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Displayed below are some selected recent viaLibri matches for books published in 1820

        Journal des dames et des modes [ Recopilación de grabados, 1820-1822 ]

      Paris: [Au Bureau du Journal desd Dames] 1820 - [Para pedidos desde fuera de España, por favor, consulte las condiciones de venta y envío, tipo A. / For orders to be delivered outside Spain, please, let you see our sale and shipping terms, type A. / Pour les commandes à livrer hors d'Espagne, s'il vous plait, voyez les conditions de vente et de livraison, type A].- // 8º (196x120mm.); 230 grabados al aguafuerte, coloreados a mano.- // Encuadernación de época en media piel; lomo liso adornado con florones y filetes dorados, doble tejuelo grabado en piel roja. Cofias ausentes y rotura superior del lomo; charnelas consolidadas; cantos rozados, uno golpeado; en cambio, todos los grabados, salvo tres, bien limpios y en muy buen estado.- // Proc.: Sin datos.- // Volumen facticio en el que se recopilan 202 de los 209 grabados (del nº 1869 al nº 2120) de moda femenina de la serie 'Costumes parisiens' (excluidos los de tocados y los de moda masculina), publicados en la revista 'Journal des dames et des modes' entre enero de 1820 y diciembre de 1822. Los siete que faltan son los números 1874, 1875, 1913, 1919, 1944, 2070 y 2092. Al final del volumen se recogen, además, 21 grabados de la serie 'Modes de Paris', 1 de la serie 'Mode etrangère' y 3 de la serie 'Modes de Vienne', publicados en la revista 'Nouveau journal des dames ou Petit courrier des modes' en 1821, y otros 2 grabados publicados en la revista 'Observateur des modes' en 1819. [Attributes: First Edition; Hard Cover]

      [Bookseller: Andarto B.]
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        Allgemeine deutsche Real-Encyclopädie für die gebildeten Stände - (Conversations-Lexicon) - In zehn Bänden - beiliegend: Supplementband für die Besitzer der fünfen und früheren Auflagen (1824).

      Leipzig, Brockhaus Verlag 1820 - ca.900-1000 Seiten pro Band, Einband berieben und bestossen, etwas fleckig, sonst guter und sauberer Zustand. ---------------------------------- Brockhaus, (1772 - 1823), als Sohn des Kaufmanns und Ratsherrn Johann Heinrich in Düsseldorf zum Kaufmann ausgebildet. Ein kurzer Studienaufenthalt in Leipzig 1793/94 legte den Grundstein für seine umfassende Allgemeinbildung. 1796 gründete B. in Dortmund mit zwei Kompagnons eine eigene Großhandelsfirma für englische Manufakturwaren. Nach einem Zerwürfnis mit seinen Partnern entschloß er sich, nach Holland zu gehen, in das Hauptabsatzgebiet seines Unternehmens; zunächst in Arnheim, ließ er sich 1802 in Amsterdam nieder und machte sich selbständig. Wegen der Auswirkungen, die die Kontinentalsperre auf das Geschäft hatte, wechselte B. 1805 zum Buchhandel und gründete in Amsterdam die Buchhandlung Rohloff & Comp. (seit 1807 Kunst- und Industrie-Comptoir). Seit 1814 trägt der Verlag den Namen F. A. Brockhaus. Auf der Leipziger Buchhändlermesse zu Michaelis 1808 kaufte B. die Rechte an einem unvollendeten Konversationslexikon, das 1796 von Renatus Gotthelf Löbel und Christian Wilhelm Franke begonnen worden war. Den Restbestand dieses Werkes lieferte er seit 1809 unter dem neuen Titel Conversations-Lexikon oder kurz gefaßtes Handwörterbuch (6 Bde.) aus; 1809 und 1811 erschienen zwei Ergänzungsbände. B. pendelte zunächst zwischen Amsterdam und Leipzig, siedelte mit dem Verlag 1811 ins ostthüringische Altenburg über und verlegte 1817/18 den Firmensitz schließlich nach Leipzig, wo er eine eigene Druckerei errichtete. 1818 wurde er Leipziger Bürger und baute systematisch seinen Verlag aus. Er pflegte Literatur und Wissenschaft und wurde der erste Verleger Schopenhauers, zunächst von "Die Welt als Wille und Vorstellung" (1819), später von dessen Gesamtwerk. Bis zu B.' Tod zählte der Verlag u.a. Friedrich von Raumer, Henrik Steffens, Friedrich Rückert und Johann Heinrich Voß zu seinen Autoren. . Das Konversationslexikon wurde ein großer Erfolg; die fünfte Auflage erschien 1820 in zehn Bänden unter dem Titel Allgemeine Deutsche Real-Encyklopädie für die gebildeten Stände (Conversations-Lexicon). In den knapp 18 Jahren seines Wirkens in Leipzig rückte B. in die erste Reihe der deutschen und international anerkannten Verleger auf. Er kämpfte mit seinen Standesgenossen erfolgreich gegen Nachdruck und Zensur und konnte seinem Sohn Heinrich, der in der Leitung des Unternehmens nachfolgte, ein wohlbestelltes Haus übergeben. Seine entscheidende Leistung lag darin, daß er den Namen Brockhaus zum Synonym für Konversationslexika machte und die deutsche Lexikographie im 19.Jh. zu ihren großen Erfolgen führte. (DBE) - Bibliotheca Lexicorum 67. Vgl. Zischka 1. Wendt 56. Sprache: Deutsch Gewicht in Gramm: 12000 [Attributes: Hard Cover]

      [Bookseller: Antiquariat Deinbacher]
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        \"Ansicht von Meissen unterhalb der Brücke am rechten Ufer\". Blick über die Elbe auf die Albrechtsburg, im Vordergrund Frauen beim Wäsche waschen.

       Aquatinta in Sepia von C. Rordorf nach Arrigoni bei G. Weiss & Comp., Dresden, um 1820, 17,5 x 26 cm. Nagler, Rordorf Nr. 1. - Malerische, hübsch staffagierte Ansicht über die Elbe. Schönes, sauberes Exemplar. Versand D: 6,00 EUR Sachsen und Sachsen-Anhalt

      [Bookseller: Antiquariat Bierl]
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        Verzeichniß der raren und fürtreflichen Münzen und Medaillen gesammelt von Hrn. Aug. Polycarp Edlen von Leyser welche in der Leipziger Michaelismesse 1791 (...) daselbst gerichtlich verauctioniret werden sollen.

      4 Bl., 640 S. Pp. um 1820 (Läsuren). Katalog zur Versteigerung "einer der schönsten Sammlungen, die ein Privatmann veranstaltete" (Vorwort). - Lipsius 229. - Exemplar des Münzsammlers Benoni Friedländer (1773-1858), mit dessen Exlibris auf dem vorderen Spiegel. Später im Besitz seines Sohnes Julius Friedländer (1813-1884), Direktor des Berliner Münzkabinetts, mit dessen Exlibris auf dem hinteren Spiegel. - Titel mit ligiertem Monogramm-Stempel OF'. - Stellenweise etwas braunfleckig.

      [Bookseller: Antiquariat Sander]
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        4 Rare Antique Prints-FOUR SEASONS-HORSE-COW-CATTLE-LANDSCAPE-Steen-Berghem-1820

      - 4 Plates: 'De Ochtendstond.' (Morning) - De Nacht (Night) - De Avond (Evening) - De Namiddag (Afternoon). Set of 4 large and very rare prints showing the four seasons. Etching and hand colouring on a verge type hand laid paper. Description: 4 Original Master Prints, published ca. 1820. Our definition of a Master Print is a seperately published print or series of prints, not being an illustrative print to a text. These can both be prints made by old masters (artists) or prints made by others (artists, engravers, etchers) after old masters.Artists and Engravers: Published by J. Groenewoud, Amsterdam. J. Steen, etcher. After Nicolaes berghem and others. Condition: Fine. General age related toning. Margins lightly stained because of former framing. Some damage to images / paper ersosion from previous framing. Please study scans carefully. Storage location: B26-08/11 The overall size is ca. 20.3 x 16.3 inch. The image size is ca. 19.5 x 15.7 inch. The overall size is ca. 51.5 x 41.5 cm. The image size is ca. 49.5 x 40 cm.

