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Displayed below are some selected recent viaLibri matches for books published in 1796

        Site of Cana of Galilee, April 21st, 1839

      F.G. Moon London: F.G. Moon. unbound. very good. Louis Haghe. View. Tinted lithograph with hand coloring. Image including text measures 13.75" x 19.25", sheet measures 16 5/8" x 23.75". Beautiful view of the alleged site of Jesus' first public miracle, turning water into wine, from David Roberts' "Views in the Holy Land, Syria, Idumea, Arabia, Egypt and Nubia". Born in Scotland, Roberts (1796-1864) gained renown as a landscape artist from documenting his extensive travels through Spain and the Near and Middle East. His most well known work, "Views in the Holy Land...Egypt and Nubia" illustrates Roberts' trip in 1838-39. The subsequent publication was issued in 41 parts between 1842 and 1849. This magnificent set was a collaborative project between Roberts and the skilled printer Louis Haghe (1806-1885) and is recognized as one of the most important lithographic works of the 19th century. Minor chips and a few small tears along edges and corners, image unaffected.

      [Bookseller: Argosy Book Store ]
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        Emil eller om Opdragelsen. Seks Deele. Oversat af Fransk (af Jo. Werfel) og udgiven med Tydsklands Opdragelsesrevisorers og en Deel Danske oplysende, bestemmende og rettende Anmærkninger.

      Kbh. (Copenhagen), Sebastian Popp, 1796 - 99. 8vo. Bound in six cont. uniform hcalfs w. gilt title- and tome-labels on backs, backs w. gilt lines. Backs and corners w. traces of use, but a fine and clean copy on good paper (skrivepapir). XXX, 336; (8), 346; 368; 372; 352; XXVI, 324 pp.. Rare first Danish edition of Rousseau's monumental work (Emilius, or an Essay on Education), being one of the absolutely most important and influential works on education. Virtually no work has had as great an impact on paedagogics as this one. Being one of the most influential thinkers of the 18th century, Rousseau is considered one of the indirect causes of the French Revolution. In Rousseau one certainly finds one of the most influential spokesmen for 18th century thought, and it is primarily the thoughts of him and Voltaire that are put into action with the Revolution. Not only in France can the effects of his philosophy and thoughts on upbringing and education be clearly seen; -his ideas were of decisive character to the generation of artists, writers, poets, philosophers etc. in the beginning to middle of the 19th century, which seminally affects Danish thought, as it is in this period that our most important and famous cultural personas are being influenced (e.g. H.C. Andersen and Søren Kierkegaard); thus this first Danish translation is of great importance and interest. In Danish literature there is talk about the Rousseauan spirit, and it is in this spirit that the entire literary production of H.C. Andersen can be viewed, -directly or indirectly. Rousseau's three main thoughts in Émile - on the childlike, on the natural and on simple religious faith - fits like a glove on the main messages and morals of H.C. Andersen's works.Søren Kierkegaard is known to have owned a copy of Rousseau's Émile in French as well as a copy of this first Danish translation (see "Auktionsprotokol over Søren Kierkegaards Bogsamling" no. 941-43). As opposed to H.C.A., though, the philosophy and educational program of Rousseau does not correspond with the Christianity of Kierkegaard, who, however, quotes and comments on R. and his writings on several occasions in his diaries.In Émile, Rousseau poses an entirely new approach to education and the upbringing of children. His thoughts were exceedingly controversial, the work was burnt by the executioner immediately after its first appearance and Rousseau had to flee the country due to a warrant for his arrest. There is no need to say that these new thoughts were also widely influential on Danish thought, and this especially after the appearance of the Danish translation (34-37 years after the French original). Not only Kierkegaard and H.C.A. were influenced by this great thinker, so were the likes of Ingemann, one of our greatest poets."The first and last of these (i.e. Héloise and Émile), with their sentimental expression of deism, gave much offence, and Rousseau, like Voltaire, was forced to flee to Prussia. Restless and locally unpopular, he fled again to England, where he had a great welcome. Hume, who had offered him asylum, looked after him patiently..." (PMM 207, Printing and the Mind of Man). Bibliotheca Danica IV:1004

      [Bookseller: Lynge & Søn A/S]
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        An account of the campaign in the West Indies, in the year 1794,

      London, printed by T. Bensley for G. Nicol, 1796. [12] + iv + 149 [2] + 62 large pp + 6 plates + plan of Fort Bourbon in Martinique and map of the island with two aquatint engravings in text. 1st ed., two plates with skilfully repaired tears, some pages with fine diagonal knife cuts in margin only, which are barely noticable. Original half calf with new spine. 13 x 18in The author was a chaplain with the British navy at the time of the occurrence of the events described. Rare. Fine aquatint views of Martinique and Guadeloupe.

