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Displayed below are some selected recent viaLibri matches for books published in 1790

        Liste du Théâtre français et du Théâtre italien

      s.d. (circa 1790), 16,20,1cm, 3 pages sur un double feuillet. - s.d. (circa 1790), 16,20,1cm, 3 pages sur un double feuillet. - Elenco dei 15 francesi e 23 pezzi italiani, probabilmente scritto da un segretario e annotati a margine dal marchese. archivi di famiglia: di provenienza. [FRENCH VERSION FOLLOWS] Liste de 38 pièces (15 pièces jouées au Théâtre-Français et 23 à la Comédie-Italienne), rédigée sans doute par un secrétaire du Marquis. Annotations, ratures, biffures et corrections de la main du Marquis de Sade. Cette liste correspond à des pièces de théâtre jouées de 1783 à 1785 au Théâtre français (actuel Théâtre de l'Odéon) et au Théâtre italien (connu de nos jours sous le nom d'Opéra-Comique ou Salle Favart). Le Marquis avait pour habitude de se faire envoyer chaque année l'Almanach des spectacles afin de se tenir informé des actualités de la scène parisienne. Ainsi dans une lettre de décembre 1784 à sa femme Renée-Pélagie, il demande : « Liste d'objets dont j'ai besoin. [...] Deux almanachs [...] des spectacles. Les comédies ou tragédies nouvelles de l'année, de l'un et l'autre spectacles. J'en ai d'autant plus besoin cette année, que j'ai prodigieusement travaillé dans l'un et l'autre genre et que je ne puis me passer de ce qui paraît, pour m'instruire et vérifier. ». Toutes les pièces listées dans cet inventaire apparaissent dans les almanachs théâtraux reproduits par Sylvie Dangeville dans son ouvrage Le Théâtre change et représente (Honoré Champion, Paris, 1999). Soucieux de garder un lien avec le monde extérieur, le Marquis commande énormément d'ouvrages, notamment les brochures des pièces théâtrales fraîchement parues. Ainsi en 1775, dans une lettre à la Veuve Duchesne, célèbre libraire-éditrice parisienne, il demande : « Pour l'intelligence du billet ci-joint, Madame Duchesne est priée de jeter les yeux sur l'Almanach des Spectacles, article pièces nouvelles, et en conséquence elle voudra bien remettre au présent porteur tout ce qui [a] été imprimé à l'un ou l'autre spectacle, savoir du Théâtre français depuis l'Hôtellerie ou le faux ami et du Théâtre italien depuis l'Amitié au village, l'un et l'autre inclusivement, si elles sont imprimées ou exclusivement si elles ne le sont pas, jusqu'à l'époque de la clôture des spectacles. Le porteur n'a qu'un louis ; si les pièces montaient à une somme plus forte, Madame Duchesne enverrait d'abord pour cette somme et ferait dire celle qu'il faudrait envoyer le lendemain pour avoir le total. ». Le « billet » dont il est question en début de missive est très vraisemblablement la liste que nous proposons ; les deux titres auxquels fait référence le Marquis y apparaissent. Rare et précieuse liste répertoriant les ouvrages lus par le Marquis au commencement de son incarcération à La Bastille, point de départ de sa production littéraire prolifique. Provenance : archives de la famille.

      [Bookseller: Librairie Feu Follet]
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        Histoire de la mouche commune de nos appartements. Par l'auteur des nouvelles découvertes dans le règne végétal.

      Nuremberg, G. N. Raspe 1790 - With engr. head-piece, and 4 engr. handcolored plates by Johann Christoph Keller after Gleichen's drawings. 34 pp. Folio. Contemp. plain wrappers, uncut (somewhat rubbed, spine defective). Nuremberg, G. N. Raspe, 1790. Gleichen-Russworm's (1717-1783) work on the common house fly, "Geschichte der gemeinen Stubenfliege" (1764), here in its French translation which was first published in 1766. Both the German and French editions were reprinted in 1790. In 1760 Gleichen-Russworm befriended Martin Ledermüller who was working on his "Gemüths- und Augenergötzung". This led him to concentrate on microscopy; with the most modern magnifying instruments at his disposal, surpassing those used by Ledermüller, Gleichen was able to make amazingly detailed drawings of all aspects of the development of the fly, and of even the minutest of its body parts. They were engraved and colored by the Nuremberg artist Johann Christoph Keller (1737-1795), who furnished the illustrations for a number of works on natural history. - DSB V, 424f.; Nissen, ZBI, 1592. SCIENCE: ZOOLOGY ; [Attributes: Soft Cover]

      [Bookseller: Hellmut Schumann Antiquariat]
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        Gramina Pascua: Or, a Collection of Specimens of the Common Pasture Grasses, Arranged in the Order of Their Flowering, and Accompanied with Their Linnaean and English Names, as Likewise with Familiar Descriptions and Remarks

      Bristol: Printed for the Author By S. Bonner and Sold By W. Richardson, 1790. [22], six pages of specimens. Slightly later half calf and paste paper over boards, raised flat bands, spine in eight panels, author lettered direct to fourth panel, with title split between third and second panels (lettered up the spine), place and date in gilt to foot, t.e.g. Very slightly rubbed to extremities and foot of spine, small split to head of front joint, internally some light off setting from samples on to text, but generally bright and clean. Previous owners (Munden) armorial book plate to front pastedown. The loose errata sheet found in some copies is here trimmed and pasted to the reverse of the final text leaf. Henrey notes that "in 1796 it was highly praised by William Withering as 'a work extremely well calculated to spread a useful knowledge of the grasses amongst the farmers, as well as to instruct the country gentleman in the best means of ameliorating our pasture lands'" (Henrey, page 302). Henrey 1399; Pritzel 9072. First Edition. Half Calf and Boards. Very Good. Elephant Folio.

      [Bookseller: Zetetic Books]
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        Liste du Théâtre français et du Théâtre italien

      - s.d. (circa 1790), 16,20,1cm, 3 pages sur un double feuillet. - Elenco dei 15 francesi e 23 pezzi italiani, probabilmente scritto da un segretario e annotati a margine dal marchese. archivi di famiglia: di provenienza. - [FRENCH VERSION FOLLOWS] Liste de 38 pièces (15 pièces jouées au Théâtre-Français et 23 à la Comédie-Italienne), rédigée sans doute par un secrétaire du Marquis. Annotations, ratures, biffures et corrections de la main du Marquis de Sade. Cette liste correspond à des pièces de théâtre jouées de 1783 à 1785 au Théâtre français (actuel Théâtre de l'Odéon) et au Théâtre italien (connu de nos jours sous le nom d'Opéra-Comique ou Salle Favart). Le Marquis avait pour habitude de se faire envoyer chaque année l'Almanach des spectacles afin de se tenir informé des actualités de la scène parisienne. Ainsi dans une lettre de décembre 1784 à sa femme Renée-Pélagie, il demande : « Liste d'objets dont j'ai besoin. [...] Deux almanachs [...] des spectacles. Les comédies ou tragédies nouvelles de l'année, de l'un et l'autre spectacles. J'en ai d'autant plus besoin cette année, que j'ai prodigieusement travaillé dans l'un et l'autre genre et que je ne puis me passer de ce qui paraît, pour m'instruire et vérifier. ». Toutes les pièces listées dans cet inventaire apparaissent dans les almanachs théâtraux reproduits par Sylvie Dangeville dans son ouvrage Le Théâtre change et représente (Honoré Champion, Paris, 1999). Soucieux de garder un lien avec le monde extérieur, le Marquis commande énormément d'ouvrages, notamment les brochures des pièces théâtrales fraîchement parues. Ainsi en 1775, dans une lettre à la Veuve Duchesne, célèbre libraire-éditrice parisienne, il demande : « Pour l'intelligence du billet ci-joint, Madame Duchesne est priée de jeter les yeux sur l'Almanach des Spectacles, article pièces nouvelles, et en conséquence elle voudra bien remettre au présent porteur tout ce qui [a] été imprimé à l'un ou l'autre spectacle, savoir du Théâtre français depuis l'Hôtellerie ou le faux ami et du Théâtre italien depuis l'Amitié au village, l'un et l'autre inclusivement, si elles sont imprimées ou exclusivement si elles ne le sont pas, jusqu'à l'époque de la clôture des spectacles. Le porteur n'a qu'un louis ; si les pièces montaient à une somme plus forte, Madame Duchesne enverrait d'abord pour cette somme et ferait dire celle qu'il faudrait envoyer le lendemain pour avoir le total. ». Le « billet » dont il est question en début de missive est très vraisemblablement la liste que nous proposons ; les deux titres auxquels fait référence le Marquis y apparaissent. Rare et précieuse liste répertoriant les ouvrages lus par le Marquis au commencement de son incarcération à La Bastille, point de départ de sa production littéraire prolifique. Provenance : archives de la famille.

      [Bookseller: Librairie Feu Follet]
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        Memoirs of The Bloomsgrove Family in a Series of Letters to a Respectable Citizen of Philadelphia Containing Sentiments on a Mode of Domestic Education? and Importance of the Female Character 2 Vols

      Thomas and Andrews (Boston). LEATHER_BOUND. (1790; Thomas and Andrews.Boston) 2 vol. Set. Brown Leather with gold gilt and red background at spine. No Dust Jacket (as issued). Boards with shelf wear, bumped at corners and spine ends with rubbing. Rubbing to edges. Dust soil/ toning to page edges. Decorative end papers. Bookplates to inside front cover and front end page both volumes (same names in both books). Also name to title page and page opposite it in book 2, this same name is on dedication page and page opposite in book 1. Text page with expected toning for age of these books but unmarked. Binding tight with no separations. Hinges: Back intact both books, slight starting to front of both books. All together in wonderful condition considering over 225 year old. **Tracking on all US orders. Most orders shipped within 24 hours. International customers will be reimbursed a portion of unused shipping charges.*** . Good. 1790.

