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

        The Montgomery Manuscripts. Containing Accounts Of The Colonization Of The Ardes, In The County Of Down, In The Reigns Of Elizabeth And James

      News-Letter Office, 1830, Half-Leather, Book Condition: Good, First Edition. 335 pages + References Pages. 350 grams. Bound in half-leather with marbled boards; gilt titles on red; gilt decorations at spine; book originally purchased from 'Savage Estate' in Brisbane. Savage bookplate to front free endpaper; small handwritten 'Savage' lineage information. Book iin good lightly marked condition with some wear to boards; some foxing and a little water-marking. Rear board separating from spine. Scarcish title. 12mo - over 6¾" - 7¾" tall. Quantity Available: 1. Category: Non-fiction, History.; Pictures of this item not already displayed here available upon request. Inventory No: 004736.

      [Bookseller: Serendipitous Ink]
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        Rare hand-forged slave shackle with etched symbol

      [South Carolina], Circa 1830-1840. 26" long. "Wrought iron shackle, measuring 26"" in length with a chain of 6 square links and an attached barrel-type locking mechanism. Hand forged with a dark patina.Deaccessioned from a museum. From the information on accompanying certificate: Used primarily on a plantation in South Carolina to restrict the movement of enslaved Africans. Dark patina and hand forged construction are consistent with the period. Also, the shackle has an intricate symbol (two arrows) etched by an enslaved African that is commonly known as an Adinka symbol. The symbol is named ""Namawa"" (Trust in their God"". There is another symbol on the side of the shackle that is not identifiable, but was carved at the same time of the other symbol.The Adinka symbols, also know as cosmograms, are typical symbols found by excavating old pottery and other iron works by enslaved Africans."

      [Bookseller: University Archives]
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        BUNSEI KAISEI OEDO OEZU: GREAT MAP OF EDO IN THE BUNSEI TO KAISEI PERIODS, 1830.

      Edo 1830, Suharaya Mohie. Blue stiff paper covers, black and. white, printed, some folds tender, minor old worming, 1.6. meters x 87.5 cm., distance chart, key to famous places and. cities, directional symbols, folds down to 16 x 23.4 cm.. A LARGE FOLDING WOODBLOCK PRINTED MAP SHOWING EDO [TOKYO] Entirely woodblock printed on hand-made paper, as issued, without color. A grand map of Edo [old Tokyo], documenting the location of Hatamoto or the closest Shogun supporters, shows the family Mon or crest, detailed map of the streets, family Zashishi or Daimyo mansions, Kamon [family crests], with the Edo Castle located in the center. Distance to some 68 cities listed, and also a list of famous places, products and sellers, shops, medical [Chinese] herbs &c. With a with date colophon. Suitable for display and framing. A handsome example of an early period map of Edo. Cited in G. Beans: LIST, p.35, 1830.1 for a very similar items. A handsome work in good condition, uncolored as issued. Large scale early maps of Edo are always scarce. Scans can be sent by email. Images displayed may not always be the exact photo of the copy in stock for sale at any given time. If you want to see the exact image of the book or edition in stock today, please request this by email. . Photos of most of our books are posted to our .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB -]
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        BUNKEN KAIHOO OEDO EZU: CONVENIENT SCALE MAP OF EDO.

      Edo 1830, Suharaya. Single sheet, woodblock, color printed,. 90 x 71 cm., with the appendage, 37 x 17.5 cm., very good,. solid copy, in larger indigo-blue Chitsu case, verso folds,. old worm holes all restored, mended, now solid. R A R E. SHOWS THE RESIDENCES OF DAIMYOO AND SAMURAI The Mon [family crest] are clearly shown on residences and detached villas. Large directional characters on each side, with colophon. The Hatamoto are within the moat, near the Palace. Clearly shows rivers, roads, individual wards, houses, ships ply the harbor with the folding appendage at the East. * A nice work suitable for framing and display. Nicely executed in pastel colors. S C A R C E * BIBLIOGRAPHY: NANBA, Matsutaro. OLD MAPS IN JAPAN: listed as 93, Nanba states: "This map, drawn to scale of 1 bu to 20 ken is much like many others of this type in both scale & content. They all originated...from maps drawn by Ochikochi Doin. What distinguishes this from others is its detailed information on residences of Daimyoo and other Samurai." * Color scans can be sent by email. Images displayed may not always be the exact photo of the copy in stock for sale at any given time. If you want to see the exact image of the book or edition in stock today, please request this by email. . Photos of most of our books are posted to our .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB -]
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        Fleet Street Prison

