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Displayed below are some selected recent viaLibri matches for books published in 1816

        History of the Merchant Taylors' School

      London: Ackermann, 1816 - This folio forms part of one of Ackermann's larger, though not so successful projects, his History of the Colleges. Ford in his book on Ackermann notes that William Combe wrote the text for this, as well as five other schools, in 1811, though the book itself did not appear until 1816, with plates. Ackermann believed that "Old Boys" would buy up the volumes with great sentimental gusto; the fact is, the initial subscription was less than 400. He then bound up the remaining sheets separately and sold them as individual folios, this being on of them. Tooley notes that most of these have later issue plates (ACKERMANN, RUDOLPH) First Edition, First Issue (paper watermarked 1816). Folio. Illustrated with two hand-colored aquatint engravings: by Stadler after Pugin, and Havell after McKenzie. Original drab brown wrappers, uncut, printed label on upper cover, spine perished, some chips to fore- edge, else a very good, tall copy in its original state. Abbey Scenery 438; Tooley 3 [Attributes: First Edition; Soft Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
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        An elementary summary of physiology. Vol. I

      E. Cox & Son, London 1816 - An elementary summary of physiology . . . Translated from the French by a member of the Medico-Chirurgical Society [i.e., J. S. Forsyth]. Vol. I (only). x, [2], 211pp. London: E. Cox and Son . . . , 1816. 213 x 132 mm. Half calf c. 1816, hinges in need of repair, light wear; sold as is. Light spotting but very good. From the library of the Medico-Chirurgical Society of Aberdeen, with inscription to that effect on title and library stamp on the last leaf. "Donum Jacobi McGregor Equitis" inscribed on front free endpaper and title; a few manuscript notes throughout. Bookplate. First Edition in English. The second volume of the translation did not appear until 1823. [Attributes: First Edition]

      [Bookseller: Jeremy Norman's historyofscience]
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        ETUI-BIBLIOTHEK DER DEUTSCHEN CLASSIKER.

      . Vols. 1-80. Aachen & Heilbronn 1816-25. With 80 engraved title-vignettes and portraits. 16mo. Contp. half tree-calf, spines with coloured labels. Vols. 52-55 with slightly dampstained titlepages, otherwise a fine set of this rare work..

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        WILSON ON WALTZING A Description of the Correct Method of Waltzing

      Sherwood Neely and Jones, 1816.. 8vo. Contemporary half calf with elaborately gilt tooled raised ribbed spine on marbled paper-laid boards, marbled edges and endpapers (edges lightly rubbed). Pp. lxi + 113, illus with 2 plates and dance posiions, three plates of musical notation and engravings in text (defective copy - lacks frontispiece and title page - pages from front prelim to p. ii - corner of p. xii clipped; some offsetting opposite plates). .

      [Bookseller: Rothwell & Dunworth Ltd]
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        The Narrative of a Mission to Nova Scotia, New Brunswick and the Somers Islands; With a Tour to Lake Ontario to Which Is Added. The Mission, an Original Poem, with Copious Notes

      London: J. Johns 1816, 1st edition. (Hardcover) xiv, 289 (1). Very good. Octavo in original geometric stamped red full morocco, with gilt titles and decorations on spine. A solid copy with strong hinges, light water staining to margins of frontis not affecting portrait. Minor offsetting of portrait onto title page. With folding tables of Methodist missions, their location in Lat. Long., date founded etc., and of the Principal Missionary Societies in Great Britain. Marsden, a Methodist missionary, gives extensive details about the running of the missions, and a description of the American preparations to invade Canada in 1814; the account of which Marsden wrote while in New York enroute to returning home to England. TPL 1000..

      [Bookseller: Aquila Books]
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        Woodburn's Gallery of Rare Portraits consisting of Original Plates by Cecil, Delaram, Droeshout, Elstracke, Faithorne, Loggan, Pass, Payne, Vertue, Vanergucht, White, &c. &c. &c. 2 volume set. with facsimile copies from the rarest and most curious portraits, illustrative of Granger's Biographical history of England, Clarendon's History of the rebellion, Burnet's History of his own time, Pennant's London, &c. ... containing two hundred portraits

      London: George Jones. Very Good. 1816. First Edition. Half Red Morocco. Two hundred sur blanc intaglio plates on 201 leaves (Jesuits in vol II on 2 leaves). Occasional foxing; heads and tails of spines chipped; light intermittent water-stains to periphery affecting text of two plates; one leaf lacking corner though not affecting plate ; Vol. 1 & 2; Etching, engraving, aquatint , mezzotint; Folio; Please note this set will require additional postage. .

      [Bookseller: Virginia Book Shop, Inc.]
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        1.ere Vue d'un Palais Prétorial, à Trèves.

      1816 - Kupferstich von Reville und Perdoux nach Bence, 1816-1836. Ca. 41 x 52 cm. Aus dem monumentalen Werk "Les monumens de la France" von Alexandre de Laborde, das 1816-1836 in Paris erschien. Das vorliegende Blatt zeigt die Porta Nigra von der Stadtseite aus gesehen im Zustand des frühen 19. Jahrhunderts, als die von Napoleon 1804 verfügte Freilegung im Gange war. Die im Mittelalter in dem ehemaligen römischen Stadttor eingerichtete Doppelkirche ist bereits aufgegeben. Die Rampe, die die Torbögen verschloß und zur Kirche im ersten Stockwerk führt, ist bereits verfallen, aber noch begehbar. Das Dach der Oberkirche fehlt, auch der Turmhelm ist abgetragen. An die romanische Ostapsis schließt ein Stadttor, das Simeonstor, an. Am linken Bildrand ist das Simeonstift mit dem Kreuzgang dargestellt. Links unter der Darstellung befindet sich der Vermerk "Bence del.", rechts unterhalb der Vermerk "Reville et Perdoux sculp.".

      [Bookseller: Antiquariat Peter Fritzen]
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        2.ème Vue d'un Palais Prétorial, à Trèves.

