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Displayed below are some selected recent viaLibri matches for books published in 1830

        Manual of Plain Directions for Planting and Cultivating Vineyards, and for Making Wine, in New South Wales

      R. Mansfield for the Executors of R. Howe, Sydney 1830 - Small octavo, woodblock text illustrations, early owner's manuscript notes, full calf, gilt. First edition: one of the rarer books by Busby, appropriately considered the founder of the Australian wine industry.James Busby (1801-1871) was probably the most important single figure in the early history of the Australian wine industry, and his property Kirkton on the Hunter River, which was taken over by Lindemans in 1914, is the oldest continually producing vineyard.Busby's three books on viticulture had an enormous effect on the early wine industry. He had published "Treatise on the Culture of the Vine" in 1825 and this was largely a compilation from European writers, addressed to "the attention of the higher classes", but it prompted Governor Brisbane to encourage him in practical experimentation, the results of which appear in the present book. In this work Busby attempted to convince "the more numerous portion of the community constituting the class of smaller settlers? that they, and each member of their families may with little trouble and scarcely any expense, enjoy their daily bottle of wine, the produce of their own farms?".This book has proved to be the rarer of Busby's publications perhaps because its practical nature made it more studied and used. It is also interesting to see that in his brief preface Busby takes some pains to compare the drinking of wine by the poorer peoples of southern Europe "with the unhappy effects produced by the consumption of spirits, or of malt liquors, among the same ranks". Certainly Busby is keen to promote the ease and simplicity of life with a vineyard, and this book has the added attraction of many small asides relating to his successes, such as his evident pride that he recently opened one of his bottles at a dinner at the Male Orphan School, where it was pronounced to taste rather like a decent Burgundy.The interesting manuscript notes on page 75 are specific instructions for the correct temperature to use in wine fermentation. Without the half-title, some age marks, otherwise good [Attributes: First Edition; Hard Cover]

      [Bookseller: Hordern House Rare Books]
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        Oeuvres comprenant l histoire naturelle des quadrupèdes ovipares, des serpents, des poissons et des cétacés.

      chez F.D.Pillot 1830-1833, Paris - Legatura coeva in mz. pelle con nervi, fili e titoli oro su doppio tassello al ds. (tracce di usura e mancanze soprattutto alle cuffie). Ottimi interni con sporadiche fioriture. Raro. 8vo (cm. 20,7), 13 Voll.; 396, 389, 399, 428, 397, 399, 400, 398, 380, 402, 383, 428 (di 430, manca l ultima carta dell Indice), 214 pp. con complessive 110 tavv. in coloritura coeva. [Attributes: Hard Cover]

      [Bookseller: Libreria Ex Libris ALAI-ILAB/LILA member]
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        „Erinnerungs-Tableaux an die allerhöchste Anwesenheit J. J. Majestäten des Kaisers und der Kaiserin in Gratz im Jahr 1830“.

      Graz, Entworfen von Joseph Franz Kaiser Inhaber einer lithographischen Anstalt in Gratz, 1830. Orig.-Lithographie von J. F. Kaiser. Blattgröße 32 x 41,5 cm; „Einzelblätter“ 4,7 x 6,9 cm; Darstellungen 3,3 x 5,8 cm. Unzerschnittenes Blatt mit 36 Einzelansichten und dem Titel „Erinnerungs-Tableaux [...]“; erschien auch in Einzelblättern in einer OPp.-Kassette mit dem Titel „Erinnerungs-Blätter an die Anwesenheit des Allerhöchsten Hofes in Gratz von 16ten Juny bis 2ten July 1830“. - Die hübschen Miniaturansichten im Format 3,3 x 5,8 cm sind links oben durchgehend numeriert („No. 1“ bis „No. 36“) und tragen unterhalb der Darstellung 2- bis 4-zeilige Bildunterschriften . - 1. „Ankunft an der Karlauer Linie der Allerhöchsten Herrschaften am 16. Juni 1830“. 2. „Das Eisenthor als erster Berührungs Punkt der Innern Stadt“. 3. „Baron Mandell‘scher Garten, Absteigquartier J. M. Erzherzogin, und Herzogin von Parma, Maria Louise von 15. bis 30. Juni.“ 4. „Allgemeines Krankenhaus. Besichtiget von S. M. am 18. Juni“. 5. „Die Irren-Anstalt zu Gratz, besucht von S. M. am 18. Juny“. 6. „Der Grätzer Schloßberg, bestiegen von J. J. Majestäten am 19. Juni.“ 7. „Palais S. K. Hoheit des Erzherzogs Johann, besucht von J. J. M. M. zur Zeit der Beleuchtung a 18. Juni“. 8. „Beleuchtung des Röslerischen Freyhauses [...]“. 9. „Beleuchtung des Palais des [...] Ignaz Grafen v. Attems mit der Ansicht des Ursuliner Klosters“. 10. „Das Graf Herberst. Lustschloss Eggenberg samt Garten [...]“. 11. „Maria Grün [...]“. 12. „Beym Stoffbauer [...]“. 13. „Caserne der Cadeten Compagnie [...]“. 14. „Das Fischerfest in der Göstinger Aue, eine Volksbelustigung [...]“. 15. „Das Joaneum mit dem Neuthor [...]“. 16. „Die Rockerlberg Anhöhe [...]“ (diese Tafel als einzige auch oberhalb der Ansicht bezeichnet: „St. Leonhard bey Gratz“). 17. „Gräz von Waltendorf aus [...]“. 18. „Der Ursprung der Andritz [...]“. 19. „Das k. k. Militär Spital [...]“. 20. „St. Johann und Paul [...]“. 21. „Schloss Lanach des Fr. v. Mandell [...]“. 22. „Das Toblbad [...]“. 23. „Die priv: Zuckerraffinerie zu Gratz [...]“. 24. „Die Strafinger‘sche Kam[m]fabrik des H. Altthaler [...]“. 25. „Der Rosenhain [...]“. 26. „Der Grottenhof [...]“. 27. „Das Bründl, nächst der Einöde [...]“. 28. „St. Martin [...]“. 29. „Der Fürstenstand auf dem Plawutsch [...]“. 30. „Die Landständische Bildergallerie [...]“. 31. „Die Militärische Beschall- und Remontirungs-Departement-Anstalt [...]“. 32. „Das Elisabethiner Kloster [...]“. 33. „Abreise Ihrer Majestäten am 2. Juli durch das Burgthor“. 34. „Reisezug über die neue Brücke; der Schlossberg wird zum Abschiede begrüsst“. 35. „Schloss Gösting [...]“. 36. „Die Weinzierlbrücke äusserster Abschieds-Punkt auf der Reise nach Wien“. - Einige Einrisse u. vereinzelt min. Papierfehlstellen (jedoch ohne Bild- bzw. Textverlust). Vollständig aufgezogen. Vereinzelt leicht fleckig. - Sehr selten. - Nebehay/W. 285 (ohne Nachweis). Versand D: 12,00 EUR Graz, Erinnerungs-Tableaux an die allerhöchste Anwesenheit J. J. Majestäten des Kaisers und der Kaiserin in Gratz im Jahr 1830

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Technologische Encyklopädie oder alphabetisches Handbuch der Technologie, der technischen Chenie und des Maschinenwesens zum Gebrauch für Kameralisten, Ökonomen, Künstler, Fabrikanten und Gewerbetreibenden jeder Art

      Stuttgart, Cotta, 1830-1853. - Textbände ohne Kupfertafeln, dreiseitiger Rotschnitt Angesichts des Alters sind die Bände in sehr gutem Erhaltungszustand, Die Bände weisen kaum Läsuren auf ( einige sind leicht beschabt), das Leder ist teilweise etwas berieben, die Vorsätze sind stellenweise nachgedunkelt, auf einigen Seiten sind minimale Stockflecken, insgesamt schöne Exemplare - Exlibris auf Vorsätzen Sprache: Deutsch Gewicht in Gramm: 14000 8°, Halblederbände mit Goldprägung und roten Rückenschildchen [Attributes: Hard Cover]

      [Bookseller: Antiquariat Gisa Hinrichsen]
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        UKIYO GAFU: Sketch Book of the Fleeting World. Alternate Titles: UKIYO RYUSAI GA