      [Bookseller: ThePrintsCollector]
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        2 Antique Prints-HORSE-RACEHORSE-JOCKEY-Vernet-1820

      - 2 Antique prints, titled: 'Cheval Anglais au moment de la Course - La Lilly. Jument Francaise.' - Two prints of racehorses with their jockeys. Colored lithograph on wove paper. Description: Printed by Francois Seraphin Delpech (1778-1825).Artists and Engravers: Made by 'Carle Vernet' after own design. Antoine Charles Horace Vernet aka. Carle Vernet (1758-1835) was a French painter, the youngest child of Claude Joseph Vernet, and the father of Horace Vernet. Born in Bordeaux, Vernet was a pupil of his father and of Nicolas-Bernard Lepicie. Strangely, after winning the grand prix (1782), his father had to recall him back from Rome to France to prevent him from entering a monastery. He was a painter of animals en genre scenes. He specialised in depiction of horses. Vernet worked with lithography and made many prints in this medium. Condition: Very good, given age. Some small, faint stains in the margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: LJC-B1-26 The overall size is ca. 20.7 x 16.9 inch. The image size is ca. 16.5 x 11.8 inch. The overall size is ca. 52.5 x 43 cm. The image size is ca. 42 x 30 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-BACHELOR'S HALL-FOX HUNTING-HORSE-HUNTER-1-F.C. Turner-c. 1820

      - Original antique print, titled: 'Bachelor's Hall, plate 1', ('To Bachelor's Hall we good fellow invite'), showing several men (and one woman) in hunting livery on horseback, exiting a courtyard, ready to go hunting. Also features a pack of hunting dogs. Handcoloured aquatint engraving with etched linework on wove (velin) paper. Description: From a series of total 6 hunting plates, titled 'Bachelor's Hall', a humorous portrayal of bachelor fox hunters.Artists and Engravers: Engraved by an unknown engraver (possible George Hunt) after F.C. Turner. Francis Calcroft Turner (c. 1782-1846) was a British painter of mainly sporting and equestrian subjects. Condition: Very good, given age. Paper tone differences in the margins. Top and bottom margin reinforced using paper on the rear. Some light staining in margin. Top of the right margin with a small paper restoration. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: LJC-P1-05 The overall size is ca. 18.7 x 14.6 inch. The image size is ca. 15 x 11.8 inch. The overall size is ca. 47.5 x 37 cm. The image size is ca. 38 x 30 cm.

      [Bookseller: ThePrintsCollector]
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        A PICTURE OF MARGATE, and its VICINITY

      FIRST EDITION, HAND COLOURED COPY, 1820. 8vo, approximately 215 x 135 mm, 8¼ x 5¼ inches, map and 20 engraved plates all handcoloured,1 being a vignette on the engraved title page, engraved by J. Shury, from drawings by Captain G. Varlo, R.M., lacks half-title, coloured map as frontispiece, engraved title page with coloured vignette of St John's Church, printed title page, Address, List of Plates, pages: vi, [1], [5]-124, bound in half black calf, marbled boards, maroon gilt lettered title label, gilt decoration to spine. Slight rubbing to spine, hinges and boards, pale foxing throughout, pale offset to text from plates, neat old ink name to top of title page, small brown spot to margin of title page and following page, otherwise a very good copy. The plates are probably coloured by a later but accomplished hand? MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Watercolour of a Greenlander hunting seals in a kayak

      Unsigned 1820 - Watercolour on laid paper, 193 x 185 mm, mounted. A very finely painted depiction of a traditional Greenlandic Inuit hunter after harp seals in his distinctive hunting kayak. The unsigned watercolour is of considerable quality and style, and depicts an Inuit pursuit with a level of detail whose accuracy modern historical sources now confirm. A very simplified version of this image was published in Orme's collection of Foreign Field Sports (London, 1813) as "Greenland Seal Catching", an aquatint engraved by M. Dubourg after John Heaviside Clark (1770-1863). The present drawing is of so much higher quality, and contains so much detail that could not have come from the Orme aquatint, that there seem to be just two possibilities: either the present drawing is an original from which the Orme print was derived, or both images derive from a common source. If the latter, there is no trace of such an image to be found today.The design of the Inuit qajaq (kayak) is estimated to have evolved gradually over as much as four millennia. A personal boat, usually made by the hunter himself to suit his exact size, such a kayak would have been constructed of seal skin stretched over a wooden or whalebone frame; the curved ends were adopted to improve manoeuvrability while the hunter's jacket, usually also made from skins, was typically laced to the boat's skin to form a waterproof seal, enabling the hunter to deal with all sea conditions, including capsize. The double-bladed paddle with square ends is of a specifically Greenlandic type. The objects secured to the boat's deck are a bladder and a roll of line. The attarsoak or harp seal was described by Crantz (see below) as the most stupid of the five types of seal available to the Greenlanders and therefore the usual target of the kayak hunter.We are grateful to Dr Rick Knecht for his help in identifying details of the scene.In 1820 David Crantz described the hunting of the attarsoak or harp seal in his History of Greenland:"The small man's boat, or Kajak, is six yards long, and shaped like a weaver's shuttle. The middle is not a foot and a half broad, and scarcely a foot in depth. It is constructed of long laths with cross hoops, secured by whalebone, and is cased in seal-skin leather. Both the ends of the boat are capped with bone, on account of the friction to which they are exposed amongst the rocks. In the middle of the leathern covering of the kajak is a round hole with a ring of wood or bone. In this the Greenlander squats down upon a soft fur, the hoop or margin reaching up to his hips, and tucks his water-pelt or great coat so tightly round him, that no water can penetrate into the boat. This water-coat is also fastened close round his neck and arms, by bone buttons. The harpoon-dart is strapped to the kajak at his side. Before him lies the line rolled up, and behind him the bladder. He grasps with both hands the middle of his Pautiky or oar, which is made of solid deal plated with metal at the ends, and with bone along the sides. and strikes the water quickly and evenly, beating time. Thus equipped, he sets out to hunt seals or sea-fowl, with spirits as elate as the commander of the largest man-of-war."A Greenlander in his kajak is indeed an object of wonder and delight, and his sable sea dress, shining with rows of white bone buttons, gives him a splendid appearance. He rows with extreme celerity in this boat, and when charged with letters from one colony to another, will perform fifteen or sixteen leagues in a day. He dreads no storm: as long as a ship can carry its top-sail, he braves the mountainous billows, darting over them like a bird, and even when completely buried in the waves, he soon re-appears skimming along the surface. If a breaker threatens to overset him, he supports himself in an erect position by his oar, or if he is actually upset, he restores himself to his balance by one swing of his paddle. But if he loses the oar, it is certain death, unless speedy succour be at [Attributes: Hard Cover]

      [Bookseller: Hordern House Rare Books]
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        the Art Of Angling, Barkers Delight Or the Art Of Angling, The Gentle Recreation Or The Pleasure Of Angling, A Poem With A Dialogue

      J H Burn 1820 - (4) 22 + iv + 40 + (14) 78 pages, 3 volumes bound in 1, 12mo facsimile reprint of the 1651, 1657 + 1700 editions each volume limited to 100 copies, original boards, recent spine in the style of the original, old bookseller printed catalogue description pasted to front paste down, loose letter present relating to the slip and the book from the bookseller, also 4 page catalogue of fishing books for sale, the bookseller was Fred W Cooke Newton, North Wales, ownership inscription for Vivian Henry 1916, John Norton 1941, WS 22. 240.

      [Bookseller: Hereward Books]
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        Vue de Wetterhorn en descendant la Scheideck.

