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Displayed below are some selected recent viaLibri matches for books published in 1827

        Plate 117 (CXVII) - Mississippi Kite

      Robert Havell, London 1827 -

      [Bookseller: Arader Galleries of Philadelphia, PA]
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        Dell'arte pratica del carpentiere esposta

      presso gli autori ed editori, Ponte di S. Marco,, Milano, 1827 - Due parti in un volume in-folio (cm. 55), pp. (4) 6 + 30 tavole; pp. 6 + 30 tavole. Legatura coeva in mezza pelle, dorso liscio con titoli e fregi in oro, piatti marmorizzati. Esemplare genuino e marginoso, ben conservato. Edizione originale ed unica di quest'opera apparsa in dispense nel corso di circa 10 anni ed assai rara a trovarsi completa. Nessuna copia rintracciabile sul mercato negli ultimi decenni e solo un esemplare (della sola prima parte) censito in Iccu. Si tratta decisamente del più importante contributo italiano del periodo in tema di arte della costruzione, sull'esempio dei più celebri trattati francesi e tedeschi (vedi Rondelet). La trattazione è divisa in due parti: la prima dedicata alla costruzione dei tetti, la seconda alla costruzione delle armature di travi, di palchi, di ponti, e di costruzioni diverse. Veramente molto bella la parte iconografica composta da tavole in litografia finemente colorate ad illustrare particolari e realizzazioni di carpenteria. [Attributes: First Edition; Hard Cover]

      [Bookseller: Studio Bibliografico Benacense]
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        Plate 14 - Prairie Warbler

      Robert Havell, London 1827 -

      [Bookseller: Arader Galleries of Philadelphia, PA]
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        A voyage towards the South Pole, performed in the years 1822-24. Containing an examination of the Antarctic Sea, to the seventy-fourth degree of latitude: and a visit to Tierra del Fuego, with a particular account of the inhabitants. To which is added, much useful information on the coasting navigation of Cape Horn, and the adjacent lands with charts of harbours, &c. Second edition, with observations on the probability of reaching the South Pole, and an account of a second voyage performed by the Beaufoy, captain Brisbane, to the same seas.

      Printed for Longman, Hurst, Rees, Orme, Brown, and Green, London 1827 - IV,324 p. Frontispiece in colour + 4 engraved plates + 2 folding engraved panoramas + 10 engraved maps & charts (6 folding). Weddell was the senior commander of this sealing expedition to the southern seas, which left from Leith and which consisted of the brig Jane and the cutter Beaufoy. The expedition visited and charted the Cape Verde, South Orkney, South Shetland, and South Georgia Islands. The men wintered in the Falklands and described Tierra del Fuego, Patagonia and Montevideo, and reached the lowest latitude that had up to then been recorded, now bearing the name Weddell Sea. This is a most important report of an early Antarctic expedition, with meticulously-kept records of the author's route and fixed positions. (In English). Recent full calf in cassette Very clean, thight copy with no foxing

      [Bookseller: Classica Antikvariat]
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        Plate 420 (CCCCXX) - Prairie Starling

      Robert Havell, London 1827 -

      [Bookseller: Arader Galleries of Philadelphia, PA]
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        Camellia a fleurs d’Anemone (Camellia)

