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Displayed below are some selected recent viaLibri matches for books published in 1800

        (THE MACKLIN BIBLE)

      London: T. Bensley for T. Macklin [final volume Bensley for T. Cadell & W. Davies], 1800 [for the six volumes of the Bible], 1816 [for the Apocrypha]. First Printing of this Edition. The most prodigious form of scripture in English ever published, the Macklin Bible was often put into ornate bindings, especially by London binders like Staggemeier and his contemporaries. But, however much other sets may glisten, the present magnificent example surely stands at or near the front of the line as one of the most lavishly decorated and arresting copies in existence. Its decorative extravagance also testifies to the fact that Macklin's publication was sufficiently admired outside of England to warrant the finest workmanship and the expenditure of great sums of money on artistic resources. The very large and bold type, the fine Whatman paper, and the series of engravings by some of the most celebrated artists of the period make this an item that is already very desirable. Like the Boydell "Shakespeare Gallery" (also printed by Bensley), our Macklin Bible is a vast picture book with illustrations that are grand both in size and emotional impact. But it is, of course, the bindings here that matter the most. Francesco Piranesi is generally given credit for inventing the Neoclassical style when he designed volumes presented to Gustavus III of Sweden during this monarch's visit to Rome in 1783-84. Quickly popular, the Neoclassical style was imitated and developed by Staggemeier and Welcher in London, by F. W. Standlander in Stockholm, and by Georg Friedrich Krauss in Vienna. Krauss was the most prominent Continental binder working in this style of the day, and Saxe-Teschen was perhaps his most important client. Products of the Krauss bindery have passed through some of the most distinguished collections over the years, particularly those of Fürstenberg and Schäfer; and his bindings have consistently brought remarkable sums of money at auction. It is sufficient to say that the present group of bindings represents the most impressive collection of decorative volumes we have ever offered for sale. The collector for whom these bindings were originally executed, Duke Albrecht of Saxe-Teschen (1738-1822), was the son of Friedrich August II of Saxony and the son-in-law of the empress Maria Theresa. After providing important military and civil service to the Habsburg empire, he retired to Vienna in 1795 and afterward devoted himself to the fine arts. He founded the Albertina, which now houses the greatest collection of prints in the world, and he put together a great library distinguished by the highest taste and most exacting standards. The present copy has the additional distinction of containing what amounts to an extra volume: the Macklin Bible, however it is bound, most often appears in the marketplace without the Apocrypha, appearing here as Volume VII, which was not issued until 16 years after the others. It is also of some interest that the bindings of our seven volumes were decorated in an entirely uniform fashion (as a close inspection shows), something not typical of a set with volumes published so many years apart. (The non-uniform endleaves in the final volume here may have resulted from the fact that, given the physical size of the books, the binder simply ran out of the cloth he had used for lining the first six volumes.). 480 x 385 mm. (19 x 15 1/8"). One leaf in the Apocrypha (3P2, comprising two prologues of Ecclesiasticus) invisibly inserted from another copy. Seven volumes (comprising the regular Bible in six volumes, and the Apocrypha, usually not included, as a seventh volume). First Printing of this Edition. MAGNIFICENT CONTEMPORARY RED NEOCLASSICAL-STYLE STRAIGHT-GRAIN MOROCCO, SUMPTUOUSLY GILT AND ONLAID WITH BLUE, BY GEORG FRIEDRICH KRAUSS, done for Duke Albrecht of Saxe-Teschen (with repeated "AST" monogram), covers with very elaborate frames incorporating 11 plain and decorative gilt rules, four onlaid borders of blue morocco, and very elegant swirling foliate ornamentation around the central scalloped panel, six pairs of raised bands, each pair flanking a recessed gilt and blue metope and pentaglyph rule, very handsome spine compartments with blue fan-shaped cornerpieces and central gilt-decorated blue medallions within sunburst gilt collars, turn-ins with Greek key pattern in gilt, striking endleaves of turquoise and green watered silk (the Apochrypha endleaves slightly different). With more than 100 allegorical headpieces and tailpieces and some 70 SPLENDID LARGE-FOLIO SIZE COPPER PLATES after Fuseli, Reynolds, West, and others, most plates printed before letters. Tissue guards (perhaps later). Herbert 1442 and 1651. First volume with about 30 leaves noticeably foxed, the majority of plates offset onto previous and following pages, consistent inoffensive offsetting of text on facing pages, other trivial imperfections, but still a very impressive copy internally, with the luxurious paper used for the text both fresh and clean, and the engravings richly impressed and with very little foxing. Some unimportant scuffing and rubbing to the leather, but all defects minor, THE MAGNIFICENT BINDINGS REMARKABLY WELL PRESERVED, the heavy volumes completely solid, with only insignificant signs of use, and THE MOROCCO AND LAVISHLY GILT DECORATION EXTREMELY BRIGHT. AN ALTOGETHER MEMORABLE COPY.The most prodigious form of scripture in English ever published, the Macklin Bible was often put into ornate bindings, especially by London binders like Staggemeier and his contemporaries. But, however much other sets may glisten, the present magnificent example surely stands at or near the front of the line as one of the most lavishly decorated and arresting copies in existence. Its decorative extravagance also testifies to the fact that Macklin's publication was sufficiently admired outside of England to warrant the finest workmanship and the expenditure of great sums of money on artistic resources. The very large and bold type, the fine Whatman paper, and the series of engravings by some of the most celebrated artists of the period make this an item that is already very desirable. Like the Boydell "Shakespeare Gallery" (also printed by Bensley), our Macklin Bible is a vast picture book with illustrations that are grand both in size and emotional impact. But it is, of course, the bindings here that matter the most. Francesco Piranesi is generally given credit for inventing the Neoclassical style when he designed volumes presented to Gustavus III of Sweden during this monarch's visit to Rome in 1783-84. Quickly popular, the Neoclassical style was imitated and developed by Staggemeier and Welcher in London, by F. W. Standlander in Stockholm, and by Georg Friedrich Krauss in Vienna. Krauss was the most prominent Continental binder working in this style of the day, and Saxe-Teschen was perhaps his most important client. Products of the Krauss bindery have passed through some of the most distinguished collections over the years, particularly those of Fürstenberg and Schäfer; and his bindings have consistently brought remarkable sums of money at auction. It is sufficient to say that the present group of bindings represents the most impressive collection of decorative volumes we have ever offered for sale. The collector for whom these bindings were originally executed, Duke Albrecht of Saxe-Teschen (1738-1822), was the son of Friedrich August II of Saxony and the son-in-law of the empress Maria Theresa. After providing important military and civil service to the Habsburg empire, he retired to Vienna in 1795 and afterward devoted himself to the fine arts. He founded the Albertina, which now houses the greatest collection of prints in the world, and he put together a great library distinguished by the highest taste and most exacting standards. The present copy has the additional distinction of containing what amounts to an extra volume: the Macklin Bible, however it is bound, most often appears in the marketplace without the Apocrypha, appearing here as Volume VII, which was not issued until 16 years after the others. It is also of some interest that the bindings of our seven volumes were decorated in an entirely uniform fashion (as a close inspection shows), something not typical of a set with volumes published so many years apart. (The non-uniform endleaves in the final volume here may have resulted from the fact that, given the physical size of the books, the binder simply ran out of the cloth he had used for lining the first six volumes.).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 1.   Check availability:     ABAA     Link/Print  


        THE MACKLIN BIBLE)

