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Displayed below are some selected recent viaLibri matches for books published in 1755

        Discorsi, con annotazioni. [Di D.M. Manni].

      - Firenze, Viviani, 1755, volumi 2, in-4, ben legati in mezza pelle ottocentesca, con dorature. pp. XXII - 518 - 641. Gigli fiorentini incisi in rame sui frontespizi e diverse figure incise in legno nel testo. Qualche foro di tarlo marginale al vol. I A questo esemplare, molto bello, manca il ritratto che, come lo stesso Gamba (244) ci dice "?suol mancare in molti esemplari?". Moreni, I, 150. [Attributes: Hard Cover]

      [Bookseller: Libreria Oreste Gozzini snc]
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        Rare Antique Print-AZORES-ACORES-SEA CHART-Bellin-1755

      - Antique print, titled: 'Carte reduite des Isles Acores [.]' - (Detailed map of the Azores Islands .) Highly decorative sea chart / nautical map / maritime map of the Azores. With profiles / coastal views of the islands. With a large decorative cartouche. Printed stipple rhumb lines are drawn over by hand (!) in a greenish colour, with additional lines added. Remains of manuscript annotations are present. A superb and extremely rare example of this chart with handdrawn lines, most certainly used at sea. Hand coloured engraving on handlaid (verge type) paper. Description: First published in Paris in 1755 as part of 'Le Neptune Francois ou Recueil des Cartes Marines', published by Departement de la Marine. State: Most probably an early ed. of this map, still lacking the seal of the Depot de la Marine.Artists and Engravers: Made by an anonymous engraver after 'Jacques Nicolas Bellin'. Cartographer: Jacques-Nicolas Bellin (1703-1772) was a French hydrographer and geographer. He is considered the greatest 18 th. c. French hydrographer and for 50 years he was associated with the 'Depot des cartes et Plans' (Depot de la Marine) as the First hydrographer of the French Royal Navy. His maps were constantly updated with the latest information and their execution magnificent. Bellin's major works are the 'Neptune Francois .', the 'Petit Atlas Maritime .' and the 'Hydrographie Francoise .' As a member of a French intellectual group called the 'Philosophes' and he contributed 994 articles to the 'Encyclopedie' by Diderot/d'Alembert. He also contributed to the 'Histoire Generale des Voyages' by Prevost. Condition: Very good, given age. Hand colouring of a later date. Original middle fold as issued. Slight paper separation at middle fold margins, reinforced and backed. A few small tears in paper edges, backed. Some light staining / soiling. Some creasing. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: Overasselt The overall size is ca. 36 x 23.8 inch. The image size is ca. 35 x 21.9 inch. The overall size is ca. 91.5 x 60.5 cm. The image size is ca. 89 x 55.5 cm.

      [Bookseller: ThePrintsCollector]
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        Idioticon Osnabrugense. Ein Hochzeitsgeschenk an den Herrn Professor und Consistorial-Assessor Schütze bey der Verbindung desselben mit der Demoiselle Esmarchinn.

      Leipzig u. Altona, Kortensche Buchhandlung, 1755. . Am unt. Kap. geprägt: "F. C. Raben". - StaV. - Erstes Wörterbuch der Westfälischen Mundart in u. um Osnabrück. "Ich habe schon lange auf ein Idioticon Westphalicum gedacht, ohne jedoch Hand anzulegen... Endlich, da der hochverdiente Herr Prof. Richey mich ... zu dieser Arbeit aufmunterte, fing ich an, selbst zu sammlen, und gelehrte Männer um Beyträge zu ersuchen... Mein Idioticon erstreckt sich über das ganze Hochstift Osnabrück... Ein Idioticon Westphalicum ... ist über mein Vermögen" (Vorrede). - Ausführlich erläutertes Wörterbuch, im Anhang ein Verzeichnis der "Wörter so die Osnabrücker mit den Niedersachsen gemein haben" u. zwei "Probe[n] des Reichthums der Osnabrückischen Sprache". - Gewidmet dem Dr. theol. Gottfried Schütze (1719-1784), 1750 Rektor des Pädagogiums in Altona u. wirklicher Consistorialrath, 1751 als Nachfolger Richeys Professor der griechischen Sprache u. Geschichte am Hamburgischen Gymnasium, 1778 erster Bibliothekar an der Hamburgischen Stadtbibliothek; er heiratete 1755 Christine Elisabeth Esmarch, Tochter des Altonaer Rathmannes Johann Marquard Esmarch (Schröder 3617; vgl. ADB 33, S. 142 f.). - Johann Christoph Strodtmann (1717-1756), "Rector des Gymnasii zu Osnabrück", verfaßte neben dem Idioticon u.a. noch umfangreiche "Beyträge zur Historie der Gelahrtheit" u. "Das Neue Gelehrte Europa" (Zischka, Allgem. Gelehrten-Lex., S. 629;vgl. ADB 36, S. 612). - Gutes Exemplar des seltenen Werkes

      [Bookseller: Antiquariat Reinhold Pabel]
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        Dissertazioni sopra le Antichità Italiane

      Presso gli Eredi Barbiellini Mercanti di Libri, ROMA 1755 - ITALIANO Tomo II parte II in seconda edizione accresciuta da prefazione e note, opera postuma e tradotta dal latino da Gian Francesco Soli Muratori, legatura a tutta pergamena con titoli in tassello al dorso, segni manoscritti al piatto anteriore e lieve segno di abrasione, diffusi segni di usura alla testa del dorso e ai margini della coperta, forellini di tarlo sparsi, taglio annerito, pagine imbrunite, fioriture sparse, all'incipit elegante capolettera in arabesco in cornice fiorita e testatina decorata sciolta, note a cura dell' Abate Gaetano Cenni

      [Bookseller: Biblioteca di Babele]
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        Antique Print-NEWFOUNDLAND-NOVA SCOTIA-CANADA-GREAT LAKES-De Vaugondy-1755

      - Antique print, titled: 'Partie de l'Amerique Septent? qui Comprend la Nouvelle France ou le Canada' - Handsome map of Newfoundland, Nova Scotia, and the entire course of the St. Lawrence River. The most prominent feature of the map is the very large inset of the 1744 Bellin version of the Great Lakes. The wonderful cartouche features the title on a blanket draped over a wooden canoe, which appears beside a threatening beaver. This is the third state according to both Kershaw and Pedley, with the boundaries of the province of Quebec added per the Treaty of Paris, published circa 1768. Etching / engraving with hand colouring on hand laid paper. Description: Source unknown, to be determined.Artists and Engravers: Made by 'Didier Robert de Vaugondy' after an anonymous artist. Gilles Robert de Vaugondy (1688-1766), also known as Le Sieur or Monsieur Robert, and his son, Didier Robert de Vaugondy (c.1723-1786), were leading cartographers in France during the 18th century. Condition: Good, given age. A few minor unobtrusive spots. Original middle fold as issued. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: BG-B7-16 The overall size is ca. 26 x 20.2 inch. The image size is ca. 23.7 x 18.9 inch. The overall size is ca. 66 x 51.2 cm. The image size is ca. 60.2 x 48 cm.

      [Bookseller: ThePrintsCollector]
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        Lettre à un Amateur de la Peinture avec des Eclaircissemens historiques sur un cabinet et les auteurs des tableaux qui le composent. Ouvrage entremêlé de Digressions sur la vie de plusieurs Peintres modernes

      Dresden, Georg Conrad Walther, 1755. First edition of Hagedorn's "Lettre", occupying the initial twenty pages, followed by "Eclaircissemens historiques", a series of digressions in the form of biographical notices of painters compiled by Franz Christoph Janneck (1703-1761). The frontispiece (engraved by Pierre-Jules Hutin) depicts a young woman conversing with two amateurs about a painting of Leda and the swan that sits on the easel before them; it is a rare instance of a woman shown as interlocutor in a serious aesthetic debate.Hagedorn, Christian Ludwig von Hamburg 1713 - Dresden 1780 Lettre à un Amateur de la Peinture avec des Eclaircissemens historiques sur un cabinet et les auteurs des tableaux qui le composent. Ouvrage entremêlé de Digressions sur la vie de plusieurs Peintres modernes. Dresden, Georg Conrad Walther, 1755 octavo (170 mm), (192) ff. signed A-Z8 Aa-Bb4 (title printed on Bb4 and inserted at front) and paginated (2) 1-368 (14), plus engraved frontispiece signed Pierre Hutin sculp 1754. provenance episcopal inkstamp with initials C.L. v. B.P. on title-page. In excellent state of preservation. bound in contemporary German boards covered by decorative paper; edges sprinkled red and black. First edition of Hagedorn's 'Lettre', occupying the initial twenty pages, followed by 'Eclaircissemens historiques', a series of digressions in the form of biographical notices of painters compiled by Franz Christoph Janneck (1703-1761). Hagedorn was a Saxon diplomat (1735-1752), director of the royal picture collection in Dresden (1763-1780), and himself a collector of German painting. Contained in his 'Lettre' is a discussion of the pictures in his own gallery, and the prospects for their sale en-bloc. 1 Hagedorn's friend and collaborator, the painter Janneck, is mistaken as author of the 'Lettre' by some cataloguers. [img-3376-left-large_default] The frontispiece depicts a young woman conversing with two amateurs about a painting of Leda and the swan that sits on the easel before them; it is a rare instance of a woman shown as interlocutor in a serious aesthetic debate. 2 The print was engraved by Pierre-Jules Hutin (c. 1723/4-1763), a nephew of the Dresden court painter Louis de Silvestre, who worked as designer for the Sèvres porcelain factory at Dresden, and from 1753-1757 was employed engraving the paintings in the Dresden gallery. 3 references Leopoldo Cicognara, Catalogo ragionato dei libri d'arte e d'antichità posseduti dal Conte Cicognara (reprint Bologna 1979), no. 1162; Julius Schlosser-Magnino, La Letteratura artistica (reprint Florence 1986), p.677 1. There is a large literature on Hagedorn and his contribution to German art literature of the Enlightenment; see particularly Pascal Griener, 'La connoisseurship européenne au service de la création artistique allemande: les Lettres de Christian Ludwig von Hagedorn (1755)' in Théorie des arts et création artistique dans l'Europe du Nord du xvi e au début du xviii e siècle: actes du colloque international organisé les 14 et 16 décembre 2000 à l'Université Charles-de-Gaulle - Lille 3, edited by Michèle-Caroline Heck, Frédérique Lemerle and Yves Pauwels (Villeneuve d'Ascq 2002), pp.333-354; Pascal Griener, La République de l'oeil: l'expérience de l'art au siècle des Lumières (Paris 2010), pp.107-115; Roland Kanz, 'Christian Ludwig von Hagedorn als Kunsttheoretiker der Aufklärung' in Das achtzehnte Jahrhundert: Zeitschrift der Deutschen Gesellschaft für die Erforschung des Achtzehnten Jahrhunderts 37 (2013), pp.251-261. 2. Melissa Lee Hyde, Making up the rococo: François Boucher and his critics (Los Angeles 2006), p.68. 3. Bibliothèque nationale, Inventaire du fonds français: Graveurs du xviii e siècle, xi (Paris 1970), pp.554-555, no. 7. An impression featured in the recent exhibition by P. & D. Colnaghi & Co. in association with Emanuel von Baeyer, The artist in art: 26th November 2007-1st February 2008 (London 2007), no. 33 and Pl. 13 ( catalogue ).

      [Bookseller: Robin Halwas | Rare Books]
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        Letters On the English nation: By Batista Angeloni, A Jesuit, Who resided many years in London.

      Translated from the Original Italian, By the Author of the Marriage Act a Novel. Vol. I [II].London: Printed in the Year 1755. Two vols. bound in one, Demy 8vo (not watermarked); half-titles not called for; list of Errata to both volumes on A4v of volume two (eight and eleven entries); binder's blank at front and back; pp.lx+[iv]+228; [viii]+296; A, b - d, B - I, K - P8, Q2; A4, B - I, K - T8, U4; contemporary speckled calf, spine with five bands raised over the cords, elaborately tooled gilt in compartments and on bands, lettered direct; sides ruled gilt, edges tooled blind; edges burnished light brown. Joints partially cracked (but firm), top of spine slightly worn; a very little scattered light foxing or spotting; unobtrusive contemporary ownership inscription on first title-page; otherwise a very nice copy with good margins. An epistolary novel, published pseudonymously, as allegedly written by an Anglicised Italian Jesuit, "whose long residence in England and analytical nature had endowed him with the insight and neutrality to develop a sweeping analysis of the decline of the English constitution, morals, manners, and culture under the corrupt rule of the Whigs. The selection of a Jesuit as a narrative persona encouraged allegations that Shebbeare was a Jacobite at heart, prompting the Whig antiquary Thomas Birch to revile the Letters as 'a Book, which an Englishman and a Protestant must detest.'" -- M. John Cardwell, DNB.. Although Shebbeare began adult life as a physician and chemist, in the 1740s he became closely involved in politics, and in 1754 embarked on a career as a writer. His first novel, The Marriage Act, was prompted by his objection to a passage in the 1753 Marriage Act. His growing engagement with politics during the 1750s was emphasised by publication of the present novel. Aspects of English life observed by Shebbeare include the cleanliness of English and French women compared, Welsh customs, academies of painting and sculpture, the effects of printing, English taste in architecture, theatrical writers, David Garrick, etc. It was this book that allowed Boswell to profess that Shebbeare deserved respect in London's literary circles after he was imprisoned for his political writings. ESTC T88373; NCBEL, 2:998; Sabin 80053; Black, Epistolary novel, 727. All books listed by Robert Temple are first editions unless otherwise stated.

      [Bookseller: Robert Temple Booksellers]
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        Southeastern North America] Carolinae Floridae nec non Insularum Bahamensium cum partibus adjacendibus delineato ad exemplar Londinense in lucem edita a., Seligmann

      Seligmann, Nuremberg 1755 - Copper-engraved map, with full original colour, in good condition apart from one large expertly repaired tear and a number of small repaired tears to old folds. A fine copy of the first and only continental edition of one of the finest and most important maps of the region The English edition of this map (first published in vol.II of Mark Catesby's Natural History of South Carolina, and the Bahama Islands , London, 1743) is now virtually unobtainable. This has greatly increased the desirability of this fine continental version, which is itself quite scarce. Seligmann's Sammlung verschiedener auslaendischer und seltener Vögel was published in 9 parts between 1749 and 1776,and included a German translation of Catesby's work with re-engraved versions of his images, including the present map. Catesby's work was the first natural history of American flora and fauna. The Catesby scholar, G.F. Frick calls this map 'a good representation of the better English ideas about the geography of North America' in the period. It is not generally recognized that the English version of this map appeared in two states. On the first state of 1743, the territory on both sides of the Mississippi was coloured green, to indicate that the entire region was in the hands of the French. A second state was included in the third edition of the Natural History in 1771, altered to show the political realignment brought about by the Treaty of Paris in 1763. The territory on the east bank of the Mississippi, which had been acquired by Britain, was now coloured green; the territory to the West, which now belonged to Spain, was coloured blue. The present German edition corresponds with the English first state. The map shows the Southeastern United States as far west as the Mississippi River, plus the nearby Caribbean islands of the Bahamas, Cuba, Jamaica, and Hispaniola Cf. Cumming Southeast (1998 ed.), entries 210 & 292.