      à Basle chez Birmann & Huber, o.J. vers 1820, - 20.5x27 cm, Aquatinte mise en couleurs, tirage sur papier gris, encadrement or / Übereckvergoldeter Rahmen.(33x42 cm) Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Antique Print-ARCH-DRUSUS-ROME-ITALY-APPIAN WAY-FIRST MILE-Rossini-1820

      - Original antique print, titled: 'Arco di Druso, e Porta Capena'. It shows: a view through the Arch of Druso (Arco di Druso) in Rome, Italy, close to the First Mile of the Appian Way, and next to the Porta San Sebastiano. An ox-drawn cart and several figures are visible in front of the Arch. Original etching/engraving on a vellin paper type. Description: From the series: 'Le antichita Romane.' (Roman antiquities.), published in Rome, 1820. Master print. Our definition of master print is: a seperately published print or series of prints, not being an illustrative print to a text. These can both be prints made by old masters (artists) or prints made by others (artists, engravers, etchers) after old masters. Artists and Engravers: Engraved by Luigi Rossini (1790-1857), an Italian artist, best known for his etchings of ancient Roman architecture. Condition: Very good, given age. Image: very nice dark impression. Some foxing in the margins, ghosting and an impression from earlier framing in the margins.General age-related light toning and/or staining from handling. Please study scan carefully Storage location: DP-P2-09 The overall size is ca. 23.8 x 19.9 inch. The image size is ca. 18.3 x 15.6 inch. The overall size is ca. 60.5 x 50.5 cm. The image size is ca. 46.5 x 39.5 cm. [Attributes: Hard Cover]

      [Bookseller: ThePrintsCollector]
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        Mémoires pour servir à l'histoire de France en 1815 avec la plan de la bataille de Mont Saint Jean.

      Paris, Chez Barrois l'Ainé Libraire, 1820. 8vo. Contemporary Russian half-calf over marbled boards, spine ornamented and lettered in gilt; pp. vi, 335, two folding tables, several tables in the text, folding engraved battle plan; provenance: from the library of the Preobrazhensky Regiment, one of the oldest and most elite guard regiments of the Imperial Russian Army, exclusively reserved for members of the nobility, the regiment which distinguished itself during the war against Napoleon (contemporary printed bookplate, ink inscription), partly erased later stamps to title. First edition of Napoleon's summary and view of the 100 days. 'Cet ouvrage forme le IXe livre des 'Memoires de Napoléon'. Il continent l'histoire militaire des Cent - Jours. Ces Mémoires, saisis à la raquete du ministére public, furent rendus à la circulation par arrét de la Cour d'assises du 21 mars 1820' (Barbier III, 236 f.).

      [Bookseller: Henry Sotheran Ltd.]
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        Svensk choralbok. Af kongl. psalm-kommitén gillad och antagen år 1819. Utarbetad af Ioh. Christ. Fred. Hæffner.

      - Stockholm, stentryck af C. Müller, A. Wiborgs förlag, 1820. Tvär 4:o, (2),+ 128 litografiska s. Lätta lagerfläckar. Med samtida bläckanteckningar om författare och tonsättare. Samtida skinnband, rygg med upphöjda bind och titeletikett. Skada på övre kapitäl. Namnteckning. Tillsammans med: HÆFFNER, Johann Christian Friedrich. Svensk choralbok. Andra delen. Jemte chronologiskt och melodi-register till första delen. Uppsala, Palmblad & c, 1821. Tvär 4:o. (2),+ XXVI,+ 35 s. med tryckta noter. Något nött samtida skinnband, guldornerad rygg med en tvåa i mittfältet. Frampärmens insida med bortraderad namnteckning. Den nya officiella koralboken, och ett tidigt svenskt litografiskt arbete, tillsammans med den ovanliga andra delen som har musiktryck efter Breitkopfs metod. Redan år 1800 hade Haeffner för Musikaliska Akademien presenterat ett förslag till koralbok, inte minst i polemik gentemot Voglers år 1799 utkomna koralbok. Det bedömdes positivt och 1808 Haeffners första tryckta koralbok, där han även i ett förord presenterade sina idéer kring mässmusiken. Han uppmärksammades nu på allvar bl.a. av Geijer, på vars inrådan han 1818 upptogs i psalmbokskommittén, vilken hade till uppdrag att utforma den kommande officiella koralboken.

      [Bookseller: Centralantikvariatet]
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        THE ART OF MAKING FIREWORKS, improved to the modern practice, from the minutest to the highest branches

      Derby, Thomas Richardson, circa 1820.. Containing plain and easy directions for mixing and preparing the ingredients, with instructions for making squibs, crackers, serpents, wheels, Roman candles, rockets, &c. as also for some highly curious aquatic fireworks. EARLY EDITION, circa 1820, pamphlet, approximately 185 x 100 mm, 7¼ x 4 inches, brightly hand coloured folding plate as frontispiece, pages: [3], 4-24, original publisher's yellow printed wrappers. Spine slightly worn, pale offset to title page from frontispiece, small tear with loss to top margin of title page, 2 tiny closed tears to top margins, otherwise a very good copy. See: Chris Philip, A Bibliography of Firework Books, page 66, No. G130.3. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Antique Drawing-COAT OF ARMS-ANTONIA ELSEVIER-WILLEM VAN HEEMSKERCK-Robart-1820

      - Antique drawing, untitled. Original drawing with coat of arms of Jonkvrouw Antonia Petronella Elsevier (1730-1799) and Willem Cornelis van Heemskerck (1723-1782) and ancestors, who married in 1751. Ancestral faimily names with coat of arms include: de Winter, Delff, Hopcooper, Mierevelt, Anthom, Hoogenhouck, van Eyk, van Ruyven, van den Berch, Vroesen, van der Ples, van der Maet, van Santen, de Zeeuw, van Meel, van der Mast, de Leeuw, Rosterman, van Schoonhoven, van Mansvelt, van Hersele, van Waasbergen, Ouwens, Rammelman, Le Petit, Bruyns, Tinneback van Nyenrode, Wessels. Etching/engraving on hand laid (verge) paper. Description: Source unknown, to be determined.Artists and Engravers: Made by 'J.B. Robart' after an anonymous artist. J.B. Robart (1776-1829). Condition: Very good, given age. Print attached to carrier sheet. Two stains below coat of arms. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPC-Expo-P5-24 The overall size is ca. 26.4 x 19.3 inch. The image size is ca. 24.7 x 17.4 inch. The overall size is ca. 67 x 49 cm. The image size is ca. 62.7 x 44.3 cm.

      [Bookseller: ThePrintsCollector]
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        Rare Antique Master Print-FEMALE PEDLAR-PEDDLER-SEWING-Charles Turner-c.1820

      - Original master print, titled: 'The Female Pedlar'. It shows a female travelling vendor carrying a basket from which she sells necessities for artisan crafts such as needlepoint, sewing and knitting. Very rare print designed and engraved by Charles Turner. Etching and stipple engraving / engraving, coloured on the plate (a-la-poupee) on a vellin type paper. Description: Original antique master print, published c.1820 (estimate). Our definition of a Master Print is a seperately published print or series of prints, not being an illustrative print to a text. These can both be prints made by old masters (artists) or prints made by others (artists, engravers, etchers) after old masters.Artists and Engravers: Engraved and designed by Turner. Charles Turner (1773-1857) was an English mezzotint engraver and draughtsman. Through his mother's influence he had access to the famous gallery at Blenheim Palace. Turner moved to London in about 1789, was apprenticed to the engraver John Jones, enrolled in the Royal Academy Schools and worked for Alderman John Boydell, the important print publisher. Turner was skilled in stipple and aquatint as well as mezzotint, his diverse talents producing a large range of subjects covering topography and genre. His main interest, though, was portraiture, and the greater part of the more than six hundred plates he created during his career, were portraits. His close friendship with J.M.W. Turner, led to his engraving much of the artist's work, and to his engraving twenty-four of the plates for Liber Studiorum. He engraved many of the finest Henry Raeburn portraits, including Sir Walter Scott. A remarkable set of his engravings, "The Rivers of England", published between 1823 and 1827, confirmed his great ability as a landscape artist. He was elected an associate of the Royal Academy in 1828 Condition: Good, given age. Browned along the image edge (from framing). Tiny nicks in the margins. Some small repairs to the margins, using acid-free archival tape. General age-related toning and/or occasional light soiling from handling. Please study scan carefully. Storage location: DP-B2-20 The overall size is ca. 15.9 x 20.3 inch. The image size is ca. 13.8 x 17.9 inch. The overall size is ca. 40.5 x 51.5 cm. The image size is ca. 35 x 45.5 cm.

