Hünersdorff Rare Books

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First Catalogue Raisonné of the Roman Antiquities excavated at Herculaneum

First Catalogue Raisonné attempted of the Roman Antiquities excavated at Herculaneum

Bayardi : Catalogo degli antichi monumenti dis-sotterrati dalla discoperta cittá di Ercolano. Naples 1755 Bayardi, Ottavio Antonio. Catalogo degli antichi monumenti dis- sotterrati dalla discoperta cittá di Ercolano per ordine della Maestá di Carlo Re delle due Sicilie. Naples, Royal Press, 1755. Large folio. Half title + title + xxii + 447 + [1 blank]p. Title with large allegorical engraved vignette incorporating royal arms by P. Ant. Piaggio after Camillo Paderni, preface with large engraved head and tail piece and 1 large engraved initial. Contemporary bords backed in antiqued calf. The first attempt at listing the archaeological remains of Herculaneum, discovered by accident in 1750 on digging a well- shaft. The learned prelate and royal councillor Bayardi (1695-1764) was commissioned by an excited King Carlo III of Naples to carry out the monumental task of examining all buildings, monuments, artifacts and inscriptions excavated at Herculaneum and Pompei. The Catalogue, luxuriously published on thick paper as a first volume, was never completed. It provides a pre- liminary listing of all artifacts found to date, and precedes the Antichita di Ercolano published 1757-1792 in 8 volumes under the auspices of the Herculean Accademy also founded in 1755. In the end, Bayardi only edited the first 3 volumes of the An- tichita, as he was dismissed by his impatient king for making slow progress. Light waterstain in inner blank tail margin of first quire, some light foxing, but generally a good copy. Berlin Katalog 3947; Blackmer 97; Cicognara 2645.
Napoleonic Trophy Art from Italy

Napoleonic Trophy Art from Italy

Collection of eight Parisian Exhibition Catalogues presenting art loot recently extorted in Italy to enrich French National Collections Collection of eight rare Paris Exhibition Catalogues including a set of the earliest original official reports of art treasures looted in Italy by the Napoleonic army. (1) Explication des ouvrages de peinture, sculpture, architecture, gravure, des- sins, modèles, &c. Exposés . au Lou vre, Paris. [1795]. 96p. The first exhibition catalogue of all works by French artists who immortalized the glories and ideals of the Revolution. Including names and addresses of the artists with descriptions of the subjects treated in paintings, sculpture, archi tecture, and prints. Margins frail with small tears. (2) Notice des tableaux des trois écoles choisis dans la collection du Muséum des Arts, Paris, [1796]. 47 + [1 blank]p. (3) Notice des dessins originaux, cartons, gouaches, pastels, émaux et miniatures du musée central des Arts. Paris. [1797]. 107 + [1 blank] p. Catalogue raisonné of the first part of an exhibition devoted chiefly to Italian and Flemish art held in the Apollo Gallery in the Louvre on 15th August 1797. Presented are original designs, car- toons, gouaches, pastels, enamels, miniatures, and marble statues, some now lost. A revised 2nd edition. 142 paintings taken, together with the names of artists, titles of pictures, description of subjects, measurements, historical notes and provenance. (4) Explication des ouvrages de peinture, sculpture, architecture, gravure, dessins, modèles, etc. Exposés dans le Grand Salon du Musée Central des Arts, Paris [1797]. 117 + [1 blank] p. Catalogue of the 2nd exhibition of works by French artists with sections on paintings (499 exhibits), sculptures (48), architecture (20) & engravings (50). The exhibition was held in September 1797 at the Louvre. (5) Notice des principaux tableaux recueillis dans la Lombardie en Italie par les commissaires du Gouvernement Français. [Paris, 1798] . Half title + title + viii + 118p. The first of 3 remarkable exhibition catalogues of paintings looted in Italy by the French army under Napoleon which were shown in Paris in three consecutive rounds. It describes pictures taken in Lombardy transported by ox cart and ship to Paris, shown at the Louvre from 6th February to 18th June 1798. Taken from collections in Parma, Milan, Cremona, Modena, Cento, and Bologna are paintings by Italian, Flemish, and French artists . (6) Notice des principaux Tableaux recueillis en Italie, par les commissaires du Gouvernement Français . Comprenant ceux de l Etat de Venise et de Rome. [Paris, 1798]. viii + 91 + [1 blank]p. The 2nd of 3 official catalogues of the paintings looted in Italy first exhibited in Paris from 9th November 1798 . Comprising 94 paintings taken from great collections in Venice, Verona, Mantua, Perugia, Pesaro, Fano, Loretto, and Rome. Including descriptions of 8 outstanding bronze bas-reliefs & 4 busts. (7) Notice des principaux tableaux recueillis en Italie, par les Commissaires du Gouvernement Français .comprenant ceux de Florence et de Turin. [Paris, 1799]. Title leaf + iv + 80p. The 3rd and last of 3 exhibition catalogues of the paintings freshly looted in Italy by the French army provisionally presented to the public in Paris from 18 March 1799 as war trophies. Comprising 147 paintings taken in Turin and Florence (Palazzo Pitti)i . (8) Notice des statues, bustes et bas-reliefs, de la Galerie des antiques du Musée central des Arts. Paris [1800]. [4] + 116p. Stitched original mottled pink wrappers. 1st edition of the 1st exhibition catalogue of the freshly looted Roman statues shown from 9th November 1800 onwards. The ex hibits are presented as the fruit of the conquests of the Army of Italy. As agreed by the terms of the Treaty of Tolentino, they were selected from the Capitol and the Vatican by Barthélemy, Bertholet, Moitte, Monge, Thouin, and Tinet, in their capacity of government commissioners for searching out science and art objects . . .The thefts were formalized in the treaties imposed on the Italian states as legal documents . The French Republic attempted to justify the systematic art plunder with the argument that these great works of art once held by barbarous peoples, were waiting to be appreciated on the soil of the Fatherland and Liberty. Some foxing throughout, otherwise in good condition. 7 catalogues in 12mo in their original stitching, which are bound together with 5 French political pamphlets into contemporary pink sprinkled boards with a mo- rocco title label; added at the end is a contemporary manuscript index. Item 8 is separately bound.
Le Chirurgien Dentiste