      [Bookseller: Never Too Many Books]
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        Modern voyages : Containing a Variety of Useful and Entertaining Facts, Respecting the Expeditions and the Principal Discoveries of Cavendish, Dampier, Monk, Spilbergen, Anson, Byron, Wallis, Carteret, Bougainville, Dixon, Portlock, Paterson, and others... For the amusement and instruction of youth of both sexes

      In two volumes. London: Printed for G. Kearsley, 1790. Vol. I: pp. xii, 358;  vol. II: pp. xii, 374, [10] (publisher's catalogue). Octavo, contemporary full brown calf, spines numbered & ruled in gilt. Very good; some slight soiling, bookplate to front pastedown of each volume, pp. 323­- 326 loosening in volume one, joints weakening. Includes details of the new settlement at Botany Bay / Port Jackson. One of the earliest children's books relating to Australia. Ferguson 58; Beddie 330; Forbes 179; Muir 27; not in Osborne.

      [Bookseller: Douglas Stewart Fine Books]
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        Correspondance littéraire, philosophique et critique de Grimm et de Diderot, depuis 1753 jusq?en 1790.

      12 Bde. der 16-bändigen Ausgabe (1, 4, 5, 7-16). - Leder stärker berieben, Titelprägungen kaum erkennbar. Ecken teils bestoßen. Bll. teils stockfleckig. Wenige Bll. etwas eselsohrig. In Bd. 1 fehlt das hintere Vorsatzbl. Bd. 4 teils wasserwellig. Bd. 8 fehlen die letzten 2 Bll. Bd. 10 fehlt letztes Bl. Bd. 15 oben etwas wasserrandig.

      [Bookseller: Rotes Antiquariat]
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        Antique Print-PORTRAIT-GAMEKEEPER-DOG-HARE-BIRD-Thomas Pierson-1790

      - Original antique print, titled: 'The Gamekeeper', a full length portrait of a man with two dogs, a gun on his shoulder, and several birds and a hare (his catch of the day). Handcoloured stipple and line engraving on a vellin type paper. Description: Separately published master print, published by J. Le Petit, c. 1790. Our definition of a Master Print is a seperately published print or series of prints, not being an illustrative print to a text. These can both be prints made by old masters (artists) or prints made by others (artists, engravers, etchers) after old masters.�Artists and Engravers: Engraved by Thomas Pierson after his own design. We have been unable to establish biographical details about the artist. Condition: Fair, given age. Several tears in the margins, and one extending into the image (due to acidified paper brittleness). General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Professionally matted, not examined out of matting. Storage location: DPO-75-09 The overall size is ca. 20.7 x 25.8 inch. The image size is ca. 12.8 x 17.1 inch. The overall size is ca. 52.5 x 65.5 cm. The image size is ca. 32.5 x 43.5 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Drawing-AMERONGEN-LANDSCAPE-FARM-ROWING BOAT-N. Wicart-c.1790

      - Antique drawing, untitled. Original drawing of a rural landscape and the background the town of Amerongen, The Netherlands. With a farm and figures at a rowing boat. Signed on the rear: 'N. Wicart ad vivum. t' Dorp Amerongen.' ink and sepia drawing / grisaille on wove paper. Watermark: Coat of arms D&C Blauw. Description: Exact age unknown c. 1790 (estimate).Artists and Engravers: Made by 'N. Wicart' after own design. Nicolaas Wicart (1748-1815) was a Dutch painter and draughtsman from and mostly active in Utrecht. He was active from 1768-1815. He built a reputation with his watercolours and grisailles of pastoral landscapes and town views. He often romantisized the views to make them pleasant compositions. He also made designs for wallpaper. From 1774 to 1784 he worked as a porcelain painter for ds. Johannes de Mol inOud-Loosdrecht. His work is in major museums. Condition: Very good, given age. Sheet with drawing with no margins, but with added margin for ease of handling. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPCLA-P6-14 TPC The overall size is ca. 20.5 x 14.8 inch. The image size is ca. 16.9 x 11.4 inch. The overall size is ca. 52 x 37.5 cm. The image size is ca. 43 x 29 cm. [Attributes: Signed Copy]

      [Bookseller: ThePrintsCollector]
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        Antique Drawing-SCHERPENZEEL-LANDSCAPE-FARM-N. Wicart-c.1790

      - Antique drawing, untitled. Original drawing of a rural landscape and the background the town of Scherpenzeel, The Netherlands. With a farm and figures. Signed at left bottom: 'N. Wicart ad vivum. And on the rear t' Dorp Scherpenzeel.' ink and sepia drawing / grisaille on laid (verge) paper. Watermark: Coat of arms D&C Blauw. Description: Exact age unknown c. 1790 (estimate).Artists and Engravers: Made by 'N. Wicart' after own design. Nicolaas Wicart (1748-1815) was a Dutch painter and draughtsman from and mostly active in Utrecht. He was active from 1768-1815. He built a reputation with his watercolours and grisailles of pastoral landscapes and town views. He often romantisized the views to make them pleasant compositions. He also made designs for wallpaper. From 1774 to 1784 he worked as a porcelain painter for ds. Johannes de Mol inOud-Loosdrecht. His work is in major museums. Condition: Very good, given age. Sheet with drawing with margins. Light soiling of paper edges and margins. Rear with some refibering of thin paper spots at left and middle. Vague vertical fold line. Some remains of paper on rear from previous attachment. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPCLA-P6-16 TPC The overall size is ca. 19.7 x 14.4 inch. The image size is ca. 16.9 x 11.5 inch. The overall size is ca. 50 x 36.5 cm. The image size is ca. 43 x 29.3 cm. [Attributes: Signed Copy]

      [Bookseller: ThePrintsCollector]
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        Antique Drawing-GORSEL-LANDSCAPE-ROWING BOAT-N. Wicart-c.1790

      - Antique drawing, untitled. Original drawing of a rural landscape and on the right the town of Gorsel, The Netherlands. With a stream, rowing boats and figures. Signed at left bottom: 'N. Wicart ad vivum. And on the right t' Dorp Gorsel.' ink and sepia drawing / grisaille on laid (verge) paper. Watermark: D&C Blauw IV. Description: Exact age unknown c. 1790 (estimate).Artists and Engravers: Made by 'N. Wicart' after own design. Nicolaas Wicart (1748-1815) was a Dutch painter and draughtsman from and mostly active in Utrecht. He was active from 1768-1815. He built a reputation with his watercolours and grisailles of pastoral landscapes and town views. He often romantisized the views to make them pleasant compositions. He also made designs for wallpaper. From 1774 to 1784 he worked as a porcelain painter for ds. Johannes de Mol inOud-Loosdrecht. His work is in major museums. Condition: Very good, given age. Sheet with drawing with margins. Light soiling of paper edges and margins and a few small tears, not effecting image. Rear manuscript writing: ''t Dorp Gorzel'. Some remains of paper on rear from previous attachment. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: LA-P6-11 TPC The overall size is ca. 23.2 x 17.7 inch. The image size is ca. 20.7 x 15.4 inch. The overall size is ca. 59 x 45 cm. The image size is ca. 52.5 x 39 cm. [Attributes: Signed Copy]

      [Bookseller: ThePrintsCollector]
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        Versuch die Metamorphose der Pflanzen zu erklŠren

      Carl Wilhelm Ettinger, Gotha 1790 - vi, [1] - 86 Octavo. rebacked to period, over yellow boards, gilt. With the bookplate of Elizabeth [von Arnim] the author of "Enchanted April" and with the ownership stamp of "August P[rin]z v[on] Pr[eussen]" (Friedrich Wilhelm Heinrich August) stamped on the title page. Johan Wolfgang von Goethe, 1749 - 1832 was a German writer, pictorial artist, biologist, theoretical physicist, and polymath. He is considered the supreme genius of modern German literature. His works span the fields of poetry, drama, prose, philosophy, and science. His Faust has been called the greatest long poem of modern European literature. His other well-known literary works include his numerous poems, the Bildungsroman Wilhelm Meister's Apprenticeship, and the epistolary novel The Sorrows of Young Werther."The Metamorphoses of Plants" is Goethe's first published scientific treatise in which he approached the processes of life and the origin of life, a forerunner to Darwin in some respects. Goethe sought a theory that would explain all living forms in botany and zoology, and this is a pioneering work on plant metamorphoses. Goethe himself attributes the journey to Italy in 1786 - 1788 as being the most influential factor in his botanical and zoological interests and the idea of "an original plant". During his Italian journey, he formulated a theory of plant metamorphosis in which the archetypal form of the plant is to be found in the leaf Ð he writes, "from top to bottom a plant is all leaf, united so inseparably with the future bud that one cannot be imagined without the other". [Milestones of Science 86]. Light dust soiling of boards, else fine [Attributes: First Edition; Hard Cover]

      [Bookseller: Randall House Rare Books (ABAA)]
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        Versuch die Metamorphose der Pflanzen zu erklären

      Gotha: Carl Wilhelm Ettinger, 1790. First edition. rebacked to period, over yellow boards, gilt. Light dust soiling of boards, else fine. Octavo. vi, [1] - 86 With the bookplate of Elizabeth [von Arnim] the author of â€

      [Bookseller: Randall House Rare Books ]
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        United China Relief Fund Posters - Collection of five

      Collection of five colour lithograph posters published by the United China Relief. On card as issued. Occasional very light wear corners but overall in very good condition.Help China! China is Helping Us! Give to United China Relief. 1790 Broadway New York. The collection includes two copies of this emotionally charged montage style image by James Montgomery Flagg. A Chinese soldier, a rifle slung over his shoulder and a bloodied bandage around his head stares worriedly off into the middle distance, immediately behind him a desperate but determined Chinese woman clutching a child struggles forward, while behind her, Uncle Sam while holding her arm in support looks into the eye of the viewer with a serious but resolute expression on his face. In the background behind the pictured Chinese a firestorm rages whereas behind Uncle Sam, there are calmer but still forbidding, dark grey skies. There is a little colour variation between the two posters and James Montgomery Flagg's signature appears in black on one and white on the other. The smaller measures: 35.3 x 28.3cm - 13.7 inches x 11.1 inches; the larger poster: 54.1 x 35cm or 21 - 1/2 x 13 3/4 inches. [1944]China...Looks to Us! United China Relief. Black and white image of a Chinese enfant by James Montgomery Flagg.se characters to the right of the child read ??? (James Montgomery Flagg's transliterated Chinese name). Lettered in red and black. 35.5 x 28cm - 14 x 11 inches.China First to Fight! United China Relief Participating in National War Fund. This arresting image by Martha Sawyers shows a Chinese family striding forward with determination to meet the enemy. The man, a uniformed Chinese soldier with a rifle slung across his shoulder is centrally placed at the rear of the group, to his front left of him is a woman, one arm bandaged and in a sling, with her other hand she holds the left hand of a child who holds up a clenched right fist. Tiny closed tear lower edge. 56 x 35cm - 22 x 13 3/4 inches.China Shall Have Our Help! United China Relief. Send Your Contributing TODAY - 1790 Broadway, N.Y.C. Striking image by Martha Sawyers shows a Chinese family, injured father, his arm in a sling and mother with baby on her back. It appears the family have been driven from their home and the expressions on the faces of the parents suggest they have seen terrible things while the baby innocently towards the viewer. 28 x 53.5cm - 11 x 21 inches. United China Relief, Inc. New York. (circa 1944).The United China Relief, Inc was founded by Henry R. Luce in 1941. The aim of the United China Relief was to raise money for humanitarian aid for China and to inform Americans about China and the dreadful situation the Chinese were in at this time.Luce the well known founder and editor of Time, Life and Fortune Magazines was himself very strongly committed to China. The son of American Presbyterian missionaries he was born in Shandong in 1898. Until his mid teens he lived in China and received both a Chinese and English education. He returned "home" to the United States at 15 but remained strongly attached to China. During the war as a committed anti-Communist he lobbied the US Government to place a trade boycott on the Soviet Union and developed a warm relationship with Chiang Kai-Shek and his government. He returned to China on a number of occasions in the 1930s and 1940s.

