One folding engraved map. Five vols. 8vo, cont. black specked boards (a bit of wear), spines gilt, red & blue leather lettering pieces on spines. Gotha: J. Perthes, 1822-24-34-40-41. First edition and very scarce when complete. Hoff (1771-1837), was an important diplomat, representing the duchy of Gotha. He "simultaneously accomplished first-rate work in a totally different field - scientific research, notably in geology and geography. Indeed, he introduced a new epoch of geological study which continues still…[In the present work] Hoff insisted that one must in the first instance study the effect of those forces whose work we are able to observe today and apply this knowledge to the earliest history of the earth. Through these premises, later designated Aktualismus, he consciously rejected the catastrophist theory. He did not make headway at first. Not until Lyell's Principles of Geology attained wide dissemination as a comprehensive textbook, supported by observations throughout the world did actualism gain ascendancy and find lasting application in countless investigations."-D.S.B., VI, p. 457-(& see pp. 456-57 for a full account of Hoff's achievements). Fine set. The final two volumes, published after Hoff's death, were edited by Heinrich Karl Wilhelm Berghaus. ❧ Zittel, pp. 187-88-"His great work treats of the relation between land and sea in historic time, the extension of the ocean surface owing to the erosion of the coastal territories and invasions of the continents. The volume betokens complete mastery of all the literature on the subj … [Click Below for Full Description]

Colmar., Decker, 1822. 414 S. 8°, Orig.-Leinenbd. Bei diesem Bd. handelt es sich insofern um eine bedeutende Quelle, weil darin ein zentraler politischer Prozess gegen jene französischen ?Carbonari? verhandelt wird, die sich gegen die Restauration der Bourbonen verschworen hatten. Einband berieben. Innenteil staubfleckig u. papierbedingt gebräunt. Insgesamt guter Zustand. Vorsatz etwas fleckig, weist zudem Stempelaufdrucke u. handschriftliche Signaturen auf. Sehr selten! 800 gr.

Washington, 1822. 256,3pp. Original boards, paper label. Front board detached, rear hinge cracked, spine and label chipped, corners bumped, early manuscript title on front board. Contemporary gift inscription on first front free endpaper, contemporary ownership inscriptions on titlepage. Second front free endpaper partially torn away, some loss to a later interior leaf, slightly affecting text. Tanned, occasional light foxing. Good. Untrimmed. In a modern cloth clamshell case. A copy with a fascinating provenance, given from a future President of the United States to his youngest brother, Thomas Boylston Adams. A pen inscription on the front fly leaf of this volume in the hand of John Quincy Adams, reads: "Thomas B. Adams from his brother John Quincy Adams." On the titlepage is the ownership signature of Thomas Adams and the slightly later signature of an A. Dunlop. Thomas Adams served as a representative in the state legislature for the Adams family's hometown of Quincy, Massachusetts, and later was a senior magistrate in the Massachusetts State Circuit Court. The text brings together the correspondence and reports of the negotiations conducted by John Quincy Adams with the British to resolve the War of 1812. As ever, Adams was very sensitive to criticism, and thus exhaustively defends his work. It appeared in 1822 when Adams was Secretary of State, in an attempt to counter rumors that he had offered navigation rights on the Mississippi River to the British during the negotiations. SABIN 276. SHAW & SHOEMAKER 7740.

Paris, Dalibon, 1822. 8 vol. in-8°, demi-maroquin bleu nuit à grain long, dos à nerfs ornés de roulettes et de fleurons dorés. Reliures signées de Vogel, non rogné, à toutes marges. Portrait h.-t. par Devéria gravé à l'eau-forte par H.-C. Müller sur Chine appliqué, 1 fac-similé d'autographe h.-t. repl., (2) ff., XLVI-429 pp.; (2) ff., 442 pp.; (2) ff., 472 pp.; (2) ff., 526 pp.; (2) ff., 615 pp.; (2) ff., VIII-456 pp.; (3) ff., 566 pp.; (2) ff., 487 pp. Quelques rousseurs. Edition de référence des oeuvres de Montesquieu, faite sur l'édition de Lequien de 1819 à laquelle on a ajouté le commentaire de Destutt de Tracy sur l'Esprit des Lois. Comme pour l'édition de Lequien, un grand soin a été apporté à la typographie et à l'établissement du texte. Très bel exemplaire, parfaitement établi par Vogel, sur grand papier vélin raisin. I. Considérations sur les causes de la grandeur des Romains et de leur décadence - Dissertation sur la politique des Romains dans la Religion. II. à V. - L'Esprit des Lois - Défense de l'Esprit des Lois - Eclaircissements sur l'Esprit des Lois - Réponse aux observations (...) par Resteau - Commentaire sur quelques maximes (...) par Voltaire. VI. - Lettres persanes. VII. - Oeuvres diverses (Arsace et Ismène, Essai sur le Goût, Pensées diverses, Poésies, Lettres familières etc.). VIII. - Commentaire sur l'Esprit des Lois, par le comte Destutt de Tracy - Observations sur le vingt-neuvième livre de l'Esprit des Lois par Condorcet - Mémoire sur cette question : quels sont les moyens de fonder la morale d'un peuple? Brunet III, 1859; Vicaire V, 1104.

