Ca 1727 (28 results)

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.

Publisher's red cloth. Three Centuries of Music in Score: facsimiles of scores made under the works projects administration, vol.12. Size: Folio. xviii, 206, [ii] pp.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcovers: H 22.75cm x L 14.5cm. Contemporary full leather; some staining and surface abrasions to boards; losses to slender gilt decoration along worn board edges; spines darkened with surface furrows/losses (particularly Vol. I) and antiquarian toned small paper tags affixed near heels; spines' title and volume# labels retains bright gilt lettering. Double column text. Interior foxing/toning; old pencil writing on front endpapers with some scattered interior pencil markings; each volume with antiquarian ink signature of an early owner at tops of four initial pages of each volume; different owner's antiquarian ink name stamp also on early page of each. *** VOLUME I: i-iv, 5-812 pages; bottom quarter of ffep removed; top fore-edge corners of pages 161-170 creased; pages 303-310 slightly pulled but binding is otherwise firm. Features nineteen tragedies, sixteen comedies, eleven farces, and ten operas. *** VOLUME II: i-iv, 5-816 pages; scattered leaves with creased fore-edge corners; several leaves near front and rear at fractionally pulled but binding is otherwise firm. Features thirteen tragedies, seventeen comedies, nine farces, and three operas. *** Still an attractive set with good shelf presence. Please note that this set has an approximate shipping weight of 5.5 pounds (2.49 kg) and may require additional postage for any postal class other than domestic Media Mail.

Condition: New.

Condition: As New. Unread book in perfect condition.

Size: Twenty-seven works in one volume. Folio. Polished half calf, marbled boards (paper worn away). Engraved. Ownership signature of Margaretta Clive [née Maskelyne (1735-1817)], wife of Robert Clive (1725-1774), and her initials on red leather label to front cover.

Publisher's cloth. Handel Sources: Materials for the Study of Handel's Borrowing. Size: Nine volumes. Folio and oblong folio.

