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Displayed below are some selected recent viaLibri matches for books published in 1750

        The Holy city of Jerusalem

      …, Augsbourg ca. 1750-1800 324 x 435 mm Etching/engraving/watercolour Die Stadt Ierusalem wie am Heiligen Pfingsttage, der Heilige Geist uber die Heilige Apostel (…); Vuë de la Ville de Hierusalem comme au jour de la Pente côte le Saint Esprit decendit (…); Se vend á Augsbourg au Negoce comun de l'Academie Imperiale d'Empire des Arts libereaux avec Privilege de Sa Majesté Imperiale et avec Defense ni d'en faire ni de vendre les Copies. Close cut margin at the top. Small hole in the upper left corner of the print. Rip in the bottom left margin. A hand coloured view on the Holy city of Jerusalem. On a patio on the left side, the apostle Peter is holding his first address. The surroundings are coloured in light pastel-like colours, while the clothes of the people are of more vibrant colours. Small holes in the corners (possibly from the use of pushpins).

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Vuë de Port = Mahon (mirrored)

      .., Augsbourg ca. 1750-1800 335 x 437 mm Etching/engraving/watercolour (…)llection des Prospects; Prospect des Königlichen Pallais zu Port = Mahon, wo der Konigliche Guberneur von Engelland residiret; Vuë du Pallais Royale a Port = Mahon, ou le Gouverneur du Roy d'Angleterre demeurt; Se vend á Augsbourg au Negoce comum de l'Academie Imperiale d'Empi (…) et avec Defense ni d'en fraire ni de vendre les Copies; Gravé par Balt. Fredric Leizelt. Damaged in the margins (tears and stains). The print itself is in good condition. Hand coloured optical view of the Royale Palace in the British colony of Mahon. Mahon is the capital of the Spanish island Minorca. It was under British reign from 1708 to 1939. On the left the fa

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        DER GROSTE THEIL DES HERTZOGTHUMS MEYLAND NEBST DEN AN GRENTZENDEN LAND SCHAFFTEN

      1750. Carta dello Stato di Milano e dei paesi limitrofi. Il titolo è iscritto in decorativo cartiglio. Coloritura coeva. Margini ridotti ai lati, ma complessivamente ottimo esemplare

      [Bookseller: Libreria Trippini Sergio]
 3.   Check availability:     maremagnum.com     Link/Print  


        TANZ., "Das Tanzen, wer es kan ist lustig anzusehen, / Wann alle Schritt und Tritt, nach der Cadence gehen". Tanzendes Paar in einer aufwendigen Rokokoverzierung.

      Schabkunstblatt in Blau gedruckt nach Jeremias Wachsmuth bei Georg Christoph Kilian, um 1750, 30 x 39,5 cm (Plattenkante). Die dekorative Darstellung nur in den Rändern minimal stockfleckig, mit geglätteter Faltspur. - Drucke in Blau sind von großer Seltenheit! Berufe, Tanz

      [Bookseller: Buch- und Kunstantiquariat]
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        TANZ. "Das Tanzen, wer es kan ist lustig anzusehen, / Wann alle Schritt und Tritt, nach der Cadence gehen". Tanzendes Paar in einer aufwendigen Rokokoverzierung.

      - Schabkunstblatt in Blau gedruckt nach Jeremias Wachsmuth bei Georg Christoph Kilian, um 1750, 30 x 39,5 cm (Plattenkante). Die dekorative Darstellung nur in den Rändern minimal stockfleckig, mit geglätteter Faltspur. - Drucke in Blau sind von großer Seltenheit!

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Representation du Rue terrible a Nouvelle York (mirrored).

      ".., Augsbourg ca. 1750-1790 295 x 412 mm Etching/engraving/watercolour Collection des Prospects; Schrökenvolle Feuersbrunst welche zu Neu Yorck (…); Representation du Feu terrible (…);Se vend à Augsbourg au Negoce common de l'Academie Imperiale d'Empire des Arts libereaux avec Privilege de Sa Majeste Imperiale et avec Defence de nén faire Copie; Gravé pas Francois Xav. Habermann. A light fold in the middle. Tape remains on the top corners. Good state. ".This hand coloured optical view shows the great fire of New York in 1776. On the left side of the street fire comes out of the windows and roofs of the buildings. In the front on the street people are looting and fighting with soldiers. This is a beautiful clear cut print, hand coloured in pastel-like colours for the buildings and more vibrant colours for the people.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Alfabeto di lettere Iniziali

      Florence: circa 1750. The complete set of 25 engravings including title by Lorenzo Lorenzi, plates 225 x 310 mm, sheets 295 x 410 mm, unidentified small armorial watermark. 19th-century blue boards. Some soiling to the title, wide margins, occasional pale marginal foxing, some staining. Provenance: Alfred Hamill (1856-1967), Newberry trustee, Centaur Press founder, collector of calligraphy and gypsy lore (bookplate); purchased from Marlborough Rare Books, 1986. FIRST EDITION, WITH FINE IMPRESSIONS, of this superb rococo alphabet book, similar in style to those of the engraver Giambattista Betti. Berlin Kat. 5295; Bonacini 1453; Guilmard, p. 332. From the Collection of Arthur & Charlotte Vershbow.

      [Bookseller: Riverrun Books & Manuscripts]
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        Cast brass seal.

      

      [Bookseller: Henry Sotheran Ltd.]
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        \"Ein Normand\". Ein Pferd mit geflochtener Mähne wird nach rechts geführt, recht im Hintergrund ein stattlicher Hirsch.

       Kupferstich von Martin Elias Ridinger nach Johann Elias Ridinger, um 1750, 24 x 33,5 cm. Thienemann 582. - Aus einer reichen Sammlung, welche wir \"Pferderassen, Nationalpferde oder mit Ridinger Nationen-Pferde\" nennen. - Mit einem 0,5 cm Rand um die Darstellung. - \"Ein tanzender, mit Decke versehener Brauner, wird von einem zierlichen französischen Bereiter geführt. Aus der Normandie und Limosin kommen die besten französischen Pferde\" (Thienemann). Versand D: 6,00 EUR Dekorative Graphik, Pferde, Tiere

      [Bookseller: Antiquariat Bierl]
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        Unterthänig Gehorsamste Gratulation Bey der Feyrung des Salu. Tit. Hochzeitlichen Ehren-Festes so anheut erfreulichst begangen wird. Dem Hochgeschäzte Brautpaar gewidmet.

      Ohne Orts- und Jahresangabe, um 1750. - Format ca. 45x57 cm. Äußerst dekoratives handschriftliches Hochzeitgedicht aus dem 18. Jahrhundert, in schöner Kalligraphie auf großformatigem Blatt. Mittig der Titel, darüber zwei in Wolken gezeichnete Putti, eine Krone haltend (mit den Initialen D.P.), unten das jungvermählte Ehepaar in einem stilisierten Garten wandelnd. Links und rechts davon das handschriftliche Gedicht mit vielen kleingezeichneten Rebussen. Mit drei großen ornamentalen Verzierungsfeldern oberhalb der Gedichte und der Illustration. Auf geschöpftem Papier, mit gezeichnetem Zierrahmen. Alles in brauner, roter und schwarzer Tinte. Mit einer leider stark verblassten Signatur am unteren rechten Eck. Mehrfach gefaltet, leichtere Randeinrisse und ein kleines Loch im rechten Textfeld (Durchmesser ca. 1 cm) hinterlegt, schwach gebräunt, insgesamt gut erhalten.