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Collezione di tiramenti rari di celebrate statue antiche 1755

      Rome, c. 1755-1765. A series of forty-four large chalk drawings (circa 482/525 × 345/360 mm) of exemplary antique statues in Rome, perhaps executed for an English patron, or with a view toward eventual publication in England, as they are scaled in both English piedi and Roman palmi. Nicolas Mosman is known chiefly by a set of drawings of paintings in Roman collections, produced between 1764 and 1787 for Brownlow Cecil, 9th Earl of Exeter. In Rome, Mosman was linked socially and professionally with the painter Mengs, the archaeologist Winckelmann, the painter-dealer Thomas Jenkins, and the restorer Bartolomeo Cavaceppi. His selection of sculpture reflects the revaluation of antique sculpture then being undertaken by Mengs and Winckelmann, and the commercial transactions of Jenkins and Cavaceppi. In addition to the narrow canon of masterpieces established by Mengs, Mosman documents recent additions to the Capitoline collection (purchases by Clement XII from the Albani and Odescalchi collections, and by Benedict XIV from the D'Este collection and from digger-dealers), and sculptures within the Barberini, Borghese, Casali, Farnese, Giustiniani, Ludovisi, Medici, Pighini, Spada, and Verospi family collections recently lauded by Winckelmann. Four drawings depict antique sculptures restored by Bartolomeo Cavaceppi and introduced onto the market in 1754/1755, 1764, 1766/1768 respectively; another two are of modern sculptures: a bronze statue of Mercury by Guglielmo della Porta in the Palazzo Farnese and a marble statue of Santa Susanna by François Duquesnoy in S. Maria di Loreto. The drawings were mounted on album leaves in the nineteenth century, when a title-leaf and a contents-leaf were supplied, and the sheets numbered sequentially in ink. The date "1755" in the title perhaps was found on a portfolio that previously held the loose sheets; it could be the date of the earliest drawing, made soon after Mosman's arrival in Rome. [img-2907-left-large_default] Fig. 1 'Nettuno di Cavaceppi' (15), a statue purchased in 1764 by Carlos iii of Spain Mosman, Nicolas Haroué (France) 1727 - 1787 Rome Collezione di tiramenti rari di celebrate statue antiche 1755 [Rome, circa 1755-1765] folio (585 × 445 mm), (46) ff., comprising (1) calligraphic title (transcribed above), (2) calligraphic 'Catalogo dei tiramenti', written in two columns (44 items), (3-46) 44 drawings (each circa 515 × 345 mm), executed in pencil and grey chalk (except nos. 42-44, in pencil and red chalk), of which three signed by Mosman (nos. 13, 28, 33), numbered by a later hand in brown ink at bottom of each sheet. All sheets are laid to album leaves of brown wove paper. provenance Elizabeth Katharine Theresa Hickes (1846-1923), daughter of Charles Robert Hickes (d. 1894), Barrister of the Middle Temple, and granddaughter of Charles Hickes frcs (1762-1840), physician of Bath, 'Beckford's doctor' 1  -- Bath Public Reference Library, printed exlibris, annotated in ink: [Presented by] Miss K. Hickes | 1925; librarian's inscription on pastedown: Access. No. 26287 | Clas 732 (743) | Loc. Print case. Library blind stamp in blank area of each sheet -- Bonhams, 'Fine Books and Manuscripts', London, 24 June 2015, lot 111 Occasional light foxing; old lateral fold (sheet 31). binding English morocco binding of circa 1870, elaborately decorated in gilt, gilt catches and clasps (key missing), page edges gilt. A series of drawings of the most beautiful and famous statues in Rome, created by a Franco-German artist, perhaps for an English patron, or with a view toward eventual publication in England, since the draughtsman has supplied a scale calibrated in both English piedi and Roman palmi. Nicolas Mosman (variously Nicolaus Mosman, Nikolaus Mosmann, Nicola Mosman) is known chiefly for a long series of drawings reproducing celebrated paintings (and some sculpture) in Roman collections, which he produced between 1764 and 1787 for Brownlow Cecil, 9th Earl of Exeter. 2 Those drawings are said to have been intended for a 'reference book of 250 paintings by Italian masters planned by Lord Exeter'. 3 Our drawings of exemplary statues perhaps were made for a related project, a volume of ancient and modern sculpture for the edification of Englishmen of taste; or they might be souvenirs of a Roman sojourn, commissioned by another English tourist, or 'paper tools' made for commercial transactions of Rome-based dealers. 4 Since all the drawings depict the complete statue, rather than details, and are highly finished, it is less likely that they are study sheets, derived from a sketchbook of Mosman. [img-2912-left-large_default] Fig. 2 Title-leaf, dated 1755 [img-2916-left-large_default] Fig. 3 Contents-leaf There are forty-four drawings in the album, of which forty-one were executed by Mosman in pencil and black chalk (his preferred medium in the Exeter albums), and three in red chalk. The drawings are of near-uniform size (482/525 × 345/360 mm); each is enclosed by a ruled frame, most have a caption and scale beneath. Three drawings are signed by Mosman in pencil (nos. 13, 28, 33). The drawings were mounted on album leaves in the nineteenth century, when a title-leaf (Fig. 2) and a contents-leaf (Fig. 3) were supplied, and the sheets numbered sequentially in ink. The date '1755' in the title perhaps was found on a portfolio that previously held the loose sheets; it could be the date of the earliest drawing, made soon after Mosman's arrival in Rome. In Rome, Mosman was linked socially and professionally with the painter Anton Raphael Mengs (1728-1779) and certain of his Germanic pupils, with the connoisseur Johann Joachim Winckelmann (1717-1768), the painter-dealer Thomas Jenkins (c. 1722-1798), the architect-dealer James Byres of Tonley (1734-1817), and the restorer Bartolomeo Cavaceppi (c. 1716-1779). The nexus of these relationships was possibly Mengs' house in the Via Sistina (latterly in the Via Vittori, beneath the Spanish Steps), where Mengs operated a studio, school, and salon. Although Mosman is presumed to have been a pupil of Mengs, evidence of that relationship has yet to emerge. He certainly was among the many artists clustered around Mengs and a frequent visitor to Mengs' studio, since fourteen drawings in the series he produced for the Earl of Exeter reproduce paintings by Mengs, several recording an intermediate state of completion. 5 A number of those paintings were owned by Thomas Jenkins, with whom Mosman was also in close contact. He drew two paintings by Jenkins himself and numerous paintings by Italian and other masters which passed through Jenkins' hands, including his own portrait, painted by Mengs' studio-manager, Anton von Maron (1733-1808). 6 Remittances from Lord Exeter to Mosman sometimes were routed through Jenkins, who also dispatched Mosman's drawings to England, and after Mosman's death disbursed on behalf of Lord Exeter a pension paid to his widow. 7 Jenkins first met Winckelmann about 1763. As the archaeologist was readying for publication his Geschichte der Kunst des Altertums (published in 1764), Jenkins offered to help find a sponsor for its illustrations. 8 Mosman probably was introduced to Winckelmann by Jenkins at this time. A relief in the Albani collection, 9 where Winckelmann was librarian, was drawn and engraved by Mosman; intended originally for the title-page, it was deployed instead as a head-piece (Fig. 9; image ). 10 Mosman later drew for Winckelmann the famous bas-relief of Antinous which had been excavated in 1735 at Hadrian's Villa, and taken afterwards to the Villa Albani; that drawing, engraved by Niccolò Mogalli, was utilised for Winckelmann's Monumenti antichi inediti published in 1767 (Fig. 8; image ). 11 It is speculated that Mosman supplied drawings for numerous unsigned plates in the same book, and perhaps made drawings for the projected third volume. 12 [img-2908-left-large_default] Fig. 4 'Faone di Campidoglio' (44), restored by Cavaceppi and Clemente Bianchi, 1744-1746 [img-2918-left-large_default] Fig. 5 'Mercurio' (8), purchased by Wilhelmine, Markgräfin von Bayreuth, 1754-1755 Although Mosman's selection of antique statues is quite broad, it reflects the revaluation of Greco-Roman sculpture then being undertaken by Mengs and Winckelmann. 13 Mosman does not limit himself to the traditional masterpieces concentrated in the Vatican Belvedere. 14 Eleven drawings document recent additions to the Capitoline collection: five are of statues purchased 1733-1737 by Clement xii from the Albani and Odescalchi collections; six depict purchases made 1744-1753 by Benedict xiv from the D'Este collection, and from the digger-dealers Liborio Michilli and Giuseppe Alessandro Furietti. 15 Other drawings record sculpture then within the Barberini, 16 Borghese, 17 Casali, 18 Farnese, 19 Giustiniani, 20 Ludovisi, 21 Medici, 22 Pighini, 23 Spada, 24 and Verospi 25 family collections. Two drawings are of modern sculptures: a bronze statue of Mercury by Guglielmo della Porta (c. 1500-1577), in the Palazzo Farnese (drawing 7); and a marble statue of Santa Susanna by Francois Duquesnoy (1597-1643), in the Roman church of S. Maria di Loreto (drawing 43). Four of Mosman's drawings depict antique sculptures restored by Bartolomeo Cavaceppi. One (sheet 44; Fig. 4) represents the Faun of rosso antico discovered by Furietti in 1736, restored by Cavaceppi and Clemente Bianchi in 1744-1746, and in the latter year installed in the Capitoline Museum; the other three (drawings 8, 15, 20) depict restored sculptures introduced onto the market in 1754/1755, 1764, 1766/1768 respectively. The first of these (sheet 8, 'Mercurio'; Fig. 5) records a statue purchased by Wilhelmine, Markgräfin von Bayreuth, in Rome, between 5 October 1754 and 9 August 1755; it potentially is the earliest drawing in our album. 26 The second (sheet 15, 'Nettuno di Cavaceppi'; Fig. 1) records a statue purchased in 1764 by Camillo Paderni for Carlos iii of Spain. 27 The last (sheet 20, 'Baccho di Cavaceppi'; Fig. 6) is of particular interest, as it records an intermediate stage in the restoration process: the headless torso, discovered in the Tiber about 1760, is already supplied with a head, but it still lacks both arms and the head of a snake, which were added before the sculpture entered the Prussian royal collection in 1766-1768. 28 Five of the statues recorded by Mosman were not located in Rome. 29 The sculptural group identified by Mosman as 'Castor e Polluce in Spagna' (sheet 34; Fig. 7) had been sold in 1724 by the Odescalchi to Philip v of Spain, and taken to La Granja de San Ildefonso. A plaster cast of the pair remained in Rome, in the French Academy, and Mosman may have drawn it (or another replica). Likewise, four statues identified in their captions as 'di Firenze' (drawings 6, 26, 39, 42) presumably are copies of the originals, all sent to Florence by the Medici about 1677, and installed in the Tribuna of the Uffizi. It may be no coincidence that Mengs owned plaster replicas of these four statues. 30 [img-2910-left-large_default] Fig. 6 'Baccho di Cavaceppi' (20), sold to Friedrich ii of Prussia in 1766-1768 [img-2911-left-large_default] Fig. 7 'Castor e Polluce in Spagna' (34), a marble group sold in 1724 to Philip V of Spain. Mosman could be recording a cast made 1687-1706 which was kept in the French Academy in Rome. About half of the statues drawn by Mosman had featured in Paolo Alessandro Maffei's folio anthology of the most highly esteemed statues in Rome, published in 1704, 31 however a careful comparison excludes the possibility that Mosman copied the prints. Other statues drawn by Mosman appear in Giovanni Gaetano Bottari's illustrated catalogue of the Capitoline collection, published 1750-1755. 32 Mosman's viewpoints are again different, and it is obvious that he has not utilised Bottari's work. Nicolas Mosman Nicolas Mosman was born at Haroué, Meurthe-et-Moselle (diocese of Toul), on 3 June 1729. 33 According to depositions he gave in Rome in 1765 and 1775, he lived from 1745 until 1754 or 1755 in Vienna, associating there with the painters Anton von Maron and Christoph Unterberger (1732-1798). It could be that Mosman served his apprenticeship beside Maron, or studied in the Akademie der bildenden Künste with Unterberger. In the earlier deposition, Mosman stated 'venni in Roma l'anno 1754, e non sono più partito'; in the latter, he declares that he remained in Vienna 'fin a maggio 1755 che venni in Roma, da dove poi non sono più partito'. 34 Since Maron and Unterberger are first recorded in Rome about this time, the three artists possibly travelled to Italy together. At the time of their arrival in Rome, the studio in the Via Sistina of Anton Raphael Mengs was a magnet for young foreign artists. Anton von Maron soon became Mengs' pupil and lodger, and in 1765 his brother-in-law. 35 Although Mosman and Unterberger likewise befriended and fell under the influence of Mengs, it is not certain that they became pupils. 36 [img-2921-left-large_default] Fig. 8 Comparative illustration Bas-relief of Antinous in the Villa Albani, drawn by Mosman and engraved by Niccolò Mogalli, for J.J. Winckelmann, Monumenti antichi inediti (Rome 1767), i, pl. 180 (image source) [img-2922-left-large_default] Fig. 9 Comparative illustration Relief depicting Leto, Artemis and Apollo, drawn and engraved by Mosman, for J.J. Winckelmann, Geschichte der Kunst des Alterthums (Dresden 1764), p.ix (image source) The copying of antique sculpture was then considered an essential part of the formation of an artist. The Accademia di San Luca held competitions for aspiring artists in which contestants were divided in three classes, those in the 'Terza classa' usually submitting finished drawings of a designated antique sculpture. The work selected in 1758 was 'la statua del Gladiatore moribondo situate nel Museo Capitolino'; in the next competition, in 1762, it was 'Amore e Psiche che sta nel Museo Capitolino'; in 1766, 'il Gladiatore che combatte dell'eccellentissima Casa Borghese'; in 1771, 'la statua d'Apollo di Villa Medici'; and in 1775, 'la statua dell'Apollo di Belvedere'. All these sculptures were drawn by Mosman (sheets 25, 16, 24, 14, 33), however there is no evidence that he entered the competitions. 37 By 1760, Mosman and Unterberger were sharing lodgings in the parish of S. Andrea delle Fratte, together with the Viennese painter Martin Knoller (1725-1804), and Friedrich Anders (c. 1734/1736- c. 1797) of Dresden, a former lodger in Mengs' house. 38 When in 1767 Mosman married Angela Balduzzi (Baldassi), 39 he moved to via dei Greci in the parish of S. Lorenzo in Lucina. Old friendships were sustained: Maron witnessed the baptism of the first of Mosman's seven children, Anna Maria; in 1768; both Maron and Mosman were witnesses at the wedding of Unterberger, in 1775. 40 According to the sculptor Joseph Nollekens, Mosman and Brownlow Cecil, 9th Earl of Exeter (1725-1793) met for the first time in a Roman church, where Mosman 'in the dress of a common soldier' was 'making a most elaborate drawing from one of the altar-pieces'. 41 Nollekens does not date this meeting, however it must have occurred during the ninth Earl's first visit to Rome, between 7 May and 5 June 1764; 42 it could be that Mosman's livelihood already was dependant on copying Old Masters for tourists. On 27 September 1764, the artist James Martin met Mosman in the Palazzo Barberini where he was 'taking a Drawing of the famous Magdalen of Guido for Lord Exeter'. 43 By 1772, Mosman was working primarily, if not exclusively for Lord Exeter. 44 Lord Exeter had travelled to Italy with the intention of acquiring works of art to refurbish his seat in Lincolnshire. There was a strong tradition of collecting in the family and Burghley House was adorned by many important works of art, most acquisitions made in Italy by the fifth Earl. 45 Among the paintings acquired in 1764, the most notable were Poussin's Assumption of the Virgin (acquired from Niccolò Soderini via James Byres) and Gavin Hamilton's Hebe (acquired direct from the painter). When Lord Exeter returned to Rome four years later (October 1768-April 1769), he was advised by both Jenkins and Byres, bought and commissioned more paintings, and 'also acquired antique sculpture, a chimney-piece by Piranesi, and marble table tops, and he built up a fine collection of books and prints relating to Italy and the grand tour'. 46 Few details can be gathered about Lord Exeter's taste for sculpture and decoration. 47 At the Richard Mead sale, in 1755, he had purchased for £136 10s the bronze head of Homer from the Arundel collection, which he presented a few years later to the British Museum, 48 and a 1st-2nd century style alabaster draped female torso, referred to as the Empress Livia, wife of Augustus (Burghley House). 49 On his initial visit to Italy, in 1764, he met in Rome the young sculptor Nollekens, then working in the studio of Cavaceppi, and dealing in antique sculpture, sometimes in partnership with Jenkins. Lord Exeter purchased at least two works from Nollekens: his copy of the Rondanini Medusa, 50 and his Boy on a dolphin (copy of a Cavaceppi pastiche). 51 An interest in antique sculpture is suggested by Lord Exeter's acquisition of a black chalk drawing by Giovanni Battista Casanova of the Laocoon group in the Vatican. 52 In Naples, he purchased three tables with tops inlaid with various sorts of lava from Mount Vesuvius (one was given in 1764 to the British Museum, the other two are at Burghley House). 53 On his second visit to Italy, in 1768-1769, Lord Exeter acquired from uncertain sources a fragment of a wall painting with a head of Cupid in moulded stucco (later given to the British Museum), 54 copies of two antique statues by Joseph Claus (fl. Rome 1754-1783), 55 a copy of the Laocoon, an antique head of Niobe (later given to Lord Yarborough), 56 and an antique statue of Bacchus. 57 Further purchases were made from Nollekens: a Venus and Cupid riding a Dolphin, Daedalus and Icarus, Nollekens' version of the Uffizi Niobe and her children, and several portrait busts. 58 Byres and Jenkins supplied cameos by Johann Friedrich Reiffenstein (1719-1793), 59 a chimney-piece with rosso antico panels by G.B. Piranesi, 60 and important furniture, including tables with mosaic tops by Cesare Aguatti (active 1774-1780). 61 In addition to drawings of paintings by Italian and other masters, Mosman produced black chalk drawings for Lord Exeter of antique and modern sculpture. Included in the aforementioned albums in the British Museum are fifteen drawings of sculpture: a mixture of famous statues, 62 sculpture newly installed in the Capitoline Museum, 63 a single bronze statue, 64 and esoteric objects: a sardonyx cameo from the Strozzi collection, 65 a bust of Clement xiv, by the Irish sculptor Christopher Hewetson, drawn in 1771 or 1772, 66 and a 'Statue of a faun sleeping, after the antique... From an antique Statue in the Possession of Sir Henry Mainwaring Bart.' 67 Three drawings in the British Museum albums depict sculptures found in our album (Farnese Hercules, Farnese Flora, and Borghese Gladiator). The drawings of full-length statues are similar in size to those in our album; none of the British Museum drawings is inscribed with a scale. Jenkins served as banker to Lord Exeter and was charged with disbursing Mosman's salary. 68 His oversight of Mosman evidently involved selecting works of art for reproduction. Although a capable draughtsman himself, 69 Jenkins instructed Mosman to draw his own paintings, 70 and to draw objects which he wished to sell to his clients. Among the Mosman drawings in the Exeter albums in the British Museum are some thirty sheets with inscriptions recording Jenkins as the owner (or seller) of the painting depicted (all of these drawings reproduce paintings). 71 At later dates, Jenkins' favoured draughtsmen for sculpture were the painter and picture restorer Friedrich Anders, Mosman's former housemate in the Via Sistina (1760-1763), and then, in the 1780s, Vincenzo Dolcibene, whose style 'gives more the character of the antique than any I have hitherto seen'. 72 Mosman continued working for Jenkins and Lord Exeter until the end of his life. In September 1786, about a year before his death (12 August 1787), Jenkins dispatched to Lord Exeter 'a Tin case with five drawings by Mr Mosman', 73 among them a copy of Tommaso Manzuoli's 'The Visitation', an altarpiece which had been acquired by Jenkins in 1786, and was offered to Lord Exeter for £400. Although Mosman's labour over twenty years had cost an enormous sum - £2000, Lord Exeter reckoned 74 - the long series of his drawings was presented by Lord Exeter to the British Museum, on 2 January 1789. If Lord Exeter had once intended to capitalise on his investment by producing a set of engravings from Mosman's drawings, the project never came to fruition. Apart from Lord Exeter, Mosman is known to have produced drawings for one other individual: John Stuart, 3rd Earl of Bute (1713-1792). On his second visit to Rome, in March 1769, Lord Exeter found himself in the company of Lord Bute, and agreed that Mosman should copy for him two engraved gems by Giovanni Pichler, 'the Agrippina and Gypsy'. 75 The transaction involved Jenkins' rival, James Byres, and Mosman's drawings were delivered after long delay (probably engineered by Jenkins, to stall Byres' business dealings). Three years later, Byres lamented to Lord Exeter that Mosman 'has done nothing for me since the two figures You gave him have to do for Lord Bute'. 