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Displayed below are some selected recent viaLibri matches for books published in 1756


         Sammlung vermischter Schriften. Erster (und) Zweyter Theil.

      XII, 316 S. (durchgehend paginiert). Mit zahlr. Holzschnittvignetten. Leder d. Zt. m. Rückenvergoldung. Sehr seltene erste Ausgabe. - WG. 20. - Die Herausgabe der Schriften, zu der Gellert sich nur sehr widerwillig bereit erklärte (vgl. die Vorrede), war seine Reaktion auf eine gegen seinen Willen in Frankfurt veranlaßte Veröffentlichung einer Auswahl seiner Beiträge in den "Belustigungen des Verstandes und des Witzes". Diese Beiträge liegen hier in von Gellert überarbeiteter Form vor, einige neue sind dazugekommen. - Unter Gellerts Beteiligung wurde ein Neudruck mit Textkorrekturen und abweichender Paginierung angefertigt, datiert ebenfalls 1756. - Angebunden: Ders. Geistliche Oden und Lieder. Leipzig Weidmann 1757. XXIV, 160 S., 2 Bll. Mit zahlreichen Holzschnittvignetten. - Erste Ausgabe. - WG. 21. - Einband gering bestoßen u. etwas beschabt, unteres Kapital abgestoßen, leicht, vereinzelt stärker gebräunt, gering, stellenweise stärker fleckig, ein Blatt mit Randausriß, Rückentitel: Gellerts Schriften 3. Band.

      [Bookseller: Antiquariat Dieter Eckert]
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         Anti-Taumaturgie oder die Bezweiflung der Wunder.

      17 x 10 cm. 198 Seiten, 1 (w) Blatt. Neuerer marmorierter Pappband im Stil der Zeit. *Holzmann/B. I, 2440. - Sehr seltene erste Ausgabe der materialistischen Schrift. Karl Knoblauch (1756-1794) war ein deutscher Jurist und Bergrat in Diensten der Fürsten von Oranien-Nassau in Dillenburg und als philosophischer Autor ein Vertreter der materialistischen und religionskritischen Spätaufklärung. Er gehört zu den radikalsten deutschen Materialisten des 18. Jahrhunderts, war ein streitbarer Atheist und unversöhnlicher Gegner der Kirche. Er sah seine Aufgabe als Aufklärer vor allem darin, Licht in die Entstehungsursachen des Aberglaubens und der Wunder zu bringen. - Titelrückseite mit Sammlerstempel, sauber und gut erhalten.

      [Bookseller: Antiquariat Bernd Braun]
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         Histoire de France. Depuis l'etablissement de la monarchie jusqu'au regne de Louis XIV. Vol. 1-22 (of 27). Vol 22 is about Louis XII

      Desaint & Saillant 1756-1771, Vol. 1-8: nouvelle édition, contemporary Cambridge bindings, full calf with 5 raised bands and richly gilt spine, with ornamental gilt border on boards and on edges of boards, with inlaid leather decoration and blind tooling

      [Bookseller: Andersens Antikvariat]
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         La noblesse commercante

      chez Duchesne. Pp. 215 (1). Con bell'antiporta allegorica incisa in rame. Unito a: SAINTE FOY (DE) PHILIPPE AUGUSTE. La noblesse militaire ou le patriote francois. S.l.n., 1756. Pp. v (1), 210. Due parti in un volume di cm. 16. Legatura del tempo in piena pelle con titoli su tass. e fregi floreali al dorso; tagli rossi. Antiche firme di possesso al frontespizio, trascurabili mende alle cuffie, sporadiche fioriture, peraltro esemplare ben conservato. Prima opera: Gabriel Francois Coyer (1707-1782), gesuita francese, fu letterato e pensatore economico forse più apprezzato fuori dai confini nazionali; fu infatti membro della Società Reale di Londra. La Noblesse commercante fu la sua principale opera. Pubblicata nel 1756 scatenò numerose reazioni dottrinali, sfociate in altrettante edizioni a stampa. Le tesi contenute nella Noblesse, rivolte al progresso dell'economia, ruotavano intorno all'affermazione di limiti da imporre agli aristocratici nell'esercizio delle attività commerciali. Nello stesso anno (nel giro di pochi mesi) uscirono diverse edizioni. Cfr. Barbier III, 417; Kress 5504; Einaudi 1388. Seconda opera: Philippe Auguste de Sainte Foy (1721-1785), conte e cavaliere d'Arcq, scrisse questo saggio in risposta alla Noblesse commercante di Coyer, affermando principi tradizionali basati sulla stretta relazione tra nobiltà e dignità militare. Anche in questo caso uscirono diverse edizioni nel medesimo anno, distinguibili dal numero delle pagine. La nostra edizione al frontespizio riporta "troisieme edition", ma appare assolutamente conforme all'edizione originale descritta nel catalogo Einaudi. Cfr. Barbier, III, 418; Einaudi, 149; Kress 5490; Goldsmiths 9138..

      [Bookseller: Studio Bibliografico Apuleio]
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         Nuova succinta prattica civile, e criminale utile, e necessaria a' giudici, procuratori, attuarj, e cancellieri criminali ridotta in dialogo fra maestro, e discepolo per maggiore intelligenza de' novizj, e distinta in quattro parti, nell'ultima delle quali si aggiunge una istruzione necessarissima per i notari novelli con suo indice de' capitoli, e delle materie raccolta massime per comodo de' novizj dal dottore Arcangiolo Bonifazj .

      presso gli eredi Caprari, In Jesi 1756 - In 4°, 22 cm, rilegatura coeva in pergamena, p. XVI, 399, (1), Grande vignetta allegorica incisa in rame al frontespizio (la giustizia appoggiata allo stemma di Jesi), incipit finalini e iniziali decorate, testo su due colonne. Strappo ad una carta ricomposto, errore di impaginazione di 2 carte. Complessivamente bell'esemplare

      [Bookseller: Studio Bibliografico Orfeo (ALAI - ILAB)]
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         1756 Barrow Universal Dictionary Sciences Illustrated WEAPONS Guns Navigation

      [London: Printed for John Hinton, 1756. Second edition.] - 1756 Barrow Universal Dictionary Sciences Illustrated WEAPONS Guns Navigation John Barrow was an 18th-century English mathematician and historian who, in the late 19th-century, was found to have published a ‘Universal Dictionary’ anonymously. This incredible dictionary covers a broad range of topics including arts, sciences, geography, topography, weapon making, mechanics of firearms, navigation, human anatomy, and architecture! This second edition is filled with illustrations – an incredible example! Item number: #2259 Price: $950 BARROW, John A new and universal dictionary of arts and sciences [London: Printed for John Hinton, 1756. Second edition.] Details: • Collation complete with all pages: o Illustrated with 58 full-page engravings (of 61) Lacking no. 4, 7, & 28 • Language: English • Binding: Leather; tight & secure • Size: ~16.25in X 10.5in X 4in (41cm x 27cm x 10cm) Our Guarantee: Very Fast. Very Safe. Free Shipping Worldwide. Customer satisfaction is our priority! Notify us with 7 days of receiving, and we will offer a full refund without reservation! 2259 Photos available upon request [Attributes: First Edition; Hard Cover]

      [Bookseller: Schilb Antiquarian]
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         Kleine Chirurgie oder Hand=Buch der Wund-Arzenei in welcher kurzer doch deutlicher Unterricht und Begriff dieser Wissenschaft gegeben, auch die nöthigste Werkzeuge in Kupfer vorgestellet werden.ORIGINAL von 1756!

      Nürnberg, In der Raspischen Buchhandlung, 1756. Andere viel verbesserte Ausgabe. Mit allergnädigsten Freyheiten. 1 Frotispizkupfer, 8 Faltkupfertafeln am Ende des Buches, 461 Textseiten, danach Auslegung der Kupfer Tafeln mit Erklärung, danach Register. 20,4 x 13 cm., Ganzpergamenteinband der Zeit. Versicherter Versand. Dieses sehr selten im Handel auftretende Werk ist in einem Ganzpergamenteinabnd, vernutlich aus der Zeit, gebunden. Die Schnittkanten sind rot gefaerbt, die Bindung ist fest und stabil. Die Seiten des Buches sind altersfleckig und etwas fingerspurig, die Falttafeln, in Kupfer gestochen, sind etwas angeschmutzt aber völlig komplett und fuer sich schon sehenswert! Insgesamt eine aeusserst erfreulich und seltene Ausgabe! FRAKTURSCHRIFT.Anmerkung: da es sich hier um Kommissionsware handelt ist ein Preisnachlass NICHT moeglich! 17KRB09/01 Versand D: 4,00 EUR

      [Bookseller: Berliner Büchertisch eG]
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         Omstændelig og tilforladelig Beskrivelse, Over den i Øster-Søen liggende Under Det Kongelige Danske Herredømme Blomstrende navnkundige Øe Bornholm,

      1756 1756 - Og Den ei langt derfra anlagde fortreffelige Fæstning Christiansøe, Hvorudi forklares, alt hvad merkværdigt om disse tvende Lande, i deres nu værende Tilstand, er at agte; Hvortil endvidere føies, hvad Historierne saa vel gamle som nyere derom meddele. Kbhvn.: Glasing 1756. Med 30 smukke kobbertavler, hvoraf 13 er dobbelt-sidet, samt talrige kobberstukne vignetter i teksten. 4to. [8] + 288 + [24] s. Rent og velholdt eksemplar med rødt snit og bred margin indbundet i samtidigt helskind med farvet titelfelt og rigt forgyldt ryg, bind med lette brugsspor. Eksemplaret har tilhørt Einar Christiansen. * Dette prægtige kobberstikværk fra rokokotiden, visende kort over Bornholm og Christiansø, prospekter af alle de bornholmske købstæder, kirker, mindetavler, runestene, etc., er den ældste beskrivelse af Bornholm og Christiansø og et hovedværk i dansk provinstopografi. The earliest description of the islands in the Baltic Sea 'Bornholm' and 'Christiansø' fully illustrated with 30 engraved maps and views, several folding. Bibl. Danica II,693.