Hardcover. Condition: Fine. FIRST EDITION. An exceptional copy bound in contemporary carta rustica. A few leaves creased, boards very lightly soiled. The text is adorned with attractive woodcut initials and headpieces. Printed on thick, crisp paper with broad margins; a number leave with the lower edges untrimmed. A crisp, bright copy in original three-quarter calf and speckled paper over boards, spine with floral ornaments. The text is adorned with attractive woodcut initials and headpieces. First edition of the first guide to one of the world's most important museums. This guide to the Medici collections of the Uffizi Gallery was written by the museum's first custodian, who had been appointed after the gallery's conversion to a public institution under the terms established by the last of the Medici, the Palatine Electrix Anna Maria Ludovica, in 1737. The custodian, Giuseppe Bianchi, is a notorious figure. He was later found to have robbed the Uffizi of works of precious metal, which he melted down and sold. He was condemned to exile for his perfidy. (See Barrochi and Bertelà, "Danni e furti di Giuseppe Bianchi in Galleria, Labyrinthos 13/16 (1988-89), 321-336.) Bianchi's guide, published in the same year that the British Museum opened to the public, is an important record of the disposition and scope of the newly "public" collections in the period prior to their dramatic reorganization by Grand Duke Pietro Leopoldo of Lorraine (1780-82). In some instances, the notices in the guide are the earliest extant record for some works in the collections. The portable and scholarly guide is similar in format and composition to Pasquale Massi's 1792 guide to the Vatican Museums, which Bianchi's guide predates by a generation. Bianchi prefaces his tour with a history of the construction of the Uffizi palace, designed and begun by Vasari in 1560 and completed following Vasari's design- by Alfonso Parigi and Bernardo Buontalenti in 1581. This is followed by a description of the various elements that make up the entire palace complex. The formal guide to the galleries begins with a detailed description of the decorative program of the frescoed ceilings and the series of portraits that line the walls beneath them. This is followed by descriptions and commentaries on each of the 62 statues and 92 busts housed in the galleries in this period. Francesco I was the first Medici to add ancient marbles to the newly completed Uffizi, and these ancient sculptures were juxtaposed with contemporary Renaissance masterpieces. Thus we find in Bianchi's guide the famous Medici Venus, the Niobe group, Bandonelli's Laocöon, and Michelangelo's Bacchus. The sarcophagus of Hippolytus is absent, since it was still in the Palazzo Medici Riccardi in 1759. Next, Bianchi takes us into the Camera dei Pittori. Yet, here he is unable to give a comprehensive discussion. This is due, in large part, to the sheer size of the collection but also to the fact that the painting collection has changed so much over the years, some of the paintings having been transferred to the Pitti Palace, others that formerly hung in the Palace having come to the Gallery, and others still having been given as gifts to great lords, or used to decorate villas. Moreover, the paintings are in many media: oil, tempera, fresco, and encaustic. Bianchi decides to focus on the collection of artist self-portraits, which are divided into the three principal schools (arrived at by the consensus of the most famous scholars of the art of painting): Romana, Lombarda, and Oltramontana. Here we find the famous self-portrait of Raphael. From here we pause briefly in the Camera delle Porcellane before entering the Camera degl' Idoli with its collection of 300 Greek, Roman, Etruscan and Egyptian bronzes, which Bianchi considers in detail. Next we enter the Camera delle Arti, where we find paintings by Raphael, Andrea del Sarto, Leonardo, Botticelli, Mantegna, and Fra Angelico. In the Camera de' Fiamminghi are housed 140 paintings by northern European artists: Albrecht Dürer, Lucas Cranach, Van Dyck, Brueghel, and Callot, among others. The German Cabinet: The center of the Camera delle Arti is occupied by a wondrous machine, for which Bianchi provides a two-page description. It is a magnificent octagonal cabinet, over nine feet tall, incorporating a clock, a pneumatic organ, and moving figures in silver. The architectural details are all composed of granatiglia, an ebony-like luxury hardwood, and the surfaces of the cabinet are inlaid with precious stone, including lapis, jasper, and verde antico. The cabinet is adorned with painted scenes of the Old and New Testaments, which are rendered so minutely and with such fine skill that they are believed to be by the school of Brueghel. Within the cabinet is a machine that rotates, showing four scenes: birds and arabesques executed in stone-inlay; a wax relief of the deposition ("the work of the immortal Buonarroti"); an amber relief of Jesus and the Apostles; and an amber crucifixion scene. The final ornament of the machine is a mirror box that produces an infinite number of reflections. Bianchi tells us that the cabinet was made in Germany "around a century ago" and was purchased by Grand Duke Ferdinando II (1610-1670). The sixth camera houses mathematical instruments and a pair of celestial and terrestrial globes. Among the marvels here are an enormous magnet and a huge burning mirror. It was with the addition of the mathematical and scientific collections that the Uffizi began to take on the aspect of a wunderkammer. Next we enter the heart of the museum, the Tribuna, the octagonal room that houses the most important treasures of the Uffizi. Bianchi begins with individual descriptions of the 14 marble statues, among them the Medici Venus, the Wrestlers, the Dancing Satyr, the Arrotino, and the infant Hercules. After a brief description of the room itself, designed by Bernardo Buontalenti for Ferdinando III, Bianchi lists the artists whose paintings adorn the room: C.

Publisher's cloth. Handel Sources: Materials for the Study of Handel's Borrowing. Size: Eight volumes. Folio and oblong folio. xxvii, 392; xxii, 296; xxxiii, 337; xxi Eight volumes. Folio and oblong folio. xxvii, 392; xxii, 296; xxxiii, 337; xxi.

Size: Twenty-one volumes in one. Folio. Half sheep (head and foot of backstrip worn and missing, front joint broken) with marbled boards (scuffed and scratched). Engraved.

