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Displayed below are some selected recent viaLibri matches for books published in 1817

        An Inquiry into the Nature and Causes of the Wealth of Nations

      Doig and Sirling, et al 1817 - Volumes I, II and III. Later edition. Contemporary calf with rubbing. Joints split and spines chipping. Hinges cracked. Offsetting and light foxing to pages. Overall very good. Housed in a custom-made collector's slipcase. [Attributes: Hard Cover]

      [Bookseller: Bookbid]
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        Ornithologia Suecica. 2 volumes in one

      Havniae [Copenhagen]: J. H. Schubothium. G : in Good condition. Cover lightly rubbed. Some spotting and occasional browning. Plates cut close with images of six plates trimmed. Library stamp on title. Illustrations bright. 1817. [First Edition]. Brown hardback cloth cover. 317pp, errata; xiv, 277pp :: 12 hand coloured plates :: 210mm x 120mm (8" x 5") .

      [Bookseller: Barter Books Ltd]
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        Blackwood's Edinburgh Magazine. volumes 1-4, 6-15 (1817-1824)

      Edinburgh: William Blackwood, 1817-1824. volumes 1-4, 6-15 (1817-1824), complete volumes, some ex library, textually good+ but bindings may require repairs or replacement; price is for the lot:. Photos available upon request.

      [Bookseller: Zubal Books]
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        Sharke

      London: Published by Edward Orme, 1817. Stipple with etching. State iii/iii, with the title in closed letters and engraved inscription (with variations in punctuation): "George Stubbs pinxt.*** Geo. Townly Stubbs Sculpt. Engraver to His R.H. the Prince of Wales / SHARKE. / London, Republished June 4, 1817, by Edwd. Orme, New Bond Street, corner of Brook Street". 18 1/4 x 22 3/4 inches. A magnificent portrait of the famous racehorse Sharke, who served at stud in Virginia and "did as much to enhance the value of the bloodstock of the United States as any horse ever imported" ("American Turf Register" [1830], vol. V, p.173). George Stubbs is considered to be one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own education. In contrast to contemporary academic theory, Stubbs attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous Anatomy of the Horse, which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. By the 1760's, Stubbs had developed a considerable reputation as a sporting artist and had attracted a number of distinguished patrons. Continuing in search of innovation, Stubbs began experimenting with a myriad of different mediums, becoming accomplished in both enamels and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground and etching techniques. Stubbs' masterful paintings inspired some of the greatest engravers of the day to reproduce his work for publication, including his own son George Townly Stubbs who reproduced with faithful accuracy the sublime emotion inherent in his father's exquisite works. Stubbs was elected Director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world. Stubbs was often commissioned to paint accurate portraits of specific steeds for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of the show horse Sharke, commissioned by his owner Robert Pigott. The image shows Sharke in a classically inspired landscape with his trainer Price. Speaking of the horse The Sporting Magazine commented "A most beautiful as well as a very famous horse; he won five single matches for one thousand guineas each, and upwards of twenty thousand guineas in stakes." This beautiful print demonstrates that, with subtle atmospheric effects and complex compositional structure, Stubbs succeeds in raising the genre of equine portraiture to a poetic level. Lennox-Boyd, George Stubbs 110, state iii/iii; Nagler, G.T. Stubbs, no. 6; Le Blanc. G.T. Stubbs, no. 5; Siltzer, The Story of British Sporting Prints, p. 272; Slater p. 610; Snelgrove, no. 14.

      [Bookseller: Donald Heald Rare Books]
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        Anvil