      1830. Watercolour. Signed l.l. "T. Hosmer Shepherd" In excellent condition with bright fresh colour. Lower left corner has been expertly in-filled where a small section of paper was missing. A fine watercolour of a debtor in Fleet Street Prison, by the celebrated English painter Thomas Hosmer Shepherd. Virtually en grisaille , this is an exceptionally carefully drawn watercolour of the grille on Farringdon Street, built into the wall of Fleet Prison so that inmates could beg passersby for coins. Over the grille in the lunette formed by the arch are the words: "Pray Remember Poor Debtors Having No Allowance". A gray haired man stands and calls out to the empty sidewalk. Fleet Prison was run for profit, and the wardens and guards basically lived by extorting the prisoners, who had to pay for room and board. They were subject to all sorts of mistreatment. Fleet Prison was built in 1197, burnt down and re-built several times, finally closed in 1844 and demolished in 1846. Thomas Hosmer Shepherd was one of the most esteemed watercolourists of his day. An industrious painter and draftsman, Shepherd produced a wealth of images illustrating street scenes and old buildings in London. His handsome paintings combine a natural quality attentive to detail, making them some of the most appealing views of the metropolis. Shepherd worked almost exclusively for the eminent publisher Frederick Crace. His illustrations grace the pages of some of the era's most important texts, including "Metropolitan Improvements, or London in the Nineteenth Century", "A Picturesque Tour of the Regents Canal", and "London and its Environs in the Nineteenth Century". Dictionary of National Biography.

      [Bookseller: Donald Heald Rare Books]
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        Italy. A Poem [and] Poems

      1830. first edition. Beautifully Bound by Riviére & SonHand-Finished by Charles McLeishWith an Autograph Note from Samuel Rogers[McLEISH, Charles, finisher]. RIVIÉRE & SON, binders. ROGERS, Samuel. Italy. A Poem [and] Poems. London: Printed for T. Cadell… Jennings and Chaplin, 1830 & T. Cadell… and E. Moxon, 1834. First editions. Two octavo volumes (7 3/4 x 5 1/8 inches; 197 x 131 mm.). viii, 284 pp.; viii, 295, [1], pp.Uniformly bound ca. 1885 by Riviére & Son, stamp-signed on front turn-ins. Full medium green crushed levant morocco, covers ruled in gilt surrounding a 'dotted' gilt rectangle, spines with five raised bands, elaborately gilt stamped with a floral design and lettered in gilt, gilt board-edges and turn-ins, maroon paper liners and end-leaves, all edges gilt. Minimal 'sunning' to spines and top area of front boards, still an exceptionally fine set.With an autograph note bound in facing title-page of Italy. "Dear Katherine / If you and Miss Mallet / & Wm have nothing better to do, / pray come and drink tea with me / next Sunday, the earlier the better / Yours very truly / Saml Rogers / St James's Place / Thursday Evg."Charles McLEISH Sr. began his bookbinding career as an apprentice to Andrew Grier in Edinburgh. He then moved to London and worked for Riviére until 1893 when he joined Cobden-Sanderson at the Doves Bindery as a finisher, working there until the bindery closed in 1909.In 1909 he established his own bindery with his son, Charles Jr., who had apprenticed with Roger de Coverly. "Not surprisingly, their early bindings are highly influenced by Cobden-Sanderson" (Maggs Bros., Bookbinding in the British Isles II, p. 240).Samuel Rogers (1763-1855) was an English poet, whom during his lifetime was one of the most celebrated poets of the nineteenth century, although his fame has long since been eclipsed by his Romantic colleagues and friends, Wordsworth, Coleridge and Byron. His recollections of these and other friends such as Charles James Fox are key sources for information about London artistic and literary life, with which he was intimate, and which he used his wealth to support. He made his money as a banker and was also a discriminating art collector. In 1814 Rogers made a tour on the Continent with his sister Sarah. He traveled through Switzerland to Italy, keeping a full diary of events and impressions, and had made his way to Naples when the news of Napoleon's escape from Elba obliged him to hurry home. Seven years later he returned to Italy, paying a visit to Byron and Shelley at Pisa. Out of the earlier of these tours arose his last and longest work, Italy. The first part was published anonymously in 1822; the second, with his name attached, in 1828. It was at first a failure, but Rogers was determined to make it a success. He enlarged and revised the poem, and commissioned illustrations from J.M.W. Turner, Thomas Stothard and Samuel Prout. These were engraved on steel in the sumptuous edition of 1830. The book then proved a great success, and Rogers followed it up with an equally sumptuous edition of his Poems (1834). In 1850, on Wordsworth's death, Rogers was asked to succeed him as poet laureate, but declined the honor on account of his age. For the last five years of his life he was confined to his chair in consequence of a fall in the street. He died in London at 92, a remarkable age for the time, and is buried in the family tomb in the churchyard of St. Mary's Church, Hornsey High Street, Haringey.

