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Displayed below are some selected recent viaLibri matches for books published in 1837

        PROLUSIONES ARCHITECTONICAE; or, Essays on Subjects connected with Greek and Roman Architecture. Signed by author.

      London, John Weale, 1837.. FIRST EDITION 1837, INSCRIBED BY THE AUTHOR, 4to, approximately 320 x 250 mm, 12½ x 9¾ inches, 17 engraved architectural plates including frontispiece, pages: iv, 128, bound in contemporary half red roan over marbled sides, spine gilt lettered and decorated, all edges gilt, marbled endpapers. The third blank endpaper is inscribed: "To the Marquess of Lansdowne etc., etc., etc., from the Author". Small cracks at head and tail of upper hinge and at head of lower hinge, head of spine slightly rubbed with loss of gilt (5 mm, ¼ inch), a little spotting to leather on covers, marbled paper slightly rubbed, corners slightly worn, small scrape to surface on top corner of upper cover, armorial bookplate and small printed name label on front pastedown, small inscription dated 1956 on 2nd blank endpaper, frontispiece foxed, foxing and image lightly offset onto title page, very pale foxing to 1 text page margin, all plates foxed, mainly to margins, 3 text pages adjacent to plates lightly browned, otherwise contents clean. Binding tight and firm. A very good copy of a scarce book on architecture. William Wilkins RA (1778 ?- 1839) was a celebrated English architect, classical scholar and archaeologist, renowned for many buildings in London and Cambridge. After studying at Gonville and Caius College, Cambridge, he toured Greece, Asia Minor, and Magna Græcia in Italy between 1801 and 1804. He published researches into both Classical and Gothic architecture, becoming one of the leading figures in the English Greek Revival of the early 1800s. He designed buildings in the Neo-Classical style among which Downing College Cambridge, University College, London and the Yorkshire Museum. He came to prefer the Gothic style in which he designed several buildings for Cambridge colleges, including Corpus Christi chapel which was his own favourite among his works and where he is buried. His most well known work is the London National Gallery, which was completed in 1838. Lord Lansdowne whose bookplate is on the front pastedown and to whom the book is inscribed by the author was Lord President of the Council during the premiership of Earl Grey to whom the book is dedicated (1830-34). Wilkins thanks Earl Grey for his part in the commissioning of the Royal Academy and the National Gallery. See: H. M. Colvin, A Biographical Dictionary of English Architects 1660-1840, pages 674-676. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Frauenbibliothek , oder : Handbuch aller Kenntnisse, welche das weibliche Geschlecht in jedem Alter, Stand und Verhältnisse, in Beziehung auf die Wirthschaft, als Ehefrau und Mutter und in der Stellung zum Gesinde zu wissen nöthig hat. Unter Mitwirkung mehrerer erfahrenen Frauen herausgegeben von einem Vereine von Gelehrten und Schriftstellern. 12 Bände.

      Berlin: Levent 1837-1840. 8°. Zusammen ca. 6000 S. Marmorierte Halblederbände d.Z. mit grünen Rückenschildern und dezenter Rückenvergoldung. Seltene Erstausgabe . Umfangreiches alphabetisches Lexikon zum Thema Frau. Geht weit über die sonst üblichen Themen wie ‘Hauswirtschaft‘, ‘Küche‘, ‘Kindererziehung‘ etc. hinaus und rückt so in die Nähe eines Allgemeinlexikons. Leichte Gebrauchsspuren, Einbände etwas berieben und bestossen, Gelenke teils alt restauriert, ein Kapital mit winziger Fehlstelle, drei Rückenschilder beschädigt, trotz der genannten Mängel insgesamt aber gutes und dekoratives Exemplar. Versand D: 6,00 EUR Lexika, Wörterbuch, Frauengeschichte, Kulturgeschichte

      [Bookseller: Kunsthandlung Primavera]
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        CHIEMSEE. - Herreninsel. "Herrn=Chiemsee". Blick von Nordosten über den See zum Schloß, links die Krautinsel, im Hintergrund Wendelstein und Breitenstein.

      - Altkol. Lithographie von Gustav Kraus, 1837, 12,5 x 17 cm. Pressler 280. - Blatt XXIV aus der 1837 bei Fr. Sauer erschienenen Folge "Alpenblumen". - alt auf Einfassungslinie geschnitten (mit der Beschriftung oben und unten) und montiert. Sehr schönes Kolorit, hübsch gerahmt.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        NIKKO SANSHI: PICTORIAL RECORD OF NIKKO. Mausolea of Tokugawa Ieyasu, the Shogun

      Edo 1837, Suwaraya. Blue stitched stiff wrs., very good, 5. vol. set, 82 double-page, 5 full-page illustrations 13 color. of rare plants & birds illustrated by Watanabe Kazan, comp-. lete set, bright clean copy, title slips. R A R E. A MARVELOUS LOOK AT NIKKO SHRINE & ITS FLORA & FAUNA Ueda Moshin was a celebrated author of the time, flourished during the 1820's. However, even more famous and celebrated is the artist of this work, Watanabe Kazan [1793-1841]. Son of a Samurai, he served Lord Miyake of the Tawara clan. Due to his support of opening Japan to the West, the Bakufu took offense and he was arrested, condemned to death, but due to political pressures the sentence was commuted, but he com- mitted suicide in typical Samurai ritual of Harakiri in pro- test to the Shogunate. He was a notable poet, scholar, patr- iot, national hero as well as a painter. His works are high- ly prized as well as collected and coveted by collectors and institions alike. He was a member of the Shoshiki, a group that met to study Dutch learning [Rangaku] and he was mostly know as a Rangaku-sha [student of Dutch learning]. He also promoted Western knowledge in Japan. He was also a student of the most famous Tani Buncho from whom he learned the art & technique of painting, following his master's love of the Ch'ing style painters. For more biographical information on him, see P. Laurence: DICTIONARY OF JAPANESE ARTISTS, p.74. Also see Papinot, p.736 as well. He was one of the most dis- tinguished artists of his period. This exceptionally fascin- ating work covers the densely forested area of Nikko, where the Tokugawa Shogunate's Mausolea was established with a large group of shrines. The text describes the whole area, with focus on the various shrines & Buddhist temples devoted to the Tokugawa family. It also elaborates on the regional crafts, copper mine and the techniques to extract coppe for smelting into Buddhist images and shrine object. The prist- ine splendor of Nikko and its wooded area is a nature pres- erve and hosts a large number of rare avifauna, as well as plants and flowers. This work also illustrates and discusses these subjects. It also is a marvelous period guide to every shrine, its architectural beauty, to many of the bronze cas- ted bells, lanterns, & other ritualistic objects related to the shrines. A stunningly beautiful work, in the finest of condition, a few pages show minor foxing, else clean, and bright. The color illustrations & text are woodblock printed on hand-made mulberry paper. See F. Brinkley: A HISTORY OF THE JAPANESE PEOPLE, pages 583, 604. Also E. Papinot: HIST- ORICAL & GEOGRAPHICAL DICTIONARY OF JAPAN, p.448 for a hist- ory and outline of Nikko and its shrines; see p.736 for data on Kazan. Cited in D. Chibbett et al.: A DESCRIPTIVE CATALO- GUE OF THE PRE-1868 JAPANESE BOOKS...p.60, item #159. The set is contained in a period cloth covered folding case with a bone clasp, with rubbed joints, paper lined. Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        Tah-Chee, a Cherokee Chief

      Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph by Albert Newsam (signed on stone). Very good condition. A fine image from McKenney and Hall's "Indian Tribes of North America": with Albert Newsam's signature in lithograph Tah-Chee, (d. 1848) also known as "Dutch," and "Captain William Dutch" was a revered Cherokee chief and talented hunter, who acquired a significant amount of land for his tribe along the Canadian River after fighting with the Osage and Comanche. He was from an early age a hunter and seems to have spent a great deal of time completely on his own, or, alone with his horse and three dogs. During these travels, he teamed up with members of other tribes, including the Osage (bitter Cherokee enemies) even learning their language. Widely respected by the chiefs of many Indian nations, he was one of several Indian representatives at the 1835 Camp Homes Treaty, which established peace between the United States and various tribes including the Comanche, Wichita, Cherokee, Creek, Choctaw, and Osage. Tah-Chee later moved his tribe to east Texas, where he remained until the 1840s when he was defeated by the Republic of Texas army and forced to relocate to the Indian Territory. He retired to a ranch on the Columbia River where he died in 1848. McKenney and Hall's "Indian Tribes of North America" has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As a director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee, and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as making a record of a rapidly disappearing culture. Cf. BAL, 6934; cf. Bennett, p.79; cf. Field, 992; cf. Howes, M129; cf. Lipperhiede, Mc4; cf. Reese, Stamped With A National Character , p. 24; Sabin, 43410a.

