des Steins der Weisen und von der Heilung des Steins und Podagras Pius Quintus, Pontificis Maximi Seelen-Ruf Das wahrhaftige heilige Christoph-Gebet Zwang des Albiruth Pentaculum Pentaculum seu Scutum Davidis Zwei Zauber-Formeln Auswahl heiliger Segen Trinum Perfectum Magiae Albaeetnigrae. Das sind vier Bücher, darin die wahre Magische, Astrologische, Geometrische und Chymische Weisheit, gute und böse Geister zu citieren, und zu allem Gehorsam zu bringen, aus dem VI. und VII. Buch Mosis und Tabella Rabellina [Liber Secundus Tabella Rabellina, Geister-Commando. Liber Tertius Chimia Magia Naturalis et Alchima. Liber Quartus Magia Naturalis Astrologica et Geometrica (ss) Angelo Tobianass] Das Geheimnis der heiligen Gertrudis Auserlesener himmlischer und irdischer Schatzschlüssel der heiligen Abtissin Gertrudis Die wahre und hohe Beschwörung der heiligen Jungfrau und Abtissin Gertrudis Libellus St. Gertrudis das ist: Haupt-Zwang der Geister zu menschlichen Diensten. - Der Berliner Verleger Bartels entlieh die Texte dem Stuttgarter Scheible Verlag, dort erschien das Kompendium unter dem Titel: "Handschriftliche Schätze aus Kloster-Bibliotheken, umfassend sämtliche vierzig Hauptwerke über Magie, verborgene Kräfte, Offenbarungen und geheimste Wissenschaften, Köln, bei Hammers Erben Erben, 1743 u. Köln a. Rh. 1734-1810" [= Stuttgart, Scheible 1853]. Nach der Verlagspraxis erschien "Das Buch Jezira" in wechselnden, meist nicht so umfangreichen Zusammenstellungen (siehe dazu Karl-Peter Wanderer: Gedruckter Aberglaube. Studien zur volkstümlichen Beschwörungsliteratur. Dissertation, Berlin 1976, S.229ff.). Jahresangabe nach KVK u. Spamer: Zauberbuch und Zauberspruch (S.122). - Titel geringfügigen Resten der Lacksiegeln u. Leinwandstreifen von der Versiegelung papierbedingt gebräunt ein erstaunlich gutes Expl. für ein Buch dieser Gattung. - Selten, nach KVK nur ein Expl. mit identischen Seiten-Angaben nachweisbar (Landesbibliothekenverbund Österreich/Südtirol).

      [Bookseller: Versandantiquariat Hans-Jürgen Lange]
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         Huishoudelyk Woordboek,

      Leiden & Amsterdam: S. Luchtmans & H. Uytwerf,, 1743. Vervattende vele middelen om zyn Goed te Vermeerderen, en Zyne Gezondheid te Behouden … 2 volumes, quarto (250 x 203 mm). Contemporary speckled calf, spines lettered and ruled in gilt, elaborate floral scrollwork to compartments in gilt, raised bands, sprinkled edges. Title pages printed in red and black, contents printed in double columns. Engraved frontispiece by Jan Punt and 80 folding plates, intentionally bound out of order as issued. Spine of volume 1 professionally restored at head, all corners to both volumes restored in sheep. Spines and joints lightly rubbed, some mild surface wear to covers, occasional light dampstain and spotting with the odd stain to contents, otherwise a very good copy. First Dutch edition, first published in France in 1709 as the Dictionnaire Oeconomique. Chomel's celebrated work was arguably the most popular household almanac of the 18th century. Ambitious in scope, the encyclopedia covers a broad variety of topics ranging from domestic chores to botany, distilling techiques, fishing, geometry, and landscaping. Written to provide advice on how to live a successful and healthy life, the book presents a substantial number of remedies and treatments for illnesses as well as practical business wisdom for bankers, merchants, and officers of the courts. The plates illustrate activities, objects, and living organisms such as: plans for elaborate landscape gardens, horse musculature, designs for thermometers and barometers, farming methods, and how to build animal traps. This Dutch edition formed the basis for the Japanese translation of 1783, and until its appearance the Dutch version was widely used in Japan.

      [Bookseller: Peter Harrington]
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         Voyages dans plusieurs provinces de la Barbarie et du Levant: contenant des observations gŽographiques, physiques, physiologiques et melŽes sur les royaumes dÕAlger et de Tunis, la Syrie, LÕEgypte et lÕArabie PetrŽe avec des cartes et des figures.

      La Haie, chez Jean Neaulme, 1743, due volumi in-4to (cm. 26 x 20) legatura coeva piena pelle con titoli e fregi dorati ai dorsi, tagli rossi, due frontespizi stampati a due colori con fregio xilografico, pp. XLIV-414 + IV-192 + 172 (Extrait de plusieurs auteurs anciens et autres pices) con 33 tavole (molte ripiegate) incise in rame fuori testo e numerose incisioni xilografiche nel testo. Prima edizione francese.

      [Bookseller: Libreria Piani già' Naturalistica snc]
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         AMOURS DE THEAGENES ET CHARICLEE. HISTOIRE ETHIOPIQUE

      A Paris, chez Coustelier, 1743 - 2 volumes pet. in-8 (16 x 10,3 cm) de X-213 et (1)-190 pages. 10 figures hors-texte et 10 vignettes d'en-tête à l'eau-forte non signés. Vignette à l'eau-forte répétée sur les titres imprimés en rouge et noir. Titre frontispice gravé à l'eau-forte en tête du premier volume. Reliure de l'époque plein maroquin rouge, dos à nerfs orné aux petits fers dorés perlés, filets dorés en encadrement des plats, roulette dorée en encadrement intérieur des plats, doublures et gardes de papier marbré, tranches dorées. Fine reliure non signée mais attribuable à l'un des meilleurs ateliers parisiens de l'époque. Quelques légères usures aux coins (anciennement atténuées) sinon très bel exemplaire. Intérieur très frais imprimé sur beau papier avec marges amples. Les figures hors-texte sont avant la lettre. ÉDITION ILLUSTRÉE DE SECOND TIRAGE. Réimpression page pour page du premier tirage. Elle fut motivée, écrit Cohen, par le désir d'atténuer certaines illustrations un peu libres de la première édition : on couvrit la 8e figure (femme sur le bûcher), on supprima le frontispice du tome II et on répéta les vignettes de façon à éliminer six d'entre elles ; on grava de plus une vignette nouvelle (trois Amours tirant de l'arc) que l'on plaça aux livres 5, 6 et 9. Pour ce second tirage Cohen ne cite que des exemplaires reliés en veau. On ne sait pour ainsi dire rien de cet écrivain syrien de langue grecque ayant vécu au IIIe ou au IVe siècle, auteur d'un roman intitulé les Éthiopiques ou les Amours de Théagène et Chariclée. Ce roman aurait été composé dans sa jeunesse. L'arrière-plan historique que l'on devine dans l'évocation qui est faite de l'Éthiopie, ainsi que la coloration néo-pythagoricienne de l'œuvre et l'insistance sur la religion du soleil (à l'honneur sous le règne d'Aurélien), tout cela incite à situer la date de la composition du roman dans la seconde moitié du IIIe siècle. C'est l'histoire d'une princesse d'Éthiopie (terme désignant alors la Nubie), abandonnée à sa naissance par sa mère la reine Persina et transportée à Delphes où elle est élevée par le Grec Chariclès sous le nom de Chariclée et devient prêtresse d'Artémis. Assistant à des jeux gymniques à Athènes, elle rencontre un jeune Thessalien qui y concourt, nommé Théagène, et ils s'éprennent l'un de l'autre. Pour obéir à un oracle, ils quittent Delphes sous la conduite du sage égyptien Calasiris, et après plusieurs aventures en mer sont jetés par un naufrage en Égypte, sur les bouches du Nil. Ils traversent alors de rudes épreuves, tantôt ensemble, tantôt séparés, notamment du fait de la passion qu'Arsacé, femme du satrape d'Égypte Oroondatès, conçoit pour Théagène. Prisonniers des Perses, ils sont finalement capturés par l'armée du roi Hydaspe et conduits à Méroé, capitale de l'Éthiopie. Inconnus, ils sont sur le point d'être immolés au soleil quand Chariclès arrive de Grèce et la reconnaissance attendue a lieu. L'histoire finit par le mariage des héros, qui se sont gardés fidèles l'un à l'autre. Chariclée, de peau blanche, se croyait grecque, mais se découvre africaine à la fin du roman. Les dernières pages donnent une explication de la couleur blanche de cette jeune fille dont les deux parents sont noirs. À la Renaissance, il fut imprimé pour la première fois à Bâle en 1534, et fut traduit en français par Jacques Amyot en 1547, en anglais par Thomas Underdowne en 1569. Son influence fut très grande aux XVIe et XVIIe siècle : il était vu comme une œuvre majeure de l'Antiquité, au même titre que l’Iliade et l’Odyssée ou que l’Énéide de Virgile. (source Wikipédia). Référence : Cohen (éd. 1912), col. 478. Provenance : Exemplaire provenant de la vente du Marquis de Morante (mai 1872), avec étiquette manuscrite numérotée. Don Joachim Gomez de la Cortina, né au Mexique le 6 septembre 1808, docteur en droit, fut successivement recteur de l’Université de Madrid, membre du Tribunal suprême de justice et sénateur. Entre-temps, en 1847, il reçut le titre de marquis de Morante. Le marquis d [Attributes: Hard Cover]

      [Bookseller: Librairie L'amour qui bouquine]
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         Abhandlung des Teutschen Staats-Rechts, worinnen alle dahin gehörigen Materien, hauptsächlich nach Maßgabe der Reichs-Gesetzen und besonders Ihro glorwürdigst-regierenden Kayserlichen Majestät Wahl-Capitulation, vorgestellet werden : daß solche zugleich zu deren Erläuterung dienen kan.

      Gießen : Krieger , 1743 - 18 Bl., 1382 S., 17 cm, Porträtbild des Verfassers, bildhafte Vignette, marmorierter Halbledereinband leicht berieben, Rücken mit reicher Goldprägung, Ecke leicht gestoßen, Bibliotheksstempel. Günderrode (1713-1784) war hessen-kasselischer Geheimrat; Rentkammer- und Regierungsdirektor. Sprache: deu

      [Bookseller: Wissenschaftliches Antiquariat Köln]
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         Il Cristianesimo Felice

      1743 - nelle Missioni de' Padri della Compagnia di Gesu nel Paraguai. First edition. Large folding engraved map. Small 4to. Tan morocco, gilt, with the arms of Lord Bute stamped in gilt to the upper & rear boards. [viii], 196pp. Venice, Giambatista Pasquali, With the fine book plates of Lord Northbrook, and Francis le Buchauan, this copy is not accompanied by the supplementary volume published in 1749. ?A work esteemed for the many documents which it contains. We do not know whether Padre Muratori resided in the Indies, nevertheless his conscientious work as historian gave him a knowledge of the multitude of documents transcribed in this work which, apart from his slightly impassioned viewpoint, are of indisputable value in the study of the Paraguayan missions? (Palau). Sabin, 51419; Palau, 185907. [Attributes: First Edition; Hard Cover]

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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         L'Orthopédie ou l'Art de prevenir et de corriger dans les Enfans, les Difformités du corps. 2. Vol.

      A Bruxelles, Chez George Frick, 1743, kl.-8, VIII, 310 pp. (4), 39, (1) pp., 1 Halblederband d.Zt. feines Exemplar. TABLE DES ARTICLES CONTENUS DANS LE SECOND TOME DE L'ORTHOPEDIE. LIVRE QUATRIÉMEDIFORMITE'S DE LA TETE. Moyens de les prévenir & de les corriger. Difformités de la Tête par rapport att tronc. Difformités de la Tête par rapport à la Chevelure. Rouille des Cheveux. Chute des Cheveux. Couleur des Cheveux s ses défauts.Cheveux ardens. Cheveux fourchus. DIFFORMITE'S DE LA TETE par rapport au vissage. Du Visage en général par rapport à l' air & à la mine. Du VISAGE consideré de détail par rapport à ses differentes parties. LE FRONT. Diverses difformités du front.Des Sourcils. Sourcils trop peu garnis. Sourcils trop peu épais. Sourcils trop droits Tète des Sourcils trop peu garnie. Sourcils joints. Sourcils rebroussés. Poils des Sourcils trop longs & interrompus.Sourcils herissés. Sourcils roux. Arc des Sourcils non entier. Arc des Sourcils trop élevé. Sourcil unique. Point du tout de Sourcil. Deux Sourcils l'un sur l'autre.DIFFORMITES DU NEZ. Manque de Nez. Nez plat & épaté. Nez en pied de marmite. Nez de travers. Nez boutonné.Nez polypeux. Nez pointillé.Nez gros. Nez fendu. Nez chevalin.Tic du Nez.Nez stupide.LES PAUPIERES. Rebroussèment de la Paupière supérieure. Renversement de la paupière inférieure en dehors. La Chassie. Le Grain de Grêle. L'Hydatide. Le Grain d'Orge, autrement dit, Orgelet, ou Orgueilleux. Le manque de Cils. Cils trop courts, ou en trop petite quantité. Herissèment ou recourbement des Cils contre l'Oeil. DES YEUX. L'Oeil louche. Oeil en feu. Oeil égaré. La Squamie, ou l'Oeil Squameux. La Clignote. Monopie, ou Oeil plus petit que l'autre. Oeil hagard, ou Oeil féroce.DES JOUES.Joues plates, joués creusès, joués pleines d'Elevures, de Boutons, de Dartres. Joues boursouflées. Joue plus grosse que l'autre. Des Oreilles, des Lèvres, du Menton & de la peau du Visage. Des Oreilles conditions qu'elles doivent avoir. DES LEVRES. Bec de Lèvre. Inversion des Lèvres. Gerçures, Elevures, Fentes, Crevasses, Galles des Lèvres. Grosses Lèvres.Lèvres béantes. DU MENTON. Femmes barbues comme des hommes. Hommes sans barbe comme des femmes. Tic, ou mouvement involontaire du Menton. DE LA PEAU DU VISAGE.Difformités de la peau du Visage par la petite Verole. Visage couperosé. Taches de Rousseur. Envies. Teint brun, livide, jaune, bazanné. Teint blême, ou pales couleurs. Teint gros. Teint luisant. Teint flétri. LES GENCIVES. Gencives livides. Gencives en bourlets. Gencives décharnées. Gencives pâles. Gencives flasques. Gencives raboteuses. Gencives rongées. Gencives enflammées. Gencives avec excroissances. DES DENTS. Moyens d'aider les dents devancières a sortir. Des Dents secondaires. Moyens propres par eux-mêmes à conserver les dents, & à les embellir. Dents remplacées. DE LA LANGUE PAR RAPPORT AU PARLER. LE MUTISME. Mutisme par une mauvaise conformation de la langue. Mutisme par paralysie de la Langue. Mutisme provenant d'une trop grande humidité de la Langue. Mutisme procédant de piqueure. Mutisme provenant d'engorgement de vaisseaux fous la langue. Mutisme par fur dite. AUTRES ARTICLES Touchant diverses difformités concernant le parler. Extinction de voix. Voix de femme à un homme, voix d'homme a une femme. Bégayement, Brédouillement, difficulté de prononcer certaines syllabes. Parole entrecoupée, ou courte haleine. Conclusion de l'Ouvrage.Fin de la Table des Articles du second Tome.& Suplement - "These soutenue par L.J. Le Thieullier sous la présidence de M. Andry... Scavoir, si l'exercice moderé est le meilleur moyen de se conserver en sante ?The first book on orthopaedics, a term introduced by Nicholas Andry (1658-1742), and the book which gave the specialty its name. Andry was the first to note the active participation of muscles in producing deformities of the skeletal system, and he therefore stressed the importance of exercise, correct posture, and sensible clothing in the treatment of deformities. He also employed mechanical aids. The book contains many basic observations on the pathological condition of the musculo-skeletal system which have become principles of orthopaedic surgery. It is divided into four sections: a general anatomical survey of the structure of the body, the prevention and correction of deformities, the treatment of deformities in the extremities and head, and the treatment of voice defects.Franz. EA 1741: Garrison & Morton 4301, Grolier, 100 Books Famous in Medicine (exhibition catalogue), 42 Lilly, Notable Medical Books, 113 Norman Catalog. 55 Bick 67-9: " ...of supreme importance".