      1816 - Kupferstich von Reville und Lorieux nach Bence, 1816-1836. Ca. 42 x 53 cm. Aus dem monumentalen Werk "Les monumens de la France" von Alexandre de Laborde, das 1816-1836 in Paris erschien. Das vorliegende Blatt zeigt die Porta Nigra von der Landseite aus gesehen im Zustand des frühen 19. Jahrhunderts, als die von Napoleon 1804 verfügte Freilegung im Gange war. Die im Mittelalter in dem ehemaligen römischen Stadttor eingerichtete Doppelkirche ist bereits aufgegeben. Das Dach der Kirche ist bereits abgetragen, aber durch die oberen Fenster sind noch die Gewölbe zu erkennen. Das Simeonstor und die Stadtmauer schließen im Osten an die ehemalige romanische Apsis der Kirche an, im Westen ist das Simeonstift dargestellt. Die Rundbogenfenster der Porta Nigra sind zum Teil vermauert. Im zweiten Stockwerk sind einige Männer in den Fenstern stehend dargestellt. Links unter der Darstellung befindet sich der Vermerk "Bence del.", rechts unterhalb der Vermerk "Reville et Lorieux sculp.".

      [Bookseller: Antiquariat Peter Fritzen]
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        Ensayo de la historia civil del Paraguay, Buesno-Ayres y Tucuman.

      Impreta de M. J. Gandarillas 1816 - - Impreta de M. J. Gandarillas, Buesno-Ayres 1816-1817, 3 tomes en 3 Vol. in 8 (14x20cm), (8) XI (1bc) 368pp. (13) et (4) 409pp.(14) et (4) 532pp. (11), 3 Vol. brochés. - Edition originale. Illustrée d'un portrait sur acier au frontispice, en médaillon. Broché, sous papier d'époque. Les papiers pour les trois volumes sont différents, mais de même facture. Manque le plat du tome 3 ainsi que les dos (en partie) des tome 1, 2 et 3. Le tome 3 porte un manque au coin supérieur droit sur 3 feuillets et une tâche jaune pâle allant s'estompant sur la moitié de l'ouvrage. Beaux exemplaires néanmoins, car non coupés et non rognés, et bien frais, hormis le troisième volume qui a subi l'humidité. Livre important pour l'histoire de Buesno-Ayres et des contrées environnantes (Paraguay, Argentine, côtes du Brésil, le Tucuman est une petite province de l'Argentine) composée d'après des document originaux. Cette histoire est d'autant plus remarquable qu'elle est l'oeuvre d'un natif d'Argentine installé à Buesno-Ayres . Gregorio Funes (1749-1829), historien, juriste et pédagogue, fut une figure majeure de la toute jeune patrie et de la révolution argentine. (8) XI (1bc) 368pp. (13) et (4) 409pp.(14) et (4) 532pp. (11) [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Plate 74, Pitcairnie a large feuille (Bracteose Pitcairnea)

      Paris 1816 - This exquisite, hand colored stipple engraving, “Plate 74, Pitcairnie a large feuille” measures 20.5” x 13.75” and is in excellent condition. This dynamic flower, commonly called the Bracteose Pitcairnea, is from the genus Pitcairnea, named for Dr. William Pitcairn an English physician and gardener. Naturalistically depicted, the flower is colored with a green stem and long thin leaves, with deep pink tubular flowers, growing in an upward, spiked direction. Shading and highlighting of the flowers adds dimension to this engraving and showing some of the flowers blooming gives the viewer an idea of how beautiful the flower is in full bloom. Also illustrated on this engraving are records of the anatomical features of this species including the bulb and flowers, so that the flower could be identified with precision and cultivated to perfection. In each illustration, the flowers are classical "portraits" which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Les Liliacées was Redouté’s largest and most ambitious work and is generally considered his masterpiece, arguably rivaled only by Les Roses. Produced under the patronage of the Empress Josephine, for whom Redouté worked as botanical artist at her estate at Malmaison, these pristine examples represent landmark works in the field of flower illustration. The title Les Liliacées is misleading, as the work was of a much broader scope, including representatives of the lily, amaryllis, iris, orchid, and other families. The plates were executed by means of stipple engraving, a method that the artist himself perfected when he was unsatisfied with the effects garnered by traditional copper-plate engraving. As Redouté shrewdly observed, the delicacy and subtle elegance of his compositions could only be captured using a printing method equally fine. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 145 - Lilium Pyrenaicum (Pyrenean Lily)

      Paris 1816 - Pierre-Joseph Redouté Hand-colored stipple engraving from Les Liliacées Paris: 1802-1816 31 1/4” x 24 1/4” framed The unequalled botanical artist Pierre-Joseph Redouté occupies a central position in the development of European flower painting. Redouté had, as pupils or patrons, five queens and empresses of France, fromMarie-Antoinette to Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, a testament to his greatness as an artist. Les Liliacées was Redouté's largest and most ambitious work and is generally considered his masterpiece, arguably rivaled only by Les Roses. Produced under the patronage of the Empress Josephine, for whom Redouté worked as botanical artist at her estate at Malmaison, these pristine examples represent landmark works in the field of flower illustration. The title Les Liliacées is misleading, as the work was of a much broader scope, including representatives of the lily, amaryllis, iris, orchid, and other families. The plates were executed by means of stipple engraving, a method that the artist himself perfected when he was unsatisfied with the effects garnered by traditional copper-plate engraving. As Redouté shrewdly observed, the delicacy and subtle elegance of his compositions could only be captured using a printing method equally fine. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided. Les Liliacées records the plants of the lily family, and related flowers, that Josephine collected for her gardens at Malmaison. Redouté's small drawings, placed at the bottom of the main illustrations, record the anatomical features of each species so that each flower could be identified with precision and cultivated to perfection. In each illustration, as in his series Les Roses, the flowers are classical "portraits" which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Redoutés's work represents a uniquely harmonious blend of scientific precision and supremely delicate rendering.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 299, Iris a feuilles de gramen (Grass-leaved Iris)

