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Displayed below are some selected recent viaLibri matches for books published in 1835

        Letters and Petition Concerning a Convict Sent to Australia for a Petty Crime

      1835. A collection of letters and documents relating to the conviction and sentencing of John Russell to New South Wales (Australia) for a petty crime. Russell, the son of a bricklayer from Lambeth, fell into bad company and was sentenced to life for the theft of "a fruit pie and 2 dishes," which he thought was part of a practical joke involving some new acquaintances. Included are two Autographed Letters Signed from Russell to his family while held aboard the convict hulk Leviathan awaiting transport, a handwritten petition to the British Secretary of the State for the Home Department pleading for leniency, and an Enquiry for a Convict letter notifying the family of Russell's conviction and transportation on the convict ship Recovery. The documents are worn with soiling and tears at the folds but all are still clearly legible and complete, good. A sad archive, yet interesting source material that provides insight into the harsh treatment of criminals by the early 19th Century British legal system as reflected in works such as Charles Dicken's Great Expectations, in which detention on and escape from convict hulks played a major part. Further details available upon request. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        DIARIO DE LA ISLA DE SANTA-HELENA: contiene todo lo relativo a la vida publica y privada de Napoleon, y al mismo tiempo cuanto dijo e hizo en el espacio de diez y ocho meses de su cautiverio, escrito por el conde de las Casas. Traduccion conforme á la última edicion francesa.

      Imp. Oliva. Barcelona, 1835 - . 15 cm. 4 vol.: (I) Un retrato de Napoleón grabado por Estruc, XIX-356 pág. (II) 2h., 336 pág. (III) 2 h., 327 pág. (IV) 1 h., 338 pág. Cuatro vol. enc. en pasta española, tejuelos, cortes pintados. Puntos de óxido en algunas páginas. CPB 277316-3. Napoleònica Libros modernos a partir de 1830 español [Attributes: Hard Cover]

      [Bookseller: Libreria anticuaria Farré]
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        The Naval Achievements of Great Britain. From the Year 1793 to 1817

      London: printed for J. Jenkins, by L. Harrison,, [after 1835]. Quarto (345 × 275 mm). Early 20th-century dark blue half morocco with marbled boards covered in later blue-grey linen, raised bands, titles to spine gilt, compartments gilt panelled with leaf cornerpieces and central tools of a crown, a three-masted ship, an anchor, and a globe, all edges gilt, marbled endpapers renewed. Hand-coloured aquatint frontispiece with tissue guard, 54 hand-coloured aquatint plates, one plate with 2 etched plans of the Bombardment of Algiers and of the Battle of Trafalgar, engraved title page with hand-coloured vignette. Binder's ticket to front pastedown. Rear board very gently bowed, lower corners slightly bumped and worn, a few small dark marks to cloth, mild offsetting from plates, occasional light spotting to margins of text block and plates, minor staining to fore margin and a couple of small spots affecting the edges of one plate (Lord Bridport's action off Port L'Orient). An excellent copy. First edition, later state. First issued in 1817, the work sold slowly, which led Jenkins to issue copies as demand necessitated. The earliest copies of this book have the text printed of paper watermarked 1812 and 1816; this copy is printed on paper watermarked 1835. An attractively bound copy of this magnificent illustration of the high-water mark of Britain's maritime hegemony, and the apogee of the coloured aquatint. As Roger Quarm, curator of pictures at the National Maritime Museum remarked: "As a record of naval events spanning a period of over twenty years [it] has no precedent. At no time prior to 1817 had a publisher attempted such a complete volume of documentary naval prints. It is the quality of accuracy which makes Jenkins so valuable" (quoted in the introduction to the 1998 facsimile edition).

      [Bookseller: Peter Harrington]
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        "Münchner Volksleben. Der Sommerkeller" in München. Blick in einen belebten, typischen Münchner Biergarten, im Hintergrund die Stadtsilhouette mit den Frauentürmen.

      . Kol. Lithographie von Friedrich Kaiser bei J.B. Kuhn, um 1835, 26 x 33,5 cm.. Maillinger II, 378; Slg Proebst 1724; Lentner 13999: "Sehr seltenes, reizendes Blatt". - Originelle Darstellung des volkstümlichen Lebens in Altmünchen. Zahlreiche Ausflügler drängen sich im schattigen Wirtshausgarten. Es handelt sich wahrscheinlich um den Wagnerbräukeller vor der Theresienhöhe. - Geglättete Knickfalte, oben links restaurierter kleiner Einriss. Sehr hübsches Kolorit.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Journal des Etats Generaux de France tenus a Tours en 1484 sous le regne de Charles VIII, redige en Latin par Jehan Masselin

      Paris Imprimerie Royale [1835]. - pp. xix,[1],745,[2]. spine darkened, ends & corners worn, 4to boards & all edges soiled & a bit dusty, scattered foxing & spotting, else an internally clean, unopened copy in the original paper-covered boards. An important & uncommon title. The first translation (by A. Bernier) from the original, unpublished manuscript, with the Latin & French texts on facing pages. Series: Collection de Documents Inedits sur L'Histoire de France publies par ordre du Roi et par les soins du Ministre de L'Instruction Publique. Premiere Serie: Historie Politique. The proceedings of the important 1484 Estates General convoked at Tours by Charles VIII - which sought to retain its fiscal control of the government & administration through its unsuccessful attempt to re-assert its historical right to vote taxes (lost when Charles VII established the permanent royal "taille") - are known only through Jehan Masselin's detailed journal. Masselin, who died in 1500, was a doctor of civil & canon law, and a representative of the archbishop of Rouen at the 1484 Estates General. (Intro). Brissaud p.361ff. The typographic design of the text is that of Firmin Didot, member of the venerable Didot family of typefounders & printers, who, in 1812, was asked to redesign the type of the Imprimerie Imperiale. His typefaces became the standard of French printers throughout the 19th century. (Glaister, Glossary of the Book, pp.140-141) [title continued] depute du bailliage de Rouen. Publie et traduit pour la premiere fois sur les manuscript inedits de la Bibliotheque du Roi par A. Bernier. [end title]. [Attributes: Hard Cover]

      [Bookseller: Linda K. Montemaggi]
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        THE TOURIST IN SPAIN. GRANADA.

