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Displayed below are some selected recent viaLibri matches for books published in 1808

        Howitt's angler's manual; or concise lessons of experience

      Which the proficient in delightful recreation of angling will not despise, and the learner will find the advantage of practising; containing useful instruction on every approved method of angling, and particularly on the management of the hand and rod in each method; embellished with twelve plates, of fish, fishing, baits, and tackle. Liverpool : F.G. Harris for Samuel Bagster, 1808. First edition. Oblong octavo, full contemporary tree calf, spine label with contrasting title label lettered in gilt, gilt dentelles, front hinge cracked, pp 28; illustrated with twelve plates, all signed in the plate by Howitt; contents clean; housed in a modern buckram portfolio with leather label lettered in gilt. Scarce. Westwood & Satchell, p.10 "The etchings good, the text trivial". Samuel Howitt (1756/57-1822) was an English painter and illustrator. Howitt worked widely in oil, watercolours and engravings and his work was widely published.

      [Bookseller: Douglas Stewart Fine Books]
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        Preghiere recitate, e cantate nel Tempio degli Ebrei di Livorno il di 15. Agosto 1808. Ricorrendo il faustissimo giorno natalizio di S. M. I., e R. l'Augustissimo Napoleone I, Imperatore de'Francesi, Re d'Italia, e Protettore della Confederazione del Reno. 5568 al computo Ebraico [with facing title in Hebrew]

      17, 6 pp. Large 4to, fine cont. red sheep (small portion of spine with defect), sides panelled in gilt, flat spine gilt, a.e.g. Livorno: Pei Masi e Sahadun, 1808. First edition. A very rare collection of poems, benedictions, and prayers, printed in Hebrew with Italian translations on facing pages, celebrating the birthday of Napoleon prepared by the Jewish community of Livorno, the wealthy seaport city of Tuscany. Jews first came to Livorno in 1583 and, from the beginning, enjoyed extensive rights and privileges, including complete jurisdiction both in civil and in criminal cases. The Jewish court was abolished in 1808 when Tuscany was incorporated into the French empire. In spite of this temporary abrogation, the Jews of Livorno never suffered from persecutions nor restrictions until the 20th century. One of the texts was translated by Jacob Nunes-Vais, "Primo Rabino dell'Università." This is a most unusual and handsome book, well printed on thick paper and finely bound. WorldCat locates only the ICU copy.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Crim. Con. 10,000[pounds] Damages. Smeeton's Edition of the Trial between The Right Hon. Lord Borringdon and Sir A. Paget, K.B. for Criminal Conversation with the Plaintiff's Wife . . . Before W. Burchall, Esq. and a Special Jury [etc.]. Cohn 85

      London: Published by G. Smeeton, 18, James Street, Long Acre, 1808. Later cloth, gilt lettered, some foxing, but sound, with the frontispiece--"A Scene in Kensington Garden"-- possibly partly George Cruikshank's work Conjecturally Sir Walter Scott's copy ["Walter Scott His Book / July 29 1808"] of a rare account of a "considerable scandal", Paget having eloped with Borringdon's wife, whom Paget then married two days after her divorce; one copy in OCLC

      [Bookseller: Meyer Boswell Books, Inc.]
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        Sargino ossia L'allievo dell' Amore. Dramma eroicomico in due Atti... Ridotto per il Pianoforte. Sargin, eine Heroisch-komische Oper in zwei Aufzügen... Klavierauszug... Pr. 5 Thlr. [Piano-vocal score]

      Leipzig: Breitkopf und Härtel [PN 642], 1808. First Edition, probable second issue. Eitner VII, p. 279. Grove Music Online. OCLC nos. 630753670, 884448984. Sargino, to a libretto by Giuseppe Maria Foppa, was first performed at the Hoftheater in Dresden on May 26, 1803. "After a short time in Prague in 1801, Paer accepted the post of court Kapellmeister in Dresden, where for the court theatre he wrote in successive years three of his most important works: I fuorusciti (1802), Sargino (1803) and Leonora (1804)... Sargino has a mock-heroic flavour, emphasizing comic elements over serious ones and giving buffo characters roles at least as weighty as those of the hero and heroine... [Paer] was one of the central figures in the development of opera semiseria during the first decade of the 19th century." Scott L. Balthazar and Julian Budden in Grove Music Online.. Oblong folio. Contemporary red morocco-backed textured paper boards with spine in decorative compartments gilt, orange title label gilt. 1f. (recto title, verso blank), [i]-viii (libretto in German), 178 pp. Typeset. Text in Italian and German. Oval handstamp with crown and initials "F.N." to front free endpaper, title, and page 1; "Sect. 1 No 56" in red in a contemporary hand to front free endpaper and title; contemporary signature ("Amélie") in black to upper margin of front free endpaper. Binding slightly worn, rubbed, and bumped. Occasional light foxing, heavier to some leaves; margins cropped, just touching pagination in some cases and one letter of title on cast list; final signatures very lightly stained at upper margins.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        The proceedings of a General Court Martial, held at Chelsea Hospital, on Thursday, January 28, 1808, and continued, by adjournment, till Tuesday, March 15, for the trial of Lieut. Gen. Whitelocke, late Commander-in-Chief of the forces in South America. Taken in Short-hand by Mr. Gurney. With the defence, copied from the original, by permission of General Whitelocke; also all the documents produced on the trial. Vol.I. [ - Vol.II].

      London: printed for J.C. Mottley Portsmouth; published by Longman &c. 1808 - Two vols., 8vo., two folding engraved maps, (8) + 438 + xxxix + (1) and (8) + 439-830pp., contemporary half calf over marbled boards, skilfully rebacked and labelled. A very good copy. First edition. General Whitelocke's court-martial was the inevitable consequence of his enormous and disastrous ill-judged, and ill-directed, campaign against Spanish forces in Buenos Aires and the Plate region of South America in May - July 1807. 'Whitelocke returned to England on 7 November 1807, and in January 1808 he was court-martialled at Chelsea. . The court martial took seven weeks, and Whitelocke faced four charges covering poor diplomacy, military incompetence, and negotiation of a shameful surrender, each barely relevant to what had happened. He was found guilty and was cashiered. His fault lay in taking on a task beyond his capacity, for which those who appointed him should have shared the blame'. [John D. Grainger in ODNB]. [Attributes: First Edition; Hard Cover]

      [Bookseller: John Drury Rare Books ABA ILAB]
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        The dramatic mirror: containing the history of the stage, from the earliest period to the present time : including a biographical and critical account of all the dramatic writers, from 1600; and also of the most distinguished performers, from the days of Shakspeare to 1807: and a history of the country theatres, in England, Ireland, and Scotland. Embellished with seventeen elegant engravings. By Thomas Gilliland, .

      London: Printed for C. Chapple, Pall Mall, by B. McMillan, Bow Street, Covent Garden, Printer to His Royal Highness the Prince of Wales, 1808. First Edition. Paper-covered boards. Fine. First Edition. Complete in two volumes, paginated (somewhat irregularly) continuously. 12mo; xii, 622, 629-630; [3], 625-1048pp, with 17 engraved plates (conforming to directions to the binder, for placing the plates), comprising 4 views of theaters and 13 portraits. Dedicated to the Prince of Wales, later George IV. Recently rebound, in the style of the original, in pale blue paper-covered boards with cream-colored spine and title and volume paper lettering pieces; all edges speckled red. Internally, virtually perfect, the binding tight, straight and square, the pages and plates clean and crisp with the exception of the author's portrait in vol. 1, which is lightly foxed. A Very Fine example of a rare set. OCLC Number: 82435547. Little is known of Gilliland's life or career. But intriguingly, according to the ODNB, "Gilliland clearly made himself enemies." His major work, A Dramatic Synopsis, was significantly expanded and republished as The Dramatic Mirror, dated 1808 on the title-page, "but [it] may have appeared in 1807. . . . it contained a history of the stage, with accounts of actors from the time of Shakespeare onwards, and of playwrights from 1660. It was dedicated to the prince of Wales, and was venomously reviewed in The Satirist of January 1808. The reviewer's charges included plagiarism ('The original matter ? would lay in as small a space as its author's brains') and inconsistency, since Gilliland now praised Kemble [whom he had earlier lambasted]. The review claimed that Gilliland, 'during a recent season ? was wont to intrude himself into the greenroom of Drury-lane theatre', until he desisted in the face of a petition to the managers calling for his exclusion, 'signed by the most spirited of the performers' headed by Charles Mathews. Gilliland's alleged purpose was to spy 'upon the private conduct of public men' and to use their talk in his journalism, 'as he at that time had not been dismissed from the newspapers for want of talent'. The review called him the 'cast-off fag' and 'ci-devant scout' of Anthony Pasquin (pseudonym of John Williams).