      [Bookseller: oldimprints.com]
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        An album of original botanical watercolours

      [Shanghai 1790 - (17 1/8 x 12 3/4 inches). 20 original watercolour and bodycolour drawings (14 x 11 1/2 inches and smaller) on Chinese paper, mounted one to a page. Mid-19th century dark red morocco gilt, covers with an elaborate gilt border of two thick fillets flanking a highly decorative roll, with cornerpieces of large square stylised flower-heads, the border enclosing a large central panel blocked in semi-relief with highly elaborate panels to an overall Adam-influenced design centering on an oval with a large flowerhead, within a lozenge, this panel filled with stylized scrolling foliage and flowerheads, the spine in five unequal compartments, each gilt with numerous small tools, the third compartment with a design centered on a shaped lozenge, the others with a repeat design of a broken oval with numerous small tools, elaborate gilt turn-ins, white watered-silk textured paper endpapers, damascened steel clasp, gilt edges. A fine early collection of beautifully composed images, in a style that recalls traditional Chinese compositions, whilst also making allowances for the differing Western taste of the European patrons who supported a thriving school of highly talented natural history artists in Shanghai from the late 18th century onwards The drawings are all on Chinese paper, suggesting an early date. From about 1800 onwards, the Shanghai artists were generally supplied with English wove paper (often 'Whatman' paper). The supposition of an early date is also supported by the style of drawing, which still shows strong traces of the traditional Chinese style of painting. The artist or artists of these drawings have not yet learned to portray their subjects according to the western notion of a 'botanical drawing' - i.e. with samples of the fruit or seeds, and perhaps a dissection of a flower to show its structure. This collection forms part of what was to become a well-established tradition of almost exclusively anonymous Chinese artists, working in and around the coastal trading ports, producing work for Western patrons, more particularly the members of the East India and Dutch East India Companies. The best of the drawings are arguably a match for anything that Western botanical artists were producing at the time. The quality of the album into which these drawings have been carefully mounted suggest that, at an early date, their outstanding quality was recognized. The subjects include a striking amaranthus, a mallow, tree peonies, narcissi, prunus, begonia, iris, one watercolour including an unidentified bird and a very fine image of a spray of wild white dog-rose being visited by five bees and three butterflies. [Attributes: Hard Cover]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Versuch die Metamorphose der Pflanzen zu erklären

      Gotha: Carl Wilhelm Ettinger, 1790. First edition. rebacked to period, over yellow boards, gilt. Light dust soiling of boards, else fine. Octavo. vi, [1] - 86 With the bookplate of Elizabeth [von Arnim] the author of "Enchanted April" and with the ownership stamp of "August P[rin]z v[on] Pr[eussen]" (Friedrich Wilhelm Heinrich August) stamped on the title page Johan Wolfgang von Goethe, 1749 - 1832 was a German writer, pictorial artist, biologist, theoretical physicist, and polymath. He is considered the supreme genius of modern German literature. His works span the fields of poetry, drama, prose, philosophy, and science. His Faust has been called the greatest long poem of modern European literature. His other well-known literary works include his numerous poems, the Bildungsroman Wilhelm Meister's Apprenticeship, and the epistolary novel The Sorrows of Young Werther. "The Metamorphoses of Plants" is Goethe's first published scientific treatise in which he approached the processes of life and the origin of life, a forerunner to Darwin in some respects. Goethe sought a theory that would explain all living forms in botany and zoology, and this is a pioneering work on plant metamorphoses. Goethe himself attributes the journey to Italy in 1786 - 1788 as being the most influential factor in his botanical and zoological interests and the idea of "an original plant". During his Italian journey, he formulated a theory of plant metamorphosis in which the archetypal form of the plant is to be found in the leaf - he writes, "from top to bottom a plant is all leaf, united so inseparably with the future bud that one cannot be imagined without the other[Milestones of Science 86].

      [Bookseller: Randall House Rare Books]
 16.   Check availability:     Biblio     Link/Print  


        Rare Antique Print-EAST AFRICA-ROUTE SOLOMON-FLEET-MADAGASCAR-Bruce-Walker-1790

      - Antique print, titled: 'This map showing the traject of Solomon's Fleet in their three years voyage from the Elanitic gulf in Ophir and Tarshisii.' - This map showing the traject of Solomon's Fleet in their three years voyage from the Elanitic gulf in Ophir and Tarshisii, nowadays Beira in Mozambique to Eilat in Israel. The entire East Coast of Africa and Western Indian Ocean from the Mediterranean/Red Sea to the Cape of Good Hope and Madagascar. Dedicated to John Lord Bishop of Carlisle. Engraving on hand laid paper. Description: From: Bruce, James: 'Travels to Discover the Source of the Nile, In the Years 1768, 1769, 1770, 1771, 1772 and 1773, Five Volumes, (G.G.J. and J. Robinson, London) 1790. A pencil annotation at bottom rights says 1813, so this particular map probably originates from a latere ed.Artists and Engravers: Made by 'J. Walker' after 'James Bruce'. James Bruce (1730-1794) was a Scottish explorer, traveler, and nobleman active in the later part of the 18th century. Condition: Good, given age. Orginal folds as issued. Margins cropped close to the plate mark. Small stains in top margin. Stains in right margin. Tiny tear where one fold crosses and thin paper in right top of print. Creaes in top corners. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPCRC-A22-09 The overall size is ca. 27.8 x 13 inch. The image size is ca. 26.8 x 12.2 inch. The overall size is ca. 70.5 x 33 cm. The image size is ca. 68.1 x 31 cm.

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


        Antique Master Print-FARMER-ANGRY-SWITCH-PLEADING-KID-BOY-Scott-Morland-1790

      - Plate: The Angry Farmer / Le Fermier en Colere. It shows a furious farmer with a stick, standing in front of a horse. To the left and right of him, a girl and boy are trying to calm him, and stop him from beating the boy who lies in the hay to the right. A fourth kid is looking on from behind a gate. Rare. Original stipple engraving on a verge type hand laid paper. Description: Original master print, published in London, 1790, by John Raphael Smith.Artists and Engravers: Engraved by Edmund Scott (c.1746-c.1810) after George Morland. George Morland (1763-1804) was an English painter of animals and rustic scenes. Condition: Very good, given age. The margins quite foxed, slightly affecting image, margins cropped to platemark. Some general age-related toning, please study scan carefully. Storage location: DP-B1-07 The overall size is ca. 16.9 x 14.4 inch. The image size is ca. 14.8 x 11.4 inch. The overall size is ca. 43 x 36.5 cm. The image size is ca. 37.5 x 29 cm.

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


        A Summary of the Constitutional Law of England, Being an Abridgement of the Commentaries of Sir William Blackstone, Knt, One of the Justices of His Majesty's Court of Common Pleas. Not in Eller; Laeuchli 123

      W. Sleater, No. 28, and W. Colles, No. 17, Dame-street, Dublin 1790 - Modern 1/4 leather over boards, somewhat rubbed and chafed, some browning, but sound, with the advertising leaf preceding the title; the Taussig copy The only Irish edition of the first abridgment of Blackstone, the earliest of three abridgments to appear in the 18th century, designed "to make Blackstone's Commentaries useful to all Classes of People"; uncommon, three copies in ESTC in the USA [Attributes: Hard Cover]

      [Bookseller: Meyer Boswell Books, Inc., member ABAA]
 19.   Check availability:     AbeBooks     Link/Print  


        Set of engraved calligraphic and emblematic display sheets of the seasons: De Lente - De Zomer - De Herfst - De Winter. With explanatory letterpress sheet