      [Bookseller: Pennymead Books]
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        L'Art d'Ecrire (The Art of Writing) reduit a des demonstrations vraies et Sacilar avec des Explications claires, L'Encyclopedie Methodique (Complete set of 16 plates)

      Alessandri et Scattaglia Directeurs (not indicated): Alessandri et Scattaglia, Directeurs. [1796]. First Italian edition [1796]. Sixteen copper plate engravings on fifteen folio sheets. Folded as issued, 31 cm, and measuring approximately 45 cm. (when unfolded). Untrimmed. Paillasson's celebrated calligraphy and handwriting manual was originally published in Diderot's Encyclopedie (1760), and republished by Charles-Joseph Pankoucke in his new Encyclopedie Methodique (1782-1832). Engraved by Pasquali and published by the Venetian engravers Innocente Alessandri and Pietro Scattaglia, this set of plates was issued separately in the first Italian edition (1796) of the section on handwriting from the Encyclopedie Methodique. The detailed calligraphic plates illustrate the geometric proportions of the three scripts (ronde, coulee, and batarde) and writing techniques. Also included are illustrations of the correct writing posture and various writing implements. Very good and better, with moderate soiling mostly to the margins. A very scarce, handsome set of perfectly designed and engraved plates. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Grand Quintetto per due Violini, due Viole, e Violoncello... Opera [4]. [Set of parts]

      Artaria e Comp. PN 627 Vienne: [Artaria e] Comp. [PN] 627. [after 1796]. Folio. Sewn. [1] (title), 2-11, [i] (blank); 8, [ii] (blank); 7, [i] (blank); 7, [i] (blank), 7, [i] (blank) pp. Engraved. Watermark incorporating a star within a shield. Moderately worn and soiled; some light foxing, heavier to title of first violin part. First violin part with old paper reinforcement to spine. Portion of imprint removed from title. . First Edition, later issue. Kinsky-Halm p. 12 (first issue). Weinhold/Dorfmüller p. 256. Hirsch IV, 241. For other issues see Hoboken 2, 27-30. In the first issue the opus number is printed as "IV" and the price "f2." In the present issue "4" appears in manuscript and there is no printed price. In addition, the number "11-1/2B" is printed at the foot of the first page of music in the "Violino Primo" part, most probably a printer's notation referring to the number of sheets required to print the part. Opus 4 is an original work, drawing on material from Beethoven's then-unpublished Octet for Winds (op. 103), "... with revisions sufficient to warrant calling it a new composition." Solomon: Beethoven, p. 102. "At some time before February 1791, probably when he was composing the C major Piano Sonata, Op. 2, no. 3, with its closely related opening theme, Beethoven re-cast the Octet (op. 103) as a String Quintet, Op. 4, and comparison of the two versions shows considerable light on his development as an instrumental composer during those four important formative years... The Quintet is by no means an arrangement of the Octet; unlike Mozart's parallel recasting of his Octet for the same combination of instruments (K.388) as a String Quintet (K.406), it is in many respects a new work. Everything has become more plastic; stiff formulae are softened; the texture is lightened in weight but enriched by polyphony and the devices of 'obbligato accompaniment'. The harmony, too, has become richer... Structurally everything is worked out in the Quintet on lines that are at the same time broader and subtler: the exposition of the first movement of the Quintet is 88 bars long as compared with the 69 of the Octet, the development 77 as compared with 56. The sixteen-bar periods that open minuet and trio of the Octet are expanded to 22 and 24 bars respectively in the Quintet, and the structure becomes much clearer, less fussy... All in all, it is hardly an exaggeration to say that the difference between Octet and Quintet represents the whole difference between the "al fresco," serenade music that was just going out of fashion and the new finely wrought quartet style of late Haydn with its 'openwork texture,' its so called 'durchbrochene Arbeit' ". Gerald Abraham in The New Oxford History of Music Vol. VIII: The Age of Beethoven 1790-1830, p. 260. The autograph of the work is untraced.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
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        De Rerum Natura Libros Sex, ad Exemplarium MSS. fidem recentitos longe emandatiores reddidit, Commentariis perpetuis illustravit, Indicibus instruxit; et cum Animadversionibus Ricardi Bentelii, non ante vulgatis, aliorum subinde miscuit Gilbertus Wakefield. 3 Vols.