      [Bookseller: Fine Editions Ltd]
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        “The Soul exploring the recesses of the Grave”: in The Grave.

      London: Cadell and Davies, 1808. Single plate, etching on wove unwatermarked paper, margins slightly soiled and worn, image clean. From the first 4to edition. Bentley, Blake Books, 435 A.

      [Bookseller: John Windle Antiquarian Bookseller]
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        Ehrenpforte den mit Ruhm aus dem Felde wiederkehrenden Königl: Baier: Truppen errichtet von der K:B. Stadt Augsburg bei dem Einzuge Derselben den 1. Januar 1808" originale, weiß gehöhte Aquatinta-Radierung/aquatint ca./approx.33,5x48,5cm von J.T.Hauer

      - auf Bütten-Papier/laid paper (34x49cm) Augsburg 1808 [ Das feine wie seltene Blatt mit mit vertikaler geglätteter Bugfalte und bis an den Darstellungsrand unter Verlust des Titels beschnitten. Mit drei hinterlegten Randeinrissen, der rechte Blattrand insgesamt mit mehreren Läsuren und am oberen rechten Eck mit kleinem Abriß. Verso am oberen Blattrand mit Spuren ehemaliger Montierung. Der Zustand wurde im Preis berücksichtigt. The fine etching with smoothed vertical centrefold, with three laid tears and especially the right edge with some smaller tears and the upper corner with a smaller loss.]

      [Bookseller: Antiquariat Niederbayern]
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        Carmina. Editio Stereotypa Herhan.

      Paris,: E Prelis Fratrum Mame, 1808.. 12mo. [iv], xi, [1], 354 pp. Some light foxing. Original full crimson straight-grain morocco, gilt and blind-tooled rules, gilt spine extra, a.e.g.; rubbed. Bookplate of Bernardine Murphy. Very nice copy. With a fore-edge painting by the �Dover� painter (associated with Marks & Co.), showing �The Coliseum from the Orto Farnese� [perhaps after Frederick Walmisley (1815-1875)]. � PROVENANCE: The Catholic philanthropist Bernardine Murphy is Sir Daniel J. and Countess Bernardine Murphy Donohue (1904-1968; married in 1954). They resided in Los Angeles, at one time buying the mansion of Earle C. Anthony, the founder of KABC. That mansion was donated to the Immaculate Heart Sisters in 1971 upon the death of the Countess. The couple established the Daniel Murphy Foundation in 1957 in memory of Bernardine�s father to promote important Roman Catholic and other philanthropic causes. Mrs. Donohue is entombed next to Cardinal James Francis McIntyre. The art collection of Sir Daniel Donohue was recently sold at auction. � Antoine Augustin Renouard, Catalogue de la Biblioth�que d�un Amateur, vol. II, 1819, p. 266.

      [Bookseller: Jeff Weber Rare Books ]
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        Preghiere recitate, e cantate nel Tempio degli Ebrei di Livorno il di 15. Agosto 1808. Ricorrendo il faustissimo giorno natalizio di S. M. I., e R. l'Augustissimo Napoleone I, Imperatore de'Francesi, Re d'Italia, e Protettore della Confederazione del Reno. 5568 al computo Ebraico [with facing title in Hebrew]

      17, 6 pp. Large 4to, fine cont. red sheep (small portion of spine with defect), sides panelled in gilt, flat spine gilt, a.e.g. Livorno: Pei Masi e Sahadun, 1808.First edition. A very rare collection of poems, benedictions, and prayers, printed in Hebrew with Italian translations on facing pages, celebrating the birthday of Napoleon prepared by the Jewish community of Livorno, the wealthy seaport city of Tuscany. Jews first came to Livorno in 1583 and, from the beginning, enjoyed extensive rights and privileges, including complete jurisdiction both in civil and in criminal cases. The Jewish court was abolished in 1808 when Tuscany was incorporated into the French empire. In spite of this temporary abrogation, the Jews of Livorno never suffered from persecutions nor restrictions until the 20th century.One of the texts was translated by Jacob Nunes-Vais, "Primo Rabino dell'Università."This is a most unusual and handsome book, well printed on thick paper and finely bound. WorldCat locates only the ICU copy.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc. ]
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        Preghiere recitate, e cantate nel Tempio degli Ebrei di Livorno il di 15. Agosto 1808. Ricorrendo il faustissimo giorno natalizio di S. M. I., e R. l'Augustissimo Napoleone I, Imperatore de'Francesi, Re d'Italia, e Protettore della Confederazione del Reno. 5568 al computo Ebraico [with facing title in Hebrew]

      - 17, 6 pp. Large 4to, fine cont. red sheep (small portion of spine with defect), sides panelled in gilt, flat spine gilt, a.e.g. Livorno: Pei Masi e Sahadun, 1808. First edition. A very rare collection of poems, benedictions, and prayers, printed in Hebrew with Italian translations on facing pages, celebrating the birthday of Napoleon prepared by the Jewish community of Livorno, the wealthy seaport city of Tuscany. Jews first came to Livorno in 1583 and, from the beginning, enjoyed extensive rights and privileges, including complete jurisdiction both in civil and in criminal cases. The Jewish court was abolished in 1808 when Tuscany was incorporated into the French empire. In spite of this temporary abrogation, the Jews of Livorno never suffered from persecutions nor restrictions until the 20th century. One of the texts was translated by Jacob Nunes-Vais, "Primo Rabino dell'Università." This is a most unusual and handsome book, well printed on thick paper and finely bound. WorldCat locates only the ICU copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Jonathan A. Hill, Bookseller Inc.]
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        Commentar über das Gesetzbuch Napoleons oder gründliche Entwickelung der Discussion dieses Gesetzbuches im Staats-Rathe. Aus dem französischen übersetzt, mit practischen Erläuterungen, den Meinungen berühmter Rechtsgelehrten, so wie mit vielen Urtheilen vermehrt, die über wichtige Rechtsfragen, die nach dem Gesetzbuche Napoleons entschieden werden mußten, in Frankreich erlassen worden sind. Übersetzt von Wilhelm BLANCHARD.