      London 1835 - 8º. xv., 288 p. portada grabada y 20 grabados al acero fuera de texto; 10 grabados en madera entre texto. pleno tafilete verde del editor, título dorado en lomera; ambos planos con estampaciones en seco; cortes dorados. / Leves manchas de óxido en las láminas, no obstante buen ejemplar. [Attributes: Hard Cover]

      [Bookseller: LIBRERIA MARGARITA DE DIOS]
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        The Tourist in Spain - Granada

      Robert Jennings & Co., London 1835 - PO inscription, "Dec. 25, 1834" on ffep. Dark green embossed leather boards with gilt lettering and decoration on spine. AEG. Some small shelf wear indentations on gilt page edges. Staining and surface soil on front cover. Rubbing along spine edges, top spine end rubbed, small rub on back portion of bottom spine edge. Some rubbing in spots along edges, corners lightly rubbed. Bookbinder's small blind stamp on upper corner of ffep reads: "Remnant & Edmonds Binders, Pater Noster Row". Starting at ffep joint. Light small area of foxing or toning on top back of 1st frontispiece and at top of 2nd frontispiece. Pages very lightly toned. A few isolated individual fox spots on a few pages. Text block tight and square. Rear fep has a wrinkle. Starting at back joint. PayPal accepted. [Attributes: First Edition; Hard Cover]

      [Bookseller: onourshelves]
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        The Tourist in Spain. Granada.,

      London, Robert Jennings, 1835 - XV, 288 S., 1 Bl. Mit 20 Stahlsticktafeln und vielen Holzschnitt-Vignetten nach David Roberts. (= Jennings` Landscape Abbual for 1835, or Tourist in Spain. Commencing with Granada). - Mit Ansichten von Cordoba, der Alhambra, der Brücke von Ronda u. v. a. - Gutes Exemplar, kaum fleckig. Sprache: de Gewicht in Gramm: 550 8°, grüner Lederbd. der Zeit mit RVergoldung und dreis. Goldschnitt, Deckel mit Blindprägung.

      [Bookseller: Antiquariat Galerie Joy]
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        Phytographie Medicale, Histoire des Substances Heroiques et des Poisons.

      Chez B. Cormon et Blanc, Paris 1835 - Volumes 2 and 3 only (of four). 8vo. Quarter green leather with spine panels and gilt and green marbled paper over boards. 620pp, 560pp. Marbled endpapers and page edges. Very good. Spines ever-so-slightly sunned; bottom corners slightly bumped. First edition. A broken set, alas, but quite handsome and exceptionally scarce. [Attributes: First Edition; Hard Cover]

      [Bookseller: Main Street Fine Books & Mss, ABAA]
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        The Surtees Society Collection

      67 - Durham, London and Edinburgh - The Surtees Society 1835 - A scarce and vast collection of the works publishedfor the Durham based text society; spaning over a total of one-hundred and thirty-two years. Sixty-five volumes of the original two-hundred and fifteen volumes published. Containing the very first volume topublished. Included among the works published are volumes covering the documents of monasteries, including Finchale Priory, Coldingham Priory, Fountains Abbey, Hexham Priory, Whitby Abbey and Brinkburn Priory. Other records include wills and inventories from Yorkshire, obituaries from Durham Cathedral, heraldic visitations, documents from various archbishops of York and bishops of Durham, and records from the cities of York and Durham. No. 1 (1835) Anon, Reginaldi Monachi Dunelmensis libellus de admirandis Beati Cathberti virtutibus quae novellis patrate sunt temporibusNo. 4 (1836) Raine, J. Sr. ; Raine, J. Jr. ; Clay, J. W. eds. , Testamenta Eboracensia: a Selection of Wills from the Registry at York (1300-1551). Vol. INo. 6. (1837) Raine, J. ed. , Charters of Endowment, Inventories and Account Rolls of the Priory of FinchaleNo. 8 (1838) Miscellanea Biographica: Oswinus, rex Northumnbriae, Cuthbertus, episcopus Lindisfarnensis Gata, episcopus HaugustaldensisNo. 10. (1840) Anon. , Rituale Ecclesiae Dunelmensis No. 11 (1840) Michel, F. ed. , Chronicle of the War between the English and the Scots in 1173 and 1174 by Jordan Fantosme, Spiritual Chancellor of the Diocese of Winchester No. 14 (1842) Stevenson, J. ed. , The Correspondence of Robert Bowes of Aske, esq. , Ambassador of Queen Elizabeth to the Court of Scotland No. 16 (1843) Stevenson, J. ed. , Anglo-Saxon and Early English Psalter: now first printed from manuscripts in the British Museum. Vol. INo. 18 (1844) Raine, J. ed. , The Durham Household Book, or the Accounts of the Bursar of the Monastery of Durham, 1530-4 No. 19 (1847) Stevenson, J. ed. , Anglo-Saxon and Early English Psalter: now first printed from manuscripts in the British Museum. Vol. IINo. 21 (1846) Raine, J. ed. , Depositions and other Ecclesiastical Proceedings from the Courts of Durham from 1311 to the reign of ElizabethNo. 23 (1851) Stevenson, J. ed. , The Latin Hymns of the Anglo-Saxon Church with an interlinear Anglo-Saxon GlossaryNo. 28 (1854) Stevenson, J. ed. , The Lindisfarne and Rushworth GospelsNo. 29 (1854) Raine, J. ed. , Inventories and Account Rolls of the Benedictine Houses or Cells of Jarrow and Monk-WearmouthThe scarce No. 34 (1857) Anon, Court of High Commission at DurhamNo. 39 (1861) Waring, G. ed. , The Lindisfarne and Rushworth Gospels. Part IINo. 43 (1863) Waring, G. ed. , The Lindisfarne and Rushworth Gospels. Part IIITwo copies of No. 45 (1864) Raine, J. Sr. ; Raine, J. Jr. ; Clay, J. W. eds. , Testamenta Eboracensia: a Selection of Wills from the Registry at York (1300-1551). Vol. II Rebound in a smart cloth binding; No. 46 (1865) Raine, J. ed. , The Priory of Hexham, its Title-Deeds, Black Book, etc. Vol. IIINo. 48 (1865) Waring, G. ed. , The Lindisfarne and Rushworth Gospels. Part IVNo. 49 (1866) Skaife, R. H. ed. , The Survey of the County of York taken by John de Kirkby, called Kirkbys Inquest: also Inquisitions of Knights Fees, the Nomina Villarum for Yorkshire, and an Appendix of Illustrative DocumentsNo. 50 (1867) Longstaffe, W. H. D. , Memoirs of the Life of Mr. Ambrose Barnes, late Merchant and sometime Alderman of Newcastle upon TyneNo. 51 (1868) Hinde, H. ed. , Symeonis Dunelmensis Opera et Collectanea. Vol. INo. 52 (1869) Ornsby, G. , Correspondence of John Cosin, D. D. , Lord Bishop of Durham: together with other papers illustrative of his life and times. Vol. INo. 53 (1869) Raine, J. Sr. ; Raine, J. Jr. ; Clay, J. W. eds. , Testamenta Eboracensia: a Selection of Wills from the Registry at York (1300-1551). Vol. IVNo. 58 (1871) Greenwell, W. ed. , Feodarium prioratus Dunelmensis. A Survey of the Estates of the Priory and Convent of Durham, compiled in the fifteenth centuryNo. 62 (1873) Jackson, C. ed. , The Autobio [Attributes: Hard Cover]

