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Displayed below are some selected recent viaLibri matches for books published in 1839

        SKETCHES By BOZ. Illustrative of Every-Day Life and Every-Day People. With Twenty Illustrations

      Philadelphia:: Lea and Blanchard,. 1839.. 4to. 24 cm x 15.5 cm. 1st edition thus (Edgar & Vail, p. 16; Gimbel A13; Smith AMERICAN, 1 [pp 18 - 20]). 268 pp (double column).. Modern tan half leather, in a period style, with marbled boards & black leather spine label.. Binding - Fine. Text block - VG (usual bit of browning & foxing to. paper, nothing really obtrusive).. This the first US illustrated volume edition, and the first complete edition, i.e., containing 'The Public Life of Mr Tulrumble' and 'The Pantomime of Life'. . llustrated with 20 plates after George Cruikshank.

      [Bookseller: Tavistock Books, ABAA]
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        [NOVA SCOTIA ILLUSTRATED IN A SERIES OF VIEWS TAKEN ON THE SPOT AND ON STONE BY WILLIAM EAGAR]

      [Halifax: C.H. Belcher, 1839-1840].. Six (of twelve) lithographic views, each approximately 11 1/2 x 17 inches. Minor soiling and wear. Each view archivally matted to 15 1/2 x 17 1/2 inches, housed together in a red cloth clamshell case, gilt leather label. A very rare series of views by an artist who occupies an important place in the history of art in Nova Scotia. Born in Ireland, by 1824 Eagar was living just outside St.John's, where he owned a twenty acre estate. In 1828, he sold the estate and moved into St. John's itself where he advertised his services as a silhouette maker and teacher of landscape painting. He finally moved to Nova Scotia in 1834, arriving in Halifax in July of that year where he opened a Drawing Academy. He became enthusiastically involved in the artistic and intellectual life of the city, painting many notable views of the surrounding scenery. The present work followed on from the success of his other published work: three steel- engraved views printed in Edinburgh, titled 'Illustrations of Scenery of Nova Scotia' (1837). William Eagar travelled to Boston to arrange for the printing of his new series of lithographic views 'Nova Scotia Illustrated'. They were published periodically in four parts: part I in July 1839, part II in August 1839, and the two final parts (which were published posthumously) in May and August 1840. Each part contained three prints, with a lithographed title in part I (not included in the present set). These highly-skilled and evocative views are now very scarce: the Abbey set included only nine of the twelve views, and Spendlove noted that the prints were 'quite rare' in 1958. They were enthusiastically received. J.S. Thompson, a local newspaperman, wrote: "Mr. Eagar's first number of 'Illustrations of Nova Scotia..." has appeared. Its reception has given much pleasure both for the beauty of the drawings, and the degree of success which has attended Mr. Eagar's persevering efforts to get his work well-lithographed... We hail Mr. Eagar's work, for its own sake, and the artist's; - and also, because it tends to demonstrate how much beauty and interest lie within easy walk of Halifax, - it will help also to increase taste in this delightful department of intellectual effort, and to make the province better known, and more respected." The present set contains the following views: "Halifax, from the Red Mill, Dartmouth"; "Entrance to Halifax Harbour, from Reeve's Hill, Dartmouth"; "View on Bedford Basin"; "Windsor, N.S. from Fort Hill"; "View from Retreat Farm, Windsor, N.S."; and "View from the Horton Mountains." A rare and lovely series of Canadian views. ABBEY 620 (with 9 of 12 plates). J. Russell Harper, EARLY PAINTERS AND ENGRAVERS IN CANADA, p.100. Spendlove, THE FACE OF EARLY CANADA, p.33.

      [Bookseller: William Reese Company - Americana]
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        New South Wales and Port Phillip General Post Directory, for 1839

      Sydney,: published by James Maclehose, Hunter Street, printed by James Spilsbury, Lower George Street, 1839.. Small octavo, some browning, early paper repair where owner's name cut from initial blank; a very good copy in mid-twentieth-century black roan. A very rare survivor: 'the first Port Phillip Directory. The Port Phillip names are included in the alphabetical directory with those in New South Wales proper' (Ferguson).This directory is a fascinating snapshot of life in New South Wales and Port Phillip in 1839. It was printed by permission of then Postmaster-General James Raymond, but was evidently in no small part the work of James Maclehose, who published the work, although it was printed by James Spilsbury (the same combination that produced The Picture of Sydney). Maclehose was a Scottish immigrant who was in Sydney by June 1833 (at the latest), because at that time a partnership between him and James Hardie was dissolved. He married Mary Ann Strong in February 1834 and over the following years was active in business, evidently as a sort of importer working from his Hunter Street address - sometimes called the "Australian Bazaar" - who would turn his hand to anything: he sold "China Seeds" ('well worthy the attention of the curious, and Botanists...'), water-cooling "Cariffs", snuff boxes, eau de cologne, parasols, 'and every article in the fancy line.' The whole of his stock was sold at a no-reserve auction on 8 March 1842, by Isaac Simmons, and within a year he was insolvent (see the Herald for 14 March 1843). He seems to have left the colony for Hong Kong soon after.Ian Jack published a facsimile of this edition in 2000, in which he asserted that only five copies were known to survive.Ferguson, 2816.

      [Bookseller: Hordern House Rare Books]
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        THE COMPLETE WORKS OF ROBERT BURNS:

      London: George Virtue, 1839. Foxing to the engraved title-pages, all else fine and bright, the covers uncommonly excellent. Two volumes, quarto. 18p, l, 131p; [ii],132-436p. Illustrated with steel engravings by W.H. Bartlett, T. Allom, and other artists, including frontispiece portraits and engraved tittle-pages. In original publisher's bindings of pebbled black morocco with yellow endpapers, a.e.g., the spines and covers elaborately gilt decorated, including scenes, portraits of Burns, and large corner pieces Each volume with presentation inscription dated 1844 by Archibald Hastie, Esq., to whom the book is dedicated.& (See Gibson p. 33 for the 1838 edition).