      Paris 1816 - This exquisite, hand colored stipple engraving, “Iris a feuilles de gramen” measures 21.5” x 14” and is in excellent condition. This dynamic flower, is commonly called the grass-leaved iris or meadow lily. Naturalistically depicted, it is colored with long, green leaves and finely detailed flower petals in shades of blue and purple with yellow centers. This bulbous flower is also known for its pleasant fragrance. Also illustrated on this engraving are records of the anatomical features of this species including the bulb and flowers, so that the flower could be identified with precision and cultivated to perfection. In each illustration, the flowers are classical "portraits" which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Les Liliacées was Redouté’s largest and most ambitious work and is generally considered his masterpiece, arguably rivaled only by Les Roses. Produced under the patronage of the Empress Josephine, for whom Redouté worked as botanical artist at her estate at Malmaison, these pristine examples represent landmark works in the field of flower illustration. The title Les Liliacées is misleading, as the work was of a much broader scope, including representatives of the lily, amaryllis, iris, orchid, and other families. The plates were executed by means of stipple engraving, a method that the artist himself perfected when he was unsatisfied with the effects garnered by traditional copper-plate engraving. As Redouté shrewdly observed, the delicacy and subtle elegance of his compositions could only be captured using a printing method equally fine. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 194 - Frythronium dens Canis (Dogtooth Fawnlily)

      Paris 1816 - Pierre-Joseph Redouté Hand-colored stipple engraving from Les Liliacées Paris: 1802-1816 31 1/4” x 24 1/4” framed The unequalled botanical artist Pierre-Joseph Redouté occupies a central position in the development of European flower painting. Redouté had, as pupils or patrons, five queens and empresses of France, fromMarie-Antoinette to Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, a testament to his greatness as an artist. Les Liliacées was Redouté's largest and most ambitious work and is generally considered his masterpiece, arguably rivaled only by Les Roses. Produced under the patronage of the Empress Josephine, for whom Redouté worked as botanical artist at her estate at Malmaison, these pristine examples represent landmark works in the field of flower illustration. The title Les Liliacées is misleading, as the work was of a much broader scope, including representatives of the lily, amaryllis, iris, orchid, and other families. The plates were executed by means of stipple engraving, a method that the artist himself perfected when he was unsatisfied with the effects garnered by traditional copper-plate engraving. As Redouté shrewdly observed, the delicacy and subtle elegance of his compositions could only be captured using a printing method equally fine. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided. Les Liliacées records the plants of the lily family, and related flowers, that Josephine collected for her gardens at Malmaison. Redouté's small drawings, placed at the bottom of the main illustrations, record the anatomical features of each species so that each flower could be identified with precision and cultivated to perfection. In each illustration, as in his series Les Roses, the flowers are classical "portraits" which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Redoutés's work represents a uniquely harmonious blend of scientific precision and supremely delicate rendering.

      [Bookseller: Arader Galleries San Francisco]
 13.   Check availability:     AbeBooks     Link/Print  


        Plate 299, Iris a feuilles de gramen (Grass-leaved Iris)

      Paris 1816 - This exquisite, hand colored stipple engraving, “Iris a feuilles de gramen” measures 21.5” x 14” and is in very good condition with slightly cropped edges. This dynamic flower, is commonly called the grass-leaved iris or meadow lily. Naturalistically depicted, it is colored with long, green leaves and finely detailed flower petals in shades of blue and purple with yellow centers. This bulbous flower is also known for its pleasant fragrance. Also illustrated on this engraving are records of the anatomical features of this species including the bulb and flowers, so that the flower could be identified with precision and cultivated to perfection. In each illustration, the flowers are classical "portraits" which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Les Liliacées was Redouté’s largest and most ambitious work and is generally considered his masterpiece, arguably rivaled only by Les Roses. Produced under the patronage of the Empress Josephine, for whom Redouté worked as botanical artist at her estate at Malmaison, these pristine examples represent landmark works in the field of flower illustration. The title Les Liliacées is misleading, as the work was of a much broader scope, including representatives of the lily, amaryllis, iris, orchid, and other families. The plates were executed by means of stipple engraving, a method that the artist himself perfected when he was unsatisfied with the effects garnered by traditional copper-plate engraving. As Redouté shrewdly observed, the delicacy and subtle elegance of his compositions could only be captured using a printing method equally fine. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided.

      [Bookseller: Arader Galleries San Francisco]
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        RELACIÓN CIRCUNSTANCIADA DE LA CAMPAÑA DE RUSIA EN 1812, con los planos de la batalla de Moskwa, del combate de Malo-Jaroslabetz, y un estado sumario de las fuerzas del exército [sic] francés durante esta campaña., traducida del frances. por Juan Lopez de Peñalver. II volúmenes. 1ª edición y única

      - Madrid. Imprenta de Collado. 1816. Dos volúmenes. 8º menor, xii-340pp-1h para plano plegado, 355pp.1h para mapa topográfico plegado. Dos planos calcográficos en cobre fuera de texto de la batalla del Moskwa y del combate de Malo-Jaroslabetz. Encuadernación homegenea plena pasta española época, doble tejuelo, hierros dorados, cortes tintados. Notas al texto a pie de página. Buen ejemplar, limpio, buenos márgenes, excelente impresión y tipografía. Guerra napoleónica, 1800-14. Eugène Labaume, 1783-1849. BGE.CCSP85-B1215. CCPB000199419-0. [PRIMERA EDICION]Imagen en sitio virtual de MIMO Libros [Attributes: First Edition]

      [Bookseller: MIMO Libros]
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        Chrestomathia: Being a Collection of Papers, Explanatory of the Design of an Institution, Proposed to Be Set on Foot . . . for the Extension of the New System of Instruction to the Higher Branches of Learning [etc.] [Part I]. Chou C1(2)

      London: Printed for Messrs. Payne and Foss . . . and R. Hunter [etc.], 1816. Modern cloth-backed boards, printed paper label, some browning and staining, moreso to the fore-margin, else a crisp copy; with the two folding tables First published edition of the first part of Bentham's sole work on education, ambitiously proposing extending suitable secondary education to the "middling classes" and ultimately influencing Bentham's ideas as embodied in his 'Constitutional Code'

      [Bookseller: Meyer Boswell Books, Inc.]
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        Staatsarchiv des teutschen Bundes. Hefte 1 - 6 (alles Erschienene) in 6 Heften.