      Köln, bey Keilischen Buchhandlung, 1808-09. 8vo. (1:) 3 Bll., 508; (2:) 537; (3:) 508; (4:) 522 S. Zeitgenössische einfache Pappbände mit geprägten Rückenschildchen und schönem marmoriertem Rotschnitt. (Ebd.-Rücken leicht angeschmutzt, sonst sehr schöner Zustand). Erste Übersetzung des legendären Kommentars \"Analyse raisonnée de la Discussion du Code civil\" aus der Entstehungszeit des Code civil! - Im Jahre 1800 wurde Maleville von Napoléon beauftragt, zusammen mit Tronchet, Portalis und Bigot-Préameneu den Entwurf eines Code civil auszuarbeiten. Von Napoléon war Maleville als Sekretär und Redakteur innerhalb der Kommisison beauftragt. Seine drei Kollegen beteiligten ihn aber gleichberechtigt an allen Kommissionssitzungen. Maleville betrachtete das Ius Romanum als das in Europa wichtigste und allen anderen überlegene Recht. Innerhalb der Kommission suchte er den Standpunkt des Ius Romanum bei der Ausgestaltung des Entwurfes einzubringen. Bisweilen schoß Maleville auch über dass Ziel hinaus, beispielsweise als er entgegen den Errungenschaften der Französischen Revolution, die auch die gesetzliche Gleichberechtigung der Frau forderte, die Verwirklichung des patriachalischen, römischen Familienmodells forderte. Die Paterfamilias war für ihn beispielgebend und sollte nach seinen Vorstellungen auch Inhalt des Code civil werden. In diesem Sinne lehnte Maleville auch die Ehescheidung ab, einer der großen Errungenschaften der französischen Revolution. Stark romanistisch war er auch im Erbrecht, vor allem bei der im Ius Romanum ausgeprägten grenzelosen Testierfreiheit. - Seine berühmte vierbändige \"Analyse raisonnée\" über die Diskussion zum Code civil im Staatsrat war ein umfassender, hochinteressanter Kommentar über das Zustandekommen, die Grundlagen und die Ausgestaltung jedes Artikels. Malleville behandelt darin in durchaus unparteiischer Weise die am umstrittensten und am kontroversest diskutierten Fragen im Entstehungsprozeß des Code civil. In der Befolgung der Legalordnung des Code civil zeigt Maleville an den einzelnen Gesetzen auf, warum die eine oder andere Meinung bei der Ausgestaltung des Gesetzes den Vorzug erhalten hat. Er fügt an, warum die eine oder andere Lücke geblieben ist und vor allem, auf welche Weise die geltende Gesetzesregelung vom Ius Romanum auf der einen Seite und dem Gewohnheitsrecht (droit coutumier) auf der anderen Seite hergeleitet bzw. abgewichen ist. - Maleville (1741-1824) war bis zum Jahre 1770 Advokat am Parlement zu Bordeaux, zog sich dann aber nach Domme im Pérogard zurück. Die französische Revolution drängte ihn wieder ins öffentliche Leben zurück. Dort übernahm er Aufgaben in der Justiz und in der französischen Gesetzgebung. Maleville war ein Parteigänger der Revolution und wurde im Jahre 1790 zunächst Mitglied, später Direktor des Direktoriums im Département Dordogne. Ein Jahr später wurde er als Richter an das Kassationsgericht zu Paris, dem obersten französischen Gericht, berufen. Dort wirkte er als Richter bis 1794. Von 1795 bis 1799 wurde er in den Ältestenrat berufen. Im Jahre 1800 schloß er sich Napoléon Bonaparte an, der ihn erneut zum Richter am Kassationsgericht ernannte, wo er bald Präsident der zivilrechtlichen Abteilung wurde. Im Jahre 1806 wurde er zum Senator ernannt und in den Grafenstand erhoben, wandte sich später jedoch von Napoléon ab. Er stimmte für die Entlassung Napoléons und der Rückkehr der Bourbonen zu. Nachdem er sich mit der Restauration verbündet hatte, wurde er 1814 zum Pair und 1817 zum Marquis ernannt. Versand D: 2,00 EUR 0.5.1.0. Code civil

      [Bookseller: Antiquariat + Verlag Klaus Breinlich]
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        Napoleons Gesetzbuch nach seinen Abweichungen von Teutschlands gemeinem Rechte. Ein Handbuch für teutsche Geschäftsmänner.

      bey Heinrich Dieterich, Göttingen 1808 - 2 Bde. Göttingen, bey Heinrich Dieterich, 1808. 8vo. VIII, 580; 772 S. Schöne, zeitgenössische Pappbände mit geprägten Rückenschildern, Buntpapierbezug und schönem Rotschnitt. (Schöner Zustand, Papier sehr frisch. Stellenw. mit Anmerkungen von alter Hand, hinten mit eingehängten Blättern, beschrieben von alter Hand). Eines der wenigen rechtsvergleichenden Werke zum Code Napoléon! - Eines von Pfeiffers Hauptwerken ist die rechtsvergleichende Übersicht zwischen dem Code Napoléon und dem bis dato geltenden gemeinen deutschen Privatrecht. Hierbei ist aber das sogenannte "heutige, also geltende römische Recht" gemeint. Pfeiffer empfiehlt bei der Durcharbeitung seines Werkes das Pandektenlehrbuch des bedeutenden Heidelberger Rechtsprofessors und Pandektisten Anton Friedrich Justus Thibauts (1772-1840) als Grundlage zu benutzen. Pfeiffer selbst gibt viele Verweise auf dieses Handbuch und gibt Anmerkungen nur dort, wo Thibaut selbst keine Anmerkungen gemacht hat. Das Werk ist nicht immer in der Legalordnung des Code Napoléon gearbeitet. Ein Verweisungsregister am Ende des zweiten Bandes stellt die Ordnung nach der Artikelfolge des Code Napoléon her. Burkhard Wilhelm Pfeiffer war hessischer Publizist und Rechtsgelehrter (1777-1852). (Schöner Zustand, Papier sehr frisch. Stellenw. mit Anmerkungen von alter Hand, hinten mit eingehängten Blättern, beschrieben von alter Hand). [Attributes: Hard Cover]

      [Bookseller: Antiquariat + Verlag Klaus Breinlich]
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        Itinéraire descriptif de l'Espagne, et tableau élémentaire des différentes branches de l'administration et de l'industrie de ce royaume

      H. Nicolle & Lenormant 1808 - - H. Nicolle & Lenormant, Paris 1808, 12x20,5cm pour les volumes de texte & 15,5x22,5cm pour l'atlas, 6 volumes reliés. - Edition originale. Reliures à la bradel en plein cartonnage bleu marine, dos lisses ornés de filets dorés ainsi que de fleurons estampés à froid, frises dorées en queues, plats de papier marbré, tranches jaunes et mouchetées, reliures de l'époque. L'atlas comporte 29 planches gravées hors-texte. Quelques frottements en queues et en têtes des dos avec un manque en queue du cinquième volume, petites taches d'humidité en pied du premier plat du quatrième volume et en tête de la tranche, rares rousseurs. Ensemble établi en cartonnage uniforme et bien complet de son atlas. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition. Bradel bindings in full navy blue cardboard, smooth backs decorated with golden threads and cold stamped florets, golden friezes in tails, marbled paper plates, yellow and speckled slices, bindings of the time. The atlas consists of 29 plates engraved inscriptions. A few rubbings in the tails of the backs with a lack on the fifth volume, small patches of moisture at the foot of the first flat of the fourth volume and at the top of the slice, rare foxing. Set made of uniform and complete carton of his atlas. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Observations on the Fifth Report of the Commissioners of Military Enquiry. And more particularly on those parts of it which relate to the Surgeon General.