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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         Geschichte des siebenjährigen Krieges in Deutschland zwischen dem Könige von Preußen und der Kaiserin Königin mit ihren Alliirten vom General Lloyd. Aus dem Englischen auf neue übersetzt, mit verbesserten Planen und Anmerkungen, von G.F.v. Tempelhof...

      1. Teil: 2 Bl, 302 S., 8 gefaltete Karten 2. Teil: 3 Bl., 387 S., 3 gefaltete Karten 4. Teil: 1 Bl., 332 S., 3 gefaltete Karten 24,5 x 20,5 cm Pappband, Titel auf Rücken. Erster Theil, welcher die Feldzüge von 1756 und 1757 enthält (1794 erschienen), Stempel vom Vorbesitzer auf Vorsatz, Zweiter Theil, welcher den Feldzug von 1758 enthält (1785 erschienen), Vierter Theil, welcher den Feldzug von 1760 enthält (1789 erschienen), Einbände durchweg berieben, bestossen, mit angeplatzten Ecken und Bezugsfehlstellen. Seiten altersbedingt gebräunt, insgesamt noch gutes Exemplar. , Preis inkl. MwSt..

      [Bookseller: Versand-Antiquariat Konrad von Agris]
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         HISTOIRE CRITIQUE DE LA PHILOSOPHIE ou l'on traite de son Origine, de ses Progr_s, & des diverses Revolutions qui lui font arriv_es jusqu'_ notre temps

      Francois Changuion, 1756. 4 voll. in 12_, leg. in pelle, nervi, titolo ed eleganti fregi in oro al dorso, tagli rossi, pp. 372, 447, 344, 337. Etichetta di antica biblioteca alla sguardia e relativo timbro al frontespizio dei quattro voll., evidente gora in prima bianca del I vol., fori di tarlo ai piatti di tutti i voll. e al dorso del vol. I, capitello esposto al vol. I, abrasioni alla pelle._Interno fresco e nell'insieme buone condizioni.

      [Bookseller: Invito alla Lettura]
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         Trípode antiguo de bronce

      Italia - GIOVANNI BATTISTA PIRANESI (1756/58 -1810) (dibujo y grabado) Roma, 1778. Primera edición. Filigrana flordelisada dentro de círculo. Estampa de la serie: Vasi, candelabri, cippi. Muy buen estado de conservación. Plenos márgenes. Ref.: Focillon 642; Wilton-Ely 929; Taschen 774. Siglo/Century: XVIII Buril Papel verjurado Grabador/Engraver: Piranesi, Giovanni Battista Dibujante/Draw Artist: Piranesi, Giovanni Battista 1778 Altura papel/Paper height: 733 Anchura papel/Paper width: 532 Altura plancha/Plate height:530 Anchura plancha/Plate width: 385 [Attributes: First Edition]

      [Bookseller: Palau Antiguitats]
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         Veduta dell'avanzo laterale del Portico che circondava la Cella del Tempio di Antonino Pio, inoggi la Dogana di Terra.

      Acquaforte e bulino, 1756 circa, firmata in lastra in basso a destra. Dalla serie Le Antichità Romane, prima edizione del 1756 edita da Bouchard e Gravier. Meravigliosa prova, ricca di toni, impressa a inchiostro bruno su carta vergata coeva, con pieni margini ed in perfetto stato di conservazione. Henry Focillon, nel suo saggio del 1918, suppone che il Piranesi prepari ed incida le tavole per l'opera tra il 1750 ed il 1756, tuttavia, elementi architettonici fanno risalire alcune al 1746. In realtà le tavole più antiche utilizzate nella raccolta risalgono probabilmente ad anni ancora precedenti, come sembra suggerire sia l'estrema complessità dell'opera, legata ad un lunghissimo lavoro di preparazione e ricerca, sia l'oscillazione stilistica riscontrabile comparando le varie tavole. Ad ogni modo, la grandiosità delle Antichità Romane del Piranesi non sta solamente nel grande lavoro grafico prodotto dall'artista: l'opera risulta infatti fondamentale come innovazione metodologica nel settore dell'archeologia a lei contemporanea, con l'utilizzo di scritti che sono essenziali per comprendere il pensiero dell'autore e l'innovazione del metodo piranesiano. Si può quindi sostenere, come giustamente fa notare il Focillon, che l'artista veneziano fondi l'archeologia moderna. Questa innovazione comporta, però, un enorme stacco e una grande divergenza con il pensiero e la cultura ufficiale ed accademica del periodo - di derivazione anglosassone - causando enormi polemiche di cui Piranesi fu bersaglio, e il fiorire di una negativa aneddotica intorno alla sua persona, il cui scopo era quello di ristabilire l'egemonia minacciata della cultura "classica". Il principale pensiero espresso nelle Antichità Romane consiste nel documentare e conservare in effige un patrimonio monumentale che andava di giorno in giorno sgretolandosi, linea di condotta che andava contro l'atteggiamento culturale di amatori ed antiquari, il cui piacere era puramente estetico, non disdegnando all'occorrenza, l'asporto di frammenti anche vistosi di antichità a titolo di puro collezionismo o alla stregua di souvenir. La principale novità della sua impostazione, consiste nell'unificare in un solo momento le operazioni di scavo, di rilievo, le indagini strutturali e la misurazione con lo studio delle fonti letterarie, a cui egli fa riferimento diretto. Questo momento di unificazione è rappresentato dallo studio topografico, che unito alla tecnica di rilievo, alla conoscenza dei materiali e delle tecniche antiche, allo scavo ed al sopralluogo dava luce all'archeologia, ovvero lo studio della storia antica. "Etching with engraving, 1756, signed at lower right. From the Antichità Romane, first edition by the French publisher Bouchard and Gravier in 1756. A great impression, printed with brown ink on contemporary laid, strong, paper, with margins, perfect conditions. The first edition of this work, in four volumes, was published in Rome in 1756 at the printing-works of Angelo Rotili at the Massimo alle Colonne Palace, by Bouchard and Gravier, book-dealers and tradesmen located in Rome near the church of St. Marcel at the Via del Corso. This collection included a portrait of Piranesi, engraved by Felice Porziani, and a dedication to James Caulfield, count of Charlemont. This dedication was later abolished in the aftermath of a quarrel, described by Piranesi in his Lettere di Giustificazione [Letters of Justification] (1757), which also gave rise to three different versions of this first original edition (May 1756). These different versions are distinguishable from the title-page of the first volume, which initially was dedicated to the Irish aristocrat, then exhibited a cancelled dedication and coat of arms and, finally, bore a Latin motto written by the artist ""Aevo Suo Posteri set Utilitari Publicae"". Henry Focillon, in his 1918 treatise, presumed that Piranesi prepared and engraved the plates for this collection between 1750 and 1756, although some architectural features could have a few of them dating back to 1746. Actually, the oldest plates included in this collection probably date back even further, as suggested by the extraordinary complexity of this work, due to a prolonged phase of preparation and research, together with the stylistic alterations which can be observed by comparing the different plates. The magnificence of Piranesi's Antichità Romane, however, is not only in the artist's large graphic output. Indeed, this work is of primary importance from the standpoint of methodological innovation within the framework of contemporary archaeology, with the utilisation of texts which are of essential importance for the comprehension of the author's ideas and of the innovations implied in Piranesi's methodology. It can be asserted, as correctly emphasised by Focillon, that the Venetian architect founded modern archaeology. However, this new-fashioned approach implied an important disassociation and a significant deviation from the convictions and the official and academic culture of the time, which was of Anglo-Saxon derivation. This gave rise to a serious controversy, whose target was Piranesi, and to an adverse anecdotal literature concerning his person, the objective being the re-establishment of the endangered authority of the culture it was threatening. The main motivation behind the Antichità Romane was the documentation and preservation, utilising illustrations, of a heritage of ancient monuments which was being ravaged on a daily basis. This approach was incompatible with the one held by amateurs and antiquarians who only took pleasure from aesthetic contemplation and would not refrain from occasionally removing rather imposing parts from ancient relics for their private collections or, more simply, as souvenirs. The main new feature in his procedure was to unify into a single space the acts of excavating, surveying, structural inquiries and measurement together with the analysis of literary sources, the latter of which he examined for himself. This step of unification is characterised by the study of topography which, together with surveying techniques, the knowledge of antique procedures and materials, excavations and on-site inspections, gave rise to archaeology, in other words to the study of ancient history. Therefore, the four volumes comprised in this collection are the central nucleus, the fulcrum around which all of Piranesi's activity revolved, constituting the accomplishment and focal point of a method of inquiry and comprehension of the ancient city of Rome and, at the same time, the starting point for analogous and complementary works, which can be considered as additional proofs of his interpretation. Consequently, the Antichità can be regarded as an attempt to furnish a unified account of the city from its foundation up to the times of the last emperors, identifying monuments, areas and spaces, set side by side with prosaic and common aspects of the city, such as bridges and streets, which help to bestow it with an animated and vibrating atmosphere." Focillon 168; Wilton Ely 303

