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

        Vue du Chateau de plaisance de l'Axarienne pris du Côte du grand basin a Petersbourg

      Beauvais, Paris ca. 1750-1800 305 x 456 mm (plate: 282 x 416 mm) Etching/engraving/watercolour Vue du Chateau de plaisance de l'Axarienne pris du Côte du grand basin a Petersbourg; (…) chez Beauvais rue St. Jacques. Pasted onto cardboard. The print is heavily browned. Tear in the left upper and bottom corner. Some stains in the bottom margin. Hand coloured optical print of the courtly gardens of the palace Axarienne in St. Petersbourg, Russia. In the front richly dressed people parade around. The garden reaches into the distance, with the facade of the palace on the right side of the print. 'Rusland' written on the back in blue ballpoint. (Sint Petersburg)

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        LEBENSALTER. - Jugend., "Die Jugend". Einer jungen Dame wird von einem Herren der Hof gemacht, rechts ein Papagei auf einer Kletterstange. Darunter Verse in Deutsch und Französisch.

      Schabkunstblatt von J.J. Haid, Augsburg, um 1750, 41 x 32 cm. Dekoratives Schabkunstblatt (Nummer 3) aus einer Folge von Darstellungen zu den verschiedenen Lebensaltern. - Links mit kleinem ausgebessertem Einriß.

      [Bookseller: Franziska Bierl Antiquariat]
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        Joseph Shows Kindness to His Brothers

      Georg Balthasar Probst, Augsburg ca. 1750-1800 366 x 501 mm (plate: 309 x 414 mm) Etching/engraving/watercolour 196. Iosephi benevolentia erga fratres; Bonté de Joseph envers ses freres; Compiacevolezza di Guiseppe có fuoi fratelli; Iosephs Güte gegen seine Brüder; Med. Fol. No. 48.; Cum Gratia et Privilegio Sac: Caes: Majestatis; Georg Balthasar Probst, excud. A.V. Damp stains in the upper left corner en both bottom corners. Overall state is good. A hand coloured optical print depicting the biblical story (genesis 45) of Joseph's kindness to his brothers. Situated in a highly decorated hall, Joseph, standing on the right side of the plate, talks to his brother. The group of brothers sit on the ground, holding their hands up in amazement, on the left side of the plate. The surroundings are coloured in light pastel-like colours, while the clothes of the people are of more vibrant colours.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        L'Eglise de St Carlin aux quatre fontaines a Rome

      Daumont, Paris ca. 1750-1800 358 x 529 mm (plate: 276 x 425 mm) Etching/engraving/watercolour Prospectus Ecclesiae Sancti Carlini ad quatuor fonts Romae; 10e. Vüe d'Optique Représentant; L'Eglise de St. Carlin aux quatre fontaines a Rome; A Paris chez Daumont rue St. Martin Light staining in the margins and a bit rough around the edges. Print is in good state. A hand coloured optical view of The church of San Carlo alle Quattro Fontane, also called San Carlino, in Rome, Italy. The Baroque church was designed by the architect Francesco Borromini and building 1638-41. The print shows the facade of the church, as seen from the Via del Quirinale. The surroundings are coloured in light pastel-like colours, while the figures are depicted in more vibrant colours.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Vue de l'Eglise Luterinne, pres de la porte a la Haye, a Delft (mirrored)

      Georg Balthasar Probst, Augsburg ca. 1750-1800 305 x 406 mm Etching/watercolour Vue de l'Eglise Luterinne, pres de la porte a la Haye, a Delft. 267. Gesigt van de Lutersche Kerk, na de haagse Poort, der Stadt Delft, te zien van binnen de Stadt. Vuë de l'Eglise Luterinne, pres de la porte a la Haye, par dedans dela Ville de Delft. Vedutta della Chiesa Luterana, preso della porta a Haia, di dentro della Cittá di Delft. Gesicht der Luttrischen Kirche, bey der Haager Porte, innerhalb der Stadt Delft. Med. Fol. No. 66. Cum Gratia et Privilegio Sac: Caes: Majestatis. Georg Balthasar Probst, excud. A.V. Four small worm holes. Close cut margins. Overall in good state. View on one of the canals of the Dutch city of Delft. On the left the Lutherian church towers above the buildings. In the distance the 'Haagse Poort' visible. On the left a man is cutting branches while another man just caught a fish by the riverside. Hand coloured in beautiful delicate colours.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Vüe perspective de l'interieur de l'Eglise de St Marc, a Venise

