1730 1803 (44 Ergebnisse)

Zustand: Very good. - Quarto [approximately 10-1/2 inches high by 9 inches wide], softcover bound in pictorial wrappers. There is some minor soiling to the rear wrap with a price-sticker on its bottom inner corner. 215 pages. 8 pages of color illustrations and profuse illustrations in black & white. Near fine. A comprehensive and detailed catalog published in conjunction with an exhibition at the Museo Civico di Vicenza, Italy. The text is in Italian.

Size: Folio. pp.18-19. Disbound. Engraved. Drop title.

Publisher's printed wrappers. Size: Oblong folio. 74pp.

First Edition. Fine cloth copy in a very good, slightly edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description: 262 pages. Subjects: Hamilton, William Sir 1730-1803 ; Correspondence. Ambassadors Great Britain ; Correspondence. Ambassadors Italy Naples ; Correspondence. Genre: Biography. Language: English. 1 Kg.

First Edition. Fine cloth copy in an equally fine dust-wrapper. Particularly well-preserved; tight, bright, clean and strong. Literally as new. Physical description; (262 pages). Subjects; Hamilton, William Sir 1730-1803 ; Correspondence. Ambassadors Great Britain ; Correspondence. Ambassadors Italy Naples ; Correspondence. Naples (Kingdom) Foreign relations Great Britain. Naples (Kingdom) History 1735-1816. Italy History 1789-1815. 3 Kg.

First Edition. Inscription from previous owner. Fine cloth copy in an equally fine dust-wrapper. Particularly well-preserved overall; tight, bright, clean and especially sharp-cornered. Physical description; 262 p. Subjects; Italy History 1789-1815 ; Sources. Great Britain Foreign relations Naples (Kingdom). Naples (Kingdom) Foreign relations Great Britain. Ambassadors Italy Naples ; Correspondence. 3 Kg.

RISM A/I/4 and A/I/12 J 157. BUC p.551. Size: Folio. 4pp. Disbound. Drop title. Arrangements for German flute and guitar on p.4. Engraved.

RISM A/I/4 and A/I/12 J 146. BUC p.551. Size: Folio. 4pp. Disbound. Drop title. Arrangements for German flute and guitar on p.4. Engraved.

RISM A/I/4 and A/I/12 J 143. BUC p.551. Size: Folio. 4pp. Disbound. Drop title. Arrangements for German flute and guitar on p.4. Engraved.

First Edition. Provenance: Bookplate of Roy and Nina Merley. Fine cloth copy in an equally fine dust-wrapper. Particularly well-preserved overall; tight, bright, clean and especially sharp-cornered. Physical description: 262p. ; 25cm. Notes: Includes bibliographical references (p. [255]-257) and index. Subjects: Hamilton, William Sir (1730-1803) ; Correspondence. Ambassadors, Naples (Italy) ; Correspondence. Italy ; History (1789-1815). 3 Kg.

Not in RISM or BL. Size: Folio. 3pp. Disbound. Engraved. Drop title.

Original Kupferstich von ca. 1780. -- Blatt-Maße: ca. 28,5 x 20 cm. -- gut erhalten. || Original copper engraving from c. 1780. -- in good condition. || Gravure ancienne de c. 1780. || -- This is an original! No copy! - No reprint! // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 30.

Original Kupferstich von ca. 1780. -- Blatt-Maße: ca. 28,5 x 20 cm. -- gut erhalten. || Original copper engraving from c. 1780. -- in good condition. || Gravure ancienne de c. 1780. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 30.

RISM A/I/4 and A/I/12 J 114. BUC p.552. Size: Folio. [ii], 39pp. (lacking title-leaf). Disbound. Engraved. Lacking title, sewing broken, and final page torn and in two pieces with some loss of text, worming to lower margins.

Taschenbuch. Zustand: Neu. Neuware.

Stipple engraving, from 'Contemporary Portraits', some creasing, Sir William Hamilton collected antiquities, while living at Naples. He sold part of his collection to the British Museum.

Quer-Quart (22 x 29,8 cm), 75, (1) Seiten,(= Süddeutsche Orgelmeister des Barock, XI) 1972,Gelber Original-Karton . , 5 Faks.ohneVNR., 300 Gramm1730-1803. - Mit ausführlicher Einleitung. - Druckfrisch.