      Erlangen, Palm & Enke, 1816-, 1817.. 8°. Titel, X, 602; 278 SS., 1 Bl. Bedruckte Original-Broschuren in 2 sehr schönen Halbleder-Kassetten. Stintzing/L. III/2, Anm. S. 87; ADB XVI,240. Erste Ausgabe aller erschienenen Hefte dieser bedeutenden, kommentierten Sammlung von Dokumenten zur Gründung des Deutschen Bundes. Enthält: "Bundes-Acte oder Grund-Vertrag des teutschen Bundes", "Pragmatische Territorial-Veränderungen...", "Die Schluss-Acte des Wiener Kongresses" u.a.. - Bemerkenswert schönes Exemplar, nur geringfügig gebräunt. In den originalen Umschlägen und ganz unbeschnitten. In zwei sehr aufwändigen Halbleder-Schubern.

      [Bookseller: Antiquariat Thomas Rezek]
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        Siege & Defence of Fort Erie.

      [Philadelphia, Pa.: Thomas Desilver] 1816 - Stipple engraving measuring 17 x 11 inches. Plan of Fort Erie showing fortifications, bastions, and battle plan. Includes scale and some topographical details. Was a fold-out plate from Historical Sketches of the Late War, between the United States and Great Britain. Several long tears along folds, moderate foxing. Good.

      [Bookseller: Wittenborn Art Books]
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        Der Löwe und der Affe, 1816

      1816. Lithographie auf Papier, unten rechts signiert: "R. Wintter fecit.", betitelt: "Der Löwe und der Affe.", Darstellung: 18,8 x 15,5 cm, Papier: 22,7 x 17,8 cm. Professionell unter säurefreiem Museumspassepartout montiert.. Raphael Winter behandelt sein skurriles Sujet unter dem Deckmantel der Ernsthaftigkeit. Anders als das berühmte Vorbild für den malenden Affen, Jean-Baptiste Simeon Chardins Gemälde von etwa 1740, schlüpft Winters Affe nicht in ein Malerkostüm und stellt sich in ein Atelier. Er spielt den Maler nicht, er ist aus sich heraus und in seiner natürlichen Umgebung wahrhaft ein Maler. Dies gibt ihm eine Selbstsicherheit, die ihn nicht deplatziert erscheinen lässt. Der porträtierte Löwe ist dementsprechend das stolze Modell, das in freudiger Erwartung seiner Verwandlung im Bild entgegenblickt. Der Affe erhöht dabei den König der Tiere durch menschliche Attribute wie die aufgesetzte Krone. Auch spätere Versuche, menschliches Verhalten durch Affen darzustellen, zielen in eine andere Richtung. Gabriel von Max' berühmte Darstellung der Affen als Kunstrichter zeigt eine Affengruppe, die gar nichts Menschliches an sich hat, sondern nur wie zufällig in eine menschliche Umgebung geworfen wurde. Zwischen Chardins Kostümierung und Max' Wildheit präsentieren sich Löwe und Affe bei Raphael Winter als kultivierte Vertreter ihrer Gattung, denen die menschlichen Eigenheiten nicht fremd sind. Genau genommen wird daher in dieser Graphik keiner vorgeführt: Weder die Affen in ihrem wilden Naturzustand, noch der Mensch als eigentlich wildes Tier. Gerade dieser Gleichberechtigungsanspruch macht dieses Blatt auch im Kontext anderer Substitutionsbilder so interessant.

      [Bookseller: H. W. Fichter Kunsthandel e.K.]
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        L'Hindoustan, Ou Religion, Moeurs, Usages, Arts et Métiers Des Hindous, Ouvrage orné De Cent Quatre Planches, Gravées La Plupart D'après Les Dessins Originaux Faits Sur Les Lieux Pour Feu M. Léger, .

      A. Nepveu, Paris 1816 - XXIV - 194pp. - 236 pp. - 201 pp. - 191pp. - 179 pp. y 214 pp. Más 104 láminas, 15 de las cuales plegadas. Muy completo ejemplar encuadernado de época. El papel presenta mácula antigua. Muy importante obra sobre las costumbres y tradiciones de la India, ricamente ilustrada con preciosos y curiosos dibujos in-situ. Size: 6 Tomos En 2 Vols. En 12º 14 x 9 Cm. [Attributes: First Edition; Hard Cover]

      [Bookseller: BALAGUÉ LLIBRERÍA ANTIQUARIA]
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        Bulletin des Lois. N° 112bis. Ordonnance du Roi contenant la nouvelle édition du Code d'Instruction criminelle.

      Paris, Imprimerie Royale, septembre 1816, - in-8, 124 pp., demi-basane brune mouchetée, dos lisse orné de filets dorés, pièce de titre fauve, tranches mouchetées de bleu, (reliure de l'époque). Bon exemplaire. Edition originale de la nouvelle version authentique du Code d'Instruction criminelle, la seule à valoir sous la Restauration : en effet, Louis XVIII avait tenu à faire modifier toutes les références à l'Empire contenues dans les codifications napoléoniennes, sans toutefois en changer le contenu. Dupin appelle ces nouvelles éditions Codices repetitae praelectionis, par allusion aux versions successives du Code Justinien. Cf. Dupin (1832), pp. 388-389. [Attributes: First Edition]

      [Bookseller: Librairie Historique F. Teissèdre]
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        Album of 15 Pencil and Watercolor Drawings of Flowers, Butterflies and Birds

      - N.d, but papers watermarked 1816 to 1825, so circa 1825. Also unsigned, but album cover bears initials of H.C. B. Stunning album of pencil and watercolors of flowers, butterflies, birds and nests. 15 drawings in all. All expertly done.

