Albrecht, Ignaz (1759-1796):Livre Rare Book
539 résultats
1796644DGWien, ca. 1796. Kolorierte Kupferstichkarte. Plattengrösse: 24 x 31 cm.
17803163circa 1780 (le titre indique première partie mais l’ouvrage est cependant complet ainsi, il n’y a jamais eu de suite) (2bl), frontispice dépliant " L'Abrégé du faux clergé romain » d'après Romeyn de Hooghe titres, (2ff) ; 20 pp (préface), 111 pp, 50 planches hors texte, gravées cuivres d’après Cornelis Dusart. In-4, reliure en plein veau blond, dos plat orné de fleurons, pièce de titre en maroquin rouge « les désordres de monachisme », filets d’encadrements à l’extérieur et à l’intérieur des plats, tranches rougies, ; reliure début XIXe. Ouvrage large de marge, frais de l’intérieur. Mors supérieur restauré.
17581046998Barby, Seminarium Theologicum 1758. Titel, (8), 141, (13) Seiten. Mit einigen Kopfstücken und Textvignetten in Holzschnitt. 8° (18x 11 cm). Brauner Halblederband der Zeit mit Lederecken und Kleisterpapierbezügen.
17591047214London und Barby, Seminarium Theologicum 1759. Titel in schwarz/rotem Druck, (10), 318, (24) Seiten. Mit einigen Kopfstücken, Vignetten und Initialen in Holzschnitt. 8° (18 x 11 cm). Brauner Lederband der Zeit auf fünf Bünden mit kleinen goldgeprägten Rosetten und Fileten auf dem Rücken, blindgeprägtem Filetenrahmen auf den Decken und rot gefärbtem Schnitt.
17471046539Ohne Ort [Büdingen?], Brüder-Gemeinen ohne Jahr [1747]. Titel, (14), 454, (2) Seiten. 8° (17,5 x 10,5 cm). Gesprenkelter brauner Lederband der Zeit mit dekorativer, kassettenförmiger Rokoko-Vergoldung und zwei farbigen, goldgeprägten Titelschildern auf dem Rücken, Stehkantenvergoldung, Vorsätzen aus Kamm-Marmorpapier und blau gefärbtem Schnitt.
17221045261[Salzburg, Mayr 1722]. (28), 436 Seiten, 38 Seiten Index. Mit einigen Vignetten und Kopfstücken in Holzschnitt. 2° (33,5 x 22,5 cm). Schöner Pergamentband der Zeit mit durchgezogenen Bünden, spanischen Deckelkanten, handschriftlichem Rückentitel und rot gefärbten Schnitten.
17713835<p>Three engravings by Paul Revere are certainly the most distinctive feature of this Boston almanac for 1772 namely:</p><p>Miss Emma Leach a dwarf born in Beverley Massachusetts on front cover.</p><p>The Patriotic American Farmer John Dickinson.</p><p>Mrs. Catharine M'Caulay.</p><p>Almanac making in colonial America was a rather unscrupulous affair at times. The notion of copyright was unknown among publishers. Indeed almanac piracy or perhaps liberal borrowing was the accepted industry practice.</p><p>The present almanac offers an excellent example of heavy borrowing. The Boston Ames <em>Almanack </em>for 1772 was published in two versions: one by Ezekiel Russell and the other a pirated version by an unnamed printer/publisher. The text and images of the two are very similar although the cuts of the three subjects differ very slightly between the two almanacs. Paul Revere's daybook for December 1771 identifies <strong>two</strong> purchasers of plates for a 1772 Ames almanac Ezekiel Russell and Edes & Gill. Within a matter of a week it's apparent that Revere produced two sets of plates of the same subjects for competing almanacs.</p><p>In an advertisement for Russell's version of the Ames almanac he "hopes that the publick with their usual impartiality will give him preference in buying of his Ames' genuine almanac before any pirated edition." Revere's contributions were in both the original and this pirated edition of the almanac.</p><p><strong>References: </strong> Evans: 11961; Drake <em>Almanacs of the U.S</em>.: 3205; Brigham <em>Paul Revere's Engravings</em>: pp. 202-203; Hamilton <em>Early American Book Illustrators and Wood Engravers</em>: 56; O'Neal <em>Early American Almanacs</em>: 115 mistakenly citing Russell as publisher.</p><p><strong>Condition:</strong> Disbound; leaves are separated with a later paper reinforcement in the gutter of two leaves. Chipping to lower corners of two leaves. Scattered mostly light staining and a few spots of foxing. Good.</p><p>ICN 7815.</p> [Printed by T. & J. Fleet and Edes & Gill. Price 2s. 8d. per dozen, and six coppers single. ]
174028414Germany 1740. Good overall. 3 German copper plate engravings of glass blowing with German text. B&w approx. 6 x 4" toned mat burn where previously framed. unknown
179723396Edinburgh: A. Bell and C. Macfarquhar 1797. Third Edtion. Fine condition. Unopened extract from the original 1797 volume of the renowned encyclopedia consisting of 54 pages pp195-248 on guns and gun making with two copper engraved plates. The wonderful engraved images of cannon includes a row of cannon ranging in size from a 33 pounder down to a 12 powder with a cut away view of the interior.<br /> <br /> The gunnery text includes 3 sections on the history of gunnery the theory of gunnery and the practice includes tables of comparative velocity and ranges; lengths and weights of Iron ship guns. The gunpowder section includes information on making gunpowder of different kinds; the gunsmithing section describes the forging methods utilized in different weapons. Text printed in 2 columns the extract very bright and fresh. A. Bell and C. Macfarquhar unknown
1750A163Paris, s.e., s.d. (vers 1750) ; 250/325 mm, 1 pp., une feuille. Carte provenant certainement d'un livre de voyage du XVIIIème siècle. Bon état.