      [Bookseller: First Folio]
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        Das Geheimniss der Daguerrotypie, oder, Die Kunst: Lichtbilder durch die Camera obscura zu erzeugen. Mit einer Anweisung zur Bereitung des photogenischen Papiers nach Talbot und Daguerre

      Leipzig, Paul Baumgärtner und Graz, Ludewig, 1839.. 68 S. Bedruckter Orig.-Umschlag. 13,6 x 10,7 cm. Gernsheim, A concise history of photography, Third revised edition (1986), p. 11 (mit Abbildung der Titelseite): "First photographic manual in the world". - Das Vorwort endet mit: "Geschrieben im Monat Juli 1839. F-n". Die als ziemlich sicher anzusehende, u. a. von Gernsheim und den wenigen besitzenden Bibliotheken vorgenommene Zuordnung zu Frankenstein begründet sich u. a. mit dieser Unterzeichnung. - Karl von Frankenstein (1810-1848) war Inhaber einer Contact-Vergoldungsfirma in Graz und seit 1839 Herausgeber des "Innerösterreichischen Industrie- und Gewerbeblattes zur Verbreitung gemeinnütziger Kenntnisse für alle Stände"; die Kunde der Erfindung der Photographie verbreitete sich schnell im fortschrittsbegeisterten Europa, war aber nach der ersten Ankündigung am 6. Januar 1839 noch mit vielen unbeantworteten Fragen verbunden. Die um die Ehre der Entdeckung wetteifernden Herren Arago, Talbot und Daguerre verkündeten in mehreren Zeitschriftenartikeln nur Bruchstücke ihres Wissens, bis am 19. August 1839 (dem offiziellen "Geburtstermin" der Photographie) Arago und Daguerre drei große Beiträge in einer wissenschaftlichen Zeitschrift publizierten. Daguerre`s "Historique et description des procédés de Daguerréotype et du Diorama", oft fälschlich als das erste gedruckte Buch der Photographiegeschichte angesehen, wurde um den 6. - 7. September 1839 veröffentlicht (heute nur noch in 2 Exemplaren bekannt), eine "Nouvelle Edition" folgte am 28. September 1839. - Die hier vorliegende Schrift Frankensteins ist nicht ganz genau zu datieren, erschien aber doch einiges früher: Brugger, Moderne in Kärnten, p. 266 Anm. weist auf eine Anzeige im Intelligenzblatt zur Klagenfurter Zeitung, den 24. August 1839, S. 144 hin; der Ausstellungskatalog "In unnachahmlicher Treue, Photographie im 19. Jahrhundert" (Ausstellung der Josef-Haubrich-Kunsthalle Köln in Zusammenarbeit mit dem Foto-Historama Agfa-Gevaert Leverkusen) : "Am Ende des Monats Juli 1839 erschien auch das erste deutschsprachige ABC-Büchlein der Photographie"; Photographische Korrespondenz, Jg. 1933, p. 11: "...bestimmt gedruckt vor dem 19. August 1839, dem Tage der Bekanntgabe des Daguerreschen Verfahrens in Paris". - Voigt datiert die Herausgabe gar offensichtlich übertrieben auf den Juni 1839 (“Der” gefrorene Augenblick: Daguerreotypie in Sachsen 1839-1860, p. 313). - Rücken mit altem Papieretikett. Untere Ecke anfangs etwas eselsohrig. Wenige Bll. etwas braunfleckig. Insgesamt sehr gutes, unaufgeschnittenes Exemplar des ersten Buches der Photographiegeschichte!

      [Bookseller: Antiquariat Turszynski]
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        Svenska foglarna, uppställde i systematisk ordning, med namn och korta kännemärken, till vägledning för Nybegynnare i Ornithologiens studium, och ett Repertorium för Jägare och Jagtälskare, af I. Ad. af Ström;

      jemte 9 planscher, innefattande 83 näbbformer för slägtenas igenkännande; ritade af W. v. Wright. Stockholm, Nordströmka Boktryckeriet, 1839. 12:o. 100,(1) s. + 9 planscher. Hårt nött samtida halvskinband, skadad vid ryggens huvud med bit borta. Största delen av det lackerade ytskicktet borta. Namnteckning Otto Salmonson på titelbladet. Ex libris Nils dahlbeck. 16 x 10,5 cm

      [Bookseller: Antiquaria]
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        The Comic Almanack, For 1839 [1840]: an ephemeris in jest and earnest, containing "all things fitting for such a work

      London: for Charles Tilt,, 1839 & 1840. By Rigdum Funnidos, Gent. Adorned with a dozen of "righte merrie" cuts, pertaining to the months, and an hieroglyphic, by George Cruikshank. 2 volumes, small octavo. Original pictorial wrappers, the volume for 1839 printed in dark blue, that for 1840 in sepia. The two volumes protected in a dark olive crushed morocco pull-off case, spine richly gilt, and silk-covered paper chemise (chemise chipped). Bookplates of the Thackeray collector and bibliographer Henry S. Van Duzer. Front cover of 1839 cleanly detached but present, wrappers slightly dust-soiled, the contents fine. First editions. These are the only two annual volumes of Cruikshank's Comic Almanack for which William Makepeace Thackeray supplied stories: "Stubbs's Calendar; or, the Fatal Boots" in 1839, and "Barber Cox, and the Cutting of his Comb" in 1840. In each case, this is the first publication of the story. Founded in 1835, Cruikshank's comic annual went well in its early years, but from December 1844 had competition from a blatant imitator, Punch's Almanack, and ceased publication in 1853.

      [Bookseller: Peter Harrington]
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        English Bijou Almanac for 1840

      London: Schloss, Albert, (1839). 64pp. "Poetically illustrated" by S. Lover, Esq., with portraits of the Duchess of Sutherland, Anna Maria Hall, the novelist, W.C. MacReady, an actor, Martin Archer Shee, a painter, Thomas Moore, the poet, and Fanny Persiani. All are eulogized in verse by Samuel Lover (1797-1868), the song-writer, novelist and painter, and a friend of Charles Dickens. Spielmann notes that these tiny almanacs were "a fashionable and by no means cheap present for the Ladies of the Court and similar high-placed personalities." Bound in gray-green morocco with fine floral gilt-tooling on both covers, surrounding oval center panels of gilt-titled red morocco, and with titling in gilt on spine. A.e.g. The tiny slipcase has identical decoration. Housed in the original hinged case of burgundy morocco, measuring about 1 1/2 by 1 3/8 inches, with a metal clasp. The fitted interior is lined in white velvet, and the lid in white satin. A tiny but powerful magnifying glass with a tortoise-shell handle also fits into the case. A rare and intact survival of a charming Victorian gift presentation. (Spielmann 448; Bondy pp. 42, 165; Bromer/Edison, pp. 94-97; Welsh 2659). (3/4 by 9/16; 20x15mm).

      [Bookseller: Bromer Booksellers]
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        Le Daguerreotype

      Paris: Bachelier, 1839. First Edition. Hard Cover. Very Good. [4], 903, [1-errata] pages. 3/4 cloth over marbled boards. Exlibrary, properly deaccessioned (occasional stamp, library bookplate on front pastedown endpaper). Binding is sound, noting chipping to the cloth at the outer hinges and corners. Uniform browning internally, paper still supple. Housed in a custom case with leather spine, raised bands and gilt lettering. Contains 'Le Daguerreotype', the first real public announcement of Daguerre's historic photographic process. Horblit 21b (One Hundred Books Famous in Science) notes it is the 'First disclosure of Daguerre's process'. 'Arago ... made a brief announcement on Daguerre's process in the Chamber on 7 January 1839, and in the following August printed [ as offered here ] the full text of his report thereon made to a joint session of the Chamber of Deputies and the Academy of Sciences.' (PMM 318). We offer the entire volume 9, July to December 1839, which also includes additional articles. Le Daguerreotype is found on pages 250-267.