      [Bookseller: Donald Heald Rare Books]
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        The Dispatches Of Field Marshal The Duke Of Wellington During His Various Campaigns In India, Denmark, Portugal, Spain, The Low Countries And France From 1799 To 1818 Volumes 1 to 12 plus Index

      A complete matching set of Wellington's dispatches as compiled by his private secretary Lieut. Colonel John Gurwood [1790-1845]. Fully rebound in contemporary calf with five raised bands ("1837" stamped in gilt at the base of each spine). Published in twelve volumes plus a separate Index volume - Volumes 1 to 4 dated 1837 with Volumes 5 to 12 dated 1838 - the Index volume is dated 1839 and has been bound in at the rear of Volume 12. Comprises a summary of Wellington's military career / commands and an "Explanation of Indian Terms, Titles and Countries which occur in this Work" followed by his dispatches (plus other relevant communications) interspersed with occasional additional background notes starting with Mysore / Seringapatam and progressing through to Paris in November 1818. The Index is split into three parts relating to India (Vols 1-3), the Peninsula (Vols 4 to 11) and "The Low Countries, Waterloo and Paris" (Volume 12).Internal Condition: All volumes securely bound with boards firmly attached and text blocks sound (cords visible at endpaper hinges, some ffeps loose at their bottom half - most notably in Volumes 4, 8 & 10), no inscriptions but light to moderate evidence of a carefully removed bookplate on each front pastedown with associated bookplate offsetting to the ffep, light to moderate browning and occasional small blemishes to text block edges, rebinding glue marking to the plain endpapers with some pastedown creasing.Physical Description:Hardback, 8vo, approx 8.75 x 5.5 inches / 22 x 13 cm, each volume individually paginated plus 235 page index. Volumes 1 to 9 are identified on the Title Page as being a "New Edition", Volumes 10 to 12 and the Index volume make no such statement.External Condition:Mostly moderate general wear / soiling to the calf boards and spines with small amounts of underlying boards visible at corner tips but areas of significant wear / scratching to some boards (additional photographs available on request), spine labels present on all volumes,Printed on slightly varying quality paper with intermittent light to moderate browning, very occasional paper edge wear / short closed tears, occasional mostly light to moderate print offsetting (very occasionally significant - most notably in the later volumes), very occasional light internal blemishes / finger smudges and occasional light to moderate foxing adjoining the prelims or rear endpapers but overall internally Very Good with all volumes in a very clean and clear condition.Total weight with packaging just over 13Kg.

      [Bookseller: Somer Books Limited]
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        Vues pittoresques des Vosges, dessinées d'après nature par (François-Jules) Collignon.

      Paris Cantener 1837 - 46 S. Mit 24 lithographischen Tafeln von Emile Blanchard nach Collignon. 4° (30,5 x 22 cm). Halbleder des 19. Jahrhunderts mit Rückentitel (Original-Umschlag der ersten Lieferung eingebunden). Erste Ausgabe. - Seltene Folge mit stimmungsvollen Ansichten von Burgen, Landschaften und Orten der Vogesen, unter anderem: Épinal, Trifels, Verrerie de St. Louis, Rothau, Klingenthal, Forges de Framont, Abbaye de St. Odile, Ste. Marie aux Mines, Bitche, Rémiremont, Thann. - Teils etwas stockfleckig, vorderes Innengelenk gering aufgeplatzt, Vorsatz mit Besitzvermerk. Der Einband berieben. Schönes Exemplar. *Reiber 2244. Thieme/Becker VII, 227. 700 gr. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Christian Strobel (VDA/ILAB)]
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        Leitfaden zur Nordischen Alterthumskunde, herausgegeben von der königlichen Gesellschaft für Nordische Altherthumskunde.

      Kopenhagen, 1837. 8vo. Uncut and unopened in the original printed wrappers. A A completely fresh copy - mint condition. (4), 108, (4 - advertisements) pp.. Scarce first German edition of this milestone publication, which laid the foundation of modern archaeology and transformed it into an exact science. With this seminal publication, Thomsen was the first to establish an evidence-based division of prehistory into discrete periods, and with it he became the originator of the three-age system (the division into Stone Age - Bronze Age - Iron Age), which is "the basic chronology that now underpins the archaeology of most of the Old World" (Rowley-Conwy: From Genesis to Prehistory, p.1). This foundational work altered our understanding of our world and our place in it and contains the first use of "culture" in an archaeological context."Christian Jürgensen Thomsen, (born Dec. 29, 1788, Copenhagen, Den.-died May 21, 1865, Copenhagen), Danish archaeologist who deserves major credit for developing the three-part system of prehistory, naming the Stone, Bronze, and Iron ages for the successive stages of man's technological development in Europe. His tripartite scheme brought the first semblance of order to prehistory and formed the basis for chronological schemes developed for other areas of the globe by succeeding generations of archaeologists." (Encycl. Britt.).Up until the beginning of the 19th century, our understanding of antiquities had been very loose and fumbling. Studying the artifacts, earlier archaeologists had used a great deal of imagination, especially when adapting information from written sources to the objects. Only when Thomsen enters the scene, this approach changes. He is the first to focus the investigation upon the artifacts themselves. Quickly realizing that this approach must be the only way forward, he soon distinguished clearly between objects, both similar and different, and established what belonged together in time and where there were chronological differences. He was among the first to differentiate between history that could be studied through written sources and prehistory which could only be studied through material culture. He realized - as the first - that in order to interpret findings of prehistoric objects, one would have to know their source and the context in which they were found - thus establishing the foundation for modern excavation technique. He trained the great archaeologist J.J.A. Worsaae and sent him on excavation expeditions to acquire artifacts for ethnographic museum that he had founded and thus also founded Danish archaeology. Thomsen was the first to perceive typologies of grave goods, grave types, methods of burial, pottery and decorative motifs, and to assign these types to layers found in excavation, thus combining our different sources of knowledge to establish certainty. When, in 1836, the Royal Society of Northern Antiquaries published Thomsen's illustrated contribution to "Guide to Scandinavian Archaeology" (i.e. the present publication), in which he put forth his chronology for the first time, together with comments about typology and stratigraphy, Thomsen already had an international reputation. But this publication gave him more than that - it made him the founder of modern archaeology and arguably the most influential archaeologist of all times. In 1816 Thomsen had been appointed head of "antiquarian" collections, which later developed into the National Museum of Denmark. It was while organizing and classifying the antiquities for exhibition that he discovered how much more sense it would make to present them chronologically, and so he did, using what is now known as the "three-age system". Proposing that prehistory had advanced from an age of stone tools, to ages of tools made from bronze and iron was not in itself a novel idea, but no previous proposals allowed for the dating of artifacts (which Thomsen's system did for the first time) and they were all presented as systems of evolution. Refining the idea of stone-bronze-iron phases, Thomsen turned it into a chronological system by seeing which artifacts occurred with which other artifacts in closed finds. In this way, he was the first to establish an evidence-based division of prehistory into discrete periods. It is this seminal achievement that led to his being credited as the originator of the three-age system.He provided for the first time a solid empirical basis for the system that ever since the present publication has laid at the foot of all archaeological research. He showed that artifacts could be classified into types and that these types varied over time in ways that correlated with the predominance of stone, bronze or iron implements and weapons. In this way he turned the Three-age System from being an evolutionary scheme based on intuition and general knowledge into a system of relative chronology supported by archaeological evidence."His published and personal advice to Danish archaeologists concerning the best methods of excavation produced immediate results that not only verified his system empirically but placed Denmark in the forefront of European archaeology for at least a generation. He became a national authority when C.C Rafn, secretary of the Kongelige Nordiske Oldskriftselskab ("Royal Society of Northern Antiquaries"), published his principal manuscript in "Ledetraad til Nordisk Oldkyndighed" ("Guide to Scandinavian Archaeology") in 1836."This groundbreaking publication was immediately translated into German (published the following year, 1837), in which form it reached a wide audience, influencing the archaeologists of all of Europe. In 1848, it was published in English and became highly influential on the development of archaeology theory and practice in Great Britain and the United States.In 1849 Thomsen founded the world's first ethnografic museum, which continued to contribute significantly to the development of modern archaeology."Throughout the course of the nineteenth century growing amounts of archaeological material were being recovered as the vastly expanding engineering activities of the Industrial Revolution were transforming Central and Western Europe into the "workshop of the world." Indeed, much of the popular appeal of archaeology in early Victorian times lay in its seeming demonstration that this contemporary technological advancement, which both intrigued and delighted the middle classes, was no mere accident but the acceleration of a tendency for "progress" which was innate in humankind. This evidence that cultural evolution as opposed to degeneration from an original state of grace had been a significant feature of human history made archaeology pre-eminently a science of progress. Within the context of the history of the discipline, however, the birth of this "scientific archaeology", as distinct from the antiquarianism of earlier times, is generally associated with the unfolding of the "Three Age System" and the pioneering work of C.J. Thomsen.While in the past a few archaeologists had attempted to subdivide prehistoric materials into various temporal segments, it was Thomsen who first envisaged, and applied, on the basis of archaeological evidence, a systematic classification of antiquities according to the criteria of material use and form which could be correlated with a sequence of temporal periods: the Ages of Stone, Bronze, and Iron, familiar to every student of archaeology for the last hundred years. The novelty of this approach, however, did not lie in the concept of technological development gleaned from his familiarity with the conjectural history of the Enlightenment, or in his assumption of a sequence of Stone, Bronze, or Iron Ages, itself a variation of Lucretius' popular model. Rather, it lay in his employment of "seriational principles" acquired from his extensive knowledge of numismatics, which he used to combine evidence concerning technology, grave goods, along with the shape and decoration of various artefacts into an internally consistent developmental sequence. Though Thomsen's Museum of Northern Antiquities in Denmark had arranged its collection of artefacts in accordance with this new system as early as 1819, the first written account of his research was not set out in print until the "Ledetraad til Nordisk Oldkyndighed" ("Guide Book to Northern/Nordic Antiquities") was published in 1836. While prior to Thomsen's work, thinking about antiquities in both Europe and the United States bas both intellectually fragmented and essentially speculative, the publication of the "Ledetraad" and its translation into German a year later unified archaeological studies by providing scholars with an exemplar or "paradigm". For, while previously antiquarians and indeed classical archaeologists, who were interested in what are now recognized to be prehistoric remains, tended to look to written records and/or oral traditions to provide a historical context for their finds, it was Thomsen who liberated archaeologists from this restrictive assumption through the creation of a carefully controlled chronology which allowed for the comprehensive study of those periods in history for which NO written records were available. In the second half of the nineteenth century, Thomsen's system established itself as THE system, as his basic classification of artefacts, arranged in periods by virtue of an analogy with the form and function of tools in his own day, was modified an elaborated upon by, among others, Worsaae, de Mortillet and John Lubbock." (D.A. Nestor: Cognitive Perspectives on Israelite Identity, pp. 46-48)

      [Bookseller: Lynge & Søn A/S]
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        Tsukurimono shuko no tane [trans.: How to Prepare Cultural Artifacts & Props for Display].

