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Displayed below are some selected recent viaLibri matches for books published in 1782

        Opere.

      Florence: Gaetano Cambiagi,, 1782–3. 6 volumes, quarto (277 x 210 mm). Contemporary dark blue straight-grain morocco by Henry Walther (with his ticket in vol. I), spines gilt lettered and numbered direct, 5 pairs of raised bands, two-line gilt border on sides, intersecting gilt semi-circle decoration at the corners, gilt Greek-key roll tool to turn-ins, marbled endpapers, gilt edges, pink silk page markers. Engraved portrait frontispiece of Machiavelli by Gregori after Santi di Tito, large arms of Earl Cowper on each title page, folding plate facing p. 333 in vol. II (showing the layout of an army camp), another facing p. 1 in vol. IV (a facsimile of Machiavelli's handwriting). Armorial bookplates of Sir Robert D'Arcy Hildyard (1743–1814), High Sheriff of Yorkshire. Minor rubbing to extremities, a few scrapes, slight scuff to top edge of vol. VI, library stamp removed from final leaf of each volume (with concomitant faint dampstaining), previous bookplates removed (with tears to those remaining). A tall, clean set. First Cambiagi edition, containing a number of previously unpublished works. The Enciclopedia Machiavelliana remarks that the production of this handsome edition was a "complex editorial operation" involving the garnering of original manuscripts from the grand duke of Tuscany, the viceroy of Sardinia, the Austrian governor of Lombardy, Catherine the Great and Pope Pius VI, and a team of editors headed by the Florentine Jansenist Reginaldo Tanzini (1746-1825): "given their religious and moral convictions, it was natural that the Jansenists should consider Machiavelli, the republican who was an enemy of the popes, as their 'dearest idol.' The name of Machiavelli appears often in their letters, and in Florence it was the Jansenists who edited, 'in crocchio,' ('in a small group') under the supervision of the Abbot Reginaldo Tanzini, secretary of Scipione de' Ricci, bishop of Pistoia and descendant of Giuliano de' Ricci [Machiavelli's nephew], a new and important edition of the works of Machiavelli" (Maurizio Viroli, Machiavelli's God, Princeton UP, 2010, p. 256). This was also the edition that "first spread the news of the translation of The Prince into Ottoman Turkish" (Biasiori and Marcocci eds., Machiavelli, Islam and the East: Reorienting the Foundations of Modern Political Thought, 2017, p. 182). The dedication is to the art collector and patron George Nassau Clavering Cowper, third earl Cowper (1738-1789) and each volume blazons his arms on the title page: "The title and property inherited from his father in 1764 helped Cowper gain a position of importance within Florentine society… In 1766 he became a member of the Accademia delle arti del Disegno (known as the Florentine Academy) and two years later he was elected to the Accademia della Crusca" (ODNB). One of the most important editions of Machiavelli presented here in a restrained but distinguished binding from the atelier of the celebrated Henry Walther, one of the foremost London binders of the period.

      [Bookseller: Peter Harrington]
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        Copia de la Carta Escrita al Sr. Comandante General por el Vecindario de la Jurisdiccion de Cuencame. [A petition from the inhabitants of the district of Cuencame for protection against the local Indians.]

      1782 - Manuscript in ink. 16pp with an integral blank. Folio. Mexico, 20th February, These three manuscripts are transcripts of the petition addressed by the Spanish settlers in the Cuencame district of New Spain, to the Cavallero de Croix, the General commanding that region, together with transcripts of the letters sent to Don Jose de Galvez, Spanish Secretary of State for the Indies, and to the Viceroy, Governor and Captain General of New Spain, Don Martin de Mayorga, begging their support to the petition.For a period of five years - from 1775 to 1782 - the Cuencame settlers, who were engaged in pastoral pursuits, had been the victims of constant attacks by the Indians, who had incessantly raided their territory, murdered its inhabitants, robbed them of their goods and made off with large portions of their flocks. The farmers had patiently suffered these outrages, in the hope that time would bring about an amelioration in their condition. But the passage of time had only provided a monotonous continuance of the evil and, as the period when the petition was drawn up, things had come to such a pass that the dwindling community was faced with imminent extermination, if military aid were not quickly forthcoming. Accordingly, a conference of the leading members of the community was held, with their mayor at the head, and an urgent petition was decided upon, as the only means left to preserve what remained of their number and their possessions. The appeal is concluded in the most humble terms, setting forth in detail the particulars of the attacks which the colonists had suffered, and requesting immediate relief. It is provided out in the document that, owing to the ever-diminishing numbers of the community through murder and captivity, it had been impossible to keep up the tax required to maintain a force of Militia for the defence of the district, over a frontier that extended for forty leagues, between the Rio de Nazas and the Rios de Buenaval, these unprotected passes enabled the enemy to enter the territory with impunity. What was required was a force, sufficiently strong to be divided into three detachments, in order to close those gaps. The General is also reminded that the farmers had held back from enlisting his support until circumstances had made it imperative for them to do so.

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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        Annali d'Italia dal principio dell'era volgare sino all'anno 1500. compilati da Lodovico Antonio Muratori ... dedicati all'illustrissimo signore d. Michele Sancio

      NAPOLI: Nella Stamperia del Paci, a spese di Andrea Migliaccio e dal medesimo si vendono nel suo negozio, 1782. RILEGATO. DISCRETO. 12 18,5. 17 USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
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        THE WATERY GODS [caption title]

      [London, 1782. Broadside, measuring 10 1/2 x 3 1/2 inches. Minor soiling. Very good plus. A song sheet commemorating Rodney's naval victory over the French fleet under the command of the Comte de Grasse off Dominica in the West Indies. The Battle of the Saintes was a naval battle that took place over four days in April 1782, in which the British defeated the French fleet whose aim was the capture of Jamaica. This nine verse, six line song tells the tale of the sea gods wakened by the fight and amazed at the glorious victory of the British. ESTC locates four copies - two at the British Library, one at the Bodleian, and one at New York Public. Those records mention a woodcut illustration, which has been neatly trimmed off the top of the sheet and is not present here. ESTC T10517.

      [Bookseller: William Reese Company - Americana]
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        Di Aneddoti Viniziani Militari, ed Amorosi del Secolo Decimoquarto Sotto I Dogadi di Giovanni Gradenigo e di Giovanni Dolfin

      Venice: Modesto Fenzo, 1782. First edition, thick paper issue. Woodcut title device. [ii], xxiv, 244 pp. 8vo (6 x 4-1/4 in.; 152 x 108 mm). Contemporary flexible boards, pink paper backstrip with ms. title on spine. Covers soiled, textblock a bit shaken, a few stains to text, two small clean marginal tears on leaf I1. First edition, thick paper issue. Woodcut title device. [ii], xxiv, 244 pp. 8vo (6 x 4-1/4 in.; 152 x 108 mm). First edition of this rare adaptation of Madame Tencin's romance La Siège de Calais (1739), which Casanova admitted he wrote only for money, simply changing the characters and scene. "The siege of Calais has become the siege of Nona near Zara, and the protagonists, Venice and Hungary, instead of France and England" (Childs, p. 57). Casanova signs the preface in type on page x. Childs notes copies printed on light and thick paper, the light paper copies likely reserved for presentation and omitting the "Avviso," which is present in this copy. OCLC notes 5 copies, of which 3 are in the United States. Childs XXVII; Pollio, pp. 88-91

      [Bookseller: James Cummins Bookseller]
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        Antique Master Print-THE FORTUNE TELLER-GYPSY-PALMISTRY-Bartolozzi-Reynolds-1782

      - Plate : 'The Fortune Teller'. A woman in gypsy dress, standing at left, reads the palm of a shy young girl, sitting on the lap of a boy in a plumed cap; landscape beyond at left. Copperplate engraving / stipple engraving on a verge type of hand-laid paper. Hand colouring. Description: This original antique print was published in London, dated 1782.Artists and Engravers: This plate engraved by F. Bartolozzi after Joshua Reynolds. Francesco Bartolozzi (1725-1815) was a famous Italian engraver known for his refined stipple engraving, whose most productive period was spent in London. Joshua Reynolds (1723-1792) was an influential English painter of the 18th century. He specialised in portrait painting and the 'Grand Style' of painting, which emphasises on idealisation of the imperfect. Condition: Good. Paper slightly browned and light staining/soiling from handling as visible on image. A few spots and stains in the margins. Small tear top edge, not affecting image; repaired. Please study scan carefully. Storage location: DP-B6-37 The overall size is ca. 18.7 x 15.7 inch. The image size is ca. 16.5 x 13.6 inch. The overall size is ca. 47.5 x 40 cm. The image size is ca. 42 x 34.5 cm.

      [Bookseller: ThePrintsCollector]
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        Les confessions de J. J. Rousseau: suivies des Reveries du promeneur solitaire, Volume 1 + 2

      Genf, 1782. 471 +295 p Ledereinband 2 Bände mit beschädigtem Ledereinband,aber gut erhaltenem Buchblock und Text.

      [Bookseller: Antiquariat Klaus Böttcher]
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        Les oeuvres de François Rabelais Docteur en Médecine. Tome premier (...quatrième)

      s.t, 1782. 12mo (cm. 11,7), 4 Voll., 4 cc.nn. (compreso ritratto dell’A. inciso in antiporta), 294 pp.; 2 cc.nn., 347 pp.; 2 cc.nn., 276 pp.; 2 cc.nn., 224 pp. Legature coeve in piena pelle con cornici oro ai piatti, fregi, fili e titolo oro al dorso. Antica firmetta di appartenenza ai frontespizi e ex libris al contropiatto. Esemplare in ottimo stato di conservazione.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        Rare Antique Master Print-FRUIT MARKET-MONKEY-SQUIRREL-Earlom-Snyders-1782

      - Antique Master Print, titled: 'A Fruit Market.' - A woman with a basket of purchases samples a plum held out to her by the salesman. Beside the women is a large table with all sorts of fruit. A monkey overturns a basket on which a squirrel sits. Mezzotint engraving on hand laid (verge) paper. Description: This print originates from: From the set of four mezzotints by Earlom known as 'the Markets'. After paintings that were present in the Houghton collection (sir Robert Walpole's celebrated collection). A large part of this collection was sold to Catherine the Great of Russia in 1779 and remains today one of the greatest parts of the Hermitage Museum collection in St. Petersburg. Rare. Published by John Boydell in London, 1782. The figures in the original painting were originally attributed to Jan Boeckhorst (hence the name Long John beside Snyders). Joseph Farington made an intermediary drawing of the painting as a design for this mezzotint.Artists and Engravers: Made by 'Richard Earlom' after 'Frans Snyders'. Richard Earlom (1743-1822) was an reknowned English mezzotint engraver. He displayed great skill as a draughtsman, and at the same time acquired without assistance the art of engraving in mezzotint. Frans Snyders (1579-1657) was a reknown Flemish painter of animals and still lifes. Condition: Very good, given age. Minor restorations to small tears in the left and right margin (backed with contemporary paper and acid-free archival tape. The lower margin with several small damages, all backed with paper and acid-free archival tape. A very nice impression. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPC-P3-12 The overall size is ca. 24.4 x 17.6 inch. The image size is ca. 22.4 x 16.3 inch. The overall size is ca. 62 x 44.8 cm. The image size is ca. 57 x 41.5 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-BATAVIA-JAVA-INDONESIA-Conradi-Kobell-Sallieth-1782

      - A view of the sea near Batavia (Jakarta, Indonesia), with several ships lying at anchor. Handcoloured etching/engraving on hand laid (verge) paper. Description: This print is taken from 'Batavia, de Hoofdstad van Neerlands O. Indien.', published by Petrus Conrade and Volkert van der Plaats, 1782.Artists and Engravers: M. Sallieth after H. Kobell Jr. Mathias de Sallieth (1749-1791): Chech etcher/engraver of etchings, stipple engravings and aquatint. Publisher and artist. Born in Prague, died in Rotterdam. He worked in Vienna, Paris, Schoonderloo and Rotterdam. He was a student of J.E. Mansfeld in Vienna and Jacques Philippe Le Bas in Paris. He worked for F. Samsom. Condition: Very good, given age. Original middle fold. All edges reinforced on the rear. Scattered small stains in the margins. Ghosting around the image from previous matting. Storage location: B14-01 The overall size is ca. 17.1 x 13.4 inch. The image size is ca. 11.2 x 9.1 inch. The overall size is ca. 43.5 x 34 cm. The image size is ca. 28.5 x 23 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Map-JAVA-INDONESIA-BATAVIA-Conradi-1782

      - Antique Map : 'Nouvelle Carte de l' Isle de Java.' (New Map of Java.) This very detailed map shows the Indonesian Island of Java. With cartouche, scale and compass rose. Copperplate engraving on verge type hand laid paper with watermark. Original folds. Description: This print is taken from 'Batavia, de Hoofdstad van Neerlands O. Indien.', published by Petrus Conrade and Volkert van der Plaats, 1782.Artists and Engravers: Unknown. Condition: Excellent; general age related toning; some light staining from handling. Storage location: (BG) A165-10 The overall size is ca. 18.9 x 10.6 inch. The image size is ca. 17.3 x 8.5 inch. The overall size is ca. 48 x 27 cm. The image size is ca. 44 x 21.5 cm.