      [Bookseller: Libreria Antiquarius]
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         Essai sur l' Histoire Naturelle des Coralles, et d' autres productions marines du même genre, qu' on trouve communement sur les cotes de la Grande - Bretagne et d' Irlande; auquel on a joint une description d' un grand polype de mer, pris auprès du Pole Arctique, par des Pêcheurs de Baleine, pendant l' Eté de 1753

      Chez Pierre de Hondt, 1756. In-4° (267x208mm), pp. XVI, 125, (3), legatura del tempo in mezza pelle rossa e angoli con titolo in oro su tassello verde al dorso. Frontespizio in rosso e in nero. Antiporta incisa su rame e finemente acquerellata, 39 tavv. incise su rame f.t. in fine coloritura acquerellata, alcune delle quali ripiegate. Dedicatoria alla Regina di Svezia. Qualche arrossatura. Timbro di privata biblioteca. Buon esemplare. Prima edizione francese di An Essay towards a Natural History of the Corallines and other Marine Productions found on the coasts of Great Britain and Ireland, trattato naturalistico sui coralli ("un système d'une nouvelle classe d'êtres jusqu'à présent inconnus") della Gran Bretagna e dell'Irlanda, autentico classico nella storia della biologia marina e una delle principali opere del grande naturalista britannico (in Irlanda, 1710-Londra, 1776). La monografia, pubblicata in Inghilterra nel 1755, discorre anche delle spugne (identificate per primo dall'Ellis come animali) e di altri animali marini affini ai coralli e fornisce un curioso resoconto su un grosso polpo pescato nei mari artici da dei balenieri nel 1753. L'ultimo capitolo contiene la descrizione di un microscopio acquatico inventato dal Cuff, poi denominato "microscopio acqua Ellisches". "Ellis's zoophyte descriptions and professionally drawn engravings, and his scientific approach, were outstanding. His two longest books, Natural History of the Corallines…and the posthumous Natural History of Zoophytes (1786, partly written by Solander), were seminal. In the 1750s he was one of the British Museum's first noteworthy scientific visitors. He became a fellow of the Royal Society in 1754 and was its Copley medallist in 1767." (ODNB). Nissen, BBI, 590. Pritzel, 2961. Stafleu & Cowan, 1661. Henrey, II, p. 283. Clay & Court, History of the Microscope, pp. 66-68. Cole Library, 1670. Freeman, 1131. NCBEL, II, 1904. Roper, p. 30. W.J. Lútjeharms, Zur Geschichte der Mykologie. Das XVIII. Jahrhundert, pp. 182 e sgg. Knight, Natural Science Books in English, passim. Knight, Zoological Illustration, p. 103: "The classic work was done by John Ellis in his Essay towards a natural history of the Corallines, of 1755. . . he persuaded Ehret, the great botanical artist, to accompany him, there to draw from nature. . . The book duly contains delicate engravings from these drawings". . Francese

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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         Encrypted message using number code

      1756 - Ms in ink. Single page. Folio. Folded twice, repairs to old folds. New Orleans, December, A very rare encrypted despatch sent from French New Orleans by Louis Billouart de Kerlerec, Governor of Louisiana, to the Secretaire d'Etat a la Marine et aux Colonies. Kerlerec became governor of Louisiana in 1753, replacing Vaudril. ?Despite total French neglect of the colony during the Seven Years' War, Kerlerec manages to maintain aggressive defence of the Mississippi Valley, by funnelling Louisiana's meagre military resources into the Fort Duquesne area and by first luring the Cherokee out of the English camp and then mobilizing them against their former allies? (Louisiana Personalities ). ?This message appears to be encrypted in the nomenclator, the standard cryptosystem of the time. The nomenclator had developed by the 1700s into a list of about 1000 names and common words with their equivalents, usually three or four digits, and was chiefly used by governments. If a cryptoanalyst had enough long messages to provide statistics and other clues, such as partial encipherments, he could solve them. When ambassadors or high ranking military officers were given nomenclators to use on assignment, copies often survive in archives. When individuals make them up for personal use, they are rarely found and consequently anyone seeking to read the messages encrypted using them has to reconstruct them. Since this usually requires a fair volume of ciphertext, individual cryptograms are rarely solved? (Kahn).

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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         Colonna Trajana

      Acquaforte e bulino, 1756 circa, firmata in lastra in basso a destra. Dalla serie Le Antichità Romane, prima edizione del 1756 edita da Bouchard e Gravier. Meravigliosa prova, ricca di toni, impressa a inchiostro bruno su carta vergata coeva con la tipica filigrana del "doppio cerchio e giglio con lettere CB" (Robison 33), con pieni margini ed in perfetto stato di conservazione. Henry Focillon, nel suo saggio del 1918, suppone che il Piranesi prepari ed incida le tavole per l'opera tra il 1750 ed il 1756, tuttavia, elementi architettonici fanno risalire alcune al 1746. In realtà le tavole più antiche utilizzate nella raccolta risalgono probabilmente ad anni ancora precedenti, come sembra suggerire sia l'estrema complessità dell'opera, legata ad un lunghissimo lavoro di preparazione e ricerca, sia l'oscillazione stilistica riscontrabile comparando le varie tavole. Ad ogni modo, la grandiosità delle Antichità Romane del Piranesi non sta solamente nel grande lavoro grafico prodotto dall'artista: l'opera risulta infatti fondamentale come innovazione metodologica nel settore dell'archeologia a lei contemporanea, con l'utilizzo di scritti che sono essenziali per comprendere il pensiero dell'autore e l'innovazione del metodo piranesiano. Si può quindi sostenere, come giustamente fa notare il Focillon, che l'artista veneziano fondi l'archeologia moderna. Questa innovazione comporta, però, un enorme stacco e una grande divergenza con il pensiero e la cultura ufficiale ed accademica del periodo - di derivazione anglosassone - causando enormi polemiche di cui Piranesi fu bersaglio, e il fiorire di una negativa aneddotica intorno alla sua persona, il cui scopo era quello di ristabilire l'egemonia minacciata della cultura "classica". Il principale pensiero espresso nelle Antichità Romane consiste nel documentare e conservare in effige un patrimonio monumentale che andava di giorno in giorno sgretolandosi, linea di condotta che andava contro l'atteggiamento culturale di amatori ed antiquari, il cui piacere era puramente estetico, non disdegnando all'occorrenza, l'asporto di frammenti anche vistosi di antichità a titolo di puro collezionismo o alla stregua di souvenir. La principale novità della sua impostazione, consiste nell'unificare in un solo momento le operazioni di scavo, di rilievo, le indagini strutturali e la misurazione con lo studio delle fonti letterarie, a cui egli fa riferimento diretto. Questo momento di unificazione è rappresentato dallo studio topografico, che unito alla tecnica di rilievo, alla conoscenza dei materiali e delle tecniche antiche, allo scavo ed al sopralluogo dava luce all'archeologia, ovvero lo studio della storia antica. "Etching with engraving, 1756, signed at lower right. From the Antichità Romane, first edition by the French publisher Bouchard and Gravier in 1756. A great impression, printed with brown ink on contemporary laid, strong, paper with "double encircled fleur-de-lys with letter CB" watermark (Robison 33), with margins, perfect conditions. The first edition of this work, in four volumes, was published in Rome in 1756 at the printing-works of Angelo Rotili at the Massimo alle Colonne Palace, by Bouchard and Gravier, book-dealers and tradesmen located in Rome near the church of St. Marcel at the Via del Corso. This collection included a portrait of Piranesi, engraved by Felice Porziani, and a dedication to James Caulfield, count of Charlemont. This dedication was later abolished in the aftermath of a quarrel, described by Piranesi in his Lettere di Giustificazione [Letters of Justification] (1757), which also gave rise to three different versions of this first original edition (May 1756). These different versions are distinguishable from the title-page of the first volume, which initially was dedicated to the Irish aristocrat, then exhibited a cancelled dedication and coat of arms and, finally, bore a Latin motto written by the artist ""Aevo Suo Posteri set Utilitari Publicae"". Henry Focillon, in his 1918 treatise, presumed that Piranesi prepared and engraved the plates for this collection between 1750 and 1756, although some architectural features could have a few of them dating back to 1746. Actually, the oldest plates included in this collection probably date back even further, as suggested by the extraordinary complexity of this work, due to a prolonged phase of preparation and research, together with the stylistic alterations which can be observed by comparing the different plates. The magnificence of Piranesi's Antichità Romane, however, is not only in the artist's large graphic output. Indeed, this work is of primary importance from the standpoint of methodological innovation within the framework of contemporary archaeology, with the utilisation of texts which are of essential importance for the comprehension of the author's ideas and of the innovations implied in Piranesi's methodology. It can be asserted, as correctly emphasised by Focillon, that the Venetian architect founded modern archaeology. However, this new-fashioned approach implied an important disassociation and a significant deviation from the convictions and the official and academic culture of the time, which was of Anglo-Saxon derivation. This gave rise to a serious controversy, whose target was Piranesi, and to an adverse anecdotal literature concerning his person, the objective being the re-establishment of the endangered authority of the culture it was threatening. The main motivation behind the Antichità Romane was the documentation and preservation, utilising illustrations, of a heritage of ancient monuments which was being ravaged on a daily basis. This approach was incompatible with the one held by amateurs and antiquarians who only took pleasure from aesthetic contemplation and would not refrain from occasionally removing rather imposing parts from ancient relics for their private collections or, more simply, as souvenirs. The main new feature in his procedure was to unify into a single space the acts of excavating, surveying, structural inquiries and measurement together with the analysis of literary sources, the latter of which he examined for himself. This step of unification is characterised by the study of topography which, together with surveying techniques, the knowledge of antique procedures and materials, excavations and on-site inspections, gave rise to archaeology, in other words to the study of ancient history. Therefore, the four volumes comprised in this collection are the central nucleus, the fulcrum around which all of Piranesi's activity revolved, constituting the accomplishment and focal point of a method of inquiry and comprehension of the ancient city of Rome and, at the same time, the starting point for analogous and complementary works, which can be considered as additional proofs of his interpretation. Consequently, the Antichità can be regarded as an attempt to furnish a unified account of the city from its foundation up to the times of the last emperors, identifying monuments, areas and spaces, set side by side with prosaic and common aspects of the city, such as bridges and streets, which help to bestow it with an animated and vibrating atmosphere." Focillon 200; Wilton Ely 335

