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

        Poems for youth. By a family circle

      Printed for Robinson and Sons, London 1820 - iv, 106pp. Contemporary straight-grained green morocco, gilt, recently rebacked with contemporary spine laid-down, A.E.G. A trifle rubbed, some marking. Recent endpapers, internally clean and crisp. Ink gift inscription to verso of FFEP; 'Sarah Touchet / from Wm. Greg'. Poems for Youth, collected and arranged by Mary Anne Roscoe (later Jevons), features the work of her sister Jane alongside their abolitionist father's best known (and much imitated) juvenile poem 'The Butterfly's Ball'. Size: 12mo [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquates - ABA, ILAB]
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        Viaggio nell'interno dell'Africa alle sorgenti del Senegal della Gambia fatoo per ordine del governo francese. 2 vols. Milano, Giambattista Sonzogno

      1820 - First Italian Edition. 2 vols. 8vo, xiv, 267, [2]; 269, [1], [15]pp, a folding engraved map and 6 coloured engraved platges, original printed wrappers, uncut [Attributes: Soft Cover]

      [Bookseller: Far Eastern Booksellers / Kyokuto Shoten]
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        Sammelband of Scores, including one SIGNED BY ROSSINI

      - A handsome sammelband of 25 early nineteenth-century Italian opera arias, including one aria signed by Rossini, collected and assembled by the Marquis of Bourdeille ca. 1820. Included are arias by Mozart, Guglielmi, Martini, Pucitta, Paër, Gail, Fioravanti, Cimarosa, Pacini, and Mercadante, as well as 6 scores to arias from Rossini's early operas Demetrio e Polybio, Il Turco in Italia, Otello, and Armide, the last of which is autographed on the first page by the composer. A manuscript table of contents is bound into the volume. Ca. 220 pp. total. Hardcover, red boards and red leather spine. One tear to the top of the spine, some light edge and shelf wear, but overall in fine condition. 10 x 13 inches (25.5 x 33 cm).The pieces bound in the following order:Mozart, Wolfgang Amadeus. (1756-1791). Air du Mariage de Figaro, Musique de Mozart, arrangé pour piano. No. 6 [Non so più cosa son, cosa faccio]. Paris: A la Thipographie de la Syrene, chez Carli et Comp. Marchand de Musique, Péristyle du Théâtre Favart, coté de la Rue Mariveaux [between 1807 and 1812]. Engraved. [PN] 483. 4 pp. (31-34).Mozart, Wolfgang Amadeus. (1756-1791) & Ferrari, Giacomo Gotifredo. (1763-1842). O Dolce Concento, Air de la Flute Enchantée, Musique de Mozart, Varié par G. G. Ferrari et chanté par Mme. Catalani. Paris: Chez Carli [.] Place et Péristyle des Italiens, [ca. 1809-12]. Engraved. [PN] 580. 6 pp. With several pencil additions of vocal ornamentation throughout.Carafa, Michele. (1787-1872). Frà tante angoscie e palpiti. Cavatine da Carafa, intercalée dans l'opéra Il Pretendente Burlato de Guglielmi. Copyist manuscript. 8 pp.Martini, Giovanni Battista. (1706-1784). Guardami un poco. Air Chanté par Mme. Mainvielle Fodor, della Capricciosa corretta. Paris: Chez Carli [.] Place et Péristyle des Italiens, [ca. 1809-12]. Engraved. [PN] 603. 6 pp.Martini, Giovanni Battista. (1706-1784). La Donna ha bello il core. Polacca Chanté par Mme. Mainvielle Fodor, della Capricciosa corretta. Paris: Chez Carli [.] Place et Péristyle des Italiens, [ca. 1809-12]. Engraved. [PN] 601. 7 pp.Pucitta, Vincenzo. (1778-1861). Sul Margine d'un rio, varié par Mr. Pucitta et chanté par Mme. Catalani. Paris: Chez Carli [.] Place et Péristyle des Italiens, [ca. 1809-12]. Engraved. [PN] 578. 6 pp.Pucitta, Vincenzo. (1778-1861). La placida campagna. Cavatine chanté par Mme. Catalani nell'Opéra della Principessa in Campagna. Paris: Chez Carli [.] Place et Péristyle des Italiens, [ca. 1809-12]. Engraved. [PN] 747. 7 pp.Paer, Ferdinando. (1771-1839). Barcarolle, no. 6 des Six Nocturnes à deux voix. Copyist manuscript. 11 pp.Paer, Ferdinando. (1771-1839). Duo delle Finte Rivali chanté par Mmes. Barilli et Correa. Paris: Chez Lélu, Boulevard des Italiens, no. 8 près la rue Cérutti, [ca. 1813-1816]. Engraved. [PN] 148. 11 pp.Paer, Ferdinando. (1771-1839). Quatuor par Paer, composé pour Monsieur Massimino (beginning: "Qui l'armonia soggiorna.") Copyist manuscript. 11 pp.Gail, Edmée Sophie. (1775-1819). La Sérénade, Barcarole Vénitienne. Chanté par Mrs. Martin Ponchard et Mme. Boulanger. Paris: Ph. Pétit, successeur de P. Gaveaux, Passage du Théâtre Feydeau, nos. 12 et 13, [between 1816 and 1826]. Engraved. [PN] 6. 5 pp.Fioravanti, Vincenzo. (1799-1877). Con pazienza sopportiamo. Duo chanté par Mme. Catalani et Mr. Barilli nel Fanatico per la Musica. Paris: Chez Carli [.] Place et Péristyle des Italiens, [ca. 1809-12]. Gravé par Michot. Engraved. [PN] 526. 13 pp.Guglielmi, Pietro Carlo. (1772-1817). Duo des Due Gemelli, Chanté par Mmes. Morandi et Goria. Paris: Chez Carli  [.] Place et Péristyle des Italiens, [ca. 1809-12]. Engraved. [PN] 310. 7 pp.Guglielmi, Pietro Carlo. (1772-1817). Duo della Serva Innamorata, Chanté par Mme. Festa et Mr. Lombardi. Paris: Chez Carli [.] Péristyle du Théâtre Favart, à la Typographie de la Sirène, coté de la Rue Mariveaux [ca. 1809-1812]. Gravé par Michot. Engraved. [PN] 59. 8 pp.Fioravanti, Vincenzo. (1799-1877). Signora Betta. Recitatif Se d'amarle non la

      [Bookseller: Schubertiade Music]
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        L'Italiana in Algeri Opera comica in due Atti. Pr. [Florins] 13 [Kreutzer] 30. [Piano-vocal score]