      [Bookseller: ThePrintsCollector]
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        Storia Ecclesiastica Dallo stabilimento della Chiesa sino al presente

      NAPOLI: A Spese ed Appresso Gaetano Castellano, 1782. rilegato. BUONO. 19 24. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
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        The Beauties of Fielding: Carefully Selected from the Whole Works of that Eminent Writer. To Which is Added Some Account of His Life

      London: G. Kearsley, 1782. First edition. Engraved title with portrait vignette. xvi, 203, [1, ads] pp. 12mo. Contemporary calf, red morocco spine label. Some offsetting to margins of title. First edition. Engraved title with portrait vignette. xvi, 203, [1, ads] pp. 12mo. First edition, a beautiful copy of this collection of Fielding extracts, organized into more than one hundred alphabetical headings, from avarice to zeal. According to the final page of ads, Kearsley published a series of "Beauties" of Johnson, Goldsmith, Watts, Sterne, Pope and Swift, "principally intended for the Use of Youth of both sexes …" A second edition followed in the same year. Cross III, p. 330. Provenance: Charles H. McDonald (pencil ownership inscription on front free endpaper); Ximenes (pencil price and note, "$225 … very scarce"); Louis & Anne Marie Davidson (bookplate)

      [Bookseller: James Cummins Bookseller ]
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        44 Antique Prints-LATHE-TURN LOCKSMITH-Panckoucke-1782

      - Title: Tourneur; Attelier; Tour en Bois; Tour en Fer; Filieres et Tarots; Compas; Outils; Meules; Tour en l'air; etc. (Lathe, Turn Locksmith; workshop, tools and methods.). Set of 44 prints. Only 4 prints shown. Copperplate engraving on verge type hand laid paper. Plates 9,12,13,14,15,20,44 double size. Description: These plates originate from 'Encyclopedie Methodique ou par ordre de matieres .' published between 1782-1832 by Panckoucke. This is one of the most extensive of all encyclopaedias ever produced. It is in fact a much enlarged and re-arranged edition of Diderot and d'Alembert's Encyclopedie. Its famous predecessor: 'Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers .' was originally published in folio under the direction of Diderot and d'Alembert, with 17 volumes of text and 11 volumes of plates, between 1751 and 1772. It contained 72,000 articles written by more than 140 contributors. This encyclopdia was a massive reference work for the arts and sciences, as well as a means to propagate the ideas of the French Enlightment. The impact of this encyclopedia was enormous.Artists and Engravers: Charles-Joseph Panckoucke (1736-1798) was a French writer and publisher, notable for the Encyclopédie Méthodique. His partner was Henri Agasse, married to his daughter Therese-Charlotte, who finished the last 166 volumes after Charles-Joseph died. His son Charles Louis Fleury Panckoucke continued in the writing and publishing business as well. Robert Benard (fl. 1750-1785) direxit. Denis Diderot (1713-1784) was a French philosopher, art critic and writer. Jean le Rond d'Alembert (1717-1783) was a French mathematician, mechanician, physicist and philosopher. Condition: Fine. General age ralated toning and occasional light staining. Irregular paper edges from uncut sheets. Irregular left paper edge with some small holes from binding, not effecting images. Storage location: A57-15 The overall size is ca. 9.3 x 12.6 inch. The image size is ca. 6.1 x 9.3 inch. The overall size is ca. 23.5 x 32 cm. The image size is ca. 15.5 x 23.5 cm.

      [Bookseller: ThePrintsCollector]
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        Ornamenti Diversi Inventati Disegnati ed eseguiti Da Giocondo Albertolli Professore d'Ornati nella Reale Accademia di Belle Arti in Milano Incisi da Giacomo Mercoli Luganese Si vendono dallo stesso Albertolli in Milano

