Map shows the exploration routes of Captain James Cook through 1780; six continents [Australia as New Holland], political boundaries, and major cities; Arctic portion of North America and some South Pacific coastlines as vague or incomplete; notes in Antarctic vicinity. Includes explanation of Captain Cook's routes and notes. Relief shown pictorially. Scale not indicated.

Copy of transcript for a letter from Moses Austin private account for debts owed to or owed by Stephen Austin and Co. The itemized list of expenditures include names and the associated amount of their cash payments.

Map showing inland settlements of coastal lands of the North, Central, and South Americas along the Gulf of Mexico; Gulf and Pacific coasts of New Spain; islands and ship channels of the Caribbean and Atlantic areas including the West Indies and Bermuda. Includes text and color key to European possessions; key to rivers in the Gulf of Panama. Relief shown pictorially. Depths shown by soundings. Scale not given.

1789 edition of Musikalischer Almanach für Deutschland.

1782 edition of Musikalischer Almanach für Deutschland.

1783 edition of Musikalischer Almanach für Deutschland.

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Portrait of Dr. David Rodgers, seated in an armchair with red upholstery. He is holding a book in his left hand and a bookcase is visible in the background.

Portrait of Daniel Boardman, posing next to a tree out-of-doors. He is wearing a light-colored suit with a dark-colored coat and is holding a hat and cane in his hands. A river and city are visible in the background.

Portrait of Georgiana, Duchess of Devonshire, wearing a light-colored dress and leaning against columns draped with fabric. A landscape is visible in the background.

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Portrait of the Washington Family, posing around a table that has a map on it. On the left side, a man wearing a yellow and black suit is seated at the table; a young boy is standing next to him with his hand on a globe. On the right side of the painting, an older woman is seated across from the gentleman and a younger woman is standing behind the table, holding a map. A second man is visible behind them.

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Portrait of Captain Samuel Chandler, seated on a chair; he is wearing a uniform and holding a sheathed sword. There is a tricorne hat on a table to his left and a military painting on the wall above it.

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1782 vocal score of Thomas Arne's opera Thomas and Sally, or the Sailors return. Dramatic pastoral in two acts by Thomas Augustine Arne to a libretto by Isaac Bickerstaff; London, Covent Garden, 28 November 1760. Thomas and Sally can claim to be the first all-sung English comic opera. It is noteworthy as well for the introduction of clarinets into the orchestra (Grove Music Online).

Etching "Portrait of Man", designed Guercino Da Cento and printed by Austrian printmaker Adam Bartsch, in 1782. The print shows a man illustrated with loose and energetic lines standing and pointing at coins resting on a table.

A sacred oratorio for mixed chorus (SATB) and orchestra (2 violins, viola, "principale", 2 oboes, 2 trumpets, timpani, and continuo). The score includes a list of subscribers and an index for each of the three sections of the oratorio. The anthem "God save the King" is included on pp. 164-26, each page bearing an additional sequence number from 14-26.

This item is a copy from [ca. 1790] of the score of Handel's opera Sosarme to a libretto by Matteo Noris. The performance forces include: oboe, horns, strings (violin, viola, bass), continuo, and soloist singers. A list of important musical numbers, solo arias and duets of each act appears on p.116. The names of the subscribers appear on pp.[119-120]. The title page contains an engraving showing two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall.

This is a [ca. 1788] score of one of the arrangements Handel made of his "Music for the Royal Fireworks." The caption title gives indication that this version contains the music as performed in 1749. The Grove Dictionary of Music lists two other arrangements from ca. 1746. The performance forces of this edition include: trumpets (3), horns (3), timpani, oboes (2), bassoon, and strings (violin, viola, violoncello, and contrabass). The plate no. appears in both Roman and Arabic forms: No. XXIV and No. 24.

The plot of this oratorio centers around Hercules's death by an inadvertent action of his wife Dejanira. Handel set to music the English libretto by Rev. Thomas Broughton's English, based on Sophocles' Trachiniae, and additions from Ovid's Metamorphoses. The performance forces include: soloists (SATB) and mixed chorus with oboes (2) violins (2), viola, Bass (unspecifdied) and continue. The index that appears on p.248 contains the incipits of arias, recitative and choruses for each of the three acts.

Although the story of Bluebeard was familiar to French readers from Charles Perrault’s 1698 collection of children’s tales, transferring it to the operatic stage was problematic due in large part to the gruesome nature of the plot. Other violent works had appeared in Paris, but in this instance, the drama was to be performed at the Comédie-Italienne, which typically featured lighter plots than that of Raoul and Isaure. Nevertheless, the opera had a successful run, receiving over a hundred performances in the decade after its premiere. After its initial popularity, Raoul Bluebeard was staged less frequently, but it still made an impression on nineteenth-century composers, particularly Weber.