      T. Bensley for T. Macklin [final volume Bensley for T. Cadell & W. Davies] 1800 [for the six volumes of the Bible], 1816 [for the Apocrypha], London - 480 x 385 mm. (19 x 15 1/8"). One leaf in the Apocrypha (3P2, comprising two prologues of Ecclesiasticus) invisibly inserted from another copy. Seven volumes (comprising the regular Bible in six volumes, and the Apocrypha, usually not included, as a seventh volume). First Printing of this Edition. MAGNIFICENT CONTEMPORARY RED NEOCLASSICAL-STYLE STRAIGHT-GRAIN MOROCCO, SUMPTUOUSLY GILT AND ONLAID WITH BLUE, BY GEORG FRIEDRICH KRAUSS, done for Duke Albrecht of Saxe-Teschen (with repeated "AST" monogram), covers with very elaborate frames incorporating 11 plain and decorative gilt rules, four onlaid borders of blue morocco, and very elegant swirling foliate ornamentation around the central scalloped panel, six pairs of raised bands, each pair flanking a recessed gilt and blue metope and pentaglyph rule, very handsome spine compartments with blue fan-shaped cornerpieces and central gilt-decorated blue medallions within sunburst gilt collars, turn-ins with Greek key pattern in gilt, striking endleaves of turquoise and green watered silk (the Apochrypha endleaves slightly different). With more than 100 allegorical headpieces and tailpieces and some 70 SPLENDID LARGE-FOLIO SIZE COPPER PLATES after Fuseli, Reynolds, West, and others, most plates printed before letters. Tissue guards (perhaps later). Herbert 1442 and 1651. First volume with about 30 leaves noticeably foxed, the majority of plates offset onto previous and following pages, consistent inoffensive offsetting of text on facing pages, other trivial imperfections, but still a very impressive copy internally, with the luxurious paper used for the text both fresh and clean, and the engravings richly impressed and with very little foxing. Some unimportant scuffing and rubbing to the leather, but all defects minor, THE MAGNIFICENT BINDINGS REMARKABLY WELL PRESERVED, the heavy volumes completely solid, with only insignificant signs of use, and THE MOROCCO AND LAVISHLY GILT DECORATION EXTREMELY BRIGHT. AN ALTOGETHER MEMORABLE COPY. The most prodigious form of scripture in English ever published, the Macklin Bible was often put into ornate bindings, especially by London binders like Staggemeier and his contemporaries. But, however much other sets may glisten, the present magnificent example surely stands at or near the front of the line as one of the most lavishly decorated and arresting copies in existence. Its decorative extravagance also testifies to the fact that Macklin's publication was sufficiently admired outside of England to warrant the finest workmanship and the expenditure of great sums of money on artistic resources. The very large and bold type, the fine Whatman paper, and the series of engravings by some of the most celebrated artists of the period make this an item that is already very desirable. Like the Boydell "Shakespeare Gallery" (also printed by Bensley), our Macklin Bible is a vast picture book with illustrations that are grand both in size and emotional impact. But it is, of course, the bindings here that matter the most. Francesco Piranesi is generally given credit for inventing the Neoclassical style when he designed volumes presented to Gustavus III of Sweden during this monarch's visit to Rome in 1783-84. Quickly popular, the Neoclassical style was imitated and developed by Staggemeier and Welcher in London, by F. W. Standlander in Stockholm, and by Georg Friedrich Krauss in Vienna. Krauss was the most prominent Continental binder working in this style of the day, and Saxe-Teschen was perhaps his most important client. Products of the Krauss bindery have passed through some of the most distinguished collections over the years, particularly those of Fürstenberg and Schäfer; and his bindings have consistently brought remarkable sums of money at auction. It is sufficient to say that the present group of bindings represents the most impressive collection of decorative volumes we have ever offered for sale. The collector for whom these bindings were originally

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
 2.   Check availability:     AbeBooks     Link/Print  


        King George III of England

      various. British acts relating to the militia, with blank borders trimmed off, neatly affixed to 8” x 12” blank pages and bound with marbled endpapers in half leather morocco binding, four spine compartments between five raised bands, titled in gilt: <I>“Militia/Acts/I EDW III/To/3940 GEO III/1327-1800.”</I> Foxed bookplate, 5” x 6.5”, of <I>“Herbrand, eleventh duke of Bedford,”</I> affixed to front endpaper. Some of the acts that are more than one page have been tipped in, rather than affixed to the pages. There are 236 printed pages of acts, front and verso, in all. The three short Edward III acts are in French and English. The book is in excellent condition.<br /><br />Tipped in is a rare, complete original 1715 printing, with title page, of one of the first acts of the reign of George I. George, Elector of Hanover since 1698, he ascended the throne upon the death of Queen Anne on August 1, 1714, under the terms of the 1701 Act of Settlement. The act is titled <I>“Anno Regni/Georgee/Regis/Magna Britannia, Francia, Hibernia,/Primo./At the Parliament Begun and Holden at Westminster, the Seventeenth Day of March, Anno Dom. 1714…”</I>, 8 pages, 7” x 11.5”, front and verso, <I>“London, Printed by John Baskett, Printer to the Kings most Excellent Majesty, And by the Assigns of Thomas Newcomb, and Henry Hills, deceas’d. 1715.”</I> The act is <I>“for making the Militia of that Part of Great Britain called England more Useful…”</I> <br /><br />A 1761 act of George III provides that if <I>“one of the People called Quakers, shall be chosen by Lot to serve in the Militia”</I> and refuses and does not provide a substitute, he shall pay the cost of hiring a substitute for three years. <br /><br />A 1778 act requires that <I>“when the Lot shall have fallen on any one being, or pretending to be, one of the People called Quakers, no Man shall be deemed, taken, and accepted to be a Quaker…unless he produces…a Certificate, under the Hand of two or more reputable Housekeepers of the People called Quakers, acknowledging him to be one of their Persuasion.”</I> <br /><br />A 1798 act provides for George III <I>“to accept the Services of such parts of His Militia Forces in this Kingdom as may voluntarily offer themselves to be employed in Ireland…for the Suppression of the present Rebellion there…”</I> <br /><br />Except for the George I act described above, the laws in this book were apparently printed circa 1800. Herbrand Arthur Russell (1858-1940), 11th Duke of Bedford, whose bookplate is affixed in front, gained the rank of officer in the service of the Grenadier Guards and was made a Colonel of the 3rd Battalion, Bedfordshire regiment (1897-1908). He fought in the Egyptian campaign in 1882 and, in World War I, was mentioned in dispatches. Herbrand was Lord Lieutenant of Middlesex (1898-1926). His grandfather’s brother was Lord John Russell, British Prime Minister. <br />

      [Bookseller: University Archives]
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        (THE MACKLIN BIBLE)

      London: T. Bensley for T. Macklin [final volume Bensley for T. Cadell & W. Davies], 1800 [for the six volumes of the Bible], 1816 [for the Apocrypha]. First Printing of this Edition. The most prodigious form of scripture in English ever published, the Macklin Bible was often put into ornate bindings, especially by London binders like Staggemeier and his contemporaries. But, however much other sets may glisten, the present magnificent example surely stands at or near the front of the line as one of the most lavishly decorated and arresting copies in existence. Its decorative extravagance also testifies to the fact that Macklin's publication was sufficiently admired outside of England to warrant the finest workmanship and the expenditure of great sums of money on artistic resources. The very large and bold type, the fine Whatman paper, and the series of engravings by some of the most celebrated artists of the period make this an item that is already very desirable. Like the Boydell "Shakespeare Gallery" (also printed by Bensley), our Macklin Bible is a vast picture book with illustrations that are grand both in size and emotional impact. But it is, of course, the bindings here that matter the most. Francesco Piranesi is generally given credit for inventing the Neoclassical style when he designed volumes presented to Gustavus III of Sweden during this monarch's visit to Rome in 1783-84. Quickly popular, the Neoclassical style was imitated and developed by Staggemeier and Welcher in London, by F. W. Standlander in Stockholm, and by Georg Friedrich Krauss in Vienna. Krauss was the most prominent Continental binder working in this style of the day, and Saxe-Teschen was perhaps his most important client. Products of the Krauss bindery have passed through some of the most distinguished collections over the years, particularly those of Fürstenberg and Schäfer; and his bindings have consistently brought remarkable sums of money at auction. It is sufficient to say that the present group of bindings represents the most impressive collection of decorative volumes we have ever offered for sale. The collector for whom these bindings were originally executed, Duke Albrecht of Saxe-Teschen (1738-1822), was the son of Friedrich August II of Saxony and the son-in-law of the empress Maria Theresa. After providing important military and civil service to the Habsburg empire, he retired to Vienna in 1795 and afterward devoted himself to the fine arts. He founded the Albertina, which now houses the greatest collection of prints in the world, and he put together a great library distinguished by the highest taste and most exacting standards. The present copy has the additional distinction of containing what amounts to an extra volume: the Macklin Bible, however it is bound, most often appears in the marketplace without the Apocrypha, appearing here as Volume VII, which was not issued until 16 years after the others. It is also of some interest that the bindings of our seven volumes were decorated in an entirely uniform fashion (as a close inspection shows), something not typical of a set with volumes published so many years apart. (The non-uniform endleaves in the final volume here may have resulted from the fact that, given the physical size of the books, the binder simply ran out of the cloth he had used for lining the first six volumes.). 480 x 385 mm. (19 x 15 1/8"). One leaf in the Apocrypha (3P2, comprising two prologues of Ecclesiasticus) invisibly inserted from another copy. Seven volumes (comprising the regular Bible in six volumes, and the Apocrypha, usually not included, as a seventh volume). First Printing of this Edition. MAGNIFICENT CONTEMPORARY RED NEOCLASSICAL-STYLE STRAIGHT-GRAIN MOROCCO, SUMPTUOUSLY GILT AND ONLAID WITH BLUE, BY GEORG FRIEDRICH KRAUSS, done for Duke Albrecht of Saxe-Teschen (with repeated "AST" monogram), covers with very elaborate frames incorporating 11 plain and decorative gilt rules, four onlaid borders of blue morocco, and very elegant swirling foliate ornamentation around the central scalloped panel, six pairs of raised bands, each pair flanking a recessed gilt and blue metope and pentaglyph rule, very handsome spine compartments with blue fan-shaped cornerpieces and central gilt-decorated blue medallions within sunburst gilt collars, turn-ins with Greek key pattern in gilt, striking endleaves of turquoise and green watered silk (the Apochrypha endleaves slightly different). With more than 100 allegorical headpieces and tailpieces and some 70 SPLENDID LARGE-FOLIO SIZE COPPER PLATES after Fuseli, Reynolds, West, and others, most plates printed before letters. Tissue guards (perhaps later). Herbert 1442 and 1651. First volume with about 30 leaves noticeably foxed, the majority of plates offset onto previous and following pages, consistent inoffensive offsetting of text on facing pages, other trivial imperfections, but still a very impressive copy internally, with the luxurious paper used for the text both fresh and clean, and the engravings richly impressed and with very little foxing. Some unimportant scuffing and rubbing to the leather, but all defects minor, THE MAGNIFICENT BINDINGS REMARKABLY WELL PRESERVED, the heavy volumes completely solid, with only insignificant signs of use, and THE MOROCCO AND LAVISHLY GILT DECORATION EXTREMELY BRIGHT. AN ALTOGETHER MEMORABLE COPY. The most prodigious form of scripture in English ever published, the Macklin Bible was often put into ornate bindings, especially by London binders like Staggemeier and his contemporaries. But, however much other sets may glisten, the present magnificent example surely stands at or near the front of the line as one of the most lavishly decorated and arresting copies in existence. Its decorative extravagance also testifies to the fact that Macklin's publication was sufficiently admired outside of England to warrant the finest workmanship and the expenditure of great sums of money on artistic resources. The very large and bold type, the fine Whatman paper, and the series of engravings by some of the most celebrated artists of the period make this an item that is already very desirable. Like the Boydell "Shakespeare Gallery" (also printed by Bensley), our Macklin Bible is a vast picture book with illustrations that are grand both in size and emotional impact. But it is, of course, the bindings here that matter the most. Francesco Piranesi is generally given credit for inventing the Neoclassical style when he designed volumes presented to Gustavus III of Sweden during this monarch's visit to Rome in 1783-84. Quickly popular, the Neoclassical style was imitated and developed by Staggemeier and Welcher in London, by F. W. Standlander in Stockholm, and by Georg Friedrich Krauss in Vienna. Krauss was the most prominent Continental binder working in this style of the day, and Saxe-Teschen was perhaps his most important client. Products of the Krauss bindery have passed through some of the most distinguished collections over the years, particularly those of Fürstenberg and Schäfer; and his bindings have consistently brought remarkable sums of money at auction. It is sufficient to say that the present group of bindings represents the most impressive collection of decorative volumes we have ever offered for sale. The collector for whom these bindings were originally executed, Duke Albrecht of Saxe-Teschen (1738-1822), was the son of Friedrich August II of Saxony and the son-in-law of the empress Maria Theresa. After providing important military and civil service to the Habsburg empire, he retired to Vienna in 1795 and afterward devoted himself to the fine arts. He founded the Albertina, which now houses the greatest collection of prints in the world, and he put together a great library distinguished by the highest taste and most exacting standards. The present copy has the additional distinction of containing what amounts to an extra volume: the Macklin Bible, however it is bound, most often appears in the marketplace without the Apocrypha, appearing here as Volume VII, which was not issued until 16 years after the others. It is also of some interest that the bindings of our seven volumes were decorated in an entirely uniform fashion (as a close inspection shows), something not typical of a set with volumes published so many years apart. (The non-uniform endleaves in the final volume here may have resulted from the fact that, given the physical size of the books, the binder simply ran out of the cloth he had used for lining the first six volumes.).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 4.   Check availability:     Biblio     Link/Print  