      [Edo c.1830-44 Suwaraya]. Stiff orange stitched wrs., covers. worn, thumbed, 29 double folded leaves, [58]pages, profusely. illustrated in 3 colors Sumi, black & pale pink, vol. 3 only. of a 3 volume set, 16 x 23 cm. FIRST EDITION. SUPERB COLLABORATION BETWEEN HIROSHIGE AND KEISAI Delightfully interesting subjects, portrayed with a strong pen. Sketches of human figures, landscapes, flowers, birds, insects, animals of all varieties, done in light tints. The work is reminiscent of Hokusai's most celebrated book series THE MANGA. * THE ARTISTS: Executed in a collaborative effort by two famous artists: Hiroshige I [Ichiryusai 1797-1858] aka Ando and Keisai Eisen [Yoshinobu 1790-1848]. Working in concert they produced a lovely set of books with superbly charming and quaint illustrations. A fine example of the best of Japan's great master artists. * SUBJECT OF THE ILLUSTRATIONS: The work reflects all genres and subjects of life, work and leisure in Japan during the mid-1800's. Its a virtual dictionary of human and animal activity. This encyclopedic work gives us an insight to what most Japanese saw and were familiar with during their life-time. Illustrated in shades of Sumi gray, black and pastel orange. * PUBLISHERS, PLACES & DATES: Not all volumes state the publisher, per Kerlin, a 'second copy' was published in Nagoya by Eirakuya, and was a Meiji period reprint. One can conclude that Kerlin's observations were limited to those he found in the Netherlands, which was void of a matching set published in Edo by Suwaraya. Inside covers show adverts for Hokusai books, inside back cover shows adverts for various Edo, Osaka publishers and adverts for Keisai books. The place of publication is not cited, nor are any dates, therefore we support the dates found in Kerlin on p. 756 and other references cited below to be ca. 1830-1844]. * NOTE ON CONDITION: The "very clean set" has a large amount silver transfer on the back of vol. 3 covers, and a very minor amount of the same on the back of vol. 1; the contents of vol. 1 & 2 remain exceptionally bright and clean, else "as is." * BIBLIOGRAPHY: H. Kerlen: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS AND MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS, pp.756-757, no. 1800. He cites publication dates for the various volume numbers from ca. 1830-1844. He gives good bibliographical details for each of the 3 volumes in the series. * L. Brown: BLOCK PRNTING AND BOOK ILLUSTRATION IN JAPAN: p.194 and gives ca. 1836 as the approximate publication date. [See Kerlin for better dates]. * H. Bartlett & H. Shohara: JAPANESE BOTANY DURING THE PERIOD OF WOOD-BLOCK PRINTING, p.222, exhibit 85, with illustration from vol. 3. * K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHLINESE ILLUSTRATED BOOKS, pp.300 & 303. The entry on p.300 matches what we believe is the correct author & title, but lacks any information regarding the co-illustrator Keisen Eisen, and seems to be confused with a work of similar title on p. 303 KEISAI UKIYO GWAFU, which was a variant of volume one of the series we catalogue here. Again see Kerlin 1800 for clarity. Toda seems to think that this was a 10 volume set, lacking from 2-9 when in fact it was a 3 volume set per our description. * J. Gyer. comp. ASIATIC BOOKS: A Priced, Indexed Catalogue of Books Relating to the Orient Offered for Sale 1949-1952. Dawson's Book Shop, Los Angeles 1952. See item 666, cited as 3 volumes, "originally published ca. 1836...this set is probably a second edition. Nagoya, n.d." He cites the authors as being Hiroshige [Ryusai] & Keisai Eisen. * L. Dawes: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS ...V & A Museum, HSMO 1972. Page 178 KEISAI UKIYO GWAFU "In collaboration with Hiroshige, note variant title again he repeats Toda's error in assuming correctness as a 10 vol. set, again he only has volume 1 ! [E14832-1886]. Also see p.179, and makes the same error assuming its a 10 vol. set having volumes 1-3, E.6944-1916, but does acknowledge that it was "with Keisai Yeisen ?". * S. Sorimachi: CATALOGUE OF JAPANESE ILLUSTRATED BOOKS AND MANUSCRIPTS IN THE SPENCER COLLECTION OF THE NEW YORK PUBLIC LIBRARY: p. 128, no. 561. Per Sorimachi, "vol.1 & 2 was illustrated by Eisen Keisai and the third by Hiroshige. " * Forrer: 244-246 * KSM [kaiga] 1-356-4 * Kraft: vol.1: no. 26; vol.2: no. 543; vol.3: no. 763. * Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        COLOR WOODBLOCK ALBUM, 52 OBAN SIZE PRINTS OF SAMURAI ACTION& OF KABUKI SCENES

      [Japan] c.1830. Calico cloth covered accordion folded album,. with some old worming in lower portion & at the center fold,. not severely affecting the whole work, mended. AS IS. RARE !. A MARVELOUS COLOR COLLAGE OF SAMURAI, KIMONO & ACTION Album size is 7.25 x 9.75 inches or 18.5 x 25 cm.,the prints are mounted in an album, single sided & show a remarkably large variety of activities, snow scenes, sword bearing Sam- urai, all are lavishly dressed in silk Kimono, with names of famous persons noted. Beautifully printed in full vegetal colors, using old techniques on handmade paper. This work is a prime example of the fine printing & color techniques of the highest caliber, superb registry, minor rubbing. Some of the actors have on stage make-up. Scenes include Harakiri or ritual suicide, gorgeous women in brocade costume, combat action & sword play, Geisha, protstitutes, warriors, priests children, nobility & others. Old worming neatly mended,great example of period art of the book, as issued from the publi- sher. Toyokuni II was the star pupil of Toyokuni I,known for his painting skill & as a print artist. See R. Lane: IMAGES OF THE FLOATING WORLD, pp.338, 296. Roberts p.97,186. Signed Ichiryusai Toyokuni. R A R E. Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        EROTIC MINIATURE WOODCUT ALBUM WITH TWENTY-FOUR POLYCHROME PRINTS FROM THE 19TH

      [Japan n.d. ca.1830-1880'S]. Green brocade silk covers, all. edges gilt, accordion folded, very clean, bright copy small. nick to bottom edge, else excellent, contents bright, clean,. 24 color woodcut erotic prints, ca. 12.5 x 9.3 cm., Chitsu.. BY AND LARGE A MOST SUPERB EXAMPLE OF JAPANESE EROTIC ART . CONTENTS The album contains two miniature polychrome woodcut print series. Each print is well executed with excellent registry and color, care was taken to print them with the utmost quality and attention. This is not one of those quickly produced items lacking quality or refinement. Each print and series is a miniature work of erotic Ukiyo-e art. * The first series of prints are located on the verso or front pages of the album and consist of twelve prints. They show people from Edo period [1604-1868] and clearly from about 1840'S or so. Their hair style and Kimono fashion are of those times. The are done in the colors from that period, and appear to have oxidation commensurate with about 140 years or so ago, that would put their printing date at around 1868. in the Meiji era. There is very little background text at all, but there are cartouches in several. Each print is clean and in excellent condition, flawless. * The second series found on the recto or back side of the album and consists of twelve prints in all. The first three have a most unique and stunning silver background, six with beige, and 3 with indigo or "Aizuri" backgrounds. Each print is uniform within a circular cartouche for the most part, and each print is exceptionally clean, without flaw. * They reflect people of the late Edo or early Meiji [1868-1912] period, printed about 1869-1870's. Number 2 shows a man with a huge phallus, his hand caressing her vagina. No. 3 shows the couple fully engaged in love making, she on top. No. 4 shows the man on top while she locks her arms around him in an erotic embrace. No. 5 is fascinating and rare. It shows a silken cord tied around his penis and she holds the cord so she can control its action. This sort of sexual "toy" is rarely shown in Japanese prints. No. 6 shows what appears to be a male Buddhist priest he is fully engaged in licking her vulva as she consumes his penis. * COMMENTARIES: It begins with a couple about to make love, he licks two fingers in readiness to insert his huge penis into her vulva, she says "Its embarrassing to become like this.." He says "Why ? I am entering...." She covers her mouth with here Kimono sleeve in shyness. She says: "Ready to put it in [her mouth] glug, glug..." He says "Its coming out to no end [of joy]." Numbers 7-12 show couples engaged in love-making again all with fascinating and very legible comments...."Hayaku soko...iku....["Hurry right there, I'm coming" and the like. There is lots of Chirishi [toilet paper strewn around, indicating lots of love-making and love juices freely flowing. This is a common symbol and theme found in erotic Japanese prints. * RARITY: The work is RARE ! During our tenure of over forty years, we have seldom found such a lovely collection in complete and marvelous condition. There are a number of very unique and unusual views found in this remarkable erotic album. series. The work was clearly kept in the best of condition by some meticulous Japanese collector. Because the album consists of two distinct groups of similar period prints, we can only assume it to be the property of a discreet collector from that period. The album matches that period of old silk and paper. * THE GENRE OF JAPANESE EROTICA: This kind of book was banned from being published by the Tokugawa, Meiji and Taisho governments. Erotic woodblock prints and Shumpon [erotic woodcut books] were drawn, carved, printed and published "underground." People took their chances when doing this sort of work and the punishment was imprisonment and severe. All publishers had to submit their proposed publications to the government for the Kiwame or censor's seal of approval, which was then carved into the block as visual proof of sanction. The fact is that all Japanese erotic works completely lack official approval. Given this fact, it is not surprising that the artists never signed their real name, but commonly didn't sign at all. If ever signed it was always some ironic or cynical "studio name" was used, adding to the excitement of the contents. Regardless of any lack of meaningful signature, for most art historians and students of Japanese woodblock art, it is not that difficult to make an "educated guess" as to the actual artist's name by stylistic analysis. Usually this was a giveaway ! Many famous Ukiyo-e artists disliked being controlled by the government so they continued to produce erotic drawings for publication regardless of the law as a means to supplement their meager income. One can also assume the subject sold well and made all concerned extra and easy money ! * CONDITION/BINDING: The album is contained in an indigo-blue Chitsu or cloth folding case with ivory clasps, blank cover title slip, and there is some old fading to the Chitsu cloth. The overall size is 18 x 23.5 cm. * The green brocade-silk covered album is stunningly clean and bright. There is a small nick to the lower edge, its minor and does not encroach into the pages. The paper of the album are very heavy, bright, clean and white, with no foxing whatsoever. The 24 miniature woodcut prints are held in place by black paper mounting corners so they can be removed at will and are not laid down, Each print is exceptionally clean and bright, excellent color and registry. A couple have been mended in the past to restore a few tiny old worm holes, now solid, these are of minimal impact and barely noticeable. As is our habit, we are being over critical. *** Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        SHUN PON: A SET OF 2 OF 3 COLOR WOODBLOCK PRINTED EROTIC BOOKS.