      London: Published by Edward Orme, June 4th, 1817. Stipple with etching, colour-printed with hand-colouring. State iii/iii, with the title in closed letters, and engraved inscription: "George Stubbs pinxt.*** Geo. Townly Stubbs sculpt. Engraver to His R.H. the Prince of Wales. / London Republished June 4th. 1817, *** ANVIL. *** by Edwd. Orme, Bond Street". 7 7/8 x 9 7/8 inches. 12 1/2 x 15 5/16 inches. A magnificent portrait of the famous stallion Anvil, by the master equine painter George Stubbs. George Stubbs is considered to be one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own education. In contrast to contemporary academic theory, Stubbs' attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous Anatomy of the Horse, which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. By the 1760's, Stubbs had developed a considerable reputation as a sporting artist and had attracted a number of distinguished patrons. Continuing in search of innovation, Stubbs began experimenting with a myriad of different mediums, becoming accomplished in both enamels and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground and etching techniques. Stubbs' masterful paintings inspired some of the greatest engravers of the day to reproduce his work for publication, including his own son George Townly Stubbs who reproduced with faithful accuracy the sublime emotion inherent in his father's exquisite works. Stubbs was elected Director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world. Stubbs was often commissioned to paint accurate portraits of specific steeds for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of the stallion Anvil, bred by Thomas Paton. The image shows Anvil in an enclosed paddock, and exhibits a keen attention to naturalistic detail. Anvil was first a stallion in the stud of the Prince of Wales and went on to win a great number of races at some of the best courses in England. This beautiful print demonstrates that, with subtle atmospheric effects and complex compositional structure, Stubbs succeeds in raising the genre of equine portraiture to a poetic level. Lennox-Boyd, George Stubbs 114, ii/iii; Siltzer, The Story of British Sporting Prints, p. 272

      [Bookseller: Donald Heald Rare Books]
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        Sharke

      London: Published by Edward Orme, June 4th, 1817. Colour printed stipple with etching. State iii/iii, with the title in closed letters, and engraved inscription (with variations in the punctuation): 'George Stubbs pinxt.*** Geo: Townly Stubbs sculpt. Engraver to his R.H. the Prince of Wales / SHARKE / London, Republished June 4th 1817, by Edwd. Orme, Bond Street.'. 7 7/8 x 9 7/8 inches. A magnificent portrait of the famous racehorse Sharke, who served at stud in Virginia and "did as much to enhance the value of the bloodstock of the United States as any horse ever imported" ("American Turf Register" [1830], vol. V, p.173). George Stubbs is considered one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own tuition. In contrast to contemporary academic theory, Stubbs attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous 'Anatomy of the Horse', which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. By the 1760's, Stubbs had developed a considerable reputation as a sporting artist and had attracted a number of distinguished patrons. Continuing in search on innovation, Stubbs began experimenting with a myriad of different mediums, becoming accomplished in both enamels and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground, and etching techniques. Stubbs' masterful paintings inspired some of the greatest engravers of the day to reproduce his work for publication, including his own son George Townley Stubbs who reproduced with faithful accuracy the sublime emotion inherent in his father's exquisite works. Stubbs was elected director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world. Stubbs was often commissioned to paint accurate portraits of specific racehorses for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of the show horse Sharke, commissioned by his owner Robert Pigott. The image shows Sharke in a classically inspired landscape with his trainer Price. Speaking of the horse the sporting magazine commented " A most beautiful as well as a very famous horse; he won five single matches for one thousand guineas each, and upwards of twenty thousand guineas in stakes". This beautiful print demonstrates that, with subtle atmospheric effects and complex compositional structure, Stubbs succeeds in raising the genre of equine portraiture to a poetic level. Lennox-Boyd, George Stubbs 111, iii/iii; Siltzer, The Story of British Sporting Prints p. 272

      [Bookseller: Donald Heald Rare Books]
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        Rosa Centifolia Bipinnata / Rosier à feuilles de Céleri [Celery-leaved variety of Cabbage Rose]

      Paris: Firmin Didot, 1817-1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling. 14 x 10 5/8 inches. A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time. Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours. This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747

      [Bookseller: Donald Heald Rare Books]
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        Narrative of a Voyage, In His Majesty's Late Ship Alceste, To the Yellow Sea, Along the Coast of Corea, and Through Its Numerous Hitherto Undiscovered Islands, to the Island of Lewchew; With an Account of Her Shipwreck in the Straits of Gaspar.