        Piccolomini, or the First Part of Wallenstein, a Drama in Five Acts ... [bound with:] The Death of Wallenstein. A Tragedy in Five Acts

      London: Printed for N.T. Longman and O. Rees, By G. Woodfall, 1800. First edition of Coleridge's English translation. Engraved portrait. [iv], 214; [ii], [ii, general title], 157, [1, ads] pp., with half-title to first part and general title ("Wallenstein. A Drama in Two Parts") bound with second part. 8vo. Period half calf and marbled boards, green morocco spine label. Some foxing to portrait and first few leaves. First edition of Coleridge's English translation. Engraved portrait. [iv], 214; [ii], [ii, general title], 157, [1, ads] pp., with half-title to first part and general title ("Wallenstein. A Drama in Two Parts") bound with second part. 8vo. The first English edition of Schiller's Wallenstein, set in Germany during the Thirty Years War, and translated by Samuel Taylor Coleridge from a manuscript copy of the first German edition of 1799. Coleridge completed much of the translation - a free and poetic translation in blank verse - at Lamb's home in London,, seated at his desk in "a voluminous five-penny floral dressing-gown decorated with hieroglyphics ... looking suspiciously 'like a conjuror,' according to Lamb" (Holmes, Coleridge: Early Visions, p. 261). The translation, which omitted the first part of Schiller's trilogy (Wallenstein's Camp), was done in part to capitalize on the contemporary fashion for Schiller, whose verse-drama The Robbers Coleridge had long admired. It was one of many of Coleridge's translation schemes hatched during his time abroad studying the language and literature of Germany. "In the event, the project was a financial disaster, earning him only £50 in advances, while Longman lost £250 on the combined editions" (ibid, p. 267). Despite that, Coleridge "was proud of his work, and long afterwards described it as 'a specimen of my happiest attempt, during the prime manhood of my intellect, before I had been buffeted by adversity or crossed by fatality" (ibid, p. 268). ESTC T61110 & T61109; Wise, Coleridge 16 & 17

      [Bookseller: James Cummins Bookseller]
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        Stefano Della Bella.

      ca. 1800.(). Original etching on laid paper measuring 20 x 14 cm. (8 x 5 inches).

      [Bookseller: Wittenborn Art Books]
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        The Annual Anthology

      Bristol: Printed by Biggs and Co. for T.N. Longman and O. Rees, 1800. First editions. [viii], 300 (B8, pp. 31-2, canceled as usual); [vi], 299, [1] pp., on wove paper, watermarked "LLOYD 1795". 2 vols. 8vo. Publisher's paper-backed gray (vol. I) and rose (vol. II) boards, skillfully rebacked to style. Fine, in custom blue morocco gilt pull-off cases. First editions. [viii], 300 (B8, pp. 31-2, canceled as usual); [vi], 299, [1] pp., on wove paper, watermarked "LLOYD 1795". 2 vols. 8vo. First edition of the two volumes, all published, of Southey's anthology of new poetry. Besides Southey himself, the most important contributor is Coleridge, with no fewer than 27 poems, including the first printing of "This Lime-Tree Bower My Prison." There are also poems by Charles Lamb, Charles Lloyd, Joseph Cottle, Robert Lovell, George Dyer, Francis Wrangham, Humphry Davy, Mary Robinson, and Amelia Opie. A third volume was planned but never appeared. The canceled leaf, excised in all but Southey's own copy, contained his "War Poem" and was deleted because of its insufficient patriotism. A fine copy in the original boards with distinguished provenance. Ashley I, pp. 199-200; Wise, Coleridge 15; Tinker 1953. Provenance: William Henry Covington (bookplate); Frank Brewer Bemis (bookplate); Harold Greenhill (bookplate); David & Lulu Borowitz (bookplate, their sale Sotheby's New York, 15 November 1977, lot 232); John Davidson (bookplate)

      [Bookseller: James Cummins Bookseller]
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        Utsigt af Stochkolm med en del af Staden Riddareholmen och Norrmalm, tagen frain Mlare Sidan , Skinnareviken

      Artist: Verner/Müller F/ C; issued in: ; date: ca 1800 - - technic: Lithography; - colorit: colored; - condition: Very good; - size (in cm): 28 x 42; - description: View of Stockholm

      [Bookseller: Antique Sommer& Sapunaru KG]
 8.   Check availability:     ZVAB     Link/Print  


        Syrakus ( Syracusa) Im südlichen Theile der Insel Sizilien an der Ostküste, erbaut um das Jahr 735 n.Chr.

