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         Der Ninon von Lenclos Leben und Briefe nebst den Briefen der Babet. Aus dem Französischen übersetzt.

      Weidmann,, Leipzig. 1755 - Mit gestoch. Front. (Porträt) von J. M. Bernigroth. 7 Bll., 544 S. Hayn-Got. IV, 319 "Sehr zierlich gedruckte Ausgabe"; nicht bei Fromm. - Erste deutsche Sammelausgabe. Enthält "Nachrichten von dem Leben der Mademoiselles Ninon von Lenclos" von Antoine Bret (französischer Erstdruck: Amsterdam 1751), das erstmals 1754 als Separatdruck bei Weidmann erschienen war, die "Briefe der Mademoiselle Ninon von Lenclos an den Marquis von Sevigne", in dieser Übersetzung zuerst 1751 erschienen und "Briefe der Babet an den Bousault". Über den möglichen Übersetzer der Briefe der Ninon gibt es unterschiedliche Spekulationen. So wird vermutet, dass sie der junge Lessing übersetzt habe, der aber in der "Berlinischen Zeitung" Gellert als Übersetzer nennt. In dem Artikel zitiert Lessing fast wörtlich aus dem umfangreichen Vorwort des Übersetzers, wobei diese Vorworte (27 S. "Briefe der Ninon" und 17 S. "Briefe der Babet") den besonderen Reiz der vorliegenden Ausgabe ausmachen. Als Autor der "Briefe der Babet" wird verschiedentlich Crebillon d. J. genannt, jedoch ist Lichtenbergs Briefwechsel 1785-92 S. 293 zu entnehmen, dass sie "nicht von Claude Crebillon fils sind, sondern im Roman des Edm. Boursault 'Lettres de respect, d'obligation et d'amour' (1666) stehen". Über die "Briefe der Babet" s. a. Gellert, Sämmtliche Schriften S. 46. - Text stellenweise etwas fleckig, insgesamt gutes Exemplar dieses ausgesprochen interessanten Sammelwerkes. Ldr. d. Zt., etwas beschädigt, mit Rückentitel. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Inge Utzt]
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         Memoires des commissaires de sa Majeste tres chretienne et de ceux de sa Majeste Brittannique, sur les possessions & les droits respectifs des deux Couronnes en Amerique. Tome premier [et] Tome second [et] Tome premier seconde partie. Amsterdam et Leipzig, J. Schreuder et Pierre Mortier le jeune, 1755.

      Gebonden in twee half perkamenten banden uit de tijd, 12+502+4+154+400+16+568 pag. Geillustreerd met grote uitvouwbare kaart van de westkust van Amerika en Canada. Met ingeplakte exlibri van de Bibliotheca Seckendorfiana. Complete heruitgave van de publicatie uit 1755-1757 in 4 delen. B2105

      [Bookseller: Historisch Antiquariaat A.G. van der Ste]
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         Dictionnaire portatif de l'ingenieur, où l'on explique les principaux termes des sciences les plus necessaires à un ingenieur, scavoir: arithmetique, architecture militaire, algebre, geometrie, architecture civile, charpenterie, serrurerie, architecture hydraulique, fortification, attaque et la defense des places, mines, artillerie, marine, pyrotechnie.

      Jombert., Paris. 1755 - In 16°, p. pelle, pp. IX + 339. Appunti manoscritti sul foglio bianco. Lievi mende alla cop. La libreria offre per un periodo limitato uno sconto del 15% su tutti i suoi libri. Il prezzo originale dell'articolo era € 500,00 euro. [Attributes: Hard Cover]

      [Bookseller: Libreria M. T. Cicerone]
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         Vincentii Bellini Ferrariensis De monetis Italiae Medii Aevi hactenus non evulgatis quae in suo musaeo servantur una cum earundem iconibus dissertatio. [legato con]: Vincentii Bellini Ferrariensis De monetis Italiae Medii Aevi hactenus non evulgatis quae in suo musaeo servantur una cum earundem iconibus altera dissertatio.

      Typis Bernardini Pomatelli [Typis Joseph Rinaldi], Ferrara 1755 - in-4° (270x196 mm); legatura moderna in mezza pergamena con carta marmorizzata ai piatti, titolo in oro su tassello al dorso, tagli spruzzati di rosso; 2 opere legate in un volume ("Dissertatio" del 1755 e "Altera dissertatio" pubblicato nel 1767); pp. VIII, 116; (8), 141, (11); frontespizi in rosso e nero contenenti marca xilografica, numerose tavole raffiguranti monete e medaglie medievali, capilettera xilografici, grande vignetta calcografica a mezza pagina alla p. III della prima opera e a pagina intera alla p. III della seconda opera, raffiguranti stemmi nobiliari, capilettera xilografici. Edizione originale di entrambe le parti (la seconda apparve 12 anni dopo la prima) dell’opera dell’erudito ferrarese Vincenzo Bellini (1708-1783), considerato uno dei padri fondatori della numismatica moderna. Rettore della parrocchia di Cassana, grazie ad una attenta attività di ricerca aveva raccolto una cospicua collezione, costituita da monete greche e romane di età repubblicana ed imperiale, ma soprattutto da una ragguardevole documentazione della produzione delle zecche italiane dall’età comunale, alle monetazioni signorili, fino alle emissioni pontificie a lui contemporanee. Lo studioso diede un impulso determinante agli studi sulla moneta medievale, raccolti in questo volume, fino ad allora trascurati a causa del predominante interesse per la classicità. Testo in latino. Rif.: IT\ICCU\TESE\001038 e IT\ICCU\TESE\001042. Cond.: Presenza di gore d’acqua, prevalentemente al margine interno delle carte della seconda opera; rari forellini di tarlo non interessanti il testo. Carta pulita e croccante. Nel complesso, esemplare in condizioni generali molto buone. 415g. [Attributes: First Edition; Hard Cover]