      [Bookseller: David Brass Rare Books, Inc.]
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        A Pair of Original Maritime illustrations.

      [c.1830] - Pencil, ink & watercolour, 1 signed ?H Heath? in lower left corner. Approx. 8 x 12cm. Framed & glazed. Image 1: On the shore with a ship in the background, two sailors, swords aloft, attack a fellow mariner, who, whilst kneeling backwards on the ground, shoots one of his attackers in the chest. Another seaman lies stricken on the ground whilst another, a black man dressed in red and blue, attempts to catch the shot sailor. Another man, dressed in a blue coat, stands to the left with his arms aloft. Image 2: Inside a kitchen with a stove in the background, the sailor shot in the chest, is tended to by two women with two sailors also by his side. A baby sits in the foreground and a young boy stands to the left. Henry Heath was a caricaturist and illustrator and brother to the artist William Heath. PLEASE NOTE: For customers within the UK and the EU, this item is subject to VAT. [Attributes: Signed Copy]

      [Bookseller: Jarndyce, The 19th Century Booksellers]
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        Lac Leman, Vevey et le .( Genfer See ). Lithographie

      . o.J. um 1830, . - 40,5 x 55 cm Litho auf 48 x 58,5 cm. Blatt gebräunt, Ränder leicht rissig, Leimfleck im Himmel in Natura blasser, sonst guter Zustand. Insgesamt schönes Blatt 13, Mängel im Preis berücksichtigt Sprache: fr

      [Bookseller: Buecherstube Eilert]
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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. 2 only. of a 3 volume set, 16 x 23 cm.,back covers inked. FIRST ED.. 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 always be the exact photo of the 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. . Photos of most of our books are posted to our .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB -]
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        Les Jeudis dans le château de ma tante

      - 8 fascicules , front., X, Paris, Lefuel, s.d. (c.1830), in-12, 8 fascicules , front, X, 46pp.; front, 44pp. ; front, 44pp. ; front, 45pp. ; front, 40pp.; front, 38pp. ; front, 40pp. ; front, 37pp, 8 fascicules brochés, avec illustration gravé en bleu sur la couverture en fin carton blanc brillant, dans une boîte en carton, finement illustrée en couleurs et ornée avec un encadrement de métal doré (boîte d'origine), 8 petits fascicules, qui présentent les tableaux fidèles de huit Jeudis de récréations et d'amusements divers, passés dans un petit paradis romantique pour enfant "Le chateau de Madame Rosamont", non loin de Fontainebleau, près de Paris. Chacun de ces précieux fascicules contient une charmante gravure colorée à la main, en frontispice, illustrant ces scènes de jeux enfantines. Premier Jeudi : le cerceau ; histoire d'Athénaïs ; l'Acinétinda ; le cerf-volant. Second Jeudi : le bilboquet ; la corde tournante ; le voyage imprévu ; la petite poste.Troisième Jeudi : la balançoire ; les singes du mont Ida ; le lac enchanté ; les forges de Vulcain. Quatrième Jeudi : les statues ; la rose et le laurier, le volant ; histoire de Rosiléon. Cinquième Jeudi : les deux jeunes philosophes ; les métiers ; le colin-maillard ; les énigmes. Sixième Jeudi : les chevaliers ; les quatre coins ; les jeux des Anciens ; la marguerite. Septième Jeudi : les quilles ; histoire de Théodelinde ; le sabot ; les bouts rimés. Huitième Jeudi : le bouquet ; proverbe ; le ballon ; le jeu de Cybèle. Bel exemplaire, boîte légèrement brunie et légèrement fragilisée et frottée en ses coins et ses jointures, petites noirceurs sur les plats des fascicules mais sans gravité, gravures de frontispices éclatantes et particulièrement fraiches. Rarissime [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        Collection of 130 lithographic plates of scenes from operas and ballets staged in Milan at La Scala, ca. 1815-1830