      Artist: Seeberger ; issued in: ; date: ca 1800 - - technic: Lithography; - colorit: original colored; - condition: Very good; - size (in cm): 30,5 x 41; - description: Beautiful total view of the city of Syracus in Sicily

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Antique Master Print-LA CHASSE-FOX HUNTING-AQUATINT-Debucourt-Vernet-ca. 1800

      - Antique Master Print, titled: 'La Chasse.' - (The hunt.) A nobleman and -woman on horseback, with eight other hunters, with a pack of dogs, coursing through a landscape hunting for foxes. Handcoloured aquatint etching on wove (vellin) paper. Description: Source unknown, to be determined. Artists and Engravers: Made by 'Philibert-Louis Debucourt' after 'Carle Vernet'. Philibert-Louis Debucourt (1755-1832) was a French painter and engraver, a student of Vien. Carle Vernet (1758-1835) was a French painter. Carle was known for his hunting and race scenes, as well as his work as a lithographer. Condition: Very good, given age. Three small tears in the top margin (not affecting image), with old restorations. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: L8-08 The overall size is ca. 26.4 x 18.3 inch. The image size is ca. 25 x 16.8 inch. The overall size is ca. 67 x 46.6 cm. The image size is ca. 63.5 x 42.6 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-DEPARTURE-HUNT-DEPART-CHASSE-Vernet-Debucourt-ca. 1800

      - Antique print, titled: 'Le Depart pour la Chasse.' - (The Departure for the Hunt.) Mezzotint engraving printed from multiple (colour) plates on wove (vellin) paper. Description: Source unknown, to be determined.Artists and Engravers: Made by 'P.L. Debucourt' after 'Carle Vernet'. Philibert-Louis Debucourt (1755-1832) was a French painter and engraver, a student of Vien. Antoine Charles Horace Vernet aka. Carle Vernet (1758-1835) was a French painter, the youngest child of Claude Joseph Vernet, and the father of Horace Vernet. Born in Bordeaux, Vernet was a pupil of his father and of Nicolas-Bernard Lepicie. Strangely, after winning the grand prix (1782), his father had to recall him back from Rome to France to prevent him from entering a monastery. He was a painter of animals en genre scenes. He specialised in depiction of horses. Vernet worked with lithography and made many prints in this medium. Condition: Very good, given age. Small pin holes in corner margins as a result of printing process as this was printed from several plates. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPC-P11-01-ova The overall size is ca. 35 x 24.4 inch. The image size is ca. 33.2 x 22.3 inch. The overall size is ca. 89 x 62 cm. The image size is ca. 84.4 x 56.7 cm.

      [Bookseller: ThePrintsCollector]
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        Horses in a thunder storm

      Artist: Anonymus ; issued in: ; date: ca 1800 - - technic: Lithography; - colorit: original colored; - condition: Tears perfectly restored; - size (in cm): 48 x 58; - description: Splendourful presentation of Arabian horses

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Nuova Carta dell'Italia Superiore in 6 fogli. Corretta e aumentata secondo le ultime osservazioni per comodo degli Amatori.

      1800 ca., Italia settentrionale - Valtellina 1800 - Interessante carta geografica napoleonica raffigurante il territorio dell'Italia settentrionale con la Repubblica Cisalpina, applicata su tela a stacchi. Margine graduato. Il titolo è iscritto in semplice riquadro nell'angolo in basso a sinistra. Di fianco al titolo sono riportate le scale metriche: Miglia Italiane, Miglia del Piemonte, Leghe Comuni di Francia e Leghe Comuni di Germania. Di fianco alle scale metriche è raffigurata in dettaglio la Valtellina, da sempre luogo strategico di notevole importanza. Una delle particolarità della carta è la rappresentazione dei centri abitati di cui viene messa in evidenza, ove sia presente, la cinta muraria. Gradevole coloritura coeva all'acquerello. Complessivamente ottima conservazione. Secondo stato di quattro.Bibliografia: Davoli, Sanfelici, p. 20, n° 3 mm 720x1430

      [Bookseller: Sergio Trippini]
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        Stage Design for "La Scala."

      ca. 1800.(). Original black and brown ink and wash. 307 x 414 mm. Ink and pencil sketched study on verso. Near fine.

      [Bookseller: Wittenborn Art Books]
 14.   Check availability:     Bibliophile     Link/Print  


        10 Antique Maps-GERMANY-NETHERLANDS-POLAND-DENMARK-Stockdale -1800

      - 10 Antique maps. This very large multi-sheet map (10 sheets) shows Germany, the Netherlands and part of Poland and Denmark. (Dedication to the king included). The sheets are seperate sheets now, but could be pasted into one large map. Engraving on wove paper. Description: From: "A General Map of the Empire of Germany, Holland, the Netherlands, Switzerland, the Grisons, Italy, Sicily, Corsica, and Sardinia, by Captain Chauchards &c.". Published in London: John Stockdale, 1800.Artists and Engravers: Made by 'John Stockdale ' after an anonymous artist. Condition: Very good, given age. Original middle fold. Some foxing in the middle folds. A few small tears in the margin edges (not nearly affecting image). A few of the sheets with ghosting from where the sheets were folded. Some general soiling and/or foxing in the margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPC-Expo-P5-23 The overall size is ca. 115.7 x 76.8 inch. The image size is ca. 115.7 x 76.8 inch. The overall size is ca. 294 x 195 cm. The image size is ca. 294 x 195 cm.

      [Bookseller: ThePrintsCollector]
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        9 Antique Maps-ITALY-CORSICA-SICILY-Stockdale -1800

      - 9 Antique maps. This very large multi-sheet map (9 sheets) shows Italy, Corsica and Sicily. (Sheet numbers 17-25 as indicated on the index map, Index included). The sheets are seperate sheets now, but could be pasted into one large map. Engraving on wove paper. Description: From: "A General Map of the Empire of Germany, Holland, the Netherlands, Switzerland, the Grisons, Italy, Sicily, Corsica, and Sardinia, by Captain Chauchards &c.". Published in London: John Stockdale, 1800.Artists and Engravers: Made by 'John Stockdale ' after an anonymous artist. Condition: Very good, given age. Original middle fold. Some foxing in the middle folds. A few small tears in the margin edges (not nearly affecting image). A few of the sheets with ghosting from where the sheets were folded. Some general soiling and/or foxing in the margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPC-Expo-P5-22 The overall size is ca. 96,9 x 76,8 inch. The image size is ca. 96,9 x 76,8 inch. The overall size is ca. 246 x 195 cm. The image size is ca. 246 x 195 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-WOMEN-FOREST-FOLDING MIRROR-GENTLEMAN-ARMOR-Tomkins-Ansell-1800

      - Antique attractively matted print, showing two ladies in a forest, with a gentleman in armour standing behind them. The two women are looking at a folding mirror. Handcoloured stipple and line engraving on a vellin type paper. Modern colouring. Description: Separately published master print, ca. 1800. Our definition of a Master Print is a seperately published print or series of prints, not being an illustrative print to a text. These can both be prints made by old masters (artists) or prints made by others (artists, engravers, etchers) after old masters.Artists and Engravers: Engraved by P.W. Tomkins after C. Ansell. Peltro William Tomkins (1760-1840) was an English engraver. He was the younger son of the landscape painter William Tomkins and a student of the reknown Francesco Bartolozzi. Charles Ansell (c. 1752-?) was an English painter. He was celebrated for his drawings and paintings of horses. Condition: Very good, given age. Small spots in the margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Profesionally matted, not examined out of matting. Storage location: DPO78-11 The overall size is ca. 20.5 x 21.3 inch. The image size is ca. 12.6 x 12.6 inch. The overall size is ca. 52 x 54 cm. The image size is ca. 32 x 32 cm.

      [Bookseller: ThePrintsCollector]
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        Teilansicht, Rathaus mit em Hafen, "Ansicht des innern Havens und des Rathhuases vom Emden .".

      - Kupferstich n. u. v. Lehmann, um 1800, 30,5 x 50,5 Sehr seltene, zugleich dek. Ansicht der Altstadt von Emden.Mit Widmung an den Magistrat der Stadt Emden.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Vue de la Fortresse de la ville de Pawlovsky représentèe au clair de Lune.

      Russia Early s 1800 - Engraving (app. 48 x 35.3 cm) by A. Oukhtomskiy after painting by Semen Shchedrin. Rare engraved lyrical view of the Bip Castle, a Pavlovsk fortress in Saint Petersburg. This folly fortress was constructed in 1795-1797 by an Italian architect V.F. Brenna on the order of Emperor Paul I. It was subsequently badly damaged during the Second World War and reconstructed only very recently. This print is part of the series engraved in 1790s - beginning of 1800s after paintings by Semen Shchedrin (1745 - 1804) depicting parks and palaces in Pavlovsk, Gatchina and Peterhof. The series were produced by a specially formed group of engravers that were working under the supervision of Shchedrin. The result of their work was 8 copperplates with 23 views that reflected the latest developments in the landscape painting, aligned with ideas and tastes of sentimentalism. Not in Rovinskiy, Podrobniy slovar russkikh graverov (5 other views from this series - column 1131 - 1132, ? 29).

      [Bookseller: Shapero Rare Books]
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        Historie der boecaniers, of vrybuyters van America.Amsterdam, Nicolaas ten Hoorn, 1700. 3 parts (paginated as 2) in 1 volume. 4to. With an engraved title-page, a folding engraved map of South and Central America, and 7 engraved plates (1 folding). Red (goatskin) morocco (ca. 1920), with richly gold tooled turn-ins, double fillets on board edges, gilt edges, by the French Binders of Garden City, N.Y., a reincarnation of Robert Hoe's Club Bindery, arguably the finest bindery ever to operate in America.