      [Bookseller: Antiquariat Thomas Mertens]
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        Plan de la banlieue ouest-parisienne

      First edition.This large folded map shows the cities of villes de Saint-Cloud, Sèvre, Marly, Saint-Germain en Laye, Le Vézinet, Suresnes, Nanterre...Some skillful repairs to the back. S.n. s.l. s.d. [circa 1750] 100x68cm une feuille repliée

      [Bookseller: Librairie Le Feu Follet]
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        Kupferstichtafel Nr. 23: Die ganze Brust wegnehmen..

      Eine Sammlung der 3 Tafeln von D. Lorenz Heister's "Chirurgie" ca. 1750 erschienen, 33x22cm "Lorenz Heister muss als Begründer der wissenschaftlichen Chirurgie in Deutschland angesehen werden und also auch der Augenheilkunde, welche ja damals nur einen Zweig der Chirurgie darstellte.In seinem berühmten chirurgischen Hauptwerke, das er in deutscher Sprache verfasste, hat er alle bleibenden Errungenschaften gesammelt, selbständig beurtheilt, durch eigene Erfahrungen und Gedanken abgerundet, - dem ersten in der Welt-Literatur. (...) J.Beer sagt 1799 (Repert. I, 97), dass die Chirurgie Heister's wohl alt sei, aber welcher Augenarzt wird sie nicht heute noch mit wahrem Vergnügen lesen? Das neunzehnte Jahrhundert ist vergangen, aber Beer's Urtheil ist noch heute gültig." Hirschberg/ 411. Diese drei Kupferstiche mit ihren 68 Figuren zeigen das ganze Spektrum der Operationstechniken des Mitbegründers der wissenschaftlichen Augenheilkunde in der ersten Hälfte des 18. Jhdts. in Deutschland. Tafelerklärungen sind in Faksimile beigelegt.

      [Bookseller: MedicusBooks.Com]
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        Institutiones Chirurgicae. In haec secunda Veneta Editione ... 2 vols.

      Venedig, apud Franciscum Pitteri, 1750, 4, XVI, 544, 398, XLVIII pp., mit dem prächtigen Kupferstichportrait des Verfassers und 38 doppelblattgroßen, gefalteten Kupfertafeln, in 2 Pergamenteinbänden der Zeit frisches Exemplar. Schön gedruckte Venediger Ausgabe dieses gesuchten Chirurgiewerckes in einem ungewöhnlich guten erhaltenem Exemplar. Am Anfang des ersten Bandes befinden sich u.a. zwei wichtige Abhandlungen mut bibliographischen Angaben: "Bibliotheca Chirurgica, sive scriptoresmei chirurgici" und "Laurenti Heister designatio sriptorum haciens editiorum, ..in Biblioteca Chirurgica..". Eines der interessantesten Chirurgiewerke der Barockzeit. Von besonderem medizinhistorischen Interesse sind die großformatigen, schönen Kupfertafeln die neben chirurgischen Techniken auch das ganze Armamentarium Chirurgicum in großer Ausführlichkeit abbilden.EHeister's book was the standard work on surgery in the eighteenth century, becoming one of the most translated, most used, and most resprected texts ever written, still used as a standard text at Viena as lates as 1838. Heister's surgery was the first Western Surgery translated into Japanese, at the end ot the eighteenth century. A legendary Classic of modern surgery.

      [Bookseller: MedicusBooks.Com]
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        Representation du Rue terrible a Nouvelle York (mirrored)

      - ., Augsbourg ca. 1750-1790 295 x 412 mm Etching/engraving/watercolour Collection des Prospects; Schrà kenvolle Feuersbrunst welche zu Neu Yorck (…); Representation du Feu terrible (…);Se vend à Augsbourg au Negoce common de l'Academie Imperiale d'Empire des Arts libereaux avec Privilege de Sa Majeste Imperiale et avec Defence de nà n faire Copie; Gravà pas Francois Xav. Habermann. A light fold in the middle. Tape remains on the top corners. Good state. This hand coloured optical view shows the great fire of New York in 1776. On the left side of the street fire comes out of the windows and roofs of the buildings. In the front on the street people are looting and fighting with soldiers. This is a beautiful clear cut print, hand coloured in pastel-like colours for the buildings and more vibrant colours for the people.

      [Bookseller: Antiquariaat A.G. van der Steur]
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        Roma Ampliata, e rinnovata. O sia nuova descrizione dell'antica e moderna città di Roma e di tutti gli edifici notabili

      Roma, Libreria Gregorio Roisecco 1750 - Réédition du guide le plus populaire de la ville de Rome. La couverture rigide a été ajoutée, elle est en parchemin et carton marbré, avec le nom "Roma" gravé en lettres dorées sur le dos. A l'intérieur de bonnes conditions, avec texte imprimé et décorations gravées sur bois ainsi que 45 gravures sur bois montrant les monuments de Rome les plus anciens comme modernes. Renewed and integrated edition of one of the most popular guides of the city of Rome. Later hard cover on parchment end marbleized cardboard, with the name "Roma" engraved in golden letters on spine. Inside good conditions of both printed text, decorated headletters engraved on wood and 45 woodcuts showing the most popular ancient and modern monuments of Rome. [Attributes: Hard Cover]

      [Bookseller: Wallector]
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        Complete set of the Seatonian Prize Poems:] On the Eternity of the Supreme Being. A Poetical Essay; On the Immensity of the Supreme Being. A Poetical Essay; On the Power of the Supreme Being. A Poetical Essay; On the Omniscience of the Supreme Being. A Poetical Essay. The Second Edition; On the Goodness of the Supreme Being. A Poetical Essay.

      Cambridge: Printed by J. Bentham, Printer to the University. Sold by W. Thurlbourn, C. Bathurst, R. Dodsley, J. Hildyard, J. Newbery, T. Merrill, T. Gardner, 1750-6 - 5 works bound as one, quarto (270 x 212 mm). Contemporary half calf, spine in compartments with raised bands and gilt title direct, marbled sides, blue morocco label to front board gilt with blazing hearth emblem. Recent bookplate of collector J. O. Edwards. Perhaps rebacked at an early date though very sensitively so if so. Early library label to top fore-corner of the front pastedown. Ends chipped, front joint starting at both ends, corners worn and the covers otherwise generally a little rubbed, some spotting within but never severe, still a very good copy. With the final leaf of advertisement in each where called for. A rare complete set of Smart's Seatonian Prize-winning poems on the Supreme Being, all first editions except for Omniscience which is a second (1756). This set is attractively presented together in a contemporary binding with contemporary ownership inscription ("Ed Phelips, 1756") to the front free endpaper. These poems were printed as the result of an annual award endowed by clergyman Thomas Seaton (1684-1741) to be awarded to the best poem on "one or other of the Perfections of Attributes of the Supreme Being". Smart (1722-71), then a student at Cambridge, and (as is now well-known from his later lunatic verse) ever ready to find new ways to sing the praises of his Maker, won for the first five years running, and the poems were printed sequentially at the expense of Seaton's bequest. Christopher Smart is now best known for his later madhouse poems A Song to David (1763) and Jubliate Agno (first published as Rejoice in the Lamb, a Song of Bedlam, in 1939), but "In the eighteenth century Smart was admired.above all for his mastery of the religious sublime in the Seatonian poems. .The rhetoric of eighteenth-century didactic poems on theological and philosophical subjects now appears somewhat jaded, but Smart's boldness of thought and expression raises his contributions to the genre above the usual standard" (ODNB). As the poems, which are composed in Miltonic blank verse, proved quite popular, and each instalment was printed in at least two and some in three editions - it is rare, therefore, to find so many thus together in first edition and in contemporary state, rather than latterly assembled. This copy appeared at auction in 1932 and again in 1998, and no better complete copy is recorded before or since. ESTC: T43247; T43253; T107187; T107188; T43252 [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Accuratissima Delineatio Geographica Dioecesis Ac Praefecturae Dresdensis : cuius urbis, oppida et pagi, loca item contermina, et quae in singulis notatu digniora videntur exactiori methodo Geometrice designata sistuntur per Matthaeum Seutterum S. C. M. Geogr. Aug. Vind. Cum Privil. S. Mai. Polon. et Elect. Saxon. ".