      [Bookseller: Kuenzig Books, ABAA/ILAB]
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        Harkaway, Winner of the Gold Cup at Goodwood, 1838 & 9

      London: John Moore, corner of West St. Upper St. Martin's Lane, July 1839. Colour-printed aquatint by Charles Hunt, finished by hand and highlighted with gum arabic. Printed on fine wove paper. Proof impression. A nice impression with lovely colour. In good condition with the exception of some expertly repaired marginal tears. Image size: 12 3/16 x 16 ¾ inches. 16 ¾ x 21 inches. A magnificent proof impression of Charles Hunt's famous aquatint of the celebrated racehorse Harkaway. Herring is an outstanding and imaginative artist who at an early age showed an aptitude for handling both riding whip and pencil. At a young age, fate took Herring to the Doncaster races where he saw the Duke of Hamilton's horse, William, win the St. Leger. The sight inspired him to attempt the art of animal- painting, in which he subsequently excelled. In addition to being a successful horse painter, Herring made his livelihood as a coachman, and for some time drove the Highflyer coach between London and York. When eventually he retired as a coachman he immediately obtained numerous commissions and was able to devote himself entirely to his art. Herring had no education in art until he definitely set up as an artist, when he worked for a short time in the studio of Abraham Cooper, R.A. He painted an immense number of racing, coaching, and other sporting subjects, many of which were published by the sporting printsellers and the sporting magazines. He was a frequent exhibitor at the Royal Academy and the Society of British Artists; he was elected a member of the latter society in 1841. While in later life he painted a number of subject-pictures, it was as a portrait-painter of racehorses that Herring earned his fame, and no great breeder or owner of racehorses is without some treasured production of Herring's brush. Lane, British Racing Prints p.121; Mellon, British Sporting and Animal Prints 96; Siltzer, The Story of British Sporting Prints, p.149; Muir, A Descriptive Catalogue of the Engraved Works of J. F. Herring, Senior (1795 to 1865), p. 36

      [Bookseller: Donald Heald Rare Books]
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        La patriarcale basilica Liberiana

      Roma: a spese di Agostino Valentini, 1839. Folio extra (47.5 cm; 18.75"). [4] ff., 118 pp.; 1 fold. plt., 102 plts. Italian-language work on the art and architecture of the Liberiana basilica in Rome, illustrated with more than 100 impressive full-page engravings (as well as one oversized, folding engraving) of the church's art and sculpture, along with its architectural detail, plans, and design. Detailed explanations of the plates, which were engraved by Domenico Feltrini, are provided. This handsomely printed and produced volume forms the second part of the author's "Quattro principali basiliche di Roma," which also includes works (not present here) on the Vaticana and Lataranense. Publisher's half vellum with marbled paper–covered sides, spine gilt extra with gilt-stamped leather labels; boards a little abraded and showing wear. Front pastedown with institutional bookplate; front fly-leaf with bookseller's pressure-stamp in upper corner. Occasional light foxing. A handsomely produced, still very impressive volume.

      [Bookseller: SessaBks, A Division of the Philadelphia]
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        Fac Simile of an Indian Painting. [Tab. 22]

      Paris, Coblenz and London: [1839-1842]. Aquatint engraving by Hürlimann after Bodmer, blind stamp. 18 x 24 3/4 inches. An important record of the work of the prominent Mandan Chief, Mató-Tópe (`Four Bears'). He here records an incident from amongst his own many war exploits: during hand-to- hand combat with a Cheyenne Chief, he grabbed for his opponent's knife and wounded his own hand in the process. In the actual encounter he managed to get hold of the knife and used it to kill his opponent. Mató-Tópe was the second chief of the Mandans, one of George Catlin's closest Indian friend (he had painted him in 1832) and a popular leader amongst his people, respected for his prowess in battle. He was also admired by Prince Maximilian, not only for his bravery and his knowledge of the customs of the Mandans and the neighboring Arikaras, but also for his strength of character and generosity. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        OLIVER TWIST; Or, The PARISH BOY'S PROGRESS. Part First, with Twelve Illustrations, from Designs by George Cruikshank

      Carey Lea & Blanchard Philadelphia:: Carey, Lea & Blanchard,. 1838 [1839].. 9-3/8" x 6". 1st edition thus (Gimbel A31; cf Smith AMERICAN 3, pp. 88 - 98). [vi] - xii, 13 - 212 pp. Text double column, and from the 1839 edition.. Recently rebound in quarter-bound brown leather spine with gilt stamped lettering and design, with marbled paper covered boards.. Light chipping and creasing to title page and preliminary pages,. with 1838 title leaf beginning to detach along gutter. Light age. toning and foxing to leaves. Period pos of 'Sarah P DuBois' to top. margin of p. 13.Illustrations in VG+ condition, with the exception. of p. 143, which has evidence of previous tape repair. Binding -. Fine; Text - VG.. Includes two title pages, from the 1838 edition as well as the 1839 edition, with this latter having the Lea & Blanchard imprint. Please note, printed text conforms to the 1839 edition. . 24 inserted plates.

      [Bookseller: Tavistock Books, ABAA ]
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        Posthumous Papers of the Pickwick Club

      Launceston,: V.D.L., Dowling, 1839.. Octavo, lithographed frontispiece, additional lithographed title-page with vignette, and 18 lithograph plates (variants all in Craig's "A" state), as usual without the two leaves of inserted terminal advertisements (issued in only a few copies); some light soiling, as usual, but a very good copy in the original colonial half red calf; contemporary inscription of William Inkersol(?) ruled through on the half-title, the name "Arthur Compton" dated 1888 on half-title. First edition of the famous and rare Tasmanian "pirated" Pickwick.Capitalising on the insatiable demand for the London printing of Charles Dickens' Posthumous Papers of the Pickwick Club, the Launceston printer Henry Dowling decided to pirate the edition and release it in parts as they became available throughout 1838 and 1839. The story of its publication is dealt with at length by Clifford Craig, in The Van Diemen's Land Edition of the Pickwick Papers (Hobart 1973), who describes the book as 'one of the most coveted books sought after by the Australian collector'. It is also a great rarity in collections of Dickens in Europe and America.The illustrations, which were offered for sale after the publication in parts was complete, have generally been thought to be the work of either Jack Briggs, who was a servant of the publisher, or Wainwright, the poisoner. Recent research, however, hypothesizes that they may have been carried out by the colonial artist Robert Hawker Dowling, the publisher's brother.Bremer, 355; Kerr, p. 804-5 and 217-9.

