Adam

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Black Adam & Charles.ABAA

Black's General Atlas of the World.

Dussek Jan Ladislav. 17601812 & Adam Louis. 17581848 & Cramer Johann Baptist. 17711858 & Lemoyne Jean Baptiste. 17511796ABAA

Bound Volume of 18th-Century Sonata Sets by Dussek Adam Cramer & Le Moyne

10243Used; Like New/Used; Like New. Sammelband containing rare early editions of 16 sonatas published ca. 1790â1820 by the Czech composer Jan Ladislav Dussek the French composer Louis Adam the English composer and pianist Johann Baptist Cramer and the French composer Jean-Baptiste Le Moyne including one signed on the title by Louis Adam as well as piano arrangements of two Haydn symphonies works by Kuhn Hebenheim and Chabanon and one piece of manuscript music. Hardcover spine of reused vellum with earlier text; marbled paper boards; shield-shaped label to the cover reads: ". grandes Sonates sans Accompagnement par Dussek Adam et autres auteurs Ã Mme. Sara Davoit." Music engraved throughout. Boards rubbed; edge and shelf wear; binding structurally sound and overall very good. 10 x 13.5 inches 27 x 34 cm. The contents bound in the following order: Trois grandes sonates pour piano composÃ©es et dediÃ©es Ã Gabrielle Pleyel par J. L. Dussek. Oeuvre 35. A Paris chez Jmbault rue HonorÃ© label affixed over the original imprint of Pleyel ca. 1797. Stamped by Pleyel on the title. PN 64. 55 pp. Very rare. Grande Sonate pour le piano forte composÃ©e et dÃ©diÃ©e par D. Steibelt Ã Madame Bonaparte A Paris chez M.elles Erard A Lyon chez Garnier ca. 1800. PN 29. 35 pp. Rare. Sonate pour le FortÃ© Piano dÃ©diÃ©e Ã Monsieur le Marquis de Grimaldi composÃ©e par L. Adam. A Paris chez Sieber label affixed over the original imprint of Pleyel 1801. Stamped by Pleyel on the title. PN 374 C. 23 pp. Grande Sonate composÃ©e pour le Piano-Forte et dÃ©diÃ©e Ã Mademoiselle Laure Didot par L. Adam. A Paris self-published de la Collection de PiÃ¨ces Nouvelles pour le Piano 8e. Livraison. ca. 1820. Signed by Adam on the title. PN 8. A. 27 pp. Trois Grandes Sonates pour le Forte Piano dÃ©diÃ©es Ã son ami DÃ©sormery par G. Le Moyne. Oeuvre 10. A Paris chez Sieber label affixed over the original imprint not legible n.d. Stamped by Lemoyne on the title. PN 10. 24 pp. Very rare; we have located no copies on WorldCat. Quatres Sonates pour Clavecin our Forte-Piano composÃ©s par J. B. Cramer. A Paris: Chez Jmbault rue HonorÃ© label affixed over the original imprint of Sieber 1795. PN 1077. 41;Â pp. Five items of music without title pages or imprints:No. 30. Prix 3H 12S. Sonate par A. Kuhn. 2â13 pp.3e. AnnÃ©e. No. 28. 3H 12S. Simphonie par J. Hemmerlein. 2â10 pp.3e. AnnÃ©e. No. 32. 2H 8S. Sonate de Mr. Chabanon. 5 pp.IIe. Simphonie d'Haydn. 5 pp.Seconde AnnÃ©e. No. 22. Simphonie d'Haydn. 2â13 pp. La Rosiere de Salency Ouverture arrangÃ©e pour Clavecin ou Piano-Forte. A Paris: Chez H. Naderman label affixed over the original imprint of Imbach n.d. PN 22. 4 pp. Followed by part for "violon d'accompagnement ad libitum" 3 pp. Very rare. Manuscript music titled "Bataille de Prague" for keyboard. 5 pp. Louis Adam spent over four decades from 1797 through 1842 as Professor of Pianoforte at the Conservatoire de Paris.Â In addition to being a skilled pianist he composed a number of popular pieces for piano andÂ also wrote two standard methods: MÃ©thode ou principe gÃ©nÃ©rale du doigtÃ© pour le FortÃ©-piano 1798 and MÃ©thode nouvelle pour le Piano 1802. His son Adolphe Adam is known as the composer of the ballet Giselle. "Dussek is an unjustly neglected composer. Admittedly some of his more insignificant works. are trivial and deservedly forgotten but there is a body of piano sonatas piano concertos and chamber works that are of sufficient musical worth to be performed and enjoyed today. His music seems to have been received with enthusiasm in his own time; reviews of the original editions in the Allgemeine musikalische Zeitung praise Dussek's originality and expressiveness and the appropriateness to the piano of his melody harmony and scoring . Most of his works were reprinted at least once and some as many as ten times some important works appeared in as many as three different editions by Breitkopf & HÃ¤rtel alone who issued a 12-volume collected edition of his works just after his death." Howard Allen Craw et al in Grove Online hardcover books