      B. Schott figli [PN 1277], Magonza 1820 - Oblong folio. Half contemporary mid-brown calf with marbled boards, decorative dark red morocco title label gilt to upper, spine in decorative compartments gilt. 1f. (title with fine large vignette of a scene from the opera engraved by Contgen), 1-[2] (cast list and table of contents), 222 pp. Engraved. Text in Italian and German.Contemporary signature in black ink to front free endpaper.Binding somewhat worn and bumped; upper joint partially split. Some minor wear, soiling, browning, and foxing; small portion of corner of pp. 55-56 lacking, not affecting music. An attractive copy overall. First Edition. With two spurious numbers. Gossett: "The Operas of Rossini," pp. 245 and 259-262. Rognoni p. 444, no. 11. OCLC no. 16970555.L'italiana in Algeri, to a libretto substantially derived from Angelo Anelli's libretto for Luigi Mosca's L'italiana in Algeri, was first performed in Venice at the Teatro S Benedetto on May 22, 1813."The opera is Rossini's first buffo masterpiece in the fully fledged two-act form. It quickly won widespread popular acclaim in Italy and it was the first Rossini opera to be produced in Germany (1816, Munich) and France (1817, Paris). L'italiana in Algeri is a work of great richness and sophistication. Formally it is an innovative piece, drawing Rossini's experience from his single-act farse into a larger context. It is also, despite being written at speed, notably free from any kind of self-borrowing. The numbers that were farmed out to another composer, gracious and decorous in an 18th-century style, are by contrast a reminder of how fiercely the flame of Rossini's own comic invention burns in this remarkable opera, which transcends Mosca's earlier effort as surely as Rossini's Il barbiere di Siviglia was shortly to transcend Paisiello's." Richard Osborne in Grove Music Online. [Attributes: Hard Cover]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        Travels in the North of Germany, describing the Present State of the Social and Political Institutions, the Agriculture, Manufactures, Commerce, Education, Arts and Manners in that Country, particularly in the Kingdom of Hanover.

      first edition2 vols.tall 8vo.xxvi, 496;(iii)-x, 518pp., original boards with blue paper sides and grey paper spines, printed paper labels on spines, edges untrimmed, most of the top 5 cms. chipped from head of the spine of vol.1 as well as a small piece at the foot of the spine of vol.2, labels toned and slightly chipped, joints rubbed, endpapers slightly foxed, else a very good and internally fresh copy.An excellent copy in its original state. Hodgskin (1787-1869), English economist, political theorist, and journalist, after about twelve years period in the British navy was in 1812 put on the retired list and, reduced to half-pay. "In his first published work, An Essay on Naval Discipline (1813), he contrasted the arbitrary brutality of naval life with the good government with which Britain was reputedly blessed. Publication of the Essay brought Hodgskin to the attention of the London radicals, notably Francis Place, who was to offer Hodgskin intellectual companionship and patronage. In July 1815 Hodgskin embarked on a walking tour which took him first to Paris and later to Germany, where he made a detailed study of the political and economic institutions of Hanover. Although his investigations were shaped by a questionnaire devised by Jeremy Bentham, his suggestion, in Travels in the North of Germany (2 vols., 1820), that 'many evils are in Germany, occasioned by governing too much' was far from Benthamite. Hodgskin expounded a minimalist conception of the state, insisting that government tended to shackle the energies and liberties of individuals. The guarantor of good government was the influence of public opinion. He concluded that if Britain was better governed than the states of Germany this was principally because of the greater freedom of expression in Britain and because the political education of the working classes had progressed further in Britain than in Germany" [O.D.N.B.] His views became increasing radical and when in 1822 "Place secured him a position as a correspondent for the Morning Chronicle .. respectable journalism gave [him] a regular income, but no outlet for his real opinions. In 1823 he was instrumental in establishing the Mechanics' Magazine and the mechanics' institute, where in 1825 he delivered a course of lectures later published as Popular Political Economy (1827). His reputation as an economist rests on these lectures, the trenchant Labour Defended Against the Claims of Capital (1825), and The Natural and Artificial Right of Property Contrasted (1832). He has frequently been described as a 'Ricardian socialist', but the description is more ironic than accurate. Certainly Hodgskin used elements from Ricardian economics, but only as tools with which to undermine the Ricardian edifice. At the same time he pressed the labour theory of value to far more radical ends than David Ricardo, seeing skilled labour as both the measure and producer of all value. Fixed capital was no more than accumulated labour. Hodgskin saw a shameless deception at the centre of Ricardian economics and British capitalism: both pretended that capital was productive and the essential spring to greater prosperity, but, Hodgskin argued, capitalists were always parasitic, holding wages close to subsistence levels and diverting the fruits of labour's productivity to unproductive and anti-social consumption. Although Karl Marx's formulation of the theory of surplus value was more sophisticated, his debt to Hodgskin is unmistakable" [O.D.N.B.]

      [Bookseller: P and B Rowan]
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        Déposé age d Argent

      Artist: Gadola ; issued in: Lyon; date: ca 1820 - - technic: Lithography; - colorit: gouache; - condition: Very good; - size (in cm): 51 x 61; - description: Allegoric representation of metal elements: SILVER

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Therese Mathilde Amalie Fürstin von Thurn und Taxis. Brustbild mit Haarnetz über vollen Locken und Perlenkette en face im Oval. Lithographie von und nach Friedrich Rehberg bei Selb um 1820. Seltene Inkunabel der Lithographie

      München: Selb'sche Lithographische Anstalt um 1820 - Original-Lithographie von und nach Friedrich Rehberg (im Stein signiert) auf rückseitig unbedrucktem Büttenblatt, bildliche Darstellung ca. 27 x 22 cm, Blattgröße ca. 39 x 24 cm, im breiten Blattrand etwasAlterspatina, ansonsten sehr gut erhalten, sehr selten und für uns anderenorts antiquarisch nicht nachweisbar - gilt als "Inkunabel der Lithographie", einer der ersten Steindrucke nach der Erfindung des lithographischen Drucks durch Senefelder, museal 2100 gr. [Attributes: First Edition; Signed Copy]

      [Bookseller: historicArt Antiquariat & Kunsthandlung]
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        La Gazza ladra Melodramma in due Atti. Die diebische Elster Oper in zwei Aufzügen. Klavierauszug. Pr. 6 Rthlr. [Piano-vocal score]

      Breitkopf und Härtel [PN 3158], Leipzig 1820 - Oblong folio. Modern half dark brown calf with marbled boards, rules and titling to spine gilt. 1f. (title), [1] (cast list and table of contents), 2-232 pp. Lithographed. Text in Italian and German.With "Presso Gio. Ricordi Negoziante di Musica d'ogni genere. " overpaste to title.Some browning, foxing, soiling, small tears, and minor dampstaining to margins of first and last leaves; trimmed at upper margin. Second Edition of the first version. Rognoni, p. 446, no. 21. Gossett p. 357.La gazza ladra, to a libretto by Giovanni Gherardini after La pie voleuse by J.M.T. Badouin d'Aubigny and Louis-Charles Caigniez, was first performed in Milan at the Teatro alla Scala on May 31, 1817."Musically, La gazza ladra is the finest of Rossini's several essays in the semiseria that stretch from L'equivoco stravagante (1811) to Matilde di Shabran (1821). In this instance, the work can be seen to derive in part from the French drama larmoyant, in part from the so-called 'rescue' opera. The opera deals with a wide range of social groupings, and conforms to the tradition of the happy ending, the heroine saved from execution at the eleventh hour, even though in the original French play the heroine dies on the gallows." Richard Osborne in Grove Music Online. [Attributes: Hard Cover]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        Viaggi intorno al mondo