      Milan. 1830. Oblong folio (ca. 260 x 360 mm.). Loosely assembled in an early marbled paper portfolio with label to upper "Sanquirico Scene Teatrali." Together with: Title and 7 aquatint plates from the series "Raccolta di Scene Teatrali eseguite o disegnate dai piu celebri Pittori Scenici in Milano Parte III." Milano: Stanislao Stucchi [ca. 1825]. Slightly worn, soiled, and foxed, particularly at edges. A very good, wide-margined copy overall. . Sanquirico was the principal designer at La Scala from 1818 to 1832.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Opera philosophica omnia. Edidit et praefationem adjecit A. Gfroerer.

       Stgt., Mezler 1830. gr.-8°. LXXVIII, 664 S. Mit 2 Taf. HLn. d. Zt. Kanten berieb. - (Corpus Philosophorum optimae notae, qui ab restauratione litterarum ad Kantium usque floruerunt. Bd. 3)Enthält die erste Veröffentlichung Spinozas: Principia philosophiae Cartesianae Pars I-III, weiters: Cogitata metaphysica, Tractato theologico-politicus, Opera posthuma, Ethica ordine geometrico demonstrata. Versand D: 4,00 EUR Philosophie

      [Bookseller: Antiquariat Burgverlag]
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        TA., Römer, Blick auf die Ostzeile mit der alten Nicolaikirche, "Place du Roemer á Francfort . Roemer 'splatz in Frankfurt a/m".

      - Lithographie m. Tonplatte v. Deroy n. Chapuy b. Lemercier in Paris, um 1830, 38 x 28 (H)

      [Bookseller: Antiquariat Nikolaus Struck]
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        \"Souvenirs de Fréderic le Grand\". Gedenkblatt. Der König zu Pferde im Profil nach rechts reitend, umgeben von achtzehn kleineren Lebens- und Schlachtenszenen (1730-1786).

       Federlithographie auf China nach Louis Kramp von und bei E. Zinck, Offenbach, um 1830, insgesamt 39,5 x 35 cm. Thieme-Becker Bd. XXI, S. 421. - Louis Kramp (1804 -1871) \"Bildete sich in Paris bei Joseph Rose Lemercier zum Lithographen aus u. fertigte für die lithogr. Anstalt von E. Zinck in Offenbach ein Anzahl trefflicher lithograph. Wiedergaben\" (Thieme-Becker). - Unter den Szenen Tod des General von Schwerin, Ziethen sitzend vor seinem König, u.a. die Schlachten von Leuthen, Kunersdorf, Liegnitz, Zorndorf, Rossbach usw. - Breitrandig. Selten. Versand D: 6,00 EUR Porträts, Friedrich II., Militaria, Preussen

      [Bookseller: Antiquariat Bierl]
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        Three Manuscript Journals - Seaweed Specimen Collection By Pioneer Female Discoverer of New Genus and Species

