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Displayed below are some selected recent viaLibri matches for books published in 1824

        IL NOTAJO PRINCIPIANTE ISTRUITO EDIZIONE RINNOVATA SULLO STATO ATTUALE DELLA ROMANA GIURISPRUDENZA

      ROMA: ALESSANDRO CERACCHI, 1824. RILEGATO. BUONO. 21 29. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
 1.   Check availability:     Biblio     Link/Print  


        Les caractères . suivi des caractères de Théophraste, traduits du Grec par le même. 2 vols.

      Paris, Lefèvre 1824 - With engr. portrait of the author. 2 leaves, 432 pp., 1 leaf; 2 leaves, 408 pp. Large 8vo. 19th-century polished calf over four raised bands, spines gilt with 2 gilt-lettered black morocco labels, inner and outer edges gilt, covers surrounded by black fillet with tiny gilt corner fleurons and blind-stamped ornamental border, rhomboid blind-stamped center ornament, partly uncut (two light stains, black fillet parly rubbed). Paris, Lefèvre, 1824. "Collection des Classiques François". Valuable 19th-century edition of La Bruyère's "Caractères" with the preliminary notes on the author and his work by L. S. Auger and J. Schweighaeuser, which were first published in the 32mo edition of the previous year. La Bruyère's (1645-1696) work (1688) is a vivacious and lucid satirical description of the French aristocracy up to the end of the reign of King Louis XIV. Starting with a translation of Theophrast's "Characters", La Bruyère added more and more of his own critical observations with each edition, thereby making numerous enemies. Nevertheless, he was accepted as a member at the "Académie Française" in 1693. - Very slight brownig to the uncut margins. A wide-margined copy in a fine binding. - Quérard, La France littéraire 352; Vicaire IV, 786. LITERATURE: FRENCH ; [Attributes: Hard Cover]

      [Bookseller: Hellmut Schumann Antiquariat]
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        Friendly advice on the management and education of children: addressed to parents of the middle and labouring classes of society. By the author of "Hints for the improvement of early education, and nursery discipline."

      London: Printed by Richard Taylor...for John Hatchard, 1824. [6], 98pp, [2]. With terminal advertisement leaf. Uncut in original publisher's printed blue boards. Rubbed, with some marking, creasing to corners, small split to base of spine. Occasional marginal loss, touching pagination of c5. Inscription to head of title. A rare survival in unsophisticated condition of Mrs Louisa Gurney Hoare's (1784-1836) second educational work, designed to supplement the privileges of 'all the numerous excellent schools established in all parts of the country' by avoiding 'neglectful treatment of the children' in the homes of the intended petit bourgeois and proletarian audience. Instructions are largely related to manners and deportment. The author's enlightened attitudes do, however, extend to outlining that children have rights and are due respect as well as to be respectful of others. As a text it was frequently reprinted (including by the Religious Tract) although perhaps not quite as popular as Hoare's first work, on Early education, this first edition is now remarkably scarce. COPAC locates only two copies, at BL and Oxford. . First edition. 12mo in 6s.

      [Bookseller: Antiquates]
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        Scenes and Impressions in Egypt and in Italy.

      - London, Longman, Hurst, Rees, Orme, Brown, and Green, 1824. 8vo. 20th-century half-calf over pebble-grained cloth, spine with gilt-sdtamperd morocco lettering-piece (this a little chipped); pp. iv, [2], 452; beggining and end a little spotted, otherwise internally very good. Scarce first edition of a first hand report and travelogue by a British soldier, who explains how it came to that journey: 'I sailed from Bombay in an Arab vessel on the 26th December, 1822. It had been my intention, when I left Madras, to have returned over land by myself; but I met at Bomaby two officers, bound in the same direction, and I gladly joined them' (Introductory Note). What follows is an early report of what tourists admired and visited in Egypt, and later Italy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Henry Sotheran Ltd]
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        An Album of Bewick Vignettes or 'Tale-Pieces' presented to Richard Arkwright.

      n.p.: [circa 1824]. Square 12mo. (145 x 110 mm), ll. 24 unnumbered, 8 with proof printings of woodcut vignettes bound in landscape format. Contemporary straight-grained blue morocco, with gilt roll border and emblematic tools (an angler's basket and a fish) in corners and at the center, gilt dentelles, a.e.g. Ink gift inscription on the first plate by "Thomas Bewick to Mr. Arkwright, 7 Aug. 1824," in ink. Bookplate of Arkwright of Sutton Scarsdale to front pastedown. A very good copy. A unique album of woodcut vignettes by Thomas Bewick, all with a pastoral or fishing theme, presented by Bewick to Richard Arkwright. Included are, 'elderly gentleman angler on horseback,' 'angler disturbed while fishing when his dog barks at a bull,' 'heron catches an eel,' 'cows in the water,' two images of fish: a 'John Dory' and a 'Brandling,' 'a well-dressed man rides a grey horse leading a train of five other horses,' and 'a sow yoked with sticks watches as nine of her piglets run through an open gate.' Most were intended for the abandoned History of British Fishes and were attributed to Bewick's later phase by Iain Bain. Bewick is best known for his wood engravings, especially for the miniature, precise, and often humorous vignettes referred to by him as "tale-pieces."

      [Bookseller: John Windle Antiquarian Bookseller]
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        THE COMPLETE ANGLER

      London: John Major, 1824. Second Major Edition. The charming pictorial binding is the perfect finishing touch for this truly complete edition of the beloved classic. Walton (1593-1683) lived in turbulent times, and he suffered personal tragedy (he endured the deaths of both his wives and eight of his nine children), but, largely because of the present work, he is forever identified with quietude and serenity. First published in 1653, his "Compleat Angler" is the classic work on the art of angling, infused with wise fish lore, written by an indomitable angler who knew every haunt of fresh water fish in the south of England. But, as Day says, "the love of angling is only the outward sign of a gentle inward grace, the soul of a thoroughly good man who loves peace and quiet meditation. If any one man created the idyll of the English countryside, it was Walton. The modern reader may shake his head at Walton's complete absence of 'social consciousness' and the perplexing conundrums of men and life; but the headshaking is ultimately stilled by the naïve genius who evokes with all the charm of an old woodcut an England of sweet streams, smiling fields, cheery taverns, and unshakable faith in God and His wonderful world." The present copy comes from an important edition, being the first issued by John Major (1782-1849). It includes "the notes of all previous editors carefully revised and amended" (Oliver) and was lavishly illustrated by some of the best artists of the day, including Huysman and Lely. The notes were ably edited by Richard Thomson (1794-1865), Librarian of the London Institution and respected scholar. The attractive binding captures the tranquility of the work beautifully, and the level of workmanship suggests an accomplished atelier like the Bayntun Bindery in Bath, which produced a number of fine, but unsigned, pictorial bindings.. 195 x 125 mm. (7 3/4 x 5"). lviii, 416 pp.With an introductory essay, the Linnæan arrangement of river fish, illustrative notes, and general index. Second Major Edition. INTRICATELY DECORATED LATE 19TH CENTURY NAVY MOROCCO INLAID WITH A DETAILED SCENE (unsigned but quite likely by Bayntun), upper cover with large inlaid panel depicting an angler sitting in his boat at dawn, this picture painted with morocco in more than 20 different colors, with an orange sun rising over purple mountains, ploughed fields, green hills and forests, and a tranquil blue-green lake, where a gray-haired gent is casting his line from his flat-bottomed boat, his angling basket at his feet, very expertly rebacked preserving original backstrip, flat spine with inlaid tan title label above an elongated gilt-framed panel containing two inlaid fish, one about to bite on the fly at the end of the angler's line, pastedown framed by blue morocco with gilt-ruled sides and fish medallions at corners, marbled endpapers, all edges gilt. In a fine modern brown cloth clamshell box. With 14 copper plates on India paper, with original tissue guards, and 77 woodcuts in the text. Oliver 23; Coigney 25. A hint of soil and darkening to the leather, gilt on the spine slightly dulled, faint browning at edges of text, but still a very pleasing copy, the binding without any wear, the text with no signs of use. The charming pictorial binding is the perfect finishing touch for this truly complete edition of the beloved classic. Walton (1593-1683) lived in turbulent times, and he suffered personal tragedy (he endured the deaths of both his wives and eight of his nine children), but, largely because of the present work, he is forever identified with quietude and serenity. First published in 1653, his "Compleat Angler" is the classic work on the art of angling, infused with wise fish lore, written by an indomitable angler who knew every haunt of fresh water fish in the south of England. But, as Day says, "the love of angling is only the outward sign of a gentle inward grace, the soul of a thoroughly good man who loves peace and quiet meditation. If any one man created the idyll of the English countryside, it was Walton. The modern reader may shake his head at Walton's complete absence of 'social consciousness' and the perplexing conundrums of men and life; but the headshaking is ultimately stilled by the naïve genius who evokes with all the charm of an old woodcut an England of sweet streams, smiling fields, cheery taverns, and unshakable faith in God and His wonderful world." The present copy comes from an important edition, being the first issued by John Major (1782-1849). It includes "the notes of all previous editors carefully revised and amended" (Oliver) and was lavishly illustrated by some of the best artists of the day, including Huysman and Lely. The notes were ably edited by Richard Thomson (1794-1865), Librarian of the London Institution and respected scholar. The attractive binding captures the tranquility of the work beautifully, and the level of workmanship suggests an accomplished atelier like the Bayntun Bindery in Bath, which produced a number of fine, but unsigned, pictorial bindings.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        The Works of William Hogarth; Containing One Hundred and Fifty-Eight Engravings, by Mr. Cooke and Mr. Davenport; with Descriptions, in which are Pointed Out Many Beauties that have Hitherto Escaped Notice, with a Comment on their Moral Tendency.

