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

        Sun-A-Get or Hard Times. A Pottawatomie Chief. Taken at the Treaty of Massinnewa Indiana 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 Lewis's portraits derive 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 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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        WAA-BA-SHAW A CELEBRATED SIOUX CHIEF.

      [Philadelphia: Published by the author, -36]. 1835 - Lithograph, colored by hand, printed by Lehman & Duval of Philadelphia. Sheet size: 17 11/16 x 11 inches. A striking image from Lewis' 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. BENNETT, p.68. EBERSTADT 131:418. FIELD 936. SABIN 40812. HOWES J135. REESE, STAMPED WITH A NATIONAL CHARACTER 23. (all refs).

      [Bookseller: William Reese Company - Americana]
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        Waa-Ba-Shaw A Celebrated Sioux Chief. Painted at the Treaty of Prarie de Chien 1825 by J.O. Lewis

      [Philadelphia: published by the author, 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 Heald Rare Books]
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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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        Don Quixote und sein Schildknappe Sancho Pansa halten ihre Siesta im Gebirge Morena.

      . Lithographie ( a. a. China ) v. u. nach Johann Geyer b. Kohler u. Comp. in München, um 1835, 29,7 x 38 Blattgr. 44 x 61,8cm. Der Schildknappe liegt auf seinem Esel und trinkt, der Ritter in Rüstung sitzt und guckt in die Gegend. - Mit dem Blindstempel von Kohler in der Mitte unten und dem roten Sammlungsstempel der Königl. Hannoverschen Sammlung (Schloss Marienburg). links. - Sauber und sehr gut erhalten. Zum Künstler: Th.- B. XIII, 508 m. bes. Erwähnung dieses Blattes.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Pe-A-Jick A Chippewa Chief. Taken at the Treaty of Prairie du Chien 1825 by J. O. Lewis

      published by the author, [Philadelphia 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 A. Heald Rare Books (ABAA)]
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        Tableau pittoresque de l'Inde, ou description géographique, statistique, commerciale, morale et politique de l'Indostan. Traduit sur le manuscrit par Benjamin Laroche.

      Paris, Poulton-de-l'Épée 1835 - Crown octavo. Pp. 332. Plus finely engraved folding map. Hardcover, bound in contemporary quarter calf and marbled boards, vellum French corners, gilt lettered red morocco lettering-piece to spine, marbled endpapers, sprinkled edges. Minor sporadic foxing else in fine condition. ~ Second edition. From the private library of Jean Herbert with his bookplate. James Silk Buckingham (1786-1855). A dedicated traveller and a prolific writer, he wrote, among others, also "Travels In Palestine Through the Countries of Bashan and Gilead" (1921); "Travels Among the Arab Tribes Inhabiting the Countries East of Syria and Palestine" (1925); "Travels in Mesopotamia" (1827); "Travels in Assyria Media and Persia" (1830). Scarce. KVK locates a single copy only, that in French Union Catalog. COPAC lists only digital copies (Leeds, Manchester). Other digital copies are found in Union Catalogs North Rhine-Westphalia and Hesse; European Register of Microform & Digital Masters; eBooks - DFG-Nationallizenzen. In the United States, OCLC locates copies in Princeton, Harvard, and Johns Hopkins University Libraries.

      [Bookseller: Librarium of The Hague]
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        Yarrow Revisited, and Other Poems

      London: Longman, Rees , Orme, Brown, Green and Longman and Edward Moxon, 1835. First edition. 12mo. [xvi], 349, [1, blank], [4, ads] pp. Half-title. Presentation binding of red morocco gilt, edges gilt (rubbed at extremities). Provenance: William Lowther (1787-1872), second Earl of Lonsdale (bookplate); William W. Gay (bookplate, note laid-in). Healey 86; Sterling 1028; Tinker 2350; Wise 23 . PRESENTATION COPY, inscribed by the publishers "From the Author" on the half-title and in a presentation binding. A fine provenance: sonnets XLII and XLIII (pp.228-9) are addressed to the book's recipient: "Lowther! in thy majestic pile are seen Cathedral pomp and grace..." "Wordsworth dedicated his 'Excursion' to the second earl in 1814, subsequently inscribed to him a sonnet upon the Lowther motto 'magistratus indicat virum' and constantly wrote of him to Samuel Rogers and other friends in terms of the highest regard" (DNB)