      Devon, UK, 1830. Devon, England, circa 1830-1845. Substantial collection of ocean botanical specimens, gathered by pioneer female phycologist Mrs. Amelia Warren Griffiths, discoverer of new genus and species, who effectively penetrated the male dominated profession and became a notable peer in the field of botany. Comprises 217 seaweed specimens neatly mounted into 3 albums, many captioned in manuscript with scientific names. Three volumes. Qto. cloth boards of various colours, the first volume inscribed in manuscript to front pastedown. Volume I measure approximately 23 x 28 cm; the subsequent volumes are slightly taller. Specimens vary greatly in size, the smallest spanning approximately 3 x 2,5 cm, and the largest spanning approximately 24 x 22 cm. Wear to boards especially of the first volume, loss to scant few specimens, otherwise in very good condition, specimens retaining vivid colour and form, an exceptional seaweed herbarium. Overcoming gender inequality and earning recognition in a scientific field restricted to men, one exceptional English woman who communicated and collaborated with the foremost algae and seaweed experts of her time, did so in such a confident and scholarly manner, that she ultimately laid the foundation for future women to pursue botany as a profession. These are her very own tangible seaweed collections which form a notable archive of her remarkable professional achievement in nineteenth century botany. Amelia Warren Griffiths (1768-1858) was born in Pilton, North Devon. In 1794 she married the Reverend William Griffiths, but on 31 August 1802 she was widowed, left to and raised five children on her own. She lived at various locations in south Devon before settling at 9 Cary Parade, Torquay, in 1829. Torquay being ideal location, she began her systematic study of seaweeds at a time when women could not develop independent scientific careers. Despite this, she made a major contribution to marine botany. Mrs. Griffiths discovered many new species and genera of seaweeds. She became well connected with distinguished pioneer botanists including Sir William Hooker, with whom she corresponded regularly. She helped male phycologists in producing scholarly studies on the larger and smaller seaweeds, generously giving her knowledge and providing samples. Already in 1817 her reputation was so positive that Swedish botanist Carl Agardh named a genus of red seaweeds Griffithsia after her. William Henry Harvey, who held Griffith's work in high esteem and relied on it for his encyclopaedic works on phycology, dedicated to her the 1849 edition of his Manual of the British Marine Algae. Together with Mary Wyatt who kept a pressed plant shop in Torquay, Griffith co-operated in their collecting to produce two volumes of pressed and named seaweeds found in the region, published in 1833 with the title "Algae Danmoniensis" each containing 50 different species. Volumes 3 and 4 followed in subsequent years. Some of these rare books are now held at the Royal Albert Memorial Museum in Devon. Amelia Griffiths continued to pursue her interests well into her 80s. Botany remained a traditional male pursuit in the nineteenth century. Generally considered a suitable field of study for middle-aged genteel girls to prevent idleness and increase spiritual growth, a scant few female botanists succeeded in proving themselves capable to pursue botany in a professional capacity, Mrs. Griffiths being the pioneer exceptionally respected for her scholarly knowledge, and for her commitment to discovery. Women who came of age at the turn of the century, or, as in the case of Mrs. Griffiths, in the late eighteenth century, were denied university education. As such, they were self-taught. Informally, women read, studied, collected, drew and examined plants in a scientific way. The study of botany grew as a science in the mid-nineteenth century, and it became acceptable for women to correspond with leading male botanists, to contribute articles to the 'Journal of Botany' and to earn income writing about botany for children and adults, although the latter was all considered to be a woman's hobby. Women were not considered scientists in any field although Mrs. Griffiths earned unprecedented recognition in the male dominated profession. Mrs. Griffiths raised awareness of the diversity of marine plant life in Devon, It has been said that her work played a significant role in increasing popularity of seaweed collecting, and in seaside holidaying. Although there very few, another contemporary woman in the field was Mary Kirby (1817-1893) an ardent amateur botanist who wrote about botany after her father's death and in 1848 published the definitive work 'Flora of Leicestershire.' Lydia Becker (1827-1890) turned her hobby into a profession and a crusade, writing 'Botany for Novices' in 1864, regularly contributing to Charles Darwin's work, and promoting scientific education for girls. Jane Colden (1724-1766) is considered to be the first female American botanist. With over 200 specimens, harvested by an important phycologist, this fine herbarium macroalgae represents the cornerstone of women's contribution to botany. Especially lovely are some large exquisite samples of unique Delessaria species, the translucent pale green Laminaria Phyllitis and even more delicate Ulva or sea lettuce, a most unusual cluster of fan shaped fronds - probably a Padina pavonica, an unlabeled bright pink algea with