      London: Printed for J. Goodwin, Upper Thames Street, 1824. Two vols., 4to., [x], 149, [8]; [iv], 158, with 158 engravings. Contemporary full blue straight-grain morocco, roll-tooled in blind and gilt. Gilt paneled backstrip with title stamped in gilt, and gilt dentelles, a.e.g. Edges and corners of boards are slightly rubbed, some rubbing at joints, minor foxing confined mostly to pages facing plates; very good. First edition thus: newly revised and corrected. William Hogarth (1697-1764) was a painter and engraver, sometimes described as the father of British painting, though not the earliest English-born painter of note. His work typically was of social utility, and exemplified morally inflected realism. Cook and Davenport capture the essence and depth of his work in these two volumes with 158 rich engravings.

      [Bookseller: John Windle Antiquarian Bookseller]
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        An Album of Bewick Vignettes or ‘Tale-Pieces’ presented to Richard Arkwright.

      n.p.: [circa 1824]. Square 12mo. (145 x 110 mm), ll. 24 unnumbered, 8 with proof printings of woodcut vignettes bound in landscape format. Contemporary straight-grained blue morocco, with gilt roll border and emblematic tools (an angler’s basket and a fish) in corners and at the center, gilt dentelles, a.e.g. Ink gift inscription on the first plate by “Thomas Bewick to Mr. Arkwright, 7 Aug. 1824,” in ink. Bookplate of Arkwright of Sutton Scarsdale to front pastedown. A very good copy. A unique album of woodcut vignettes by Thomas Bewick, all with a pastoral or fishing theme, presented by Bewick to Richard Arkwright. Included are, ‘elderly gentleman angler on horseback,’ ‘angler disturbed while fishing when his dog barks at a bull,’ ‘heron catches an eel,’ ‘cows in the water,’ two images of fish: a ‘John Dory’ and a ‘Brandling,’ ‘a well-dressed man rides a grey horse leading a train of five other horses,’ and ‘a sow yoked with sticks watches as nine of her piglets run through an open gate.’ Most were intended for the abandoned History of British Fishes and were attributed to Bewick’s later phase by Iain Bain. Bewick is best known for his wood engravings, especially for the miniature, precise, and often humorous vignettes referred to by him as “tale-pieces.”

      [Bookseller: John Windle Antiquarian Bookseller]
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        The Dangerous Voyage Performed by Captain Bligh, with a part of the crew of His Majesty's Ship Bounty, in an open boat, Over Twelve Hundred Leagues of the Ocean; in the year 1789.

      R. Napper Dublin 1824 - Small, 141 x 84mm, frontispiece, 175 p. Contemporary brown full tree calf, backstrip lettered gilt Bligh and with four horizontal rules. Blind stamp J.H.Squire on the upper cover and on the first six leaves, tanned edges to the endpapers from the calf turn-ins, a small corner off the front free endpaper (30mm on the hypotenuse), a small corner off leaf 169/70 (12mm on the hypotenuse) otherwise a near fine truly exceptional copy with completely sound hinges and joints. Apparently the compilation dealing with Bligh's voyage has been considerably extended in this Dublin edition. The title continues: To which is added, an account of the sufferings and fate of the remainder of the crew of said ship. [Attributes: Hard Cover]

      [Bookseller: JIRI Books]
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        Observations on some points of seamanship; with practical hints on naval oeconomy . . . The whole profits are for the benefit of the Royal Naval Charitable Society.

      Cheltenham, printed by J. J. Hadley, 1824. - 8vo (210 x 130 mm), pp. xii, 290; contemporary crushed blue morocco, elaborate gilt border; spine gilt; gilt edges; extremities slightly rubbed but an excellent copy with the Mansel bookplate, probably that of Captain Robert Mansell (1786–1845) who is noted as having received three copies in the list of subscribers (p. 284), and the ticket of Williams Bookseller, Cheltenham.First edition. The Observations was written in 1811 when the author was captain of the Leonidas frigate and is based on his experience of a wartime navy during the Napoleonic Wars. 'As its title suggests, the book is mainly concerned with matters of seamanship but contains many notes on ship organisation . . . . The chapter on "Conduct of the ship's company" ranges over many issues and is perhaps the most humane and liberal of all the documents which have emerged from the period. Perhaps this is because the bitterness caused by the great wave of mutinies culminating in 1797 had died down and officers such as Griffiths were able to consider ways to keep up morale for the future. Certainly the book can be seen as part of a general humanisation of the Navy after about 1805, with many small reforms such as the abolition of running the gauntlet and starting and the regularisation of the position of the caplain on board ship' (Lavery, ed., Shipboard life and organisation 1731–1815, pp. 255–6).'Griffiths, the son of a clergyman in Kingston-upon-Thames, became a midshipman in 1781 and was first commissioned in 1790. He served on the Culloden at the Glorious First of June in 1794 and was promoted commander in the sloop Atalante four years later. After some success against privateers in the Channel he was posted captain in 1802 and appointed to the Constance frigate, in which he served in various parts of the world. He was transferred to the Leonidas frigate in 1809 and served mainly in the Mediterranean' (Lavery, p. 255). He expresses his reasons for writing the Observations in the preface, mentioning, in particular, that the 'want of exercising our reason, the habit of taking things of every day occurrence by rote, are certainly ill calculated to produce a good seaman. The whole movements and management of a ship at sea are so strictly scientific, that if the hints herein embodied only tend to promote inquiry, and to foster a habit of thinking on the why and wherefore, I shall be satisfied' (p. iv).The esteem in which Griffiths and his work were held is made evident from an extensive list of subscribers. This is littered with such celebrated names as Sir Jahleel Brenton, Francis Austen (the novelist's, Jane Austen, brother), Sir Alexander Cochrane, Lord Gambier, Sir Philip Broke, Sir Israel Pellew, Sir George Montagu and Sir James Saumarez, as well as institutions such as the Royal Naval Club. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bernard Quaritch Ltd ABA ILAB]
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        Topographie der sichtbaren Mondoberfläche

      1824 - Topographie der sichtbaren mondoberfläche von Wilhelm Gotthelf Lohrmann. Erste Antheilung. Mit VI Kupfertafeln. - Dresden : Selbstverl ; Leipzig : Hartknoch, 1824. - 6 Bl., 110 S., 1 Bl., XVIII S., 6 Bl. (Kupferst.) 28 x 25,5 cm. Neuzeitlicher Halblederband (gering bestoßen, OPappband eingebunden) /Seiten leicht randgebräunt mit wenigen Stockflecken, 2 Seiten schmutzfleckig, Tafeln stellenweise, vorwiegend im Rand stockfleckig/ - Hier der seltene und erstmalig erschienene erste Teil des Kartenwerks "Mondkarte in 25 Sektionen" von Wilhelm Gotthelf Lohrmann (1796 - 1840, Dresden), dass gleichzeitig sein Hauptwerk war. 1839 wurde er Direktor der sächsischen Vermessungsanstalt (als Nachfolger von Wilhelm Ernst August von Schlieben) und 1828 Oberinspektor des Mathematisch-Physikalischen Salons im Dresdner Zwinger. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Hardner]
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        [GERMAN FINE BINDING by LEHMANN] [occasional album]

      sm. oblong 4to, 21.5 x 26.5 cms (8.5 x 10.75 inches), different coloured papers, elaborate binding with tapestry onlays, gilded hasps (clasp gone), gilt inner dentelles, silk doublures, binder's printed ticketA very handsome album, with the printed label at the back of Carl Lehmann, Berlin, i.e. the Royal Court binder Carl Ernst Lehmann III (1807-1848); his father, Carl Lehmann II died in 1823. Dating the album is helped by the presence of paper watermarked Whatman 1824. We have traced two similar albums (both with the gilt leaf-shaped hasps): 1) at the Gutenburg Museum 2) Reiss & Sohn, auctioneers, 30/10-2/11/2012. lot 4935; both are attributed to the father, but since he had died in 1823, the present work is either the work of the son, or the work of the bindery in its transitionary period. The contents comprise a fairly modest concoction of watercolours, drawings, prints, etc., by various hands, 1820's - 1850's.

      [Bookseller: Ian Marr Rare Books]
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        Antique Print-PIGEON-DOVE-COLUMBO-Goldfuss-1824

      - 1. Columba miruta (Pigeon, Dove).2. Columba aromatica (The aromatic pigeon)3. Columba Palumbus (Common Wood Pigeon) The Common Wood Pigeon (Columba palumbus) is a member of the dove and pigeons family Columbidae. It is locally known in south east England as the Culver. Original chromolithographs on a vellin type paper. Recent hand colouring. Description: This large original old antique print / plate / lithograph originates from: 'Naturalist Atlas' by Georg August Goldfuss. This extra large-size collection of lithographs with gorgeous recent coloring depicting animals, birds, reptiles, fish, etc. published in Duesseldorf, at Arnz from 1824 -1842 This work was issued over this long period of time in series of twenty prints each per annum. There are no officially bound copies and they were issued uncoloured. Since individual sheets were often misplaces, rolled up, folded they have become scarse items, which makes these prints rare and sought after. Artists and Engravers: Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. Storage location: X-LARGE The overall size is ca. 18.1 x 22 inch. The image size is ca. 14.2 x 18.5 inch. The overall size is ca. 46 x 56 cm. The image size is ca. 36 x 47 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-MALKOHA-SMOOTH-BILLED ANI-Goldfuss-1824

      - 1. Phoenicophaeus viridis (Blue Faced Malkoha).2. Crotophaga Ani (Smooth-billed Ani). The Smooth-billed Ani is a large near passerine bird in the cuckoo family. It is a resident breeding species from southern Florida, the Bahamas, the Caribbean, parts of Central America, south to western Ecuador, Brazil, and northern Argentina. Original chromolithographs on a vellin type paper. Recent hand colouring. Description: This large original old antique print / plate / lithograph originates from: 'Naturalist Atlas' by Georg August Goldfuss. This extra large-size collection of lithographs with gorgeous recent coloring depicting animals, birds, reptiles, fish, etc. published in Duesseldorf, at Arnz from 1824 -1842 This work was issued over this long period of time in series of twenty prints each per annum. There are no officially bound copies and they were issued uncoloured. Since individual sheets were often misplaces, rolled up, folded they have become scarse items, which makes these prints rare and sought after. Artists and Engravers: Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. Storage location: Lade 3 The overall size is ca. 18.1 x 22 inch. The image size is ca. 14.2 x 18.5 inch. The overall size is ca. 46 x 56 cm. The image size is ca. 36 x 47 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-RED LEGGED PARTRIDGE-GUAZU-Goldfuss-1824