      [Bookseller: Books and collectibles di Paola Suaria]
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         Bookplate for Erasmus Hall Library, New York, ca. 1780.

      Near Fine. A silversmith and an engraver, Peter Rushton Maverick (1755 -1811) emigrated to America, where he settled in New York before the American revolution, marrying in New York in 1772. Mavericks engraving shop was located on Liberty Street (formerly No. 3, Crown Street) at Maiden Lane in lower Manhattan in 1784. It is believed to have been on Dey (formerly Batteau) Street in 1775. A fine example of copper plate engraving, this bookplate is simply signed, Maverick, Sculpt. New York. With the motto Fortiter Ascende under an image depicting two sister temples of learning with the mottoes Famae Sacrum and Virtuti Sacrum engraved on their respective facades above a rocky climb, with a goddess leading a young student up the steep incline. Below the image is a second garlanded cartouche with Erasmus Hall Library No. This bookplate measures15.7 cm x 9 cm and has obviously been trimmed. The call numbers of books in which this plate was used remain on the lower cartouche. The condition is good, as the quality of paper used for printing was and remains crisp and fine. Erasmus Hall is one of the most storied educational institutions in New York history, boasting centuries of distinguished alumni.

      [Bookseller: G.Gosen Rare Books & Old Paper, ABAA, IL]
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         Questions Importantes sur le Commerce, à l'occasion des oppositions au dernier Bill de Naturalisation. Ouvrage traduit de l'Anglois de Josias Tucker, recteur du Collège de Saint Estienne à Bristol, & Chapelain de l'Évêque de Bristol.

      À Londres, Chez Fletcher Gyles 1755 - in-12, XI-153-[1] pp., basane havane marbrée, dos orné à nerfs, fleurons dorés, pièces de titre en maroquin rouge (reliure de l'époque). Quelques frottements et éraflures à la reliure. Première édition française. Traduction de Turgot sur l'instigation de Gournay de la seconde partie de Reflections on the expediency of a law for the naturalization of foreign protestants de Josiah Tucker publié en 1751. On considère Tucker, pour les questions sur la population, comme le plus sérieux adversaire qu'aurait eu à affronter Malthus si la mort n'avait emporté l'Anglais trop tôt. Certains historiens citent une première traduction des Reflections on the Expediency of a Law for the Naturalisation of Foreign Protestants par Turgot en 1753. L'adresse fictive de Fletcher Gyles à Londres, mort déjà à cette date, indiquerait selon certains chercheurs l'existence d'une édition antérieure publiée par Gyles, sur laquelle cette édition de 1755 aurait été copiée, et imprimée à Paris. Relié à la suite : - [Bellon de Saint-Quentin]. Dissertation sur la Traite et le Commerce des Nègres. S. l., 1764, [4]-174 pp. Édition originale. Selon Bellon de Saint-Quentin, l'esclavage n'est contraire ni à la loi naturelle ni à la loi divine ; il est de plus fort utile à l'État. INED, 389. Manquent les quatre feuillets préliminaires. - [Chevrier (François-Antoine)]. Almanach des Gens d'Esprit, par un homme qui n'est pas sot, Calendrier pour l'année 1763 & le reste de la vie. Publié par l'auteur du Colporteur. Toujours à Londres, Chez l'éternel M. Jean Nourse, 1763, 119-[1] pp. Nouvelle édition pour l'année 1763. Anecdotes satiriques sur la société, principalement sur les gens de lettres, sur le monde de la galanterie et des théâtres. Cet almanach qui, comme l'indique l'avertissement placé à la fin du volume, est de Chevrier, fut saisi lors de son apparition. Il figure dans les ?uvres de Chevrier sous le titre : Calendrier pour toute la vie publié en l'année 1762. Grand-Carteret, 83. Cet exemplaire provient de la bibliothèque révolutionnaire du député Paul-Joseph Nicodème, avec l'ex-libris "Monsieur P.J. Nicodeme, Négociant. A Valenciennes". Consul des marchands, échevin de Valenciennes, député du tiers-état pour Valenciennes et le Hainaut à l'Assemblée Nationale de 1789. Il mourut en 1805 à Valenciennes. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Historique F. Teissèdre]
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         Mémoires de Madame de Staal, Ecrits par elle-même. 2 tomes reliés ens.,