      Alden & Landis 700/11; Sabin 23469; cf. Howgego, to 1800, E-39 (other editions); for the bindery: T. Boss & M. Antonetti, Bound to be the best: The Club Bindery. Catalogue of an exhibition at the Grolier Club (2004). Second, much expanded, edition in the original Dutch, of a best-selling illustrated adventure story written by a former Caribbean pirate: the most important primary source and "almost the only comprehensive source of information for pirate activities in the seventeenth century"(Howgego). Exquemelin (ca. 1645-1707) began his career in service of the French West India Company on a 1666 voyage to Tortuga in the Caribbean. There he went into the service of the notorious Welsh privateer Henry Morgan. He returned to Europe ca. 1674 and made a new career as a reputable surgeon in Amsterdam, where he wrote the present book. The text is divided into three parts. The first tells of the French voyage to the West Indies in 1666 and describes the circumstances there. The second recounts the dreadful deeds of the Caribbean pirates, especially François l'Olonnais and Henry Morgan, and the third describes the burning and looting of Panama City by Morgan's unruly men.In 1895 a group of Grolier Club members led by Robert Hoe, founded the Club Bindery, with the intention of elevating America's bookbinding to match that of Europe. The Club Bindery works "surpassed - in design, forwarding, and finishing - anything that had been produced in the United States until then" (Antonetti). After Robert Hoe's dead the bindery reincarnated as the French Binders of Garden City, New York. With a dampstain throughout, in the lower right corner, a couple smudges and specks and the map with a small restored tear, otherwise a good copy. Some very minor wear along the board edges and a bit more noticeably along the hinges and the raised bands, otherwise the bindings is in very good condition.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Wallenstein.) The Piccolomini, or the first part of Wallenstein, a drama in five acts. Translated from the German by S.T. Coleridge.

      T. N. Longman & O. Rees. 1800 - Front., final ad. leaf; front. sl damp marked, title cropped at head with loss of ?The? BOUND WITH: The Death of Wallenstein. A tragedy in five acts. Translated from the German by S.T. Coleridge. 2 vols in 1 in attractive half maroon morocco at the Clarendon Press, Oxford; sl. damp marking to cloth on front boards & to spine. Signature on first title: ?Constable? Armorial bookplate of C. H. Wilkinson, and small ?Skinos? label. Die Piccolomini and Wallensteins Tod were written between 1797 and 1799, first performed in April 1799. They form the second and third parts of a trilogy subtitled Ein dramatisches Gedicht. Wallensteins Lager, the first part, is, effectively, a light-hearted prelude, while Die Piccolomini and Wallensteins Tod are two parts of one vast tragedy. These are the first English translations; the Proofs were read by Charles Lamb, Coleridge being on a visit to Wordsworth at Grasmere. ?Take no thought about your proof sheets; they shall be done as if Woodfall himself did them.? Lamb to Coleridge, 16th April 1800. Lamb also contributed the poem on p.89 of part I, the first time it appeared in print. Bound without the half title to part I. Bound into prelims of part II is the general titlepage for Wallenstein: A Drama, Longman & Rees, 1800. Each part has a preface by Coleridge. Wise 16 & 17. [Attributes: Soft Cover]

      [Bookseller: Jarndyce, The 19th Century Booksellers]
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        4 Antique Master Prints-LANDSCAPE-TIVOLI-BRIDGE-MULE-TRAVELLER-Both-ca. 1800

      - 4 Antique prints, titled: 'Horizontal Landscapes near Rome', The complete set of four Italianate landscape engravings: 1) a large tree, 2) a woman on a mule, 3) two mules on a path, 4) resting travellers. Each of the landscapes is a mountainous area with several rural figures. Etching on hand laid (verge) paper. Description: From a series: 'Landscapes near Rome.', this from a later edition, published c. 1800. Artists and Engravers: Made by an anonymous engraver after Jan Dirksz Both. Jan Dirksz Both (between 1610 and 1618 - August 9, 1652) was a Dutch painter, draughtsman, and etcher, who made an important contribution to the development of Dutch Italianate landscape painting. Condition: Very good, given age. Ample margins. Two holes (from binding) in the top margin of each sheet. Top right margin of plate 4 stained. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: Q2-181 The overall size is ca. 8.1 x 10.2 inch. The image size is ca. 10.6 x 13.9 inch. The overall size is ca. 20.6 x 26 cm. The image size is ca. 26.8 x 35.3 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Master Print-ITALIAN LANDSCAPE-TRAVELLERS-WOODEN BRIDGE-Both-ca. 1800

      - Antique print, titled: 'Sulmona near Tivoli', Mountain landscape (near Rome) with men with pack mules crossing a river over a wooden bridge. Etching on handlaid paper. Description: From a series: 'Landscapes near Rome.', this from a later edition, published c. 1800. Artists and Engravers: Made by Both after own design. Jan Dirksz Both (between 1610 and 1618 - August 9, 1652) was a Dutch painter, draughtsman, and etcher, who made an important contribution to the development of Dutch Italianate landscape painting. Condition: Very good, given age. Top margin quite foxed, few small stains in the image. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: Q2-180 The overall size is ca. 13.5 x 9.8 inch. The image size is ca. 10.7 x 8 inch. The overall size is ca. 34.4 x 25 cm. The image size is ca. 27.2 x 20.2 cm.

      [Bookseller: ThePrintsCollector]
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        Grande route au Mont St. Gotthardt, en Suisse non loin de l?Hospice.

      se vend chez C.G. Morasch à Dresde, o.J. (1800), - 34x50 cm (Bild), kolorierte Radierung, (Kolorit etwas verblasst, Blatt fleckig im Rand). 1 Blatt (48x59.5) Passstraße mit Reisenden | St Gotthardstrasse | St. Gotthard-Pass. Mit interesantem Détail des Sonnenschutzes, der von den weiblichen Reisenden getragen wurde.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Rothe: Benezit Bd. 11, 1440 / Jentzsch: Benezit 7, 818.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Album mit 39 ausgeschnittenen Blumenbildern aus der Familie des Berliner Verlegers Christoph Friedrich Nicolai.

      Berlin um 1800. - 8vo (ca. 19,5x16,5 cm), Halblederband der Zeit, 39 Blätter mit aufmontierten Blumenbildern. Album mit 39 Decoupages oder Papierstecklingen mit Blumen. Deutschland / Berlin Ende 18. Jahrhunderts, um 1800. In einem Halblederband der Zeit mit marmorierten Einbanddeckelbezügen, etwas berieben, innen gelegentlich leichter gebräunt, wenige Blumenbilder etwas später ausgebessert. Ein schönes Album mit sogenannten Blumen-Decoupages, aus dem Kreis des Berliner Schriftstellers und Verlegers Christoph Friedrich Nicolai (1733-1811), der die berühmte Nicolai'sche Buchhandlung seines Vaters geerbt hatte und mit Lessing und Moses Mendelssohn befreundet war. Mit dessem Exlibris auf dem vorderen Innendeckel. Die hier vorliegenden Scherenschnitte wurden wahrscheinlich von einer jungen Frau aus dem Umkreis der Nicolai&#146;schen Familie in ihrer Freizeit gemacht, sie haben zwar nicht die Qualität der berühmten Papiermosaiken der berühmten Decoupage-Künstlerin Mary Delany (1700-1788), sie könnte aber von deren berühmten Blumenmosaiken gehört haben. Im 17. Jahrhundert war Italien, vor allem Venedig, Vorreiter im Handel mit dem Fernen Osten und es wird allgemein angenommen, dass über diese Handelsverbindungen die ausgeschnittenen Papierdekorationen ihren Weg nach Europa gefunden haben. Die wichtigste Künstlerin, die Decoupage für Blumenbilder verwendete, war Mary Delany (geb. Granville, 1700-1788), eine englische Künstlerin und Briefschreiberin, berühmt für ihre Papiermosaiken. Album with 39 decoupages or paper cuttings of flowers. Germany / Berlin late 18tg century, around 1800. Half calf over marbled boards, rubbed and soiled, some cuttings probably later fixed (repaired). Nice album with flower decoupages from the circle of Berlin enlightement writer and publisher Christoph Friedrich Nicolai (1733-1811), who inherited his father's famous Nicolai'sche Buchhandlung. His enthusiasm for English literature won for him the friendship of Lessing and Moses Mendelssohn. These paper -cuttings are quite simple and probably made by a young woman in leisure times. They don't have the quality of the famous paper mosaicks of Mrs. Delany, but she or him might have heard of the famous art work in England in that time. The word decoupage comes from Middle French decouper, meaning to cut out or cut from something. In the 17th century, Italy, especially Venice, was at the forefront of trade with the Far East and it is generally thought that it is rheough these trade links that the cut out paper decorations made their way into Europe. The most important artist using decoupage for flower paintings was Mary Delany (née Granville, 1700-1788), an english artist and letter-writer, famous for her paper-mosaicks. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Mertens]
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        Skizzen, Gedanken, Entwürfe, Umrisse, Versuche, Studien die bildenden Künste betreffend.