      [Bookseller: White Fox Rare Books, ABAA/ILAB]
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        Autograph Letter Signed to Lord Kenyon. Llangollen Vale, Tuesday night, 2nd January 1816

      Holographic letter. Small quarto. 3pp. (of 4, with address and wax seal on p. 4). Dated January 2, 1816 to Lord George Kenyon, who was perhaps their most important benefactor and later helped to secure for them a royal pension. Small chip where the seal was parted from the paper, old folds from mailing else clean and fine. Written by the Ladies of Llangollen, regarded by some as Ireland's first openly lesbian couple, although no definitive proof is known. Rather than face the possibility of being forced into unwanted marriages, Eleanor Charlotte Butler and Sarah Ponsonby met in 1768, fled County Kilkenny in Ireland in 1778 and settled in Wales where they lived together for the rest of their lives. Their relationship scandalized and fascinated their contemporaries, and among the many who regularly visited the couple were Robert Southey, William Wordsworth, Percy Shelley, Lord Byron, Sir Walter Scott, Josiah Wedgwood, and Ponsonby's cousin, Lady Caroline Lamb. In this letter Butler and Ponsonby are at pains to thank and flatter their benefactor, and to invite him and his family to visit them, as well as to invite themselves to visit him. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Five autograph letters signed

      Woolwich, 1816. <p>Gregory, Olinthus Gilbert (1774-1841). Five autograph letters signed, three to Robert Baldwin, of the publishing firm Baldwin, Cradock & Joy, and two to an unidentified officer of the Woolwich Institution for the Advancement of Literary, Scientific and Technical Knowledge. Woolwich, Sept. 28, 1816 - July 16, 1838. 11pp. total. Various sizes (the largest 251 x 203 mm.). One letter mounted with some fraying of the front edge (slightly affecting a few words), another with a small paper flaw, light soiling, but very good.</p><p>From British mathematician and writer Olinthus Gregory, professor of mathematics at the Royal Military Academy at Woolwich, author of works on mathematics, astronomy, mechanics, etc., and editor of both the Gentleman&#39;s Diary and Ladies&#39; Diary. Gregory played a role in the controversy surrounding the Trigonometrical Survey of Great Britain, later known as the Ordnance Survey. The survey, which had begun in 1791, was opposed for political reasons by Royal Society President Sir Joseph Banks, who in 1812 published in the Philosophical Transactions a memoir by Don José Rodriguez attacking the survey and its leader, Col. William Mudge. Gregory exposed Banks&#39;s machinations in a paper published in the Philosophical Magazine, which was later collected in Dissertations and Letters, by Don Joseph Rodriguez, the Chevalier Delambre, Baron de Zach, Dr. Thomas Thomson, Dr. Olinthus Gregory, and Others . . . Tending Either to Impugn or to Defend the Trigonometrical Survey of England and Wales (1815). Gregory&#39;s 1817 letter to Baldwin, one of the publishers of the Annals of Philosophy, discusses this controversy, noting that its effect had been to produce "a strong current in Col. Mudge&#39;s favour among all the men of science in Europe . . . the French Institute has made Col. Mudge a member, expressly on account of his survey: and immediately after this, the Royal Society, or I should rather say Sir Jos. Banks&#39;s party, who had for years been doing every thing to sink his reputation, change their conduct, flatter and fawn upon him, elect them into their councils . . ."</p><p>Gregory&#39;s remaining letters to Baldwin discuss literary matters, including his "account of Biot&#39;s new work [Traité de physique (1816)] for the next no. of the British review." His later letters, written to an unnamed official at Woolwich Institution for the Advancement of Literary, Scientific and Technical Knowledge, include a long discussion as to why the Institution&#39;s reading room should not provide daily newspapers for its largely working-class clientele! </p>

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        Historical Sketches of the Late War between the United States and Great Britain

      Thomas Desilver, Philadelphia 1816 - EXCEPTIONALLY RARE FIRST EDITION.ALL MAPS AND PLATES AS CALLED FOR.VERY UNUSUAL FOR THIS BOOK. Brown paper covered boards. Faded title and book description to the front board. Faded publisher's adverts to the rear board. New cloth spine with a new paper label. Mild edge wear to the boards and corners. Publisher advert to the front paste down. Former owner's signature to the free rear end paper and paste down. Frontispiece is a multi foldout map showing the siege and defense of Fort Erie. Page edges are rough cut. Binding is solid and square. Eleven plates in total as called for in the Directions to the Binders page. One double page map, one multi fold map. EXCEPTIONALLY RARE ESPECIALLY WITH ALL THE ORIGINAL PLATES PRESENT. [Attributes: First Edition; Hard Cover]

      [Bookseller: 12 Peers Fine Books]
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        Travels in Europe and Africa by Colonel Keatinge

      London: Printed for Henry Colburn 1816 - Travels in Europe and Africa by Colonel Keatinge: Author of, a history of the conquest of Mexico, from the Spanish,eidometria, or optic mensuration, etc. Comprising a journey through France, Spain, and Portugal, to Morocco: with a particular account of that empire. Also a second tour through France in 1814, in which a comparison is drawn between the present and former state of that country and its inhabitants. Illustrated by numerous plates of scenery, antiquities, and costume, from drawings made by the author. 30,5x22,5 cm, Deux tomes en un volume. (xvi) 346pp,+274pp, Reliure peau rouge moderne. Bel exemplaire. [Attributes: Hard Cover]

      [Bookseller: Laura Ovalles]
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        The Grand Master, or Adventures of Qui Hi? In Hindostan, A Hudibrastic Poem in Eight Cantos

      Thomas Tegg, London 1816 - 4to - over 9¾. Book. Half red morocco slipcase. 27 handcolored plates, including fold-out frontis, and one sepia plate, by Rowlandson. viii + 252 pp. Page numbers 73/74 repeated, different content. A fair amount of soilage to the fold-out frontis, with small chip in right margin. Tape repair on backside of one fold. Some light soilage in rest of book, a few spots a bit grubby, but generally more toned than soiled, and much of text and plates otherwise clean. Colors of plates fresh and bright. Slipcase is half morocco over red cloth. Inner folder missing ribbon but otherwise clean. Outer box very solid but some scuffing to leather on spine. Spine with raised bands. Spine browned slightly from red as appears on front and rear. Slight discoloration to red cloth, top 1/2 inch, on one side. Otherwise slipcase only minor shelfwear. Contemporary boards are soiled. Spine rebacked, partly preserving original title label. [Attributes: First Edition; Hard Cover]

      [Bookseller: White Fox Rare Books, ABAA/ILAB]
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        Color Plate] Select Views of London. With Historical and Descriptive Sketches of Some of the Most Interesting of its Public Buildings