      London, Impensis Editoris, Typis A. Hamilton, 1796-97. Folio. (37,5x28,5 cm. - i.e. large paper-copy). Bound in 3 contemporary full longgrained morocco, gilt spines and gilt borders on boards. Boards with broad blindtooled borders. Very light wear to spines, a few scattred scratches to covers. All edges gilt. Engraved portrait (Gilbert Wakefield). (88), XXIV, (1), 382; (12), 404, (4); (12), 396, (4) pp. + Index Criticum + Index Vocabularum + Addenda 1798 (4) pp. Internally clean and fine, printed on heavy paper, wide-margined. This is one of the 50 copies on large paper described by Dibdin and Lowndes.. A fine copy of Wakefield's famous, critical edition of the classic poem on the construction of the world. Dibdin notes that "of this work about 50 copies were struck off on large paper, in folio; and, owing to a number of them having been destroyed by fire, with the printing-office in which they were deposited, they used to sell at a very extraordinary prize.""This is a very splendid and critical edition. We are not, perhaps, sufficiently removed from the prejudices and passions of the age, to appreciate justly the merits and defects of this magnificent work;...we may have to wait the lapse of many years, before a correct and candid opinion...can be pronounced on the Lucretius of Wakefield....The edition presents us, for the first time, with some manuscript notes of Bently...also with some notes from a MS in the university of Cambridge." (Dibdin II, p.203 ff)."Lucretius's only work is De Rerum Natura, a didactic poem in 6 books, in which the poet expounds the physical theory of Epicurus(q.v.) with a view to abolishing superstitious fears of the intervention of the gods in the world and of the punishment of the soul in an after-life. This he accomplishes by demonstrating that the world is governed by the mechanical laws of nature ('foedera naturai') and that the soul is mortal and perishes with the body. The bulk of the poem is occupied in setting out in detail the atomic view of the universe, which Epicurus adopted with the modifications from the Atomist Leucippus and Democritus..."(The Oxford Classical Dictionary)

      [Bookseller: Lynge & Søn A/S]
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        Poems by Goldsmith and Parnell; together with The Chase. A Poem. By William Somerville

      W. Bulmer London: W. Bulmer, 1795; 1796. Quarto. Two books bound together in one volume: xx, 76; xv, vii, 126pp. First editions thus. With a fore-edge painting by the "double-line" painter depicting the pastoral village of Lissoy where Oliver Goldsmith spent his youth, standing in for the pseudonymous town of Auburn in Goldsmith's poem, "The Deserted Village." The artist has written the title, "Lissoy ('Auburn' of 'The Deserted Village')," on the flyleaf in pen. The first book in the volume, Poems by Goldsmith and Parnell, is illustrated with five full-page, wood-engraved plates and eight wood-engraved vignettes drawn by Robert Johnson or John Bewick, and engraved by Thomas Bewick. The second book, The Chase by William Somerville, has thirteen wood-engraved vignettes, including title pages, engraved by Thomas Bewick after designs by John Bewick. The Bewick brothers were the leaders of the development of the art of wood engraving at the end of the eighteenth century. In particular, Thomas Bewick extended the range of the art by creating "a new conception of the black and white picture." These books were splendidly printed by Bulmer at his Shakespeare Printing Office. In The Bewick Collector, Thomas Hugo describes Poems by Goldsmith and Parnell as "A magnificent result of the efforts of the wood engraver, type-founder, papermaker, and printer" and writes that The Chase "contains the best specimens of John Bewick's abilities as a designer." Bound in contemporary red straight-grain morocco with double-fillet border and a wide double-fillet frame with semi-circle insertions. This special presentation of the two books was done for Baronet Sir John James Smith, whose gilt armorial coat-of-arms is stamped in the center of the covers. With marbled endpapers and gilt dentelles to the inside edges of the covers. Housed in a matching chemise and slipcase. Binding shows some light rubbing and wear, slight bump to bottom edge of front cover, else a fine copy with a bright fore-edge painting. The bookplate of Sir John James Smith has been covered over by the armorial bookplate of Frederick S. Deck.

      [Bookseller: Bromer Booksellers ]
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        Discorsi elementari di anatomia e fisiologia di giovanni presciani p. professore nella r. universita' di pavia ad uso della sua scuola. parte prima.milano, presso luigi veladini in contrada nuova. si vende anche da michele miazzi librajo in pavia di contro alla r. universita', 1794in 8, [mm. 187 x 112], pp. (4) - 180 con 4 tavv. ripiegate f.t. con indice e carta di errata legata dopo la lettera dell'editore.unito con:discorsi elementari di anatomia e fisiologia di giovanni presciani p. professore nella r. universita' di pavia ad uso della sua scuola. parte seconda.milano, presso luigi veladini in contrada santa radegonda. si vende anche da michele miazzi librajo in pavia di contro alla r. universita', 1796.pp. 205 - (1), con 7 tavv. ripiegate f. t.unito con:discorsi elementari di anatomia e fisiologia di giovanni presciani p. professore nella r. universita' di pavia ad uso della sua scuola. parte seconda.milano, presso luigi veladini in contrada santa radegonda. si vende anche da miche


      [Bookseller: Editoriale Umbra]
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