      [Japan n.d. ca 1830's, n.p.]. Stiff stitched wrappers, vols.. 2 & 3 of a 3 volume set, lacks vol. 1, 18 double folded lea-. ves Japanese text, 5 double page, 2 single page color illu-. strations, minor rubbing, solid, clean, covers rubbed, title. mostly gone. Clearly Utagawa school painter and illustrator. It begins with vol. 2, and shows a girl with vulva open and exposed voyuering through a Fusuma sliding door [most likely at a couple in the next room]. The next double illustration shows a sleeping young man holding a Shamisen with an most enormous erection being held by a young girl who's vulva is exposed and ready to insert her lover's ready penis....while he sleeps on... The next shows a couple preparing to make love and are clutching each other, her vulva is exposed and his large erect penis is protruding from his Kimono. The next shows the couple just after they have finished making love...she holds tissue paper in her mouth, while wiping her wet vagina, while he looks outside.The next shows her in the throes of rapture as she flows much vaginal juice while he pumps her into orgasm. Vol. 3 begins with two young women in the public bath, both are nude and one is carefully washing her vagina with a cloth and bucket, the other combs her hair with her vulva exposed. The next shows a couple preparing to make love, he is on top, and he has inserted four fingers into her vagina, while a cat observes. Another man is shown in the adjacent room asleep. Books of this sort reflect the "natural" attitudes of 19th century Japanese towards nude- ness & sex. They were very open and easy going about sex and casual relationships. The art work is done by a student of the Utagawa or Hiroshige school & is quite skilled in land- scapes, as well as human anatomy and portraits, and had good knowledge of perspective. These are 12 x 8 cm. Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        TA., Schloß, "Vista del Rl. Palacio por el lado de la Calle Nueva.".

      - Lithographie v. Asselineau n. F. Brambilla b. Jose de Madrazo, um 1830, 29 x 46.5

      [Bookseller: Antiquariat Nikolaus Struck]
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        Manual of Plain Directions for Planting and Cultivating Vineyards, and for Making Wine, in New South Wales

      Sydney: R. Mansfield for the Executors of R. Howe, 1830. Without the half-title, some age marks, otherwise good. Small octavo, woodblock text illustrations, early owner's manuscript notes, full calf, gilt. First edition: one of the rarer books by Busby, appropriately considered the founder of the Australian wine industry.James Busby (1801-1871) was probably the most important single figure in the early history of the Australian wine industry, and his property Kirkton on the Hunter River, which was taken over by Lindemans in 1914, is the oldest continually producing vineyard.Busby's three books on viticulture had an enormous effect on the early wine industry. He had published "Treatise on the Culture of the Vine" in 1825 and this was largely a compilation from European writers, addressed to "the attention of the higher classes", but it prompted Governor Brisbane to encourage him in practical experimentation, the results of which appear in the present book. In this work Busby attempted to convince "the more numerous portion of the community constituting the class of smaller settlers... that they, and each member of their families may with little trouble and scarcely any expense, enjoy their daily bottle of wine, the produce of their own farms...".This book has proved to be the rarer of Busby's publications perhaps because its practical nature made it more studied and used. It is also interesting to see that in his brief preface Busby takes some pains to compare the drinking of wine by the poorer peoples of southern Europe "with the unhappy effects produced by the consumption of spirits, or of malt liquors, among the same ranks". Certainly Busby is keen to promote the ease and simplicity of life with a vineyard, and this book has the added attraction of many small asides relating to his successes, such as his evident pride that he recently opened one of his bottles at a dinner at the Male Orphan School, where it was pronounced to taste rather like a decent Burgundy.The interesting manuscript notes on page 75 are specific instructions for the correct temperature to use in wine fermentation.

      [Bookseller: Hordern House Rare Books]
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        Abeze- und Lesebuch. Braunschweig, Schulbuchhandlung, 1830. Kl.-8vo. Mit gest. kolor. Frontispiz und 23 kolor. Kupfertafeln. XIV, 200 S. Moderner Pappband mit Buntpapierbezug. (Sämmtliche Kinder- und Jugendschriften, Neue Gesamtausgabe der letzten Hand, Bd. 1).

      - Abeze- und Lesebuch. Braunschweig, Schulbuchhandlung, 1830. Kl.-8vo. Mit gest. kolor. Frontispiz und 23 kolor. Kupfertafeln. XIV, 200 S. Moderner Pappband mit Buntpapierbezug. (Sämmtliche Kinder- und Jugendschriften, Neue Gesamtausgabe der letzten Hand, Bd. 1). Wegehaupt I, 287; Brüggemann I, 112; Rümann 66; Pressler S. 203 u. Abb. 11; vgl. May/Schweitzer, Wie die Kinder lesen lernten, Nr. 16. - Die bekannte Campe'sche Leselernfibel. Neben den für den Lehrer gedachten "Grundsätzen . zum leichten Lesenlernen" enthält die Fibel als Kernstück 23 einfache Fabeln, die durch die hübschen, zart kolorierten Tafeln von Gottlieb Junge illustriert werden. Sie bilden ein durchgängiges Bilder-ABC, wobei die die obere Hälfte einnehmende Darstellung sowohl den nachfolgenden Text illustriert als auch den entsprechenden Buchstaben des Alphabets versinnbildlicht. Die darunterliegenden kl. Einzelbildchen scheinen als Anregung zu Gesprächen über "Gott und die Welt" gedacht gewesen zu sein. - Tlw. stockfleckig und gering gebräunt. [Attributes: Hard Cover]

      [Bookseller: Patzer & Trenkle]
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        DOKURITSU GA JO: ALBUM OF SEXUAL INDEPENDENCE. [An Erotic Woodblock-Printed Colo

      [Japan, n.d. ca 1830-40's]. Gold silk brocade covers, title. slip, 15 x 23 cm., 12 double-pages, 6 double-page & 1 half-. page color woodcut illustrations, very good,accordion folded. format, 11p. Japanese text, mild and minor surface rubbing.. AN EROTIC WORK WITH SOME "MEDICAL" VALUE This is volume one of ? volume set. The work is nicely executed by color woodblocks, using vegetal dyes, indicating its pre-Meiji [1868] period printing. Chuban size, this book has some very nice art work, likely done by Utagawa Toyokuni II [1777-1835]. The skillful fine lines and typical finger-tips are those of this late great master. * The first double print shows a couple engaged in tongue kissing, while she grooms her long raven hair, with Kimono open exposing her breast. . The second is of a maid carrying a Sake bottle, while her lover accosts her & feels her private parts. The third shows a couple with the woman cleaning her lover's ears, a sure sign of intimate relationship, with the two erotic volumes on the floor. . The next shows a spring day with early flower blossoms just opening as the woman gazes at the view her lover penetrates her with a giant phallus. . The next shows a couple on the floor, lots of expended Chirishi [toilet paper] strewn on about indicating the large amount of love juices having been wiped up. They make love while she clutches his arm with both hands [another Toyokuni earmark]. . The next one shows a completely nude woman being penetrated from the rear, with lots of Chirishi on the floor. . The last is a very unusual and fascinating view of the inside of the vulva as it is being penetrated by a giant phallus. *** Imaginative views of this subject and variety are very scarce in Japanese erotica, a departure from the usual erotic book. With very good colors and sharp registry indicates the work of a great master, with attention to the quality of printing. Nicely done with a steady hand and fine line. **** BIBLIOGRAPHY: L. Roberts: DICTIONARY OF JAPANESE ARTISTS, pp.186-187 for more on Toyokuni II. * Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        La Scuola di Minerva. Almanacchi storici genealogici. Raccolta di 8 almanacchi dal 1824 al 1832: 1824/5/6/8/9 - 1830/1/2/3.

      - La Scuola di Minerva. Almanacchi storici genealogici. Volumi in 16mo (cm. 12,5); copertine stampate su cartoncino giallo; antiporte incise. Circa 200 pagine ognuno. Stampati a Milano a spese di G. Pirotta. Contengono: Calendario dellÕanno; Osservazioni astronomiche, Eclissi; Scoperte ed invenzioni; Sovrani, Principi e Principesse dÕEuropa; Tavole genealogiche ripiegate di Case Regnanti; Arrivo e partenze di corrieri, staffette, Diligenze da e per Milano; Orari degli uffici postali ecc. Nuova tariffa delle monete; Orari delle Biblioteche. Axs

      [Bookseller: LIBRERIA PAOLO BONGIORNO]
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        An Historical Atlas in a series of maps of the world as known at different periods constructed upon an uniform scale and coloured according to the political changes of each period Accompanied by a narrative of the leading events exibited in the maps forming together a general view of universal history from the creation to AD 1828

      R B Seeley & W Burnside, London 1830 - 1st edition 1st printing of this large and fascinating book of maps and text, now very rare in any condition. It has been professionally conserved and rebound in half calf and marbled paper at some time during the past 30 years, we think, to copy the original binding. It is presented in a tobacco-coloured cloth covered box which has a little wear to the corners. It is in general in very good condition for its age. All the hand-coloured maps, both single sheets, double and fold-outs are present and are very bright and unworn. There is some staining to the slightly grubby title page which has penetrated the 3 subsequent sides, and two or three more small stains to the early pages. No foxing, and although the text has had a little attention from a bookworm, leaving a small group of pinhead sized punctures, gradually reducing in number throughout, in our opinion these barely detract from the cleanness and brightness of either maps or text, nor cause any illegibility. [Attributes: First Edition; Hard Cover]

      [Bookseller: Black Box Books]
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        NIHON NO SEITETSU GIJUTSU TO TETSU KOHGU: JAPANESE TECHNOLOGY OF IRON BLACKSMITH

