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Displayed below are some selected recent viaLibri matches for books published in 1823

        THE GENIUS OF OBLIVION AND OTHER ORIGINAL POEMS BY A LADY OF NEW-HAMPSHIRE [AUTHOR OF MARY HAD A LITTLE LAMB]

      Jacob B Moore, Concord 1823 - AMERICANA; Children; Nursery Rhymes; 12mo 7" - 7½" tall; 146, [1] pages; Bound in tree calf, with binding tight. Contents toned, ffep creased and torn. Contents generallly Good+. This is the first published book by the author of the poem- "Mary Had a Little Lamb" An early and, judging by the Mary poem, important early woman author. Outer margin wormed 1/3" pp 103-28 well clear of text. ; 0 [Attributes: First Edition; Hard Cover]

      [Bookseller: poor man's books (mrbooks)]
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        Frankenstein: or, The Modern Prometheus

      London: G. and W.B. Whittaker, 1823. Second edition; two volumes. Publisher?s paper-covered boards with paper spine labels; spines and labels chipped; minor stains; short tear at the margin of the title page of volume one; owner?s signature crossed through on the half-title of the first volume; owner?s signature on the half-title of volume two. As rare as the first edition, it is the first to print the author?s name. Another eight years was to pass before a third edition was published.

      [Bookseller: Peter L. Stern & Company, Inc.]
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        Plate 55 - Dry's Earl of Uxbridge (Carnation)

      - Edwin Dalton Smith (1823-1846) Illustration for Robert Sweet's The Florist Guide (London, 1827-32) Original watercolor Paper size: 9 1/2" x 8" Framed size: 17 1/4" x 16" Framed in museum quality gold leaf frames with archival materials including UV Plexiglass Excellent condition “These little miniatures, rich and jewelled in colour, are executed with great finesse; the plates in the printed work, pleasant though they are, give no idea of the quality of the originals.” – Wilfrid Blunt, The Art of Botanical Illustration (London, 1950), p. 212. Smith executed these beautifully detailed watercolors to serve as originals for the engravings included in Robert Sweet’s The Florist’s Guide, a lavishly illustrated and important contribution to the array of splendid color-plate books devoted to the subject of botany in 19th-century England. As long ago as 1950, Wilfrid Blunt, the outstanding authority on British botanical painting, recognized the quality of these watercolors, singling them out for outstanding praise in the above quotation. Smith, for many years attached to the Royal Botanic Gardens at Kew, was one of the finest botanical artists of the time. Accomplished in both botanical and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in Chelsea (London), exhibiting much of his work from 1816-47. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith’s skill in small-scale work is clearly evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer’s space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along their translucent petals, others fully opaque and vivid. Robert Sweet, Smith’s collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819) and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Most of the plants that he included in his publications were provided by nurserymen colleagues.

      [Bookseller: Arader Galleries San Francisco]
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        Narrative of a Journey to the Shores of the Polar Sea, in the Years 1819, 20, 21, and 22. With an Appendix on Various Subjects Relating to Science and Natural History.

      John Murray, London - 1823, 1st edition 1st issue. () Very good. xvi,768pp. Quarto. Bound in 20th century buckram with Original cloth spine laid down. Thirty-one plates (including twelve hand-coloured) and four folding maps (at end). A minor bit of foxing mostly at the end and in the margins only. Title page with contemporary signiture on the top. Generally a nice clean attractive copy. AB 5194; Hill p.111 (first Issue). Classic overland travel narrative with an important appendix on natural history. The journey made to the mouth of the Coppermine,travelled overland some 5,500 miles with the aid of canoes, during which many of the party died from cold, hunger, or murder.The plates were engraved by Finden, from drawings by Hood and Back. With the bookplate of George Ray Johnson on the front pastedown. [Attributes: First Edition; Hard Cover]

      [Bookseller: Aquila Books(Cameron Treleaven) ABAC]
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        Oeuvres de Rabelais. Édition variorum, augmentée de pièces inédites, des Songes drolatiques de Pantagruel, ouvrage posthume, avec l explication en regard; des remarques de Le Duchat, De Bernier, de Le Motteux, de l Abbé de Marsy, de Voltaire, de Ginguené, etc.; et d un nouveau commentaire historique et philologique, par Esmangart et Éloi Johanneau