      [Bookseller: Hordern House Rare Books]
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        Reise in das Innere Nord-America in den Jahren 1832 bis 1834

      Coblenz: J.Hoelscher, 1839-1841. 2 volumes, large quarto. (12 3/16 x 10 1/8 inches). 12pp. subscribers' list. 1 engraved plan (facing p.70, vol.II), 1 lithographic plate (facing p.122, vol.II), 52 wood-engraved illustrations. Expertly bound to style in half tan calf over marbled paper- covered boards, spines divided into compartments by double gilt fillets and roll tool, lettered in the second, numbered in the fourth compartment, the others with repeat decoration in gilt. A fine copy of the text volumes recording the 1832-34 travels of the German Prince Maximilian of Wied-Neuweid and Swiss artist Karl Bodmer on the Upper Missouri River. Prince Maximilian was already an experienced naturalist and explorer in 1832, having made an important scientific expedition to Brazil in 1815-17. His preparations for his trip to North America including retaining the skilled artist, Karl Bodmer, to record illustrations of the journey. Arriving in the fall of 1832, the Prince ascended the Missouri River in the spring of 1833, going as far upstream as the American Fur Company post of Ft. Mackenzie in present-day Montana, and spending the winter at Ft. Clark, near the Mandan Indian villages. During this prolonged stay, he and Bodmer had ample opportunity to observe the Indian tribes of the Upper Missouri in their full glory, carefully recorded by Bodmer in watercolors. In the spring of 1834 they returned to Europe, and devoted the next five years to preparing the text and plates for this publication. Prince Maximilian and Bodmer were able to record in both words and pictures the Plains tribes in their heyday. They were witness to hunting parties, Indian dances, ceremonies and life among the Mandans and other tribes, as well as the incredible scenery on the upper Missouri before the era of mass settlement from the west. Abbey, Travel II, 615; Graff 4648; Howes M- 443a ("dd"); Wagner-Camp 76.

      [Bookseller: Donald Heald Rare Books]
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        The Life And Adventures Of Nicholas Nickleby. With Illustrations By Phiz

      London: Chapman And Hall, 1839., 1839. 8vo. pp. xvi, 624. with half-title. engraved frontis. portrait by Finden after Maclise & 39 etched plates by Hablot Knight Browne. A fine copy in full modern red morocco by Bayntun, gilt spine, portrait of Dickens in gilt on upper cover & signature in gilt on rear cover, gilt inside dentelles, all edges gilt (hint of foxing to a few plates). First Edition in Book Form. This copy with correct reading ‘sister’ on p. 123 and first 4 plates in second state. Podeschi A41. Smith I 5. Sadleir I 105. NCBEL III 793.. 1st Edition. Hardcover.

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Smith's Atlas

      Hartford & Utica: John Paine, 1839. 18 maps, some with several to the sheet; with handcolored maps of the United States and world, including: Map and Chart of the World; World on a Polar Projection; Central Europe; North America (Texas is separately colored, not a part of the U.States, Alaska is "Russian Possessions"); United States (Texas includes New Mexico areas & more); Mexico (California Indian tribes indicated, borders with Oregon Territory); Eastern States; Middle States; Southern States; Western States; South America; Europe; British Isles; Asia; Palestine; Africa; Liberia; Oceanica; approx. 9 1/2" x 11 3/4" size; illustrated paper coverd stiff paper stock binding, cloth spine material which has been sewn-on in crude repair of an early time; covers very worn; maps are detached from the binding and occasionally foxed, spotty and with old paper tape repairs on margins, hence darkened in those areas; overall, maps in good condition and an interesting early American school atlas.. Soft Cover. Good.

      [Bookseller: Certain Books, ABAA]
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        CATALOGUE DE LA BIBLIOTHEQUE DE SON EXC. M. LE COMTE D. BOUTOURLIN

      One of 200 copies printed. 6 x 9 inches high. Each section is page numbered separately: Manuscripts, 25 pp., Editions du XV Siecle 155 pp., Collection Aldine, 18 pp., Collection Bodonienne (Bodoni), 13 pp., Classiques Italiens, 74 pp., Theologie 26 pp., Sciences, Arts 42 pp., Belles Lettres 50 pp., Histoire 53 pp. Quarter polished calf with marbled boards, with gilt rules and title on spine. Laid in on front pastedown is a note in ink which reads "The Boutourlin library contains upwards of 24,000 volumes. - It cost Count Boutourlin more than 40,000 £ stl. The heirs would give it for 15,000 £. - payable by installments in 4-5 --or even 7 years--" Sounds like a pretty good deal, but books were eventually sold in Paris at auction 1839-41. Condition of the books is VERY GOOD; Rear joint is split open and needs repair, front joint worn, but not cracked, both hinges are very sound and binding is tight, very light wear to covers, some occasional light foxing in the text. Books on Books Rare RGR

      [Bookseller: Andre Strong Bookseller]
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        SKANDINAVISKA FOGLAR TECKNADE EFTER NATUREN, LITOGRAFIERADE OCH UTGIFNE AF M KÖRNER/ SKANDINAVISKA DÄGGDJUR TECKNADE EFTER NATUREN, LITOGRAFIERADE OCH UTGIFNE AF M KÖRNER.

      Lund 1839-1846 / Lund 1855, Texten Tryckt i Berlingsk(a) Boktryckeriet, (2)+22+(2)s med litograferat titelblad och 62 handkolorerade litograferade planscher (alla) + 6s med litograferat titelblad och 22 handkolorerade litograferade planscher (alla), första arbetet med dedikationsbladet till friherren Axel Gustaf Gyllenkrok. Två verk sammanbundna i ett samtida brunt halvmarokängband med klotöverdragna pärmar, rikt förgylld och brunpräglad rygg- och pärmdekor, sprängda snitt; långa ändrevor i främre ytterfalsen, lagad reva i övre ryggändan och bakre ytterfalsen, äldre namnteckningar och tillskrifter, exlibris (Edward och Märta) med fågelmotiv, inlagornas textsidor med en del ytterst lätta lagerfläckar, planscherna genomgående i stort rena och fläckfria, några med knappt skönjbar fuktbuckling i övermarginaler.. SKANDINAVISKA FOGLAR utgavs i 10 häften bekostat av A G Gyllenkrok, avbildar för första gången alla skandinaviska fåglar (med något undantag). SKANDINAVISKA DÄGGDJUR avbildar många svenska däggdjur för första gången men på grund av ogina omständigheter utelämnades här valdjuren. Handkoloreringen utfördes delvis av Körners fru Charlotta vars konstnärliga ådra var jämbördig mannens (Björn Dal: SVERIGES ZOOLOGISKA LITERATUR)