      Printed for R. Ackermann, 101, Strand, by J. Diggens, St. Ann's Lane,, London 1816 - Imperial 8vo: [8],159,[1]pp, with 76 delicately hand-colored aquatints (five folding), by J. Hamble and Joseph Constantine Stadler after Papworth and Augustus Pugin, "of past London, with representations of City churches and other topographical features now no longer in existence" (Prideaux). Later green morocco over navy pebbled cloth, flat spine (sunned to brown) lavishly gilt, all edges marbled, marbled end papers. A fine Ackermann production in a tall, attractive copy, beautifully bound, occasional light offsetting and scattered foxing, plates fresh, clean & bright. Provenance: small, discreet book label of Le Baron E. de Thysebaert to corner of front paste down. Tooley 361. Abbey, Scenery, 217. Prideaux, p. 143-44. First Edition in book form, the issue without Papworth's name on title page (no priority established). Originally published in Ackermann's Repository of arts, literature, fashions, etc., from 1810-15. Papworth, one of Ackermann's most prominent stalwarts, was an architect, designer of furniture, decorations, accessories, and store fronts, and a landscape gardener. N. B. With few exceptions (always identified), we only stock books in exceptional condition. All orders are packaged with care and posted promptly. Satisfaction guaranteed. [Attributes: First Edition; Hard Cover]

      [Bookseller: Fine Editions Ltd]
 28.   Check availability:     AbeBooks     Link/Print  


        Le Promerops moqueur Male, No. 1 (Mocking Bird)

      Paris, 1816 Jacques Barraband?s (1767-1809) engravings of birds are masterpieces of French ornithological illustration. This stunning portrait, Le Promerops moqueur Male, No, 1, measures 20.75" x 13.75" and is in very good condition with light staining and foxing in the margins and cropped margins.This image was done for the distinguished ornithologist Francois Levaillant, who commissioned the artist to illustrate his landmark works on exotic birds, including the lavish and striking "Histoire Naturelle des Promerops". This bird, commonly called the Mocking bird, is expertly hand-colored in deep, rich shades of blue, purple and maroon with patterned tail-feathers and dark crimson beak and legs.Precise lines define and detail each feather and give dimension and depth to this beautiful bird. Mocking birds are well know for their memory and ability to mimic the songs of other birds. The collaboration of Levaillant and Barraband represented a departure from previous ornithological texts in its emphasis on beauty and luxury, with sumptuously colored and flawlessly rendered birds.Apart from their undoubted beauty, Barraband?s engravings display a scientific accuracy that few ornithological artists have matched since. The meticulous hand-colored engravings in Levaillant's publications were unmatched for the delicate modulations of tone and color, fine lines and perfect draftsmanship, making them exceptional in their richness and tonal variation. Each feather is described by dozens of parallel lines, providing remarkable detail and naturalistically textured color.Some of the prints are embellished with touches of gold leaf on the feathers of the cheeks and shoulders of the birds, emphasizing the preciousness of the plates and reproducing the iridescence of the birds? feathers. The present selection of images represents an opportunity to acquire spectacular engraving by a foremost 19th-century natural history artist.

      [Bookseller: Arader Galleries]
 29.   Check availability:     Biblio     Link/Print  


        COSI FAN TUTTE. OSSIA LA SCUOLA DEGLI AMANTI.

      1816 - MOZART, W. A. (music) and Signor DA PONTE (libretto). COSI FAN TUTTE. OSSIA LA SCUOLA DEGLI AMANTI. THE SCHOOL FOR LOVERS, A COMIC OPERA, IN TWO ACTS. AS REPRESENTED AT THE KING'S THEATRE, IN THE HAYMARKET. FOR THE BENFIT OF MADAME MAINVILLE FODOR. London: W. Winchester and Son, 1816. 76 pp. Sewn wrappers, 7 1/4 x 4 3/4 inches. Dual language, Italian on the verso, with English translation on the facing recto. Light soil and age toning to wrappers, corners a bit dog-eared. Rear cover (end of text) slightly creased. Pencil ownership to top front corner. Closed 3 inch tear to pp. 21-22, no loss of text. Libretto only. [Attributes: Soft Cover]

      [Bookseller: Boston Book Company, inc.o ABAA]
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        The History and Antiquities of the County Palatine of Durham: Four volume set

      Nichols, Son, & Bentley 1816 - Fine bindings. Folio. 4 vol. illus., 76 pl. (incl. front.: v.1) 6 port. 45 cm. clxvi, 326pp; 408pp; 431pp; 98pp, 164pp, 173pp + plates. Rebound in fine modern brick cloth with leather spine label. Fine binding and cover. Clean, unmarked pages. Scattered foxing. Contents: v. 1. Introduction. Memoir of Robert Surtees [by G. Taylor] General history. Topographical history: Easington Ward.--v. 2. Chester Ward.--v. 3. Stockton Ward. Darlington Ward.--v. 4. Darlington Ward. City of Durham. Feel free to view our pictures of this wonderful set. ESTC T99505. Printed Vol 1: 1816 -- Vol. 2: 1820 -- Vol. 3: 1823 -- Vol. 4: 1840. This is an oversized and heavy set that requires additional postage for international delivery outside of the US. [Attributes: First Edition; Hard Cover]

      [Bookseller: Sequitur Books]
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        South East View of York

      1816 - This exquisite view of the south prospect of York was drawn by the celebrated Yorkshire painter Henry Cave, and engraved by the acclaimed aquatinter Robert Havell. Cave was an accomplished painter and engraver who worked extensively on Yorkshire subjects. He studied under his father William Cave, an engraver of some repute, and made a name for himself as an accomplished topographical painter. He was admitted as a Freeman of York in 1801, and described on the roll as an engraver. He exhibited at the Royal Academy and the British Institution between 1814 and 1825, and was hailed as one of Yorkshire's premier talents. In 1813 Ackermann published "The Antiquities of York," which was richly illustrated with plates drawn and etched by Cave. This pleasant view follows the 17th century Dutch tradition of giving somewhat greater space to the sky than to the earth, thus providing a sense of potential and freedom. Born into a family of talented artists, the painter, engraver, and publisher Robert Havell worked in his family's London-based engraving firm for several years with his father, the topographical and architectural engraver and publisher, Daniel Havell, and his cousin, the painter William Havell. With his son he later established a successful business on Oxford Street that produced a number of illustrations for various travel and topographical publications as well as several series of topographical and architectural aquatint engravings including Picturesque Views on the River Thames (1812) and Views of the Public Buildings and Bridges in London and its Environs (1820-1). The father-son partnership lasted until 1828, at which time Robert Jr. immigrated to America. Le Blanc, Manuel de L'Amateur D'Estampes I, p. 616; Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs , vol. 3, p. 384. Colour printed aquatint with hand-finishing. Printed on wove paper. In good condition with the exception of being trimmed within the plate mark on all sides. Bottom margin is missing publication line. Skilfully mended tear in bottom right corner. Some traces of minor surface soiling in margins. Image size: 12 5/8 x 19 2/8 inches.

