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

        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.

      London:: Printed for Jacob Robinson, 1743., 1743. 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." - Hill (2004), 210. Evans 7859; Hill 210; Howgego B-186; Sabin 9108.

      [Bookseller: Jeff Weber Rare Books]
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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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        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

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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.

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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]

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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).

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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

      [Bookseller: James Cummins Bookseller]
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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]

      [Bookseller: Attic Books (ABAC, ILAB)]
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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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        Antiquitatum Romanarum corpus absolutissimum, cum notis doctissimis ac locupletissimis Thomae Dempsteri. Cui accedunt Pauli Manutii libri II de Legibus, et de Senatu, cum Andreae Schotti electis, I. De Priscis Roman[is] gentibus ac familiiis. - II. De Tribubus Rom[anis] XXXV rusticis atque urbanis. - III. De Ludis festisque Rom[anis] ex kalendario vetere. Cum indice locupletissimo rerum ac verborum, & aeneis figuris accuratissimis Urbis, &c. Editio novissima, prioribus omnibus longe emendatior.

      Amsterdam, Salomon Schouten 1743 - fort vol. in-4, [7] ff. n. ch. (titre, préfaces, table des chapitres), 956 pp., texte sur deux colonnes, typographie en petit corps, [15] ff. n. ch. d'index, avec 8 planches hors-texte, dont un plan dépliant de Rome, vélin rigide, dos à nerfs, pièce de titre crème, encadrement de double filet et rosace à froid sur les plats, tranches marbrées (reliure de l'époque). Un coin abîmé. C'est la meilleure édition de ce grand manuel d'antiquités romaines, paru pour la première fois en 1583 à l'adresse de Bâle, et maintes fois réédité, dès le vivant même de l'auteur. Elle a été procurée par Reitz, et intègre tous les ajouts et compléments depuis ceux de Paul Manuce, jusqu'à ceux d'Andreas Schott et de Thomas Dempster. Johann Roszfeld latinisé en Rosinus (1551-1625) était un antiquaire allemand né à Eisenach. Il enseigna à Ratisbonne, mais finit par se consacrer entièrement à la prédication luthérienne. Brunet IV, 1398.

      [Bookseller: Librairie Historique F. Teissèdre]
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        Orthopćdia: Or, the art of correcting and preventing deformities in children

      London: A. Millar, 1743. The Work that Named Orthopedics Andry, Nicolas (1658-1742). Orthopćdia: Or, the art of correcting and preventing deformities in children . . . 2 vols., 12mo. viii, 230, [10]; vi, 310, [8]pp. 15 engraved plates, including frontispiece to Vol. I. London: A. Millar, 1743. 167 x 93 mm. Calf, gilt spines ca. 1743, light wear and rubbing, hinges in Vol. I cracked. Light toning but very good. Engraved armorial bookplate of the Steuart family of Allanton, an ancient Scottish family. First Edition in English of Andry's L'Orthopédie ou l'art de prévenir et de corriger dans les enfans (1741), the work from which the specialty of orthopedics takes its name. The English edition is rare: This is only the second copy we have handled in fifty years in the trade, having sold our first copy in 1985! Before Andry the field of orthopedics consisted of fractures and dislocations, and bone diseases. Andry was the first to note the active participation of muscles in producing deformities of the skeletal system, and to write a book on orthopedics as a preventive science (his title word, "orthopédie," was composed of French forms of the Greek words for "straight" and "child"). He stressed moderate exercise, posture improvement, mechanical aids and sensible clothing, but also made many observations on the pathologic states of the musculo-skeletal system of prime importance to the surgeon, which have formed the core of orthopedic surgery. The allegorical frontispiece and fourteen plates are excellent copies of the French versions, made after drawings by Antoine Humblot, a particularly prolific book illustrator (see Benezit). The plates show how to sit reading, how to move heavy objects, suitable clothing for children, etc. The most famous plate shows a bent tree roped to a stake; this image has become the official symbol of the American Academy of Orthopaedic Surgeons. Garrison-Morton.com 4301. Peltier, Orthopedics, 20-23. Norman, Grolier Medical Hundred, 42.

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        A Game Market. In the Collection of His Grace the Duke of Newcastle. At Clumber Park in Nottinghamshire? Publishd June 2.d 1783, by John Boydell

      Artist: Earlom Richard ( - 1822) London; issued in: London; date: ca 1783 1743 - - technic: Copper print- Aquatinta; - colorit: gouache; - condition: Upper, right and left margins cutted; - size (in cm): 42 x 58,5; - description: Beautiful representation of game animals.; -vita of the artist: Richard Earlom was an English copper printer andmezzotinter. This is a printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. In 1765, Earlom was employed by Alderman Boydell, a publisher and promoter of the fine arts, to make a series of drawings from the pictures at Houghton Hall and these he engraved in mezzotint. His best works are perhaps the fruit and flower pieces after the Dutch artists Van Os and Jan van Huysum. Earlom was commissioned by John Boydell to copy all 200 drawings of Claude Lorraine's record of his paintings as prints, which were published from 1774 to 1777, when a collected edition in two volumes was published as Liber Veritatis.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Histoire de l'empereur Charles VI. De glorieuse mémoire; contenant ce qui s'est passé de plus mémorable en Europe, depuis sa naissance jusques à sa mort. Tirée de Mémoires & autres pièces authentiques, Manuscrites & autres, desquelles on a puisé des anecdotes très curieuses, & qui n'avaient point encore paru

      - Chez Jean Néaulme, à La Haye 1743, In-12 (10x17cm), (2) XII, 528pp. et (2) 562pp. et (2) 594pp. et (2) 596pp. et (2) 468pp. et (2) 456pp., 6 volumes reliés. - Prima edizione, rara. Leganti piena screziato periodo di pecora marrone. Indietro con i nervi decorati. parti del titolo e numero del volume in marocchino rosso. tappo testa di volume V parzialmente staccato. Una coda tunnel di volume I, e il terzo volume. Strofinato insieme. 6 angoli urtato. Uno scuff coperchio inferiore del Volume V. Alcuni foxing. Carta relativamente rosolato. Buona copia. Prenota la storia importante per il destino dell'Europa; infatti il regno di Carlo VI, è stata segnata da dispute di eredità (Spagna contro Luigi XIV) che hanno portato al Trattato di Vienna, e molte guerre, in particolare contro i Turchi. Lalande vuole dipingere un quadro e una storia imparziale, illuminata dai fatti stessi. Molti documenti decorano l'interesse del lavoro. - [FRENCH VERSION FOLLOWS] Edition originale, assez rare. Pages de titre en rouge et noir. 38p. de catalogue des livres imprimés chez Jean Néaulme in fine. Reliures en pleine basane brune marbrée d'époque. Dos à nerfs ornés. Pièces de titre et de tomaison en maroquin rouge. Coiffe de tête du tome V en partie détachée. Un trou de ver en queue du tome I, et du tome III. Ensemble frotté. 6 coins émoussés.  Une épidermure au plat inférieur du tome V, et quelques épidermures en bordures.  Quelques rousseurs. Papier relativement bruni. Bon exemplaire. Livre d'histoire important pour la destinée de l'Europe ; en effet le règne de Charles VI fut marqué par les querelles de successions (l'Espagne, contre Louis XIV) qui aboutirent au traité de Vienne, et de nombreuses guerres, notamment contre les Turcs. Lalande tient à dresser un portrait et une histoire impartiale, éclairés par les faits eux-mêmes. De nombreux documents (Lettres...) concourent à l'intérêt de l'ouvrage. Histoire établie de manière chronologique de 1685, naissance de Charles VI à 1740 mort de Charles VI.