      [Tatara] nd ca.1830-40's.Wood covers,accordion folded leaves. very clean,hand-colored paintings, 21 x 30 cm.,contains [24]. double-folded leaves, 23 double-page, 1 single page drawings. with Japanese text naming the tools. AN OBCURE ALBUM. A FASCINATING PRIMITIVE MANUSCRIPT ON THE FORGING OF IRON An obscure and quite rare hand-colored manuscript album. A fascinating insight to the secrets of early Japanese iron technology and metallurgy: forging techniques of iron, the making of pig iron, forging of iron tools, Tamahagane the precious iron used in the making of Japanese Samurai swords, iron-working implements and mould-casting. This manuscript shows the step-by-step process of this iron metallurgy and technology. This process was also used in the forging of iron into useful implements such as agricultural tools and implements. Another major product made from this ore was the Tamahagane, a high-carbon iron used in making the celebrated and famed Japanese Samurai sword or Nihon-to. This sword was exported to many Asian countries during the 12th-16th cent- uries. What made this Japanese sword and more valuable than any other in the Asian world, was its light weight, soft core and superbly hard exterior. It could cut through bone with a single swipe and seldom broke. It was and is still revered as the finest piece of metal ever made in the last thousand years. * The work was written in Tatara village, which literally tra- nslated means: "Old style Japanese furnace for making Tama- hagane." Tatara was a famous area for ironworks, and espec- ially for making Japanese swords. Tamahagane was the name of the pure raw iron from which Nihon-to or Japanese Samurai swords were forged from. This superior grade iron was forged from very pure iron-sand and charcoal in a Tatara or brick furnace, which was repeated for three days and nights and a vigil kept to keep the proper temperature until the process was finished. The most precious part of the newly smelted lump of iron was then called Tamahagane. This metal was made in a relatevely low temperature of ca. 500 degrees by the combination of iron sand with charcoal; the heat forced out the impurities, leaving a "fat" hard crystals of iron. * Tatara village area was a well-known metal-working place in the old Shimotsuke-no-Kuni, or modern-day Tochigi prefecture and was quite near to the famous folk-art ceramic village of Mashiko. * The work is finely executed by a very skilled & steady hand, drawn by an unsigned & unknown artist in the Ukiyo-e style of Japanese painting & printmaking. The painting style is of the Edo period ie. 1604-1867, likely done in the last 50 years of the period, possibly between 1830-1840's or there- about. It is in remarkably excellent condition, with no flaws to speak of, no worming or other defects. A bright and quite clean album ! * The book is bound in its original pine-wood covers, with beveled-edges, and vertical straight grain. Inside is what appears to be Torinoko hand-made Washi paper pages, with a glossy-finish on some pages. There are some superficial scr- atches to the wood, however, by and large with out any major defect. It contains 23 double-page an one single page color illustrations. There are small tissues papers laid down in the upper corner of several pages with supplemental title text for that drawing. * The work begins with a view double-page panoramic of the large river flowing past the iron "factory" and Tatara village, nestled at the foot of the hills near Nanai, which likely contained a substantial source of local iron ore. Many small worker's cottages surround the area of the "fact- tory," and a Torii shrine-gate is visible just above the "factory" indicating a Shinto shrine entrance and the roof's of that shrine barely stand above the tall trees. It was common to build & have a Shinto shrine near such operations so the workers could prey for mercy and protection from the Kannon or Goddess of Mercy [Avalokiteshwara] during their hot & dangerous daily toil at the hot iron forges. The river is being plied by several small crafts , and three large vessels, one of which is being towed up -stream by three coolies. These ships maybe have been used as the source of transportation of raw materials and finished products: such as Tamahagane, pig iron, raw iron ore, fire wood & finished iron tools and implements. * The following pages show the technology and process of smel- ting raw iron ore and the forging process to convert the iron into useful tools. The first view shows one man using his foot to pump a bellows for the large forge; while anoth- er masked man shovels raw iron ore and charcoal into the roaring furnace fire. He wears a Wara or rice-straw heat apron to fend off the fierce heat and wears a white cotton scarf and a lacquer screen as a face shield, he also wears on his left foot a Wara-ji [rice-straw] slipper to protect his foot from the heat, on his right foot wears the usual Wara-ji sandal. A pair of water boxes are adjacent to cool the tools used in the fire, other tools: broom and hook-fire rake are at the ready. * The third view shows three men working on hot iron ore with long shovel-like tools; one wears a fire apron per the last drawing. The iron ore is rendered molten after the fire placed upon it reaches the appropriate temperature. * The fourth view shows a large variety of tools used in the process of iron manufacture. Many are with long wooden hand- les and are of forged steel ie: picks, ladles, prods, rakes and shovels, brooms & hauling mats from rice-straw, hammers, wedges, face screen &c. Its also clear, that these Japanese blacksmiths are also forging their own tools used to make other tools. * Number five & six shows a woman operating the foot-forge bellows while the large heated crucible renders the iron ore molten as an elderly man rakes the metal down the chute, a young boy is looking on. The room has other water boxes for cooling down the tools used in the process; a broom, extra charcoal, and a group of hand tools are present. The sixth shows a similar view, but with the pig iron ingots ready for re-melting. * Page seven shows a near-naked man wearing a Fundoshi which is home-spun cotton loin-cloth, who cleans out the spent charcoal from the forge & crucible. His back shows a number of round spots, where he has had moxibustion treatment by cauterization, probably due to back pain. Moxibustion is the use of Mogusa or moxa [artemisia vulgaris latifolia] rolled into a cone, then placed on a thin slab of garlic over the location to be cauterized, the moxa is then ignited causing a therapeutic heating effect over a acupuncture point. A pair of iron tongs and a shovel are nearby , while a woman sweeps up, two prods are cooling in the water box. * Illustration eight shows another but different set of tools, many are iron-forged, tongs, various long-handled iron-tip- ped implements, and others made of wood, again tools used in the technology of iron forging. * Number nine shows a lively and active scene. The "Banto" or supervisor [merchant-administrator ?] is sitting besides a Hibachi brazier with a cup of tea. He observes two coolie men workers who are breaking up large pieces of pig-iron in- to smaller pieces for easy transport in Wara bags. They ham- mer and break the ore into smaller pieces , then fill bags and weigh them. There are some oval-casted and finished iron blocks which are also bagged and weighed. Appropriate tools and wrapping materials are at hand. * Ten shows three women, each using their feet to pump the bellows of the forge, while two men use hammers to break the ore into smaller pieces. A third man uses iron Hibashi [iron chop-sticks] to adjust the forge fire that has been covered with clay bricks to keep the heat concentrated on the iron. A forth man is also working one of the bellows. * Page eleven shows a close-up of team work: a woman pumps the bellows, while a man moves the ore with his Hibashi or iron chopsticks. * Number twelve shows a third group of various tools, sieves, long-handled iron tools, tongs, and various wooden items used in the technology & process of iron forging and black- smithing. * Thirteen shows a man and a woman both using a hand bellows to do finish work on the ore. Each one has a bucket of cold water, a ladle, rock hammer and Hibashi to adjust the fire in the smelting process. * The fourteenth shows another set of specialized tools for measuring, sifting, sorting and cutting the ore. or metal product, it shows various wooden boxes, buckets, anvil, hammer, ladle, and a pair of iron shears mounted on a wooden board, Hibashi &c. * Page fifteen shows three women using their feet to activate the hammer/pestle to crush the ore into very fine particl- es for easy smelting, a carry-box is adjacent to move the iron ore. Extra weights are affixed to the end of the pestle to give the down-stroke more force. These weights are conta- ined within a Wara straw mat. Due to the heat generated in this factory, the women open their Kimono disclosing their breasts in an effort to reduce their body heat. * Sixteen shows a larger view of the five women who pound the iron ore into fine particles. They again use their feet to activate the pestles, while three other women move the iron ore under the pounding head for crushing. Most women have their Kimono open exposing their breasts on a warm & sultry day. Three young children accompany their mothers at work, and are of suckling age; two play on a Wara mat with toys, another prepares to suckle his mother. * Seventeen shows two women rinsing the ore in baskets while two others move the ore, while a little child watches on. * Eighteen shows a good number of mostly wooden tools and equipment used in the sifting, hauling & moving of iron ore. * Number nineteen shows a large view of a great furnace fire under a grand hood where the excess heat & smoke are allowed to escape. Two men are working the ore; one man operates the foot bellows, while another uses a long shovel-like tool to add charcoal to the fire. He is protected by the above ment- ioned equipment. * Page twenty shows a number of the long-handled, iron-tipped tools manufactured at this iron factory. * Twenty-one shows a very brilliant view of high-technology of the day. A foot-bellows is connected to the clay forge via a duct, where the super-heated iron ore is smelted and melted into pig iron. One man operates the bellows, while another rakes out the molten ore; a third man chats with the bellows operator who sits on two large bales of charcoal. There is a large hood over the clay forge to remove the noxious fumes. The Japanese Kanji character symbol "Ue" is painted on the wall with a circle around it, indicating the abbreviated name of the factory or its owner, which begins with "Ue." * Number twenty-two shows another group of iron-tipped tools made in this factory. * Twentiy-three shows a man removing the molten ore from the forge into casting ingot forms to make ovals for later use or resale. He is wearing the usual heat protectors of Wara. * Number twenty-four show another set of various long-handled tools and a broom. * The Japanese have always been very protective of their tech- nology, technical skills and tools, never sharing them with outsiders or people not working in their group. Such "trade- secrets" or craftsmen's techniques were always coveted and not given away. Competition was always keen in Japan, and Ninja or industrial spies were employed by competitors to steal innovative techniques. This book clearly documents those guarded techniques, and methods used in converting iron ore into pig iron and then into useful iron tools. The book was probably made in an effort to teach new and young workers about the methods, techniques and nomenclature of the tools used in the manufacturing process. The names of these objects were painted in red. This book is therefore a secret record of that coveted information accumulated and passed on to the next generation of workers. Beautifully and artistically executed in a solid and steady hand, with deli- cate pastel colors of an early era. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        Himmels-brief, welcher mit goldenen Buchstaben geschrichten und zu sehen ist in der St. Michael's kirche zu St. Germein, allwo dersetbe uber dem Taufschein schwebet

      n.d. ca 1830?], [Pennsylvania - Broadside, approx. 18" x 14", (46 x 35 cm.) some short splits starting at folds, else very good. A broadside version of the Letter from Heaven, first published in Magdeburg in 1783; the letter describes a good Christian life, and acts as a talisman or charm against evil. The text is arranged in several forms and incorporates several font sizes; the lower portion is a poem, printed in two columns. Around all is a decorative border. Includes the text "Ein schönes christliches Gebet, zu allen Stunden zu sprechen."