      A París, chez Dalibon-Imprimerie de Jules Didot l ainé, 1823 - 9 volúmenes en 4º, XXXII+484+399+527+512+515+452+459+533+482 p. Bonita encuadernación holandesa piel y puntas, firmada por Koehler; lomo estampado en seco en estilo "a la catedral", pequeños detalles en oro, algunos bordes rozados. Papel moteado y tostado en algunas hojas. Muy buen papel, sin desbarbar. El volumen I presenta dos retratos grabados de Rabelais y un grabado; un grabado en volúmenes II, III , VII y VIII; 2 grabados en volumen VI; 3 grabados en volumen IV; todos los grabados aparecen por partida triple, con tres estados de cada uno. El volumen IX incluye los "Songes drolatiques" a partir de la edición de 1555, reproduciendo sus numerosas ilustraciones xilográficas a toda página

      [Bookseller: MIQUELEIZ ANTIGUEDADES]
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        Oeuvres de Rabelais. Edition variorum, augmentée de pièces inédites, des Songes drolatiques de Pantagruel, ouvrage posthume, avec l'explication en regard ; des remarques de Le Duchat, de Bernier, de Le Motteux, de l'abbé de Marsy, de Voltaire, de Ginguené

      Dalibon 1823 - 9 volumes demi-chagrin noir, dos à 5 nerfs. Célèbre édition ornée de dix vignettes et de deux portraits de Rabelais d'après les dessins de Devéria, plus les 120 figures grotesques des Songes drolatiques, gravées sur bois par Thompson. Bel exemplaire. Des rousseurs , coins émoussés Vicaire, VI, 923. Complet de la carte dépliante du Chinonois. Size: 13X21

      [Bookseller: LIVRES ESTAMPES DES BAOUS]
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        IL COSTUME ANTICO E MODERNO O STORIA del Governo, della Milizia, della Religione, delle Arti, Scienze ed Usanze, di tutti i Popoli Antichi e Moderni. EUROPA Tomo IV. Parte I. Asia. Milano dalla Tipografia dell’Autore, 1823.

      - Rilegato in tela recente, cm 36x26, pp. 394 di t., numer. tavv finemente aquerellate (di cui alcune mancanti). 13 pagine supplemetari con acquerelli originali di V. Whatman, 1846. Gli indici allegati, da pag. 588 a 609, sono in fotocopia.

      [Bookseller: EDITORIALE UMBRA SAS]
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        IL COSTUME ANTICO E MODERNO O STORIA.EDIZIONE SECONDA RIVEDUTO E ACCRESCIUTA. ASIA, VOL. I-II.

      BATELLI, FIRENZE 1823 - FERRARIO GIULIO. IL COSTUME ANTICO E MODERNO O STORIA.EDIZIONE SECONDA RIVEDUTO E ACCRESCIUTA. ASIA, VOL. I-V. Firenze, Batelli 1823-24.[Fig. Asia Costumi] (cm. 23) voll. 5, bella mz. pele coeva, fregi e titolo in oro. -- pp. 8, XXIV, 220; 282; 339; 286; 344. Contengono 219 tavv. f.t. finemente colorate in origine. All' inizio, 3 più volte ripiegate sono carte geografiche. Opera famosa e ricercata per la ricca iconografia, rara a trovarsi completa di tutte le tavole. In seguito uscirono altri 3 voll. Qualche rara fioritura all' iizio del primo vol. Altrimenti ottimo esemplare. Per confronti sulle varie edizioni vedi:-- CICOGNARA 1648;-- LIPPEREIDE Ad 7;-- HILER 311;-- COLAS 1054;-- VINET 2114.[f21] [Attributes: Hard Cover]

      [Bookseller: LIBRI ANTICHI E RARI FRANCESCO&CLAUDIA]
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        Designs for Lodges and Entrances to Parks, Paddocks, and Pleasure-Grounds, in the Gothich, Cottage, and Fancy Styles; with Characteristic Scenery and Descriptive Letter-Press. On Twenty Plates. A New Edition.

      London: by J. Taylor at the Architectural Library, 1823 - Folio. Original brown boards, rebacked to style. Occasional light foxing, lightly rubbed with a few small marks to boards, short split to tail of spine. 20 engraved plates. Bookplate of Robert Dymond. Pencilled ownership signature to front free endpaper. The architect Thomas Dearn (1777–1853) practised at Cranbrook in Kent, one of his only known completed designs being a lodge (illustrated as plate 9) at nearby Angley for Sir Walter James, the dedicatee of Designs for Lodges. A reprint of the 1811 edition, this work includes fine aquatint views, with ground plans, for lodges in a variety of picturesque styles designed to make a pleasant first impression on visitors to country houses. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Plate 35 - Tulip