1750A158Paris, s.e., s.d. (vers 1750) ; 255/195 mm, 1 pp., une feuille. Planche venant certainement d'un livre ancien de voyage. Bon état.
1750A157Paris, s.e., s.d. (vers 1750) ; 255/195 mm, 1 pp., une feuille. Planche provenant apparement d'un livre de voyage du 18ème siècle. Bon état.
1780A1819S.l., s.e., s.d. (vers 1780) ; 120/225 mm, 1 pp., une feuille. Gravure issue d'une suite de Jacques Callot représentant la passion. Bon état.
1750A164Paris, s.e., s.d. (vers 1750) ; 165/175 mm, 1 pp., une feuille. Planche provenant très certainement d'un livre de voyage du XVIIIème siècle. Bon état.
1750A1825S.l., s.e., s.d. (vers 1750) ; 120/225 mm, 1 pp., une feuille. Gravure issue d'une suite de Jacques Callot représentant la passion. Bon état.
1750A1823S.l., s.e., s.d. (vers 1750) ; 120/225 mm, 1 pp., une feuille. Gravure issue d'une suite de Jacques Callot représentant la passion. Bon état.
1750A1821S.l., s.e., s.d. (vers 1750) ; 120/225 mm, 1 pp., une feuille. Gravure issue d'une suite de Jacques Callot représentant la passion. Bon état.
1750A1820S.l., s.e., s.d. (vers 1750) ; 120/225 mm, 1 pp., une feuille. Gravure issue d'une suite de Jacques Callot représentant la passion. Bon état.
1792A66Amsterdam, Langeveld, 1792 ; 380/540 mm, 1 pp., une feuille. Gravure hollandaise ancienne. Bon état.
1750A159Paris, s.e., s.d. (vers 1750) ; 255/195 mm, 1 pp., une feuille. Planche qui provient vraisemblablement d'un livre de voyage du XVIIIème siècle. Bon état.
1750A160Paris, s.e., s.d. (vers 1750) ; 255/195 mm, 1 pp., une feuille. Plan provenant certainement d'un livre de voyage du XVIIIème siècle. Bon état.
1750A170Paris, s.e., s.d. (vers 1750) ; 220/160 mm, 1 pp., une feuille. Planche provenant certainement d'un livre de voyage du XVIIIème siècle. Bon état.
1750A172Paris, s.e., s.d. (vers 1750) ; 165/175 mm, 1 pp., une feuille. Vue provenant certainement d'un ouvrage de voyage du XVIIIème siècle. Bon état.