      John Murray. London 1817 - pp. (viii), 288. Portrait frontispiece, 4 handcoloured plates, all in aquatint. With Errata slip. Later half calf and marbled boards, newly rebacked, some foxing at the ends and opposite to the plates, else a very good copy. [Attributes: Hard Cover]

      [Bookseller: Patrick Pollak Rare Books ABA ILAB]
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        Pointers

      London: Published by Edw. Orme, Bond Street, the corner of Brook Str, Jany. 1, 1817. Mezzotint. Printed on wove paper. In good condition with the exception of being trimmed just outside the platemark on all sides. A few creases in image and a small mended tear on bottom margin. Crease along upper left corner. Image size: 18 7/8 x 23 ¾ inches. 18 7/8 x 23 ¾ inches. 19 1/8 x 23 13/16 inches. A captivating English mezzotint depicting two pointers At the sudden apprehension of the scent, both dogs stop dead in their tracks. The black dog in the foreground is transfixed, fiercely ready. Both dogs will spring into action at the order. Careful attention has been paid to every aspect of their poses, their bodies completely given to the scent of their prey. This superb rendering by John Nost Sartorius is perfectly captured by William Ward, one of the masters of mezzotint, who emphasizes the hypnotic state mind the pointers are thrown into. For most of the eighteenth and nineteenth century, animal portraiture, in particular paintings and engravings of prized hunting dogs, became a veritable craze in England. This national passion occupied the talents and imaginations of some of the country's best artists, and created an entire genre of sporting art. Dictionary of National Biography

      [Bookseller: Donald Heald Rare Books]
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        The Art of Making Money Plenty in Every Man's Pocket

      London: Darton, Harvey and Darton and for William Alexander, 1817. 8 Leaves; ill. (etchings) 13 cm. At foot of outer upper wrapper: Price six-pence. Engraved throughout. and states London: Printed for Darton, Harvey and Darton, Gracechurch-street; and for W. Alexander, New York. Title page with etching and states again: London, Printed for Darton Harvey and Darton, Grandchurch Street and for Wm. Alexander, York. Publisher's adverisements on outer lower wrapper. Foxing. Always happy to send detailed photographs. At a time when money was becoming scarce in the life of many Americans, Benjamin Franklin came up with a solution to solve this problem. “Doctor Franklin” created “The Art of Making Money Plenty in every Man’s Pocket.” . Original Wraps. Good/No Jacket. 32mo - over 4" - 5" tall.

      [Bookseller: Laura's Rare Books]
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        Tales of My Landlord consisting of Black Dwarf, and Old Mortality

      William Blackwood, 1817. Second edition. Leather_bound. Fine. Jedediah Cleishbotham (Walter Scott) - Tales of My Landlord - 4 volumes - 1817 - 2nd Edition& & & Tales of My Landlord, consisting of Black Dwarf, and Old Mortality& Jedediah Cleishbotham (Sir Walter Scott)& William Blackwood, 1817& & Second Edition& & Newly Rebound& & Quarter-bound in burgundy morocco with marbled paper boards and marbled paper endpapers.& & Pagination& & Vol-1 - Half title / title page / dedication / intro 3 -22 / half title 23-24 / 25-363 & Vol-2 - Half title / title page / 3-340& Vol-3 - Half title / title page / 3-349 / dedication& Vol-4 - Half title / title page / 1-347& & Text Block& & Moderate foxing & marks

      [Bookseller: Singular books !]
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        Nuova Raccolta di Cinquanta Costumi Pittoreschi

      Roma: Giovanni Scudellari, 1817. Quarter Morocco. Good. With 50 hand-colored plates depicting genre scenes that provide a window onto the street life of Southern Italy in the early nineteenth century, which did not lack for color in its drama, its daily rhythms, its joys and sorrows. This is the Verismo Italy of Verga, even if it is not Sicily that is being shown. Lutists, dancers, peasants, scriveners, soldiers, beggars, washerwomen, hermits, knife fights, clawing women, bear dancing, shepherds, public punishment, bocce players -- these are among the many things depicted. Generally this collection is found only in black and white; the color enriches in particular by compensating for the vagueness and simplicity of the facial features of the figures. It should be said, though, that the faces have a dignity that one finds in statue. The color, above all else, invests the pictures with visual excitement. Colas 2379. Lipperheide 1264. The plates are of modest dimensions, measuring an oblong 8.5 by 5.75 inches outermost (21 by 14 cm), and 6 by 3.5 inches in their actual pictorial image. Moderate to heavy foxing in the margins of the plates. Nonetheless an appealing copy.