      London: J. Hatchard 1808 - 4to., (6) + 160 + (76)pp., title-page dustsoiled and probably wanting a half-title, bound in mid-20th century cloth boards, spine lettered in gilt. A good copy. First edition. Thomas Keate (1745-1821), a distinguished London surgeon, succeeded John Gunning in 1798 as surgeon-general to the army, and the following year was elected F.R.S. 'Keate wrote little on surgery. He published Cases of Hydrocele and Hernia> (1788), and several controversial papers, the chief being Observations on the Fifth Report of the Commissioners of Military Enquiry;> the report censured the medical board for showing a lack of proper control, for irregularities in promotion, for making new and unnecessary appointments, for waste and extravagance, and for opening general hospitals unnecessarily. Keate had carried out his duties with success but blame had nevertheless fallen upon him. The board was dissolved in 1809 and Keate was retired with a small allowance. He then complained of how his public duties had interfered with his private practice.' [ODNB] Rare. Wellcome III, p.380. OCLC, COPAC & NSTC together locate copies at only a handful of other libraries, viz. BL + Bodleian in UK: 3 US libraries including N.L. Medicine: and the Un. of the W. Indies in Barbados.> [bound with], [CLARKE, John Calvert]> Observations applying to such parts of the Fifth Report of the Commissioners of Military Enquiry, as relate to the Patent Office of Apothecary-General to the Army.> [London], Albion-Press, printed by Joseph Hartnell, Southwark. 1808. 4to., 42pp. A very good presentation copy inscribed in ink at head of title, 'Wm. North Sen. Esq. with Mr. Calvert Clarke's compliments'>. First edition. The Apothecary-general to the Army at this period was responsible for the supply of medicines, hospital stores, surgical instruments, and the like. Semi-annually he presented a bill to the Treasury, having previously submitted it for approval to the surgeon and physician generals and to the secretary of war, who certified that the medicines specified had been forwarded to their respective destinations. John Calvert Clarke, the Apothecary-General, here defends the quality and price of his medical supplies against the Commissioners' criticisms. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: John Drury Rare Books ABA ILAB]
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        Crim. Con. 10,000[pounds] Damages. Smeeton's Edition of the Trial between The Right Hon. Lord Borringdon and Sir A. Paget, K.B. for Criminal Conversation with the Plaintiff's Wife . . . Before W. Burchall, Esq. and a Special Jury [etc.]. Cohn 85

      Published by G. Smeeton, 18, James Street, Long Acre, London 1808 - Later cloth, gilt lettered, some foxing, but sound, with the frontispiece--"A Scene in Kensington Garden"-- possibly partly George Cruikshank's work Conjecturally Sir Walter Scott's copy ["Walter Scott His Book / July 29 1808"] of a rare account of a "considerable scandal", Paget having eloped with Borringdon's wife, whom Paget then married two days after her divorce; one copy in OCLC [Attributes: Hard Cover]

      [Bookseller: Meyer Boswell Books, Inc., member ABAA]
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        Sargino ossia L'allievo dell' Amore. Dramma eroicomico in due Atti... Ridotto per il Pianoforte. Sargin, eine Heroisch-komische Oper in zwei Aufzügen... Klavierauszug... Pr. 5 Thlr. [Piano-vocal score]

      Leipzig: Breitkopf und Härtel [PN 642], 1808. First Edition, probable second issue. Eitner VII, p. 279. Grove Music Online. OCLC nos. 630753670, 884448984. Sargino, to a libretto by Giuseppe Maria Foppa, was first performed at the Hoftheater in Dresden on May 26, 1803. "After a short time in Prague in 1801, Paer accepted the post of court Kapellmeister in Dresden, where for the court theatre he wrote in successive years three of his most important works: I fuorusciti (1802), Sargino (1803) and Leonora (1804)... Sargino has a mock-heroic flavour, emphasizing comic elements over serious ones and giving buffo characters roles at least as weighty as those of the hero and heroine... [Paer] was one of the central figures in the development of opera semiseria during the first decade of the 19th century." Scott L. Balthazar and Julian Budden in Grove Music Online.. Oblong folio. Contemporary red morocco-backed textured paper boards with spine in decorative compartments gilt, orange title label gilt. 1f. (recto title, verso blank), [i]-viii (libretto in German), 178 pp. Typeset. Text in Italian and German. Oval handstamp with crown and initials "F.N." to front free endpaper, title, and page 1; "Sect. 1 No 56" in red in a contemporary hand to front free endpaper and title; contemporary signature ("Amélie") in black to upper margin of front free endpaper. Binding slightly worn, rubbed, and bumped. Occasional light foxing, heavier to some leaves; margins cropped, just touching pagination in some cases and one letter of title on cast list; final signatures very lightly stained at upper margins.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Medschnun und Leïla. Ein persischer Liebesroman von Dschami. Aus dem Französischen übersetzt, mit einer Einleitung, Anmerkungen und drei Beilagen versehen. 2 Bände in 1.

      Amsterdam, Kunst- und Industrie-Comptoir, 1808. - 8vo (16 : 10 cm). 208; 191 S. Erste deutsche Fassung, folgt der ersten europäischen Übertragung durch den französischen Orientalisten Antoine-Léonard de Chézy, Paris 1805. Die nach Nezâmi berühmteste Anverwandlung der altarabischen Beduinenerzählung, vollendet 1484. Das in Doppelversen verfaßte Alterswerk des Sufidichters Jami wurde von de Chézy in Prosa umgeformt. Hartmann fügt eine eigene Einleitung, Anmerkungen sowie Betrachtungen zur persischen Kultur hinzu. - Goedeke VII, 780, 140, 13 (= 586, 32, 3). - Auf dem Vorsatz Besitzvermerk des Gothaer Pädagogen und Astronomen Carl Rohrbach (1861-1932) aus dem Jahr 1886. - Sauberes, recht breitrandiges Exemplar. Halbleinenband des späten 19. Jahrhunderts mit handschriftlichem Rückenschild.

      [Bookseller: Antiquariat Müller & Draheim (VDA/ILAB)]
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        Account Of The Life And Writings Of James Bruce, Of Kinnaird, Esq. F.R.S. Author Of Travels To Discover The Source Of The Nile, In The Years 1768,1769,1770,1771,1772, & 1773. In a contemporary binding.

      Printed by George Ramssy For Archibald Constable, And Manners And Miller, Edinburgh. 1808 - Quarto. (12 x 9.5 inches) bound in contemporary half calf with marbled boards and edges. The binding is strong but rather rubbed and scuffed;the leading endpaper is creased and there is some foxing to the plates; there are a couple of stains on the edges of the large folding map and bottom corner of a number of the plates.xiii, 504, 4pp. Complete with 20 plates and 2 folding maps. [Attributes: First Edition; Hard Cover]

      [Bookseller: McManmon, B.D. ABA, ILAB]
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        Plantes de la France décrites et peintes d'après nature par M. Jaume Saint-Hilaire. I-IV.

      - Paris, privately published, 1808-1809. Four parts (of ten) in four. Large 8vo (24.7 x 16.5 cm). Text and 400 fine chromolithographed plates. Uniform contemporary half calf over marbled boards. Spines richly embossed and with gilt lines, vignettes and title. Marbled edges.l The rare start of one of the earliest botanical works entirely printed in chromolithography. With about 400 fine plates (of 1000) of beautifully drawn individual plants and accompanying descriptive text leaves. Provenance: "1816. Presented to the Devon and Exeter Institution by Mr S. W. Davke" (Daukes, or Dawkes?). Stamp of the Society on the last plate verso only. Boards rubbed, internally a very good copy. Nissen BBI, 989. [Attributes: Hard Cover]

      [Bookseller: Antiquariaat Schierenberg]
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        Voyages chez les peuples sauvages, ou l'homme de la nature : histoire des peuples sauvages des deux

      continens et des naturels des isles de la mer du Sud. Paris : Laurens aîné, 1808. Second edition. Three volumes, octavo, contemporary calf-backed papered boards (rubbed), spines with contrasting leather labels lettered and numbered in gilt, hinges a little weakened, pp xxxi, 464; 566; 480; illustrated with engraved plates; second volume with mild water stain at centre margin of first few leaves (not affecting legibility of text), otherwise a crisp, clean set. Ferguson, 475. Scarce. First published in 1801, Richard's post-Enlightenment work is a very early study of the "savage" cultures of the Americas and Oceania, in essence an attempt to describe and understand the non-European mind. Extensive references are made to the indigenous cultures of the Society Islands, Sandwich Islands, Friendly Islands, New Hebrides, New Caledonia, New Zealand and the Pelew Islands. Copies are recorded in three Australian collections (National Library of Australia; National Museum of Australia; State Library of New South Wales).