176119561761 Couverture rigide A Minutie [Édition clandestine], 1761. Un volume in-12 (17 x 10 cm), plein veau marbré de l'époque, dos à nerfs orné de caissons à fleurons dorés, pièce de titre en maroquin bordeaux, filet doré sur les coupes, encadrement d'un triple filet doré sur les plats, tranches rouges, quelques épidermures, reliure baillant légèrement. Feuillet de titre (sans vignette), frontispice, 12 pages non chiffrées (épître), 161 pages, manque de papier au feuillet 155-156 sans atteinte au texte. Illustré d'un frontispice et de 9 gravures hors-texte réduites d'après les compositions originales de François Boucher. Texte en français. Charmante et intéressante contrefaçon d'époque de ce célèbre conte parodique et féerique, reprenant l'adresse fictive « A Minutie » créée lors de l'édition princeps de 1744. L'histoire de la création d'Acajou et Zirphile est fameuse : le comte de Tessin avait fait graver par François Boucher dix estampes pour un conte tiré à très petit nombre (Faunillane). À la demande des membres de la société du Luxembourg, Duclos accepta le défi de composer une histoire entièrement nouvelle devant s'adapter au sujet des gravures déjà existantes. Ancienne signature manuscrite sur la garde ("Antoinette Morin-Pons") et attribution manuscrite d'époque erronée au crayon ("Crébillon fils") sur la page de titre. Intérieur frais et bel état des planches, bon exemplaire.
1800ABC_49334Antwerp 1800. 16mo ca. 13 x 9.5 cm. Johannes Carolus Craen or his son-in-law Hendrik Leys Early 19th-century gold-tooled red sheepskin with a general title in Dutch lettered in gold on the spine gold-tooled board edges marbled endpapers gilt edges. 351 devotional engravings including 8 repeats printed on wove paper engraved by several 17th-century engravers printed from the original copper plates at the end of the 18th- or beginning of the 19th century. 351 ll. Intriguing and extensive collection of 351 devotional prints comprising ca. 16 print series and several separate engraved title pages of print series and some separate devotional prints. Each print shows a small engraving depicting a religious theme for almost every occasion and especially for the important days of the liturgical year. These prints were engraved and published in Antwerp which is considered to be the centre of production and publishing of devotional prints in the 17th- and 18th centuries. The majority of these praying cards were originally published by Franciscus Huberti or Frans Huybrechts 1630-1687 who seems to have been the first engraver and publisher to produce these types of works in Antwerp. He was mostly known for publishing so-called "gerijmde gebedsprentjes" rhymed devotional prints/prayer cards. After his death his plates were sold and used by others to republish the prints for example by Michiel Bunel 1670-1739 and later by Carolus Craen 1733-1799. Craen's plates were next used by Hendrik Leys d. 1853 not to be confused with the Antwerp painter Henri Leys. In 1805 Leys had married Craen's daughter and took over the publishing and printing business of his mother-in-law immediately after. He mostly continued publishing prints using older copperplates that were already part of the business since his father-in-law ran it and was one of the last printer-publishers to use copperplates in a time when lithography became more and more popular. At the end of his life Leys owned approximately 12000 usable copperplates made or sold by a whole host of 17th- and 18th-century engravers and/or publishers of devotional prints such as the Wierix-Barbé family Huberti Galle Van der Sande Bunel and the Van Merlen family. Cornelis van Merlen 1654-1723 was a publisher and engraver active in Antwerp. The Van Merlen family were important engravers and publishers of devotional engravings in Antwerp during the 17th- and 18th centuries. In 1687 he married Sara Maria Huybrechts who was the daughter of publisher and engraver Gaspar Huberti and Sara Voet and niece of the Antwerp engraver Franciscus Huberti 1630-1687 whose engravings make up the majority of the present work. The majority of the present work is most likely made up of Craen's or Leys' prints of the plates by Huberti Jacobus de Man Anton Wierix the Van Merlen family of engravers and others.A complete list of contents is available upon request.With a manuscript owner's inscription on the verso of the first flyleaf "Mimi Josephine Cogels 1822" a manuscript inscription on the recto of the second flyleaf "le 1er Avril 1822 1831" and some faint pencil annotations on the verso of the second to last flyleaf and the recto of the final flyleaf. The binding shows some slight rubbing the front joint is slightly weakened without any loss lacking the fore edge margin of the engraving of S. Gregorius no. 351 not affecting the engraving possibly lacking the 352nd engraving only a stub of paper remains possibly lacking the engraving of S. Ioannes Neponucenus by C. van Merlen a few leaves show minor marginal tears not affecting the engravings and with a brown stain on the final two flyleaves. Otherwise in very good condition.l Thijs A.K.L. Antwerpen: internationaal uitgeverscentrum van devotieprenten 17e - 18e eeuw Leuven 1993; Miscellanea Neerlandica 7 passim; cf. for the publishers see: https://archief.museumplantinmoretus.be/doc/au::108950 Huberti; https://archief.museumplantinmoretus.be/doc/au::109845:1 Craen; https://archief.museumplantinmoretus.be/doc/au::109887 Leys. unknown