Schubertiade · États-Unis1 200,00 $US≈ 1 015,32 €

ROTH Abraham (Testo di)MareMagnum

BILDLICHE ERINNERUNGEN VOM EIDGENÖSSISCHEN TRUPPENZUSAMMENZUG IM AUGU ST. 1861 / SOUVENIRS PITTORESQUES DE LA CONCENTRATION DES TROUPES FEDERALES SUISSES EN AOUT 1861. Dessiné et publié par Eugène Adam. Imprimé par Jules Adam.

Album oblungo (mm. 420x580), bella legatura in tela edit. (con aloni, risguardi rifatti), cornici a secco con grande stemma della Svizzera in ricca decorazione oro al piatto anteriore. Magnifica raccolta di 15 tavole (al vivo mm. 300x460) disegnate da Eugène Adam e litografate da Jules Adam, introdotte da un bellissimo frontespizio figurato, pure litografato; tutte sono precedute da una pagina di descrizione in tedesco e in francese. Dall’introduzione apprendiamo che l’artista svizzero ha concepito “l’idéé de consacrer ses pinceaux à l’illustration d’une campagne simplement simulée, exécutée au sein de la paix.. en faisant un heureux mélange de scènes guerrières avec les scènes majestueuses de la nature des Alpes.. En 1861 la Suisse se trouve attaquée sur toute sa frontière méridionale..”. Le operazioni di guerra disegnate e descritte sono le seguenti: “Embarquement des troupes à Lucerne, 14 aout - Départ d’Amsteg, 16 aout - Construction du pont au Pfaffensprung (Saut du Moine), 16 aout - Combat du pont de Meidschlingen, 16 aout - Levée du camp de Wasen, 17 aout - Position près de Goeschenen, 17 aout - La batterie n. 27 à la première galerie de la route du St. Gotthard, 17 aout - Service divin du bataillon bernois au camp d’Andermatt, 18 aout - Rapport du soir au camp de Réalp, 19 aout - Marche de la I brigade vers la Furka, 20 aout - La II brigade au col des Nufenen, 20 aout - Halte de la I brigade au glacier du Rhone, 20 aout - Scène de bivouac dans la cour du palais Stockalper à Brigue, 22 aout - Combat du Bois de Finges, 24 aout - Entrée des troupes à Sion, 24 aout”. Cfr. Benezit,I, p. 55: “Eugen Adam (1817-80), allemand, peintre de sujets militaires, paysages, fut élève de son père Albrecht”. Nel ns. esempl.: 4 pagg. di descrizione restaurate per mancanze (non di testo) e altre con aloni; le tavole, tutte ben conservate, portano a volte e solo ai margini, lievi aloni o lievi fioriture.

Libreria Antiquaria Malavasi · Milano, IT1 000,00 €

SMITH, Adam - SARTORIUS, GeorgBiblio.com

Handbok för statshushallningen efter Adam Smiths grundsattser.