P., Martinet et Gihaut, [v. 1822-1830], in-folio, demi-maroquin tête de nègre à coin et à grain long, dos lisse entièrement orné, tête dorée. (CN44) Superbe recueil de 50 planches lithographiées (par LANGLUMÉ), coloriées à la main, d'après les dessins d'Edme-Jean PIGAL (1798-1873). « Pigal est l'un des premiers à s'intéresser aux mœurs populaires, rendues avec un comique un peu trivial et facile. Ses thèmes préférés sont les mœurs parisiennes, les scènes familières, surtout celles du milieu ouvrier ou de la petite bourgeoisie (...) Il a exécuté plusieurs suites lithographiées à partir de 1821» (J. Bailly-Herzberg, Dictionnaire de l'estampe en France). « Les scènes populaires de Pigal sont bonnes» , dit Baudelaire (Curiosités esthétiques, 1857). « Pigal est un comique modéré, mais le sentiment de ses compositions est bon et juste. Ce sont des vérités vulgaires, mais des vérités. La plupart de ses tableaux ont été pris sur nature (...), presque toujours des hommes du peuple, des dictons populaires, des ivrognes, des scènes de ménage...» (id.). « On peut comparer Pigal à Paul de Kock (...). Si l'un imprime le gros mot, l'autre le dessine, non par immoralité, mais le conteur et le peintre ont osé rire des choses dont riaient nos pères» dit Champfleury (Histoire de la caricature moderne). « C'est dans les lithographies de Pigal qu'il faut étudier l'histoire du costume vers la fin de la Restauration: étant plutôt des études de mœurs que des caricatures, les personnages jeunes, avec la prétention de porter la dernière mode, on retrouve les fameuses manches à gigot dans les habits … [Click Below for Full Description]

P., Martinet et Gihaut, [v. 1822-1830], in-folio, demi-maroquin tête de nègre à coin et à grain long, dos lisse entièrement orné, tête dorée. (CN44) Superbe recueil de 50 planches lithographiées (par LANGLUMÉ), coloriées à la main, d'après les dessins d'Edme-Jean PIGAL (1798-1873). « Pigal est l'un des premiers à s'intéresser aux mœurs populaires, rendues avec un comique un peu trivial et facile. Ses thèmes préférés sont les mœurs parisiennes, les scènes familières, surtout celles du milieu ouvrier ou de la petite bourgeoisie (...) Il a exécuté plusieurs suites lithographiées à partir de 1821» (J. Bailly-Herzberg, Dictionnaire de l'estampe en France). « Les scènes populaires de Pigal sont bonnes» , dit Baudelaire (Curiosités esthétiques, 1857). « Pigal est un comique modéré, mais le sentiment de ses compositions est bon et juste. Ce sont des vérités vulgaires, mais des vérités. La plupart de ses tableaux ont été pris sur nature (...), presque toujours des hommes du peuple, des dictons populaires, des ivrognes, des scènes de ménage...» (id.). « On peut comparer Pigal à Paul de Kock (...). Si l'un imprime le gros mot, l'autre le dessine, non par immoralité, mais le conteur et le peintre ont osé rire des choses dont riaient nos pères» dit Champfleury (Histoire de la caricature moderne). « C'est dans les lithographies de Pigal qu'il faut étudier l'histoire du costume vers la fin de la Restauration: étant plutôt des études de mœurs que des caricatures, les personnages jeunes, avec la prétention de porter la dernière mode, on retrouve les fameuses manches à gigot dans les habits … [Click Below for Full Description]

New York: Printed by C. S. Van Winkle, 1822. Two volumes. 343;351,[1]pp. Large octavo. Early 19th century tree calf, gilt labels. Extremities a bit worn, but sound, with short cracks to joints and a couple of surface scrapes, characteristic scattered foxing and occasional spotting, but otherwise a very good set, with a neat early ink female ownership signature on each half title, and a gilt morocco bookplate on each front pastedown. Morocco faced slipcase. First US edition, believed to have been published roughly simultaneously with the London edition, and somewhat the less common of the two editions. A collection of sketches, anecdotes and observations composed by Irving in the course of his travels in Britain and Europe. BAL10109. LANGFELD & BLACKBURN, pp.23-4. AMERICAN IMPRINTS 9129.