      [Bookseller: Antikvariatet i Norrköping]
 19.   Check availability:     Antikvariat     Link/Print  


        History of Long Island : Containing an Account of the Discovery and Settlement, with Other Important and Interesting Matters to the Present Time

      New-York : E. French 1839 - Physical desc. : 536 p. , [2] leaves of plates : ill ; 24 cm. Pages 142-481 devoted to histories of the counties and towns. Sabin 95468. Subject: Long Island (N. Y. ) - Discovery and exploration. Finely bound in modern aniline calf over marble boards. Raised bands with the title directly gilt-blocked. Spine compartments uniformly tooled in gilt. An exceptional copy - of presentation quality. 1 Kg. 536 pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: MW Books Ltd]
 20.   Check availability:     AbeBooks     Link/Print  


        The Silurian System, Founded on Geological Researches

      John Murray, London - 1839, 1st Edition. () Very good. xxxii,576; (5),580-734pp. Folio. Bound in an attractive modern half calf and marbled boards binding. Large folding map, mounted on three pieces of linen, housed in matching half calf fold over box. Numerous plates, many folding and coloured. Interally clean. A nicely bound copy of a foundational geological text. A landmark in the history of geology, presenting, for the first time, the succession of fossils below the Old Red Sandstone and thus opening up a diverse "new" epoch of fossil discoveries unlike those seen before. This monograph allowed for the dating of fossiliferous strata much earlier than the Old Red Sandstone and enhanced the scientific understanding of early animal life, even playing an important role in the debate of the genesis of life itself (Beverley 179) [Attributes: First Edition; Hard Cover]

      [Bookseller: Aquila Books(Cameron Treleaven) ABAC]
 21.   Check availability:     AbeBooks     Link/Print  


        Nuovo Dizionario Teorico-Pratico del Notariato nel Quale.

      1839 - [Calza, Giovanni]. Nuovo Dizionario Teorico-Pratico del Notariato nel Quale si Espongono per Ordine Alfabetico le Leggi Romane e Patrie le Disposizioni del Nuovo Codice Civile, Le Decisioni dei Supremi Magistrati e le Istruzioni Ministeriali che Risguardano la Scienza del Notajo. Turin: Dai Tipografi Cassone, Marzorati e Vercellotti, 1839. Two volumes. Main text in parallel columns. Quarto (10" x 7"). Contemporary quarter morocco over marbled boards, gilt titles and volume numbers to spines, speckled edges. Some rubbing to boards and extremities with wear to corners. Interior has light to moderate toning and light foxing in places. Early owner stamp to title pages, interior otherwise clean. * Only edition. With indexes. Encyclopedic in scope, this is a reference for notaries in the Kingdom of Sardinia (Piedmont-Sardinia). The entries are quite detailed; several entries have sub-divisions and many contain cross-references. A Sardinian notary was an important legal officer with a role analogous to a present-day English solicitor. The Kingdom of Sardinia led the Risorgimento and its legal system was adopted by the states that comprise present-day Italy. One copy found on OCLC (at UC-Berkeley Law Library). KVK locates 2 copies worldwide, both in Italy. Not in the British Museum Catalogue. [Attributes: Hard Cover]

      [Bookseller: The Lawbook Exchange, Ltd., ABAA ILAB]
 22.   Check availability:     AbeBooks     Link/Print  


        Every Man His Own Butler

      Whittaker and Co. London: Whittaker and Co., 1839. First edition.. Hardcover. Very good. 8vo. xv,(1),200pp. Original purple ribbed cloth blocked with a gilt design and title on the upper board. Yellow endpapers. Redding was a journalist and wrote from Paris of the defeat of Napoleon. Thereafter he traveled and obtained first hand information on French and Italian vineyards and their wines. Light wear and soiling, the purple cloth now mostly brown and evenly sunned in places, else a very good copy. Rare in any edition.

      [Bookseller: Thorn Books ]
 23.   Check availability:     ABAA     Link/Print  


        Amorina eller historien om de fyra.

      I-II. Jönköping, J. P. Lundström, 1839. 8:o. (4),XL,(2),224 + (4),225-364 s. Samtida hfrbd med guldornerad rygg och brandröd titeletikett i mönsterpressad papp. Gula snitt. Lite småstänk och ytliga repor i skinnet på ryggen. Spår av borttaget exlibris på främre pärmens insida. Aningen svag i häftningen mellan s. 358 och 359. Bitvis lagerfläckig och med några spridda hål i pappret, t.ex. på s. 171 i första delen med en liten förlust av pagineringen som följd. Reva på s. 319. Bra ex.. Almquistiana 229. "Amorina" påbörjades 1821 och var nästan färdigtryckt året därpå. Av hävd har antagits att några ark då föll i händerna på Almquists farbror, biskopen i Härnösand Eric Abraham Almquist, och att denne fick sin brorson att inställa utgivningen. Bo Bennich-Björkman presenterade 1986 en alternativ förklaring som tar fasta på en brand 1822 hos Almquists förläggare E. A. Ortman. Delar av Ortmans lager förstördes och den ekonomiskt hårt trängde förläggaren var sannolikt tvungen att välja säkrare investeringar än "Amorina". De redan tryckta arken tycks ha sålt som makulatur. "Amorina" gavs ut i sin helhet först 1839, delvis omarbetad. Detta är alltså den andra upplagan, men den första kompletta

      [Bookseller: Mats Rehnström]
 24.   Check availability:     Antikvariat     Link/Print  


        Secundum editiones. Ios. Athiae, Ioannis Leusden, Io. Simonis Aliorumque inprimis Everardi vad der Hooght. Recensuit sectionum propheticarum recensum et explicationem clavemque masorethicam et rabbinicam. Addidit Augustus Hahn. Editio stereotypa quartum recognita et emendata.

      Leipzig., Caroli Tauchnitii. 1839. Stor 8vo. Samtidig skinnryggbind med marmorerte dekler. Marmorerte snitt. XX, (2), 1392, (24) s. Large 8vo. Contemporary leatherbacked marbled covers, marbled edges. XX, (2), 1392, (24) pp.. Med Arnoldus M.Hilles navnetrekk datert 1849. Hille var biskop i Hamar. Noe av teksten med kommentarer i nennsom hånd

      [Bookseller: Damms Antikvariat]
 25.   Check availability:     Antikvariat     Link/Print  


        Deerbrook: a Novel

      London: Edward Moxon, 1839. Hard Cover. Very Good. 3 volumes ([4], 336 p.; [4], 331, [1] p.; [4], 304 p.); 20 cm. Contemporary half polished calf with marbled paper over boards. Gilt-tooled spine titles; gilt- and blind-tooled spine decoration. All page edges speckled. Author's signature, dated Washington Feb. 3, 1835, tipped in to front free endpaper of vol. 1. Deerbrook was the author's first novel. The tipped-in signature dates from her journey through the United States, which resulted in the work for which she is best known today, Society in America, published in 1837. Front fixed endpaper of vol. 1 bears bookplate of Pennsylvania author George L. Heiges. Front free endpaper of each volume bears small inscription indicating that A. Light acquired the set in 1988. In Very Good Condition: covers are rubbed; small stain at head of vol. 1; slight loss of leather at head of vol. 1 spine; pages are clean and tight.