      [Bookseller: MedicusBooks.Com]
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         The Unknown World" [in:] The Gentlemen's Magazine, July 1743

      E. Cave, jun, London 1743 - First edition. 8vo. Sterne's First Literary Appearance. Bound volume of 11 issues of The Gentlemen's Magazine, for January through November 1743. On page 376 of the July number is the young Laurence Sterne's poem "The Unknown World," probably his first literary work in print (Cross suggests that the poem may have been printed first in a York or London newspaper, but no examples have been found), and preceded only by a few political articles in York papers. In the same volume are five first appearances of works by Samuel Johnson: "Friendship" (p. 376), "The Young Author" (p. 378), "To Laura" (p. 378), a translation of a Horation Ode (p. 380), and a translation of Pope's verses on his Grotto at Twickenham (p. 550). Cross II, p. 266 Contemporary half calf and marbled boards. Light rubbing to covers [Attributes: First Edition; Soft Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
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         L'Orthopédie ou l'Art de prevenir et de corriger dans les Enfans, les Difformités du corps. 2. Vol.

      - A Bruxelles, Chez George Frick, 1743, kl.-8°, VIII, 310 pp.; (4), 39, (1) pp., 1 Halblederband d.Zt.; feines Exemplar. TABLE DES ARTICLES CONTENUS DANS LE SECOND TOME DE L'ORTHOPEDIE. LIVRE QUATRIÉME DIFORMITE'S DE LA TETE. Moyens de les prévenir & de les corriger. Difformités de la Tête par rapport att tronc. Difformités de la Tête par rapport à la Chevelure. Rouille des Cheveux. Chute des Cheveux. Couleur des Cheveux s ses défauts. Cheveux ardens. Cheveux fourchus. DIFFORMITE'S DE LA TETE par rapport au vissage. Du Visage en général par rapport à l' air & à la mine. Du VISAGE consideré de détail par rapport à ses differentes parties. LE FRONT. Diverses difformités du front. Des Sourcils. Sourcils trop peu garnis. Sourcils trop peu épais. Sourcils trop droits Tète des Sourcils trop peu garnie. Sourcils joints. Sourcils rebroussés. Poils des Sourcils trop longs & interrompus. Sourcils herissés. Sourcils roux. Arc des Sourcils non entier. Arc des Sourcils trop élevé. Sourcil unique. Point du tout de Sourcil. Deux Sourcils l'un sur l'autre. DIFFORMITES DU NEZ. Manque de Nez. Nez plat & épaté. Nez en pied de marmite. Nez de travers. Nez boutonné. Nez polypeux. Nez pointillé. Nez gros. Nez fendu. Nez chevalin. Tic du Nez. Nez stupide. LES PAUPIERES. Rebroussèment de la Paupière supérieure. Renversement de la paupière inférieure en dehors. La Chassie. Le Grain de Grêle. L'Hydatide. Le Grain d'Orge, autrement dit, Orgelet, ou Orgueilleux. Le manque de Cils. Cils trop courts, ou en trop petite quantité. Herissèment ou recourbement des Cils contre l'Oeil. DES YEUX. L'Oeil louche. Oeil en feu. Oeil égaré. La Squamie, ou l'Oeil Squameux. La Clignote. Monopie, ou Oeil plus petit que l'autre. Oeil hagard, ou Oeil féroce. DES JOUES. Joues plates, joués creusès, joués pleines d'Elevures, de Boutons, de Dartres. Joues boursouflées. Joue plus grosse que l'autre. Des Oreilles, des Lèvres, du Menton & de la peau du Visage. Des Oreilles ; conditions qu'elles doivent avoir. DES LEVRES. Bec de Lèvre. Inversion des Lèvres. Gerçures, Elevures, Fentes, Crevasses, Galles des Lèvres. Grosses Lèvres. Lèvres béantes. DU MENTON. Femmes barbues comme des hommes. Hommes sans barbe comme des femmes. Tic, ou mouvement involontaire du Menton. DE LA PEAU DU VISAGE. Difformités de la peau du Visage par la petite Verole. Visage couperosé. Taches de Rousseur. Envies. Teint brun, livide, jaune, bazanné. Teint blême, ou pales couleurs. Teint gros. Teint luisant. Teint flétri. LES GENCIVES. Gencives livides. Gencives en bourlets. Gencives décharnées. Gencives pâles. Gencives flasques. Gencives raboteuses. Gencives rongées. Gencives enflammées. Gencives avec excroissances. DES DENTS. Moyens d'aider les dents devancières a sortir. Des Dents secondaires. Moyens propres par eux-mêmes à conserver les dents, & à les embellir. Dents remplacées. DE LA LANGUE PAR RAPPORT AU PARLER. LE MUTISME. Mutisme par une mauvaise conformation de la langue. Mutisme par paralysie de la Langue. Mutisme provenant d'une trop grande humidité de la Langue. Mutisme procédant de piqueure. Mutisme provenant d'engorgement de vaisseaux fous la langue. Mutisme par fur dite. AUTRES ARTICLES Touchant diverses difformités concernant le parler. Extinction de voix. Voix de femme à un homme, voix d'homme a une femme. Bégayement, Brédouillement, difficulté de prononcer certaines syllabes. Parole entrecoupée, ou courte haleine. Conclusion de l'Ouvrage. Fin de la Table des Articles du second Tome. & Suplement - "These soutenue par L.J. Le Thieullier sous la présidence de M. Andry. Scavoir, si l'exercice moderé est le meilleur moyen de se conserver en sante ? The first book on orthopaedics, a term introduced by Nicholas Andry (1658-1742), and the book which gave the specialty its name. Andry was the first to note the active participation of muscles in producing . [Attributes: Hard Cover]

      [Bookseller: Antiq. F.-D. Söhn - Medicusbooks.Com]
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         Historische Chronick oder Beschreibung der merkwürdigsten Geschichte, so sich von Anfang der Welt bis auf das Jahr Christi 1619. zugetragen. Erster Theil. Mit 31 Kupfertafeln und 329 Textkupfern.

      Frankfurt am Main, Hutter 1743. 2°. Vortitel, Kupfertitel, zweifarbiger Drucktitel, [4] Bll., [31] Tafeln, [6] Bll., 1184 S., [71] Bll. (Register). Halbleder der Zeit mit Rückenschild und Goldfileten. Einband insgesamt etwas, die Deckelkanten stärker berieben. Insgesamt sehr gutes, sauberes Exemplar des 1. Bandes des Werkes, das mit 2 Fortsetzungen bis 1750 erschien. Vorliegend ein Exemplar der 8. (letzten) Auflage. - Wüthrich III S. 80. Versand D: 4,50 EUR Geschichte history histoire Geschichtswissenschaft Geschichtsphilosophie, Drucke - Druckwerke - des 18. Jahrhunderts

      [Bookseller: Antiquariat Schmetz am Dom]
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         LETTRES DE CRITIQUE, DE LITTERATURE, D'HISTOIRE, ETC. écrites à divers savans de l’Europe. Publiées sur les originaux par monsieur de B[eyer]

      Amsterdam, J. Wetstein, 1743 - In-4, veau marbré, dos à nerfs orné de motifs dorés, pièce de titre rouge, gardes coquillées, [Rel. de l'époque], xxv-583pp, corrections, [10]ff. de table de matières, ORNE DE 13 BELLES FIGURES GRAVEES SUR CUIVRE HORS TEXTE, CERTAINES REPLIEES. Textes en français et en latin. Légers frottements, Infimes piqûres, intérieur frais, bon exemplaire. Très intéressant et rare recueil de lettres entre Gisbert Cuper et des grands érudits de l'époque: Basnage, La Croze, Juriez, Le Clerc, à l'abbé Nicaise, Bignon, Montfaucon. Cet érudit fut l'élève du célèbre Gronovius. [Attributes: Hard Cover]

      [Bookseller: Librairie Le Trait d'Union sarl.]
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         Lingenieur françois, contenant la geometrie pratique sur le papier & sur le terrain, avec le toisé des travaux & des bois la fortification reguliere & irreguiere sa construction effective lattaque & la défense des places. Avec la methode de Monsieur de Vauban, & lexplication de son nouveau systeme. Par M. N*** Ingenieur ordinaire du Roy.

      8, Titelbl. m. gest. Vignette, 13 Bl. Vorw., Inhaltsverz. u. Druckerlaubnis, 312 S. u. 34 gestochene Taf. (davon 7 gefaltet, wovon 1 mehrfach), Priv.-Ldr. auf 5 Bünden, gold. Rückenpräg., Vord. Rückenkante unten angeplatzt (4 cm), etw. berieben bzw. kratzspurig, Eintrag von alter Hand a. Titelbl., Titelbl. u. erste Bl. wasserrandig, Papier etw. wellig, 2 Taf. knapp beschnitten, einige Taf. etw. tief eingebunden allg. gutes Ex. Jean-Baptiste Naudin (mort 1743), ingénieur du roi, actif de 1668 à 1743. Le patronyme Naudin est celui de trois ingénieurs géographes de la même famille. Ils oeuvrèrent dans la même profession et en harmonie de 1688 à 1756. En 1742 Naudin l'aîné est nommé premier ingénieur en chef et en 1743 il est promu chevalier de l'ordre de Saint Louis. Enfin il est garde des cartes et plans du Ministère de la Guerre et termine sa vie à la tête de ce service (BNF).

      [Bookseller: antiquariat peter petrej]
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         Philologia sacra : qua totius SS. Veteris et Novi Testamenti scripturae tum stylus et literatura, tum sensus et genuinae interpretationis ratio et doctrina libris quinque expenditur ac traditur ; qui absolvuntur philologia . grammatica et rhetorica sacra.

      Apud Jo. Fridericum Gleditschium, Lipsiae (Leipzig) 1743 - Quarto (9 1/2 x 7 1/2"). [21], 6-32, [16]pp, 2138 columns (1069pp). [107]pp (Index). Contemporary full vellum with handwritten title to spine. Engraved frontispiece portrait of the author by Johann Martin Bernigeroth. Title page in red and black lettering. Decorative head-, tailpieces and initials. Originally published in 1623, Salomon Glass' principal work, "Philologia sacra," is a learned philological study of Biblical words and language. It marks the transition from the drier approach of the Lutheran scholastics on questions of biblical criticism to those of the school of Philipp Spener (with a more mystical approach). Binding age-toned and partly soiled. Contemporary previous owner's armorial bookplate (G. Betz), with motto "In hoc vinco" pasted on inside of front cover. Ex-library bookplate on inside of front cover. Contemporary previous owner's inscription at upper margin of front free endpaper. Sporadic minor to moderate foxing/age-toning throughout. Text in Latin with some Greek and Hebrew. Binding in overall good- to good, interior in good to very good condition. About the author: Salomon Glass (1593-1656) was a German theologian and biblical critic who had studied primarily in Jena from 1609 onward, became adjunct to the faculty of philosophy at the same university in 1619 and professor of Hebrew in 1621. The biblical encyclopedia "Philologiae sacrae" (5 vols., 1623-1636) constitutes Glassius's most significant work. (For more information see: Albrecht-Birkner, Veronika, "Glassius, Salomo", in: Religion Past and Present.). [Attributes: Hard Cover]

      [Bookseller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB)]
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         Brion de la Tour. ‘France divisee en ses 40 governements generaux comprenant l Isle de Corse 1788.

      - Interesante grabado de Brion de la Tour (1743-1803) de France divisee en ses 40 governements generaux comprenant l Isle de Corse 1788 avec les principales routers de ce Royaume. Realizado en 1788 en Chez les Campions. Brion de la Tour fue ingeniero y geografo del rey. Tiene tres pequeños agujeritos. Medidas: 76x54,5 cms.

      [Bookseller: Orbis Antique Prints]
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         The Gentleman's Magazine, and Historical Chronicle. Volume XIII. January to December 1743

      Edward Cave, London 1743 - iv, 699pp [xiv]. Several b/w vignettes. Bayntun-Coward binding. Proceedings and Debates in the Senate of Lilliput. G : in Good condition without dust jacket. Baynton-Coward binding with new eps. Some foxing and set-off Grey hardback quarter-leather cover with marbled boards [Attributes: First Edition; Hard Cover]

      [Bookseller: Barter Books Ltd]
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         Medicina vetus, et nova continens pharmaciam galenico-chimicam, et febrilogiam galenico-modernam ad tyrones

      Simón Faure, Valencia 1743 - Pergamino con lomo reforzado 10 hojas + 296 pags. Falto de la parte inferior de la portada. Texto en latín. Antiguas manchas de humedad

      [Bookseller: LIBRERÍA GULLIVER]
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         A Voyage to the South-Seas, in the Years 1740-1. Containing, a Faithful Narrative of the Loss of His Majesty's Ship the Wager on a Desolate Island in the Latitude 47 South, Longitude 81:40 West. With the Proceedings and Conduct of the Officers and Crew and Hardships They Endured in the Said Island for the Space of Five Months; Their Bold Attempt for Liberty, in Coasting the Southern Part of the Vast Region of Patagonia;. their Passage and Usage on Board a Portuguese Ship to Lisbon; And Their Return to England. The Whole Compiled by Persons Concerned in the Facts Related, Viz. John Bulkeley and John Cummins, Late Gunner and Carpenter of the Wager.

