Linear Pespective: or, a new method of representing justly all manner of objects as they appear to the eye in all situations. Work necessary for painters, architects, &c. Londres, R. Knaplock, 1715. In-8 (198 x 119 mm) de 2 ff.n.ch., 42 pp., 1 f.n.ch. (catalogue de libraire), grande vignette gravée au début du texte, 18 planches gravées. [Relié avec:] IDEM. New Principles of linear perspective: or the art of designing on a plane the representations of all sorts of objects. Londres, R. Knaplock, 1719. In-8 de XIV, 70 pp., 13 planches gravées ornées de 25 figures; veau brun, double filet doré en encadrement des plats, tranches mouchetées (reliure anglaise de l'époque). Voir Millard, British, 35 (note dans l'article sur Kirby) et 43 (note sur Malton); Vitry, 787. Éditions originales. L'un des premiers ouvrages anglais sur la perspective. Grand succès en librairie il fut réédité trois fois et traduit en plusieurs langues. “Brook Taylor (1695-1731) was a brilliant mathematician whose principal achievements were the development of the calculus of finite differences and the basic principle of differential calculus (now called Taylor's theorem). Even fellow mathematicians found his writings obscure, however, and although he was an accomplished artist himself, his treatise on perspective was little noticed when first published as Linear Perspective... It contained the first general treatment of the principle of vanishing points... it was characterized by an empirical approach to perspective drawing, with basic mechanical rules, but with a clear recognition that objects were not always seen in accord with mathematical rules and that these might be adjusted or dispensed with on occasion to allow things to be represented as they were seen in the experience” (Millard). “Like all of Taylor's writing, his book on linear perspective was so concise, that Bernoulli characterized it as “abstruse to all and unintelligible to artists for whom it was especially written'... Its effect, nevertheless, was very substantial, since it passed through four editions, three translations, and twelve authors who prepared twenty-two editions of extended expositions based on Taylor's concepts. He developed his theory of perspective in a formal and rigorous fashion in a sequence of theorems and proofs” (DSB, XIII, 266-267). Les errata du premier ouvrage ont été collées sur la dernière page. Reliure usée, coins émoussés, dos refait. First editions of two of Taylor's writing including his most successful work on perspective being the first book on the principle of vanishing points. [On joint:] FERGUSON, James. The Art of Drawing in Perspective made easy to those who have no Previous Knowledge of the Mathematics. Londres, W. Strahan & T. Cadell, 1775. In-8 (206 x 124 mm) de XII, 123 pp., 9 planches gravées dépliantes; basane brune, roulette dorée encadrant les plats, dos à nerfs, tranches mouchetées (reliure anglaise de l' époque). Vagnetti, EIVb60; Vitry, 384. Édition originale. Provenance: H.M. Howson (nom poussé sur le plat supérieur). Reliure frottée et terne, coins et dos anciennement restaurés.
Linear Pespective: or, a new method of representing justly all manner of objects as they appear to the eye in all situations. Work necessary for painters, architects, &c. Londres, R. Knaplock, 1715. In-8 (198 x 119 mm) de 2 ff.n.ch., 42 pp., 1 f.n.ch. (catalogue de libraire), grande vignette gravée au début du texte, 18 planches gravées. [Relié avec:] IDEM. New Principles of linear perspective: or the art of designing on a plane the representations of all sorts of objects. Londres, R. Knaplock, 1719. In-8 de XIV, 70 pp., 13 planches gravées ornées de 25 figures; veau brun, double filet doré en encadrement des plats, tranches mouchetées (reliure anglaise de l'époque). Voir Millard, British, 35 (note dans l'article sur Kirby) et 43 (note sur Malton); Vitry, 787. Éditions originales. L'un des premiers ouvrages anglais sur la perspective. Grand succès en librairie il fut réédité trois fois et traduit en plusieurs langues. “Brook Taylor (1695-1731) was a brilliant mathematician whose principal achievements were the development of the calculus of finite differences and the basic principle of differential calculus (now called Taylor's theorem). Even fellow mathematicians found his writings obscure, however, and although he was an accomplished artist himself, his treatise on perspective was little noticed when first published as Linear Perspective... It contained the first general treatment of the principle of vanishing points... it was characterized by an empirical approach to perspective drawing, with basic mechanical rules, but with a clear recognition that objects were not always seen in accord with mathematical rules and that these might be adjusted or dispensed with on occasion to allow things to be represented as they were seen in the experience” (Millard). “Like all of Taylor's writing, his book on linear perspective was so concise, that Bernoulli characterized it as “abstruse to all and unintelligible to artists for whom it was especially written'... Its effect, nevertheless, was very substantial, since it passed through four editions, three translations, and twelve authors who prepared twenty-two editions of extended expositions based on Taylor's concepts. He developed his theory of perspective in a formal and rigorous fashion in a sequence of theorems and proofs” (DSB, XIII, 266-267). Les errata du premier ouvrage ont été collées sur la dernière page. Reliure usée, coins émoussés, dos refait. First editions of two of Taylor's writing including his most successful work on perspective being the first book on the principle of vanishing points. [On joint:] FERGUSON, James. The Art of Drawing in Perspective made easy to those who have no Previous Knowledge of the Mathematics. Londres, W. Strahan & T. Cadell, 1775. In-8 (206 x 124 mm) de XII, 123 pp., 9 planches gravées dépliantes; basane brune, roulette dorée encadrant les plats, dos à nerfs, tranches mouchetées (reliure anglaise de l' époque). Vagnetti, EIVb60; Vitry, 384. Édition originale. Provenance: H.M. Howson (nom poussé sur le plat supérieur). Reliure frottée et terne, coins et dos anciennement restaurés.
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