      [Bookseller: ThePrintsCollector]
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        Les Métamorphoses. Traduction nouvelle avec le texte Latin, Suivie d'une analyse de l'explication des fables, de notes géographiques, historiques, mythologiques, et critiques, par M. G. T. Villenave; Ornée de gravures d'après les dessins de MM. Lebarbier, Monsiau, et Moreau.

      Paris: F. Gay; Ch. Guestard; de l'imprimerie de P. Didot l'aîné, 1806 [1820-21] - 4 volumes, quarto (305 x 220 cm). Contemporary French red half morocco-grained skiver, marbled sides, spines with four low raised bands, gilt floriate tool in two compartments, broad "Gothic arch" and floriate roll tools, marbled endpapers. Extremities of spines lightly rubbed, corners a little worn, general foxing of varying degrees but largely confined to margins, some offsetting from verso of plates. A very attractive set. Engraved frontispiece in vol. I and 138 plates by Dambrun, Delaunay, Halbou and others after Le Barbier, Monsiau and Moreau le Jeune (with loose tissue guards); letterpress in French and Latin on facing pages. First edition, in the preferred quarto format, of Mathieu-Guillaume-Thérèse Villenave's beautifully illustrated translation. Villenave (1762-1846) originally practiced as a lawyer in Nantes and, during the Revolution, narrowly escaped execution in the rising in the Vendée in 1793; he was a noted bibliophile and amassed a substantial library. The great attraction of this edition is the work of its three principal illustrators: Le Barbier, Nicolas-André Monsiau and Moreau le Jeune. "This puzzling book was obviously intended to be an edition of some pretensions. The publishers offered a new translation, secured Didot as their printer, and promised "144 engravings, the designs for which have been entrusted to M. Le Barbier, Monsiau, and Moreau" (vol. I p. xi). Anyone unwary enough to rely on Cohen (columns 773-774) [Guide le l'amateur de livres à gravures de XVIII siècle] would be led to believe that the book was carried through as planned. In fact, only a part of the engravings were made from drawings by the artists named. The rest are of various journeyman illustrators. And though all volumes have 1806 on their title pages, some of the plates in volume four are dated 1820 and 1821. It is not clear why the edition foundered. The designs by Le Barbier, Monsiau, and Moreau are of high professional competence, if in an outmoded style this book is worth acquiring for its plates after the three original illustrators. They offer a comprehensive sampling of the work done by these masters in their later years" (Gordon N. Ray, The Art of the French Illustrated Book 1700-1914, 1986, pp. 153-54). Ray 96. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Der Friedrich-Wilhelms-Platz in Erfurt - im November 1813 nach dem Bombardement". In der Platte bezeichnet: "Lith(ographiert) u. zu haben b. Uckermann in Erfurt". Lithographie im zeitgenössischen Biedermeierrahmen. Bildgröße: 26,5 x 40 cm. Gesamtgröße mit Rahmen: 43 x 52 cm.

      Erfurt, Uckermann, ca. . 1820 - ** Seltene und großformatige Lithographie in zeitgenössischem Rahmen. Die Darstellung zeigt den Domplatz in Erfurt nach der Völkerschlacht Mitte Mai 1814: "Der Platz Vor den Graden und die Gemeinde Severi zwischen dem 6. Januar und 16. Mai 1814 (vermutlich Blick aus dem Haus von Hühn an der Ecke Pergamentergasse/ Domplatz) (siehe: F. Palmowski: Die Belagerung von Erfurt 1813/14. S. 40, Abb. 26). * Breitrandiges, sauberes Blatt. Alter Biedermeierrahmen (Kirschholz?) mit aufgesetzten schwarzen Ecken, Der Rahmen ist etwas bestoßen, die Ecken mittig gebrochen. - Hermann, Bibl. Erfurtina 437/ 93. (SW: Thüringen - Erfurt - Lithographie - 19. Jahrhundert)

      [Bookseller: Antiquariat Hans-Jürgen Ketz]
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        Watercolour of a Greenlander hunting seals in a kayak

      Unsigned, 1820. In fine condition, laid down on a backing board.. Watercolour on laid paper, 193 x 185 mm, mounted. A very finely painted depiction of a traditional Greenlandic Inuit hunter after harp seals in his distinctive hunting kayak. The unsigned watercolour is of considerable quality and style, and depicts an Inuit pursuit with a level of detail whose accuracy modern historical sources now confirm. A very simplified version of this image was published in Orme's collection of Foreign Field Sports (London, 1813) as "Greenland Seal Catching", an aquatint engraved by M. Dubourg after John Heaviside Clark (1770-1863). The present drawing is of so much higher quality, and contains so much detail that could not have come from the Orme aquatint, that there seem to be just two possibilities: either the present drawing is an original from which the Orme print was derived, or both images derive from a common source. If the latter, there is no trace of such an image to be found today.The design of the Inuit qajaq (kayak) is estimated to have evolved gradually over as much as four millennia. A personal boat, usually made by the hunter himself to suit his exact size, such a kayak would have been constructed of seal skin stretched over a wooden or whalebone frame; the curved ends were adopted to improve manoeuvrability while the hunter's jacket, usually also made from skins, was typically laced to the boat's skin to form a waterproof seal, enabling the hunter to deal with all sea conditions, including capsize. The double-bladed paddle with square ends is of a specifically Greenlandic type. The objects secured to the boat's deck are a bladder and a roll of line. The attarsoak or harp seal was described by Crantz (see below) as the most stupid of the five types of seal available to the Greenlanders and therefore the usual target of the kayak hunter.We are grateful to Dr Rick Knecht for his help in identifying details of the scene.In 1820 David Crantz described the hunting of the attarsoak or harp seal in his History of Greenland:"The small man's boat, or Kajak, is six yards long, and shaped like a weaver's shuttle. The middle is not a foot and a half broad, and scarcely a foot in depth. It is constructed of long laths with cross hoops, secured by whalebone, and is cased in seal-skin leather. Both the ends of the boat are capped with bone, on account of the friction to which they are exposed amongst the rocks. In the middle of the leathern covering of the kajak is a round hole with a ring of wood or bone. In this the Greenlander squats down upon a soft fur, the hoop or margin reaching up to his hips, and tucks his water-pelt or great coat so tightly round him, that no water can penetrate into the boat. This water-coat is also fastened close round his neck and arms, by bone buttons. The harpoon-dart is strapped to the kajak at his side. Before him lies the line rolled up, and behind him the bladder. He grasps with both hands the middle of his Pautiky or oar, which is made of solid deal plated with metal at the ends, and with bone along the sides. and strikes the water quickly and evenly, beating time. Thus equipped, he sets out to hunt seals or sea-fowl, with spirits as elate as the commander of the largest man-of-war."A Greenlander in his kajak is indeed an object of wonder and delight, and his sable sea dress, shining with rows of white bone buttons, gives him a splendid appearance. He rows with extreme celerity in this boat, and when charged with letters from one colony to another, will perform fifteen or sixteen leagues in a day. He dreads no storm: as long as a ship can carry its top-sail, he braves the mountainous billows, darting over them like a bird, and even when completely buried in the waves, he soon re-appears skimming along the surface. If a breaker threatens to overset him, he supports himself in an erect position by his oar, or if he is actually upset, he restores himself to his balance by one swing of his paddle. But if he loses the oar, it is certain death, unless speedy succour be at hand."The Greenlander seated in his kajak with all his accoutrements, no sooner perceives a seal than he approaches, if possible, to leeward of him, with the sun on his back, lest he should be seen or scented by the animal. Concealing himself behind a wave, he darts swiftly but softly forward, till he arrives within the distance of five or six fathoms, taking care meanwhile, that the harpoon, string, and bladder, lie in proper order. He then takes the paddle in his left hand, and seizing the harpoon in his right, lances it by the casting board at the seal. If the harpoon sinks deeper than the barbs, it immediately disengages itself from the bone joint, and that again from the shaft, while the string is wound from its roller in the kajak. The Greenlander, the moment he has struck the seal, which dives down with the velocity of an arrow, throws the bladder after him into the water. He then picks up the floating shaft, and restores it to its groove in the kajak. The bladder, which displaces a body of water of more than a hundred pounds weight, is frequently dragged down by the seal; but the animal is so wearied by this encumbrance, that he is obliged to re-appear on the surface in about a quarter of an hour to draw breath. The Greenlander, on perceiving the bladder, rows up to it, and as soon as the seal makes his appearance, wounds him with the great barbless lance; and this he repeats as often the animal emerges above water, till it is quite exhausted. He then despatches it with the small lance, and ties it to the left side of the kajak, after inflating the cavity under the skin, that the body may float more rightly after him."This exercise is extremely perilous, and exposes the Greenlander to the greatest danger of his life, from which it probably derives its name of Kamavok, the extinction. For if the string, in its rapid evolution, becomes entangled in the kajak, or if it winds itself round the oar, the hand, or even the neck, as it sometimes does in windy weather; or if the seal suddenly glance from one side of the kajak to the other; the inevitable consequence is, that the kajak is overturned by the string and dragged under water. The Greenlander has now occasion for all his address to extricate himself and recover his balance several times successively; for the string continues to whirl him round till it is quite disengaged. Even when he supposes all danger to be over, and approaches too near to the dying seal, it may still bite him in the face and hands ; and a seal with young, instead of retreating, often flies furiously upon the hunter, and tears a hole in the kajak so as to sink it"