      [Bookseller: Libreria Antiquarius]
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         The Naval History Of Britain, From The Earliest Periods Of Which There Are Accounts In History, To The Conclusion Of The Year M.DCC.LVI. Compiled From The Papers Of The Late Honourable Captain George Berkley, Commander Of His Majesty's Ship WINDSOR

      T. Osborne and J. Shifton, London 1756 - Large Crown Folio, 16 3/4 tall by 10 1/2 wide. [17], 2-576 - (577 is mis-numbered as 573) - so - [(573-706)], [2]. This is a mis-numbering flaw only - all contents complete with every catchword matching. This is a complete text. Contains extensive Contents listing just after the title page with a minimal 2 page Index at the rear. Some old ink writing on the top of the title page and the top of the frontispiece with a 1849 date. Contains 14 full page engravings, including a frontispiece, fold-out maps, scenes of Naval action, and portraits of Naval heroes. Some offsetting to opposite pages. Wide margins throughout, untrimmed with no marginal notations. With extensive information on The Spanish Armada, listing the Spanish Fleet - "arrogantly called the Invincible Armada," with all ships identified by name, number of guns, and tonnage. The entire British Fleet is also listed by ship and Captains. This copy now handsomely re-bound in full navy blue leather with lettering in gilt on the spine. New marbled endpapers with several new blank pages included. The binding is signed "Hales." Lowndes gives the publication date as 1757, which I suspect is true given that the book covers events up to and including 1756. This has become an extremely rare volume with no copies listed in WorldCat. Smollet, in his History states ".excercised great influence over contemporary public opinion on naval matters." Lowndes Bibliographer's Manual, Allibone, and Bibliography Of British History by Pargellis and Medley. Very Good. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: First Place Books - ABAA, ILAB]
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         Vintage Etching 1796

      Hand-colored etching by famous British caricaturist and printmaker James Gillray (1756-1815), published by H. H. Humphrey, London, 1796. French dancer Charles Didelot (1767-1837) performs on the stage between two women (his wife Rose on the left, and Mme. Parisot (c.1775-1837) on the right).   Size is 17.4 x 12.5 inches (or 44 x 31.75 cm), some spots with rust, overall age toning, tape marks over the top margin, no cracks or major problems, in very good condition.

      [Bookseller: Tamino Autographs]
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         A Compleat Body of Husbandry. Containing Rules For Performing in ALL the Agricultural and Farming Business. Brewing, Beekeeping. Agriculture, Architecture, Sowing, Orchard and Dairy Management, Breeding, Manures, Country Gentleman Pursuits, etc, etc.

      T. Osborne and J. Shipton. J. Hodge. T. Tyre. S. Crowder. H. Woodgate., London. 1756 - 719 pages and last leaf has adverts on the reverse. the book was mostly compiled from a variety of other writers of the time. Col Stevenson, Mr Randolph, Mr Hawkins, Mr Storey, Mr Osborne and the Rev Mr Turner, etc. The book has a double page copper plate of Granary building and botanical plates in the text as well as full page copper plates of implements, etc. And allegorical engraved frontispiece of Ceres teaching husbandry to humans. Long chapters on the treatment and illnesses of animals, manures, tillage, planting, ALL aspects of profitable benefit to a country house and his managers, from brewing beer and cider, beekeeping, crops for grow for best profit, soils, improvement of the same, manures, shearing. animal veterinary recipes and instructions to cure animals. A Wonder for any "Organic farmer" Bound from the 60 weekly parts it was originally issued in, with some of the parts numbers at the bases of some pages. Each section (12 in all) has a headed title page. Paper all hand-made laid watermarked within weave paper in excellent condition. Small half moon pieces missing from edge of title page and base line, wording unaffected. one or two odd brown old ink? spots, two old previous owner names to endpapers. Pratt is one, in large copperplate and Geo Scott smaller and a little later, both appear 18th century, on separate blanks before title. A tall heavy folio, in old reverse calf, hinges worn and stringing showing. corners rounded with age. All firm and clean. Large folio 1756. Lovely work easy to understand. [Attributes: First Edition; Hard Cover]

      [Bookseller: Colophon Books.]
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         Raccolta milanese dell'anno 1756 [-1757].

      nella Stamperia di Antonio Agnelli. 2 volumi in-4° (cm. 22,6), legature in cartonato d'attesa con titolo ms. su etichette al dorso; carte in ottimo stato. Tutto il pubblicato di un'interessante idea editoriale che precedeva di dieci anni il Caffè dei Verri. L'Agnelli si cimentava in una battaglia culturale insieme ai Trasformati, illuministi a metà che aprivano con moderazione ai temi della vita contemporanea. La Raccolta «si distribuiva un foglio per settimana, e vari opuscoli di viventi, e di morti autori contiene» [Annali letterarj d'Italia, Modena 1762, p. 185]. Pur tuttavia i Trasformati si offesero delle critiche de recensori [Memorie per servire alla storia letteraria, Venezia 1756, VIII, 29] e mollarono l'Agnelli, che per l'anno successivo fece da sé: «Sono venuto in determinazione di non defraudare il pubblico di alcune opericciuole» [p.(3)]. Cfr. R. Martinoni, Un foglio erudito lombardo del Settecento. La Raccolta milanese (1756-1757), in Archivio Storico Lombardo CXVII (1991) pp. 203-257. Ottimo esemplare.

      [Bookseller: Gabriele Maspero Libri Antichi]
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         Cours de Chymie

      Laurent-Charles d'Houry, Paris 1756 - Plein veau marbré de l'époque, dos à cinq nerfs orné et doré, tranches rouges, gardes en papier marbré. Un volume in quarto (253x190 mm), (6)-xxiv-945-(1 bl.) pages, 7 planches hors texte et 2 tableaux. Reliure un peu frottée, coiffe supérieure et coins abîmés Un salissure en haut des derniers feuillets Cet ouvrage du disciple de Glazer, fut longtemps le code des pharmaciens et des chimistes. Contient 9 planches hors texte, représentant des fourneaux, des creusets, des cornues et autres ustensilles de l'époque. Les deux dernières planches contiennent l'explication des plus communs des caractères chimiques. A signaler le chapitre qui traite de l'Or et des alchimistes. Le Cours de Chymie de Lemery est indispensable si l'on souhaite raisonner dans l'optique de l'époque et comprendre de nombreux tours de mains décrits dans les traités alchimiques. Il faudra attendre 1756 et l'important travail de revision entrepris par Baron pour que paraisse la presente edition que Dorbon et Pierre Larousse considerent comme la meilleure. Edition illustrée d'une jolie vignette d'en-tête gravée par B.Audran représentant un laboratoire de chimie. Contient aussi de nombreuses recettes de parfum et de liqueurs. Cette édition de 1756 augmentée par Baron, la première au format in quarto est la plus complète et est considérée comme étant la meilleure. Très bon exemplaire Dorbon [2600] ___________________________________________________________________________________ ______________________________ENGLISH_DESCRIPTION______________________________ ___________________________________________________________________________________ Contemporary full mottled calf, spine gilt in six compartments, red edges, marbled endpapers. 4to (253x190 mm), (6)-xxiv-945-(1 bl.), 7 plates and 2 tables. Binding a little rubbed, head cap and corners worn. Stain at the top of last leaves French chemist, Nicolas LEMERY was born at Rouen on the 17th of November 1645. After learning pharmacy in his native town he became a pupil of C. Glaser's in Paris, and then went to Montpellier, where he began to lecture on chemistry. He next established a pharmacy in Paris, still continuing his lectures. Lemery did not concern himself much with theoretical speculations, but holding chemistry to be a demonstrative science, confined himself to the straightforward exposition of facts and experiments. In consequence, his lecture-room was thronged with people of all sorts, anxious to hear a man who shunned the barren obscurities of the alchemists, and did not regard the quest of the philosopher's stone and the elixir of life as the sole end of his science. Of his Cours de chymie (1675) he lived to see 13 editions, and for a century it maintained its reputation as a standard work. The 1756's edition (the first one in 4to), enlarged by Baron is considered as the best one. Dorbon [2600] In 4 2065g. [Attributes: First Edition; Hard Cover]

      [Bookseller: Eric Zink Livres anciens]
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         Biblia, dat is De gantsche H. Schrifture, vervattende alle de Canonijcke Boecken des Ouden en des Nieuwen Testaments. Door Last der Hoogh- Mog. Heeren Staten Generael vande Vereenighde Nederlanden, en volgens het Besluyt vande Synode Nationael, gehouden tot Dordrecht inde Jaren 1618 ende 1619. Uyt de Oorspronckelicke talen in onse Nederlandtsche tale getrouwelick over geset. Met nieuwe bygevoeghde Verklaringen op de duystere plaetsen, aenteeckeningen vande gelyck-Luydende Texten, ende nieuwe Registers over beyde de Testamenten. Ende door gemeene ordre der Nederlandsche Kercken verbetert van Druckfouten en Mis-stellingen die in den Eersten Druck gevonde worden. WITH: Historie des Ouden en Nieuwen Testaments, bestaande in Twee Honderd Twee en