      Ward Lock, London 1820 - In 8° grande, edizione primi ‘800 in un volume, profusamente illustrato con ritratto al frontespizio, numerose vignette a piena pagina e incisioni nel testo, legatura in marocchino prugna su piatti in stoffa, nervature al dorso, xx, pp. 1152, copia molto buona con leggere abrasioni, edizione poco reperibile, descrizione dei suoi viaggi (Terra del Fuoco, N. Zelanda, Australia, Tahiti, Nuove Ebridi, N.Caledonia, Isole Sandwich, etc) sino alla morte avvenuta alle isole Hawai. 1 volume in 8° large, early 1800 edition in one volume, richly illustrated with portrait to the frontispiece, several full-page vignettes and engravings in the text, plum morocco binding over cloth plates, ribs to the back, xx, pp. 1152, very good copy with light abrasions, scarcely available edition, a description of his travels (Fire Land, N. Zealand, Australia, Tahiti, New Hebrides, N. Caledonia, Sandwich Islands, etc) until his death at Hawaii Islands. [Attributes: Hard Cover]

      [Bookseller: Redaelli Alberto]
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        Italian Scenery from Drawings made in 1817

      Rodwell & Martin, London 1820 - 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. [Attributes: First Edition; Hard Cover]

      [Bookseller: Tarrington Books]
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        An Account of the Arctic Regions, With a History and Description of the Northern Whale-Fishery

      Edinburgh: Archibald Constable and Company, 1820. sep 22 2017. Two volumes. (4) xx, 551, 82; viii, 574 (2) pp. b/w plates, maps, many folding. First edition of a major work. “It was at once recognized as the standard work on the subject and may be considered the foundation-stone of arctic science.”—DNB. A second generation whaleman, Scoresby speaks with absolute authority in describing the history and natural history of the whale fishery. The second volume in particular deals with the specifics of whaling. Melville valued him as an informant and quotes him in "Moby Dick." The books are illustrated by a folding frontispiece in volume I, and twenty-three plates and maps illustrative of Arctic regions, life forms, and whale-catching tools - (numbered I-XXII, with an additional plate numbered "XII") in volume II. See Arctic Bib. 15610. Jenkins p. 144. NMM Catalog Vol. I, 833. Sabin 78167. Hill 1543 (note). Attractively bound in quarter diced calf with raised bands and gold spine lettering over marbled boards. Some foxing to plates and frontispieces, otherwise a clean, complete copy (including half titles) of a scarce book. Housed in a custom slipcase.

      [Bookseller: Ten Pound Island Book Co.]
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        L'Italiana in Algeri Opera comica in due Atti... Pr. [Florins] 13 [Kreutzer] 30. [Piano-vocal score]

      Magonza: B. Schott figli [PN 1277], 1820. First Edition. With two spurious numbers. Gossett: "The Operas of Rossini," pp. 245 and 259-262. Rognoni p. 444, no. 11. OCLC no. 16970555. L'italiana in Algeri, to a libretto substantially derived from Angelo Anelli's libretto for Luigi Mosca's L'italiana in Algeri, was first performed in Venice at the Teatro S Benedetto on May 22, 1813. "The opera is Rossini's first buffo masterpiece in the fully fledged two-act form. It quickly won widespread popular acclaim in Italy and it was the first Rossini opera to be produced in Germany (1816, Munich) and France (1817, Paris)... L'italiana in Algeri is a work of great richness and sophistication. Formally it is an innovative piece, drawing Rossini's experience from his single-act farse into a larger context. It is also, despite being written at speed, notably free from any kind of self-borrowing. The numbers that were farmed out to another composer, gracious and decorous in an 18th-century style, are by contrast a reminder of how fiercely the flame of Rossini's own comic invention burns in this remarkable opera, which transcends Mosca's earlier effort as surely as Rossini's Il barbiere di Siviglia was shortly to transcend Paisiello's." Richard Osborne in Grove Music Online.. Oblong folio. Half contemporary mid-brown calf with marbled boards, decorative dark red morocco title label gilt to upper, spine in decorative compartments gilt. 1f. (title with fine large vignette of a scene from the opera engraved by Contgen), 1-[2] (cast list and table of contents), 222 pp. Engraved. Text in Italian and German. Contemporary signature in black ink to front free endpaper. Binding somewhat worn and bumped; upper joint partially split. Some minor wear, soiling, browning, and foxing; small portion of corner of pp. 55-56 lacking, not affecting music. An attractive copy overall.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        1) MINERVE FRANÇAISE (La).

      Paris, Bureau de la Minerve Française, février 1818-février 1820, 9 volumes; (suivi de). –2) MERCURE DE FRANCE. [Tomes 3 à 5]. Paris, Administration du Mercure, 1817-1818, 3 volumes; demi-basane de l'époque, 3 coiffes très lég. endom., petite épidermure sur 2 dos, dos du 9e vol. lég. taché, petit travail de vers sur 3 charnières (1 cm), ex. non rognés. –Timbres royaux sur de nombreux ff. des volumes 9 à 12. –Bon exemplaire. - soit 2 ouvrages en 12 volumes in-8 ; 1) Tout ce qui a paru de ce célèbre périodique.Cat. périodique B.N. III-p. 536; Yvert, Politique libérale, biblio. sélective 23; Hatin, Biblio. de la presse p. 342."Minerve française (La), recueil périodique français publié de février 1818 à [février] 1820. Il fut fondé par les publicistes du parti libéral pour remplacer le Mercure de France, dépouillé de son privilège. Il paraissait par livraisons hebdomadaires et traitait plus de politique que de littérature, et professait, dans l’une et dans l’autre, les mêmes principes d’indépendance. Toutes les idées et tous les intérêts en opposition avec le gouvernement de la Restauration se manifestaient dans cet organe, qui était particulièrement celui de l’opinion constitutionnelle. Son succès rapide fut encore activé par la violence des attaques dirigées contre lui par tous les représentants de l’opposition légitimiste en France et à l’étranger. La Minerve avait pour principaux rédacteurs Benjamin Constant, Jay, Etienne, Jouy, Tissot, Lacretelle, etc. La pièce capitale, [en dehors des articles de Benjamin Constant], était les Lettres d’Etienne, qui se plaisait à chercher les nouvelles de Paris dans les journaux de l’étranger et à transcrire de l’anglais des choses qu’on n’aurait pas osé insérer d’abord dans une gazette française. La vivacité avec laquelle la Minerve soutint la lutte contre le pouvoir l’a fait appeler "la satire Ménippée de la Restauration". Ce fut pour neutraliser son influence que fut créé le Conservateur. En butte à de puissantes haines, dénoncée comme un danger public dans une foule de factums et de pamphlets, la Minerve cessa de paraître en 1820 pour protester contre le rétablissement de la censure." (Vapereau, Dict. des littératures p. 1402).La politique "reste surtout, du moins jusqu’à son élection comme député de la Sarthe le 26 mars 1819, l’œuvre de Constant qui y publie en tout 99 articles. Y figurent certains de ses meilleurs textes, notamment les "Lettres sur les Cent-Jours", publiées pour la première fois (cf. numéro 56), et son analyse des "Considérations" de Madame de Staël (cf. numéro suivant). On lira également ses articles sur l’affaire Wilfrid Regnault, les élections, la grande propriété, les débats parlementaires, l’inviolabilité de la Charte et les Constitutions (à propos de l’ouvrage de Lanjuinais, cf. numéro 27), la traite des Noirs, l’Angleterre, les lois de Serre sur la presse de 1819 et l’invalidation de Grégoire." (Yvert).2) Trois derniers volumes (sur 5 parus) du Mercure de France. Ces trois volumes couvrent la période du 5 juillet 1817 à janvier 1818. A la fin du dernier volume, on a relié une partie des numéros du tome II (31 mai 1817 à juin 1817). Le volume V est rarissime. Le premier volume parut en janvier 1817.Yvert, Politique libérale, bibliographie sélective n° 18."Premier grand périodique libéral depuis les Cent-Jours." (Yvert). Il avait pour principal rédacteur Benjamin Constant.A la suite du tome 9 de la Minerve, on a relié le 11e volume des Lettres normandes, envoyé aux abonnés de la Minerve française pour compléter leur abonnement (cf. Hatin p. 336). Les quelques brochures publiées par les rédacteurs de la Minerve après le rétablissement de la censure manquent comme dans la quasi-totalité des exemplaires.