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Travels in Various Countries of Europe, Asia and Africa. Eleven volume set

      London T Cadell & W Davies 1816. G : in Good condition plus with marbled eps and edges. Some light rubbing and scuffing to covers. Backstrips faded. Scattered light foxing. Overall contents bright Fourth Edition Purple calf gilt 210mm x 140mm (8" x 6"). 5663pp + indexes. 44 plates and maps, some fold out. Published between 1816-1824.

      [Bookseller: Barter Books]
 33.   Check availability:     TomFolio     Link/Print  


        Cambria Depicta: A Tour Through North Wales

      London: W Clowes, 1816 Bound in attractive full red leather, thick gilt lines, corners and edges lightly bumped and worn. Spine has raised bands, attractive gilt tooling and title, edges lightly worn. Internally, red marbled endpapers, small binders stamp - L Broon to ffep, coloured frontis, some light offsetting, (xv), [1], 476 pp, text block edges in gilt, 71 superb coloured plates, with an ADDITIONAL 23 coloured aquatint plates, mainly from Compton&#39;s Northern Cambrian Mountains, this is the large paper copy, text block 30.522.5cm, printed by W Clowes, Northumberland Court, Strand. A superb copy and probably uncommon! (Abbey 521 {Abbey 523 for additional prints}) Pugh, Edward (bap.1763, d.1813), miniature painter and topographer. Although the biographical details of Pugh&#39;s life are sketchy, a great deal can be said of his character, since Cambria depicta was written in the first person and in a lively and entertaining style. It presents Wales from the perspective of a native Welsh-speaker, rather than of an English traveller, on which grounds the author particularly commended the work to his audience for the insights it offered. Pugh regaled his readers with interesting incidents, gossip, and his idiosyncratic opinions on aesthetics and the general state of the world. Although working broadly within the eighteenth-century tradition of topographical and antiquarian descriptive writing, his was a fresh and democratic voice, expressing ambitions for the improvement of contemporary Welsh culture, as well as relating its history and myths. See ODNB for a full Bio.

      [Bookseller: Madoc Books]
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        CAMBRIA DEPICTA: A TOUR THROUGH NORTH WALES

      Published by E. Williams, 1816. Hardback. Very Good. Very good condition with no wrapper. Large format. Leather spine and corners; raised bands to spine, with gilt titles. Illustrated with picturesque views. 71 hand-coloured aquatint plates (including frontis). 3" split to top of spine, with some chipping. Wear to rest of spine and cover edges. Corners are bumped. Small inscription in ink to front endpaper. Front joint is cracked and a bit weak. Some foxing throughout. Repaired tear to title page. Hand-coloured illustrations are still lovely and bright and in very good condition! [S]

      [Bookseller: Stella & Rose's Books]
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        Cambria Depicta..... (Complete)

      London: E Williams, 1816 A Tour Through North Wales Illustrated with Picturesque views by a Native Artist (Edward Pugh - from Ruthin). In brown and maroon full leather, some blind tooling, few small marks, corners lightly bumped. Spine has raised bands, gilt tooling, title in gilt on maroon leather label, very light wear to edges. Internally, bookplate of Isaac Evans to fpd there is also the original spine label as well as an ink name to fpd (GA Humphreys, Ardwy - Orme Llandudno), orange endpapers, frontis page corner tips worn,467 pp, 71 pl (of 71 coloured aquatints, tissue guarded), text block edges uncut, minimal browning to edges. A very good copy.(Abbey 521. Prideaux 348. Tooley 386. Allibone 1702)Pugh exhibited twenty-three pictures, mainly miniature portraits at the Royal Academy between 1793 and 1808. Another of his pictures was exhibited posthumously in 1821. Pugh supplied the drawings for Modern London, 1805, and, inspired by Boydell, wrote Cambria Depicta: A Tour through North Wales … which, illustrated with over seventy of the author &#39;s own drawings, was published posthumously in 1816. According to the preface, the work took him nine years to complete. See NLW WBO for a full Bio.

      [Bookseller: Madoc Books]
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        The Works of Samuel Johnson. With An Essay on his Life and Genius, by Arthur Murphy

      London: Printed for Nichols and Son, etc., 1816., 1816. 12 volumes; 8vo (8½ x 13 inches). Contemporary tan half calf with raised bands, gilt and two black title labels to spines; marbled boards and edges; green end papers. Portrait frontispiece to volume one. Bookplates. Boards a little rubbed; spines darkened evenly; light occasional foxing. A very attractive and sound set in a highly decorative old leather binding.

      [Bookseller: Adrian Harrington Rare Books]
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        The Works of. A New Edition in Twelve Volumes. With an Essay on his Life and Genius, by Arthur Murphy, Esq.

      London: Nichols and Son; F.C. and J. Rivington; et al 1816 - Twelve volumes. 8vo. Contemporary full diced calf, spines flat with gilt rules, gilt lettered direct to two panels attractive gilt tooling to remaining three compartments, gilt rules to boards, gilt inner dentelles, plain green-grey endpapers, marbled edges. Extremities rubbed, occasional darkening to spines, otherwise a handsome set.

      [Bookseller: Bow Windows Bookshop (ABA, ILAB)]
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        Il sistema pratico del censimento prediale milanese Instituito nel Secolo XVIII. Dell&#146;Ingegnere Gaetano Tarantola. Milano: Dalla Tipografia di Gio. Gius. Destefanis,1816.

      - In-4°, pp. 130 n.n. con 3 tavv. rip. f.t. incise da Casirago e riguardanti il Comune di Grubbiana. Leg. post. mz. pelle a fascia stretta con tit. e fleurons oro impressi al ds., piatti in carta marmorizzata, tagli a spruzzo blu, bross. orig. non conservate, vignetta incisa al frontespizio. Minimi segni di spellature al ds., strappetto al taglio intermedio delle pp. 8-9 senza perdita di testo, esemplare fresco sebbene con sporadiche fioriture. Cfr. Fumi, Fonti per la storia dell'agricoltura italiana (1800-1849), 1020. Il Verri cita spesso quest&#146;opera nella sua Storia di Milano. Available on request description in English / La description des livres en français est à disposition sur demande / Se envían descripciones de libros a pedida.