76 It is possible that drawings by Mosman can be discovered among the many anonymous sheets in the Townley collection at the British Museum. Four unattributed drawings in that collection executed in black chalk have Mosman's characteristic framing lines. 77 The drawings depict portrait busts or marble heads which had entered the Capitoline museum with the purchase of the Albani collection, in 1733 (B131, B147, B149, C15); numerous objects of this provenance were drawn by Mosman. Charles Townley (1737-1805) made the first visit of his three visits to Italy in 1768 and there began to assemble drawings of sculpture for comparison with objects in his own collection. Jenkins acted as his agent for over thirty years and is the likely supplier of these four drawings. [img-2913-left-large_default] Bibliography Amelung (1903-1908)Walther Amelung, Die Sculpturen des Vaticanischen Museums (Berlin 1903-1908) Bober & Rubinstein (1986)Phyllis Pray Bober and Ruth Rubinstein, Renaissance artists & antique sculpture: a handbook of sources (London & Oxford 1986) Bottari (1750)Giovanni Gaetano Bottari, Musei Capitolini Tomus Primus (Rome 1750) Bottari (1755)Giovanni Gaetano Bottari, Musei Capitolini Tomus Tertius continens Deorum simulacra aliaque signa cum animadversionibus (Rome 1755) Catalogo del Museo Archeologico Nazionale di Napoli (1989) Le collezioni del Museo Nazionale di Napoli, [2]: La scultura greco-romana, le sculture antiche della collezione Farnese, le collezione monetali, le oreficerie, la collezione glittica, edited by Renata Cantilena (Rome & Milan 1989) Cavaceppi (1768)Bartolomeo Cavaceppi, Raccolta d'antiche statue busti bassirilievi ed altre sculture restaurate da Bartolomeo Cavaceppi scultore romano. Volume primo (Rome 1768) Fendt (2012)Astrid Fendt, Archäologie und Restaurierung: die Skulpturenergänzungen in der Berliner Antikensammlung des 19. Jahrhunderts (Berlin 2012) Gasparri (2007) Le sculture farnese: storia e documenti, edited by Carlo Gasparri (Naples 2007) Gori (1734)Anton Francesco Gori, Statuae antiquae in Thesauro Mediceo (Florence 1734) Haskell & Penny (1981)Francis Haskell and Nicholas Penny, Taste and the Antique: the Lure of Classical Sculpture 1500-1900 (New Haven & London 1981) Kalveram (1995)Katrin Kalveram, Die Antikensammlung des Kardinals Scipione Borghese (Worms 1995) Maffei (1704)Paolo Alessandro Maffei, Raccolta di statue antiche e moderne (Rome 1704) MagnanDominique Magnan, Elegantiores Statuae Antiquae (Rome 1776) Mansuelli (1958-1961)Guido A. Mansuelli, Galleria degli Uffizi. Le sculture (Roma 1958-1961) Michel (1996)Olivier Michel, Vivre et peindre à Rome au XVIIIe siècle, Collection de l'Ecole française de Rome, 217 (Rome 1996) Roettgen (1993)Steffi Roettgen, Anton Raphael Mengs, 1728-1779, and his British patrons, catalogue of exhibition held at the Iveagh Bequest, Kenwood, 16 June-12 September 1993 (London 1993) Stuart Jones (1912)Henry Stuart Jones, A catalogue of the ancient sculptures preserved in the municipal collections of Rome. [Vol.1] The sculptures of the Museo Capitolino (Oxford 1912) Valeriani (1998)Roberto Valeriani, 'Reiffenstein, Piranesi e i fornitori romani del Conte di Exeter' in Antologia di Belle Arti: Studi sul Settecento [1], nos. 55-58 (1998), pp.145-154 Winckelmann (1756)Johann Joachim Winckelmann, Schriften und Nachlass: Bd. 5,1: Ville e palazzi di Roma: Antiken in den römischen Sammlungen: Text und Kommentar, by Sascha Kansteiner, Brigitte Kuhn-Forte and Max Kunze (Mainz 2003) List of drawings [img-2924-left-large_default] ■ 1 Legend Iside di Campidoglio, drawing (517 ×345 mm), scale in palmi Romani and piedi Inglesi. Numbered 1 Roman marble statue of Isis, 117-138 ad, 180 cm. Discovered at Hadrian's Villa, Tivoli; documented in the possession of Girolamo Lotteri, by 1704; ex-Villa Albani, Rome; purchased in 1733 by Clement xii for the Capitoline Museum (Albani Inventory, C25). Winckelmann (1756), p.316 (91, 16-17) Present location: Rome, Musei Capitolini, Inv. no. 744 ( image , image ). Stuart Jones (1912), p.354 no. 15 (pl. 88) Reproduced by Maffei (1704), pl. 143 (plate legend Statva d'Iside in casa di Girolamo Lotteri; image); Bottari (1755), pl. 73 ( image ) [img-2925-left-large_default] Comparative illustration Maffei (1704) pl. 143 (image source) [img-2926-left-large_default] Comparative illustration Bottari (1755), pl. 73 (image source) [img-2927-left-large_default] ■ 2 Legend Minerva di Giustinianiani, drawing (492 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 2 Roman marble copy of a Greek statue of Pallas Athena, 138-193 ad, 228 cm. Ex-Giustiniani collection, Rome; bought by Lucien Bonaparte c. 1804. Haskell & Penny (1981), pp.269-271 no. 63. Laura Buccino, 'Statua di Athena da un originale tardoclassico, cosiddetta Minerva Giustiniani' in I Giustiniani e l'antico, catalogue of an exhibition held at Palazzo Fontana di Trevi, Rome, 26 October 2001-27 January 2002, edited by Giulia Fusconi (Rome 2001), pp.183-186. Winckelmann (1756), p.354 (120, 23-32) Present location: Rome, Musei Vaticani, Braccio Nuovo Nr. 111, Inv. no. 2223 ( image ). Amelung (1903-1908), i, pp.138-143 no. 114 Mosman's drawing depicts four fingers on the hand holding the shawl. Reproduced in Galleria Giustiniana del Marchese Vincenzo Giustiniani (Rome 1631-1637), pl. 3 ( image ); François Perrier, Icones et segmenta nobilium signorum et statuarum quæ Romæ extant, delineata atque in ære inciso (Paris 1638), pl. 54 ( image ) [img-2928-left-large_default] Comparative illustration Galleria Giustiniana (1631-1637), pl. 3 (image source) [img-2929-left-large_default] ■ 3 Legend Giove a Villa Giustiniani, drawing (513 × 360 mm), scale in palmi Romani and piedi Inglesi. Numbered 3 Roman marble statue of Jupiter Tonans. Friedrich Matz, Antike bildwerke in Rom mit Ausschluss der grösseren Sammlungen, edited by Friedrich Karl von Duhn (Leipzig 1881), i, p.3. Angela Gallottini, Le sculture della collezione Giustiniani (Rome 1998), i, p.115 no. 1707 (1638 inventory); p.202 no. 56 (1684 inventory, then situated in the garden of S. Giovanni in Laterano: 'una statua antica di un Giove antico ristorata alta palmi quindeci incirca'); p.258 no. 738 (1793 inventory, by Vincenzo Pacetti: 'Nell'arcone in mezzo detta prospettiva vi è collocata sopra piedistallo una statua colossale, rapp.te un Giove con il braccio destro alzato, tenendo nella mano il fulmine ed il braccio sinistro posato sul fianco, metà panneggiato e metà nuda'). Winckelmann (1756), p.211 (22, 26-27) Location unknown; perhaps the statue (330 cm) offered by Robilant+Voena / Il Quadrifoglio at the Biennale internazionale di Antiquariato di Roma, Palazzo Venezia, 1-6 October 2014 ( image , image ) Reproduced in Galleria Giustiniana del Marchese Vincenzo Giustiniani (Rome 1631-1637), pl. 105 ( image ) [img-2930-left-large_default] Comparative illustration Robilant+Voena / Il Quadrifoglio (image source) [img-2931-left-large_default] Comparative illustration Galleria Giustiniana (1631-1637), pl. 105 (image source) [img-2932-left-large_default] ■ 4 Legend Giove di Verospi, drawing (482 × 345 mm), scale in palmi Romani and piedi Inglesi. Numbered 4 Roman marble copy of a Greek statue of Jupiter, 200-300 ad, 230 cm. Ex-Palazzo Verospi, Rome (c. 1680-1771); bought in December 1771 for Clement xiv. Pierluigi Lotti, 'Alcune note su Palazzo Verospi' in Alma Roma 3 (September-December 2000), pp.201-232 (p.214) Present location: Rome, Musei Vaticani, Inv. no. 671 ( image ). Amelung (1903-1908), ii, pp.519-520 no. 326 (pl. 73) Reproduced by Maffei (1704), pl. 135 (image) [img-2933-left-large_default] Comparative illustration Maffei (1704) pl. 135 (image source) [img-2934-left-large_default] ■ 5 Legend Venere di Farnese, drawing (490 × 355 mm), scale in palmi Romani and piedi Inglesi. Numbered 5 Marble statue also known as 'Afrodite Callipige', a restored copy of a Hellenistic original, 1st century bc, 152 cm. Ex-Farnese collection, Rome (acquired c. 1593); moved by the Bourbons from Rome to Naples c. 1792. Haskell & Penny (1981), pp.316-318 no. 83.Gasparri (2007), p.162 no. 12 ('Catalogo dei disegni e delle stampe delle sculture della collezione farnese'). Winckelmann (1756), pp.280-281 (67, 225) Present location: Naples, Museo Nazionale, Inv. no. 6020 ( image ). Catalogo del Museo Archeologico Nazionale di Napoli (1989), p.156 no. 18 Reproduced by Maffei (1704), pl. 55 (plate legend Venere uscita dal bagno in atto d'asciugarsi Nel Palazzo Farnese; image) [img-2935-left-large_default] Comparative illustration Maffei (1704) pl. 55 (image source) [img-2936-left-large_default] ■ 6 Legend Venere di Firenze, drawing (505 × 358 mm), scale in palmi Romani and piedi Inglesi. Numbered 6 Marble statue known as the 'Venus de' Medici', perhaps Athenian and of the 1st century‭ bc, 153 cm. Ex-Villa Medici, Rome; sent to Florence in 1677, by 1688 placed in the Tribuna of the Uffizi. Haskell & Penny (1981), pp.325-328 no. 88 Present location: Florence, Uffizi, Tribuna, Inv. no. 224 ( image ). Mansuelli (1958-1961), i, pp.69-74 no. 45 (pls. 45a-e) Mosman probably has drawn a plaster cast of the original marble. Reproduced by Maffei (1704), pl. 27 (image); Gori (1734), iii, pl. 26 ( image ); compare Cavaceppi (1768), i, pl. 36 (copy supplied to Thomas Anson; image ) [img-2937-left-large_default] Comparative illustration Maffei (1704) pl. 27 (image source) [img-2938-left-large_default] Comparative illustration Gori (1734), iii, pl. 26 (image source) [img-2939-left-large_default] ■ 7 Legend Mercurio di Farnese, drawing (507 × 355 mm), scale in palmi Romani and piedi Inglesi. Numbered 7 Mosman's drawing documents the lost bronze replica by Guglielmo della Porta of the 'Mercurio de Belvedere', an antique marble statue of a youth (155 cm) to which attributes of Mercury had been added during the Renaissance (Haskell & Penny, 1981, pp.266-267 no. 61). After the marble statue was transferred from the courtyard of the Belvedere to Florence, about 1560, it attracted little attention, and Della Porta's bronze cast became more famous. Displayed in the 'sala de' Filosofi' of the Palazzo Farnese in Rome, from 1575, the bronze can be traced through successive Farnese inventories until early in the 19th century (Bertrand Jestaz, 'Copies d'antiques au palais Farnèse: Les fontes de Guglielmo Della Porta' in Mélanges de l'Ecole française de Rome: Italie et Méditerranée 105, 1993, pp.7-48, esp. pp.19-21). Winckelmann (1756), p.278 (66, 20-21) Reproduced by Maffei (1704), pl. 57 (plate legend Statva di bronzo di Mercvrio col pileolo alato, e con foglio nella sinistra, per la rappresentanza che hà d'esser messaggiero delli dei ... Nel Palazzo Farnese; image, image ) [img-2940-left-large_default] Comparative illustration Maffei (1704) pl. 57 (image source) [img-2941-left-large_default] ■ 8 Legend Mercurio, drawing (492 × 350 mm). Numbered 8 Roman marble headless statue, completed with an antique head, 2nd century ad, 153.5 cm. Found at an unknown date; restored by Bartolomeo Cavaceppi before 1754/1755. Purchased in Rome in 1755 from Cavaceppi (or intermediary) by Wilhelmine, Markgräfin von Bayreuth (1709-1758). Fendt (2012), ii, pp.128-132 no. 28 Present location: Berlin, Antikensammlung, Staatliche Museen, 531 ( image ). Saskia Hüneke, Bestandskataloge der Kunstsammlungen Skulpturen: Stiftung Preussische Schlösser und Gärten Berlin Brandenburg. Antiken I: Kurfürstliche und Königliche Erwerbungen für die Schlösser und Gärten in Brandenburg-Preussen vom 17. bis zum 19. Jahrhundert (Berlin 2009), p.362 no. 224 Reproduced by Cavaceppi (1768), pl. 14 (plate legend Mercurio | Or esistente in Germania; image ) [img-2942-left-large_default] Comparative illustration Berlin, Antikensammlung, Sk 531 (image source) [img-2943-left-large_default] Comparative illustration Cavaceppi (1768), pl. 14 (image source) [img-2944-left-large_default] ■ 9 Legend Diana di Campidoglio, drawing (505 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 9 Roman marble statue of Artemis with a hound, from a Greek original, 194 cm. Ex-Villa D'Este, Tivoli (inventory of 1572, no. 27); bought by Benedict xiv in 1753, and presented to the Capitoline Museum. Bottari states that it came from Tivoli as a mezza figura; the head does not belong to the statue. Present location: Rome, Musei Capitolini, Inv. no. 62 ( image ). Stuart Jones (1912), pp.44-45 no. 52 (pl. 6) Reproduced by Bottari (1755), pl. 72 ( image ) [img-2945-left-large_default] Comparative illustration Bottari (1755), pl. 72 (image source) [img-2946-left-large_default] ■ 10 Legend Arpocrate di Campidoglio, drawing (512 × 360 mm), scale in palmi Romani and piedi Inglesi. Numbered 10 Roman marble statue of Harpocrates, 117-138 ad, 158 cm. Found by Liborio Michilli at Hadrian's Villa in 1741; presented by Benedict xiv in 1744 to the Capitoline Museum. Winckelmann (1756), p.374 (133, 9-10) Present location: Rome, Musei Capitolini, Inv. no. 646 ( image ). Stuart Jones (1912), pp.292-293 no. 28 (pl. 71) Reproduced by Bottari (1755), pl. 74 ( image ) [img-2947-left-large_default] Comparative illustration Bottari (1755), pl. 74 (image source) [img-2948-left-large_default] ■ 11 Legend Giunona di Campidoglio, drawing (507 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 11 'Juno Cesi', a copy of a Pergamene statue, 175-150 bc, 228 cm. Ex-Cesi collection (from 1530s, described by Aldrovandi in 1556 as 'una donna Amazona vestita'); ex-Villa Albani, Rome; purchased in 1733 by Clement XII for the Capitoline Museum (Albani Inventory, D1). Haskell & Penny (1981), pp.242-243 no. 51. Bober & Rubinstein (1986), pp.55-56 no. 8. Carlo Pietrangeli, 'Le antichità dei Cesi in Campidoglio' in Bollettino dei Musei Comunali di Roma 3 (1989), pp.51-63 (p.58 and fig. 4) Present location: Rome, Musei Capitolini, Inv. no. 731 ( image ). Stuart Jones (1912), pp.340-341 no. 2 (pl. 85) Reproduced by Maffei (1704), pl. 129 (reversed by the engraver; image); Bottari (1755), pl. 8 ( image ) [img-2949-left-large_default] Comparative illustration Maffei (1704), pl. 129(image source) [img-2950-left-large_default] Comparative illustrations Bottari (1755), pl. 8(image source) [img-2951-left-large_default] ■ 12 Legend Giunona di Villa Borghese, drawing (510 × 355 mm), scale in palmi Romani and piedi Inglesi. Numbered 12 Roman statue of porphyry, marble, and verde antico, known as 'Iuno regina' or 'Orante Borghese', c. 100-200 ad, 204 cm. Ex-Borghese collections (from c. 1610-1808). Kalveram (1995), pp.198-199 no. 76. Winckelmann (1756), p.185 (8, 20-21) The head was replaced in 1780 by the restorer Vincenzo Pacetti. Present location: Paris, Musée du Louvre, Salle A du Manège, Inv. MA 2228 ( image ). Jean Charbonneaux, La sculpture grecque et romaine au Musée du Louvre (Paris 1963), p.101 no. 2226 Reproduced by François Perrier, Segmenta nobilium Signorum et Statuarum, Quae temporis dentem invidium evasere (Rome 1638), pl. 56 ( image ); Bernard de Montfaucon, L'Antiquité expliquée et représentée en figures (Paris 1722), i, pl. 21 ( image ); Jean Barbault, Recueil des divers monumens anciens (Roma 1770), pl. 66 ( image ) [img-2952-left-large_default] Comparative illustration Musée du Louvre, Salle A du Manège, Inv. MA 2228(image source) [img-2953-left-large_default] ■ 13 Legend Herculeo, drawing (494 × 350 mm), signed Nico.us Mosman. dell., scale in palmi Romani (only). Numbered 13 [img-2954-left-large_default] Drawing 13 (detail) Roman marble copy made in the early 3rd century ad, signed: Glykon Athenaios epoiei (made by Glycon of Athens), from an original by Lysippos, 317 cm. Ex-Palazzo Farnese, Rome (c. 1546-ante 1787). Haskell & Penny (1981), pp.229-232 no. 46. Winckelmann (1756), p.275 (64, 6-16). Gasparri (2007), pp.160-162 no. 7 ('Catalogo dei disegni e delle stampe delle sculture della collezione farnese') Present location: Naples, Museo Nazionale, Inv. no. 6001 ( image ). Catalogo del Museo Archeologico Nazionale di Napoli (1989), pp.154-155 no. 10 Reproduced by Maffei (1704), pl. 49 (image) [img-2955-left-large_default] Comparative illustration Maffei (1704), pl. 49(image source) [img-2956-left-large_default] ■ 14 Legend Appollino di Medici, drawing (515 × 355 mm), scale in palmi Romani and piedi Inglesi. Numbered 14 The 'Medici Apollo', a Roman copy of a Hellenistic sculpture, 141 cm. Ex-Villa Medici, Rome; taken to Florence in 1769-1770. Haskell & Penny (1981), pp.146-148 no. 7. Winckelmann (1756), p.299 (81, 32-82, 2) Present location: Florence, Uffizi, Tribuna, Inv. no. 229 ( image ). Mansuelli (Rome 1958-1961), i, pp.74-76 no. 46 (pls. 46a-b) Reproduced by Maffei (1704), pl. 39 (plate legend Apollo ignudo, e con la faretra legata ad un tronco. Negl'orti Medicei; image) [img-2957-left-large_default] Comparative illustration Florence, Uffizi, Tribuna, Inv. no. 229(image source) [img-2958-left-large_default] Comparative illustration Maffei (1704), pl. 39(image source) [img-2959-left-large_default] ■ 15 Legend Nettuno di Cavaceppi, drawing (515 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 15 Roman marble statue of Neptune, c. 130-140 ad, 236 cm. According to Winckelmann, writing in 1764, this 'large and beautiful statue of Neptune... was found at Corinth in Greece a few years ago and is now for sale in Rome' (J.J. Winckelmann, History of the art of antiquity, translated by H.F. Mallgrave, edited by Alex Potts, Los Angeles 2006, p.329). The marble was purchased in 1764 by Camillo Paderni, agent of Carlos iii of Spain; see María del Carmen Alonso Rodríguez, 'La colección de antigüedades comprada por Camillo Paderni en Roma para el rey Carlos iii' in Illuminismo e ilustración: le antichità e i loro protagonisti in Spagna e in Italia nel xviii secolo, edited by Betrice Cacciotti (Rome 2003), pp.29-46 (p.36); Fernández-Miranda y Lozana, Inventarios reales: Carlos iii , 1789-1790 (Madrid 1988), i, p.95 no. 921 Present location: Madrid, Museo Nacional del Prado, E-3. Stephan F. Schröder, Catálogo de la escultura clásica del Museo del Prado (Madrid 2004), ii, pp.417-423 no. 193. Mosman locates this statue in the studio of the restorer Bartolomeo Cavaceppi. [img-2960-left-large_default] Comparative illustration Madrid, Museo Nacional del Prado, E-3(image source) [img-2961-left-large_default] ■ 16 Legend Amore e Siche, drawing 518 × 347 mm, scale in palmi Romani and piedi Inglesi. Numbered 16 Roman marble statue of Eros and Psyche, a copy of the 2nd century ad from a Greek original, 125 cm. Reputedly found on the Aventine Hill near S. Balbina in February 1749; given by Benedict xiv to the Capitoline Museum in that year. Haskell & Penny (1981), pp.189-191 no. 26 Present location: Rome, Musei Capitolini, Inv. no. 408 ( image ). Stuart Jones (1912), pp.185-186 no. 3 (pl. 45) Reproduced by Bottari (1755), pl. 22 ( image ) [img-2962-left-large_default] Comparative illustration Bottari (1755), pl. 22(image source) [img-2963-left-large_default] ■ 17 Legend Amorino di Campidoglio, drawing (495 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 17 Roman marble statue of Eros stringing his bow, a copy of a Greek original of the 4th century bc, 123 cm. Ex-Villa d'Este, Tivoli (inventory 1572, no. 55); bought by Benedict xiv in 1753 for the Capitoline Museum. Bober & Rubinstein (1986), pp.88-89 no. 50 Present location: Rome, Musei Capitolini, Inv. no. 410 ( image ). Stuart Jones (1912), pp.87-88 no. 5 (pl. 18) Reproduced by Bottari (1755), pl. 24 ( image ) [img-2964-left-large_default] Comparative illustration Bottari (1755), pl. 24(image source) [img-2965-left-large_default] ■ 18 Legend Flora di Campidoglio, drawing (510 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 18 Roman marble statue of a girl with a crown of roses, perhaps a copy of a Hellenistic bronze, 168 cm. Found in 1744 by Liborio Michilli at Hadrian's Villa; presented by Benedict xiv to the Capitoline Museum. Present location: Rome, Musei Capitolini, Inv. no. 743 ( image ). Stuart Jones (1912), p.353 no. 14 (pl. 87) Compare Giovanni Domenico Campiglia's drawing for Bottari (Rome, Gabinetto Disegni e Stampe, Fondo Corsini, Inv. no. 128084;image ) Reproduced by Bottari (1755), pl. 45 ( image ); Magnan (1776), pl. 33 ( image ) [img-2966-left-large_default] Comparative illustration Bottari (1755), pl. 45(image source) [img-2967-left-large_default] ■ 19 Legend Marte di Villa Lodovisi, drawing (510 × 355 mm), scale in palmi Romani and piedi Inglesi. Numbered 19 'Mars in Repose', known as the 'Marte Ludovisi', or 'Ares Ludovisi', 138-193 ad, 156 cm. Ex-Ludovisi collections (1622-1901); acquired in 1901 by the Italian State, exhibited until 1997 in the Museo delle Terme, Rome. Haskell & Penny (1981), pp.260-262 no. 58. Winckelmann (1756), p.343 (111, 6-17) Present location: Roma, Palazzo Altemps, Inv. no. 8602 ( image ). Museo Nazionale Romano. Le Sculture [I/5], I marmi Ludovisi, compiled by Beatrice Palma and Lucilla de Lachenal (Rome 1983), pp.115-121 no. 51; Scultura antica in Palazzo Altemps, edited by Matilde De Angelis d'Ossat (Milan 2002), pp.161-165 This drawing is erroneously entered in the album's 'Catalogo dei Tiramenti' as 'Marte - in Villa Casale'. The Cupid seated by the figure's foot (added by Gian Lorenzo Bernini, in 1622) is excluded from the two prints of the statue (by Charles Randon) published in Maffei's anthology. Reproduced by Maffei (1704), pls. 66-67 (image, image) [img-2968-left-large_default] Comparative illustration Maffei (1704), pl. 66(image source) [img-2969-left-large_default] Comparative