      [Bookseller: LIBRAIRIE PHILIPPE SERIGNAN]
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        Narrative of The Cato Street Conspiracy being an impartial account of the attack in the stable and the death of Smithers the apprehension of the prisoners with the arms and ammunition taken by the police officers and soldiers the Coroners Inquest

      and the examinations and committal of the prisoners to The Tower of London, &c. on a charge of High Treason. Illustrated with Plans and Views of the Interior and Exterior of The Premises, The Pike-Heads, Hand-Grenades, &c. &c. First edition, Tall 8vo., folding frontispiece with captions and key, [3pp.], pp-4-36, rebound in twentieth-century marbled paper boards, gilt titles on black morocco spine, new endpapers. London, John Fairburn, n.d.,

      [Bookseller: Maggs Bros. Ltd.]
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        Acta Academiae Theodoro-Palatinae. Historia Et Commentationes Academiae Electoralis Scientiarum Et Elegantiorum Literarum Theodoro-Palatinae. Bände 1-5 (von 11).

      Quart. Zeitgenössisches Ganzleder mit Rückenvergoldung und goldgepr. Titelrückenschildern, marmorierten Vorsätzen und umseitig rotem Schnitt. Texte in Deutsch, Lateinisch und Französisch. Einbände leicht berieben, jeweils handschriftlicher Besitzeintrag o.g. Provenienz auf den Vorsätzen, datiert 1820 (und weitere des 19. Jahrhunderts). Bis auf die Tafel III im 4. Band, die wegen Überformates wie meist unserem Exemplar nicht beigebunden war, vollständig. Gutes Exemplar.

      [Bookseller: Antiquariat Stefan Wulf]
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        Picturesque Tour from Geneva to Milan, by way of Simplon: illustrated with Thirty Six Coloured Views of the most striking Scenes and of the principal works belonging to the new road constructed over that mountain.

      R. Ackermann, London., 1820. First edition. Quarto. pp [viii], 136, [2] List of Plates. 36 hand-coloured aquatint plates; frontispiece map. Period binding of full black morocco with elaborate decoration in gilt and blind, all edges gilt.Traces of bookplate removed from front pastedown. A spot or two of light foxing here and there, not affecting the plates. Covers a bit rubbed at the edges. Very good indeed. The plates are all in fine state.

      [Bookseller: Peter Ellis bookseller]
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        Abrégé de l'histoire générale des voyages, contenant ce qu'il y a de plus remarquable, de plus utile et de mieux avéré dans les pays où les voyageurs ont pénétré; les mœurs des habitants, la religion, les usages, arts et sciences, commerce et manufactures; par J.F. LAHARPE. Nouvelle édition, revue et corrigée avec le grand soin, et accompagnée d'un bel Atlas In-folio.

      Etienne Ledoux 1820 - LA HARPE (J.F). Abrégé de l'histoire générale des voyages, contenant ce qu'il y a de plus remarquable, de plus utile et de mieux avéré dans les pays où les voyageurs ont pénétré; les mœurs des habitants, la religion, les usages, arts et sciences, commerce et manufactures; par J.F. LAHARPE. Nouvelle édition, revue et corrigée avec le grand soin, et accompagnée d'un bel Atlas In-folio. Paris, Etienne Ledoux, 1820. 24 volumes in-8° (205x135) reliés demi-maroquin olive, dos ornés, tranches marbrées, belle série. 500pp. par volume, le dernier (XXIV) étant la table des matières. SANS L'ATLAS. (REF: P1-22) [Attributes: Hard Cover]

      [Bookseller: Im Perraud]
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        Lamia, Isabella, The Eve Of St Agnes, And Other Poems (First Edition, 1820, With Half Title And Near Fine Spine Label Bound In Riviere Binding)

      London: Taylor And Hessey, 1820. 1st Edition 1st Printing. Hardcover. Very Good. [200] Pp. First Edition, Half Title Present, Original Paper Spine Label Bound In. Keats' Last Book, Of Modest Success When Published, Later Found To Have Some Of The Finest Poems In The English Language. When Shelley's Body Was Recovered In The Bay Of Spezia In 1822, Identification Was Made Possible By Two Books He Carried In His Pocket, A Sophocles, And A Copy Of "Lamia" Doubled Back At "The Eve Of St. Agnes". Binding By Riviere, In Late 19Th Or Early 20Th Century Full Calf, Five Bands, Gilt In All Compartments, Gilt Rules On Boards With Small Devices At Corners. Binding Re-Backed Preserving The Riviere Spine, Boards And Green Endpapers.17.2 X 10.7 Cm [The Uncut Leaves Were 7" X 4", Thus These Leaves Trimmed At Top And Bottom, Presumably When Bound]. Complete, Including The Half Title, And The "Advertisement" Leaf After The Title Page. With The Correct "London: Printed By Thomas Davison, Whitefriars." On The Verso Of The Half-Title. The Ads At Rear, Found In Some Copies But Not Required, Are Not Present Here. The Entire Original Spine Label From The Original 1820 Publication In Boards Has Been Attached By The Binder To A Final Blank. Elaborate And Artistically Engraved Decorative Bookplate Of Author Maurice Baring [Of The Banking Family], Bookplate (Dated June 1897 In The Plate). Slight Chipping To Edges Of Endpapers, Contents Otherwise Clean And Complete, No Foxing To Pages, Touch Of Wear At Corners Of Page Block.

      [Bookseller: Arroyo Seco Books]
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        Institutes of natural philosophy, theoretical and practical ... with some corrections: change in the order of the branches: and the addition to the astronomical part, selected from Mr. Ewing's Practical Astronomy. By Samuel Webber ... late President of Harvard College. Third American edition, with improvements

      Boston: Cummings and Hilliard, 1820. 4to, pp. xv, [1], 395; 16 folding engraved plates at the back, each professionally reinforced at the folds with Japanese tissue; full contemporary tree calf, red morocco label and gilt fillets on spine; very good, handsome copy. Earlier Boston editions appeared in 1802 and 1811. American Imprints 1104.

      [Bookseller: Rulon-Miller Books]
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        Travels in the Interior of Africa, to the Sources of the Senegal and Gambia; Performed by Command of the French Government, in the year 1818. Edited by T.E. Bowdich.

