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        THE LIFE AND ADVENTURES OF NICHOLAS NICKLEBY.

      First Edition. Chapman and Hall. 1839.. pp624. Demy 8vo. Frontispiece, with 39 plates, spine cloth has been neatly and professionally laid down, else VG in original cloth, blind tooled, uncut. Smith :Dickens in the Original Cloth., internal flaws: all text errors before page xvi have been corrected, all after page13 have not. Here is an excellent opportunity to buy a Dickens first in the original cloth, uncut. CCXD2003 US$0

      [Bookseller: John Shotton]
 1.   Check availability:     UKBookworld     Link/Print  


        Piesn Ruskikh Volkslied der Russen hymne russe

      Schlesinger PN S.2285 Berlin: Schlesinger [PN S.2285]. [1839]. Folio. [1] (title), 2-3 engraved music, [4] (blank) pp. Title with central emblem of a male head in profile on a shield draped with a cloak and adorned with spears, a sheaf of arrows and armor. Musical setting for voice and piano with an additional version for two pianos. Text in German and French. With contemporary signature to upper outer corner of title and small circular musicseller's stamp to lower margin. Small binder's holes to spine from early sewing; some very minor foxing. Agent's address to title: "Petersburg, Richter. Paris, M. Schlesinger. Moscou, Lehnhold," "Choix de Romances No. 182" to foot of page 2. . ?First German Edition of the Russian Czarist National Anthem, "God Save the Czar!," here "Gott seides Herrschers Schutz!" This edition not located in OCLC, COPAC or Karlsruhe. "In 1833 Czar Nicholas I commanded Alexei Lvov, director of the Imperial court choir, to compose a Russian national anthem [to text by Vasili Zhukovskii (1783-1852)]." Fuld 5, pp. 480-481. The possible first edition, published in St. Petersburg, dates from ca. 1835. Fuld cites an orchestral score with chorus published in July 1839 with a higher plate number (2324) and a piano-vocal score (PN 2551) published in June 1840. The present edition would appear to pre-date the German editions listed by Fuld.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
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        Le Daguerreotype

      Bachelier Paris: Bachelier, 1839. 1st edition. [Daguerre, Louis-Jacques-Mand?1787-1851).] Arago, Fran?s (1786-1853). Le Daguerr?ype. In: Comptes rendus IX (July-Dec. 1839): 250-67. 4to. [4], 903, [1]pp. Paris: Bachelier, 1839. Original wrappers, uncut & unopened. Slight browning & foxing but fine.First Edition of the first official disclosure of the "daguerreotype" photographic process invented in the 1830s by Louis Daguerre (1787-1851), preceding the publication of Daguerre's Historique de description des proc?s du daguerreotype et du diorama (1839). The daguerreotype was the first practical and commercially viable photographic process, and the first to be announced publicly. Daguerre, an artist and chemist, had been working for over a decade on methods of fixing images photographically, initially in partnership with Joseph Nic?ore Ni?e (1765-1833), whose "heliographic" process, developed in the 1820s, is now recognized as the first successful example of photography. After Ni?e's death Daguerre continued investigating photographic methods on his own, eventually coming up with the famous "daguerreotype" process, in which an image is exposed directly onto a mirror-polished surface of silver coated with silver halide particles.After trying unsuccessfully to market his process to private shareholders Daguerre looked to the French government for funding, enlisting the support of the distinguished astronomer and physicist François Arago, permanent secretary of the Académie des Sciences and a member of the Chamber of Deputies. Arago briefly announced Daguerre's discovery to the Académie on January 7, 1839, then persuaded the government to purchase Daguerre's patent in exchange for lifetime annuities granted to Daguerre and the estate of Niépce. On July 3, 1839 Arago submitted a report on the daguerreotype to the Chamber of Deputies, and on August 19 Daguerre's process was "given to the world" in the present paper read by Arago at the Académie des Sciences. This volume of the Comptes rendus contains 24 other papers on photography, mostly commenting on Daguerre's invention. Among the contributors were Hippolyte Bayard (1801-87), promoter of a rival photographic method based on that of Fox Talbot; Alfred Donné (1801-78), who would later publish the Cours de micrographie (1844); and Noel Marie Lerebours (1807-73), seller of photographic equipment and distributor of Daguerre's photographic manual. Horblit, One Hundred Books Famous in Science, 21b. See Printing and the Mind of Man 318.

      [Bookseller: Jeremy Norman's Historyofscience.com ]
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        Skandinaviska foglar tecknade efter naturen, lithografierade och utgifne.