      - 1. Crypturus, Crypturus rufescens (Guazu, Grass Chicken)2. Perdix, Perdix rubra (Red-legged Partridge). The Red-legged Partridge is a gamebird in the pheasant family Phasianidae of the order Galliformes, gallinaceous birds. It is sometimes known as French Partridge, to distinguish it from the Grey or English Partridge. Original chromolithographs on a vellin type paper. Recent hand colouring. Description: This large original old antique print / plate / lithograph originates from: 'Naturalist Atlas' by Georg August Goldfuss. This extra large-size collection of lithographs with gorgeous recent coloring depicting animals, birds, reptiles, fish, etc. published in Duesseldorf, at Arnz from 1824 -1842 This work was issued over this long period of time in series of twenty prints each per annum. There are no officially bound copies and they were issued uncoloured. Since individual sheets were often misplaces, rolled up, folded they have become scarse items, which makes these prints rare and sought after. Artists and Engravers: Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning and occasional light staining as visible on image. Some light fold lines. Please study scans. Storage location: Lade 3 The overall size is ca. 22 x 18.1 inch. The image size is ca. 18.5 x 14.2 inch. The overall size is ca. 56 x 46 cm. The image size is ca. 47 x 36 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Bird Print-RUFF-CURLEW-LAPWING-Goldfuss-1824

      - Plate CL.X. Aves: Tringa pugnax (Ruff), Tringa subarquata (Pygmy Curlew), Tringa indica (Red-wattled Lapwing).Tringa is a genus of waders, containing the shanks and tattlers. They are mainly freshwater birds, often with brightly coloured legs as reflected in the English names of six species, as well as the specific names of two of these and the Green Sandpiper. They are typically associated with northern hemisphere temperate regions for breeding. Some of this group - notably the Green Sandpiper - nests in trees, using the old nests of other birds, usually thrushes. Original chromolithographs on a vellin type paper. Recent hand colouring. Description: This large original old antique print / plate / lithograph originates from: 'Naturalist Atlas' by Georg August Goldfuss. This extra large-size collection of lithographs with gorgeous recent coloring depicting animals, birds, reptiles, fish, etc. published in Duesseldorf, at Arnz from 1824 -1842 This work was issued over this long period of time in series of twenty prints each per annum. There are no officially bound copies and they were issued uncoloured. Since individual sheets were often misplaces, rolled up, folded they have become scarse items, which makes these prints rare and sought after. Artists and Engravers: Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning and occasional light staining from handling as visible on image. Some light fold lines. Very small tear in top paper edge, backed. Please study scans. Storage location: Lade 3 The overall size is ca. 17.3 x 22 inch. The image size is ca. 14.2 x 20.5 inch. The overall size is ca. 44 x 56 cm. The image size is ca. 36 x 52 cm.

      [Bookseller: ThePrintsCollector]
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        The Private Journal of Captain G. F. Lyon, of H.M.S. Hecla, during the Recent Voyage of Discovery under Captain Parry.

      London: John Murray, 1824 - Octavo (208 x 128 mm). Contemporary purple calf, broad gilt-hatched flat bands to spine, twin rules gilt either side, red morocco label to second compartment, the others with central quatrefoil in gilt, multiple gilt rules to head and foot, decorative blind border to covers, marbled endpapers. 20th-century monogram bookplate to front pastedown, blind-stamp reading "Rodlease, Boldre, Lymington", listed Georgian mansion, to the front free endpaper; late-19th-century pencilled marginalia to p. 65 et seq. Spine darkened, subtly repaired at head, joints and corners skilfully refurbished, small dent to top edge, a few light scuffs and indentations to sides, browning to half-title from old laid-in plant leaf, sporadic pale foxing to lower margins of text-block, upper outer corners of sigs. 2B8-2C1 and 2C7-2D1 slightly creased and soiled, light spotting to plates, map very faintly offset, otherwise a few trivial spots or marks. A very good copy, complete with the half-title and dedication leaf. Engraved frontispiece and 6 similar plates after original drawings by the author, folding route map. First edition. Presentation copy, inscribed by the author, "Miss Smith, with the best regards of an old acquaintance - Geo. F. Lyon" on the title page. Commissioned lieutenant in 1814, Lyon (1795-1832) accompanied Joseph Ritchie's abortive expedition into southern Libya in 1818 (having replaced Frederick Marryat), publishing a well-received account of his travels in 1821, the same year that he was promoted commander and "appointed to the Hecla under the orders of Captain William Edward Parry in the Fury. The expedition, Parry's second in the search for the north-west passage, sailed on 8 May 1821, entered the Arctic region through Hudson Strait, examined Repulse Bay and the neighbouring coast of Melville peninsula, and wintered at a small island to the eastward of the Frozen Strait. The next summer they went further north and entered Fury and Hecla Strait, but the season being then far advanced they turned back, wintered at Igloolik (lat. 69°21' N, long. 81°44' W), and came home in autumn 1823, as signs of scurvy among the crew made it inadvisable to stay. On 13 November Lyon was promoted captain, and the following year he published The private journal of Captain G. F. Lyon" (ODNB). The next year he led an unsuccessful expedition to Repulse Bay with instructions to continue the survey of the mainland Begun by John Franklin. His Private Journal proved popular and there was a second edition the following year; this copy is appealingly presented in a strictly contemporary, unusual binding of purple calf. Howgego II L52. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Voyage Dans la République de Colombia, en 1823

      Arthus Bertrand, Paris 1824 - 2 vols.: iv, 307, [2]; 316, [1] p. 20 cm. Vol. 1 has engraved frontispiece, three other engraved plates, and one table. Vol. 2 has frontispiece engraving, three engraved plates, two tables, and a fold-out map of Colombia at rear. Full leather bindings. Early spine replacements. Spines chipped. Gaspard Théodore Mollien (1796 – 1872) was a French diplomat and explorer. At the time of his travels in Colombia, the country had just become independent, having separated from Spain in 1819. Mollien describes his journey, the natives, and the politics of the country. Plates engraved by Pierre Francois Legrand (1743-1824). This is a scarce as well as an important work, published later in 1824 in English and the following year in German, Dutch, and Italian. French text. Sabin 49917. [Attributes: First Edition; Hard Cover]

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        Mémoire sur les bateaux à vapeur des Etats Unis DAmerique

      First edition. 2 vols. 4to & folio. 17 engraved plates (1 double-page). Contemporary half calf, rebacked, extremities rubbed & quarter green roan, a little rubbed. [iv], 290, [1errata]pp. Paris, Imprime Royale,

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        Plans Coupes et Elevations de l'Ancien et du Nouveau Palais de l'Académie de Françe pour l'Etude des Beaux arts, à Rome, par les Artistes pensionnaires du Roi qui ont remporté, à l'Académie des beaux arts de l'Institut de Françe à Paris, les 1ers grands Prix en Peinture historique, Peinture de Paysage, Sculpture, Architecture, Composition Musicale, et enfin en Gravure en taille douce, en Médailles et en pierres fines. L'Ancien Palais, rüe du Cours. Le Nouveau Palais, à la Villa Medici. Le tout, d'après les dessins Originaux levés Mesurés rapportés et déssinés sur les Lieux par M.M. Norry, père et fils Architectes. et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817. Rome. 1817