      [Bookseller: Librairie Feu Follet]
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        Castelli e ponti di Maestro Niccola Zabaglia con alcune ingegnose pratiche e con la descrizione del trasporto dell'obelisco vaticano e di altri del cavaliere Domenico Fontana

      Roma: Niccolò e Marco Pagliarini, 1743. [10], 42 pagine e 54 tavole. 49x37 cm.Rilegatura coeva in piena pelle con abrasioni e spellature; dorso a sei nervi, con fregi in oro. Fioriture diffuse e bruniture all'interno. Bel ritratto inciso dell'Autore in antiporta, opera di Pietro Leone Ghezzi e Girolamo Rossi. Doppio frontespizio in italiano e latino, con vignetta incisa. 54 gradi tavole incise in rame, alcune delle quali ripiegate. In fine, 21 fogli doppi con il testo esplicativo delle tavole in latino e italiano. [M238] Splendida edizione originale di questo classico della scienza architettonica, dedicato alle macchine e ai ponteggi utilizzati per i complessi lavori di edilizia della "Fabbrica di San Pietro".

      [Bookseller: Libreria Scarpignato]
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        Les Fables d'Ésope, gravées par Sadeler, avec un discours préliminaire, & les Sens Moraux en Distiques. Édition toute différente de la première.

      Paris, Thiboust, 1743. - In-4 de XXIII, 306 pp. et (2)ff.,illustré d'un faux-titre gravé et d'une gravure pour chaque fable gravée par Sadeler, lettrine et culs-de-lampe. Livre de prix d'un élève du college Mazarin reçu en 1759. Manque 2 feuillets ( pages 141-142 et 233-234), manque angulaire de papier avec perte de texte (p. 259), petites brulures à 7 feuillets avec perte de lettres, importrantes mouillures et salissures à d'autres. Chagrin brun moderne, dos à nerfs orné de fers dorés, fers angulaires dorés au premier plat. Insolation au dos et à la partie sup. du second plat. Edition recherchée pour ses figures, les même que l'édition de 1659. Brunet, 95.

      [Bookseller: Librairie BERTRAN]
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        A Fish Market. In the Gallery at Houghton. Published Junw 1. st 1782 by John Boydell

      Artist: Earlom Richard ( - 1822) London; issued in: London; date: ca 1782 1743 - - technic: Copper print- Aquatinta; - colorit: gouache; - condition: Upper, right and left margins cutted; - size (in cm): 41,5 x 58; - description: Representation of a fish platter. This beautiful view shows 17 different fishes with crabs, lobster and shrimps.; -vita of the artist: Richard Earlom was an English copper printer andmezzotinter. This is a printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. In 1765, Earlom was employed by Alderman Boydell, a publisher and promoter of the fine arts, to make a series of drawings from the pictures at Houghton Hall and these he engraved in mezzotint. His best works are perhaps the fruit and flower pieces after the Dutch artists Van Os and Jan van Huysum. Earlom was commissioned by John Boydell to copy all 200 drawings of Claude Lorraine's record of his paintings as prints, which were published from 1774 to 1777, when a collected edition in two volumes was published as Liber Veritatis.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Circles de Bavire, de Franconie et Souabe

      Artist: Brion de la Tour/ Desnos L/ LC ( - 1803) France; issued in: Paris; date: ca 1766 1743 - - technic: Copper print; - colorit: ; - condition: Very good; - size (in cm): 37 x 53; - description: Map of Bavaria, Franken and Schwaben; -vita of the artist: Louis Brion de la Tour was a french cartographer and demographer. With his knowledgebacame the famous « Ingénieur Géographe du Roi ».He issued together with Louis Charles Desnos (1750-1790) several atlases and globes.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        De Nasireer Gods tot den Heiligen Dienst Toegerust, of Heilzame Raadgeving aan Studenten, Proponenten, en Jonge Leraren. Hoe zy in het Huis Gods met vrugt konnen verkeeren. Dezen Derde Druk, ruim een derde vermeerdert. WAARBIJ: De Nazireer Gods in de Bid-Konst Onderwezen, en Voorgeligt. Ten dienste van Studenten, Proponenen, en Jonge Leraren. Dezen Derde Druk, ruim een derde vermeerdert. WAARBIJ: De Nazireer Gods tot den Heiligen Dienst Bevordert. Volgens Eene zekere Ordere in den Loop der Bediennge Bestiert, en Door eenige Proef-stukken, aangaande de Agtbaarheit van Gods Woordt, en de Bevindelyke Sterkte van Godts Vol, vooral in tyden van Beproevinge, voorgeligt, uit Jer. XXIII. vs. 28.b 29. en Ps. LXII. vs. 12. En Vervolgens tot de Hoognodige Waakzaamheit tegen de Vyanden van het Ware Christendom, voornamentlyk de Papisten en Vrygeesten, opgewekt. Waar by nog een Kerkelyk Congres ontworpen, en aangeraden.

      Amsterdam, Adriaan Wor, en Erve Gerard Onder de Linden 1743/1743/1746. 3 delen, (52) 416, (28) 468, (32) 168 180 110 (32) p. Origineel Leer met ribben, 4° (Het leer van de banden is wat sleets aan de randen, mist het portret. Derde en vermeerderde druk van dit zeldzame werk in 3 delen, een van de eerste practikale handboeken voor 'Studenten, Proponenten en Jonge Leraren'.).

      [Bookseller: Antiquariaat De Roo]
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        John Dean The only survivor of the sixteen men which remained on board the Ship Sussex in the Honble East India Companys Service

      Mezzotint measuring 395 by 290mm. Slightly dust-soiled, top left corner stained, otherwise very good. N.p., N.d.,

      [Bookseller: Maggs Bros. Ltd.]
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        Gründliche Abhandlung von der Jungfer-Diät oder Wie sich eine Jungfer zuverhalten/ Wenn sie gesund und wohlgestalt will bleiben/ .....