      Many full-page illus. in the text. 11; 11; 11; 11 folding leaves. Two vols. in four parts. 8vo, orig. decorated wrappers (some worming), orig. block-printed title labels on upper covers, modern stitching. Osaka: 1837 & n.d. First edition of this rare and extraordinary book on methods of creating artifacts and props for display purposes or theater, using ordinary materials to produce entirely different and complex objects. This richly illustrated work contains numerous illustrations depicting dieties; an empress fighting; famous battle-field scenes; musical instruments; nature scenes; imaginary animals; offerings; a pheasant; a noh performance; lacquerware; ceramics; kitchen implements; village scenes; garden ornaments; wedding objects; floats; legendary scenes in Japanese history; the dragon dance; hunting scenes; ceremonial dance performances; a falcon; a treasure boat; arms and armor; a landscape, etc. What is so remarkable is that each prop or scene is constructed from surprising and rather mundane materials. Nothing is what it seems. For example, two samurai fighting are actually constructed out of lacquerware. The pheasant and the noh performance are constructed from dried foods, including fish. An insect is made out of a broom and other cleaning tools. The falcon is made from coins and metal. A samurai is constructed out of lanterns. The landscape is made out of abalone shells and knives. For each prop, there is an explanation of the materials employed along with a kyoka poem critiquing the prop, each signed by various poets. The artist, Matsukawa, was a famous ukiyo-e artist in Osaka. An earlier part of the series appeared in 1787. There is some modest worming in all of the volumes touching the images but, nevertheless, in very nice condition. Very rare. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Pflanzen und Gebirgsarten von Marienbad. ergänzt, und mit einem Anhange über die andern naturhistorischen Verhältnisse des Curortes herausgegeben von C. J. Heidler.

      Prag Kronberger und Weber 1837 - (21,5 x 13 cm). X, 203 S. Mit lithographiertem Frontispiz, 3 (1 kolorierten) lithographierten Tafeln, 1 mehrfach gefalteten kolorierten lithographierten petrographischen Karte und einer mehrfach gefalteten Tabelle. Halbleinwandband der Zeit. Erste Ausgabe. - Der Band enthält von Goethe den während seiner Aufenthalte in Marienbad in den Jahren 1821-23 entstandenen Beitrag "Gang- und Gebirgsarten von Marienbad", ferner einen Auszug aus einem Brief an Graf Sternberg in Prag über den Marienbader Serpentin und Pechstein. - Die Arbeit über die Marienbader Flora stammt von Friedrich von Sachsen (dem späteren König Friedrich August II.), entstanden in den Jahren 1834-35. - Papierbedingt minimal gebräunt. Die Karte mit kleinem hinterlegtem Einriss. Insgesamt sauberes und gut erhaltenes Exemplar. - Schmid, Goethe und die Naturwissenschaften 427 und 840; Pritzel 3058 [Attributes: First Edition]

      [Bookseller: Antiquariat Gerhard Gruber]
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        The English Counties Delineated; or, A Topographical Description of England. Illustrated by A Map of London, and a Complete Series of County Maps

      George Virtue, 1837, Hardcover (Half Leather), Book Condition: Very Good Condition. Moule's atlas never disappoints, each of the county maps delicately and intricately illustrated with vignettes of important county features or buildings. This two volume set is in very good condition. The leather at the spines is lightly rubbed. The maps in this title are prone to browning and whilst this is true of a number of them in this copy, inluding some offsettling to the facing page, it is by no means true of them all and this copy is better than many we have seen in that respect. All 62 maps, plans and plates are present as called for in the list in volume one. This copy bears the armorial bookplate of Francis Darby of Coalbrookdale. Size: Quarto. 2-volume set (complete). Pictures of this item not already displayed here available upon request.

      [Bookseller: The Petersfield Bookshop]
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        VINDICIAE AMERICANAE. LETTER TO THE RIGHT HON. SIR ROBERT PEEL, BART., M.P. IN REFUTATION OF THE CALUMNIOUS ATTACKS ON AMERICA AND HER CITIZENS.

      London, James Ridgeway.Rich, Red Lion Square, 1837. - 27pp. Self wrappers, stitched, as issued. Uneven toning to front wrapper, some foxing, marginal pencil annotations throughout. Good plus. Untrimmed. [with:] A CORRECT REPORT OF SIR ROBERT PEEL'S SPEECHES AT GLASGOW, JANUARY, 1837. London. 1837. [8],100,4pp. plus engraved plate. Original blue printed wrappers. Spine ends chipped, minor soiling and spotting to wrappers. Mild foxing along foredge. Good plus. On Jan. 13, 1837, Sir Robert Peel made a speech in Glasgow in which he attacked the American political system, and especially the favorable things that the French historian and political philosopher Alexis de Tocqueville said about American democracy in his DEMOCRACY IN AMERICA. Peel had been Prime Minister 1834- 35, and would be again, but at the moment he was out of office. Tocqueville's famous work had been published in Paris in 1835, and translated to English by the journalist Henry Reeve in 1836. The book was thus the subject of much discussion when Peel made his speech, in which he questioned both the political system of the United States and Tocqueville's viewpoint. This rare pair of works closely relates to Peel's speech, both inscribed to Tocqueville by English friends of his. The first work is a pamphlet by an unknown "Citizen of the United States of North America," published by the American bookseller Obadiah Rich, who was a resident in London. The author is unknown, although it is possible that it was Rich himself. The pamphlet attacks Peel for his anti-American stance and his remarks on Tocqueville. This copy is inscribed to Tocqueville "with H.R.'s regards," probably a gift from Henry Reeve, who of course knew Tocqueville well (Tocqueville seems to acknowledge receipt in a letter to Reeve, dated March 22, 1837). Of utmost importance here are the marginal pencil annotations in French, made by Tocqueville, in which he features prominently in the text, and is even quoted to a great degree, especially after page 8. Approximately 140 times throughout, Tocqueville denotes an English word in the text with a small "+" and provides the French translation for the word in the margin, in his own hand. He obviously read the pamphlet with close attention. The second work is also inscribed to Tocqueville, in this instance by well-known traveller Capt. Basil Hall, directing Tocqueville to where Peel references him ("see page 82"). This contains the full text of Peel's nasty speech, where he discusses and quotes Tocqueville from pages 82 to p.86, referring to him as a "very able and intelligent Frenchmen, who has made the institutions of the United States the peculiar object of his observation and study," but dismissing his ideas. A wonderful pair of works relating to Alexis de Tocqueville, closely relating to the reception of DEMOCRACY IN AMERICA, and one with the famed author's extensive marginalia. VINDICIAE: SABIN 99832.

      [Bookseller: William Reese Company - Americana]
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        Wissenschaftslehre. Versuch einer ausführlichen und größtentheils neuen Darstellung der Logik mit steter Rücksicht auf deren bisherige Bearbeiter. Mit einer Vorrede von Dr. I. Ch. A. Heimroth. Bde. 1 u. 2 [von 4].

      Sulzbach., Seidelsche Buchhandlung 1837 - XVI, 571 S., 3 Bll. - VIII, 508 S., 1 Bl. 8°, Halblederbde. d. Zt. Leider leicht fleckig, Schnitte etwas stockfleckig. Insgesamt gut erhalten. 1750 gr.

      [Bookseller: Rotes Antiquariat]
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        Schmuckblatt mit verschiedenen Szenen des Berliner Gesellschaftslebens und des Tanzes. Fein aquarellierte Federzeichnung auf Papier, monogrammiert und datiert.