      [Bookseller: White Fox Rare Books and Antiques]
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        Actas de las Juntas Generales Ordinarias y Extraordinarias del mes de Mayo de 1817, celebradas en el lugar de Zurbano y ciudad de Vitoria por esta Muy Noble y Muy Leal Provincia de Alava, siendo Diputado General de ella el Señor Don Ramón Sandalio de Zubia, y Secretarios Don Bartolomé de Iturrate y Don Vicente Bentura de Zigaran. [Junto con:] ACTAS de las Juntas Generales Ordinarias celebradas en la ciudad de Vitoria desde el día 18 hasta el 25 de Noviembre de 1817 por esta Muy Noble y Muy Leal Provincia de Alava, siendo Diputado General de ella el Señor Don Ramón Sandalio de Zubia y presididas en ausencia por el Señor Don Diego Manuel de Arriola, Secretarios Don Vicente Bentura de Zigaran y Don Bartolomé de Iturrate. [Junto con:] ACTAS de las Juntas Generales Extraordinarias celebradas en la ciudad de Vitoria los días 27 y 28 de Diciembre de 1817 por esta Muy Noble y Muy Leal Provincia de Alava, siendo Diputado General de ella el Señor Don Ramón Sandalio de Zubia y Secretarios Don Vicente Ben

      Vitoria, por Baltasar Manteli, Impresor de esta Muy Noble y Muy Leal Provincia de Alava, 1817 - 1818. Todo en un volúmen en folio; 2 hs., 107 pp., con un gran estado plegado aparte «Obras que han debido reponerse y construir de nueva planta en los Caminos reales y particulares de esta Muy Noble y Muy Leal Provincia de Alava, desde 20 de Enero de 1815 hasta 2 de Mayo de 1817» + 3 hs., 153 pp. + 2 hs., 72 pp. + 2 hs., 141 pp. + 3 hs., 179 pp. Encuadernación en pergamino, de la época, con tejuelo impreso en papel que reza «Minutas de 1817 y 1818» # Jon Bilbao: Euskobibliografía, I, 84.

      [Bookseller: Hesperia Libros]
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        Description of the Character, Manners, and Customs of the People of India; and of their institutions, religious and civil

      London: Longman, Hurst, Rees, Orme, and Brown. 1817. Translated from the French manuscript. 4to. xxviii, 566pp, 2pp publisher's adverts. Contemporary diced leather, decorated in blind and gilt; rebacked with the original spine laid down, corners a little rubbed. Marbled endpapers and edges (the latter dulled on top, a little faded at fore and foot). Slight vertical crease in title-page, some spotting on the first and last few leaves, otherwise clean. Contemporary owner's bookplate on front paste-down. A nice rebacked copy. Very good. ***The Abbe Dubois, having fled the French revolution, worked for many years as a missionary in Mysore. He presented his manuscript 'on the Customs and Manners of the Hindus' to an official of the British East India Company in 1806. It was not published in French until 1825. It deals with the caste system, the role of the Brahmans, and the nature and customs of Hindu religion, with an appendix on the Jains. Loosely inserted is a contemporary press clipping: a letter on the 'Condition of Women in India' by W.W. 'one of those excellent men who have devoted their lives to the evangelisation of our benighted fellow-subjects in India'. .

      [Bookseller: Astrolabe Booksellers]
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        The Northern Cambrian Mountains or a Tour Through North Wales

      London: Thomas Clay, 1817 Describing the scenery and general characters of that romantic country. Embellished with a series of highly finished coloured views engraved from original drawings. Artists includeTurner, Compton, Robson, Gandy, Nicholson, Girtin, De Wint, Fielding and Prout. In contemporary half red roan, with green marbled boards, a little worn and scratched, corners and edges a little bumped and worn, some gilt tooling. Spine recently re-backed in red calf, title and tooling in gilt. Internally, new endpapers, ink name to head of title page (Mrs Judge, Ramsgate), some light foxing to text sheets and title, elsewhere minimal, some light finger soiling to some edges, 60 pp, 30 pl, superbly hand coloured aquatints by the artists of the day, dated either 1815 or 1816, in the first issue state, each followed by a 2 page description. (Originally issued in 10 parts.) Rarely comes on the market. Wonderfully atmospheric plates! (Abbey 522. Tooley 155)