spectacular layers and dimension, and, and one elongated dark seaweed with robust skeletal definition. Other beautiful forms of marine algae, mostly gathered from the English Channel, include among others, the fluorenscent Chylocludia, the Chondrus crispus known more commonly as the Irish Moss, the Cladostephus Spongiosus first described by Carl Agardh in 1817, the Gymnogeophagus, a lovely amber sample of Rhodymenia palmata (Greville 1830) and several other vibrant red algae species of the Rhodymenia commonly known as dulse, the nearly transparent Ceramium diaphanum, the Delessarin, the richly coloured Laminaria digitata kelp, the Dumontia, the Laurencia pinnatifida, a "scarlet" Fucus, and of course the holotype species Griffithsia which was named in honour of the collector. Dried samples of seaweeds collected by Griffiths, such as these, are held in by museums in Kew, Torquay and Exeter. From Oxford DNB: A leading and much celebrated British phycologist for half a century, Amelia Griffiths collected seaweeds at many locations in Dorset, Cornwall, and Devon. Her first instructor in marine botany was the Revd Samuel Goodenough, a founder of the Linnean Society. In 1808 Dawson Turner named Fucus griffithsia for her, acknowledging her discovery of this scarce species, and praised her "unwearied zeal and extraordinary acuteness" (Turner, 80). Her name also appears in many other specific epithets, and in 1817 the Swedish botanist Carl Agardh honoured her by naming a genus of red seaweed Griffithsia. Amelia Griffiths discovered many new species and genera of seaweeds, and exchanged specimens with botanists across Britain and Europe. She had a wide correspondence and generously shared her knowledge. Letters to Sir William Hooker are characterized by courtesy as well as a confident, scholarly tone, and record a scientific friendship that began in 1826 and continued for thirty years. Her most significant scientific relationship was probably with the Irish cryptogamic botanist William Henry Harvey, author of Phycologia Britannica (1846-51). They met in 1832, and Harvey came to depend greatly on Mrs Griffiths for descriptions, illustrations, and critical commentary. Indeed, he dedicated the 1849 edition of his Manual of the British Marine Algae to her, recording her as "a lady whose long-continued researches have, more than those of any other observer in Britain, contributed to the present advanced state of marine botany". He later wrote of her in his Memoir that she had "the happiest knack of finding the rarest and most beautiful plants in the most perfect state" (Memoir, 26). In addition to collecting, Amelia Griffiths observed a wide variety of marine algae throughout their stages of growth and reproduction, and was interested in plants "from infancy to decay" (Griffiths to Hooker, 11 Aug 1835, RBG Kew). She noted how their habit forms varied at different times of the year, and her observations about habitats of seaweeds were new at that time. However, despite her expertise, she published only three short pieces: An account of the natural history of the Torbay district for Octavian Blewitt's Panorama of Torquay (2nd edn., 1832), and two notes to The Phytologist. Her first note in The Phytologist in 1842 identifies a plant found in Scotland, the second (in 1843) records her observations on a particular moss, with descriptive and taxonomic details. Mrs Griffiths was one of a number of women seaweed collectors who contributed to large synoptic projects during the early nineteenth century. Her immediate botanical circle included her daughter Amelia Elizabeth (1802-1861), who worked on mosses. She also assisted and promoted the work of Mary Wyatt, a former family servant, who produced five volumes of mounted specimens of Devon marine algae for sale under the title Algae Danmonienses (1833-41). A founding member of the Torquay Natural History Society in 1844, Amelia Griffiths compiled a seaweed collection for its reference and donated other specimens of local flora to its museum. In 1851 she prepared a collection of 720 specimens of seaweed to be sold for charitable purposes. Her phycological zeal remained strong into old age. She died ten days before her ninetieth birthday, on 4 January 1858, at Bloomfield Lodge, Meadfoot Road, Torquay, and was buried in Torwood churchyard. (End Oxford DNB quote) Seaweed is a loose colloquial term encompassing macroscopic, multi-cellular, benthic marine algae. The term includes some members of the red, brown and green algae. A seaweed may belong to one of several groups of multi-cellular algae: the red algae, green algae, and brown algae. As these three groups are not thought to have a common multicellular ancestor, the seaweeds are a polyphyletic group. In addition, some tuft-forming bluegreen algae (Cyanobacteria) are sometimes considered to be seaweeds. Phycology is the scientific study of algae. The branch of life science is often regarded as a subdiscipline of botany. Algae are important plants as primary producers in aquatic ecosystems. Most algae are eukaryotic, photosynthetic organisms that live in a wet environment. They are distinguished from the higher plants by a lack of true roots, stems or leaves. Many species are single-celled and microscopic, including phytoplankton and other microalgae. Others are multi-cellular to one degree or another, some of these growing to large size (for example, seaweeds such as kelp and Sargassum). . Very Good.

