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

        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]
 1.   Check availability:     ZVAB     Link/Print  


        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.

      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]
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        [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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
 18.   Check availability:     maremagnum.com     Link/Print  


        \"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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        AUGSBURG. - Waisenhaus., "Das Evangelische Waisenhauß in Augspurg von Abend her anzuschauen samt dessen Prospect". Blick von der Franziskanerkirche über die Dächer der Stadt bis zur Ulrichskirche. Im Himmel Spruchband, gehalten von zwei Putten.

      Kupferstich von Matthäus Sigmund Sallomusmüller, um 1750, 37,5 x 42 cm. Schefold 41531. - Seltenes Ereignisblatt mit drei Kartuschen im unteren Rand. - Insgesamt angegraut, leicht fleckig, unten etwas knapprandig. BAYERN, Schwaben

      [Bookseller: Buch- und Kunstantiquariat]
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        Three putti and an eagle on the clouds] 4.

      Paris. c1750 - Size: 365 × 265 mm. Fine condition. Copper engraving. Uncoloured. Francois Boucher was one of the great influential artists in France during the eighteenth century, he painted landscapes, portraits and mythological scenes. Is his day he became extremely fashionable, and in time became the premier painter to King Louis XV.

      [Bookseller: Peter Harrington Gallery]
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        Carte de Suisse

      Paris. c1750 - Copper engraving. Original colour. Size: 64 x 49 cm. Very good condition, a few waterstains at the slightly darkened edges, not affecting map, 2cm closed tear at lower centrefold A large, clear and detailed map of Switzerland, outlining the cantons, with their coats of arms at upper border alongside title. 'Avertissement' at at top left with description of the area. Atlas Geographique des Quatre Parties du Monde.

      [Bookseller: Peter Harrington Gallery]
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        The Waterfall of Niagara.

      London, R. Sayer, c.1750 - Copper engraving. Original colour. Size: 38.5 x 24.5 cm. (15 x 9 inches). Fine condition. Mounted size: 55 x 40.5cm. Fascinating view of the Niagara Falls from what is now the United States side. A group of tourists with an Indian guide look on. The title which was originally below the print, has at some time been cut off, and neatly pasted on the reverse.

      [Bookseller: Peter Harrington. ABA member]
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        Traité de la cause et des phénomènes de l'électricité

      1750 - deux volumes in-8, 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. [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        Plan de la banlieue ouest-parisienne

      S.n. 1750 - - S.n., s.l. s.d. [circa 1750], 100x68cm, une feuille repliée. - Edition originale. Cette grande carte dépliante présente les villes de Saint-Cloud, Sèvre, Marly, Saint-Germain en Laye, Le Vézinet, Suresnes, Nanterre. Quelques habiles restaurations au verso. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] 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. [Attributes: First Edition]

      [Bookseller: Librairie Le Feu Follet]
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        The Chymist'.

      - Kupferstich v. T. Major n. D. Teniers, dat. 1750, 40 x 27,5

      [Bookseller: Antiquariat Norbert Haas]
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        Discours qui a remporté le prix à lAcademie de Dijon en lannée 1750. Sur cette question proposée par la même Académie: Si le rétablissement des Sciences & des Arts a contribué à épurer les Moeurs.

      8. 55(1) S. Mit Tit.vign., 2 Zierleisten u. 1 Init. in Holzschnitt. Halblederband d. Zt. m. Tit. (auf mont. Papierschi.) u. Verz. in Goldpräg. auf Rü., Kleisterpapierbezug u. umseit., rotem Sprengschnitt. Einbd. stellenw. geringfüg. abgewetzt u. fl. an den Kapitalen rissig u. m. kleineren Fehlstellen kl. Etik. auf vord. Spiegel Monogrammstemp. auf Tit. Überaus seltene Nachdruckausgabe des ersten Drucks (Genf, Barillot 1750) von R.s Erstlingswerk. Im Jahre 1749 schrieb die Akademie von Dijon einen Preis für einen Essay über die Wirkung des Fortschritts der Zivilisation auf die Moral aus. Rousseau beteiligte sich, vermutlich auch auf Anregung seiner Philosophenfreunde der Enzyklopädie hin, und erhielt 1750 den ersten Preis. "R. hebt in seiner Beantwortung .. gerade das Unheil hervor, das durch die Entfaltung der Künste und Wissenschaften über die Menschheit gekommen ist" (vgl. dazu Ziegenfuß II, 382). Sein Discours richtete sich zwar völlig gegen die Vorstellungen vieler Intellektueller der Zeit, jedoch erlangte R. dank der Diskussion, die er auslöste, europaweit einen hohen Bekanntheitsgrad und der entscheidende Anstoß zu seiner schriftstellerischen Tätigkeit war gegeben. - Vorliegende Ausgabe nicht im Handel, nur ein Exemplar in der Cambridge University Library (Copac) nachweisbar.