      Milan, Giocondo Albertolli, [1782]-1787-1796 (but probably issued c. 1796). A series of influential works documenting both interior decoration completed by Giocondo Albertolli and ornament he had observed on his travels around Italy. One of the most important taste-makers of his day, Albertolli was the professor of drawing and ornament in the Accademia di Belle Arti di Brera in Milan, where he taught his own brand of neoclassicism to an entire generation, from the founding of the academy in 1776 until 1812. These three works - together with a Corso elementare di ornamenti architettonici, a suite of twenty-eight plates published in 1805 - became the "principale strumento didattico a disposizione degli allievi della scuola d'ornato" (Giuseppe Beretti), and further spread Albertolli's ideas in Italy and abroad. Bound with Albertolli, Giocondo. Alcune decorazioni di nobili sale ed altri ornamenti di Giocondo Albertolli Professore nella Reale Accademia delle Belle Arti in Milano Incisi da Giacomo Mercoli e da Andrea de Barnardis MDCCLXXXVII. Bound with Albertolli, Giocondo. Miscellanea per i giovani studiosi del disegno pubblicata da Giocondo Albertolli Professore Nella Reale Accademia delle Belle Arti in Milano L'Anno MDCCXCVI. Parte terza. Si ritrova presso allo stesso Albertolli in Milano.Albertolli, Giocondo Bedano 1742 - 1839 Milan Ornamenti Diversi Inventati Disegnati ed eseguiti Da Giocondo Albertolli Professore d'Ornati nella Reale Accademia di Belle Arti in Milano Incisi da Giacomo Mercoli Luganese Si vendono dallo stesso Albertolli in Milano. Bound with Alcune decorazioni di nobili sale ed altri ornamenti di Giocondo Albertolli Professore nella Reale Accademia delle Belle Arti in Milano Incisi da Giacomo Mercoli e da Andrea de Barnardismdcclxxxvii. Bound with Miscellanea per i giovani studiosi del disegno pubblicata da Giocondo Albertolli Professore Nella Reale Accademia delle Belle Arti in Milano L'Annomdccxcvi.Parte terza. Si ritrova presso allo stesso Albertolli in Milano. Milan, Giocondo Albertolli, [1782] - 1787 - 1796 [but probably issued together circa1796] Three parts in one volume, broadsheets (627 × 483 mm). i: Ornamenti diversi, (24) ff., comprising engraved title (transcribed above), engraved dedication by Albertolli to the architect Giuseppe Piermarini (dated at Milan, 25 February 1782), and twenty-four numbered plates of vari­ous sizes (platemarks 225 × 155 mm to 465 × 265 mm; nos. xxi-xxiv imposed in pairs on two sheets) engraved by Giacomo Mercoli (nos. ii-iii, iv dated 1778, v-xi, xii dated 1781, xiii, xiv dated 1782, xv-xvi, xvii dated 1781, xviii-xx) and Carlo Antonio Aspari (nos. i, xxi-xxiv) after designs by Giocondo Albertolli. ii: Alcune decorazioni di nobili sale, (26) ff., comprising engraved title (transcribed above), engraved dedication by Albertolli to Count Johann Joseph Wilczek (dated at Milan, 20 May 1787), letterpress address L'Autore a chi legge (printed on recto and verso of one leaf), and twenty-three numbered plates (platemarks mostly 460 × 320 mm) engraved by Giacomo Mercoli (nos. iii, vii, ix, xii-xv, xvi dated 1785, xvii, xx-xxi, xxiii) and Andrea de Bernardis (nos. i-ii, iv-vi, viii dated 1784, x, xi dated 1787, xviii-xix, xxii) after designs by Giocondo Albertolli (xxiii dated 1788). iii: Miscellanea, (22) ff., comprising engraved title (tran­scribed above), engraved dedication by Albertolli to Lodovico Galeazzo Busca Arconati Visconti, marchese di Lomagna (dated at Milan, 2 April 1796), and twenty num­bered plates of various sizes (platemarks 265 × 270 mm to 490 × 540 mm; nos. xii-xiii achieved by two matrices) engraved by Giacomo Mercoli (nos. i-ii, iv-vi, viii, xix), Michelangelo Mercoli (nos. x dated 1795, xii/b, xx), Giuseppe Longhi (no. iii dated 1792), Girolamo Mantelli (no. xv dated 1796; a stipple engraving), and Raffaello Albertolli (nos. vii, ix, xi, xii/a, xiii/a-b, xiv, xvi dated 1794, xvii-xviii both dated 1793; nos. vii, xi, xvi, xvii, xviii printed in sepia), after designs by Giocondo (nos. i - x, xi dated 1793, xii/b, xvi, xix-xx) and his son Raffaele Albertolli (nos. xiv, xv, xvii, xvii). paper the three parts printed on the same thick laid paper watermarked v m, except sheet of letterpress (in part ii) printed on a similar, unwatermarked paper; lower deckle edge occasionally preserved by the binder. Extra-illustrated with a hand-coloured print Tria pavimenta tessellata Romani operis ... quae in agro Wintertoniae, Lincolniensis... annomdccxlviiprimum reperiebantur | Drawn by W. Fowler Winterton 1796 | Engraved by J. Hill London from William Fowler's Engravings of the principal mosaic pave­ments (1796-1804) bound in as a frontispiece (this plate alone some­what browned). 1 provenance Earls of Mansfield and Mansfield, Scone Palace, Perthshire -- Christie's, 'Scone Palace & Blairquhan: The Selected Contents of Two Great Scottish Houses', London, 24 May 2007, lot 329 Occasional spotting in margins and light marking, other­wise a clean and crisp copy. Edges and corners of the binding slightly rubbed and scuffed. binding contemporary English half-calf over marbled boards, back decorated in gilt. A series of influential works documenting both interior decoration completed by Giocondo Albertolli and ornament he had observed on his travels around Italy. 'One of the most important taste-makers of his day', 2 Albertolli was the professor of drawing and ornament in the Accademia di Belle Arti di Brera in Milan, where he taught his own brand of neo­classicism to an entire generation, from the founding of the academy in 1776 until 1812. These three works - together with a Corso elementare di ornamenti architettonici, a suite of twenty-eight plates published in 1805 - became the 'principale strumento didattico a disposizione degli allievi della scuola d'ornato', 3 and further spread Albertolli's ideas in Italy and abroad. 4 In 1774, upon the success of decorations completed in Parma and Tuscany, Albertolli had been invited by the imperial and royal architect, Giuseppe Piermarini, to decorate the Palazzo Arciducale in Milan. The first work in our volume, Ornamenti diversi (1782), records on fifteen plates stucco ceiling decorations he designed for the 'Camere di Conver­sazione', 'Camere da Letto', 'Gabinetto nobile', 'Gabinetto famigliare', and 'Sala di Udienza', and also two-light and four-light girandoles 'situato lateralmente alle Caminiere' (see Fig. 3). 5 Three plates document Albertolli's decorations in the 'Sale di Compagnia' of the Villa Reale in Monza, 6 and another a ceiling he designed for the Palzzazo Casnedi (1776) in Milan. 7 These three projects also had been undertaken at the behest of Piermarini, and it is no surprise that Albertolli dedicates the publication to him, crediting Piermarini for bringing back good taste to Milan. The rest of the Ornamenti diversi is not linked to specific projects: four plates are designs for sculptured ornament emblematic of the 'Belle Arti', 'Scienze', 'Musica', 'Pastorale' (pls. xxiii-xxiv); one is drawn after the antique (pl. i: 'Il presente Ornato é preso dall'antico, e fú inciso anche nel Cinquecento, trovandosene ancora qualche coppie in alcune racolte d'Italia'). [img-2758-left-large_default] Fig. 1 A Roman mask of Medusa, drawn by Giocondo Albertolli and engraved by his son Raffaele for students at the Accademia di Brera in Milan (from Miscellanea per i giovani studiosi del disegno, pl. xvi i; platemark 297 × 350 mm) [img-2755-left-large_default] Fig. 2 Candelabro in grande designed by Giocondo Albertolli for the Palazzo Belgiojoso d'Este in Milan (from Alcune decorazioni di nobili sale, pl. xv; platemark 465 × 310 mm) [img-2757-left-large_default] Fig. 3 Two-light girandole designed by Giocondo Albertolli for the Palazzo Arciducale in Milan (from Ornamenti diversi, pl. xix; platemark 420 × 265 mm) Albertolli's second work, Alcune decorazioni di nobili sale ed altri ornamenti, dedicated in 1787 to the governor-general of Milan, Johann Joseph Wilczek (1738-1819), also com­bines designs for completed projects with plates of architectural details drawn after the antique, but is altogether less technical than its predecessor. In a letterpress address 'L'Autore a chi legge', the author indicates that it is intended 'di giovane all'avanzamento de'giovane', and proceeds to elaborate his teaching theory. Four plates in the new work are plans, profiles, and details of the ceiling and cornices of the 'Sala de pransi' in the Villa Reale in Monza, and another two plates show a carved door, and two stools and a sofa designed by Albertolli for its other rooms; 8 four plates document a fireplace and overmantel, a three-light girandole, a doorway, and a fireplace 'in marmo di Carrara' designed for the Palazzo Arciducale in Milan; 9 four plates show the ceilings of two rooms and an 'Ornamento di un altare' designed for the Palazzo Belgiojoso d'Este in Milan (remodelled by Piermarini 1772-1781) (see Fig. 2); 10 one plate shows a faldistorio commissioned by Archbishop Filippo Maria Visconti for the Duomo; 11 and another plate a frieze commissioned by Christian Wilhelm Steinauer, director of the Meissen Porcelain Manufactory (pl. xxiii). Other decoration documented in Alcune decorazioni di nobili sale is not precisely identified: three candleholders designed 'per alcuni amici dell'Autore' (pl. xix), table silver designed 'per un Cavaliere Cremonese' (pls. xx-xxii); and two types of Corinthian capitals drawn from the antique (pls. xi-xii), 12 probably associated with models of Corinthian capitals made by Albertolli for the architect Carlo Vanvitelli, for use in his church of SS. Annun­ziata in Naples, or perhaps with a model 'three Roman palms high' made for Piermarini. 13 [img-2756-left-large_default] Fig. 4 Marble bas-relief designed by Giocondo Albertolli for the Cattedrale di San Lorenzo in Lugano (from Miscellanea per i giovani studiosi del disegno, pl. xix; platemark 333 × 172 mm) In his third publication, the Miscellanea per i giovani studiosi del disegno (1796), dedicated to Lodovico Galeazzo Busca Arconati Visconti, marchese di Lomagna (1758-1841), Albertolli presents examples of ornament (none of his own projects) intended to help stu­dents design and later compose ornament. Eight plates show carved ornament presumably drawn by Albertolli on his travels in Rome and Tuscany: details of two fragments in the Orti Farnesiani (pls. i-ii), 'un Basso-rilievo in marmo lavorato di Cinquecentisti' (pl. iv), 'un pilastro nella Casa detta dell'Opera del Duomo in Firenze' (pls. vi, viii), 'uno de balaustri di marmo che si vedono alla scala del Pulpito nel Duomo di Siena' (pl. xiii/b), an unspecified bas-relief (pl. xvi), and 'un Bassorilievo in marmo, che si vede in uno de'pilastri delle porte sulla facciata della Insigne Basilica di San Lorenzo in Lugano' (pl. xix) (see Fig. 4). 14 A plate inscribed 'Tratto da una scultura in bronzo di Benvenuto Cellini Fiorentino' (pl. xx) may have been drawn after an object observed in Tuscany. Five plates present the eagle, either drawn from life or with the laurel wreath and snake, latterly adopted as the symbols of the Cisalpine Republic: 'Studio d'Aquila nella sua natu­rale grandezza' (pl. iii), 'Dal vero, della stessa grandezza' (pl. v), a plate without any inscription (pl. vii), 'Dal naturale l'anno 1794' (pl. ix), a plate without any inscrip­tion (pl. xi, dated 1793). 15 Another presents 'Cornucopia simbolo d'abbondanza' (pl. x). Some of Giocondo Albertolli's drawings for the Miscellanea were engraved by his son, Raffaele (1770-1812), a student in the Brera and later pupil of Appiani, who became an Academician of the Brera in 1803, and thereafter assisted his father in the school of orna­ment. Some plates were both drawn and engraved by Raffaele, including several in aquatint, a technique which he is said to have introduced into Milan. Raffaele's designs show heads in profile (pls. xii/a, xiii/a-b, xiv), an eagle 'Dal naturale' (pl. xv dated 1796), and a 'Medusa tratta dall'antico' (pls. xvii-xviii), apparently a Roman copy of a Greek original (of the type of the Rondanini Medusa in Munich) (see Fig. 1). The original issue of the Ornamenti diversi is reputed to be printed on smaller and less white paper than the subsequent issues and two succeed­ing works, 16 but this has proved impos­sible to ver­ify. Albertolli himself states that the original issue of Alcune decorazioni di nobili sale was 'stampate in carta d'Olanda'. 17 As the title and dedication of that work are dated 1787, and one plate (pl. xxiii) is dated 1788, an identifying fea­ture of the origi­nal issue is probably the absence of this twenty-third plate. 18 The three works were often issued together. The British Library has a copy (Cup. 648. h. 20) printed on an unwatermarked laid paper, but otherwise like our own. In a second British Library copy (1899 p. 24), the leaf of letterpress in Alcune decorazioni di nobili sale is re-set, 19 and all the plates in the Miscellanea printed in black (a similar copy is in the National Art Library at the Victoria & Albert Museum, 51.H.52). A new edition of the three works was published 'Presso gli editori Pietro e Giuseppe Vallardi... e dagli eredi Albertolli' in 1843. 20 references Leopoldo Cicognara, Catalogo ragionato dei libri d'arte e d'antichità posseduti dal Conte Cicognara (Pisa 1821), nos. 390-392; Katalog der Ornamentstichsammlung Berlin (1939), nos. 595 (parts i-ii, early issue of part ii comprising twenty-two plates) and 596 (parts i-iii, later issue of part ii, lacking dedications in iii); British Architectural Library, Early printed books 1478-1840. Vol. 1, A-D (London 1994), nos. 64, 61, 63 (in one volume); Enrico Colle, Giocondo Albertolli: i repertori d'ornato: the repertoires of decoration (Cinisello Balsamo 2002), pp.44-55: 'Giocondo Albertolli: biographical details useful for the history of neoclassical ornament'; Il trionfo dell'ornato: Giocondo Albertolli (1742-1839), catalogue of an exhibition by Enrico Colle and Fernando Mazzocca, Pinacoteca Cantonale Giovanni Züst, Rancate (Cinisello Balsamo 2005) 1. See Colin Franklin, 'William Fowler of Winterton' in The Book Collector 53 (2004), pp.381-412. 2. Mary L. Myers, Architectural and ornamental drawings: Juvarra, Vanvitelli, the Bibiena Family, & other Italian draughtsmen, catalogue of an exhibition in the Metropolitan Museum of Art (New York 1975), p.11. 3. Giuseppe Beretti, 'Giocondo Albertolli: le volte per il Palazzo Arciducale di Milano e la "nuova maniera d'ornare"' in Rassegna di studi e di notizie 21 (1997), p.68, citing a statement of Giuseppe Bossi, Secretary of the Brera from 1801-1807; see also, Anna Finocchi, 'La scuola d'ornato dell' Accademia di Brera e Giocondo Albertolli' in Architettura in Emilia-Romagna dall'illumi­nismo alla restaurazione: atti del convegno (Florence 1977), pp.159-169. 4. On the use of Albertolli's engraved works in England, for example, see Roger Smith, 'Benjamin Vulliamy's Library: A Collection of Neo-Classical Design Sources' in The Burlington Magazine 141 (1999), p.334. 5. Ornamenti diversi (1782), pls. ii-x, xiv-xvii, xix-xx. Beretti, op. cit., 1997, pp.55-98, figs. 2-7, 8-11, 13-18 (twelve plates and three associated drawings); Fernando Mazzocca, 'Palazzo di Corte (o Arci­ducale), poi Palazzo Reale' in Milano Neoclassica (Milan 2001), pp.131-152 (pls. iv, vi, ix, xvi); Il trionfo dell'ornato: Giocondo Albertolli (1742-1839), catalogue of an exhibition, Pinacoteca Cantonale Giovanni Züst, Rancate (Cinisello Balsamo 2005), pp.223-233, Tav. 1-11 (reproducing drawings associated with pls. ii, v, vii, ix, x, xii, xiv, xvi, xvii). 6. Ornamenti diversi (1782), pls. xi-xiii. Enrico Colle, 'Villa Arciducale, poi Villa Reale, Monza' in Milano Neoclassica (Milan 2001), pp.153-174 (pls. xi-xiii). 7. Ornamenti diversi (1782), pl. xviii. Enrico Colle, 'Palazzo Casnedi' in Milano Neoclassica (Milan 2001), pp.241-250 (pl. xviii and associated drawing). 8. Alcune decorazioni di nobili sale (1787), pls. i-vi. Colle, 'Villa Arciducale', op. cit., pp.160, 162-163, 169 (pls. i-iii, v); Enrico Colle, 'Le arti decorative' in Milano Neoclassica (Milan 2001), p.546 (pl. vi; compare p.574 for a stool made after the design); Giuseppe Beretti, 'Giocondo Albertolli: uno sgabello a foggia di tripode per la villa di Monza' in Rassegna di studi e di notizie 19 (1995), pp.45-54 (reproducing pl. vi in two states, the earlier before letters, and with manuscript inscription 'Stampato in April 1784'). Il trionfo dell'ornato, op. cit., pp.201-202, no. 10.2. 9. Alcune decorazioni di nobili sale (1787), pls. vii-x. Mazzocca, op. cit., 2001, pp.138-139 (pls. vii, ix-x); Colle, 'Le arti decorative', op. cit., p.561 (pl. viii); Il trionfo dell' ornato, op. cit., pp.203-204, no. 10.4. 10. Alcune decorazioni di nobili sale (1787), pls. xiii-xvii. Fernando Mazzocca, 'Palazzo Belgiojoso d'Este, poi Palazzo Brivio Sforza' in Milano Neoclassica (Milan 2001), pp.219-240 (pls. xiii, xvi). 11. Alcune decorazioni di nobili sale (1787), pl. xviii. Enrico Colle, 'Le arti decorative', op. cit., p.546 (pl. xviii; compare p.567 for the chair made after the design); Il trionfo dell'ornato, op. cit., pp.202-203, no. 10.3. 12. Alcune decorazioni di nobili sale (1787), pl. xi: 'Capitello corintio di colonna a foglia di ulivo con sua pianta, disegnato sulle forme e misure de'più belli antichi di Rome'. Pl. xii: 'Capitello corintio di pilastro a foglia di acanto'. 13. Compare Beretti, op. cit., 1997, pp.55, 68; and Enrico Colle, Giocondo Albertolli: i repertori d'ornato (Cinisello Balsamo 2002), pp.47, 49. 14. Simone Soldini, 'I pilastri del portale mediano della cattedrale di Lugano: un esempio di rinnova­mento nella scultura decorativa lombarda del primo Cinquecento' in Florilegium: scritti di storia dell'arte in onore di Carlo Bertelli (Milan 1995), pp.130-133. 15. Rudolf Wittkower, 'Eagle and Serpent. A Study in the migration of symbols' in Journal of the Warburg Institute 2 (1939), p.325 (pl. xv reproduced as fig. 53e). 16. Leopoldo Cicognara, Catalogo ragionato dei libri d'arte e d'antichità posseduti dal Conte Cicognara (Pisa 1821), no. 393: 'carta meno candida, e più piccola'; Jacques-Charles Brunet, Manuel du librairie et de l'amateur de livres (Paris 1860), i, col.136: 'Le premier tirage des Ornamenti diversi a été fait sur un papier moins blanc et plus petit que celui des autres vol., et cela peut servir à le faire reconnaître.' 17. Letter of 7 August 1787 to the dedicatee, Wilczek, cited by Beretti, op. cit., p.52. 18. Katalog der Ornamentstichsammlung der Staatlichen Kunstbibliothek, Berlin (Berlin & Leipzig 1939), no. 595 (copy of Alcune decorazioni di nobili sale comprising twenty-two plates only, bound with Ornamenti diversi). 19. This setting is reproduced by Colle, op. cit., pp.83-84. 20. The copy in National Art Library at the Victoria & Albert Museum (shelfmark 67. H. 40) is printed on wove paper, letterpress titles replace the original engraved titles to Ornamenti diversi and Alcune decorazioni di nobili sale, the dedications to those works are absent, and pls. vii, ix, xvi-xviii are printed in sepia. A copy of Vallardi's edition of the Ornamenti diversi bound alone is in the Avery Library of Columbia University (shelfmark AA 2840 Al1).