      [Amsterdam:]: Cornelius Focking, 1790. 4 oblong broadsheets (sheet size 345/47 x 478/82), trimmed to platemarks but with large internal margins. Etchings with engraving, all after Doesjan, three engraved by Barent de Bakker, the fourth (Winter) by Hendrik Leffert Meyling, each with the large calligraphic name of the season in a different style, within a "picture frame" ornamented with flowers, acanthus designs, scrolling ivy, leafy sprigs, etc., and with two etched scenes within roundels attached or hung with trompe l'oeil ribbons to the frame. Watermarks: large crowned fleur-de-lis on shield, one sheet with countermark J Kool (Jan Kool), cf. Heawood 1841 (but larger). A few short marginal tears or holes, marginal soiling, the sheets lightly pressed. With one folio sheet of letterpress explanatory text (a half-sheet of the same paper). *** Four elaborate and unusual calligraphic samples including minutely etched genre scenes, mainly of Amsterdam, her residents and canals, boulevards, and quays, designed by a calligrapher from Hoorn (sometimes called Arian Doussyan), and impeccably engraved and printed. The set is accompanied by a typographic explanatory sheet, with the text enclosed in a type-ornament border, titled: Verlklaaring van vier by elkander behoorende Kunststukken, zynde de Zomer, Winter, Herfst en Lente. Vertoonende de vier getyden des jaars (Explanation of the four works of art, which belong together, being Summer, Winter, Fall and Spring, showing the four seasons of the year). The odd order may reflect the date of production, the engraver's signature for Summer being dated 1788, while that of Fall is dated 1790 (the other engravings are undated). The explanations are apparently the artist's: precise locations are given, and it is repeatedly emphasized that the scenes were drawn from life. The only other set that I have located, at the Rijksmuseum, is without this letterpress sheet. While the four engravings are laid out uniformly, with the article "De" at top center (artfully incorporating within the letterform of the D the three astrological symbols of the respective season), flanked by the two etched roundels, and the Season's name below, each within a trompe l'oeil frame, they differ in calligraphic style, decoration and other individual elements: While the four engravings are laid out uniformly, with the article "De" at top center (artfully incorporating within the letterform of the D the three astrological symbols of the respective season), flanked by the two etched roundels, and the Season's name below, each within a trompe l'oeil frame, they differ in calligraphic style, decoration and other individual elements: The letters of Summer, in a roman face, are flower-bedecked or incorporate potted plants, while the initial Z has additional filigree surround. The roundel on the left shows well-dressed inhabitants, and a man pushing a wheelbarrow, on a tree-lined avenue with a church at the end, identified in the explanation as the Nieuwe-Stads-Herberg; the roundel on the right is a canal city scene with boat, fishermen, a windmill, a steeple etc.: this is the village of Sloterdijk (now part of Amsterdam), the church shown being the Petruskerk. The letters of summer, in a roman face, are flower-bedecked or incorporate potted plants, while the initial Z has additional filigree surround. The roundel on the left shows well-dressed inhabitants, and a man pushing a wheelbarrow, on a tree-lined avenue with a church at the end, identified in the explanation as the Nieuwe-Stads-Herberg; the roundel on the right is a canal city scene with boat, fishermen, a windmill, a steeple etc.: this is the village of Sloterdijk (now part of Amsterdam), the church shown being the Petruskerk. De Winter has gothic letters, the lower-case letters of "Winter" linked together by an ornamental interlace band, and the capitals D and W with extremely ornate flourishing and internal ornamentation, oddly interrupted, within the W, by four small birds perching on bars. The bottom of the frame is decorated with bare branches. In the left roundel is the frozen river Ij, with skaters, ice-bound ships, and a pair of ladies strolling with muffs, with the Tolhuis in the background; on the right, skaters, ice-tents, etc., on the river Amstel. The calligraphy of Fall is the most extravagantly ornate, with twisted acanthus leaves and complex parallel filigree, of which some lines are beaded, others are wavy, etc. A close look reveals a spider, a spider web, and a grotesque serpent's head (the latter echoed in the roundel borders), while the initial H sports grapevines. Both roundels show the commercial side of the city: merchants apparently testing the product of wine barrels on a quay in front of the Roman-Catholic Poor Comptoir (a charitable organization) on the Keizersgracht; and, on the right, more barrels on a quay and on a canal boat, in front of the portal of the Agnietenschool on the canal Oudezijds Voorburgwal. Spring's lettering is mostly sober, in roman capitals with beaded edges and delicate sprigs along the center of the main letter-stalks, but the article "De" shows some burgeoning buds and leaves, and the initial letter L has gently swirling extenders and incorporates a tree with a nesting bird in its top branches, while another bird flies in with a worm. Both roundels show peaceful village scenes with churches, one with a canal, the other with a pond and boaters, identified as Wilnis and Meidrecht in the explanation, and as Ouderkerk aan de Amstel and Sloten in the Rijksmuseum description. Abraham van Stolk, Atlas van Stolk: Katalogus Der Historie-, Spot- En Zinneprenten Betrekkelijk de Geschiedenis Van Nederland (1835-1931), vol. 5, no. 3797 (without the letterpress sheet); G. J. Dekker, Catalogue du Musée de Calligraphie délaissée par feu Monsieur G.J. Dekker ... Vente Publique, 2 juin 1882, lot 53 (this copy?, with the letterpress sheet). Cf. Thieme-Becker 9:376; 2:380-81; and 24:501.

      [Bookseller: Musinsky Rare Books, Inc.]
 20.   Check availability:     Biblio     Link/Print  


        Antique Print-MAPPE MONDE-WORLD-PEROUSE-MERCATOR-Delaperouse-c. 1790

      - Antique print, titled: 'Mappemonde ou Carte Reduite Des Parties Connues Du Globe Pour servir au Voyage de La Perouse . 1785, 85, 87 et 88.' - La Perouse's map of the World on Mercator's projection. The map highlights in blue La Perouse's Voyage from France, around Cape Horn, then to Hawaii and the NW Coast of America, south to Oregon, San Francisco and Monterey, then across the Pacific Ocean to Canton, through the Philippines to the Sea of Japan and the Northern Japanese Islands, then to Kamchatka. From Kamchatka, he proceeded to the South Pacific and finally to Port Jackson and Botany Bay, where he met his untimely death. The map displays the most up to date cartography, especially along the NW Coast of America, NE Coast of Asia, Australia, New Zealand and the Pacific. La Perouse's voyage is perhaps second only to the Voyages of James Cook in its impact on cartographic knowledge and discoveries in the second half of the 18th Century. Copperplate engraving / etching with contemporary hand colouring on hand laid paper. Description: "Atlas du Voyage de la Perouse".Artists and Engravers: Made by an anonymous engraver after 'Jean François de Galaup, comte de Laperouse'. Jean François de Galaup, comte de Laperouse; variant spelling of his name comte "de La Perouse"; (23 August 1741 – 1788?) was a French Naval officer and explorer whose expedition vanished in Oceania. Condition: Fair, given age. Repaired 5 cm tear upper left. A few light creases. Original folds as issued. Some small stains and faint soiling. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: BG-B1-46 The overall size is ca. 21.3 x 17.7 inch. The image size is ca. 20.6 x 16.7 inch. The overall size is ca. 54.2 x 45 cm. The image size is ca. 52.4 x 42.5 cm.

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


        The Theory of Moral Sentiments

      London: for A. Strahan; and T. Cadell in the Strand; and W. Creech, and J. Bell & Co. at Edinburgh,, 1790. or, An Essay Towards an Analysis of the Principles by which Men Naturally Judge Concerning the Conduct and Character, first of their Neighbours, and afterwards of themselves. To Which is Added, A Dissertation on the Origin of Languages. The Sixth Edition. In two Volumes. 2 volumes, octavo (205× 123 mm). Contemporary tree calf, flat spines elaborately ruled and decorated gilt, red morocco labels. Spine ends chipped, corners lightly rubbed, a few surface abrasions to boards, one or two corners turned down. Ownership stamp "From Mount Tavy" to front free endpapers; a very attractive set. Sixth edition, a very good set of the final lifetime edition of Adam Smith's first book, the work that established his reputation as a philosopher both in London and on the Continent. "One of Adam Smith's major claims to fame, in some ways his greatest, is his development of a unified concept of an economic system with mutually interdependent parts. His development of this came well before the Wealth of Nations; it is in the Theory of Moral Sentiments of 1759 and the Lectures of 1762-3" (D. P. O'Brien, The Classical Economists, 1975, p. 29). The sixth edition of the Theory, which appeared a few months before Smith's death, evinced a number of broad developments in his later thought, as well as his last views on many specific points. Smith at least in part made extensive revisions so that he might bequeath a refreshment of copyright to his publisher, in which he was successful. See the editors' introduction to the Glasgow edition (Oxford, 1976), pp. 15–20; Ross, Life, pp. 381–5, 391–5, and Richard Sher's account of the early editions of Adam Smith's books in Britain and Ireland in Tribe (ed.), A critical Bibliography of Adam Smith.

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


        Set of engraved calligraphic and emblematic display sheets of the seasons: De Lente - De Zomer - De Herfst - De Winter. With explanatory letterpress sheet.