illustration Maffei (1704), pl. 67(image source) [img-2970-left-large_default] ■ 20 Legend Baccho di Cavaceppi, drawing (505 × 340 mm), scale in palmi Romani and piedi Inglesi. Numbered 20 Roman marble torso of Agathodaemon restored with an unrelated head, as 'Antinous Agathodaemon', 130-138 ad. The torso reputedly was found in the Tiber in 1760 (head found separately); purchased from Giovanni Lodovico Bianconi in 1766-1768 for the Prussian royal collections. Konrad Levezow, Ueber den Antinous dargestellt in den kunstdenkmaelern des alterthums (Berlin 1808), pp.82-84 Present location: Berlin, Antikensammlung, Staatliche Museen, Sk 361( image ). Fendt (2012), ii, pp.166-171 no. 35. Mosman's drawing evidently was made in Bartolomeo Cavaceppi's studio, during restoration: the statue is already supplied with a head; both arms and the head of the snake were added before it was sold. The restored statue was one of twenty-two purchased in 1766-1768 for the Prussian royal collections (nine of the group were restorations by Cavaceppi). Reproduced by Cavaceppi (1768), pl. 24 (plate legend Antinoo | D'eccellente scultura alto palmi undici e mezzo | Or esistente in Germania | presso Sua Maestà Prussiana; image ; also shown on the frontispiece ) [img-2971-left-large_default] Comparative illustration Cavaceppi (1768), pl. 24(image source) [img-2972-left-large_default] ■ 21 Legend Baccho a Villa Casale, drawing (522 × 354 mm), scale in palmi Romani and piedi Inglesi. Numbered 21 Marble statue of Antinous as Dionysos, known as the 'Antinous Casali', 117-138 ad, 235 cm. Found between 1698-1704 in the Garden of the Villa Casali on the Caelian Hill in Rome; sold by that family c. 1884-1888; in 1903 bought for the Ny Carlsberg Glyptotek. Rita Santolini Giordani, Antichità Casali: la collezione di Villa Casali a Roma (Rome 1989), p.44 no. 22; p.97. Winckelmann (1756), p.244 (42, 1) Present location: Copenhagen, Ny Carlsberg Glyptotek, Inv. no. 960 ( image ). Flemming Johansen, Catalogue Roman Portraits (Copenhagen 1995), ii, pp.122-125 no. 46. This statue was greatly admired by Winckelmann, who counted it among the most important sights of Rome (Mette Moltesen and Rebecca Hast, 'The Antinous Casali in the Ny Carlsberg Glyptotek' in Analecta Romana Instituti Danici 30, 2004, pp.101-117). Reproduced by Maffei (1704), pl. 138 (plate legend Statua di Bacco, trouata trà le rouine dell'Antico Macello d'Augusto nel Monte Celio. Negl'Orti Casali a S. Stefano Rotondo; image) [img-2973-left-large_default] Comparative illustration Maffei (1704), pl. 138(image source) [img-2974-left-large_default] ■ 22 Legend Antino di Belvedere, drawing (507 × 342 mm), scale in palmi Romani and piedi Inglesi. Numbered 22 Marble statue of Hermes, known as the 'Belvedere Antinous', 117-138 ad, 195 cm. Discovered near Castel S. Angelo in 1543; purchased from Nicolaus de Palis, and installed before 1545 in the Vatican sculpture court. Haskell & Penny (1981), pp.141-143 no. 4. Bober & Rubinstein (1986), p.58 no. 10. Winckelmann (1756), p.173 (3, 6-7) Present location: Rome, Musei Vaticani, Cortile Ottagono, Inv. no. 907 ( image ). Amelung (1903-1908), ii, pp.132-138 no. 53 (pl. 12) Reproduced by Maffei (1704), pl. 3 (reversed by the engraver; image); Magnan (1776), pl. 6 (genitals now covered; image ) [img-2975-left-large_default] Comparative illustration Musei Vaticani, Cortile Ottagono, Inv. no. 907(image source) [img-2976-left-large_default] Comparative illustration Maffei (1704), pl. 3(image source) [img-2977-left-large_default] ■ 23 Legend Antino di Campidoglio, drawing (515 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 23 Roman marble statue of Antinous as Hermes, a copy of a Greek original (early 4th century bc), 180 cm. Reputedly found at Hadrian's Villa; ex-Villa Albani, Rome; restored by Pietro Bracci before 1733; purchased in 1733 by Clement xii for the Capitoline Museum (Albani Inventory, D8). Haskell & Penny (1981), pp.143-144 no. 5 Present location: Rome, Musei Capitolini, Inv. no. 741 ( image ). Stuart Jones (1912), pp.351-352 no. 12 (pl. 87) Compare Giovanni Domenico Campiglia's drawing for Bottari (Rome, Gabinetto Disegni e Stampe, Fondo Corsini, Inv. no. 128094; image ). Reproduced by Bottari (1755), pl. 56 ( image ); Magnan (1776), pl. 30 ( image ) [img-2978-left-large_default] Comparative illustration Bottari (1755), pl. 56(image source) [img-2979-left-large_default] ■ 24 Legend Gladiatore di Villa Borghese, drawing (505 × 345 mm), scale in palmi Romani and piedi Inglesi. Numbered 24 Hellenistic marble statue of a warrior, inscribed: Agasias Dositeou Efesios epoiei, c. 100-90 bc, length 199 cm. Ex-Villa Borghese, Rome (from 1613); sold in 1807 to Napoleon Bonaparte. Haskell & Penny (1981), pp.221-224 no. 43. Kalveram (1995), pp.208-210 no. 94. Winckelmann (1756), p.181 (6, 20-25) Present location: Paris, Musée du Louvre, Inv. MA 527 ( image ). Jean Charbonneaux, La sculpture grecque et romaine au Musée du Louvre (Paris 1963), p.71. Reproduced by François Perrier, Segmenta nobilium Signorum et Statuarum, Quae temporis dentem invidium evasere (Rome 1638), pls. 26-28 ( image ); Maffei (1704), pls. 75-76 (image, image) [img-2980-left-large_default] Comparative illustration Maffei (1704), pl. 75(image source) [img-2981-left-large_default] ■ 25 Legend Gladiatore di Campidoglio, drawing (350 × 510 mm), scale in palmi Romani and piedi Inglesi. Numbered 25 Roman marble statue of a 'Dying gladiator' (Galata Morente), height 93 cm. Ex-Ludovisi collection, Rome; by 1693, in the possession of Livio Odescalchi; acquired before 1737 by Clement xii for the Capitoline Museum. Haskell & Penny (1981), pp.224-227 no. 44. Winckelmann (1756), p.394 (151, 9-11) Present location: Rome, Musei Capitolini, Inv. no. 747 ( image ). Stuart Jones (1912), pp.338-340 no. 1 (pl. 85) Compare Giovanni Domenico Campiglia's drawings in Rome, Gabinetto Disegni e Stampe, Fondo Corsini, Inv. nos. 128103-128104 ( image , image ) and London, British Museum, 1865,0114.821 ( image ) Reproduced by Maffei (1704), pl. 65 (image); Bottari (1755), pl. 67 ( image ) [img-2982-left-large_default] Comparative illustration Maffei (1704), pl. 65(image source) [img-2983-left-large_default] Comparative illustrations Bottari (1755), pl. 67(image source) [img-2984-left-large_default] ■ 26 Legend Lotta di Firenze, drawing (350 × 515 mm), scale in palmi Romani and piedi Inglesi. Numbered 26 Marble group, known as 'The Wrestlers', 'Gruppo di Lottatori', 'Luctatores', or 'Pancratiastae', 27-98 ad, 89 cm. Ex-Villa Medici, Rome (from its discovery in 1583); sent to Florence in 1677, and by 1688 placed in the Tribuna of the Uffizi. Haskell & Penny (1981), pp.337-339 no. 94 Present location: Florence, Uffizi, Tribuna, Inv. no. 216 ( image ). Mansuelli (1958-1961), i, pp.92-94 no. 61 (fig. 62) Mosman most probably has drawn a plaster cast of the original marble. Reproduced by François Perrier, Segmenta nobilium Signorum et Statuarum, Quae temporis dentem invidium evasere (Rome 1638), pls. 35-36; Maffei (1704), pl. 29 (image); Gori (1734), iii, pls. 73-74 ( image , image ) [img-2985-left-large_default] Comparative illustration Maffei (1704), pl. 29(image source) [img-2986-left-large_default] Comparative illustration Gori (1734), iii, pl. 73(image source) [img-2987-left-large_default] ■ 27 Legend Manfrodita di Villa Borghese, drawing (345 × 510 mm), scale in palmi Romani and piedi Inglesi. Numbered 27 'The Hermaphrodite', Roman marble copy of a bronze original, c. 100-150 ad, length 147 cm. Ex-Borghese collections, Rome (from c. 1625); sold to Napoleon Bonaparte in 1807. Haskell & Penny (1981), pp.234-236 no. 48. Kalveram (1995), pp.231-233 no. 134. Winckelmann (1756), pp.190-191 (11, 27) Present location: Paris, Musée du Louvre, Salle des Caryatides, Inv. MA 231 ( image ). Jean Charbonneaux, La sculpture grecque et romaine au Musée du Louvre (Paris 1963), pp.77-78 Reproduced by Maffei (1704), pl. 78 (image) [img-2988-left-large_default] Comparative illustration Maffei (1704), pl. 78(image source) [img-2989-left-large_default] ■ 28 [No legend], drawing (350 × 495 mm), signed Nico.las Mosman del., scale in palmi Romani (only). Numbered 28 [img-2990-left-large_default] Drawing 28 (detail) Marble statue of Ariadne sleeping ('L'Arianna addormentata, cosiddetta Cleopatra'), a Roman Hadrianic copy after a Hellenistic original of c. 200 bc The location of the statue is not stated. Although there are slight disagreements in pose, support, and arrangement of the drapery, Mosman seems to be recording the Ariadne placed in the Belvedere by Julius ii in 1512 (Museo Pio Clementino, Galleria delle Statue, Inv. no. 548; image ). In Mosman's view, water has ceased to flow beneath Ariadne's feet (compare Giovan Battista de Poilly's print, published by Maffei in 1704; image ), however other grotto references are maintained. By 1782, the statue had been transferred to the new Galleria delle Statue in the Museo Pio-Clementino, and given a new support (compare Lorenzo Roccheggiani's drawing engraved by Francesco Piranesi, in 1781; image ). Other versions of 'Sleeping Ariadne' correspond to lesser degrees: the one displayed in the Villa Medici in Rome until 1787 (now Florence, Galleria degli Uffizi; imag e) significantly alters the placement of her head; another version formerly displayed in the Villa Borghese (now Paris, Musée du Louvre; image ) is reversed in direction, and has a completely covered upper body; and a third version (now Madrid, Prado; image ) has a different arrangement of drapery, and no veil covering her head. Clelia Laviosa, 'L'Arianna addormentata del Museo Archeologico di Firenze' in Archeologia Classica 10 (1958), pp.164-171 (list of replicas). Haskell & Penny (1981), pp.184-187 no. 24. Bober & Rubinstein (1986), pp.113-114 no. 79. Carlo Gasparri, 'Statua di Arianna dormiente' in Villa Medici. Il sogno di un cardinale. Collezioni e artisti di Ferdinando de' Medici, edited by Michel Hochmann (Rome 1999), pp.168-171 no. 18 Compare Maffei (1704), pl. 8 ( image ; image) [img-2991-left-large_default] Comparative illustration Maffei (1704), pl. 8(image source) [img-2992-left-large_default] Comparative illustration Florence, Galleria degli Uffizi(image source) [img-2993-left-large_default] ■ 29 Legend Torzo di Belvedere, drawing (495 × 355 mm), scale in palmi Romani and piedi Inglesi. Numbered 29 Marble statue, 1st century bc, signed by Apollonios, 159 cm. Located in the Belvedere, Rome, from c. 1506. Haskell & Penny (1981), pp.311-314 no. 80. Bober & Rubinstein (1986), pp.166-168 no. 132 Present location: Rome, Musei Vaticani, Sala delle Muse, Inv. no. 1192 ( image ). Amelung (1903-1908), ii, pp.9-20 no. 3 (pl. 2) Reproduced by Maffei (1704), pl. 9 (image) [img-2994-left-large_default] Comparative illustration Maffei (1704), pl. 9(image source) [img-2995-left-large_default] ■ 30 Legend Toro di Farnese, drawing (495 × 355 mm), scale in palmi Romani and piedi Inglesi. Numbered 30 Roman Marble group known as the 'Fable of Dirce', 'Zetus et Amphion', or 'Toro Farnese', early 3rd century ad, 370 cm. Installed in the Palazzo Farnese, Rome, in 1546; taken to Naples in 1788. Haskell & Penny (1981), pp.165-167 no. 15. Catalogo del Museo Archeologico Nazionale di Napoli (1989), p.154 no. 11. Christian Kunze, 'Dall'originale greco alla copia romana' in Il Toro Farnese: la 'montagna di marmo' tra Roma e Napoli, edited by Enrica Pozzi (Naples 1991), pp.13-42. Winckelmann (1756), p.285 (69, 22-70,6). Gasparri (2007), p.162 no. 8 ('Catalogo dei disegni e delle stampe delle sculture della collezione farnese') Present location: Naples, Museo Nazionale, Inv. no. 6002 ( image ) Reproduced by Maffei (1704), pl. 48 (image) [img-2996-left-large_default] Comparative illustration Maffei (1704), pl. 48(image source) [img-2997-left-large_default] ■ 31 Legend Laoconte di Belvedere, drawing (520 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 31 Marble group, c. 40-20 bc, 242 cm. Installed in a court yard of the Belvedere, Rome, in 1506. Haskell & Penny (1981), pp.243-247 no. 52. Bober & Rubinstein (1986), pp.152-155 no. 122 Present location: Rome, Musei Vaticani, Cortile Ottagono, Inv. no. 1039 ( image ) In Claude Randon's print (Maffei 1704, pl. 1) the right arm of the dying younger son is shown broken. In 1725-1727 Agostino Cornacchini restored the group, extending the right arm upwards; Mosman, however, depicts the gesture of the younger son as it appeared prior to Cornacchini's intervention. In this he follows two casts of the Laocoon commissioned c. 1750-1770 by Anton Raphael Mengs, one of which is now in Florence, the other in Dresden (Die Sammlung der Gisabgüsse von Anton Raphael Mengs in Dresden, edited by Moritz Kiderlen, Dresden 2006, p.95, table 6 no. xxiii; image ; Orietta Rossi Pinelli, 'The Surgery of Memory: Ancient Sculpture and Historical Restorations' in Historical and philosophical issues in the conservation of cultural heritage, Los Angeles 1996, p.292). Reproduced by Maffei (1704), pl. 1 (reversed by the engraver; image); cf. J.J. Winckelmann, Storia delle arti del disegno presso gli antichi, edited by Carlo Fea (Rome 1783-1784), ii, pl. 4 (showing Cornacchini's restoration; image) [img-2998-left-large_default] Comparative illustration Maffei (1704), pl. 1(image source) [img-2999-left-large_default] Comparative illustration Winckelmann, ed. Carlo Fea (1783-1784), ii, pl. 4(image source) [img-3000-left-large_default] ■ 32 Legend Faone di Barberini, drawing (510 × 352 mm), scale in palmi Romani and piedi Inglesi. Numbered 32 Marble statue, perhaps a replica of a Pergamene bronze, 250-200 bc, 215 cm. Found in the 1620s in the moat below Castel Sant' Angelo during excavations sponsored by Urban viii; ex-Barberini family collections, Rome; acquired in 1813 by Ludwig of Bavaria (arrived in Munich in 1820). Haskell & Penny (1981), pp.202-205 no. 33. Winckelmann (1756), p.306 (87, 4-5) Present location: Munich, Staatliche Antikensammlungen und Glyptothek, Inv. no. 218 ( image ) Reproduced by Maffei (1704), pl. 94 (image) [img-3001-left-large_default] Comparative illustration Maffei (1704), pl. 94(image source) [img-3002-left-large_default] ■ 33 [No legend], drawing (500 × 350 mm), signed Nico.las Mosman del., scale in palmi Romani and piedi Inglesi. Numbered 33 Roman marble statue of Apollo, a copy of a lost Hellenistic bronze, 130-140 ad, 224 cm. Discovered in the 1490s in the garden of Cardinal Giuliano della Rovere at S. Pietro in Vincoli; placed in the Belvedere by 1511. Haskell & Penny (1981), pp.148-151 no. 8. Bober & Rubinstein (1986), pp.71-72 no. 28 Present location: Rome, Musei Vaticani, Cortile Ottagono, Inv. no. 1015 ( image ). Amelung (1903-1908), ii, pp.256-269 no. 92 (pl. 12) Although uncaptioned, Mosman appear to record here the Apollo of the Belvedere. Reproduced by Maffei (1704), pl. 2 [img-3003-left-large_default] Drawing 33 (detail) [img-MISSING-left-large_default] Comparative illustration British Museum, T,4.100(image source) [img-3005-left-large_default] Comparative illustration Maffei (1704), pl. 2(image source) [img-3006-left-large_default] ■ 34 Legend Castor e Polluce in Spagna, drawing (505 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 34 Marble group of Orestes and Pylades, also known as the 'Gruppo di San Ildefonso', c. 0-50 ad, 158 cm. Ex-Ludovisi, Massimi, Azzolini, Odescalchi family collections; sold in 1724 to Philip v of Spain. Haskell & Penny (1981), pp.173-177 no. 19 Present location: Madrid, Museo Nacional del Prado, Inv. 28-E ( image ). Stephan F. Schröder, Catálogo de la escultura clásica del Museo del Prado (Madrid 2004), ii, pp.367-374 no. 181 It is possible that Mosman is documenting the cast of this group made between 1687 and 1706 and kept in the French Academy in Rome, after the original went to Spain. Mosman does not reproduce the print by Nicolas Dorigny published by Maffei (1704) pl. 121 (image; copy in Bernard de Montfaucon, Supplément au livre de l'Antiquité expliquée et représentée en figures, Paris 1724, i, p.208, pl. 76, image ); nor the anonymous print in J.J. Winckelmann, Monumenti antichi inediti (Roma 1767), p.xiv ( image ). Reproduced by Maffei (1704), pl. 121 (image) [img-3007-left-large_default] Comparative illustration Maffei (1704), pl. 121(image source) [img-3008-left-large_default] ■ 35 Legend Caio Mario di Campidoglio, drawing (495 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 35 Roman marble statue of a writer in a toga, known as 'Marius', 189 cm. Apparently acquired by Pius iv from Tommaso della Porta in 1565; among the first statues placed in the Capitoline Museum (in the Stanza dei Filosofi by 1687; removed by Clement xii, and placed in the Salone). Winckelmann (1756), pp.373-374 (133, 1-3) Current location: Rome, Musei Capitolini, Inv. no. 635 ( image ). Stuart Jones (1912), p.284 no. 14 (pl. 69) Reproduced by Girolamo Franzini, Icones Statuarum Antiquarum Urbis Romae (Rome 1589), as 'C. Marius' ( image ); Bottari (1755), pl. 50 ( image ) [img-3009-left-large_default] Comparative illustration Bottari (1755), pl. 50(image source) [img-3010-left-large_default] ■ 36 Legend Pompeo di Spada, drawing (494 × 352 mm), scale in palmi Romani and piedi Inglesi. Numbered 36 Roman marble statue of Pompey the Great, its head replaced in the 16th century, c. 68-98 ad, 300 cm. Excavated 1552-1553 in Via dei Leutari, Rome; reputedly presented by Julius III to Cardinal Capodiffero, and placed in Palazzo Capodiffero (as from 1632, Palazzo Spada). Haskell & Penny (1981), pp.296-300 no. 73. Marina Sapelli, 'Restauro della statua di 'Pompeo' in Bollettino di Archeologia 5-6 (1990), pp.180-185 Present location: Palazzo Spada, Rome ( image ) Reproduced by Maffei (1704), pl. 127 (image) [img-3011-left-large_default] Comparative illustration Maffei (1704), pl. 127(image source) [img-3012-left-large_default] ■ 37 Legend Luico Papiro e la madre a Villa Lodovisi, drawing (485 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 37 Marble group, known as 'Papirius' or 'Gruppo di Oreste ed Elettra', 1st century ad, 192 cm (male figure). Ex-Villa Ludovisi (c. 1623-1901). Haskell & Penny (1981), pp.288-291 no. 71. Museo Nazionale Romano. Le Sculture [I/5], I marmi Ludovisi, compiled by Beatrice Palma and Lucilla de Lachenal (Rome 1983), pp.84-89 no. 35. Scultura antica in Palazzo Altemps, edited by Matilde De Angelis d'Ossat (Milan 2002), p.168. Winckelmann (1756), pp.345-346 (113, 6-114, 4) Present location: Rome, Museo Nazionale Romano, Palazzo Altemps, Inv. no. 8604 ( image ) Reproduced by Maffei (1704), pls. 62-63 (plate legend Il fanciullo Papirio...; image, image) [img-3013-left-large_default] Comparative illustration Maffei (1704), pl. 62(image source) [img-3014-left-large_default] ■ 38 Legend Agrippa all' Orti Fernesian, drawing (515 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 38 Marble of a seated female figure, usually identified as Agrippina the younger (Agrippina Minor), 1st century ad, 125 × 128 cm. Ex-Orti Farnesiani, Rome. Cf. Haskell & Penny (1981), p.133 (compared with the Agrippina in the Capitoline Museum). L'idea del Bello: Viaggio per Roma nel Seicento con Giovan Pietro Bellori, edited by Carlo Gasparri and Evelina Borea (Rome 2000), ii, p.256 no. 36 (entry by Federico Rausa). Winckelmann (1756), pp.362-363 (125, 38-40). Gasparri (2007), p.171 no. 133 ('Catalogo dei disegni e delle stampe delle sculture della collezione farnese') Present location: Naples, Museo Nazionale, Inv. no. 6029 ( image ).Catalogo del Museo Archeologico Nazionale di Napoli (1989), pp.156-157 no. 23; Flavia Coraggio, in Le sculture Farnese, 2. I ritratti, edited by Carlo Gasparri (Naples 2009), pp.78-80 no. 53. [img-3015-left-large_default] ■ 39 Legend Rotino di Firenze, drawing (512 × 358 mm), scale in palmi Romani and piedi Inglesi. Numbered 39 Marble sculpture of the Scythian Slave, a Roman copy of a Hellenistic original of the 3rd century bc, 105 cm. Ex-Villa Medici, Rome (acquired by the Medici family in 1578); sent to Florence in 1677. Haskell & Penny (1981), pp.154-157 no. 11. Bober & Rubinstein (1986), pp.75-76 no. 33 Present location: Florence, Uffizi, Tribuna, Inv. no. 230 ( image ). Mansuelli, Galleria degli (1958-1961), i, pp.84-87 no. 55 (figs.57a-b) Mosman most probably has drawn a plaster cast of the original marble. Reproduced by Maffei (1704), pl. 41 (image); Gori (1734), iii, pl. 96 ( image ) [img-3016-left-large_default] Comparative illustration Maffei (1704), pl. 41(image source) [img-3017-left-large_default] Comparative illustration Gori (1734), iii, pl. 96(image source) [img-3018-left-large_default] ■ 40 Legend Meleagro di Pichini, drawing (500 × 350 mm), scale in palmi Romani and piedi Inglesi. Numbered 40 Roman copy of a Hellenistic figure, 100-150 ad, 210 cm. Found c. 1546 on the Esquiline Hill (vigna Fusconi-Pighini); purchased by Clement xiv in 1770. Haskell & Penny (1981), pp.263-265 no. 60. Winckelmann (1756), pp.395 (151, 23-30) Present location: Rome, Musei Vaticani, Museo Pio-Clementino, Sala degli Animali, Inv. no. 490 ( image ). Amelung (1903-1908), ii, p.33-38 no. 10 (pls. 3, 12); Giandomenico Spinola, Il Museo Pio Clementino (Rome 1996), i, p.137 no. 40 Reproduced by Maffei (1704), pl. 141 (image) [img-3019-left-large_default] Comparative illustration Maffei (1704), pl. 141(image source) [img-3020-left-large_default] ■ 41 Legend Zenone di Campidoglio, drawing (525 × 360 mm), scale in palmi Romani and piedi Inglesi. Numbered 41 Marble statue of a philosopher, traditionally identified as Zeno the Stoic, Hellenistic sculpture from the 2nd century