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
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        Vues d'Italie

      S.d.e. 1830 circaAlbum di cm. 25 x 32; contenente 29 vedute (di cm. 21,50 x 26,50 alla battuta) in acquatinta di località italiane, di seguito elencate: 1. Piemont - Lac Majeur - S. Charles Boromèe, 2. Piemont - Domo D'Ossola. 3. Piemont - Lac Majeur - L'Isola Bella. 4. Piemont - Citè d'Aoste - Ruines d'un anphiteatre. 5. Piemont - Citè d'Aoste - Porte Pretorienne. 6. Piemont - Citè d'aoste - Arch Triomphale. 7. Le Milanais - Lac de Como - Gravedona. 8. Toscane - Pise - Interieur de la Cathedrale. 9. Etats Romains - Rome - Plaine de Rome et aqueducs de l'Aqua Claudia. 10. Etats Romains - Rome. Voute superieure du Colisée. 11. Etats Romains - Rome - Voute du Rez de Chaussèe du Colisée. 12. Etats Romains - Terni - Cascade. 13. Etats Romains - Tivoli - Cascade. 14. Etats Romains - Rome - Temple de Jupiter Stator. 15. Etats Romains - Rome - Colonne de Phocas. 16. Royaume de Naples - Naples - Baje de Naples - Vue du Fort St. Elme. 17. Royaume de Naples - Naples - Chateau de l'Oeuf. 18. Royaume de Naples - Naples - Ruine du Palais de la Reine Jeanne. 19. Royaume de Naples - Naples - Mergellina. 20. Royaume de Naples - Le Vesuve - Pris de Torre dell'Annunziata. 21. Royaume de Naples - Environs de Naples - Vue prise au pied du Pausilipe. 22. Royaume de Naples - Environs de Naples - La Cava. 23. Royaume de Naples - Naples - Vue du Champ de Mars. 24. Etats Romains - Rome - Maison de Michelange. 25. Etats Venitiens - Verone. 26. Etats Venitiens - Venise - Petit Place St. Marc. 27. Etats Venitiens - Venise - Escalier des Geants. 28. Etats Venitiens - Venise - Eglise dite la Madona della Salutè. 29. Etats Venitiens - Venise - Palais Ducal. Bella Legatura coeva in mezzo marocchino verse, tassello al piatto con titoli e fregi in oro e a secco, piatti in carta marmorizzata. Ottimo esemplare. (29 / 204) 471 / P

      [Bookseller: Galleria La Stampa Antica]
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        Travels through Central Africa to Timbuctoo and Across the Great Desert, to Morocco. Two Volume set in full morocco.

      London: Henry Colburn & Richard Bentley. Very Good. 1830. First. Hardcover. Full re-backed morocco. Two folding maps & five plates, one of which is folding. Author's name rendered as "Caille' on spine. ; 8vo .

      [Bookseller: Old Florida Bookshop, ABAA, ILAB, FABA]
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        Manuscrit poétique sur l'amour.

      1830 Ca 1830 - In-4 à l'italienne (34 x 26 cm), chagrin vert, plats ornés de grands fers romantiques dorés et à froid, large filet doré d'encadrement, dos orné à nerfs, dentelle intérieure, tranches dorées, fermoir (A. Giroux). Recueil autographe de 40 pages sur le thème de l'amour. La reliure qui porte l'étiquette du libraire-relieur A. Giroux et Cie., a probablement été exécutée par Thouvenin : « [Giroux] participa à l'exposition de 1827 où il obtint une médaille d'argent (.) Le compte-rendu de l'exposition dit de lui : M. Giroux produit des reliures remarquables pour l'éclat, la richesse et le bon goût des dorures (.). Pourtant ses qualités sont contestées par la délégation ouvrière aux expositions qui écrit : Nous ne pouvons dissimuler notre surprise puisqu'elles sortaient des ateliers de Thouvenin qui ne travaillait pour cette maison qu'à la condition expresse de ne pas signer ses reliures, que bien entendu M. Giroux donnait pour siennes. Après la mort de Thouvenin les mêmes avantages furent offerts à Bauzonnet qui, tenant à conserver la responsabiblité de ses oeuvres, n'eut garde d'accepter » (Fléty, p. 82). [Attributes: Signed Copy]

      [Bookseller: Bonnefoi Livres Anciens]
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        Cours de Philosophie positive

      - Paris, Bachelier, 1830-1842 6 volumes in-78, 739; 724; 845; 736; 775 & 895p. Une planche dépliante dans le tome 1 Edition originale de cet ouvrage fondateur de la sociologie, dont Comte invente la science en utilisant le mot dans sa 47e leçon. L'ouvrage contient 60 leçons en tout. Près de 5000 pages. Cet exemplaire devait avoir une très belle reliure, démontée ici. Celle-ci était signée du relieur anglais Clyde (il reste la signature en garde). L'exemplaire devait faire partie d'une bibliothèque publique qui s'en est déchargé, d'où le tampon "sold by order of the committee". Les ouvrages restent parfaitement solidaire, le papier est beau et très bien conservé. Bel exemplaire néanmoins, très rare complet. [Attributes: Hard Cover]

      [Bookseller: Librairie Trois Plumes]
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        Gesamtans., "Oestliche Ansicht von Hessen Cassel an der Fulda".

      - altkol. Umrißkupferstich v. Hammer b. Kleist in Dresden, um 1830, 37,5 x 54 Selten. Thieme - B., XV, 562. - C. G. Hammer ( 1776 - 1864) war Landschaftszeichner und Kupferstecher. Unter seinen Landschaftszeichnungen gibt es sehr viele aus Dresden und Umgebung. Beim vorliegendem Blatt blickt der Betrachter über die Fulda zur Stadt. Mittig die Martinskrche. links das Schloß.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Samuel Hahnemann. Pseudomessias medicus der Verdünner oder kritische Ab - und Ausschwemmung des medicinischen Augiasstalles, Organon der Heilkunst, auch homöopathische Heilkunst genannt für Aerzte und gebildete Nichtärzte.

      Hamburg, Hoffmann und Campe 1830.VIII, 303 S. HLdr. d. Zt. Engelmann 542; Lesky 613; Waller 14962. - Erste Ausgabe, es erschienen noch 3 Fortsetzungen. - "Eine sachliche Klärung wird niemand in diesen Schriften erwarten, immerhin sind sie gerade wegen ihrer Schärfe und der marktschreierischen Titel bekannt geworden und gewiß nicht ohne Einfluß auf die Stimmung der schulmedizinischen Ärzte gewesen ... Es konnte nicht ausbleiben, daß durch solche Arbeiten die Luft auf dem Kampffeld völlig vergiftet wurde" (Tischner 458). - Friedrich Alexander Simon (1793 - 1869) war einer der bekanntesten und einflussreichsten Kritiker Hahnemanns. Hirsch - H. V, 276 nennt ihn gar "der productivste und kampflustigste Syphilograph aller Zeiten und Völker". - Der Titel mit dem Motto: "Dem Narrenkönig gehört die Welt!". - Etwas berieben, tls. braunfleckig. Bitte um Beachtung: Bis zum 31.01. stellen wir auf der Stuttgarter Antiquariatsmesse aus; der Versand verzögert sich somit bis zum 01.02.2016! Bücher de

      [Bookseller: Antiquariat Turszynski]
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        Vollständiges Handbuch der praktischen National-Oekonomie für Staatsmänner, Grund-Besitzer, Gelehrte, Capitalisten, Landwirthe, Manufakturisten, Handels-Leute, und überhaupt für jeden denkenden Bürger. Aus dem Französischen übersetzt von J. v. Th(eobald).

      Stuttgart, in der J. B. Metzler'schen Buchhandlung, 1829-1830. - IV 343 (1); IV 357; IV 360; IV 372; (4) 308; IV 339 S., 6 Bde., marmor. Pp., Rsch. tls. abgerieben, Eckn. bestoßen, NStaT. -- HdStW 1923 VII, 163. Humpert 13125. Kress C.2351. - "Cours complet d'économie politique pratique ." (1828-1829). - Erste deutsche Ausgabe. - ". Verfasser der Darstellung und des Catechismus der National-Oekonomie etc."-- [Attributes: First Edition; Hard Cover]

      [Bookseller: oeconomie.de | Antiquariat Hohmann]
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        Le Courier De La Malle./La Diligence. [A Pair]

      Paris: Vilquin, Palais Royal, No. 20, 1830. Colour printed aquatints. Printed on wove paper. "Le Courier De La Malle": in excellent condition with the exception of being trimmed within the platemark on all sides. A number of small tears along the edges of the sheet. A small area on the bottom margin has been infilled. Image size: 13 ½ x 21 ½ inches. Sheet size: 16 5/8 x 23 7/8 inches. "La Diligence": in excellent condition with the exception of two expertly repaired tears along left side of sheet. Framed and matted in attractive black wood frames. Image size: 13 ½ x 21 ½ inches. Frame size: 25 x 32 inches. A stunning pair of aquatints by Jazet after the celebrated French landscape painter Etienne Bouhot. This beautiful pair of aquatints by Jazet, after paintings by Etienne Bouhot, are a wonderful example of Bouhot's unique style. A Burgundian artist, Bouhot made a reputation for himself as a talented architectural landscape painter. He exhibited regularly at the Salon and produced many fine paintings of the countryside surrounding Paris. The Industrial Revolution did not take hold in France until the 1830's when slowly factories began to appear across the countryside and the railways made their way into smaller towns across France. The modernization of the countryside had a great impact on French landscape painters but it was not until the work of the Impressionists, at the close of the century, that the symbols of Industrialization began to appear in images of rural France. For many years artists tended to ignore the factories and railways that littered the countryside, opting to paint an idealize vision of the country as a bucolic paradise. Although not as obvious as the Impressionists, Bouhot was one of the few artists to hint at the encroaching clouds of modern industry. His moody paintings capture a pivotal time in French history when the countryside was slowly transformed by modern industry. This remarkable pair of aquatints are a superb example of Bouhot's complex paintings. Instead of depicting an idealized vision of the countryside, Bouhot has chosen to show the effect of modernization on rural life. Jean Pierre Marie Jazet was one of the most prominent aquatint engravers of the Napoleonic era. He worked almost exclusively in aquatint, reproducing the paintings of the grand Republican artists such as David, Vernet, de Gros, and Grenier. Although the majority of his prints were patriotic images, he also produced many fine aquatints of pastoral paintings and genre scenes. His fresh images exhibit he beauty of the medium and exemplify his amazing technical ability. His extremely complex prints are fluid yet detailed; they express the beautiful painterly technique of the medium while exhibiting the precision of the reproductive arts. This pair is a veritable tour de force and a superb example of Jazet's talents as an engraver. Grand Larousse du XIXe's.