      - Kupferstich-Karte von Tobias Conrad Lotter bei M. Seutter, Augsburg ca. 1750, altkoloriert. 48,5 x 40 (mit Erläuterungen 58) cm. Flächenkolorierte Gesamtkarte des Bistums Dresden mit figürlicher Kartusche rechts unten und 21 kleinen Wappen links. Links und rechts großes Ortssuchregister. Rechts unterhalb der Karteneinfassung mit der Stechersignatur "Tob. Conr. Lotter sculpsit".

      [Bookseller: Antiquariat Peter Fritzen]
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        Les agremens de la campagne ou Remarques particulières sur la construction des maisons de campagne plus ou moins magnifiques, des jardins de plaisance, & des plantages. Leiden/Amsterdam, Luchtmans/Uytwerf, 1750.

      4°, 24+(8)+412+(32) pag. Half leather with decorated back and morocco title-lable. Good copy. Complete with the 15 (mostly folding) plates.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Histoire de Tom Jones, ou L'Enfant Trouvé. Traduction de l'Anglois de M. Fielding par L.D.L.P. [Pierre Antoine de La Place]. Enrichie d'estampes dessinées par M. Gravelot

      Chez Jean Nourse, a Londre 1750 - First Edition in French. Frontispiece and 16 engraved plates by Gravelot engraved by Aveline, Chedel, Fessard et Pasquier. WITH: pencil portrait of Gravelot, so identified in pencil tipped in at title-page of Vol. I (by [Charles-Étienne] Gaucher, according to pencilled note at front). 4 vols. Small 8vo. SCHIFF COPY, WITH PENCIL DRAWING. Pierre-Antoine de la Place (1707-93) was famous as the author of the compendious "Théâtre Anglais" (1745-48), in which a number of plays by Shakespeare first appeared in French, and he was a great admirer of Fielding. According to Cross, La Place "could not resist . . . the temptation to translate ['Tom Jones'] into his own language. . . . The result was not so much a translation as an adaptation and abridgment" in keeping with what the French understood to be finely wrought narrative. Among other things, Laplace cut down the novel by a third, frequently compressing the narrative and eliminating most of the initial chapters, which he saw as "preliminary discourses" that were instructive and amusing but not an integral part of a novel. This first form of "Tom Jones" to appear in French, appears a year after Fielding's original in English.This is a faux London imprint, probably printed in Paris. Cross III, 317; Cohen 394; Rochedieu p. 107 Contemporary citron calf, gilt spines, a.e.g. With the small red leather booklabels of Mortimer Schiff Frontispiece and 16 engraved plates by Gravelot engraved by Aveline, Chedel, Fessard et Pasquier. WITH: pencil portrait of Gravelot, so identified in pencil tipped in at title-page of Vol. I (by [Charles-Étienne] Gaucher, according to pencilled note at front). 4 vols. Small 8vo [Attributes: First Edition]

      [Bookseller: James Cummins Bookseller, ABAA]
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        Histoire de Tom Jones, ou L'Enfant Trouvé.

      Jean Nourse, Londre [sic]., 1750. First edition in French. Published in Paris. Translated by D.L.P [Pierre-Antoine de la Place]. This, the book's first translation into any language, was published only a year after the first edition. Small octavo. Four volumes: pp [vi], xi, 336; [iv], 344; [iv], 282; [iv], 341. 16 plates by Hubert François Gravelot, engraved by François-Antoine Aveline. Period binding of full mottled calf with raised bands, elaborate gilt decorated spines. Marbled endpapers. The translator was a playwright and author of the highly influential eight-volume Théâtre Anglais (1745-48), which included a number of plays by Shakespeare in their first French translation and which had the effect of undermining Voltaire's position as the most important French critic of Shakespeare. According to Cross, De la Place "could not resist ... the temptation to translate [Tom Jones] into his own language. . . . The result was not so much a translation as an adaptation and abridgment in keeping with what the French understood to be finely wrought narrative." De la Place cut down the novel by a third. This said, the influence Fielding's novel was to have on French literature is immeasurable. It directly influenced Voltaire when he wrote Candide. Certainly Voltaire owned a copy of this French edition. Commenting on the book's distribution he wrote: "Le livre nouvellement traduit par m. de La Place est Tom-Jones, ou l'enfant trouvé, en 4 volumes. On en est assez content. L'édition vient d'être arrêtée à cause d'un conflit de juridiction entre m. Berrier et m. Mabout, on ne sait ce qui en arrivera, mais il y a déjà 2 500 exemplaires distribués." La Place may be credited with contributing to what was then the growing fashion for English literature in France. His mastery of the English language was such that some critics said he learned it at the expense of his mother tongue. Early ownership signature on title-page of each volume. Corners rubbed otherwise a very good indeed bright set, internally fine.

      [Bookseller: Peter Ellis bookseller]
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        The Spirit of Laws, Translated from the French of M de Secondat

      1750. Early English-Language Edition of a Landmark in Eighteenth-Century Political Science Montesquieu, Charles Louis de Secondat, Baron de [1689-1755]. [Nugent, Thomas (c.1700-1772), Translator]. The Spirit of Laws. Translated from the French of M. de Secondat, Baron de Montesquieu. Corrected and Considerably Improved. London: Printed for J. Nourse, And P. Vaillant, 1758. Two volumes. xl, [20], 451, [1]; [ii], xvi, 483, 49 pp. Text in Volume I followed by one-page publisher advertisement; Volume II followed by three pages of publisher advertisements. Octavo (7-3/4" x 5"). Contemporary calf, gilt double rules to boards, lettering pieces, gilt-edges raised bands and gilt ornaments to spines. Some minor nicks and scuffs to boards, moderate rubbing to extremities, a bit of chipping to spine ends, boards beginning to separate, but secured by cords, corners bumped and somewhat worn. Light toning, somewhat heavier in places, some places have faint, mostly very faint, dampstaining. An attractive set. $500. * Third English edition. De L'Esprit des Lois was one of the landmark works of eighteenth-century political science and an immeasurable influence on jurisprudence and political thought, especially in the Americas. It was a profound influence on the founding fathers, such as Thomas Jefferson, and the framers of the U.S. Constitution. It contained provocative and wide-ranging ideas on the sociology of law, the separation of political powers and the need for checks on a powerful executive office. First published in Geneva in 1748, and first translated into English in 1750, it remains one of the most significant studies of political and legal theory ever written. Based on Montesquieu's study of the English Constitution, this work is important as the first work to propose the separation of powers, an idea incorporated into the U.S. Constitution. "In many ways one of the most remarkable works of the eighteenth century": Carter and Muir, Printing and the Mind of Man 197. Sowerby, Catalogue of the Library of Thomas Jefferson 2325. English Short-Title Catalogue T90871.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        Vuë de La Porte de Scalveck á Harlem (mirrored).

      Georg Balthasar Probst, Augsburg ca. 1750-1800 298 x 433 mm Etching/engraving/watercolour Vuë de La Porte de Scalveck á Harlem. 236. Print pasted onto cardboard. Light smudges on the front. Overall good state.Illuminated view of the city of Haarlem as seen from the Spaarne, with the Eendjespoort on the left and the Schalkwijkerpoort on the right. In the middle a beautiful sail ship is portrayed and in front we see several people enjoying the view. Hand Coloured in deep and vibrant colours. The borders are painted red. Illuminated by small holes and figures which are punched through the paper. At the back of the print we see that the holes are covered with see-through paper. Some of the holes are coated with yellow, pink, green and blue paint. This gives the illusion of coloured lights and stars when the print is held in front of a light source. The back contains the note 'Gedeelte van de Stat Rotterdam' in handwriting. This description is incorrect as it regards the city of Haarlem.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Dichtgewijde snipperuuren. [z.p.], [z.n.], [c. 1771]. Vervolg op Johan van Hoogstratens Dichtgewijde snipperuuren. [z.p.], [z.n.], [c. 1777]. [2 delen].