      Dordrecht, Jacob and Hendrik Keur/Amsterdam, Hendrik Brandt, Dirk onder de Linden, Petrus Schouten, 1756/1772 - (engraved titlepage, 19) 302, (2) 134, (12) 164, (2) 66 folia., Prints: (8) 76, 50 folia. Contemporary blind-stamped Leather with 6 raised bands and 2 massive silver clasps, Folio H. 44,5 x L. 29,5 x W. 15 cm. (The spine is skillfully restored with preservation of the contemporary spine. Bound with a handwritten family index of the Rose family dating from the year 1718 until 1841 in the front. Keurbible, containing the Old and New Testament and the Apocrypha. With the 6 folding maps by Nicolaes Visscher. Interleaved with the printbible by Ysbrand van Hamelsveld which contains a titlepage, index and 126 folio sized leaves with 2 engravings on each. The prints are engraved by Jacob Folkema, Pieter Tanje and Simon Fokke. In the year 1791 the printbible was published with accompanying descriptions by Van Hamelsveld. The printbible is often called after him, although Van Hamelsveld did not contribute to this first edition. The work is bound in an attractive blind-stamped binding with 2 massive silver clasps, the design of the clasps is straight and the catches are marked with the corresponding year letter and the quality mark of Amsterdam.) (gegraveerde titelpagina, 19) 302, (2) 134, (12) 164, (2) 66 folia., Prenten: (8) 76, 50 folia. Origineel Leer met ribben, stempels en 2 sloten van massief zilver, Folio H. 44,5 x L. 29,5 x D. 15 cm. (De rug is vakkundig gerestaureerd met behoud van de originele rug. Voorin is een handgeschreven familieregister van de familie Rose bijgebonden daterende van het jaar 1718 tot 1841. Keurbijbel, bestaande uit het Oude en Nieuwe Testament en de Apocriefen. Met de 6 uitvouwbare kaarten van Nicolaes Visscher. Doorschoten met de prentbijbel van Ysbrand van Hamelsveld welke bestaat uit een titelpagina, register en 126 foliobladen met op elk 2 gravures. De prenten zijn gegraveerd door Jacob Folkema, Pieter Tanje? en Simon Fokke. In het jaar 1791 werd de prentbijbel uitgegeven met bijgevoegde beschrijvingen door Van Hamelsveld. De prentbijbel wordt vaak naar hem genoemd ookal werkte hij niet mee aan deze eerste uitgave. Het werk is gebonden in een aantrekkelijke stempelband welke voorzien is van 2 massief zilveren sloten, de vormgeving van de sloten is recht en de klemmen zijn gemerkt met de bijbehorende jaarletter en het keurstempel van Amsterdam.)Poortman, W.C. (1986). Bijbel en Prent Deel IIa: Boekzaal van Nederlandse Prentbijbels, p. 150-151 / Poortman, W.C. (1995). Kaarten in Bijbels, p. 141-149 [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariaat de Roo]
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         Essai sur la Nature du Commerce en général traduit de l'anglois

      chez Fletcher Gyles, dans Holborn [Guillyn], Londres [Paris] 1756 - In-12 (160x95 mm.), pp. 427, (5). Fregio al frontespizio. Ex libris del conte Ignazio Zanardi della Virgiliana. Ottimo e freschissimo esemplare conservato in una legatura coeva in piena pelle marmorizzata, dorso a nervi con scomparti riccamente decorati in oro, titolo inciso in oro su tassello al dorso. Tagli colorati di rosso. Esemplare candido e frusciante. Seconda edizione (e.o. 1755), molto rara, di uno dei più importanti trattati di economia moderna. A giudizio di William Stanley Jevons e di altri autorevoli studiosi di materia economica, il saggio del Cantillon è la più autentica opera fondativa dell'economia politica, assai più della Ricchezza delle Nazioni di Adam Smith o dell'Aritmetica politica di William Petty, contenendo inoltre un'anticipazione quasi completa della teoria malthusiana della popolazione. L'opera, nonostante l'indicazione evidentemente mendace al titolo, non fu mai tradotta dall'inglese e non fu mai pubblicata a Londra dall'immaginario Fletcher Gyles, ma a Parigi e dal Guillyn. L'autore (1680-1734), di origini irlandesi, trascorse buona parte della sua vita a Parigi, esercitando con successo l'attività di banchiere. Morì a Londra in circostanze misteriose, forse assassinato dal suo cuoco. Bibliografia: Kress, 5495. Goldsmiths, 8989. Einaudi, 846. Higgs, Bib. of Economics, 938. Palgrave, Dictionary of Political Economy: "The influence of the work is evidenced not by the number but by the distinction of its students, including Gournay, Quesnay, Mirabeau, Turgot and Adam Smith. It gave birth to Mirabeau's L 'Ami des hommes [an edition of which is in the present sale] and apparently suggested much of the Tableau oeconomique of Quesnay and parts of the Wealth of Nations". [Attributes: Hard Cover]

      [Bookseller: AU SOLEIL D'OR Studio Bibliografico]
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         Veduta dell'Anfiteatro Flavio detto il Colosseo.

      Acquaforte e bulino, 1756 circa, firmata in lastra in basso a destra. Dalla serie Le Antichità Romane, prima edizione del 1756 edita da Bouchard e Gravier. Meravigliosa prova, ricca di toni, impressa a inchiostro bruno su carta vergata coeva, con pieni margini ed in perfetto stato di conservazione. Henry Focillon, nel suo saggio del 1918, suppone che il Piranesi prepari ed incida le tavole per l'opera tra il 1750 ed il 1756, tuttavia, elementi architettonici fanno risalire alcune al 1746. In realtà le tavole più antiche utilizzate nella raccolta risalgono probabilmente ad anni ancora precedenti, come sembra suggerire sia l'estrema complessità dell'opera, legata ad un lunghissimo lavoro di preparazione e ricerca, sia l'oscillazione stilistica riscontrabile comparando le varie tavole. Ad ogni modo, la grandiosità delle Antichità Romane del Piranesi non sta solamente nel grande lavoro grafico prodotto dall'artista: l'opera risulta infatti fondamentale come innovazione metodologica nel settore dell'archeologia a lei contemporanea, con l'utilizzo di scritti che sono essenziali per comprendere il pensiero dell'autore e l'innovazione del metodo piranesiano. Si può quindi sostenere, come giustamente fa notare il Focillon, che l'artista veneziano fondi l'archeologia moderna. Questa innovazione comporta, però, un enorme stacco e una grande divergenza con il pensiero e la cultura ufficiale ed accademica del periodo - di derivazione anglosassone - causando enormi polemiche di cui Piranesi fu bersaglio, e il fiorire di una negativa aneddotica intorno alla sua persona, il cui scopo era quello di ristabilire l'egemonia minacciata della cultura "classica". Il principale pensiero espresso nelle Antichità Romane consiste nel documentare e conservare in effige un patrimonio monumentale che andava di giorno in giorno sgretolandosi, linea di condotta che andava contro l'atteggiamento culturale di amatori ed antiquari, il cui piacere era puramente estetico, non disdegnando all'occorrenza, l'asporto di frammenti anche vistosi di antichità a titolo di puro collezionismo o alla stregua di souvenir. La principale novità della sua impostazione, consiste nell'unificare in un solo momento le operazioni di scavo, di rilievo, le indagini strutturali e la misurazione con lo studio delle fonti letterarie, a cui egli fa riferimento diretto. Questo momento di unificazione è rappresentato dallo studio topografico, che unito alla tecnica di rilievo, alla conoscenza dei materiali e delle tecniche antiche, allo scavo ed al sopralluogo dava luce all'archeologia, ovvero lo studio della storia antica. "Etching with engraving, 1756, signed at lower right. From the Antichità Romane, first edition by the French publisher Bouchard and Gravier in 1756. A great impression, printed with brown ink on contemporary laid, strong paper, with margins, perfect conditions. The first edition of this work, in four volumes, was published in Rome in 1756 at the printing-works of Angelo Rotili at the Massimo alle Colonne Palace, by Bouchard and Gravier, book-dealers and tradesmen located in Rome near the church of St. Marcel at the Via del Corso. This collection included a portrait of Piranesi, engraved by Felice Porziani, and a dedication to James Caulfield, count of Charlemont. This dedication was later abolished in the aftermath of a quarrel, described by Piranesi in his Lettere di Giustificazione [Letters of Justification] (1757), which also gave rise to three different versions of this first original edition (May 1756). These different versions are distinguishable from the title-page of the first volume, which initially was dedicated to the Irish aristocrat, then exhibited a cancelled dedication and coat of arms and, finally, bore a Latin motto written by the artist ""Aevo Suo Posteri set Utilitari Publicae"". Henry Focillon, in his 1918 treatise, presumed that Piranesi prepared and engraved the plates for this collection between 1750 and 1756, although some architectural features could have a few of them dating back to 1746. Actually, the oldest plates included in this collection probably date back even further, as suggested by the extraordinary complexity of this work, due to a prolonged phase of preparation and research, together with the stylistic alterations which can be observed by comparing the different plates. The magnificence of Piranesi's Antichità Romane, however, is not only in the artist's large graphic output. Indeed, this work is of primary importance from the standpoint of methodological innovation within the framework of contemporary archaeology, with the utilisation of texts which are of essential importance for the comprehension of the author's ideas and of the innovations implied in Piranesi's methodology. It can be asserted, as correctly emphasised by Focillon, that the Venetian architect founded modern archaeology. However, this new-fashioned approach implied an important disassociation and a significant deviation from the convictions and the official and academic culture of the time, which was of Anglo-Saxon derivation. This gave rise to a serious controversy, whose target was Piranesi, and to an adverse anecdotal literature concerning his person, the objective being the re-establishment of the endangered authority of the culture it was threatening. The main motivation behind the Antichità Romane was the documentation and preservation, utilising illustrations, of a heritage of ancient monuments which was being ravaged on a daily basis. This approach was incompatible with the one held by amateurs and antiquarians who only took pleasure from aesthetic contemplation and would not refrain from occasionally removing rather imposing parts from ancient relics for their private collections or, more simply, as souvenirs. The main new feature in his procedure was to unify into a single space the acts of excavating, surveying, structural inquiries and measurement together with the analysis of literary sources, the latter of which he examined for himself. This step of unification is characterised by the study of topography which, together with surveying techniques, the knowledge of antique procedures and materials, excavations and on-site inspections, gave rise to archaeology, in other words to the study of ancient history. Therefore, the four volumes comprised in this collection are the central nucleus, the fulcrum around which all of Piranesi's activity revolved, constituting the accomplishment and focal point of a method of inquiry and comprehension of the ancient city of Rome and, at the same time, the starting point for analogous and complementary works, which can be considered as additional proofs of his interpretation. Consequently, the Antichità can be regarded as an attempt to furnish a unified account of the city from its foundation up to the times of the last emperors, identifying monuments, areas and spaces, set side by side with prosaic and common aspects of the city, such as bridges and streets, which help to bestow it with an animated and vibrating atmosphere." Focillon 215; Wilton Ely 350