      [Bookseller: Madoc Books]
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        Vegetable Materia Medica of the United States; or Medical Botany: Containing A Botanical, General, and Medical History, of Medicinal Plants Indigenous to the United States. 2 volume set

      Philadelphia: M. Carey and Son. Cover rubbed with edge and corner wear. Spine worn with outer spine split to volume I. Some offsetting and scattered foxing. Several plates becoming loose. Library stamp to titles and a few text leaves. Overall contents G and illustrations bright and G+. 1817. First Edition. Half-leather board cover. 280mm x 220mm (11" x 9"). 273pp; 243pp. 50 hand-coloured plates including one fold-out. Volume II published in 1818. Includes list of subscribers. .

      [Bookseller: Barter Books Ltd]
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        The Trials of Jeremiah Brandreth

      London,: Butterworth and Son,, 1817.. Two volumes, octavo; uncut in the original grey boards with printed paper labels; slight wear to joints but a fine copy in original condition. Rare original record of the High Treason trials that resulted from the last of the English peasant revolts - the so-called "Brandreth Riots" or "Pentrich Revolution", an armed insurrection of workers protesting against pay and conditions in the Nottingham area. Fourteen of the "conspirators" were transported to Australia (the three ringleaders, sometimes called "The Pentrich Martyrs" - Jeremiah Brandreth, William Turner and Isaac Ludlam - were hanged and beheaded). Shelley famously lamented the judgement in An Address to the People on The Death of the Princess Charlotte: 'a calamity such as the English nation ought to mourn with an unassuageable grief...'.Only the Mitchell and National Library copies of the book are recorded by Ferguson (Addenda, 670aaa).

      [Bookseller: Hordern House Rare Books]
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        The Evangelical Expositor or a Commentary on the Holy Bible, Wherein the Sacred Text of the Old and New Testament is Inserted at Large, the Scene Explained, and the More Difficult Passages Elucidated; (Etc., Etc.) Two Volume Set

      Glasgow: W. Sommerville, A. Fullarton, J. Blackie, and Co. Booksellers, 1817 Original full reversed, polished calf on boards. Front joint of Volume I is split for bottom 6 inches and Title of Volume II is split for bottom half of length at gutter. Volume I missing first free endpaper. Five raised bands each volume. Engravings and Atlas of Sacred Geography. Light surface wear to boards, but no writing or foxing. Strikingly original. Volume I has 726 pp. Volume II has 672 pp. Total weight approx. 8 Kg. (17.5 lbs.). Note: Since this set is on consignment our usual discount of 20% to the trade does not apply.. Reprint. Full Leather. Good Plus to Very Good/No Jacket. Illus. by R. Scott, Engraver. 16 1/2 in. x 10 In.(41.9 Cm. x 25.4 Cm.).

      [Bookseller: Dave Shoots, Bookseller]
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        PUCKLE'S CLUB. THE CLUB: IN A DIALOGUE BETWEEN FATHER AND SON

      London: John Johnson., 1817. ....x, 96pp...Brown Cloth Boards.....Re-Backed with ORIGINAL BOARDS LAID IN....Blue Endpapers....Bookplate of previous owner on FFEP....This Edition of PUCKLE'S CLUB is PRINTED FOR THE PROPRIETOR, By John Johnson....PRINTED ON CHINESE (YELLOW) PAPER....This Edition Totalled 734 copies, ONLY 7 OF WHICH WERE PRINTED ON CHINESE PAPER AND EACH PAGE IS MOUNTED ON LARGE FLORAL FRAMED PRINTED SHEETS WHICH ARE UNTRIMMED....Engraved Portrait of Puckle....Title Page with ILLUSTRATION OF THE CLUB and a DECORATIVE BORDER,,,,Contents Include: A List of Subscribers, A List of Characters, and a Dedication Page....Contains NUMEROUS ILLUSTRATIVE ENGRAVINGS by Various Engravers (List Included in Text).....Engravings Designed and Drawn by John Thurston....INCLUDES A REPRODUCTION OF THE TITLE PAGE FROM THE ORIGINAL 1711 EDITION....There is some foxing....Text has mainly been uneffected....Offsetting on blank pages opposite text as well as tissue guards ...Some scratching & scuffing to boards....A VERY NICE COPY OF A BOOK THAT IS ALMOST 200 YEARS OLD!!!....This is a Heavy Book.....Shipping Charges to be Determined..... Hard Cover. Very Good. 4to.