      [Bookseller: James Cummins Bookseller]
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        Pteroglossus Humboldtii / Humboldt's Aracari

      [London: by the Author, 1835. A fine image from the first edition of John Gould's "A Monograph of the Ramphastidae, or Family of Toucans." The toucan family is limited to Mexico, Central and South America and some West Indian islands. The first time that any member of the family was described was by Gonzalo Fernandez de Oviedo y Valdes in his "de la natural hystoria de las Indias." (Toledo, 1526, chapter 42) In 1555 Pierre Belon included an illustration of its beak in his "L'Histoire de la nature des oyseaux." (Paris, 1555, p.184) Andre Thevet first used the name "Toucan" with a long description, and a woodcut of a whole bird, in his "Singularitez de la France" (Paris, 1555, pp.88-90). The Latin name "Burhynchus" or "Ramphestes" (in reference to the size of the beak) was suggested by Conrad Gesner ("Icones Avium", 1560, p.130), and Linnaeus later adopted Aldrovandus's corrupted form of the latter ("Ramphastos"), which is how the family was still recognized at the time of the publication of the present image. The present image is from the first edition of Gould's work, published in 1833-1835, which represented the first concerted attempt to produce a monograph on the family. A second expanded edition was published between 1852 and 1854. Gould considered this to be a completely separate work as the plates were all re-drawn and the text re-written. Cf. Anker 170; cf. Fine Bird Books (1990), p. 101; cf. Nissen IVB 378; cf. Sauer 3; cf. Wood, p. 364; cf. Zimmer, p. 252. Hand-coloured lithograph by John and Elizabeth Gould, printed by C. Hullmandel. Wove paper. Very good condition.

      [Bookseller: Donald Heald Rare Books]
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        MEMOIRE SUR LES COURANTS DE LA MANCHE, DE LA MER D'ALLEMAGNE ET DU CANAL DE SAINT-GEORGE, suivi de quelques documents sur la navigation dans la Déroute et le Raz Blanchart, et sur les courants particuliers à ces deux passages ; publié sous le ministère de M. l'Amiral Duperré.

      1835 - Paris, Imprimerie Royale, 1835. In-8 (141 X 217) demi-veau brun, dos lisse orné de deux chainettes et d'un triple filet dorés en place des nerfs, petit fleuron doré dans les compartiments, auteur et titre dorés sur le premier plat (reliure de l'époque) ; 51 pages (dont titre), carte dépliante, 16 pages, (1) f. de table, (1) f. blanc, un tableau dépliant. Déchirure sans manque aux cartes. EDITION ORIGINALE de ce RARE MEMOIRE sur les courants périodiques qui, dans la Manche et les mers voisines, se rattachent au mouvement des marées. Le raz Blanchard (anciennement orthographié "Blanchart") désigne l'un des courants de marée les plus puissants d'Europe, situé entre la pointe ouest du cap de la Hague et Aurigny, à l'entrée du passage de la Déroute. Ouvrage bien complet de la GRANDE CARTE dépliante gravée sur vélin fort "de la Manche, de la mer d'Allemagne et du canal Saint Georges, pour servir à l'intelligence du Mémoire sur les Courans [sic] dans ces mers" et du grand TABLEAU dépliant "des courans [sic] occasionnés par la marée dans la Manche et la partie méridionale de la Mer du Nord". Paul MONNIER (1794-1843), polytechnicien, ingénieur hydrographe de la marine, s'inspira des nouvelles méthodes de l?hydrographie moderne mises au point par Beautemps-Beaupré. Exemplaire en BON ETAT. GOOD COPY. PICTURES AND MORE DETAILS ON REQUEST. [Attributes: First Edition]

      [Bookseller: LIBRAIRIE ERIC CASTERAN]
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        Mell. Fanny Elssler, de l'Academie Royale de Musique. After a portrait by Grevedon, lithographed by Lemercier