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        Essai sur la Nature du Commerce en General, traduit de l’Anglois

      “Londres [Paris]: Fletcher Gyles”, 1755 - Contemporary armorial calf, spine gilt, red morocco label. A few small spots. Fine. First edition of the book that is, “more emphatically than any other single work, the cradle of political economy” (Jevons). Published posthumously, Cantillon’s Essay on the Nature of Trade in General was cited by Adam Smith, Condillac, Quesnay, Harris, Postlethwayt, and many others. It is “the most systematic treatment on economic principles before the Wealth of Nations” (Roll), and Cantillon is the “founding father of modern economics” (Rothbard). Born in Ireland, Cantillon was active in banking in Paris for years. A man among boys in business, he made a fortune from John Law’s scheme. “Bankers fell like autumn leaves in Paris between 1717 and 1720, and as Higgs remarks, ‘Their losses were probably very heavy in 1720 and much of them went into Cantillon’s pocket’” (New Palgrave). He successfully defended himself in numerous lawsuits brought by victims of the Mississippi Bubble, but he eventually deemed it prudent to depart for England. In 1734 he was murdered by his recently-dismissed cook, who evidently robbed him and burned his house down, destroying his manuscripts among other things. While in Paris, Cantillon had written the Essai in English and translated it into French for a friend. That friend arranged for its publication more than two decades later in 1755. Cantillon covers, in analysis far surpassing that of his contemporaries, currency, foreign exchanges, banking, credit, and the international specie flow mechanism (which Schumpeter hailed as “almost faultlessly described”). He made pioneering contributions to what was later known as the Malthusian theory of population, the theory of the allocation of surplus, and the distinction between market price and natural price as an integral part of an entire economic model. In the Essai Cantillon coined the term entrepreneur, which he observed “entails bearing the risk of buying at certain prices and selling at uncertain prices” (Cuervo). This is a splendid copy of this founding work of modern economics. Provenance: François-Alexandre, duc de la Rochefoucauld-Liancourt, with arms in gilt on boards and stamp on title. [Attributes: First Edition; Hard Cover]

      [Bookseller: 19th Century Rare Book & Photograph Shop]
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        Den Haag, Bierkade - Hendrik Florisz. Scheurleer, 1755-1761.