      Printed for Jacob Robinson, 1743., London: - 8vo. xx, 220, 8 pp. Light foxing. Original full gilt-ruled calf; neatly rebacked to style, raised bands, red leather gilt-stamped spine label, corners showing. Very good. “This book is one of the principle accounts of the Wager, which was wrecked off the southern coast of Chile after rounding Cape Horn. Under the command of Captain Cheap, the Wager was one of Anson’s fleet, which was on its way to harass the Spanish. After the wreck, gunner John Bulkeley and carpenter John Cummins conducted the mutinous part of the crew until the arrived safely in Rio de Janeiro. Much of the adventure and interest of the account is in the description of their travels passing through the Strait of Magellan in a longboat. There are two editions of 1743: the first, here, published by Jacob Robinson, giving the authors’ names on the title page; the other, published by J. Twig, omitting the authors’ names.” â€" Hill (2004), 210. Evans 7859; Hill 210; Howgego B-186; Sabin 9108. [Attributes: Hard Cover]

      [Bookseller: Jeff Weber Rare Books, ABAA]
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         Iohannis Rosini Antiquitatum Romanarum corpus absolutissimum, cum notis doctissimis ac locupletissimis Thomae Dempsteri J.C. Cui accedunt Pauli Manutii libri 2. De legibus et De senatu, cum Andreae Schotti Electis, 1. De priscis roman. gentibus ac familiis. 2. De tribubus rom. 35. rusticis atque urbanis. 3. De ludis festisque rom. ex kalendario vetere. Cum indice locupletissimo rerum ac verborum, & aeneis figuris accuratissimis urbis, &c. Editio novissima, prioribus omnibus longe emendatior.

      apud Salomonem Schouten (S. Schouten), Amstelaedami (Amsterdam) 1743 - 4to (246x196 mm); pregevole legatura in pergamena rigida coeva alle armi con ricchi fregi e riquadri in oro ai piatti, fregi al d. a 5 nervi; pp. (16), 792, (2), 815-956, (30), (2 b.), 8 c. di tav. (di cui 3 ripieg.); errore nella numerazione delle pp. che saltano dalla 792 alla 815; splendido antiporta calcogr. con tit.: Ioh. Rosini Romanarum antiquitatum, con veduta di Roma e figure allegoriche; front. con titolo a caratteri rossi e neri e vignetta in rame con motto: De lumine lumen; preziosi capilettera, testate e finali xilografati; grande pianta di Roma (cm 36 x 50), con dettagliato tessuto urbano; altre sette tavv. in rame f.t. raffiguranti scene delle antica Roma, con gladiatori, monete e medaglie, bassorilievi antichi; testo stampato in parte a colonna unica ed in parte a due colonne. Esemplare di pregio di questa edizione con note a cura di Thomas Dempster (1579-1625) dell'opera di Johannes Rosinus (1551-1626) sull'antichità romana, con prefazione a cura di Samuel Pitiscus. Prov.: Lunga dedica manoscritta in latino alla prima guardia libera fatta a Gerhardus Kuipers (studente) nel 1767 da C. F. Hachemberg (rettore della scuola). Rif.: IT\ICCU\MILE\012426. OCLC, 781210034 e 17382696. Cond.: Leggere bruniture e foxing; opera in ottimo stato di conservazione. -- VALUABLE COPY OF AN HISTORIC WORK ON ROMAN ANTIQUITIES. Contemp. gilt stamped vellum, central ornament on covers, single stamps with acorns in corners, gilt ruled and -stamped flat spine, (somewhat browning & spotting). Nice copy. Corr., annotated ed. by T. Dempster (1579-1625) of Rosinus' (1551-1626) work on Roman Antiquity. Engr. ills : title, title-vign., large folding city-plan of Rome by P. Philip after Torenvliet (sm. Tear), 5 full-page and 2 folding pl. Title in red & black. With handwritten prize leaf for Gerardus Kuipers, signed by rector C.F. Haeckenberg 1767. Light browning and foxing; copy in very good condition. 2020g. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Books and collectibles di Paola Suaria]
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         Philologia sacra : qua totius SS. Veteris et Novi Testamenti scripturae tum stylus et literatura, tum sensus et genuinae interpretationis ratio et doctrina libris quinque expenditur ac traditur ; qui absolvuntur philologia ... grammatica et rhetorica sacra..

      Lipsiae (Leipzig): Apud Jo. Fridericum Gleditschium, 1743. Editio novissima (New edition). Hardcover. g to vg. Quarto (9 1/2 x 7 1/2"). [21], 6-32, [16]pp, 2138 columns (1069pp). [107]pp (Index). Contemporary full vellum with handwritten title to spine. Engraved frontispiece portrait of the author by Johann Martin Bernigeroth. Title page in red and black lettering. Decorative head-, tailpieces and initials. Originally published in 1623, Salomon Glass' principal work, "Philologia sacra," is a learned philological study of Biblical words and language. It marks the transition from the drier approach of the Lutheran scholastics on questions of biblical criticism to those of the school of Philipp Spener (with a more mystical approach). Binding age-toned and partly soiled. Contemporary previous owner's armorial bookplate (G. Betz), with motto "In hoc vinco" pasted on inside of front cover. Ex-library bookplate on inside of front cover. Contemporary previous owner's inscription at upper margin of front free endpaper. Sporadic minor to moderate foxing/age-toning throughout. Text in Latin with some Greek and Hebrew. Binding in overall good- to good, interior in good to very good condition. About the author: Salomon Glass (1593-1656) was a German theologian and biblical critic who had studied primarily in Jena from 1609 onward, became adjunct to the faculty of philosophy at the same university in 1619 and professor of Hebrew in 1621. The biblical encyclopedia "Philologiae sacrae" (5 vols., 1623-1636) constitutes Glassius's most significant work. (For more information see: Albrecht-Birkner, Veronika, "Glassius, Salomo", in: Religion Past and Present.).

      [Bookseller: Eric Chaim Kline - Bookseller ]
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         Voyages dans plusieurs provinces de la Barbarie et du Levant: contenant des observations géographiques, physiques, physiologiques et melées sur les royaumes d?Alger et de Tunis, la Syrie, L?Egypte et l?Arabie Petrée avec des cartes et des figures.

      1743 - La Haie, chez Jean Neaulme, 1743, due volumi in-4to (cm. 26 x 20) legatura coeva piena pelle con titoli e fregi dorati ai dorsi, tagli rossi, due frontespizi stampati a due colori con fregio xilografico, pp. XLIV-414 + IV-192 + 172 (Extrait de plusieurs auteurs anciens et autres pièces) con 33 tavole (molte ripiegate) incise in rame fuori testo e numerose incisioni xilografiche nel testo. Prima edizione francese.

      [Bookseller: Libreria Piani già Naturalistica Snc]
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         Magnificentiores Selectioresque Urbis Venetiarum Prospectus quos olim Michael Marieschi Venetus pictor, et architectus in plerisque tabulis depinxit. Nunc vero ab ipsomet acurate delineante, incidente, tijpisque mandante, iterum in sexdecim aereis tabulis in lucem æduntur. Venetijs MDCCXLI cum Excettmi: Senatus permissu ac priuil: Venduntur in uico Sancti Lucae apud eundem Auctorem Venetijs