      Berlin 1837 Bildmaß der Darstellung: 24 x 21,5 cm ( Höhe x Breite ). Mit 14 Feldern mit Darstellungen verschiedener Tänze bzw. Szenen um den Tanz und das Gesellschaftsleben Berlins im Biedermeier - mittig mit Auflistung der gezeigten Tänze: Polonaise, Walzer, Contredanse, Galopp, Masurek, Walzer, Contredanse, Galopp, Cotillon. Rechts unten mit *WN* in verschlungenem Monogramm monogrammiert ( für Wilhelm Nerenz ) sowie unten von Nerenz handschriftlich datiert mit Ortsangabe: * Am 14ten März 1837, Berlin*. Untenstehend am Außenrand ferner von alter Hand mit *Nerenz* bezeichnet. Gezeigt werden Herren und Damen im Gespräch ( 2 Felder ) - eine Musikkapelle - Aufforderung zum Tanz ( 2 Felder ) - 2 Felder mit Tänzen - Die Garderobe und der Abschied - 2 rauchende Herren in Einzelfeldern - Herren im Gepräch - Herren beim Festessen - Herren beim Kartenspielen. In der floralen Umrahmung mit Dekorelementen wie allerlei Vögeln, Sektgläsern, einer Wein- oder Sektflasche, einer Katze etc. Gesamtgröße des Blattes 30 x 24 cm. Das Blatt etwas fleckig und gebräunt, verso mit Resten alter Montierung - insgesamt aber guter Zustand. >>>Literatur: Thieme-Becker, Band XV, Seite 389 <<<<( Pic erhältlich // webimage available - weitere Pics auf Anfrage ) Versandkostenfreie Lieferung Nerenz, Wilhelm Nerenz, Tanz, Tänze, Berlin, Polonaise, Walzer, Contredanse, Galopp, Mazurka, Cotillon, Google, Federzeichnung, Aquarell, aquarelliert, 1837, Kartenspieler, Festessen, Garderobe, Biedermeier, Wilhelm Schadow, Schadow

      [Bookseller: Antiquariat Friederichsen]
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        Sequoyah

      Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph by John T. Bowen after a painting by Charles Bird King done in 1828. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. Sequoyah (1776? - 1843) is one of the most prominent men of American history. Known locally as George Guess, he was the son of a mixed-breed named Gist, Guess or Guest, possibly Nathaniel Gist, Revolutionary soldier and trader, and a Cherokee woman, who brought him up closer to the Cherokees than to the whites. He was born near Fort Loudon, Tennessee. Sequoyah was from the start an inventive boy with an inquisitive mind. After achieving some success in agriculture, he sustained a leg injury that caused him to limp for the rest of his life. Sequoyah learned to be a silversmith, eventually excelling at that craft. Around 1809, he began to develop the idea of a written language for the Cherokee. He worked on this for at least 12 years and developed a syllabary that is still in use, primarily in Cherokee language churches. Some doubters among his people were persuaded when Sequoyah was able to teach his daughter to read and write the new alphabet. By 1824, white missionaries had translated parts of the bible into this written Cherokee. The alphabet was used in the Cherokee Phoenix , a newspaper that appeared from 1828 to 1834. Sequoyah visited Washington in 1828, at which time McKenney arranged to have this portrait painted. He spent his last years looking for Cherokees who had traveled West during the Revolution. He died in Mexico in 1843. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character 24; Sabin 43410a; Horan p. 264-266.

      [Bookseller: Donald Heald Rare Books]
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        Two of the Succession or St. Fenoli [i.e. Féréol] Falls / St. Anne's River

      Watercolour with traces of pencil and scratching out, inscribed in pencil as above, and in ink 'Given to me by Lt. Bainbrigge Royal Engineers Quebec 6th Feby 1837'. Philip John Bainbrigge (1817-1881), son of General Sir Philip Bainbrigge (1786-1862), was born at Lichfield, Staffordshire, on January 16, 1817. He entered the Royal Military Academy at Woolwich in 1830 and graduated in 1833. He travelled widely in Upper and Lower Canada and the Maritimes, reporting on fortifications and other defensive measures. He was assigned special survey duty concerning the Maine-New Brunswick boundary dispute and was acting as adjutant from 1841 until his return to England on August 4, 1842. "Like many British officer-painters, Bainbrigge received his artistic training at the Royal Military Academy at Woolwich. There, he was instructed in the proper use of perspective and in the handling of light and shade, and he employed these techniques with an ease and spontaneity well-suited to the principles of landscape painting. His rather individual style, while in accordance with the artistic trends of the time, resulted in watercolours that are quite distinctive. A thematic analysis of Bainbrigge's work reveals a definite predilection for depicting rural landscapes - either in summer or winter - into which he would work whatever section of the city he could see from his vantage point. His palette thus consisted of a range of natural colours, such as browns, reds and dark greens, which he applied in varying degrees of thickness." (C. Graham) Cf. Conrad Graham, Mont Royalville Marie: Early Plans and Views of Montreal, McCord Museum of Canadian History, p.103.

      [Bookseller: Donald Heald Rare Books]
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        Sämmtliche Werke. Hrsg. v. Johann N. Vogl.

       Wien, Rohrmann und Schweigerd 1837. 4 Bde. kl.-8°. VI, 258; 216; 204; 368 S. Mit 1 Titelportr. in Lithogr. Ln. d. Zt. Rückensch. v. Bd. 1 tlw. abgeblättert. EA.W.- G.² 1; Goedeke XI, 2, 333, 1; Kosch XII, 540; Rabenlechner I, 58; Wurzbach XXIV, 259 - Erste Gesamtausgabe des herausragenden Dramatikers des Wiener Volklstheaters. Es ist der erste Druck seiner Bühnenstücke. \"Zu Lebzeiten F. Raimunds wurde keines seiner Stücke gedruckt. Raimund sperrte sich - außer bei einigen Liedern und Gedichten - gegen die Veröffentlichung, weil nach damals geltendem Recht - gedruckte Bühnenwerke aufführungs- und tantiemefrei waren\" (Hein, Raimund, S. 1). - Enthält: Der Diamant des Geisterkönigs; Der Alpenkönig und der Menschenfeind; Moisasur`s Zauberfluch; Mädchen aus der Feenwelt, oder Der Bauer als Millionär, Der Barometermacher auf der Zauberinsel, Die gefesselte Fantasie, Die unheilbringende Krone, oder: König ohne Reich, Held ohne Muth, Schönheit ohne Jugend. Im vierten Band findet sich auch eine Biographie Ferdinand Raimunds von Johann Nepomuk Vogl. Versand D: 4,00 EUR Literatur

      [Bookseller: Antiquariat Burgverlag]
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        Flora's Dictionary

      Baltimore: Fielding Lucas Junr., [1837]. - 4to., (10 3/8 x 8 inches). Pictorial lithographed title page and dedication page, both with original hand color. 56 lithographed plates with original hand color (one plate torn affecting image, somewhat browned, occasional offsetting). Original publisher's maroon morocco gilt, the spine in five compartments separated by four raised bands, gilt-lettered in one and decorated in the rest (hinge starting, extremities a bit worn, one or two pale stains). Second edition thus, first published anonymously as Flora's Dictionary by "a Lady" in 1829. "The arrangements of the flowers are beautifully balanced and the coloring is brilliant" (Bennett, p. 115). The main section of text of Flora's Dictionary is made up of about 230 entries arranged alphabetically from Acacia Rose (friendship) to Zinnia (absence). Each entry includes a brief definition (Laburnum: pensive beauty; Ranunculus: I am dazzled by your charms; etc.), followed by a selection of appropriate verses, from both the classics and contemporary authors. "While it is pleasant to think that the introduction of the language of flowers to America was accomplished by a man [Rafinesque] born in Turkey (as the language itself was said to be) who was also a citizen of France, the country of its introduction to society, it fell to a "Lady" of Virginia to really popularize the concept for American consumers. Elizabeth Gamble Wirt (1784-1857) was the second wife of William Wirt, attorney general of the United States and author of The Letters of the British Spy and other popular works. Her Flora's Dictionary (1829), published under the pseudonym "A Lady," was a phenomenal success. According to her preface, she had put together her language of flower list from several 'books and manuscripts' over the past few years, and she only allowed it to be published because she was not able to supply all the manuscript copies people asked for and because someone in Boston had, 'last year,' put her material in print. This Boston edition of Flora's Dictionary (if indeed it was called that) is unknown to me, and she remarks concerning it that 'few copies were struck, with great neatness and beauty of type and paper.' Her purpose in mentioning this Boston printing is, she says, to let those who have copies to know whose work it is and also understand that she had no 'original purpose of publishing' "The illustrations in the language of flower books have only a small role in the history of botanical art, for they emphasize sentiment and romance over accuracy. However, they are often very attractive and are particularly evocative of the period's perspectives on nature. In fact, there is a tendency today, in America certainly, to use flower illustrations as a cultural shorthand to represent the previous century, at least the years after 1840. Stylized roses - fat cabbage roses with a few ferns or drooping lily of the valley - are typically symbolic of the Victorian period. Such common images, while accurate, are not the whole story in sentimental flower book art, which went through a number of technical changes and which was sometimes associated with well-known artists" (Beverly Seaton, The Language of Flowers: A History). Rinderknecht 48537. Sabin 104868. Bennett, p.115. McGrath, p.36; Reese Stamped with a National Character 52. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Megan Scauri, M.A., M.L.S., in the Rare Book Department.

      [Bookseller: Arader Galleries - Aradernyc]
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        The Posthumous Papers of the Pickwick Club

      London: Chapman and Hall,, 1837. With Forty-Three Illustrations, by R. Seymour and Phiz. Octavo (209 ×132 mm). Contemporary tan calf, spine gilt in compartments, ruling and turn-ins gilt, marbled endpapers and edges. Engraved frontispiece and half-title and 41 plates. Bookplate. Slight spotting and toning to some plates, boards lightly rubbed, spine faded. A very good copy. First edition, early issue. The plates are in early states, with page locations and without titles or imprints, but the earliest Buss and Seymour plates have been replaced by those of Phiz. The sign on the engraved title states "Weller" rather than "Veller".

      [Bookseller: Peter Harrington]
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        Finden's Illustrations to the Life and Works of Lord Byron : in two volumes With original and selected information on the subjects of the engravings.