      Mell. Fanny Elssler, de l'Academie Royale de Musique. After a portrait by Grevedon, lithographed by Lemercier. Paris: Cattier, 36, rue Clery, [1835]. 14" x 17" (plate size), 15 7/ 8" x 22 7/8" (full sheet). Original lithograph on paper, backed on thin linen. An excellent copy of "the loveliest portrait of Elssler" (Migel). Fanny Elssler. 1810-84, Austrian dancer. The youngest daughter of Johann Elssler, copyist and valet of Haydn, she made her debut (1833) in London. Elssler danced at the Paris Opera (1834-39) and in London (1838-40). Her forte was folk dancing, especially the cachucha, the cracovienne, and the tarantella. She toured the United States (1840-42) and, after appearances throughout Europe, retired in 1851. She was one of the most important ballerinas of the Romantic era; her dancing was sensuous, earthy, and fired by great energy. References: Binney, Glories of the Romantic Ballet #55; Migel Great Ballet Prints of the Romantic Era #26.

      [Bookseller: Golden Legend, Inc.]
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        De la Démocratie en Amérique

      Charles Gosselin, Paris 1835 - Nineteenth century brown morocco backed marbled paper covered boards, spines with raised bands, lettered in gilt, marbled endpapers, marbled edges. House in cloth chemises and a morocco backed slipcase. The first edition of the rare first part of Tocqueville's famous classic Democracy in America. From the time of its first publication, Democracy in America has enjoyed the reputation of being the most acute and perceptive discussion of the political and social life of the United States ever published. The present first part was published in an edition of less than 500 copies in January 1835. The book was an instant and sustained success with numerous editions. The origins of the book lie in the observations Alexis de Tocqueville made during a nine month tour of the United States starting in the spring of 1831. He was accompanied by his friend and fellow student, Gustave de Beaumont, and their original goal was to study the penitentiary system of the United States. After visiting prisons in the East, they undertook a tour of the South as far as New Orleans, ascended the Mississippi, visited the Great Lakes and Canada, and returned via New York. After writing their report on prisons, Tocqueville worked on the first part of Democracy in America in 1833-1834, publishing it in Paris in 1835 to great acclaim. The 1840 second part was equally as successful and the book remained in print throughout the 19th century: there were probably more than fifty editions in English and French published before 1900, besides numerous translations. Clark III:111; Howes T-278; Sabin 96060; Library of Congress, A Passion for Liberty, Alexis de Tocqueville on Democracy & Revolution (Washington, 1989); Nolla De la Démocratie en Amérique (Paris: 1990) II, pp.334-335. (7 7/8 x 4 3/4 inches). [4],xxiv,367; [4],459pp. Half-titles. 1 folding hand-coloured lithographic map. [Attributes: First Edition; Hard Cover]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        CHATTERTON, drame.

      1835 - Paris, Hippolyte Souverain, 1835. In-8 (143 X 229) demi-maroquin tête-de-nègre à long grain et à coins, dos lisse orné de deux caissons dorés composés de fleurons et filets en long, auteur et titre dorés, date en queue, plats de la couverture conservés (NOULHAC) ; faux-titre, frontispice gravé, titre, 229 pages, (1) f. (table). EDITION ORIGINALE ornée d'un frontispice d'Edouard MAY, gravé à l'eau-forte. "Chatterton" est, d'un point de vue philosophique, l'oeuvre dramatique la plus profonde du romantisme. Vigny lui-même l'appelait « le drame de la pensée ». Au-delà du sort tragique du poète anglais, ce qu'il tenait à dénoncer, c'était la condition cruelle que la société réserve aux poètes, les acculant irrémédiablement au suicide. La pièce fut mise en scène pour la première fois au Théâtre Français le 12 février 1835 avec Marie Dorval, maîtresse de Vigny, dans le rôle de Kitty Bell. La représentation fut un triomphe. Le livre parut en avril. BEL EXEMPLAIRE soigneusement lavé et encollé, complet de la fragile couverture jonquille, finement relié par Henri NOULHAC. (Coron, Des livres rares, 185). FINE COPY. PICTURES AND MORE DETAILS ON REQUEST. [Attributes: First Edition; Hard Cover]

      [Bookseller: LIBRAIRIE ERIC CASTERAN]
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        Das erste Luft-Post-Schiff genant der Adler nach der Natur getreu abgebildet.