      Venice, [after 1743]. A magnificent, broad-margined copy (500 × 673 mm) of Marieschi's etchings of Venice, a consistent set of early impressions, some with the faintly inscribed guide lines for alignment of the lettering still visible. The author of the latest catalogue raisonné of Marieschi's prints, Federico Montecuccoli degli Erri, associates this feature ('la doppia riga di allineamento dei relative caratteri') with the first impressions off the press ('le tirature precoci'), and on the collateral evidence of watermarks and binding, he conjectured that our set was printed in 1743-1744 ('sicuramente non posteriore agli inizi del 1744'). The upper cover of the binding is stamped in the centre with the large gilt arms block of Lovisa Ulrika (1720-1782), Crown Princess and later Queen of Sweden (1751-1771). The binder, Christoffer Schneidler (1721-1787), subsequently became the court bookbinder. [img-4495-left-large_default] Fig. 1 Dedication-plate to Marc de Beauvau, prince de Craon (1679-1754); sheet dimensions 490 × 660 mm [img-4496-left-large_default] Fig. 2 Contemporary calf binding by Christoffer Schneidler (1721-1787) for Lovisa Ulrika (1720-1782), Queen of Sweden (1751-1771); binding dimensions 500 × 673 mm Marieschi, Michele Venice 1710 - 1743 Venice Magnificentiores Selectioresque Urbis Venetiarum Prospectus quos olim Michael Marieschi Venetus pictor, et architectus in plerisque tabulis depinxit. Nunc vero ab ipsomet acurate delineante, incidente, tijpisque mandante, iterum in sexdecim aereis tabulis in lucem æduntur. Venetijs mdccxli cum Excettmi: Senatus permissu ac priuil: Venduntur in uico Sancti Lucae apud eundem Auctorem Venetijs. Venice [after 1743] oblong folio (500 × 673 mm), (22) folios, comprising etched title-plate, dedication-plate, and twenty etched views, in first states; a homogenous set on sheets of uniform dimension (490 × 660 mm); the title-plate designed and etched by Marieschi himself, with his portrait (only) designed by Angelo Trevisani and etched by Carlo Orsolini (signed beneath the portrait Anzolo Trivisan Deliniaui. | Carlo Orsolini scupis); the other plates designed and etched by Marieschi himself (signed in bottom right corner Mich.l Marieschi del.t. et inci.t.), with probable contributions by another hand (see below). watermarks the individual letters A, S, Z (observed on various sheets in this copy by Federico Monteccuoli degli Erri). 1 Binder's endpapers: Strasbourg Lily on a shield with a horned crown, a bell suspended below (155 × 70 mm); countermark iv (see Figs. 6-7 below). provenance Lovisa Ulrika (1720-1782), Queen of Sweden (1751-1771) -- 'Property of a Gentleman', consigned to Forum Auctions, 'Fine Books and Works on Paper', London, 13-14 July 2016, lot 343. The etchings are clearly and cleanly printed from plates in which the etching itself is fresh and shows little sign of wear. In excellent condition, free of staining or deterioration of the paper, never washed or pressed. Several insignificant marks on covers of the binding; overall an immaculate copy. bound in contemporary light brown calf by Christoffer Schneidler (1721-1787), for Lovisa Ulrika, Crown Princess (1744-1751) and Queen of Sweden (1751-1771), the upper cover decorated in gold by a large armorial block combining the insignia of Sweden (three Royal crowns) and of Prussia (eagle holding a sceptre and orb, charged with the monogram fr for Frederick i, King of Prussia), with a Lion and a Wild Man as supporters (90 × 85 mm); three Royal crowns from single tools in each corner; a broad border created by repetition of shell and oriental tulip tools; the lower cover similarly decorated (but without armorial block); the back divided into nine compartments by raised bands, each uniformly decorated in gilt by individual tools (including a drawer-handle tool), except in the second where a red goatskin lettering-piece is applied (Venetiarum prospectus ab Michael Marieschi); combed marbled endpapers (Dutch pattern); red page edges. A magnificent, broad-margined copy of Marieschi's etchings of Venice, a consistent set of early impressions, some with the faintly inscribed guide lines for alignment of the lettering still visible. The author of the latest catalogue raisonné of Marieschi's prints, Federico Montecuccoli degli Erri, associates this feature ('la doppia riga di allineamento dei relative caratteri') with the first impressions off the press ('le tirature precoci'), and on the collateral evidence of watermarks and binding, he conjectured that our set was printed in 1743-1744 ('sicuramente non posteriore agli inizi del 1744'). 2 [img-4501-left-large_default] Fig. 3 Arms block (90 × 85 mm) The upper cover of the binding is stamped in the centre with the large gilt arms block of Lovisa Ulrika (1720-1782), Crown Princess and later Queen of Sweden (1751-1771). The daughter of Frederick William i of Prussia and his wife Sophia Dorothea of Hanover, Lovisa Ulrika had been escorted from Berlin to Sweden for her marriage in 1744 by the Swedish envoy count Carl Gustaf Tessin (1695-1770). Tessin was later granted many favours: he was appointed in 1745 Lord Steward of the Royal Court, in 1747 President of the Chancellery (i.e. Prime Minister), and in 1749 governor of her son prince Gustav; his wife, and his wife's niece, became the Crown Princess's maids of honour. A prodigious collector, Tessin advised Lovisa Ulrika and her consort Adolf Fredrik (1710-1771), heir to the Swedish throne, on the purchase of works of art for their new residence, Drottningholm Palace, and in 1749 - when faced by financial ruin - Tessin sold to Adolf Fredrik his own collections of prints and drawings. 3 It is possible therefore that Carl Gustaf Tessin was the previous owner of this set of Marieschi's etchings, and that its source was the Parisian dealer-connoisseur Pierre-Jean Mariette, who had guided Tessin in the formation of those collections. 4 The binding was executed by Christoffer Schneidler (1721-1787), the son of a German immigrant bookbinder, Abraham Schneidler (1691-1749; master 1714-1749). 5 Christoffer Schneidler was admitted to the Stockholm bookbinders' guild on 11 June 1746, submitting as his masterpiece a binding on a folio German Bible (Nuremberg 1736). 6 In 1747, he bound on behalf of Tessin a Christmas gift for Lovisa Ulrika. 7 Schneidler seems to have begun working for Lovisa Ulrika soon thereafter, and on 8 January 1754 he was appointed court binder. The Queen 'deliberately rivalled her brother, Frederic the Great, in bibliophilic tastes and ambitions', 8 and Schneidler's shop bound for her a huge number of books, mostly in calf and in the same style. 9 Her elder son, Gustav (born 24 January 1746), grew up to become a book collector, and Schneidler worked steadily for him also, both as Crown Prince and as King, mostly in red goatskin, and in a new 'Gustavian' style. 10 Schneidler continued meanwhile to work for Carl Gustav Tessin. 11 [img-4502-left-large_default] Fig. 4 Binding by Christoffer Schneidler (each cover 500 × 673 mm) The armorial block employed on this binding (Fig. 3) is identical to one reproduced by Carl Magnus Carlander 12 and by Arthur Sjögren; 13 a different block, somewhat smaller, evidently a copy, was in use by the 1760s. 14 The broad border (Fig. 5), created by repetition of a shell and oriental tulip tool, combined with individual flower tools, and a crown tool at outside angles of the frame, distinguishes our binding from most others executed for the Queen, which are artless in comparison. The combed marbled endpapers in the volume are Dutch; Christoffer Schneidler later used local papers, perhaps of his own manufacture. 15 The subsequent provenance of the volume may be revealed in inventories and other documents which are at present beyond our reach. After the death of Adolf Fredrik, in 1771, an auction of books was held to settle his debts; the catalogue printed for the sale perhaps shows that the volume left royal ownership at this time. 16 Contemporary manuscript catalogues of the Drottningholm Library could divulge the location of the book. 17 In 1777, the widowed Queen was forced to sell Drottningholm Palace to her son Gustav, and a room-by-room inventory was made; 18 books are itemised, and this inventory possibly records our volume. 19 After Lovisa Ulrika's death, in 1782, a post-mortem inventory of her possessions was conducted; it also itemises books. 20 A substantial portion of Lovisa Ulrika's library was bequeathed to her daughter, Sophia Albertina (1753-1829); those books, however, seem to have remained intact to the present day, and it is unlikely that our volume was among them. 21 The remaining books from Queen Lovisa Ulrika's library were shelved at Drottningholm Palace until the nineteenth century, when distributed between the National Library and other collections. 22 [img-4503-left-large_default] Fig. 5 Detail of border created by repetition of a shell, crown and oriental tulip tools Michele Marieschi Although the title implies that Marieschi had painted all the subjects shown, in fact none follows any known painting that can claim to be by Marieschi. The etchings are original works of art and Marieschi's supreme achievements, in contrast to his painted vedute, which are of secondary importance in a sweeping survey of Venetian view painting. Marieschi was born in in the parish of San Marcuola, Venice, on 21 December 1710. He was trained by his maternal grandfather, the theatrical scene painter Antonio Meneghini, and by Gaspare Diziani of Belluno, who at the time was working as a stage designer in the studio of Francesco Tasso. Marieschi's earliest recorded works are ephemeral structures for the Giovedi Grasso festival in the Piazzetta, Venice, in 1731, and for the obsequies for Maria Clementina Sobieski, conducted in San Paterniano, Fano, in 1735. In the latter year, he painted the ingresso of Francesco Antonio Correr as Patriarch of Venice (7 February), and travelled in Germany; in 1736 he painted two vedute for Matthias von Schulenberg. From 1736 until 1741, Marieschi's name is registered in the Fraglia dei Pittori, or guild, of Venetian painters. On 27 November 1737, he married Angela Fontana, daughter of Domenico Fontana, the most important picture dealer in Venice, with a shop in San Luca, and became the leading artist of Fontana's workshop. Marieschi died after an eight-day illness at the age of just 33 on 18 January 1743. His studio was taken over by a pupil, Francesco Maria Albotto (1721-1757), who would also marry Marieschi's widow on 29 October 1744. Marieschi's etched oeuvre has been catalogued Fabio Mauroner, Dario Succi, and most recently by Federico Montecuccoli degli Erri. Despite their intensive research, we still do not know when these etchings were executed, in what order, or over how long a period, or when and how they were first published, if they were 'published' at all in the sense that we understand the word today. It is likely that the work was very nearly finished when Marieschi applied to the Riformatori dello Studio di Padova, on 15 May 1741, for a privilege (a kind of copyright) to publish 'una raccolta di varie prospettive di questa Serenissima Dominante'. In the application, the work is described as 'Magnificentiores Selectioresque Urbis Venetiarum Prospectus, quos olim Michael Marieschi Venetus Pictor, et Architectus in plerisque Tabulis depinxit, nunc vero ab ipsomet accurate delineante, incidente, typisque mandante', without specifying the number of views intended. Marieschi's application was swiftly presented to the Senate, and a privilege was granted on 4 June 1741. 23 The title stated in the application appears word-for-word on the title-print (Fig. 1), now elaborated to announce sixteen views ('iterum in sexdecim aereis tabulis in lucem aeduntur'), the protection of a privilege ('Venetijs mdccxli | cum Excettmi: Senatus permissu ac privil:'), and point of sale, Marieschi's studio in the Calle di Ca' Loredan or Ca' Lando, near Campo S. Luca ('Venduntur in uico Sancti Lucae | apud eumdem Auctorem Venetijs'). A review of the new work was published in the Göttingische Zeitungen von gelehrten Sachen, on 28 September 1741. 24 A post-mortem inventory of Marieschi's studio (taken 18 April 1743) records among 'Libri D'Architettura' forty-four sets ('corpi') of a work composed of eighteen plates, together with a quantity of loose prints ('sciolte') sufficient to assemble perhaps twenty similar sets. 25 On this and other, circumstantial evidence, it is assumed that an issue of the work comprised of a title, dedication plate, and sixteen views was distributed during the artist's lifetime. Persistent searches have failed, however, to locate a single copy. 26 It could be that all such sets have perished over more than two centuries, to satisfy demand for the prints as decoration; or else very few sets were sold. Another possible explanation for the rarity of eighteen-plate sets is that Marieschi withdrew the prints from sale. Marieschi had openly modelled his work on Prospectus Magni Canalis Venetiarum, a book of etchings by Antonio Visentini of vedute by Canaletto, published in 1735 at the expense of Canaletto's patron, the British Consul in Venice Joseph Smith (title, portrait, and 14 vedute). Smith's response to Marieschi's rival publication was a much enlarged, second edition of the Canaletto-Visentini views, issued from his own private press, in 1742, under the analogous title Urbis venetiarum prospectus celebriores (five title- and portrait-plates, 38 vedute). Marieschi perhaps felt obliged to retaliate in turn, and suspended distribution of his eighteen plates while he prepared additional views. 27 An impression of Marieschi's title-plate, in a private collection in Venice, has pen corrections of misspelt words, and ' xvii' instead of 'sexdecim'; it could represent an improvised response to the new Canaletto-Visentini publication, a specious enlargement of Marieschi's work, by counting the dedication-plate (a view of the Doge's Palace seen from the Basin of St. Mark's) as a 'view'. 28 While there is some circumstantial evidence that Marieschi's prints were circulated under this revised title, once again, no set with a revised title-plate has been located. 29 The same post-mortem inventory provides a list of the matrices found in Marieschi's studio. An entry 'Rami Intagliati N.o 23' is interpreted as referring to the title-plate for the Magnificentiores selectioresque urbis venetiarum prospectus, its dedication-plate, twenty plates of vedute, and a plate of an architectural capriccio ('Gran Cortile'). 30 It is supposed that Marieschi was working during 1742 on four new vedute, and that these matrices were at a fairly advanced stage when he died suddenly of bronchial pneumonia on 18 January 1743. The four, partially-completed prints are speculatively identified as 'The church of Santa Maria della Salute seen across the water', 'The Campo dei Frari, with the Scuola of St Antonio', 'The Palazzo Pesaro on the Grand Canal', and, probably, 'The view along the Grand Canal from the Rialto Bridge with the Fondaco dei Tedeschi'. 31 The identity of the 'other hand' responsible for completing these four views has provoked debate; most likely it was Francesco Fontebasso, to whom the foreground figures in Marieschi's painted and etched vedute are often credited. 32 First state: 'tirature precoci' and 'tirature tarde' Montecuccoli degli Erri considers the earliest impressions in first state ('le tirature precoci') to be those where lightly etched ruled lines for aligning the lettering ('riga di allineamento dei relative caratteri'), or stray lines from the burin elsewhere on the matrice, are visible. These faint lines apparently wore out almost immediately, and are seen imperfectly or not at all in later impressions ('tirature tarde'). Regrettably, no impressions of 'le tirature precoci' are located by Montecuccoli degli Erri, nor are any reproduced in his catalogue, which is illustrated by two impressions in 'primo stato (tardo)' and the remainder in 'secondo' or 'terzo stato' (or both). Identification of 'le tirature precoci' is thus not an objective process, achieved through comparison, but dependant on interpretation of the author's adjectives and expressions, which have to some degree an element of subjective perception: 'debolmente incisa', 'interamente percepibile', 'leggerissime', 'ben visibile', 'visibile a occhio nudo', 'visibile alla lente', 'pressoché invisibile', 'tendono a scomparire', 'scompaiono' and others. The present set was declared by Montecuccoli degli Erri to be 'di tiratura sicuramente non posteriore agli inizi del 1744' 33 and is listed by him as the earliest known homogenous set of impressions (the dedication copy to Marc de Beauvau, prince de Craon, presumably delivered in 1741 and composed of eighteen plates, is lost). Since some impressions in our set do not exhibit features which Montecuccoli degli Erri associates with 'le tirature precoci', it would appear that even early sets are composed of both 'tirature precoci' and 'tirature tarde'. As a contribution to better understanding of the features reputed to disappear through progressive striking of the matrices, we reproduce below all the prints in our set, with enlargements of selected details. Intermediate and late issues The matrices were inherited by Marieschi's widow, Angela Fontana, and distributed by her as set of 22 plates (title, dedication plate, twenty vedute). By 1746, sets were being bought and sold in London by the painter, collector, and print publisher Arthur Pond, 34 and engraved copies of the Marieschi views by Nathaniel Parr (fl. 1730-1769) were soon published there by Thomas Bowles. 35 A post-mortem inventory of the estate of Angela Fontana (taken 29 January 1752) records seventeen sets of the prints and all twenty-two matrices in her possession. 36 She bequeathed her property to her husband, Francesco Albotto; when he died, five years later, on 12 January 1757, at the age of 35, the notary found just the twenty-two matrices: no sets of the prints were in the house, however fifty sets were later located with an unnamed 'stampador', who evidently had printed them on Albotto's behalf. 37 The matrices were inherited in 1757 by Michele's daughter, Elisabetta, and at an uncertain date - perhaps ten years later - she sold them, most probably to the publisher Teodoro Viero, who numbered them from 1-22. 38 The set of matrices passed afterwards into the possession of the publisher Giuseppe Wagner, 39 and eventually to Giovanni Maria Pedrali. 40 Watermarks in binder's endpapers This watermark motif of a lily in a crowned shield (so-called 'Strasburg Lily'), with a bell suspended from it, originated with the Dutch manufacturer Honig, who owned mills in Zaandijk from 1675. It was adopted by other Dutch papermakers, and also by makers in Russia, Scandinavia, and elsewhere, who wished to allude to Dutch papermaking. 