      London, John Murray, Albemarle Street / sold also by Charles Tilt, Fleet Street, 1837. - 2 vol in 2 (complete). 8to (23x16), 126 (65 + 61) steel engravings with paper guards + unnumbered text pages, publisher's hardbound red cloth with ornamentic and gilt decoration and spine,full gilt edges, spine sl worn, books are tight and clean in general, some occasional foxing (namely the pretitle engravings), name verso frontispice, Complete two volume edited 1837 by Byron's publisher Murray, Albemarle St.- Landscape and Portrait Illustrations to the life and works of Lord Byron engraved by William and Edward F. Finden drawn by different artists.- few engravings by others (f.ex. H.T.Ryall and T.Higham).-- all engravings are present (contol by index).- [Attributes: Hard Cover]

      [Bookseller: Antiquariat an der Stiftskirche]
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        [An album of views on the River Thames, England]

      1837. Folio. (23 1/8 x 18 3/4 inches). 92 leaves, window-mounted with 344 prints after Farington, Westall, Owen and others, and 2 original watercolours, all of views on or near the Thames, one plate folding, 28 hand-coloured. (Most plates cut close to the image, some with loss of imprint). Expertly bound to style in light brown half calf over original red textured cloth-covered boards, spine in six compartments with wide raised bands, the bands tooled in gilt with fillets and zig-zag roll tools, titled in gilt 'Views / of the / Thames' in the second compartment, the others with repeat decoration of a large centrally-placed flower spray tool, marbled endpapers, gilt edges Provenance: James Frothingham Hunnewell (1832-1910, Charleston, Suffolk County, Mass., bookplate dated 1902) A very fine series of views mounted and bound geographically: the first leaf has views of Thames Head, the final leaf of the Thames estuary. Following the tradition established by the Boydell's with their History of the River Thames the present album allows the viewer to follow the course of the river Thames through the countryside of Gloucestershire, Oxfordshire, Berkshire, and Surrey before entering London, and then through and out the other side with Essex on one bank and Kent on the other. The prints include aquatints (hand-coloured, printed in two tints, printed in one tint and uncoloured), lithographs, copper-engravings (hand-coloured and uncoloured) and steel engravings. There are images from two main works: J. & J. Boydell's History of the River Thames (London: 1794-1796) with 28 from a total of 76 aquatints after Joseph Farington (with 5 printed in bistre, 1 printed in two tints and 22 hand-coloured) [see Abbey Scenery 432]. There is also a complete suite of uncoloured plates from William Westall's Thirty-Five Views on the Thames (London: 1824) [see Abbey Scenery 434 (a hand-coloured issue)]. Also included are at least 81 uncoloured engravings by William or George Cooke after sketches by Samuel Owen. Neither of the watercolours are signed, but one is of Randall's Mill at Nine Elms and is inscribed 'Nine Elms / Battersea Surrey' in pencil on the verso with a penciled annotation to the mount. The second is inscribed in pencil 'Scene from the Inn at Purflett [sic.] Sept 18/[18]25'. Randall's Mill was a favourite subject for artists in the 1820s, but the present example is reminiscent of the work of John Varley (1778-1842). He is known to have produced at least one other view of the same subject (see Brighton & Hove Museums catalogue: John Varley 'Randall's Mill, Nine Elms, looking towards Vauxhall Bridge' signed and dated 1830, watercolour, 8 3/16 x 12 inches, accession number: 100018), and the penciled annotation beneath the watercolour could be in Varley's hand. If this is the case then he is a possible compiler as a number of the other images are inscribed in pencil by the same hand. The album was subsequently in the library of the well-known Boston book-collector James F. Hunnewell. The author of a number of antiquarian and historical works, he also had a catalogue of his library privately printed in an edition of fifty copies: A Catalogue of Books belonging to James F. Hunnewell of Charlestown, Mass. (Cambridge, Mass: 1873). Abbey Scenery 432 (Boydell), 433 (Havell); Tooley 102 (Boydell), 255 (Havell, 1812 ed.).

      [Bookseller: Donald Heald Rare Books]
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        Black Kite. Milvus ater

      London: [by the Author, 1837. Lithograph, coloured by hand, by Edward Lear, printed by C. Hullmandel. Very good condition apart from some minor foxing. A beautiful image from John Gould's "The Birds of Europe": a work which, according to Hyman, "included some of the most remarkable bird drawings ever made." This plate is from the second of John Gould's great ornithological portfolios. Gould undertook this work not only hoping to build on the success of his first work (on the birds of the Himalaya Mountains), but also in an effort to redress the imbalance between the study of local and foreign ornithology. It was his opinion that too much attention had focused on the exotic, while the beauty of the more local species was ignored. He wrote in the preface to the work from which this image comes: 'It has been frequently remarked that the productions of distant countries have received a much larger share of attention than those objects by which we are more immediately surrounded; and it is certainly true, that while numerous and costly illustrations have made us acquainted with the Ornithology of most other parts of the world, The Birds of Europe , in which we are, or ought to be, more interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The images in this work are the first to be published by Gould that show the liveliness of treatment that was to become such a feature of later works. This break from the traditional methods of bird depiction can be largely attributed to the influence of and contributions from Edward Lear: "They are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-consious clumsiness and his unselfconscious charm." (Hyman) Cf. Anker, 169; cf.Balis, 101; cf. Fine Bird Books (1990), p. 102; cf. Nissen, IVB, 371; cf. Sauer, 2; cf. Zimmer, p. 251.

      [Bookseller: Donald Heald Rare Books]
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        The Birds of Europe

      London: printed by Richard and John E. Taylor, published by the Author, 1837. 5 volumes, folio. (21 1/4 x 14 1/4 inches). 2pp. list of subscribers in vol.I. 448 fine hand-coloured lithographed plates (68 drawn and lithographed by Edward Lear, 380 drawn and lithographed by Elizabeth Gould from sketches and designs by John Gould), printed by Charles Hullmandel. Contemporary tan half morocco over marbled paper-covered boards by Rowbottom of Derby, spines gilt in six compartments with wide raised bands, the bands tooled in gilt and flanked by fillets in gilt and blind, lettered gilt in the second and fourth compartments, marbled endpapers First edition: a fine copy of Gould's first multi-volume ornithological work and the first of his works to feature plates by Edward Lear: one of the greatest ornithological artists of all time. Lear's contributions included the most eye-catching subjects in the book: eagles, owls, cranes, pelicans, geese, swans, and flamingos. Lear's plates are from bird drawings that "are certainly among the most remarkable bird drawings ever made, [for] it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm" (Hyman). "Lear's participation transformed the work of Mrs. Gould. ... [H]e propelled her limited sense of perspective into the third dimension. He encouraged movement, vigor, and a sense of character in her birds; he instilled an idea of composition in which the subject related to its background instead of perching in midair like a cardboard cutout. He introduced a sense of subtlety and freedom into her drawings where previously she had only mimicked the technique used in etching or engraving. There is no doubt that Edward Lear was the first person to understand the art of lithography and to use it to its fullest potential. It was a legacy that made the works of Gould into a success and took them into the forefront of nineteenth-century illustration" (Tree). Balis Merveilleux plumages 101; Fine Bird Books (1990) p.101; Hyman Lear's Birds 45; Nissen IVB 371; Sauer 2; Tree Ruling Passion 45; Zimmer p.251.

      [Bookseller: Donald Heald Rare Books]
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        A Description of the Genus Pinus, with directions relative to the cultivation, and remarks on the uses of the several species: also descriptions of many other new species of the family Coniferae ... To which is added an appendix containing descriptions and figures of some other remarkable plants, and an account of the Lambertian herbarium, by ... David Don

      London: Messrs. Weddell [vols. 1-2]; H. Weddell [vol. 3], 1837. 3 volumes, folio. (vols.I-II: 26 1/2 x 19 3/4 inches; vol.III: 25 1/2 x 18 3/4 inches). Engraved portrait frontispiece of Lambert, 100 plates (comprising 2 folding uncoloured engraved plates [vol.II, Appendix nos. 7 and 8], 98 very fine fully coloured plates: engravings, lithographs and including 6 original watercolours in vol.III), extra-illustrated with an uncalled for dedication "To the King" at the front of vol.I and 17 additional variant coloured plates (including 2 original watercolours) in vols. I (13 plates) and vol.II (4 plates) together with variant text for all but 2 of the plates (including 5 leaves of 8vo text inset to size in vol.I). In all, containing 117 plates, including 8 original watercolours. Engravings by Barlow, Mackenzie, Smith, Warner and Weddell after Bauer, Ehret, Manz, Smith and Sowerby, a few plates lithographed by G. Scharf, one after J. Lycett. Vols. I & II: bound to style in red half morocco over paper-covered boards, spines gilt; vol.III: contemporary dark green half morocco over green cloth-covered boards, spine gilt A unique copy of Lambert's masterpiece with the highest number of recorded plates of any set seen on the market in the past 35 years and more than any institutional copy. This is both an important scientific monograph and an artistic triumph, including spectacular plates after Ferdinand Bauer. This rare edition of Lambert's spectacular work is highly acclaimed for its beauty and the fact that each copy is unique, containing varying numbers of plates as well as original watercolours. The number of such original studies in each set, however, is difficult to ascertain, as the line between pure watercolour and watercolour over printed outline is a very fine one. Only three sets are listed as having sold at auction: the de Belder copy with 100 plates (the number of watercolours unclear, with the set appearing twice at auction with a varying number of watercolours in each catalogue description); Queen Mary's copy with 91 plates (with 6 watercolours), and a copy sold at Christie's London in 1991 with 100 plates (including an unspecified number of watercolours). All of the institutional copies, including those in the British Library, the Smithsonian and New York Botanical Garden Library, contain 100 plates, though the numbers of watercolours are not cited. The standard issue of 100 plates is here augmented by 17 additional ones. Most plates are accompanied by variant text, and all show variations when compared to others. In the present set, in addition to the 8 original watercolours, a number of the plates have details added in watercolour, or have outlines that are so faint that they give the appearance of being executed completely in watercolour. The presence of the inlaid-to-size octavo text in the first volume (published in 1832) suggests that perhaps an impatient subscriber -- unable to wait for the regular publication of vol.III -- bought the available new plates and married them to the smaller available text. This set offers an interesting opportunity to examine the variants between the plates and the text of a significant portion of the work. The majority of the plates are after Ferdinand Bauer, who with his brother Franz "may well claim to be the greatest of all botanical draughtsmen. Their skill in execution of detail is miraculous, yet they never lost sight of the wood for the trees; everything is understood, balanced, controlled ... The splendid illustrations to [the present work] ... deeply impressed Goethe ... The botanical draughtsman was no longer the mere recorder of floral beauty; he now had the more difficult task of serving both Art and Science" ( Great Flower Books, p.37). The earliest edition of Lambert's important monograph, though with the fewest number of plates, was published in two volumes between 1803 and 1824. It then appeared in various formats with varying numbers of plates, including the present second edition, until the Bohn issue of 1842. In many ways, the present second edition is the most desirable, with the third volume published for the first time and containing the full complement of plates, with the significant additional advantage of the presence of original watercolours. Great Flower Books (1990) p.111; Henrey III, 921 and 922; cf. H.W. Renkema & J. Ardagh 'Aylmer Bourke Lambert and his "Description of the genus Pinus"' in Journal Linnaean Society London, Botany (1930) vol.48, pp.439-466; Stafleu & Cowan II, 4145; De Belder sale lot 201.