      Wittenberg und Zerbst, Bey Samuel Gottfried Zimmermann, 1743, 8, (18), 74 pp., feiner Halbpergamenteinband. Selten - Erste Deutsche Ausgabe, der ersten Frauen-Diätetik: "Gründliche Abhandlung von der Jungfer-Diaet/ oder wie sich eine Junger zuverhalten/ Wenn sie gesund und wohlgestalt will bleiben. Ehedem als eine Disputation "Dissertatio inauguralis medica de diaeta virginum (...) praeside Fridcrico Hoffmanno (...) committet Gottlieb Fridericus Berens. Halae. Magdeburgicae: Hilliger 1729" vertheidigt, nun aber wegen des grossen Nutzens und gelehrten Ausführung in Teutsche übersetzet.""Während ältere landessprachliche Diätetiken geschlechtliche Unterschiede nicht herausgestellt, sondern eher nach anderen Parametern wie dem jeweiligen Lebensalter oder dem Temperament (Complexion) unterschieden hatten, betonte der noch vielen späteren Generationen durch seine "Hoffmannstropfen" geläufige Hallenser Medizinprofessor Friedrich Hoffmann (1660-1742) in seiner (lateinischen) Dissertation 1729 erstmals die Notwendigkeit von Diätetiken für Frauen, und zwar für Frauen der gehobenen Schichten mit ihren besonderen Schwächen. Wenige Jahrzehnte später machten sich viele Verfasser populärer Schriften diese Ansicht ganz zueigen und damit gleichzeitig dem 'schönen' und 'schwachen' Geschlecht der privilegierten Stände viele Vorschriften, die sich teilweise wie ein Domestizierungsprogramm lesen lassen. Nicht nur der alten Mäßigkeit wurde das Wort geredet, sondern vor allem Verzicht gepredigt. Als neuer zeittypischer Aspekt trat zu den 'sex res non naturales' als Siebtes nun die Sauberkeit hinzu. Also: Reinlichkeit von Körper und Kleidung, aber auch der Wohnung. Was unter Reinlichkeit im einzelnen zu verstehen sei, welche Körperteile wie oft gewaschen werden sollten, darüber herrschte jedoch keine Einigkeit." Frank Stahnisch & Florian Steger (Hrsg.): Medizin, Geschichte und Geschlecht. Körperhistorische Rekonstruktion von Identitäten und Differenzen (2005), Sabine Sande: Die dreißig Schönheiten der Frau - Ärztliche Ratgeber der Frühen Neuzeit, pp.58-59"Süssigkeiten betrachtete man als besondere Verlockung für Frauen, denen Naschhaftigkeit als geschlechtstypische Untugend nachgesagt wurde, die sie mit Kindern gemeinsam hätten. Vor Essig und Kreide als gängigen innerlich wirkenden Schönheitsmitteln wurden die Leserinnen gewarnt.""In Bezug auf Wachen und Schlafen ergaben sich im Jahrhundert der Aufklärung keine neuen Aspekte für die Belehrung der weiblichen Leserschaft. Ärzte sprachen sich durchweg für frühes Schlafengehen und frühes Aufstehen aus. Sofern konkrete Uhrzeiten angegeben wurden, bedeutete das eine Nachtruhe von ca. 21 Uhr bis fünf Uhr morgens. Dieser gegenüber dem heute Üblichen versetzte Wach-Schlaf-Rhythmus entsprach den Gepflogenheiten einer überwiegend agrarischen Gesellschaft. Für Frauen der gehobenen und höheren Schichten hatte die Vorgabe dieses Rhythmus zugleich eine erzieherische oder sozialdisziplinierende Funktion, indem er Abendgesellschaften und Vergnügungen weitgehend ausschloss und bürgerliche Tugenden wie Arbeitsamkeit und Fleiss zu befördern suchte. Auffallend ist, dass Frauen ausdrücklich eine eher kurze Nachtruhe nahegelegt wurde. Dem sogenannten schwachen Geschlecht sollte weniger durch Ruhe und Schlaf geholfen werden als durch mässige Reizung und Belastung, vor allem durch Hausarbeit, was zum Aspekt Bewegung und Ruhe überleitet." Sabine Sander, Gesundheit statt Galanterie. Der Paradigmenwechsel in ärztlichen Schönheitsratgebern im Jahrhundert der Aufklärung. Gesnerus 60 (2003) pp.25-61

      [Bookseller: MedicusBooks.Com]
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        A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals, Quadrupeds, Reptiles, Fishes, Insects [.] Exhibited in Two Hundred and Ten Copper-Plates. [With:] Gleanings of Natural History, Exhibiting Figures of Quadrupeds, Birds, Insects, Plants [.].

      London Printed for the Author at the Royal College of Physicians ; 1747; 1750; 1751; 1758; 1760; 1764 1743 - First edition. Seven volumes, 4to. 362 hand-colored engravings, sequentially numbered across both works, each engraving with facing letterpress description, text in English and French; occasional light offsetting of plates to text, plates generally quite clean, some scattered light foxing to text. Full late 18th-century blue crushed morocco gilt. A fine set in dark blue morocco of "one of the most important of all bird books, both as a fine bird book and a work of ornithology" (Fine Bird Books). "Though issued separately, they [Natural History and Gleanings] are considered as one and either must rank as imperfect without the other At its date of issue the Natural History and Gleanings was one of the most important of all bird Books, both as a Fine Bird Book and a work of Ornithology. It is still high on each list " (Sitwell). George Edwards (1694-1773), a talented natural history artist, became librarian at the College of Physicians through the good offices of Sir Hans Sloane, who also employed him to draw the curiosities in his private museum. This provided him with both a steady income and plenty of time (his tasks not being very onerous), to pursue his own interests whilst surrounded by volumes on natural history. Edwards had a large circle of friends with an interest in science and he drew and painted the natural history objects owned by them. He kept copies of these drawings, and it was as a result of his wishing to see these drawings preserved in some way that he resolved to publish A Natural History of Uncommon Birds. This proved a success, and thus encouraged, Edwards brought out the Gleanings, although this took many years to complete. Amongst the species described, many are from India and North America. The Indian specimens were largely based on the watercolours made by Pieter Cornelis de Bevere, a member of the household of Governor Gideon Loten, a Dutchman who settled in England for a while, where his collection was studied by Edwards. The North American birds came from two main areas, Hudson Bay territory and Pennsylvania. In addition there were a few birds from Carolina provided by Catesby. Nissen 286-88; Wood, p. 329; Sitwell, p. 93. [Attributes: First Edition]

      [Bookseller: Shapero Rare Books]
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        Orthopaedia: Or the Art of correcting and preventing Deformities in Children. By such Means, as may easily put in Practice by Parents themselves, and as such as are employed in Educating Children. 1 vol. (only)