41 The countermark, the letter combination ' iv', was widely used as a mark of quality by Dutch and other makers (the letters reference the French papermaker I. Villedary). [img-4504-left-large_default] Fig. 6 Watermark dimensions 155 × 70 mm [img-4505-left-large_default] Fig. 7 Countermark height 18 mm Details of Christoffer Schneidler's tools [img-4506-left-large_default] Fig. 8 Crown tool applied to our binding: tool 25 × 15 mm [img-4507-left-large_default] Fig. 9 Comparative illustration Similar crown tool in use after 1755 42 [img-4508-left-large_default] Fig. 10 Detail of border decoration on our binding: tool 30 × 20 mm [img-4509-left-large_default] Fig. 11 Detail of border decoration on our binding: corner tool 35 × 27 mm [img-4510-left-large_default] Fig. 12 Detail of spine decoration on our binding: compartment 35 × 38 mm 43 [img-4511-left-large_default] Fig.13 Combed marbled paper (front pastedown) [img-4512-left-large_default] Fig.14 Detail of centre arms block on our binding [img-4595-left-large_default] Fig.15 Comparative illustration Later copy of supralibros 44 List of prints abbreviations Dreyer 1985Peter Dreyer, Vedute, architektonisches Capriccio und Landschaft in der venezianischen Graphik des 18. Jahrhunderts: eine Ausstellung aus den Beständen des Berliner Kupferstichkabinetts (Berlin 1985), nos. 72-90 Mauroner 1940Fabio Mauroner, 'Catalogue of the etchings of Michiel Marieschi' in Print-collector's Quarterly 27 (1940), pp.179-215 Montecuccoli degli Erri 1999Federico Montecuccoli degli Erri and Filippo Pedrocco, Michele Marieschi: La vita, l'ambiente, l'opera (Milan 1999) Succi 1981Dario Succi, Le incisioni di Michele Marieschi, 1710-1743: vedutista veneziano con un'acquaforte inedita, catalogue for an exhibition held at Palazzo Attems, 28 February-29 March 1981 (Padua 1981) Succi 1983Dario Succi, Da Carlevarijs ai Teipolo: incisori veneti e friulani del settecento, catalogue of an exhibition held at the Palazzo Attems, Gorizia, and Museo Correr, Venice, in 1983 (Venice 1983) Succi 1987Dario Succi, Michiel Marieschi: catalogo ragionato dell'opera incisa, catalogue for an exhibition held at Galleria Lorenzelli, Bergamo, April 1987 (Turin 1987) Toledano 1988Ralph Toledano, Michele Marieschi: l'opera completa (Milan 1988) Toledano 1995Ralph Toledano, Michele Marieschi: catalogo ragionato (Milan 1995) [img-4514-left-large_default] Fig. 16 Title-print ■ Title-plate to the series, with the head of Michele Marieschi within an escutcheon, and the title lettered in a cartouche below: Magnificentiores Selectioresque Urbis Venetiarum Prospectus | quos olim | Michael Marieschi Venetus pictor, et architectus in plerisque tabulis depinxit. Nunc vero ab ipsomet acurate delineante, incidente, tijpisque mandante, iterum in sexdecim aereis tabulis in lucem æduntur. Venetijs mdccxli | cum Excellmi: Senatus permissu ac priuil: | Venduntur in uico Sancti Lucae apud eundem Auctorem Venetijs. Etching (matrice 329 × 479 mm), designed and etched by Marieschi himself, with the engraved portrait (only) designed by Angelo Trevisani (1669-after 1753) and engraved by Carlo Orsolini (1703-1781). Signed beneath the portrait: Anzolo Trivisan Deliniaui. | Carlo Orsolini scupis [sic]. Mauroner (1940) p.201 (as by Trevisani and Orsolini); Succi (1981) 6; Succi (1983) 287; Dreyer (1985) 72; Succi (1987) 18; Toledano (1988) p.59 (fuori catalogo); Toledano (1995) p.39 (fuori catalogo). Montecuccoli degli Erri (1999) 1 ('1º stato: [tirature precoci] la quadrettatura sottostante l'indirizzo è interamente percepibile; la doppia riga di allineamento dei relativi caratteri è visibile su quasi tutta la scritta; [tirature tarde] la quadrettatura tende a scomparire, in particolare sotto la prima parte della frase; delle righe di allineamento restano tracce intermittenti. Cominciano ad apparire tracce di usura sul bordo in destra in alto') Comparative impressions: London, BM 45 ( view ); Paris, BnF 46 ( view ) [img-4515-left-large_default] Detail of Fig. 16 [img-4583-left-large_default] Detail of Fig. 16 [img-4516-left-large_default] Detail of Fig. 16 [img-4517-left-large_default] Fig. 17 Dedication-print ■ Dedication plate for the series, a view of the Bacino of San Marco and the Doge's Palace, with a dedication to the Prince of Beauvau-Craon, dated 1741, and his coat of arms. Lettered with title, dedication and key to seven places in the view: Prospectus Vrbis Venetiarum, præ cæteris magnifica, exhibens publica Ædificia, adstantia utrique lateri Plateæ minoris D: Marci, respicientis mare Excell:mo Viro | Marco de Beauvau Principi Cratumni, et S:R:I: Magnati Hispaniarum | Pmi Ordinis ; Eqviti Velleris Aurei ; Supremo Stabuli Præfecto R:C: Ducis Lotharingiæ, | Magnique Ducis Hetruriæ; Consiliario M:R: Hungariæ; Primati Consilii Regiminis | Florentini. &&& [Lower left:] 1. Caput ripae Nationis Illyricæ | 2. Carceres | 3. Curia | 4. Basilica D: Marci [Lower right:] 5. Horologium | 6. Bibliotecha publica | 7. Pars frontis Ædis monetariæ Etching (matrice 335 × 467 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 2; Succi (1981) 7-I; Succi (1983) 288; Dreyer (1985) 73; Succi (1987) 17; Toledano (1988) V.1.4; Toledano (1995) V.1.g. Montecuccoli degli Erri (1999) 2 ('1º stato: [tirature precoci] leggere righe di allineamento dei caratteri alle "legende"; [tirature tarde] le righe tendono a scomparire, prima ai numeri 2-4, poi le altre, ultime al n. 7') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4518-left-large_default] [img-4519-left-large_default] Above Details of Fig. 17 [img-4520-left-large_default] Fig. 18 ■ The Campo dei Frari, with the Scuola of St Antonio, lettered with the title: Templum et platea F:F: Ord: min: Conuentualium usque ad uiam, qua itur ad D: Rocchi; cum schola D: Antonij ad dexteram, et alteram Passionis ad sinistram Etching (matrice 316 × 465 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 21; Succi (1981) 25-I; Succi (1983) 303; Dreyer (1985) 84; Succi (1987) 21; Toledano (1988) V,23.2; Toledano (1995) V.29.b. Montecuccoli degli Erri (1999) 17 ('1º stato: [tirature precoci] doppia riga di allineamento visibile a occhio nudo su quasi tutta la scritta e sulla firma; [tirature tarde] deboli tracce delle righe solo negli intervalli delle parole') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4521-left-large_default] [img-4522-left-large_default] Above Details of Fig. 18 [img-4523-left-large_default] Fig. 19 ■ The Piazza San Marco looking towards the Basilica and Campanile, with the buildings of the Procuratie on either side, lettered with the title: Forum maius D: Marci aliter prospectum cum eiusdem Basilica in extrema parte, nec non cum ædibus D: Marci Procuratorum ad dexteram, vulgo novis, et alteris, vulgo veteribus ad lævam. Etching (matrice 300 × 447 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 9; Succi (1981) 8-I; Succi (1983) 289; Dreyer (1985) 75; Succi (1987) 2; Toledano (1988) V.3.7; Toledano (1995) V.3.i. Montecuccoli degli Erri (1999) 4 ('1º stato: [tirature precoci] doppia riga di allineamento visibile a tratti; un graffio diagonale che inizia sopra la "i" di "maius" e giunge fino ai bordo dell'immagine sopra la "D" di "D: Marci"; due leggere linee orizzontali, quasi graffi, nel cielo sopra l'orologio') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4524-left-large_default] [img-4525-left-large_default] Above Details of Fig. 19 [img-4526-left-large_default] Fig. 20 ■ The view along the Grand Canal from the Rialto Bridge with the Fondaco dei Tedeschi at the right, lettered with the title: Canale magnum usque ad Palatium familiæ Michaeliæ prospectum a Ponte Rivoalti, cum æde mercatoria Gentis Germanicæ ad dexteram ; ad levam cum publicis Magistratibus Rivoalti Etching (matrice 315 × 464 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 16; Succi (1981) 20; Succi (1987) 14; Toledano (1988) V.27.2; Toledano (1995) V.33.b. Montecuccoli degli Erri (1999) 20 ('1º stato: [tirature precoci] non finita la coltrina del "felze" della gondola centrale, dopo che ne era stata ottenuta la sagoma attraverso l'eliminazione di parte delle sottostanti linee già incise: esto però visibile alla lente il preesistente tratteggio, costituito in basso da linee verticali e, in alto, da 9 linee orizzontali ricurve; doppia riga di allineamento su quasi tutta la scritta; [tirature tarde] le linee del "felze" tendono a divenire intermittenti, minime tracce delle righe di allineamento') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4527-left-large_default] [img-4528-left-large_default] [img-4529-left-large_default] Above Details of Fig. 20 [img-4530-left-large_default] Fig. 21 ■ Piazza San Marco with the Basilica to the left, looking towards the Campanile, Library and Piazzetta, lettered with the title: Forum maius, et Basilica D: Marci, cum insula procul S. Georgij maioris et ædes D: Marci Procuratorum, vulgo novæ ad dexteram: omnia ab horologio prospecta. Etching (matrice 308 × 444 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 20; Succi (1981) 12-I; Succi (1983) 291; Dreyer (1985) 74; Succi (1987) 12; Toledano (1988) V.2.4; Toledano (1995) V.2.f. Montecuccoli degli Erri (1999) 3 ('1º stato: [tirature precoci] doppia riga di allineamento alle parole "Forum" e "Marci... novae"; [tirature tarde] scompare prima la riga inferiore poi quella superiore, di cui restano deboli tracce dopo "novae") Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4531-left-large_default] [img-4532-left-large_default] [img-4533-left-large_default] Above Details of Fig. 21 [img-4534-left-large_default] Fig. 22 ■ The Cannaregio on the Grand Canal, with the Ghetto in the background seen from the riva di Biasio, lettered with the title: Pars Canalis magni se extendens a læva usque ad palatium familiæ Valaressæ ; at è fronte caput Canalis regij, et ultrà pontem Hebræorum Domicilium Etching (matrice 316 × 468 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 15; Succi (1981) 23-I; Succi (1983) 301; Dreyer (1985) 89; Succi (1987) 20; Toledano (1988) V.28.6; Toledano (1995) V.34.c. Montecuccoli degli Erri (1999) 21 ('1º stato: [tirature precoci] righe di allineamento visibili su tutta la scritta; quella inferiore si sdoppia, per un errore di tracciato, dall'inizio fino alla parola "usque"; [tirature tarde] le righe sono quasi scomparse") Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4535-left-large_default] Above Details of Fig. 22 [img-4536-left-large_default] Fig. 23 ■ The courtyard of the Doge's Palace, the cupolas of St Mark's Basilica in the background, lettered with the title Magnificum Ædium Divalium impluvium varie, et eleganter exornatum, ac in eius extrema parte Testudines Basilicæ D: Marci supereminentes. Etching, with the title printed from a second plate (matrice 308 × 442 mm, including second plate), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 12; Succi (1981) 9; Succi (1987) 3; Toledano (1988) V.4.2; Toledano (1995) V.4.c. Montecuccoli degli Erri (1999) 5 ('1º stato: [tirature precoci] doppia riga di allineamento che comincia già prima della scritta e giunge fino alla firma; [tirature tarde] la doppia riga scompare') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4537-left-large_default] [img-4538-left-large_default] [img-4539-left-large_default] Above Details of Fig. 23 [img-4540-left-large_default] Fig. 24 ■ The island of S. Giorgio Maggiore and the shipping moored in the basin of San Marco, with a distant view of the Doge's Palace across the channel, lettered with the title: Ingressus in Urbem venienti e Clodia, cum insula S Georgij maioris ad dexteram a longe Platea minor D. Marci, cum proxima ripa Illijricorum. Etching (matrice 316 × 466 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 5; Succi (1981) 14-I; Succi (1983) 292; Dreyer (1985) 85; Succi (1987) 6; Toledano (1988) V.22.3; Toledano (1995) V.28.e. Montecuccoli degli Erri (1999) 16 ('1º stato: [tirature precoci] doppia riga di allineamento su tutta la scritta, e prima; la riga superiore si sdoppia, per un errore; dopo la parola "venienti" e fino a "maioris"; [tirature tarde] tutte le righe allineamento scompaiono sinistra, fino alla parola "insula". Nell'angolo superiore destro, all'interno di un'area più debolmente incisa con una doppia serie di linee incrociate, si crea una piccola zona angolare del tutto bianca che interessa anche le linee di riquadro dell'immagine, mentre la serie i linee orizzontali tende a scomparire; contro il bordo superiore, sulla verticale del palazzo ducale, si forma per usura un'area chiara sempre più evidente') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4541-left-large_default] [img-4542-left-large_default] [img-4543-left-large_default] Above Details of Fig. 24 [img-4544-left-large_default] Fig. 25 ■ The Piazza San Marco seen from the side of the Basilica, looking towards the church of San Geminiano, lettered with the title: Platea D: Bassi et suum templum ad dexteram ; ad lævam latus Basilicæ D: Marci cum eiusdem foro maiori, quod desinit ad D: Geminiani. Etching (matrice 308 × 427 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 14; Succi (1981) 10-I; Dreyer (1985) 76; Succi (1987) 4; Toledano (1988) V.6.4; Toledano (1995) V.8.d. Montecuccoli degli Erri (1999) 7 ('1º stato: [tirature precoci] lo sfondo è debolmente inciso e piatto; debolmente incisa, quasi offuscata, la sommità del campanile di S. Marco sporgente al di sopra della basilica; l'angelo è poco distinto, salvo che nel profilo dell'ala; doppia riga di allineamento su tutta la scritta, ed anche prima e dopo di essa') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4545-left-large_default] [img-4546-left-large_default] [img-4547-left-large_default] Above Details of Fig. 25 [img-4548-left-large_default] Fig. 26 ■ View along the Molo with the Doge's Palace on the right, towards S. Maria della Salute and the entrance of the Grand Canal, lettered with the title: Forum minus D: Marci ab æstuarijs conspectum, cum carceribus, et Curia ad dexteram; et e regione Telonium, ac Templum D: Mariæ Salutis cesnuntur; ubi Canalis magnus initium habet. Etching (matrice 308 × 445 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 19; Succi (1981) 21; Succi (1987) 7; Toledano (1988) V.5.4; Toledano (1995) V.5.f. Montecuccoli degli Erri (1999) 8 ('1º stato: [tirature precoci] leggerissime tracce delle righe di allineamento della scritta; [tirature tarde] le tracce scompaiono') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4549-left-large_default] [img-4550-left-large_default] [img-4551-left-large_default] Above Details of Fig. 26 [img-4552-left-large_default] Fig. 27 ■ The campo and church of SS. Giovanni e Paolo, with the Scuola di San Marco and the statue of Colleoni, lettered with the title: Platea ac Templum D:D: Joannis et Pauli et proxime magnum Sodalitium D: Marco Eu: dicatum: eminet in medio statua equestris ænea Bartholomæo Colleonio erecta ex S:C: Etching (matrice 305 × 441 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 13; Succi (1981) 22-I; Succi (1983) 298; Dreyer (1985) 84; Succi (1987) 8; Toledano (1988) V.21.2; Toledano (1995) V.27.b. Montecuccoli degli Erri (1999) 15 ('1º stato: [tirature precoci] in centro, la facciata della Scuola di S. Marco, debolmente incisa, appare come una massa griglia indistinta ed uniforme (le precocità di questi esemplari, meno gradevoli dei successivi, è rivelata dall'abnorme rilievo di tonalità, rispetto allo sfondo, delle piccole figurine più lontane, ottenute con l'ultima forte morsura della lastra insieme a quelle principali) Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4553-left-large_default] [img-4554-left-large_default] Above Details of Fig. 27 [img-4555-left-large_default] Fig. 28 ■ The Rialto Bridge seen from the traghetto of Ca Bembo, lettered with the title: Pons Rivoalti procul cospectus, cum Palatio Delphinorum, et ripa carbonaria ad dexteram, nec non vinaria ad sinistram Etching (matrice 316 × 467 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 18; Succi (1981) 16-I; Dreyer (1985) 79; Succi (1987) 11; Toledano (1988) V.10; Toledano (1995) V.13. Montecuccoli degli Erri (1999) 10 ('1º stato: [tirature precoci] doppia riga di allineamento già prima della scritta, fin quasi dal limite sinistro della lastra, e fino alla firma compresa; [tirature tarde] la doppia riga tende a scomparire. Tracce di usura nell'angolo superiore destro') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4556-left-large_default] [img-4557-left-large_default] Above Details of Fig. 28 [img-4558-left-large_default] Fig. 29 ■ The Regatta on the Grand Canal, between the Palazzo Foscari and Palazzo Balbi, lettered with the title: Foscarorum ædes ad levam, et e conspectu altera Balborum ambo præter canalem magnum; ubi etiam solemne nauticum certamen, et maxima prequentia cymbarum vel auro vel argento vel alio ornatu obducta- | rum, fictasque formas exhibentium cernuntur, nec non lintres naviculariorum pro brabio certantium. Inter easdem ædes exornata ad maiorem spectaculi dignitatem meta Super acquas erigitur. Etching, with the title printed from a second plate (316 × 467 mm, including second plate), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 22; Succi (1981) 18-I; Dreyer (1985) 90; Succi (1987) 15; Toledano (1988) V.29.3; Toledano (1995) V.35.d. Montecuccoli degli Erri (1999) 22 ('1º stato: [tirature precoci] nettamente visibile il campanile alle spalle della "macchina" collocata fra Ca' Foscari e Ca' Balbi; [tirature tarde] il campanile tende a confondersi con lo sfondo del cielo...') Comparative impressions: London, BM (view); Paris, BnF (view) [img-4559-left-large_default] Above Detail of Fig. 29 [img-4560-left-large_default] Fig. 30 ■ The Market and Rialto Bridge seen from the Corte del Remer, lettered with the title: Forum olitorium e regione prospectum, cum proximis publicis Magistatibus, et ponte Rivoalti: citra pontem ædes mercatoria gentis Germanicæ ad lævam. Etching (matrice 316 × 466 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 6; Succi (1981) 19; Dreyer (1985) 78; Succi (1987) 19; Toledano (1988) V.8.6; Toledano (1995) V.10.e. Montecuccoli degli Erri (1999) 9 ('1º stato: [tirature precoci] doppia riga di allineamento su tutta la scritta fino alla parola "mercatoria"; oltre, intermittente; [tirature tarde] leggera traccia intermittente della sola riga interiore') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4561-left-large_default] [img-4562-left-large_default] [img-4563-left-large_default] Above Details of Fig. 30 [img-4564-left-large_default] Fig. 31 ■ The Palazzo Pesaro on the Grand Canal, lettered with the title: Pisaurorum Familiæ Ædes ad Canalis magni marginem, una cum D: Eustachij templo dextrorsum, et sinistrorsum cum parte Corneliorum ædis Etching, with the title printed from a second plate (327 × 465 mm, including second plate), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 8; Succi (1981) 26-I; Succi (1983) 302; Dreyer (1985) 88; Succi (1987) 23; Toledano (1988) V.25.2; Toledano (1995) V.31.b. Montecuccoli degli Erri (1999) 19 ('1º stato: [tirature precoci] la sommità del cielo ha due tonalità di grigio nettamente distinte; [tirature tarde] il cielo è uniforme e debole, e praticamente bianco lungo la linea di inquadramento dell'immagine a destra...') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4565-left-large_default] Above Detail of Fig. 31 [img-4566-left-large_default] Fig. 32 ■ The Piazzetta in Venice, with the Doge's palace along the left side and the Sansovino library on the right, lettered with the title: Forum minus Divi Marci publicijs ædificijs utrinque insigne. Etching (matrice 316 × 475 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 11; Succi (1981) 11-I; Succi (1983) 290; Dreyer (1985) 77; Succi (1987) 5; Toledano (1988) V.7; Toledano (1995) V.9. Montecuccoli degli Erri (1999) 8 ('1º stato: [tirature precoci] leggerissime tracce delle righe di allineamento della scritta; [tirature tarde] le tracce scompaiono') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4567-left-large_default] Above Detail of Fig. 32 [img-4568-left-large_default] Fig. 33 ■ The church of Santa Maria della Salute seen across the water; gondolas in the foreground, lettered with the title: Templum S: Mariæ Salutis Cleric: Regul: Congregationis a Somascha, cum eorundem Coenobio ad lævam, et Divi Gregorij Templo hinc ad dexteram sub Abbatis ditione Etching (matrice 314 × 467 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 10; Succi (1981) 27-I; Succi (1983) 304; Dreyer (1985) 81; Succi (1987) 16; Toledano (1988) V.14.4; Toledano (1995) V.19.c. Montecuccoli degli Erri (1999) 12 ('1º stato: [tirature precoci] leggerissime righe di allineamento alle parole "Congregationis a Somascha", "Templo", "dexteram", ed oltre la scritta; [tirature tarde] le righe scompaiono') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4569-left-large_default] [img-4570-left-large_default] Above Details of Fig. 33 [img-4571-left-large_default] Fig. 34 ■ The two entrances to the Arsenal, one for the workmen the other for shipping, lettered with the title: Magni Armamentarij Veneziarum portæ duæ, artificibus altera, altera navibus duplex aditus Etching (matrice 309 × 472 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 4; Succi (1981) 17-I; Succi (1983) 294; Dreyer (1985) 80; Succi (1987) 9; Toledano (1988) V.12.2; Toledano (1995) V.17.b. Montecuccoli degli Erri (1999) 11 ('1º stato: [tirature precoci] doppia riga di allineamento ben visibile dopo il primo "altera" fino in fondo alla scritta, e dopo il nome "Marieschi"; [tirature tarde] doppia riga pressoché invisibile, salvo che fra "altera" e "navibus". Tracce di usura in alto a destra, con scomparsa di diversi centimetri della linea di inquadramento superiore') Comparative impressions: London, BM ( view ); Paris, BnF (view) [img-4572-left-large_default] [img-4573-left-large_default] Above Details of Fig. 34 [img-4574-left-large_default] Fig. 35 ■ The Campo San Rocco with the Scuola and church with a fantastic façade invented by Marieschi, the original being still incomplete at the time, lettered with the title: Ædes Divi Rocchi facies rudis adhuc ex cocto latere, nec sectis marmoribus obducta: ad lævam magnum sodalitium eidem Sancto dicatum, et studio Sebastiani Serlij constructum. Etching (matrice 310 × 470 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 17; Succi (1981) 15-I; Succi (1983) 293; Dreyer (1985) 83); Succi (1987) 10; Toledano (1988) V.20; Toledano (1995) V.26. Montecuccoli degli Erri (1999) 14 ('1º stato: [tirature precoci] leggerissime tracce delle righe di allineamento alle parole "Rocchi" e "marmoribus", e fra "eidem" e "Sancto"; [tirature tarde] le righe di allineamento scompaiono. Tracce di usura sul bordo di destra dall'altezza del tetto dell'edificio') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4575-left-large_default] Above Details of Fig. 35 [img-4576-left-large_default] Fig. 36 ■ View along the Grand Canal with S. Simeon on the left and the Carmelite church on the right, lettered with the title: Prospectus Canalis magni Coenobium D: Claræ versus exhibens, ad dexteram Templum P: P: Carmelitarum ex calceatorum, et ad lævam alterum S:S: Simeonis, et Judæ Etching (matrice 315 × 466 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 7; Succi (1981) 24-I; Dreyer (1985) 82; Succi (1987) 22 ('tra le ultime della serie'); Toledano (1988) V.19.3; Toledano (1995) V.25.d. Montecuccoli degli Erri (1999) 13 ('1º stato: [tirature precoci] doppia riga di allineamento su tutta la scritta; [tirature tarde] tende a scomparire la riga inferiore, che diviene intermittente') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4577-left-large_default] [img-4578-left-large_default] [img-4579-left-large_default] Above Details of Fig. 36 [img-4580-left-large_default] Fig. 37 ■ The campo and church of Santa Maria Formosa, lettered with the title: Templum cum Platea Sanctæ Mariæ Formosæ, ex archetijpo Jacobi Sansovini desumptum. Etching (matrice 315 × 466 mm), designed and etched by Marieschi himself. Signed in bottom right corner: Mich.l Marieschi del.t. et inci.t. Mauroner (1940) 3; Succi (1981) 13-I; Dreyer (1985) 87; Succi (1987) 13; Toledano (1988) V.24; Toledano (1995) V.30. Montecuccoli degli Erri (1999) 18 ('1º stato: [tirature precoci] leggerissime righe di allineamento dopo "Jacobi", che si prolungano oltre la scritta; [tirature tarde] le righe scompaiono') Comparative impressions: London, BM ( view ); Paris, BnF ( view ) [img-4581-left-large_default] Above Details of Fig. 37 1. Federico Montecuccoli degli Erri and Filippo Pedrocco, Michele Marieschi: La vita, l'ambiente, l'opera (Milan 1999), p.157: ' lettera A, lettera S, lettera Z: tracce separate di queste filigrane, quasi invisibili, individuate in alcuni dei fogli'. These watermarks possibly are related to individual marks observed by Andrew Robison in Venetian papers of the 1740s; cf. Andrew Robison, Piranesi: early architectural fantasies: a catalogue raisonné of the etchings (Washington, dc 1986), pp.224-225 nos. 47-48, 51-52. According to Dario Succi, 'Le tirature più fresche del primo stato sono quelle impresse su carta con la filigrana della balestra' (Dario Succi, Michiel Marieschi: catalogo ragionato dell'opera incisa, catalogue for an exhibition held at Galleria Lorenzelli, Bergamo, April 1987 (Turin 1987), p.32. 