      [Amsterdam:]: Cornelius Focking, 1788-1790. 4 oblong broadsheets (sheet size 345/47 x 478/82), trimmed to platemarks but with large internal margins. Etchings with engraving, all after Doesjan, three engraved by Barent de Bakker, the fourth (Winter) by Hendrik Leffert Meyling, each with the large calligraphic name of the season in a different style, within a "picture frame" ornamented with flowers, acanthus designs, scrolling ivy, leafy sprigs, etc., and with two etched scenes within roundels attached or hung with trompe l'oeil ribbons to the frame. Watermarks: large crowned fleur-de-lis on shield, one sheet with countermark J Kool (Jan Kool), cf. Heawood 1841 (but larger). A few short marginal tears or holes, marginal soiling, the sheets lightly pressed. With one folio sheet of letterpress explanatory text (a half-sheet of the same paper). *** Four elaborate and unusual calligraphic samples including minutely etched genre scenes, mainly of Amsterdam, her residents and canals, boulevards, and quays, designed by a calligrapher from Hoorn (sometimes called Arian Doussyan), and impeccably engraved and printed. The set is accompanied by a typographic explanatory sheet, with the text enclosed in a type-ornament border, titled: Verlklaaring van vier by elkander behoorende Kunststukken, zynde de Zomer, Winter, Herfst en Lente. Vertoonende de vier getyden des jaars (Explanation of the four works of art, which belong together, being Summer, Winter, Fall and Spring, showing the four seasons of the year). The odd order may reflect the date of production, the engraver's signature for Summer being dated 1788, while that of Fall is dated 1790 (the other engravings are undated). The explanations are apparently the artist's: precise locations are given, and it is repeatedly emphasized that the scenes were drawn from life. The only other set that I have located, at the Rijksmuseum, is without this letterpress sheet. While the four engravings are laid out uniformly, with the article "De" at top center (artfully incorporating within the letterform of the D the three astrological symbols of the respective season), flanked by the two etched roundels, and the Season's name below, each within a trompe l'oeil frame, they differ in calligraphic style, decoration and other individual elements: While the four engravings are laid out uniformly, with the article "De" at top center (artfully incorporating within the letterform of the D the three astrological symbols of the respective season), flanked by the two etched roundels, and the Season's name below, each within a trompe l'oeil frame, they differ in calligraphic style, decoration and other individual elements: The letters of Summer, in a roman face, are flower-bedecked or incorporate potted plants, while the initial Z has additional filigree surround. The roundel on the left shows well-dressed inhabitants, and a man pushing a wheelbarrow, on a tree-lined avenue with a church at the end, identified in the explanation as the Nieuwe-Stads-Herberg; the roundel on the right is a canal city scene with boat, fishermen, a windmill, a steeple etc.: this is the village of Sloterdijk (now part of Amsterdam), the church shown being the Petruskerk. The letters of summer, in a roman face, are flower-bedecked or incorporate potted plants, while the initial Z has additional filigree surround. The roundel on the left shows well-dressed inhabitants, and a man pushing a wheelbarrow, on a tree-lined avenue with a church at the end, identified in the explanation as the Nieuwe-Stads-Herberg; the roundel on the right is a canal city scene with boat, fishermen, a windmill, a steeple etc.: this is the village of Sloterdijk (now part of Amsterdam), the church shown being the Petruskerk. De Winter has gothic letters, the lower-case letters of "Winter" linked together by an ornamental interlace band, and the capitals D and W with extremely ornate flourishing and internal ornamentation, oddly interrupted, within the W, by four small birds perching on bars. The bottom of the frame is decorated with bare branches. In the left roundel is the frozen river Ij, with skaters, ice-bound ships, and a pair of ladies strolling with muffs, with the Tolhuis in the background; on the right, skaters, ice-tents, etc., on the river Amstel. The calligraphy of Fall is the most extravagantly ornate, with twisted acanthus leaves and complex parallel filigree, of which some lines are beaded, others are wavy, etc. A close look reveals a spider, a spider web, and a grotesque serpent's head (the latter echoed in the roundel borders), while the initial H sports grapevines. Both roundels show the commercial side of the city: merchants apparently testing the product of wine barrels on a quay in front of the Roman-Catholic Poor Comptoir (a charitable organization) on the Keizersgracht; and, on the right, more barrels on a quay and on a canal boat, in front of the portal of the Agnietenschool on the canal Oudezijds Voorburgwal. Spring's lettering is mostly sober, in roman capitals with beaded edges and delicate sprigs along the center of the main letter-stalks, but the article "De" shows some burgeoning buds and leaves, and the initial letter L has gently swirling extenders and incorporates a tree with a nesting bird in its top branches, while another bird flies in with a worm. Both roundels show peaceful village scenes with churches, one with a canal, the other with a pond and boaters, identified as Wilnis and Meidrecht in the explanation, and as Ouderkerk aan de Amstel and Sloten in the Rijksmuseum description. Abraham van Stolk, Atlas van Stolk: Katalogus Der Historie-, Spot- En Zinneprenten Betrekkelijk de Geschiedenis Van Nederland (1835-1931), vol. 5, no. 3797 (without the letterpress sheet); G. J. Dekker, Catalogue du Musée de Calligraphie délaissée par feu Monsieur G.J. Dekker ... Vente Publique, 2 juin 1882, lot 53 (this copy?, with the letterpress sheet). Cf. Thieme-Becker 9:376; 2:380-81; and 24:501.

      [Bookseller: Musinsky Rare Books]
 23.   Check availability:     Direct From Seller     Link/Print  


        The Theory of Moral Sentiments or, An Essay Towards an Analysis of the Principles by which Men Naturally Judge Concerning the Conduct and Character, first of their Neighbours, and afterwards of themselves. To Which is Added, A Dissertation on the Origin of Languages. The Sixth Edition. In two Volumes.

      London: for A. Strahan; and T. Cadell in the Strand; and W. Creech, and J. Bell & Co. at Edinburgh, 1790 - 2 volumes, octavo (205× 123 mm). Contemporary tree calf, flat spines elaborately ruled and decorated gilt, red morocco labels. Spine ends chipped, corners lightly rubbed, a few surface abrasions to boards, one or two corners turned down. Ownership stamp "From Mount Tavy" to front free endpapers; a very attractive set. Sixth edition, a very good set of the final lifetime edition of Adam Smith's first book, the work that established his reputation as a philosopher both in London and on the Continent. "One of Adam Smith's major claims to fame, in some ways his greatest, is his development of a unified concept of an economic system with mutually interdependent parts. His development of this came well before the Wealth of Nations; it is in the Theory of Moral Sentiments of 1759 and the Lectures of 1762-3" (D. P. O'Brien, The Classical Economists, 1975, p. 29). The sixth edition of the Theory, which appeared a few months before Smith's death, evinced a number of broad developments in his later thought, as well as his last views on many specific points. Smith at least in part made extensive revisions so that he might bequeath a refreshment of copyright to his publisher, in which he was successful. See the editors' introduction to the Glasgow edition (Oxford, 1976), pp. 15–20; Ross, Life, pp. 381–5, 391–5, and Richard Sher's account of the early editions of Adam Smith's books in Britain and Ireland in Tribe (ed.), A critical Bibliography of Adam Smith. Alston III, 828; Goldsmiths' 14580; Kress B.1988; Jessop, p. 170; Tribe 36; Vanderblue, p. 38.

      [Bookseller: Peter Harrington. ABA member]
 24.   Check availability:     ZVAB     Link/Print  


        Tour of the Isle of Wight. The Drawings Taken and Engraved by J. Hassell. Dedicated, by permission, to His Royal Highness the Duke of Clarence. In Two Volumes.

      London, John Jarvis, for Thomas Hookham in New Bond-Street, 1790. . Near Fine. London, John Jarvis, for Thomas Hookham in New Bond-Street, 1790. Bound for a Knight of the Garter. The backs of both volumes are decorated with the Garter motto: Honi soit qui mal y pense enclosing a lion rampant and a coronet, above which is another coronet. These books were likely bound for William Henry, Prince of Brunswick-Luneburg (1765-1837), Duke of Clarence and St. Andrew, to whom John Hassell dedicated this two volume title. Collation, 8vo: [Vol. I: 2 blanks; protective leaf; engraved title-page with the Dukes arms; printed title-page is a1; a list of additional names follows after the alphabetized list of subscribers, inserted between c2 and c3; a1-c2; i; c3-c4; (B-I)4, (K-U)4, (X)4, (Z)4, (Aa Ff)4; 2 blanks]; [Vol. II: 2 blanks; engraved title-page with the Dukes arms; printed title-page is a1; (a)4, (B I)4, (K U)4, (X Z)4, (Aa Ii)4, 2 blanks]. Vol. I: 25 cm. x 18.5 cm; Vol. II 25 cm. x 19 cm. (Abbeys measurements for this title were 8 1/8 in x 5 3/8 in. This copy is 9 ¾ in x 7 3/8 in. Noted on the list of subscribers and the subscribers addendum are noted orders for only 11 large paper copies, of which this is one. Bound in full straight-grain 18c. red morocco, front and back covers of both volumes are ruled in blind in gold, spines of both volumes ruled in gold in seven compartments 1, 4, and 7 are empty. The title is in compartment 2, the Garter Arms in 3 and volume number in 5. Page edges of both volumes are gilt-edged all around. Volume I has 17 aquatint plates, and Vol. II has 13 aquatint plates. Abbey 342; Prideaux p.339; Martin-Hardie p. 120. ESTC T146706 (An impression of the same setting of type was used for a quarto format.) Spines show sunning and some flecking, the engraved title-pages of both volumes are slightly foxed. The other pages are bright and fresh. A fine copy in a beautiful eighteenth century binding with a royal provenance.

      [Bookseller: G.Gosen Rare Books & Old Paper, ABAA, IL]
 25.   Check availability:     Biblio     Link/Print  


        Broadside. Begins: "A los venezolanos."

      In this address to his fellow Venezuelans, Paéz (1790-1873), the exiled general and former president -- who would serve as president yet again in the early 1860s-- denies any part in revolutionary conspiracies against the regime of General José Gregorio Monagas (1798-1858), then ruling Venezuela. Páez probably drew upon the pen of D. Antonio José de Irisarri (1786-1868) for the composition of this publication. Handsomely printed on a single sheet, in two columns. Rare: We fail to trace this piece of exile writing via WorldCat, NUC Pre-1956, or Palau.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
 26.   Check availability:     Direct From Seller     Link/Print  


        Das Buch vom Aberglauben, Mißbrauch und falschen Wahn. Ein nöthiger Beytrag zum Unterricht-Noth- und Hülfsbüchlein.

      Oberdeutschland [d.i. Weissenburg in Franken], Verlag des Unterricht-Noth- u. Hülfsbüchlein, 1790. 383 S. Priv. HLd. im Stile der Zeit. Mit dem Frontispiz und der Titelvignette. Es fehlen die Vorreden (4 Bll.) und das Inhaltsverzeichnis (3 Bll.). Einer von drei Bänden. Apart. - Ein Freund der Buchbinderei hat diesen Band neugebunden - kleine Makel inkludiert. Leichte Gbrsp., fleckig, letztes Bl. m. Einriss (kein Textverlust). Versand D: 7,00 EUR Theologie, Religion; Volksmedizin

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


        Journal of a Voyage to New South Wales with sixty-five plates of non descript animals, birds, lizards, serpents, curious cones of trees and other natural productions.

      London: J. Debrett, 1790. Quarto, engraved title and 65 handcoloured plates; a very good copy in a particularly handsome modern tree calf binding with ornately gilt-panelled spine, by Aquarius. First edition, the marvellous hand-coloured issue of the famous First Fleet book. Surgeon John White's Journal is one of the most beautiful of Australian colour-plate books, and one of the earliest Australian bird and natural history accounts, with 63 of the wonderful plates depicting Australian specimens.White was chief surgeon of the First Fleet, and particularly successful in that he overcame serious medical problems in appalling conditions both on the voyage out and when the settlement was founded. He was also a keen amateur naturalist and after arriving at Port Jackson found time to accompany Phillip on two journeys of exploration. On joining the First Fleet he had begun to keep a journal in which he would later make notes about birds in the new colony. It was this manuscript which formed the nucleus of his journal. It also provided an interesting and valuable account of the voyage from London, with long, detailed accounts of the stops at Rio de Janeiro, Cape Town and of the colonial voyages to Norfolk Island. White's interest in natural history continued until he left New South Wales in December 1794. When the convict artist Thomas Watling arrived in the colony in October 1792 he was assigned to White and in the next two years made many drawings of birds for him. It is possible that White himself had some skill as an artist and that he may have been responsible himself for a portion of the original sketches for some of the engravings here. Others of the engravings, drawn by leading natural history artists of the day such as Sarah Stone, were based on actual specimens which had been sent to England, and which were on display in the windows of the publisher Debrett in a very successful attempt to drum up subscribers for the book - of which there were over 700. The number of "points" that have interested collectors in the past are mostly rather pointless now that many copies have been properly described. However in the interest of completeness, we note that this copy: 1) has the standard form of the List of Plates; 2) has the List of Subscribers, which is not always present; 3) has the draughtsmen's names somewhat faintly printed (as we know to be normal) but certainly not deteriorated; 4) has the cancelled state of the Wattled Merops text on p.240 and the Superb Warblers on p.256; and 5) includes the final 4 pp. advertisements not present in all copies. Provenance: Private collection (Sydney). Just a few light spots but overall in fine condition and the plates clean and bright with original colouring unfaded.