      Translated from the French In two volumes, illustrated with Cuts. - London, printed for a Millar, 1743, Kl.8, VIII, 230, ( 7, Indexs, 3 publ.cat.) pp., 13 Kupferstichtafeln, im Halbledereinband d.Zt. Rücken erneuert zweiter Band fehlt. Rare First Edition the complete orthopedic part Volume two is missing with 13 of the famous 14 copper prints, rebacked. Book I.: A General Description of the external Parts if the Body. Book II.: The Means of preventing and correcting the Deformities of the Body in children.Book III.: Deformities if Arms, Hands, Legs and Feet. Book IV.: second volume is missing. "IN 1741 Nicolas Andry published a book in Paris which was destined to become a milestone in medical literature. It is a pleasure to browse through this Orthopaedia: or, the Art of Correcting and Preventing Deformities in Children. Written as a manual for parents who wished to raise well-formed and healthy children, much of the Orthopaedia dealt with non-medical subjects. At times it is a strange mixture of valid observation and treatments, of medical ideas already disproven when it was first published, of old wives' tales, of medications which could have been concocted in an. alchemist's kitchen, and of glaring superstitions.Nevertheless, Andry's book remains one of the first major contributions to orthopaedic literature. The title, which was coined from die Greek words orthos-straight and paidion-child, was a more fortunate choice than other artificial combinations in that it became the name of a new medical field. The book itself became extremely influential in paving the way for a better understanding of the deformities and diseases of the musculo-skeletal system. Now Andry's name is more familiar to die orthopedic surgeon than the contents of his book. It consists of two volumes, subdivided into a Preface, four books, a Thesis on exercise, and a Supplement. In addition to the derivation of the tide, the preface contains reviews of "two earlier books on similar subjects, the Paedotrophia of Scévole de Sainte-Martha and the Callipaedia of Claude Quillet, two early "textbooks" of pediatrics. Book I is a descriptive anatomy of the locomotor apparatus.Books II and III deal with deformities of the musculo-skeletal system and their treatment. Book IV (Here missing) discusses deformities and ailments of the head and teeth and afflictions of seeing, hearing, and speaking. The Thesis defends the proper use of exercises as the best preserver of health. Those readers who want to test their knowledge of classical languages may do so by reading this section since the thesis is also printed in Latin. The Supplement is a refutation of criticisms of the author's observations and therapeutic methods. This section is of great interest as it acquaints us with Andry as a human being, one who, like most of us, resents criticism, is not above hair-splitting to prove his point, and can be very sarcastic in his counterattack on his critics. Books II and III and the Thesis show a sometimes strikingly modern approach to the causes of musulo-skeletal deformities, sound methods for their corrections, and keen observations of the effectiveness of properly applied exercises.Andry's great contribution to medicine is his discovery, or at least rediscovery, of the molding influence of muscle traction on bone, and therefore the shaping of a child's body, the efficiency of massage, the value of therapeutic exercises, and proper bracing. ." Ulrich H. Weil, Review of The Reprint if the "Orthopaedia", J Hist Med, April 1963, p.190

      [Bookseller: MedicusBooks.Com]
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        Compendium medicinae practicae (sive de optima morbos internos et cognoscendi et curandi ratione), cui praemissa est de de medicinae mechanicae praestantia dissertio.

      Amsterdam, Janssonius van Waesberge 1743, 8, 70 pp., 1 Bl., 472 pp., 4 Bl. (Index and errata), Halbpergamenteinband der Zeit. Rare First Edition of this medical handbook which went through several editions and translations. It was a companion volume to Heister's surgical work and represents his clinical views. Considering his stature as a physician in Central Europe this work had a great deal of influence in this sphere. Lorenz Heister (1683-1758), a pupil of Ruysch, Albinus and Boerhaave, was one of the founder of scientific surgery, and also a very successful teacher at Altdorf and later at Helmstedt. His teaching and his prolific writing became very popular throughout Europe. His lectures on surgery were very valuable since he founded his theories in sound anatomical facts. He made the first postmortem section of appendicitis and introduced the tem 'tracheotomy'. Blake 203 Wellcome III (only later editions) Hirsch III, 132 Garison, Hist. Med. 342 DSB VI, 231f. Zachert-Zeidler II, 739 (incomplete copy) NDB VIII, 458. Not in Waller, Osler, Lesky, etc.

      [Bookseller: MedicusBooks.Com]
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        Observations sur les becs de liévre venus de naissance Où l'on epose les moyens de corriger cette espéce de diffomité (pp.605-618, 2 Kupferstichtafeln mit 6 Abbildungen).

      Mém. Acad. roy. Chir., 1. - Pairs, Chalres Osmont, 1743, 4, Front., XL, 778, (4) pp., 20 Kupferstichtafeln, Halbledereinband feines Exemplar. Erste Ausgabe! George de la Fay "publizierte 1743 in den Berichten der Pariser Chirurgenakademie den 1733 von ihn ausgeführten Verschluss einer doppelten Lippen-Kiefer-Gaumenspalte bei einem vierjährigen Kind - mit vielleicht erstmaliger- Erhaltung der Prämaxilla". Hoffmann-AxthelmFirst Edition of the paper by Georges de la Faye appeared 200 years after the operation described by Pierre Franco, the medieval barber surgeon-about half way between Franco's time and our time. De la Faye's description are of double cleft lips, in contrast to the more simple cleft lib described by Franco..Curiously, de la Faye was puzzled by the presence of a tooth-bearing premaxilla in the double cleft in his first patient he attempted to solve that problem excising the offering bone and bringing the two lateral segments of the lip together behind the prolabium-not an easy task. In his second case he was more circumspect and the attached the lateral segments to the prolabium using the later as the central portion of the repaired lip. His description of this all was in the Volume I if the earliest surgical journal extant and after his description of his first two cases he goes on to describe several other cleft lip repairs during the early 1700's in the Paris area-including one by de lay Peyronie, done at Compiegne. -cf. Frank McDowell----"In 1739 le Dran, reporting "Sur un oeil éraillé"( pp.440-443, 1 plate) the case of a patient fourteen years of age, described the repair of a deformity of the nasal end of the lower lid following extensive disease of the lacrimal sac which occurred at eight years of age. There were marked ectropicon and a tumor of the size of an olive (possible a mucocele of the lacrimal sac? W.L.H.), which was first dissected out. Two months later he dissected up the skin on the side of the nose, sliding this case to relieve the ectropion of the nasal end of the lower lid." Wendell L. Hughes, Reconstructive Surgery of the Eyelids, pp.19-20Further of special interest is the "Mémoire sur quelques obstacles qui s'opposent à l'éjaculation naturelle de la semence" (pp.425-434) by Francois de la Peyronie (1678-1747) the first description of "Peyronie's disease". F.McDowell, The Source Book of Plastic Surgery, pp.129-132 W.Hoffmann-Axthelm, Die Geschichte der Mund-, Kiefer- und Gesichtschirurgie, p.59 Zeis Nr.1042 Zeis Index No. 1644 Garrison & Morton No. 4163 (Le Peyronie) 3248

      [Bookseller: MedicusBooks.Com]
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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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        Beschryvinge der stadt Heusden (...) vermeerdert. Amsterdam, J. Hartig, 1743.

      4°, sierpapier omslag, rug versterkt, (14)+496 pag. Geillustreerd met 6 gravures: plattegrond, gezicht op de stad, 2x kasteel, stadhuis, oude kerk. Voorts het wapen van Van Kinschot bij de opdracht.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Deuxième vue de la Suisse prise du lac de Brientz, canton de Berne. Kupferstich um 1780 nach C.G. Schütz durch Carl Gottlieb Guttenberg.

      Selbstverlag; Schmidt, Paris, Basel - ( Carl Gottlieb Guttenberg (1743-1792)) Bildgröße: 43 x 35 cm, auf Karton montiert und alt unter Glas gerahmt ( Rahmenmaß: 59 x 48 cm. Das Blatt etwas knapp beschnitten, angestaubt und stockfleckig, der Rahmen gering bestoßen. ( Bitte beachten: Hier kein Versand wegen Bruchgefahr - bitte nur Selbstabholung in meinem Ladengeschäft ). ( Pic erhältlich // webimage available ) [Attributes: Soft Cover]

      [Bookseller: Antiquariat Friederichsen]
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        "HEEMSKERCK; VAN BEEST --- Exemplaar van het zeldzame boek 'Afkomste ofte genealogie van het oude en edele geslachte van Heemskerck, voor zoo verre aangaat den tack (...) bijgenaamt Van Beest'. Z. pl. [ca. 1755], (24) pag., 4°, gebonden in half leer.".