      [Bookseller: Hordern House Rare Books]
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        "The Upper Ferry Bridge Over The River Schuylkill." Hand-colored Engraving. 1820

      Not Attributed. Very Good with no dust jacket. 1820. Matted. Hand colored; "The Upper Ferry Bridge, Over the river Schukill near Morris street in the county of Philadlephia/ Chord of Arch 340 feet, whole extent of bridge 400 feet- rise of arch 20 feet- elevation above water 30 feet- the span is greater by 98 feet than that of any other Bridge known- the construction is in general new- the principle invented by Lewis Wernwag who was assisted in the execution by Joseph Johnson- general design by Joseph Mills Architect. " [Phila, ca 1820. ] 16 3/4 x 22 in; 425 x 559 mm, margins. Lightly to moderately & uniformly toned, moderate mat burn. Attractive orig color. Framed- not examined out of mat. Snyder, Mirror of America, 754. Provenance- Mellon Bank Collection. Artist- after Thomas Birch, Nationality- American 1779-1851- size 16 x 21". .

      [Bookseller: poor mans books]
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        The Phœnix; or, a choice Collection of Riddles and Charades

      London: Printed for J. Harris and Son [c. 1820]. - 8vo., pp. [2, advertisments], 38, with a title-page vignette of a phoenix and 16 half-page woodcut illustrations (each with four vignettes), all with attractive contemporary hand-colouring; a very good copy in the original yellow printed card wrappers, somewhat dusty, spine a little worn; ownership inscriptions of George Jackson dated 1822 to endpapers, with three manuscript charades in his hand.First edition thus, a very scarce illustrated collection of riddles and charades, abridged from an earlier Newbery publication. The charming illustrations throughout, new to this edition, make the work a sort of children's emblem book. Written solutions are also included at the end. A contemporary (juvenile) reader has added charmingly naïve charades for 'plate-rack', 'lark-spur' and 'Frankfort' in manuscript.Moon, Harris 696 (listing copies at V&A and UCLA); Gumuchian 4515. COPAC adds Cambridge. Language: English [Attributes: First Edition; Soft Cover]

      [Bookseller: Bernard Quaritch Ltd ABA ILAB]
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        Principles of Political Economy considered with a view to their practical application.

      London: John Murray,, 1820. Octavo. Uncut in the original drab paper-covered boards, printed paper spine label. Custom slipcase. Contemporary shelf number ticket to spine. Spine browned and worn, joints cracked, spotting to contents. A very good copy. First edition. The book was conceived as a series of tracts rather than a comprehensive and systematic treatise, though Malthus published it to establish his own position against that of Ricardo, with whom he had been having an ongoing debate about the nature of labour, demand and profit. "In his 'Principles of Political Economy', Malthus was proposing investment in public work and private luxury as a means of increasing effective demand, and hence as a palliative to economic distress. The nation, he thought, must balance the power to produce and the will to consume" (DSB). "The Principles had only a limited impact at the time, and was severely criticized by J. R. McCulloch and Ricardo; the latter prepared extensive critical notes. But more recently it has received greater recognition, largely as a result of the comments by J. M. Keynes in the 1930s. Keynes argued that Malthus's theory of effective demand provided a scientific explanation of unemployment, and that the hundred-year domination of Ricardo over Malthus had been a disaster for the progress of economics. Keynes believed that if economics had followed Malthus instead of being constrained by Ricardo in an artificial groove, the world would be a much wiser and richer place" (ODNB).

      [Bookseller: Peter Harrington]
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        Antique Print-PHILADELPHUS CORONARIUS-DOGWOOD-Van Spaendonck-Le Grand-1820

      - Plate : 'Seringat odorant - Philadelphus coronarius L.' (Sweet Mock-Orange, English Dogwood). Handcoloured stipple engraving on a verge type hand laid paper. Description: Original antique master print. Origin: 'Fleurs Dessinees d'apres Nature.' (Flowers Drawn from Life) were published from 1799-1801, 24 stipple engravings of supreme quality destined to be a bible for would-be flower painters. Exact age of this ed. not known but based on the paper estimate 1820. Our definition of a Master Print is a seperately published print or series of prints, not being an illustrative print to a text. These can both be prints made by old masters (artists) or prints made by others (artists, engravers, etchers) after old masters.Artists and Engravers: Engraved by Le Grand after a painting by Van Spaendonck, in c.1810. Gerard van Spaendonck (1746-1822) was a Dutch painter, born in Tilburg, the son of Cornelis van Spaendonck, also an established painter. After studying under Herreyns, he moved to Paris and was appointed miniature painter in the court of Louis XVI. In 1780 he succeeded Madeleine Francoise Basseporte at professor of floral painting. Pierre Francois le Grand (b.1775-d.?)was a French engraver, who worked closely with Van Spaendonck on his 'Fleurs Dessinees d'Apres Nature'. Storage location: DP-B6-38 The overall size is ca. 16.1 x 22.2 inch. The image size is ca. 14.2 x 18.5 inch. The overall size is ca. 41 x 56.5 cm. The image size is ca. 36 x 47 cm.

      [Bookseller: ThePrintsCollector]
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        Watercolour of a Greenlander hunting seals in a kayak.