      Paris 1827 - Pierre Joseph Redoute (1759-1840) Illustrated plate from Choix des Plus Belles Fleurs Paris: 1827-1833 Hand-colored stipple engraving 18” x 16” framed; framed in a beautiful gold leaf museum quality frame, mounted with archival materials and UV plexiglass Excellent condition The works of the great botanical artist Pierre-Joseph Redoute (1759-1840) seem to demand the invention of lofty praise. Described both as the “Rembrandt” and the “Raphael” of Flowers by nineteenth century writers, Redoute occupies a central position in the development of European botanical art. Born into a family of artists, Redoute's talents were recognized and encouraged from an early age. He studied botany with the noted naturalist Heritier de Brutelle, and learned the technique of painting in watercolor on vellum from Gerard van Spaendonck, Flower Painter to the King. By this master painter's own account, his pupil's work was finer. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archeology. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of etching a copper plate with a dense grid of dots that can be modulated to convey delicate gradations of color and tone. The plates were painted with watercolor before each impression, creating a rich and subtle color quality that is deeply pressed into the paper. The most delicate highlights and details are then added by hand to finish each print according to the exquisite watercolor models that Redoute provided. This complex and delicate printing process combines the technical virtuosity and aesthetic sensitivity that characterize Redoute's remarkable body of work. The Choix des Plus Belles Fleurs is one of Redoute's last, and most personal works. It is a selection of favorite flowers and fruits by a master who had devoted a lifetime to the art of botanical illustration. The images include spectacular blossoms plucked from formal gardens, as well as the more modest blooms of wayside flowers. These small and richly colored plates convey an intimate sense of beauty that sets them apart from other botanical works.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 129 (CXXIX) - Great Crested Flycatcher

      Robert Havell, London 1827 -

      [Bookseller: Arader Galleries of Philadelphia, PA]
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        Framboiser

      Paris 1827 - The works of the great botanical artist Pierre-Joseph Redoute (1759-1840) seem to demand the invention of lofty praise. Described both as the “Rembrandt” and the “Raphael” of Flowers by nineteenth century writers, Redoute occupies a central position in the development of European botanical art. Born into a family of artists, Redoute's talents were recognized and encouraged from an early age. He studied botany with the noted naturalist Heritier de Brutelle, and learned the technique of painting in watercolor on vellum from Gerard van Spaendonck, Flower Painter to the King. By this master painter's own account, his pupil's work was finer. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archeology. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of etching a copper plate with a dense grid of dots that can be modulated to convey delicate gradations of color and tone. The plates were painted with watercolor before each impression, creating a rich and subtle color quality that is deeply pressed into the paper. The most delicate highlights and details are then added by hand to finish each print according to the exquisite watercolor models that Redoute provided. This complex and delicate printing process combines the technical virtuosity and aesthetic sensitivity that characterize Redoute's remarkable body of work. The Choix des Plus Belles Fleurs is one of Redoute's last, and most personal works. It is a selection of favorite flowers and fruits by a master who had devoted a lifetime to the art of botanical illustration. The images include spectacular blossoms plucked from formal gardens, as well as the more modest blooms of wayside flowers. These small and richly colored plates convey an intimate sense of beauty that sets them apart from other botanical works.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 435 (CCCCXXXV) - Columbian Water Ouzel/Arctic Water Ouzel

      Robert Havell, London 1827 -

      [Bookseller: Arader Galleries of Philadelphia, PA]
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        NOTES &c.OF THE PRACTICAL DUTIES OF A STAFF OFFICER [manuscript title].

      Gibraltar. . 1827 - [108,1]pp. including forty-eight illustrations (most done in watercolor). 12mo. Original three quarter red calf and marbled boards. Binding rubbed and worn. Front free endpapers detached. Some foxing, lower portion of page 33-34 with a repaired tear, with no loss of text or illustration. Overall, very good. A marvelous illustrated manuscript detailing the duties and activities of a staff officer in the British Infantry, illustrated with dozens of watercolors of cannons, carriages, bridges and fortifications. It takes the form of an instructional manual, with direct and clear instructions, and is illustrated with quite expert drawings, most of them done in watercolor. The volume most clearly resembles a manuscript prepared for publication - it does not appear to have been created solely for personal use, and there are no cross-outs or corrections. Among the illustrations are cannons, bridges, forts, gates and walls, knots and slings, and more. West was an ensign in the Twelfth Infantry, stationed on Gibraltar in the late 1827. He was promoted to lieutenant in the spring of 1828, and still held that rank on the army list of 1840; by 1844 he was no longer listed.We can find no evidence that this manual was ever published or copied, and this manuscript appears to be unique. The first section addresses the process of making signal rockets (including several illustrations of their various parts), followed by sections on small arms and "blue lights." Next comes a lengthy section on cannons and the carriages used to transport them. Several types of carriages are illustrated, as are various "gyns," i.e. cannon mounts. The illustrations in this section include precise and accomplished drawings of a "triangle gyn," a "Gibraltar gyn," a "platform carriage," a "Devil carriage," and a "sling cart." Other drawings show methods of pulling ordnance up an incline or pulling cannon parts straight up an ascent using various cranes. The next section deals with the construction of bridges, and was adapted from the work of Sir Howard Douglas. The text describes and illustrates "flying bridges," pontoons, rope bridges, trestle bridges, and fords, and includes mathematical formulas for figuring the depth to which a pontoon is sunk by a given weight, and other such problems. A brief section follows on knots and slings, and contains several illustrations. The concluding section of the manuscript addresses problems of field fortification, including descriptions and illustrations of field lines, gates, and walls, as well as plants found in the warmer climates of the British Empire that may be used as obstacles in combat, such as the Aloe plant and the Prickly Pear (both are illustrated). The text is followed by an index. A very fine and accomplished military manual, created by a British soldier at a colonial outpost, and containing important practical instruction and exceptional illustrations.