      [Paris?], c. 1824. An album of architectural drawings of the Palazzo Mancini and the Villa Medici, successive homes of the Académie de France in Rome. The first two drawings are plans of the ground floor and top floor of Palazzo Mancini, indicating respectively the instructional rooms and the lodgings of the pensionnaires, as implemented in 1784. In 1793, the Academy departed Palazzo Mancini, and was homeless until relocated in 1803 in the Villa Medici. The remaining ten drawings are plans, sections, and elevations of the Villa Medici, constituting a survey undertaken in 1817 by the architect Charles Norry, assisted by his elder son and pupil, Charles-Désiré Norry (1796-1818), and by Lucien-Tyrté Van Cleemputte (1795-1871). Norry, Charles Conflans-Charenton 1756 - 1832 Paris Plans Coupes et Elevations de l'Ancien et du Nouveau Palais de l'Académie de Françe pour l'Etude des Beaux arts, à Rome, par les Artistes pensionnaires du Roi qui ont remporté, à l'Académie des beaux arts de l'Institut de Françe à Paris, les 1ers grands Prix en Peinture historique, Peinture de Paysage, Sculpture, Architecture, Composition Musicale, et enfin en Gravure en taille douce, en Médailles et en pierres fines [rule] L'Ancien Palais, rüe du Cours, Le Nouveau Palais, à la Villa Medici. [rule] Le tout, d'après les dessins Originaux levés Mesurés rapportés et déssinés sur les Lieux par M.M. Norry, père et fils Architectes. et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817. [rule] Rome. 1817. [Paris, circa 1824] folio (binding 550 × 405 mm), (1) manuscript half-title, Villa Medici (2) manuscript title, transcribed above (3-14) twelve, unnumbered architectural drawings (eleven double-page and one folding), executed in pen and ink and wash, on tracing paper laid down on thin card (see list below). paper (half-title:) watermark Horne | 1824; (title and drawing:) large watermark of a crowned lion with sword and countermark J Kool & Comp; (drawings:) large watermark of an imperial eagle and countermark LL (?); (binder's endpapers:) large shield incorporating a fleur-de-lys and charged with initial M. Tear in drawing 11 (without loss, early repair), other small defects; generally in fine, fresh state of preservation. provenance Prince Henry de la Tour d'Auvergne Lauraguais (1921-1999) -- Sotheby's, 'From the Collection of Prince and Princess Henry de la Tour d'Auvergne Lauraguais', London, 3 May 2012, lot 483 binding contemporary blue calf-backed marbled boards, back decorated in gilt and lettered Villa Medici | 1817 (backstrip relaid on new leather). An album of architectural drawings of the Palazzo Mancini and the Villa Medici, successive homes of the Académie de France in Rome. The first two draw­ings are plans of the ground floor and top floor of Palazzo Mancini, indicating respectively the instructional rooms and the lodgings of the pensionnaires, as implemented in 1784. In 1793, the Academy departed Palazzo Mancini, and was homeless until relocated in 1803 in the Villa Medici. The remaining ten drawings are plans, sections, and elevations of the Villa Medici, constituting a survey undertaken in 1817 by the architect Charles Norry, assisted apparently by his elder son and pupil, Charles-Désiré Norry (1796-1818), and by Lucien-Tyrté Van Cleemputte (1795-1871), who had won the previous Grand Prix for Architecture (1816). Charles Norry had trained in the studio of Charles de Wailly, and afterwards collaborated with him on projects both at home and abroad; in 1779-1782, while De Wailly worked in The Netherlands, Norry was Inspecteur des Travaux during construction of the Théâtre de l'Odéon in Paris. 1 He then made a voyage to Italy, where he met Séroux d'Agincourt, and became a supplier of drawings for the embryonic 'Histoire de l'Art par les Monumens'. 2 On returning from Italy, Norry's practice developed steadily, despite the disruption of the Revolution. A founder member of the Institut d'Égypte, he was one of four architects on the Egyptian expedition, charged specifically with designing barracks, hospitals, and a gunpowder factory. 3 In 1803, he became a membre titulaire of the Conseil des Bâtiments civils, and later was appointed by the Ministère de l'Interieur as Chef du Bureau des Bâtiments civils. Norry arrived in Rome on 6 October 1817 and was accommodated in the Villa Medici. His son, Charles-Désiré, was then attached to the Académie de France as an external student (not as a pensionnaire), 4 and during Norry's residence, Ingres executed drawings of both father 5 and son. 6 The Villa Medici had fallen into a poor state before its occupation by the Académie de France. In 1803, the new director of the French Academy, Joseph-Benoît Suvée, ordered the architect Grandjean de Montigny to draw plans of the building, and these had been submitted to Napoleon together with a detailed report on its potential utilisation and an estimate of the cost of remodelling. 7 In 1803, an Italian architect was instructed to proceed with the conversion. Building work continued for nine months: windows were lowered to admit more light, interior partitions were erected, doors were opened, and other doors closed, and the gardens were replanted and ornamented by an ensemble of antique statues, reliefs, and other artefacts. The current director of the Academy, Charles Thévenin, was determined to continue restoration of the fabric of the Villa and to restore also the Academy's collections. At some point, Norry undertook the survey, producing 'the first truly reliable drawings of the Villa'. 8 It was presented to the Minister of the Interior, vicomte Joseph Henri Joachim Lainé (1767-1835), in late February or early March 1818. 9 Norry also communicated to Lainé a list of books needed in the library. 10 For comparative purposes, Norry included in his survey two drawings showing how the Academy had been accommodated in Palazzo Mancini. The first is a plan of the ground floor, indicating the principal rooms used for instruction: the 'Salle à manger' (refectory, where geometry was taught), the 'Académie [du nud] d'hiver' and 'Académie d'Eté' (halls for studying and copying models), and the 'Salle de Marc-Aurèle'. The second sheet shows the lodging of the pensionnaires on the third floor (twelve bedrooms, with the position of the bed indicated in each; a ‘Salle Commune'; and 'Latrines'). Both plans are dated 1784. They may be copies of plans drawn by Joseph Subleyras (1745-1810), an architect attached to the Academy; 11 or based on plans drawn in August 1775 by Jean-Augustin Renard. 12 It is conceivable that Norry made them in Rome, from originals in the library of the Académie de France; more likely, however, they were copied by him later, in Paris. The first of the ten sheets representing the Villa Medici is a general plan, with details of five garden pavilions which had been remodelled into ateliers for the pensionnaires. The second drawing is a plan of the ground floor, on which Norry has stated the name or purpose of each room, and located eight statues and busts. 13 The next five drawings are plans of the upper floors. On the plan of the Étage principal, Norry indicates how the collection of casts ('statues moulées sur l'antique') is displayed (the positions of thirty-two casts can be pinpointed through a key), also the organisation of the casts in the adjacent 'Gallerie d'antiques', and locations of statues of Louis xiv and xviii in the 'Salle d'Exposition'. 14 The last three sheets are elevations or sections; 15 the elevation of the highly-ornamented garden façade is of particular interest, as it depicts the reliefs and busts before successive alterations. 16 As announced in the manuscript title, the drawings in our album are copies, 'Le tout, d'après les dessins Originaux levés Mesurés rapportés et déssinés sur les Lieux par M.M. Norry, père et fils Architectes. et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817'. The originals, some of which are signed by Norry, were presented to Lainé in 1818, and are now in the Bibliothèque de l'Institut de France. 17 Our copies were produced by laboriously tracing the original drawings onto a translucent support of tracing paper. The tracings must have been done immediately, before submission of the original drawings to the Academy in 1818. Several years later, the thin sheets were laid on card, and assembled as an album by a bookbinder. The manuscript half-title (Villa Medici) is a sheet of paper watermarked 1824, the terminus post quem for production of the album. The copies probably were made by or at the behest of Charles Norry, as a record of his work, even perhaps as a memorial of his late son (Charles-Désire died in Paris, 27 September 1818). Several drawings have additions in graphite, as for example the 'Plan du deuxième Étage', where the placement of furniture in the 'Logement du Directeur' and in the 'Bibliothèque' is indicated, and the 'Plan de L'Entresol' where the furniture in a student's 'Logement' is shown. Unlike the originals, all of the copies have scale bars (in mètres and toises). Alternatively, the copies may have been made by Lucien-Tyrté Van Cleemputte, as testi­mony to his involvement in the project. It may be significant that the phrase 'et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817' appears on the manuscript title in this volume, but not in the original set of drawings. Van Cleemputte returned to Paris in June 1822. 18 In 1824 he exhibited a number of drawings he had made in Rome. List of Drawings [img-3142-left-large_default] Fig.1 Palazzo Mancini on the Corso, home of the French Academy in Rome from 1737 to 1793. Plan of the ground floor, where the students were instructed, in 1784 ■ Plan du Rez de chaussée du Palais | de l'académie de France à Rome. | 1784. Borderline 500 × 705 mm (sheet 545 × 750 mm), pen and ink with brown, grey wash; details in pink, red, blue, green. Two scale bars (Echelle de mètres and toises). Fig.1 [img-3148-left-large_default] Fig.2 Palazzo Mancini, plan of the students' accommodation, third floor, in 1784 ■ Plan du troisième et dernier etage du Palais | de l'academie de France à Rome. 1784 | appartements de mm.rs les Pensionnaires Borderline 495 × 705 mm (sheet 545 × 750 mm), pen and ink with brown, grey wash, details in pink. Two scale bars (Echelle de mètres and toises). Fig.2 [img-3149-left-large_default] Fig.3 General plan of Villa Medici, with details of five garden pavilions used as ateliers ■ Plan général de la Villa Medici maintenant l'école des | Beaux arts à Rome Borderline 495 × 700 mm (sheet 545 × 750 mm), pen and ink with green, blue, brown, pink wash; details in blue. One scale bar (Echelle de mètres). Fig.3 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.72-74 no. 43 and p.211 no. 224 (detail: 'Batiment de dépendance où se trouve un Attelier') (53 × 78 cm, signed right Norry) [img-3150-left-large_default] Fig.4 Plan of the ground floor of Villa Medici ■ Villa Medici à Rome | Plan du Rez de chaussée [Key:] 1. Appollon du Belveder. 3. Venus du Capitole | 2. Antinous du Vatican 4. Le Discobole | 5. Hercule enfant 6, et 7. Bustes du Poussin et de Raphaël d'Urbin Borderline 715 × 505 mm (sheet 545 × 750 mm), pen and ink with brown, grey, green wash; details in pink. Two scale bars (Echelle de mètres and toises). Fig.4 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.176-177 no. 187a (51 × 70 cm, signed right Norry). Maestà di Roma: da Napoleone all'unità d'Italia. D'Ingres à Degas: les artistes français à Rome, catalogue of an exhibition held at the Villa Medici, Rome, 7 March-29 June 2003 ([Milan] 2003), p.50 fig. 1. Matthias Quast, 'Zur Planung römischer Villenanlagen der zweiten Hälfte des Cinquecento: die Organisation des Terrains' in Mitteilungen des Kunsthistori­schen Institutes in Florenz 38 (1994), p.256 fig. 9 [img-3151-left-large_default] Fig.5 Plan of the mezzanine floor of Villa Medici ■ Villa Medici à Rome | Plan de L'Entresol Borderline 710 × 495 mm (sheet 545 × 750 mm), pen and ink with grey wash; details in blue. Two scale bars (Echelle de toises and mètres). Fig.5 Additions in graphite, locating furniture in a 'Logement' Original: Paris, Institut de France, Ms 1033. Toulier, op. ci t., pp.176, 178 no.187b (51 × 70 cm) [img-3152-left-large_default] Fig.6 Plan of the first floor of Villa Medici, indicating the display of statuary ■ Villa Medici | à Rome | Plan de l'Etage Principal [Key (above):] Noms des statues moulées sur l'antique | qui ornent l'étage principal [these indi­cated nos. 1-32] | La Galerie est composée des statues bas reliefs bustes et détails | moules sur les antiques du vatican du capitole et les galeries | particulières de Rome | nota. les fragments d'architecture sont en dépot da ns une salle | placée sous la terrasse des bosquets élevés. V. le plan général [Key (below):] a. Statue de Louis dix huit b. Statue de Louis quatorze. | (nota) c.d.e. Chambres au dessus desquélles il y à des Entresols Borderline 700 × 495 mm (sheet 545 × 750 mm), pen and ink with green, blue, grey wash; details in pink, blue. Two scale bars (Echelle de mètres and toises). Fig.6 Additions in graphite. Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.176, 179 no.187c (51 × 70 cm). Maestà di Roma, op. cit., p.50 fig. 2. Quast, op. cit., p.257 fig. 10 [img-3153-left-large_default] Fig.7 Plan of the second floor of Villa Medici, showing the Director's apartment ■ Villa Medici a Rome | Plan du deuxième Etage | avec pièces et greniers an dessus, excepté sur les pièces composant la Bibliothèque Borderline 700 × 495 mm (545 × 750 mm), pen and ink with grey wash; detail in pink. Two scale bars (Echelle de mètres and [toises]). Fig.7 Additions in graphite, indicating placement of furniture in the 'Logement du Directeur' and 'Bibliothèque' Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.180, 182 no. 187d (51 × 70 cm). Maestà di Roma, op. cit., p.50 fig. 3. [img-3154-left-large_default] Fig.8 Plan of the third floor of Villa Medici ■ Villa Medici à Rome | Plan du troisième Étage en attique [Key:] a. Petit escalier de bois qui conduit à la loge. (nota bene) Au dessous des chambres bb sont deux | chambres semblables Borderline 705 × 500 mm (sheet 545 × 750 mm), pen and ink with brown wash. Two scale bars (Echelle de mètres and toises). Fig.8 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.181-182 no. 187e (51 × 70 cm). Two scale bars (mètres and toises) [img-3155-left-large_default] Fig.9 Plan of the fourth floor of Villa Medici ■ Villa Medici à Rome | Plan du Quatrième Etage. Borderline 710 × 495 mm (sheet 545 × 750 mm), pen and ink with brown, grey wash. Two scale bars (Echelle de mètres and toises). Fig.9 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., p.182 no. 187f (51 × 70 cm) [img-3156-left-large_default] Fig.10 Elevation of the front façade of Villa Medici ■ Villa Medici à Rome | Elévation du cote de Rome. Borderline 530 × 705 mm (sheet 545 × 750 mm), pen and ink with brown, grey, pink wash. Two scale bars (Echelle de mètres and toises). Fig.10 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.114-115 no. 107 (49.3 × 70 cm) [img-3157-left-large_default] Fig.11 Elevation of the garden façade of Villa Medici ■ Villa Medici à Rome | Elévation du Coté des Jardins | niveau du sol du coté de la promenade de Rome Borderline 530 × 710 mm (sheet 545 × 750 mm), pen and ink with brown, grey, green, pink wash. Two scale bars (Echelle de mètres and mètres [sic]). Fig.11 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.140-141 no. 143 (53 × 70 cm, signed right Norry) [img-3158-left-large_default] Fig.12 ( left) Elevation of the Terrace of the Bosco, a grove of trees with an artificial mount ('Parnassus', or Belvedere), built by Ferdinando Cardinal de'Medici over the remains of an ancient temple; (right) Longitudinal section of the Villa Medici, depicting on the Étage Principal (Salle d'Exposition) Domenico Guidi's statue of Louis xiv ■ Villa Medici à Rome | Coupe en travers des jardins Borderline 495 × 1240 mm (sheet 545 × 1300 mm), pen and ink with blue, grey, pink wash. Three scale bars (Echelle de mètres and mètres [sic]; mètres). Fig.12 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.183 nos. 188a-b, pp.202-203 no. 212 (48.5 × 114 cm, signed Norry) 1. H. Lemonnier, Notes biographiques sur Charles Norry et sur Moreau le jeune (Paris [n.d.; c. 1860]), pp.3-14; Charles de Wailly: peintre architecte dans l'Europe des lumières, catalogue of an exhibition held in the Hôtel de Sully, Paris, 23 April-1 July 1979, edited by Monique Mosser (Paris 1979), p.102. A plan drawn by Norry in 1781 of the area between Oberneustadt and the Residenzschloß Kassel is Staatliche Museen Kassel, Graphische Sammlung, L GS 13821 (http://lineamenta.biblhertz.it; link). 2. The preparatory materials gathered by Seroux d'Agincourt for his great work were bequeathed to the Biblioteca Apostolica Vaticana (Ms Lat 9839-9849, 13479-13480). Norry's contribution includes plans of monuments in Benevento, Perugia, and Rimini (Henri Loyrette, 'Séroux d'Agincourt et les origines de l'histoire de l'art médiéval' in Revue de l'art, 48, 1980, pp.43, 51 note 26, 53 note 70; Valerio Ascani, 'La documentazione grafica inedita sul duomo di Benevento nella raccolta di Séroux d'Agincourt' in Arte medievale, 3, no. 2, 1989, pp.149, 152 note 37). Among other drawings executed by Norry in Italy are a 'Vue des Thermes de Dioclétien à Rome' (Private Collection, Paris; Charles de Wailly: peintre architecte, op. cit., p.114 no. 28 and reproduction p.29) and a pen and wash drawing in the Stammbuch von Brack dated 22 July 1784 (In Erlesen gestiftet: die Stiftung der Gebrüder Linel in der Buchkunst- und Graphiksammlung des Museums für Kunsthandwerk Frankfurt am Main, 5. Dezember 1991 bis 16. Februar 1992, Frankfurt am Main 1991, pp.154, 159). 3. Norry published an account of his experiences as Relation de l'expédition d'Égypte (Paris 1799; English translation, London 1800) and also wrote a play, 'L'Entrée des Français au Kaire' (Paris 1830). He was an early member of a pseudo-Egyptian secret society, the Ordre Sacré des Sophisiens, founded in 1801; see Darius A. Spieth, Napoleon's sorcerers: the Sophisians (Newark, de 2007), pp.56, 154. 4. Catalogue général des manuscrits des bibliothèques publiques de France, Paris: Bibliothèque de l'Arsenal, by Henry Martin (Paris 1892), vi, p.303 no. 6648 f.103: 'Lettre de [vicomte Joseph Henri Joachim] Lainé, ministre de l'interieur, à Norry relative à une demande de gratification pour son fils, étudiant en Italie' (31 January 1817). Charles-Désiré evidently arrived in Rome before Easter 1817, as he is recorded in the Stato delle Anime, parish of S. Lorenzo in Lucina, in 1817 (Hans Naef, Die Bildniszeichnungen von J.-A.-D. Ingres, Bern 1978, ii, p.232). 5. Charles Norry: Naef, op. cit., ii, pp.229-233 ('Die Architekten Charles und Charles-Désiré Norry'); iv, pp.400-401 no. 215, signed, inscribed Par Son très respectueux serviteur Ingres, à Madame Norry. The drawing was offered by Sotheby's, 'Revolution in Art', New York, 24 January 2002, lot 96 (ex-William S. Paley Collection). 6. Charles-Désiré Norry: Naef, op. cit., ii, pp.229-233; iv, pp.402-403 no. 216, signed, inscribed, and dated at lower left Ingres à Mr. Norry | Pere. | rome | 1817. The drawing is in the Morgan Library & Museum in New York; see European drawings 1375-1825, compiled by Cara Dufour Denison and Helen B. Mules (New York 1981) p.130 no. 121, and French master drawings: from the Pierpont Morgan Library, by Cara Dufour Denison, catalogue of an exhibition held at the Musée du Louvre, Paris, 1 June-30 August 1993 (New York 1993), pp.226-227 no. 103. 7. Glenn M. Andres, The Villa Medici in Rome (New York & London 1976), i, pp.472-474. Grandjean de Montigny's drawings are lost. 8. La Villa Médicis, 1: Documentation et description, by Bernard Toulier (Rome 1989), p.72: 'Après quelque temps, ils entreprennent ensemble le relevé. La mise au net est effectuée sur place. Ce sont les premiers relevés réellement fiables de la villa'. We have been unable to consult a 'Notice sur le relevé de la ville Médicis par Charles Norry' by A.L.T. Vaudoyer, presented to the Académie des Beaux-arts in 1846 by his son, the architect Léon Vaudoyer, and now Bibliothèque de l'Institut de France, Ms 1034 (Procès-verbaux de l'Académie des Beaux-arts: 1845-1849, edited by Sybille Bellamy-Brown, Paris 2008, pp.185-186; Catalogue géné­ral des manuscrits des bibliothèques publiques de France, Paris: Bibliothèque de l'Institut [de France], by Marcel Bouteron and Jean Camille Tremblot, Paris 1928, p.230 no. 1034). 9. Martin, op. cit., vi, p.303 no. 6648 f.103: 'Lettre du ministère de l'intérieur [J.L.J. Lainé] relative aux plans de la villa Médicis présentés par Norry' (6 March 1818); 'Lettre du ministre Lainé accusant à Norry réception de ses plans de la villa Médicis et accordant une gratification à le son fils' (20 April 1818). See also 'Correspondance des directeurs de l'Académie de France à Rome, Tome troisième: Directorat de Charles Thévenin (1816-1822)', edited by François Fossier', p.209 no. 163 (link). 10. Lainé acknowledged receipt of this list in a letter to Thévenin on 27 March 1818 ('Correspondance des directeurs de l'Académie de France à Rome, Tome troisième: Directorat de Charles Thévenin', op. cit., p.209 no. 163). See also Lettres adressées au Baron François Gérard, peintre d'histoire, par les artistes et les per­sonnages célèbres de son temps (third edition, Paris 1888), i, p.274 (letter of Thévenin, 5 March 1819): 'J'ai appelé l'attention du ministre sur cette pénurie et j'ai remis à M. Norry, lorsqu'il vint à Rome à la fin de 1817, une note des ouvrages qui nous seraient le plus nécessaires. Elle doit donc se trouver dans les bureaux, ainsi que les plans détaillés de la villa Médicis et ses dépendan­ces, levés dans le même temps par cet architecte'. 11. No set of drawings by Subleyras of '1784' has been identified; however, in 1788 Subleyras prepa­red an 'État des réparations les plus nécessaires à faire dans le palais de l'Académie de France à Rome' for which there may be associated plans (Correspondance des directeurs de l'Académie de France à Rome avec les surintendants des bâtiments, Paris 1887-1908, xv, pp.227-230). 12. Paris, Institut national d'histoire de l'art, Ms 673: 'Plan de l'Académie Royale de Peinture Sculpture Architecture entretenue à Rome par sa Majesté, ordonné par Monsieur le comte d'Angiviller, directeur général des bâtimens du Roy sous la direction de M.r Hallé peintre et professeur de la d.te Académie. Levées en Aoust 1775 par Renard Arch.te Pens.re du Roy' (each drawing 410 × 295 mm). Proposed alterations indicated on Renard's plan of the Rez-de-chaussée (an entry from the vestibule into the Loge du Suisse; alterations to rooms facing the courtyard to provide a Lavoir, Ecurie, Magasin, etc.) are shown as accomplished on Norry's plan. A manuscript note on the title identifies the drawings in Paris as copies: 'Ces plans sont doubles à l'Académie de Rome et conformes aux lettres alphabéti­ques qui sont à chacun de ces plans pour servir à l'intelligence des changemens ou dispositions qui en seront ordonnées par Monsieur le directeur général' (link). 13. Toulier, op. cit., p.176 no. 187a, comments on the evidential value of this drawing: 'Le dessin très minutieux nous révèle des détails inédits aujourd'hui disparus: la limite du tuf sous l'escalier avec le retour du mur de la citerne, l'existence d'un passage souterrain (actuellement bouché et muré) le long des fondations depuis l'escalier sud, l'emplacement précis de la rampe d'accès le long de l'ancien jeu de paume (reconverti en galerie des creux), l'existence près de ce dépôt des moules d'une pièce de service avec un cagnard/cheminée, etc'. 14. Toulier, op. cit., p.176 no. 187c: 'Avec un soin méticuleux, Norry a relevé l'emplacement et la désigna­tion de chacune des sculptures et de chaque moulage (provenant essentiellement du Vatican, du Capitole ou des collections privées romaines). A l'exception des appartements nord réservés au direc­teur, l'étage est devenu lui-même une vaste galerie de sculptures où sont mêlés les dieux du Panthéon et les rois de France, au milieu des bustes des anciens directeurs et des statues faites par d'anciens pensionnaires. A noter la séparation avec les fragments d'architecture qui sont relégués dans la loggia du bosco. Norry pousse l'exactitude jusqu'à dessiner dans l'épaisseur des murs tous les conduits de cheminée de l'étage'. 15. Toulier, op. cit., p.114 no.107, Elévation du côté de Rome: 'En dessous du balcon, Norry a dessiné les armes de France nouvellement installées. La fenêtre du niveau 5 de la galerie a été abaissée entre 1807 et 1817'. Toulier, op. cit., p.183 nos.188a-b, Coupe en travers des Jardins: 'Dans la grande salle, la statue de Louis xiv est surmontée d'une inscription'. 16. Toulier, op. cit., p.140 no.143, Elévation du côté des jardins: 'Quelques copies ou moulages de statues ont déjà été replacées dans la loggia et dans les niches, mais toutes les niches en forme de médaillon furent-elles vraiment décorées de bustes? Le profil de la passerelle de l'étage de la galerie apparaît sur le côté sud. La fenêtre de l'étage du pignon de la galerie a été agrandie, comme celle de la façade opposée, au moment des travaux d'installation de l'académie, vers 1805-1810...'. 17. Paris, Bibliothèque de l'Institut de France, Ms 1033; see Bouteron and Tremblot, op. cit., p.229 no. 1033: 'Plans, coupes et élévations de la Ville Médicis, maintenant École Royale des Beaux-arts à Rome, relevés et dessinés fin de 1817, par Norry' (21 folios, 530 × 390 mm, 'Demi-reliure'). (http://www.calames.abes.fr/pub/#details?id=IF2B10868; link). For reproductions, see Toulier, op. cit., nos. 43, 107, 143, 187a-f, 188a-b, 212, 224. 18. Italia antiqua: Envois de Rome des architectes français en Italie et dans le monde méditerranéen aux xix e et xx e siècles, catalogue of an exhibition, École nationale supérieure des beaux-arts, Paris, 12 February-21 April 2002 (Paris 2002), pp.45-56.