      - Edwin Dalton Smith (1823-1846) Illustration for Robert Sweet's The Florist Guide (London, 1827-32) Original watercolor Paper size: 9 1/2" x 8" Framed size: 17 1/4" x 16" Framed in museum quality gold leaf frames with archival materials including UV Plexiglass Excellent condition “These little miniatures, rich and jewelled in colour, are executed with great finesse; the plates in the printed work, pleasant though they are, give no idea of the quality of the originals.” – Wilfrid Blunt, The Art of Botanical Illustration (London, 1950), p. 212. Smith executed these beautifully detailed watercolors to serve as originals for the engravings included in Robert Sweet’s The Florist’s Guide, a lavishly illustrated and important contribution to the array of splendid color-plate books devoted to the subject of botany in 19th-century England. As long ago as 1950, Wilfrid Blunt, the outstanding authority on British botanical painting, recognized the quality of these watercolors, singling them out for outstanding praise in the above quotation. Smith, for many years attached to the Royal Botanic Gardens at Kew, was one of the finest botanical artists of the time. Accomplished in both botanical and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in Chelsea (London), exhibiting much of his work from 1816-47. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith’s skill in small-scale work is clearly evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer’s space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along their translucent petals, others fully opaque and vivid. Robert Sweet, Smith’s collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819) and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Most of the plants that he included in his publications were provided by nurserymen colleagues.

      [Bookseller: Arader Galleries San Francisco]
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        Soree

      Georgia 1823 - John Abbot (1757- ca.1840) Watercolor for Birds of Georgia Georgia, circa 1823 Paper size: 12 ½" x 17 ½"; Framed size: 23" x 18" These striking and distinctive bird watercolors are of exceptional importance to the field of American natural history in general, and of Georgia wildlife in particular. John Abbot was born in London in 1751, the son of a lawyer who encouraged his early interest and talent for natural history, and who arranged for him to study drawing, perspective, and engraving under Jacob Bonneau. Abbot owned (and assiduously studied) the ornithological publications of Mark Catesby and George Edwards. Highly influenced by their styles, Abbot nonetheless forged a distinctive and accomplished manner that was entirely his own. In 1773, Abbot immigrated to America, bringing his burgeoning talents and interest in natural-history art first to Virginia, then to Georgia the following year. For the rest of his life, Abbot lived in Georgia - moving among Burke, Chatham, Scriven, and Bulloch counties - and devoted himself to illustrating the animal and plant life of that state. This series charmingly rendered ornithological watercolors have only recently come to light, having been rediscovered in England in the late 1980s. Each shows a bird perched on branches in a natural setting. Abbot inscribed each watercolor in red ink at the bottom of the sheet, identifying the bird species by its common name. Abbot’s birds have notable sense of vitality and character, transcending the ostensibly documentary aim of his task and elevating his work to embrace the often-conflicting goals of scientific illustration and art. Dr. Vivian Rogers-Price, the preeminent authority on Abbot, has examined these watercolors and believes that, stylistically and aesthetically, they rank among Abbot’s finest ornithological works. Abbot’s oeuvre has only recently been recognized and elevated to the rank of such better-known predecessors and contemporaries as Mark Catesby, Alexander Wilson, and John James Audubon. Very few of Abbot’s original works have been published or otherwise reproduced, and thus they were never popularized in the way that Catesby’s and Audubon’s illustrations were. The decisive role that Abbot played in the developing knowledge of American wildlife was first highlighted in 1983, when Vivian Rogers-Price mounted a seminal exhibition of his work in Madison, Georgia. She also wrote the accompanying catalog, which -- in tandem with the show itself -- made a profound impact on public awareness of Abbot’s great work, with its special importance for the state of Georgia and the American South. Rogers-Price wrote: “This exquisitely rendered vision of Georgia’s insect, bird, and plant life established Abbot as one of the premier naturalist artists of the nineteenth century. In his watercolors Abbot combined a talent for composition and design with the technical skill for capturing the textures of his subjects.” [“John Abbot in Georgia: The Vision of a Naturalist Artist,” Madison-Morgan Cultural Center, Madison, Georgia, 1983] Works by Abbot are located in such venerable public collections as the British Museum, the Houghton Library of Harvard University, Hargrett Library of the University of Georgia, and the Smithsonian Institution. These watercolors are remarkably beautiful, and is of signal importance in the field of American natural history painting. [Attributes: Signed Copy]

      [Bookseller: Arader Galleries San Francisco]
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