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        Vues de Mannheim représentées sur vingt six planches dessinées d après nature par Jean François de Schlichten et gravées par les fréres Klauber à Augsbourg. Avec une explication des planches

      Mannheim, Christian Friedrich Schwan, 1782. A suite of twenty-six views documenting the extensive building programme carried out at Mannheim during its years as Electoral capital, 1720-1778. The plates were engraved by the Klauber brothers of Augsburg, Joseph Sebastian (1710?-1768) and Johann Baptist (1712-1787), from drawings by Johann Franz von der Schlichten, professor in the Mannheim Academy, and after 1751 'Court Painter' and curator of the Electoral picture gallery. "Dieser Ansichtenband ist der einzige, der ausführlich über das Aussehen einzelner Bauten in Mannheim des 18. Jahrhunderts informiert" (Barbara Grotkamp-Schepers).Schlichten, Johann Franz von der Mannheim 1724 - 1795 Mannheim Vues de Mannheim représentées sur vingt six planches dessiné es d'après nature par Jean François de Schlichten et gravées par les fréres Klauber à Augsbourg. Avec une explication des planches. Mannheim, Christian Friedrich Schwan, 1782 oblong folio (240 × 345 mm), (7) ff. letterpress signed A-D2 (-D2, cancelled as usual) and paginated 1-14, plus twenty-six numbered engraved plates (one folding, the others full-page). provenance Hartung & Hartung, Auktion 77, Munich, 2 November 1994, lot 927 -- Hartung & Hartung, Auktion 119, Munich, 5 May 2008, lot 590 Title and margins of a few leaves faintly browned, otherwise in very good state of preservation. binding nineteenth-century blue cloth over thin paper boards; spine lettered and bands decorated in gilt; pink endpapers, blue speckled edges. A suite of twenty-six views documenting the extensive building programme carried out at Mannheim during its years as Electoral capital, 1720-1778. The plates were engraved by the Klauber brothers of Augsburg, Joseph Sebastian (1710?-1768) and Johann Baptist (1712-1787), from drawings by Johann Franz von der Schlichten, professor in the Mannheim Academy, and after 1751 'Court Painter' and curator of the Electoral picture gallery, 1possibly assisted by the architect Franz Wilhelm Rabaliatti (1716-1782). 'Dieser Ansichtenband ist der einzige, der ausführlich über das Aussehen einzel­ner Bauten in Mannheim des 18. Jahrhunderts informiert'. 2 [img-2759-left-large_default] The Electoral Residence (1720-1760), incorporating the Schlossbibliothek (centre) and Schlosskirche (West Wing). Engraving by the Klauber brothers (platemark 665 × 212 mm) [img-2760-left-large_default] The Konkordienkirche, built for simultaneous worship by Lutheran and Reformed congregations. Engraving by the Klauber brothers (platemark 212 × 280 mm) The unexpected transfer of the Palatinate court from Heidelberg to Mannheim in 1720 pro­vided the court architect Alessandro Galli-Bibiena (1686-1748) with a series of important commissions, notably the Electoral Palace with its integral opera house, the largest Baroque complex in Germany (shown on folding plate 5). The sculptors Pieter Antonie von Verschaffelt, Gabriel Grupello, and Johann Paul Egell also benefited from the patronage of Kurfürst Karl Philipp. His successor, Karl Theodor, favoured the architect Lorenzo Quaglio (1730-1805), whose reconstruction of the National Theatre, remodelled from grain and fruit warehouses (shown on plate 22), was completed just as the Court was obliged to move to Munich. Most buildings depicted in these views were damaged or destroyed during the Siege of 1795, or disappeared in the devastation of 1939-1945. Since other contemporary engraved views lack equal architectural detail, historians have often depended upon the present work for the original appearance or position of lost or damaged works. 3 [img-2761-left-large_default] The Theaterplatz and the Jesuitenkirche, built 1733-1756 to a design of Alessandro Galli-Bibiena. Engraving by the Klauber brothers (platemark 220 × 285 mm) The book is of long-standing rarity - four facsimile editions have been published, in 1856, 1917, 1929, and 1959 - and thirteen copies only can be located by the writer in public collections (none in North America) ● Berlin, Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, quer 4° Karten Abt. Y 30305 ('Bestand erfragen / Kriegsverlust möglich') 4● Düsseldorf, Universitäts- und Landesbibliothek, 19 GUST 359(4) ● Fulda, Hochschul- und Landesbibliothek, quer KW D 28/53 ● Heidelberg, Univer­sitätsbibliothek, BATT 25/2 FOL RES ● Karlsruhe, Badische Landesbibliothek, O74 B 5 ● London, British Library, 744.a.5 ● London, National Art Library, Victoria & Albert Museum, 15.GG.23 ● Mannheim, Reiß-museum, Mh 9076 5● Mannheim, Universitätsbibliothek 6● Munich, Bayerische Staatsbibliothek, 4 Germ. sp. 300m ● Vienna, Landesbibliothek, C 98178 (Bibliothek Portheim) ● Weimar, Herzogin Anna Amalia Bibliothek, Th A 2: 19[a] ● Würzburg, Universitätsbibliothek, 35/A 22.32 ('Titelseite und S. 1-14 fehlen') Since 1950, three other complete have been offered for sale in the German auction rooms; 7no copy is recorded in Anglo-American sale records since 1975. reference Lebenslust und Frömmigkeit: Kurfürst Carl Theodor (1724-1799) zwischen Barock und Aufklärung, Katalog, edited by Alfried Wieczorek (Regensburg 1999), ii, pp.240-247 no. 4.4.10 (all plates reproduced from copy in Reiss-Museum, Mannheim, B Bass 181), 389-390 no. 5.6.17 (plate of Marktplatz from Reiss-Museum, Mannheim, G Ad 121 c, k) 1.Barbara Grotkamp-Schepers, Die Mannheimer Zeichnungsakademie 1756/1769-1803 (Frankfurt 1980), pp.143-147, 256. 2.Inge Gesche, in Lebenslust und Frömmigkeit (op. cit.), p.240. 3.Klaus Lankheit, for example, reprints Schlichten's descriptive text for four views, and reproduces two plates (nos. 4, 9) in his monograph Der kurpfälzische Hofbildhauer Paul Egell (Munich 1988); five prints are discussed and one reproduced (as pl. 17) by Alexandra Glanz, Alessandro Galli-Bibiena (1686-1748): inventore delle Scene und Premier Architecteur am kurpfälzischen Hof in Mannheim; ein Beitrag zur Bibiena-Forschung (Berlin 1991). 4.Katalog der Ornamentstichsammlung der Staatlichen Kunstbibliothek, Berlin (1939), no. 2160. 5.   Heinz Veitenheimer, Druckort Mannheim: Mannheimer Verleger und ihre Drucke von 1608 bis 1803 (Frankfurt am Main 1996), no. 997. 6.Formerly in the Wissenschaftlichen Stadtbibliothek Mannheim, utilised for the facsimile edition (with foreword by Gustav Jacob) Das kurpfälzische Mannheim 1782: eine wichtigsten Bauwerke zur Zeit der Uraufführung von Schillers 'Räubern' (Mannheim: Bibliographisches Institut, 1959), and since 1971 subsumed in Universitätsbibliothek Mannheim. 7.  ● Tenner, Auktion 46, Heidelberg, 19 May 1965, lot 1137 (dm 1000) ● Tenner, Auktion 100/i, Heidelberg, 8 May 1974, lot 1942 (dm 6350) ● Zisska, Schauer & Co. KG, Munich, Auktion 63, 7-9 May 2014, lot 1586. An incomplete copy (24 of 26 plates) was sold in Tenner, Auktion 109, Heidelberg, 4 May 1976, lot 2207 (dm 1500).

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        Extract of the Work Entitled Principles of Music. Estratto Dell' Opera De' Principj Della Musica &c. By.

      Printed for the Author London 1782 - Slim 8vo. 46pp. + IV Music score plates at rear. Bound in full calf, gilt compartments to spine, contrasting label piece, bevelled edges, gilt. Bookplate to front pastedown. Text in 2 columns per page, Italian and English text. Closed tear to bottom margin of rear endpaper o/w contents clean and sound. A lovely copy. [Attributes: Hard Cover]

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        Antique Map-BASEL-RHINE RIVER-SWITZERLAND-Beaurain-1782

      - Map: 'Carte Topographique du cours du Rhin depuis Basle jusqua Mayence .' (Map of the course of the Rhine from Basel to Mainz.) This very large and detailed map is the first section of a total of 6 maps which together show the German and French regions of Sundgau, Alsace, Bishopric of Worms and Speyer, Palatinate, Archbishopric of Mainz, County of Katzenellenbogen, Territory of Frankfurt, Hesse, Darmstadt, Baden, Hanau, Ortnenau, Brisgau etc. This map indicates the positions and movements of the French and German armies during the campaigns of 1674 and 1675 in the Sundgau region in Germany. Also shown is the city of Basel in Switzerland. Copperplate engraving on verge type hand laid paper. Watermark present. Blank rear. Description: This old antique engraved copperplate print originates from 'Histoire des quatre dernieres campagnes du Maréchal de Turenne en 1672-1673-1674 et 1675, enrichie de cartes et de plan topographiques, dediee et presentee au Roi, par M. Le Chevalier de Beaurain, Geographe de Sa Majeste, & son Pensionnaire.', published in Paris Chez le Chevalier de Beaurain, 1782. This work tells the history and documents the war of the French against the Netherlands and its allies. Ref: Brunet I, 733 - Barbier 7928. Henri de la Tour d'Auvergne-Bouillon (1611-1675), viscount of Turenne, duke of Bouillon, prince of Sedan, generally known as Turenne, was one of the best generals for Louis XIII and Louis XIV.Artists and Engravers: Jean de Beaurain (1696-1771), was a French Geographer and Royal Geographer to King Louis XV. He published a 14-volume atlas (Atlas de géographie ancienne et moderne.) and 'Description topographique militaire de la Flandre, ou Campagnes du maréchal de Luxembourg.' (1690-1694), Paris, 1756. His son Jean-Baptiste Jacques de Beaurain (1728-unknown) continued his work on military history and finished: l' Histoire de la campagne de M. le Prince de Condé en Flandre en 1674.' (Paris, 1774) and this work. Maps engraved by Berlin Storage location: A191-23 The overall size is ca. 36.8 x 24.6 inch. The image size is ca. 35.6 x 23.6 inch. The overall size is ca. 93.5 x 62.5 cm. The image size is ca. 90.5 x 60 cm.

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        Antique Map-STRASBOURG-FRANCE-GERMANY-Beaurain-1782

      - Map: 'Carte Topographique du cours du Rhin depuis Basle jusqua Mayence .' (Map of the course of the Rhine from Basel to Mainz.) This very large and detailed map is the third section of a total of 6 maps which together show the German and French regions of Sundgau, Alsace, Bishopric of Worms and Speyer, Palatinate, Archbishopric of Mainz, County of Katzenellenbogen, Territory of Frankfurt, Hesse, Darmstadt, Baden, Hanau, Ortnenau, Brisgau etc. This particular section shows the Alsace and Vosges region in France and the Ortenau region in Germany. The most notable city shown is Strasbourg, France. Copperplate engraving on verge type hand laid paper. Watermark present. Blank rear. Description: This old antique engraved copperplate print originates from 'Histoire des quatre dernieres campagnes du Maréchal de Turenne en 1672-1673-1674 et 1675, enrichie de cartes et de plan topographiques, dediee et presentee au Roi, par M. Le Chevalier de Beaurain, Geographe de Sa Majeste, & son Pensionnaire.', published in Paris Chez le Chevalier de Beaurain, 1782. This work tells the history and documents the war of the French against the Netherlands and its allies. Ref: Brunet I, 733 - Barbier 7928. Henri de la Tour d'Auvergne-Bouillon (1611-1675), viscount of Turenne, duke of Bouillon, prince of Sedan, generally known as Turenne, was one of the best generals for Louis XIII and Louis XIV.Artists and Engravers: Jean de Beaurain (1696-1771), was a French Geographer and Royal Geographer to King Louis XV. He published a 14-volume atlas (Atlas de géographie ancienne et moderne.) and 'Description topographique militaire de la Flandre, ou Campagnes du maréchal de Luxembourg.' (1690-1694), Paris, 1756. His son Jean-Baptiste Jacques de Beaurain (1728-unknown) continued his work on military history and finished: l' Histoire de la campagne de M. le Prince de Condé en Flandre en 1674.' (Paris, 1774) and this work. Maps engraved by Berlin Storage location: A191-21 The overall size is ca. 34.6 x 25.6 inch. The image size is ca. 32.7 x 23.6 inch. The overall size is ca. 88 x 65 cm. The image size is ca. 83 x 60 cm.