      Unsigned: c. 1800-1820. Watercolour on laid paper, 193 x 185 mm, mounted. A very finely painted depiction of a traditional Greenlandic Inuit hunter after harp seals in his distinctive hunting kayak. The unsigned watercolour is of considerable quality and style, and depicts an Inuit pursuit with a level of detail whose accuracy modern historical sources now confirm. A very simplified version of this image was published in Orme's collection of Foreign Field Sports (London, 1813) as "Greenland Seal Catching", an aquatint engraved by M. Dubourg after John Heaviside Clark (1770-1863). The present drawing is of so much higher quality, and contains so much detail that could not have come from the Orme aquatint, that there seem to be just two possibilities: either the present drawing is an original from which the Orme print was derived, or both images derive from a common source. If the latter, there is no trace of such an image to be found today.The design of the Inuit qajaq (kayak) is estimated to have evolved gradually over as much as four millennia. A personal boat, usually made by the hunter himself to suit his exact size, such a kayak would have been constructed of seal skin stretched over a wooden or whalebone frame; the curved ends were adopted to improve manoeuvrability while the hunter's jacket, usually also made from skins, was typically laced to the boat's skin to form a waterproof seal, enabling the hunter to deal with all sea conditions, including capsize. The double-bladed paddle with square ends is of a specifically Greenlandic type. The objects secured to the boat's deck are a bladder and a roll of line. The attarsoak or harp seal was described by Crantz (see below) as the most stupid of the five types of seal available to the Greenlanders and therefore the usual target of the kayak hunter.We are grateful to Dr Rick Knecht for his help in identifying details of the scene.In 1820 David Crantz described the hunting of the attarsoak or harp seal in his History of Greenland:"The small man's boat, or Kajak, is six yards long, and shaped like a weaver's shuttle. The middle is not a foot and a half broad, and scarcely a foot in depth. It is constructed of long laths with cross hoops, secured by whalebone, and is cased in seal-skin leather. Both the ends of the boat are capped with bone, on account of the friction to which they are exposed amongst the rocks. In the middle of the leathern covering of the kajak is a round hole with a ring of wood or bone. In this the Greenlander squats down upon a soft fur, the hoop or margin reaching up to his hips, and tucks his water-pelt or great coat so tightly round him, that no water can penetrate into the boat. This water-coat is also fastened close round his neck and arms, by bone buttons. The harpoon-dart is strapped to the kajak at his side. Before him lies the line rolled up, and behind him the bladder. He grasps with both hands the middle of his Pautiky or oar, which is made of solid deal plated with metal at the ends, and with bone along the sides. and strikes the water quickly and evenly, beating time. Thus equipped, he sets out to hunt seals or sea-fowl, with spirits as elate as the commander of the largest man-of-war."A Greenlander in his kajak is indeed an object of wonder and delight, and his sable sea dress, shining with rows of white bone buttons, gives him a splendid appearance. He rows with extreme celerity in this boat, and when charged with letters from one colony to another, will perform fifteen or sixteen leagues in a day. He dreads no storm: as long as a ship can carry its top-sail, he braves the mountainous billows, darting over them like a bird, and even when completely buried in the waves, he soon re-appears skimming along the surface. If a breaker threatens to overset him, he supports himself in an erect position by his oar, or if he is actually upset, he restores himself to his balance by one swing of his paddle. But if he loses the oar, it is certain death, unless speedy succour be at hand."The Greenlander seated in his kajak with all his accoutrements, no sooner perceives a seal than he approaches, if possible, to leeward of him, with the sun on his back, lest he should be seen or scented by the animal. Concealing himself behind a wave, he darts swiftly but softly forward, till he arrives within the distance of five or six fathoms, taking care meanwhile, that the harpoon, string, and bladder, lie in proper order. He then takes the paddle in his left hand, and seizing the harpoon in his right, lances it by the casting board at the seal. If the harpoon sinks deeper than the barbs, it immediately disengages itself from the bone joint, and that again from the shaft, while the string is wound from its roller in the kajak. The Greenlander, the moment he has struck the seal, which dives down with the velocity of an arrow, throws the bladder after him into the water. He then picks up the floating shaft, and restores it to its groove in the kajak. The bladder, which displaces a body of water of more than a hundred pounds weight, is frequently dragged down by the seal; but the animal is so wearied by this encumbrance, that he is obliged to re-appear on the surface in about a quarter of an hour to draw breath. The Greenlander, on perceiving the bladder, rows up to it, and as soon as the seal makes his appearance, wounds him with the great barbless lance; and this he repeats as often the animal emerges above water, till it is quite exhausted. He then despatches it with the small lance, and ties it to the left side of the kajak, after inflating the cavity under the skin, that the body may float more rightly after him."This exercise is extremely perilous, and exposes the Greenlander to the greatest danger of his life, from which it probably derives its name of Kamavok, the extinction. For if the string, in its rapid evolution, becomes entangled in the kajak, or if it winds itself round the oar, the hand, or even the neck, as it sometimes does in windy weather; or if the seal suddenly glance from one side of the kajak to the other; the inevitable consequence is, that the kajak is overturned by the string and dragged under water. The Greenlander has now occasion for all his address to extricate himself and recover his balance several times successively; for the string continues to whirl him round till it is quite disengaged. Even when he supposes all danger to be over, and approaches too near to the dying seal, it may still bite him in the face and hands ; and a seal with young, instead of retreating, often flies furiously upon the hunter, and tears a hole in the kajak so as to sink it" In fine condition, laid down on a backing board.

      [Bookseller: Hordern House]
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        Stadtplan, "Grundriss von Nürnberg".

      - Kupferstich n. P. Bauer jun. b. Friedrich Campe, um 1820, 48 x 57 Schöner Stadtplan im Oval im Maßstab 1: 1000 bayr. Fuss. Nordorientiert. Unten rechts Erklärungen von a - t und 1-5. Der Plan zeigt die Stadt Nürnberg innerhalb des Stadtgrabens.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Buenos-Ayres, in een gedeelte zijner Plaatselijke Betrekkingen en Omwentelings-Geschiedenis, opgehelderd door eene Reis in de Binnenlanden van Rio de la Plata, naar het Engelsch . Met eenige andere daartoe betrekkelijke stukken.

      Amsterdam, Bij de Wed. G.A. Diederichs & Zoon, 1820. - Large 8°, contemporary speckled wrappers (front wrapper detached), printed spine label (somewhat defective). Scattered minor spotting. Uncut and mostly unopened. Overall in good to very good condition. iv, 154 pp., (2 ll. advertisement). *** First and only edition in Dutch of Gleanings and remarks: collected during many months of residence at Buenos Ayres, and within the upper country; with a prefatory account of the expedition from England, until the surrender of the colony of the Cape of Good Hope, under the joint command of Sir D. Baird and Sir Home Popham, originally published in Leeds, 1818. It contains a description of Rio de la Plata and Buenos Aires, with accounts of Montevideo, the Banda Oriental, and Chile at the end.In 1806 Sir Henry Popham (without Admiralty approval) sailed a fleet to Buenos Aires and captured it with ease, aided by General William Beresford and 1,400 soldiers. Led by a French officer (the Spanish were at the time allied to Napoleon's regime), the Creole inhabitants forced the British to surrender. Gillespie, a major in the Royal Marines, was one of those captured; in this work he recounts his experiences as a prisoner of war in Buenos Aires and the interior.*** Medina, Rio de la Plata p. 274. Palau 102235: without collation, citing only a copy offered by Maggs Bros., London, 1935 for £2/5. This edition not in Sabin; cf. 27391 for the original Leeds, 1818 edition and 27392 for an undated German edition. The English original of 1818 is also mentioned by Humphreys, Latin American History: a Guide to the Literature in English 705A; Rich II, 103 (#52); Naylor 32; McNeil and Deas, Europeans in Latin America nº22. Not located in Copac. Not located in NUC. [Attributes: First Edition; Soft Cover]

      [Bookseller: Richard C. Ramer Old and Rare Books]
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        26 Antique Master Prints-PORTRAIT-MEMBER-INSTITUT ROYAL-FRANCE-Boilly-c. 1820-23

      - 26 Antique master prints, untitled. Portraits of members of the Institut Royal de France, including (among others) Lesueur, Peyre, Rondelet, Mongez, Meynier, Thibault and Demarne Lithograph on wove paper. Description: Source unknown, to be determined. State: Only state. Ref: Undescribed . Very interesting collection of painters, architects, sculptors, active in France in the early 19th. Century.Artists and Engravers: Made by 'Julien-Leopold (Jules) Boilly ' after own design. Julien-Leopold (Jules) Boilly (1796-1874) was born in Paris. A pupil of his father Louis-Leopold Boilly (1761-1845), he started working with lithography quite early. Condition: Good, given age. Uncut examples, some foxing. General condition good. Soiling in the margins. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: R1-068 LATPC The overall size is ca. 10.6 x 13.8 inch. The image size is ca. 10.6 x 13.8 inch. The overall size is ca. 27 x 35 cm. The image size is ca. 27 x 35 cm.