      [Bookseller: Douglas Stewart Fine Books]
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        Three addresses, by Sir John Dalrymple, Baronet, lately Baron of Exchequer in Scotland, to the seamen, soldiers, and great mass of the people of England, Scotland, and Ireland.

      Edinburgh: printed by J. Robertson 1808 - 8vo., (3) - 45 + (3)pp., with 5 woodcut illustrations in the text, wanting the half-title but with the final blank (F4), light marginal dampstain in several leaves at end, title-page a little dust-soiled, recent marbled boards lettered on spine, entirely uncut. A good, large, copy. First and only edition. An off-the-wall paper on a proposal to supply steam-operated washing machines to the Royal Navy for laundering clothes at sea, on a similar wash-house scheme on land and for brewing beer, baking bread and making dumplings at sea. Dalrymple's first Address> describes in considerable detail - and with a woodcut illustration - his proposed naval washing-machine. The machine, the author suggests, would have three enormous advantages: viz. no damage to clothes due to no friction or rubbing; health promotion due to the 'powerful and penetrating nature' of steam which will 'destroy all verming, their eggs, and seeds, and also . any infectious disease'; and, thirdly, the use of 'much less soap' than in the 'common way'. The author's second Address> pursues the same theme but extends the washing-machine's usefulness to land-based wash-houses. He cites several advantages, not least to London. 'The benefit will be great to London, and other great cities, where washing costs nearly double of what it does in any other part of the kingdom; where the washing is performed in garrets, often by careless unknown people, without drying places; and where there are no washing-greens to spread clothes upon. But the meanest householder woman might, by means of steam, wash for her family at almost no expence except that of soap .'. A second advantage was the 'durability of goods washed', the author noting that the usual rubbings, twisting, beating, squeezing, and so forth, would be avoided. And, thirdly, Londoners were disadvantages by lack of space for 'washing-greens on which the goods washed may be exposed to the sun and air'. The steam wash system together with an overnight soaking of the clothes in a 'bleaching liquor' or 'liquid oxygenated muriatic acid' would resolve the problem. The clothes would be so white that 'the finest lady in London can get the finest pieces of her dress washed as transparent in London, by means of steam, as can be done in the country'. Dalrymple's third Address> describes in detail a system of brewing beer, making bread and yeast dumplings on board ship. He includes a note about 'making beer from sugar or molasses, for supplying the inhabitants of the East and West Indies. Sir John Dalrymple (1726-1810), lawyer and historian, was a protégé of the Duke of Argyll and of Lord North. He was 'an active, well-liked if sometimes irritating member of the Edinburgh literati, and a prominent member of important societies such as the Select Society, the Poker Club, and the Glasgow Literary Society. He was an early protégé of Lord Kames and a member of a circle which included David Hume and Adam Smith'. [Nicholas Phillipson in ODNB]. None of Dalrymple's projects and chemical inventions was patented. [Attributes: Hard Cover]

      [Bookseller: John Drury Rare Books ABA ILAB]
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        Crim. Con. 10,000[pounds] Damages. Smeeton's Edition of the Trial between The Right Hon. Lord Borringdon and Sir A. Paget, K.B. for Criminal Conversation with the Plaintiff's Wife . . . Before W. Burchall, Esq. and a Special Jury [etc.]. Cohn 85

      Conjecturally Sir Walter Scott's copy ["Walter Scott His Book / July 29 1808"] of a rare account of a "considerable scandal", Paget having eloped with Borringdon's wife, whom Paget then married two days after her divorce; one copy in OCLC. Later cloth, gilt lettered, some foxing, but sound, with the frontispiece--"A Scene in Kensington Garden"-- possibly partly George Cruikshank's work. Published by G. Smeeton, 18, James Street, Long Acre, London, 1808.

      [Bookseller: Meyer Boswell Books, Inc.]
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        Annales du Musée et de l'école moderne des Beaux-Arts. Salon de 1822. Recueil de pièces choisies parmi les ouvrages de peinture et de sculpture exposés au Louvre le 14 Octobre 1808, et autres productions nouvelles de l'art, gravées au trait, avec l'explication des sujets, un examen général du salon, et des notices biographiques sur quelques artistes morts depuis la dernière exposition. - Recueil de pièces choisies parmi les ouvrages de peinture et de sculpture exposés au Louvre le 5 Novembre 1810, et autres productions nouvelles et inédites de l'école française, gravées au trait, avec l'explication des sujets, l'examen du salon, et des notices biographiques sur quelques artistes morts depuis la dernière exposition

      Chez l'auteur|& Annales du Musée du Louvre|& chez l'auteur|& Imprimerie de Chaignieau ainé 1808 - - Chez l'auteur & Annales du Musée du Louvre & chez l'auteur & Imprimerie de Chaignieau ainé, Paris 1808-1810, 12,5x20cm, 3 volumes reliés en 1. - Edition originale pour chacun des deux textes. Reliure en demi chagrin vert, dos à quatre nerfs orné de caissons à froid agrémentés en leurs centres de fleurons dorés, dates dorées, plats de papier marbré, gardes et contreplats de papier à la cuve. Le premier ouvrage, en deux volumes, est illustré de 72 planches hors-texte, le second, en un volume, de 72 planches hors-texte. Quelques petites rousseurs sans gravité. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition for each of the two texts. Binder in green half chagrin, back with four nerves adorned with cold boxes embellished in their centers of golden florets, golden dates, plates of marbled paper, guards and counterplates of paper to the vat. The first work, in two volumes, is illustrated with 72 boards, and the second, in one volume, of 72 plates. A few small reds without gravity. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Viaggio nel basso ed alto Egitto.

      Tofani, 1808. Due volumi in-folio, di cui uno di testo ed uno di tavole. Legatura coeva in mezza pelle, dorsi lisci con titoli e fregi in oro. Esemplare con una decina di tavole brunite, una piccola lacuna ad un dorso, peraltro assai genuino, marginoso ed in ottimo stato di conservazione. La parte iconografica è composta da tavole di vedute (la maggior parte delle quali in seppia) e carte geografiche, sovente a doppia pagina. Celebre opera il cui originale francese risale al 1802 ed in questa prima (ed unica) edizione italiana curato dall'abate Fontana bibliotecario della Riccardiana di Firenze. Cfr. Cicognara, 2520 e Brunet II, 599.

      [Bookseller: Studio Bibliografico Benacense]
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        Gezigten in de omstreken van Utrecht, opgedragen aan H.M. de Koningin der Nederlanden. Naar de natuur geteekend en op steen gebragt door P.J. Lutgers met geschiedkundige aanteekeningen van W.J. Hofdijk.[The Hague, J.D. Steuerwald], 1869. Folio. With a lithographed title-page (with a separately tinted lithographed view) and 87 tinted lithographed plates (ca. 16.5 x 22.5 cm), designed and lithographed by P.J. Lutgers. Near contemporary half sheepskin by J.A. Loebèr, Leiden

      - Landwehr, Coloured plates 356; Scheen, p. 732; Thieme & Becker XXIII, p. 480. Enlarged second edition of the most detailed and extensive set of views of stately houses and their gardens, other buildings and landscapes, all in the vicinity of Utrecht, with 88 tinted lithographs (including the title-page). Most of the views show people in the foreground, and some include boats on the canals, horses, cattle, dogs, etc. The view of the town of Rhenen (35 kilometres east of Utrecht) even shows the recently introduced steam boats on the river. All were drawn in situ by Lutgers (1808-1874), who spent about ten years preparing this last of his four great series of views. This time, however, he used tint blocks, giving a beige background to most of each print, but with a few areas left white to indicate the lighting or to highlight a feature. The lithographic title-page is followed by a two-page dedication to the queen (Sophia Frederica Mathilda, wife of King Willem III), Lutgers' two-page preface, a two-page list of the plates, and eighteen pages with Hofdijk's notes on the history and owners of the houses depicted.Some of the plates foxed. Binding worn along the extremities with a few minor damages to the spine. Overall in good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        THE GRAVE, A POEM