      A Londres, M. DCC.LV., 1755, - in-8vo, 2 ff. + 228 p.; 2 ff. + 159 p. (+ 1 blanche) p. 45 & 61 avec déchirure sans perte) + page 161 à 216 (pièces qui ont rapport aux mémoires, la page 216 finit avec une remarque: 15 Juin 1750. Madame de Staal, femme du capitaine aux Gardes Suisses, maréchal de camp, est morte cette nuit. FIN. nom ms. d?époque ?Marie Lafaurie? reliure plein basane, dos avec pièce de titre, bas du dos abimé, traves d?usage Première édition.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. [Attributes: Hard Cover]

      [Bookseller: Harteveld Rare Books Ltd.]
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         Dénonciation aux Français Catholiques, des moyens employés par l'Assemblée Nationale, pour détruire en France, la religion catholique. Par Henri Alexandre Audainel. A Londres, chez Edward Pall-Mall, et se trouve à Paris, chez l'auteur, et chez tous les marchands de nouveautés, 1791. RELIE AVEC (à la suite) : 2). (du même). Point d’Accomodement. Cinquième édition revue et augmentée par l’Auteur, et notamment du nouveau Plan d’Accomodement que doit proposer l’Abbé Louis, Ambassadeur des Jacobinistes, Feuillantistes et autres, à LL. MM. L’Empereur et le Roi de Prusse. Paris, 1791. 3). (du même). Henri-Alexandre Audainel à Etienne-Charles de Loménie, Archevêque de Sens. Orléans, 1791. 4). BURKE et FOX. Discours improvisés par MM. Burke et Fox e

      - Ensemble 5 ouvrages en 1 volume in-8. 1). 2ff. 324pp. 2). 59pp. 3). 29pp. 1f. 4). 87pp. 5). 1f. 99pp. Demi basane, dos lisse orné, étiquette en maroquin rouge (Reliure de l’époque un peu restaurée). 1). Edition Originale de ce libelle politique publié à Londres par Emmanuel de Launay, Comte d'Entraigues (1755-1812). Cet "esprit cultivé et original" (Larousse), après avoir embrassé la cause révolutionnaire, était parti à l'étranger pour la combattre et "on le vit tour à tour en Suisse, en Espagne, en Allemagne, en Russie, en Italie, offrant à toutes les cours ses services contre la Révolution Française". Dans cet ouvrage, publié sous le pseudonyme d'Audainel (anagramme de son nom), l'auteur dénonce vigoureusement la persécution dont étaient victimes les catholiques en France. 2). Première Edition Complète. Violent pamphlet dirigé contre le pouvoir révolutionnaire. 3). Edition Originale peu commune. Texte adressé à Etienne-Charles Loménie de Brienne (1727-1794), un disciple de philosophes comme D'Alembert qui, la même année, avait prêté serment à la constitution civile du clergé. 4). Première Edition Française. Edmond Burke (1730-1797), célèbre orateur britannique que son talent avait fait surnommer "le Cicéron anglais", avait notamment défendu avec chaleur la cause des colonies anglaises de l'Amérique; en revanche il se déclara opposé à la Révolution Française dont il devint l'un des principaux détracteurs. Cet opuscule rend compte des discussions auxquelles Burke avait pris part, à la Chambre des Communes, au sujet du "Bill de Québec" et de la nouvelle Constitution française. 5). Première Edition Française vendue dans une librairie de l'Assemblée Nationale, et parue avant l'édition du texte original anglais. Ce texte, qui donna lieu à de nombreuses éditions en anglais, fit l'objet d'une réponse écrite par le marquis de Lally Tollendal et publiée la même année. Intéressante réunion de textes contre-révolutionnaires. Très bon exemplaire. [Attributes: First Edition; Hard Cover]

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

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

      [Bookseller: James Cummins Bookseller, ABAA]
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         A DICTIONARY OF THE ENGLISH LANGUAGE

