Vitruvius Scoticus Being Collection Plans by Adam William (8 results)

LeatherBound. Condition: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 210. A perfect gift for your loved ones. Reprinted from 1810 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Volume 1 Language: English Pages: 210 Volume 1.

LeatherBound. Condition: NEW. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 208. A perfect gift for your loved ones. Reprinted from 1810 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Volume 2 Language: English Pages: 208 Volume 2.

Large folio. (550 x 384 mm). Printed title, two leaves with 'List of the Plans, &c.' in double columns listing 160 plates and 180 engraved plates numbered 1 - 160, including the unnumbered plates 71 and 148 and 20 'bis' plates with duplicate numbers, 20 double-page and one large folding plate on two sheets; plates mounted on paper tabs (from sheets of the same work?) throughout, the title and text leaves on wove paper with the watermark '1809', the plates on laid paper with the watermark 'LLAR' and a fleur-de-lys countermark and others as per RIBA, the sheets retaining deckle edges throughout. Sheet size: c. 534 x 356 mm; double-page plates: c. 534 x 712 mm; title and text: 518 x 358 mm. Contemporary calf-backed marbled paper boards, later protective box. An excellent unsophisticated copy of the notoriously rare Vitruvius Scoticus. What was to become William Adam's (1689 - 1748) magisterially-intentioned yet still mysterious Vitruvius Scoticus was first mentioned in a letter in 1726 and by late 1727 Adam was issuing subscription receipts for a book of 'My Designs for Buildings &c. in 150 Plates'. Initially proposed as a book in the manner of James Gibbs' 'Book of Architecture' ('the first book in England to be devoted entirely to the designs of a living architect'), Adam intended clearly to rival Gibbs, to publicise his own work and to seek promotion and patronage from the new King, George II. By 1733, Adam had found an Edinburgh-based engraver suitable for the task (and one who may have shouldered some of the cost) in Richard Cooper, a student of John 'Friar' Pine and 'an acknowledged teacher and connoisseur of the fine arts'. Indeed, it may have been Cooper who was the first to suggest a generalisation of the work and the assumption of a distinct Scottish character with the new title Vitruvius Scoticus. Cooper worked solely from the limited resource of Adam's own designs and under the stricture that there would be no theoretical work in the publication and was therefore limited and slow in what he was able to achieve. It is clear that Cooper's engravings were finished by the early 1740s but the reasons the work was then abandoned - not for the last time - are rather less so. It has been suggested that William Adam hesitated to publish for a number of reasons: financial pressure and the inherent costs of paper, printing and publication; the curtailment of opportunities for promotion and patronage; a conflict of copyright; the 1745 Jacobite rising; Adam's advancing age; and, finally, the possibility of unflattering comparisons to Colen Campbell's Vitruvius Britannicus. At William's death in 1748, his son John revised the project, adding additional plates (including several taken from designs by his brothers Robert and James) and it seemed, at least briefly, that the book would finally appear. At the time of the crash of the Fairholme brothers' bank in 1764 all was in readiness but the added financial burden on all of the brothers led John to sell the publishing rights to the London-based Andrew Millar and his partner Thomas Cadell; they issued subscription proposals in 1766. The agreement between John and the Londoners stipulated that of the existing sheets, adequate for 950 copies, they would require material for 750 and would allow the remainder to be retained by John for the existing subscribers. No copies were issued - it has been suggested that the reason was related to copyright although Robert and James Adam's opposition to a family association with 'outmoded taste' has been offered as more compelling - and on Millar's retirement in 1767 the sheets were in storage where they remained for 40 years. In 1804, Thomas Cadell's son wrote to John Adam's son (another William) that he was no longer able to store the sheets but that a scrap-paper merchant had offered £100 for them. Cadell's advice was to accept and it has been assumed subsequently that William did not: a story likely to be apocryphal states that the unused sheets were returned to Edinburgh and stored in a garret at the Royal Infirmary. It seems rather likelier that William did accept the £100 for the paper and his ongoing negotiations to have Vitruvius Scoticus published in 1808 - 1810 involved only those sheets that remained in Scotland. That the eventual publisher, Adam Black, issued only 120 copies - a very small run for a book of more than limited appeal - supports very strongly the idea that the remaining sheets were pulped, an idea that the present copy, with the plates mounted on paper guards composed of sections of those same plates, corroborates. The final word on the mystery, and indeed, on the publication, belongs to Eileen Harris: 'It is ironical that to be commercially viable Vitruvius Scoticus, clearly the grandest of any architectural book published in Scotland, had to be sold in the end as a remainder ? '. 'A resounding silence greeted Adam Black's announcement in the 'Edinburgh Weekly Chronicle' on 29 May 1811 that 'Vitruvius Scoticus' was 'this day . completed in fifteen numbers'. Not only was William Adam's book [Vitruvius Scoticus] a century too late to have the bearing on Scottish architecture that its title promised; but, with no preface, explanatory text, or date of publication, it was silent also about itself, about the intentions of its author and, above all, about its complicatred past.' (Eileen Harris). 'The best and most jinxed of all the great 18th century British architectural books, William Adam's Vitruvius Scoticus was three times abandoned by successive generations of the Adam family before, finally in 1811, a young Edinburgh bookseller named Adam Black . published an edition of 'only 120 complete sets' hastily assembled from sheets printed nearly 50 years before . Ill-planned and muddled as the book was from its inception, it was a sad irony that Vitruvius Scoticus should end up as an obscure bookseller's remainder, totally unremarked upon at the time, and only quite recently recognised as.