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        Antique Map-FRANKFURT-RHINE-MAINZ-GERMANY-Beaurain-1782

      - Map: 'Carte Topographique du cours du Rhin depuis Basle jusqua Mayence .' (Map of the course of the Rhine from Basel to Mainz.) This large and detailed map is the last section of a total of 6 maps which together show the German and French regions of Sundgau, Alsace, Bishopric of Worms and Speyer, Palatinate, Archbishopric of Mainz, County of Katzenellenbogen, Territory of Frankfurt, Hesse, Darmstadt, Baden, Hanau, Ortnenau, Brisgau etc. This particular section shows the cities of Frankfurt, Mainz, Wiesbaden, Darmstadt in Hesse and Rhineland-Palatinate, Germany. Copperplate engraving on verge type hand laid paper. Watermark present. Blank rear. Description: This old antique engraved copperplate print originates from 'Histoire des quatre dernieres campagnes du Maréchal de Turenne en 1672-1673-1674 et 1675, enrichie de cartes et de plan topographiques, dediee et presentee au Roi, par M. Le Chevalier de Beaurain, Geographe de Sa Majeste, & son Pensionnaire.', published in Paris Chez le Chevalier de Beaurain, 1782. This work tells the history and documents the war of the French against the Netherlands and its allies. Ref: Brunet I, 733 - Barbier 7928. Henri de la Tour d'Auvergne-Bouillon (1611-1675), viscount of Turenne, duke of Bouillon, prince of Sedan, generally known as Turenne, was one of the best generals for Louis XIII and Louis XIV.Artists and Engravers: Jean de Beaurain (1696-1771), was a French Geographer and Royal Geographer to King Louis XV. He published a 14-volume atlas (Atlas de géographie ancienne et moderne.) and 'Description topographique militaire de la Flandre, ou Campagnes du maréchal de Luxembourg.' (1690-1694), Paris, 1756. His son Jean-Baptiste Jacques de Beaurain (1728-unknown) continued his work on military history and finished: l' Histoire de la campagne de M. le Prince de Condé en Flandre en 1674.' (Paris, 1774) and this work. Maps engraved by Berlin Storage location: A191-18 The overall size is ca. 25 x 24.6 inch. The image size is ca. 23.6 x 23.2 inch. The overall size is ca. 63.5 x 62.5 cm. The image size is ca. 60 x 59 cm.

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        Antique Map-NETHERLANDS-BELGIUM-HOLLAND-Beaurain-1782

      - Map: 'Carte de la Hollande et d'une partie des Etats voisins.' (Map of The Netherlands an parts of the neighbouring countries used for the intelligence for the war campaign of 1672.) This large and very detailed map shows The Netherlands, part of Belgium and Germany. Copperplate engraving on verge type hand laid paper. Watermark present. Blank rear. Description: This old antique engraved copperplate print originates from 'Histoire des quatre dernieres campagnes du Maréchal de Turenne en 1672-1673-1674 et 1675, enrichie de cartes et de plan topographiques, dediee et presentee au Roi, par M. Le Chevalier de Beaurain, Geographe de Sa Majeste, & son Pensionnaire.', published in Paris Chez le Chevalier de Beaurain, 1782. This work tells the history and documents the war of the French against the Netherlands and its allies. Ref: Brunet I, 733 - Barbier 7928. Henri de la Tour d'Auvergne-Bouillon (1611-1675), viscount of Turenne, duke of Bouillon, prince of Sedan, generally known as Turenne, was one of the best generals for Louis XIII and Louis XIV.Artists and Engravers: Jean de Beaurain (1696-1771), was a French Geographer and Royal Geographer to King Louis XV. He published a 14-volume atlas (Atlas de géographie ancienne et moderne.) and 'Description topographique militaire de la Flandre, ou Campagnes du maréchal de Luxembourg.' (1690-1694), Paris, 1756. His son Jean-Baptiste Jacques de Beaurain (1728-unknown) continued his work on military history and finished: l' Histoire de la campagne de M. le Prince de Condé en Flandre en 1674.' (Paris, 1774) and this work. Maps engraved by Berlin Storage location: A191-33 The overall size is ca. 24.6 x 30.3 inch. The image size is ca. 21.7 x 28.7 inch. The overall size is ca. 62.5 x 77 cm. The image size is ca. 55 x 73 cm.

      [Bookseller: ThePrintsCollector]
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        Traktat o druzhbe i torgovle mezhdu Rossiiskoiu Imperieiu i Koronoiu Datskoiu, zakliuchennyi v Sanktpeterburge Oktiabria 8/19-go dnia, 1782 goda. Traité d'amitié et de commerce entre l'Empire de Russie et la couronne de Dannemarc, conclu à St. Petersbourg le 8/19 Octobre 1782

      [St. Petersburg]: Pri Imperatorskoi Akademii Nauk, 1782. Folio (29.5 × 19.5 cm). Sewn leaves, remnant of paper spine strip; 22 pp. Text in Russian and French in facing columns. Old vertical crease; first and last leaf lightly soiled and discolored; spine partially split; still about very good. Rare copy of a treaty between the Russian Empire and Denmark, determining mutually benefitial trade relations. Ties between the two powers were strained after Peter III became the Russian Tsar in 1762, as his descent from Holstein-Gottorf led to territorial conflicts between the two powers and even the treat of war. After Catherine II ousted her husband and ascended the throne, however, relations normalized. An alliance was entered in 1765 and in 1773 the return of Schleswig-Holstein to Denmark in exchange for Russian control over the duchy of Oldenburg was formalized in the Treaty of Tsarskoe Selo. The present treaty establishes "firm peace" and "eternal friendship" between Russian and Denmark, and specifies conditions under which subjects of each nation could reside and conduct business in the respective country, as well as the details of customs proceedings and tariffs. No auction records found. Not in the Fekula Collection. Not in Bitovt. KVK, OCLC show only the copy at SUB Göttingen.

      [Bookseller: Penka Rare Books, ILAB]
 22.   Check availability:     Biblio     Link/Print  


        Antique Print-Pl.XI-BRIDGE ENGINEERING-CONSECRATE-VIEW-INAUGURATE-Perronet-1782

      - From a rare, landmark, classic engineering work: plate XI, captioned: Vue du deceintrement du Pont de Neuilly. Fait en presence du Roy, le 22. septembre 1772 (View of the consecration of the Neuilly Bridge, in the presence of the King, September 22, 1772.). Original etching and engraving on a verge type hand laid paper. Description: This attractive original old antique print / plate originates from: 'Description des Projets et de la Construction des Ponts de Neuilly, de Mantes, d'Orleans et autres, du Projet du Canal de Bourgogne, Pour la Communication des deux Mers par Dijon, et de celui de la Conduite des Eaux de l'Yvette et de Bievre a Paris' (and the Supplement), by Jean Rodolphe Perronet, (Translation: Description of the projects and construction of the bridges of Nieully. Mantes, Orleans and others, the project of the Canal of Burgundy, for the connection of the two seas through Dijon, and those for the canals of Yvette and Bievre in Paris.), Paris: Imprimerie Royale, 1782-83 (the supplement published by Didot & Jombert, 1789). Jean Rodolphe Perronet (1708-1794) was a French architect and strucutral engineer, best known for his stone arch bridges. He is regarded as the father of modern bridge building, as his efforts brought the masonry bridge to technical and aesthetic perfection. He disregarded traditional rules of thumb, developing isntead a scientific approach to bridge design, and his precepts as laid down in this work have been followed ever since. In 1747 Perronet was named director of the Bureau des dessinateurs du Roi (Royal office of designers). At this first 'Ecole des ponts et chaussees' Perronet was given the task of training bridge and road engineers and of overseeing their work in the regions in which they worked. The Bureau became the Bureau des eleves des ponts et chaussees, then in 1775 was renamed the Ecole des ponts et chaussees. Its organiser, inspiration and teacher, Perronet was a true spiritual father to his students and used a new teaching method which seems very contemporary to modern eyes. He was named 'Premier ingenieur du Roi' in 1763, and was elected a fellow of the Royal Society in 1788, after having become a member of the Academie des sciences in 1765. Besides the bridges, 2500 kilometers of road were made or repaired under Perronet's direction.Artists and Engravers: Engraved by Prevost & De Longueuil after J.F. Eustache de St. Far. Condition: Good given age. Some dark lines over the image, a brown stain in the middle of the image, margins quite stained. Original folds. General age-related toning, please study scan carefully. Storage location: B51-06 The overall size is ca. 29.9 x 20.7 inch. The image size is ca. 25.2 x 10.9 inch. The overall size is ca. 76 x 52.5 cm. The image size is ca. 64 x 27.8 cm.

      [Bookseller: ThePrintsCollector]
 23.   Check availability:     ZVAB     Link/Print  


        Antique Map-Pl.XXXVII-BRIDGE-ORLEANS-LOIRE-MAP-PLAN-Perronet-1782

      - From a rare, landmark, classic engineering work: plate XXXVII, captioned: Plan de la Ville et du nouveau Pont d'Orleans (Map of the city and new bridge of Orleans). Original etching and engraving on a verge type hand laid paper. Description: This attractive original old antique print / plate originates from: 'Description des Projets et de la Construction des Ponts de Neuilly, de Mantes, d'Orleans et autres, du Projet du Canal de Bourgogne, Pour la Communication des deux Mers par Dijon, et de celui de la Conduite des Eaux de l'Yvette et de Bievre a Paris' (and the Supplement), by Jean Rodolphe Perronet, (Translation: Description of the projects and construction of the bridges of Nieully. Mantes, Orleans and others, the project of the Canal of Burgundy, for the connection of the two seas through Dijon, and those for the canals of Yvette and Bievre in Paris.), Paris: Imprimerie Royale, 1782-83 (the supplement published by Didot & Jombert, 1789). Jean Rodolphe Perronet (1708-1794) was a French architect and strucutral engineer, best known for his stone arch bridges. He is regarded as the father of modern bridge building, as his efforts brought the masonry bridge to technical and aesthetic perfection. He disregarded traditional rules of thumb, developing isntead a scientific approach to bridge design, and his precepts as laid down in this work have been followed ever since. In 1747 Perronet was named director of the Bureau des dessinateurs du Roi (Royal office of designers). At this first 'Ecole des ponts et chaussees' Perronet was given the task of training bridge and road engineers and of overseeing their work in the regions in which they worked. The Bureau became the Bureau des eleves des ponts et chaussees, then in 1775 was renamed the Ecole des ponts et chaussees. Its organiser, inspiration and teacher, Perronet was a true spiritual father to his students and used a new teaching method which seems very contemporary to modern eyes. He was named 'Premier ingenieur du Roi' in 1763, and was elected a fellow of the Royal Society in 1788, after having become a member of the Academie des sciences in 1765. Besides the bridges, 2500 kilometers of road were made or repaired under Perronet's direction.Artists and Engravers: Engraved by Ch.J. Groux after J.F. Eustache de St. Far. Condition: Very good given age. A small tear in the bottom left margin, two tiny holes in the top margin. Original folds. General age-related toning, please study scan carefully. Storage location: B51-20 The overall size is ca. 18.1 x 20.7 inch. The image size is ca. 16.3 x 15.7 inch. The overall size is ca. 46 x 52.5 cm. The image size is ca. 41.5 x 40 cm.