      London: Printed by W. Strahan for J. & P. Knapton et al., 1755. FIRST EDITION. Described by PMM as "the most amazing, enduring, and endearing one-man feat in the field of lexicography," this is the most important dictionary in English, a monumental undertaking and an appropriately imposing physical object. Johnson wrote all of the definitions in the first dictionary in English to employ illustrative quotations, the first genuinely descriptive (rather than proscriptive) dictionary, the first to codify the spelling of words, and the first dictionary to contain anything like analytical, comprehensive definitions for words with many shades of meaning. Webster said that "Johnson's writings had, in philology, the effect which Newton's discoveries had in mathematics." This magnificent book, so massive and so frequently subjected to heavy use, is becoming increasingly difficult to find in excellent condition. Former owner Bernard J. S. Coleridge, second baron Coleridge (1851-1927) was a prominent jurist with a charming connection to Dr. Johnson: his great-grandmother had known the author, and had even perched on his knee as a small child.. 425 x 255 mm. (16 3/4 x 10"). Two volumes. FIRST EDITION. Very pleasing modern period-style panelled calf, raised bands, spines gilt in compartments with large central fleurons formed of ornate lancets and other small tools, azured drawer-handle cornerpieces, black and burgundy morocco labels, marbled endpapers.Front pastedowns with armorial bookplate of Bernard, Lord Coleridge; title pages with (partially erased) 18th century signature of Frederick Nicolay. PMM 201; Fleeman 55.4D/1a; Rothschild 1237; Grolier English 50. Just a hint of rubbing to the lower edges, two inconsequential light grazes to the covers, but the well-made retrospective bindings otherwise like new. A few gatherings with faint overall toning, first few leaves of both volumes with corner creases, other trivial imperfections in the text (for example, a couple of small, faint wax spots), but very little of the foxing that often afflicts this book, and generally in excellent condition internally, entirely fresh and clean.Described by PMM as "the most amazing, enduring, and endearing one-man feat in the field of lexicography," this is the most important dictionary in English, a monumental undertaking and an appropriately imposing physical object. Johnson wrote all of the definitions in the first dictionary in English to employ illustrative quotations, the first genuinely descriptive (rather than proscriptive) dictionary, the first to codify the spelling of words, and the first dictionary to contain anything like analytical, comprehensive definitions for words with many shades of meaning. Webster said that "Johnson's writings had, in philology, the effect which Newton's discoveries had in mathematics." This magnificent book, so massive and so frequently subjected to heavy use, is becoming increasingly difficult to find in excellent condition. Former owner Bernard J. S. Coleridge, second baron Coleridge (1851-1927) was a prominent jurist with a charming connection to Dr. Johnson: his great-grandmother had known the author, and had even perched on his knee as a small child.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         Idioticon Osnabrugense. Ein Hochzeitsgeschenk an den Herrn Professor und Consistorial-Assessor Schütze bey der Verbindung desselben mit der Demoiselle Esmarchinn.

      Leipzig u Altona Kortensche Buchhandlung 1755 - XVI, 391 (1) S. Priv. Ldr. d. Zt. mit RSch. u. Goldpräg. Am unt. Kap. geprägt: "F. C. Raben". - StaV. - Erstes Wörterbuch der Westfälischen Mundart in u. um Osnabrück. "Ich habe schon lange auf ein Idioticon Westphalicum gedacht, ohne jedoch Hand anzulegen. Endlich, da der hochverdiente Herr Prof. Richey mich . zu dieser Arbeit aufmunterte, fing ich an, selbst zu sammlen, und gelehrte Männer um Beyträge zu ersuchen. Mein Idioticon erstreckt sich über das ganze Hochstift Osnabrück. Ein Idioticon Westphalicum . ist über mein Vermögen" (Vorrede). - Ausführlich erläutertes Wörterbuch, im Anhang ein Verzeichnis der "Wörter so die Osnabrücker mit den Niedersachsen gemein haben" u. zwei "Probe[n] des Reichthums der Osnabrückischen Sprache". - Gewidmet dem Dr. theol. Gottfried Schütze (1719-1784), 1750 Rektor des Pädagogiums in Altona u. wirklicher Consistorialrath, 1751 als Nachfolger Richeys Professor der griechischen Sprache u. Geschichte am Hamburgischen Gymnasium, 1778 erster Bibliothekar an der Hamburgischen Stadtbibliothek; er heiratete 1755 Christine Elisabeth Esmarch, Tochter des Altonaer Rathmannes Johann Marquard Esmarch (Schröder 3617; vgl. ADB 33, S. 142 f.). - Johann Christoph Strodtmann (1717-1756), "Rector des Gymnasii zu Osnabrück", verfaßte neben dem Idioticon u.a. noch umfangreiche "Beyträge zur Historie der Gelahrtheit" u. "Das Neue Gelehrte Europa" (Zischka, Allgem. Gelehrten-Lex., S. 629;vgl. ADB 36, S. 612). - Gutes Exemplar des seltenen Werkes

      [Bookseller: Antiquariat Reinhold Pabel]
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         The Gentleman's Magazine and Historical Chronicle Volume XXV (25) January to December 1755

      London: D Henry; R Cave. G : in Good condition without dust jacket. Baynton-Coward binding with new eps. Some foxing and set-off. 1755. First Edition. Grey hardback quarter-leather cover with marbled boards. 220mm x 140mm (9" x 6"). iii, 695pp, [xxv] + plates. 25 b/w plates and maps (1 coloured, 4 fold-out). Baynton-Coward binding. .

      [Bookseller: Barter Books Ltd]
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         FIGURES OF THE MOST BEAUTIFUL, USEFUL, AND UNCOMMON PLANTS DESCRIBED IN THE GARDENER'S DICTIONARY