      [Bookseller: Antiquariat Löcker]
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        A General Map of Scotland and Islands thereto belonging From new Surveys, the Shires properly Divided & Subdivided, the Forts lately Erected & Roads of Communication or Military Ways carried on by His Majesty's command, the Times or Military ways, the Danish Camps & Forts, Also the Seats of the Nobility in each Shire distinguished with several other remarkable Places that occur in the History of Scotland By James Dorret Land Surveyor.

      April the 1750., London, - Dorret's Landmark Wall Map of Scotland Large engraved wall map on eight double-page sheets and 4 half sheets, joined, inset plan of the Shetland Islands upper right, list of "the Most Remarkable Places in Scotland" lower left, with fine contemporary hand-colour in full. James Dorret's map of Scotland "was a landmark map which was used directly or indirectly for nearly all Scottish maps for the next 40 years" (National Library of Scotland). Dorrett was an Englishman serving as a valet to the Duke of Argyll, who was given the task of mapping first Argyll and then all of Scotland with the Duke's financial backing. He carried out his own survey for this, his first monumental map of Scotland, supplementing it with information from William Roy's on-going Military Survey of Scotland, completed between 1747 and 1755, and with the latest estate and maritime surveys. His authorship of the Argyll estate survey has been established by the correspondence of John Ainslie, a cartographer who would later publish an important nine sheet map of Scotland which would supersede Dorret's work. Ainslie wrote dismissively that Dorret was "first a Barber and got into the Argyll family as one of the Duke's valet de chambre, and did take an actual survey of the County or Shire of Argyll. [he] took angles through all Scotland and compiled a map of the Kingdom which may be called a Survey by some people". Ainslie, of course, had every interest in discrediting Dorret's work in favour of his own. The map was "an immense improvement on anything that preceded it" (Inglis et al.), let down only by the delineation of the Great Glen, Skye and Islay. The Great Glen has a bend in it, despite Dorret having access to sources which would have shown him otherwise. The islands of Skye and Lewis, although not perfect, are drawn with greater accuracy than Dorret's predecessors. The island of Lewis no longer has the flat top given to it since Blaeu's maps of the area, drawing on the maritime charts of Murdoch Mackenzie. Dorret also corrects the shortening of northern Scotland. NLS EMS.s.640; Inglis, H. G., J. Mathieson, and C. B. B. Watson, The Early Maps of Scotland with an account of the Ordnance Survey, Edinburgh: Royal Scottish Geographical Society, 1934; Tooley, R. V., Maps and map-makers, London: Batsford, 1978. NLS EMS.s.640; Inglis, H. G., J. Mathieson, and C. B. B. Watson, The Early Maps of Scotland with an account of the Ordnance Survey, Edinburgh: Royal Scottish Geographical Society, 1934; Tooley, R. V., Maps and map-makers, London: Batsford, 1978

      [Bookseller: Daniel Crouch Rare Books NY LLC]
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        Two Putti on a cloud].

      Paris. c1750 - Size: 370 × 265 mm. Good condition. Copper engraving. Uncoloured. Francois Boucher was one of the great influential artists in France during the eighteenth century, he painted landscapes, portraits and mythological scenes. Is his day he became extremely fashionable, and in time became the premier painter to King Louis XV.

      [Bookseller: Peter Harrington Gallery]
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        BRESLAU., "Uratislavia - Breßlau". Gesamtansicht große Kartusche mit Wappen.

      Altkol. Kupferstich nach F.B. Werner von J.G. Pinz bei M. Engelbrecht, Augsburg, um 1750, 20 x 30,5 cm. Marsch, F.B. Werner, S. 216, Nr. 2 aus der Folge "Europäische Städteansichten". - Im unteren Rand gestochene Erklärungen 1 - 27 in Latein und Deutsch. - Seltene und dekorative Ansicht in sehr kräftigem Altkolorit. Schlesien

      [Bookseller: Buch- und Kunstantiquariat]
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        BRESLAU. "Uratislavia - Breßlau". Gesamtansicht große Kartusche mit Wappen.