      [Bookseller: Classic Books and Ephemera]
 26.   Check availability:     IOBABooks     Link/Print  


        Autograph letter signed to Robert Southey :

      "At the desire of my own, & Mrs. Murray's, excellent friend - Mrs. Trollope, I write these few lines of introduction to you. Her valuable writings will obtain for her a far more flattering reception than any unnecessary recommendation from me.Allow me to congratulate you upon your recent alliance with a Lady of whose talents and amiability I have heard invaluable praise". Albermarle Street, July 24th 1839. 1-side 8vo; laid down on a leaf from an album compiled by Maria Burrard, 2nd cousin of Caroline Anne Southey. Murray refers, of course, to Southey's marriage to Caroline Bowles. With the related autograph letter from FRANCES TROLLOPE (1780-1863; novelist), in the third person, to Robert Southey: "Mrs. Trollope presents her compliments to Mr. & Mrs. Southey and with her daughter and two sons will have the honour of calling on them any morning after tomorrow that they will have the kindness to name". Ambleside, Wednesday Aug. 7th 1839. Laid down on part of another leaf from the same album, on the reverse of which is the end of a letter from Lady Charlotte Bury (1775-1861; novelist): "Lady Charlotte begs to apologise for this liberty"

      [Bookseller: Bristow & Garland]
 27.   Check availability:     UKBookworld     Link/Print  


        Every Man His Own Butler

      London: Whittaker and Co., 1839. First edition.. Hardcover. Very good. 8vo. xv,(1),200pp. Original purple ribbed cloth blocked with a gilt design and title on the upper board. Yellow endpapers. Redding was a journalist and wrote from Paris of the defeat of Napoleon. Thereafter he traveled and obtained first hand information on French and Italian vineyards and their wines. Light wear and soiling, the purple cloth now mostly brown and evenly sunned in places, else a very good copy. Rare in any edition.

      [Bookseller: Thorn Books]
 28.   Check availability:     IOBABooks     Link/Print  


        ITINERARIO DI ROMA E DELLE SUE VICINANZE Compilato secondo il metodo di Mariano Vasi... Roma, Tipografia Marini e Compagno, 1839-40.

      2 voll. Bross. origin., cm 19x11, Vol. I: pp XLIV, 324 di t., 24 tavv finem. inc. in rame f.t. di cui due ripieg. e costituite da piante della Città; Vol. II: pp 339, 16 tavv inc. f.t. Ediz. rarissima. Dedica manoscr. datata 1843 alla prima pag. bianca. Scarse fiorit., inc. di notevole freschezza e nitidezza, dorsi con tracce d?uso, peraltro ottimo esempl.

      [Bookseller: Editoriale Umbra]
 29.   Check availability:     maremagnum.com     Link/Print  


        Menniskoslägtets saga, eller allmänna werldshistorien förenad med geografi.

      Första delen det stora Asien, eller det inre och egentliga österlandet, i äldre och nyare tider. Sthlm, Hörbergska boktryckeriet, 1839-41. 8:o. (4),96 + 97-192 + 193-288 + 289-388 + 389-484 + (2),485-610,(2) s. Sex oskurna häften i tryckta gula omslag. De tre sista ouppskurna. Ryggen till första häftet med pappersförluster, småskador även på tredje häftets rygg. Bitvis lagerfläckig. Med W. Flincks namnteckning på främre omslagen. Dessa är i några fall skrivna över den samtida blyertstillskriften: "assesor Quiding". Fint ex. i klotfodral med P. A. Sjögrens exlibris.. Almquistiana 355 som inte anger att häftena utkom mellan 1839-41. Allt som utkom. Med bladet "Till allmänheten", först i sista häftet före s. 485, där Almquist ursäktar sig för arbetets långsamma framåtskridande: "Allmänheten känner, att, hvad särskildt förf. här vidkommer, så har han ifrån detta försöks början och under dess fortgång sällan åtnjutit den ro, som gynnar en skriftställare" - Almquist syftar väl här på debatten som följde på utgivandet av "Det går an" 1839

      [Bookseller: Mats Rehnström]
 30.   Check availability:     Antikvariat     Link/Print  