      London, Henry Colburn & Co., 1820 - FIRST ENGLISH EDITION, folding map, portrait of Diai-Boukari who accompanied the author and 6 aquatint plates, 4to, original boards and printed letter-piece, edges uncut, rebacked with the old back laid down, Abbey, Travel, 273. Gay 2910.The appendices describes an examination of the iron forged by the people of Fouta Diallon and of the ores from which they procure it. Also a vocabulary of the Joloff, Poula and Serrere language.Mollien was the first European to cross Senegambia from north to south. He explored the upper course of the Senegal and Gambia rivers and succeeded in discovering the sources of those rivers as well as those of the Rio Grande. [Attributes: First Edition; Hard Cover]

      [Bookseller: Reg & Philip Remington ABA ILAB]
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        ENSAIO DERMOSOGRAPHICO

      - OU SUCCINTA E SYSTEMATICA DESCRIPÇÃO DAS DOENÇAS CUTANEAS, CONFORME OS PRINCIPIOS E OBSERVAÇÕES DOS DOUTORES WILLAN, E BATEMAN, COM INDICAÇÃO DOS RESPECTIVOS REMEDIOS ACONSELHADOS POR ESTES CELEBRES AUTHORES, E ALGUNS OUTROS. POR BERNARDINO ANTONIO GOMES, Cavalleiro Professo na Ordem de Christo, Fidalgo Cavalleiro da Casa de Sua Magestade Fidelissima, Medico de Sua Real Camara, Membro da Junta de Saude Publica, e Socio da Academia Real das Sciencias de Lisboa. [Vinheta da Academia das Ciências de Lisboa]. LISBOA, Na Typografia da mesma Academia. 1820. In 4º (de 20x14 cm) com xxv, i, 171 pags. Encadernação da época inteira em pele marroquin vermelho, com ferros a ouro rolados nas esquadrias das pastas, e na lombada. Corte das folhas burilado e dourado. Folhas de guarda em papel decorativo da época. Ilustrado com 2 cromolitografias em extratexto abertas em Paris por Van den Berghe; e segundo denhos de Armand Julien Palliere, realizadas no Rio de Janeiro, nomeadamente uma gravura com 13 microscopias (intitulada «As 8 ordens de doenças cutaneas») e uma gravura de um negro com pustulas de herpes cutaneo (e as respectivas 5 micrscopias das das lesões vesicobolhosas no pé da gravura). Portuguese work mostly based in the observations and medical classifications of Med. Doctors Wilan and Bateman, and illustrated with 2 superb etchings depicting medical samples collected in Brasil. Vide U. S. National Library of Medicine [in] The History of Lupus Skin Disease: «At the beginning of the 19th century, Robert Wilan (1757?1812) of London and his student William Bateman (1778?1821) published his Manual of Skin Diseases, which provided an orderly classification of skin diseases based on appearance. The term lupus was reserved for diseases with destructive or ulcerative characteristics that appeared on the face This system thus included what would later be called lupus vulgaris and lupus erythematosus. Distinguishing these entities awaited Pierre Cazenave (1795?1877) and Henri Schedel (1804?1856), in Paris at the Saint Louis Hospital for skin diseases, who reported their own work as well as that of Laurent Biett (1781?1840), their mentor and a student of Bateman. In several articles and especially in the textbook Abrégé Pratique Des Maladies De La Peau, Cazenave and Schedel divided lupus into three types based on the type of visible destruction. In 1833, Cazenave reported Biett?s work in what is now regarded as the first description of what would become known as lupus erythematosus. Location/localizacao: M-9-B-15

      [Bookseller: Livraria Castro e Silva]
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        Botanical Studies in pencil and watercolour

      A bound volume of original botanic illustrations including flowers plants and funghi Initials on the front free end paper look like E J [no further information on whether that is the owner or artist] 83/87 [lacking 4] pencil sketches finished in watercolour - the stubbs of those absent illustrations remains. [not all illustrated] each illustration is on one side of each page only - Many of the illustrations appear to have a reference code? in the top left hand corner, two letters followed by numbers for example E.B. 538, B.B. 45 [European Botany? & most likely Sowerby's British Botany?] each illustration is neatly titled in ink - most with Latin and common names. measures 192mm 230mm - the paper watermarks vary some as early as 1810 others 1820/21 - the end papers bear a partial watermark of 23 [1823]a fascinating selection of original artwork c1820 and before - it is not quite clear whether the volume was made up from the loose sketches or the volume of sheets was bound and subsequently used - the ink manuscript text along the bottom margin of one early sketch appears to have been closely cropped; most likely when bound, one or two sketches have an ink number in the top right hand corner and appear in no particular logical order - which lends weight to the fact they were once all loose pages, bound up together c1823.

      [Bookseller: Michael Moon's Bookshop]
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        Otello ossia L'Africano di Venezia Dramma Tragico in tre Atti. Ridotto per il Piano Forte. Les Epreuves ont été revues et corrigées, pour les Paroles, par M. Louis Balochi, et pour la Musique, par plusieurs Compositeurs, Prix: 36 f. [Piano-vocal score]

      Chez Boieldieu jeune [PN 988], Paris 1820 - Folio. Half dark red morocco with marbled boards, decorative bands gilt on spine in compartments gilt, titling gilt. 1f. (title), [1] (cast list and table of contents), 2-235, [i] (blank) pp. Engraved.With "chez Hanry Editeur de Musique Rue neuve des Petits Champs No. 17." overpaste to lower margin of title.Binding slightly worn, rubbed, and bumped. Minor offsetting; very light staining or creasing to upper blank margins of some leaves; small stab hole to upper inner margins; slight loss to edges of pp. 11-12, not affecting music. A very good copy overall. First French Edition (with supplement for the added recitative and cavatina to pp. 225-235). Gossett p. 312. OCLC no. 19132048. Otello, to a libretto by Francesco Berio di Salsa after William Shakespeare's play, was first performed at the Teatro del Fondo in Naples on December 4, 1816."Rossini's choice of Shakespeare's Othello, complete with its tragic denouement, was a bold and original one at the time. In the 19th century the opera's huge popularity owed much to the final act. Meyerbeer wrote: 'The third act of Otello established its reputation so firmly that a thousand errors could not shake it. This third act is really godlike, and what is so extraordinary is that its beauties are quite un-Rossini-like. First-rate declamation, continuously impassioned recitative, mysterious accompaniments full of local colour, and, in particular, the style of the old romances brought to highest perfection'." Richard Osborne in Grove Music Online. [Attributes: Hard Cover]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
 23.   Check availability:     ZVAB     Link/Print  


        Picturesque Tour From Geneva to Milan, by Way of the Simplon: Illustrated with Thirty Six Coloured Views of the Most Striking Scenes and of the Principal Works Belonging to the New Road Constructed Over that Mountain. Engraved From Designs by J. and J. Lory, of Neufchatel [Neuchâtel]; and Accompanied With Particulars Historical and Descpriptive by Frederic Schoberl.