HOFFMANN, E.T.A. Meister Floh. Ein Märchen in Sieben Abentheuern zweier Freunde. [2], 267, [3] pp. 8vo., 185 x 120 mm, bound in original boards, illustrated on both covers with sepia aquatints designed by Hoffmann and executed by F.C. Thiele, in modern matching slipcase. Frankfurt am Main: Friedrich Wilmans, 1822. First Edition, and most importantly with this curious book, the first issue of the famous binding which was personally designed by E.T.A. Hoffmann. In subsequent issues the binding was decorated by way of lithography, not aquatint. Hoffmann's scathing satire on the police state, entitled "Master Flea," has the central character portrayed on the cover "travelling in disguise." The Master Flea is the master of ceremonies in a flea circus whose bite grants youth to the victim. The book was censored by the Prussian government, and Hoffmann himself became a suspect of dissent and subversion. The work was a thinly disguised fairy tale, in which Hoffmann quoted directly from actual trial documents and even ridiculed the chief of police. Court proceedings were initiated against the author; on January 23, 1822, the original manuscript of Meister Floh was confiscated on the orders of King Friedrich Wilhelm III. Hoffmann was interviewed at his sick bed on February 22nd; meanwhile Meister Floh was published in the Spring (albeit in somewhat revised form); Hoffmann's case never went to trial: he died on June 24, 1822 after a long illness. Binding expertly recased, modern endpapers. Goedeke VIII, 498, 65. Salomon 173. [Attributes: First Edition; Hard Cover]

[New York], 1822. [1]p., docketed on verso. Quarto sheet. Old fold lines. Bottom third separated at fold. Minor wear. Good plus. A remarkable document written by American artist John Trumbull, utilizing his original painting, "The Declaration of Independence," as collateral to secure a loan from the Bank of New York. This document, addressed to Charles Wilkes as the cashier of the Bank of New York, reads in part: "Now therefore, being desirous to Secure him as far as is in my power against loss by the uncertainty of Life & prosperity, I do hereby hypothecate & pledge to him the sd. Charles Wilkes the Senate painting of the declaration of Independence now in the hands of Mr. [Asher Brown] Durand the Engraver and also the Copper plate which He is engraving from the Same as collateral Security for any Sum which he may hazard by any accident befalling me. And this pledge shall remain in full force until all and every Note or Notes which He may have endorsed for me shall be paid & Cancelled." Trumbull is referring to his original painting of this famous event, which was begun in Paris at the suggestion of Thomas Jefferson. Trumbull was later commissioned by the Congress to paint a twelve-by-eighteen-foot version based on this original. The larger painting was sold to Congress in 1819, so it is almost certainly the original smaller version that remained in Trumbull's possession (now at Yale University Art Gallery) that was being used as collateral for a loan. Hailed as the official painter of the Revolution, Trumbull studied painting and art in England and France. The younges … [Click Below for Full Description]

Torino, Stamperia Reale, 1822. 2 vol. in-4, leg. coeva m. perg. e ang. Contengono complessivamente 76 documenti, emessi dal primo gennaio al 24 dicembre 1822 (su 80, come si rileva dall'Indice, qui incompleto). Ciascun editto reca sul titolo il grande stemma araldico sabaudo, ed ha un'ampiezza di testo che va dalle 2 alle 87 pagine. Raccolta di un'annata d'intensa attività legislativa dello Stato Sabaudo: i documenti emanati nel 1822 concernono una quantità di materie, varia ed veramente interessante (ordine pubblico, amministrazione di boschi, selve e miniere, territorio, incremento di prezzi, navigazione interna, debito pubblico, dazi e tariffe, emissione e rimborso di rendite, ipoteche, corpo dei Carabinieri, mezzi di trasporto trainati, sanità pubblica, atti notarili, scuole ed Università, assistenza pubblica, ecc.). Importante e laboriosa raccolta di leggi, assai rara. Buon esempl., genuino.. Manca a Manno-Promis (che registra analoghe raccolte)..