      [Bookseller: Donald Heald Rare Books]
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        Mademoiselle Cléopatre - Histoire parisienne

      Edition originale, un des exemplaires imprimés sur vergé de Holland papere.binding janséniste en plein maroquin rouge, spine à cinq nerfs, dentelle dorée en encadrement des contreplats, contreplats et gardes doublés de papier peigné, double filet doré sur les coupes, roulettes dorées sur les spine-ends, tête dorée sur tépoins, binding signée Andrieux, relieur de la Maison d'Orléans, qui fut actif de 1837 à 1870 environ.Portrait gravé de Cléopatre en frontispice.Très bel exemplaire parfaautograph dedication of the authorent établi. Michel Lévy Paris 1864 16x24cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Entrance to the Chapel of Ferdinand & Isabella.

      London. Hodgson & Graves. [ 1837]. Tinted lithograph with handcolor, mounted on thick card as issued, , image 16 x 11 inches on sheet size 22 x 17 3/4 inches. Overall soiling to support card, a few faint foxing spots in image, image overall bright and clean. This is the title page lithograph from the deluxe first edition of David Roberts' first published set of views "Picturesque Sketches in Spain Taken During the Years 1832 & 1833." Delicately handcolored colored at the time of publication, this edition, which was issued in a portfolio, cost more than double the standard edition. The plates were lithographed by many of the most talented lithographers of the day, this by T. Allom. Abbey (#152) notes that Roberts in fact worked on every stone, and that the views had an enormous sale, going through many printings. This view shows the gorgeous detail of the chapel entrance located in Granada, Spain. In the standard edition of the publication the wording of work's title was printed on the entrance door: in this deluxe edition this feature is not present, allowing the image to stand alone in its magnificence.

      [Bookseller: oldimprints.com]
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        The Posthumous Papers of the Pickwick Club

      London 186, Strand: Chapman and Hall, 1837 VG+, 1st ed, 43 very clean plates. In full morocco, gilt edge tooling by Riviere & Son, corners & edges lightly bumped. Spine, raised bands, decorative gilt tooling & titles. Internally, gilt tooling to board edges and turn-ins, green endpapers, half title, frontis & engraved titlepage, [5], (vi-xiv), [2], [1], 2-609 pp, 43 pls, printed by Bradbury and Evans, Whitefriars, London, an early issue of the 1st edition with 5, 1st issue points & 23 of the flaws listed by Hatton & Cleaver in Walter E Smiths biblio, with the plates mostly in the 1st issue state, plus the 2 Buss plates & 8 others (alternative issues) supplied loose. (Walter E Smith - Dickens 3. Allibone 500).

      [Bookseller: Madoc Books (ABA-ILAB)]
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        Abolitionist William Lloyd Garrison's handwritten receipt to Plymouth abolitionist Lemuel Stephens for "five copies of the Liberator" - Stephens and his wife formed an anti-slavery society and opened the Plymouth Antislavery Reading Room in their home

      Boston, Massachusetts, January 6, 1837. 7" x 5". "Autograph Document Signed ""Wm. Lloyd Garrison,"" 1 page, 7"" x 5"". Boston, January 6, 1837. Minor flaws. Fine condition.In full, ""Received of Lemuel Stephens, of Plymouth, the sum of Ten Dollars, on payment for five copies of the Liberator in advance, from January 1, 1837, to January 1, 1838, to be sent to the following persons - Ansel H. Harlow, John Allen, Ephraim Paty, John Perry, and Lemuel Stephens, Plymouth. Wm Lloyd Garrison for Isaac Knapp."" Signed ""Leml Stephens"" on verso. The Liberator was a weekly abolitionist newspaper founded in 1831 by Garrison and Isaac Knapp.Lemuel Stephens (1786-1870) and his wife Sarah (Sally) Morton Stephens were active abolitionists in Plymouth, Massachusetts. Their home was one of the first anti-slavery homes in Plymouth and reflected the involvement of households as rescuers and caretakers of runaways in the Underground Railroad. Mrs. Stephens followed the principles of William Lloyd Garrison's weekly, The Liberator, and formed an anti-slavery society. Their home housed the Plymouth Antislavery Reading Room, a lending library of abolitionist pamphlets. "

      [Bookseller: University Archives]
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        The Posthumous Papers of the Pickwick Club. With Forty-Three Illustrations, by R. Seymour and Phiz.

      London: Chapman and Hall, 1837 - Octavo (209 ×132 mm). Contemporary tan calf, spine gilt in compartments, ruling and turn-ins gilt, marbled endpapers and edges. Slight spotting and toning to some plates, boards lightly rubbed, spine faded. A very good copy. Engraved frontispiece and half-title and 41 plates. Bookplate. First edition, early issue. The plates are in early states, with page locations and without titles or imprints, but the earliest Buss and Seymour plates have been replaced by those of Phiz. The sign on the engraved title states "Weller" rather than "Veller". Miller & Strange. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Wiener Zeitschrift für Kunst, Literatur, Theater und Mode. Jahrgang 1837. 1.-4. Quartal in 2 Bänden

      Wien: Friedrich Witthauer 1837 - Gedruckt bei Anton Strauß's Witwe, kompletter Jahrgang 1837 der in dieser Zeit 3 x wöchentlich erschienenen Zeitschrift (Dienstags, Donnerstags, Samstags), insgesamt 156 Nummern (vom 3. Jänner bis 30. Dezember 1937), mit kritischen Beurteilungen der in Wien aufgeführten Theaterstücke, mit Gedichten, biographischen Skizzen, Reiseberichten, Nekrologen, Erzählungen, Fortsetzungsromanen u. Novellen, Literaturblättern, Artikeln über bildende Kunst, Modeberichte usw. u. Kupferstichen. Beide Bände HLdr. der Zeit mit Rückengoldprägung, insgesamt 1248 Seiten mit allen 52 kolorierten Modebildern (Wiener Moden) u. 8 unkolorierten Tafeln (4 Wagenbilder, 4 Meuble-Formen), 14 x 22 cm; Deckel abgeschürft (vor allem an den Kanten), Deckelecken bestoßen, Rücken oben eingerissen, Rückenschildchen teilweise gelöst u. abgerissen, innen einige Tafeln leicht gebräunt, sonst schön erhalten, altersgemäß sehr guter Zustand. Book Language/s: de [Attributes: Hard Cover]

      [Bookseller: Antikvariat Valentinska]
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        Geognostische Beschreibung des Schönbergs bei Freiburg im Breisgau.

      Freiburg: Groos 1837 - 4°. VII 36 S.: 1 kolorierte lithographierte Profiltafel. - Angebunden Derselbe: Die Jura-Formationen des Breisgaues geognostisch beschrieben. Karlsruhe: Groos, 1838. IV 51 S.: 2 kolorierte lithographierte Karten. Pappband der Zeit mit unbeschriftetem Rückenschild. 1. Ausgaben der zwei seltenen Abhandlungen. - Widmungsexemplar des Verfassers mit dessen großzügiger 9-zeiliger handschriftlicher Widmung, datiert Freiburg 1837, auf dem weißen Blatt (S. III/IV) der ersten Schrift. - "Fromherz's Schilderungen der vor ihm so wenig bekannten Juraschichten des Breisgaus werden dauernden Werth behalten und können als ein entschiedener Fortschritt der vergleichenden Geologie für Deutschland bezeichnet werden" (ADB). - Schönes und bis auf wenige Stockfleckchen sehr sauberes Exemplar. - Poggendorff I 810 f.; Reichardt II 25 und I 40; ADB VIII 139. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Scheppler & Müller]
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        MÃ&#156;NCHENER SACKKALENDER auf das Jahr 1838. Redigirt von Franz Schleicher.