      [Bookseller: ThePrintsCollector]
 24.   Check availability:     ZVAB     Link/Print  


        Antique Map-Pl.XX-BRIDGE-MAP-MANTES LA JOLIE-LIMAY-BRIDGE-SEINE-Perronet-1782

      - From a rare, landmark, classic engineering work: plate XX, captioned: Plan general de la Ville de Mantes avec ses nouveaux Ponts et leurs Abords (Overview map of the town of Mantes-la-Jolie with its new bridges and surroundings (Limay on the opposite bank of the river)). Original etching and engraving on a verge type hand laid paper. Description: This attractive original old antique print / plate originates from: 'Description des Projets et de la Construction des Ponts de Neuilly, de Mantes, d'Orleans et autres, du Projet du Canal de Bourgogne, Pour la Communication des deux Mers par Dijon, et de celui de la Conduite des Eaux de l'Yvette et de Bievre a Paris' (and the Supplement), by Jean Rodolphe Perronet, (Translation: Description of the projects and construction of the bridges of Nieully. Mantes, Orleans and others, the project of the Canal of Burgundy, for the connection of the two seas through Dijon, and those for the canals of Yvette and Bievre in Paris.), Paris: Imprimerie Royale, 1782-83 (the supplement published by Didot & Jombert, 1789). Jean Rodolphe Perronet (1708-1794) was a French architect and strucutral engineer, best known for his stone arch bridges. He is regarded as the father of modern bridge building, as his efforts brought the masonry bridge to technical and aesthetic perfection. He disregarded traditional rules of thumb, developing isntead a scientific approach to bridge design, and his precepts as laid down in this work have been followed ever since. In 1747 Perronet was named director of the Bureau des dessinateurs du Roi (Royal office of designers). At this first 'Ecole des ponts et chaussees' Perronet was given the task of training bridge and road engineers and of overseeing their work in the regions in which they worked. The Bureau became the Bureau des eleves des ponts et chaussees, then in 1775 was renamed the Ecole des ponts et chaussees. Its organiser, inspiration and teacher, Perronet was a true spiritual father to his students and used a new teaching method which seems very contemporary to modern eyes. He was named 'Premier ingenieur du Roi' in 1763, and was elected a fellow of the Royal Society in 1788, after having become a member of the Academie des sciences in 1765. Besides the bridges, 2500 kilometers of road were made or repaired under Perronet's direction.Artists and Engravers: Engraved by J.P. Tardieu after J.F. Eustache de St. Far. Condition: Good given age. Two tiny holes in the bottom margin, margins quite foxed, image clean. Original folds. General age-related toning, please study scan carefully. Storage location: B51-10 The overall size is ca. 38.6 x 20.7 inch. The image size is ca. 37 x 16.7 inch. The overall size is ca. 98 x 52.5 cm. The image size is ca. 94 x 42.5 cm.

      [Bookseller: ThePrintsCollector]
 25.   Check availability:     ZVAB     Link/Print  


        Antique Print-Pl.XXII-RIVER BOAT-BRIDGE-SEINE-MANTES-CHURCH-Perronet-1782

      - From a rare, landmark, classic engineering work: plate XXII, captioned: Vue des Travaux du Pont de Mantes a la fin de Septembre 1764 (View of the construction of the Mantes Bridge at the end of September 1764 (with the sun setting behind the bridge)). Original etching and engraving on a verge type hand laid paper. Description: This attractive original old antique print / plate originates from: 'Description des Projets et de la Construction des Ponts de Neuilly, de Mantes, d'Orleans et autres, du Projet du Canal de Bourgogne, Pour la Communication des deux Mers par Dijon, et de celui de la Conduite des Eaux de l'Yvette et de Bievre a Paris' (and the Supplement), by Jean Rodolphe Perronet, (Translation: Description of the projects and construction of the bridges of Nieully. Mantes, Orleans and others, the project of the Canal of Burgundy, for the connection of the two seas through Dijon, and those for the canals of Yvette and Bievre in Paris.), Paris: Imprimerie Royale, 1782-83 (the supplement published by Didot & Jombert, 1789). Jean Rodolphe Perronet (1708-1794) was a French architect and strucutral engineer, best known for his stone arch bridges. He is regarded as the father of modern bridge building, as his efforts brought the masonry bridge to technical and aesthetic perfection. He disregarded traditional rules of thumb, developing isntead a scientific approach to bridge design, and his precepts as laid down in this work have been followed ever since. In 1747 Perronet was named director of the Bureau des dessinateurs du Roi (Royal office of designers). At this first 'Ecole des ponts et chaussees' Perronet was given the task of training bridge and road engineers and of overseeing their work in the regions in which they worked. The Bureau became the Bureau des eleves des ponts et chaussees, then in 1775 was renamed the Ecole des ponts et chaussees. Its organiser, inspiration and teacher, Perronet was a true spiritual father to his students and used a new teaching method which seems very contemporary to modern eyes. He was named 'Premier ingenieur du Roi' in 1763, and was elected a fellow of the Royal Society in 1788, after having become a member of the Academie des sciences in 1765. Besides the bridges, 2500 kilometers of road were made or repaired under Perronet's direction.Artists and Engravers: Engraved after J.F. Eustache de St. Far. Condition: Very good given age. Small dark stain in the lower margin, three edges discoloured. General age-related toning, please study scan carefully. Storage location: B51-11 The overall size is ca. 15.4 x 20.7 inch. The image size is ca. 11.5 x 5.6 inch. The overall size is ca. 39 x 52.5 cm. The image size is ca. 29.2 x 14.3 cm.

      [Bookseller: ThePrintsCollector]
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        Storia Ecclesiastica Dallo stabilimento della Chiesa sino al presente

      A Spese ed Appresso Gaetano Castellano, 1782. ITALIANO 0,47 Tomo XII, opera storica tradotta dal francese, edizione arricchita di note critiche, legatura a tutta pergamena con titoli in doppio tassello al dorso, coperta con piccole macchie sparse, fioritura delle pagine, frontespizio completo di riferimenti con bella marca tipografica a carattere zoomorfo in cornice fiorita, a precedere l'opera tavola degli articoli trattati nel tomo, all'incipit capolettera ad elemento zoomorfo in cornice geometrica ed imponente testatina figurata, testo su colonna con note a margine, formato quarto, segnatura dei fascicoli e richiami USATO

      [Bookseller: Biblioteca di Babele]
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        Dictionnaire Analytique, Historique, Etymologique, Critique et Interprétatif de la Coutume de Normandie.

      Rouen, Leboucher, 1780-1782. - Quatre volumes in-4, tableau dépliant dans le tome IV. Quelques rousseurs, restauration en marge d'un feuillet Veau d'époque, dos à nerfs ornés, pièce de titre et de tomaison de maroquin rouge et vert. Coiffes et coins usés, frottements, éraflures sur les plats , 2 mors inférieurs et 2 supérieurs fendus. Bon exemplaire malgré les défauts d'usage. A la fin du tome IV, on trouve l'Ancien Coutumier de Normandie en vers, par Richard Dourbault, poète du XIIIe siècle, ou bien par Guillaume Cauph, selon l'abbé de la Rue. "Les ouvrages composés par ce jurisconsulte dénotent une profonde érudition. Mieux appréciés de nos jours qu'il ne l'étaient du vivant de l'auteur, ils occupent une place distinguée dans la bibliothèque des hommes qui se livrent à l'étude des moeurs et de la législation de nos province au moyen âge". Frère II-89.

      [Bookseller: Librairie BERTRAN]
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        Arabesques

      Paris: Jacques-François Chereau, 1782. From the Collection of Arthur & Charlotte Vershbow. The complete set of six etchings including title, plates 155 x 115 mm, sheets 275 x 200 mm, good impressions, small marginal repair to each plate, pale dampstain to final two plates, generally in good condition, each sheet mounted on guards. 20th-century mottled calf. Joints rubbed. Provenance: William Odom (bookplate); purchased from William Schab, 1984. A charming series of ornament prints representing Air, Fire, Water, Earth, Venus and Mars. Jean Démosthéne Dugourc was a French painter and engraver employed by the Duke of Orléans, the brother of the king. In 1783 he designed costumes and scenery for the opera, and later founded factories for producing wallpaper and playing-cards after his own designs. Berlin Kat. 492; Guilmard, p. 280, no. 95.

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


        Storia Ecclesiastica Dallo Stabilimento della Chiesa sino al Presente

      A Spese ed Appresso Gaetano Castellano, 1782. ITALIANO 0 Tomo XIII-XVI-XIX, legatura in tutta pergamena con titoli in oro in duplice tassello, pagine fiorite, taglio imbrunito, frontespizio esplicativo e abbellito da elegante fregio tipografico figurato, capolettera a carattere zoomorfo in cornice geometrica, imponente testatina con elementi floreali e zoomorfi, testo a piena pagina con note a margine, formato in 4, richiami e segnature presenti, il frontespizio ci informa che questa edizione è arricchita da apparato critico, approfondimenti, riflessioni scientifiche e tavole cronologiche, è presente inoltre un esplicito riferimento all'Abate Claudio Fleury USATO

      [Bookseller: Biblioteca di Babele]
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        Flore de Bourgogne ou Catalogue Raisonné des Plantes Naturelles à cette Province et de celles qu'on y cultive le plus comunément. Avec l'indication du sol où elles croissent, du temps de leur floraison et de la couleur de leurs fleurs.

      Dijon, Frantin, 1782. - 2 forts volumes in-8. 2ff. VIII. 520pp. LXXVIII. + XIV. 290pp. LXXX. Brochés. Exemplaire non rogné. Feuillets en partie déreliés. Petite déchirure dans la marge de 2 1er feuillets de la 1ère partie. Première édition. C'est à la fin du XVIIIs. que furent publiées les principales flores françaises régionales, dont celle de Durande, sur la Bourgogne. L'auteur était membre de l'Académie de Dijon et collaborateur de Guyton de Morveau. Botanique.

      [Bookseller: Último Capítulo S.C.P.]
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        (Critica religiosa) Le bon-Sens ou Idées naturelles opposées aux idées surnaturelles...

      (HOLBACH, Paul Thiry, barone d'). (Critica religiosa) Le bon-Sens ou Idées naturelles opposées aux idées surnaturelles... Londres (Amsterdam?), 1782. In-8°, br., coeva. (4), x, 250 pp. Bell' esemplare intonso, nella sua legatura officinale, della rara edizione originale. Audace dissacrante opera illuministica di un assiduo collaboratore dell' Encyclopédie e amico di Diderot. Analisi pessimistica della posizione dell' uomo nel cosmo. Vercruysse, 1780, A1. Casa nonn.

      [Bookseller: Brighenti libri esauriti e rari]
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        AN IMPARTIAL HISTORY OF THE WAR IN AMERICA; FROM ITS FIRST COMMENCEMENT, TO THE PRESENT TIME; TOGETHER WITH THE CHARTERS OF THE SEVERAL COLONIES, AND OTHER AUTHENTIC INFORMATION...

      Newcastle upon Tyne: Printed by and for T. Robson, Head of the Groat-Market..., 1782. iv,[5]-152,151-573 (as printed);576pp., plus twenty-three portrait plates (including the frontis) and one folding plan. Includes extra R1 and R2 leaves in the first volume, but lacks R3 and R4. Contemporary speckled calf, spines gilt, gilt leather labels. Extremities worn, some rubbing to boards, joints tender. Occasional minor foxing, some portraits in second volume with manuscript caricature embellishments. Good plus. The first London edition of Murray's important work on the American Revolution to appear with the slightly- altered title of AN IMPARTIAL HISTORY OF THE WAR IN AMERICA, dropping the "PRESENT' that appeared in all previous editions of the book. The first Boston edition dropped the word the previous year, and the English printers followed suit. The war was coming to a close, so perhaps Murray felt that the work needed a more lasting title, as the Treaty of Versailles brought an official ending to the American Revolution the next year. This also appears to be the last English edition of the work to be printed in the 18th century. The text is similar to the reset sheets of the 1779-80 edition, as it carries the same pagination error at p.152 of the first volume, though the dedication to King George III on p. iv of the first volume here is dated Jan. 25, 1782. Not in Adams. ESTC N7791. HOWES M916, "aa."

      [Bookseller: William Reese Company - Americana]
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        Medicinisches Hand-Lexikon, worinn alle Krankheiten, die verschieedenen, und jeder Krankheit insbesondere eigenthümlichen Kennzeichen, die sichersten Vorbauungs- und wirksamsten Heilungsmittel wider dieselbe, sammt einem vollständigen Unterrichte, um im Nothfalle sein eigener Arzt seyn zu können, auf eine jedermann faßliche Art vorgetragen werden. Alles aus den Werken berühmtesten Aerzte gesammelt, und mit einer Menge specifischer Arzeneyen [wider] viele Krankheiten versehen. Erster Band , A - L.