        Veduta della Gran Piazza del Popolo appena s'entra

      L?opera viene eseguita tra il 1836 e il 1839, anno della sua pubblicazione composta da 80 tavole, illustra il viaggio da Roma a Napoli lungo la Via Appia. L?autore vuole fornire al viaggiatore una guida colta e intelligente che lo accompagni lungo l?itinerario delle stazioni di posta. Il viaggio inizia da Porta del Popolo e percorrendo l?asse di Via del Corso, Piazza Venezia, Fori Imperiali e Colosseo, arriva a Porta San Giovanni e lasciando l?Appia in direzione di Albano.Già dalla metà del diciottesimo secolo, con la pubblicazione nel 1745 a Napoli della Via Appia riscoperta e descritta da Roma a Brindisi da F. M. Pratili, la Via Appia era divenuta oggetto di interesse e di ricerca per studiosi e artisti. Rossini dimostra di aver conosciuto e forse utilizzato alcuni disegni acquerellati, eseguiti da Carlo Labruzzi nel 1789, per conto di Sir Richard Colt Hoare, che avevano lo scopo di illustrare il viaggio che questi aveva deciso di intraprendere influenzato dalla lettura delle ?Satire? di Orazio (30 a. C.), e in particolare della Quinta, in cui l?autore narra il viaggio che ha compiuto da Roma a Brindisi in compagnia di Mecenate e di altri suoi amiciNelle Spiegazione delle Tavole oltre alle notizie storiche- artistiche e archeologiche, vengono inserite informazioni sulla popolazione e sulle attività agricole delle campagne e dei paesi che vengono a trovarsi lungo il viaggio. L?autore con quest?opera vuole costituire una guida di facile consultazione per il viaggiatore durante le varie tappe del percorso, ed è per questo che ricorre alla scelta del formato ad album. Con il Viaggio Pittoresco, l?animazione delle vedute non è più solo la rappresentazione del popolano romano, di derivazione pinelliana, ma è l?introduzione per la prima volta, anche di membri di quelle classi sociali a cui erano destinate le sue opere. La scelta di questa nuova ambientazione sociale sarà una delle caratteristiche delle opere degli ultimi anni.La tecnica ormai giunta alla piena maturità, rivela una scioltezza del segno e nell?uso dei chiaroscuri fortemente accentuati, Rossini riconferma la sua vocazione per la chiara e piacevole narrazione.Di quest?opera se ne parlerà nel periodico romano L?Album, in cui una tavola della raccolta, (n. 43. Il Tempio di Giove a Terracina) sarà inserita, in dimensioni ridotte, in un numero del 6 marzo 1841, mentre nel 1846 vi comparirà un articolo dello stesso autore dal titolo Intorno ad alcune antichità di Terracina. A VOYAGE PITTORESQUE FROM ROME TO NAPLESThe work has been realized between 1836 and 1839, made of 80 plates, depicts the journey from Rome to Naples along the Via Appia. The author wants to provide the traveller with a clever and interesting guide which can accompany him through his journey. The route starts in Porta del Popolo and, through the axis of Via del Corso, Piazza Venezia, Fori Imperiali and Colosseum, brings to Porta San Giovanni to leave the Via Appia towards Albano.Already in the second half of the XVIII century, with the publication of Via Appia riscoperta e descritta da Roma a Brindisi (Naples, 1745) by F. M. Pratili, the Via Appia had become an interesting subject for artists and scholars. Rossini showed to know very well, and maybe to have also studied, the watercolour paintings Carlo Labruzzi realized in 1789, for Sir Richard Colt Hoare, which illustrated the journey Sir Hoare took after reading Horace?s ?Satires?, from Rome to Brindisi. In the Explanation to the Plates, besides some historic ? artistic ? archaeological news, there are information about the population and its activities in the country side and the villages that can be found along the route. With this work, the author wanted to realize a user-friendly guide, and this is why he chose the album-size edition. With his Picturesque Journey, the animation of his views is not just the representation of the Romans any more, but it represents the first real introduction of that part of the society he wanted to reach. The choice of this new social setting will prove to be one of the main characteristic of his last works. The technique is now mature, the sign is defined and the use of chiaroscuro extremely stressed: Rossini is affirming again his inclination for a clear and easy narration. This collection will be mentioned also in the Roman journal L?Album, in which a plate of the collection (n. 43. Il Tempio di Giove a Terracina) will be published, although in smaller size, in March the 6th, 1841, while in 1846 it published an article of the same author with the title Intorno ad alcune antichità di Terracina. Roma Rome Luigi Rossini incisore. Vedute di roma 1817 - 1850, catalogo della mostra a cura di L. Gavazzi, M. E. Tottoni, Roma Palazzo Braschi, 7 aprile - 15 luglio 1982. Roma 395 260

      [Bookseller: Libreria Antiquarius]
 31.   Check availability:     maremagnum.com     Link/Print  


        Herculanum et Pompei. Recueil général des peintures bronzes, mosaiques, etc. découvertes jusq'à ce jour?

      Firmin-Didot 1839-40 Sette volumi di cm. 26, pp. 1.000 ca. complessive. Con ca. 700 tavole fuori testo anche ripiegate o a doppia pagina (alcune delle quali a colori). Solida ed elegante legatura coeva in mezza pelle verde, dorsi a nervi con fregi e titoli in oro. Un alone chiaro e marginale alle prime carte del primo volume, qualche arrossatura sparsa, peraltro ben conservato. Come è noto un ottavo volume con il Musée Erotique apparve come appendice (qui non presente).

      [Bookseller: Studio Bibliografico Benacense]
 32.   Check availability:     maremagnum.com     Link/Print  


        S.Giovanni in Laterano

      L?opera viene eseguita tra il 1836 e il 1839, anno della sua pubblicazione composta da 80 tavole, illustra il viaggio da Roma a Napoli lungo la Via Appia. L?autore vuole fornire al viaggiatore una guida colta e intelligente che lo accompagni lungo l?itinerario delle stazioni di posta. Il viaggio inizia da Porta del Popolo e percorrendo l?asse di Via del Corso, Piazza Venezia, Fori Imperiali e Colosseo, arriva a Porta San Giovanni e lasciando l?Appia in direzione di Albano.Già dalla metà del diciottesimo secolo, con la pubblicazione nel 1745 a Napoli della Via Appia riscoperta e descritta da Roma a Brindisi da F. M. Pratili, la Via Appia era divenuta oggetto di interesse e di ricerca per studiosi e artisti. Rossini dimostra di aver conosciuto e forse utilizzato alcuni disegni acquerellati, eseguiti da Carlo Labruzzi nel 1789, per conto di Sir Richard Colt Hoare, che avevano lo scopo di illustrare il viaggio che questi aveva deciso di intraprendere influenzato dalla lettura delle ?Satire? di Orazio (30 a. C.), e in particolare della Quinta, in cui l?autore narra il viaggio che ha compiuto da Roma a Brindisi in compagnia di Mecenate e di altri suoi amiciNelle Spiegazione delle Tavole oltre alle notizie storiche- artistiche e archeologiche, vengono inserite informazioni sulla popolazione e sulle attività agricole delle campagne e dei paesi che vengono a trovarsi lungo il viaggio. L?autore con quest?opera vuole costituire una guida di facile consultazione per il viaggiatore durante le varie tappe del percorso, ed è per questo che ricorre alla scelta del formato ad album. Con il Viaggio Pittoresco, l?animazione delle vedute non è più solo la rappresentazione del popolano romano, di derivazione pinelliana, ma è l?introduzione per la prima volta, anche di membri di quelle classi sociali a cui erano destinate le sue opere. La scelta di questa nuova ambientazione sociale sarà una delle caratteristiche delle opere degli ultimi anni.La tecnica ormai giunta alla piena maturità, rivela una scioltezza del segno e nell?uso dei chiaroscuri fortemente accentuati, Rossini riconferma la sua vocazione per la chiara e piacevole narrazione.Di quest?opera se ne parlerà nel periodico romano L?Album, in cui una tavola della raccolta, (n. 43. Il Tempio di Giove a Terracina) sarà inserita, in dimensioni ridotte, in un numero del 6 marzo 1841, mentre nel 1846 vi comparirà un articolo dello stesso autore dal titolo Intorno ad alcune antichità di Terracina. A VOYAGE PITTORESQUE FROM ROME TO NAPLESThe work has been realized between 1836 and 1839, made of 80 plates, depicts the journey from Rome to Naples along the Via Appia. The author wants to provide the traveller with a clever and interesting guide which can accompany him through his journey. The route starts in Porta del Popolo and, through the axis of Via del Corso, Piazza Venezia, Fori Imperiali and Colosseum, brings to Porta San Giovanni to leave the Via Appia towards Albano.Already in the second half of the XVIII century, with the publication of Via Appia riscoperta e descritta da Roma a Brindisi (Naples, 1745) by F. M. Pratili, the Via Appia had become an interesting subject for artists and scholars. Rossini showed to know very well, and maybe to have also studied, the watercolour paintings Carlo Labruzzi realized in 1789, for Sir Richard Colt Hoare, which illustrated the journey Sir Hoare took after reading Horace?s ?Satires?, from Rome to Brindisi. In the Explanation to the Plates, besides some historic ? artistic ? archaeological news, there are information about the population and its activities in the country side and the villages that can be found along the route. With this work, the author wanted to realize a user-friendly guide, and this is why he chose the album-size edition. With his Picturesque Journey, the animation of his views is not just the representation of the Romans any more, but it represents the first real introduction of that part of the society he wanted to reach. The choice of this new social setting will prove to be one of the main characteristic of his last works. The technique is now mature, the sign is defined and the use of chiaroscuro extremely stressed: Rossini is affirming again his inclination for a clear and easy narration. This collection will be mentioned also in the Roman journal L?Album, in which a plate of the collection (n. 43. Il Tempio di Giove a Terracina) will be published, although in smaller size, in March the 6th, 1841, while in 1846 it published an article of the same author with the title Intorno ad alcune antichità di Terracina. Roma Rome Luigi Rossini incisore. Vedute di roma 1817 - 1850, catalogo della mostra a cura di L. Gavazzi, M. E. Tottoni, Roma Palazzo Braschi, 7 aprile - 15 luglio 1982. Roma 360 250