      Geillustreerd met 53 handgekleurde familiewapens en een kwartierstaat in handschrift van de 16 kwartieren van mr. Jan Anth. van Heemskerck geboren 24-6-1743. Voorts met een groot aantal aanvullingen in handschrift, lopende tot 1869. De gedrukte tekst begint in de 13e eeuw. Aangehuwden: van Diemen, Blaeuwvelt, Cant, van Vianen, de Rodere, van der Meer, van Groenewegen, van Ruyven, van Mierevelt, Delff, de Winter, v.d. Lely, v. Doorn, Elsevier. Aangehuwden in het manuscript gedeelte: Swalmius, Flament, Keyser, Kierulf, Sterck, van Hanswijk, Spaarman, Hoynck v. Papendrecht, Moltzer.M9875

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Woordenboek of algemeene verhandeling der enkele droogeryen (...) in 't Nederduitsch gebragt door C. v. Putten Pz. en I. de Wit. Rotterdam, Beman, 1743.

      4°, gebonden in half leren band uit de tijd, (24)+772+(72) pag. Geillustreerd met frontispice door F. van Bleysweyk en 25 uitvouwbare platen met 400 afbeeldingen van planten. Goed exemplaar. B1853.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        LETTRES DE CRITIQUE, DE LITTERATURE, D'HISTOIRE, &C. écrites à divers savans de l’Europe. Publiées sur le originaux par monsieur de B[eyer]

      Amsterdam, J. Wetstein, 1743 - In-4 (env. 18,5 x 24,5 cm), 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, très bon ex. 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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        Algemeen huishoudelyk-, natuur-, zedekundig- en konst-woordenboek, vervattende veele middelen om zijn goed te vermeerderen en zijne gezondheid te behouden, 2e druk, vermeerdert door J.A. de Chalmot, 7 delen. Leiden / Leeuwarden, le Mair / de Chalmot, 1778. [Met:] Vervolg op M. Noel Chomel Algemeen huishoudelyk-, natuur-, zedekundig-, en konstwoordenboek, 9 delen. Kampen / Amsterdam, de Chalmot / Yntema, 1783-1793.

      Groot 4°, gebonden in 16 half leren banden. Geillustreerd met frontispice door J. Punt en 153 gegraveerde uitslaande platen. De beste en meest complete editie van deze in 1743 voor het eerst in het Nederlands verschenen encyclopedie. B0683.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Karte der Gefürsteten Grafschaft Henneberg, mit dem angränzenden Fürstenth. Coburg u. andern Graenzlaendern, nach authentischen Documenten und Nachrichten verfertiget, und in ihre Aembter eingetheilet. Herausgegeben von Homaennischen Erben imit Kayserl. allergn. Privil. A. 1743.':.

      - Altkolorierter Kupferstich v. J.G. Küsel n. Joh. Jacob Zinck b. Homann Erben in Nürnberg, dat. 1743, 51 x 56 Sandler, Johann Baptista Homann, Die Homännischen Erben, Matthäus Seutter und Ihre Landkarten, S. 136. - Zeigt die Grafschaft Henneberg mit dem Fürstentum Coburg. - Unten rechts große, figürliche Titelkartusche in lateinischer Schrift; darüber 2 Wappen. - Oben rechts Erklärungen der Zeichen und Autoradresse. - Die Karte mit Titelkopfleiste. - Unter der Karte weiterer Titel in französischer Sprache. - Perfekter Zustand!

      [Bookseller: Antiquariat Norbert Haas]
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        Recept Buch. Von unterschidlichen approbirten Hausmittlen.

      [Bayern?], 1743. - Titel, 57 SS. In einer Tasche im hinteren Umschlagdeckel weitere 8 SS. Rezepte (in versch. Formaten) sowie ein Konvolut von 13 zusammengehefteten Arztrezepten (1756-1761). Halbpergamentband der Zeit. Bindebänder fehlen. Folio (220 x 338 mm). Hübsche Sammlung von frühneuzeitlichen Hausmittelrezepten wie dem "Roten Pulver" ("dient im starckhen Catarn und hizigen Kopfwehe, auch wan es den Menschen truckhet auf der Brust"), einer "vortrefflichen Salben" ("gut vor alles Brennen, Hauen, Schneiden, Stechen, oder andere Wunden"), einem "überaus gesunden Kräutl", einem Mittel "für daß Seiten-Stechen", "vor dem Kopf-Schmerzen", "vor Rainigung der Muetter, und Erhaltung gutten Geblieths", etc. Am Schluss von anderen Händen fortgesetzt. In der Deckeltasche hinten eingelegt sind weitere Rezepte gegen Gelbfieber, aber auch für künstlerische Zwecke ("Agstain Fierneis", "Gelb zu färben"). Die Arztrezepte für die Tochter des kurkölnischen Hofrats Clement Albrecht von Vacchieri, Hofkastner und Schlosspfleger zu Dachau (1700-58), sind sämtlich ausgestellt von einem "Dr. Morasch", vermutlich Maximilian Anton (* 1718) oder Johann Karl Morasch (* 1719), Söhne des Ingolstädter Mediziners Johann Adam Morasch (1682-1734), beide 1740 in Ingolstadt zum Dr. med. promoviert. - Einband stärker berieben und mit Fehlstellen im Rückenbezug. Innen stellenweise gering wasserrandig, aber im Ganzen sauber, wohlerhalten und durchwegs gut lesbar.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Kriegs-Theatrum. Die weitere extendirung unser glückl. Kriegs Progressen enthaltend. vornehmlich aber den gantzen Marsch von allen dreyen Colonen durch den Schwäbischen Crayß von 8ten biß 24sten July darinen alle Marsch, Rast Tag, Laager, sambt übrigen Denckwürdigkeiten waß von Tag zu Tag in den Laager vorgefallen, auf das klärlichste zu ersehen seynd. In Wienn zu finden in dem Stern Hoff im Schuster Gäßl.':.

      - Kupferstich b. Johann Jacob Lidl in Wien im Stern Hof im Schuster Gäßl, 1743, 34 x 29 Bibliographisch nicht nachweisbar! Zu Lidl vgl. Tooley's Dic. of Mapm., S. 392 (Johann Jacob Lidl); Dörflinger, Österreichische Karten des 18. Jahrhunderts, S. 50 ff. - Sehr seltener österreichischer Einblattdruck des Wiener Kupferstechers u. Verlegers Johann Jacob Lidl (1696-1771) der ca. zwischen 1740 u. 1760 in Wien der kartograph. Verlagstätigkeit nachging. - Zeigt das Gebiet Heidelberg, Nördlingen, Ulm und Horb am Neckar mit Einzeichnungen von Truppenmärschen. - Die größeren Städte Stuttgart, Heilbronn, Aalen, Nördlingen, Weil der Stadt ua. mit Befestigungsplänen. - Oben rechts Titelkartusche. - Unter der Karte 25zeiliger Text.