      [Bookseller: Donald Heald Rare Books]
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        Der Wind". Reiterkarikatur. Federzeichnung.

      18 x 24,5 cm. - Die humorvolle Federzeichnung zeigt wohl ein Selbstbildnis des Künstlers, der während eines stürmischen Rittes von seinem Pferd abgeworfen wird. Im Hintergund sind skizzenhaft eine Mühle sowie die Silhouette der Stadt Leipzig darstellt. - Unterhalb des Zeichnung befindet sich neben der Angabe "in Leipzig" folgender Reim: "Der Wind. Müller hat die Mühl, aufgezogen, Mein Pferd wurde scheu, und ich bin heruntergeflogen!" - Der Nürnberger Bildgießer Jakob Daniel Burgschmiet (auch Burgschmied o. Burgschmit) wurde vor allem durch seine charakteristischen Holzfiguren bekannt, betätigte sich darüber hinaus jedoch auch erfolgreich als Dekorationsmaler. - Versandkosten auf Anfrage. - Sprache: Deutsch Rechts unten signiert "J. D. Burgschmied". (Um 1830.).

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        Wasserschloß Harff.

      - Litho. mit Bordüre v. Ferdinand Müller b. Henry & Cohen, um 1830, 29 x 36 (In der Bordüre 4 weitere Ansichten vom Schloß) (hochauflösende Bilder auf meiner Homepage, oder bei Anfrage - high resolution pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        Bregenz v. St. Gebhards-Berg mit der Aussicht auf den Bodensee. Lithographie

      Lacroix, Sauer. o.J. um 1830, München. - 20 x46 cm Litho auf 49 x65 cm. Blatt an Rändern angestaubt u. leicht rissig. Bild nahezu sehr guter Zustand 13 Sprache: de

      [Bookseller: Buecherstube Eilert]
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        Burg Bergerhausen.

      - gouachierte u. eiweißgehöhte Litho. mit Bordüre v. Ferdinand Müller b. Henry & Cohen, um 1830, 28,5 x 36,5 In der Bordüre 4 weitere Ansichten der Burg. - Das Blatt mit restaurierten Stellen. (hochauflösende Bilder auf meiner Homepage, oder bei Anfrage - high resolution pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        [Antigua] Vue de Cedarhall dans l'Isle d'Antigon auz Indes occidentales

      Basel, Switzerland: Birmann & Fils, au profit des missions évangéliques, 1830. Hand-coloured aquatint, engraved by Hurlimann after a drawing by L. Stobwasser. Very good condition apart from some very minor foxing and a few light pencil marks in the margins. A rare plate from the "Vues des établissements missionnaires fondés par la communauté évangélique des Frères-Unis." This superbly coloured print is one of a set of four plates depicting the various missionary establishments founded on the island of Antigua. Published by Birmann & Fils, Vues des établissements was intended to raise money for the missionary endeavors of the Moravian Church, a Protestant sect that was originally known as the Unitas Fratrum. In 1741, the Moravians founded its missionary arm, the Society for the Furtherance of the Gospel (S.F.G.), which began its activities in Antigua and other Caribbean islands in the 1760s. Founded in 1822, Cedar Hall, like Gracehill and Grac, was one of several Moravian churches established in Antigua during the late eighteenth and early nineteenth century.

      [Bookseller: Donald Heald Rare Books]
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        Ansicht der Abtey von Lilienfeld - Vue de l'Abbaye de Lilienfeld". Aus: Mahlerische . Ansichten der verschiedenen Provinzen der österr. Monarchie.

      Wien, Artaria, um 1830. - Bildausschnitt ca. 27 x 40 cm. (Plattenrand ca. 33 x 43,5 cm). Nebehay-W. 59, 83.- Seltene Ansicht des Zisterzienserstiftes Lilienfeld in schönem, zeitgenössischen Kolorit. Blick von der Traisenbrücke auf die Stiftsanlage mit den angrenzenden Gebäuden. Auf der Brücke ein Fuhrwerk, ein Reiter und zwei Soldaten.- In den Rändern gebräunt und braunfleckig. Bis knapp an den Plattenrand beschnitten. Graphik, Österreich - NIEDERÖSTERREICH

      [Bookseller: Antiquariat MEINDL & SULZMANN OG]
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        Ansicht der Grotte und der gothischen Brücke im K. K. Garten zu Laxenburg - Vue de la Grotte et du Pont-Gothique dans le Jardin J. et R. de Laxenbourg".

      Wien, Artaria, um 1830. - Bildausschnitt ca. 27 x 40 cm. Nicht bei Nebehay-W.- Ansicht des Parkes von Laxenburg mit der Grotte am linken Bildrand, mittig die gotische Brücke. Im Vordergrund der Teich mit einigen Ruderbooten. "Die gotische Brücke ist mit rund 12 Meter Höhe die größte und imposanteste Brücke im Schlosspark Laxenburg. Bereits 1798 für den 'Rittergau' des Schlossparks geplant ist sie 1810 vollendet worden. Ihr kühner Spitzbogen steht parallel zum Felsenbogen der benachbarten Grotte und symbolisiert dadurch das Kunstwerk gegenüber dem Naturwerk. Es wird durch diese Architektur auch klargemacht, dass der gotische Stil 'naturverbunden' ist und dass der Mensch die Natur als vorbildhafte Kunstschöpferin anerkennen muss. Die Reliefs an dieser Brücke sind ein Werk des Bildhauers Franz Kähsmann. In Sichtweite der Brücke befindet sich der mit Säulenpappeln bepflanzte Rousseauhügel, eine Imitation der 'Île des peupliers' (Insel der Pappeln) im Schlosspark Ermenonville nahe Paris." (www.schloss-laxenburg.at).- In den Rändern leicht gebräunt. Graphik, Österreich - NIEDERÖSTERREICH

      [Bookseller: Antiquariat MEINDL & SULZMANN OG]
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        Todtentanz, gemalt zu Bern um 1515-1520, lithographiert [von Bergmann] nach den getreuen Copien des berühmten Kunstmalers Wilhelm Stettler. La Danse des morts peinte à Berne dans les années 1515 à 1520 par Nicolas Manuel....

      [Bern], [R. Haag & Co], ca.1830 35 x 45 cm, lithogr. Orig.-Deckel, lithogr. Titelbaltt, 1 Bl. lithogr. Künstlerportrait, 2 Bl. Vorbericht, Erläuterungen, 1 lithogr. Bl. (Verse zu den Tafeln), 24 Taf. m Umrisslithographien, Lose Blatt in neuer Mappe, Papierbedingt etwas gebräunt, einige Blätter mit kleinen Randläsuren, schönes Exemplar. Sehr seltene Folge des berühmten Berner Totentanzes des Niklaus Manuel Deutsch (ca. 1484-1530). Die Umfassungsmauer mit den Fresken um das ehm. Dominikaner-Kloster (heute Französischen Kirche) wurden bereits 1660 abgerissen. Die Gouachen des Malers Albrecht Kauw (1616- 1681). schuf um 1649 die Goauchen nach dem Original. Diese sind im Historischen Museum Bern beeindruckend inszeniert. Der Maler Wilhelm Stettler (ca.1643-1708) kopierte in kleinerem Format die Bilder von Kauw. Nach diesen hat Sigmund Wagner (1759-1835) die Lithographien hergestellt. Versand D: 20,00 EUR Totentanz Helvetica - Bern

      [Bookseller: Antiquariat Peter Petrej]
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        Vue générale de la Ville de Florence, Vue de l'Arche a S. Gallo, Vue de la Cathédrale de Florence, Vue posterieure de la Cathédrale de Florence, Vue du clocher de la Cathédrale de Florence, Vue du Baptistere de Florence, Vue de la Place du Grand ?" Duc de Florence, Edifice Nommé Loggia dei Lanzi, Vue degli Uffizj de Florence, Vue de l'I. e R. Palais Pitti, Vue posterieure de l'I. et R. Palais Pitti, Vue de la Place S. Maria Novella, Vue de la Place S. Croce, vue du Pont S. Trinita, Vue de la Colonne de S. Trinita, Vue du Palais des Cascine.

      Senza indicazioni tipografiche, 1830 circa. Tratte da un anonimo album che reca il titolo "Vues de l'Italie", numero 16 vedute della città di Firenze, realizzate all'acquatinta in manuale coloritura coeva, cm 20 x 23 circa (alla lastra), cm 22,8 x 32 (il foglio). Bella la coloritura, molto buono lo stato di conservazione di ciascuna.

      [Bookseller: Studio Bibliografico Botteghina D'arte G]
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        Letters on Demonology and Witchcraft, addressed to J[ohn] G[ibson] Lockhart, Esq. by Sir Walter Scott, bart. [With 12 hand-coloured illustrations by George Cruikshank]. 1st edition.