      - Altkol. Kupferstich nach F.B. Werner von J.G. Pinz bei M. Engelbrecht, Augsburg, um 1750, 20 x 30,5 cm. Marsch, F.B. Werner, S. 216, Nr. 2 aus der Folge "Europäische Städteansichten". - Im unteren Rand gestochene Erklärungen 1 - 27 in Latein und Deutsch. - Seltene und dekorative Ansicht in sehr kräftigem Altkolorit.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
 38.   Check availability:     ZVAB     Link/Print  


        RHEINSBERG., "Prospect der Haupt Strasse und der beeden befestigten Pläzen in dem Königl. Priz Heinrichischen Schloß Rheinsberg". Ansicht vom Schloßboulevard mit barocker Figurenstaffage.

      Kupferstich (Guckkastenblatt) von G.G. Winckler nach F.O. Eckel, um 1750, 29,5 x 41,5 cm. Augsburger Guckkastenblatt aus der Kaiserlichen Akademie. - Mit breitem Rand in sehr guter Erhaltung. Bra-Me-Po, Guckkastenblatt

      [Bookseller: Buch- und Kunstantiquariat]
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        NUOVO CORSO COMPLETO DI PUBBLICHE COSTRUZIONI. Compilato da Raibell e illustrato da un voluminoso atlante inciso. Prima traduzione italiana con aggiunte, per cura di R. Nicoletti.. 3 Bde. m. Tafelband (compl.).

      2 (50 x 35 cm), X, 399 S., XLVII (Appendice 91 S. (Tavole) VII 442 S. VII 766 S. Tafelbd.:180 Stahlstichtaf., XXXVIII Tafeln davon einige Falttafeln., Privater -HLdr.-Band m. Rückenschild, rundum marmorierter Schnitt, Deckel berieben, etwas fleckig. Innen min stock- und fingerfleckig, teilweise min. wasserrändig. - Il IV vol. è un Atlante che contiene 218 tavv. di cui 39 sono di "aggiunte" e presenta oltre 500 gruppi di figure. Piano dell'opera: "Materiali. Costruzioni e fondazione in generale. Applicazioni alla costruzione delle strade ordinarie e ferrate. Viadotti e ponti fissi di muro, di legno e di metallo, ponti pensili e ponti mobili - Navigazione interna e artificiale, irrigazioni, acquedotti, cloache, pozzi artesiani e assorbenti - Navigazione esterna - Aggiunte concernenti i ponti di legno americani, i ponti di ferro..". L'opera di Sganzin (Metz 1750-1837) ebbe parecchie edizioni e fu tradotta in piu' lingue - Belle legature in mezza pelle con titoli dorati al dorso, piatti marmorizzati -

      [Bookseller: antiquariat peter petrej]
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        BERLIN. "Berolinum - Berlin". Gesamtansicht vom Schifferbauerdamm über die Spree, im Vordergrund Windmühle sowie große Kartusche mit Wappen und allerlei Kriegsgerät.

      - Altkol. Kupferstich nach F.B. Werner von J.G. Ringlin bei M. Engelbrecht, Augsburg, um 1750, 20 x 30,5 cm. Nicht bei Fauser und Kiewitz; Marsch, F.B. Werner, S. 217, Nr. 84 aus der Folge "Europäische Städteansichten". - Mit Reiter und Soldaten staffagierte Ansicht. Im unteren Rand gestochene Erklärungen 1 - 30 in Latein und Deutsch. - In den Rändern gering wasserrandig. - Seltene und dekorative Ansicht in sehr kräftigem Altkolorit.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Nieuwe Kaart van T'Ryk van Persie.

      Amsterdam, ca. 1750. - Hand-coloured engraved map (365 x 290 mm). A detailed map of Persia and its adjoining countries. - Well preserved. Not in Tibbetts.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        De Morbis Oculorvm Praelectiones Pvblicae Ex Codicibvs Avditorvm Editae. Ed. Gottingensis Altera Qvinta Parte Avctior Et Emendata.