      "8°: (vol. 1:) [102] pp., met een gravure in de tekst door Reinier Vinkeles; (vol. 2:) 142 pp., gegraveerd vignet door Noach van der Meer naar A. Schouman, waarop de prijspenning van het Haagse dichtgenootschap 'Kunstliefde spaart geen vlijt' is afgebeeld en een gravure in de tekst door A. Delfos naar D. K[uipers] met een aardig oer-hollands landschap. Gemarmerd leren banden, ruggen geribd met rijke goudstempeling, platkanten goudgestempeld, fraaie set, in eerste deel gedicht in handschrift bijgebonden, een ander gedicht in handschrift los bijgevoegd. Lit.: Singeling, Gezellige schrijvers; De Vries, Beschaven! Letterkundige genootschappen in Nederland 1750-1800 (Nijmegen 2001)"."Twee dichtbundels zonder impressum van de Haagse koopman en genootschapsdichter Johan van Hoogstraten (1743 - 1801). Hij was in 1772 een van de oprichters van het roemruchte Haagse genootschap 'Kunstliefde spaart geen vlijt'. De beide delen bevatten zeer vele gelegenheidsverzen, maar in de tweede bundel die de periode 1772-1777 beslaat, staan ook gedichten die eerder in een van de genootschapuitgaven van KSGV waren verschenen, en dat zijn juist geen gelegenheidsgedichten, want daarop rustte bij KSGV net als bij de andere dichtgenootschappen een verbod. Men vond dat het algemeen belang niet was gediend met poëzie over persoonlijk lief en leed(Marleen de Vries). In het eerste deel is een handgeschreven gedicht bijgebonden, waarin de Amsterdamse Joan Pieter van Hoogstraten zijn Haagse neef feliciteert met de geboorte van zijn dochtertje. Het is gedateerd 18 juli 1769 en is een antwoord op een in de bundel gedrukt gedicht dd 10 juli, waarin Johan van Hoogstraten zijn Hooggeächte kunstvriend mededeling doet van de geboorte. Hieruit zou men kunnen afleiden dat dit 's dichters eigen exemplaar is geweest. Het los bijgevoegde gedicht in handschrift is een geboortegedichtje dat Van Hoogstraten in 1775 had gemaakt bij de geboorte van zijn neefje Pieter Balen. Het afschrift is kennelijk gemaakt door de vader van het kind. De bundels hebben geen paginering en geen katernsignering. De verzen komen ook los voor en worden dan veelal als zelfstandige uitgaven beschreven. Enkele opgenomen verzen zijn van de hand van G. Beyer. De twee delen zijn zeldzaam: de NCC geeft slechts 1 compleet exemplaar (UB Leiden), volgens de STCN bevindt zich een eerste deel in de KB."

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
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        Vari Capricci

      Venice: before 1750. The complete set of ten etchings, plates 140 x 180 mm, sheets 235 x 305 mm, good to very good impressions, with wide margins (occasionally uneven), three plates with a capital R watermark, one with O, and two with an indistinct proprietary mark, presumably from the edition published by G. Manfrin in 1785, with stitching holes in the left margin. In generally good condition. Each sheet mounted in a modern cloth solander box. Provenance: purchased from Hellmuth Wallach, 1954. Tiepolo began making prints in the 1730s, and the Vari Capricci was his first set of etchings. Having studied in the collections of Anton Maria Zanetti the Elder and Zaccaria Sagredo, this series is a personal response to the prints and drawings of Salvator Rosa and Giovanni Benedetto Castiglione. They generally show groups of figures at rest or in contemplation: pastoral landscapes with soldiers and young boys, a horse and rider with a groom, women and children with goats and other animals. The ancient or Arcadian world is occasionally evoked, with figures set beside tombstones, classical urns and fragments of obelisks. In one print the figure of Death is shown reading from an open book, faced by a group of the living. "From about 1742 Zanetti began including the Vari Capricci in his own volume of woodcuts, the Raccolta di Varie Stampe, writing to the Prince of Lichtenstein in 1751 that he had added prints by Tiepolo, '"being of a most spirited and piquant taste and worthy of the highest esteem." These prints were followed by a second series of twenty-three etchings, the Scherzi di fantasia, which was not widely circulated until after Tiepolo's death. Tiepolo's etchings received great acclaim among collectors and connoisseurs, their enigmatic meanings considered a mark of his brilliance and a successful rendering of the term capriccio. In 1774 Pierre-Jean Mariette wrote of Tiepolo's "rich and fertile genius ... it shines above all in his prints." The dating of Tiepolo's two etched series, the Vari Capricci and the Scherzi di fantasia, has been the subject of lengthy debate, most recently by Jaco Rutgers (Print Quarterly, XXIII, 3, 2006, pp. 254-63)" (Royal Collection Trust). De Vesme 3-12; Rizzi 29-38. From the Collection of Arthur & Charlotte Vershbow.

      [Bookseller: Riverrun Books & Manuscripts]
 24.   Check availability:     Direct From Seller     Link/Print  


        [Complete set of the Seatonian Prize Poems:]

      Cambridge: Printed by J. Bentham, Printer to the University. Sold by W. Thurlbourn, C. Bathurst, R. Dodsley, J. Hildyard, J. Newbery, T. Merrill, T. Gardner,, 1750-6. On the Eternity of the Supreme Being. A Poetical Essay; On the Immensity of the Supreme Being. A Poetical Essay; On the Power of the Supreme Being. A Poetical Essay; On the Omniscience of the Supreme Being. A Poetical Essay. The Second Edition; On the Goodness of the Supreme Being. A Poetical Essay. 5 works bound as one, quarto (270 x 212 mm). Contemporary half calf, spine in compartments with raised bands and gilt title direct, marbled sides, blue morocco label to front board gilt with blazing hearth emblem. With the final leaf of advertisement in each where called for. Recent bookplate of collector J. O. Edwards. Perhaps rebacked at an early date though very sensitively so if so. Early library label to top fore-corner of the front pastedown. Ends chipped, front joint starting at both ends, corners worn and the covers otherwise generally a little rubbed, some spotting within but never severe, still a very good copy. A rare complete set of Smart's Seatonian Prize-winning poems on the Supreme Being, all first editions except for Omniscience which is a second (1756). This set is attractively presented together in a contemporary binding with contemporary ownership inscription ("Ed Phelips, 1756") to the front free endpaper. These poems were printed as the result of an annual award endowed by clergyman Thomas Seaton (1684-1741) to be awarded to the best poem on "one or other of the Perfections of Attributes of the Supreme Being". Smart (1722-71), then a student at Cambridge, and (as is now well-known from his later lunatic verse) ever ready to find new ways to sing the praises of his Maker, won for the first five years running, and the poems were printed sequentially at the expense of Seaton's bequest. Christopher Smart is now best known for his later madhouse poems A Song to David (1763) and Jubliate Agno (first published as Rejoice in the Lamb, a Song of Bedlam, in 1939), but "In the eighteenth century Smart was admired...above all for his mastery of the religious sublime in the Seatonian poems. ...The rhetoric of eighteenth-century didactic poems on theological and philosophical subjects now appears somewhat jaded, but Smart's boldness of thought and expression raises his contributions to the genre above the usual standard" (ODNB). As the poems, which are composed in Miltonic blank verse, proved quite popular, and each instalment was printed in at least two and some in three editions - it is rare, therefore, to find so many thus together in first edition and in contemporary state, rather than latterly assembled. This copy appeared at auction in 1932 and again in 1998, and no better complete copy is recorded before or since.