      London, John Murray Albemarle Street 1830 - IX, 402 p., with engraved frontispice by W. H. Lizars (in accord with J. Skene Esq. of Rubislaw) and 12 old hand-coloured engravings by George Cruikshank, Kl.-8°, Priv. Half-Leather with Gilt Lining, the Spine Gilt and with 5 Ribs, and Gilt Top-Edge Cornell 498; Grässe 63; Caillet 10065 (on the French edition 1838). - Sir Walter Scott (1771-1832) in the form of letters to his friend, later son-in-law and biographer J. G. Lockhart about witchcraft and trials, demonology, fairies and elves, astrology, ghosts, and magicians. Howard P. Lovecraft described the work once as one of the best compendiums on European witchcraft. The frontispiece shows the "House of Major Weir," "The Bow" in Edinburgh. - Additionally bound in are the 12 outstanding hand-colored engravings "Designed & Published by George Cruikshank Elched Nov. 1830", which were originally published separately two months after the book came out (by Robins and Co. in London). The famous illustrator and caricaturist G. Cruikshank (1792-1878) was one of the first who provided humorous and spirited illustrations in books for children, he also illustrated some of works of Chales Dickens. - Binding signed by [Joseph] Zaehnsdorf. - Cover centrally rubbed; frontispiece torn at the hinge and professionally taped (Filmoplast); pages slightly browned; a nice copy. [Attributes: First Edition]

      [Bookseller: Versandantiquariat Hans-Jürgen Lange]
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        Mit hochobrigkeitlicher Bewilligung wird Merr Maltot, Wachspoussierer aus Paris, während der Dult ... die Ehre haben hier zu zeigen: Ein großes anatomisches Kabinet, oder Sammlung anatomischer Wachs-Präparate, bestehend aus einigen 30 in Wachs präparirten anatomischen Stücken, unter denen eine weibliche Figur, an der man die innern Theile des Körpers auseinander nehmen sieht, eine vorzügliche Aufmerksamkeit verdient.

      München, ca. 1830.. Einblattdruck mit typographische Text in Bordüre. Blattgr.: 44 x 27 cm. Maltot bewirbt in einem langen Text all die Details, die man bei seinen Präparaten bewundern kann und weist darauf hin: "Diese äußerst merkwürdigen Gegenstände haben den Vortheil für sich, daß sie alle die unangenehmen Eindrücke, welche diese Ansicht einer Section gewöhnlich bei den Menschen hervorbringt, vermeiden, und das Auge sie ohne die mindeste abschreckende Empfindung betrachten kann". Bitte um Beachtung: Bis zum 31.01. stellen wir auf der Stuttgarter Antiquariatsmesse aus; der Versand verzögert sich somit bis zum 01.02.2016!

      [Bookseller: Antiquariat Turszynski]
 35.   Check availability:     Biblio     Link/Print  


        Mit hochobrigkeitlicher Bewilligung wird Merr Maltot, Wachspoussierer aus Paris, während der Dult ... die Ehre haben hier zu zeigen: Ein großes anatomisches Kabinet, oder Sammlung anatomischer Wachs - Präparate, bestehend aus einigen 30 in Wachs präparirten anatomischen Stücken, unter denen eine weibliche Figur, an der man die innern Theile des Körpers auseinander nehmen sieht, eine vorzügliche Aufmerksamkeit verdient.

      München, ca. 1830.Einblattdruck mit typographische Text in Bordüre. Blattgr.: 44 x 27 cm. Maltot bewirbt in einem langen Text all die Details, die man bei seinen Präparaten bewundern kann und weist darauf hin: "Diese äußerst merkwürdigen Gegenstände haben den Vortheil für sich, daß sie alle die unangenehmen Eindrücke, welche diese Ansicht einer Section gewöhnlich bei den Menschen hervorbringt, vermeiden, und das Auge sie ohne die mindeste abschreckende Empfindung betrachten kann". Bücher de

      [Bookseller: Antiquariat Turszynski]
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        Mit hochobrigkeitlicher Bewilligung wird Merr Maltot, Wachspoussierer aus Paris, während der Dult . die Ehre haben hier zu zeigen: Ein großes anatomisches Kabinet, oder Sammlung anatomischer Wachs-Präparate, bestehend aus einigen 30 in Wachs präparirten anatomischen Stücken, unter denen eine weibliche Figur, an der man die innern Theile des Körpers auseinander nehmen sieht, eine vorzügliche Aufmerksamkeit verdient.

      München, ca. 1830. - Einblattdruck mit typographische Text in Bordüre. Blattgr.: 44 x 27 cm. Maltot bewirbt in einem langen Text all die Details, die man bei seinen Präparaten bewundern kann und weist darauf hin: "Diese äußerst merkwürdigen Gegenstände haben den Vortheil für sich, daß sie alle die unangenehmen Eindrücke, welche diese Ansicht einer Section gewöhnlich bei den Menschen hervorbringt, vermeiden, und das Auge sie ohne die mindeste abschreckende Empfindung betrachten kann". Bitte um Beachtung: Bis zum 31.01. stellen wir auf der Stuttgarter Antiquariatsmesse aus; der Versand verzögert sich somit bis zum 01.02.2016!

      [Bookseller: Antiquariat Uwe Turszynski]
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        THE ART OF MAKING FIREWORKS, improved to the modern practice, from the minutest to the highest branches.

      Derby, Thomas Richardson, circa 1830.containing plain and easy directions for mixing and preparing the ingredients, with instructions for making squibs, crackers, serpents, wheels, Roman candles, rockets, &c. as also for some highly curious aquatic fireworks. FIRST EDITION, circa 1830, pamphlet, approximately 185 x 100 mm, 7¼ x 4 inches, folding hand coloured plate as frontispiece, pages: [3], 4 - 24, original publisher's yellow printed wrappers. Spine slightly worn, pale offset to title page from frontispiece, small tear with loss to top margin of title page, 2 tiny closed tears to top margins, otherwise a very good copy. See: Chris Philip, A Bibliography of Firework Books, page 66, No. G130.3. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        General View of Niagara Falls

      Original watercolour and bodycolour, within a thick black line border, with and integral outer 'frame' of grey wash, the title inscribed in white on this gray wash 'frame'. Gilt frame. A beautifully observed and typically detailed work from Nicolino Calyo in the classical Italian 'veduta' or 'view' tradition. Nicolino Calyo's work is well-represented in American museums and institutions, with examples at the White House, the Baltimore Museum of Art, the New York Historical Society, the Metropolitan Museum of Art in New York, Belmont Mansion in Nashville, the Amon Carter Museum in Fort Worth, the Maryland Historical Society in Baltimore, the Washington County Museum of Fine Arts in Maryland and the Museum of the City of New York. Calyo was born in Naples, Italy, where he studied art at the Royal Academy. After some time travelling in Europe (he apparently lived briefly in both Malta and Spain) he emigrated to the United States in about 1830, setting up a studio initially in Baltimore. He left for Philadelphia and the north in about June 1835, arriving in New York in time to record the disastrous Great Fire of 16 and 17 December 1835 (two of the resulting pictures were later reproduced in aquatint by by William James Bennett [1789-1844]). Calyo subsequently made New York his home and the city directories from 1838 to 1855 all list him as either a 'portrait and landscape painter' or a 'professor of painting.' By the late 1840s his Italian-born son John A. Calyo (1818-1893) had joined him and they advertised as 'N. Calyo & Son,' historical painters and teachers. The original reason for his leaving Italy had been political, and given this background it is not surprising to find that his New York home became a gathering place for other European exiles (including the future Napoleon III [1808-1873]). Calyo apparently made one significant return visit to Europe, when he travelled to Spain (where he worked as Court painter to Queen Maria Cristina [1806-1878]), but he returned to New York in 1874 and remained there for the rest of his life. Calyo is best known for the watercolour and gouache views of American cities and landmarks (such as the present work) but he also painted scenes taken from the Mexican War of 1846-1848 and an enormous forty-foot panorama of the Connecticut River. He exhibited paintings at American Society of Painters in Watercolor in New York between 1867 and 1869. The style he employs is quite distinctive among American artists, and as Kathleen Foster notes, his Italian training 'dominates his method . . . conditioning his liberal use of gouache, which imparts an opaque, slightly chalky surface to his work, setting it apart from the English style of transparent watercolor more familiar to American artists of that period.' (Kathleen Foster in Philadelphia: Three Centuries of American Art [Philadelphia: Philadelphia Museum of Art, 1976], p. 300) Literature : G.-G. Deak Picturing America ,1988 J. Poesch The Art of the Old South , 1983 S.K. Johnston American Painting 1750-1900 , 1983 R.J. Koke American Landscape/Genre Paintings in the New York Historical Society, 1982 T.E. Stebbins American Master Drawings and Watercolors , 1976.

      [Bookseller: Donald Heald Rare Books]
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        Journal of an embassy from the governor-general of India to the courts of Siam and Cochin China; exhibiting a view of the actual state of those kingdoms ... second edition.

      London: Henry Colburn & Richard Bentley 8vo (23 cm, 9"). 2 vols. I: Fold. frontis., vii, [1], 475, [1] pp.; 3 fold. plts., 8 plts., illus. II: [2], v, [1], 459, [1] pp.; 4 fold. plts., 7 plts., 1 fold. chart.. 1830 Second edition, following the first of 1828: Description of a diplomatic voyage through Thailand, Vietnam, and the Malay Peninsula, undertaken by a Scottish surgeon who had worked for the East India Company before becoming an envoy and colonial administrator. Following his retirement from public service, Crawfurd dedicated himself to Oriental studies, and published such works as A Grammar and Dictionary of the Malay Language, A Descriptive Dictionary of the Indian Islands and Adjacent Countries, and A History of the Indian Archipelago. The present account is one of the most important descriptions of the region in the early 19th century, incorporating cultural and religious assessments as well as economic and political. The two volumes are illustrated with 8 oversized, folding plates; 1 folding chart; 15 plates (many depicting variations in regional costume for both men and women), and a number of in-text engravings. Publisher's dark green cloth, blind-stamped, spines with gilt-stamped title; spines very slightly sunned and showing faint traces of now-absent paper labels, cloth lightly rubbed at corners and spine extremities. Hinges cracked (inside). Front pastedowns rubber-stamped (no other institutional markings). Title-pages with pencilled owner's name in upper margins; contents pages with inked owner's name dated 1865. Frontispiece, plates, and a few pages in proximity to plates lightly to moderately foxed; one plate in vol. II torn from inner margin, tear not touching image. Absorbing reading, evocative images.