      [Bookseller: William Reese Company - Americana]
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        Plate 390 (CCCXC) - Lark Finch/Prairie Finch/Brown Long Sparrow

      Robert Havell, London 1827 -

      [Bookseller: Arader Galleries of Philadelphia, PA]
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        Figue violette (fig)

      Paris 1827 - Pierre Joseph Redoute (1759-1840) Illustrated plate from Choix des Plus Belles Fleurs Paris: 1827-1833 Hand-colored stipple engraving 23 1/4" x 19 1/2" framed; framed in a beautiful museum quality frame with gold leaf details, mounted with archival materials and UV plexiglass Excellent condition The works of the great botanical artist Pierre-Joseph Redoute (1759-1840) seem to demand the invention of lofty praise. Described both as the “Rembrandt” and the “Raphael” of Flowers by nineteenth century writers, Redoute occupies a central position in the development of European botanical art. Born into a family of artists, Redoute's talents were recognized and encouraged from an early age. He studied botany with the noted naturalist Heritier de Brutelle, and learned the technique of painting in watercolor on vellum from Gerard van Spaendonck, Flower Painter to the King. By this master painter's own account, his pupil's work was finer. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archeology. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of etching a copper plate with a dense grid of dots that can be modulated to convey delicate gradations of color and tone. The plates were painted with watercolor before each impression, creating a rich and subtle color quality that is deeply pressed into the paper. The most delicate highlights and details are then added by hand to finish each print according to the exquisite watercolor models that Redoute provided. This complex and delicate printing process combines the technical virtuosity and aesthetic sensitivity that characterize Redoute's remarkable body of work. The Choix des Plus Belles Fleurs is one of Redoute's last, and most personal works. It is a selection of favorite flowers and fruits by a master who had devoted a lifetime to the art of botanical illustration. The images include spectacular blossoms plucked from formal gardens, as well as the more modest blooms of wayside flowers. These small and richly colored plates convey an intimate sense of beauty that sets them apart from other botanical works.

      [Bookseller: Arader Galleries San Francisco]
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        Hibiscus

      Paris 1827 - The works of the great botanical artist Pierre-Joseph Redoute (1759-1840) seem to demand the invention of lofty praise. Described both as the “Rembrandt” and the “Raphael” of Flowers by nineteenth century writers, Redoute occupies a central position in the development of European botanical art. Born into a family of artists, Redoute's talents were recognized and encouraged from an early age. He studied botany with the noted naturalist Heritier de Brutelle, and learned the technique of painting in watercolor on vellum from Gerard van Spaendonck, Flower Painter to the King. By this master painter's own account, his pupil's work was finer. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archeology. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of etching a copper plate with a dense grid of dots that can be modulated to convey delicate gradations of color and tone. The plates were painted with watercolor before each impression, creating a rich and subtle color quality that is deeply pressed into the paper. The most delicate highlights and details are then added by hand to finish each print according to the exquisite watercolor models that Redoute provided. This complex and delicate printing process combines the technical virtuosity and aesthetic sensitivity that characterize Redoute's remarkable body of work. The Choix des Plus Belles Fleurs is one of Redoute's last, and most personal works. It is a selection of favorite flowers and fruits by a master who had devoted a lifetime to the art of botanical illustration. The images include spectacular blossoms plucked from formal gardens, as well as the more modest blooms of wayside flowers. These small and richly colored plates convey an intimate sense of beauty that sets them apart from other botanical works.

