Search Results: art from John Price Antiquarian Books

London: Printed for J. Johnson..., 1779. 12mo, pp. iv, 92, folding engraved frontispiece, original marbled paper wrappers; fragile, with front cover and first four leaves detached, corners a bit crushed. The noted inventor James Ferguson (1710 - 1776) published The Art of Drawing in Perspective in 1775, but this is a different book. First published in 1755, it was republished several times, with some editions being much shorter. ESTC T153184 locates two copies only: BL and Harvard; all editions are uncommon.

London: Printed W. Strahan; and T. Cadell..., 1778. Tall 8vo, 219 x 126 mms., pp. xii, 123 [124 adverts], nine folding engraved plates, contemporary calf, black leather label (chipped); rear joint cracked (but firm), top and base of spine chipped, corners worn, spine a little dried. The inventor and lecturer James Ferguson (1710 - 1776) displayed an early interest in mechanical engineering by watching his father use a lever to raise a dilapidated cottage roof. He began making clocks and other mechanical objects in his teens. He published a book on the orrery in 1746, but the book that made his reputation and his fortune was Astronomy Explained upon Sir Isaac Newton's Principles and Made Easy for Those Who Have Not Studied Mathematics (1756). This was his last major publication, first published in 1775. Quoting large chunks of the work, the reviewer for The Critical Review in 1775 concluded, "The whole is delivered in that style of plainness and simplicity which cannot fail of… Read More

London: Printed by G. Scott, For R. Blamire...Sold by B. Law..., 1781. 8vo, 179 x 117 mmx., pp. xiv [xv Contents, xvi blank], 244 [245 - 256 Index], contemporary calf, rebacked, red morocco label. With a handrawn bookplate dated 1789 and the name Matthew Asken below the word "Liberté" with a French shield above, on the front paste-down end-paper; and the bookplate of Mary Boshell on the recto of the front free end-paper. Gilpin (1724 - 1804) published this anonymously in 1768, and it was an immediate success. He revealed himself as the author in this third edition.

London: Printed by Joseph Cooper [1793 - 96]; Cooper and Graham [1797]; J. Cooper [1798 - 1799]; B M'Millan [1800 - 1807], 1793 - 1807. 4to, 247 x 187 mms., catalogues for 15 consecutive years, pp. 24 [25 - 32 list of exhibitors]; 22 [23 - 33 list of exhibitors, 34 blank]; 20 [21 - 26 list of exhibitors]; 23 [24 - 28 list of exhibitors]; 31 [32 - 38 list of exhibitors]; 35 [36 Members, 37 - 43 list of exhibitors, 44 blank]; 39 [40 Members, 41 - 47 list of exhibitors, 48 blank]; 40 [41 Members, 42 - 47 list of exhibitors, 48 blank]; 37 [38 Members, 39 - 45 list of exhibitors, 46 blank]; 41 [42 Members, 43 - 50 list of exhibitors]; 40 [41 Members, 42 - 48 list of exhibitors]; 41 [42 Members, 43 - 49 list of exhibitors, 50 blank]; 36 [37 Members, 38 - 44 list of exhibitors]; 35 [36 Members, 37 - 44 list of exhibitors]; 43 [44 Members 45 - 52 list of exhibitors], with contemporary annotations identifying sitters or places in years 1794, 1795, and 1796, a few other contemporary… Read More

Edinburgh; Printed for Archibald Constable and Co. Edinburgh; and Hurst, Robinson and Co. London. 1822. 8vo, 210 x 130 mms., pp. [ii] [3] - 513 [514 blank], engraved title-page, contemporary calf, recently rebacked in lighter calf, black morocco label, all edges gilt, with a recent erotic/naughty fore-edge painting by Martin Frost of monks indulging in rather unliturgical activity. One volume of an 1822 reprint; the text begins with chapter 11 ("Two or three years glided on..." and finishes with the conclusion. Sold as an odd volume for the fore-edge painting.

Roma Presso La Santa Sede, Ec...., 1830. Large 4to, 283 x 207 mms., pp. vii [viii blank, ix floor plan, x - xi blank, xii lline-engraved ilkustration, 73 [74 imprints], 24 full-page line engravings, contemporary vellum (soiled), printed on thick paper, a very good copy with the bookplate of Samuel Gurney on the front paste-down end-paper. The engravings here came from the workshop of Raffaello Sanzio da Urbino (1483 - 1520), known generally as Raffaello and reproduce the plan and all wall-paintings from the Sala di Costantino, painted by his workshop between 1520 and 1524.

A Amsterdam Chez J. Wetstein & G. Smith.... A Rotterdam, Chez Jean Hofhout, 1734. Large 4to, 282 x 218 mms., pp. [ii], x, xxvii [xxviii printer's ornament], 424, inclujding the suppressed "Ode" on pages 419 to 424 title-page in red and black with engraved vignette, engraved frontispiece by Picart after Folkéma, engraved portrait of Fenelon before first page of text, spectacularly illustrated with 25 full-page engraved plates, 24 engraved head-pieces by Bernaerts, Folkéma, V. Gunst and Surugue after Debrie, Dubourg and Picart, 22 engraved tail-pieces by Duflos and Schenk after Debrie and Dubourg, sumptuously bound in 19th century hard-grain red morocco, three gilt rules as borders on each cover, spine richly gilt in compartments, all edges gilt; some very slight wear to extremities of binding, but really a fine copy. The first Dutch editon of the Adventures of Telemachus was published in 1699. It was partially translated into English in 1699, and Tobias Smollett… Read More

London: Printed for Vernor, Hood, and Sharpe..., 1807. FIRST EDITION. 8vo, pp. [ii], viii, 238 [239 "Directions for Placing the Plates," 240 advert], engraved portrait frontispiece, engraved and printed title-pages, 6 engraved plates (only 3 are called for in "Directions for...Plates"), contemporary half plum morocco, red leather label, marbled boards (rubbed); front cover detached, rear joint rubbed, ex-library, with library bookplate (Art Association of Montreal: William John and Agnes Learmont Bequest) on front paste-down end-paper There are plates, "From an original drawing in the possession of Robt. Wedd Esqr.," opposite pages 193, 198, and 200 not called for in the list of plates, which mentions only those opposite pages 192 [sic, for 191], 196, and 212 (these also from Wedd).