      [Bookseller: Robin Halwas | Rare Books]
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        Nachrichten über Leoben und die Umgegend nach der Zeitordnung. Ein Beytrag zur Landesgeschichte.

      Graz, Johann And. Kienreich, 1824. - Erstausgabe der ersten Monographie über Leoben des damaligen Leobener Bürgermeisters. - Die beiden Karten zeigen ein „Croqui des Steuerbezirks Leoben" bzw. das „Gebieth der Grafschaft Leoben mit der Grafschaft Krauwat aus dem 11. 12. 13ten Jahrhundert". - Einband berieben u. fleckig. Rückenkanten rissig. Vorsatzbl. m. älterem Eintrag u. kl. Besitzvermerk. Titel m. Namesstempel. Ränder etw. bestoßen. Gebräunt u. stockfleckig. - Schlossar 181. ge Gewicht in Gramm: 500 8°. Mit lithogr. Frontispiz („Ansicht der Stadt Leoben" v. J. F. Kaiser), lithogr. Titel, einer gefalt. gest. Tafel (mit 8 Darstellungen von Siegeln), 2 gefalt. lithogr. Karten u. 4 mehrf. gefalt. Stammbäumen. 1 Bl., 192 S., Bedruckter OKart. [Attributes: First Edition; Soft Cover]

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Vues pittoresques des ruines les plus remarquables de l`ancienne ville de Pompei. Dessinees et gravees a l`aqua tinta.

      Zürich, Fuessli, 1824 (- 1832). - 28 Bll. 24 Aquatinta-Tafeln. Erste Ausgabe, selten. - Brunet III, 357f.: "Ouvrage assez bien executé" - Seltenes vollständiges Exemplar des Ansichtenwerks von Pompeji mit den schönen, in Sepia gedruckten Aquatintatafeln. Den begleitenden Text verfaßte der Züricher Archäologe Jacob Horner. - Jakob Wilhelm Huber (1787 - 1821) begann sich während seiner Ausbildung bei Jakob Christoph Miville mit der italienischen Landschaft zu beschäftigen. "als Vorbilder dienten ihm Claude Lorrain, Nicolas Poussin und Herman van Swanevelt. In den Jahren 1805–07 widmete er sich, durch die Landschaften von Ludwig Hess angeregt, auch vorübergehend der Darstellung der Alpen. 1808 begab sich Huber auf Wanderschaft, unter anderem, um dem Militärdienst zu entfliehen: Ein halbes Jahr weilte er in München; 1808–09 war er in Wien an der Kunstakademie und als Zeichenlehrer tätig; nach einem Aufenthalt in Karlsruhe 1809–1810 gelangte er schliesslich mit der befreundeten Wiener Malerin und Radiererin Sophie Reinhard im Herbst 1810 nach Rom. Landschaftsstudien in Stadt und Umgebung. Bekanntschaft mit Joseph Anton Koch und Peter Cornelius. In Begleitung des Wiener Malers Joseph Rebell, Sophie Reinhards und der Mailänder Künstlerin Bianca Milesi reiste Huber 1812 nach Neapel; ab 1815 nahm er dort festen Wohnsitz. 1816 Reise durch Sizilien; Jahre später verwendete er sechs Studien für `La Salles Voyage pittoresque en Sicile`. 1821 wegen des Carbonari-Aufstandes in Neapel über erschiedene Zwischenstationen Rückkehr nach Zürich. Bevor er sich dort 1824 endgültig niederliess . Wilhelm Huber gehörte zu den zahlreichen Künstlern, die in Italien für ein touristisch interessiertes Publikum Veduten produzierten. Im Umgang mit Koch und Johann Christian Reinhart erkannte er seine Bestimmung vor allem als Zeichner solcher Landschaftsdarstellungen. Zu den Persönlichkeiten, die ihn im Atelier aufsuchten, gehörten der österreichische Kaiser Franz II. und die Königin von Württemberg, der Huber später seine pompejanischen Veduten widmete. Daneben entstanden in und um Neapel Naturskizzen sowie ab 1817 Studien in den Ruinen von Pompeji. Zwischen 1823 und 1832 arbeitete Huber an der Herausgabe eines Prachtbandes mit 24 pompejanischen Ansichten mit Kommentaren des Zürcher Altertumsforschers Johann Jakob Horner (Ruinen Pompejis, Zürich 1832)" (Paola von Wyss-Giacosa [1998], in: SIKART Lexikon zur Kunst in der Schweiz, Zugriff vom 24.05.2016). - "In 1810, as part of his apprenticeship and journeyman `Wanderjahre`, Jakob Wilhelm Huber went to Rome and later Naples to pursue his interest in Italian landscape painting. Eventually he developed a special concern for Naples and the nearby ruins of Pompeii. Sensing the preferences of his clientele, he recorded in 1817 in sketches and watercolours the picturesque ancient ruins. After Huber`s politically motivated return to Zurich in 1821, this material formed the basis for his 24 aquatint veduta, published between 1824 and 1832 by Heinrich Füssli as `Vues pittoresques de Pompéi`. Accompanied by a commentary by the Zurich philologist Jacob Horner, the aquatints entered the market in two editions: a more modest uncoloured one, and a coloured de luxe edition" (Graphische Sammlung ETH Zürich). - Vorsatz mit Besitzvermerk in Tinte, Block gebrochen, leicht gebräunt, vor allem an den Rändern braunfleckig. *** /// *** Copyright: Matthaeus Truppe - Stubenberggasse 7 - A-8010 Graz - +43 316 829552 *** /// *** Sprache: Deutsch Gewicht in Gramm: 2100 Fol. Pp. des 19. Jahrhunderts mit Rückenschild (bestoßen). [Attributes: First Edition]

      [Bookseller: Matthaeus Truppe Antiquariat]
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        Gedachten over den Chinahandel en den Theehandel.