      GEZICHT VAN BIERKADE TE ?S GRAVENHAGEKopergravure vervaardigd door Iven Besoet en uitgegeven 1755-1761 door Hendrik Florisz. Scheurleer. Later met de hand gekleurd. Afm. (prent): ca. 28,5 x 40,5 cm.We zien de Bierkade (links) en het Groenewegje (rechts) bij de Wagenbrug; op de achtergrond het Oude Vrouwen- en Kinderhuis aan het Spui.De Haagse uitgever en boekverkoper Hendrik Florisz. Scheurleer (1692-1768) speelde in op de populariteit van het stadsgezicht in het midden van de 18de eeuw. Hij publiceerde een reeks van achttien uiterst informatieve gezichten van Den Haag en directe omgeving die hij allemaal aan Haagse burgemeesters, baljuws of secretarissen opdroeg. Ze zijn gegraveerd door Iven Besoet (ca. 1720-1769) een uit Leiden afkomstige kunstenaar. Dat de reeks een succes was, mag blijken uit de diverse kopie?n (meestal optica-prenten) die er naar zijn gemaakt. Of Besoet er goed aan heeft verdiend, is echter zeer de vraag, want als we de biografie?n mogen geloven werd hij wegens wanbetaling zijn huis uitgezet, waarna hij, gehuld in een deken, op straat verbleef en korte tijd later overleed.Prijs: ?975,- (incl .ijst).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        Vita della Serva di Dio Suor Maria - Rosa Giannini

      Nella Stamperia Muziana, NAPOLI 1755 - ITALIANO Volume in 4, legatura a tutta pergamena in buone condizioni, titoli manoscritti al dorso, pagine fortemente fiorite, al foglio di guardia e antiporta due fori ben visibili, frontespizio completo di riferimenti con bella marca tipografica decorata, taglio annerito, l'opera si apre con dedica Alla Maestà del Re delle Due Sicilie Carlo, capolettera su fondo architettonico in cornice geometrica, a seguire considerazione dell'autore al lettore, ad introdurre il Libro Primo effigie della Santa in Sacra Famiglia con intitolatura al Re Carlo, indicazione circa l'incisore Antonio Baldi, pagine lievemente imbarcate, tra le pp.290-291 illustrazione allegorica del miracolo attribuito alla Santa

      [Bookseller: Biblioteca di Babele]
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        Antique Print-THE HAGUE NETHERLANDS-Scheurleer-1755

      - Plate : 'The Garden Front of ye Prince of Orange's House in the Wood near the Hague.' (The House of the Prince of Orange in The Hague: 'Huis ten Bosch'.) Copper engraving with contemporary hand colour showing the house and garden of the Prince of Orange (William V) in The Hague, Netherlands. Copper engraving on verge type hand laid paper with watermark. Original old hand colouring with recent touch ups. Hendrik Florisz. Scheurleer (ca. 1724-1768), Dutch engraver. Condition: Fine; general age related toning; some light staining from handling. Narrow margins, bottom text margin attached to print as it had been glued to the back op this print. Top right corner signs of bending. Small paper loss in top left corner backed with paper and retouched wit pen and ink. The overall size is ca. 15.4 x 9.8 inch. The image size is ca. 15.2 x 9.6 inch. The overall size is ca. 39 x 25 cm. The image size is ca. 38.5 x 24.5 cm.

      [Bookseller: ThePrintsCollector]
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        The Grub-Street Opera. As it is Acted at the Theatre in the Hay-Market. By Scriblerus Secundus ... To Which is Added, The Masquerade, A Poem. Printed in MDCCXXVIII

      London: J. Roberts, 1755. First authorized edition of The Grub-Street Opera, second edition of The Masquerade. [vi], 56, [iv], 11, [1] pp., The Masquerade with separate title-page. 8vo. Disbound. Gatherings sprung, light offsetting to title-page. First authorized edition of The Grub-Street Opera, second edition of The Masquerade. [vi], 56, [iv], 11, [1] pp., The Masquerade with separate title-page. 8vo. The first authorized edition of Fielding's ballad opera following several piracies drawn from prompt books and memorial reconstructions. The play was first performed under the title The Welsh Opera on April 22, 1731 to great success. Fielding immediately began expanding the work, changing the title to The Grub-Street Opera, and planning a performance of the revised version for June. "In June 1731 The Grub-Street Opera, which ridiculed the royal family and the leaders of both political parties, was withdrawn at the Haymarket before it opened, almost certainly because of threats from the government" (ODNB). L.J. Morrissey, in his scholarly edition of The Grub-Street Opera (Edinburgh, 1973), shows that the imprint to this edition is undoubtedly false. It was likely printed by Andrew Millar in 1755 for his nonce collection of Fielding's plays. Booksellers later broke up the collections to sell the individual plays; indeed, the present copy shows evidence of having been removed from a binding. The Masquerade, Fielding's first surviving work, is known in only a handful of copies in its first edition; it is reprinted here with a separate title-page. Cross III, p. 293

      [Bookseller: James Cummins Bookseller]
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        Terremoto di Lisbona (del 1755).

      Augsburg, Engelbrecht, 1755 ca. - 7 fogli (ciascuno di mm 188x235) su carta ritagliata con cura e con colorazione coeva; conservati e montati in sequenza entro scatola di plexiglass. Si tratta di un teatrino ottico in miniatura con le tavole numerate 137-142 nel margine superiore; è stato rifilato il margine inferiore che doveva riportare le scritte Cum Priv. S.C. Maj. - Mart. Engelbrecht excud. A.V,". La storia del diorama inizia con una elaborazione delle "vue d'optique" traforando particolari che, illuminando il retro in trasparenza, producevano l'effetto giorno-notte o, la modifica dell'immagine con l'arricchimento di personaggi o con la sostituzione del paesaggio di fondo. Le immagini, una volta modellate con cura a punta di forbice, divenivano delle autentiche "quinte" da inserirsi nell'apposito visore in legno, i cui nomi sono i più diversi: scatola ottica, teatro ottico o dioramico, pantoscopio, mondo nuovo, cosmorama, zoogroscopio, poleorama, aletoscopio. All'interno si potevano ammirare le scene illuminate ad effetto tridimensionale. Accanto a soggetti ispirati al teatro e all'opera appaiono danze, feste in villa, battute di caccia, giochi popolari. La scena, estremamente veritiera, è incorniciata da colonne con edifici che si stanno spezzando ed è animata da persone disperate in fuga e da palazzi crollati. Interessantissimo e non comune soggetto che raffigura un tremendo fatto contemporaneo alla sua realizzazione, a dimostrazione che anche gli eventi di cronaca quotidiana trovarono spazio in questo genere di opere. Esemplare nitidamente colorato e in ottimo stato di conservazione, come raramente reperibile, soprattutto nelle parti ritagliate a punta di forbice. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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        1): Der gegenwärtige Staat von England Portugal und Spanien, Teil 1, Danzig 1755. Konvolut von 13 Titeln, meist anonym -.

      Danzig. Johann Christian Schuster, ff. 1755. - 13 in 1, mit einigen Holzstichen und einem Kupfer, kl.8°. 17,2 x11,1 cm. 227 Seiten, In gutem Zustand. Ecken und Kanten etwas bestoßen, Kleisterpapierbezug löst sich stellenweise. Fiegendes Blatt mit Eintragungen von alter Hand und fast lose. Buchblock durchgängig sauber und gut, Nachsatz mit kleinem Loch. Kleinschriften alle selten und so kaum noch auffindbar. Titelblatt von (1) entfernt, (2) Der gegenwärtige Staat von Engelland, Portugall und Spanien, Nebst einigen Nachrichten über die Handlung dieser Nationen, Zweyter Theil, Danzig, bey Johann Christian Schuster, 1755, (3 Bl.) 254 S., (3) - (Schmauß, Johann Jacob (1690-1757)) - J.J.S.P.G. Betrachtung über den gegenwärtigen verwirrten Zustand der Niederlande, 1747, 32 S., (4) - (Schmauß, Johann Jacob (1690-1757)) - Die siegende Republik, oder die vernichtete Burbonische Staats-Klugheit. Schreiben eines freyen Engelländers an seine Freunde in Amsterdam als der andere Theil zu des J.J.S.P.G. Betrachtung über den gegenwärtigen verwirrten Zustand der Niederlande. Aus dem Französischen übersetzt, Anno 1747, 16 S.,- (5) - Kurtzer Entwurf aller merckwürdigen Begebenheiten/ so sich zugetragen/ als der Printz von Wallis zum Ritter des heil. Georgen geschlagen wurde/ mit vorhergehendem Bericht von denen Solennitäten/ welche Bey seiner Kröhnung vorgegangen. Darinnen so wohl der prächtige Einzug in Paris als auch andere Ceremonien beschrieben werden, Mühlhausen , Barthelmes Lindwurm, 1708, 29 S., - (6) - Umständliche Relation der Reise Sr. Königlichen Majestät von Groß Britannien Georg des I. und Desselben gantzen hohen hauses/ von Hannover biß London/ nebst allen Ceremonien der Einhohlung und Kröhnung, Hamburg, 1714, (3 Bl.), 56 S.,- (7) - : (Webb, Philip Carteret (1700-1770)) - Anmerkungen über des Prätendenten Vollmacht und Erklärungen/ Aus dem Englischen übersetzt von. Mich.(ael) Lor.(enz) Willich (1715-1769), Secret. der Stadt Göttingen, Göttingen, bey Abram Vandenhoeck Univ. Buchh. , 1746, (1 Bl.) 118 S., - (8) - : Flugblatt 4 seitig: Augustopolis, im Junio 1734, Dreyfache Eintheilung der Gemüther Bey ietziger Beschaffenheit des Polnischen Krieges, Nach deutscher reim-Arth also fürgestellet, - (9) - : Fischer, Christian Ludewig, Des Dänischen Scepters merckwürdigste und kurtzgefaßte Staats-Geschichte/ zum Mercklichen Gebrauch der galanten/ wie auch jungen Welt/ in einer poetischen Feder entworffen, und aufgestellet von Christian Ludewig Fischern, Copenhagen und Leipzig, Bey Johann Nicolaus Lossius, 1792, 32 S., - (10) - : Vorläuffige Probe Einer hiernechst zu publicirenden Übersetzung Der von dem Herrn Abt de Bos Sr. Aller-Christlichen Majestät ehemahligen Legations-Secretario auf dem Friedens-Congreß zu Utrecht Vor einigen Jahren in Frantzösischer Sprache herausgegebenen Nachricht Von der zwischen dem Pabst, dem Kayser Maximiliano I., dem Könige in Frankreich, dem Könige von Arragonien, und einigen Italiänischen Fürsten wider die Republque Venedig zu Cammeryck 1508 errichteten Verein Worinnen die Staats-Maximen, Interessen, Praetensiones und geheime Absichten, welche die mächtigste Printzen von Europa um diese Zeit geführet haben Aus Archivischen Nachrichten und glaubwürdigen Uhrkunden Mit politisch-pragmatischer Feder vorgestellet werden, Im Jahre 1719, 29 S., - (11) - : Benedictus XIII.: Übersetzung der Bulle, Welche .Benedictus XIII. Wegen des nach Ostern 1725 in Rom zu halternden Concilii ergehen lassen. Nebst einer. Weissagung, Welche ein gewisser Araber, Ihro Majestät dem Römischen Kayser Sigismundo auf dem Concilio zu Costnitz Anno 1414 Unter 40 Geheimnüs-vollen Rätzeln .übergeben, Rom, zu finden in der Päbstlichen Buchhandlung, 1725, 23 Bl., - (12) - : Italiänischer Machiavelismus, Oder der IN Rom binnen währender Vacantz eines Römischen Ober-Haupts/ Bey Denen Herren Cardinälen sich befindliche Italiänische Geist, Frystadt, 1724, 78 S., -(13) - : Neueröffnetes Römisches Conclave, oder Kurtze Historische Nachricht von dem Leben und Absterben Pabsts Benedict i XIII. und der [Attributes: Hard Cover]

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        Neu-eröffnete Guldene Kunst-Pforte, Zu Allerhand raren Curiositäten/ Kunst- und Wissenschaften/ Dem Frauen-Zimmer/ vielen Künstlern und Handwerckern/ auch sonsten fast jedermann/ wes Standes er seye/ nützlich und ersprießlich/ Wie aus dem Innhalt aller Materien nach der Vorrede zu ersehen/ Meistens aus selbst-eigener Erfahrung mit grosser Mühe und Fleiß aufgerichtet. Sowie: Der Neu-eröffneten Guldenen Kunst-Pforte, Zu Allerhand raren Curiositäten/ Kunst- und Wissenschaften, Anderer Theil, dem Frauen-Zimmer .

      Franckfurt - Leipzig / Nürnberg, Joh. Adolphs sel. Wittib - G. C. Weber [um 1734] - 1755. - 2 Bde. Kl.-8°. Titel + 12 n.n. + 841 + 65, Titel + 12 n.n. + 576 S. Priv. Pp. der Zeit, priv. Lwd. späterer Zeit. Ohne die gestochenen Frontispiz. [Vgl. ADB XV, 80f.] - Ebd. bedarf des Buchbinders, Buchblock fest, ehemal. Bibliotheks-Expl. mehrfach gestempelt, tlw. etw. stockfleckig, leichte Gbrsp. Zustand im Preis berücksichtigt. - Beinhaltet die Kapitel zur Firnis, Illuminier-Kunst, Zubereitung von Farben, Grüne, Rote, Gelben, Weiße, Schwarze, Vermischungen und Schattierungen von Farben, Schönfärberei, Leder für Handschuhe zu färben, Gold- und Silber-Arbeiten, Schieß-Künsten, Wünsch-Ruthe, Pulwer-Machern, Pulver-Sätzen, Feuerwercker, wohlriechenden Dingen Öl Balsam Wassern Haar-Buder Seiffen, Zucker-Werck, Methsieden, Wein und Getränck-Künsten, Bier-Künsten, Seiffensieden, Flecken aus Kleidern zu bringen, Seiden-Wurm, Maulwurff, Kräutern Blumen Feldgarten Baum-Künsten, Küchen-Gewächse, Baum-Künste, Mangeln Gebrechen Schäden und Kranckheiten der Bäume, Blumen-Künste, Rosen-Stöcke und Wein-Stock. - Die Zuordnung an Kanold folgt dem GBV. Das Werk erschien ursprünglich 1718 mit dem Monogramm "J. K.". - Bd. 2: Fragmentarisch - Seiten 577-712 sowie Register fehlen, neben dem Frontispiz. Exlibris a. V., leicht stockfleckig, leichte Gbrsp. Ein wirklich privater Einband, gutes Expl. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Weinek]
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        Veduta del Sepolcro di Cajo Cestio

      1755. Acquaforte, bulino e puntasecca firmata in lastra in basso a destra "Piranesi del. inc." e "Presso l'autore a Strada Felice nel Palazzo Tomati vicino alla trinità dei Monti. A paoli due e mezzo"; tratta da "Vedute di Roma", la più conosciuta opera di Piranesi. Terzo stato su sei. Bella prova con molto ben impressa e contrastata, eseguita su carta vergata, filigrana con giglio con doppio cerchio. Foglio a pieni margini. Mm 410x453 (lastra), 550x780 (foglio). Ottimo stato di conservazione. Hind 35, III/VI.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Quae exstant omnia; cum A. Hirtii sive Oppii commentariis de Bellis Gall. Alexand. Afric. et histaniensi. Accesserunt ejusdem Caesaris fragmenta, nec non et nomina popolorum, oppidorum et fluviorum, quae apud Caesarem reperiuntur. [Tomus I: Commentariorum de Bello Gallico libri septem. Tomus II: Commentariorum de Bello civili libri tres].Parisiis, typis Joseph Barbou , 1755.

      Parisiis, typis Joseph Barbou 1755 - Due volumi di cm. 15,5, pp. (4) xxvii (1), 360; (4) 455 (1). Bellissima antiporta ideata da B. Picard e incisa da C. Duflos, due bellissime testatine, quattro certe geogr. ripieg. f.t. (Francia, Italia Centro-Settentrionale, Italia e Spagna), il tutto finemente inciso in rame. Bella legatura coeva in piena pelle, con titoli su tass. in marocchino rosso, ricchie fregi floreali al dorso, piatti inquadrati da triplice filetto con fregi in oro agli angoli; tagli dorati. Trascurabile mancanza ad una cuffia. Bell'esemplare, fresco e ben conservato. Luminoso esempio delle edizioni Barbou dedicate ai classici latini e greci, condotte imitando lo stile tipografico elzeviriano. Cfr. Brunet, I, 1457; Kvk. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Apuleio]
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        Beschreibung des Morgenlandes und einiger anderer Länder. 3 Teile in einem Tafelband

      Verlag des Stifthauses 1755 Verlag des Stifthauses, Erlangen, 1754/1755. Tafelband mit 166 (von 180) Kupferstichen, davon 31 gefaltet, Pappband der Zeit, (Vorsatz mehrfach gestempelt / Kanten berieben u. bestoßen / etwas fleckig u. gebräunt) - Graesse V, 373 - Der seltene Kupferstich-Tafelband mit Landkarten, Siegel, Trachten und Kleidung, architektonischen Ansichten u. Grundrisse, Pflanzen, Gerägte etc. / Teil I: Ägypten; Teil II: Heiliges Land, Syrien, Mesopotamien, Zypern etc.; Teil III: Griechische Inseln, Kleinasien, Thracien, Griechenland u. einige Teile von Europa - Versand D: 5,90 EUR Alte Drucke vor 1850,Ethnologie/Erdkunde

      [Bookseller: Celler Versandantiquariat]
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        Polymetis: Or, an Enquiry Concerning the Agreement Between the Works of the Roman Poets, and the Remains of the Antient Artists. Being an Attempt to Illustrate Them Mutually from One Another. In Ten Books.