      London: T. Bensley. Very Good+. 1808. First Edition. Hardcover. T. Bensley for R. H. Cromek, 1808. Engraved portrait of William Blake by T. Phillips, engraved by Louis Schiavonetti, engraved title page by Schiavonetti after design by William Blake and eleven full page illustrations by William Blake, all engraved by Schiavonetti. . [ xiv, 36pp, 4 pages of publishers ads]. X-lib rebound later in 19th century in green buckram cloth with gilt title on front cover. Interior of text is tight, clean & intact. Deckle page edges. Subscribers list. Library book-plate of Charles H. Hackley who was a philanthropist and an important figure in the history of Muskegon, Michigan. He established the Hackley Public Library. Library markings on reverse side of Illustrations. Light foxing inside of covers only. Poetry; Ex-Library; 12 etchings; Folio 13" - 23" tall; 36 pages .

      [Bookseller: Nick Bikoff, Bookseller]
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        Naaukeurige beschryving der uitwendige godtsdienst-plichten, kerk-zeden en gewoontens van alle volkeren der waereldt ...The Hague, R.C. Alberts; Amsterdam, H. Uytwerf; Rotterdam, J.D. Beman, 1727-1738. 6 volumes. Folio. With a total of 224 engraved plates, including folding and double-page plates, and some engravings in text. Contemporary mottled calf, gold-tooled spine.

      Alt-Japan-Katalog 1149; for the French edition see: Lipperheide 1808; Sabin 62600. First edition in Dutch of a famous and richly illustrated work on the various religious customs, ceremonies and costumes of the world. It is the most sumptuous publication ever on the religions of the world, richly and beautifully illustrated by the French engraver Bernard Picart (1673-1733), who lived in Amsterdam from 1708 to his death. It was edited by the Amsterdam publisher Jean Frederic Bernard, the text compiled from a wide range of sources, like R. Simon, J. Abbadie, Dupin, Thiers, P. le Brun, Boulainvilliers, Reland, etc. It was translated from the original French, Ceremonies et coutumes religieuses de tous les peuples du monde …, by Abraham Moubach. The engravings show different stages of both of the Christian and non-Christian ceremonies, the costumes of different sects, the appearances of different Gods and much more. Binding rubbed along the extremities. Some occasional spots and slight foxing. Overall a good copy.

      [Bookseller: Antiquariaat FORUM BV]
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        Itinéraire descriptif de l'Espagne, et tableau élémentaire des différentes branches de l'administration et de l'industrie de ce royaume

      first edition. Bradel bindings in full navy blue cardboard, smooth backs decorated with golden threads and cold stamped florets, golden friezes in tails, marbled paper plates, yellow and speckled slices, bindings of the time. The atlas consists of 29 plates engraved inscriptions. A few rubbings in the tails of the backs with a lack on the fifth volume, small patches of moisture at the foot of the first flat of the fourth volume and at the top of the slice, rare foxing. Set made of uniform and complete carton of his atlas. H. Nicolle & Lenormant Paris 1808 12x20,5cm pour les volumes de texte & 15,5x22,5cm pour l'atlas 6 volumes reliés

      [Bookseller: Librairie Le Feu Follet]
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        Orlogs-Briggen Lougen

      under Commando af Premier-Lieutenant Wulf, giver - efter en levende Fegtning, fra Klokken 7, til 11 om Aftenen, d: 14de Martii, 1808, uden for Christiansand - en större engelsk Brig sit hele Lag af Canoner ret for ind, hvilket öjebliklig bevirkede dens Flugt. Den fiendlige Brigs Styrke: 22 cca 10 tt Canoner. Lougens Styrke: 18 18tt Canon. Akvatinte. 28,2x10,4 cm. [Total 32,2x42,1 cm.]. Let skjoldet.

      [Bookseller: Peter Grosells Antikvariat]
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        Fackelzug in einer Festhalle.

      1808 1808 - Kreide- und Federlithographie mit olivocker Tonplatte mit Lichtern, 1808, auf cremefarbenem Velin. 33,2:26,5 cm. Literatur: Dussler 5; Winkler 639.6, II (von III) schwarzer Druck mit Tonplatte. Angelo Quaglio war Schüler seines Vaters Giuseppe Q. (1747-1828) und seit 1800 Hoftheatermaler in München. Zwischen 1800 und 1815 schuf er die meisten Szenenbilder am Hof- und Nationaltheater. Die Motive für seine Architekturaufnahmen mit Staffage fand er auf Studienreisen durch Deutschland und Italien. Die neue Technik der Lithographie fand in ihm einen verständnisvollen Interpreten.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Notizie storiche degli intagliatori... seconda edizione arricchita di notizie interessanti la vita dell'autore...

      Porri, 1808. Tre volumi legati in uno di cm. 20, pp. (2) xx, 314; 287; 339. Antiporta figurata e ritratto dell'autore incisi in rame. Solida legatura ottocentesca in mezza pelle, dorso liscio con titoli in oro. Ben conservato. Si tratta dei primi tre volumi di quest'opera che si compone di 12 parti. Le presenti sono però monograficamente autonome e contengono la ristampa dell'originale apparso nel '700 ed è l'intera sezione riguardante gli intagliatori. Opera celebre e considerata di imprescindibile importanza.

      [Bookseller: Studio Bibliografico Benacense]
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        A History of the Early Part of the Reign of James the Second; with an Introductory Chapter

      4to. London: Printed for William Miller by W. Bulmer and Co., 1808. 4to., xl, 293 pp., v, cli, engraved frontisportrait. Rebacked, full diced calf, gilt rules, dentelles, marbled edges and endpapers, backstrip with raised bands stamped in blind and gilt. Corners and edges of boards are rubbed and chipped, minor foxing to endpapers and flyleaves, otherwise internally bright: very good. First edition. Charles James Fox (1749-1806) politician and member of the Whig party, began work on A History of the Early Part of the Reign of James the Second in 1799, it was researched in London and Paris, and members of his large group of friends (known as Foxites), were recruited to assist in the work. The work was never completed and was published posthumously, dealing only with the events of 1685. Referenced by Lowndes II p. 827.