      [Bookseller: Arader Galleries San Francisco]
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        Complete Map of Brazil]. Amer. Merid. Partie du Bresil. [17 Maps].

      [Ph. Vandermaelen], [Bruxelles] 1827 - 17 sheets. 47 x 57 cm. Hand-colored lithographic maps. The Empire of Brazil on a grand scale, printed shortly after Pedro declared the independence of Brazil, but before the conclusion of the Cisplatine War against the United Provinces of the Río de la Plata (Argentina) which cost her Uruguay. Sheets from Phillipe Vandermaelen, Atlas universel de geographie physique, politique, statistique et mineralogique., a magnificent and ground breaking six volume atlas of the entire world, which was the first Atlas to use lithography, to show the entire world using such a large uniform scale, approximately 26 miles to the inch, and which was designed to be joined together into a three-dimensional globe with a diameter of aboout 25 feet. Includes all of Brazil with some surrounding areas: 1. Amer. Merid. no. 9. Partie de la Colombie et du Bresil. Parts of Peru, Colombia, and Brazil. 2. Amer. Merid. 10. Partie du Bresil. Amazonas region, Brazil. 3. Amer. Merid. 11. Partie du Bresil. Parts of Amazonas, Para and Amapa. 4. Amer. Merid. 12. Partie du Bresil. Covers parts of Para and Maranhao. 5. Amer. Merid. 13. Partie du Bresil. Parts of Piaui, Ceara and Rio Grande do Norte. Text: Note sur le Bresil . Pour la suite voyez la carte no. 32. 6. Amer. Merid. 15. Partie du Perou et du Bresil. Parts of Peru, Brazil and northern Bolivia. 7. Amer. Merid. 16. Partie du Bresil. Parts of Brazil and northern Bolivia. 8. Amer. Merid. 17. Partie du Bresil. Parts of Mato Grosso, Tocantins, Amazonas, and Para. 9. Amer. Merid. 18. Partie du Bresil. Parts Tocantins, Bahia, Maranhao, and Piaui. 10. Amer. Merid. 19. Partie du Bresil. Parts of northeastern Brazil. 11. Amer. Merid. 22. Partie du Bresil. Part of Santa Cruz, Bolivia and Mato Grosso and Mato Grosso do Sul, Brazil. 12. Amer. Merid. 23. Partie du Bresil. Parts of Goias, Federal District, Minas Gerais, and Tocantins. 13. Amer. Merid. 24. Partie du Bresil. Parts of Bahia and Minas Gerais with coast soundings. 14. Amer. Merid. 27. Partie du Bresil. Part of southern Brazil. 15. Amer. Merid. 28. Partie du Bresil. Parts of Sao Paulo, Minas Gerais, Espirito Santo, and Rio de Janeiro states. 16. Amer. Merid. 32. Partie du Bresil.Part of southern Brazil. Text box: Note sur le Bresil. Pour le commencement voyez la carte no. 13. 17. Amer. Merid. 35. Partie du Bresil. Parts of Uruguay, Rio Grande do Sul, Brazil, and Buenos Aires province, Argentina (an eighteenth sheet, No.36, was labeled 'Partie du Bresil, but in fact only included parts of Argentina and Chile). If joined together the map would measure approximately 9 x 7 feet. Phillips, 749. Amer. Geol. Soc., Catalogue of Maps of Hispanic America: III, p. 172. Sabin 43762. A very good sharp set. [Attributes: First Edition]

      [Bookseller: Kaaterskill Books, ABAA/ILAB]
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        CONSTITUCION DE LA REPUBLICA BOLIVIANA REIMPRESA DE ORDEN DEL SUPREMO GOBIERNO.