      Daumont, Paris ca. 1750-1800 298 x 408 mm (plate: 288 x 408 mm) Etching/engraving/watercolour Vüe perspective de l'interieur de l'Eglise de St. Marc, a Venise; à Paris chez Daumont rue St. Martin Small repaired tears in the upper margin. Good state. Hand coloured view of the interior of St. Mark's Basilica in Venice, Italy. The interior is portrayed as seen from the nave, towards the choir. In the front and on the sides bright coloured people walk around and kneel down to pray. Beautiful clear print. '411'written with pencil in the bottom right corner. (St. Marco, Veneti

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Vuë de Vieux l'Eglise, de la Ville de Delft

      Georg Balthasar Probst, Augsburg ca. 1750-1800 306 x 406 mm Etching/watercolour Gesigt van de Oude Kerk, der Stadt Delft. Vuë de Vieux l'Eglise, de la Ville de Delft. Veduta della Chiesa Vechia, della Citta di Delft. Prospect det Alten Kirche, det Stadt Delft. (…)d Fol. No. 56. I. van Haastert del., G.G. Winckler Sculps., Cum Gratia et Privilegio Sac: Caes: Majestatis. Georg Balthasar Probst, excud. A.V. Close cut margins. Good state A beautiful view on the Old church of Delft, as seen from the street 'De Oude Delft'. The church is depicted in the center of the print. In front of it a busy street walks by a canal. The people on the street are very detailed. Hand coloured in earthy orange and green.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Vue des trois Gallerie, du Palai des Art et de Science à Rome

      Basset/Daumont, Paris. ca. 1750-1800. 29,7 x 45 cm. Hand coloured copperplate engraving.Some age related discolouration and a small worm hole at the top left from the middle. Good state. With the title in French underneath the print. Beautiful hand coloured view on the interior of the three Roman galleries of art and science. The large halls are inhabitet by noble men and women. The blue and red colours mimic the texture of marble.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Le Luxambourg (mirrored)

      Daumont, Paris ca. 1750-1800 335 x 493 mm (plate: 293 x 426 mm) Etching/engraving/watercolour Le Palais du Luxembourg du côté du Jardin; a Paris chez Daumont rue St. Martin Smudges in the margins and small tears in the right margin. Light fold in the right top of the plate. Overall good state. A hand colored optical view of the facade of Palais du Luxembourg in Paris. The palace is situated on the left of the scene. The remaining part shows the crowded gardens. The surroundings are coloured in light colours, while the figures are depicted in more vibrant colours. (Parijs)

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Le Jardin, et le Palais du Luxenbourg, a Paris

      Daumont, Paris ca. 1750-1800 326 x 486 mm (plate: 297 x 443 mm) Etching/engraving/watercolour Le Jardin, et le Palais du Luxenbourg, a Paris; a Paris chez Daumont rue St. Martin Tears and folds in the margins. Plate itself is in good state. A hand colored optical view of the facade of Palais du Luxembourg in Paris. The palace is situated in the distance. In front of the palace people stroll through the baroque gardens. The surroundings are coloured in light colours, while the figures are depicted in more vibrant colours. (Parijs)

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Le Luxambourg (mirrored)

      Huquier fils, Paris ca. 1750-1800 290 x 433 mm Etching/engraving/watercolour Le Palais du Luxembourg du côté du Jardin; Light stains and foxing in the margins. 2 cm wormhole in the bottom margin. The print itself is in very good state. A hand coloured optical view of the facade of Palais du Luxembourg in Paris. The palace is situated on the left of the scene. The remaining part shows the crowded gardens. The surroundings are coloured in light colours, while the figures are depicted in more vibrant colours. The paper feels thicker than usually used paper. (Parijs)

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Ships in the port of Rotterdam