      [Bookseller: Libreria Antiquarius]
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         1789 Syriac New Testament Commentary - Rebound

      - The theologian and author, J.G. Ch. Adler (1756-1834), had spent a long time in Rome and visited Europe's great libraries. During his scholarly journeys he had immersed himself in Greek and oriental manuscripts, studying especially the Syrian documents with a view to Biblical textual criticism. One of the scientific results of his labours is the present study: notes regarding the manuscript Syriac translations so important for New Testament criticism". Measures at 10.25" x 8". [Attributes: Hard Cover]

      [Bookseller: Cross and Crown Rare Books]
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         Description historique de l'Hôtel Royal des Invalides.

      Desprez, Paris 1756 - PERAU (Abbé). Description historique de l'Hôtel Royal des Invalides. Avec les Plans, Coupes, Elevations géométrales de cet Edifice, & les Peintures & Sculptures de l'Eglise, Dessinées & gravées par le Sieur Cochin, Graveur du Roy, &c de l'Académie Royale de Peinture &c Sculpture. Paris, Guillaume Desprez, 1756. Un volume in-folio (40 cm x 27 cm), XII (Avant-Propos)-104 (Discours préliminaire, Edit du Roy pour l'établissement de l'Hôtel royal des Invalides donné au mois d'Avril 1674, Description historique de l'Hôtel Royal des Invalides, Table des cent huit planches gravées, qui représentent différens Plans de l'Hôtel Royal des Invalides, avec les Peintures & Sculptures de l'Eglise). Un frontispice et une vignette sur le titre, un bandeau (deux vignettes), un cul de lampe (Avant-Propos), une vignette et une initiale illustrée (Discours préliminaire), une vignette et un cul de lampe (Edit du Roy pour l'établissement de l'Hôtel Royall des Invalides donné au mois d'Avril 1674), une vignette et une initiale illustrée (Description historique de l'Hôtel Royal des Invalides). Cent sept planches gravées, qui représentent différents Plans de l'Hôtel Royal des Invalides, avec les Peintures & Sculptures de l'Eglise. Exemplaire complet de toutes ses planches conformément à la table (p.103) qui " pourra servir d'Avis au Relieur pour placer chaque estampe dans son ordre". 1/2 chagrin XIXe. Dos à cinq nerfs ornés de fleurons dorés. Charnières et coiffes frottées mais solide reliure qui a permis la conservation de ce bel ouvrage gravé du XVIIIe siècle. Pour accéder à la totalité de notre offre, consultez notre blog et notre site Paris-Libris. [Attributes: Hard Cover]

      [Bookseller: PARIS-LIBRIS]
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         Colonna Antonina

      Acquaforte e bulino, 1756 circa, firmata in lastra in basso a destra. Dalla serie Le Antichità Romane, prima edizione del 1756 edita da Bouchard e Gravier. Meravigliosa prova, ricca di toni, impressa a inchiostro bruno su carta vergata coeva, con pieni margini ed in perfetto stato di conservazione. Henry Focillon, nel suo saggio del 1918, suppone che il Piranesi prepari ed incida le tavole per l'opera tra il 1750 ed il 1756, tuttavia, elementi architettonici fanno risalire alcune al 1746. In realtà le tavole più antiche utilizzate nella raccolta risalgono probabilmente ad anni ancora precedenti, come sembra suggerire sia l'estrema complessità dell'opera, legata ad un lunghissimo lavoro di preparazione e ricerca, sia l'oscillazione stilistica riscontrabile comparando le varie tavole. Ad ogni modo, la grandiosità delle Antichità Romane del Piranesi non sta solamente nel grande lavoro grafico prodotto dall'artista: l'opera risulta infatti fondamentale come innovazione metodologica nel settore dell'archeologia a lei contemporanea, con l'utilizzo di scritti che sono essenziali per comprendere il pensiero dell'autore e l'innovazione del metodo piranesiano. Si può quindi sostenere, come giustamente fa notare il Focillon, che l'artista veneziano fondi l'archeologia moderna. Questa innovazione comporta, però, un enorme stacco e una grande divergenza con il pensiero e la cultura ufficiale ed accademica del periodo - di derivazione anglosassone - causando enormi polemiche di cui Piranesi fu bersaglio, e il fiorire di una negativa aneddotica intorno alla sua persona, il cui scopo era quello di ristabilire l'egemonia minacciata della cultura "classica". Il principale pensiero espresso nelle Antichità Romane consiste nel documentare e conservare in effige un patrimonio monumentale che andava di giorno in giorno sgretolandosi, linea di condotta che andava contro l'atteggiamento culturale di amatori ed antiquari, il cui piacere era puramente estetico, non disdegnando all'occorrenza, l'asporto di frammenti anche vistosi di antichità a titolo di puro collezionismo o alla stregua di souvenir. La principale novità della sua impostazione, consiste nell'unificare in un solo momento le operazioni di scavo, di rilievo, le indagini strutturali e la misurazione con lo studio delle fonti letterarie, a cui egli fa riferimento diretto. Questo momento di unificazione è rappresentato dallo studio topografico, che unito alla tecnica di rilievo, alla conoscenza dei materiali e delle tecniche antiche, allo scavo ed al sopralluogo dava luce all'archeologia, ovvero lo studio della storia antica. "Etching with engraving, 1756, signed at lower right. From the Antichità Romane, first edition by the French publisher Bouchard and Gravier in 1756. A great impression, printed with brown ink on contemporary laid, strong, paper with margins, perfect conditions. The first edition of this work, in four volumes, was published in Rome in 1756 at the printing-works of Angelo Rotili at the Massimo alle Colonne Palace, by Bouchard and Gravier, book-dealers and tradesmen located in Rome near the church of St. Marcel at the Via del Corso. This collection included a portrait of Piranesi, engraved by Felice Porziani, and a dedication to James Caulfield, count of Charlemont. This dedication was later abolished in the aftermath of a quarrel, described by Piranesi in his Lettere di Giustificazione [Letters of Justification] (1757), which also gave rise to three different versions of this first original edition (May 1756). These different versions are distinguishable from the title-page of the first volume, which initially was dedicated to the Irish aristocrat, then exhibited a cancelled dedication and coat of arms and, finally, bore a Latin motto written by the artist ""Aevo Suo Posteri set Utilitari Publicae"". Henry Focillon, in his 1918 treatise, presumed that Piranesi prepared and engraved the plates for this collection between 1750 and 1756, although some architectural features could have a few of them dating back to 1746. Actually, the oldest plates included in this collection probably date back even further, as suggested by the extraordinary complexity of this work, due to a prolonged phase of preparation and research, together with the stylistic alterations which can be observed by comparing the different plates. The magnificence of Piranesi's Antichità Romane, however, is not only in the artist's large graphic output. Indeed, this work is of primary importance from the standpoint of methodological innovation within the framework of contemporary archaeology, with the utilisation of texts which are of essential importance for the comprehension of the author's ideas and of the innovations implied in Piranesi's methodology. It can be asserted, as correctly emphasised by Focillon, that the Venetian architect founded modern archaeology. However, this new-fashioned approach implied an important disassociation and a significant deviation from the convictions and the official and academic culture of the time, which was of Anglo-Saxon derivation. This gave rise to a serious controversy, whose target was Piranesi, and to an adverse anecdotal literature concerning his person, the objective being the re-establishment of the endangered authority of the culture it was threatening. The main motivation behind the Antichità Romane was the documentation and preservation, utilising illustrations, of a heritage of ancient monuments which was being ravaged on a daily basis. This approach was incompatible with the one held by amateurs and antiquarians who only took pleasure from aesthetic contemplation and would not refrain from occasionally removing rather imposing parts from ancient relics for their private collections or, more simply, as souvenirs. The main new feature in his procedure was to unify into a single space the acts of excavating, surveying, structural inquiries and measurement together with the analysis of literary sources, the latter of which he examined for himself. This step of unification is characterised by the study of topography which, together with surveying techniques, the knowledge of antique procedures and materials, excavations and on-site inspections, gave rise to archaeology, in other words to the study of ancient history. Therefore, the four volumes comprised in this collection are the central nucleus, the fulcrum around which all of Piranesi's activity revolved, constituting the accomplishment and focal point of a method of inquiry and comprehension of the ancient city of Rome and, at the same time, the starting point for analogous and complementary works, which can be considered as additional proofs of his interpretation. Consequently, the Antichità can be regarded as an attempt to furnish a unified account of the city from its foundation up to the times of the last emperors, identifying monuments, areas and spaces, set side by side with prosaic and common aspects of the city, such as bridges and streets, which help to bestow it with an animated and vibrating atmosphere." Focillon 167; Wilton Ely 302