      Augsburg, Joseph Wolffische, 1782. 8°. Titel + 14 n.n. + 728 S. Priv. Hld. der Zeit. DEA. Erster von zwei Bänden. Apart. - Titel m. Wortverlust, Ecke fachmännisch ergänzt (ebenso an einigen der hinteren Seiten), fachmännisch restauriert, hds. Notizen a. V. und einige Bleistift-Anm. im Text, Besitzsign. a. T., fleckig, tlw. etw. feuchtigkeitsrandig, gutes Exemplar. - \" ... Nur von den Heilmitteln muß ich noch ein paar Worte sagen. Es wäre gar nicht schwer gewesen, alle Arzeneyen, die in diesem Handbuche vorgeschrieben werden, deutsch zu geben; wichtige Ursachen aber bewogen mich, viele derselben in lateinischer Sprache anzuzeigen. Zu geschweigen, daß viele Medicamente sind, deren Gebrauch allemal gefährlich ist, wenn ungeschickte Leute damit umpfuschen wollen; so sond auch viele andere, die man entweder nicht ander als aus der Apotheke bekommen kann ... \" (Zitat aus dem Vorwort des Übersetzers). Versand D: 7,00 EUR Medizin

      [Bookseller: Antiquariat Weinek]
 34.   Check availability:     buchfreund.de     Link/Print  


        Acta a sanctissimo patre et domino nostro Pio divina providentia Papa Sexto causa itineris sui Vindobonensis anno MDCCLXXXII. Rom, Typ. Rev. Camerae Apostolicae 1782. 4°. 1 Bl., 52 S., mit gr. gest. Titelvignette u. 13 Textkupfer v. Bombelli sowie 4 gest. Vignetten u. 10 gest. Initialen, Goldschn., Ldr. d. Zt. mit reicher Rverg. u. Rsch.

      - Siehe ausf.: Elisabeth Kovács: Der Pabst in Teutschland. Die Reise Pius VI. im Jahre 1782 (Wien 1983).- Reich illustrierter Bericht der Papstreise Pius VI. (1717-1799) nach Wien.- Alarmiert durch die Reformen Kaiser Josephs II., durch die ihm die katholische Kirche in der Habsburgermonarchie gefährdet erschien, reiste Papst Pius VI. 1782 nach Wien um den Kaiser umzustimmen.- Enth. u.a. das Tagebuch v. Joseph Dini v. 27. Feb. bis 13. Juni 1782.- Die Kupfer zeigen u.a. die berühmte Darstellungen des Hochamtes in St. Stephan zu Ostern 1782 (der Thron Josephs II. blieb leer), den Segen Urbi et Orbi vom Balkon der Kirche Am Hof, Audienzen u. Gedenkmünzen.- Ebd. etw. berieben, sonst schönes, breitrandiges Exemplar.# Richly illustrated report of Pope Pius VI journey to Vienna.- Good copy.

      [Bookseller: Antiquariat Johannes Müller]
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        Anhang til Ambrosii Stubs Poetiske Tanker.

      1782 1782 - Odense: Kgl. Priv. Adresse-Contoir 1782. 96 s. Blad A4 tæt beskåret øverst, ellers velholdt ubeskåret eksemplar indbundet med de orig. blanke omslag i smukt nyere helskind i gammel stil med forgyldt ryg samt forgyldte stregdekorationer på permer ud- og indvendig.

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        Annali d'Italia dal principio dell'era volgare sino all'anno 1500. compilati da Lodovico Antonio Muratori ... dedicati all'illustrissimo signore d. Michele Sancio

      Nella Stamperia del Paci, a spese di Andrea Migliaccio e dal medesimo si vendono nel suo negozio, 1782. ITALIANO 7,4 Opera completa in 17 volumi, l'ultimo è di solo indici. Legature in tutta pergamena muta sul piatto, intestatura manoscritta al dorso del solo vol I, gli altri presentano ai dorsi titoli in oro in gran parte scoloriti. Pagine ingiallite con fioritura, alcune brunite, ogni frontespizio oltre a riportare il periodo esaminato, è ricco di notizie bibliografiche e topografiche, in basso piccolo fregio decorato. Finalini, frontalini e capilettera incisi. Da segnalare legatura parzialmente sciolta al primo tomo, le coperte risultano distaccate dal dorso. Opera perfettamante fruibile USATO

      [Bookseller: Biblioteca di Babele]
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        Arabesques

      Paris: Jacques-François Chereau, 1782. The complete set of six etchings including title, plates 155 x 115 mm, sheets 275 x 200 mm, good impressions, small marginal repair to each plate, pale dampstain to final two plates, generally in good condition, each sheet mounted on guards. 20th-century mottled calf. Joints rubbed. Provenance: William Odom (bookplate); purchased from William Schab, 1984. A charming series of ornament prints representing Air, Fire, Water, Earth, Venus and Mars. Jean Démosthéne Dugourc was a French painter and engraver employed by the Duke of Orléans, the brother of the king. In 1783 he designed costumes and scenery for the opera, and later founded factories for producing wallpaper and playing-cards after his own designs. Berlin Kat. 492; Guilmard, p. 280, no. 95. From the Collection of Arthur & Charlotte Vershbow.

      [Bookseller: Riverrun Books & Manuscripts]
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        THE WATERY GODS [caption title]

      [London, 1782. Broadside, measuring 10 1/2 x 3 1/2 inches. Minor soiling. Very good plus. A song sheet commemorating Rodney's naval victory over the French fleet under the command of the Comte de Grasse off Dominica in the West Indies. The Battle of the Saintes was a naval battle that took place over four days in April 1782, in which the British defeated the French fleet whose aim was the capture of Jamaica. This nine verse, six line song tells the tale of the sea gods wakened by the fight and amazed at the glorious victory of the British. ESTC locates four copies - two at the British Library, one at the Bodleian, and one at New York Public. Those records mention a woodcut illustration, which has been neatly trimmed off the top of the sheet and is not present here. ESTC T10517.

      [Bookseller: William Reese Company - Americana ]
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        Histoire géographique, physique, naturelle et civile de la Hollande. Traduit du Hollandois.

      - Bouillon, Aux dépens de la Société Typographique, 1782. 4 tomes. 12mo. [iv],375-[iv],449-421-[iv],392 pp. W.folding coloured map, 7 folding tables, 11 (4 folding) plates. Full mottled calf, raised bands, gilt spine with morocco title-pieces (tear in one table; one costume-plate missing in vol.3; a fresh copy in a very nice binding) Translation of his famous work 'Natuurkundige Historie van Holland' (1769-1778, 6 vol.). The tables indicate force of wind in the years 1743-1764, number of births, marriages, and deaths. Very rare edition. [Attributes: Hard Cover]

      [Bookseller: Antiquariaat Brinkman, since 1954 / ILAB]
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        Annali d'Italia dal principio dell'era volgare sino all'anno 1500. compilati da Lodovico Antonio Muratori . dedicati all'illustrissimo signore d. Michele Sancio

      Nella Stamperia del Paci, a spese di Andrea Migliaccio e dal medesimo si vendono nel suo negozio, NAPOLI 1782 - ITALIANO Opera completa in 17 volumi, l'ultimo è di solo indici. Legature in tutta pergamena muta sul piatto, intestatura manoscritta al dorso del solo vol I, gli altri presentano ai dorsi titoli in oro in gran parte scoloriti. Pagine ingiallite con fioritura, alcune brunite, ogni frontespizio oltre a riportare il periodo esaminato, è ricco di notizie bibliografiche e topografiche, in basso piccolo fregio decorato. Finalini, frontalini e capilettera incisi. Da segnalare legatura parzialmente sciolta al primo tomo, le coperte risultano distaccate dal dorso. Opera perfettamante fruibile

      [Bookseller: Biblioteca di Babele]
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        Théorie des Machines simples, en ayant égard au frottement de leurs parties et a la roideur des Corages. Piece qui remporté le Prix double de l'Academie des Sciences pour l'année 1781.