      Rotterdam, Arbon & Krap, 1824. - 8vo (23 : 13 cm). 1 Bl., 95 S. Einzige Ausgabe. Vorschläge zur Wiederbelebung des niederländisch-chinesischen Handels. Holland hatte im 18. Jahrhundert den lukrativen Teeimport aus China an die Britische Ostindien-Kompagnie verloren. Haan strebt eine Art Nachfolgeorganisation der 1798 aufgelösten VOC an. Der Leidener Tuchfabrikant (1757-1833) veröffentlichte eine Reihe ökonomischer Schriften, auch die niederländische Übersetzung von Crawfurds History of the Indian Archipelago entstammt seiner Altersmuße. - Kress C.1245; nicht bei Cordier, Bibliotheca Sinica. - Titel mit alter, teils radierter Stempelung, sonst sauberes, unbeschnittenes Exemplar. Bedruckte Original-Kartonage, Rücken sauber erneuert.

      [Bookseller: Antiquariat Müller & Draheim (VDA/ILAB)]
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        ACCOUNT OF THE MURDER OF THE LATE MR. WILLIAM WEARE,

      - of Lyon's Inn, London, including the circumstances which first let to the discovery of the murder, and the detection of the murderers. Pp. [iv]+344, frontispiece, plus 3 plates, 2 folding maps; later (but not recent) qr. maroon cloth with printed paper title label on spine, beige papered boards, the cloth slightly flecked and rubbed; later endpapers, bookplate of Nancye Kent Perry on the upper pastedown, with faint signs of a bookseller's sticker removed from foot of same, the upper hinge starting, scattered light foxing and occasional slight soiling; printed by J. Nichols and Son, London, 1824. First edition. F.956. *One of several published accounts of the notorious murder of William Weare, including portraits of the prisoners 'drawn by Mr. George Lewis with their autographs' [title page]. After the trial, one of the accused was hanged and another, Joseph Hunt, was transported to Botany Bay. Hunt was granted a ticket of leave in 1832, and eventually became a police constable. [Attributes: Hard Cover]

      [Bookseller: Kay Craddock - Antiquarian Bookseller]
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        Antique Print-PUFFBIRD-BARBET-LYPORNIX-Goldfuss-1824

      - 1.A Bucco grandis (Puffbird). 1.B Capito maculatus (Barbet). Capito is a genus of birds in the Capitonidae family. They are found in humid forests in South America, with a single species extending into eastern Panama. Slightly larger than the members of the genus Eubucco, members of the genus Capito are all sexually dimorphic and thickset, and have stubby pale bills that often are tipped black. With the exception of the somewhat aberrant Scarlet-crowned Barbet, black, red, orange, yellow and white are the dominating colours in their plumage, and males have at least partially black backs. Typically seen in singly or in pairs, they are primarily frugivorous, but also take arthropods.1.C Lypornix leucops (Mourning bird) Original chromolithographs on a vellin type paper. Recent hand colouring. Description: This large original old antique print / plate / lithograph originates from: 'Naturalist Atlas' by Georg August Goldfuss. This extra large-size collection of lithographs with gorgeous recent coloring depicting animals, birds, reptiles, fish, etc. published in Duesseldorf, at Arnz from 1824 -1842 This work was issued over this long period of time in series of twenty prints each per annum. There are no officially bound copies and they were issued uncoloured. Since individual sheets were often misplaces, rolled up, folded they have become scarse items, which makes these prints rare and sought after. Artists and Engravers: Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. Storage location: Lade 3 The overall size is ca. 18.1 x 22 inch. The image size is ca. 14.2 x 18.5 inch. The overall size is ca. 46 x 56 cm. The image size is ca. 36 x 47 cm.

      [Bookseller: ThePrintsCollector]
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        Description du Mont-Rigi, des chemins qui y conduisent et de la célèbre perspective dont on jouit de sa cime. Pour servir de texte explicatif au panorama de Henri Keller.

      Zürich, Fuessli et Compagnie, 1824, - in-8vo, titre avec vignette gravée (panorama en rond) avec au centre le texte "Panorama pris au sommet du Mont-Righi. Par H. Keller 1823" avec légende en-dessus "La ligne perpendiculaire désigne la jonction des deux extrémités du Panorama horizontal par H(enr)y Keller" + 90 p. + 1 planche ?Höhen der vom Rigi-Kulm sichtbaren Gebirge? + 1 Halbs.-Abb. ?Arth? + 1 gef. Panorama (schwarz/braun) (ca. 19x168 cm) in Lasche , broché, couverture recouverte de papier dominoté. Première édition en français du texte pour le ?Panorama du Rigi? de H. Keller, avec une liste des panoramas de Keller et des vues du Righi. Très rare (Perret). La version allemande de ce texte parut en 1823.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Waeber BSL III/263: Perret 2427. [Attributes: Soft Cover]

      [Bookseller: Harteveld Rare Books Ltd.]
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        Antique Print-KINGFISHER-BEE-EATER-BIRD-Goldfuss-1824

      - Figure 1, Alcedo Ispida (Kingfisher). Figure 2, Alcedo capensis (Kingfisher). 2. Gatt Merops: Figure 1, Merops apiafter (European Bee-eater). 3. Gatt Galbula, Galbula viridis (Jacamar). Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22.8 x 18.1 inch. The image size is ca. 17.7 x 14.6 inch. The overall size is ca. 58 x 46 cm. The image size is ca. 45 x 37 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-CHINCHILLA-GERBIL-Goldfuss-1824

      - 1. Lagestomus laniger (chinchilla). 2. Gerbillus damaricimus (Gerbil). 3. Gatt Meriones, Meriones Canadensis (Canadian Gerbil). Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22.8 x 18.1 inch. The image size is ca. 17.7 x 14.6 inch. The overall size is ca. 58 x 46 cm. The image size is ca. 45 x 37 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-MOUSE-BLACK RAT-BROWN RAT-Goldfuss-1824

      - 1. Mus Musculus (House mouse), 2. Mus Rattus (Black rat), 3. Mus decumanus (Brown rat), 4. Mus Sylvaticus (Field Mouse). Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22.8 x 18.1 inch. The image size is ca. 17.7 x 15.7 inch. The overall size is ca. 58 x 46 cm. The image size is ca. 45 x 40 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-SPRINGHARE-PEDETES-HARE-Goldfuss-1824

      - 1. Pedetes caffer (Springhare). Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. 2 Small tears in bottom paper edge, not effecting image. Please study scans. The overall size is ca. 22.8 x 18.1 inch. The image size is ca. 17.7 x 14.6 inch. The overall size is ca. 58 x 46 cm. The image size is ca. 45 x 37 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-SAND RAT-CHINCHILLA-Goldfuss-1824

      - 1. Lagostomus trichodactylus (Chinchillidae, Chinchilla). 2. Gatt Pfammomys, Pfammomys obesus (Sand Rat also known as the Fat Sand Rat). Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 17.7 x 22.8 inch. The image size is ca. 14.6 x 18.1 inch. The overall size is ca. 45 x 58 cm. The image size is ca. 37 x 46 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-STOAT-LEAST WEASEL-MUSTELA-Goldfuss-1824

      - 1. Mustela Erminea (Stoat or Erminea) 2. Mustela vulgaris (Least Weasel). This map shows a Stoat and a Least Weasel. Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22.8 x 18.1 inch. The image size is ca. 17.7 x 14.6 inch. The overall size is ca. 58 x 46 cm. The image size is ca. 45 x 37 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-TITYRA-ORIOLE-SHRIKE-Goldfuss-1824

      - 1. Lanius (Pfaris) cayanus (Black-Tailed Tityra). Genus formerly included with Pachyramphus in the Cotingidae, but transferred to the present family on the grounds of several shared, derived similarities of the skull and syrinx. Because of their similarity to cotingids in respect of many other features, some authors prefer to treat both genera as representing a separate family (Tityridae) or to leave them in Cotingidae. Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22 x 18.1 inch. The image size is ca. 18.5 x 14.2 inch. The overall size is ca. 56 x 46 cm. The image size is ca. 47 x 36 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-POGONIAS-CROWNED-TROGON-Goldfuss-1824

      - 3. Pogonias major. 4. Trogon Curucui (Blue-crowned Trogon). The Blue-crowned Trogon (Trogon curucui) is a species of bird in the Trogonidae family. It is found in Argentina, Bolivia, Brazil, Colombia, Ecuador, Paraguay, and Peru. Its natural habitats are subtropical or tropical moist lowland forests and heavily degraded former fore Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22 x 18.1 inch. The image size is ca. 18.5 x 14.2 inch. The overall size is ca. 56 x 46 cm. The image size is ca. 47 x 36 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-CUCKOO-COUCAL-CUCULUS-Goldfuss-1824

      - 1. Centropus caftaneus (Coucal). 2. Cuculus canorus (Common Cuckoo). The Common Cuckoo (Cuculus canorus) (formerly European Cuckoo) is a member of the cuckoo order of birds, the Cuculiformes, which also includes the roadrunners, the anis and the coucals. Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22 x 18.1 inch. The image size is ca. 18.5 x 14.2 inch. The overall size is ca. 56 x 46 cm. The image size is ca. 47 x 36 cm.

