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

        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

      Arthus Bertrand, Paris 1835 - vii, 248pp. 43 hand coloured tissue guarded engraved plates including 3 folding. 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' Green leather gilt decorated cover [Attributes: First Edition; Hard Cover]

      [Bookseller: Barter Books Ltd]
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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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        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. ABAA]
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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] MAC-CUT-I-MISH-E-CA-CU-CAC or Black Hawk, A Celebrated Sae 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]
 19.   Check availability:     Biblio     Link/Print  


        [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.]
 20.   Check availability:     Biblio     Link/Print  


        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. ABAA]
 21.   Check availability:     AbeBooks     Link/Print  


        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.]
 23.   Check availability:     IberLibro     Link/Print  


        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]
 24.   Check availability:     AbeBooks     Link/Print  


        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]
 26.   Check availability:     ZVAB     Link/Print  


        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)]
 27.   Check availability:     AbeBooks     Link/Print  


        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]
 28.   Check availability:     AbeBooks     Link/Print  


        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]
 29.   Check availability:     Biblio     Link/Print  


        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]
 30.   Check availability:     Biblio     Link/Print  

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