      [Bookseller: Hordern House]
 28.   Check availability:     Direct From Seller     Link/Print  


        Bilderbuch für Kinder. 2 Bände + Kommentarband. Bilderbuch für Kinder. Enthaltend eine angenehme Sammlung von Thieren, Pflanzen, Blumen, Früchten, Mineralien, Trachten und allerhand andern unterrichtenden Gegenständen aus dem Reiche der Natur, der Künste und Wissenschaften alle nach den besten Originalen gewählt, gestochen, und mit einer kurzen wissenschaftlichen, und den Verstandes-Kräften eines Kindes angemessenen Erklärung begleitet.

      Leinen Faksimile der ersten beiden Bände der Erstausgabe Weimar, 1790. Sehr gut erhalten.

      [Bookseller: ANTIQUARIAT THOMAS NONNENMACHER]
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        Journal of a Voyage to New South Wales with sixty-five plates of non descript animals, birds, lizards, serpents, curious cones of trees and other natural productions

      London: J. Debrett, 1790. Just a few light spots but overall in fine condition and the plates clean and bright with original colouring unfaded.. Quarto, engraved title and 65 handcoloured plates; a very good copy in a particularly handsome modern tree calf binding with ornately gilt-panelled spine, by Aquarius. First edition, the marvellous hand-coloured issue of the famous First Fleet book. Surgeon John White's Journal is one of the most beautiful of Australian colour-plate books, and one of the earliest Australian bird and natural history accounts, with 63 of the wonderful plates depicting Australian specimens.White was chief surgeon of the First Fleet, and particularly successful in that he overcame serious medical problems in appalling conditions both on the voyage out and when the settlement was founded. He was also a keen amateur naturalist and after arriving at Port Jackson found time to accompany Phillip on two journeys of exploration. On joining the First Fleet he had begun to keep a journal in which he would later make notes about birds in the new colony. It was this manuscript which formed the nucleus of his journal. It also provided an interesting and valuable account of the voyage from London, with long, detailed accounts of the stops at Rio de Janeiro, Cape Town and of the colonial voyages to Norfolk Island. White's interest in natural history continued until he left New South Wales in December 1794. When the convict artist Thomas Watling arrived in the colony in October 1792 he was assigned to White and in the next two years made many drawings of birds for him. It is possible that White himself had some skill as an artist and that he may have been responsible himself for a portion of the original sketches for some of the engravings here. Others of the engravings, drawn by leading natural history artists of the day such as Sarah Stone, were based on actual specimens which had been sent to England, and which were on display in the windows of the publisher Debrett in a very successful attempt to drum up subscribers for the book - of which there were over 700. The number of "points" that have interested collectors in the past are mostly rather pointless now that many copies have been properly described. However in the interest of completeness, we note that this copy: 1) has the standard form of the List of Plates; 2) has the List of Subscribers, which is not always present; 3) has the draughtsmen's names somewhat faintly printed (as we know to be normal) but certainly not deteriorated; 4) has the cancelled state of the Wattled Merops text on p.240 and the Superb Warblers on p.256; and 5) includes the final 4 pp. advertisements not present in all copies. Provenance: Private collection (Sydney).

      [Bookseller: Hordern House Rare Books]
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        Topographie des Königreichs Böhmen : darinn alle Städte, Flecken, Herrschaften, Schlösser, Landgüter, Edelsitze, Klöster, Dörfer, wie auch verfallene Schlösser und Städte unter den ehemaligen und jetzigen Benennungen sammt ihren Merkwürdigkeiten beschrieben werden, VIERZEHNTER THEIL (14. Teil) Taborer Kreis. UND FÜNFZEHNTER THEIL (15.Teil) Königgrätzer Kreis UND SECHZEHNTER UND LETZTER THEIL (16.Teil) Bidschower Kreis. 3 TEILE IN EINEM BAND

      Prag ; Wien in der von Schönfeldschen Handlung 1790 Halblederband der Zeit, rundum gesprenkter Schnitt, 8°, (II), 156 Seiten, (2 S.), Titelvignette: Königl. Kreisstadt Tabor; (II), 250 Seiten, (4 S.), Titelvignette: Königl. Stadt Königgratz, (II), 156 Seiten, (2 S.), Titelvignette: Königl. Stadt Neu Bidschow ; Zustand: Einband berieben, Kanten stellenweise minimal bestoßen, gutVersand D: 9,00 EUR Böhmen Landeskunde Geschichte

      [Bookseller: ANTIQUARIAT.WIEN Fine Books & Prints- Fl]
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        Critik der reinen Vernunft. Dritte (3.) verbesserte Auflage.

      Johann Friedrich Hartknoch, Riga 1790 - 8vo (. XLIV S., 884 S. Pp. d. Zt. m. RSchild. Rotschnitt. Warda 61. - Ausgabe zu Lebzeiten Kants. Folgt der maßgeblichen zweiten Ausgabe von 1787 mit dem ausführlichen Vorwort. Hier der erste Druck dieser Auflage mit dem Titelblatt "verbesserte Auflage" wie in der 2. Ausgabe, das dann in "unveränderte Aufalge" geändert wurde. - Einband berieben u. bestoßen, kl. Eckfehlstelle am RSchild. Vorsätze u. Titelbl. etw. stockfleckig, sonst sauber u. wohlerhalten. gr.

      [Bookseller: Antiquariat Düwal]
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        Antique Print-THOMSON-SEASONS-LADY-READING-SON-Bartolozzi-Gosway-1790

      - Antique attractively matted print, titled: 'Mrs. Harding and Son', a seated lady reading a book, with her son at her side. The caption is a quote from the famous poem "The Seasons" by James Thomson. Delicately handcoloured stipple engraving on a vellin type paper. Engraved by F. Bartolozzi after R. Cosway. Francesco Bartolozzi (1725-1815) was an Italian engraver, who spend most his time in London. He was born (and received his first training) in Florence. There he was trained by Hugford and Ferretti, before moving to Venice. There he came under the influence of the work of Joseph Wagner. After a short stay in Rome, he left for London in 1764. Although he is not the inventor of crayon style engraving, he is credited with popularising the engraving method. Richard Cosway (1742-1821) was a leading English portrait painter of the Regency era. Condition: Good, given age. Small creases (mainly in the margins, but one in the lower left corner of the image), and small stains in the margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Profesionally matted, not examined out of matting. The overall size is ca. 16.1 x 21.3 inch. The image size is ca. 8.3 x 12.6 inch. The overall size is ca. 41 x 54 cm. The image size is ca. 21 x 32 cm.

      [Bookseller: ThePrintsCollector]
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        Liste du Théâtre français et du Théâtre italien

      1790 - - s.d. (circa 1790), 16,20,1cm, 3 pages sur un double feuillet. - Liste de 38 pièces (15 pièces jouées au Théâtre-Français et 23 à la Comédie-Italienne), rédigée sans doute par un secrétaire du Marquis. Annotations, ratures, biffures et corrections de la main du Marquis de Sade. Cette liste correspond à des pièces de théâtre jouées de 1783 à 1785 au Théâtre français (actuel Théâtre de l'Odéon) et au Théâtre italien (connu de nos jours sous le nom d'Opéra-Comique ou Salle Favart). Le Marquis avait pour habitude de se faire envoyer chaque année l'Almanach des spectacles afin de se tenir informé des actualités de la scène parisienne. Ainsi dans une lettre de décembre 1784 à sa femme Renée-Pélagie, il demande : « Liste d'objets dont j'ai besoin. [.] Deux almanachs [.] des spectacles. Les comédies ou tragédies nouvelles de l'année, de l'un et l'autre spectacles. J'en ai d'autant plus besoin cette année, que j'ai prodigieusement travaillé dans l'un et l'autre genre et que je ne puis me passer de ce qui paraît, pour m'instruire et vérifier. ». Toutes les pièces listées dans cet inventaire apparaissent dans les almanachs théâtraux reproduits par Sylvie Dangeville dans son ouvrage Le Théâtre change et représente (Honoré Champion, Paris, 1999). Soucieux de garder un lien avec le monde extérieur, le Marquis commande énormément d'ouvrages, notamment les brochures des pièces théâtrales fraîchement parues. Ainsi en 1775, dans une lettre à la Veuve Duchesne, célèbre libraire-éditrice parisienne, il demande : « Pour l'intelligence du billet ci-joint, Madame Duchesne est priée de jeter les yeux sur l'Almanach des Spectacles, article pièces nouvelles, et en conséquence elle voudra bien remettre au présent porteur tout ce qui [a] été imprimé à l'un ou l'autre spectacle, savoir du Théâtre français depuis l'Hôtellerie ou le faux ami et du Théâtre italien depuis l'Amitié au village, l'un et l'autre inclusivement, si elles sont imprimées ou exclusivement si elles ne le sont pas, jusqu'à l'époque de la clôture des spectacles. Le porteur n'a qu'un louis ; si les pièces montaient à une somme plus forte, Madame Duchesne enverrait d'abord pour cette somme et ferait dire celle qu'il faudrait envoyer le lendemain pour avoir le total. ». Le « billet » dont il est question en début de missive est très vraisemblablement la liste que nous proposons ; les deux titres auxquels fait référence le Marquis y apparaissent. Rare et précieuse liste répertoriant les ouvrages lus par le Marquis au commencement de son incarcération à La Bastille, point de départ de sa production littéraire prolifique. Provenance : archives de la famille. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] List of 15 French and 23 Italian pieces, probably written by a secretary and annotated on the margin by the Marquis. Provenance: archives of the family. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Correspondance littéraire, philosophique et critique de Grimm et de Diderot, depuis 1753 jusq?en 1790.