Condition: Molto buono (Very Good). 0. (Legato con:) [EIUSDEM]. Supplement au traité de la chasse au fusil, contenant des additions et corrections importantes. Paris, Théophile Barrois, 1791.Due opere in un volume in 8vo (mm. 200x123).Pp. XVI, 582, [10] e [9] tavole calcografiche fuori testo, di cui 3 ripiegate; pp. 111, [1]. Segnatura: a8 A- Oo8; A-F8 G-H4. Piccolo fregio ai frontespizi. Fregi e frontalini xilografici. Piena pelle coeva, fregi, filetti e titolo in oro su tassello rosso al dorso (lievi mancanze alle cuffie e agli angoli). Lievi aloni, leggermente sciolto.?Édition originale complète. Le nom de l'auteur se lit dans l'abbrobation et le privilège. Ce livre est non seulement le premier ouvrage français consacré exclusivement au fusil de chasse et à la chasse à tir, mais c'est aussi le premier traité de chasse qui consacre une étude importante à la Sauvagine. La section IV De la chasse de oiseaux aquatiques occupe les pages 502 à 582? (J. Thiébaud, Bibliographie des ouvrages français sur la chasse, Paris-Brueil en Vexin, 1974, coll. 621-622).Gervais François Magné de Marolles fu uno studioso e bibliologo accademico francese. Dopo aver servito in uno dei corpi della casa del re, si ritirò dal servizio per stabilirsi a Parigi e dedicarsi alla bibliografia.Barbier, I, col. 572. Book.

Condition: Good. Engraving. Image 12.25" x 7.5". Very Good with creasing. In protective sleeve. Text in Latin.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1719 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 175 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. 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. Pages: 175 Language: Dutch,French.

Incisione originale eseguita all`acquaforte su matrice di rame. Il foglio in esame è il frontespizio di una rara serie incisoria edita nel 1775 circa, composta da 9 vedute prospettiche della capitale sabauda rappresentanti, in particolare, le principali piazze e gli ingressi monumentali della città. Le tavole della suite vennero reimpresse, in una più ampia serie dedicata a Torino e dintorni nel 1780. Veduta prospettica della città di Torino ripresa dalla porta di Po; a destra una fontana monumentale con le statue personificanti i fiumi Po e Dora, nell`atto di versare l`acqua. Titolo inscritto sull`alzata sormontata dallo stemma sabaudo con corona reale e due leoni . Accanto un piedistallo sul quale è collocato il Toro simbolo di Torino. Sullo sfondo la veduta della città avvolta in un fascio di raggi luminosi. La trasposizione su lastra , eseguita con abile e fine tratteggio, spetta al conte I. Sclopis del Borgo, grande vedutista , topografo e incisore di estrazione aristocratica e di cultura internazionale, realizza a panoramiche urbane di notevole vastità, ricche di particolari d`ambiente e di costume, e caratterizzate da una finissima, vibrante esecuzione. L`opera esprime compiutamente la visione illuministica di Sclopis, uno degli artisti più raffinati della Torino settecentesca la sua abilità incisoria è caratterizzata da un cristallino nitore e da un`alta qualità esecutiva, memore dei capolavori del maestro veneto Bernardo Bellotto. Esemplare in buono stato conservativo.

Incisione originale eseguita all`acquaforte su matrice di rame con una delicata acquerellatura coeva nelle parti del cielo. In lastra, sotto la parte figurata, titolo ,firma incisa dell`autore in basso a sinistra. Il foglio in esame è parte di una suite vedutistica dedicata alla Torino settecentesca; le tavole furono reimpresse nel 1780 ca. in una suite di 24 fogli, con aggiunta di una veduta prospettica generale e di nuove tavole rappresentanti altre località piemontesi; nella seconda edizione furono, inoltre, aggiunti ritocchi ad alcune lastre, talora con l`utilizzo di altre tecniche quali l`acquatinta, come in questo esemplare. L`immagine in esame raffigura i giardini del Castello di Verrua con una ricca animazione di personaggi in costumi d`epoca con la veduta del Castello al centro. L`opera esprime compiutamente la visione di Sclopis, che è uno degli artisti più raffinati della Torino settecentesca. Esemplare in buono stato conservativo.