1800152848Stockholm: Tryckt i Kumblinska Tryckeriet 1800. First translation in Swedish of Georg Sartorius's abbreviated edition of the Wealth of Nations first published in German in 1796 aimed as a university textbook. "Sartorius' indisputable contribution to economic science consists in the fact that he was one of the first German professors to grasp the significance of Adam Smith's system. At a time when German academic and political life was still dominated by the cameralist tradition he enthusiastically undertook the propagation of the Smithian doctrine using the lecture hall as his principal forum. His selections from the Wealth of Nations published as early as 1796 'for use in academic lectures' revealed a capacity to present the principles and implications of laissez faire in a manner suited to the tastes and needs of German students" ESS. This abridged version intended as a textbook marked a radical reduction of the work - at around 40000 words it is a tenth the size of the original. The Swedish translation by the jurist Johan Holmbergsson 1764-1840 was important in introducing Smith's ideas to Sweden. Prior to this publication only excepts of Smith's work had been available in Swedish in the journal Läsning i blandade ämnen 1799. The section on income tax is omitted possibly for political reasons since it suggested that there were some forms of taxation that should be applied to all. The preface is an abbreviated and revised version of Sartorius's original introduction. Octavo 163 x 106 mm. Late 19th-century purple quarter cloth spine lettered in gilt marbled sides blue speckled edges. Library label of Stockholms Högskolas Juridiska Bibliotek to front pastedown and their stamp to title pp. 17 and 236. Inner hinges a little weak. A very good copy. Tribe 73. Kress B.4270; not in Goldsmiths' or Vanderblue. hardcover

Peter Harrington · Royaume-Uni875,00 £GB≈ 999,08 €

SMITH, Adam; GROUCHY, Sophie de (trans)Biblio.com

Théorie des sentimens moraux

1830129378Paris: Chez Barrois l'Ainé 1830. Second edition first published in 1798 of Sophie de Grouchy's translation the "the best available in her language" Ross p. 365 which brought Smith's work to a much broader French audience following two ineffectual translations and which remains the standard French text. The edition includes de Grouchy's Lettres sur la sympathie her notable contribution to moral philosophy. The translation was preceded in French editions by Marc-Antoine Eidous's translation of 1764 roundly criticized for its low quality and held by Smith to be responsible for the poor reception of his work on the continent and Jean-Louis Blavet's translation of 1774-5 which was poorly disseminated. A manuscript translation by Louis Alexandre Duc de la Rochefoucauld 1774 was abandoned and unpublished. In contrast de Grouchy's translation was praised from the start and commended for its faithfulness to the original text. "Smith was no longer alive by the time Grouchy published her own translation 1798; he died in 1790 but it is safe to say that he would have been happier with hers as she followed the text as precisely as she could attempting to capture the tone and rhythm as well as the multilayered meanings of his sentences" Bergès and Schliesser p. 9. The edition also includes a translation of Smith's Dissertation on the Origin of Language first published in The Philological Miscellany and thereafter appended to the third and subsequent editions of the Theory of Moral Sentiments. The translation was reprinted again in 1860; Tribe mentions a printing of 1820 p. 239 but does not list it in his catalogue and it cannot be traced presumably an error. De Grouchy was a prominent salon hostess during the French Revolution and under Napoleon. The Lettres sur la Sympathie appended to the translation form a response to Smith's Moral Sentiments but also offer an original and important contribution to moral philosophy. The text written from around 1791 to 1793 takes the form of eight letters addressed to C sometimes surmised as to her husband the philosopher Condorcet more probably her brother-in-law the physiologist and philosopher Pierre Jean Georges Cabanis. De Grouchy in the first letter sets out her project to find the origins of sympathy and over the following letters sustains her argument that they are physiological based in experienced or imagined pain and pleasure. The Lettres have long been recognized in French scholarship - Jean-Paul de Lagrave's French edition of 1994 lists at least 15 works in French dealing with her from 1887 to 1987. In English scholarship her work has been recognized only more recently. English translations were published - independent from Smith's Theory - in 2008 edited and translated by Karin Brown and James E. McClellan III and 2019 edited and translated by Sandrine Bergès and Eric Schliesser both containing lengthy introductory monographs confirming the originality and importance of the Lettres. Karin Brown in 2008 bemoaned de Grouchy's then invisibility in English scholarship - "the Lettres are certainly a notable if overlooked Enlightenment text. But more specifically there is significant recent interest in sympathy and sensibility in the literature of the eighteenth century and Sophie de Grouchy is the one contemporary woman philosopher who thought and wrote critically about sympathy. This otherwise informed and eye-opening scholarly reinterpretation of the role of sentiment in late-eighteenth century thought is unaware of Sophie de Grouchy or her contributions" Brown and McClellan p. xvi. 2 vols octavo 203 x 117 mm. Contemporary red paper-covered boards spine and covers lettered and tooled in gilt covers additionally ornately panelled in blind marbled edges. Contemporary school presentation bookplate. Wear around extremities spines a little sunned foxed yet overall an attractive copy. Tribe 141; Vanderblue p. 41. Sandrine Bergès and Eric Schliesser introduction to Sophie de Grouchy's Letters on Sympathy Oxford University Press 2019; Karin Brown and James E. McClellan Sophie de Grouchy: Letters on Sympathy 1798 a Critical Edition 2008; Ian Simpson Ross Life of Adam Smith 1995. hardcover