      [Bookseller: Peter Harrington]
 25.   Check availability:     Biblio     Link/Print  


        Lucina sine concubitu.

      Lettre adressée à la Societé royale de Londres, dans laquelle on prouve, par une évidence incontestable, tirée de la raison & de la pratique, qu'une femme peut concevoir, sans avoir de commerce avec aucun homme. Traduit sur la quatriéme edition angloise, avec un commentaire trés curieux, qui ne s'est pas encore trouvé dans les editions précedentes d'Abraham Johnson. A Londres MDCCL. (Tyskland?), 1750. 8:o. (16),72 s. Texten inom ramtryck. Fint litet samtida hfrbd med upphöjda bind, vacker svartpressad ryggdekor, trevligt kattuntryckt pärmpapper och rödstänkta snitt. Handskriven nummeretikett i översta ryggfältet. Ryggen med ett litet nagg överst. En liten fläck i yttermarginalen på s. 3-16 är starkast på s. 14 och troligen orsakad av vax från ett ljus. I övrigt enstaka småfläckar, t.ex. på s. 61-64. Fint och charmigt ex. ESTC T120326: "The imprint is false; possibly printed in Germany". Flera upplagor med något avvikande titlar, delvis utan tryckort, utkom samma år. Flera senare omtryck finns och en rad översättningar. Bibliotheca Walleriana 4470 för den första svenska upplagan som utkom 1819 och var gjord efter C. F. X. Merciers franska bearbetning från 1799. Författaren, engelsmannen John Hill (1714-75), hade bl.a. erhållit den svenska Vasaorden och stoltserade med ett diplom i medicin från University of St. Andrews. Han skrev ett flertal pamfletter med dråpligt innehåll och när han misslyckades med att bli medlem i Royal Society författade han "Lucina sine concubitu" som fritt kan översättas till "Graviditet utan samlag". Hill hävdar i texten att kvinnor kan bli gravida utan att ha deltagit i några sexuella aktiviteter. I luften fanns nämligen, enligt Hill, ett slags mikroskopiska svävande "animalcula" som när som helst kunde ta plats i kvinnans kropp och göra henne gravid. Dessa "animalcula" kunde beskådas i mikroskop och visade sig redan i detta stadium ha tydliga former av man och kvinna. Med denna upptäckt menade Hill att det var möjligt att återupprätta hedern för de många kvinnor genom historien som ej kunnat förklara sin graviditet.

      [Bookseller: Mats Rehnström]
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        Opere varie di Architettura, prospettiva, groteschi, Antichità

      Rome: Giovanni Bouchard, 1750. Broadsheets (537 x 370 mm). Letterpress title-page printed in red and black with the vignette by Louis-Joseph Le Lorrain, portrait of Piranesi by F. Polanzani, frontispiece (Robison 1) and 16 plates of the Prima Parte di Architetture, Second Edition, First Issue (R. 2, 3, 5, 15-18, 6-12 [all numbered], 20, 19 [not numbered]); frontispiece of Vedute di Roma (Hind 2, First State), two double-page plates printed in two separate halves on two sheets; Pianta di ampio magnifico Collegio (R. 25), state II as usual, double-page; the four double-page plates of the Groteschi (R. 23, 24, 22, 21), Second Edition, First Issue; Parte di ampio magnifico Porto (R. 26), state III, double-page. All very fine impressions, watermark Fleur-de-Lys in Single Circle (R. 4, dated early 1750s), Contemporary Italian vellum, gilt-lettered on spine, edges stained red. Spine partly split; some occasional minor spotting, generally in very good condition. Provenance: purchased from Marlborough Rare Books, 1968. A VERY FINE AND EARLY SET OF THE FIRST COLLECTED EDITION, FIRST ISSUE, following the separately printed Prima parte of 1743-49. Piranesi wished "to offer a challenge to the mediocrity of the architectural scene in Rome" (Wilton-Ely), and the fantastical works of architecture and perspective in the Opere varie matched his ambition. He in part shows the influence of architect and scene-painter Ferdinando Galli da Bibiena, and the four plates of the Groteschi are more influenced by Tiepolo than anything else in his body of work. But the genius is Piranesi's alone. Two important plates in this work are the Parte di ampio magnifico porto and Pianta di ampio magnifico collegio which inspired young architects of the time. Among them were Académie pensionnaires like Charles de Wailly (1729-1798) and Marie-Joseph Peyre (1730-1785). Piranesi's drawings provided new design ideas and represented a new creative path in architecture. Though they remained archaeological, the images juxtaposing elements derived from Antiquity with archaic figures and archetypes derived from Egyptian and Etruscan repertoires (see Fatma pek EK, The Archaeological Sublime: History and Architecture in Piranesi's Drawings, 2006). Horace Walpole wrote of Piranesi's masterful inventions: "He piles palaces on bridges and temples on palaces, and scales Heaven with mountains of edifices" (Anecdotes of Painting in England, IV, 1771, p. vi). See Andrew Robison, Piranesi: Early Architectural Fantasies, Washington/Chicago, 1986, p. 212 (this copy cited). According to Robison, the watermark found in the present copy is the earliest watermark to possibly occur in the Opera Varie (see his pencil inscription on pastedown, dated 12/69). Bound with: PIRANESI. Antichità Romane de'Tempi della Republica, Parte Prima & Parte Seconda. Rome, 1748. FIRST EDITION. "THESE EXQUISITE PLATES ... MAY BE CONSIDERED AMONG THE ARTIST'S GRAPHIC MASTERPIECES" (WILTON-ELY). A fine copy with wide margins of Piranesi's etchings of the antiquities of Rome and of monuments outside Rome, preceding his similarly named magnum opus. Piranesi's archaeological interests are evident not only in the historical accuracy of the views, but in the 2 plates recording inscriptions on monuments which precede the views. These etchings "possess a unity of and range of experiment lacking in the Varie vedute and even in the early plates of the larger Vedute di Roma, which probably overlap this series in time. [The plates] show strong evidence of Tiepolo's decisive influence on Piranesi during the latter's return visit to Venice in the mid-1740s, together with the first signs of certain compositional ideas which were to be transferred to the larger Vedute in the next decade" (Wilton-Ely, p.144). This series is based upon Piranesi's sketches made during travels in both Rome and Italy between circa 1743 and 1747. Hind p.75; Focillon pp. 287-290; W.-E. 108-118 and 120-133. Broadsheets. 30 etchings, comprising 2 etched part-titles [W.-E. 103 and 119], dedication leaf [W.-E. 104], leaf of inscriptions [W.-E. 105], leaf of inscriptions and index [W.-E. 106], and 25 plates [including the "Arco di Galieno"] by G.B. Piranesi after G.B. Piranesi [28] and Israel Sylvestre [2]. From the Collection of Arthur & Charlotte Vershbow.

      [Bookseller: Riverrun Books & Manuscripts]
 27.   Check availability:     Direct From Seller     Link/Print  


        Vuë de la ville de Harlem en Hollande (mirrored).

      Georg Balthasar Probst, Augsbourg. ca. 1750-1800. 35,5 x 48,5 cm (plate: 32 x 42,5 cm). Copper engraving/watercolour. Some age related discolouration and light staining in the margins. The print is neatly fixed to a modern passe-partout. Overall in very good state. With a multi linguistic description in French and dutch. The numbers in the print correspond to the numbers in the descriptions.This beautiful handcoloured print shows a view on the Duch city of Haarlem. In the front estates and country houses dominate the landscape. In the distance the St. Bavo church and other monuments can be seen behind the city walls.