      Magedeburg, bey G. Ch. Keil. 1799-1800. - Erstes Bändchen in 2 Heften, in 2 Heften. 8°. 2 Bl., 126 S., 1 Bl. Druckfehler, 1 mehrfach gefalteten gestochenen Tafel; S. 127-258 und 4 gestochenen Tafeln. Lithographierte Originalbroschuren. Sehr seltene Publikation, von der 1801 unter dem Titel "Neue Skizzen" noch ein drittes Heft erschien. Unser Exemplar mit handschriftlicher Widmung des Verfassers, der darauf Bezug nimmt, "Die drei ersten Hefte dieses Kunstjournals" einem leider unkenntlich gemachten Grafen widmet. - Johann Adam Breysig (1766-1831) war Maler, Dekorateur, Theatermaler und Kunsterzieher. Erg gilt als einer der ersten Entwickler des Panoramas. Im Aufsatz "Ueber meinen ersten Plan zu einem Panorama" auf S. 140-150 beklagt sich Breysig über den "rechtmässigen" Erfinder, den Iren Robert Parker, der 1787 ein Patent zum Betrieb eines Panoramas eingereicht hatte. Breysig war der Überzeugung, dass ihm die Idee geklaut wurde und nach England verkauft wurde. Auf alle Fälle war er der erste Betreiber eines Panoramas in Deutschland. Die anderen Aufsätze über Themen der Zeichnung, der Theatermalerei, der Farbenlehre u.a. - Rücken mit Papierschildchen und in den Gelenken angerissen. Einbände etwas angerändert. Stellenweise etwas fleckig.- Unbeschnitten, Heft 2 unaufgeschnitten. [Attributes: First Edition]

      [Bookseller: Daniel Thierstein]
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        GENERAL ZOOLOGY OR SYSTEMATIC NATURAL HISTORY

      G. Kearsley/Thomas Davison 1800-1826, London - Twelve (of fourteen) volumes bound in eighteen volumes comprising twenty-two parts and including index, bound in recent 3/4 polished calf leather and marbled boards with blind rules, gilt-lettered and decorated spines, and gilt-lettered brown morocco spine labels. Illustrated with engraved title pages and 1048 plates. Includes 233 plates of mammals in 14 parts in 4 volumes; 140 plates of amphibians in 2 parts in 2 volumes; 190 plates of fish in 4 parts in 4 volumes; 139 plates of insects in 2 parts in 2 volumes; and 346 plates of birds in 10 parts in 5 volumes. Minor foxing to the plates with many tissue guards still in place, text generally clean. Near Fine in a Fine, attractive binding [Attributes: Hard Cover]

      [Bookseller: Charles Agvent, est. 1987, ABAA, ILAB]
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        Soliman der Zweite oder Die drei Sultaninnen

      In dem K.K. Hof-Theater Music Verlag in der Burg [PNs 87-91], Wien 1800 - Oblong folio. Disbound. [i] (title), 2-6, 1f. (blank); [i] (title), 2-3, [i] (blank); [i] (title), 2-5, [i] (blank); [i] (title), 2-4; 1f. (title), 7, [i] (blank) pp. Engraved. Comprises the overture and four separate numbers from the opera: "Die Männer sind geschafen," "Man gewinnt nicht Mädchenherzen," "Tandeln und scherzen," and "In des Mondes Silberstrahlen."Remnants of wrappers to spine of outer leaves. Very slightly worn and soiled. A very attractive copy overall. [?]First Edition. Scarce. Grove Music Online. RISM S7113, S7113a, S7114. OCLC no. 68880888 (one copy only, at the Koninklijke Bibliotheek). Soliman der Zweite, to a libretto by Franz Xaver Huber after Charles Simon Favart, was first performed in Vienna at the Kärntnertortheater on October 1, 1799. "Among the works Süssmayr composed for the Kärntnertortheater, Der Marktschreyer (1799) and Solimann der Zweite (1799) enjoyed the most performances. The latter's success is reflected in Beethoven's set of piano variations (woo76, 1799) on the terzetto 'Tändeln und Scherzen'. Süssmayr, like most Viennese opera composers, used a wide range of national styles in his German works, including Italian seria and buffa idioms, French comique forms, popular German styles, and melodrama. His melodic gift and formal craftsmanship show best in his solos, duets, and trios. " Linda Tyler, et al. in Grove Music Online. [Attributes: Soft Cover]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        Tagebuch einer Reise durch die östliche, südliche und italienische Schweiz. Ausgearbeitet in den Jahren 1798 und 1799.

      1800 1800 - 1st edition. Kopenhagen: Brummer 1800. With 3 engraved plates. [4] + 4 + 540 pp. A few leaves, including plates, a little foxing in margin otherwise a clean and well-preserved copy on heavy paper bound in contemporary calf with coloured label and richly gilt on spine and with goldline on boards. With stamp on title "Grev (Count) Scheel" and older names on free endpaper. * Reisebuch einer Frau, die, ungewöhnlich für die damalige Zeit, allein durch die Schweiz und Italien gereist ist. Nicht nur ihre Sprache wie ihre Empfindungsweise ist an den Weimarer Klassikern geschult, sondern auch ihr naturwissenschaftlich interessierter Blick. Die drei Tafeln zeigen Landschaftansichten. Wäber I,50. Engelmann 923.Travel journey by a lady who, very exceptionally for the time, traveled through Switzerland and Italy all by herself. [Attributes: First Edition; Soft Cover]

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        4 Rare Antique Prints-ALLEGORY-4 SEASONS-GIRL-Thomas Cheesman-Domenichino-1800

      - Set of 4 original antique prints, titled: 'The Seasons', each a girl's protrait. Each of the girls is an allegory of one of the four seasons. Rare as a complete set. Handcoloured stipple and line engraving on a vellin type paper. Description: Separately published master prints, published ca. 1800. Our definition of a Master Print is a seperately published print or series of prints, not being an illustrative print to a text. These can both be prints made by old masters (artists) or prints made by others (artists, engravers, etchers) after old masters.�Artists and Engravers: Engraved by T. Cheesman after Domenichino. Thomas Cheesman (1760-1835) was a British printmaker, engraver and miniature painter. He was trained by Bartolozzi, and worked for the firm of John Boydell. Domenico Zampieri (also: Domenichino, 1581-1641) resisted the popular Baroque style of his time, preferring the 'disegno' style. He worked with Carracci and Reni on the Farnese Palace murals. Condition: Very good, given age. Occasional small creases in the margins, thumbing in the bottom margin of one of the prints. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Professionally matted, not examined out of matting. Storage location: DPO-74-01/02 The overall size is ca. 20.9 x 24.8 inch. The image size is ca. 13 x 16.1 inch. The overall size is ca. 53 x 63 cm. The image size is ca. 33 x 41 cm.

      [Bookseller: ThePrintsCollector]
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        28 Antique Master Prints-LANDSCAPE-PROOF-STATES-Isendoorn a Blois-ca. 1800-1830

      - 29 Antique master prints, untitled. Three different landscapes with farmhouses, three views of Castle Cannenburgh, and a study of a Etching Made by 'Reinier Albert Lodewijk Baron Isendoorn a Blois' after own design. R. A. L. Baron Isendoorn a Blois (1786-1856) was a great collector of graphic art. He amassed a large collection, which was sold in 1879. Condition: Good, given age. Some of the proof sheets with tears in the margins and soiling (typical of atelierproofs). General age-related toning and/or occasional minor defects from handling. Please study scan carefully. The overall size is ca. 13 x 10.9 inch. The image size is ca. 8 x 7.2 inch. The overall size is ca. 33 x 27.8 cm. The image size is ca. 20.2 x 18.3 cm. [Attributes: Soft Cover]

      [Bookseller: ThePrintsCollector]
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        Domplatz mit Blick auf den Dom ('Vue D'Une Petite Ville De Hollande').

      - Kupferstich v. Dequevauvilliers n. J. van Huysum & Storelli, um 1800, 28 x 35 Müllers, Xanten im Bild; Graphische Blätter des 17.-19. Jahrhunderts, Nr. 12. - Dieses Blatt ist nach dem im Louvre befindlichen Gemälde des J. van der Heyden (1637-1712) gestochen worden.

      [Bookseller: Antiquariat Norbert Haas]
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        Antique Master Print-BULL AFTER POTTER-COW-SHEET-LANDSCAPE-Liernur-Potter-1800

      - Antique print, titled: 'Stier naar Potter', Standing Bull, after the painting by Paulus Potter. Aquatint etching and rotel engraving. Plate colouring (a-la-pouppee) on a vellin type paper. Made by A. Liernur after Paulus Potter. Alexandre Liernur (Dutch; 1769-1815) Student of several painters. He went to Rome in 1794 as a "pensionnaire" of the Dutch Prins Willem II. He returned early in 1796 because of the political situation in Italy. In the period 1801-1802 he was in Paris where he made watercolor drawings of paintings in the Louvre. Back in Holland he continued with watercolor, but as one of the first and few in the Netherlands he also mastered the aquatint techniques. This technique was introduced from England and it was a very difficult, expensive and time consuming technique. The aquatints he made after his own designs made him famous. In 1797 he became a member of the Painters Society: 'Ars Aemula Naturae'. His famous aquatint after 'The young bull' by P. Potter was made for the Amsterdam Painters Society: 'Felix Meritis'. Condition: Fair, given age. Several little tears, remargined using contemporary paper backed with acid free archival tape. No margin in bottom. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. The overall size is ca. 26.4 x 17.6 inch. The image size is ca. 25.5 x 17.2 inch. The overall size is ca. 67 x 44.7 cm. The image size is ca. 64.8 x 43.7 cm.