      [Bookseller: Rooke Books PBFA]
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        Foreign Conspiracy Against the Liberties of the United States

      New York: Leavitt, Lord, & Co.. Hardcover. 208 pages. "The numbers of Brutus, originally published in the New-York Observer Revised and Corrected by the Author" - subtitle. "The public mind is awake far and wide to the fact, that Popery is a political as well as a religious system, nor will freemen be lulled to sleep by the popish anodyne of no controversy; they will not rest till these more than suspicious manoeuverings of Jesuit intriguers; of Austrian conspirators against their liberties, shall have been searched to the bottom." - from Preface. Backstrip missing its lower half as well as a chip from top end. Original pasted label still present and clearly legible upon backstrip. Maroon boards faded with average wear. Presentation plate and few library markings inside front board. Minimal additional library markings to contents which have darkened with age. Binding tight and square. Lower corner of pages ix through 42 rumpled. Foxing to endpapers. Author invented the telegraph and its code which bears his name. . Good. 1835. First Edition.

      [Bookseller: RareNonFiction.com]
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        Histoire de la marine française

      Bonnaire Félix 0 - In-8° relié, demie basane, dos à 4 nerfs décorés peu saillants, titre et tomaison dorés, 5 volumes, tome 1 : 394 pp. + un frontispice et une carte dépliante (1835), tome 2 : 492 pp. + un frontispice et deux cartes dépliantes (1835), tome 3 : 516 pp. + un frontispice et une planche dépliante (1836), tome 4 : 482 pp. + un frontispice et une planche dépliante (1836), tome 5 : 480 pp. + un frontispice (1837), chaque volume contient quelques illustrations en noir et blanc hors-texte ; dos insolés, coiffes abimées (coiffe supérieure du tome 2 recollée), épidermures, coins et plats frottés, quelques rousseurs in-texto, par ailleurs bon état Collectif [Attributes: Hard Cover]

      [Bookseller: Abraxas-libris]
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        The History, Antiquities, and Topography of the County of Sussex (2 vols)

      Baxter Sussex Press, Lewes 1835 - For extra pictures of the more valuable books, please press the 'Ask Bookseller A Question' button. Packed weight = 06.50kg. The parcel will need insuring and the weight is way outside the standard abe postage charges which are for a 1kg uninsured parcel so please either contact us direct or look at the postage options on our website before ordering through abe. This is a two volume set in very good condition overall. Volume I is for East Sussex/ volume II for West Sussex. Internally these volumes are in generally very clean and complete condition. There is some marking/ foxing but this is mostly restricted to the text - for a book of this age, it is very clean. The plates are in generally very good clean condition with some marking - please see photographs for further information. Many plates still have their protective tissue guard. Both volumes have fold out maps - these are in generally good clean condition with some marking, creasing and a couple of closed tears. Externally, the marbled boards are in good condition although slightly worn. Gold lettering on spine still in good condition. Volume II has had a brand new leather spine done in the same style as Volume I. The Bianco Library website has 6 pictures of this book including both medium and large images. This description is to be read in conjunction with these photographs. [Attributes: Hard Cover]

      [Bookseller: BIANCOLIBRARY]
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        The History, Antiquities, and Topography of the County of Sussex

      Lewes: Baxter, 1835.. First edition, 2 volumes, 4to. Two folding maps and 56 copperplate engravings plus 80 wood engravings in the text, some marginal foxing and staining to several plates and to the tissues of the frontispieces, small "Subscriber's Copy" label to the foot of the paste down in volume II. Recently rebacked to style in maroon half morocco, original publisher's marbled boards, corners with light wear. One of the standard works on the county, covering each hundred and parish and listing the various ancient manor houses, churches and ruins as well as biographies of important figures.

      [Bookseller: Bow Windows Bookshop]
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        STORIA DI CORTONA.

      Bellotti,, Arezzo 1835 - (¿800 FIG. CORTONA). (cm 23,5) Bella legatura recente in mz. vitello rosso da amatore, nervi, titolo e fregi in oro al dorso, copertine originali conservate; pp- 138, pp 2 nn. + 6 tavv f.t. incise in rame con la veduta della città, Grotta di Pitagora, Chiesa di Santa Margherita, del Calcinaio e di Santa Maria Nuova. In fine una grande carta topografica ripiegata del Vicariato di Cortona (cm 38x48), disegnata nel 1779 dall¿Abate B. Borghi, il più grande cartografo del tempo. Questa pianta rappresenta la più dettagliata carta geografica antica che si conosca e fondamentale per la toponomastica locale del territorio cortonese. Rara ed edizione originale ed unica pubblicata anonima in pochi esemplari che circolavano solo nel territorio. L¿autore è il cortonese Paolo Uccelli (1803-1873). Alcune fioriture comuni a questa edizione, ma bell¿esemplare nitido e marginoso con antichi ex libris nobiliare alla sguardia. Si allega in fine, in fotocopia, una carta del territorio con interessanti varianti rispetto all¿originale inserita nel libro. Platner 116; Lozzi 1346 in nota; Bocca 1545; Inghirami II 85.[f62] [Attributes: Hard Cover]

      [Bookseller: LIBRI ANTICHI E RARI FRANCESCO&CLAUDIA]
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        Die Wundermappe. 1. Bd., 2. Abt., 1. Lieferung. Oberitalien ( Venedig ).