      Printed for the Author; And Sold by John Rivington [et al.] [1755]-60, London - 425 x 270 mm. (16 3/4 x 10 5/8"). vi, 200, [4] pp. Two volumes in one. FIRST EDITION. Contemporary calf, cover with thin gilt border and small cornerpieces, raised bands, compartments with much gilt tooling, red label with gilt lettering, skillfully rebacked preserving most of original backstrip. WITH 300 LOVELY HAND-COLORED ENGRAVINGS OF FLOWERS (two of which are folding). Front pastedown with armorial bookplate of John Pollexfen Bastard. Great Flower Books, p. 121; Hunt 566; Henrey 1097; Pritzel 6242; Nissen 1378; Hazel le Rougetel, "The Chelsea Gardener Philip Miller 1691-1771," pp. 110, 114. Covers somewhat scratched, corners a bit worn, but the restored binding solid and appealing. Occasional mild thumbing or light browning, perhaps a dozen plates with minor to moderate offsetting, but A VERY PLEASING COPY INTERNALLY, quite clean and fresh, and with attractive coloring. By a man characterized by DNB as "the most distinguished and influential British gardener" of the time, this lavishly illustrated work is called by distinguished botanist W. T. Stearn the most important horticultural work of the 18th century. And Richard Pulteny, the British naturalist and historian of science, said that "England had not before produced any work, except the 'Hortus Elthamensis' or Catesby's 'Carolina,' so superb and extensive." Published in 50 monthly parts containing six plates each, these two impressive folio volumes comprise in Hunt's words, a "complement and fulfillment" of Miller's popular but sparsely illustrated "Gardener's Dictionary," with 300 splendid depictions of plants drawn from live specimens in the renowned Chelsea Physic Garden, where Miller served as head gardener. Miller (1691-1771) published "Figures" as a means to showcase in a grand fashion a selection of species deemed to be either noteworthy, useful in trade or medicine, or somehow overlooked by botanists. According to DNB, the lovely plates here, executed by eminent artists that include Georg Ehret, were "commended at the time for being drawn from nature in the best state of flowering, and for including illustrations of fruit and seed as they ripened." Miller boasts in the preface that "no Expense has been spared to render it as perfect as possible: The Drawings were taken from the living Plants; the Engravings were most of them done under the Author's Inspection; and the Plates have been carefully coloured from the original Drawings and compared with the Plants in their Perfection." This book appears with some regularity in the market, but it is quite difficult to find in the kind of condition seen here. By a man characterized by DNB as "the most distinguished and influential British gardener" of the time, this lavishly illustrated work is called by distinguished botanist W. T. Stearn the most important horticultural work of the 18th century. And Richard Pulteny, the British naturalist and historian of science, said that "England had not before produced any work, except the 'Hortus Elthamensis' or Catesby's 'Carolina,' so superb and extensive." Published in 50 monthly parts containing six plates each, these two impressive folio volumes comprise in Hunt's words, a "complement and fulfillment" of Miller's popular but sparsely illustrated "Gardener's Dictionary," with 300 splendid depictions of plants drawn from live specimens in the renowned Chelsea Physic Garden, where Miller served as head gardener. Miller (1691-1771) published "Figures" as a means to showcase in a grand fashion a selection of species deemed to be either noteworthy, useful in trade or medicine, or somehow overlooked by botanists. According to DNB, the lovely plates here, executed by eminent artists that include Georg Ehret, were "commended at the time for being drawn from nature in the best state of flowering, and for including illustrations of fruit and seed as they ripened." Miller boasts in the preface that "no Expense has been spared to render it as perfect as possible: The Drawings were taken [Attributes: First Edition]

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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         A DICTIONARY OF THE ENGLISH LANGUAGE

      London: Printed by W. Strahan for J. & P. Knapton et al., 1755. FIRST EDITION. Described by PMM as "the most amazing, enduring, and endearing one-man feat in the field of lexicography," this is the most important dictionary in English, a monumental undertaking and an appropriately imposing physical object. Johnson wrote all of the definitions in the first dictionary in English to employ illustrative quotations, the first genuinely descriptive (rather than proscriptive) dictionary, the first to codify the spelling of words, and the first dictionary to contain anything like analytical, comprehensive definitions for words with many shades of meaning. Webster said that "Johnson's writings had, in philology, the effect which Newton's discoveries had in mathematics." This magnificent book, so massive and so frequently subjected to heavy use, is becoming increasingly difficult to find in excellent condition. Former owner Bernard J. S. Coleridge, second baron Coleridge (1851-1927) was a prominent jurist with a charming connection to Dr. Johnson: his great-grandmother had known the author, and had even perched on his knee as a small child.. 425 x 255 mm. (16 3/4 x 10"). Two volumes. FIRST EDITION. Very pleasing modern period-style panelled calf, raised bands, spines gilt in compartments with large central fleurons formed of ornate lancets and other small tools, azured drawer-handle cornerpieces, black and burgundy morocco labels, marbled endpapers. Front pastedowns with armorial bookplate of Bernard, Lord Coleridge; title pages with (partially erased) 18th century signature of Frederick Nicolay. PMM 201; Fleeman 55.4D/1a; Rothschild 1237; Grolier English 50. Just a hint of rubbing to the lower edges, two inconsequential light grazes to the covers, but the well-made retrospective bindings otherwise like new. A few gatherings with faint overall toning, first few leaves of both volumes with corner creases, other trivial imperfections in the text (for example, a couple of small, faint wax spots), but very little of the foxing that often afflicts this book, and generally in excellent condition internally, entirely fresh and clean. Described by PMM as "the most amazing, enduring, and endearing one-man feat in the field of lexicography," this is the most important dictionary in English, a monumental undertaking and an appropriately imposing physical object. Johnson wrote all of the definitions in the first dictionary in English to employ illustrative quotations, the first genuinely descriptive (rather than proscriptive) dictionary, the first to codify the spelling of words, and the first dictionary to contain anything like analytical, comprehensive definitions for words with many shades of meaning. Webster said that "Johnson's writings had, in philology, the effect which Newton's discoveries had in mathematics." This magnificent book, so massive and so frequently subjected to heavy use, is becoming increasingly difficult to find in excellent condition. Former owner Bernard J. S. Coleridge, second baron Coleridge (1851-1927) was a prominent jurist with a charming connection to Dr. Johnson: his great-grandmother had known the author, and had even perched on his knee as a small child.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         THE HISTORY OF PETER THE GREAT, EMPEROR OF RUSSIA. To which is prefixed, A short general history of the country, from the rise of that monarchy: and an account of the author's life.