      [Bookseller: Antiquariaat A.G. VAN DER STEUR]
 28.   Check availability:     NVvA     Link/Print  


        Opere varie di Architettura, prospettiva, groteschi, Antichità

      Rome: Giovanni Bouchard, 1750. From the Collection of Arthur & Charlotte Vershbow. Broadsheets (537 x 370 mm). Letterpress title-page printed in red and black with the vignette by Louis-Joseph Le Lorrain, portrait of Piranesi by F. Polanzani, frontispiece (Robison 1) and 16 plates of the Prima Parte di Architetture, Second Edition, First Issue (R. 2, 3, 5, 15-18, 6-12 [all numbered], 20, 19 [not numbered]); frontispiece of Vedute di Roma (Hind 2, First State), two double-page plates printed in two separate halves on two sheets; Pianta di ampio magnifico Collegio (R. 25), state II as usual, double-page; the four double-page plates of the Groteschi (R. 23, 24, 22, 21), Second Edition, First Issue; Parte di ampio magnifico Porto (R. 26), state III, double-page. All very fine impressions, watermark Fleur-de-Lys in Single Circle (R. 4, dated early 1750s), Contemporary Italian vellum, gilt-lettered on spine, edges stained red. Spine partly split; some occasional minor spotting, generally in very good condition. Provenance: purchased from Marlborough Rare Books, 1968. A VERY FINE AND EARLY SET OF THE FIRST COLLECTED EDITION, FIRST ISSUE, following the separately printed Prima parte of 1743-49. Piranesi wished "to offer a challenge to the mediocrity of the architectural scene in Rome" (Wilton-Ely), and the fantastical works of architecture and perspective in the Opere varie matched his ambition. He in part shows the influence of architect and scene-painter Ferdinando Galli da Bibiena, and the four plates of the Groteschi are more influenced by Tiepolo than anything else in his body of work. But the genius is Piranesi's alone. Two important plates in this work are the Parte di ampio magnifico porto and Pianta di ampio magnifico collegio which inspired young architects of the time. Among them were Académie pensionnaires like Charles de Wailly (1729-1798) and Marie-Joseph Peyre (1730-1785). Piranesi's drawings provided new design ideas and represented a new creative path in architecture. Though they remained archaeological, the images juxtaposing elements derived from Antiquity with archaic figures and archetypes derived from Egyptian and Etruscan repertoires (see Fatma pek EK, The Archaeological Sublime: History and Architecture in Piranesi's Drawings, 2006). Horace Walpole wrote of Piranesi's masterful inventions: "He piles palaces on bridges and temples on palaces, and scales Heaven with mountains of edifices" (Anecdotes of Painting in England, IV, 1771, p. vi). See Andrew Robison, Piranesi: Early Architectural Fantasies, Washington/Chicago, 1986, p. 212 (this copy cited). According to Robison, the watermark found in the present copy is the earliest watermark to possibly occur in the Opera Varie (see his pencil inscription on pastedown, dated 12/69). Bound with: PIRANESI. Antichità Romane de'Tempi della Republica, Parte Prima & Parte Seconda. Rome, 1748. FIRST EDITION. "THESE EXQUISITE PLATES ... MAY BE CONSIDERED AMONG THE ARTIST'S GRAPHIC MASTERPIECES" (WILTON-ELY). A fine copy with wide margins of Piranesi's etchings of the antiquities of Rome and of monuments outside Rome, preceding his similarly named magnum opus. Piranesi's archaeological interests are evident not only in the historical accuracy of the views, but in the 2 plates recording inscriptions on monuments which precede the views. These etchings "possess a unity of and range of experiment lacking in the Varie vedute and even in the early plates of the larger Vedute di Roma, which probably overlap this series in time. [The plates] show strong evidence of Tiepolo's decisive influence on Piranesi during the latter's return visit to Venice in the mid-1740s, together with the first signs of certain compositional ideas which were to be transferred to the larger Vedute in the next decade" (Wilton-Ely, p.144). This series is based upon Piranesi's sketches made during travels in both Rome and Italy between circa 1743 and 1747. Hind p.75; Focillon pp. 287-290; W.-E. 108-118 and 120-133. Broadsheets. 30 etchings, comprising 2 etched part-titles [W.-E. 103 and 119], dedication leaf [W.-E. 104], leaf of inscriptions [W.-E. 105], leaf of inscriptions and index [W.-E. 106], and 25 plates [including the "Arco di Galieno"] by G.B. Piranesi after G.B. Piranesi [28] and Israel Sylvestre [2].

      [Bookseller: Riverrun Books & Manuscripts]
 29.   Check availability:     Biblio     Link/Print  


        Vari Capricci

      Venice, 1750. From the Collection of Arthur & Charlotte Vershbow. The complete set of ten etchings, plates 140 x 180 mm, sheets 235 x 305 mm, good to very good impressions, with wide margins (occasionally uneven), three plates with a capital R watermark, one with O, and two with an indistinct proprietary mark, presumably from the edition published by G. Manfrin in 1785, with stitching holes in the left margin. In generally good condition. Each sheet mounted in a modern cloth solander box. Provenance: purchased from Hellmuth Wallach, 1954. Tiepolo began making prints in the 1730s, and the Vari Capricci was his first set of etchings. Having studied in the collections of Anton Maria Zanetti the Elder and Zaccaria Sagredo, this series is a personal response to the prints and drawings of Salvator Rosa and Giovanni Benedetto Castiglione. They generally show groups of figures at rest or in contemplation: pastoral landscapes with soldiers and young boys, a horse and rider with a groom, women and children with goats and other animals. The ancient or Arcadian world is occasionally evoked, with figures set beside tombstones, classical urns and fragments of obelisks. In one print the figure of Death is shown reading from an open book, faced by a group of the living. "From about 1742 Zanetti began including the Vari Capricci in his own volume of woodcuts, the Raccolta di Varie Stampe, writing to the Prince of Lichtenstein in 1751 that he had added prints by Tiepolo, '"being of a most spirited and piquant taste and worthy of the highest esteem." These prints were followed by a second series of twenty-three etchings, the Scherzi di fantasia, which was not widely circulated until after Tiepolo's death. Tiepolo's etchings received great acclaim among collectors and connoisseurs, their enigmatic meanings considered a mark of his brilliance and a successful rendering of the term capriccio. In 1774 Pierre-Jean Mariette wrote of Tiepolo's "rich and fertile genius ... it shines above all in his prints." The dating of Tiepolo's two etched series, the Vari Capricci and the Scherzi di fantasia, has been the subject of lengthy debate, most recently by Jaco Rutgers (Print Quarterly, XXIII, 3, 2006, pp. 254-63)" (Royal Collection Trust). De Vesme 3-12; Rizzi 29-38.

      [Bookseller: Riverrun Books & Manuscripts]
 30.   Check availability:     Biblio     Link/Print  


        Nieuwe Kaart van het Turksche Ryk gelegen in Europa, Asia en Africa.

      Amsterdam, ca. 1750. - Hand-coloured engraved map (350 x 285 mm). "The Arabian Peninsula appears a smaller version of Tirion's 1731 map with fewer details and no information on roads" (Al Ankary). Two monument-style cartouches contain title and three distance scales. - Very well preserved. Tibbetts 253. Al Ankary p. 340. Al-Qasimi 164. McMinn 48.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 31.   Check availability:     ZVAB     Link/Print  


        Schriftmässige Beantwortung der Frage: Was von dem weltüblichen Tanzen und Spielen zu halten sey und ob es nicht mit zur Christlichen Freyheit gehöre? als ein Anhang zu den Betrachtungen von der Freyheit der Gläubigen vom Gesetz.