      Frankf., Compt. f. Literatur u. Kunst, 1835.. VIII, 376 SS. m. 60 Stst., gr.- 8°, Ppbd. d. Zt. m. zwei farb. Rsch. (ber., besch. u. best.).. Enthält Stiche von Bologna, Comer See, Florenz (5), Genua (12), Mailand (14), Pisa (5), San Marino, Spoleto, Venedig ( 12 ) und Verona. Die Vorsätze mit kleinen Eckabschnitten. Durchgängig minimal fleckig. - Gutes Exemplar.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Manuscript notebooks of Benjamin W Helffenstein, physician and apothecary of Norristown, Pennsylvania

      [Norristown, PA.], ca 1835. Unique. All contemporary wrappers. Very good overall with occasional cover separation. 4to There are text illustrations in the mathematical notebooks. The Helffenstein family, originally German immigrants to the Lehigh Valley in Pennsylvania, had been established in or near Norristown since the late 18th century. Benjamin studied medicine at the University of Pennsylvania. The notebooks offered here all stem from his time as a student at the university. There are six notebooks. Two are successive versions of his medical thesis, An Essay on Inflamation [sic]; small 4to fully corrected and ammended notebooks of about 25 closely written pages. There are three additional notebooks comprising about 100 pages, that contain mathematics and physics studies. Two are devoted to plane and solid geometry. A third, large 4to notebook, is taken up with dynamics and mechanics lectures and problems with interesting additions on optics and microscopes. The final 4to notebook is appx. 90 pages of notes devoted the the history of the Jews and their religion.

      [Bookseller: Palinurus Antiquarian Books ]
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        Lettre autographe signée de Raymond Poincaré.

      1 L.A.S. (211 x 135) 4 pp., entête "Sénat", "Sampigny 1er sept. 30", à "Mon cher directeur". Très bon état. - Très intéressante lettre droit de réponse adressée à Maurice Martin du Gard, directeur des Nouvelles littéraires, artistiques et scientifiques qui a publié en 1ère page de son numéro du 30 août "l'excellent article intitulé L'ouvrier littéraire" de son ami Lucien Descaves sur la "définition nouvelle du mot ouvrier" adoptée par l'académie française. Poincaré répond au "reproche, qui s'adresse à l'académie française autant qu'à moi, et que je ne crois pas mérité [sic]. Mais comment plaiderais-je pour l'académie française contre l'académie Goncourt ?". [Descaves est l'un des membres fondateurs de l'académie Goncourt.] "Contrairement à ce qu'a cru Lucien Descaves, il ne néglige ni l'ouvrier d'art, ni l'ouvrier de lettres. Nous l'avons pris tel que nous l'avait légué Sainte Beuve et nous avons gardé tous les paragraphes, sauf le premier qui, dans la forme où il nous était transmis, nous a paru choquer un peu le sentiment d'égalité sociale. La presse a fait connaître le changement que nous avions adopté, mais elle a ignoré ce que nous avions conservé. De là l'erreur de Lucien Descaves.". Poincaré renvoie Descaves à la lecture du "lumineux article" d'Abel Hermant dans Le Figaro sur les raisons de la décision prise par l'académie puis argumente en reprenant les différentes définitions du mot "ouvrier", celle de Sainte-Beuve puis celles contenues dans le Littré, le "dictionnaire très répandu vers 1835, celui de Noël et Chapsal" [Nouveau Dictionnaire de la langue française (1826)], "un petit dictionnaire classique, qu'ont feuilleté tous les lycéens à la fin du XIXe siècle, celui de Gazier" [Nouveau dictionnaire classique illustré (1887)], le Petit Larousse illustré Et Poincaré de conclure "Il [Descaves] voudrait aussi que la société contemporaine réservât un sort meilleur à l'ouvrier littéraire. Là dessus également je suis de son avis. ( ) La question est, au demeurant, assez importante pour que nous ne la mêlions pas à un modeste débat de lexicologie." Signée de son paraphe. Lucien DESCAVES, "L'ouvrier littéraire", in Les Nouvelles littéraires, artistiques et scientifiques, n°411, 30 août 1930, p.1. [Attributes: Signed Copy]

      [Bookseller: Bouquinerie Aurore (SLAM-ILAB)]
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        Aurora, oder Morgenröthe im Aufgang. Erster Band. In vier Lieferungen. das ist: Die Wurzel oder Mutter, der Philosophie, Astrologie und Theologie aus rechtem Grunde, oder Beschreibung der Natur. Des gottseligen hocherleuchteten teutschen Theosophen Jacob Böhme sämmtliche Werke. Genau nach der Amsterdamer Ausgabe von 1682 unter steter Vergleichung der beiden Editionen von 1715 und 1730 von Neuem aufgelegt.

