Four parts in one vol., oblong 8vo (142 × 230 mm), each partbook pp. , 49,  and in the original printed wrappers (red, green, orange, blue, depending on the part); bound together in contemporary green half morocco, glazed paper sides in imitation of straight-grain morocco; some spotting, light stain in the gutter towards the beginning, but a very good copy, originally belonging to one J. Haltiner, with his name stamped gilt to front cover, and written in ink or pencil to the title of each part.
US $1219 €1107
Added to your basket:
Männergesänge von Freunden der Tonkunst gesammelt, dem Liederkranze zu Franfurt a. M. in Liebe geweihet und zu Gunsten der dortigen Mozart-Stiftung herausgegeben …
First edition, the partbook issue. The work was also issued in score. Both are very rare, OCLC locating a copy of the 1st Bass part at Pittsburgh Theological Seminary, and a set at the Swiss National Library. There are apparently no copies in Germany: KVK shows the British Library copy (in score) only.
Among the 46 pieces included are works by Mozart, Just, Speyer, and some minor German and Swiss composers, but the surprise comes in three English glees, translated into German, by Samuel Webbe, ‘one of our greatest glee composers in every sense’ (Baptie), ‘Mr’ [Richard?] Wainwright, and Reginald Spofforth, his ‘Hail, smiling morn’, ‘possibly the most popular glee in the entire repertory’ (New Grove).
You may also be interested in...
VIEWS OF GENEVA SPON, [Jacob].
The History of the City and State of Geneva, from its first Foundation to this present Time. Faithfully collected from several Manuscripts of Jacobus Gothofredus, Monsieur Chorier, and Others. By Isaac (sic) Spon ...
First edition in English of a work first published in French in 1680. The attribution here to ‘Isaac’ Spon apparently comes from a misinterpretation of ‘Jac[ques]’ on the title-page of the French original.
MANNECRANTZ, C[arl] Gust[av].
Kort Grammatica, eller Underrättelse om forsta Grunderne af Engelska Språket …
First edition of an English grammar for Swedish students. There is some contemporary annotation in the chapters on pronunciation. Some of the examples are surprisingly colloquial (‘by hook or by crook’, ‘how goes it’, ‘in the nick of time’), some archaic (‘methinks’, ‘peradventure’), and some illustrate different uses of the same word (‘at church’, ‘at that time’, ‘at our cost’). Six columns of errata testify to the compositors’ lack of English.