      Halle, Waisenhaus 1750. - 192 S. - Angebunden: ders., Ein Pathen-Geschenke oder einfältige in Frage und Antwort gestellte Anleitung Wie die lieben Kinder ihren Taufbund bewahren und erneuren sollen, besonders, wenn sie zum erstenmal zum heiligen Abendmahl gehen, zur allgemeinen Erbauung und Besserung der verfallenen Kinderzucht für Eltern und Kinder. Zweyte Auflage. Ebda., 1757. 112 S. Umschlag d. Zt. ADB III, 37; Hayn-Got. VII, 539; Antidance Bibliography 0121. - Der Erbauungsschriftsteller und Liederdichter des halleschen Pietismus Karl Heinrich von Bogatzky (1690-1774) vergleicht das Tanzvergnügen mit dem Glückspiel; mit Bezug auf die Bibel und besonders der Zehn Gebote rät er von beiden Beschäftigungen dringend ab. - Das kleine angebundene Werk ist recht repräsentativ für Bogatzkys sonstiges Schaffen; sein bekanntestes Werk "Güldenes Schatzkästlein der Kinder Gottes" ist in zahlreichen Auflagen erschienen. - Der einfache Umschlag etwas gebrauchsspurig. Unbeschnitten, tls. stockfleckig. Die ersten Blätter am unteren Falz mit kleinem Rotfleck. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Uwe Turszynski]
 32.   Check availability:     ZVAB     Link/Print  


        Universum der Kunst. Hrsg. von André Malraux, Georges Salles, Paul-Marie Duval u.a.

      42 Bände (vollständig). Zus. 17986 S. mit etwa ebensovielen Abbildungen (teils schwarzweiß, in den früheren Bänden in Kupfertiefdruck, teils farbig, teils auf gefalteten Tafeln), dazu (meist farbige u. gefaltete) Karten, blaue OLeinenbde. mit Goldprägung, Kopffarbschnitten u. farbig illustr. OUmschlägen (diese teils in unterschiedlichen Gestaltungen wenige Umschläge mit kl. Randeinrissen u. etw. nachgedunkelt). Einige Bände mit zarten Bleistiftanstreichungen. Insgesamt hervorragend erhaltene Reihe. Beiliegen zahlr. Zeitungsausschnitte zu den entsprechenden Themen. Sämtliche Bände liegen als deutsche Erstausgaben vor. Vollständig selten angeboten, auch aufgrund des großen Erscheinungszeitraums. Preis incl. Porto in vier großen Paketen innerhalb Deutschlands. Versandkosten ins Ausland bitte anfragen. * Hervorragende, äußerst umfassende Kunstgeschichte unter Mitwirkung sehr renommierter, internationaler Kunsthistoriker, zudem - wie vom Beck-Verlag nicht anders gewohnt - sehr wertig gedruckt und gebunden. - Die Reihe enthält - grob chronoligisch aufgeführt - folgende Bände: 1: D. Vialou, Frühzeit des Menschen. 2-3: R. Ghirshman, Iran (I. Protoiraner, Meder u. Achämeniden. II. Parther u. Sasaniden. 4-5: A. Parrot, Mesopotamische Kunst von den Anfängen bis zum Tode Alexanders des Großen (I. Assur. II. Sumer). 6: K. Bittel, Hethiter. Die Kunst Anatoliens. 7: A. Parrot (u.a.), Phönizier. 8) V. Schiltz: Skythen u. andere Steppenvölker. 9-11: J. Leclant: Ägypten (I. Altes u. Mittleres Reich. II. Großreich. III. Spätzeit u. Hellenismus). 12: V. Kruta: Anfänge Europas von 6000 - 500 v. Chr. 13-16: P. Demargne, J. Charbonneaux (u.a.), Griechenland (I. Geburt der griechischen Kunst. II. Archaisches Griechenland. III. Klassisches Griechenland. IV. Hellenistisches Griechenland). 17: R.B. Bandinelli (u.a.), Etrusker und Italiker vor der römischen Herrschaft. 18-19: R.B. Bandinelli, Rom (I. Das Zentrum der Macht. II. Das Ende der Antike). 20: A. Grabar, Frühes Christentum. 21: A. Grabar, Zeitalter Justinians. 22: A. Cutler (u.a.), Mittelalterliches Byzanz. 23: J. Hubert (u.a.) Frühzeit des Mittelalters. 24: J. Hubert (u.a.), Karolinger. 25: L. Grodecki (u.a.), Ottonen und Salier. 26-27: X. Barrral i Altet: Romanik (I. Mittel- u. Südeuropa. II. Nord- u. Westeuropa). 28-30: W. Sauerländer (u.a.), Gotik (I. Jahrhundert d. großen Kathedralen. II. Triumph der Gotik. III. Ausklang des Mittelalters). 31-34: L.H. Heydenreich, A. Chastel (u.a.), Italienische Renaissance (I. Anfänge u. Entfaltung. II. Ausbildung d. großen Kunstzentren. III. Ausdrucksformen d. Künste. IV. Die großen Meister). 35: D. Arasse (u.a.), Der europäische Manierismus. 36: W. Hofmann, Das entzweite Jahrhundert. Kunst zwischen 1750 u. 1830. 37: P.-M. Duval: Kelten. 38: M. Leiris (u.a.), Afrika. 39: C.-F. Baudez, Maya. 40: D. Lavallee (u.a.), Andenvölker. 41: I. Bernal (u.a.), Mexiko. 42: J. Guiart: Ozeanien.

      [Bookseller: Matthias Loidl]
 33.   Check availability:     booklooker.de     Link/Print  


        MAINZ. - Bruderschaft., "Löbliche Brüderschafft Mariae Reinigung Deren Ledigen Manns-Personen im Collegio Der Gesellschafft Jesu zu Mayntz". Bruderschaftsbrief mit einer Gesamtansicht von Mainz im unteren Teil und zahlreichen Heiligenfiguren.

      Kupferstich von H. Cöntgen, um 1750, 46 x 36 cm. Prachtvoller Kupferstich mit reichen Rokokokartuschen in einem Abzug um 1850. Braun gedrucktes Mittelfeld mit einem "Weihgebet" sowie der Aufnahme von Adam König, mit Unterschriften und alter handschriftlicher Datierung 2. Februar 1884. Alt gerahmt. Rheinland-Pfalz - Saarland, Bruderschaften

      [Bookseller: Buch- und Kunstantiquariat]
 34.   Check availability:     booklooker.de     Link/Print  


        Traité de la cause et des phénomènes de l'électricité

      A Paris, de l'imprimerie de la Veuve David et se vend chez Pecquet, 1750, , deux volumes in-8, [2]-VI-XVII-146 + [2]-XXI-[3]-180 pages, 2 planches dépliantes figurant des expériences électriques, veau marbré de l'époque, tranches rouges, Jolies vignettes au titre et 2 en tête de chaque partie, gravées sur cuivre par Pessard d'après Clavareau, figurant des angelots s'adonnant à des expériences scientifiques. RARE ÉDITION ORIGINALE de ce traité, dont la paternité revient bien à l'écrivain philosophe et géologue Nicolas-Antoine Boullanger (et non à Boullenger de Rivery), alors inconnu de la sphère scientifique ; il fait ici le compte-rendu des découvertes les plus importantes observées dans le champ de l'électricité. "His attention was carefully given to ascertaining the degrees in which different substances are capable of being excited, and the gives several lists of such, inferring thereform that the most transparent and the most brittle are always the most electic" ; il démontre que les corps les plus favorables à l'électricité sont transparents et fragiles. Boullanger (1722-1759) est connu pour son Mémoire sur une nouvelle mappemonde et la Nouvelle mappemonde dédiée au progrès de nos connaissances (1753), puis par ses ouvrages posthumes, L'Antiquité dévoilée par ses usages et les Recherches sur l'origine du despotisme oriental. Mottelay, p. 192. Wheeler Gift, n° 346. Étiquettes en pied des dos. Coins usés. Une mouillure pâle en tête des feuillets du premier tome.