      Stuttgart: Hallberger, 1835 - 337 S. in vier Heften. Einbände berieben. Papierbedingt leicht gebräunt. Einige Blätter lose. - Dem Text vorangestellt sind vier Beiträge: Herrn Abraham's von Frankenberg Bericht vom Leben und Abscheiden des in Gott selig ruhenden Jakob Böhme -- Cornelii Meißners Relation von des seligen Jak. Böhme Sanftmuth etc. bei dem Examen zu Dresden -- Dr. Kobers Bericht, von der Krankheit, Absterben und Begräbnis des sel. Jakob Böhme -- Mehrere kleine Beweisstücke, die zu obigem Berichte gehören, als die von Pfarrer Theodor an unseren Theosophen gemachte Fragen bei der letzten Communion, einige Suppliken an den Rath von Görlitz, sammt der Leichenrede des Pfarrer Theodor usw. Sprache: de Gewicht in Gramm: 550 [Attributes: Soft Cover]

      [Bookseller: Fundus-Online GbR Borkert SchwarzZerfaß]
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        Plate 306 sezione per il lungo della Nave

      Paris 1835 - This print was published between 1806-1833. The watermark that is present is number 93 in John Wilton-Ely on page 1182 and is dated in the mid 1830s Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. These fine prints served as source material for other architects and designers. He was born in Venice on the 4th October 1720. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. His output in etched plates is enormous (about 1000 numbers in all). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. He was fond of peopling his ruins with Callot-like figures, and "like Callot makes great use of the swelling line" (Hind). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. They were Francesco (born 1748 or 1756; died 1810), Pietro (who lived till after 1807) and Laura (born 1750). His position in Rome and in Europe after 1760 was a prominent one. He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. Most of his life was passed in Rome, etching, writing, publishing, and directing a workshop in which the restoration and sale of antiques played a considerable part.He was famous for his poetic views of Rome and also his fantastic imaginary interiors. His skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Vasi.et Ornamenti Antichi was a collection of 110 etchings documenting large sculptural vases, together with other antiquities excavated (and in some cases created) in Italy in the 18th century. The prints were initially separately issued and sold by Piranesi over a period of several years and subsequently collected in two folio volumes, each with its own title page, in 1778. They illustrate a wide range of genuine antiquities, as well as Piranesi's own collections, from utilitarian objects such as cinerary urns, lamps, and sarcophagi to monumental vases. The plates in Vasi often included text by Piranesi with information about where the objects were discovered and their contemporary location, and the prints bore dedications to his patrons, colleagues, visitors and influential people. He believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel and Vathek . In the 20th century his imaginary interiors have been admired by the Surrealists . Reference: John Wilton-Ely. Giovanni Battista Piranesi: The Complete Etchings. San Francisco: Alan Wofsy Fine Arts

      [Bookseller: Alexandre Antique Prints, Maps & Books]
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        Cruise of the United States Frigate Potomac Round the World, During the Years 1831-34. Embracing the Attack on Quallah Battoo, with Notices of Scenes, Manners, Etc., in Different Parts of Asia, South America, and the Islands of the Pacific

      Leavitt, Lord & Co. / Crocker & Brewster, New York and Boston 1835 - 12mo. 363, 12 pages. Hardcover bound in original cloth. The binding is worn but sound. Spine ends frayed; spine a bit sunned. Corners bumped. Inner hinges secure and the text is foxed. There is a small bit of damping along the bottom edge of the front endpapers, but this does not noticeably affect the text. The front flyleaf has an old (19th century?) signature of William Lewis, Honolulu. The front pastedown has a large marriage inscription from 1941 in North Carolina. Complete with all 6 plates. [Attributes: First Edition; Hard Cover]

      [Bookseller: Pages Past--Used & Rare Books]
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        Histoire Naturelle des Oiseaux de Paradis et des Épimaques

      Paris: Arthus Bertrand. G+ : in Good condition plus. Cover with minor joint rubbing. Some browning and spotting to text. A few plates very slightly discoloured. Illustrations bright. Aeg. Signature on ffep of 'Douglas & Clydesdale'. 1835. First Edition. Green leather gilt decorated cover. 240mm x 150mm (9" x 6"). vii, 248pp. 43 hand coloured tissue guarded engraved plates including 3 folding. .

      [Bookseller: Barter Books Ltd]
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        Abhandlungen aus dem Gebiethe der Staatswirthschaftslehre.

      Heidelberg, August Osswald's Universitäts-Buchhandlung, 1835. - VIII, 216 S., goldgeprägter Halbleder-Band der Zeit mit goldgepr. Rückenschild, marmorierten Decken und gesprenkeltem Schnitt (Rücken berieben, Rückenschild mit Fehlstellen), 20,3 x 12,6 cm. Erste Ausgabe. "Unter denjenigen deutschen Juristen, welche zugleich an der Entwicklung deutscher Volkswirthschaftslehre mit Erfolg teilgenommen haben, ist einer der vornehmsten Karl Salomo Zachariä (von Lingenthal, geb. 1769 in Meißen, gest. 1843in Heidelberg). . Er war entschieden der Ansicht, daß nicht allein bei der Civilgesetzgebung, sondern auch bei der Auslegung der Civilgesetze immer Nationalökonomen zugezogen werden sollten (Abhandlungen, S. 133). . In volkswirthschaftlichen Fragen steht Zachariä der Hauptsache nach auf dem Boden der Ad. Smith'schen Lehre. . Indessen besteht sein Hauptverdienst um die Nationalökonomik darin, daß er die volkswirthschaftlichen Fragen regelmäßig als Seiten des Volkslebens, oder wenigstens Staatslebens auffaßt. Seine Abhandlung 'Ueber die demokratische Tendenz der heutigen europäischen Staatswirthschaft' (das ist das erste Kapitel der hier vorliegenden 'Abhandlungen') . War damals ein nicht unbedeutender Fortschritt der Wissenschaft. . In der Gesammtheit der Staatsgläubiger findet er ein Analogon der Demokratie (S. 20). Die Staatsschuld verknüpft das Interesse der Regierung, der Kapitalisten und des Volkes zur höchsten Einheit. . Eine bedeutende Staatsschuld befördert die Herrschaft der öffentlichen Meinung, die internationale Handelsfreiheit und das Durchdringen der Geldwirthschaft im Staatshaushalte." (Roscher, Geschichte der National-Oekonomik, S. 930 ff.). Die weiteren hier vorliegenden Aufsätze behandeln die 'Besoldungssteuern', 'Gelddarlehen', die 'Regeneration der bürgerlichen Gesellschaft durch eine Umgestaltung des Eigenthumsrechts', 'Credit-Gesetze' und den 'Preussischen Mauthverein' : "Das Schutzzollsystem nennt Zachariä eine Vorstufe des Communismus (S. 100), schon darum, weil es fast immer zur Ueberbevölkerung, und diese wieder zu communistischen Theorien führt." (Roscher, S. 931). Die sechste Abhandlung 'Wirthschafts-Politik oder das Büchlein vom Reichwerden' nennt Roscher "genial" und auch Mohl lobt "das von Wahrheit und gesundem Menschenverstande strotzende Büchlein von der Kunst reich zu werden, in welchem er die Erfahrungen eines gerade in dieser Beziehung sehr wohl angewendeten Lebens und die Ergebnisse einer scharfen Beobachtung von Menschen und Dingen in gedrängten Sätzen und in oft höchst geistreicher kurzer Begründung mittheilt." (Mohl, Gesch. und Literatur der Staatswissenschaften, S. 525). Selten : weder die Library of Congress, noch die British Library, noch der Französische Verbundskatalog, noch die Staatsbibliothek Berlin besitzen ein Exemplar. - Innendeckel mit kl. Buchhandelsetikett, Titelblatt mit Nummerierung und dem Stempel der 'Gräflich von Landsberg'schen Bibliothek in Gemen', nur stellenweise minimal gebräunt. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Elvira Tasbach]
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        Sämmtliche Werke. 65 in 31 Bänden.