      Lachaussee, Daumont and Basset, Paris ca. 1750-1785 349 x 511 mm (plate: 291 x 380 mm) Etching/watercolour Naves in Portu Roterdamensi. 29. Vüe d'Optique Représentant. Les Vaisseaux dans le Port de Roterdam. Cl. Lorrain P., Presentement chés Lachaussée rue St. Jacques. A Paris chez Daumont rue St. Martin. F. Basan Excud. Et Presentement chez Basset rue St. Jacques au coin de celle des Mathurins Il tient Fabr de Papier. Light folds in the corners. Good state. Beautiful hand coloured optical view of the port of Rotterdam. After the 17th century artist Claude Lorrain, with a ruin like building on the left and large ships in the distance. Coloured in very vibrant blue, green, pink and yellow.

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Abbildungen von Pferden. "Ein Ungar. Honfrois. Hungaricus".

      - Kupferstich v. Ridinger n. Ridinger, um 1750, 24 x 33 Thienemann Nr. 587. - Zeigt ein ungarisches Pferd, von einem Reiter an einem Zügel gehalten an einem Fluß.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Oeuvres en vers. The Hague, Henri du Sauzet, 1717.

      Full leather, sprinkled edges. Spine and corners worn. Pag.: [14] 484 pp. Engraved titlepage by B. Picard, titlepage printed in red and black. Contemporary ownershipmark on the titlepage of Claude Piastre Gonnet sj. dated 1750. Later printed name shield of A. Le Hardy de Beaulieu. 12°: * 8 (-*8, blank?) A-V 12 X 2 (-X2, blank?).

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        Vue du Pont Rialto et de la Prison de Venise

      ca. 1750-1800 306 x 423 mm Etching/engraving/watercolour Prospectus Pontis Rivoalti, ET Carcerum Venetiarum; Vue du Pont Rialto ET de la Prison de Venise Small tears in the margins, some of which are repaired. Three discoloured spots in the upper left corner. Overall state is good/fair. Hand coloured optical view of the Italian city of Venice. On the right side someone tries to dock his ship. On the left side the Venice prison is portrayed. In the distance the outlines of the Rialto Bridge are visible. Hand coloured in soft pastel-like colours. The green colour, used for the water, is leaked through the paper. (Veneti

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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        DRESDEN. "Prospect des Churfürstlichen Pallais im großen Garten zu Dresden". Schloßansicht mit hübscher Personenstaffage.

      - Kupferstich (Guckkastenblatt) von Nabholz nach Rollwagen, Augsburg, um 1750, 27 x 37,5 cm. Schönes Augsburger Guckkastenblatt, nicht koloriert.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Voyage autour du monde, fait dans les années MDCCXL, I, II, III, IV. Dans la mer du Sud. Tiré des journaux & autres papiers de ce seigneur & publié par Richard Walter. Orné de cartes & de figures en taille douce. Traduit de l'anglois [par Elie de Jaucourt].

      Genève, Henri-Albert Gosse, & Comp., 1750, pleine basane de l'époque, dos à nerfs orné. -Petites traces de colle dans les marges sup. et inf. de 7 pp. -Les pp. 59 à 62 sont reliées après la p. 98. -Bon exemplaire. - in-4 de XXIV-363-(1) pp. + 22 pl. dépl. h.t. + 12 cartes h.t. (dont 11 dépl.) ; 2e édition en français (Première ; 1749 ; E.O. en anglais : 1748).Sabin 1637."Anson (George, Lord), amiral anglais, né à Shuekborough-Manor (Stafford) le 22 avril 1697, mort le 6 juin 1762. Entré dans la marine à l’âge de quinze ans, il obtint en 1718 le commandement d’un sloop, le Weasel, puis en 1724, celui du vaisseau le Scarborough, détaché à la station de la Caroline en Amérique; il y rendit assez de services pour que les Américains donnassent son nom à une ville et à un comté de la Caroline du Sud. En 1739, il fut mis à la tête d’une croisière dans les mers du Sud, mais ses vaisseaux furent encombrés de marchandises, et fort ralentis dans leur manœuvre; le scorbut se déclara à bord, il avait perdu sept bâtiments sur huit quand il traversa le détroit de Magellan (1740). Monté sur le Centurion, il parcourut l’Océan Pacifique, commerçant, guerroyant, levant des plans et recueillant des plans-cartes, faisant des prises de tout genre, entre autres celle d’un galion qui portait à Acapulco le tribut de Manille. Il rentra heureusement en 1744, en Angleterre, et fut récompensé par le grade de contre-amiral (marine blanche)." (Encycl. Berthelot IV-p. 131).