      [Bookseller: John Windle Antiquarian Bookseller]
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        Les antiquaires Manuscrit autographe complet et unique EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.: S.n. , 1808. Fine. S.n. , s.l. août 1808, in-8 (17,5x21,5cm), (40f.) (3f. bl.), en feuilles. - Les antiquaires. Unique complete autograph manuscript. The complete original manuscript of one of Sade's first works, ruled in pencil throughout, comprising 40 leaves written recto and verso. This manuscript, like the other extant items from the Marquis, was dictated to a scribe and corrected by Sade himself. Contemporary green paper wrappers with a small lack to middle of spine. Ink title, partly erased, to upper cover: 9/ Net et corrigé en août 1808 - bon brouillon. Les Antiquaires. Comédie en prose en 1 acte [Copied and corrected August 1808 - a good draft. The Antiquaries. A prose comedy in 1 Act]. This title is repeated on the verso of the upper cover. Numerous manuscript corrections, annotations and deletions in Sade's hand, principally adding blocking, and rich in both stage and acting directions. Written in 1776 and re-copied at Charenton in 1808, and most likely augmented at the time with various topical references - notably including an allusion to Napoleon, "of whom he was hoping, in vain, to receive permission to leave the asylum at Charenton as a free man" (p.94) - Les Antiquaires is one of the first theatrical pieces written by the Marquis and therefore one of his first literary works overall, written eight years before the Dialogue entre un prêtre et un moribund [Dialogue Between a Priest and a Dying Man]. Though the precise dating of these pieces is made difficult due to the lack of the original manuscripts, several clues have allowed bibliographers to date the initial composition of this piece to 1776, possibly with a corrected version during the Revolution and a few final changes at the time of this last edit, which is today the only extant manuscript of this play. These clues include the status of the Jewish and English characters, the style of the dialogues, and Sade's correspondence with theatres; the strongest clue being biographical in nature.   Les Antiquaires can essentially be considered the true "theatrical version" of Sade's Voyage d'Italie with which it shows a sustained intertextuality. The play is about an antiquary - in the 18th century sense of the term, which is to say a learned devotee of Classical culture - who wants to marry off his daughter to a friend with the same passion, who nonetheless finds a way of convincing him to let her marry her young lover. Whether it be in the learned dialogues of the antiquaries or in their eccentric parody by the young lover imitating them, Sade draws upon his own experience and observations from his travels, which he expands or twists, according to the viewpoint of his various characters. Hence, the description of Mount Etna by the lover - Delcour - is a parody of Sade's detailed description of the Pietra Malla volcano, and the made-up "subterranean tunnel linking Etna to America" is directly inspired by the tunnel of the Crypta Neapolitana, described by Sade in his Voyage. The Marquis would reach back to this same experience of volcanoes in one of the most famous scenes in his Histoire de Juliette. Barely returned from his latest grand tour and almost at the same time as writing his passionate and detailed account of the experience, Sade was thus also writing a satirical version of his own work (until his problems with the military authorities). The work is at the same time a social critique of pointless erudition and a self-mockery of his own passion for history and of his "zeal to see everything, his insatiable curiosity" (cf. Maurice Lever, preface to Voyage d'Italie). This virulent satire is paradoxically twinned with a very erudite display of the author's knowledge of the latest architectural discoveries and the major contemporary questions in the field. This was, in fact, the element criticized by the two heads of theatres to whom Sade sent the play for consideration, most likely during 1791 or 1792: "The work is well-written. It shows the author's spirit and depth of knowledge, but it's too serious, too scientific" (Théâtre du Palais-Royal) ; "Less display of knowledge, more ridicule...would be needed to stage Les Antiquaires. The author, who shows himself very learned, is bound to come round to this idea himself" (Théâtre de Bondi). Though it seems that the version critiqued above was only an initial iteration and that Sade took into account these comments and corrected the faults in the surviving work, it would appear that the critiques arose from a failure to understand what makes this piece special. For, despite a very traditional structure of an inter-generational conflict pitting an obtuse, obsessive, and naïve father against a quixotic and free-spirited youth, the play does not come down one way or the other in judgment and the older characters are not, in the end, fooled by the tricks and stratagems of the young couple, who themselves end up conceding their elders a certain amount of authority and respect for their knowledge. As the play is heavily inspired by Molière, it is as a worthy heir of Diderot's that Sade presents this new battle between the Ancients and the Moderns, which is to say the antiquary versus the philosopher, as described by Jean Seznec in his Essais sur Diderot et l'Antiquité [Essays on Diderot and Antiquity]. D'Alembert, in his preliminary discourse in the Encyclopedia, takes a definite position on this issue: "That is why, being of unequal merit, a Scholar is far less useful than a Philosopher." Diderot, more restrained, lists in the article on "erudition" the boons and limits of the two intellectual positions. It's clearly this heritage with which the young Sade claims communion, and his play shows "the paradoxes of this debate with an irresistible satirical virtuosity" (S. Dangeville). The author defines his position in the battle between the antiquaries and the philosophers through the figure of Delcourt: "Eh mais vraiment il me serait difficile de passer pour un [savant]. J'ai pu acquérir toutes les connaissances d'un homme de mon état, sans néanmoins avoir étudié les sciences que Monsieur votre Père et ses amis cultivent depuis si longtemps. [Ah, but really, it would be difficult to call myself a scholar. I've managed to pick up all the knowledge fit for a man of my station without ever having studied the sciences that your noble father and his friends have been cultivating so long." The response of the maid, Cornaline, demonstrates on her part a conscious freedom when faced with the erudition that seems both to herald and outline the atypical philosophy and perversion of the values of the future author of the 120 Days of Sodom: "Fussiez-vous vous-même aussi profond qu'eux, je ne veux pas que vous le paraissiez ; battez la campagne, faites des anachronismes, petit à petit on se méfiera de vous, on soupçonnera du mystère et de là même naitre et l'instant de vous dévoiler et la nécessité de ne plus feindre. [If you yourself were as profound as they, I would not have you seem it; daydreaming, stuck in anachronisms, one would soon start to mistrust you, suspecting you of some secret and thus a need to unmask yourself and no longer have to feign something you are not.] This analogy of excess to the point of disbelief, still limited in 1776 to the field of knowledge, could very well have been the basis for a philosophy that would develop during the apocalyptic upheavals, of a need to "unmask [ourselves] and no longer have to feign something [we] are not. This first literary exploit, whose importance Gilbert Lely played down, in actual fact shows an author who is far more experienced than he seems at first sight. Certainly, as Sylvie Dangeville points out, Les Antiquaires clearly belongs to the young Marquis' 'apprenticeship' in writing for the theatre. She cites by way of example the very powerful influence of the Fourberies by Scapin, the Malade Imaginaire and the Femmes Savantes on the action of Les Antiquaires. Nonetheless, let us not forget that Sade drew only very slightly on the dramatic structure of these plays, and much more heavily - to excess, once again! - on the comic potential of situations. In presenting to the audience characters hidden in sacks and beaten, lovers springing up out of crates about to be burned and predatory women ("Un loup dans mon enfance se jeta sur moi et depuis lors j'entre quelque fois dans des accès de fureur ; je crois que je vous dévorerais, Monsieur [A wolf attacked me in my youth and since then I occasionally have fits of fury; I think I will eat you up, Monsieur]."), Sade is already and entirely Sade. - [FRENCH VERSION FOLLOWS] Manuscrit original complet d'une des première oeuvres du Marquis de Sade, entièrement réglé au crayon, et composé 40 feuillets recto-verso. Ce manuscrit, de même que les autres pièces conservées du Marquis, a été dicté à un copiste et corrigé par Sade lui-même. Cahier broché sous couverture verte de l'époque, présentant un petit manque au milieu du dos. Titre à la plume en partie effacé sur le premier plat : 9/ Net et corrigé en août 1808 - bon brouillon. Les Antiquaires. Comédie en prose en 1 acte. Ce titre est reporté au verso du premier plat de couverture. Nombreuses corrections, annotations et biffures manuscrites de la main de Sade, principalement des ajouts de didascalies, riches en indications scéniques et psychologiques. Composée en 1776 puis recopiée à Charenton en 1808 et vraisemblablement enrichie à cette époque de quelques variations opportunes - notamment une allusion à Napoléon « dont il espérait, bien à tort, obtenir la permission de quitter, en homme libre l'hospice de Charenton » (p. 94) - Les Antiquaires est l'une des premières créations théâtrales achevées du Marquis et par là-même, une de ses premières œuvres littéraires, composée huit ans avant le Dialogue entre un prêtre et un moribond. En effet, si la datation décisive des pièces est rendue difficile par l'absence des manuscrits initiaux, plusieurs indices ont permis aux bibliographes de précisément situer la première rédaction de cette pièce en 1776, avec une possible version corrigée durant la période révolutionnaire et quelques dernières évolutions au moment de cette ultime rédaction, qui est aujourd'hui l'unique manuscrit conservé de cette pièce. Parmi les indices de datation - statut du personnage juif et anglais, style des dialogues, correspondance de Sade avec les théâtres - l'élément le plus déterminant est biographique. Les Antiquaires peut en effet être considéré comme le véritable « volet théâtral » du Voyage d'Italie de Sade avec lequel il entretient une intertextualité constante. La pièce met en effet en scène un antiquaire - c'est-à-dire au sens du XVIIIème un érudit, amateur d'antiquité - qui souhaite marier sa fille à un ami partageant la même passion, tandis que celle-ci trouve un stratagème pour le convaincre de la laisser épouser son jeune amant. Que ce soit à travers le discours savant des vrais antiquaires ou celui, farfelu, de l'amant les singeant, Sade se sert de sa propre expérience et de ses impressions de voyage qu'il expose ou détourne selon le point de vue de ses personnages. Ainsi la description par l'amant Delcour du volcan Etna est-elle une parodie du récit détaillé que Sade fait du volcan Pietra-Malla, tandis que l'invention d'une « galerie souterraine reliant l'Etna à l'Amérique », est directement inspirée du tunnel de la Crypta Neapolitana, décrit par Sade dans son Voyage. Le Marquis invoquera cette même expérience volcanique pour écrire l'une des plus fameuses scènes de son Histoire de Juliette. A peine revenu de son dernier périple savant, et presque parallèlement à l'écriture documentée et passionnée de cette expérience, Sade compose donc une version satirique de celle-ci (jusqu'à ses déboires d'intendance) maniant à la fois critique sociale de l'érudition stérile, et autodérision de sa propre passion pour l'Histoire, de « son avidité de tout voir et son insatiable curiosité » (cf. Maurice Lever, préface de Voyage d'Italie). La satire virulente s'accompagne ainsi paradoxalement d'une démonstration très sérieuse des connaissances de l'auteur très au fait des dernières découvertes et des grandes questions archéologiques du temps. C'est d'ailleurs ce qui vaudra à la pièce la critique de deux directeurs de théâtre auxquels Sade la proposa, vraisemblablement durant les années 1791, 1792 : « L'ouvrage est purement écrit. Il annonce esprit et connaissance dans un auteur, mais la pièce est trop sérieuse, trop scientifique. » (Théâtre du Palais-Royal) ; « Moins d'étalage d'érudition, plus de ridicule [...] sont autant de moyens nécessaires pour mettre en scène Les antiquaires. L'auteur qui se montre partout très instruit, s'en convaincra lui-même » (Théâtre de Bondi). A moins que la pièce décriée soit une première version et que Sade ait tenu compte de ces appréciations et corrigé les défauts énoncés dans l'œuvre qui a survécu, il semble que ces critiques résultent d'une incompréhension de ce qui fait justement la particularité de cette pièce. En effet, malgré un schéma très classique du conflit de génération confrontant un père obtus, obsessionnel et naïf à une jeunesse fantasque et libre d'esprit, la pièce ne propose pas de jugement définitif et les personnages d'anciens ne sont finalement pas dupes des supercheries et stratagèmes élaborés par les jeunes qui, eux-mêmes, finissent par concéder à leurs aînés une certaine autorité et manifester un respect pour leur savoir. Si la pièce est très largement inspirée de Molière, c'est donc en digne héritier de Diderot que Sade met en scène cette nouvelle querelle des Anciens et des Modernes, c'est-à-dire de l'antiquaire opposé au philosophe, dont fait état Jean Seznec dans ses Essais sur Diderot et l'Antiquité. Dans le discours préliminaire de l'Encyclopédie d'Alembert statue définitivement sur cette question : « C'est pourquoi, à mérite fort inégal, un Érudit doit être beaucoup plus vain qu'un Philosophe ». Diderot, plus modéré, expose dans l'article « érudition », les bienfaits et les limites des deux postures intellectuelles. C'est clairement de cet héritage que se réclame le jeune Sade dont la pièce illustre « les paradoxes de ce débat avec une irrésistible virtuosité satirique » (S. Dangeville) tandis que l'auteur définit sa position dans la querelle entre antiquaires et philosophes à travers la figure de Delcourt : « Eh mais vraiment il me serait difficile de passer pour un [savant]. J'ai pu acquérir toutes les connaissances d'un homme de mon état, sans néanmoins avoir étudié les sciences que Monsieur votre Père et ses amis cultivent depuis si longtemps. » La réponse de la soubrette, Cornaline, témoigne pour sa part d'une liberté assumée face au savoir qui semble annoncer et éclairer la philosophie atypique et le détournement des valeurs du futur auteur des Cent Vingt Journées de Sodome : « Fussiez-vous vous-même aussi profond qu'eux, je ne veux pas que vous le paraissiez ; battez la campagne, faites des anachronismes, petit à petit on se méfiera de vous, on soupçonnera du mystère et de là même naitre et l'instant de vous dévoiler et la nécessité de ne plus feindre. » Cette apologie de l'excès jusqu'à l'invraisemblable, encore limité en cette année 1776 au domaine du savoir pourrait bien être les prémisses d'une pensée qui va s'épanouir dans des épopées apocalyptiques « propre[s] à faire naitre l'instant de [n]ous dévoiler et la nécessité de ne plus feindre ». Cette première expérience littéraire dont Gilbert Lély minimisa l'importance témoigne en réalité d'un auteur bien plus aguerri qu'il ne paraît au prime abord. Certes, comme l'écrit Sylvie Dangeville, Les Antiquaires est clairement rattaché aux années d'apprentissage de l'écriture théâtrale par le jeune marquis. Elle donne pour exemple la très forte influence des Fourberies de Scapin, du Malade imaginaire et des Femmes savantes sur les péripéties des Antiquaires. Notons cependant, que Sade ne s'inspire que très légèrement de la structure dramatique de ces pièces mais bien plus largement - jusqu'à l'excès encore ! - des ressorts comiques de situations. Or en soumettant au spectateur des personnages cachés dans des sacs et battus, des amants surgissant de coffres près à être brûlés, et des femmes prédatrices : « Un loup dans mon enfance se jeta sur moi et depuis lors j'entre quelque fois dans des accès de fureur ; je crois que je vous dévorerais, Monsieur », Sade n'est-il pas, déjà et entièrement, Sade ?