      London, R. Ackermann, 1820 4°, gestochenes Frontispiz (Karte «Plan of the Road of the Simplon. Constructed by the French between 1800 & 1807»), 3 Bl. Vorw., 1 Bl. Tafelverz., 136 S., 36 handkolorierte Taf. in Aquatinta, Priv.-HLdr. d. Zt. m. gold. Rückenpräg., Rundum-Marmorschnitt, Rückenkanten berieben, Kapitale u. Deckelkanten tlw. beschabt, Exlibris a. Innendeckel, Karte. u. Titelbl. stockfl., selten etw. finger- u. stockfl., einige Taf. m. braunem Abklatsch; gutes Ex. EA. Prächtige Tafeln nach Zeichnungen von G. Lory sen. und jun. zu der «connected Tour from Geneva through the Valais. over the new roard constructed by command of the late ruler of France across the SImplon. to Lago Maggiore. and by the Lake of Como to Milan». Tafeln: 1.) Lake of Geneva / 2.) Banks of the Lake of Geneva near St. Gingoulp / 3.) Extremity of the Lake near Boveret / 4.) The Bridge of St. Maurice / 5.) Waterfall of Pissevache / 6.) West View of Sion / 7.) East View of Sion / 8.) Brieg / 9.) Gallery and Bridge of the Ganther / 10.) View on quitting the Gallery of Schalbet / 11.) Gallery of Schalbet from the Italian Side / 12.) Gallery of the Glaciers / 13.) Monastery of the Simplon / 14.) Village of Simplon / 15.) View of the Gallery of Algaby / 16.) View from the Gallery of Algaby / 17.) Ponto Alto. or Alto Bridge / 18.) New Road near the Grand Gallery / 19.) Interior of the Grand Gallery / 20.) End of the Grand Gallery towards Italy / 21.) View near Gondo / 22.) Gallery of Isella or Issel / 23.) Entrance of the Valley of Dovedro / 24.) Bridge of Cherasca / 25.) Entrance of the Gallery of Crevola / 26.) Bridge of Crevola and Vally of Domo d´Ossola / 27.) The Bridge of Crevola / 28.) Villa / 29.) The Bridge of Baveno and Isola Madre / 30.) Lago Maggiore and Boromean Islands / 31.) Isola Bella or the Beautiful Island / 32.) Isola Bella taken from Stresa / 33.) Arona / 34.) Sesto / 35.) Pliniana and Lake of Como / 36.) Milan. Versand D: 20,00 EUR Helvetica - Allgemein Reisen - vor 1900

      [Bookseller: Antiquariat Peter Petrej]
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        Autograph Letter Signed to Theophilus Pierson mentioning Adultery

      Good. One page letter. Approximately 8" x 7.75". Old folds with tears, a few chips affecting only one letter, good, but stable, clear and readable. Mooney writes from Rahway, New Jersey on 6 April 1820 about a potential land deal caused by strange circumstances (original spelling retained):"We got home veriwell and Aby has gone to the Scotch Planes to try her luck at hir trade. The same nite I got home from York there broak out a Mutiny at John Rodens. Roden had been to York, came home and found his man Pierson and his wife both in Pierson's bed. He had provided a good club for them but Pierson made his escape. Roden says that he means to sell..."The rest of the letter deals with details about possibly buying Roden's property, Roden was hesitant to hold a mortgage and Mooney asks Pierson to come out and fix it with Roden. It is unclear whether the manservant Pierson was related to the Pierson who is the recipient of the letter, forced to guess we'd say not and that it was a coincidence. The recipient, Theofilius Pierson (1792-1853), was a prosperous sawyer and landowner. We could find little about Mooney (1763-1834) beyond his dates. Both were from Westfield, a few miles away from Rahway.At any event a livelier than usual letter that belies the staid reputations of our predecessors.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Ivanhoe : A Romance. In three volumes

      Edinburgh: Printed for Archibald Constable and Co. 1820. In 3 volumes. xxxiii, 298; 327; 371, 3 pp. Brown half calf over marbled boards. Raised bands to spines with gilt lines and olive-green leather title labels. Boards faintly rubbed and with slight nick to calf. Scattered light foxing. First edition, first issue with all Worthington points except p. v. line 12. 2nd & 4th lines say 'which,' not 3rd as noted by Worthington. Two half-titles in each volume as called for. Three pages of adverts at rear of volume 3. All bindings firm. A VG set. . Very Good. Half Calf. First Edition, First Issue. 1820. 8vo..

      [Bookseller: Fosters' Bookshop]
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        Les Petites Familles

      Le Fuel, Paris 1820 - Scarce, with a single copy found on OCLC at the Staatsbibliothek zu Berlin. (We believe the BNF has a copy as well.) Anomalous is that this copy is shown as issued in 1819 yet our copy has the calendar for 1821, which suggests strongly an issuance in 1820. Either the OCLC listing is in error, or the same book was issued with eight new pages in its back. 18mo. 11.5 by 7.5 cm. 180, [8] pp. Hand-colored frontis, title page vignette, and ten other hand-colored plates of birds and mammals, all done exquisitely, and in this copy, with exceptional brightness. Indeed, the sharpness of the plates and their level of preservation compares extremely well to other almanacs issued by Le Fuel, Macilly and Janet during this period. The text is a mix of brief scientific exegeses intended for children and non-scientists and sentimental verse. The binding is the original pink silk moire, which is like the plates, very bright and well-preserved. The matching slipcase has some soiling and fading, with fraying along the edges, but it is easily in very good condition for such a thing. Internally, the book is fresh and clean, with only the most occasional light fox marks on the edges. Hardcover. Cartonnage. Slipcase. [Attributes: Hard Cover]

      [Bookseller: White Fox Rare Books, ABAA/ILAB]
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        Chirurgische Kupfertafeln. Eine auserlesene Sammlung der nöthigsten Abbildungen von äußerlich sichtbaren Krankheitsformen, anatomischen Präparaten, sowie von Instrumenten und Bandagen, welche auf die Chirurgie Bezug haben, zum Gebrauch für praktische Chirurgen

      Weimar, Landes-Industrie-Comptoir, 1820-1847 (96 Hefte in 5 Bänden). 26,5 x 22cm, zeitgen. Halblederbände, Rückenschild mit goldgeprägtem Titel, 483 (v. 487) teils kolorierte und teils gefaltete Tafeln, Deckel der Originalbroschuren und Inhaltsverzeichnisse der Hefte 94-96 mit eingebunden Ludwig Friedrich Froriep (1779-1847) war Ordinarius für Geburtshilfe, dann auch Anatomie und Chirurgie und hatte die Leitung des Weimarer Landes-Industrie.Comptoirs von seinem Schwiegervater Bertuch übernommen. Er begann 1820 mit der Herausgabe der Chirurgischen Kupfertafeln, ab 1833 übernahm der Sohn Robert (1804-1861) die weitere Leitung (HIRSCH/H. II, 634-5). Die Tafeln wurden zwischen 1820 und 1847 in 96 Heften ausgeliefert. In den vorliegenden 5 Bänden sind thematisch zusammengehörige Tafeln, die zuvor über viele Hefte und Jahre verstreut waren, zusammengefaßt worden, was auch an unterschiedlicher Papierqualität erkennbar wird. Band 1 enthält beispielsweise die Tafeln mit Aneurysmen, Gefäßkrankheiten, Hautkrankheiten incl. Syphilis, Band 5 alle Operationsverfahren. Von den insgesamt 487 römisch num. Tafeln sind hier 483 enthalten, wobei mehrere auch 2 oder 3 Nummern tragen. Zu jeder Tafel gehören 1 bis 4 nicht numm. Blätter mit Texterläuterungen. 2 Tafeln mit Bildverlust: Bei Tafel CLIX wurden die Abb. 3 (von 6), bei Tafel CCCCIX die Abbn. 1, 2 u. 7 (von 10) sauber ausgeschnitten, hier fachfraulich durch hinterlegte Kopie ergänzt. 12 Tafeln mit sauberen Marginalien und/oder Unterstreichungen in Rot bzw. Blau von alter Hand. Innen durchgehend etwas gebräunt und stockfleckig (einzelne Blätter und Tafeln, vor allem aber die kolor. Tafeln teils stärker gebräunt) sowie ganz vereinzelt mit leichtem Wasserrand. Wenige Blätter mit leichten Randläsuren (Text- und Bildteil stets unversehrt, da es sich um ein recht breitrandiges Exemplar handelt). Einbände leicht berieben und beschabt. Insgesamt schön erhaltenes Exemplar dieser umfangreichen Sammlung. Die Bücher waren im Vorbesitz u.a. von Paul Vogt (1844-1885), Direktor der Chirurgischen Klinik in Greifswald, mit dessen Namenszug auf allen Vorsatzblättern , geprägtem Namensstempel auf den ersten Seiten von Bd. 2 und handschriftlichem Inhaltsverzeichnis der einzelnen Bände. Beiliegt zudem ein handschriftlicher 4-seitiger Brief eines Arztes aus Swinemünde an ihn mit der Bitte um Aufnahme eines Jungen mit großer Hydrocele des Hodens sowie eine Bleistiftskizze wahrscheinlich von Vogt eines Knies eines Mannes aus Rügen mit Hygroma cysticum und dem Datum der Aufnahme und der Operation. Versand D: 7,00 EUR Medizin, Rarität, signiert