      [Bookseller: SessaBks, A Division of the Philadelphia]
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        FIRST MESSAGE OF PRESIDENT JACKSON TO THE CONGRESS OF THE UNITED STATES

      Washington, 1830. Some scattered tears and slight silk loss, mainly in the margins, but with a few text tears. Expertly matted, and protected with a mylar sheet. A very striking broadside, evidently intended for presentation to members of Congress, as it bears the printed inscription: "Respectfully inscribed to the Twenty-First Congress...By the Publisher." The text is Jackson's first State of the Union Message, of Dec. 8, 1829, and printed in January 1830. Any early broadsides printed on silk are very rare.

      [Bookseller: William Reese Company - Americana]
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        Gesamtans., "Hameln von der Süd-Ost-Seite am Weser Strom".

      - Kupferstich v. L. Schütze n. G. Stietz b. Creuzbauer, um 1830, 32,5 x 44,5 Th.- Becker Bd. XXXVI, S. 46.- Schönes, breitrandiges Blatt. Blick von einer Anhöhe über die Weser, links die Weserbrücke, auf Hameln.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Le 31 May 1793" originale Kreide-Lithographie ca.43x59cm (Darstellung/image size) von Tassaert nach Fulchran Jean Harriet (1776 in Paris - 1805 in Rom) auf Karton (47,5x61cm) unterhalb der Darstellung typographisch betitelt und bezeichnet;

      - Bance Paris um 1830 [Das dekorative Blatt zeigt den Aufstand der Pariser Sansculotten vom 31. Mai bis zum 2. Juni 1793. Die Szene spielt vor der Deputierten Kammer in den Tuileries. Die Darstellung zeigt Marie-Jean Hérault de Séchelles (1759 - 1794) und Pierre Victurnien Vergniaud (1753 - 1793).] Das großformatige Blatt an beiden oberen Ecken sowie am unteren rechten Eck mit Quetschfalten und hinterlegten Randläsuren und kleineren Fehlstellen. Am unteren rechten Rand mit 5cm langen hinterlegten kaum augenfälligem Einriss, am oberen Rand mit drei kleinen hinterlegten Einrissen. Das seltene Blatt in einem insgesamt sammelwürdigen Zustand.

      [Bookseller: Antiquariat Niederbayern]
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        SPALT. "Die K. Bayer: Stadt Spalt im Rezat Kreise". Gesamtansicht von einer leichten Anhöhe aus, im Vordergrund Ernteszene, umrahmt von einer breiten Bordüre mit Hopfendolden und -blättern.

      - Kupferstich bei Fr. Campe, Nürnberg, um 1830, 21,5 x 33,5 cm. Nicht bei Lentner. - Sehr seltene Ansicht in einem breitrandigen, tadellos erhaltenen Exemplar.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        [Chippewa Chief Peechekir, also called Buffalo: A Charcoal Head Study by Charles Bird King for a Painting Later Published in McKenney and Hall's History of the Indian Tribes of North America]

      [Washington, D.C., 1830. Charcoal heightened with white ongray paper, 10 1/8 x 6 1/4 inches. Unsigned. Handsomely presented in a ruled blue and black mat. A beautiful image in fine condition. A rare Charles Bird King study of a Chippewa Chief Peechekir (or Peechekor, Buffalo) was "a solid, straight formed Indian," Colonel McKenney recalled many years after meeting the Chippewa (Ojibwa, Anishinabe) chief at a treaty ceremony in the Michigan Territory circa 1825-27. According to Horan, Charles Bird King copied this head from a James Otto Lewis painting, but no evidence survives to prove it. It was probably lost, as were many Lewis paintings and the King oil of Peechekir, in the 1865 Smithsonian fire. This sketch is one of sixteen known studies by King of Indian heads, discovered in 1974 among family papers by Bayard Leroy King, Saunderston, Rhode Island, a descendant of one Edward King, the artist's second cousin. The study is illustrated in Cosentino's The Paintings of Charles Bird King , and in Viola's Indian . The McKenney and Hall History of the Indian Tribes of North America ... portrait of Peechekir is clearly based on this sketch. Charles Bird King (1785-1862) was born in Newport, trained in London under Benjamin West, and eventually settled in Washington in 1819, calculating it was a good base for one who sought to earn a living mainly by portraiture. He was thus in the right place when the Commissioner of Indian Affairs, Thomas L. McKenney, decided to add portraits of leading Indian chiefs to the collection of artifacts he had begun when he became superintendent of Indian trade in 1816. McKenney conceived the idea of an Indian portrait gallery at the time of the visit of a large delegation of Indians from the Upper Missouri to Washington in 1821-22. King was commissioned to execute the portraits. An exceptionally handsome likeness of a Chippewa chief, sketched by one of the most famous and important, avidly collected, portrait-makers of 19th-century American Indians, this study is one of the few fine Indian portraits by Charles Bird King still to be found in the art market. James D. Horan, The McKenney-Hall Portrait Gallery of American Indians (New York: Crown, 1972), pp.206-7. Andrew F. Cosentino, The Paintings of Charles Bird King - 1785-1862 (City of Washington: National Collection of Fine Arts & Smithsonian Institution Press, 1977), pp.203-4, cat. nos. 409, 641. Herman J. Viola, The Indian Legacy of Charles Bird King (Washington, D.C.: Smithsonian, 1976), p.128.

      [Bookseller: Donald Heald Rare Books]
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        Thirty-six etchings of Irish Antiquities.

       [Privately printed] 1830. Unpublished. 4°. Title, index, 36 plates (orig.-etchings). Half calf. Some foxing.Rare! - \"Only fifteen Copies printed\"! Etchings from drawings by D. Gurney, Dr. Hooker, Jos. Woods. - Die Taf. zeigen frühe Monumente u. Ruinen in Irland: St. Boyne`s Cross, Monaster Boyce; Lesser Cross; Cross in the Church-yard of Castle Dermot; Lid of a Coffin at Castle Dermot; Strongbow`s Monument; New Grange Cave; Cromlech at Drumboe; Glendalough; Devenish; Church at Kilmallock; Cashel; Killaloe; Quin Abbey Church; Abbey at Askeyton; Trim Castle u.v.a. - Eines von nur 15 gedruckten Exemplaren. Versand D: 4,00 EUR Kunst, Architektur, Geographie, Irland

      [Bookseller: Antiquariat Burgverlag]
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        Sammlung von Probedrucken vor der Schrift.

      O. O., ca. 1830. Holzschnitte. Ca. 53 x 44 (12) und 26 x 43 (3) cm. Separate Holzschnitte mit Illustrationen zu artistischen Darbietungen (teils zwei auf einem Blatt); in Verbindung mit typographischen Zetteln, die Name, Termin und Ort der Aufführungen enthalten, dienten sie der Ankündigung von Vorstellungen verschiedener Kunstreitergesellschaften. - Einige Holzschnitte sind nach teils lesbaren Textabklatschen wohl dem \"Cirque Olympique\" von Laura de Bach zuzuordnen: ein Voltigeur mit Fahnen, eine voltigierende Frau, ein voltigierendes Mädchen, bezeichnet als \"Käthchen Gärtner\" sowie \"Anna Gärtner\", auf dem Pferd an einem Tisch speisend. - Enthalten sind ferner u. a. die Darstellung eines rechnenden Pferdes, eines Pferderennens, römischer Gladiatorenkämpfe sowie ein Holzschnitt mit den Figuren der Commedia dell’arte als Voltigeuren. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Uwe Turszynski]
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        MANNHEIM. Gesamtansicht über den Rhein mit dem grossherzoglichen Schloss und der Jesuitenkirche.

      - Sepiaaquarell, um 1830, 26,5 x 43,5 cm. Voll ausgeführte Vedute in differenzierten Brauntönen mit reichem Buschwerk im Vordergrund, rechts gemauerter Eingang zu einem unterirdischen Bauwerk. Auf festem Katasterpapier. Wenige kleine retuschierte bzw. oxydierte Fleckchen, die den schönen Gesamteindruck jedoch nicht stören. Aus der Sammlung Dr. Gerard. Gerahmt.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        HISTORIA GENERAL DE LAS COSAS DE NUEVA ESPAÑA

      Mexico, 1830. Small quarto. Later brown half morocco and marbled boards, spines gilt. Rubbed at extremities; boards lightly scuffed. Bookplate on front pastedowns. Bright and clean internally. Very good. Father Sahagún's life as a teacher of boys from high- ranking Nahautl families and as a student of their language and history is well known, and long has been. But the original 16th-century manuscript of his history of pre-Conquest Mexico in Nahuatl lay unpublished in the Laurentian library in Florence, Italy, until the 20th century; and his own translation of it suffered a similar fate until the great 19th-century historian Carlos María de Bustamante found that manuscript in the library of the monastery of San Francisco de Tolosa de Navana, and published this edition. Father Sahagún's native students and their families clearly "opened up," as we would now say, to him and his project of recording the facts and lore of their clearly then-vanishing culture in their own language; and his text brims with firsthand information gleaned from them on astronomy, astrology, myths, social structure, language, history, gemology, warfare, and literature, to single out a few fields of study. Bustamante added explanatory notes and amplifying texts from collateral sources such as Alvaro de Tezozomoc, Sigüenza y Góngora, and his own writings.

      [Bookseller: William Reese Company - Americana]
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