      No place, c. 1835. - Engraving, 395:261 mm. Interesting German engraving, describing the airship built by Count Lennox in London in 1834/35. "In 1835, the comte de Lennox built the 'Eagle', a cigar-shaped airship that he displayed in London. This craft had four large paddles on either side that 'experimental sailors' were to turn back and forth like the oars of ancient ships. No evidence exists that Lennox tried to fly his invention, nor is there any reason to think it would have worked if he had tried" (Don Berliner, Aviation: Reaching for the Sky [1997], p. 33). "[The airship of 98,700 cubic feet capacity] is of interest because a small balloon or ballonet, 7,050 cubic feet contents, was placed inside the larger one for an air filling. A car 66 feet in length was rigged beneath the envelope by means of ropes eighteen inces long. Above the car the envelope was provided with a long air cushion in connection with a valve. The intention was by compression of the air in the cushion and the inner balloon, to alter the height of the airship, in order to travel with the most favourable air currents. The motive power was 20 oar propellers worked by men. The airship proved to be too heavy on completion to lift its own weight, and was destroyed by the onlookers" (George Whale, British Airships: Past, Present and Future [1919], p. 16). - Occasional insignificant browning; slightly wrinkled. Traces of folding. Cf. the like-sized drawing, dated 1838, in the ILA catalogue: Liebmann/Wahl (1912), no. 136 (probably based on this engraving, or vice-versa).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Recherches sur les effets de la saignée dans quelques maladies inflammatoires, et sur l'action de l'émétique et des vésicatoires dans la pneumonie.

      J.B. Baillière, Paris 1835 - In-8, 120 pp., broché, dos partiellement fendu, bon exemplaire à toutes marges, tel que paru. Edition originale d'un ouvrage fondamental et très rare, manquant à la plupart des grandes collections médicales (Waller, Osler, Cushing, Haskell F. Norman). Louis réalisa des essais thérapeutiques (saignée) à différents moments de l'affection et fut surpris de constater que la mortalité était moins élevée chez les patients traités le plus tardivement. Il démontre par la méthode statistique l'absence de valeur thérapeutique de la saignée dans l'inflammation, en particulier dans la pneumonie. Il réfute ainsi la médecine physiologique de Broussais et se révèle le précurseur de la statistique médicale et de l'évaluation scientifique des procédés thérapeutiques. Cet ouvrage, qui est l'un des principaux fondements de la médecine factuelle, se heurta au scepticisme et souleva de longues controverses. La méthode numérique de Louis fut défendue en France surtout par Bouillaud et Chomel. Elle eut une grande influence sur la médecine américaine, grâce à cet ouvrage et à la traduction anglaise qui fut publiée dès l'année suivante. Elle sera reprise et développée dans les pays anglo-saxons, qui cherchèrent à limiter le biais de l¿observateur et l'effet du hasard. L'évaluation des traitements prendra surtout son essor dans les années 1940 avec l'introduction de l¿essai clinique randomisé. Pierre Charles Alexandre Louis (1787-1872), né à Aï, fit ses études médicales à Reims et à Paris. Il exerça à Odessa, puis revint à Paris, où il fut médecin à la Pitié et à l'Hôtel-Dieu. Il devint membre de l¿Académie de médecine. C¿est le grand mérite de ce médecin clairvoyant mais incompris, du moins en France, d'avoir proposé une nouvelle approche, méthodique, de la pratique médicale, avec l'emploi systématique des statistiques. Garrison & Morton, 1698 ; J.M. Chabot (In: Revue du Praticien, 2006, 56, pp.53-54) a rappelé l¿importance des travaux de Louis, notamment de cet ouvrage et analysé l'article de M. Best & D. Neuhauser intitulé Pierre Charles Alexandre Louis : Master of the spirit of mathematical clinical science. (Qual. Saf. Heath Care, 2005, 14, 462-464) : Ces auteurs estiment que P.C.A. Louis « a représenté l'une des trois écoles de pensée par lesquelles les connaissances et le raisonnement médical se sont développés » (les deux autres voies étant l'expérience clinique et la physiologie expérimentale). Louis « formula la plupart des notions qui constituent aujourd'hui le corpus de l'épidémiologie clinique et au-delà de l'Evidence Based Medicine ». [Attributes: First Edition; Soft Cover]