      Göttingen, Vandenhoeck 1750. - BLC 35,504. GV 18,403. Hirsch-H. 1,597ff. - B. (1668-1738,) wurde v. Albrecht Haller, d. Hrsg. dieser augenheilkundlichen Schrift als "Magnus ille medicorum universae Europae praeceptor" bezeichnet. Er war einer der berühmtesten u. beliebtesten Ärzte u. vor allem einer der bedeutendsten Lehrenden seiner Zeit, mit grundlegender Wirkung auf die euopäische Medizin der folgenden Jahrhunderte. Zu seinen Schülern zählten u.a. Van Switen, Haller, De Haen u.a.m. Albrecht Haller (1708-1777), seinerseits einer der bedeutendsten Naturwissenschaftler u. Universalgelehrten d. 18. Jh., der 1736 zum Professor d. Medizin u. Botanik an der neugegründeten Univ. Göttingen ernannt worden war, verfasste auch das Vorwort zur ersten (1746) u. zweiten Auflage dieser Abhandlung. Kl.8°. Titelbl., 4 nn. Bll. (Vorwort), 237 S., 1 gef. gest. Taf., mit e. Kopfleiste. Halblederband d. Zeit, mit goldgeprägter Rückenbeschriftung u. schwarzgeprägten Rückenzierlinien, Schnitt buntgesprenkelt, Einband berieben, mäßig bestoßen, Rücken an d. Kapitalen geringfügig eingerissen, Beschriftung abgerieben. Seiten u. Tafeln nur teilw. schwach gebräunt u. stockfleckig. Mit e. alten handschriftlichen Zahl am vorderen Spiegel u. e. Widmung v. alter Hand am vorderen fliegenden Vorsatzblatt.

      [Bookseller: Antiquariat Löcker]
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        Les Agremens De La Campagne, Ou Remarques Particulieres Sur la construction des Maisons de Campagne plus ou moins magnifiques; Des Jardins de Plaisance, & des Plantages, (etc.)

      Leiden, Samuel Luchtmans u. Söhne; Amsterdam, Meynard Uytwerf 1750. - BL Integr. Cat. SysNr. 003816420 (elektronische Quelle). Jöcher/Adelung 2,497. Vgl. Muijzenberg, A history of greenhouses. Wageningen 1980, S. 103. Französische Übersetzung dieses grundlegenden Werkes zu Gartengestaltung u. Treibhausbau `Byzondere Aenmerkingen over het aenleggen van pragtige en gemeene Landhuizen, Lusthoven, Plantagien (etc.) Leiden 1737` d. Rechtsgelehrten, Kunstsammlers u. wohlhabenden Textilhändlers L. (1664-1739). Der Autor schuf sich durch die erfolgreiche Kultivierung exotischer Pflanzen, z.B. erstmalig d. Ananas u. durch d. Publikation seiner Erfahrungen, e. d. bedeutendsten Werke d. 18. Jh. zu diesem, damals großes Interesse erweckendes, Thema, ein bleibendes Denkmal. 15 Tafeln mit anschaulichen Darstellungen v. Treibhausobst wie Ananas u. Zitrusfrüchten, sow. Entwürfen zu Glashäusern liegen lose bei und zwar d. gezählten Tafeln A-H u. 8 Tafeln mit d. Figuren 1-10. Gestochen wurden d. Tafeln, die denen d. Originalausgabe v. 1737 entsprechen dürften, v. Amsterdamer Künstler Jan Wandelaar (1690-1759), e. d. besten Kupferstecher für botanische Darstellungen seiner Zeit, v. Francois van Bleyswyck (erw. 1706), Leidener Kupferstecher d. viel f. d. Buchproduktion arbeitete, seinem Schüler Johannes van der Spijk (auch Spyck; erw. 7736-1761) u. v. Jan Caspar Philips (um 1700-um1773). Vgl. dazu Thieme-B. 35,141. 4,116. 31,419. u. 26,554. So komplett mit allen Tafeln selten. 4°. Titelbl., XXIV, 412 S., mit 15 großt. gef., gest. Tafeln, 20 nn. Bll. (Indices), Titelblatt in rot u. schwarz, mit e. kleinen Titelblattvignette, Initialen mit Blattmotiven, Zierleisten u. e. gestochenen Illustration auf S. 305. Ohne Einband, Buchblock auf 4 Bünde geheftet, mit Resten d. ehemaligen Papierumschlags am Rücken, erste Lage locker. Titelblatt angeschmutzt, Blattkanten staubrandig, Seiten teilw. leicht gebräunt, anfangs wasserrandig. [Attributes: Soft Cover]

      [Bookseller: Antiquariat Löcker]
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