First edition, folio (55 x 38.4 cm.), Printed title, two leaves with 'List of the Plans, &c.' in double columns listing 160 plates and 180 engraved plates numbered 1 - 160, including the unnumbered plates 71 and 148 and 20 'bis' plates with duplicate numbers, 20 double-page and one large folding plate on two sheets; plates mounted on paper tabs (from sheets of the same work?) throughout, the title and text leaves on wove paper with the watermark '1809', the plates on laid paper with the watermark 'LLAR' and a fleur-de-lys countermark and others as per RIBA, the sheets retaining deckle edges throughout. Sheet size: c. 53.4 x 35.6 cm; double-page plates: c. 53.4 x 71.2 cm; title and text: 51.8 x 35.8 cm. Contemporary calf-backed marbled paper boards, later protective box. A beautiful unsophisticated copy of the notoriously rare Vitruvius Scoticus, the paramount source for the history of classical architecture in Scotland. What was to become William Adam's (1689 - 1748) magisterially-intentioned yet still mysterious Vitruvius Scoticus was first mentioned in a letter in 1726 and by late 1727 Adam was issuing subscription receipts for a book of 'My Designs for Buildings &c. in 150 Plates'. Initially proposed as a book in the manner of James Gibbs' Book of Architecture ('the first book in England to be devoted entirely to the designs of a living architect'), Adam intended clearly to rival Gibbs, to publicise his own work and to seek promotion and patronage from the new King, George II. By 1733, Adam had found an Edinburgh-based engraver suitable for the task (and one who may have shouldered some of the cost) in Richard Cooper, a student of John 'Friar' Pine and 'an acknowledged teacher and connoisseur of the fine arts'. Indeed, it may have been Cooper who was the first to suggest a generalisation of the work and the assumption of a distinct Scottish character with the new title Vitruvius Scoticus. Cooper worked solely from the limited resource of Adam's own designs and under the stricture that there would be no theoretical work in the publication and was therefore limited and slow in what he was able to achieve. It is clear that Cooper's engravings were finished by the early 1740s but the reasons the work was then abandoned - not for the last time - are rather less so. It has been suggested that William Adam hesitated to publish for a number of reasons: financial pressure and the inherent costs of paper, printing and publication; the curtailment of opportunities for promotion and patronage; a conflict of copyright; the 1745 Jacobite rising; Adam's advancing age; and, finally, the possibility of unflattering comparisons to Colen Campbell's Vitruvius Britannicus. At William's death in 1748, his son John revised the project, adding additional plates (including several taken from designs by his brothers Robert and James) and it seemed, at least briefly, that the book would finally appear. At the time of the crash of the Fairholme brothers' bank in 1764 all was in readiness but the added financial burden on all of the brothers led John to sell the publishing rights to the London-based Andrew Millar and his partner Thomas Cadell; they issued subscription proposals in 1766. The agreement between John and the Londoners stipulated that of the existing sheets, adequate for 950 copies, they would require material for 750 and would allow the remainder to be retained by John for the existing subscribers. No copies were issued - it has been suggested that the reason was related to copyright although Robert and James Adam's opposition to a family association with 'outmoded taste' has been offered as more compelling - and on Millar's retirement in 1767 the sheets were in storage where they remained for 40 years. In 1804, Thomas Cadell's son wrote to John Adam's son (another William) that he was no longer able to store the sheets but that a scrap-paper merchant had offered £100 for them. Cadell's advice was to accept and it has been assumed subsequently that William did not: a story likely to be apocryphal states that the unused sheets were returned to Edinburgh and stored in a garret at the Royal Infirmary. It seems rather likelier that William did accept the £100 for the paper and his ongoing negotiations to have Vitruvius Scoticus published in 1808 - 1810 involved only those sheets that remained in Scotland. That the eventual publisher, Adam Black, issued only 120 copies - a very small run for a book of more than limited appeal - supports very strongly the idea that the remaining sheets were pulped, an idea that the present copy, with the plates mounted on paper guards composed of sections of those same plates, corroborates. The final word on the mystery, and indeed, on the publication, belongs to Eileen Harris: 'It is ironical that to be commercially viable Vitruvius Scoticus, clearly the grandest of any architectural book published in Scotland, had to be sold in the end as a remainder '. 'A resounding silence greeted Adam Black's announcement in the 'Edinburgh Weekly Chronicle' on 29 May 1811 that Vitruvius Scoticus was 'this day. completed in fifteen numbers'. Not only was William Adam's book [Vitruvius Scoticus] a century too late to have the bearing on Scottish architecture that its title promised; but, with no preface, explanatory text, or date of publication, it was silent also about itself, about the intentions of its author and, above all, about its complicatred past.' (Eileen Harris). 'The best and most jinxed of all the great 18th century British architectural books, William Adam's Vitruvius Scoticus was three times abandoned by successive generations of the Adam family before, finally in 1811, a young Edinburgh bookseller named Adam Black. published an edition of 'only 120 complete sets' hastily assembled from sheets printed nearly 50 years before. Ill-planned and muddled as the book was from its inception, it was a sad irony that Vitruvius Scoticus should end up as an obscure bookseller's rem.

Leather Bound. Condition: New. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1810. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Vol:- Volume 2, Pages:- 208, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 2 208.

Leather Bound. Condition: New. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1810. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Vol:- Volume 2, Pages:- 209, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 2 209.

Leather Bound. Condition: New. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1810. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Vol:- Volume 1, Pages:- 210, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 1 210.

Leather Bound. Condition: New. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1810. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Vol:- Volume 1, Pages:- 211, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 1 211.