      [Bookseller: ThePrintsCollector]
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        Malvina

      Chez Maradan 1800 - - Chez Maradan, A Paris 1800, In-12 (10x17cm), (4) iv, 255pp. (2) ; (4) 259pp. (2) et (4) 251pp. (2) ; (4) 259pp. (2), 4 tomes en 2 volumes reliés. - Edition originale, rare, illustrée de 4 frontispices légendées et encadrés par Tardieu et gravés par Binet. Reliures en pleine basane brune d'époque mouchetée. Dos lisses richement ornés de 2 caissons avec un losange irradiant, un caisson à la grotesque et des roulettes. Pièces de titre et de tomaison en maroquin rouge. Frise d'encadrement sur les plats. Roulette sur les coupes et intérieure. Tranches dorées. Très bel exemplaire, malgré un coin émoussé, d'une belle fraîcheur. Ce roman épistolaire de type sentimental connut un grand succès en son temps, il mit à la mode ce prénom de Malvina qui avait été inventé un peu plus tôt pat le poète ossinaique Mac Pherson. Sophie Cottin place en effet son héroïne dans un château d'Ecosse, où elle s'est promise dans cette retraite choisie, de s'occuper de la fille de son amie chérie et décédée. "Depuis l'inoculation de l'amour dans la Nouvelle Héloïse, dit Chénier, il n'est point de situation mieux conçue, mieux développée, plus pathétique en tous ses détails, que celle de Malvina, s'introduisant déguisée dans le château d'une famille qui la persécute, y devenant la garde-malade d'Edmond, son amant ; et là, muette, impénétrable autant qu'active et vigilante, l'arrachant, à force de soins, à la mort qui semblait déjà le saisir." in Revue des romans, 1839. Les 5 romans de Sophie Cottin furent constamment réédités au XIXe siècle. NB : Cet ouvrage est disponible à la librairie sur demande sous 48 heures. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition, rare, illustrated with 4 frontispieces legendary and framed by Tardieu and engraved by Binet. Bindings in full brown fleece of speckled contemporary. Smooth backs richly adorned with 2 caissons with an irradiating diamond, a box with the grotesque and roulettes. Title and tomato pieces in red morocco. Frieze framing on the boards. Roulette on cuts and inside. Slices golden. Very beautiful copy, despite a blunted corner, a beautiful freshness. (4) iv, 255pp. (2) ; (4) 259pp. (2) et (4) 251pp. (2) ; (4) 259pp. (2) [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Naples.( pris de la Villa Réale )

      Artist: Wild/ Moncel du Th; issued in: ; date: ca 1800 - - technic: Lithography; - colorit: original colored; - condition: Right corner on outer margin lightly restored; - size (in cm): 37 x 49; - description: Beautiful view of the city Naples

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Poems by In Two Volumes.

      Printed by T. & J. Swords 1800 - with 3 Bewickesque woodcut vignettes, and various tail-pieces, second 2 leaves in vol. i minimally (and unaccountably) shorter, last few leaves in vol. i irregularly browned, pp. 147; 168, 8vo, contemporary tree sheep, small loss of surface to lower board ov vol. i, cracking to upper joint of vol. ii, good, book label inside front cover of Amos Tuck French. First collected edition, and, for the time and place, an exceptionally nice copy. The verses include several of a patriotic kind, celebrating independence, the Constitution, and one, Peace - a poem published shortly after the ratification of Peace between America and Great-Britain. This includes the following verses: For Peace we sued, in days of deep distress, But sued in vain - our wrongs had no redress: Let Britain, then, her own mad acts repent, Her dwindled power, and fame eclipsed lament .' The French family of New Hampshire might be described as American aristocracy. Heading the list of subscribers (in vol. ii) is John Jacob Astor - the Astor family being one that the Frenchs were to intermarry with. The Tuck as the middle name allows French to rejoice in the book label reading: Amos Tuck French, Tucks Eden, Tuxedo Park.' (ESTC W28911)

      [Bookseller: Blackwell's Rare Books ABA ILAB BA]
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        LETTER FROM ALEXANDER HAMILTON, CONCERNING THE PUBLIC CONDUCT AND CHARACTER OF JOHN ADAMS, ESQ PRESIDENT OF THE UNITED STATES

      Philadelphia: Re-printed pro bono publico, 1800. 54pp. Modern quarter calf and boards, gilt leather label. Minor toning. Very good plus. Untrimmed and unopened. Philadelphia edition, printed "for the public good," following the first edition of the same year printed in New York. The great betrayal, which may have cost Adams the election of 1800. Hamilton originally issued this work with the hope of giving Charles Cotesworth Pinckney a majority over Adams. Hamilton writes of Adams: "...He does not possess the talents adapted to the administration of this Government, and that there are great and intrinsic defects in his character which unfit him for the office of Chief Magistrate." "This and Adams' reply are probably the plainest talk ever indulged in, in print, between two great statesmen. It received many answers, from both Republicans and Federalists" - Ford. This edition was printed by William Duane, publisher of the pro-Republican newspaper, the AURORA. Very popular in its time, Hamilton's work was reprinted four times during the 1800 election. EVANS 37570. NAIP w020637. HOWES H116. FORD 73. SABIN 29959. REESE, FEDERAL HUNDRED 81.

      [Bookseller: William Reese Company - Americana]
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        Ferrandino. Fortsetzung der Geschichte des Räuber-Hauptmanns Rinaldini von dem Verfasser derselben. Drei Teile in drei Bänden.

      147, 1 126, 2 119, 1 S., je Band 1 gestochene Titelvignette. 16, 8 x 10, 5 cm, Pappbände der Zeit mit goldgeprägtem Rückentitel und Bandzählung auf zwei Rückenschildern (eins rot, das andere grün) und Feldertrennung, dreiseitiger Rotschnitt. Frühe Ausgabe ohne Verlagangabe. WGII 83 titelt "Ferrandino" und datiert Lpz.:Gräff (Rinaldo Rinaldini 10. - 18. Buch) 1800 - 1801. Goedeke V. 279 11, 28 titelt "Fernando Fernandini" und datiert 1799. "Die Vulpius-Bibliographie (in Jahrbuch der Slg.Kippenberg Bd.6 von 1926, S.93) bezeichnet diese Auflage als Nachdruck des zehnten bis achtzehnten Buchs von Rinaldo Rinaldini, zuerst als Erweiterung innerhalb der zweiten rechtmäßigen Auflage, Leipzig, Gräff 1800-1801, erschienen. Die von Goedeke erwähnte Auflage 1799 kann auch Vulpius nicht nachweisen. Goedeke irrt sicher, da Ferrandino ja erst 1800 rechtmäßig gedruckt wurde." Dank an den Kollegen Günther Trauzettel.Kanten leicht bestoßen, sonst und im Ganzen gut erhaltenes Exemplar. * * *Achtung ! ! ! Wichtiger Hinweis * * * * Derzeit eingehende Anfragen und Bestellungen können wohl erst ab Montag, dem 15. Oktober 2017, bearbeitet werden. * * *

      [Bookseller: Matthias Severin Antiquariat Am Bayerisc]
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        Apotheker - Compositionen. - Handschriftliche Rezepte eines Apothekers oder Drogisten des frühen 19. Jh.; von Zahnputzmittel über Quittenliqueur bis Metallvergoldung.

      o.J. (um 1800), - in-8vo, 91 unnum. Bll., mit ca. 260 Rezepten, mittels schwarzer Tinte in deutscher Kurrentschrift handgeschrieben, 1 Tafel mit Illustrationszeichnung in Tinte, durchgehend schwacher Fleck am rechten Rand, guter Zustand, Pergamenteinband d. Z. mit hs. Beschriftung auf Rücken, Rest von 2 Leinenbändchen, etwas fleckig, ansonsten guter Zustand. Anonyme Sammlung von chemischen Rezepten aller Art, alle von der gleichen Hand aufgezeichnet. Der Verfasser ist kein Laie, wie die teils lateinisch abgekürzten Rezepttitel und Bestandteile verraten. Medizinische Medikamente sind kaum enthalten, dagegen verschiedene Körperpflegeprodukte und Kosmetikartikel, aber auch Spirituosen, Putzmittel, Farben usw. Jedes Rezept enthält einen Titel, die Inhaltsstoffe und wenn nötig eine Herstellungsanleitung. Diese können in Einzelfällen mehrere Seiten umfassen und eine ist gar illustriert (Kartoffelbrandwein und Kartoffelessig). Die Rezepte sind in keiner bestimmten Ordnung und enthalten u.a. Anleitungen zur Herstellung von verschiedenen Färbemitteln, Seifen, Danziger Goldwasser, Maraskino, Quittenliqueur, Kaffeeliqueur, englischem Bier (Ale), Essence d?absinthe, Stiefelwachs, Graugarnfärbemittel, Candela fumalis, Eisen zu vergolden (Eisenvergoldung), Witterung um einen Fischotter zu fangen, Mittel gegen Krebs (wohl das Schalentier gemeint), wohlriechendes Mundwasser, usw. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Peinture d'histoire