      [Bookseller: Versandantiquariat Am Osning]
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        Eigenh. Brief mit U.

      Hamburg, 11. XI. 1820. - 1 S. 4to. Mit eh. Adresse (Faltbrief). An den Verleger Adolph Martin Schlesinger in Paris: "Ich nehme mir die Freiheit Ihnen Herrn Professor Passi aus Stockholm, Virtuosen auf dem Piano, zu empfehlen, der auf seiner Reise nach Paris die Hauptstädte Deutschlands besucht. Herr Pr[ofessor] Passi hat hier mit sehr großem Beifall Concert gegeben und nimmt das seltene Lob eines bescheidenen und talentvollen Mannes mit [.]". - Der schwedische Pianist und Komponist Ludvig Anton Edmund Passy (1789-1870) wurde 1840 Professor an der Stockholmer Musikakademie; zu seinen Schülern gehörten u. a. Wilhelm Bauck, Otto Daniel Winge und Ivar Hallström. - Etwas angestaubt und gebräunt und mit kleinem Ausriß durch Siegelbruch (keine Textberührung).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Otello ossia L'Africano di Venezia Dramma Tragico in tre Atti... Ridotto per il Piano Forte... Les Epreuves ont été revues et corrigées, pour les Paroles, par M. Louis Balochi, et pour la Musique, par plusieurs Compositeurs, Prix: 36 f. [Piano-vocal score]

      Paris: Chez Boieldieu jeune [PN 988], 1820. First French Edition (with supplement for the added recitative and cavatina to pp. 225-235). Gossett p. 312. OCLC no. 19132048. Otello, to a libretto by Francesco Berio di Salsa after William Shakespeare's play, was first performed at the Teatro del Fondo in Naples on December 4, 1816. "Rossini's choice of Shakespeare's Othello, complete with its tragic denouement, was a bold and original one at the time... In the 19th century the opera's huge popularity owed much to the final act. Meyerbeer wrote: 'The third act of Otello established its reputation so firmly that a thousand errors could not shake it. This third act is really godlike, and what is so extraordinary is that its beauties are quite un-Rossini-like. First-rate declamation, continuously impassioned recitative, mysterious accompaniments full of local colour, and, in particular, the style of the old romances brought to highest perfection'." Richard Osborne in Grove Music Online.. Folio. Half dark red morocco with marbled boards, decorative bands gilt on spine in compartments gilt, titling gilt. 1f. (title), [1] (cast list and table of contents), 2-235, [i] (blank) pp. Engraved. With "chez Hanry Editeur de Musique Rue neuve des Petits Champs No. 17." overpaste to lower margin of title. Binding slightly worn, rubbed, and bumped. Minor offsetting; very light staining or creasing to upper blank margins of some leaves; small stab hole to upper inner margins; slight loss to edges of pp. 11-12, not affecting music. A very good copy overall.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
 30.   Check availability:     Biblio     Link/Print  


        Liberation of Kossuth from Kutahya, September 1st 1851

      Artist: Gildemeister C; issued in: New York; date: ca 1820 - - technic: Lithography; - colorit: colored; - condition: Stains; - size (in cm): 39 x 49; - description: View of the liberation of Lajos (Louis) Kossuth de Udvard et Kossuthfalva (1802 ? 1894). He was a Hungarian lawyer, journalist, politician and Governor-President of the Kingdom of Hungary during the revolution of 1848?49. He was widely honored during his lifetime, including in the United Kingdom and the United States, as a freedom fighter and bellwether of democracy in Europe. Kossuth's bronze bust can be found in the United States Capitol with the inscription: ;Father of Hungarian Democracy, Hungarian Statesman, Freedom Fighter, 1848?1849; Kossuth followed the ideas of the French nation state ideology, which was a ruling liberal idea of his era. Accordingly he considered and regarded everybody as ;Hungarian; -regardless of their mother tongue and ethnic ancestry - who lived in the territory of Hungary. He even quoted King Stephen I of Hungary's admonition: ;A nation of one language and the same customs is weak and fragile;_. Kossuth's ideas stand on the enlightened Western European type liberal nationalism. He watched with anxiety every opportunity of freeing his country from Austria. An attempt to organize a Hungarian legion during the Crimean War was stopped; but in 1859 he entered into negotiations with Napoleon III, left England for Italy and began the organization of a Hungarian legion, which was to make a descent on the coast of Dalmatia. The Peace of Villafranca made this impossible. Now there is a Kossuth Museum in Kütahya, Turkey.

      [Bookseller: Antique Sommer& Sapunaru KG]
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        Voyage pittoresque et historique de l'Espagne

      Paris, Pierre Didot l'ainé, 1806, 1820. 4 volumes grand in-folio, demi chagrin fauve, dos à nerfs ornés de filets dorés (reliure fin XIXe s.), faux titre gravé, 1 portrait de SAS le Prince de la Paix d'après Steven, XLVI pp. dont le titre, 72 pp., 1 f. n. ch. et LXXXVIII planches - Faux-titre, titre, pp. de 73 à 132, planches de LXXXIX à CLXXXIX - Faux-titre, titre, XLV pp., 36 pp. et XC planches - Faux-titre, titre, XCI pp., 38 pp. et LXX planches, 2 cartes doubles de l'Espagne et du Portugal. Soit 272 planches hors texte. Première édition d'un des ouvrages les plus complets et précis publiés sur l'Espagne. Elle est illustrée d'un frontispice, d'un portrait, de 2 cartes de l'Espagne sur double page, et de 349 figures gravées sur 272 planches (vues, scènes, plans, détails architecturaux, tableaux). Bel exemplaire à l'intérieur très frais, à grandes marges et bien complet de toutes les planches requises.