      [Bookseller: ThePrintsCollector]
 35.   Check availability:     ZVAB     Link/Print  


        Antique Print-SHRIKE-GREY SHRIKE-SHRIKES-Goldfuss-1824

      - 1. Lanius excubitor (Great Grey Shrike). The Great Grey Shrike or Northern Grey Shrike is a large songbird species in the shrike family (Laniidae). Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 18.1 x 22 inch. The image size is ca. 14.2 x 18.5 inch. The overall size is ca. 46 x 56 cm. The image size is ca. 36 x 47 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-KITTIWAKE GULL-LARUS-Goldfuss-1824

      - 1. Larus tridactylus (Kittiwake Gull). 2. Lestris pomarina (the pomarine jager) Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning as visible on image. Some light fold lines. Please study scans. The overall size is ca. 22 x 18.1 inch. The image size is ca. 18.5 x 14.2 inch. The overall size is ca. 56 x 46 cm. The image size is ca. 47 x 36 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Print-BALLEANA-BOWHEAD WHALE-Goldfuss-1824

      - Plate CL.XL. Mamm.: Balaena Boops (Bowhead whale). The bowhead whale (Balaena) is a baleen whale of the right whale family Balaenidae. A stocky dark-colored whale without a dorsal fin, it can grow to 20 meters (66 ft) in length. Estimated maximum weight of this thick-bodied species is 136 tonnes (134 LT; 150 ST), second only to the blue whale, although the bowhead's maximum length is less than several other whales. It lives entirely in fertile Arctic and sub-Arctic waters, unlike other whales that migrate to feed or reproduce. It is also known as Greenland right whale or Arctic whale. The Bowhead is perhaps the longest-living mammal and has the largest mouth of any animal. Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning and occasional light damp staining as visible on image. Some light fold lines and occasional small tears in margin. Please study scans. The overall size is ca. 22 x 18.1 inch. The image size is ca. 18.5 x 14.2 inch. The overall size is ca. 56 x 46 cm. The image size is ca. 47 x 36 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Bird Print-WOOD IBIS-TANTALUS-Goldfuss-1824

      - Plate CL.X. Aves: Tantalus loculator (Wood Ibis). This very remarkable bird, and all others of the same genus that are known to occur in the United States, are constant residents in some part of our Southern Districts, although they perform short migrations. Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning and occasional light staining from handling as visible on image. Some light fold lines. Tear in bottom middle. Please study scans. The overall size is ca. 17.3 x 22 inch. The image size is ca. 14.2 x 20.5 inch. The overall size is ca. 44 x 56 cm. The image size is ca. 36 x 52 cm.

      [Bookseller: ThePrintsCollector]
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        Antique Bird Print-CUCKOO-ROADRUNNER-INDICATOR-Goldfuss-1824

      - Plate CL.X. Aves: Saurothera viatica (Cuculus, Cuckoo, Roadrunner). Indicator major (Indicator). Original chromolithographs on a vellin type paper. Recent hand colouring. Georg August Goldfuss (Goldfuss, 1782-1848) was a German palaeontologist and zoologist. Goldfuss was born at Thurnau near Bayreuth. He was educated at Erlangen, where he graduated Ph.D. in 1804 and became professor of zoology in 1818. He was subsequently appointed professor of zoology and mineralogy at the University of Bonn. Aided by Count Georg zu Münster, he issued the important Petrefacta Germaniae (1826-44) and this Naturalist Atlas. The plates are by H. v. Hirt. Condition: Fine. General age related toning and occasional light staining from handling as visible on image. Some light fold lines. Please study scans. The overall size is ca. 17.3 x 22 inch. The image size is ca. 14.2 x 20.5 inch. The overall size is ca. 44 x 56 cm. The image size is ca. 36 x 52 cm.

      [Bookseller: ThePrintsCollector]
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        Catalogue des Livres composant la Bibliothèque de feu… dont la Vente aura lieu le mercredi 12 janvier 1825, et jours suivans…

      Lithograph frontis. port. of the collector. 2 p.l., 14, [2], 166 pp. 8vo, attractive antique half-calf paste-paper boards, red morocco lettering-piece on spine, spine gilt. Paris: J.S. Merlin, 1824. The uncommon sale catalogue of Hurtault (1765-1824), Architecte du roi, member of the Institut, and inspector general of public works, who conducted significant restorations of the Tuileries and Fontainebleau. He was especially interested in English architecture - demonstrated by the numerous British books in his collection - and designed several gardens in the English style, including one at Fontainebleau.This was one of the finest professional libraries of architecture of the early 19th century and its number of English books and specialized titles is remarkable. Many of Hurtault's books were included in Priestly and Weale's Bibliotheca Architectonica (1825).This catalogue begins with a lengthy biographical sketch of Hurtault. The library consisted of 1349 lots; the architecture portion has numerous subdivisions covering all of the major architectural disciplines of the time (including hydraulic, military, and naval). Other sections focus on histories of classical and modern architecture, monuments from across the world, the decorative arts, and the fine arts. There are also large sections devoted to engineering, hydrodynamics, perspective, acoustics, museums and galleries, and practical and applied mechanics. Hurtault also amassed extensive holdings on world history, literature, travels and voyages, as well as archaeology.Fine copy of one of the most important architectural libraries of the early 19th century. Bookplate of "Bibliophile Jacob," Paul LaCroix (1806-84), author, journalist, and librarian of the Arsenal.❧ N.B.G., Vol. 25, col. 585.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc. ]
 41.   Check availability:     ABAA     Link/Print  


        ATLAS ) Carte et Planches du Dictionnaire géographique, statistique et historique du canton de Vaud. (Exemplaire de l?atlas seul- incomplet).

      A Lausanne, Imprimerie des Frères Blanchard, 1824, - in-8vo, 12 planches avec 20 images coloriées d?époque (de 22) et la carte du Canton de Vaud divisé en dix-neuf districts (lith Spengler), sans les planches 2 et 3 et les 4 pl. de médailles, non reliées dans la couverture imprimée de l?éditeur, titre dans un encadrement typographique sur le plat devant. Au v° liste des planches. Très rare atlas de Louis Levade. Manque à notre exemplaire les planches n° 2, 3 et les 9 fig. de médailles vaudoises sur 4 planches. L?auteur, médecin à Vevey, étudia à l'Université de Leyde au Pays-Bas, naturaliste et historien, abbé des vignerons, il fut en outre l'auteur de nombreux opuscules sur l'histoire naturelle, l'agriculture et l'archéologie, dont son fameux ?Dictionnaire géographique? L?ouvrage complet devrait être ainsi : 1 Carte du Canton de Vaud, divisé en dix-neuf districts. / COSTUMES: N° 1) Helvétiens, avant la domination des Romains, et leurs habitations. 2) Vigneron du Pays de Vaud, au commencement du XVIe siècle / 3) Jeunes filles villageoises des environs de Vevey; entre elles est une femme du Pays-d?Enhaut-Romand (Th. Steinlen del a Vevey). ANTIQUITÉS. 4) Statue de bronze, représentant un Génie, vûe en face et de côté, trouvée en 1790, à Gilamont, sur Vevey. 5) Sympule d?argent. 6) Anneau d?argent trouvé en 1804, près de Clarens, district de Vevey. 6) Figure cabalistique de bronze, trouvée à Avenches. 7) Lampe de bronze, ornée de têtes de boucs, trouvée à Avenches. 8) Poids ou Marcs de terre cuite, trouvés près de Vevey. 9) Patère de bronze, figurant l?accouchement de Léda, trouvée à Avenches 10) Bas- Relief de bronze, représentant un Taurole, trouvé en 1629, à Vidy, près de Lausanne 11) Pavé a la Mosaïque, découvert en 1817, près d?Avenches 12) Petit vase de terre cuite 13) Lampe de terre cuite 14) Vase lacrymatoire de verre, trouvé en 1815, à Vallereyres 15) Cochlear (cuiller à encens) de cuivre 16) Petite Statue d?Hercule de bronze 18 - 20 - 19) Fragmens de Sculptures 19) Hache de bronze 22) Pavé a la Mosaïque, découvert en 1802. MÉDAILLES VAUDOISES. N° 1 à 9 sur 4 planches.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Barth 21004; DHBS IV/510, Nr. 2. Disponible les planches en couleurs n° 1, 4 (deux images), 5/6, 7 (2 images dont un num. 17), 8 (2 images), 9, 10, 11, 12/13, 14/15/16, 18/19/20/21, 22, [Attributes: Hard Cover]

      [Bookseller: Harteveld Rare Books Ltd.]
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        Rosa arvensis ovata / Rosier des champs à fruits ovoïdes [Field Rose]

      Paris, 1824. Stipple engraving, printed in colours and finished by hand, engraved by Chapuy. Very good condition apart from a small bit of blue ink on the left side of the image. More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty.Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full-time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes.Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books(1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.

      [Bookseller: Donald Heald Rare Books ]
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        Lectures on Modern Socinianism

      F. Westley 1824 - 1824. 265 pages. No dust jacket. Blue boards with brown spine. Front board detached. Inscription to front paste-down. Light tanning and foxing to text pages with light tanning, water marks and foxing to endpapers and text edges. Fraying to text page edges. Finger marks to page edges. Small bumps to corners. Few dog eared corners. Rear board almost detached. Noticeable bumping,rubbing and scuffing to spine, edges and surfaces. Heavy marks to boards. Corners crushed. [Attributes: Hard Cover]

      [Bookseller: World of Rare Books]
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        ANALYSE HISTORIQUE De L'ETABLISSEMENT Du CREDIT PUBLIC En FRANCE

      Paris: Galerie de Bossange Pere, 1824. 1st edition. Not in Goldsmith. Later tan half-sheep binding with purple cloth boards. Gilt author lettering stamped to spine. Some modest extremity wear to binding. A square & tight, solid VG copy.. [4], 234 pp. Untrimmed. Text in French. 6 fold-out charts at rear. 8vo. 8-1/2" x 5-1/2" Scarce book on the subject, with OCLC recording just 3 institutional holdings.

      [Bookseller: Tavistock Books, ABAA]
 45.   Check availability:     Biblio     Link/Print  

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