Size: Folio. Half calf with marbled boards (rather worn, front board detached, backstrip partly missing). Engraved.

gr-8°. 39 gest. S. Sehr gut erhaltenes Exemplar. RISM J/JJ 124 (weist nur ein Ex. für Deutschland nach); Fellinger (Periodica Musicalia), S. 86. - Reihentitel: Piano-Forte Magazine, I/2 (zit. nach RISM, nicht auf dem vorliegenden Titel vorhanden).

Paperback. Zustand: Good. Engraved musical score with sewn spine, small folio (12-1/4 inches [31 cm] tall), pp. 27, (28), [p. 10 and verso back cover are blanks] with publisher's catalogue used as both p. [1] and a cover sheet. Published date of 1780 from publisher's catalogue on p. [1] which credits "Longman & Broderip" as the printer and seller in title heading (ref. Krummel [Norton, 1990] p. 323 ".Lukey withdrew from the business in 1776 and the firm remained as Longman & Broderip until it's bankrupycy in 1798.") ; publisher's catalogue p. [1] also showing "Jackson's Quartetts Opus 11" (with a pub. date of 1775?) under "Vocal Music" section, thus assume this to be the 1780 (Opus 13) printing of Jackson's Twelve Canzonets. Score with tape repaired spine and gutter cracks to sewing, light soil, p. [1] with price in pencil to upper corner, trimmed close at foot but the plate mark on p. 2 is unaffected, a circular institutional and their deaccession rubber stamps to blank verso of back cover. "Jackson's published compositions include: 1. âTwelve Songs,' op. 1, London [1765?]. 2. âElegies for Three Voices,' op. 3, London, 1767. 3. âTwelve Songs,' op. 4, London [1767?]. 4. âTwelve Songs,' op. 7, London [1768?]. 5. A setting of Warton's âOde to Fancy,' op. 8, London [1768?]. 6. âTwelve Canzonets for Two Voices,' op. 9, London [1770?]. 7. âSix Quartets for Voices,' op. 11, London [1775?]. 8. âTwelve Canzonets for Two Voices,' op. 13, London [1780?]. 9. A setting of Pope's ode âA Dying Christian to his Soul' [London, 1780?]. 10. âTwelve Pastorals for Two Voices,' op. 15, London [1784?]. 11. âTwelve Songs,' op. 16, London [1785?]. 12. âSix Epigrams for 2, 3, and 4 Voices,' op. 17, London [1786?]. 13. âSix Madrigals for 2, 3, and 4 Voices,' op. 18, London [1786?]. 14. âServices in C, E, E flat, and F.' 15. âHymns in three parts.' He also published two small collections of sonatas for the harpsichord, and various separate glees and songs. Jackson was also the author of âThirty Letters on Various Subjects' (three of them on music), anon., London, 1782; 2nd edit. London, 1784; 3rd edit. London, 1785, with author's name; âObservations on the Present State of Music in London' (a pamphlet), London, 1791; âFour Ages, together with Essays on Various Subjects,' London, 1798; âA First Book for Performers on Keyed Instruments;' and various anonymous letters and essays contributed to periodicals. Posthumous publications were: âAnthems and Church Services by the late W. Jackson of Exeter, edited by J. Peddon' (organist to the cathedral), 3 vols., Exeter, 1819; âThe Year: a Cantata,' London, 1859; and selections from his works, sacred and secular, 4 vols., published in London without date." wikisource accessed 1/16.