      [Bookseller: Libreria La Fenice di Pietro Freggio]
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        Observations on the Ruins of Babylon, As Recently Visited and Described by Claudius James Rich, Esq. Resident for the East India Company at Bagdad [Baghdad]. With Illustrative Engravings

      London, Printed for the Author, and Sold by John Murray, 1816.. Octavo. Pp. (viii), 3-239 (verso blank), (2) postscript; directions to the binder. Plus 4 folding plates by J. Barlow, one of which is etched, the other three engraved, all protected by tissue guards. One plate is with 3 tinted impressions. With a full-page illustration to the text. Title-page illustration depicting Persepolitan characters, repeated inside. Half-title present, dedication leaf (verso blank), label to first paste-down, inscription to first free endpaper. Hardcover, bound in handsome prize binding of contemporary half calf and marbled boards, sides gilt-stamped with the armorial emblem of ?The Society of Writers to the Signet?, calf blind tooled, spine moderately worn, lower corner-tips bit rubbed. Fine, crisp interior, exceptionally well preserved, excellent strikes of the plates. ~ First edition. Rich's (1787-1821) ?Memoir on the Ruins of Babylon? was first published in the ?Fundgruben des Orients? in 1813, event which ?marks the hour when Assyriology saw the light? (Pallis 51). Thomas Maurice (1754-1824), assistant librarian to the British Museum, dedicated his commentary ?to the Right Honourable Charles Philip Yorke, in grateful testimony of accumulated favours, these pages, retrospective on the history, and early progress in science, of a most ancient people?.

      [Bookseller: Librarium of The Hague]
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        Autograph Letter Signed to Lord Kenyon. Llangollen Vale, Tuesday night, 2nd January 1816

      Holographic letter. Small quarto. 3pp. (of 4, with address and wax seal on p. 4). Dated January 2, 1816 to Lord George Kenyon, who was perhaps their most important benefactor and later helped to secure for them a royal pension. Small chip where the seal was parted from the paper, old folds from mailing else clean and fine. Written by the Ladies of Llangollen, regarded by some as Ireland&#39;s first openly lesbian couple, although no definitive proof is known. Rather than face the possibility of being forced into unwanted marriages, Eleanor Charlotte Butler and Sarah Ponsonby met in 1768, fled County Kilkenny in Ireland in 1778 and settled in Wales where they lived together for the rest of their lives. Their relationship scandalized and fascinated their contemporaries, and among the many who regularly visited the couple were Robert Southey, William Wordsworth, Percy Shelley, Lord Byron, Sir Walter Scott, Josiah Wedgwood, and Ponsonby&#39;s cousin, Lady Caroline Lamb. In this letter Butler and Ponsonby are at pains to thank and flatter their benefactor, and to invite him and his family to visit them, as well as to invite themselves to visit him. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 41.   Check availability:     IOBABooks     Link/Print  


        Plate 306, Iris de Swert (Swert&#146;s Iris)

      Paris 1816 - This exquisite, hand colored stipple engraving, &#147;Iris de Swert&#148; measures 23&#148; x 18&#148; and is in excellent condition with light staining in the margin. This flower, Swert's Iris or the German Iris, is expertly colored with light green leaves and stem and full, white "bearded" flower petals. The German Iris is thought to be the ancestor to most bearded irises. Also illustrated on the engraving are records of the anatomical features of this species including the bulb and flowers, so that the flower could be identified with precision and cultivated to perfection. In each illustration, the flowers are classical "portraits" which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Les Liliacées was Redouté&#146;s largest and most ambitious work and is generally considered his masterpiece, arguably rivaled only by Les Roses. Produced under the patronage of the Empress Josephine, for whom Redouté worked as botanical artist at her estate at Malmaison, these pristine examples represent landmark works in the field of flower illustration. The title Les Liliacées is misleading, as the work was of a much broader scope, including representatives of the lily, amaryllis, iris, orchid, and other families. The plates were executed by means of stipple engraving, a method that the artist himself perfected when he was unsatisfied with the effects garnered by traditional copper-plate engraving. As Redouté shrewdly observed, the delicacy and subtle elegance of his compositions could only be captured using a printing method equally fine. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided.

      [Bookseller: Arader Galleries San Francisco]
 42.   Check availability:     AbeBooks     Link/Print  


        Untitled [Green Bird]

      Paris, 1816 Jacques Barraband?s (1767-1809) engravings of birds are masterpieces of French ornithological illustration. This stunning portrait, [Untitled], measures 21" x 14" and is in very good condition with light discoloration and cropped margins.This image was done for the distinguished ornithologist Francois Levaillant, who commissioned the artist to illustrate his landmark works on exotic birds, including the lavish and striking "Histoire Naturelle des Promerops". This bird is expertly hand-colored with a lush green and golden colored body, and maroon coloring accenting the face, head, wings and tail. Golden yellow coloring is also seen throughout and a small white patch flanks the birds wing. Precise lines define and detail each feather of this large and naturalistic bird.The collaboration of Levaillant and Barraband represented a departure from previous ornithological texts in its emphasis on beauty and luxury, with sumptuously colored and flawlessly rendered birds. Apart from their undoubted beauty, Barraband?s engravings display a scientific accuracy that few ornithological artists have matched since.The meticulous hand-colored engravings in Levaillant's publications were unmatched for the delicate modulations of tone and color, fine lines and perfect draftsmanship, making them exceptional in their richness and tonal variation. Each feather is described by dozens of parallel lines, providing remarkable detail and naturalistically textured color.Some of the prints are embellished with touches of gold leaf on the feathers of the cheeks and shoulders of the birds, emphasizing the preciousness of the plates and reproducing the iridescence of the birds? feathers. The present selection of images represents an opportunity to acquire spectacular engraving by a foremost 19th-century natural history artist.

      [Bookseller: Arader Galleries]
 43.   Check availability:     Biblio     Link/Print  

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