      Aberdeen, F. Douglass and W. Murray; London, sold by C. Hitch and L. Hawes, 1755.. In two volumes, complete set, FIRST EDITION 1755, 8vo, approximately 200 x 130 mm, 8 x 5 inches, Volume I: engraved portrait frontispiece of the emperor, another of the author, a folding map of Russia engraved by J Phinn, pages: xl, 311, prelims include subscribers' list; Volume II: engraved portrait frontispiece of Prince Menzikoff, pages: viii, 352, (24) - index and 2 page advert, bound in full speckled calf, double gilt ruled border to covers, skilfully rebacked to style, raised bands, gilt rules, previous gilt lettered red morocco labels, original endpapers retained. Small repairs to board corners, front inner paper hinge neatly repaired in Volume I , 2 neat names on front endpapers, 1 dated 1952, another on title pages plus a couple of almost erased words, fore-edge of folding map has a very small closed tear neatly repaired, not affecting images, ink smudge to 2 facing lower margins just affecting 5 letters, all still legible, very occasional slight browning to margins. A very good set. Major General Alexander Gordon (1669-1752) spent some years in the service of the Csar. His life and exploits are recounted in 18 pages at the start of the book. As well as the history of Peter the Great, the author gives sketches of the previous history, information about the country, its people, customs and governance. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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         Geographiske Chartor öfver Swerige. Utgifvne af Friherre S. G. Hermelin Tredje Afdelningen Svearike. Utsigt of Stockholms Stad. Stockholm 1801.

      Artist: Martin Johann Fredrik ( - 1816) ; issued in: ; date: ca 1801 1755 - - technic: Copper print; - colorit: ; - condition: Printed on 9 sheets joined together; - size (in cm): 45 x 40; - description: Decorative and rare view of Stockholm and the harbour.;Scarce and highly decorative title page of the Atlas by Samuel Gustav Hermelin (1744-1820) with a large view of Stockholm in the lower part. 'Geografiske chartor öfver Swerige' was the first comprehensive mapping of Sweden and Finland and was published between 1796-1818. Hermelin was an industrialist, diplomat and cartographer and also the first ambassador of Sweden to the United States (Resident Minister) in 1782. Highly decorative panorama of Stockholm signed by Johan Fredrik Martin (1755-1816), known for his hand-colored etched city views. [Attributes: Signed Copy]

      [Bookseller: Antique Sommer& Sapunaru KG]
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         Commentaires