      [Bookseller: LIBRAIRIE PHILIPPE SERIGNAN]
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        Mechanismus oder Neue Abhandlung von der künstlichen Zusammensetzung des Auges ... , ... + Kurzer Begrif ... v.d. Gebrechen und Heilungsarten des Auges ...

      Frankfurt am Mayn, bey Stoks seel. Erben und Schilling, 1750, 8, (18), (10), 374, (26) pp., 5 gefalt. Kupferstichtafeln 1750, (56), 108, (16) pp., feiner Pappband mit Rückenschild und Rückenvergoldung Papier etwas gebräunt. Selten - Erste Deutsche Ausgabe! Titel: Johann Taylors, Ritters, Doctors der Arzneykunst, Seiner Großbritannischen Majestät, und verschiedener anderen Durchlauchtigsten Fürsten hochbestallten Augenarztes wie auch Mitgliedes vieler Europäischen berühmten Academien der Wissenschaften u u. Mechanismus oder Neue Abhandlung von der künstlichen Zusammensetzung des Menschliche Auges und den besonderen Nutzen desselben, sowohl vor sich, als in Absicht der anliegen Theile, Nebst Seiner Art, dessen Krankheiten zu heilen, Wie er solche bey einer mehr als zwanzigjährigen Erfahrung seiner durch Europa glücklich gethanen Augencuren bewährt befunden. Mit den dazu gehörigen Kupfertafeln , Unter Königlich - Pohlnisch - und Chur-Sächsicher allergnädigsten Freyheit, und ausdrücklichen Bewilligung des Verfassers in Deutsche übersetzt. Anhang: Kurzer Begrif einer Anatomischen Abhandlung von den Gebrechen und Heilungsarten des menschlichen Auges, und dessen naheliegenden Theilen, beschrieben von John Taylor, Ritters, Doct. der Arzney-Kunst, .... Mit dessen Ausdrücklicher Genehmhaltung, nach der Lateinisch- und Englischen Ausgabe ins Deutsche übersezt."Diese Werk begreift überhaupt in sich : Die Zergliederung des Augapfels und seiner anliegenden Theile. Eine optische Erklärung des Gesichts und alles dessen was sich dabey zuträgt. Eine Erklärung der wahren Ursache des Schielens, und der fliegenden Flecken der Augen. Einen Beweis des wahren Sitzes des Staars und des Glaucoma. Eine vollkommene Beschreibung der neuen Operationen des Authors, worinnen gewiesen wird, daß man dieselben nicht nur zu aller Zeit vornehemn, sondern auch mit weniger Gefahr, und mit mehrer Gewißheit als nach der gewöhnlichen Art verrichten kan. Hundert Fragen in welchen man zu entscheiden sucht, ob entweder das Aderhäutgen, oder das Nez das unmittelbare Werkzeug des Gesichts sey. Anmerkungen über die Ursache und natur der verschiedenen Arten des schwarzen Staars. Eine Beschreibung aller und jeder Augenkrankheiten. Ein Verzeichnis der Schriftsteller welche über den Bau des Auges und dessen Krankheiten geschrieben.Anhang. Eine kurze Anatomische Abhandlung und genaue Beschreibung von 242 Krankheiten, des Auges und dessen nahe liegenden Theilen.""Das erste ist dein bereits in viele Sprachen übersezter 'Mechanism", welcher im Jahre 1738 auch in Französischer Sprachen erschienen. der andere ist sein kurzter Auszug oder genaue Beschreibung von 243 Krankheiten, welchen das Auge und seine naheliegenden Theile unterworfen sind, worüber er in Edenburg, öffentliche Vorlesungen gehalten, welche zuerst in Lodnon 1743. in lateinischer und 1744. in Edenburg etwas vermehrter in Englischer Sprache herausgekommen." Vorbericht.John Taylor (1703-1772), "auch "Chevalier Taylor" genannt, der bekannte und seine grenzenlose Charaltanerie berüchtigte fahrende Oculist des 18. Jahrhudert .... Dass Taylor wissenschaftlich durch aus nicht ungebildet war, beweisen seine zahlreichen z. Th. in vielen Sprachen erschienenen Schriften" Pagel, Hirsch-H. IV, pp.523-524"Stricker's Urtheil lautet folgendermaßen: "Wohl selten war so viel wissenschaftliche Tüchtigkeit mit der unverschämtesten Charlatanerie in einem und demselben Mann verbunden. -cf. Hirschberg"So sicher es also ist, dass Taylor, und zwar zuerst in der Geschichte unseren Faches, von Muskel-Zerschneidung zur Heilung des Schielens gesprochen ausgeführt hat er sie nicht. Wenigsten ist kein Fall bekannt. ... Taylor's unbedingt richtiger Gedanke über die Schiel-Operation ist leider , wegen der üblen Eigenschaften des Urhebers vollständig der Vergessenheit anheim gefallen." Hirschberg, Geschichte der Augenheil in der