      [Bookseller: Antiquariat Norbert Haas]
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        Histoire de l'empereur Charles VI. De glorieuse mémoire; contenant ce qui s'est passé de plus mémorable en Europe, depuis sa naissance jusques à sa mort. Tirée de Mémoires & autres pièces authentiques, Manuscrites & autres, desquelles on a puisé des anecdotes très curieuses, & qui n'avaient point encore paru

      Chez Jean Néaulme 1743 - - Chez Jean Néaulme, A La Haye 1743, In-12 (10x17cm), (2) XII, 528pp. et (2) 562pp. et (2) 594pp. et (2) 596pp. et (2) 468pp. et (2) 456pp., 6 volumes reliés. - Edition originale, assez rare. Pages de titre en rouge et noir. 38p. de catalogue des livres imprimés chez Jean Néaulme in fine. Reliures en pleine basane brune marbrée d'époque. Dos à nerfs ornés. Pièces de titre et de tomaison en maroquin rouge. Coiffe de tête du tome V en partie détachée. Un trou de ver en queue du tome I, et du tome III. Ensemble frotté. 6 coins émoussés. Une épidermure au plat inférieur du tome V, et quelques épidermures en bordures. Quelques rousseurs. Papier relativement bruni. Bon exemplaire. Livre d'histoire important pour la destinée de l'Europe ; en effet le règne de Charles VI fut marqué par les querelles de successions (l'Espagne, contre Louis XIV) qui aboutirent au traité de Vienne, et de nombreuses guerres, notamment contre les Turcs. Lalande tient à dresser un portrait et une histoire impartiale, éclairés par les faits eux-mêmes. De nombreux documents (Lettres.) concourent à l'intérêt de l'ouvrage. Histoire établie de manière chronologique de 1685, naissance de Charles VI à 1740 mort de Charles VI. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition, quite rare. Bindings in full maroon brown contemporary brown. Back with ornate nerves. Title and tomato pieces in red morocco. Head of the V-head partly detached. A wormhole at the tail of volume I, and of volume III. Rubbed together. 6 corners blunt. An epidermis on the lower plate of volume V. Some foxinges. Relatively brown paper. Good copy. Book of important history for the destiny of Europe; In fact, the reign of Charles VI. Was marked by the quarrels of successions (Spain, against Louis XIV.), Which resulted in the treaty of Vienna, and numerous wars, especially against the Turks. Lalande wishes to draw up a portrait and an impartial story, enlightened by the facts themselves. Numerous documents confirm the interest of the book. (2) XII, 528pp. et (2) 562pp. et (2) 594pp. et (2) 596pp. et (2) 468pp. et (2) 456pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Numismata imperatorum Augustarum et Caesarum, à Populis Romanae ditionis Graece loquentibus ex omni modulo percussa: Quibus Urbium Nomina, Dignitates, Praerogativae, Societates, Epochae, Numina, Illustres, Magistratus, Festa, Ludi, Certamina, et alia plurima ad eas spectantia consignantur.

      Paris, Andreae Cramoisy (1698) 1743 - Jean-Foy Vaillant (1636-1706). Numismata imperatorum Romanorum praestantiora un anuncio de Julio Caesare Postumun usque. Roma: JB Bernabo & J. Lazzarni con C. Barbiellini y V. Monaldini, 1743 (primera edición 1692). El encargado de la compra de monedas antiguas de Luis XIV de Francia, Vaillant viajó extensamente y visitó las principales colecciones de toda Europa. De su vasto conocimiento de las monedas, que escribió varios libros, incluyendo estudios de monedas partas y seléucidas. Su estudio 1674 sobre las monedas romanas que datan del reinado de Julius Caesar a mediados del siglo tercero había sido muy bien recibida. En 1743, escribió este estudio ampliado en gran medida, que incluye monedas bizantinas. [Attributes: Hard Cover]

      [Bookseller: antiguedades madrazo]
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        Traité des maladies vénériennes, où, après avoir expliqué l'origine, la propagation & la communication de ces maladies en général, on décrit la Nature, les Causes & la Curation de chacune en particulier.

      - Chez Guillaume Cavelier (seconde édition revue, corrigée et augmentée), 1743. 4 volumes in-12 reliés plein veau d'époque (17 x 10 cm), titre et fleurons dorés sur dos à nerfs, toutes tranches rouges, gardes de papier marbré. Complet des 4 volumes.- T. I : (2), CVI pp.(39 p. pour la préface de l'auteur, 63 p. pour la liste chronologique des auteurs, 4 p. de tables.), 428 pages + 4 p. Approbation.- T. II : VIII pp.: bl., titre, table, 508 pages.- T. III : VIII pp. bl., titre, table, 533 pages.- T. IV : X pp. : bl., titre, table, 512 pages. Sur le T. 3 : dessus de la coiffe manquante, et petit manque sur la pièce de titre sans gravité. Bel ensemble en très bon état, reliures homogènes et très bien conservées, intérieur frais.-1410g.C. - Jean Astruc était médecin théoricien français, auteur du premier ouvrage récapitulatif important sur la syphilis et les maladies vénériennes ainsi que l'un des pionniers de l'exégèse moderne. Belle seconde édition, rare et complète.

      [Bookseller: Déjà Jadis]
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        Nouvelle relation de la France équinoxale, contenant la description des côtes de la Guiane; de l'isle de Cayenne; le commerce de cette colonie; les divers changemens arrivés dans ce pays

      First edition. A finely illustrated work on Cayenne, a city in French Guyane, north of Brazil, east of Surinam; it was one of the last places to be colonized, considered too poor and hot, until the French settled in the region in 1604. The Portuguese, irritated and determined to enforce the Treaty of Tordesillas, destroyed the settlement, again abandoning the region until the French returned in 1643, only to be thrown out this time by local natives. In 1664 the settlement was finally permanent, although Dutch (1658-64 & 1676) and English (1667) attacks caused it to change hands every now and then. This is possibly one of the best works on Cayenne, and definitely one of the most important from an iconographic point of view. It includes 19 -mostly folding- maps and plates of Indian artefacts, costumes, ethnology, and other subjects relating to the daily life, hunting and fishing methods, agriculture, architecture, and cartography. Barrere (1690 - 1755) was a botanist and doctor, appointed by he King of France and sent to Cayenne in 1722 for a period of three years, in this time he familiarized himself with the natives, flora, fauna, the settlement, natural history, ways of the locals and the adaptation of French colonials. It also contains important details on the cultivation of coffee, cassava and sugar. The work was published several years after Barrere's return, shortly in fast demand for it was widely considered the best work on Guyane. An important provenance: from the recently dispersed library of the ducs de Luynes, Château de Dampierre. Sabin, 3604. Leclerc, 119. European Americana, 743/19.

      [Bookseller: HS Rare Books]
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        Der in der Buchdruckerei wohl unterrichtete Lehr-Junge. Oder: bey der Löblichen Buchdruckerkunst nöthige und nützliche Anfangsgründe.