      [Bookseller: Jean-Pierre AUBERT]
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        THE ANNUAL REGISTER OF INDIAN AFFAIRS WITHIN THE INDIAN (OR WESTERN) TERRITORY [Nos. 1-4]

      Shawanoe Mission, Ks. & Washington, D.C.: J. Meeker (first two), J.G. Pratt (third) and Peter Force (fourth), 1835-1838.. Together four items. 48; 88; 81; 96pp. Antique-style three-quarter diced calf and marbled boards, spine gilt extra. Wrappers of first number bound in at front. Faint dampstain in lower margin of final eight leaves of first number. Occasional light foxing and tanning, a near fine set. A very rare complete set of all four numbers of Isaac McCoy's ANNUAL REGISTER..., which contain a wealth of information concerning western Indian tribes. The first number stands as the first English language book printed in present-day Kansas, printed (as was the second number) on the Jotham Meeker press, the first established in Kansas. The third number includes a chart listing the number of Indians in each tribe, both east and west of the Mississippi, as well as "A Plea for the Aborigines of North America" continued from the second number. The fourth number was issued in Washington from the press of Peter Force. The first number in this collection contains the original wrappers, on which is printed a prospectus, issued in Isaac McCoy's name, "for publishing, on the Kauzau River, within the Indian Territory, west of the state of Missouri, and three hundred miles west of St. Louis, a semi-monthly periodical, to be entitled THE INDIAN ADVOCATE." The paper would "furnish correct historical sketches of the past, and information respecting their present condition, and their future prospects, together with the earliest notices of important events which shall transpire within the Indian country, and of the transactions of Government and benevolent societies, among the Indians...." This periodical was never issued, for want of financial support. McMurtrie and Allen, in their study of Jotham Meeker's press, assign this wrapper/prospectus a separate item number: 11. This first number also contains the contemporary ownership signature of Rev. Daniel Sharp of Boston on the front wrapper. Sharp (1783-1853) was pastor of the Charles Street Baptist Church for more than forty years. McCoy first visited the Prairies in 1828, with follow-up tours during the next three years. In 1831 he settled at the Shawanoe Mission, which had been founded by his son- in-law earlier that year. During the following years McCoy travelled widely in the western country. In 1835 he had Jotham Meeker, who had established a press at the Mission a year earlier, print the initial number of THE ANNUAL REGISTER.... McCoy's ANNUAL REGISTERs are full of information regarding the Indian emigrant's introduction into the new country, and provide details concerning many tribes (e.g. Pawnee, Otoe, Omaha, Cherokee, Delaware, Kickapoo, Osage, Kansas, etc.). Also included are descriptions of the military posts within the Indian Territory, conditions of various tribes, etc. Complete sets of the four numbers are rarely met with. The Streeter set lacked the first number, and Dr. Frank Siebert was never able to find the elusive third number, despite many years of search. "Issues of this periodical are very rare" - Gilcrease. SABIN 43111. HOWES M67, "aa." FIELD 983. GRAFF 2586, 2588 (lacking No. 1). STREETER SALE 544 (nos. 2, 3, 4 only). McMURTRIE & ALLEN (Meeker) 22, 41, 58. GILCREASE, pp.205-6 (no. 1 imperfect; lacking no. 4).

      [Bookseller: William Reese Company - Americana]
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        Memoir of the Life and Public Services of Sir Thomas Stamford Raffles, particularly in the government of Java, 1811-1816, Bencoolen and its Dependencies 1817-1824.