      12 Bde. der 16-bändigen Ausgabe (1, 4, 5, 7-16). - Leder stärker berieben, Titelprägungen kaum erkennbar. Ecken teils bestoßen. Bll. teils stockfleckig. Wenige Bll. etwas eselsohrig. In Bd. 1 fehlt das hintere Vorsatzbl. Bd. 4 teils wasserwellig. Bd. 8 fehlen die letzten 2 Bll. Bd. 10 fehlt letztes Bl. Bd. 15 oben etwas wasserrandig.

      [Bookseller: Rotes Antiquariat]
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        REVOLUTIONS de PARIS dédiées à la Nation et au district des Petits-Augustins, pub. par L. Prudhomme. Second trimestre (17 oct. 1789-9 janvier 1790).

      Paris, 1789-1790, - in-8, pagination multiple, 24 pp. de tables, 5 gravures, veau brun, dos à nerfs orné, tranches rouges (reliure de l'époque). Coiffes et coins usés, épid. sur les plats. Très rare spécimen de reliure révolutionnaire. Le dos est orné de caissons où alternent une Bastille entourée de canons et un bonnet phrygien tenu sur un bâton entouré de la devise "Vive la Liberté". Au bas du dos on trouve une pièce de titre où est inscrit "Epoque mémorable 12 juillet 1789" (un peu effacé), date du premier numéro du célèbre journal. [Attributes: Soft Cover]

      [Bookseller: Librairie Historique F. Teissèdre]
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        REVOLUTIONS de PARIS dédiées à la Nation et au district des Petits-Augustins, pub. par L. Prudhomme. Seconde année, troisiéme trimestre (9 janvier 1790-12 avril 179).

      Paris, 1790, - in-8, pagination multiple, 22 pp. de tables, 7 gravures, veau brun, dos à nerfs orné, tr. rouges (rel. de l'époque). Coiffes et coins usés.Très rare spécimen de reliure révolutionnaire. Le dos est orné de caissons où alternent une Bastille entourée de canons et un bonnet phrygien tenu sur un bâton entouré de la devise "Vive la Liberté". Au bas du dos on trouve une pièce de titre où est inscrit "Epoque mémorable 12 juillet 1789" (un peu effacé), date du premier numéro du célèbre journal. [Attributes: Soft Cover]

      [Bookseller: Librairie Historique F. Teissèdre]
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        CONGRESS OF THE UNITED STATES: AT THE SECOND SESSION, BEGUN AND HELD AT THE CITY OF NEW-YORK, ON MONDAY THE FOURTH OF JANUARY, ONE THOUSAND SEVEN HUNDRED AND NINETY. RESOLVED BY THE SENATE AND HOUSE OF REPRESENTATIVES...THAT ALL TREATIES MADE...SHALL FROM TIME TO TIME BE PUBLISHED...[caption title]

      [New York]: Printed by Francis Childs and John Swaine, 1790. Small folio broadside. Dbd. Small contemporary numerical inscription ("77") in lower margin. Half-inch stain, not affecting text; three inch-long tears at right edge, not affecting text. Very good, untrimmed. "Approved, June the fourteenth, 1790." Congressional printing of a resolution establishing that all treaties made by the United States "from time to time be published and annexed to their code of laws, by the Secretary of State." Evidently the second known copy of a House resolution requiring the publication of all treaties, thus rejecting the possibility of secret treaties. No treaty, except with Indian tribes, was made until Jay's Treaty in 1795. Signed in print by Speaker of the House Frederick Augustus Muhlenberg, John Adams, and George Washington. Not in Evans or Bristol. OCLC locates no physical copies; NAIP records one, at the American Antiquarian Society. Rare. NAIP w026611.

      [Bookseller: William Reese Company - Americana]
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        CONGRESS OF THE UNITED STATES: AT THE SECOND SESSION, BEGUN AND HELD AT THE CITY OF NEW-YORK, ON MONDAY THE FOURTH OF JANUARY, ONE THOUSAND SEVEN HUNDRED AND NINETY. RESOLVED BY THE SENATE AND HOUSE OF REPRESENTATIVES.THAT ALL TREATIES MADE.SHALL FROM TIME TO TIME BE PUBLISHED.[caption title].

      [New York]: Printed by Francis Childs and John Swaine, [1790]. - Small folio broadside. Dbd. Small contemporary numerical inscription ("77") in lower margin. Half-inch stain, not affecting text; three inch- long tears at right edge, not affecting text. Very good, untrimmed. "Approved, June the fourteenth, 1790." Congressional printing of a resolution establishing that all treaties made by the United States "from time to time be published and annexed to their code of laws, by the Secretary of State." Evidently the second known copy of a House resolution requiring the publication of all treaties, thus rejecting the possibility of secret treaties. No treaty, except with Indian tribes, was made until Jay's Treaty in 1795. Signed in print by Speaker of the House Frederick Augustus Muhlenberg, John Adams, and George Washington. Not in Evans or Bristol. OCLC locates no physical copies; NAIP records one, at the American Antiquarian Society. Rare. NAIP w026611.

      [Bookseller: William Reese Company - Americana]
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        China, probably end of 18th century.

      1790 1790 - Wooden panel (59 x 35 cm) with 25 bronze casts of ancient Chinese coins and amulets inserted. A solid piece of wood with small scratches and minor wear, parts of old Chinese label on reverse. Mounted in a later wooden frame. The collection shows examples of old coins and charms in the shape of spades, knives, rings, and two large symbolic figures: a horse and two birds in a tree. China was one of the first countries to use metal coinage and its ancient coin history can be traced back more than two thousand years. The Chinese also produced "coin-like" charms and talismans which were used to suppress evil spirits and to bring "good luck" or "good fortune". During the Zhou Dynasty (1046-256 BC) some of the first forms of money were cast in the shapes of tools, for example as spades, shovels or knives. Thereafter the "round money" appeared and during the Han Dynasty a round shaped coin named "wu zhu" was introduced. It was minted for more than 700 years from 118 BC to 618 AD. This panel contains nine spade-shaped coins or charms which we believe are the earliest examples in the collection. Two pieces have the knife shape. Three large examples of "open charms" are included with illustrations of a dragon, the zodiac and the eight trigrams. In addition there are seven pieces of different kinds of round coins or charms and two pendant charms, all decorated with different characters and symbols. We believe that the panel dates from the latter part of the 18th century and sits firmly in the context of the Emperor Qianlong?s unequalled obsession with Chinese history, art and literature. Reigning from 1735 to 1796, he created and conserved unparalleled collections of all ages and aspects of Chinese culture while honouring Manchu and Confucian traditions. This panel, with a patina consistent with its (likely) date, was probably used as a teaching aid, and reflects the Emperor?s interest in promoting and preserving the glories and utility of the Chinese past. A most unusual and impressive work.

      [Bookseller: Charlotte Du Rietz Rare Books (ILAB)]
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        A Narrative of the Mutiny on Board His Majesty's Ship Bounty;

      London: George Nicol,, 1790. and the subsequent voyage of part of the crew, in the ship's boat, from Tofoa, one of the Friendly Islands, to Timor, a Dutch settlement in the East Indies. Quarto (288 × 222 mm). Contemporary sprinkled calf skilfully rebacked to style, red morocco label, two-line gilt border on sides. With the engraved folding plan "A Copy of the Draught from which the Bounty's Launch was built" by Mackenzie, and 3 engraved folding charts by J. Walker after W. Harrison. Brown discolouration at head of frontispiece, title page and Advertisement (apparently an old wax stain), other light staining and a few ink marks to title, ink blot at pp. 8 and 35 (affecting one word on each), some inked marginalia. A well-margined copy. First edition of Bligh's (1754-1817) personal account of "one of the most remarkable incidents in the whole of maritime history" (Hill), published two years before his full official version of the voyage and the mutiny, in an effort to influence opinion in his favour and absolving him "from any blame that might be levelled against him because of the incident" (ibid.). As he writes in his "Advertisement" : "the manner in which this expedition miscarried, with the subsequent transactions and events, are here related… it appears unnecessary to delay giving as much early information as possible concerning so extraordinary an event". HMS Bounty left Spithead on 23 December 1787 with Bligh as captain, accompanied by a 44-man crew, two botanists, David Nelson and William Brown, and a diarist, James Morrison. The aim was to sail for the Pacific, collect saplings of the breadfruit tree and other plants, and transport these to the West Indies. The intention was to introduce the Pacific plants into the local fauna, allowing them to "become cheap staples for the slaves" (ODNB), and by extension making low-cost, large-scale cotton cultivation in the area possible. Bligh reached Tahiti on 26 October 1788; after more than five months, the Bounty sailed for the West Indies laden with "more than 1,000 young breadfruit plants". On 28 April, after a few weeks at sea, Fletcher Christian, the master's mate, led sections of the crew in a mutiny and commandeered the Bounty, setting Bligh and 18 loyal crewmen adrift in a 23-foot long launch. Despite being given little in terms of navigational tools, Bligh reached Coupang [modern day Kupang, Timor, then a Dutch East India settlement] on 14 June 1789, after a 3,500 mile long voyage. During this "hazardous journey Bligh took the opportunity to chart and name parts of the unknown north-east coast of New Holland as he passed along it — an extraordinary feat of seamanship" (Wantrup, Australian Rare Books 1788-1900). Despite the film-fuelled condescension of posterity, it should be remembered that Bligh's skill as a navigator, perhaps second only to Cook at the time, and his courage as a seaman, ensured his continued employment by the Admiralty, led to his election to the Royal Society and appointment as governor of New South Wales.

      [Bookseller: Peter Harrington]
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        Liste du Théâtre français et du Théâtre italien

      List of 15 French and 23 Italian pieces, probably written by a secretary and annotated on the margin by the Marquis.Provenance: archives of the family.s.d. (circa 1790) 16,20,1cm 3 pages sur un double feuillet

      [Bookseller: Librairie Le Feu Follet]
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        A TREATISE ON THE CULTURE OF THE VINE Exhibiting New and Advantageous Methods of Propagating, Cultivating, and Training That Plant, so as to Render it Abundantly Fruitful. Together with New Hints on the Formation of Vineyards in England.