A Zuric chez l'Auteur, 1777. FIRST EDITION. 2 volumes. Large 4to, 257 x 195 mms., pp. [xvi], 184; [3], 4 - 190, engraved title-page in each volume, separate engraved title-page in volume 1 for Contes Moraux, list of subscribers in volume 1, 10 full-page engraved plates in each volume, engraved head- and tail-pieces (39 in all) for each tale or section, early 19th century half calf, spotted boards (a little worn). A fine set, with very fresh impressions of the (often erotic) plates. The Swiss painter Salomon Gessner (1730-1788) began life as an apprentice to a bookseller in Berlin, seeming to follow in the footsteps of his father, a bookseller, printer, and publisher. This is certainly one of the most attractive editions of Gessner's works, even in a French translation. Gessner was responsible for choosing the illustrations, and the erotic overtones of many of the engravings perhaps enjoyed a more robust reception in this French translation. Copac locates a copy at the NLS in these… Read More

[No place] [No Publisher] [c. 1825]. 231 x 147 mms., 31 full-page engraved plates (including the foxed first leaf functioning as title-page), 2 folding engraved plates, bound in early 19th century quarter roan, with "Lanier's Drawing Book 1656" tooled in gilt on spine, plain boards; first plate, with title foxed; many plates marked with "L" in corner area of plate, others arked with "V". This rare volume is comprised of engravings of the drawings of Parmigianino (Girolamo Francesco Maria Mazzola), Giulio Romano, Lodovico Carracci and others. The engravings were made by Nicholas Lanier (1588-1666), who was an eminent art collector and musician in seventeenth-century England. The art historian Jeremy Wood translates the Italian title of the work, Proue prime fatti a l'aqua forte da N: Lanier a l'eta sua giouenile di sessanta otto Anni 1656, into English as "First proofs made in etching" by Nicholas Lanier "at his youthful age of… Read More

London: George Bell & Sons, 1897. FIRST EDITION. Large 4to (295 x 215 mms.), pp. xv [xvi blank], 150 [151 printer's imprint, 152 blank], photogravure frontispiece in sepia, 5 other photogravure plates in sepia, 52 full-page illustrations, original gilt-decorated cloth; corners worn, spine a little faded, but a very good copy.

London: Printed by H. Woodfall, Jun. For J. Nourse...and P. Viallant..., 1744. FIRST EDITION. 8vo, 197 x 115 mms., pp. [iv,], 357 [358 blank], contemporary lightly speckled calf, gilt border on cover, raised bands between gilt rules on spine; front joint cracked, corners slightly worn, but a good copy, with the bookplate of Ian Richard Monins on the front pste-down end-paper. Harris (1709 - 1780) inherited a sum when his father died in 1731 that allowed him to pursue his aesthetic and philosophical interests, and this was his first major publication. The first two treatises are perhaps more interesting, or at least useful, for historians of aesthetics in the 18th century. However, the longest of the three treatises is the one on happiness, and it is perhaps no coincidence that there are echoes of Tomas Nettleton's Treatise on Virtue and Happiness published in 1742. Boswell records Johnson as having described Harris as a "prig, and a bad prig," but Boswell himself read the present… Read More

London: S. and J. Fuller, 1825. Oblong folio, 262 x 213 mms., pp. 15 [16 blank], engraved coloured frontispiece and 12 other coloured plates at end of volume, 39 uncoloured plates, 12 aquatint plates, contemporary half roan, marbled boards (very worn), leather label on front cover; previous bookseller's note stating "Replacement title/ Lacking one Plate," plates a bit soiled and foxed at extremities, front hinge broken with cover just holding on, a fair copy only, but he colour plates are fine. The artist and landscape painter David Cox (1783 - 1859) produced a number of manuals to teach drawing, so many in fact, that Stephen Wildman in his ODNB article on Cox affirms that the books were so influential that "they had the unforeseen consequence of training a whole generation of amateurs to imitate his style." His reputation had its ups and downs, but he was often compared to Constable and Turner. In the late 1850s there were several exhibitions of his works, leading the… Read More

Undated, but circa 1900. The painting measures 340 x 260 mms., the frame, 462 x 378. The painting was restored in May, 2011, by Julia Nagle, who records her work as follows: It was surface cleaned and the bottom edge was re attached using BEVA 371 heat seal adhesive and a warm spatula. The painting was then given a brush coat of MS2A cyclohexanone resin varnish. Losses were filled and then retouched with gouache base coats, followed by glazes of pure ground pigment in MS2A resin. The painting was given a final spray coat of MS2A resin varnish and photographed after treatment. It was refitted into its frame using brass strips. Losses on the frame were retouched with gouache, with the exception of small chip on the top of the frame.