      Paris: Moutard, 1782. Extremely rare offprint, with imprint three years before publication in journal form, of this important memoir in which Coulomb created the science of friction. "Coulomb's most celebrated study, one that brought him immediate acclaim, was "Théorie des machines simples," his prize-winning friction study of 1781. He investigated both static and dynamic friction of sliding surfaces and friction in bending of cords and in rolling. From examination of many physical parameters, he developed a series of two-term equations, the first term a constant and the second term varying with time, normal force, velocity, or other parameters. In agreement with Amontons's work of 1699, Coulomb showed that in general there is an approximately linear relationship between friction and normal force; but he extended the investigation considerably to show complex effects due to difference in load, materials, time of repose, lubrication, velocity, and other considerations. Coulomb's work in friction remained a standard of theory and experiment for a century and a half, until the advent of molecular studies of friction in the twentieth century. To quote Kragelsky and Schedrov's recent monograph ([Development of the Science of Friction - Dry Friction (1956)], p. 52) on the history of friction: "Coulomb's contributions to the science of friction were exceptionally great. Without exaggeration, one can say that he created this science" (Gillmor in DSB III.442). The Théorie was delivered orally in 1781 and it won an important prize of the Academy of Sciences, a fact advertised on the title: 'Piece qui a remporté le Prix double de l'Académie des Sciences pour l'Année 1781.' It was published in 1785 in Tom. X of the Mémoires de Mathématique et de Physique Présentés à l'Académie Royale des Sciences, Par Divers Savans, pp. 161-332. The completely different pagination (and signatures) establish the present work as a separate publication, and it was almost certainly intended for limited distribution (Academy members, etc.). OCLC lists three copies of this offprint worldwide: Harvard, Université Louis Pasteur, Strasbourg (2 copies or a duplicate record?). No copies located in auction records. "During the period 1720-1793 the Academy offered numerous prizes in essay contests. Capturing one of the handsome awards was not always a guarantee of entrance into the Academy, but those who did win found themselves among an impressive group which included Pierre Bouguer, three Bernoullis (Johann, Johann II and Daniel), Euler, Lagrange, Bossut and Bailly. The contests fell into two main categories, astronomy and maritime ... "The Academy had proposed for the prize for 1779 (and again for 1781), the solution of problems of friction for sliding and rolling surfaces, the resistance to bending in cords and the application of these solutions to simple machines used in the navy. There existed so many friction theories and experimentally determined constants that it was specifically indicated that the contestants must examine "the effects resulting from the stiffness of ropes, being determined after new experiments made on the full scale; it is required also, that the experiments be applicable to machines utilized in the Navy, such as the pulley, the capstan, and the inclined plane." The solutions of some of these problems were of the highest priority. For example, the data on inclined planes would be used in constructing arrangements for ship launchings. Coulomb noted that often when ships were launched by sliding down ways they would stick halfway down, the ways would catch fire from the generated heat or the ship would fall over and possibly suffer major damage .... "In the preface to "Theory of Simple Machines" Coulomb discussed the existing work on friction - the original hypothesis of Amontons and the experimental variances found by Musschenbroek, Camus and Desaguliers. He criticized the neglect of deformation considerations in previous work. Camus and Desaguliers had noted that friction varied with the time that the two static surfaces had remained together before motion, but neither had investigated this relationship. As in previous memoirs, Coulomb acknowledged his debt to Bossut. "The "Theory of Simple Machines" was composed in two parts: 1) the friction of sliding surfaces and 2) the bending of cords and movements of rotation. In each of these sections Coulomb gave numerous figures depicting his apparatus. He carefully described his materials and the reasons for employing each particular piece. For instance he explained that in the investigations on sliding surfaces he disregarded the friction of a small pulley in his friction table apparatus. He did so because in separate experiments he examined the friction in the pulley and found it to be less than 1/150th of the total value in the experiments with the table. In other cases he noted the exact temperature of the air, and examined rope that had been weathered by sun, rain, or salt water. He found correction factors for these variables. In another case he considered the humidity of the air. He left this factor out of his published results only after it was found to have no differential effect on the various experiments. Thus it had been assumed that if a pulley or a plane surface were polished to a high sheen then it could be considered smooth and as frictionless as possible. Desaguliers had stated that such surfaces would produce higher friction values due to cohesive forces. Coulomb discovered that one cannot determine directly by any human sense whether a plane surface, for instance, is perfectly smooth. Nevertheless the friction coefficient can be decreased by "running-in" the object. For a plane surface this would entail passing a very heavy plane object back and forth over its surface. A pulley could be "run-in" by drawing a rope over it for a number of hours. In each case the friction coefficient would be reduced after a period of time, even if the surface had formerly appeared perfectly smooth. "This patient, inquisitive, wide-ranging type of experimentation was unique in the history of friction studies. Coulomb's method produced physical answers expressed in analytical terms that could never arise out of the purely rational approach of an Euler ... And oppositely, Coulomb's use of analysis to frame his experimental laws and to guide him in searching for patterns of development could bring a myriad of facts into account. This was never accomplished by the rambling experimentation of a Bélidor or a Desaguliers ... Coulomb used analytical methods evolved by Parent, Euler, Daniel Bernoulli, and Bossut. He extended and codified the experiments of Amontons, Desaguliers, and others. It was just this fruitful combination of analysis and directed experiment that led him to his results. "In nearly all of Coulomb's formulas for calculating friction effects he employed two-term equations. These contained a constant term and a term varying with time, normal force, velocity, or some other parameter. These formulas accounted for the small effect due to cohesion or surface films and the larger effect due to mechanical interaction ... In articles III and IV at the beginning of his memoir he noted the five most important parameters in static and dynamic friction: the nature of materials and their surface coatings the extent of surface area normal force the length of time that the surfaces remain in contact before motion begins (time of repose) the relative velocity of the contact surfaces. Coulomb then proceeded immediately to discuss the two major hypotheses for the cause of friction phenomena: first, the engagement or enmeshing of surface asperities; and second, the cohesion of the surface molecules. Those, as Desaguliers, who held that friction depended on the area of surface contact, employed the cohesion theory to explain friction. Most others accounted for it by the use of Amontons' mechanical surface-asperity theory ... Coulomb said that Amontons' Law held for most practical cases of friction phenomena. By this he meant that there was an approximately linear relationship between friction and normal forces but that this did not remain constant from one material to another ... "Coulomb became aware that Amontons' Law did not accurately reflect the situation in friction problems. Abbé Bossut had been the first to indicate clearly the difference between static and dynamic friction but he had not sufficiently examined the problem. Camus and Desaguliers had noted that the friction of a body shocked or shaken was less than that of a body started from rest but they had not tried to determine the relation that exists between these two kinds of friction. Bossut had noted that the longer two surfaces remained in static contact the harder it was to start them in motion. Coulomb ... advanced the suggestion that the contacting surfaces might be covered with a small surface layer or film. "Of greater import than the small cohesion contributions was the factor of normal force. According to Amontons' Law, the friction was approximately proportional only to the normal force exerted by the upper body. Amontons further added that the friction force was equal to about one-third of the normal force. Amontons had expressed both surface-asperity and surface-spring hypotheses to explain the behaviour of friction. However, he considered springs to deform instantaneously. Coulomb was faced with the following experimental facts: metals seemed to have approximately the same coefficient of friction for both static and dynamic conditions; friction in fibrous materials, on the other hand, varied depending upon the length of time the surfaces had remained in contact and upon the velocity of surface motion. Adapting the "brush bristle" analogy of Musschenbroek, Coulomb explained the variation of friction with the time of repose and with velocity in fibrous matter in the following way: if wood fibers are considered as little springs capable of deformation, then as two substances remained pressed together, their asperities would interlock or enmesh more and more with time of repose. There was a definite time needed for this deformation to occur. After increasing for a time the static friction seemed to reach a limit value. Coulomb assumed that this limit indicated the occurrence of full deformation. In dynamic friction, the surface asperities did not have time enough to enmesh, thus, the surface asperities could be regarded as almost rigid and the friction would be proportional to normal force alone. "Under "enormous" pressures the surface asperities or cavities became bent, and with increasing velocity the asperities enmeshed less and less. This would explain the relative decrease of friction with increasing velocity at high pressures. Metals did not seem to share this property. There was no effect of time of repose, nor of lessening friction with velocity. This was easily explained by Coulomb. Wood was thought to be composed of flexible, elastic, elongated fibers. Metal, however, was composed of "angular, globular, hard and inflexible parts, so that no degree of pressure nor of tension can change the shape of the parts which cover the surface of metals" ... "In sum, Coulomb's hybrid two-term formulas and his composite theory gave a very good account of known frictional behaviour" (Gillmor, pp. 127-136). The present work presents a bibliographical puzzle. The leading American scholar of Coulomb, C.S. Gillmor of Wesleyan University, does not list this 1782 publication of the Théorie des Machines in the DSB article or his monograph, Coulomb and the evolution of Physics and Engineering in 18th-century France (1972). According to Gillmor, the first published version of the present work appeared in 1785 on pages 161-332 of vol. X of the Mémoires de Mathématique et de Physique Présentés à l'Académie Royale des Sciences, Par Divers Savans. The Norman catalogue also cites the 1785 journal appearance as being the first. The plates in the present edition (figures 1-27 on plates numbered II-VI) are integral with the text, and appear to be the same as those in the journal publication (the 'missing' plate I belongs to a different article in the journal). Each plate contains the printed title 'Scavants Etrangers T.X. Pag. 332' within the platemark. This links the plates to the journal, since the plates in such publications are generally bound at the end of the article and the page number is precisely the last numbered page of the work in the journal publication (332). But, the pagination in the present edition is completely different, pp. [1]-172, and the date of the imprint is three years earlier. This anomaly may be explained by the fact that the volumes of the Mémoires at this time were published about once every five years - the previous Tom. IX was published in 1780. The text and plates of each volume were probably printed over a period of years, so that the present work may have been printed in 1782 even though the complete volume of the Mémoires was not completed until three tears later. Separate printings of Coulomb's other Academy memoirs are known, for example his Mémoires sur l'Électricité et le Magnétism (Horblit 31b; Dibner 58; Norman 527). Those printings, however, were probably assembled after their appearance in journal form and issued by the printer as collections, with new title pages, from leftover sheets from the journal publication as they are not separately-paginated and retain the signatures of the journal issue. The offered item is thus a highly unusual case of a true offprint preceding the journal issue by several years. The present work was first published in book form in 1809, and again in 1821. Norman 526 (journal issue); Roberts & Trent, p. 82 (1821 book edition). Gillmor, Coulomb and the evolution of Physics and Engineering in 18th-century France, 1972. 4to (249 x 190 mm), [1-3] 4-172 pp., 5 plates numbered ii-vi (fully complete), contemporary half calf over marbled boards, front and rear boards with some surface wear and scratches, lower capital chipped, spine with moderate ware, very light spootting to a few leaves. A very nice and completley unrestored copy.

      [Bookseller: SOPHIA RARE BOOKS]
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        Cours d'étude du Prince de Parme [...]

      Aux deus-ponts, 1782 [ma Parma: Bodoni, 1775]. 13 tomi rilegati in 11 volumi. Vol. I: [4], 128, 294; Vol. II: [4], 400; Vol. III: [4], 326; Vol. IV: [4], 229; Vol. V: [4], 706, [3]; Vol. VI: [4], 672, [1]; Vol. VII: [4], 660, [1]; Vol. VIII: [4], 732; Vol. IX: [4], 646, [1]; Vol. X: [4], 654, [1]; Vol. XI: [4], 708, [1]; Vol. XII: [4], 736, [1]; Vol. XIII: [4], 366, 84, [8] pagine. 23x16 cm.Rilegatura coeva in mezza pelle con tasselli in rosso e blu, con alcune leggere abrasioni. Esemplare a pieni margini. Ritratto dell'Autore in antiporta del primo volume e 9 tavole incise, piu' volte ripiegate, poste tra il primo e il secondo volume. [M151] Rara edizione originale, da non confondersi con le numerose contraffazioni coeve. Sono note le vicende che indussero Bodoni a pubblicare quest'opera con false note di stampa, vicende dettagliatamente riferite da Giuseppe De Lama, il maggior biografo di Bodoni nell'opera "Vita del Cavaliere Giambattista Bodoni: tipografo italiano e catalogo cronologico delle sue edizioni" (Parma, 1816), qui riportate in sintesi. Questa edizione, compiuta molto prima del 1782, si è registrata con quest'anno per essere quello indicato sul frontespizio. Ciò si evince dai registri della Stamperia reale di Parma, nei quali si apprende che una prova se ne fece nel maggio del 1769, e l'edizione si concluse nel 1773. Terminata la stampa, alcune proposizioni un po' troppo ardite, che ferivano particolarmente la corte di Spagna, ne fecero sospendere la pubblicazione, su pressione dell'allora ministro di Stato del duca di Parma, il marchese Don Ferdinando De Llano. Ciò nonostante, videro la luce due edizioni contraffatte, datate rispettivamente 1775 e 1776. La loro diffusione indusse il governo ducale ad autorizzare nel 1782 la pubblicazione, seppure con alcune varianti apportate dallo stesso Autore, dell'edizione genuina, la cui intera tiratura era ancora custodita nei magazzini della Stamperia reale. Sul frontespizio definitivo fu apposta l'indicazione: "Aux deux-ponts, 1782".

      [Bookseller: Libreria Scarpignato]
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        Relation de deux voyages dans les mers Australes et des Indes, faits en 1771, 1772, 1773 et 1774 par M. de Kerguelen Commandant les vaisseaux du Roi le Berrier, la Fortune, le Gros-Ventre, le Rolland, l'Oiseau et la Dauphine. ou Extrait du Journal de la Navigation pour la découverte des terres Australes, et pour la vérification d'une nouvelle route proposée pour abréger d'environ huit cents lieues la traversée d'Europe à la chine.

      Paeis - 1782 - Chez Knapen & Fils, Paeis - 1782, in-8, relié, VIII + 244 pages et 1 carte dépliante in fine Edition originale, reliure d'époque, tranches marbrées. Ouvrage extrêmement rare car il fut saisi en raison de sa dédicace à la Patrie et de très nombreux exemplaires furent détruits. Bel état intérieur, la reliure reste satisfaisante malgré quelques frottements et la coiffe supérieur manquante (voir photos) [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Sylvain Paré]
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        Hemisphere Oriental

      Artist: Dezauche JA; issued in: Paris; date: ca 1782 - - technic: Copper print; - colorit: original colored; - condition: Very good; - size (in cm): 51,5 x 51,5; - description: map of the eastern hemisphere after G. de l'Isle with the itineraries of Capitan Cook.; -vita of the artist: J. A. Dezauche was the successor to Guillaume De L'Isle and Philipe Buache. Guillaume De L isle (1626- 1757) Paris, was a French cartographer known for his popular and accurate maps of Europe and the newly explored Americas and Africa. De L isle was admitted into the French Académie Royale des Sciences, an institution financed by the French state. After that date, he signed his maps with the title of ?Géographe de l?Académie? Five years later, he moved to the Quai de l?Horloge in Paris, a true publishing hub where his business prospered. De L isle?s ascension through the ranks culminated in 1718 when he received the title of Premier Géographe du Roi. His new office consisted in teaching geography to the Dauphin, King Louis XIV?s son, a task for which he received a salary. De L sle?s reputation as a man of science probably helped .This supports the claim of the historian Mary Sponberg Pedley, who says ?once authority was established, a geographer?s name might retain enough value to support two or three generations of mapmakers? In De L isle?s case, it could be said that his accomplishments surpassed his father?s. Up to that point, he had drawn maps not only of European countries, such as Italy, Spain, Germany, Great Britain, Poland, and regions such as the Duchy of Burgundy, but he had also contributed to the empire?s claims to recently explored continents of Africa and the Americas.Like many cartographers of these days, De L isle did not travel with the explorers and elaborated the maps mostly in his office. The quality of his maps depended on a solid network that would provide him first-hand information. Given the family?s reputation and his own, De L isle had access to fairly recent accounts of travellers who were coming back from the New World, which gave him an advantage over his competitors. Being a member of the Académie, he was also aware of recent discoveries, especially in astronomy and measurement. When he could not confirm the accuracy of his source, he would indicate it clearly on his maps. For instance, his Carte de la Louisiane shows a river that the baron of Lahontan claimed he discovered, but no one else could validate it, so Delisle warned the viewer that its actual existence was in doubt. De L isle 's search for exactitude and intellectual honesty entangled him in a legal dispute in 1700 with Jean-Baptiste Nolin, a fellow cartographer. Noticing Nolin had used details that were considered original from his Map of the World, De L isle dragged Nolin in court to prove his plagiarism. In the end, Delisle managed to convince the jury of scientists that Nolin only knew the old methods of cartography and therefore that he had stolen the information from his manuscript. Nolin's maps were confiscated and he was forced to pay the court costs.The scientificity of the work produced by the De L isle family contrasted with the workshop of Sanson. While Sanson knowingly published outdated facts and mistakes, De L isle strived to present up-to-date knowledge. [Attributes: Signed Copy]

      [Bookseller: Antique Sommer& Sapunaru KG]
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