Stamperia Reale, 1822. In-folio (310x220mm), legatura coeva in m. pergamena e punte con titolo manoscritto al tempo su tassello cartaceo al dorso. Alcune glosse di mano coeva al testo. Qualche sporadico alone. Ottimo esemplare in barbe. Raccolta di 78 editti, patenti, manifesti, proclami preceduti da 8 pagine di indice con 80 rimandi (mancano i manifesti del 1 e 2 gennaio). I documenti, molti con stemma sabaudo in xilografia al frontespizio, presentano un numero variabile di carte e vanno dal 4 gennaio al 24 dicembre 1822. Fra le materie trattate: ordine pubblico, amministrazione di boschi, selve e miniere, territorio, incremento di prezzi, navigazione interna, debito pubblico, dazi e tariffe, emissione e rimborso di rendite, ipoteche, corpo dei Carabinieri, mezzi di trasporto trainati, sanita' pubblica, atti notarili, scuole ed Università, assistenza pubblica, ecc. Manca al Manno. Italiano

London: Printed for J. Richardson and Co, 1822. Hardcover. g+ to vg. Small Ocatavo. xii, lx, 432, viii, (2) 336, vi, 345 (2pp. appendix), vi, 312 (46 index), (2) 201pp. Full decorative calf with gilt ruling and gilt tooling, red and black labels with gilt lettering and double gilded ruling; raised bands. Marbled edges. Stiff gray back endpapers. New Edition with A Life of the Author.Vol. I. The Theory of Moral Sentiments; or, An Essay Toward an Analysis of the Principles by Which Men Naturally Judge Concerning the Conduct and Character, First of Their Neighbors, and Afterwards of Themselves. To which is added, A Dissertation on The Origin of Languages. Vol. II-IV. An inquiry into the Nature and Causes of the Wealth of Nations. Vol. II. contains two one page advertisements each for the Third and Fourth Edition. Vol. V. The Principles which Lead and Direct Philosophical Inquiries; Illustrated by the History of Astronomy.Binding with light wear along edges, small chips, bumps and cracks. Volume one with one and a half tear at top front joint, glued expertly, some scuffing at joints, very light at tail of spine. Small chip at head of spine. Volume five with light scuffing and minor stains on front cover, light scuffing at front joint, and one inch abrasion and small stain on back cover. Previous owner's name, Clara Hartman, inked to all title pages. Binding in overall good+ to very good, interior in very good condition.

Rome. 1822. Rossini, Luigi (illus). Copperplate engraving, 18 x 24 1/2 inches on sheet size 19 x 25 1/4. A couple of soft creases to the paper, short edge tears, pinhole in upper left and right corners and lower left corner. Narrow margins. Image in very good condition; a rich impression. View of Ponte Molle over the Tevere (Tiber), two miles from Rome. This impressive engraving by Luigi Rossini (1790-1857) is from the Le Antichita Romane series, depicting the antiquities of Rome and environs. Carrying on the tradition of Giovanni Battista Piranesi (1720-1778) and himself an architect, Rossini's prints celebrated the Classical Tradition and appealed to the well-to-do tourists on the Grand Tour and to architects and designers. The engravings powerfully evoke the glories of Ancient Rome, while also providing the modern viewer with glimpses of this magnificent city in the early 19th century.

[Paris]: de l'imprimerie de Moreau, 1822. [4],iv,175,[1]pp. Contemporary tree calf, spine gilt, gilt morocco label. Binding slightly rubbed. Occasional minor soiling. A fine copy. The first Paris edition of the constitution of the republic of Gran Colombia, following the first Spanish edition printed in Caracas the same year. In 1822, French and Dutch editions were also published in Philadelphia and Amsterdam, respectively. The formation of the new republic, which included Venezuela, New Granada, and Quito, was followed with much interest abroad, and the new government also wished to secure international support. This French edition includes a letter by the republic's envoy to foreign governments requesting diplomatic recognition. A message from President James Monroe to Congress regarding the new republic and dated March 8, 1822 is also included. SABIN 14574. OCLC 20375281.

Bogota, por Bruno Espinosa impresor del Gobierno jeneral, 1822. Title, 267, IXpp. Contemp. full calf. Binding somewhat rubbed otherwise a very good copy. Versandkostenfreie Lieferung 19. Jahrhundert; Kolumbien; Recht; spanisch; Südamerika