      [Bookseller: ThePrintsCollector]
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        The History and Antiquities of the Collegiate and Cathedral Church of St. Patrick, near Dublin, from its foundation in 1190, to the year 1819. Comprising a Topographical Account of the Lands and Parishes appropriated to the Community of the Cathedral, and to its Members; and Biographical Memoirs of its Deans. Collected, chiefly, from sources of original record, by William Monck Mason.

      Dublin. Printed for the Author. 1820. - folio, 31.5cm, first (sole) edition, [vi],478,xcvii,p., Large Pager Copy, with 7 steel engraved plates (inc. cathedral view, plan/map, interior, ancients, full portrait of Swift, monument), appendices & additional notes, bound in full contemporary calf, expertly rebacked, raised bands, blind decorations in the panels, crushed black morocco label gilt, blind decorated borders on the boards, blind inner dentelles, marbled endpapers and edges, some repaired peeling on the boards, very good to fine copy, rare Not in Bradshaw. Mason, who was born at Powerscourt, 1778-1858, was an author, poet and librarian of the King's Inns. He became, through his concern with Protestant evangelization, interested in the Irish language and was instrumental in founding the first chair of Irish at T.C.D., and in 1830 he published an Irish Grammar. In his life time he formed a great collection of rare books and manuscripts. Published at his own expensive, this is a great history and a fine work but it received little support. His plans for a companion work on Christ Church and History of Dublin, did not materialize. [Attributes: First Edition; Hard Cover]

      [Bookseller: J. Patrick McGahern Books Inc. (ABAC)]
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        Histoire de la guerre de Vendée, ou Tableau des guerres civiles de l'Ouest, depuis 1792 jusqu'en 1815, comprenant l'histoire secrète du parti royaliste jusqu'au rétablissement des Bourbons. Quatrième édition, revue, corrigée et augmentée, avec cartes et portraits.

      Paris, Michaud 1820 - 4 vol. in-8, frontispice à chaque vol., 3 cartes dépliantes dont 2 en couleurs, basane fauve, dos lisse orné, pièces de titre et de tomaison de maroquin rouge et vert, tranches marbrées (rel. de l'époque). Lemière, 24, qui signale qu'au tome II, les pages 469 à 472 des pièces justificatives manquent presque toujours, ce qui est le cas pour notre exemplaire. Bel exemplaire.

      [Bookseller: Librairie Historique F. Teissèdre]
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        Ricerche mediche su i bagni a vapore e di calorico e sulle fumigazioni di sostanze ammoniacali e balsamiche, di zolfo, di mercurio ec. ec. del dott. Paolo Assalini . Tomo 1 (all publ).,

      - Napoli : dalla stamperia della società tipografica, 1820, 4°, (8), XVI, 315, (15) pp., (3) carte di tav. di 2 ripiegate : ill., Tabelle, Pergamenteinband. d.Zt. Erste deutsche Mitteilung über Assalini's Räucherungsapparat! "Sowie er von den Dampfbädern und Räucherungen im Allgemeinen handelt.so macht er auch auf die Anwendbarkeit und den Nutzen derselben gegen syphilitische Leiden, vorzüglich gegen syphilitische Exantheme, aufmerksam." Heinrich August Hacker, LITERATUR der syphilitischen Krankheiten vom Jahre 1794 bis mit 1829. (1830), p.111 Paolo Assaloini (1859-1846) « Nato a Reggio Emilia, si formò negli studi medici prima a Modena, poi a Pavia c quindi a Londra e Parigi, per ampliare la sua cultura prima di rientrare a Reggio Emilia. Fu chirurgo dell' Armata di Napoleone e successivamente chirurgo in capo dell' Ospedale Militare di S. Ambrogio di Milano. Uomo di cultura e genio, si applicò con notevole successo ad altri campi della medicina. Avendo avuto modo di studiare in Francia certe stufe per bagni a vapore e intravvedendone un possibile uso terapeutico, ne modificò il sistema rendendole più pratiche. Approntato quindi un piccolo stabilimento, in quattro anni trattò con buoni risultati ben 6000 individui affetti da varie malattie cutanee, reumatiche e "linfatiche". Li adoperò anche a Pozzuoli, servendosi delle fumigazioni naturali provenienti dai soffioni. Nel 1820 pubblicò tutti i suoi risultati in un volume. Viaggiò per l'Europa intera per poi trasferirsi prima a Palermo, poi a Catania e infine a Napoli, dove si spense. » Carlo Gelmetti, Storia della Dermatologia e della Venereologia in Italia. (2015), pp.87-88 siehe - Archivio Biografico Italiano (ABI) III 21,339-344; IV 27,6-7; Dizionario biografico della storia della medicina e delle scienze naturali : Liber amicorum / a cura di Roy Porter. - Milano : Ricci, 1985-1989. - Tomi 4; Giorgio; Bergia, Silvio; Gottardi, Giovanni: Dizionario biografico degli scienziati e dei tecnici / di Giorgio Dragoni, Silvio Bergia e Giovanni Gottardi. - Bologna : Zanichelli, 1999 [Attributes: Hard Cover]

      [Bookseller: Antiq. F.-D. Söhn - Medicusbooks.Com]
 31.   Check availability:     ZVAB     Link/Print  


        Swiss Scenery.

      1820 1820 - 4to (8 x 11.5ins, 200 x 290mm) original boards, untrimmed, sometime well rebacked in appropriate buckram with paper label. Engraved title-page ( a little foxed), 60 copper-engraved plates. An occasional marginal spot, light waterstain to corners of a couple of plates, otherwise an acceptable, tall copy, most plates with their protective tissues still. "Carefully and truthfully drawn, architecture correct in its proportions" DNB. A European tourist since the age of 13, Batty served under Wellington in both the Peninsular war and Waterloo campaign. [Attributes: Hard Cover]

      [Bookseller: Nicholas Goodyer ABA ILAB]
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        Antique Master Print-OVID-LANDSCAPE-SATYR-CUPID-Morel-Morelli-Carracci-ca. 1820

      - Plate : 'Hic illi cursum impedientibus .'. This plate shows a scene from Ovid's Metamorphoses. The nymph Syrinx is chased by a Pan, and later transformed into reed. On the left cupid with bow and arrow shoots at a satyr seated at the pond's edge. Engraving / etching on thick wove paper. Description: Original antique master print published in Italy ca. 1820.Artists and Engravers: Engraved by Franciscus Morel after Annibal Caracci. Francois Morel or Francisco Morelli (c.1768 - c.1832) was a French engraver. He was a student of Volpato and active in Italy. Annibale Carracci (1560 - 1609) was an reknown Italian Baroque painter. Condition: Good. General age-related toning and light staining/soiling from handling as visible on image. Scattered staining in the margins. Please study scan carefully. Storage location: DP-P6-06 The overall size is ca. 25.6 x 20.5 inch. The image size is ca. 24.4 x 17.3 inch. The overall size is ca. 65 x 52 cm. The image size is ca. 62 x 44 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Book-FABLE-WOODENGRAVING-Bewick-Aesop-1820