2. Montecuccoli degli Erri and Pedrocco, op. cit. (1999), p.157: 'una serie completa, omogenea, di tiratura sicuramente non posteriore agli inizi del 1744 (album alle armi delle case reali di Prussia e Svezia, collegabile alle nozze - celebrate nel 1744 - fra Adolfo Federico (1710-1771) figlio di Cristiano Augusto di Svezia, e Luisa Ulrica (1720-1782), figlia di Federico Guglielmo i e sorella di Federico il Grande di Prussia)'. 3. Walfrid Holst, 'Hur Carl Gustaf Tessin nödgades börja avyttra sina samlingar' in Nationalmusei Årsbok, new series, 4 (1934), pp.49-64. Tessin had previously made gifts of art works; cf. 'Catalogue de quelques dessins du cabinet de C.G.T. presentés à son Altesse royale Louise Ulrique, Princesse de Suède, et de Prusse, le 24 décembre, mdccxlviii' (Stockholm, Nationalmuseum, A 87, no. 12). In 1746, he sold some numismatic books to Lovisa Ulrika, and circa 1750 he sold her more books on numismatics, on the natural sciences, and other subjects; see Clas-Ove Strandberg, The Queen Lovisa Ulrika Collection of Numismatic Literature: an illustrated and annotated catalogue (Stockholm 2001), p.16, citing Tessin's holograph catalogues in the Åkeroarckivet, and elsewhere. 4. The ink inscription 'C.G. Tessin' or 'Carl G. Tessin', often found in Tessin's books and albums of prints and drawings, is not present here; for these marks of ownership, see Frits Lugt, Les marques de collections de dessins & d'estampes (The Hague 1921), no. 2985 ( view ); Lugt on-line, no. 4339 ( view ). 'Lovisa Ulrika on occasion removed Tessin's signature, either by cutting it out or pasting a small label over it' (Strandberg, op. cit., 2001, p.17); she frequently rebound Tessin's books ( link ). Documents which might resolve the question of Tessin's ownership are beyond our reach; they include his Parisian account books (Stockholm, Kungliga Bibliotheket, Ms S 12), various catalogues of his book collection, and Tessin's 'Catalogue des Estampes du Cabinet' (Stockholm, Nationalmuseum, SE/AB144/EA_28-1/ CGT 1/1 ; Uppsala, Universitetsbibliotek, Handskrifts- och musikavdelningen, U 287-289). On Tessin's relations with Mariette, see the summary in Kristel Smentek, Mariette and the science of the Connoisseur in Eighteenth-century Europe (Farnham 2014), pp.36-37. 5. 'The best Swedish binder of the period', in the opinion of Sten G. Lindberg, Swedish Books 1280-1967: illuminated manuscripts, illustrated printed books & fine book bindings: a select guide to reference literature on Sweden (Stockholm 1968), p.37. See Johannes Rudbeck, 'Kristoffer Schneidler: en Stockholmsbokbindare för 150 år sedan' in Särtryck ur: Samfundet Sankt Eriks Årsbok (Stockholm 1910), pp.89-103; Johannes Rudbeck, Svenska bokband under nyare tiden: bidrag till svensk bokbinderihistoria. 2, 1718-1809 (Stockholm 1910-1914), pp.xix-xxvi; Arthur Sjögren, Svenska kungliga och furstliga bokägaremärken (Stockholm 1915), pp.xci, ci. 6. Rudbeck, op. cit. (1910-1914), p.92 fig. 39; Sten G. Lindberg, 'Bookbindings in Sweden' in Festschrift Ernst Kyriss, dem Bucheinbandforscher... in Stuttgart-Bad Cannstatt zu seinen 80. Geburtstag am 2. Juni 1961 gewidmet von seinen Freunden (Stuttgart 1961), pp.447-463, fig. 2; 'Christopher Schneidler - kunglig bokbindare på Kungliga Biblioteket' ( blogpost by Lena Floser; image ; image ). 7. The gift was an album of portraits of Swedish and foreign royalty, drawn by Niclas Lafrensen the Elder and ornamented by Jean Eric Rehn, with title painted in oils by Guillaume Thomas Taraval: 'Recueil des portraits anciens, qui se trouvent au Chateau de Gripsholm, dedié à S.A.R. Louise Ulrique, Princesse de Suède, Stockholm le xxiv Decembre 1747' (Stockholm, Kungliga Biblioteket, S 71). The red morocco binding is ornamented with gilt crowns and a lambrequin border. For a reproduction and details, see Sten G. Lindberg, 'Den Svenska bokbandskonstens glansperiod' in Biblis (1957), p.72; Kungliga bokband c. 1490-1962, catalogue for an exhibition in the Kungliga Biblioteket (Stockholm 1962), no. 88; Lindberg, op. cit. (1968), p.37 no. 45. Lindberg credits Schneidler for inaugurating 'four distinct styles of binding patterns in Sweden', of which the 'Lambrequin style' is one ('Bookbindings in Sweden', op. cit., 1961, p.458); cf. Sten G. Lindberg, Mästarband: Bokbindarmästareföreningen i Stockholm 350 år, catalogue of an exhibition, Stockholms stadsmuseum, 10 May-31 August 1980 (Stockholm 1980), nos. 26-29 ('lambrequinstil'), 37-38 and 40-41 ('gyllenlädersstil'), 45-48 and 50 ('rocaillestilen', 53-54 ('à la grecquens'). 8. Sten G. Lindberg, 'Bookbindings in Sweden', op. cit. (1961), p.458. 9. The Queen's choice of material (veau fauve) is said to have been influenced by 'her compatriot in Paris, the Comte de Hoym' (Sten G. Lindberg, 'The Royal Libraries at Drottningholm' in Bulletin du bibliophile, 1985, p.144). An account book detailing the work Schneidler undertook for the Queen indicates that on 24 May 1770 he was owed the large sum of 7389 crowns (Stockholm, Kungliga Biblioteket, ACC1978_33; record; view ). 10. Schneidler later presented to Crown Prince Gustav the Bible he had bound as his guild masterpiece; on the occasion of Gustav's seventeenth birthday, in 1762, he presented another volume ( view ); and after Gustav's accession to throne (12 February 1771), Schneidler bound books for him en masse, many lettered on upper covers 'Bibliotheket på Drotningholm' ( view ). 11. Gunnar von Proschwitz, Carl Gustaf Tessin: Kulturpersonen och privatmannen, 1695-1770 (Stockholm 1995), p.123; Roger de Robelin, 'Ett fruntimmers bibliotek från frihetstiden: Ulrika Lovisa Sparres boksamling på Åkerö år 1755' in Biblis 27 (2004), pp.21-36 (esp. pp.30, 31). 12. Reproduced by Carl Magnus Carlander, Svenska Bibliotek och ex-libris (Stockholm 1904), pp.22/23, as a line drawing ( view ). 13. Sjögren, op. cit. (1915), pp.xciii, 133 no. 8, 134 fig. 138 (as 89 × 93 mm). The same block was employed on another, unidentified book ( view ). 14. Sjögren, op. cit. (1915), p.133 no. 9, p.134 fig. 139 (as 50 × 51 mm); see below, note 45 and Fig. 15. 15. Richard Wolfe, Marbled paper: its history, techniques, and patterns (Philadelphia 1990), pp.60-61. 16. Förteckning på en samling af wackra och wäl conditionerade böcker i flera språk och wetenskaper, som genom auction komma at försäljas i Finleyska huset på kongl. Riddarholmen, den 1772 (Stockholm: Lars Salvius, 1772). The copy in the Kungliga Biblioteket is dated by hand 4 March and 'Böckerna hafva tillhört Konung Adolph Fridrich' ( record ). Carlander, op. cit., 1904, p.22, provides a brief analysis of the sale catalogue: 201 folios, 224 quartos, 615 octavos, and 692 books in smaller formats ( entry ). 17. An early 'Catalogue des Livres à Drottningholm', in which the latest book is printed in 1753, records 343 works (Stockholm, Kungliga Biblioteket, U 232): 'Knappt en tredjedel (99 titlar) är vitterhet i olika former. Historia har 85 titlar. Moralfilosofi, biografier, memoarer och geografi samlar 100 titlar, medan teologi och naturvetenskap blott har ett fåtal verk. Den absolut övervägende delen av böckerna var på franska språket (306 st) och de flesta tryckta efter år 1726', reports Anita Ankarcona, 'Drottningholms-bibliotekets bokbestånd' in Biblioteket på Drottningholms Slott (Stockholm 1998), p.18. The next, 'Catalogue des livres qui composent La Bibliothèque de S.M. la Reine à Drottningholm', in which the latest book is printed in 1754, lists some 443 books and 25 manuscripts, in all disciplines, including the arts (Stockholm, Kungliga Biblioteket, U 231). The last Drottningholm library catalogue of the eighteenth century, 'Katalog öfver Konigl. biblioteket på Drottningholm', lists both Lovisa Ulrika's and Gustav iii's books, reputedly 2530 works in some 7400 volumes (Stockholm, Kungliga Biblioteket, U 236 1-2). See Strandberg, op. cit. (2001), p.17; Sten G. Lindberg, 'Drottning Lovisa Ulrikas bibliotek på Drottningholm' in Kungl. Vitterhets historie och antikvitetsakademiens årsbok (1994), pp.76-84 (p.79). 18. Stockholm, Riksarkivet, Drottninghom, Inventarieförteckningar, Rumsinventarium, 1777, SE/RA/56505/56505.1/D I/10 ( record ). 19. If the book entered Gustav iii's library, then it may be recorded in his library catalogues, e.g. 'Catalogue alphabétique des auteurs, commentateurs, traducteurs & éditeurs des livres du Cabinet de s.a.r. le Prince héréditaire de Suède avec des Supplémens par Jean Björnstjerna, Bibliothécaire de s.a.r.', 1763 (Stockholm, Kungliga Biblioteket, U 211) and 'Catalogus librorum bibliothecae Regis A.o 1774' (Stockholm, Kungliga Biblioteket, U 212). 20. Stockholm, Riksarkivet, volym K 268. 21. The books passed from Sophia Albertina to her half-sister, Fredrika Charlotte 'Lolotte' Forssberg, countess Stenbock, thence by descent; see Sam Owen Jansson, 'Die Stenbocksche Fideikomissbibliothek' in Librarium 10 (1967), p.95, who estimates that one-third of Sophia Albertina's library was inherited from her mother: 'Die Bücher der Königin sind zum großen Teil in den charakteristischen Einbänden des Hofbuchbinders Christoph Schneidler gebunden, mit dem schwedisch-preußischen Allianzwappen auf dem Vorderdeckel'. 22. Her collection of some 286 numismatic books - largely assembled by Tessin - was transferred to the State in 1763, to settle debts to the court jeweller and other creditors, however it remained at Drottningholm Palace until 1794, when the Royal Museum in Stockholm was founded (now within the Kungliga Myntkabinettet); see Clas-Ove Strandberg, op. cit. (2001), passim; Clas-Ove Strandberg, 'The 17th century books in the Queen Lovisa Ulrika Library in Stockholm' in Europäische numismatische Literatur im 17. Jahrhundert, edited by Christian Dekesel and Thomas Stäcker (Wiesbaden 2005), pp.275-300. Her natural history books and specimens were distributed between the Kungliga Vetenskapsakademien and Uppsala Universitet; other books from her original collection were integrated in the Kungliga Biblioteket, and the Drottningholm Palace Library is now shelved with duplicates. 23. Archivio di Stato di Venezia, Riformatori dello Studio di Padova, b. 17 (15 May 1741, Supplica; 18 May 1741, Relazione; 3 June 1741, Parere favorevole; 4 June 1741, Concessione privilegio decennale). Rodolfo Gallo, L'incisione nel '700 a Venezia e a Bassano (Venice 1941), p.167; Montecuccoli degli Erri and Pedrocco, op. cit. (1999), p.116 (Appendix 2, document 38). 24. 78. Stück der Göttingische Zeitungen von gelehrten Sachen, 28 September 1741, pp.659-660: 'Venedig. | Magnificentiores selectioresque Vrbis Venetiarum Prospectus, quos olim Michael Marieschi venetus pictor & architectus in plerisque tabulis depinxit, nunc vero ab ipsomet accurante delineante, incidente, tyspisque mandante iterum in sexdecim aereis tabulis in lucem eduntur. 1741. Diese Kupferstiche der schönsten Aussichten in Venedig sind auf sehr grossem Papier abgedruckt und sind bey dem Buchhändler Simone Occhi zu finden' ( link ). 25. Archivio di Stato di Venezia, Signori di Notte al Civil, Inventari-stime-scritture, b. 242, c. 25, 'Inventario dei bene esistenti nella casa di Michele Marieschi, sui quali la vedova Angela Fontana intende praticare il pagamento della sua dote': 'Libri D'Architettura corpi quarantaquattro di veduta in libro, sciolti di carte dieciotto l’uno fatti dal q.m. sopradetto Marieschi - No. 44 | Carte di vedute sciolte - No. 416'. Transcribed by Montecuccoli degli Erri and Pedrocco, op. cit. (1999), pp.117-119 (Appendix 2, document 44). 26. 'Sembra incredibile, ma evidentemente è così' writes Montecuccoli degli Erri, the latest to conduct this search (op. cit., 1999, p.79). Copies comprised of 18 plates are recorded in the book trade, however none can now be traced, and its integrity validated. The most tantalising of these copies is one 'with 17 full-page finely engraved plates after and by Marieschi and engraved title', bound in 'contemporary morocco, festooned borders on sides, with the arms of a cardinal on both sides', which Maggs Bros. offered in their 'Catalogue 395: Manuscripts, incunables, woodcut books, and books from early presses' (London 1920), p.152 item 487 (link); and reoffered in their 'Catalogue 437: Books on art and allied subjects' (London 1923), p.236 item 1029 (link). Another copy comprising an engraved title and 17 plates, bound in half-morocco, was sold by Hodgson & Co., 'Valuable miscellaneous books', London, 12-14 June 1918, lot 936 (Book Auction Records, volume 15, 1918, p.369; link ); this may be the copy offered by Sotheby & Co., 'Catalogue of valuable printed books, autograph letters and historical documents', 1-3 March 1965, lot 688 (sold for £360 to Colnaghi). 27. J.G. Links, Canaletto and his patrons (New York 1977), pp.56-57, suggests that the second, enlarged edition of the 1735 Prospectus Magni Canalis Venetiarum, was 'a rejoinder to Marieschi's book'; compare Montecuccoli degli Erri and Pedrocco, op. cit. (1999), p.77. 28. The print is published by Montecuccoli degli Erri and Pedrocco, op. cit. (1999), pp.79, 160, considered as a 'rara "prova" anteriore al 1º stato, con correzioni manoscritte'. Among the pen corrections are 'accurate' (replacing 'acurate'), 'typisque' ('tijspisque'), 'eduntur' ('aeduntur'). 29. Compare Joseph Jérôme Le Français de Lalande, Voyage d'un François en Italie, fait dans les années 1765 & 1766 (Paris: Desaint, 1769), viii, p.10 ('Magnificentiores selectioresque urbis Venetiarum prospectus, quos olim Michael Marieschi Venetus Pictor & Architectus in plerisque tabulis depinxit, nunc vero ab ipsomet accuratè delineante incidente typisque mandante iterum in 17 æreis tabulis in lucem ceduntur. Venetiis 1741'; link ); Giovanni Antonio Moschini, Della letteratura veneziana del secolo xviii fino a' nostri giorni (Venice 1806-1808), p.96 ('Magnifientiores Selectioresque urbis Venetiarum prospectus, quos olim Michael Marieschi Venetus pictor et architectus in plerisque tabulis depinxit, nunc vero ab ipsomet accurate delineante incidente typisque mandante iterum in xvii aeris tabulis in lucem eduntur'; link ); Bibliothèque de M. Quatremère de Quincy... Collection d'ouvrages, relatifs aux Beaux-Arts et à l'Archéologie, catalogue for an auction sale, Paris, 27 May 27-6 June 1850, lot 412 ('Magnificentiores selectioresque urbis Venetiarum prospectus quos olim Michael Marieschi... in plerisque tabulis depinxit, nunc vero ab ipsomet accurate delineante, incidente, typisque mandante, iterum in xvii æreis tabulis in lucem æduntur'; link ). 30. 'Inventario dei bene esistenti nella casa di Michele Marieschi' (see above, note 25): 'Rami Intagliati N.o 23 di Peso alla sutella [sic] libre 165 a D.ti 1 la libbra - Val D.ti 165 grossi'. Perspectival set of a large courtyard, with caption: Eximii prospectus Atrii ex pluribus architecturæ caracteribus excogitatus; cuius exemplum in teatro depictum plauderetur. Totum a Michaele Marieschi recens inuentum, ac incisum; image . The print is believed to be Marieschi's first etching, executed c. 1736; cf. The Glory of Venice: Art in the Eighteenth Century, catalogue for an exhibition held at the Royal Academy of Arts, London, 1994; National Gallery of Art, Washington, dc, 1995, edited by Jane Martineau and Andrew Robison (New Haven and London 1994), no. 164, pp.259, 468; Montecuccoli degli Erri and Pedrocco, op. cit. (1999), pp.142-143, p.183 no. 23. Impressions of this print were occasionally bound with sets of the vedute, as for example in the copy recently with Ursus Rare Books (New York): 'oblong folio, 570 × 476 mm, bound in full contemporary binding [sic] of Italian calf, marbled endpapers' ($225,000; record ). 31. Montecuccoli degli Erri and Pedrocco, op. cit. (1999), nos. 12, 17, 19, 20; cf. idem, pp.149-151. 32. The problem of whether all the figures in Marieschi's painted and etched vedute are by him has given rise to much debate. Succi, op cit. (1987), rejects the suggestion of older authorities that the foreground figures were added either by G.B. Tiepolo or Francesco Fontebasso. 33. See above, footnote 2. 34. See Louise Lippincott, 'Arthur Pond's journal of receipts and expenses, 1734-1750' in The Volume of the Walpole Society 54 (1988), pp.220-333. Pond sold 'Prints of Marieschi, views of Venice' on 19 February 1746 for £2 2s (p.276); he bought 'Set of views of Marieschi' on 16 August 1746 for £1 11s 6d (p.281) and sold to 'Daniel Wray Esq Marieschi's views of Venice' on 8 January 1747 for £1 12s 6d (p.284). Pond also bought 'A Book of Views of Venice' on 12 July 1745 (p.272). Pond's source may have been the Parisian printseller Pierre-Jean Mariette, with whom he apparently maintained an account; Mariette (1694-1774), in turn, had commercial connections with the Venetian connoisseur Anton Maria Zanetti (1679-1757). 35. A series of seven views apparently dated 1744 or 1745 are reported; a set of twelve prints is listed in John Bowles & Son, Catalogue of Maps, Prints, Copy-Books, &c (London 1753), p.40 no. 42 ( view ). Impressions from the latter series are in the British Museum ( link ). 36. Archivio di Stato di Venezia, Notarile Atti, Pietro Bonaldi, B. 2174, c. 190; transcribed in Montecuccoli degli Erri and Pedrocco, op. cit. (1999), pp.125-128 (Appendix 2, document 59): 'N.o diecisette libri Vedutte del Marieschi'; 'N.o ventidue Rami d'Intaglio opere del Sig.r Marieschi, di Vedutte'); idem, p.144. 37. Archivio di Stato di Venezia, Giudici dell'Esaminador, b. 16, n. 12; transcribed in Montecuccoli degli Erri and Pedrocco, op. cit. (1999), pp.131-132 (Appendix 2, document 70): 'Rami ad uso di stampa esistenti in una cassella: N. venti due Rami ad uso di stampa'. The sets of prints are listed in an associated document. prepared 9 March 1757: Archivio di Stato di Venezia, Inquisitori alle Acque, Calcoli con Testamenti, b. 79, n. 52; transcribed in Montecuccoli degli Erri and Pedrocco, op. cit. (1999), pp.133-136 (Appendix 2, document 72): 'N.o 50 corpi di vedute in carta nelle mani del stampador'. The printer may be the calcografo Giovanni (Zuanne) Lazzari, who is listed among Albotto's creditors; idem, pp.76, 100. For Albotto, see Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, second edition (Venice 2002); Filippo Pedrocco, 'Michele Marieschi, the "Picture Shops" and Francesco Albotto' in Visions of Venice, Paintings of the 18 th century (London 2002), pp.169-170. 38. Montecuccoli degli Erri and Pedrocco, op. cit. (1999), pp.144-145, 147. 39. The title-plate now bears Wagner's address: Venduntur in uico Juliani dicto in Merceri apud Josephum Wagner Venettijs. A copy in the Kun