      Chuquisaca: Imprenta Boliviana, May 30, 1827. - [2],33pp. In Spanish. Pages 17 and 21 reversed due to printer's error. Gathered signatures, stitched. Clerical ink inscription ("763 G.R.M.") in inner margin of titlepage. Minor light staining. Very good, untrimmed. In a half morocco box. The extremely rare second and last official edition of Bolivia's first constitution, after the slightly less rare first edition of 1826. In 1825, Upper Peru became the final South American republic to secure its independence from Spain under the leadership of Simón Bolívar, renaming itself Bolivia in his honor. Bolívar himself drafted this first constitution of the country in 1825 and handed power to Gen. Antonio José de Sucre as president for life. The constitution was accepted by the second Bolivian congress in 1826, and Sucre accepted his appointment, but only for two years, with the provision that two thousand Columbian troops should remain with him in La Paz. In late 1827, after repeated uprisings, Sucre and his army were driven from the capital, and the constitution was changed the following year. This second edition, which bears a serious printer's error in the section on the president, is especially scarce and not recorded by Palau. OCLC records the imprint but locates no copies. RENÉ-MORENO, BIBLIOTECA BOLIVIANA 763.

      [Bookseller: William Reese Company - Americana]
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        An Address Delivered to the Mississippi Hibernian Society on St. Patrick’s Day, 1827 [cover title].

      Printed at the Ariel Office, Natchez [MS] 1827 - 8vo. (1), 7 pp. Original printed wrappers, the front wrapper bordered with a Greek key-meander; some spine erosion, owner’s name (a Smyth) on the front cover, but a very good copy housed in a custom cloth clamshell box. Unrecorded 1827 Natchez Imprint.First edition. Preceding the address are printed the letter from society president, Walter Irvine, requesting a copy of it so "that 150 copies should be printed, at the expense of the society, for distribution among its members", and Smyth’s response. In his Mississippi, as a Province, Territory, and State (pp. 470-471), Claiborne listed George W. Smyth among the members of the old Mississippi Supreme Court, that of its early statehood, and noted that he "was a graduate of Trinity College, Dublin, of a family of distinction in Ireland. He rose rapidly at the bar in Natchez, and was on the threshold of a distinguished career when he died." (Neither Lynch’s Bench and Bar of Mississippi nor Rowland’s Courts, Judges, and Lawyers of Mississippi lists him.) The speech characterizes the society as primarily benevolent and the Irish experience there as one of acceptance and freedom. Rare; unrecorded by the NUC, OCLC, RLIN, American Imprints, Sabin, McMurtrie, and Owen. [Attributes: First Edition; Soft Cover]

      [Bookseller: Bartleby's Books, ABAA]
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        POEMS, BY TWO BROTHERS.

      London: Printed for W. Simpkin and R. Marshall, 1827. - xii,228pp. Handsomely bound in unsigned full red late 19th century morocco, heavily gilt ornamental corner pieces, raised bands, with compartments gilt extra, gilt morocco labels, gilt inner dentelles, a.e.g. Engraved pictorial bookplate of Thomas Gaisford on pastedown, very minor foxing to endleaves, but a very good copy, or better. First edition of the first published collection of poems by Tennyson, in company with his brothers. During Lord Tennyson's lifetime, no authorship was assigned to the individual poems, but after his death, Hallam and Frederick Tennyson succeeded in ascribing 42 poems to Alfred, 48 to Charles, and 3 to Frederick. Another ten poems were not definitively attributed. During his lifetime, Tennyson elected not to republish any of his youthful efforts (". written from the ages of fifteen to eighteen"). With the pencil ownership signature and acquisition note (Sotheby's, April 1890) of collector Alfred T. White. HAYWARD 244. TINKER 2059.

      [Bookseller: William Reese Company - Literature, ABAA]
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