Letter: 6pp., 12mo, on bifolium and single leaf. An vivid and entertaining letter, shedding light on Victorian valuation and auctioneering practices. Barling wastes no time in passing on the bad news. 'I am very glad you have written to me about the B[awdeswe]ll. pictures & I can tell you [last world underlined] plainly what the 2 Christie's opinion was which I cd. not do to poor old C[larke]. S[toughto]n. The inspection in issue was a grievous disappointment. So far worse than I cd. have possibly believed, and then coming the question cd. two such Men as the Christies be wrong? for my part I think impossible [last word underlined twice] to have them looked over again by some other authority? - in as few words as I can put it I will give the Messrs. C opinion there being no difference between them. taking 4 or 5 pictures the so named Danae by Rubens, which they clearly set down as a vulgar daub, and the Minervas & if I recollect "choice of Paris" these I think old Clarke S considered the very valuable lot - I said to Christie "now will it answer to send these up to London? oh no said he - then I said what sum wd. they returrn after expenses 30£? he said they might return about 30 - however to cut the matter short - they said "there is not a picture in the house of any value and we knew it when we had been in it a very short time" this of course was as bad as bad cd. be'. Regarding 'the fowl pieces' - 'probably Spanish copies' - Barling exclaims: 'Surely they must (the family I mean) have been under an awful delusion! particularly as to price paid by the C o Cl: or he must have been an awful Noodle or the Christies (the first firm in the World in that line) know nothing of their business'. He feels that Beevor's 'good tact & judgment' will direct him 'for the best in the rather difficult affairs'. He now changes the subject, reporting 'a frightful murder in Shotesham tho: the woman yet breathed this mor[nin]g.', deploring the conduct of 'H P', and stating that he has received 'a very melancholy note from E R Br. yesterday in reference to himself - he says "that his strength has become "but labour & sorrow" and that "the conclusion cannot be far away". He concludes with other local news. Accompanying the letter is a list in another hand of six paintings (1p., 12mo, on worn paper), totalling £1200 in price. Above it Barling has written 'Catalogue of Pictures' and beneath it 'Clarke Stoughton Esqe.'. At the foot of the page Barling writes, in red ink, 'Deposited for Policy No 2199 | See Lr. 25th April 1868'. Included in the list are 'Danae in the Golden Shower - £200' and 'Diana bathing - £200'.

RISM A/I/4 and A/I/12 J 87. BUC p.551. Size: Folio. v (title, preface), 41pp. Sewn in plain brown makeshift wrappers. Engraved.

Size: Three volumes in one. Folio. [i (title)], 27; [i (title)], 27; [i (title)], 42pp. Polished calf (rubbed, worn and scratched), gilt. Engraved. Op.9 with publisher's catalogue of "Musical Publications IIII" on p.1. RISM A/I/4 and A/I/12 J 117, 170 and 97. BUC pp.550-552. Three volumes in one. Folio. [i (title)], 27; [i (title)], 27; [i (title)], 42pp.

Hardcover. Zustand: Very Good. 1st Edition. 4 volumes. Folio (18 5/8 x 14 7/8 inches). Folio (18 x 14 2/8 inches). Parallel text in English and French in volumes I and II (bound without 8 hand colored engraved title pages, 5 dedications. Text begins with: p V in Vol I; 'avertissment' in Vol II; p V in Vol III; 'avant propos' in Vol IV). 434 etched and engraved plates, (volume II browned and with marginal stains throughout, rodent damage to fore edge. Remaining volumes overall bright and attractive). Contemporary half vellum marbles paper boards (Weak hinge on Vol III; heavily chipped end to spine Vol II; chipped and worn cover boards on all four volumes; several loose pages towards end of vol III). First edition, limited issue one of 500 copies (Blackmer) of volumes one and II, and one hundred copies of volumes III and IV (Jenkins). This 'ouvrage precieux, execute avec beaucoup de luxe' (Brunet) describes the collection of ancient vases assembled by Hamilton after his appointment to the court of Naples in 1764. William Hamilton, a Scottish dipolmat, chiefly served as the British Ambassador to the Kingdom of Naples from 1764 to 1800. Shortly after his arrival to Naples, Hamilton began collecting Greek vases and other antiquities. While many of his acquisitions were obtained from reputable dealers and other collectors, Hamilton's curisotiy and passion even led him to open Greek tombs himself. His collection grew, and with time, Pierre Francois Hugues, an authority on ancient art, had introduced Hamilton to the Porcinari family. Hamilton went on to buy their vast collection of ancient classical vases, and later sold to the British Museum in 1772. Before their shipment of England, all the objects were listed, drawn and described under the supervision of the brilliant but unscrupulous 'baron'. The work was finely illustrated with hand-colored engraved plates whose 'influence on neo-classical design and taste was to be profound' (Dictionary of Art). One of the explicit aims of the work was to discover the proportions of ancient vases in order to aid in their true reproduction, and indeed its influence on Josiah Wedgewood was significant - especially for his jasperware. With the first two volumes issued, publication was suddenly interrupted by Hugues's expulsion from Naples (apparently for debt) and Hamilton had to overcome the difficulty of finding his copper-plates in the hands of creditors. The last two volumes did not appear before 1776. Although Blackmer states that the edition was of 500 copies, it appears that only 100 copies of the two later volumes were issued (cf. I. Jenkins and K. Sloan Vases and Volcanoes, 1996, p.49), and this, together with the long gap in publication, accounts for the relatively high number of incomplete sets. The Blackmer copy contained 435 plates, the Northwick Park copy 436 plates and at least two other copies are known to contain 437 plates. Blackmer Catalogue 845; Berlin Katalog 890; Brunet I, 321; Cohen-de Ricci 474; Vinet 1528. IN JUNE 2024, A SET OF THE WORK BROUGHT NEARLY $70K AT AUCTION.