      [Bookseller: Robin Halwas | Rare Books]
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         Historische Chronick oder Beschreibung der merkwürdigsten Geschichte, so sich von Anfang der Welt bis auf das Jahr Christi 1619. zugetragen. Erster Theil. Mit 31 Kupfertafeln und 329 Textkupfern.

      Frankfurt am Main, Hutter 1743. - 2°. Vortitel, Kupfertitel, zweifarbiger Drucktitel, [4] Bll., [31] Tafeln, [6] Bll., 1184 S., [71] Bll. (Register). Halbleder der Zeit mit Rückenschild und Goldfileten. Einband insgesamt etwas, die Deckelkanten stärker berieben. Insgesamt sehr gutes, sauberes Exemplar des 1. Bandes des Werkes, das mit 2 Fortsetzungfen bis 1750 erschien. Vorliegend ein Exemplar der 8. (letzten) Auflage. - Wüthrich III S. 80. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Schmetz am Dom]
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         De Gekheyt der Wereldt, Wysselyk beschreven en kluchtig vertoondt, in Honderd Narremen derselver Narren Poetsen: Alom doormengt met aardige Historien, vrolyke Verdigtzelen, en zedelyke Vermaningenrren. SECOND PART ONLY

      Amsterdam: Gerrit Tielenburg, 1743. Very Good. Later edition, but first by this publisher. Small octavo. Contemporary half-calf, with red and green morocco spine labels gilt. 546, [14]pp. Engraved title, Illustrated with engravings in text. Modest rubbing and wear to the extremities, a handsome very good or better copy in contemporary binding. A compendium of jesters and fools. Part Two Only, but apparently complete unto itself. OCLC locates a single copy of this edition, in Tilburg.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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         Erste Gründe der gesammten Weltweisheit, darinn alle philosophischen Wissenschaften, in ihrer natürlichen Verknüpfung, in zweyen Theilen abegehandelt werden. Zum Gebrauche akademischen Historie, nöthigen Kupfern und einem Register versehen.