      Berlin, Reimer 1826-1835. - 8°, Halbldeder der Zeit mit mit 2 vergold. Rückentitel, Rückenvergoldung, Einbände kaum berieben, alle Vorsätze mit Leinschatten, sonst innen sauber und gut erhalten, der Kommentarband unterschiedlich gebunden und etwas größeres Format, berieben, insgesamt schöne Werkausgabe, Berend-Krogoll 169 a u. 953. - Goed.V, 466, 38; WG 51. - Erste Gesamtausgabe der Werke Jean Pauls, zunächst besorgt von Richard Otto Spazier, nach einem Zerwürfnis mit der Familie übergab dieser jedoch die Redaktion an E. Förster. Mit dem 5 Kommentarbänden (R. O. Spazier: Jean Paul Friedrich Richter. Ein biographischer Commentar zu dessen Werken) in einem Band, in neuer unveränderter Auflage (Berlin, List, 1835). Band 40 mit 12 Holzschnitten, ohne die 5 Supplementbände, [Attributes: Hard Cover]

      [Bookseller: Antiquariat Werner Steinbeiß]
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        Hand Colored Views Grand Canyon of Arizona [Cover Title]

      Oblong 4to 11-3/8 x 14-1/8. 18 hand colored plates tipped to cream paper with printed legend. Gray blue wrappers, printed in gold and blue . Fred Harvey (1835-1901) founded the Harvey House hotel, restaurant, and dining car chain that served passengers on the Santa Fe and other Southwestern railways. Harvey essentially invented the popular image of the Southwest, tailoring its scenery and the appearance of Native American life and art to suit the taste of tourists who took his "Harvey Company Detour" tour packages. This album of Grand Canyon views is typical of Harvey's aesthetic - the naturally picturesque Southwestern landscape overlaid with the weirdly man-made feel of the hand-coloring. Harvey was also a publisher of "photostint" postcards, similar in appearance to these Grand Canyon views, sold to promote his Harvey House chain. With 2 other hand colored plates of the Grand Canyon laid in

      [Bookseller: James Cummins Bookseller]
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        Kee-Me-One or Rain A Chippeway Chief. Painted at Fond du Lac 1827 by J. O. Lewis

      [Philadelphia: published by the author, 1835. A striking image from Lewis's "Aboriginal Portfolio." KeeMeOne (or KeeMeeWun) is listed as a signer of the Fond du Lac treaty of 1826 between the United States and the Chippewa, which re-confirmed the Prairie du Chien treaty ceding rights to mineral expliration and mining in Chippewa land. This treaty was also signed by Lewis Cass, Thomas McKenney, James Otto Lewis and Henry Schoolcraft. The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued. James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of the originals published here were executed by Lewis in this period. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865. Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia.

      [Bookseller: Donald Heald Rare Books]
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        THE YOUNG SEA OFFICER'S SHEET ANCHOR, Or a Key to the Leading of Rigging and to Practical Seamanship with An Appendix containing several figures illustrative of novelties and improvements in rigging, &c&c&c.

      London. 1835. John Richardson. - Reprint. XII, (II), 124 PP plus 113 plates (printed back to back) with 687 figures plus 3 plates (printed back to back) with 17 figures (In Appendix), followed by a Dictionary of Sea Terms (Pages 117 to 124). Rebacked copy retaining original morocco covers, raised bands, gilt lettering ("Rigging & Seamanship") on spine, lettering on foot of spine a little faded/rubbed. Signature: Wm. St. John Hornby, 1854, on original endpaper. Light foxing, otherwise a very good complete copy of a scarce book. 27.5 x 22.5. [Attributes: Hard Cover]

      [Bookseller: Jean-Louis Boglio Maritime Books]
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        Plate] MISH-SHA-QUAT or The Clear Sky, A Chippeway Chief.[From Aboriginal Portfolio: A Collection of Portraits of the Most Celebrated Chiefs of the North American Indians

      [Philadelphia E.C. Biddle 1835] - Lithographed and coloured by Lehman and Duval. A beautifully lithographed colour plate reproduced from the original painting of James Otto Lewis. Folio, image size roughly 9 by 8 inches, including captions beneath, printed on a folio sheet measuring 19 by 12 inches. An original handcoloured PLATE FROM ONE OF THE RAREST OF All AMERICAN COLOURPLATE BOOKS. The work from which this plate originated was among the earliest grand colour printing projects taken up in the United States and was the first illustrated book on the native American Indians.