      8vo (175x11 mm). (94), 208, (6) leaves. With the printer's device on the title-page. 19th-century polished calf, spine with gilt ornaments and morocco title-label, gilt edges, hinges a bit weak, some light dampstains, but a fine copy with the entry of ownership of Georges Constantin Naville (1755-1789), pastor and theological writer at Geneva, and with the book plate of Charles-Louis Frossard (1827-1902), minister at Lille and also writer on geology. SECOND EDITION of the commentary on Joshua, Calvin's dying bequest to the Church, and FIRST EDITION of the revised and augmented version of his biography by Théodore de Bèze. In his last exegetical endeavor Calvin provided a moral model for Reformed believers, one that he hoped would represent the Reformed as people who were law-abiding, morally sound proponents of order and peace (cf. R.A. Blacketer, The Moribund Moralist: Ethic Lesson in Calvin's Commentary on Joshua, in: "The Formation of Clerical and Confessional Identities in Early Modern Europe", W. Janse, ed., Leiden, 2006, pp. 149-168; see also M. Woudstra, Calvin's Dying Bequest to the Church: A Critical Evaluation of the Commentary on Joshua, Grand Rapids, MI, 1960, passim). Calvin started to lecture on Joshua in June 1563 in the Friday congregation and finished his commentary shortly before his death. In the early part of 1564 Calvin's sufferings (fever, asthma, stone and gout - the fruits for the most part of his sedentary habits and unceasing activity) became so severe that it was manifest that his earthly career was rapidly ending. On February 6, he preached his last sermon, having with great difficulty found breath enough to carry him through it. He was several times after this carried to church, but never again could take any part in the service. With his usual disinterestedness, he refused to receive his stipend, now that he was no longer able to discharge the duties of his office. During his sufferings, however, his zeal and energy kept him in continual occupation, especially with his commentary on Joshua. On April 25, he made his last will, on the 27th he received the Little Council, and on the 28th the Geneva ministers, in his sickroom. He spent much time in prayer and died quietly, in the arms of his faithful friend Théodore de Bèze on the evening of May 27. Théodore de Bèze, Calvin's most fervent disciple and his successor as head of the Church of Geneva, accomplished a first version of his account of Calvin's malady and death, a first attempt to a biography, in August 19, 1564. It was first published at the end of August as a preface to Calvin's "Commentary to Joshua' in a folio-volume by François Perrin with a comprehensive bibliography of Calvin's writings. Shortly after it was republished in separate form (probably for the foreign market) as Discours de M. Théodore de Bèze contenant en bref l'histoire de la vie et mort de Maistre Iean Calvin (until early 1565 at least eight imprints are known and it also was translated into Latin, German and English). When the printer François Perrin published a new edition of Calvin's commentary on Joshua in 1565, he added a new version of the biography "augmentée depuis la première edition et déduite selon l'ordre du temps quasi d'an en an", retaining also the bibliographical apparatus. Bèze repudiated his authorship pointing to Nicolas Colladon (ca. 1530-1586), chancellor of the Genevan Academy, as author of this new version. "L'auteur sans aucun doute, que ce soit Bèze ou Colladon, a voulu donner de Calvin une image plus vivante. Ce faisant il est aussi plus prolixe. Le récit des derniers jours occupe une place encore plus importante que dans la première redaction. On y retrouve le même sens du detail:... d'un récit à l'autre on notera des changements de date, des versions différentes d'un même évènement, mais surtout l'importance accrue des "ultima verba' de Calvin" (D. Ménager, Théodore de Bèze, biographe de Calvin, in: "Bibliothèque d'Humanisme et Renaissance", 45, 1983, p. 246). For Aimé-Louis Herminjard, author of the comprehensive work on the correspondence of the French reformers, it is clearly Bèze's work: "aucun doute n'est possible: cette seconde édition apparient bien à Bèze, et pour tout un ensemble de raisons: "le fonds était à lui; le raccordement des additions avec le text de 1564 ne traduit point une plume étrangère'. Autre argument important: la plupart de ces additions ont été "transportées... dans la Vie latine de 1575' " (D. Ménager, op. cit., p. 246). "What Beza and particularly Colladon have done is write a much more personalised account of Calvin's life and work. These elements alter completely the Discours, which has been reordered to fit into this framework. While no biography in the modern sense of the term, the "Life' now conveys more of the specificity of Calvin than Beza's first account. Removing Beza's identification of the man with the doctrine and referring the reader to Calvin's works for the latter, the Beza/Colladon effort substitutes for it a portrait of someone more human but nonetheless sent by God at a particular time" (I. Backus, Life Writing in Reformation Europe: Lives of Reformators by Friends, Disciples and Foes, London e New York, 2016, p. 135). Calvin's commentary on Joshua of 1565 was printed in two versions: one in-folio and, the present one, in-octavo. In this version were printed, to fill up the preliminary matter, two letters by Calvin: one to Guillaume Farel (May 30, 1540), the other to Pierre Viret (March 8, [1546]). GLN 15/16, no. 713; Index Aureliensis, 130.076; Universal STC, no. 4053; F. Gardy, Bibliographie des oeuvres de Théodore de Bèze, Geneva, 1960, no. 189; R. Peter, J.-F. Gilmont e Ch. Krieger, Bibliotheca Calviniana: les oeuvres de Jean Calvin publiées au XVIe siécle, vol. 3: écrits théologiques, littéraires et juridiques, 1565-1600, Geneva, 2000, 65/2..

      [Bookseller: Libreria Govi Alberto]
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         Dissertazioni sopra le Antichità Italiane

      ROMA: Presso gli Eredi Barbiellini Mercanti di Libri e Stampatori a Pasquino, 1755. II. rilegato. BUONO. 13,5 20,5. IV USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
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         The Gentleman's Magazine and Historical Chronicle. Volume XXV (25) January to December 1755

      D Henry; R Cave, London 1755 - iii, 695pp, [xxv] + plates. 25 b/w plates and maps (1 coloured, 4 fold-out). Baynton-Coward binding. G : in Good condition without dust jacket. Baynton-Coward binding with new eps. Some foxing and set-off Grey hardback quarter-leather cover with marbled boards [Attributes: First Edition; Hard Cover]

      [Bookseller: Barter Books Ltd]
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         Antique Print-CANADA-SAINT LAWRENCE-Bellin-Homann Heirs-1755