      [Bookseller: Librairie Alain Brieux]
 35.   Check availability:     maremagnum.com     Link/Print  


        A vindication of the miraculous powers, which subsisted in the three first centuries of the Christian church. In answer to Dr. Middleton's Free enquiry. By which it is shewn, that we have no sufficient reason to believe, from the doctor's reasonings and objections, that no such powers were continued to the church, after the days of the Apostles. By Thomas Church, with a preface, containing some observations on Dr. Mead's account of the demoniacs, in his new piece, intituled, Medica sacra [SIGNED]

      John and James Rivington, London 1750 - Octavo (7 7/8 x 5"). [4], XLIII, [1], 383, [1]pp. 19th-century full calf, with gold lettering to spine. Raised bands. Decorative head-, tailpieces and initial. Signed and dated 1750 at top of title page.Thomas Church's "A vindication of the miraculous powers" is one of the two written answers to Conyers Middleton's "A Free Inquiry into the Miraculous Powers," published in 1748, in which the author denied the credibility of the stories of miracles in periods subsequent to the first age of the church, attacked the character of the narrators, and explained the origin of the narratives by the general credulity of the times in which they arose. The other published refutation of Middleton's book was William Dodwell's "Free Answer to Dr. Middleton's Free Inquiry into the Miraculous Powers of the Primitive Church," (London, 1749). British priest and controversialist, Thomas Church's vindication against Conyers Middleton, earned him the degree of Doctor of Divinity (DD) from the University of Oxford. Binding rubbed along edges, with some abrasion to leather on spine. Head of spine chipped. Stamp of the University of California Riverside on inside of front cover, and at top and bottom edge. Binding in overall fair to good-, interior in very good condition. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB)]
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        \"Ware Abbildung Des Gnadenbilts der Wunder tätigen Muotter Gottess Maria zu Einsidlen auf dem Alltar stehent in dero von Gott selbsten geweichten heiligen Capelle\".

       Kupferstich von \"To S.H. a Bischofzell\", um 1750, 64 x 44 cm. Darstellung der Gottesmutter mit Jesuskind im Oval, umgeben von reicher Staffage mit religiösen Darstellungen (Anbetung des Gnadenbildes in der Kirche), links Meinrad von Einsiedeln mit zwei Raben, Krug mit Brot und einer Keule, Wappen und Ansichten der Gnadenkapelle und der Klosteranlage. - Faltspuren geglättet, sonst in tadelloser Erhaltung. Versand D: 6,00 EUR Europa, Andachtsbilder, Gnadenbilder \"Atlas Marianus\", Religiöse Graphik, Schweiz

      [Bookseller: Antiquariat Bierl]
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        PRAELECTIONES ACADEMIAE PUBLICAE IN PHYSICAM THEORETICAM

      Tübingen:: Johann Georg Cotta. Very Good with no dust jacket. 1750-51-54. Hardcover. B&W Illustrations; All 32 folding engraved plates. [8], 367, [1]; [8], 200; [16], 480 pages. 3 volumes. 8vo, Volumes 1 and 2 165x106 mm, contemporary 1/2 calf, Volume 3 170x100, contemporary 1/2 vellum; some foxing in Volume 2. Stamps of Stockholm University Library in the first 2 volumes (released) and Greifswald Gymnasium in the third. ; 3 .

      [Bookseller: poor mans books]
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        Habit de Laboureur'.

      - anonymer Kupferstich b. N. de Larmessin (?), um 1750, 26,5 x 18,5 Bauer gekleidet mit seinen Werkzeugen. - Sehr selten!

      [Bookseller: Antiquariat Norbert Haas]
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        NÜRNBERG., "Das Rathhauß zu Nürnberg gegen dem Marckt".

      Altkol. Kupferstich (Guckkastenblatt) von G.B. Probst, um 1750, 28 x 41 cm. Dekoratives Augsburger Guckkastenblatt im kräftigen Altkolorit. BAYERN, Franken, Guckkastenblatt

      [Bookseller: Buch- und Kunstantiquariat]
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        NÜRNBERG. "Das Rathhauß zu Nürnberg gegen dem Marckt".

      - Altkol. Kupferstich (Guckkastenblatt) von G.B. Probst, um 1750, 28 x 41 cm. Dekoratives Augsburger Guckkastenblatt im kräftigen Altkolorit.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Relazione dello stato, in cui si trova l'opera del censimento universale del Ducato di Milano nel mese di Maggio dell'anno 1750 divisa in tre parti [..]. [-Raccolta degli editti, ordini istruzioni, riforme e lettere circolari istruttive della Real Giunta del censimento generale dello Stato di Milano..].

      per Giuseppe Richini Malatesta, 1750. 2 opere in 2 volumi in-folio (cm. 33), legature coeve in p. pergamena con titoli e fregi in oro ai dorsi (piccole tracce di sporco e di usura), tagli rossi; pp. XXXXII 380 [4]; [10] 502 [i.e. 506] in ottimo stato, con 1 tavola in antiporta f.t. di Marcantonio Dal Re e 1 tavola sempre in rame ripiegata f.t., belle testatine figurate, capilettera, finalini, più volte ripetuto lo stemma teresiano. Prima edizione di entrambe le opere relative al primo catasto moderno della storia, set cruciale per la storia dell'economia politica. La Relazione, dall'indiscutibile valore dottrinale, è uno degli scritti economici più innovativi del Settecento lombardo e fu presa d'esempio dagli altri Stati europei, sia per l'efficientismo sia per le premesse di equità fiscale. Il suo autore Pompeo Neri (1706-1776), geniale politico ed economista fiorentino, aveva guidato le riforme fiscali e amministrative dei duchi di Lorena in Toscana, quando nel 1748 fu chiamato da Maria Teresa a Milano come presidente della Giunta per la riforma amministrativa e per il censimento nei suoi Stati. La Raccolta, che a volte contiene un numero leggermente superiore di editti [cfr. Einaudi 3880], figura come chiusura compiuta di questo lavoro decennale di razionalizzazione fiscale e viene proposta insieme. Cfr. Barucci-Carpenter 270; Einaudi 4120; Kress 3862. Buon esemplare.

      [Bookseller: Gabriele Maspero Libri Antichi]
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        La Nouvelle Methode Raisonnée du Blason, pour l'apprendre d'une maniere aisée; Reduite en Leçons, par demandes, & par réponses.

      Les Freres Bruyset, Lyon 1750 - Enrichie de figures en taille-douce. Nouvelle edition, revue, corrigée & augmentée. [8], 298, [26] index, [4]pp., engraved armorial frontispiece, numerous illustrations of coat-of-arms on 32 full-page engraved plates, and woodcut armorial figures in text. A near fine copy in full contemporary mottled calf, ornate gilt panelled spine with red morocco label. 12mo. Lyon, chez les Freres Bruyset. 1750. Claude François Menestrier (1631-1705), was a French Jesuit, who specialized in the art of heraldry and emblematic devices. He taught at the College Chambéry, as well as at Vienna, Grenoble and Lyon. [Attributes: Hard Cover]

      [Bookseller: Ken Spelman Books ABA, PBFA. (est 1948)]
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        Domkirche mit Vorplatz und Ladenanbauten ('Prospect der St. Bartholomaei Stiffts-Kirchen und Thurns zu Franckfurth am Mayn').

      - anonymer Kupferstich, um 1750, 49,5 x 32,5

      [Bookseller: Antiquariat Norbert Haas]
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