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        VOYAGES A PEKING, MANILLE ET L’ÎLE DE FRANCE, FAITS DANS LA INTERVALLE DES ANNÉES 1784 Á 1801

      Paris: Imprimerie Imperiale, 1808. Paris: De l’Imprimerie Impériale, 1808. Four volumes, complete. Three 8vo text volumes in recent calf, spines gilt, red morocco labels, contained in marbled slipcases. Atlas volume in modern quarter-calf and blue cloth boards with early 19th century gilt spine with red morocco labels laid down. Minor scattered spotting. A handsome set of the first edition of this comprehensive account. Atlas volume with 97 engravings on 66 leaves, including large map on two folding sheets, two full page maps and two folding maps. The maps include the region between Peking and Qingdao (Canton), map and plan of Macao, maps of the Philippines and of Manila Bay. The plates illustrate views, architecture of palaces and pagodas, street life, gardens, theater, costume, etc. Text deals with foreign trading companies, industry, canals, ships, roads, painting and sculpture, porcelain, festivals and customs and so on. Guignes, a French orientalist scholar and diplomat, was appointed French resident in China and Consul in Canton in 1784. From 1794-1795, he was interpreter with the Dutch Embassy to Peking, spending a total of seventeen years in China. Cordier 2351- 2352. Hill 2004.. 1st Edition. Calf.. Fine.. Folio and 8vo.

      [Bookseller: marilyn braiterman rare books]
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