      [Bookseller: Libreria Antiquarius]
 33.   Check availability:     maremagnum.com     Link/Print  


        Extrait de l'Histoire du Diocèse de Laon, suivi d'une description de la Ville de Marle, et des faits qui s'y sont passés depuis 1640 jusqu'à nos jours [ Manuscrit original ]

      Commencé par Adolphe Desse et continué par Alexandre Bourge pour Mr Louis Pelletier, Chronique dressée par les soins de Louis-Nicolas-Marie Pelletier, 1 vol. grand in-8 reliure de l'époque pleine basane marron, 1839 (date portée en dos) - 1845 (dernière date citée), 2 ff. (tables), 235 pp. manuscrites, 2 ff. joints, l'ensemble de trois mains différentes (cf. auteurs précités). Passionnant manuscrit original relatant l'histoire de la ville de Marle (d'abord à travers la chronique du diocèse de Laon, reprise de Lelong, puis les annotations se multiplient, et les sources, ainsi que les annotations des rédacteurs se font toujours plus nombreuses). Les témoignages relatifs à la fin de l'Ancien Régime, à la Révolution, à l'Empire et à la Restauration, souvent très pittoresques, sont du plus haut intérêt ; on évoquera notamment le passage des Cosaques et de l'Empereur de Russie à Marle, les vexations d'un officier prussien menaçant de la "Schlague", ou le passage de l'empereur Napoléon Ier à Marle, allant à Waterloo. Le manuscrit s'ouvre par une notice relative à la famille du dédicataire et co-rédacteur Louis Pelletier.. Français

      [Bookseller: Librairie Du Cardinal]
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        Giostra corsa in Torino addì XXI di febbraio MDCCCXXXIX nel passaggio di Sua Altezza Imperiale e Reale Alessandro Gran Duca Principe Imperiale Ereditario di Russia.

      Torino, Tipografia Chirio e Mina, 1839. 1839 In-folio elefante (529x340mm), pp. 66 di testo, cartonatura editoriale con titolo a stampa entro filettature plurime al piatto, con fregi ornamentali e arabescati impressi in azzurro cantonalmente. Le medesime bordure, ripetute al piatto posteriore, inquadrano una vignetta xilografica centrale con un cimiero e delle armi evocativi della giostra entro un serto vegetale. 7 litografie f.t., disegnate da Francesco Gonin, incise da Gandolf ed Ayres e impressa da Doyen, con vedute della sala del Teatro Regio presa dal palcoscenico, del palcoscenico del Regio trasformato, su disegni di Pelagio Palagi ed Ernesto Melano, in una seconda sala a forma di anfiteatro ornata di colonne e con vari ordini di panche, di parte della platea del Regio trasformata in arena con evoluzioni a cavalli dei partecipanti a torneo, e con raffigurazioni delle relative quadriglie inglesi, francesi e italiane, capeggiate rispettivamente dal Marchese d'Angrogna, del capitano Wagner, del capitano Alfonso Ferrero della Marmora; comandante del torneo era invece il Marchese di Pamparato. Frontespizio con vignetta e titolo impresso a più colori entro ricchissima bordura impressa in oro e in argento a motivi ornamentali e arabescati. Testo entro bella bordura litografica ornata e arabescata impressa in tinta azzurra. Alcune macchie e aloni alla cartonatura. Lievi fioriture interne. Buon esemplare nel complesso. Edizione originale di questa rara pubblicazione descrivente la giostra corsa a Torino il 21 febbraio 1839, in occasione del passaggio, nel capoluogo piemontese, del Principe imperiale ereditario di Russia, Alessandro. Il testo, anonimo, ma scritto da Luigi Cibrario, consiste in un discorso storico sulle giostre, i tornei, i passi d'arme e i caroselli tenutisi anticamente alla corte di Savoia; il discorso storico è seguito da ampie annotazioni e da una vasta appendice di documenti. Peyrot, Torino nei secoli, II, 423 (con puntualissima descrizione e riproduzioni delle sette litografie): "Di quest'opera, che rappresenta la giostra fatta eseguire dal re Carlo Alberto nel quadro dei festeggiamenti in onore del principe ereditario di Russia, Alessandro, in visita ufficiale nella capitale sarda, esistono esemplari in nero ed impressi a colori con ritocchi a mano" [il nostro esemplare appartiene alla prima tiratura menzionata dalla Peyrot, con le tavole esclusivamente in b.n.]. Vinet, 780.

      [Bookseller: Libreria Antiquaria Galleria Gilibert]
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        Remarkable Hills on the upper Missouri [Tab. 34]

      Paris, Coblenz and London: [1839-1842]. Aquatint engraving by Salathé after Bodmer, proof on india paper mounted, blindstamp, issue with no date after English imprint. Shaved into plate area. 16 1/8 x 21 inches. A rare India proof of this composite plate made up from nine separate views, but with plain borders between each image. Numbered in the plate from 1 to 9 they were all sketched during the journey up river aboard the 60-foot keelboat Flora. Prince Maximilian and his party left Fort Union on 6 July and eventually arrived at Fort McKenzie on 9 August 1833 traveling through a number of different regions including the Mauvaises Terres and the Stone Walls (e.g. Nos. 2, 6 and others in the present composite, an area that Maximilian wrote of as `the most interesting part of the whole course of the Missouri'), also included are images of formations now known as Dike and Citadel Rock (nos. 4 and 5).Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books ]
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