      R and J Dodsley, London 1755 - Frontispiece, Vi, 160, 159-361, Second Edition, With Corrections. 16 5/8" Tall.Full Diced Calf, Green Morocco Spine Labels, Full Gilt Decorations To Spine, Covers , And Turns. Very Old Marbled Endpapers, Three Preliminary Blanks, Two Final Blanks. Spine Laid Down Over Newer Cloth, Probably In Nineteenth Century. Much Of Top Compartment Of Spine Chipped Away, With A Small Loss To Lower End Of Spine, Neatly Repaired. Tips Bumped, Worn, With Leather Completely Worn Away At Tips, All Neatly Repaired. Two Plates Torn, One Repaired With Clear Tape, No Losses, A Few Tiny Edge Tears. A Little Faint Dampstaining At Bottom Edges Of A Few Plates, Outside The Plate Marks. A Little Foxing To Some Pages. No Names Or Marks. The Extensive Illustrations Were Used As Models By The Wedgwood Manufactury. [Attributes: Hard Cover]

      [Bookseller: Arroyo Seco Books, Pasadena, Member IOBA]
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        Physiologisch und anatomische Abhandlungen von einer ungewöhnlichen Erweiterung des Herzens und denen Spannadern des Angesichts.

      Berlin bey Amros. Haude und Johann Carl Spener, 1755, 4, (2), 140 pp., mit 3 gefalt. Kupferstichtafeln, feiner Halblederband im Stil der Zeit minimal fleckig. Erste Ausgabe.!Johann Friedrich Meckel (31. Juli 1724 in Wetzlar ? 18. September 1774 in Berlin), der Stammvater der bekannten Anatomenfamilie, studierte in Göttingen und promovierte dort 1748 mit seiner bekannten Dissertation "De quinto pari nervorum cerebri" mit der Entdeckung des später nach ihm benannten "Ganglion submaxillare". Schon 3 Jahre später wurde er Professor der Anatomie u. Geburtshilfe. In Göttingen gehörte Meckel mit dem leider so früh verstorbenen Johann Gottfried Zinn zu den brillantesten Schülern Albrecht von Hallers.Bei dieser "Abhandlung" handelt es sich um 2 Dissertationen einmal eine kardiologische, die Erweiterung des Herzens betreffend, (pp.1-21) mit 2 schönen, großen Kupfertafeln. Später von Albrecht von Haller in seinen Studien zur Arteriosklerose zitiert. Zum anderen eine neurologische Abhandlung (pp.22-120) über die "Spannadern" (=Nerven) des Gesichtes, mit der prächtigen, großen Kupfertafel mit den Eintragungen von 310 Lokalisationen.Johann Gottfried Meckel, one of the most brilliant disciples of Albrecht von Haller, was an anatomist endowed with great powers of observations. The present volume contains two dissertations by him, one on cardiology, the other on neurology, which had originally appeared in the Transaction of the Berlin Academy of Sciences. The first (p.1-21) deals with an extraordinary dilation of the heart caused by the narrowness of the canal of the aorta, illustrated with two remarkable copperplates of the heart. At the outset Meckel writes that this case was omitted by Lancisi. The second dissertation Pp.21-140) deals with the nerve of the face. It is illustrated with an anatomical copperplate showing the location of 310 facial nerves.Hirsch-H. IV, 144 Blake, p.296 Haller Bibl. Anatomica II, 423 Goldschmid, Pathol.-anat. Abb., S.247 Schipperges, Gesch. d. Koronarsklerose, 11 Willius & Keys, Classic of Cardiology II, p.373 Laehr II, 4

      [Bookseller: MedicusBooks.Com]
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        Den Haag, Bezuidenhoutseweg - Hendrik Florisz. Scheurleer, 1755-1761.

      GEZICHT VAN DE BEZUIDENHOUTSEWEG TE ?S GRAVENHAGEKopergravure vervaardigd door Iven Besoet en uitgegeven 1755-1761 door Hendrik Florisz. Scheurleer. Later met de hand gekleurd. Afm. (prent): ca. 28,5 x 40,5 cm.We zien de Bezuidenhoutseweg vanaf de hoek met de latere Schenkweg (links) naar de Herengracht. Rechts de Bossloot en de Koekamp.De Haagse uitgever en boekverkoper Hendrik Florisz. Scheurleer (1692-1768) speelde in op de populariteit van het stadsgezicht in het midden van de 18de eeuw. Hij publiceerde een reeks van achttien uiterst informatieve gezichten van Den Haag en directe omgeving die hij allemaal aan Haagse burgemeesters, baljuws of secretarissen opdroeg. Ze zijn gegraveerd door Iven Besoet (ca. 1720-1769) een uit Leiden afkomstige kunstenaar. Dat de reeks een succes was, mag blijken uit de diverse kopie?n (meestal optica-prenten) die er naar zijn gemaakt. Of Besoet er goed aan heeft verdiend, is echter zeer de vraag, want als we de biografi?n mogen geloven werd hij wegens wanbetaling zijn huis uitgezet, waarna hij, gehuld in een deken, op straat verbleef en korte tijd later overleed.Prijs: ?975,- (incl. lijst).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        Fungorum agri Ariminensis historia a J. Antonio Battarra lynceo restituto & in eadem urbe publico philocsophiae professore compilata aeneisque tabulis ornata quam sub auspicis Eminentissimi ac. Reverendissimi Principis Joachimi Portocarrerii Cardinalis Amplissimi.

      Typis Ballantianis,, Faventiae, 1755 - In 4° (28,5×21,2 cm); VII, (1), 80 pp. e XL c. di tav. Bella legatura ottocentesca con legatura foderata con carta blu zigrinata. Titolo e fregi in oro su fascetta in pelle rossa al dorso. Bell’ex-libris privato applicato al recto del piatto anteriore. Esemplare ad ampi margini ed in ottime condizioni di conservazione. Bella marca al frontespizio che riprende una lince, simbolo dell’Accademia dei Lincei, in mezzo ad un gruppo di funghi, sormontata dal motto, in lingua greca "Noi studiamo i funghi, non li mangiamo". Prima edizione di uno dei trattati di micologia più celebri, opera del famoso naturalista e micologo, riminese Giovanni Antonio Battarra (Coriano, 9 giugno 1714 – Rimini, 8 novembre 1789). Allievo del medico, naturalista ed archeologo Giovanni Bianchi, studiò geometria, fisica e storia naturale. Nel 1738 venne ordinato sacerdote. Insegnò filosofia dal 1741 al 1745. Fu in questo periodo che iniziò ad interessarsi in modo deciso alla micologia studiando sull’opera del Padre Bruno Tozzi Sylva Fungorum", del quale divenne anche allievo. Ma seppur fu un grande estimatore del suo maestro, Battarra per sua natura e convinzione si impegnò sempre nelle rilevazioni sul terreno, sicuro che solo la visione e lo studio diretto di ogni materia possa portare risultati importanti ed il progresso delle scienze. Promosso all’insegnamento a Rimini nel 1755 stampò quella che è con la "Pratica Agraria", la sua opera più importante "Fungorum Agri". Battarra curò l’opera con grande attenzione disegnando egli stesso le belle ed accurate tavole che riproducono 248 tipi differenti di funghi. I funghi sono classificati nell’opera in base al loro aspetto fisico esteriore perché Battarra riteneva tale classificazione la più immediata ed intuitiva. L’autore, poi, descrive anche le qualità organolettiche di ogni tipo di fungo. L’opera ebbe un enorme successo tanto che già nel 1759 usciva una seconda edizione, ristampata senza variazioni. Rif. Bibl.: Ainsworth p. 56; Stafleu 359; Volbracht 90; Nissen 95; Uellner 63; Pfister S. 21; S. Stafleu & Cowan 359; toria della Micologia Italiana, pp. 145-155.

      [Bookseller: Studio Bibliografico Antonio Zanfrognini]
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        The History and Adventures of the Renowned Don Quixote. To Which is Prefixed, Some Account of the Author's Life by T. Smollett, M.D. In two volumes

      First edition of the Smollett translation. In 2 volumes. xx, 403; viii, 466, (1) pp. Early full calf with original spines laid down. Raised bands to spines with gilt panels and lettering. Gilt devices of Trinity College Dublin to front & rear covers. Some damage to spine panels. Boards marked. Corners somewhat rubbed & worn. New endpapers with two early bookplates retained on front pastedowns. Errata leaf at rear of vol. 2. With 28 full-page copper-plate engravings designed by Hayman. Volume 1 contains a 20-page account of the author's life by Smollett. Bindings firm. A VG pair.

      [Bookseller: Foster Books]
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        Ah quel conte! Conte politique et astronomique

      - Chez Les frères Vasse, à Bruxelles 1755, In-12 (10x16cm), (4) 75pp. ; 76pp. ; 67pp. ; 68pp. ; (4) 70pp. ; 60pp. ; 82pp. ; (4) 104pp., relié. - nuova edizione Bound in pieno periodo di pecora marrone. Indietro con i nervi decorate con le reti. come Allegato pelle rossa. Mancanza di coda. come Allegato strofinato e raschiato, lettere cancellazione HANNO Tale. fresco di carta. - [FRENCH VERSION FOLLOWS] Nouvelle édition, réimpression de l'originale parue chez le même éditeur en 1754. Certaines pages de titre en rouge et noir. Reliure en pleine basane brune d'époque. Dos à nerfs orné de filets. Pièce de titre en maroquin rouge. Manque en queue. Pièce de titre frotté et gratté, effaçant les lettres ONT de "Conte". Dans la septième partie, le relieur a placé la p.11 avant la première page de texte. Certaines parties n'ont pas de faux-titre, il ne s'agit pas d'un manque, seuls les pages de titre en rouge et noir possèdent un faux titre et ne sont pas paginées. Papier bien frais. Troisième conte publié par l'auteur, après Tanzaï et Néardané (1734) et Le sopha (1739), ce dernier conte oriental et féérique a bénéficié d'une genèse complexe dont témoignent les différents états des manuscrits entre 1742 et 1752. Crébillon cherche à renouer avec le succès de ses 2 premiers contes en réitérant plusieurs de ces modes d'écriture, inscription historique plus ou moins voilée par des références à l'actualité politique, aux découvertes scientifiques ou aux m

      [Bookseller: Librairie Feu Follet]
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        Abrege de la Republique de Bodin. Tome 1-2. London, Jean Nourse

      1755 - First Edition. 2 vols. 8vo, [ii], xii, 466; [ii], v, [i], 417, [1]pp, contemporary marbled calf [Attributes: Hard Cover]

      [Bookseller: Far Eastern Booksellers / Kyokuto Shoten]
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        Discours sur l'origine et les fondemens de l'inégalité parmi les hommes.

      - Amsterdam, Marc-Michel Rey, 1755. In-8, demi-basane rouge de l'époque, plats de papier marbré, pièce de titre mansucrite (rel. amateur), lxx, (2), 262, (2) p. d'errata et 'avis pour le relieur', frontispice, grande vignette de titre. Edition originale de premier tirage comportant les 3 cartons (p. LXVII, 111 et 139) et la correction de l'éditeur à la plume p. 11 (accent aigu sur 'conformé'). Frontispice "Il retourne chez ses Égaux" dessiné par Eisen, gravé par Sornique, fleuron-vignette de titre par Fokke et fleuron en tête de la dédicace (armes de la République de Genève) également signé Fokke. (Gagnebin, III, p. 1862. Dufour, p. 55). Bon exemplaire grand de marges, imprimé sur papier fort de Hollande, dans une reliure amateur de l'époque de demi-basane rouge. [Attributes: First Edition; Signed Copy]

      [Bookseller: Librairie HATCHUEL]
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        Den Haag, Prinsegracht - Hendrik Florisz. Scheurleer, 1755-1761.

      Kopergravure vervaardigd door Iven Besoet en uitgegeven 1755-1761 door Hendrik Florisz. Scheurleer. Later met de hand gekleurd. Afm. (prent): ca. 28,5 x 40,5 cm.We zien de Prinsegracht met uiterst rechts de Boterwaag. Toen in 1656 kunstschilders, glasschilders, graveurs en beeldhouwers zich afscheidden van het Sint Lucasgilde en de Confrerie Pictura stichtten, kregen zij van het stadsbestuur een ruimte op de eerste verdieping van de Boterwaag aan de Prinsegracht.De Haagse uitgever en boekverkoper Hendrik Florisz. Scheurleer (1692-1768) speelde in op de populariteit van het stadsgezicht in het midden van de 18de eeuw. Hij publiceerde een reeks van achttien uiterst informatieve gezichten van Den Haag en directe omgeving die hij allemaal aan Haagse burgemeesters, baljuws of secretarissen opdroeg. Ze zijn gegraveerd door Iven Besoet (ca. 1720-1769) een uit Leiden afkomstige kunstenaar. Dat de reeks een succes was, mag blijken uit de diverse kopie?n (meestal optica-prenten) die er naar zijn gemaakt. Of Besoet er goed aan heeft verdiend, is echter zeer de vraag, want als we de biografie?n mogen geloven werd hij wegens wanbetaling zijn huis uitgezet, waarna hij, gehuld in een deken, op straat verbleef en korte tijd later overleed.Prijs: ?975,- (incl. lijst).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        Opera cum novo commentario ad modum Joannis Bond

      - Didot, Lutetiae Parisiorum [Parisiis] (Paris) 1755, In-16 (8,5x13,8cm), 299pp., relié. - Prima edizione del commento di Bond. Stampa su carta blu. Legatura in Marocco marrone annata rivestito in pelle rossa ornata sul contreplats firmato E. Gougeon (Algeri). Torna ai nervi giansenisti. titolo in oro e la data. Contreplats richements adornati con telaio centrale, ornamenti nei pennacchi e succcessifs diversi frame; ampia fregio. Al centro iniziale di G. C. Taglio margine del titolo falso, amputata a destra. frontespizio rugosa e foderata. - [FRENCH VERSION FOLLOWS] Première édition des presses de Didot des commentaires de Bond. Impression sur papier bleuté. Texte principal dans un encadrement, avec le commentaire se distribuant autour, dans un caractère plus petit. 11 vignettes de titre. Reliure en plein maroquin brun d'époque doublé de maroquin rouge orné sur les contreplats, signée E. Gougeon (Alger). Dos à nerfs janséniste. Titre et date dorés. Contreplats richements ornés avec encadrement central, fleurons dans les écoinçons et plusieurs encadrements succcessifs ; large frise. Au centre les initiales C. de G. Tranches dorées. Découpe en marge du faux titre, amputé du coin droit. Page de titre froissée et doublée, idem pour le dernier feuillet. Légers frottements en tête. Bel exemplaire. Vie d'Horace par Noël du Verger.  NB : Cet ouvrage est disponible à la librairie sur demande sous 48 heures.

      [Bookseller: Librairie Feu Follet]
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        Utsigt af Stockholm fran Caselholmen pa Stadens östra sida

      Artist: Martin Johann Fredrik ( - 1816) ; issued in: ; date: ca 1780 1755 - - technic: Aquatinta; - colorit: gouache; - condition: Very good; - size (in cm): 35 x 54; - description: View of Stockholm

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Opere di Gajo Cornelio Tacito con la traduzione in volgar fiorentino del signor Bernardo Davanzati posta rincontro al testo latino. Con le postille del medesimo, e la dichiarazione d'alcune voci meno intese. Con la tavola copiosissima. Novella edizione, purgata dagl'innumerabili errori di tutte le precedenti; cio che nella prefazione si dimostra.

      In Padova: presso Giuseppe Comino (Giovanni Antonio Volpi & Gaetano Volpi), 1755 - In-4 (24 cm) due tomi in uno LXXX 343 (1), (3) 344-669 (3) ritratto inciso di Bernardo Davanzati al frontespizio. Numerosi capilettera, finalini e testatine incise. Colophon al secondo tomo con stemma editoriale Volpi.P iena pelle, con fregi in oro, tassello e caratteri dorati al dorso. Tagli spruzzati di rosso. Legatura con tracce d'usura. Cuffie parzialmente asportate. Davanzati Bernardo (1529-1606): letterato, umanista, storico, traduttore di Tacito. Fu membro dell'Accademia fiorentina e dell'Accademia degli Alterati. Nato a Firenze e morto a Lione. 18mo secolo

      [Bookseller: Libreria Emiliana ]
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        Uffizio della B. Vergine Maria da recitarsi nell'Avvento...

      Pagliarini, 1755. Tre parti in un volume di cm. 21,5, pp. (4) 80; (4) 84; 64. Bell'antiporta incisa in rame a precedere i frontespizi della prima e della seconda parte, frontespizi in rosso e nero con bella effige religiosa incisa. Capolettera, testate e finalini in xilografia. Solida ed elegante legatura coeva in pieno marocchino, dorso a piccoli nervi con ricchi fregi in oro e piatti inquadrati da triplice filetto in oro. Tagli dorati. Piccole racce d'uso alla parte bassa di una cerniera. Esemplare peraltro fresco ed in ottimo stato di conservazione. Bella dedica ms. alla prima carta di guardia.

      [Bookseller: Studio Bibliografico Benacense]
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        Deformity. An Essay

      London, R. and J. Dodsley, 1755 [third edition]/ 1754. Octavo, [iv], 81, [3] pages. Early full calf worn at the extremities, with slight loss to the ends of the spine; spine lightly scorched in one small section and heavily rubbed, removing most of the gilt-decorated surface and the title-label; outer hinges broken but the covers are held firmly in place by the cords; a very good copy. William Hay (1695-1755), author and MP, wrote this 'autobiographical polemic addressing contemporary demonizing attitudes towards disfigurement [which] has been under-recognized as a key intervention in the history of disability' (Shuttleton: Smallpox and the Literary Imagination, 1660-1820). Bound together with [ASGILL, J.]: An Argument proving, that according to the Covenant of Eternal Life revealed in the Scripture, Man may be translated from hence into that Eternal Life, without passing through Death, altho the Humane Nature of Christ himself could not be translated until he had passed through Death ([London?], 1700; 106 pages), and [ASGILL, J.]: Mr Asgill's Defence upon his Expulsion from the House of Commons of Great Britain in 1707 [London, 1712; 88 pages). John Asgill (1659-1738): 'Eccentric writer, student at the Middle Temple, 1686, and called to the Bar 1692. In 1699 he published in an unlucky hour a pamphlet to prove that death was not obligatory upon Christians, which, much to his surprise, aroused the public wrath and led to his expulsion from the Irish and English House of Commons successively. Asgill thereafter fell on evil days, and passed the rest of his life between the Fleet and the King's Bench, where, strange to say, his zeal as a pamphleteer continued unabated' (Cousin: A Short Biographical Dictionary of English Literature [online]). Apart from a later name-stamp and two old signatures on the early leaves of the first Asgill item and some light tidemarks to the top corner of some leaves of the second Asgill item, the contents are in excellent condition.