      [Bookseller: Voyager Press Rare Books & Manuscripts, ]
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        Journal of an Embassy from the Governor-General of India to the Courts of Siam and Cochin China, Two Vols., Complete

      Henry Colburn and Richard Bentley, London, 1830. Second Edition Hardcover. Condition: Very Good/None "Forest green publisher's cloth boards with blindstamped decoration and borders, blindstamped bands and gilt titling on spine, lightly rubbed. Corners bumped. Upper corners on Vol. 1 are rubbed and all on Vol. 2. Closed 1/2-in. tear lifting spine covering near head on Vol. 1. Interior hinges cracked; Vol. 1 a little shaky. Bindings sound. Second volume untrimmed; one sheet has been hand-separated. Page edges are darkened. Interiors unmarked with minimal foxing affecting only margins and illustrations. Some of the plates have transferred a toning effect to facing pages of text, as happens--still readable. City of Bangkok illustration has a dampstain, still stunning. Large format map fold-out has 1/2-in. closed tear. 8vo. Not a reprint or print-on-demand. Not ex-library." "BOOK INFO: 'Exhibiting a View of the Actual State of Those Kingdoms by John Crawfurd, ESQ., FRS., FLS., FGS., , late envoy.' These volumes document the diplomatic journey of John Crawfurd, beginning in 1821, through Siam, (now Thailand) and Cochinchina (part of southern Vietnam), one of the first such expeditions undertaken at the time. Illus. by fold-out B engravings, wood cuts and fold-out maps, all intact, including a large (25 x 39 ins.) fold-out map of the two kingdoms compiled by John Walker, published in 1828. One plate depicts the 'Ordinary mode of conveyance of persons of rank in Cochin China, ' i.e., in a hammock held aloft and spirited along by soldiers. A fold-out Vocabularies table lists English words and their translations in to Thai, Lao, Mon (or Pegu), Kamboja, Komen, Pali, Ka, Chong, Malay of Champa, and Annam. A fold-out of a gorgeous Siamese alphabet. Also a fold-out of 8 national portraits, representing different races. Interesting--just 30 years after this book was published, France entered into a conflict which became known as the Cochinchina Campaign and resulted in their maintaining colonial rule over the region for nearly a century. 475pp., 459pp. Ships from US.". Language: English. Pages: 0

      [Bookseller: Booksinternationale.com]
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        Lettre autographe signée (à une chère Citoyenne) / Commune de Paris

      - (1830-1905). Militante révolutionnaire. Lettre autographe signée, sans lieu ni date, à une « chère citoyenne », 1 page 1/3 in-8. « Chère citoyenne, Vous voyez que j’ai eu soin de ne pas vous faire perdre de temps pour mes séances. Mais de mardi en huit c’est d’urgence nos statuts sont terminés il faut les relire entre nous avant de les présenter au vote de l’assemblée générale. Comment va votre courage ? Moi je suis encore sur pied et d’autant plus énergique que ce ne sera peut-être pas pour longtemps. Je veux dans tous les cas vous voir définitivement travailler avant d’aller je ne sais où. Je vous serre la main comme je vous aime. L. Michel. J’ai rêvé que vous vous laissiez encore ennuyer par de vilains gens ».

      [Bookseller: Thomas Vincent]
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        Vorschriften fu?r den Unterricht im Fechten und Voltigiren der ko?niglich bayerischen Cavalerie

      München, 1830. - in 4 Abtheilungen. Mit 10 gefalteten lithographischen Tafeln, XII, 174 Seiten vollständig lithographierter Text in Kursive, Pappband der Zeit mit Rückenschild, 24 x 18 cm, Gut erhalten. Seltene Anleitung für das Fechten und Voltigieren, weltweit nur ein Exemplar in der Bayerischen Staatsbibliothek nachweisbar. [Attributes: Hard Cover]

      [Bookseller: Antiquariat H. Carlsen]
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        Le Kaire. Vue Intérieure de la Maison d'Osmàn Bey