      [Bookseller: Buddenbrooks, Inc. ABAA]
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        [Plate] SUN-A-GET OR Hard-times, a Pottawatomie Chief [From Aboriginal Portfolio: A Collection of Portraits of the Most Celebrated Chiefs of the North American Indians

      [Philadelphia: E.C. Biddle, 1835]. Lithographed and coloured by Lehman and Duval. A beautifully lithographed colour plate reproduced from the original painting of James Otto Lewis done at the Treaty of Massinnewa, 1827. Folio, image size roughly 9 by 8 inches, including captions beneath, printed on a folio sheet measuring 19 by 12 inches. An original handcoloured PLATE FROM ONE OF THE RAREST OF All AMERICAN COLOURPLATE BOOKS. The work from which this plate originated was among the earliest grand colour printing projects taken up in the United States and was the first illustrated book on the native American Indians.

      [Bookseller: Buddenbrooks, Inc.]
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        Plate] WEESH-CUB or the SWEET, A Noted Chippeway Chief [From Aboriginal Portfolio: A Collection of Portraits of the Most Celebrated Chiefs of the North American Indians

      [Philadelphia E.C. Biddle 1835] - Lithographed and coloured by Lehman and Duval. A beautifully lithographed colour plate reproduced from the original painting of James Otto Lewis. Folio, image size roughly 8.5 by 6.5 inches, including captions beneath, printed on a folio sheet measuring 19 by 12 inches. An original handcoloured PLATE FROM ONE OF THE RAREST OF All AMERICAN COLOURPLATE BOOKS. The work from which this plate originated was among the earliest grand colour printing projects taken up in the United States and was the first illustrated book on the native American Indians.

      [Bookseller: Buddenbrooks, Inc. ABAA]
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        [Plate] PE-SCHICK-EE. A Celebrated Chippeway Chief.[From Aboriginal Portfolio: A Collection of Portraits of the Most Celebrated Chiefs of the North American Indians

      [Philadelphia: E.C. Biddle, 1835]. Lithographed and coloured by Lehman and Duval. A beautifully lithographed colour plate reproduced from the original painting of James Otto Lewis. Folio, image size roughly 9 by 8 inches, including captions beneath, printed on a folio sheet measuring 19 by 12 inches. An original handcoloured PLATE FROM ONE OF THE RAREST OF All AMERICAN COLOURPLATE BOOKS. The work from which this plate originated was among the earliest grand colour printing projects taken up in the United States and was the first illustrated book on the native American Indians.

      [Bookseller: Buddenbrooks, Inc.]
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        Waa-Ba-Shaw A Celebrated Sioux Chief. Painted at the Treaty of Prarie de Chien 1825 by J.O. Lewis

      published by the author, [Philadelphia 1835 - A striking image from Lewis's "Aboriginal Portfolio." Waa-Pa-Shaw, better known as Wabasha, was chief of a Kiowa tribe of the Mdewakanton Sioux. He was treated with great respect by all the Sioux. He recommended non-resistance to the whites, though he and his people were removed twice to new settlements. He was described by General Whiting in 1820 as a small man with an eyepatch, "but who walked about with the air of an ancient king." (Horan). He was the first Native signer of the Prairie de Chien Treaty, indicating his importance among the assembled chiefs. The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued. James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of Lewis's portraits were derived from these meetings. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865. Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia.

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Plate 30, Due Urne cinerarie L'una A ornata di rabeschi, e Trofei, elegantemente scolpiti.

      Paris 1835 - John Wilton-Ely plate 915Piranesi's magnificent rendering of ancient Roman vases. The watermark that is present is number 93 in John Wilton-Ely on page 1182 and is dated in the mid 1830s Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. These fine prints served as source material for other architects and designers. He was born in Venice on the 4th October 1720. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. His output in etched plates is enormous (about 1000 numbers in all). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. He was fond of peopling his ruins with Callot-like figures, and "like Callot makes great use of the swelling line" (Hind). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. They were Francesco (born 1748 or 1756; died 1810), Pietro (who lived till after 1807) and Laura (born 1750). His position in Rome and in Europe after 1760 was a prominent one. He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. Most of his life was passed in Rome, etching, writing, publishing, and directing a workshop in which the restoration and sale of antiques played a considerable part.He was famous for his poetic views of Rome and also his fantastic imaginary interiors. His skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Vasi.et Ornamenti Antichi was a collection of 110 etchings documenting large sculptural vases, together with other antiquities excavated (and in some cases created) in Italy in the 18th century. The prints were initially separately issued and sold by Piranesi over a period of several years and subsequently collected in two folio volumes, each with its own title page, in 1778. They illustrate a wide range of genuine antiquities, as well as Piranesi's own collections, from utilitarian objects such as cinerary urns, lamps, and sarcophagi to monumental vases. The plates in Vasi often included text by Piranesi with information about where the objects were discovered and their contemporary location, and the prints bore dedications to his patrons, colleagues, visitors and influential people. He believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel and Vathek . In the 20th century his imaginary interiors have been admired by the Surrealists . Reference: John Wilton-Ely. Giovanni Battista Piranesi: The Complete Etching

      [Bookseller: Alexandre Antique Prints, Maps & Books]
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        Brewett. A Celebrated Miami Chief. Taken at the Treaty of Massinnewa by J. O. Lewis 1827

      [Philadelphia: published by the author, 1835. A striking image from Lewis's "Aboriginal Portfolio." The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued. James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of the originals published here were executed by Lewis in this period. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865. Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia.

      [Bookseller: Donald Heald Rare Books]
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        [Plate] MAUCK-COO-MAUN, A Celebrated Ioway Chief. [From Aboriginal Portfolio: A Collection of Portraits of the Most Celebrated Chiefs of the North American Indians

      [Philadelphia: E.C. Biddle, 1835]. Lithographed and coloured by Lehman and Duval. A beautifully lithographed colour plate reproduced from the original painting of James Otto Lewis done at the Treaty of Prairie du Chien in 1825. Folio, image size roughly 9 by 8 inches, including captions beneath, printed on a folio sheet measuring 19 by 12 inches. An original handcoloured PLATE FROM ONE OF THE RAREST OF All AMERICAN COLOURPLATE BOOKS. The work from which this plate originated was among the earliest grand colour printing projects taken up in the United States and was the first illustrated book on the native American Indians.