      London: James Duncan 37 Paternoster Row A new edition, in two volumes, 1835. - with details of the commerce and resources of the eastern archipelago and selections from his correspondence. Vol. 1. xi+437 pp. Vol. II. vi+468 pp. with 5 illustrations, a Frontispiece portrait, a folded plate of Rafflesia Arnoldi, a facsimile letter, a folded map of Singapore Island, and a folding map of the Eastern Archipelago. half leather and marbled boards, five panelled spines with raised bands, Morroco labels, decorative gilt device on raised panels, gilt titles, and a small blind stamped motif, marbled boards and foreedges, boards are edge rubbed, some corners a little bumped, a little light foxing to the frontispiece portrait and its tissue guard, a previous owner has neatly inserted and pasted several newspaper cuttings from the Times, (1908-1919) related to Raffles and Singapore, on the ffeps of both volumes, one small cutting on the margin of one page in Vol.I, the ffep of Vol II has a few light pencil annotations.

      [Bookseller: Saintfield Antiques & Fine Books]
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        Almanach de la Cour, de la Ville et des departements. Pou l'Année 1836

      - Paris: Luis Janet, Libraire, [1835 ?].- [18 h.] + 256 p.: con 4 finísimos grabados al cobre mas la portada y frontis grabados; 12avo. (11,4 x 7 cm.); Plena Piel marroquén roja de grano alargado, con rueda e hilos dorados en ambos planos o tapas, cortes dorados, estuche de petaca en la misma piel, con ruedas e hilos dorados igualmente en ambos planos.- PRECIOSO LIBRO MAGISTRALMENTE ENCUADERNADO Y EN IMPECABLE ESTADO DE CONSERVACION. Livre en français [Attributes: First Edition; Hard Cover]

      [Bookseller: Librería Miguel Miranda, AILA ILAB]
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        Galerie des artistes anglais de l'école moderne, ou collection de gravures d'après Turner, Roberts, Bonington.

      Chez Desenne 1835 - - Chez Desenne, A Paris 1835 - 1837, 2 tomes en 2 Vol. in 4 (21,5x27,5cm), relié. - Edition originale des deux séries parues respectivement en 1835 et 1836. 36 gravures sur acier pou le premier volume et 40 pour le second, soit 76 gravures gravés par divers graveurs anglais et imrpimées sur papier fort, sous serpentes. Une grande vignette de titre et un frontispice dans le second volume, toutes deux datées 1836, elles ne pouvaient donc faire partie du premier. Demi maroquin vert signé Boutigny. Le second volume, bien qu'utilisant les mêmes fers (et le même papier de garde), et sortant du même atelier se trouve dans une reliure sensiblement différente (relié deux ans plus tard), en demi chagrin marine, l'ensemble étant finalement plus esthétique que si la couleur était semblable. Fer en long romantique, titre doré. Très beau papier marbré bleu. Malgré quelques infimes rousseurs à l'endroit des serpentes et dans les marges, très bel exemplaire. Le choix des oeuvres fait la part belle aux grands sites d'Europe, on y trouve même le Mont Saint-Michel, et à des représentations universelles, tel Don Quichotte. Chaque oeuvre est accompagnée d'un texte de présentation. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        The History of Nantucket; Being a Compendious Account of the First Settlement of the Island by the English, Together with the Rise and Progress of the Whale Fishery; and Other Historical Facts Relative to Said Island and Its Inhabitants. In Two Parts.

      Hilliard, Gray, and Co., Boston, Mass. 1835 - 5" x 7 1/2", 300 pp. + 8 p. of adverts for publisher's school book titles. A remarkably well-preserved copy in publisher's rust cloth with tooled designs on boards and title in gilt on the backstrip. See photo [others available upon request]. Binding is quite sound and interior is free of any writing, stains, or other marks. The leaves are moderately foxed, more so to the plate of the spermaceti whale, and the last free endpaper is removed (there are two blanks at the end; one remains intact). Frontis map of Nantucket is not present. Externally, corners are bumped and rubbed through at the very tips, the spine ends are bumped and there are 1cm splits at the gutter seams at each end (however, there doesn't appear to be brittleness in these areas which would make these short splits longer). The boards have scattered discoloration here and there, more so to the rear board. Gilt title and bands on backstrip are quite good. An exceptional copy of this scarce first edition. Note: high-resolution close-up photos of any condition issue are available upon request. [Attributes: Hard Cover]

      [Bookseller: Seacoast Books]
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