      Paris, 1830. Copper engraving, with later professional hand-colouring. Very good condition apart from a few mild surface abrasions in the top margin and lower left corner of the plate mark, a 1/2" tear in the right margin, and some very minor foxing in the margins. A fine plate from 'Description de l'Egypte', the seminal publication by the French government detailing the results of the Napoleon's pioneering military and scientific expedition to Egypt (1798-1801) and the first comprehensive illustrated description of ancient and modern Egypt. In 1798, Napoleon embarked on his legendary expedition to Egypt with the ambition of wresting control of the region from the Turkish Empire and 'opening' the enigmatic kingdom to the West. Conquering Egypt, the geographical centerpoint in the axis of trade between Europe, India and the East, was an integral part of Bonaparte's strategic plan for global domination. Among the numerous civilians accompanying him, were the 'savants', leading French scholars, artists, scientists, engineers and technicians, whom he commissioned to compile a thorough survey of every aspect of Egypt that could later be used in planning the country's future shape. The survey was divided into various sections detailing the antiquities, modern architecture, natural history and topography of Egypt and coordinated by the 'l'Institut de l'Egypte' with a view to publication. Following the defeat of the French army, the 'savants' returned to France where a committee was established to edit and supervise the work's production. Begun under Napoleon in 1809, 'Description de l'Egypte' was finally completed in 1830. Although not a military success, the expedition and the resultant 'Description', were a scientific and cultural triumph considered by many to be the "Birth of Egyptology". Prior to Napoleon's invasion, access to and knowledge of Egypt, its culture and antiquities, were limited to the objects brought to Europe by the Romans and nineteenth-century merchants. The exquisite plates from this voluminous and invaluable work provided the first true glimpse into a once mysterious land and indelibly influenced how the west perceived Egypt. This particular plate is from the volume entitled 'Etat Moderne', which detailed important examples of Egyptian architecture constructed after the seventh-century Arab invasion.

      [Bookseller: Donald Heald Rare Books]
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        Repulsed but not discouraged

      Thomas McLean, 26 Haymarket, London, England 1830 - Hand colored etching. Satirical print. In acid free Mylar envelope. O'Connell and Brougham (in wig and gown) stand together, watching the efforts of Wellington and Peel to close a door against a bearded Jew who tries to push in. The Jew: 'Pray let me in! I am sure I shall Behave myself, as well as some, whom you have admitted'. Peel, on the extreme right: 'I cannot let you pass, if I admit you the respectable Gentleman in the broad brim and all the rest will expect to get in." Wellington: "He must not be let in yet P[ee]l, but if we don't take care the fellow will slip in, in spite of us." O'connell: " Agitate friend Moses, Agitate! that's the way I got in." Brougham: "You exclude the Jew and Quaker while the Atheist, who laughs at your oaths, obtains Admission." Henry Brougham, 1st Baron Brougham and Vaux (1778-1868), Lord Chancellor. Edward Irving (1792-1834), Scottish minister. Daniel O'Connell (1775-1847), Irish politician; MP for Dublin City and Cork County. Sir Robert Peel, 2nd Bt (1788-1850), Prime Minister. Arthur Wellesley, 1st Duke of Wellington (1769-1852), Field Marshal and Prime Minister. Thomas McLean (1788-1875), was a London print seller and publisher who specialized in the publication of political caricatures.

      [Bookseller: Meir Turner]
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        Archiv der Staats-Papiere für Bankiers, Kaufleute und Kapitalisten nebst den nöthigen Notizen über die Berechnung der Staats-Papiere und den Zustand der Staatsschulden.

      Leipzig, Immanuel Müller, 1830. - VIII 183 (1) S., 3 (1) gef. Taf., HLdr., min. bestoßen, tls. stockfl. -- Humpert 6882. - Erste Ausgabe.-- [Attributes: First Edition; Hard Cover]

      [Bookseller: oeconomie.de | Antiquariat Hohmann]
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        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]
 26.   Check availability:     Biblio     Link/Print  


        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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        Die Baad-Gebäude von Boll

      Stuttgart, C. Dammel, um 1830. - Abb. 20,9 cm x 30,3 cm Seltene Ansicht der Badgebäude in Bad Boll in gutem Zustand. Schefold 784. Sprache: Deutsch Gewicht in Gramm: 1100

      [Bookseller: Göppinger Antiquariat]
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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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