      [Bookseller: Buddenbrooks, Inc.]
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        Kee-Me-One or Rain A Chippeway Chief. Painted at Fond du Lac 1827 by J. O. Lewis

      published by the author, [Philadelphia 1835 - A striking image from Lewis's "Aboriginal Portfolio." KeeMeOne (or KeeMeeWun) is listed as a signer of the Fond du Lac treaty of 1826 between the United States and the Chippewa, which re-confirmed the Prairie du Chien treaty ceding rights to mineral expliration and mining in Chippewa land. This treaty was also signed by Lewis Cass, Thomas McKenney, James Otto Lewis and Henry Schoolcraft. The Aboriginal Portfolio represents the first attempt to publish a collection of portraits of North American Indians preceding the works of Catlin, and McKenney and Hall. It is also one of the earliest large projects in American lithography, and one of the first large visual works to deal with subjects beyond the east coast of the United States. The Aboriginal Portfolio was originally published in Philadelphia, for the author, by lithographers George Lehman and Peter S. Duval. It was issued in parts, ten parts of eight plates each being issued; however, due to a loss of subscribers, very few of the last few parts were issued. James O. Lewis was born in Philadelphia in 1799, moved west as a teenager, and had become an engraver and painter by the time he lived in St. Louis in 1820. In 1823 he moved to Detroit, and painted the first of his Indian portraits at the request of Gov. Lewis Cass of Michigan. He accompanied Cass on four Indian treaty expeditions in the Great Lakes region in 1825-27 and painted Indians in the course of each. Virtually all of the originals published here were executed by Lewis in this period. Subsequently, many of the Lewis originals were copied by Charles Bird King, and some appeared in the King versions in the McKenney and Hall portfolio. All of the Lewis originals were destroyed in the Smithsonian fire of 1865. Cf. Bennett, p.68; cf. Eberstadt 131:418; cf. Field 936; cf. Sabin 40812; cf. Howes J135; cf. Reese, Stamped With A National Character 23. Lithograph, coloured by hand, printed by Lehman & Duval of Philadelphia. [Attributes: Signed Copy]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Four Slave Sale Documents from Louisiana, 1835-1857, Including Some across State Lines

      Louisiana 1835 - Archive of 4 Partly Printed Documents accomplished in Manuscript, 1835 to 1857, Louisiana, each signed by government official with embossed seals. 11 pp. total plus dockets. Archive of four official court papers from New Orleans and St. Landry, Louisiana, dealing with the sales of 7 slaves, using the same form as the sale of real estate. One of the sales transfers slaves from Virginia. April 20, 1835, New Orleans. Franois Maindrault sells for $1,600 "with full guarantee against all mortgages, liens and incumbrances, whatever and against all vices and maladies considered as Redhibitory by the laws of this State unto Philip Maher of this City.Two certain slaves.Henry a negro man aged about thirty years, and Abraham a negro man aged about thirty-one.purchased by the present vendor from John P. Harlaut.on the twenty-third of January last past (1835)." Signed by Jules Mossy, Notary Public. 3 pp. plus docket.April 25, 1846, New Orleans. Joseph R. Beard, "one of the members of the firm of Beard Calhoun & Co., of this City.being the agent of Miss Frances J. Archer, of Petersburg.Virginia," sells for $1,675, to Joseph Biddle Wilkinson, Jr., of the Parish of Plaquemines: Eggelston, about 27 ("has a sore skin"); Burrell, about 24 ("had the hip injured"); and Albert, about 25. They have been "imported into this State Conformably to Law." Signed by Joseph Benzaken Marks, Notary Public. 3 pp. plus docket.February 7, 1857, Parish of St. Landry. Dr. James Ray sells for $1,200, to Dr. George Hill, Joe or Joseph, about 33, purchased by vendor March 20, 1854, from "Miss Lucinda Ray his sister and inherited by them from their father and mother." Signed by Auguste N. Robin, Deputy Recorder. 2 pp. plus docket.April 28, 1857, New Orleans. Andrew B. James sells for $1,150, to Auguste Pino and Pierre Leveque, Jake, about 22, purchased by vendor from Alexander McGahey. Signed by William Shannon, Notary Public. 3 pp. plus docket.

      [Bookseller: Seth Kaller Inc.]
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        Nova Scotia / Halifax Harbour / The Interior of Shelburne

      J.W. Norie, London 1835 - Two inset maps are present one of Halifax Habour and one of The Interior of Shelburne.The map focuses on central Nova Scotia. With detail being shown along the coast.John William Norie was a prominent chartmaker and writer on navigation., Size : 775x615 (mm), 30.5x24.25 (Inches), Original Outline Coloring This map being a large scale working copy map of Nova Scotia, has a few short tears at the edge which have been restored otherwise very good.

      [Bookseller: Alexandre Antique Prints, Maps & Books]
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        Jaune herissee (Yellow bristly currant)

      Paris 1835 - One of the most splendid books on fruit ever produced, “Traite des Arbres Fruitiers” was the result of the collaboration of two lifelong friends, Pierre Jean Francois Turpin (1775-1840) and Pierre-Antoine Poiteau (1766-1854). The son of a poor artisan, Turpin was largely self-taught but had studied the basic elements of drawing in the art school of his hometown, Vire. At 19, Turpin was sent to San Domingo in the West Indies where he met the young botanist, and student of the great botanist Pierre-Antoine Poiteau, whom was a student of the great botanical artist Pierre Joseph Redoute. This inspired in Turpin an enthusiasm for natural history. This ‘new edition’ was in fact a completely new work, loosely based on Henri Loius Duhamel du Monceau’s Traité des Arbres Fruitiers, published in 1768. Duhamel du Monceau, a French botanist, had the artists Claude Aubriet (ca. 1665-1747) and Madeleine Basseporte (1701-80) illustrate the fruit species to be included in the published work. This fine, hand-colored stipple engraving, “Jaune herissee” measures 21.25" x 13.5" and is in excellent condition. This engraving of currants translates to: Yellow bristly, desciring the color of the currant and the type of leaves. The plant on this engraving are shadowed and highlighted in varying shades of green, which, along with precise lines and detailing, creating a naturalistic and aesthetic effect.

      [Bookseller: Arader Galleries San Francisco]
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