      - Antique print, titled: 'Partie Orientale de la Nouvelle France ou du Canada ( )' - This map shows parts of Canada and the USA from Cape Cod, Boston to the St. Lawrence river and west to Lake Ontario. This finely engraved map embraces Eastern Canada and Northern New England, and is focused on the River and Gulf of St. Lawrence, then the gateway to French North America. It is a revised and updated version of Bellin’s map, which was first issued in Pierre Francois Xavier de Charlevoix's Histoire et Description Generale de Nouvelle France, published in Paris in 1744 (Kershaw has identified 4 editions of the map). Charlevoix was a Jesuit Priest who explored Canada and America's eastern regions between 1705-1720 and is widely regarded as the most important French exploration of the region in the second half of the 18th Century. Handcoloured copperplate engraving on hand-laid paper. Description: Source unknown, to be determined. Ref: Kershaw, Early Printed Maps of Canada III:689; Sellers and Van Ee, Maps and Charts of North America and the West Indies 3498; Phillips, A List of Maps of America, p. 622.Artists and Engravers: Publisher: Homann Heirs. Cartographer: Jacques NicolasBellin. Jacques-Nicolas Bellin (1703-1772) was a French hydrographer, geographer and member of The Philosophes. His career, spanning over 50 years, caused an enormous output in maps, particular of maritime interest. Publisher: Following the long period of Dutch domination, the Homann family became the most important map publishers in Germany in the eighteenth century, the business being founded by J.B. Homann in Nuremberg about the year 1702. Soon after publishing his first atlas in 1707 he became a member of the Berlin academy of Sciences and in 1715 he was appointed Geographer to the Emperor. After the founder's death in 1724, the firm was continued under the direction of his son until 1730 and was then bequeathed to his heirs on the condition that it trades under the name of Homann Heirs. The firm remained in being until the next century and had a wide influence on map publishing in Germany. Apart from the atlases the firm published a very large number of individual maps. The Homanns produced a Neuer Atlas in 1714, a Grosser Atlas in 1737, and an Atlas Maior with about 300 maps in 1780. They also issued a special Atlas of Germany with full sized plans of principal cities, school atlases and an Atlas of Silesia in 1750 with 20 maps. Condition: Good, given age. Original middle fold, as issued. Some light soiling and foxing mostly near middle fold and in margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: BG-B1-05 The overall size is ca. 24.2 x 21.1 inch. The image size is ca. 21.3 x 17 inch. The overall size is ca. 61.5 x 53.5 cm. The image size is ca. 54.2 x 43.2 cm.

      [Bookseller: ThePrintsCollector]
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         Discorsi, con annotazioni. [Di D.M. Manni].

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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         Collezione di tiramenti rari di celebrate statue antiche 1755

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

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

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

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         Den Haag, Bierkade - Hendrik Florisz. Scheurleer, 1755-1761.

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

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         Vita della Serva di Dio Suor Maria - Rosa Giannini

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

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         Antique Print-THE HAGUE NETHERLANDS-Scheurleer-1755

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

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

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

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         Terremoto di Lisbona (del 1755).

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

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        CiceroÕs Select Orations, Translated into English; with The Original Latin, from the Best Editions, in the Opposite Page, and Notes, Critical, and Explanatory: Designed for the Use of Schools, as Well as Private Gentlemen

      Printed for G Keith, at the Bible-and-Crown, London 1755 - Printed in 1755, probably Keith's first edition; a second, corrected edition was published in 1771. Latin and English printed on opposite pages. Worldcat lists four copies of this book in US and one in UK. The inscriptions of a succession of owners: Richard Smith (1769-1823), Philadelphia attorney and state senator from 1797-1801; his wife, Letitia [Nixon Coakley] Smith's gift inscription to Thomas B. McElwee (husband of Richard's niece Williamina). Smith's father was Dr. William Smith (1727-1803), an Anglican clergyman, passionate educator and author whose 1753 pamphlet proposing a new college to the New York Assembly aroused Benjamin Franklin's interest. Smith visited Philadelphia on Franklin's invitation and in 1754 accepted his offer to join the faculty of the academy he had founded several years before. The following year Smith was named Provost when the Academy became a degree-granting college. In 1762-1763 William Smith and John Jay did an extremely successful fund raising tour of Great Britain, generating several thousand pounds for the College of Philadelphia and Kings College, New York (later Columbia). In order to receive continued funding, William Smith allied himself with the Penn family, making himself an enemy of Franklin. His steadfast allegiance to the Penns evoked numerous attacks on the college and by the time of the Revolution, he had to seek refuge in Maryland, where he helped establish Washington College. He returned to Philadelphia in 1789 to head the College of Philadelphia, however the city could not support two colleges and in 1791 it was merged into the University of Pennsylvania. He was not chosen as Provost, so retired to his country house at the Schuylkill Falls and occupied himself with real estate. Richard Smith, an early owner of this book, was one of his eight children. Woodcut frontispiece of two statues standing in front of a classical library is the G. Keith's advertisement for similar editions of Horace, Virgil, Ovid and Phaedrus. It is captioned "The works of . Horace, Virgil, Ovid & Ph¾drus . all printed for Joseph Davidson, are now sold by Mess. Hitch, Hodges, Fuller, Robinson, Trye, Beecroft, Ward, Johnson, Baldwin & Keith. ." Portrait medallion on title page. Coincidentally, G. Keith was the London publisher of William Smith's Discourses on Public Occasions in America (1759). Includes seventeen orations, including the Caecilius, the Manilian Law, Rabirius, Catiline, Muraena, Archias, Coelius, Piso, Milo, Marcellus, Ligarius and the two Marc Anthony. Text in Latin and English. There is considerable offsetting from frontispiece. Text block quite tight, some offsetting and a few smudges, else very good. Binding is vellum with spine tooled in gilt and a bit of the leather title label left. Upper board vellum has tightened, resulting in an outward bow. The green and yellow sewn bands at top and bottom are visible. Please request additional images. [Attributes: First Edition; Hard Cover]

      [Bookseller: Patricia Sheldon]
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