      York: G. Peacock. 1790 - Printed for the author by G. Peacock, York, 1790. Quarto. (11 1/2 x 9 5/8 inches). iii-xvi, [4], 224pp. 5 engraved plates (3 folding), after Speechly (3), Grimm and Rooke. With two unnumbered descriptive text leaves facing the first two folding plates, as issued. Includes 4pp. list of subscribers at the beginning.  Contemporary tree calf, re-backed to style, spine with gilt bands in six gilt lined compartments, red morocco lettering piece in the second. First edition of the most important English work on the culture of the grape in the 18th century. From 1767 until 1804, Speechly served as the gardener to the Duke of Portland, to whom this work is dedicated. Following his success in 1779 with a treatise on the pineapple, Speechly, with the assistance of his benefactor and Alexander Hunter, published this seminal work on viticulture in quarto format, elegantly printed on fine paper. Within the work, Speechly describes some fifty varieties of grapes: "Of all the numerous sorts of fruits indulgent nature produces for the use of man, that of the grape must be esteemed her noblest gift" (Preface). William Speechly trained as a gardener at Milton Abbey in Dorset, and went on to work at Castle Howard and for the Duke of Portland, at his estate Welbeck Abbey in Nottinghamshire. It was whilst in the Duke's employment he started writing down and publishing his experience in gardening, and in 1776 contributed to Alexander Hunter's edition of Evelyn's "Silva". "The best of them all is that of Speechly a model of the sound, practical, well-written and beautifully printed manual" - Edward Hyams (Grapes Under Cloches). Loose leaf inserted in the previous owner's hand. Condition Report Externally Spine – very good condition – new spine with original label. Joints – very good condition – new. Corners – very good condition – worn. Boards – good condition – worn. Page edges – good condition. See above and photos. Internally Hinges – very good condition. Paste downs –  good condition – previous onwer’s [George Wall] inscription. End papers – good condition – pencil writing to the front paste down. Title – good condition – ink handwriting, adhering to the free end paper. Pages – good condition – lacking half title, ink and pencil marginalia, ink marks, one of the plates (V) is  tightly cropped, Index page repaired at the end. Binding – good condition – solid. See photos Publisher: see above. Publication Date: 1790 Binding: Hardback [Attributes: First Edition; Hard Cover]

      [Bookseller: Louis88Books]
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        Observations made on a Tour from Bengal to Persia, in the Years 1786-7. With a Short Account of the Remains of the Celebrated Palace of Persepolis; and other Interesting Events.

      London: T. Cadell. 1790 - Octavo (229 x 140 mm). Uncut in original blue paper boards, rebacked to style at an early date. "Wm Francklin's" added in a contemporary hand to title. Marked overall, extremities worn, fore-edge tears to sigs. K3 and N1, the first touching one letter, the second more extensive but all text intact, short nick to fore edge of K5, sigs. N7-8 charred along bottom edges, small hole to U3 costing a couple of letters either side, the sense still clear, quire X slightly spotted. A very good copy. First London edition of the fullest account of Persian customs then published, "an important book" (Ghani), containing "much valuable and interesting information" (Lowndes). Francklin (1763-1839), the son of classical scholar and dramatist Thomas Francklin, "was admitted as a cadet in the service of the East India Company in 1782 and appointed ensign of the 19th regiment of Bengal native infantry on 31 January 1783" (ODNB), rising to lieutenant-colonel by 1814, during which time he had forged a considerable reputation as an oriental scholar. In 1786 he obtained leave to travel to Persia with the aim of "improving himself in the knowledge of the Persian language, as well as to gain information of the history and manners of the nation" (author's preface), and spent eight months as the guest of a Persian family in Shiraz. Ghani notes that "Francklin's book was read by Byron [and that it is] also important because of the retelling of comments the author had heard about Karim Khan Zand [who ruled Iran 1751–1779] [he also] saw a full cycle of Ta'zie during his stay in Shiraz". On the outward journey he also visited Muscat, where had an audience with Khalfan, the agent of the Imam of Muscat. The Observations was his first book, and was originally published at Calcutta in 1798; that edition is now practically unobtainable, with only the Brooke-Hitching copy traced in commerce. Arcadian Library 11608; Burrell 271; Ghani p. 138; Howgego I E8; Lowndes III p. 833; Wilson p. 74. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Agricultura general : que trata de la labranza del campo y sus particularidades, crianza de animales, propriedades de las plantas que en ella se contienen, y virtudes

      Josef de Urrutia 1790 - Roces, fatigas y pequeñas roturas. Manchas de humedad. Encuadernación original. Texto íntegro. For major safety in your decision of purchase, we send (free of charge) a video demonstration of the conservation status of the book. Pour une plus grande sécurité dans votre décision d'achat, nous envoyons (sur demande et gratuitement) un vidéo de démonstration de l'état de conservation du livre. Para mayor seguridad en su decisión de compra, le enviamos (a solicitud y sin cargo) un video de demostración del estado de conservación del ejemplar. [Attributes: Soft Cover]

      [Bookseller: Eduardo Martínez Moreira]
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        Voyages Made in the Years 1788 and 1789, from China to the North West Coast of America. To which are prefixed, an introductory narrative of a voyage performed in 1786, from Bengal, in the ship Nootka; observations on the probable existence of a north west passage; and some account of the trade between the north west coast of America and China; and the latter country and Great Britain.

      London: Printed at the Logographic Press; and sold by J. Walter, 1790 - Quarto (283 × 230 mm). Recent quarter calf, red morocco label, marbled boards, yellow edges. 2 maps and 1 folding plate expertly backed with linen, small perforated library stamp to lower outer corner of title page, a little occasional bleed from yellow edges. A good copy, generally clean and fresh. Frontispiece portrait, 10 maps and 17 plates (stipple and soft ground frontispiece portrait by Beechey and two other stipple portraits, one line and the remainder aquatints). First edition, with the extra plate of the Philippines which Streeter notes as missing in most copies. John Meares (?1756–1809) "was sent out in 1786 from Calcutta, by a group of merchants, to enter into the fur trade of the Northwest coast of America. Establishing himself at Nootka Sound he built the first vessel to be launched in northern waters, made important discoveries, and explored the Strait of Juan de Fuca. The discoveries by Meares were part of the basis for the claim of Great Britain to Oregon The Spanish seizure of his ships led to the convention by which the Spanish claims to any northern territory were finally disallowed. This important narrative gives a very full account of the Indian nations of Northwest America, describing their villages, languages, manners, and customs. It also contains a separate account of the voyage of the Iphegenia, commanded by Captain William Douglas " (Hill). "According to the British Museum Catalogue, William Combe assisted Meares in the compilation of the work [and] John Walter, the printer and publisher was the founder of The Times" (Abbey). Abbey, Travel, 594. Cordier, Sinica, III, col. 2103. Cox II, p. 29. Hill I, pp. 195-196. Howes M469. Lust 344. Sabin 47260. Streeter VI, 3491. Taylor p. 197. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        A Narrative of the Mutiny on Board His Majesty's Ship Bounty; and the subsequent voyage of part of the crew, in the ship's boat, from Tofoa, one of the Friendly Islands, to Timor, a Dutch settlement in the East Indies.

      London: George Nicol, 1790 - Quarto (288 × 222 mm). Contemporary sprinkled calf skilfully rebacked to style, red morocco label, two-line gilt border on sides. Brown discolouration at head of frontispiece, title page and Advertisement (apparently an old wax stain), other light staining and a few ink marks to title, ink blot at pp. 8 and 35 (affecting one word on each), some inked marginalia. A well-margined copy. With the engraved folding plan "A Copy of the Draught from which the Bounty's Launch was built" by Mackenzie, and 3 engraved folding charts by J. Walker after W. Harrison. First edition of Bligh's (1754-1817) personal account of "one of the most remarkable incidents in the whole of maritime history" (Hill), published two years before his full official version of the voyage and the mutiny, in an effort to influence opinion in his favour and absolving him "from any blame that might be levelled against him because of the incident" (ibid.). As he writes in his "Advertisement" : "the manner in which this expedition miscarried, with the subsequent transactions and events, are here related it appears unnecessary to delay giving as much early information as possible concerning so extraordinary an event". HMS Bounty left Spithead on 23 December 1787 with Bligh as captain, accompanied by a 44-man crew, two botanists, David Nelson and William Brown, and a diarist, James Morrison. The aim was to sail for the Pacific, collect saplings of the breadfruit tree and other plants, and transport these to the West Indies. The intention was to introduce the Pacific plants into the local fauna, allowing them to "become cheap staples for the slaves" (ODNB), and by extension making low-cost, large-scale cotton cultivation in the area possible. Bligh reached Tahiti on 26 October 1788; after more than five months, the Bounty sailed for the West Indies laden with "more than 1,000 young breadfruit plants". On 28 April, after a few weeks at sea, Fletcher Christian, the master's mate, led sections of the crew in a mutiny and commandeered the Bounty, setting Bligh and 18 loyal crewmen adrift in a 23-foot long launch. Despite being given little in terms of navigational tools, Bligh reached Coupang [modern day Kupang, Timor, then a Dutch East India settlement] on 14 June 1789, after a 3,500 mile long voyage. During this "hazardous journey Bligh took the opportunity to chart and name parts of the unknown north-east coast of New Holland as he passed along it — an extraordinary feat of seamanship" (Wantrup, Australian Rare Books 1788-1900). Despite the film-fuelled condescension of posterity, it should be remembered that Bligh's skill as a navigator, perhaps second only to Cook at the time, and his courage as a seaman, ensured his continued employment by the Admiralty, led to his election to the Royal Society and appointment as governor of New South Wales. Ferguson 71; Hill 132; Howgego I B107; Kroepelien 87; O'Reilly-Reitman 543; Parks 7; Sabin 5908a; Wantrup 61. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Correspondance littéraire, philosophique et critique de Grimm et de Diderot, depuis 1753 jusq?en 1790.

      12 Bde. der 16-bändigen Ausgabe (1, 4, 5, 7-16). - Leder stärker berieben, Titelprägungen kaum erkennbar. Ecken teils bestoßen. Bll. teils stockfleckig. Wenige Bll. etwas eselsohrig. In Bd. 1 fehlt das hintere Vorsatzbl. Bd. 4 teils wasserwellig. Bd. 8 fehlen die letzten 2 Bll. Bd. 10 fehlt letztes Bl. Bd. 15 oben etwas wasserrandig.

      [Bookseller: Rotes Antiquariat]
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