      [Bookseller: Eveleigh Books & Stamps]
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        Marske

      London: Published by Edward Orme, June 4, 1817. Colour printed stipple with etching. State iii/iii, with engraved inscription: "George Stubbs pinxt. *** Geo: Townly Stubbs sculpt. Engraver to H.R.H. the Prince of Wales./London Republished June 4, 1817 *** MARSKE *** by Edwd. Orme. Bond Street.". 8 x 10 inches. A magnificent portrait of the famous racehorse Marske, by the master equine painter George Stubbs. George Stubbs is considered one of the greatest English painters. His ingenious animal and sporting pictures remain unrivalled in their passionate depiction of emotion and their commitment to naturalistic observation. Stubbs was briefly apprenticed to the painter Hamlet Winstanley, a relationship that quickly ended, leaving the young artist to his own tuition. In contrast to contemporary academic theory, Stubbs' attached great importance to the belief that art should imitate nature, not the work of other artists. He spent years carefully studying human and equine anatomy so that he could truthfully represent natural form and movement. A result of this study was his famous 'Anatomy of the Horse', which details, with beautiful engraving, the various elements of a horse's anatomy, from skeletal form to muscular definition. By the 1760's, Stubbs had developed a considerable reputation as a sporting artist and had attracted a number of distinguished patrons. Continuing in search on innovation, Stubbs began experimenting with a myriad of different mediums, becoming accomplished in both enamels and printmaking. Through arduous application, he became a talented mezzotint engraver and worked with ease in both soft ground, and etching techniques. Stubbs' masterful paintings inspired some of the greatest engravers of the day to reproduce his work for publication, including his own son George Townly Stubbs who reproduced with faithful accuracy the sublime emotion inherent in his father's exquisite works. Stubbs was elected director of the Society of Artists and a Royal Academician, and today his prized paintings are housed in some of the finest museums in the world. Stubbs was often commissioned to paint accurate portraits of specific racehorses for proud aristocratic patrons, who wished to highlight their horses' racing success. This practice is expertly exemplified with this magnificent print of the stallion Marske. Marske an impresseive brown stallion was the son of Squirt, and was foaled in 1750. He won the Jockey Club plate at Newmarket in 1754, but was beaten twice in 1756 by Snap. He achieved fame as a stallion, siring Eclipse and a remarkable number of other winners. This beautiful print demonstrates that, with subtle atmospheric effects and complex compositional structure, Stubbs succeeds in raising the genre of equine portraiture to a poetic level. Lennox-Boyd, George Stubbs 121, iii/iii; Siltzer, The Story of British Sporting Prints p.272

      [Bookseller: Donald Heald Rare Books]
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        East India House

      London: R. Ackermann, 1 June 1817. Aquatint, printed in colours and finished by hand, by J.C. Stadler. 13 5/8 x 19 inches. 17 7/8 x 21 5/8 inches. A fine view of East India House after an artist whose work "shows great truth and accuracy" (DNB) An important record of one of the vanished landmarks of London: East India House, in Leadenhall Street in the City of London, was demolished in the 1860s, and the new Lloyd's building now stands on the site. Thomas Hosmer Shepherd was probably the son of the topographical watercolour artist George Shepherd (fl. 1800-1830) and therefore the brother of George Sidney Shepherd (d.1858), who also executed numerous first class topographical works. T.H. Shepherd "painted exclusively views of streets and old buildings in London and other cities, which he executed with great truth and accuracy. He drew the whole of the illustrations for the following topographical works: Metropolitan Improvements, or London in the Nineteenth Century, 1827; London and its Environs in the Nineteenth Century, 1829; Modern Athens displayed, or Edinburgh in the Nineteenth Century, 1829; Views of Bath and Bristol, 1829- 31; London Interiors, with their Costumes and Ceremonies, 1841-3; and A Picturesque Tour on the Regent's Canal. Shepherd was largely employed by Frederick Crace in making watercolour views of old buildings in London previous to their demolition, and some hundreds of these are in the Crace collection in the British Museum." (DNB).