      [Bookseller: Librairie de L' Avenue]
 32.   Check availability:     maremagnum.com     Link/Print  


        Autograph letter signed Nov 24 1820

      Single leaf, recto only. Manuscript in ink. Slightly soiled and chipped at edges. 3 Downing St [London], Friday Nov 24,

      [Bookseller: Maggs Bros. Ltd.]
 33.   Check availability:     Direct From Seller     Link/Print  


        British Novelists

      London - F C & J Rivington, W Lowndes, Scatcherd and Letterman et al., 1820 Book. VERY GOOD INDEED. Hardcover. A selection of novels by British authors. In charming red morocco bindings and in a pocket-sized format. The new edition of these works. Forty-nine of the original fifty volume set only. Lacking volume XXII which contains The Old English Baron, a Gothic Story by Clara Reeve and The Old English Baron by Horace Walpole. Edited by Anna Laetitia Barbauld, a prominent English poet, essayist, literary critic and editor. Her British Novelists series was first published in1810 with a large introductory essayby Barbauld. This work has been regarded as a canon making enterprise by McCarthy and Kraft. Novels to this series include, but are not limited to,Samuel Richardson's Clarissa, Henry Fielding's The History of Tom Jones,and Cecila by Fanny Burney. Condition: In full straight grained morocco bindings. Gilt stamping to the spine and board edges. All edges are gilt. Externally, smart. All volumes have a small amount of light rubbing to the head and tail of spines and to the extremities. Spines have faded slightly. Occasional marks to boards. Front hinge to volume I is slightly strained but firm. Internally, all volumes are firmly bound. Pages are slightly age toned to edges. Endpapers and title page to volume 25 are very slightly creased. Instances of spotting to the first and last few pages. The occasional spots throughout. Spotting is slightly heavier to volume 20. Overall: VERY GOOD INDEED..

      [Bookseller: Rooke Books]
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        A Manual of Lithography or Memoir on the Lithographical Experiments Made in Paris, at the Royal School of the Roads and Bridges

      London: printed for Rodwell and Martin,, 1820. Clearly Explaining the Whole Art, as well as all the Accidents that may Happen in Printing, and the Different Methods of Avoiding Them. Octavo (215 x 137 mm). Contemporary half calf, paper-covered sides, smooth spine with flat gilt in compartments. 2 folding plates. Light wear on extremities, internally fresh, some marks on endpapers. First edition. Charles Hullmandel (1789-1850) was a printer and lithographer. A major figure in British lithography, Hullmandel refined the process and "managed to inspire confidence among artists in a process that up until then had been regarded in Britain as unreliable" (ODNB). In the present work, Hullmandel presents a translation of Mémoire sur les expériences lithographiques by Colonel Antoine Raucourt (1799-1841), published in 1819, as a means to publicize lithography by describing the ways of making and printing lithographs. The last three quires and pastedown contain manuscript notes in ink and pencil, dating to 1833, which indicates that this copy was used as a practical guide.

      [Bookseller: Peter Harrington]
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        Otello ossia L'Africano di Venezia Dramma Tragico in tre Atti... Ridotto per il Piano Forte... Les Epreuves ont été revues et corrigées, pour les Paroles, par M. Louis Balochi, et pour la Musique, par plusieurs Compositeurs, Prix: 36 f. [Piano-vocal score]

      Paris: Chez Boieldieu jeune [PN 988], 1820. First French Edition (with supplement for the added recitative and cavatina to pp. 225-235). Gossett p. 312. OCLC no. 19132048. Otello, to a libretto by Francesco Berio di Salsa after William Shakespeare's play, was first performed at the Teatro del Fondo in Naples on December 4, 1816. "Rossini's choice of Shakespeare's Othello, complete with its tragic denouement, was a bold and original one at the time... In the 19th century the opera's huge popularity owed much to the final act. Meyerbeer wrote: 'The third act of Otello established its reputation so firmly that a thousand errors could not shake it. This third act is really godlike, and what is so extraordinary is that its beauties are quite un-Rossini-like. First-rate declamation, continuously impassioned recitative, mysterious accompaniments full of local colour, and, in particular, the style of the old romances brought to highest perfection'." Richard Osborne in Grove Music Online.. Folio. Half dark red morocco with marbled boards, decorative bands gilt on spine in compartments gilt, titling gilt. 1f. (title), [1] (cast list and table of contents), 2-235, [i] (blank) pp. Engraved. With "chez Hanry Editeur de Musique Rue neuve des Petits Champs No. 17." overpaste to lower margin of title. Binding slightly worn, rubbed, and bumped. Minor offsetting; very light staining or creasing to upper blank margins of some leaves; small stab hole to upper inner margins; slight loss to edges of pp. 11-12, not affecting music. A very good copy overall.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Typed Letter Signed, Rochester, New York, October 17, 1902, on the letterhead of the National American Woman Suffrage Association

      one page, typed, signed in ink by Susan B. AnthonyAnthony sends a printed circular promoting the fourth volume of the History of Woman Suffrage, her letter reads:"Dear Sir:- You will see by the enclosed circular that Volume IV of the History of woman suffrage is ready to look for its mates. Have you the three first volumes? If so, you will certainly need this one. If not, you need it all the more. Should your order be received at an early date, the volume will be sent you direct from the publishers. Hoping to hear from you at once, I am, Very truly yours, Susan B. Anthony"Formerly folded, some toning to paper, else in very good condition, see scans:Susan Brownell Anthony (February 15, 1820 - March 13, 1906) was an American social reformer and women's rights activist who played a pivotal role in the women's suffrage movement. Born into a Quaker family committed to social equality, she collected anti-slavery petitions at the age of 17. In 1856, she became the New York state agent for the American Anti-Slavery Society.In 1851, she met Elizabeth Cady Stanton, who became her lifelong friend and co-worker in social reform activities, primarily in the field of women's rights. In 1852, they founded the New York Women's State Temperance Society after Anthony was prevented from speaking at a temperance conference because she was female. In 1863, they founded the Women's Loyal National League, which conducted the largest petition drive in United States history up to that time, collecting nearly 400,000 signatures in support of the abolition of slavery. In 1866, they initiated the American Equal Rights Association, which campaigned for equal rights for both women and African Americans. In 1868, they began publishing a women's rights newspaper called The Revolution. In 1869, they founded the National Woman Suffrage Association as part of a split in the women's movement. In 1890, the split was formally healed when their organization merged with the rival American Woman Suffrage Association to form the National American Woman Suffrage Association, with Anthony the key leader. In 1876, Anthony and Stanton began working with Matilda Joslyn Gage on what eventually grew into the six-volume History of Woman Suffrage. The interests of Anthony and Stanton diverged somewhat in later years, but the two remained close friends. In 1872, Anthony was arrested for voting in her hometown of Rochester, New York, and convicted in a widely publicized trial. Although she refused to pay the fine, the authorities declined to take further action. In 1878, Anthony and Stanton arranged for Congress to be presented with an amendment giving women the right to vote. Popularly known as the Anthony Amendment and introduced by Sen. Aaron A. Sargent (R-CA), it became the Nineteenth Amendment to the U.S. Constitution in 1920.Anthony traveled extensively in support of women's suffrage, giving as many as 75 to 100 speeches per year and working on many state campaigns. She worked internationally for women's rights, playing a key role in creating the International Council of Women, which is still active. She also helped to bring about the World's Congress of Representative Women at the World's Columbian Exposition in Chicago in 1893.When she first began campaigning for women's rights, Anthony was harshly ridiculed and accused of trying to destroy the institution of marriage. Public perception of her changed radically during her lifetime, however. He 80th birthday was celebrated in the White House at the invitation of President William McKinley. She became the first actual woman to be depicted on U.S. coinage when her portrait appeared on the 1979 dollar coin.

      [Bookseller: Michael Brown Rare Books, LLC]
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