Peter Harrington · Royaume-Uni875,00 £GB≈ 999,08 €

Politzer, AdamBiblio.com

Die Beleuchtungsbilder des Trommelfells im gesunden und kranken Zustande.

1865442551865. Wien W. Braumüller 1865 8° VI 1 Blatt Druckfehler 143. 1 pp. 13 Holzschnitte 2 farblith. Tafeln mit 24 von Politzer gezeichneten Abbildungen Halbledereinband der Zeit; Rücken erneuert; feines Exemplar. First Edition of the first OTOSCOPY ATLAS! "In 1865 Adam Politzer 1835-1920 published his first work on otoscopy or rather his first great work as an artist. He was the first to think of publishing a book on this subject. The 143-page atlas showing methods of examining the ear included 37 drawings of the tympanic membrane by Politzer entitled "Die Beleuchtungsbilder des Trommelfells im gesunden und kranken Zustande". There were 13 drawings in black and white distributed through the text and 24 drawings in color reproduced as two separate plates using chromolithography by Carl I Heitzmann at the Köke lithography workshops in Vienna. Scientific images began to be used in medical circles as they could be an excellent aid to understanding a phenomenon and teaching it. The images represented true or real facts i.e. they allowed reality to be studied more or less directly and analyzed according to perception and interpretation. Recognizing a certain feature did not mean understanding the message of the image itself in which the feature could have a particular meaning. It was necessary to know how to interpret the images before recognizing the features taking into account that the images were only two-dimensional. Interpreting them was the major problem. The objectives of their analysis were clearly defined and these were essential for determining the means of interpretation. The atlas was the first real one of observations made during direct visual examination of the ear based on the diagnostic approach and examination of the tympanic membrane with different images of healthy and diseased ears described in relation to the color transparency position healthiness cicatrization and mobility of the tympanic membrane. Politzer introduced color for the first time. Apparently simple to use in fact it was not at all. Color is affected as much by light as by darkness so it was connected closely to light and revealed to the eye therefore through observation. Politzer had to perfect a technique for keeping the light constant during examination of the ear so he could finalize the colors he saw while studying pathologies of the tympanic membrane. His atlas was soon considered essential to the study of otology. In the introduction Politzer clearly explained the importance of examining the tympanic membrane correctly because if it was done well many diseases of the ear could be identified without further examination: . Politzer showed that the color of the tympanic membrane depended on the combination of three factors: its own color the color of the promontory806 seen against the light and the effect of the light source. Revolutionary at that time the importance of the otoscopie image in diagnosis is still today the key point in examining a patient with ear problems. In more than 90% of cases the otoscop¬ie image is sufficient for making a correct diagnosis. This new method with its three main stages followed almost exactly that used by art critics to study a work: description of the object observed using the appropriate vocabulary understand¬ing after studying it how the image is composed and analysis of the meaning of the image or rather of the pathology found. More simply studying an image means asking questions in this instance looking for anomalies from which to make a diagnosis. Because it is transient the image has to be reproduced so it can be used again. It then becomes a transposition of the real thing or a reality in itself and can be used for training in observation. That was without doubt Politzer's aim when he published the otoscopy atlas." Albert Mudry: Adam Politzer 2010 pp.174-178 Garrison-Morton No.3378 unknown

MedicusBooks.Com · Allemagne980,00 €

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