      [Bookseller: Donald Heald Rare Books]
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        L'Amour et les Belles. Pour l'Annèe 1818

      Paris: (Marcilly), (1817). First edition.. Hardcover. Fine. 16 x 25 mm. (about ¾' by 1"). 64pp. Illustrated. Contemporay full leather. Boards and spine tooled in gilt. A fine copy. Rare. Gumuchian, #4055; Welsh, #221.

      [Bookseller: Thorn Books]
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        The trial of James Watson, for high treason : at the bar of the Court of King's bench, on Monday the 9th ... (to) Monday the 16th of June, 1817 : with the antecedent proceedings / taken in short hand by William Brodie Gurney

      London : Butterworth and Son (etc.), 1817. 1st Edition. Physical description: 2 v ; 24 cm. Watson was tried for his share in the Spa Fields riot. Subjects: Watson, James, 1766? -1838 - Trials, litigation, etc. Trials (Treason) - Great Britain. Spa Fields Riot, London, England, 1816. Referenced by: Goldsmiths'-Kress library of economic literature, no. 21931. Very good copies bound in contemporary leather over marbled boards. Modern gilt-blocked leather labels to spines. Spine bands and panel edges slightly dust-toned and rubbed as with age. Scattered foxing, mainly to prelims. and terminals. Remains particularly well-preserved overall; tight, bright, clean and strong. Provenance: From the library of Sir Robert Johnson Eden with his armorial bookplate to front pastedown.

      [Bookseller: MW Books Ltd.]
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        Allgemeines Vieharzneybuch oder Unterricht wie der Landmann seine Pferde, sein Rindvieh, seine Schafe, Schweine, Ziegen und Hunde aufziehen, warten und füttern, und ihre Krankheiten erkennen und heilen soll. Sechste verbesserte und vermehrte Auflage.

      Berlin, o. Dr., 1817. - XIV, 319, (1) SS. Mit einer mehrf. gefalt. Kupfertafel. Marmorierter Pappband der Zeit mit goldgepr. rotem Rückenschildchen. 8vo. Sechste Ausgabe (EA 1802). - Der Hannoveraner Veterinärmediziner J. N. Rohlwes (1765-1823) machte sich durch eine große Anzahl tiermedizinischer Publikationen verdient. - Die Tafel zeigt einen Trokar und eine Klistierspritze. Einband unbedeutend berieben; innen sauber und wohlerhalten. Vorderer Innendeckel mit Exlibris "J. Ruš"; Titel mit hs. Besitzvermerk "J. Rusch". Engelmann (Bibl. vet.) 45 (nennt 16. Aufl. 1842). [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        THE LIFE OF NAPOLEON, A HUBRISTIC POEM IN FIFTEEN CANTOS BY DOCTOR SYNTAX

      London: T. Tegg, 1817. Rebacked with original spine laid-down.Panelled spine, old gilt rubbed. Covers with French fillet borders. Inner dentelles, marbled endpapers. Top edge gilt. A signed binding by Riviere and Son. Fore-edge of one preliminary blank page with small chip. Embellished by thirty engravings by George Cruikshank, ALL HAND-COLORED WITH HAND-COLORED VIGNETTE TITLE-PAGE. Text block is clean throughout, rare foxing, wide margins. Plates are vividly colored, in fine condition, titled at bottom. First issue points are present, such as misspelled "Seige" for "Siege" on plate opposite p.94.A quite satirical, rather harsh look at the life of the "Little Corsican". There remains some question as to the authorship of the poem. See Cohn 153. 260pp.. First Edition. Full Brown Morocco. Gentle Edge Wear./No Jacket. Large Octavo.