A Paris, Chez les libraires associés [de l'imprimerie de J. Bullot, rue St-Etienne des Grès, 1751], 1752. Quatre volumes in-12° (172 x 102 mm) de [4]+XX+[4]+538 pages, plus une carte et 9 planches / [4]+IV+520 pages, plus 11 planches / [4]+[2]+490 pages, plus 9 planches / [4]+[2]+456+[4] pages, plus 11 planches; au total une grande carte anonyme (330c x 395 mm) et 40 belles planches gravées dépliantes par Chaufourier, Delamonce, Aveline et nombre d'anonymes. Reliures en demi-basane fauve à coins, dos à nerfs ornés de filets (reliures de l'époque). Dos usés, accrocs aux coiffes, charnières partiellement rompues, coins émoussés. Neuf éditions de ce classique des guides touristiques parisiens de l'ancien régime, successivement augmentées et corrigées, se succédèrent de 1684 à 1752. Notre édition, la dernière, et donc la plus complète, a été revue par l'abbé Gabriel-Louis Calabre-Perau (1700 1767).

Allegory of the Vecht river (left foreground) with other figures such as Apollo, Mercury, and Abundance. In the background a topographic view of the surroundings of the river, with Utrecht on the left.Titled on the monument: Vechtae fundis, villis, praetoriis, atque priscis arcibus triumphantis, tabula exquisitissima.Signed below: A de Lairesse inv / A van der Laan fecit.Used as decorative frontispiece in the set of illustrations representing the villages where the river goes by, titled: De zegepraalende Vecht, vertoonende verscheidene gesichten van lustplaatsen, heeren huysen en dorpen; beginnende van Uitrecht en met Muyden besluytende = La triomphante riviere de Vecht, remonstrant diverses veu?es des lieux de plaisances & maisons seignorales & villages; commenc?ant de Uitrecht & finissant avec Muyden, published by Claes Jansz. Visscher III in 1719. Etching and engraving on paper, mounted on paper; cut on plate mark, total: 330 x 215 mm; in good condition.

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. 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: 610. A perfect gift for your loved ones. Reprinted from 1787 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. Language: Dutch Pages: 610.

The funeral procession for the death of Michiel Adriaansz. de Ruyter on March 18, 1677. The ceremony took place on the Dam Square in Amsterdam. In the background are the Nieuwe Kerk, the Waag and the Royal Palace. On the foreground left a smaller image of the frigate that after the funeral shoots blanks in honour of De Ruyter. Etching, in passepartout; total: 520 x 580 mm, some slight foxing, othewise in perfect state. PH4P.

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. 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: 788. A perfect gift for your loved ones. Reprinted from 1717 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. Language: German Pages: 788.

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. 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: 1192. A perfect gift for your loved ones. Reprinted from 1787 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. Language: Dutch Pages: 1192.

Paperback. Condition: new. Paperback. Sefer Shoshanat ha-amaim, authored by Joseph ben Meir Teomim, is a foundational work elucidating the principles and roots of the Torah. Published in 1902, this text serves as a key to understanding the Talmud and its commentators. Written in Hebrew, it delves into the intricacies of Jewish law (Halakha) and provides comprehensive insights for scholars and students of Jewish texts. This book is an essential resource for those seeking a deeper understanding of Jewish legal and religious thought.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condition: new. Hardcover. Sefer Shoshanat ha-amaim, authored by Joseph ben Meir Teomim, is a foundational work elucidating the principles and roots of the Torah. Published in 1902, this text serves as a key to understanding the Talmud and its commentators. Written in Hebrew, it delves into the intricacies of Jewish law (Halakha) and provides comprehensive insights for scholars and students of Jewish texts. This book is an essential resource for those seeking a deeper understanding of Jewish legal and religious thought.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.