      [Bookseller: Michael Treloar Antiquarian Booksellers]
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        Gesamtansicht ('Gesicht von Coelln, der Haupt-Stadt in nieder Teutschlandt, am Reihn gelegen - Marcus Abraham Rupprecht, Haeres Joh. Christoph Haffner, sculp. et excud. Aug. Vind.').

      - Kupferstich v. Marcus Abraham Rupprecht b. Marcus Abraham Rupprecht in Augsburg, um 1755, 31 x 40 Thieme-Becker, Künstler-Lexikon, Bd. XV, S. 448 f. (Johann Christoph Haffner, geb. 1668 in Ulm, gest. 1754 in Augsburg) - Guckkastenblatt - Sehr selten Nr. 16 (Haffner brachte von dieser Serie 20 Guckkastenblätter heraus - M.A. Rupprecht (Ulm 1733 - Augsburg 1800) war Kupferstecher u. Verleger in Augsburg und Nachfolger und Erbe von J.Chr. Haffner. - Perfekter Zustand des sehr seltenen Blattes!

      [Bookseller: Antiquariat Norbert Haas]
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        L'Histoire naturelle éclaircie dans une des ses parties principales, l'Oryctologie, qui traite des terres, des pierres, des métaux, des minéraux, et autres fossiles.

      Paris, De Bure aîné, 1755. - Grand in-4 (310 x 230 mm), un frontispice allégorique gravé par Chedel d'après Devermont, (4)ff., XVI- 560 pp., (1)f. et 25 belles planches hors texte gravées par Chedel. Mouillures marginales au frontispice (avec petite déchirure) et à quelques feuillets en fin d'ouvrage, petite déchirure intérieure à un feuillet, rares rousseurs. Exemplaire grand de marge, non émargé. Demi-basane début XIXème, dos lisse orné. Manque de papier marbré à un plat, coins usés. Seconde édition en partie originale de cet ouvrage traitant des fossiles, mais aussi des coraux, minéraux, pierres précieuses, etc. En effet, Dezallier d'Argenville avait fait paraître un volume sur la La Lithologie et la Conchyliologie en 1742 qu'il divisa ensuite en deux ouvrages, chacun largement augmenté. L'Oryctologie est le premier de ces ouvrages indépendants ; il sera retiré en 1760 et réédité en 1775, toujours chez De Bure. Ouvrage divisé en 3 parties : I - Une nouvelle méthode (latin/français) de distribuer tous les fossiles, suivant leurs qualités naturelles & apparentes, dans les classes qui leur conviennent. [Suivi de] Une analyse et notice critique des ouvrages qui traitent de la Lithologie et de la Conchyliologie, une interprétation de plusieurs termes. II - Les fossiles naturels à la terre, divisés en trois classes : les terres - les pierres sous le nom de Lithologie - les métaux et les minéraux. III - Les fossiles étrangers à la terre (pétrification des animaux, végétaux, pierres poreuses et pierres qui croissent dans les végétaux et animaux). En fin d'ouvrage se trouve un intéressant essai sur l'histoire naturelle des fossiles qui se trouvent dans toutes les provinces de France (pages 387 à 532). Les mémoires pour la Haute-Normandie ont été fournis par M. Le Cat (Ier chirurgien de l'hopital de Rouen). Cet essai est une traduction augmentée du catalogue que d'Argenville avait publié en latin en 1751, sous le titre d'Enumerationis Fossilium. Bon exemplaire, bien complet des 26 planches gravées par Chedel dont 23 de fossiles et 2 à la fin représentant des oiseaux et des poissons qui n’ont jamais été gravés. Brunet, II, 522.

      [Bookseller: Librairie BERTRAN]
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        Leben und Thaten des weisen Junkers Don Quixote von Mancha. Neue Ausgabe aus der Urschrift des Cervantes, nebst der Fortsetzung des Avellaneda. ( Band 1,3,5+6 (von 6 erschienenen Bänden)

      ( Erscheinungszeitraum 1755 1777. Herausgegeben von Friedrich Justin Bertuch ). Band I mit XXVIII, 1 Blatt, 416 Seiten mit 1 in Kupfer gestochenen Vignette / Band III mit 4 n.n. Blättern ( Titelblatt, Vorwort, Inhaltsverzeichnis ), 512 Seiten und 1 in Kupfer gestochenen Vignette / Band V mit 4 n.n. Blättern ( Titel, Vorwort, Inhaltsverzeichnis ) / Band VI mit 442 Seiten und 1 in Kupfer gestochenen Vignette. Die vier Bände jeweils in Ohldr mit reich goldgeprägtem schmalen Einbandrücken mit jeweils 2 farbigen, goldgeprägten Rückenschildchen. Die Bände jeweils mit umlaufendem roten Farbschnitt, 8 ( 16,5 x 10 cm ). Die in Kupfer gestochenen Vignetten jeweils nach Georg Melchior Kraus ( *1737-1806 ).Einbände teils etwas fleckig und berieben, Ecken und Kanten teils bestoßen, bei Band VI ist der schmale Einbandrücken zum unteren Kapital hin angeplatzt. Der erste Band innen mit alter handschriftlicher Notiz auf Innendeckel, Papier der Bände jeweils teils gebräunt, teils auch stärker gebräunt, Seiten teils etwas stock- oder braunfleckig, meist aber sauber. Zusammen 4 Bände ( von 6 erschienenen Bänden ) ( Gesamtgewicht ca. 1800 Gramm )

      [Bookseller: Antiquariat Friederichsen]
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        Pièce signée (griffe)

      - LOUIS XVIII (1755-1824), Roi de France. P.S. (griffe). Château des Tuileries, 21 mars 1820. 1 p. in-plano sur vélin à vignette et encadrement gravés, sceau sous papier. Brevet de Légion d'honneur, contresigné par le Grand Chancelier Macdonald. Michel Marchand, capitaine d'ouvriers d'artillerie à la retraite, est nommé chevalier de la Légion d¿honneur, ce rang lui étant accordé à compter du 28 juin 1805.

      [Bookseller: Librairie SIGNATURES]
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        Essai sur la police générale des grains, su leurs prix et sur les effets de l'agriculture

      1755 - de XVIII, 435 et (1) pages Berlin, , s.n, 1755, in-12, de XVIII, 435 et (1) pages, plein basane racinée de l'époque, dos lisse portant une pièce de titre en maroquin rouge (manque de cuir sur les coupes et les coins, mais reliure de très bonne tenue), Cinquième édition. La première fut publiée à Londres en 1753. L'épître dédicatoire, l'avertissement et la seconde partie sur l'agriculture ne furent ajoutés qu'à la quatrième édition, parue à Berlin en 1754, et dont découle directement cette cinquième. Passionnante étude dans laquelle l'auteur lutte contre le conservatisme (et un certain nationalisme) économique : "Depuis l'Arrêt du Conseil du 17 Septembre 1754, qui permet le commerce des grains dans le Royaume, et leur sortie par quelques portes du Languedoc, il aurait été inutile de s'étendre encore sur cette liberté, si quelques personnes ne la regardaient comme dangereuse, et s'il n'était pas nécessaire, que le public ne perdit point de vue les motifs de ce nouveau règlement, et sentit les avantages qui peuvent résulter d'un commerce plus étendu [.] La proposition [de la sortie de nos bleds] nous alarme, elle est aussitôt écrasée sous l'autorité de la loi et de l'habitude, on y oppose des difficultés effrayantes, elle n'est ni écoutée, ni examinée". Texte captivant qui nous plonge aux origines de la création, en France, du commerce extérieur, et d'un certain libéralisme, entre les régions du Royaume et avec les autres pays européens. Bon exemplaire [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        Den Haag, Hofvijver - Hendrik Florisz. Scheurleer, 1755-1761.

      GEZICHT VAN DE HOFVIJVER TE ?S GRAVENHAGEKopergravure vervaardigd door Iven Besoet en uitgegeven 1755-1761 door Hendrik Florisz. Scheurleer. Later met de hand gekleurd. Afm. (prent): ca. 28,5 x 40,5 cm.We zien de Hofvijver met links het Torentje en Binnenhofcomplex. In het verschiet het Buitenhof en de Grote of St. Jacobskerk. Rechts de Lange Vijverberg.De Haagse uitgever en boekverkoper Hendrik Florisz. Scheurleer (1692-1768) speelde in op de populariteit van het stadsgezicht in het midden van de 18de eeuw. Hij publiceerde een reeks van achttien uiterst informatieve gezichten van Den Haag en directe omgeving die hij allemaal aan Haagse burgemeesters, baljuws of secretarissen opdroeg. Ze zijn gegraveerd door Iven Besoet (ca. 1720-1769) een uit Leiden afkomstige kunstenaar. Dat de reeks een succes was, mag blijken uit de diverse kopie?n (meestal optica-prenten) die er naar zijn gemaakt. Of Besoet er goed aan heeft verdiend, is echter zeer de vraag, want als we de biografie?n mogen geloven werd hij wegens wanbetaling zijn huis uitgezet, waarna hij, gehuld in een deken, op straat verbleef en korte tijd later overleed.Prijs: ?975,- (incl. lijst).

      [Bookseller: Inter-Antiquariaat MEFFERDT & DE JONGE]
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        DE LITTERARIA EXPEDITIONE PER PONTIFICIAM DITIONEM AD DIMETIENDOS DUOS MERIDIANI GRADUS ET CORRIGENDAM MAPPAM GEOGRAPHICAM IUSSU, ET AUSPICIIS BENEDICTI XIV. PONT. MAX. SUSCEPTA A PATRIBUS SOCIET. JESU.

      Quarto (26.5 x 19.5 cm / 10.5 x 7.5 inches): xxii, 516, 2 ff. errata, plus 4 folding plates and 1 map of the Papal States in 3 large separate folding sheets (each approximately 40 x 68 cm, that if joined would form a map approximately 115 x 68 cm / 47 x 25.5 inches); contemporary vellum with title debossed in gilt to headpiece – Collation Complete (Very Good condition internally, some sporadic areas of light toning to text block, very small repaired tear in blank margin of title page; Binding Very Good condition, very slight worming and minor separation to head of spine). - Rome: Niccolò & Marco Palearini, 1755. An excellent example of the rare editio princeps of Roger Boscovich & Christopher Maire’s account of their important mission to measure the length of a degree of the meridian arc in Central Italy, featuring the first scientifically surveyed map of the Papal States. - This is an especially fine example of the very rare first edition of Roger Boscovich and Christopher Maire’s De Litteraria Expeditione, which provides a critically important piece of evidence supporting the prevailing theory as to the shape of the earth, in addition to featuring the first scientifically accurate general map of the Papal States. At the behest of Pope Benedict XIV, from 1750 to 1753, the esteemed Croatian polymath Roger Boscovich teamed up with the English Jesuit Christopher Maire to measure two degrees of a meridian arc between Rome and Rimini. Through their resulting calculations, they verified that the length of a degree of longitude progressively increases as one moves north from the Equator. During this, at times grueling, endeavour, Boscovich and Maire also acquired trigonometrical measurements that led to the first scientific map of the region. The mission was hailed as a great success, and the present detailed account of their mission, along with their scientific analysis and the magnificent large-format map, was published in Rome in 1755. The present editio princeps is very rare on the market, and we are aware of only a single other example being offered at auction or in dealers’ catalogues during the last 50 years. Historical Background - Boscovich and Maire’s endeavour in the Papal States must be viewed within the greater context of the international scientific effort to discern the shape of the earth, entering a debate as to whether it was an oblate spheroid (slightly flattened at the poles) or an elongated spheroid. Sir Isaac Newton had theorized that the earth should be an oblate spheroid, due to the pull of gravitation force. If this was the case, then the length of a degree of longitude surveyed along the same meridian should increase as one moved away from the Equator. However, surveys of the meridian arc in France in the latter 17th Century, conducted by the likes of Jean Picard, Jacques Cassini and Philippe de La Hire, had produced readings that showed that the length of a degree decreased as one measured further north. While the French surveyors’ readings were later proved to be faulty (in their defense, conducting such precise measurements with contemporary equipment was nearly impossible), they were all highly regarded scientists and their findings could not be easily dismissed. While the question of the earth’s shape fascinated intellectuals during the first decades of the 18th Century, for sometime, the matter remained unresolved, as technology had not caught up with scientific curiosity. Valuing their leading role in the study of geodesy, the French Académie des Sciences decided to sponsor two epic expeditions to the extremes of the earth’s latitudes, in an effort to solve the question of the planet’s shape, once and for all. The resulting scientific surveys were aided by recent and profound technological improvements, such as vastly superior theodolites and quadrants, as well as more effective techniques of triangulated surveying. SEE OUR WEB-PAGE FOR A LONGER DESCRIPTION.

      [Bookseller: Antiquariat Dasa Pahor]
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        1755 Christian Wolff Anfangsgrunden Philosophy Mathematics Artillery Cosmography

      Franckfurt und Leipzig : zu finden in der Rengerischen Buchhandlung, 1755. - 1755 Christian Wolff Anfangsgrunden Philosophy Mathematics Artillery Cosmography A rare, mid-18th-century work by Christian von Wolff. Wolff, an eminent German philosophy, wrote “Anfangsgründe” in 1710. This work covers a vast set of topics including arithmetic, geometry, trigonometry, mechanics, hydraulics, optics, perspective, astronomy, geography, gnomonics, and artillery. This 1755 edition is filled with 38 engravings depicting: • Windmills, watermills, gristmills • Solar system, planets • Artillery, cannons, gunpowder • Forts, fortification walls, star forts • Geometric formulas and shapes, compass • Light behavior, optical examples, magic lanterns Wolff’s philosophy was well balanced between logic and rationalism. He occasionally studied cosmology, but most of his studies were rooted in proofs even though many of his beliefs followed the existence and attributes of God. Item number: #1098 Price: $750 WOLFF, Christian von Auszug aus den Anfangsgrunden aller mathematischen Wissenschaften, zu bequemerem Gebrauche der Anfanger auf Begehren verfertiget Franckfurt und Leipzig : zu finden in der Rengerischen Buchhandlung, 1755. Details: • Collation complete with all pages: [20], 740, [24] o Illustrated with 38 folder copper engravings • Binding: Leather; tight and secure • Language: German • Size: ~7in X 4in (17.5cm x 10cm) • Very rare with no other example for sale worldwide Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 1098 Photos available upon request. [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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        Commentariorum in Regii Herculanensis Musei aeneas tabulas Heracleenses. I. Pars I. Qua prior Graeca inscriptio, agri Dionyso sacri dimensionem, partitionem, limites, locationes complectens, cum Britannico fragmento ferruminata, perpetuis adnotationibus illustrantur. Praemissis ad tabularum intelligentiam diatribis opportunissimis tribus. - II. Pars II. Qua tum Graeca altera Heracliensis inscriptio ad agrum Minervae Poliadi sacrum pertinens, tum vetustissimi legum Romanarum Digesti capita plura, coalescentia cum aere Britannico, illustrantur. Additis in fine collectaneis quibusdam & indicibus sane quam necessariis.

      Naples, Benedetto Gessari, 1754-1755, - 2 tomes en un vol. in-folio, XIV-600 pp. en numérotation continue, avec 10 planches dépliantes par Filippo De Grado d'après Michele Foschini, dont une carte de la Grande Grèce, index, manque le portrait-frontispice, veau fauve marbré, dos à nerfs cloisonné et fleuronné, encadrement de triple filet doré sur les plats, double filet doré sur les coupes, tranches rouges (reliure de l'époque). Coins inférieurs abîmés. Unique édition de cet examen des inscriptions de deux tables de bronze découvertes parmi les premiers objets exhumés des fouilles balbutiantes d'Herculanum. En dépit de son importance, l'ouvrage n'eut pas en-dehors du Royaume de Naples l'écho que l'on aurait pu attendre : c'est que Herculanum n'était pas citée par Pline dans son récit de l'éruption du Vésuve (à la différence de Pompéi), et les découvertes pourtant capitales qui y furent faites n'éveillèrent pas beaucoup d'intérêt au-delà de l'Italie à l'exception notable du comte de Caylus. L'auteur, venant d'une famille modeste de Naples, entré par nécessité dans les Ordres, selon l'usage, s'acquit au cours du XVIIIe siècle la réputation du meilleur épigraphiste d'Italie. Il refusa plusieurs archevêchés offerts par le Roi de Naples pour se consacrer exclusivement à ses études. Brunet III, 1561.

      [Bookseller: Librairie Historique F. Teissèdre]
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        Vida y hechos del ingenioso cavallero Don Quixote de la ManchaBarcelona por Joan Jolis y Oliver     

      4 vols. 8vo (150 x 100mm.) v. 1: [28], 363, [5] p.; v. 2: [4], 402, [2] p.; v. 3: [16], 380, [4] p.; v. 4: [4], 447, [5] p.. woodcut illustrations, contemporary Spanish vellum, ties, vol. 3 loose  

      [Bookseller: Maggs Bros. Ltd.]
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