Hardcover. 5 volumes, 4to (10 x 7 5/8 inches): 5 engraved frontispieces all with original hand-color, 360 engraved plates of vases and antiquities by F.A. David, most with original hand-color. Contemporary green half morocco, the smooth spines gilt decorated in six compartment, red morocco lettering-pieces in one (extremities a little scuffed). PROVENANCE: with the engraved armorial bookplate of Mathew Anderson on the front paste-down of each volume; The Richard Harris Collection, Natural History & Colourplate Books; his sale at Bloomsbury Book Auctions, 13 October 2010, lot 142. A fine and attractive set of the "pocket" edition of Hamilton's vases, with unusually wide margins. Hamilton's collection of ancient vases, assembled by him after his appointment to the court of Naples in 1764, was first illustrated, described, and published between 1776 and 1777. Pierre Francois Hugues, an authority on ancient art, had introduced Hamilton to the Porcinari family, the owners of a large collection of ancient classical vases which Hamilton bought and enlarged, and then sold to the British Museum in 1772. Before their shipment of England, all the objects were listed, drawn and described under the supervision of the brilliant but unscrupulous "baron". The work was finely illustrated with hand-colored engraved plates whose 'influence on neo-classical design and taste was to be profound (Dictionary of Art). One of the explicit aims of the work was to discover the proportions of ancient vases in order to aid in their true reproduction, and indeed its influence on Josiah Wedgewood was significant. "Within barely a year of the publication of the first volume Josiah Wedgwood had opened his pottery works, Etruria, in Staffordshire, and thrown six black basalt 'first day vases' based on vases in Hamilton's publication. Countless other subsequent Wedgwood articles and designs were inspired by the work. "When Hamilton and his wife returned to London on leave in August 1771, he negotiated for his collection of vases to be bought for the nation. According to tradition, this 'first collection' was purchased for the British Museum in 1772, for £8400, out of funds authorized by act of parliament. There seems to be no evidence for this sale, although the story was known to Horace Walpole, who refers to it in one of his 'books of materials' but mentions the sum of £8000. In 1772 Hamilton was made a knight of the Bath and elected a fellow of the Society of Antiquaries; he and his wife arrived back in Naples early in 1773, after travelling via Vienna, Venice, Florence, and Rome. Believing that he had exhausted the supply of fine Greek vases, Hamilton did not resume collecting until 1789, when he began amassing what would become his second collection of vases. This collection was fully described in Collection of Engravings from Ancient Vases (4 vols., 1791-95), edited with illustrations by Johann Heinrich Wilhelm Tischbein, director of the Naples art academy. Far less expensive than the Antiquités, the volumes of these vase engravings, which were soon republished in various affordable editions, had considerable influence on public taste and on artists such as John Flaxman and Henry Fuseli" (Geoffrey V. Morson for DNB). Catalogued by Kate Hunter.

3 gest. S. Gering fleckig, mit Besitzvermerk. Vermutlich der zweite Druck dieses Werks.

2 gest. S. Vereinzelt leicht stockfleckig. Seitenränder ausgefranst. Diese Ausgabe nicht in RISM (nennt von dieser Einzelnummer zahlreiche andere Ausgaben); nicht in KVK. - Frühe Ausgabe dieser Einzelnummer aus der 1780 uraufgeführten Oper.

Disbound, sewn. Engraved. Size: Folio. [i (title)], 27pp. First edition. RISM A/I/4 and A/I/12 J 170. BUC pp.550.

The letter and draft each on one side of the same piece of 8vo paper. In good condition, aged and worn, with a short closed tear along one fold line. Orford's message, on the one side, begins: 'Lord Orford presents his Compliments to Mrs Hudson, and desires the honour of his Company, in the Tour he proposes to make round the Town of Lyn, [sic] on friday next to solicit the Freemens votes in favour of Mr Thomas Walpole.' In the second paragraph Orford asks Hudson 'to dine with him at the Dukes-head after the business of the day is over, if it should not be convenient for him to go round the Town'.

RISM A/I/4 and A/I/12 J 69. BUC p.551. Size: Folio. [i (title)], 37pp. Disbound, sewn. Engraved by Philips.