      Leipzig, Gessner, 1743. - circa 17,6 x 11 cm. Gestoch. Frontisp. von Bernigeroth, 20 Bll., XIII SS., 8 Bll., 460 (statt 462), 112 SS., 17 (statt 18) Kupfertafeln und zahlreiche Textholzschnitte Halb-Pergament d. Zt. "Boghart 17; Bigmore-Wyman I, 265. Erste Ausgabe dieses Klassikers unter den Handbüchern zur Buchdruckerkunst, illustriert mit einem allegorischen Titelkupfer, zahlreichen Holzschnittdiagrammen und Kupfertafeln mit Darstellungen der gebräuchlichen Formate, der verschiedenen Setzkästen, griechischer Abkürzungen sowie einer Buchdruckerpresse. - Hier fehlt die zusätzliche Tafel mit dem Heiligenkalender und das zugehörige Textblatt Seiten 353-4. Die 112 SS. im Anhang enthalten die "Depositio cornuti typographici" (in Versen von Johann Rist und einer Prosafassung), "Erneuerte Ehren-Gedichte auf die Edle freye Kunst der Buchdruckerei" und "Der hochlöblichen Schreibe-Kunst Christliches Ehren-Lob". Das Werk wird meist unter dem Namen von Gessner geführt, es dürfte aber wohl von Johann Georg Hager aus Oberkotzau verfaßt worden sein (siehe die Ausführungen Bogharts zu seiner Nr. 16). Gessner übernahm aus diesem Werk auch die Kupferstiche (diese tragen am Kopf teilweise noch die Verweise auf die entsprechenden Seiten in der Buchdruckerkunst). Nur das Frontispiz und der Heiligenkalender zur S. 353 (der hier jedoch fehlt) wurden neu gestochen. Am Ende unseres Exemplars sind 3 weitere, nicht zum Werk gehörige Kupferstiche aus der Buchdruckerkunst eingebunden, nämlich die Tafeln 26-28 (die letzten beiden doppelblattgroß). - Die Widerdruckseite des Bogens R hier in der von Boghart beschriebenen Hauptvariante. Der "Bericht an den Buchbinder" (Ff 8) sollte von den Buchbindern getilgt werden (was sich durch den korrekten Kustos "Depositi-" auf Ff 7belegen läßt) und wurde deshalb nicht eingebunden. - Wenig gebräunt oder fleckig, wenige Gebrauchsspuren, etwas berieben. Bis auf den Kalender und das zugehörige Textblat komplett - deren Fehlen im Preis deutlich berücksichtigt! " [Attributes: First Edition]

      [Bookseller: Antiquariat Thomas Rezek]
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        Reise udi Rusland. + Forklaring over det Chinesiske udi Rusland brugelige Regne-Brek.

      Kbhvn.: Glasing 1743. Med træskårne vignetter. [14] + 512; 230 + [20] s. + udfoldelig kobberstukket planche. Rent og velholdt eksemplar fra tandlæge Tage Langagers bibliotek, indbundet med rødt snit i ét smukt samtidigt helskindsbind med farvet titelfelt og rig forgyldt rygdekoration samt superexlibris på for- og bagperm. Den anden titel indeholder også "Nogle Stykker som hører til den Russiske Reise=Beskrivelse" og et register til denne. "[1735] drog han [Haven] til Helmstedt, derefter 1736 til Rusland, hvor han blev Sekretær og Prædikant hos Nordmanden Admiral Peter Bredal, der var øverstbefalende over den norske Flaade i Russernes Krig mod Tyrkerne.. 'Reise udi Rusland' .. er et dygtigt og velskrevet Arbejde, der nød en Ære at ledsages af en anbefalende Forord af Holberg." [Bjørn Kornerup]. "L. Holbergs Betænkning over dette Skrift" findes på bladene )(5 - )(8 og begynder således: "Dette Skrift, som Author efter min tilskyndelse har forfærdiget, kand recommenderes udi adskillige henseender:.." [Ehrencron-Müller X(I), 498].Bibl. Danica II, 409. Ehrencron-Müller III, 452.

      [Bookseller: Peter Grosells Antikvariat]
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        Compendiosa demostracion de los crecidos adelantamientos que pudiera lograr la Real Hacienda de su magestad mediante la rebaja en el precio del azogue, que se consume para el laborio de las minas de este reyno

      First edition. A treatise on the importance of inexpensive mercury to the silver mines of México and Peru; "Relates to the mines and mining of the Rio de la Plata" (Sabin, evidently mistaken). Fabry writes on the benefits to be achieved from reducing the prices of Azogue (mercury), utilized in the Mexican and Peruvian silver and gold mines from the sixteenth to the nineteenth centuries. A treatise of this technical nature is not commonly seen in South American presses. Very rare, we could not trace any other copies having sold at auction. Provenance: ex libris on front pastedown of Lucas Alaman (1792 - 1853), early Mexican Minister of Interior and Exterior Relations, historian and founder of the Natural History Museum of Mexico, and the National Archives; ownership manuscript inscription on verso of title page "Melchor de Peramas", secretary to the Viceroy of Mexico, and a high official in the Mexican colonial administration, the "Estado que manifiesta el que tenian las misiones de la antigua California" (1776) is attributed to him. Medina, Mexico 3652. Palau, 86165. Sabin, 23606.

      [Bookseller: HS Rare Books]
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        Reise udi Rusland. + Forklaring over det Chinesiske udi Rusland brugelige Regne-Brek.

      1743 1743 - Kbhvn.: Glasing 1743. Med træskårne vignetter. [14] + 512; 230 + [20] s. + udfoldelig kobberstukket planche. Rent og velholdt eksemplar fra tandlæge Tage Langagers bibliotek, indbundet med rødt snit i ét smukt samtidigt helskindsbind med farvet titelfelt og rig forgyldt rygdekoration samt superexlibris på for- og bagperm. * Den anden titel indeholder også "Nogle Stykker som hører til den Russiske Reise=Beskrivelse" og et register til denne. "[1735] drog han [Haven] til Helmstedt, derefter 1736 til Rusland, hvor han blev Sekretær og Prædikant hos Nordmanden Admiral Peter Bredal, der var øverstbefalende over den norske Flaade i Russernes Krig mod Tyrkerne. 'Reise udi Rusland' . er et dygtigt og velskrevet Arbejde, der nød en Ære at ledsages af en anbefalende Forord af Holberg." [Bjørn Kornerup]. "L. Holbergs Betænkning over dette Skrift" findes på bladene )(5 - )(8 og begynder således: "Dette Skrift, som Author efter min tilskyndelse har forfærdiget, kand recommenderes udi adskillige henseender:." [Ehrencron-Müller X(I), 498].Bibl. Danica II, 409. Ehrencron-Müller III, 452.