      1800. Original Ink Henri Pille representing a historical scene, preserved in matte board and gilt wood frame.Figure appreciated the Montmartre art world whose work is developed through history paintings and genre scenes often tinged with humor, Pille is best known as a designer pen. It performs numerous illustrations for publishing, especially in the Alphonse Lemerre editor and contributor to magazines and newspapers such as The Courier French, Le Rire, Le Monde illustrated, Le Procope, newscasters, The Amusing Journal, Life Modern, The Thief or The Little French illustrated. He published the drawings in the journal of the cabaret Le Chat Black and participated in the design of silhouettes for shows his shadow theater. In his letters to his brother Theo, Vincent van Gogh repeatedly expressed his admiration for the work of Henri Pille he met during his stay in Paris between May 1875 and March 1876. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information!(circa 1880) 21,5x35cm (dessin) 42x58cm (cadre) une feuille sous marie-louise et cadre

      [Bookseller: Librairie Le Feu Follet]
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        Rapport fait au Gouvernement Francais Des Evenemens qui se passes en Egypte

      First edition. 8vo. Full contemporary calf, boards with gilt borders, black morocco labels to spine, gilt, extremities slightly rubbed, some minor marginal worming not affecting the text, pencil note to front free endpaper. 65, [1]pp. De l'Imprimerie Nationale, Cairo, An 8

      [Bookseller: Maggs Bros. Ltd.]
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        Wallenstein. A drama in two parts. Translated from the German by S.T. Coleridge. (The Piccolomini, or the first part of Wallenstein, a drama in five acts.

      T. N. Longman & O. Rees. 1800 - FIRST EDITION. BOUND WITH: The Death of Wallenstein. A tragedy in five acts. Translated from the German by S.T. Coleridge. FIRST EDITION.) Front., 2pp ads. part I, 3pp ads. part II; front. with minor damp stain & sl. offsetting to title. Contemp. half calf, spine lettered in gilt, marbled boards; sl. rubbed, corners a little bumped. A good-plus copy. ESTC T61110 & T61109; Tinker 684; Wise 16 & 17. Die Piccolomini and Wallensteins Tod were written between 1797 and 1799, first performed in April 1799. They form the second and third parts of a trilogy subtitled Ein dramatisches Gedicht. Wallensteins Lager, the first part, is, effectively, a light-hearted prelude, while Die Piccolomini and Wallensteins Tod constitute the main interest of the tragedy. The work was based on the life of the Bohemian soldier and nobleman Albrecht von Wallenstein, 1583-1634, a celebrated figure in the Thirty Years? War. These are the first English translations. The Piccolomini bound without the separate titlepage. [Attributes: First Edition; Hard Cover]

      [Bookseller: Jarndyce, The 19th Century Booksellers]
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        Travels from France to Italy, through the Lepontine Alps; or, An itinerary from Lyons to Turin, by the way of Pays-de-Vaud, the Vallais, and across the Monts Great St. Bernard, Simplon, and St. Gothard: with topographical and historical descriptions of the principal places which lie contiguous to the route; including some philosophical observations on the natural history and elevation of that part of the Alps to which are added remarks on the course of the Rhone from its source to the Mediterranean sea.

      London, Printed by S. Hamilton, for G.G. and J. Robinson, 1800, - in-folio, 4 leaves (1 blanc - printed titlepage - advertisement - contents) + 1 engraved titlepage with view + 218 p. + 1 ll. blanc + 1 folded handcoloured engraved map ?Chart of places. including the principal Peaks of that Chain of the Alps from the Buchetta to Mont St. Gotthard? + 1 townplan of Lyon in black + 25 plates printed in brown (soot brown or ?bistre?), with most of the original protective tissue gards (mostly browned in the margins), some waterstains to the lower margins of the engraved titlepage and some others, hw. ownership on first free fly ?J. Matilda Scott?, Original leather spine, boards with rests of orig.-cloth. First edition, reprinted in 1806. This book has never been translated into French. Illustrated engraved titlepage with view followed by the numbered plates I to XXVII, which includes 1 general coloured map, 1 town-plan of Lyon printed in black and 25 views printed in bistre, all after drawings by Albanis Beaumont. Bel album très rare et très recherché pour la qualité des illustrations (Perret). Plates numb. I up to XXVII: Vue de Lyon, taken from the Arsenal / Lyon Aquaduct, built by the Romans / Voltaire?s Tomb - Roman Theatre at Lyons / Geometrical plan of Lyons including the New Buildings of Parrache (tirage en noir) / Cascade and Lake of Nantua / Town of Nantua, Continuation of the same / Representation of the above Lake / Loss of the Rhone (Perte du Rhône) / Re-appearance of the Rhone / Fort of Cluse / Ferney / Geneva / Versoix / Morges / Lausanne / Vevay (sic.) / Salt-Works at Bex, Canton of Berne (sic.: aujourd?hui Vaud) / Bridge of St. Maurice on the Rhone / Martigny and the Valley of the Rhone / Glacier between those of Valsoray and La Valpeline / Summit of the great St. Bernard, inculding the Hospice or Convent / Sion / Source of the Rhone and Glacier of la Furca / Ascent of the St. Gothard / Hospice on the St. Gothard / The Devil?s Bridge.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Abbey: Travel in Aquatint & Lithography n° 53; Wäber, 109; Perret 0333. [Attributes: Hard Cover]

      [Bookseller: Harteveld Rare Books Ltd.]
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        THE PROSPECT BEFORE US. VOLUME I.

      Richmond: Printed for the Author, and Sold by M. Jones, S. Pleasants, Jun. and J. Lyon, 1800. 184pp. Modern calf, gilt leather label. Light tanning. Very good. The passionate and extraordinarily rare anti-Federalist screed from the "scandalmonger" himself, James T. Callender, suppressed by the Federalists who convicted him for sedition for writing it. Callender was a notorious journalist and political pamphleteer during the Federal period, issuing savage attacks on George Washington, John Adams, Alexander Hamilton, and others. The present work was partially financed by Vice President Thomas Jefferson who was, along with James Madison, actively working against the president and his Federalist cohorts. Jefferson had been particularly impressed with Callender's attack on Hamilton, and wanted a similar work scrutinizing the Adams administration, especially as he was running against the incumbent president at the time. The pamphlet is an attack on the political corruption within the Federalist party and inside the Adams administration, with Callender focusing his ire on the president himself. He labels the president a "hoary headed incendiary," "a man who has deserted and reversed all principles," and describes the Adams administration as "one continued tempest of malignant passions. As President, he has never opened his lips, or lifted his pen without threatening and scolding; the grand object of his administration has been to exasperate the rage of contending parties to calumniate and destroy every man who differs from his opinions...." As a result of this pamphlet, Adams' and Hamilton's Federalist party used the new Sedition Act to prosecute Callender at the height of the 1800 election campaign, citing twenty passages from THE PROSPECT BEFORE US in the indictment (though never naming the book itself). After a frustrating and politically-charged trial stacked clearly against the defendant, presided over by Federalist judge Samuel Chase, who frequently interrupted the defense lawyers, and consisting of an all-Federalist jury, Callender was found guilty. He was fined $200 and sentenced to nine months in prison. Callender was the last and most famous target of the Sedition Act, and the only defendant prosecuted under the law in a southern state. After Jefferson's election the new President pardoned Callender, but refused the writer's request to receive a lucrative postmaster's appointment. Callender then switched sides, revenging himself by spilling the details of Jefferson and his mulatto mistress Sally Hemings. In 1803, while drunk, he drowned in a shallow sidewater of the James River. The shadowy circumstances of his death, combined with the many powerful enemies he had made, led to numerous Vince Foster-like conspiracy theories. The first part of THE PROSPECT BEFORE US was popular and welcome in Virginia at the time of publication, but roundly criticized and suppressed in Philadelphia and elsewhere. As a result, the work is extremely rare, and hardly ever encountered outside institutions. James Morton Smith, "Sedition in the Old Dominion: James T. Callender and THE PROSPECT BEFORE US" in THE JOURNAL OF SOUTHERN HISTORY, Vol. 20, No. 2 (May 1954), pp.157-82. HOWES C72. EVANS 37083. SHAW & SHOEMAKER 271. BRINLEY 4790. William Safire's novel SCANDALMONGER (2000) is a lively fictional treatment of Callender's career and a must-read for any enthusiast of the Federal era. REESE, FEDERAL HUNDRED 80.

      [Bookseller: William Reese Company - Americana]
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