      [Bookseller: Libreria Antiquarius]
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         Del baco da seta. Canti IV. Con annotazioni

      per Antonio Andreoni, in Verona 1756 - Esemplare in ottimo stato, carte fresche, ampi margini. Vecchia dedica alla prima bianca, ex libris al contropiatto Il nome dell'Autore figura nella dedica. Vignetta calcografica sul frontespizio, iniziali, testatine e finalini incisi da Domenico Cunego su disegno di Francesco Lorenzi. Ampie annotazioni a stampa da pag. 147 a 214. Poema didascalico diviso in quattro canti in versi sciolti avente come oggetto l'allevamento dei bachi da seta (8) + 213 p. 260x190 mm p.perg. coeva con titolo manoscritto sul dorso

      [Bookseller: Libreria Antiquaria Giulio Cesare]
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         Accion de la Real Compa. De Comercio establecida en Barcelona

      1756 - Rare share of the Real Compañia de Comercio de Barcelona printed on vellum, incorporating a fascinating view of the city. 1756. Barcelona. 16 x 12 inches. Printed on Vellum, with manuscript additions, and company seal; the additions are signatures of the various directors and details concerning the sale of the share certificate. Minor soiling, but quite nice for a view printed on vellum. 2,000 $ A magnificent view of Barcelona, engraved on vellum, by the prominent Catalan artist Manuel Tramullas, illustrating a share certificate for the Royal Trading Company of Barcelona, issued in 1756. This beautiful work features a panorama of Barcelona, framed in a fine architectural border, surmounted by a picture of the Virgin Mary and the Christ Child, who symbolically protect the city. In the view, one can see the spires of the Barcelona’s Gothic cathedral, the city’s elaborate defenses, including the fortress atop Montjuïc. Below is a fine register of text surrounded by rococo border, with the terms of the issue of the stock certificate. The piece was engraved on vellum in order to confer its durability and lend its added gravitas. This share certificate was especially engraved for holders of the inaugural shares of the Real Compañía de Comercio Establecido de Barcelona (The Royal Trading Company of Barcelona). The Company was charted in 1755 on the orders of Ferdinand VI, and was given a monopoly on trade between Catalonia and Spanish Caribbean colonies of Santa Domingo, Puerto Rico and the Isla de Margarita (Venezuela). At the beginning of the 18th Century the Spanish Crown realized that the colonial trading system, which was under heavily government control, was woefully inefficient, leading to shortages of goods in the colonies and anemic profits for the royal treasury. Granting trading monopolies to a variety of select private companies was seen as a way to rejuvenate colonial trade. Barcelona had for many centuries been one of the most important trading ports in the Mediterranean. However, in the early 18th Century its economy took a severe blow, from which it only very slowly recovered. During the War of Spanish Succession (1700-14), the Catalan nobles backed the losing side, preferring the established Habsburg Dynasty over the rival Bourbons. The victorious Spanish King, Philip V, vowed revenge on Catalonia. In 1716, he instituted the Nueva Planta Decrees, which rescinded Catalonia’s long-cherished autonomy and placed many economic restrictions on the region’s economy. This saw a marked decline in trade from the port of Barcelona and by the 1750s this factor was weighing down the entire Spanish economy. The creation of the Real Compañía de Comercio was an attempt to reestablish Barcelona’s leading role in maritime trade. Engraved by Ignacio Valls after a design by Tramullas Roig (1715-1791), prominent Catalan artists of the 18th century. He was a student and collaborator of Antoni Viladomat i Manalt (1678-1755), with whom he painted a series of frescos in the Barcelona Cathedral, that are today considered one of the highlights of the venerable church. He later specialized in drawing and painting urban life in Barcelona, and his works are considered today to be critical primary sources on contemporary Catalan urban life. His subjects were diverse, ranging from musicians to chocolatiers to opera performances. Many of his works were engraved, of which his plates for a rare book describing the elaborate funeral of the Queen Consort of Charles III, Reales exequias que a su augusta soberana Da. Maria Amalia de Saxonia (Barcelona, 1762), are especially admired by collectors. His brother Francisco Tramullas (1717-1773) was also a well-regarded painter, who specialized in religious scenes, completing important frescos in the cathedrals of Barcelona and Tarragona. References: Juan Manuel Muñoz, 'Iconografía urbana de Cataluña (siglos XVI-XVIII)', paper presented to the International Convention for the Study of [Attributes: First Edition]

      [Bookseller: HS Rare Books]
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         Veduta interna del Sepolcro di S. Costanza, fabbricato da Constantino Magno, ed erroneamente detto il Tempio di Bacco, inoggi Chiesa della medesima Santa.

      "Acquaforte e bulino, 1756, firmata in lastra . Esemplare della contemporanea tiratura romana, terzo stato di sei, con indirizzo e prezzo, stampata dall'autore nella propria tipografia di Strada Felice. Magnifica prova, impressa su carta vergata coeva con filigrana ""doppio cerchio e giglio"", con pieni margini, in perfetto stato di conservazione. Nel margine inferiore si trovano delle contemporanee scritte ad inchiostro bruno, traduzioni in lingua francese delle iscrizioni incise. Della serie Vedute di Roma. L'opera consiste in 135 lastre prodotte individualmente dal Piranesi per almeno 30 anni, da circa il 1745, fino alla data della sua morte. All'opera sono aggiunte poi 2 vedute realizzate dal figlio Francesco. Per la prima volta furono edite dall'editore Giovanni Bouchard nel 1751 (34 lastre), successivamente dallo stesso Piranesi editore a Palazzo Tomati in Roma (scritta che appare su molte tavole), fino alla stesura definitiva composta da 137 lastre. Successivamente alla morte dell'autore le lastre furono ereditate dal figlio Francesco, che ne curò la pubblicazione prima nella capitale, e successivamente a Parigi. Le lastre furono poi acquisite dalla Calcografia Camerale, oggi Calcografia Nazionale, dove sono tuttora conservate. Le opere che proponiamo fanno parte di un album nella stesura definitiva, stampato a Roma tra il 1770 ed il 1780. Una vista dell'interno della chiesa di Santa Constanza, tratta da ""Vedute di Roma"". Molto evocativo l'inconsueta forma circolare della chiesa del IV secolo. In primo piano un gruppo di uomini e donne in abito aristocratico. La chiesa di Santa Constanza è una delle più antiche di Roma, e conserva la stessa forma fin dal IV secolo dC. La sua costruzione si lega tradizionalmente all'imperatore Costantino che l'avrabbe voluta come mausoleo per la figlia Constantina. Studi più recenti, però, suggeriscono, invece, che la chiesa fu eretta per Helena, un'altra figlia di Costantino e moglie dell'imperatore Giuliano." "Etching and engraving, 1756, signed on plate. Example from the contemporary Roman Edition. A very good impression, printed on contemporary laid paper with watermark ""encircled fleur de lys"", with margins, good condition. Ink addidition at the lower white margin, trasnslation of the title made by a contemporary French hand. Taken from Vedute di Roma; the whole work consists of 135 plates which have been individually produced by Piranesi along 30 years, from 1745 circa until his death. Two more works have been subsequently added, two plates by his son Francesco. They have been printed for the first time in 1751 (34 plates) by the editor Giovanni Bouchard, afterwards by Piranesi himself, publisher in Palazzo Tomati in Rome (as it is written on m,any plates), until the final edition of 137 plates. After Piranesi's death, his son Francesco inherited the plates, editing them first in Rome and then in Paris. The Calcografia Camerale, nowadays Calcografia Nazionale, has then bought the plates which are now kept inside the building. A view of the interior of the Church of Santa Constanza, from the Vedute di Roma. The view brilliantly evokes the unusual circular layout of the 4th century church, and the foreground is populated by a number of men and women in Italian aristocratic dress. The Church of Santa Constanza is one of Rome's oldest, having stood in much the same form since the 4th century AD. Traditionally viewed as having been constructed by the emperor Constantine as a mausoleum for his daughter Constantina, more recent scholarship suggests it was likely built instead for Helena, another daughter of Constantine and wife of the Emperor Julian." Hind 37, III/VI; Focillon 811.

      [Bookseller: Libreria Antiquarius]
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         LETTERS on the most common, as well as important, Occasions in Life, by Cicero, Pliny, Voiture, Balzac, St. Evremont, Locke, Ld Lansdowne, Temple, Dryden, Garth, Pope, Gay, Sift, Rowe, and Other Writers of distinguish'd Merit; With many Original Letter and Cards, By the Editor. Who has also prefix'd, a Dissertation on the Epistolary Stile; With proper Directions for addressing Persons of Rank and Eminence. For the Use of young Gentlemen and Ladies.

      London. J. Newbery.1756. xxvi, [6], 352 pages. Original sheep expertly re-backed and repaired. 108 x 72 mm. First edition. Roscoe J266(1). A very popular work that had reached its seventh edition by 1767.However the first edition is rare.

      [Bookseller: David Miles Books]
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         REAL ACADEMIA DE BUENAS LETRAS DE LA CIUDAD DE BARCELONA; ORIGEN, PROGRESOS, Y SU PRIMERA JUNTA GENERAL, BAXO LA PROTECCION DE SU MAGESTAD, CON LOS PAPELES QUE EN ELLA ACORDARON: 8 VOL.