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        Carte de l'Isle de la Félicité

      An extraordinarily rare, interesting and decorative map of the "Island of Felicity," sumptuously decorated with a hand-painted decoupage allegorical border. Background The map was designed and printed for l'Ordre de la Félicité. The short-lived Order was a quasi-Masonic secret society established in France in the early 1740s by Louis-Joseph Scipio La Garde, marquis de Chambonas (d. 1765), a known Mason who served as its Grandmaster. The Order was unusual for admitting women as well as men, as well as for its idiosyncratic use of maritime terminology (For example, lodge masters were known as chefs d'escadre, roughly "commodores.") The mixed membership and rather risqué character of some its rituals and vocabulary leave scholars divided about the Order's true character: Was it a genteel society providing conviviality with a gloss of moral improvement, or in fact a haven for libertines given over to debauchery? Much of what is known about the Order comes from pamphlets by journalist Jean-Pierre Moet (1721-1806), who later rose to great heights in the French Masonry but is best remembered today as a translator of Swedenborg. The evidence Moët left is ambiguous. He insisted that the Order was not one "of the bottle and of debauchery," yet some of his descriptions leave one to wonder. "Apart from its arcane rites the main activity of the Order seems to have been feasting, with members participated in regular dinners which they financed jointly.  They were supposed to converse using coded nautical terms, with fines for non-adherence. Moët was quite happy to reproduce a dictionary of this maritime vocabulary, despite its preoccupation not only with banqueting but with sexual innuendo.  There are titillating references to the female anatomy - "promontory" for breasts, "capstan" for thighs, "dry dock" for belly and the like - to say nothing of "reefing the sails" for lifting up a skirt!   The hierarchy of the Order was also referred to with special passwords based on acronyms; "felicitas" for the chefs d'escadre [i.e., Masters of local lodges] seems harmless but for patron salé the acronym is of "Fenouil, Orange, Violette, Thym, Renoncule, Épine-vinette" (Spell it out; it is not polite!)" ("Scandalous Societies: The "Order of Felicity,"" at Rodana: A Blog of 18th-century & Revolutionary French trivia)[1][2] According to one writer, "The initiation consisted in a figurative and allegorical voyage to the Island of Felicity, to which the candidate was supposed to go, and in the course of which he met with dangers and difficulties, which produced suitable remarks from the President, and at length he or she arrived at the desired haven." (A London Brother, "Sketch of the History of the "Loges d'Adoption,"" The Freemason's Monthly Magazine, vol. 1 no. 7 (May 1, 1842), pp. 203-4)[3] Though this ceremony is not alluded to in any of the other secondary sources we examined, it may provide the backdrop for this extraordinary allegorical Carte de l'Isle de la Félicité. The Carte de l'Isle de la Félicité The map depicts a large Island of Felicity, with the Savage (or Wild) Sea to the north and the Favorable Sea to the South. Dominating the island is the fortified castle of Perfect Happiness. Vessels that successfully avoid the Rocks of Caprice, the Banks of Temptation, the Rocks of Prudery and other navigational hazards can anchor at one of the island's several ports (Wealth, Beauty, Complaisance, Virtue, Equality, and of course Felicity), each with its own route to the castle of Perfect Happiness. Once on land, however, the voyagers are still not entirely safe: From the Port of Beauty, for example, the Path of Coquetry leads to a cesspool deep in the forest surrounding the castle of Perfect Happiness. Likewise, one must take care not to wonder off the Road of Talents, lest one become lost in the Swamp of Pleasures. The engraving is sumptuously decorated with a decoupage border painted in watercolor and gold and featuring rococo decorative elements as well as symbols specific to Masonry and the Order of Felicity. The temple at lower left may represent the Temple of Solomon, for example; the hourglass and scythe at right represent the passage of time; and the letter "G" superimposed on a star at upper left is the "G" that appears on Masonic aprons, representing either God or Geometry, the latter considered by Masons to be the highest of sciences. For Masons the anchor at lower right is a Masonic represented well-grounded hope, but it was also adopted by the Order of Felicity as its symbol. The three figures--a Roman soldier, a woman and a king--may refer to the Christian slave Felicity, martyred in the 3rd century AD. At bottom center several putti bear a heraldic emblem with a fleur-de-lis surrounded by three shields on a blue ground, which we have yet to identify. The date and imprint on our map have been obscured by the decoupage border, but J.-C. Bord in (of August 10, 1904) describes a similar map, signed by "Weis. Arg. [i.e., Strasbourg] Fecit" and dated 1743. As described by Bord, the map accompanied a certificate issued in 1745 by Chambonas to one of his "chefs de escadre." Bord did not specify a location, but a 2009 inventory of the Rothschild Collection at Waddesdon Manor lists an impression of the map[4], though with no mention of an accompanying certificate. We have been unable to locate any other examples of the map and find no record of others having appeared on the market. In all, a beautiful, fascinating and extraordinarily rare allegorical map, offering much opportunity for further research. References Phillippa Plock and Adrian Seville, "The Rothschild Collection of Printed Board Games at Waddesdon Manor," Proceedings of the XIIIth Board Game Studies Colloquium, Paris, 14-17 April 2010, no. 269.1.18.[5] Not in COPAC, OCLC [BUT CHECK CCfr], and we find no other impressions of the map having appeared on the antiquarian market. For background on l'Ordre de la Félicité, see: J. G. Bord, "Ordre de la Félicité," L'Intermédiaire des chercheurs et des curieux, no. 1048 (Aug. 10 1904), pp. 169-170.[6] Arthur Dinaux, Histoire des societies badines au XVIII siecle, 1867, vol. II, pp. 301ff. Hugues Plaideux, "Claude Bourrelet la franc-maçonnerie mixte et l'ordre de la félicité," Bull.soc.fr.hist.méd.sci.vét, 2013, 13, pp. 109-130. A London Brother, "Sketch of the History of the "Loges d'Adoption,"" The Freemason's Monthly Magazine, vol. 1 no. 7 (May 1, 1842), pp. 203-4.[7] "Scandalous Societies: The "Order of Felicity,"" at Rodana: A Blog of 18th-century & Revolutionary French trivia.[8] This map is owned in partnership with Boston Rare Maps

      [Bookseller: HS Rare Books]
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        Vita di Sant'Antonio di Padova dell'Ordine de' Minori Storica, Encomiastica, Critica Distesa da Fr. Bonaventura Amadeo De Cesare de' Minori Conven. Dottore, e Maestro di S. Teologìa, Diffinitore perpetuo e Consultore della S. Congr. Dell'Indice, e c. Dedicata al Rmo Padre Maestro Giammattista Minucci Dottore e Maestro di S. Teologìa, Cons

      Napoli, NAPOLI 1743 - INTERLINGUE Volume della prima metà del '700 in 4°, stato discreto, coperta semirigida in pergamena, molti segni del tempo, fioritura sparsa, tagli e margini delle pagine bruniti, alcune pagine con macchie d'umidità. Presenta lettera dedicatoria, segnatura dei fascicoli e richiami. Su foglio di guardia scritta in bella grafia a matita, altra scritta a penna, segmento del margine concavo tagliato, sul successivo timbro e taglio. Magnifica antiporta con incisione in nero con il ritratto del Santo. Eleganti capilettera. Lingue: Italiano, Latino. La libreria offre per un periodo limitato uno sconto del 20% su tutti i suoi libri. Il prezzo originale dell'articolo era 999,00 euro.

      [Bookseller: Biblioteca di Babele]
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