Neuzeit, 14/3 (1911), pp.293-312."What sort of man was Taylor? He lived in an age when the blind were often decked with asses' ears and peacocks' feathers and exhibited in fairs as objects of amusement, and Taylor probably brought relief to many blind people, whatever his motives and however many his failures. He had studied with a genuine and eminent surgeon. Cheselden, a pupil of William Cowper, was surgeon to St. Thomas's Hospital from 1719 to 1738, and he became Master of the College of Surgeons after the split from the barbers Pope was a patient of his. Moreover, Taylor had qualifications from several continental universities including Basle, Cologne, and Liege. (I have not been able to discover who-perhaps Taylor himself?.-conferred on him the title of 'Chevalier'). Some of what he wrote (especially on squint) is regarded as sound by modern authorities. He had a conscience and (at least at some times in his career) would not operate if he thought success was unlikely or intervention dangerous. In his early days he advised leaving unilateral cataracts alone since an operation 'may be the occasion of the loss of both the eyes', and was aware of the importance of the pupillary reaction. At times he would use other methods of treatment: he describes his cure, by suggestion, of a nobleman who 'believed himself blind, by a hypochondriac disorder'.It would be hard to better Coats' summary of Taylor, which ends with these words: In professional matters his knowledge was good he was a shrewd observer and not without original ideas but his actual practice was deeply tainted with the dishonest arts of the quack. Many elements go to the formation of the complete charlatan-bombast, effrontery, dishonesty, ignorance. All these qualities Taylor showed in perfection-except ignorance, and this is his chief condemnation. Of Taylor's life after 1761, when his autobiography appeared, little is known. He died, either in Paris or in a monastery near Prague, in 1772 and according to legend he was blind." David M. Jackson, BACH, HANDEL, AND THE CHEVALIER TAYLOR. Medical History / Volume 12 / Issue 04 / October 1968, pp 385-393"Johann Sebastian Bach's only physical problem seems to have been his vision. Myopia seems most likely, and it is probable that he developed cataracts at an older age. In addition to the cataracts, his worsening vision may have been due in part to some other eye problem. During the last year of his life, Bach's vision became so poor that he decided to have his eyes operated on. Two operations were performed in 1750 by the traveling English eye surgeon John Taylor. Most likely the first operation was Taylor's standard couching procedure. About 1 week after the first operation, Bach had to be operated on again because of a reappearance of the cataract. Many painful and/or vision-reducing complications could have been induced by these intraocular operations: uveitis or endophthalmitis, secondary glaucoma, hemorrhage, retinal detachment, and even sympathetic ophthalmia. Bach was "completely blind" after the operations, and he died less than 4 months after the final operation." Richard H. C. Zegers, The Eyes of Johann Sebastian Bach, Arch Ophthalmol. 2005123(10): pp.1427-1430.

      [Bookseller: MedicusBooks.Com]
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        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]
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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! 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.]
 26.   Check availability:     Direct From Seller     Link/Print  


        \"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]
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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]
 43.   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]
 44.   Check availability:     Antikvariat     Link/Print  


        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]
 45.   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]
 46.   Check availability:     NVvA     Link/Print  

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