      - 1756-1868---1901 Francisco Suriá, BCA. Relación de los componentes e história de la Real Academia. (observaciones sobre los principios elementales de la historia. Autores impressos. de los Manuscritos. Apendice al lenguage Romano vulgar. Apendice de la Orthographia. Ilustrado.(TRAMULLASS-IGNATIUS VALLS.) lámina tipografica. 24 (h) 667 pg. TOMO 2º. Ilustr. Mapas. 404 pg. TOMO 3º, 644 pg. TOMO 4º, 647 pg. TOMO 5º, láminas. 478 pg. TOMO 6º, láminas, Judios, 578 pg. TOMO 7º, Mapas, Ilustr. 556 pg. TOMO 8º, 582 pg. 27x19 cm. Enc. en en tela posterior sin las cubiertas. Manchas de óxido. Para ver o recibir fotografías de los libros puede ir a nuestra web. (agustin de montiano, conde de perelada, ignatius valls, marqués de llió, tramullas)

      [Bookseller: Costa LLibreter]
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         HISTOIRE CRITIQUE DE LA PHILOSOPHIE ou l'on traite de son Origine, de ses Progr_s, & des diverses Revolutions qui lui font arriv_es jusqu'_ notre temps

      Francois Changuion, Amsterdam 1756 - 4 voll. in 12_, leg. in pelle, nervi, titolo e fregi in oro al dorso, tagli rossi, pp. 372, 447, 344, 337.

      [Bookseller: Invito alla Lettura]
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         Lettres à un Amériquain sur l’histoire naturelle, générale et particulière de monsieur de Buffon.

      Hambourg [Paris, Philippe-Denis Pierres?], 1751-1756, pleine basane de l'époque, dos à nerfs ornés, coiffes et coins habilement restaurés. -Petite restauration avec du papier de l'époque dans la marge inf. d'un f. du 1er vol. (p. 17 de la 9e lettre), sans atteinte du texte ; lég. mouillures marginales sur une quinzaine de ff. du 1er vol. et la moitié des ff. du 3e vol. ; cachets d'une bibliothèque religieuse sur les ff. de titre. -Malgré les défauts secondaires signalés, très bon exemplaire. - 9 parties en 3 volumes in-12 de (2)-127-(1)-50-(2)-57-(1)-66-(2)-66-(4)-31-(1)-96-69-(1) pp. (parties 1 à 3 : lettres 1 à 9); (2)-78-(2)-92-(2)-185-(1)-16-238 pp. + 2 ff. d’errata (dont 1 dépl.) (parties 4 à 6: lettres 10 à 17) et (2)-238-(2)-258-(2)-276 pp. + 3 ff. d’errata (parties 7 à 9: lettres 18 à 36) ; Les pp. 41 à 50 de la 3e lettre sont reliées au début du 1er volume, à la suite du feuillet de titre.A partir de la 6e partie, le titre porte: Suite des lettres à un Amériquain, sur les IVe et Ve volumes de l’Histoire naturelle de M. de Buffon; et sur le Traité des animaux de M. l’Abbé de Condillac.Edition originale. Très rare complète.Jacques Roger, Les sciences de la vie p. 799: 484 et 485; Jacques Roger, Buffon p. 624.Ces Lettres, inspirées sinon écrites par Réaumur, "forment la plus violente attaque dirigée contre Buffon." (Roger, Sciences de la vie p. 691). Le Père de Lignac, oratorien, était un ami intime et le collaborateur de Réaumur. L’académicien Bouguer participa également à cet ouvrage."L’objet essentiel [des premières lettres] est de montrer que Buffon "contredit la génèse en tout", ruine la religion et chasse Dieu de l’histoire naturelle." (Roger, Buffon p. 257)."Les dernières lettres, qui portent sur la génération spontanée et les expériences de Needham, sont les seules à avoir un intérêt scientifique." (Roger, Buffon p. 258). On y trouve une réfutation, sous le contrôle de Réaumur, des expériences et des idées de Needham. (cf. Daumas).

      [Bookseller: LIBRAIRIE PHILIPPE SERIGNAN]
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         Vorstellung einiger Gegenden und Plaetze in Nord-America.

      Artist: Homann Erben (d) ; issued in: Nuremberg; date: (d)1756 - - technic: Copper print; - colorit: original colored; - condition: Very good; - size (in cm): 47 x 52; - description: 3 plans on one sheet: with Halifax and Quebec; - vita of the artist: Johann Babtiste Homann (1664-1724) was born in Oberkammlach, the Electorate of Bavaria. Although educated at a Jesuit school, and preparing for an ecclesiastical career, he eventually converted to Protestantism and from 1687 worked as a civil law notary in Nuremberg. He soon turned to engraving and cartography; in 1702 he founded his own publishing house.Homann acquired renown as a leading German cartographer, and in 1715 was appointed Imperial Geographer by Emperor Charles VI. Giving such privileges to individuals was an added right that the Holy Roman Emperor enjoyed. In the same year he was also named a member of the Prussian Academy of Sciences in Berlin. Of particular significance to cartography were the imperial printing privileges (Latin: privilegia impressoria). These protected for a time the authors in all scientific fields such as printers, copper engravers, map makers and publishers. They were also very important as a recommendation for potential customers.In 1716 Homann published his masterpiece Grosser Atlas ueber die ganze Welt (Grand Atlas of all the World). Numerous maps were drawn up in cooperation with the engraver Christoph Weigel the Elder, who also published Siebmachers Wappenbuch.Homann died in Nuremberg. He was succeeded by the Homann heirs company, which was in business until 1848. The company was known as Homann Erben, Homanniani Heredes, or Heritiers de Homann abroad.

      [Bookseller: Antique Sommer& Sapunaru KG]
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         Articles de la capitulation du fort St-Philippe et isle Minorque [proposée par le lieutenant-général d'Angleterre Blaknay et accordée par le maréchal de Richelieu].

      Sans Lieu 1756 - In-4° broché sous couverture d''attente de l'époque, exemplaire tel que paru en condition exemplaire, (cf la deuxième photographie de la couverture dans le scan) 8 pages.Prise par la Royal Navy en 1708 pendant la guerre de Succession d'Espagne, Minorque devient une possession britannique. Ciutadella perd son statut de capitale de l'île, au profit de Mahón, qui abrite la base navale. Pendant la guerre de Sept Ans, l'échec britannique à briser le siège de Minorque entrepris par les Français le 20 mai 1756, entraîne une cour martiale et l'exécution de l'amiral britannique John Byng à la suite de la bataille navale de Minorque qui marqua officiellement le début de la guerre de Sept Ans. La garnison britannique devra capituler mais l'île redeviendra britannique par le traité de Paris de 1763 en échange de Belle-Île-en-Mer envahie deux ans plus tôt. Pendant la guerre d'indépendance des États-Unis, les Britanniques sont défaits une deuxième fois par des forces franco-espagnoles, qui s'emparent de l'île le 5 février 1782. [Attributes: First Edition; Soft Cover]

      [Bookseller: PRISCA]
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         uvres diverses.

      - Genève et se trouve à Paris. Pissot. 1756. 2 volumes in-12, veau marbré, dos lisses ornés, pièces de titre et de tomaison. [4] pp. ; 328 pp. - [4] pp. ; VIII pp. ; 399 pp. Il s'agit de la toute première édition collective de Rousseau à avoir connu les honneurs de la presse, et sortie, naturellement, de son vivant. Comme le précise Dufour, le fleuron typographique qui orne les pages de titre se présente sous deux formes différentes selon les volumes.Les oeuvres réunies sont encore peu nombreuses ; on trouvera : le Discours couronné à Dijon, les Observations sur la réponse faite à ce discours, la Lettre à M. Grimm sur la réfutation du Discours par Gautier, Narcisse ; la Lettre sur la musique françoise, le Devin du village et surtout le Discours sur l'origine et les fondemens de l'inégalité parmi les hommes.Dufour II, 367. 7065 FTP

      [Bookseller: Librairie Pierre PREVOST]
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         A View of London as it was in the Year 1647.

      1756 - London: Boydell, 1756. Coloured. 300 x 950mm. A magnificent view of pre-fire London, taken from the roof of St Mary Overy and based on that of Wenceslas Hollar. John Boydell (1720-1804), was a publisher who helped alter the trade imbalance between Britain and France in engravings and initiated a British tradition of engraving. Boydell also found time to be alderman of Cheap Ward in 1782, master of the Stationers' Company in 1783, sheriff of London in 1785, and eventually Lord Mayor of London in 1790.

      [Bookseller: Altea Antique Maps]
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        Manuscript Copy]: Gottlieb Mittelbergers Reise nach Pennsylvanien im Jahr 1750 und Ruckreise nach Deutschland im Jahr 1754 [Gottlieb Mittelberger's Journey to Pennsylvania in the year 1750 and return to Germany in the year 1754]

      Gedrukt bey Gottlieb Friderich Jenisch, [Stuttgart 1756 - Octavo. pp. [1-5] 6-239. Bound in 19th century half morocco and marbled paper over boards. A probably later manuscript copy of Mittelberger's Reise nach Pennsylvanien: the manuscript appears to have been reproduced in collotype (circa 1875). In German. Ex-library copy with small number stamp at the bottom of the title page and small blind-embossed name stamp on a few scattered pages. The leather spine back is detached (laid-in), both joints are split (with the boards still holding at the stitches), wear to the board edges, else very good. A beautifully written copy. This now classic work was translated into English by Theodor Eben in 1898.

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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