Le Chirurgien Dentiste, ou Traité des Dents, . Deuxiéme edition revûë, corrigée, et considérablement augmentée. Tome Premier.

Fauchard, Pierre. First comprehensive dental text book Fauchard, Pierre. Le Chirurgien Dentiste, ou Traité des Dents, . Deuxiéme edition revûë, corrigée, et considérablement augmentée. Tome Premier. Paris, Pierre-Jean Mariette, 1746. 8vo. xxiv + [8] + 494p. Including half title, title, dedication, preface & chapter index. With author's engraved frontispiece portrait by J.B. Scotin after a painting by J.Le Bel and 8 fullpage engraved plates. Contemporary sprinkled calf, backstrip gilt; joints repaired, rubbed, new labels; sprinkled pink edges. First volume of the second edition, much enlarged, revised and corrected by the author, complete with all eight plates, of the first comprehensive dental manual. The French physician Pierre Fauchard (1696-1761) is known as the 'father of modern dentistry'. "Pierre Fauchard has been called the 'Father of Dentistry'; his comprehensive and scientific account of all that concerned dentistry in the 18th century is one of the greatest books in the history of the subject" (Garrison-Morton). "in fact the first scientific work on its subject, and modern dentistry begins with its publication. Fauchard describes in fullest details the procedure of operative dentistry, in the filling of teeth and most especially in prosthesis, which is that part of dental surgery concerned with artificial dentures, bridge work and the like. He was especially novel in his method for correcting irregularities and was the first, for example, to describe the use of metal bands or braces for this purpose." (PMM 186). With near-contemporary manuscript signature of Charles Dunlop, Edenderry House [ Ballylessan, Belfast] in top blank margins of title and first leaves; sporadic traces of worming in outer edges of tailend blank margins, otherwise a fresh copy.

Tratado de Artilleria Theoretica y Práctica, en donde se da entera noticia, y conocimiento de todas las piezas antiguas, y juntamente de las modernas de la Nueva Ordenanza del año de 1716. Segun el methodo, que se enseña en el Real Seminario de San Telmo, extramuros de la ciudad de Sevilla.

Sánchez Reciente, Juan. .Tratado de Artilleria Theoretica y Práctica, 12mo. [12] leaves + 224 pages; 8 engraved folding plates. Diagrams in text. Contemporary limp vellum with calligraphic title ‘Artíllería’ on spine. Rare Spanish artillery handbook compiled to match the latest reforms set out by Royal Decree of 1716. The manual dealing with the problems of casting guns in iron and bronze in Spain is arranged in the form of questions and answers in 15 chapters respectively treating: The definition of Royal Ordinance of 1716, 10 geometrical problems in making and use of pieces of artillery, instruments of artillery, parts & metals, the metal moulds & calibres of cannon, cylindrical cannon supports for carriages, ballistics, cartridges & ammunition, the matching of gun powder, gun carriages, shot & ranges, calibre training, mortars & bombs, bullet count in pyramid levels and artillery games.The author was a priest and lecturer in mathematics at the Royal Seminary of San Telmo outside Seville which was founded in 1681. The preliminaries contain a dedication to St Barbara, patron saint of artillery, approbation & licence by the Inquisition, a sonnet in honour of the author, a preface to the reader, a chapter index and an errata leaf. The Royal Artillery Factory at Seville was established in the 16th century; in 1720 a new foundry was built for the casting of cannon and other military hardware. Minor traces of wear, otherwise in excellent condition preserved in the original binding.