      [Bookseller: Glenn Books]
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        Les Puritains d'Écosse et le nain mystérieux, Contes de mon hôte recueillis par Jedediah Cleisbotham,

      [Clo for] H. Nicolle and Ledoux et Tenré,, Paris 1817 - First edition in French of the two novels comprising the first series of Scott's Tales of my Landlord: Old Mortality and The Black Dwarf (1816), the second volume of Scott's fictional works to appear in France (after Guy Mannering). Pseudonymously issued, both in Britain and France, it was listed under the pseudonym Cleisbotham in the Bibliographie de France. This is the first of Auguste-Jean-Baptiste Defauconpret's translations and marks the beginning of Scott's celebrity in France: 'the first considerable success' (Dargan). It is also one of the most influential of Scott's works in France. 'Defauconpret's Les Puritains d'Ecosse gave Scott his first French success and first major European breakthrough. Although partially obscured by Ivanhoe and Quentin Durward, it remained for many Frenchmen the Scott novel Par excellence. Stendhal is among many to call Scott not 'the author of Waverly' but 'the author of Old Mortality' Often critical of Scott, Stendhal remained an unswerving admirer of Old Mortality' (Barnaby). It was also frequently alluded to by Balzac throughout La Comédie Humaine.On the strength of its immediate success, the publisher, Nicolle (the predecessor of Gosselin) engaged Defauconpret to translate subsequent novels as they appeared. 4 vols, 12mo (160 × 92 mm), pp. [4], viii, [9]-253, [3] (including additional half-title to Le Nain Mystérieux at end); [4], 240; [4], 239, [1]; [4], 258, complete with half-titles. Contemporary quarter sheep, mottled vellum corners, spines lettered direct. Spines dry and slightly rubbed. A very good unsophisticated copy. [E. Preston Dargan, 'Scott and the French Romantics', PMLA, Vol. 49, No. 2 (Jun 1934), 2 & 3 (May 3); Paul Barnaby, 'Another Tale of Old Mortality: The Translations of Auguste-Jean-Baptiste Defauconpret in the French Reception of Scott.' in Pittock, ed., The Reception of Sir Walter Scott in Europe, 2006; Garside, Raven and Schöwerling, The English Novel 1770-1829, 1816: 53. OCLC lists copies at Bn, NLS, Universities of Edinburgh, Leipzig and Princeton.] [Attributes: First Edition]

      [Bookseller: Justin Croft Antiquarian Books Ltd ABA]
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        Sibylline Leaves. A Collection of Poems

      London, Rest Fenner 1817.. gr.-8°. X (2), 303 S. Ln. d. Zt. m. Rückengoldpr. Rü. gebleicht. vereinz. etw. stockfl. EA. First edition which contains the first appearance of "The Rime of the Ancient Mariner".

      [Bookseller: Antiquariat Burgverlag]
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        Altdeutsche Volks= und Meisterlieder aus den Handschriften der Heidelberger Bibliothek. Mit einem Kupfer.

      Frankfurt a. M., 1817. 8vo. Cont. (orig.?) light blue paper binding w. gilt red title-label to spine. Spine worn w. lack of paper, but cardboard not worn through. Internally only occasional brownspotting. Overall nice and clean. Front free end-paper w. a beautiful 1/3 page original watercolour painting depicting "Burgtor in Rotenburg", dated "Hannover 26.4 1915." and signed "AZ fct." Frontispiece-engraving, (4), LXVI, 336, (1, -errata) pp.. First edition of the important work which helped lay the foundation for German medieval scholarship and the acknowledgement of the importance, both historical and philological, of the contents that were to be found in the medieval folk songs and tales.Together with Eichendorff, Joseph Görres was the leading figure of Heidelberg romanticism and together with the compilations of Arnim, Brentano and the brothers Grimm, those of Görres brought the folk poetry back into life and turned it into a part of the public mind. The Burgtor so beautifully painted on the front free end-paper was built after the Castle at Rothenburg was destroyed in 1356 during an earthquake. The castle was built around 1142, and the first part of it was rebuilt as early as 1400. Throughout the 15th and the first half of the 16th century the rest of the Rothenburg Burgthor was finished; the history of this site thus coincides chronologically with the contents of the present volume

      [Bookseller: Lynge & Søn A/S]
 28.   Check availability:     Antikvariat     Link/Print  

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