       Lpz., Breitkopf 1743. 4. verm. u. verb. Aufl. 2 Bde. in 1 geb. 7 Bll., 629 (27) S. (Register) Mit Frontisp., Textvign. u. 13 gefalt. Kupfertaf.; 6 Bll., 686 S., 11 Bll. (Register). Pgmt. d. Zt. m. hs. Rückentit.Ziegenfuß I, 413; Goedeke III, 361, VIII, 40 - Das philosophisch-naturwissenschaftliche Hauptwerk Gottscheds. Enthält Abhandlungen über Astronomie, Physik und Anatomie mit erläuternden Kupfern. - \"Er entfaltete mit bewundernswerter Energie und Zielstrebigkeit eine ausgebreitete literarische Tätigkeit, deren Prinzip Aufklärung des Verstandes, vernünftige Grundlegung aller Bereiche der Kultur und Zivilisation war \" (NDB VI, 536). Versand D: 4,00 EUR Philosophie

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         Ars vitraria experimentalis, oder vollkommene Glasmacher-Kunst, lehrende, als in einem, aus unbetrüglicher Erfahrung, herfliessendem Commentario, über die von dergleicen Arbeit beschriebene sieben Bücher P. Anthonii Neri, von Florentz, und denen darüber gethanen gelehrten Anmerckungen Christophori Merretti [.]. Die allerkurtz-bündigsten Manieren, das reineste Chrystall-Glas; alle gefärbte oder tingirte Gläser; künstliche Edelstein oder Flüsse; Amausen, oder Schmelze; Doubletten, Spiegeln, das Tropff-Glas, die schönste Ultramarin, Lacc- und andere nützliche Mahler-Farben [.] zu machen, auch wie das Glas zu mehrer Perfection und Härte zu bringen. Nebst ausführlicher Erklärung aller zur Glaskunst gehörigen Materialien [.]. Samt einem II. Haupt

      - Nürnberg, verlegung Christoph Riegels, 1743. 4to. Engr. portrait,+ engr. extra title,+ 472,+ (20) pp.+ 20 engr. plates. Wood engravings in text. A minor hole through plate two and a spot on page 365. Sewn as issued, in original paper boards, spine worn with hand written title. Third edition of Kunkel?s compendium of earlier standard works on glas manufactoring together with his own experience. Complete with engraved portrait, engraved extra title and 20 engraved plates. [Attributes: Hard Cover]

      [Bookseller: Centralantikvariatet]
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         Essays In Three Books.

      London: Printed by B. and B. Barker, G. Straham, S. Ballard, D. Browne [and 13 others in London],, 1743. With notes and Quotations. And an Account of The Author's Life. With a short Character of the Author and Translator, by the late Marquiss of Hallifax. Translated by Charles Cotton, Esq. The Sixth Edition Corrected and Amended. With the Addition of A Complete Table to each Volume. 3 volumes, octavo, (195 x 120 mm). Contemporary vellum, lettered by hand, marbled endpapers, red edges. Titles in red and black, engraved portrait of Montaigne from another edition loosely inserted. Vellum lightly marked, scattered marks to pages, volume I with slight tear to x2 and aa1 and long closed tear not affecting text to cc8, very good, tall copy. First published in 1685, Cotton's translation "was one of his most admired... and was still being reprinted well into the twentieth century. In Montaigne, Cotton found a congenial mind and character, which he rendered in relaxed and conversational prose" (ODNB).

      [Bookseller: Peter Harrington]
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         Mémoires De l'Académie Royale De Chirurgie. Tome premier (seul).

      A Paris, Chez Charles Osmont, M. DCC. XLIII., 1743, - in-4to, frontispice gravé par Cochin + XL + 778 p. + 2 ff. (privilège du Roi), qqs en-têtes et lettrines gravées + 19 planches dépl. gravées, reliure en plein veau d?époque, dos à cinq nerfs, pt. manque a la coiffe, sinon bel exemplaire. Avec la liste des auteurs des mémoires & des observations (contenant dans ce volume) à la fin de l?ouvrage.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. [Attributes: Hard Cover]

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         "The Unknown World" [in:] The Gentlemen's Magazine, July 1743

      London: E. Cave, jun, 1743. First edition. 8vo. Contemporary half calf and marbled boards. Light rubbing to covers. First edition. 8vo. Sterne's First Literary Appearance. Bound volume of 11 issues of The Gentlemen's Magazine, for January through November 1743. On page 376 of the July number is the young Laurence Sterne's poem "The Unknown World," probably his first literary work in print (Cross suggests that the poem may have been printed first in a York or London newspaper, but no examples have been found), and preceded only by a few political articles in York papers. In the same volume are five first appearances of works by Samuel Johnson: "Friendship" (p. 376), "The Young Author" (p. 378), "To Laura" (p. 378), a translation of a Horation Ode (p. 380), and a translation of Pope's verses on his Grotto at Twickenham (p. 550). Cross II, p. 266

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         A voyage to the South-Seas, in the years 1740-1. Containing, A faithful Narrative of the Loss of his Majesty's Ship the Wager on a desolate Island in the Latitude 47 South, Longitude 81:40 West: .Interspersed with many entertaining and

      curious Observations, not taken Notice of by Sir John Narborough, or any other Journalist. The whole compiled by persons concerned in the facts related, viz. John Bulkeley and John Cummins, Late Gunner and Carpenter of the Wager. London : 1743 - printed for Jacob Robinson, Publisher, at the Golden-Lion in Ludgate-Street, M.DCC.XLIII. [ 1743. ] First edition to include the author's names. 8vo. ( 191mm. ) Pp. [3] iv - xx, [1] 2 - 220. Wood engaved head and tail pieces. Sometime paper repair to the tail margin of p. 61 / 63 (i.e. I3), and closed tear in p. 177 / 178 ( i.e. AA1 ). Contents clean and bright. Sometime rebound , three quarter calf over marbled paper backed boards, the spine with five raised bands, the panels with four galleon's tooled in gilt, contrasting title and author labels, sometime new endpapers. Overall a very good copy. This is the controversial and extraordinary story of the Wager, a ship of George Anson's fleet which rounded Cape Horn and ran aground on 14 May 1741 in the Guayaneco Archipelago on the southern coast of Chile. The crew's efforts to return to civlization is given here by Bulkeley and Cummin the Wager's Gunner and Carpenter respectively. This book is well held institutionally, but is rarely seen for sale. ESTC T142350. Sabin 9108. Seemingly another edition, not traced by the ESTC, was published in the same year but omitted the names of Bulkeley and Cummin [Attributes: First Edition; Hard Cover]

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         De verborum, quae ad ius civile pertinent, significatione

      Orphanotropheum, Halae Magdeburgicae [Halle an der Saale] 1743 - 2 vols.: vol. 1: [12], xxxxviii, 760; vol. 2: 763-1436 p. 35 cm. Engraved frontispiece. Decorative head and tail pieces. Title page in black and red. Full leather. Hinges cracking, corners worn. Ink scribblings and labels on front pastedowns including a bookplate for Alexander Bisset of Lessendrum. Hole in front free endpaper of vol. 1. Some ink marks on bottoms of text blocks. Foxing. Latin text. [Attributes: Hard Cover]

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         Meditations and Observations Upon the Eleventh and Twelfth Verses of the Sixth Chapter of Solomon's Song ... By a Sinner sav'd to be an Heir of Heaven, that deserves to be a Firebrand of Hell

      London: Printed by J. Hart ... and sold by J. Lewis ... and E. Gardner, 1743. First edition. iv, 5-64 pp. Collation: A-H^4. 8vo. Stab-sewn self-wrappers. Edges rough, small holes and closed tears to first and last leaf. First edition. iv, 5-64 pp. Collation: A-H^4. 8vo. Jonathan Edwards' Copy. A rare work by the British Baptist Anne Dutton (1692-1765), with only 3 copies located in ESTC. Dutton was a prolific author - producing more than 50 works of poetry, theology, hymns, and autobiography, as well as a large output of letters. She was an important figure in the various Evangelical revivals that swept through Britain and America in the 1730s and '40s. She corresponded with George Whitefield - with whom she aligned her theology - and her numerous published letters were a popular source of religious consolation and guidance. Mediations and Observations was published anonymously, though Dutton claimed the work in her autobiography. Dutton was "perhaps the most theologically capable and influential Baptist woman of her day. As a female writer in an era which did not foster such self-expression, her pioneering spirit served as a role model for other Baptist women" (ODNB). This copy inscribed at the head of the title-page by the American Congregational minister Jonathan Edwards (1703-1758): "Jonathan Edwards Book." An important association, linking two leading figures in the trans-Atlantic religious revivals of the 18th century. ESTC N35160 (3 copies: Oxford, Boston Athenaeum, Wesleyan); Whitebrook, Ann Dutton: A Life and Bibliography (1921), no. 13. Provenance: Jonathan Edwards (autograph inscription on title-page)

      [Bookseller: James Cummins Bookseller]
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         Relaçam das victorias, alcançadas na India contra o inimigo Maratá, sendo Vice-Rey daquelle Estado D. Luiz Carlos Ignacio Xavier de Menezes, V. Conde de Ericeira, e I. Marquez do Louriçal. Com huma breve noticia da sua morte.

      Lisbon, Na Officina de Luiz Jozé Correa Lemos, 1743. - 4°, twentieth-century (ca. 1970-1980) antique sheep (wear to corners and spine), spine with raised bands in six compartments with design in blind in five compartments, red leather spine label in second compartment from head, gilt letter, some blind-tooling to boards, blank filler leaves. Small triangular design with typographical ornaments on title page. Woodcut headpiece and seven-line initial (from rather worn blocks) on p. 3. In very good condition. Old ink foliation in upper outer corners of the recto of each leaf ("246-253"). Old inscription on title page after Marquez do Louriçal: "nomeado em Mayo desto." 15 pp. *** FIRST and ONLY EDITION. D. Luiz Carlos Ignacio Xavier de Menezes, 5.º Conde de Ericeira and 1.º Marquês de Louriçal became governor of Goa in 1717, at age 27. The Maratha Empire had recently won a long war against the Mughal Empire (1681-1707) and was expanding across the Indian subcontinent. This account details attempts to prevent their conquest of Portuguese India, particularly in the years 1739-1743. Among the places mentioned are Goa, Bassein, Salcette, Sanguem, and Ponda.The heart of the Maratha Empire was Maharashtra, which borders on Goa. *** Martins de Carvalho p. 238. Figanière 974. Manuel dos Santos 413. Azevedo-Samodães 2688. Sousa da Câmara 2444. Not in Innocêncio. Not located in Coimbra, Miscelâneas. Not in Pope, India in Portuguese Literature. Porbase locates two copies, both at the Biblioteca Nacional de Portugal. Copac repeats the British Library. Not located in Hollis or Orbis. Not located in NUC. [Attributes: First Edition; Hard Cover]

      [Bookseller: Richard C. Ramer Old and Rare Books]
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        Meditations and Observations Upon the Eleventh and Twelfth Verses of the Sixth Chapter of Solomon's Song … By a Sinner sav'd to be an Heir of Heaven, that deserves to be a Firebrand of Hell

      London: Printed by J. Hart … and sold by J. Lewis … and E. Gardner, 1743. First edition. iv, 5-64 pp. Collation: A-H^4. 8vo. Stab-sewn self-wrappers. Edges rough, small holes and closed tears to first and last leaf. First edition. iv, 5-64 pp. Collation: A-H^4. 8vo. Jonathan Edwards' Copy. A rare work by the British Baptist Anne Dutton (1692-1765), with only 3 copies located in ESTC. Dutton was a prolific author - producing more than 50 works of poetry, theology, hymns, and autobiography, as well as a large output of letters. She was an important figure in the various Evangelical revivals that swept through Britain and America in the 1730s and '40s. She corresponded with George Whitefield - with whom she aligned her theology - and her numerous published letters were a popular source of religious consolation and guidance. Mediations and Observations was published anonymously, though Dutton claimed the work in her autobiography. Dutton was "perhaps the most theologically capable and influential Baptist woman of her day. As a female writer in an era which did not foster such self-expression, her pioneering spirit served as a role model for other Baptist women" (ODNB). This copy inscribed at the head of the title-page by the American Congregational minister Jonathan Edwards (1703-1758): "Jonathan Edwards Book." An important association, linking two leading figures in the trans-Atlantic religious revivals of the 18th century. ESTC N35160 (3 copies: Oxford, Boston Athenaeum, Wesleyan); Whitebrook, Ann Dutton: A Life and Bibliography (1921), no. 13. Provenance: Jonathan Edwards (autograph inscription on title-page)

      [Bookseller: James Cummins Bookseller ]
 40.   Check availability:     ABAA     Link/Print  

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