      München, M. Lindauer [1837]. - Die 12 altkolorierten Kupfertafeln zeigen die Kalendermonate mittels kindlicher Darsteller. Der `Münchener Sackkalender` erschien von 1832-1865. Nach Genealogie u. Kalendarium (mit Wetterprognosen) enthält der vorliegende Jahrgang zwei lyrische Beiträge Kà nig Ludwigs, Charaden, Rätsel, ein detailliertes Verzeichnis der Briefpost- und Wagen-Verbindungen in Bayern, zuletzt sogar eine Ã&#156;bersicht über die wà chentliche FloÃ&#159;verbindung von München über Passau nach Wien. Mit einigen zeitrgen. Bleistift-Notizen auf den letzten Leerblättern. 16° (82 x 50 mm). 32 nn. Bll. Text, 12 Tafeln, 5 Bll. vakat; mit 12 Leerblättern durchschossen. Rotes OLdr. mit Blind- u. Goldpräg. sowie Voll-Goldschnitt. Mit Lasche, Schlaufe u. lederner Bleistiftschlaufe. Gering berieben. Fehlt bei Kà hring.

      [Bookseller: Antiquariat Löcker]
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        Woodland Gleanings: By the Author of "The Sentiment of Flowers." With Numerous Illustrations.

      Sm. London: Charles Tilt, (1837). Sm. 8vo, original full dark green morocco, backstrip gilt-lettered and with five raised bands, covers elaborately bordered in blind, rear cover with gilt-stamped image of the "Cowthorpe Oak," gilt edges, [iv], xl, 188, [4(Index)], [4(ads)] pp. 64 hand-colored plates, with tissue guards. Signed in ink on front free endpaper: "Frederick H. Ashworth / February 2d 1839." Front cover replaced with new near-replica in matching morocco & border but lacking oak image, with original pastedown; color frontispiece lacking tissue guard; dampstain affecting tops of a few tissue guards; overall a very good, fresh copy of the de-luxe issue, well restored. First Edition. The text of this appealing volume is more literary than botanical, and the highly attractive plates lack scientific precision; but the result is delightful. No wonder that the Magazine of Natural History (London; Volume I [new series] ([837], p. 270) recommended it "to those who have yet to select a work for their summer companion or friend." The book was issued in cloth and in this elegant morocco binding, and it appears that it was also issued with a choice of 64 color plates, 32 color plates, or all plates uncolored. The reprints of 1838, 1853, & 1865 seem to have been entirely uncolored. OCLC locates just seven copies of this edition, and COPAC adds two more. Despite the miniature size of the plates, many copies have probably been eviscerated by breakers. This copy was likely signed by Frederick Harold Ashworth (1822-1865), a barrister in Salford, Lancashire. [Freeman, British Natural History Books, 3799, a complete hash.)

      [Bookseller: John Windle Antiquarian Bookseller]
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        Le Lac des IV Cantons et Ses Rives Classiques Souvenir de la Navigation à Vapeur sur le Lac des IV Cantons

      Lucerne: Chez Frères Eglin. G : in Good condition. Cover and spine rubbed and bumped. Part of one fold out lithograph removed. Illustrations bright. Contemporary signature of previous owner on paste-down and on title page together with institutional label and an associated stamp on title page. 1837. First Edition. Illustrated hardback board cover. 170mm x 110mm (7" x 4"). 76pp. 36 lithographs. Text in French. Signature of Charles Bosanquet dated 6th July 1838 and also on title page. Label of Alnwick Scientific and Mechanical Institution and also stamp on title page. .

      [Bookseller: Barter Books Ltd]
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        Giannetto opera che ottenne dalla Società  fiorentina dell'istruzione elementare il premio promesso all'autore del più bel libro di lettura morale ad uso de' fanciulli

      Pietro Ostinelli 1837 Tre volumi in 16mo (voll. I e III cm 18, vol. II cm 16,5), il primo ed il terzo volume sono in brossura editoriale stampata ed intonsi con barbe (manca il piatto anteriore del III vol.), mentre il secondo volume è rilegato in mezza pelle dell'epoca con fregi e titolo in oro al dorso, piatti in carta colorata con cornice in oro, pp. XVI, 196 + antiporta incisa, pp. (4), 247, (5) + pp. VII, (1 bianca), 341, (15, di cui 2 bianche). L'antiporta del secondo volume è protetta da velina e rappresenta un fiore di giglio, un ramo di prezzemolo ed uno di cicuta. A parte alcune lievi ingialliture e fioriture sparse (più forti nel secondo volume), ottima copia conservata entro astuccio di cartone marmorizzato e camicie in mezza pelle rossa recanti il titolo dell'opera in oro sui dorsi.RARISSIMA PRIMA EDIZIONE. «Il 23 dicembre del 1835 la "Società  formata in Firenze per la diffusione del metodo di reciproco insegnamento"? era chiamata ad assegnare il premio di 1000 lire all'autore di "un'opera originale italiana la quale serva ad un tempo d'esercizio di lettura e d'istruzione morale per i fanciulli"?. Dei quattro manoscritti pervenuti, due si imposero alla Commissione, l'uno era "diviso in tre parti intitolate Il buon fanciullo, Il buon giovanetto, Il galantuomo"?, mentre l'altro aveva per titolo Giannetto. Ancora manoscritte e siglate con un motto, le Letture giovanili di Cesare Cantù e il Giannetto di Luigi Alessandro Parravicini si trovavano cosà­, per la prima volta, di fronte: e per mezzo secolo, e piຠoltre ancora, avrebbero continuato a venir avvertiti come due diversi modelli di manualetto popolare, di libro sussidiario per i fanciulli avviati all'alfabetizzazione. Il premio fiorentino era indivisibile, e fu assegnato al Parravicini, un enorme consenso di pubblico, e il succedersi di edizioni sia autorizzate dagli autori sia abusive, corrispose ad entrambe le opere.I moderati della Società  fiorentina dovevano aver percepito nell'implacabile moralismo cattolico di Cantù un'ipoteca autoritaria e conservatrice che Parravicini aveva schivato: il suo richiamo al buon senso quotidiano e il suo innocuo enciclopedismo, scevro di richiami ideologici, gli aprivano ora un credito e un'udienza, che avrebbe a lungo continuato a godere. I due scrittori non erano amici, né tali sarebbero mai diventati, ma avevano in comune la provenienza: entrambi lombardi, milanese il Parravicini, brianzolo il Cantù, erano comaschi d'adozione. Il primo dirigeva la Scuola elementare maggiore di Como sin dal 1826, il secondo aveva insegnato in quel ginnasio quattro anni, dal 1828 al 1832, si era fatto storico della città  e della diocesi, e delle tradizioni lariane doveva restare cultore. Nel 1835 le loro strade si erano ormai definitivamente divise: Parravicini non perdeva occasione per ribadire il suo zelo di pubblico funzionario, Cantù dopo undici mesi di detenzione era stato rimosso dalla cattedra e viveva lavorando per i giornali e i librai» (M. Berengo, Appunti su Luigi Alessandro Parravicini. La metodica austriaca della Restaurazione, in: "Omaggio a Piero Treves"?, a cura di A. Mastrocinque, Padova 1983, p. 1). L'opera si compone di cinque parti. La prima riguarda l'uomo sia da un punto di vista anatomico che da un punto di vista comportamentale. La seconda parte tratta dei mestieri, delle arti e delle scienze. La terza rigurda la terra da un punto di vista geografico e naturalistico. La quarta riporta esempi quotidiani di virtù ad istruzione dei fanciulli. La quinta e ultima parte, divisa a sua volta in ventisette giornate, narra episodi patriotici e "morali"? tratti dalla storia italiana, dai re di Roma a Napoleone Bonaparte. L.A. Parravicini, pedagogista seguace di A. Rosmini e di J. H. Pestalozzi, fu direttore scolastico a Como e a Venezia, dopo un'esperienza come direttore di corsi di metodo nel Canton Ticino, che gli ispirarono un interessante Manuale di pedagogia e di didattica (1842 - '45). La sua fama è tuttavia soprattutto legata al Giannetto, vero e proprio best - seller per ragazzi dell'epoca. Lo stesso Collodi si occupò di modernizzare e migliorare l'opera e nel 1876 diede alle stampe la sua revisione intitolata Giannettino. ICCU, ITICCURAV271788. CLIO, V, p. 3451. D. Giorgietti, Prima di Pinocchio. Libri tra due secoli. Libri per bambini e ragazzi nel mondo tra il 1781 e il 1881, Firenze, 1982, p. 26. \

      [Bookseller: Libreria Govi Alberto]
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        DONIZETTI Gaetano La Favorite Opera Ouverture Orchestre ca1845

      - DONIZETTI Gaetano La Favorite Opera en quatre actes de Gaetano Donizetti Ouverture pour Orchestre Conducteur : 26 pages Materiel d'Orchestre : 1er Violons x6, 2e Violons x4, Altos x4, Violoncelles et Contrebasses x7, Flutes, Hautbois, Clarinettes, Bassons, 1er et 2e Cors, 3e et 4e Cors, 1ères Trompettes, 2èmes Trompettes, 1er Trombone, 2e Trombone, 3e Trombone, Ophicléide, Timbales, Triangle, Grosse Caisse, Cimbales Paris, Maurice Schlesinger M. S. 3216 Alexandre Grus A. G. 1837 XIXe siècle ca1845 Très bon état 12877 [Attributes: Soft Cover]

      [Bookseller: partitions-anciennes]
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        Strafford: An Historical Tragedy