      - Published in Newcastle by S. Hodgson, 1820. 4to: 372 pp. Brown half morocco over marbled boards with marbled endpapers. Binding from the second half 19th century. Reference: Hugo 387. More than 148 b/w illustrations, among which a full-page portrait of Thomas Bewick, and 4 smaller portraits of the same. Charming wood engraved tailpieces and oval headpieces. Thomas Bewick. Antique Book, titled: 'Select Fables with Cuts, designed and engraved by Thomas and John Bewick and others previous to the year 1784 together with a memoir and a descriptive catalogue of the works of messrs. Bewick.', by: Aesop. A collection of fables of Aesop, preceded by a catalogue of the prints engraved by the Bewick brothers.Artists and Engravers: Author(s): Aesop. Aesop (ca. 620-ca. 560 BC.) wrote a very popular series of fables. Illustrated by: Thomas Bewick (1753-1828) was born in Prudhoe, near Newcastle upon Tyne. He would remain in this region for the rest of his live. Bewick worked as a woodengraver. His many very finely executed designs and bookillustrations are highly appreciated. Bewick is seen as the man who started the great production of woodengraving in the 19th. century. Condition: Very good, given age. Choice copy in a fine binding. Storage location: TPCZolder-Krat 11 4to: 5.7 x 8.7 inch. 4to: 14.5 x 22.2 cm. [Attributes: Hard Cover]

      [Bookseller: ThePrintsCollector]
 34.   Check availability:     IberLibro     Link/Print  


        A New Introduction to Book-Keeping after the Italian Method, by Debtor and Credtor. Revised and improved by a merchant. Salem, Cushing and Appleton

      1820 - Second (?) American edition. 8vo, 81pp, modern boards [Attributes: Soft Cover]

      [Bookseller: Far Eastern Booksellers / Kyokuto Shoten]
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        Cape of Good Hope and its Dependencies

      An Accurate and Truly Interesting Description of those Delightful Regions Situated Five Hundred Miles North of the Cape.First edition thus. 8vo. Original boards, some shelf wear, owner's signature to title page. xvi, 144p. London, Edwards and Knibb,

      [Bookseller: Maggs Bros. Ltd.]
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        Italian Scenery from Drawings made in 1817

      London: Rodwell & Martin, 1820. 1st Edition . Very Good. 7.25 x 10.5 inches (18.5 x 27 cm). Full calf leather binding by Colnaghi & Co. London, rebacked with original spine laid over. Spine has five raised bands and richly decorated compartments. Ornate gilt panelled boards, gilt ruled board edges and turn-ins. All page edges gilt, later marbled endpapers. Some light foxing to plates, some browning and offsetting to pages facing plates. A few occasional marks but overall a very clean example. Overall condition is Very Good. Hardback. Printed pages: Large 8vo. [8], 197, [1]. With engraved title page and 60 leaves of plates.

      [Bookseller: Tarrington Books]
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        Swiss Scenery from drawings by Major Cockburn.

      London, Rodwell & Martin, 1820, - gr. in-4to, VII + 200 p. + 60 engraved plates, with 2 engraved vignettes (title and tailpiece), bookplate ?C. Robert Bignold & Francis H. D. C. Whitmore & P.G. (Panof Grafsos) Skinos, Full morocco-leather gilt, gilt edges, large paper copy. Orig. spine mounted, fine copy. First Edition. - Cockburn was an officer in the royal artillery and had studied art under PaulSandby at the Royal Military Academy, Woolwich. During periods of leave from Malta and Woolwich, where he was stationed after the peace, he executed many drawings of continental scenery, which were engraved and published in the1820's. The present collection of engravings of Swiss scenery includes views of Mont Blanc, Vevay, Lausanne, Neuchatel, Berne, Lucerne, the Castles of Martigny, Chillon, and Bellinzona, the Glacier at Grindelwald, the Fall of the Rhine near Schaffhausen, Lakes of Brientz, Zoug, and Lowertz, etc. - "Major Cockburn is said to have been the first to use a camera lucida in making his drawings and sketches in the Alps" (de Beer). Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Wäber BSL III/58; Perret II/1042. [Attributes: First Edition; Hard Cover]

      [Bookseller: Harteveld Rare Books Ltd.]
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        Vesuvio. Cinque vedute originali a la gouache in forma di ventaglio.

      - Anonimo. Eruzioni del Vesuvio. 1820 ca. Cinque vedute originali a la gouache in forma di ventaglio.

      [Bookseller: CASELLA STUDIO BIBLIOGRAFICO ALAI-ILAB]
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        Costumes Suisses

      Genève, S. Morel Ed(iteu) 1820 - Concertina-type booklet (leporello) with 22 hand-coloured lithographs, depicting groups of people in their environment in the clothing of their cantons. Above and below the lithographs: the names of the cantons and their coats of arms. The lithographs are mounted on accordion-folded cardboard in a cover, inserted into a case with lithographed title vignette. Each vignette measures 9.5 x 5.5 cm. The whole (opened) is 9.5 x 123 cm The case is scuffed and shows age wear. Loss of paper at top and bottom of the left-hand edge. The cover has paper loss at head and tail of spine. The leporello has a tiny hole in the top margin of the first print, not affecting the artwork. The last print has some paper loss at the top (not affecting the artwork).

      [Bookseller: Harrison-Hiett Rare Books NVvA/ILAB PBFA]
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        Journal of a Tour Through Part of the Snowy range of the Himala Mountains, and to the Source of the Rivers Jumna and Ganges,

      London, 1820 - FIRST EDITION, large folding map, 4to, contemporary calf, rebacked, full gilt panelled spine, maroon letter piece.Contains a history of Nepal and an account of the rise progress and termination of the war between Britain and Nepal in 1814 [Attributes: First Edition; Hard Cover]

      [Bookseller: Reg & Philip Remington ABA ILAB]
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        Raccolta di N°60 vedute antiche e moderne della citta di Roma e sue vicinanze : con la giunta delle sale appartementi al Museo Pio Clementino

      Edition illustrated with 158 figures etchings depicting views of Rome. The engravings are different signatures: Parboni, Franzetti, Olivieri, or not carry any, and sometimes the date of 1824. Drawing on strong vellum.Binding half calf contemporary hazelnut. Back smooth decorated with long irons. A lack of volume in the lead 3. Friction copings and joints. Some pale foxing in the margins on a well white paper. Good copy. Presso Agapito Franzetti in Roma 1820 S.d. Trois volumes in-12 oblong (15,5x22cm) reliés

      [Bookseller: Librairie Le Feu Follet]
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        Veduta del Ponte di Cassano sul Adda

      1820. Classica veduta della cittadina vista dal fiume Adda stampata in seppia, pubblicata a Milano da Francesco Bernucca

      [Bookseller: Libreria Trippini Sergio]
 43.   Check availability:     maremagnum.com     Link/Print  


        Neuestes Reise-Handbuch durch Teutschland und nach den Hauptstädten der angränzenden Länder. Enthaltend Regeln für jeden Reisenden, die Münzen verschiedener Länder und ihre Vergleichung, die Reiserouten und Angaben der Stationenzahl, Beschreibung aller bedeutenden Orte und ihrer Merkwürdigkeiten, Nachweisung der besten Gasthöfe, Schilderung der vorzüglichsten teutschen Bäder u.s.w.

      Nürnberg: Campe 1820 - Mit Ortsregister, XXIV,566 S., Schuber fleckig und berieben, Faltkarte tlw. fleckig und in Falzen gelegentlich eingerissen, sonst ist das Buch sehr gut erhalten (II+) * Die Größe der grenzkolorierten Karte beträgt ca. 58 x 70 cm. 3866 Sprache: Deutsch Gewicht in Gramm: 500 [Attributes: Hard Cover]

      [Bookseller: Versandantiquariat Dr. Wolfgang Ruß]
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        Le jardin d eté

      Artist: Anonymus ; issued in: ; date: ca 1820 - - technic: Lithography; - colorit: original colored; - condition: Very good; - size (in cm): 25 x 36,5; - description: Beautiful view of the promenade at the summer garden of the palace in St. Petersburg. With a nice sailing ship and people walking.

      [Bookseller: Antique Sommer& Sapunaru KG]
 45.   Check availability:     ZVAB     Link/Print  

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