      Longman, Rees, Orme, Brown, Green, & Longman, London 1837 - Original brown wrappers with original printed paper label on cover. 132pp. Side and bottom edges uncut. With 4pp advertisements at end dated April 15, 1837. A superlative copy, the best copy we have seen in many years. The paper covering on spine is almost completely intact, hinges are integral, contents clean and bright. A near fine copy of Brownings early work, his first play and perhaps his most original: (Michael Peverett) ". the one that is least like a closet drama; five acts and numerous speaking parts. It played for five nights in 1837, with Macready in the title role." Though the performance was critically, rather than well received, it was well attended and certainly contributed to Browning's early popularity and respect in literary circles. [Attributes: First Edition]

      [Bookseller: Nudelman Rare Books]
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        Dictionary of the English Language

      1837 - JOHNSON, Samuel. A Dictionary of the English Language. London: Printed for T. Tegg et al., 1837. Two volumes. Quarto, modern three-quarter brown morocco gilt, raised bands, red morocco spine labels, marbled boards, uncut. $2500.Later edition of Johnsonâ&#128;&#153;s landmark Dictionaryâ&#128;"the work that â&#128;&#156;had, in philology, the effect which Newtonâ&#128;&#153;s discoveries had in mathematicsâ&#128;&#157; (Noah Webster)â&#128;"handsomely bound.â&#128;&#156;Johnson performed with his Dictionary the most amazing, enduring and endearing one-man feat in the field of lexicographyâ&#128;&#157; (PMM 201). â&#128;&#156;The authority of Johnsonâ&#128;&#153;s work has colored every dictionary of English that has since been compiledâ&#128;&#157; (Hitchings, 5). With engraved frontispiece portrait of Johnson in Volume I. A fine copy, handsomely bound. [Attributes: Hard Cover]

      [Bookseller: Bauman Rare Books]
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        Entrance to Madrid / The Gate of Alcala

      London.: Hodgson & Graves.. [ 1837].. Tinted lithograph with handcolor, mounted on thick card as issued, image 10 1/2 x 15 1/2 inches on sheet size 17 3/4 x 22 inches. Overall soiling to support card with light line entering image at mid right edge, some faint foxing and undulation to paper of image. This view of the beautiful Gate of Alcala in Madrid, Spain is plate 18 from the deluxe first edition of David Roberts' first published set of views "Picturesque Sketches in Spain Taken During ye Years 1832 & 1833." Delicately handcolored colored at the time of publication, this edition, which was issued in a portfolio, cost more than double the standard edition. The plates were lithographed by many of the most talented lithographers of the day, this being only one of two from the set that Roberts himself lithographed in their entirety (although he had a hand in all of them). .

      [Bookseller: oldimprints.com]
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        The Posthumous Papers of the Pickwick Club.

      London: Chapman and Hall,, 1837. Octavo Etched vignette title page, frontispiece, 41 plates by Robert Seymour, R. W. Buss, and H. K. Browne. Slips from bookseller's catalogues tipped-in to the first blank. Boards a little marked, contents lightly spotted and foxed; an excellent copy. First edition bound from parts, with the two Buss plates present (facing pages 69 and 74), otherwise all plates in early states with page numbers as called for but no titles or imprints, and the vignette title-page with the signboard reading "Veller" (corrected to "Weller" in later issues). "Pickwick was the greatest publishing sensation since Byron had woken to find himself famous, as a result of the publication of the first two cantos of Childe Harold, in 1812 … [and enjoyed] a phenomenal popularity that transcended barriers of class, age, and education. Mary Russell Mitford wrote to an Irish friend, 'All the boys and girls talk [Dickens's] fun ?- the boys in the street; and yet those who are of the higher taste like it the most … Lord Denman studies Pickwick on the bench while the jury are deliberating'" (ODNB).

      [Bookseller: Peter Harrington]
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        Das gespenstische Schiff oder der fliegende Holländer 1. dt. Ausgabe 3 Bände (Komplett)

      Braunschweig, Friedrich Vieweg und Sohn, 1837, 1839, 1839. 182, 164, 162 S., SEHR SELTEN kl. 8°. Orig.pappbände der Zeit, 1. Band mit Lederrücken, Privateinbände alle mit äußerlichen leichten Gebr.spuren, innen Ränder staubig und fingerfleckig, teils kl. Flecken,sehr wenige Randnotizen von alter Hand, wenige kl. Einrisse, bzw. kl. Fehlstellen am Rand Frederick Marryat (* 10. Juli 1792 in London; gest. 2. August 1848 in Langham, Norfolk) war ein englischer Marineoffizier und Schriftsteller. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Eppler]
 41.   Check availability:     buchfreund.de     Link/Print  


        Songs &c., chiefly by German Composers. With English Words by James van Sommer, by whom also the Music was ruled and transcribed". / 19th century Manuscript by british composer James van Sommer with transcriptions of German Lieder in poetry form and score. Marvellous original manuscript with early transcriptions into english of some unusual composers. The manuscript in a beautiful and steady hand in ink/ Originales Manuskript von Transkriptionen teilweise ungewoehnlicher Lieder deutscher und europaeischer Komponisten des spaeten 18. und fruehen 19.Jahrhunderts. Wundervolle, sehr akkurate Handschrift.

      James van Sommer,, [England, possibly Hoxton], 1837 - [England, possibly Hoxton], James van Sommer, 1837. Octavo. 157 pages. Modern, unsophisticated Hardcover with new endpapers. Excellent condition. Sprache: English Modern, unsophisticated Hardcover with new endpapers. [Attributes: Hard Cover]

      [Bookseller: The Time Traveller's Bookshop Ltd.]
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        La Russie Pittoresque. Par une Société d\'Hommes de Lettres.

      Chez Roux, Paris 1837. 360 S. mit 57 fein gestochenen oder lithographischen Tafeln, 4°, marmorierter Pappband der Zeit mit handschriftlichem Rückentitel auf Papier-Rückenschild, Einband leicht berieben und bestoßen, das Papier zuweilen mit unscheinbarem Wasserrand, bei den letzten 100 Seiten auch die Tafeln betroffen, Bindung leicht locker, Innendeckel mit Exlibris, insgesamt gutes und innen sauberes Exemplar, Das Werk erschien in zahlreichen Einzellieferungen, die original-Broschur der Einzellieferungen ist miteingebunden, die Lieferung S. 177-184 fehlt, dafür sind die SS. 185-192 doppelt eingebunden. Die Tafeln mit Abbildung von Landschaften, Volksstämmen, Gewändern und Uniformen, Stadtansichten, historischen Begebenheiten etc. Versand D: 5,00 EUR Ethnologie, Geographie, Reise, Rußland

      [Bookseller: Antiquariat Silvanus]
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        Gesamtansicht von der Südseite ('Marienwerder v. d. Suedseite erbaut a. 1233').

      - aquarellierte Tusche- u. Bleistiftzeichnung v. Jul. Bock (signiert), dat. 1837, 18,5 x 27,5 Sehr fein ausgeführte Zeichnung mit Schloss und Dom des Deutschen Ritterordens. (Bilder zum Artikel auf meiner Homepage, oder bei Anfrage - pictures on my homepage or after request) [Attributes: Signed Copy]

      [Bookseller: Antiquariat Norbert Haas]
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        Große außerordentliche Vorstellung in der Menagerie der Catharina S. van Aken. Die Unterzeichnete hat die Ehre einem hohen Adel und einem geehrten Publicum ... München ergebenst anzuzeigen ,,,, eine große Vorstellung Statt finden wird, bey welcher die vorzüglichste Dressur aller zahmen friedlichen Thiere sowohl, als die Zähmungs - Production der sämmtlichen Raubthiere, gezeigt, und sodann die interessante Thier - Fütterung vorgenommen wird.

      München, ca. 1837.Plakat mit großer Lithographie (25,3 x 37 cm) und typographischem Text. Blattgr.: 55 x 40,5 cm. Das außerordentliche Plakat führt 4 Veranstaltungspunkte auf, mit tls. längeren Beschreibungen: 1) Wird man zu den großen Löwen in den Käfig gehen. 2) findet die Vorstellung der beyspiellosen Zähmung des Eisbären Statt. 3) wird man die gewiß höchst bewunderungswürdige Abrichtung der gefleckten Hyäne zeigen. 4) Vor der Production werden auch die Känguruhs, das Zebra der Dauw und die Strauße vorgeführet werden. - Die Lithographie zeigt einen feinen Herrn (wohl Herman van Aken)in trauter Gesellschaft mit Eisbär, Löwe und Hyäne. - Vorstellung durch die Witwe des berühmten Menageriebesitzers Hermann von Aken (1797 - 1834); die geborene Katharina Sidonia Freiin Dubsky von Wittenau war die Tochter eines Wiener Wachsfigurenkabinetts - Besitzers. Nach dem frühen Tod ihres Gatten führte sie die Menagerie noch einige Jahre weiter und heiratete dann den ?-sterreicher Johann Colloredo - Saalfeld, einen kaiserlichen Hofrat und Gesandten. - Gering fleckig. Mit kleiner Hinterlegung. Mit rotem Stempel "KPD" (Königliche Polizei Direction). Bitte um Beachtung: Wir sind bis einschließlich 14.01.2016 im Urlaub, der Versand Ihrer Bestellung erfolgt am 15.01. - Please note: Until Jan. 14th we are on holidays, ordered items will be mailed at Jan. 15th. Bücher de

      [Bookseller: Antiquariat Turszynski]
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