      Lund, M. Körner respektive N. P. Lundbergs boktryckeri, 1839-46. 4:o. Litograferat titelblad,(2),22,(2) s. & 62 handkolorerade litograferade plr. + KÖRNER, M. Skandinaviska däggdjur tecknade efter naturen, lithografierade, tryckte och utgifne. Lund, M. Körner respektive Berlingska boktryckeriet, 1855. 4:o. Litograferat titelblad,6 s. & 22 handkolorerade litograferade plr. Trevligt brunt hfrbd från 1800-talets andra hälft med gulddekorerad rygg samt blindpressad dekor och guldpressad titel på frampärmen: "Skandinaviska foglar och däggdjur", etikettsignerat C. Lindberg, Gävle. Det första arbetet: titelbladet och texten har fuktränder i övre marginalen och några brunfläckar i nedre marginalen. Planscherna har enstaka småfläckar. Plansch 20 med en centimeterlång reva i övre marginalen. Plansch 33 med två revor i överst, den längsta cirka tre cm. Plansch 54 med fuktränder i yttre marginalen. Det andra arbetet: genomgående lätt fuktskadad i övre marginalen. Titelbladet och texten med fuktränder. Några planscher med svaga fuktränder eller buckligheter. Båda arbetenas planscher har tjocka skyddspapper. Några av skyddspappren har små kantskador eller revor.. Friesen Öfversigt af Sveriges ornithologiska litteratur s. 11 respektive Nissen Die zoologische Buchillustration 2276. Första arbetet utkom i tio häften. Med det ovanliga dedikationsbladet som är ställt till Axel Gustaf Gyllenkrok. Björn Dal spekulerar i om titelbladets motiv kan vara hämtat från Gyllenkroks vinterbostad i Lund. Gyllenkrok hade bekostat arbetet, och redan på 1820-talet uppmuntrat den unge konstnären Körner "med en svensk ducat". För att kunna producera Nilssons "Illuminerade figurer" startade Körner tillsammans med denne ett litografiskt tryckeri 1831, där senare planscherna till båda dessa arbeten trycktes. Tanken var att nå ut även till de som inte hade råd med det dyrbara praktverket. Enligt Dal är detta första gången som den skandinaviska fågelfaunan presenteras på bild i sin helhet och även många däggdjur avbildas för första gången

      [Bookseller: Mats Rehnström]
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        Autograph letter signed to Pierre Hippolyte Boutigny, accompanied by watercolor sketch of an alga

      Falaise, 1839. Br?sson, Louis Alphonse de (1798-1872). A.L.s. in French to Pierre Hippolyte Boutigny (1798-1884), accompanied by watercolor drawing of Hygrocrocis arsenici. Falaise, 29 October 1839. 3pp. plus address. 196 x 161 mm.; drawing measures 77 x 121 mm. Mounted.Br?sson was one of the first botanists to discover microscopic algae, on which he published several works. He was the author of Flore de la Normandie (1836 and later editions), and contributed to the monumental Flore g?rale de France (1828-29). Br?sson also made important contributions to the development of photography: he pioneered the art of photography in Normandy, was one of the first in France to use collodion negatives, and in 1849 built a camera adapted for use with a microscope, which he employed in his scientific researches. "His work on microscopic seaweeds and diatoms stimulated further research, and was still being cited at the end of the century" (Frizot, A New History of Photography, p. 276).Br?sson's letter, written to a professor of chemistry in Evreux, reads as follows:Monsieur,Sans une absence de quelques jours que je viens de faire, je n'aurais pas été aussi longtemps à vous accuser réception de votre lettre et de l'algue intéressante qu'elle renfermait, production qui a pour moi le plus grand intérêt comme ses congénères et dont je vous remercie beaucoup.Je veux aussi vous dire combien l'annonce de jouir quelquefois de votre instructive correspondance a de prix pour moi et veuillez croire combien je mettrai toujours d'empressement à mériter vos communications.Je ne vous ai point effacé sur la lutte de nos confrères par que la délivrance de nos mémoires n'est point une condition imposée, mais facultative. Vous devriez bien, au contraire, nous faire cadeau de quelques unes de vos fréquentes et précieuses observations et pour vous montrer que nous sommes sans rancune, je vous promets insertion dans nos bulletins et vous assure d'avance de notre reconnaissance.Votre hygrocrocis est, comme tous les autres, formé de filamens qui, dans chaque espèce, présentent des formes toujours un peu différentes selon les milieux dans lesquels ils se sont développés. Mais, par conséquent, il sera très difficile de limiter les espèces que l'on peut pour ainsi dire, faire à volonté. Je viens d'en trouver un très beau dans l'eau de laitue. Quant aux vôtre, de substances mélangés, son nom ne peut être réduit à l'expression d'un simple origine, permettez-moi donc de lui donner le nom de son inventeur et le placer dans mon herbier sous le nom d'Hygrocrocis Boutignyana.Je ne connais pas M. Gilgencrantz, mais desqu'il est votre ami et Algologue, je serais charmé d'avoir des rapports avec lui et s'il désirait de mes Algues dont un grand nombre sont nouvelles, je les lui communiquerais avec plaisir.Agréez, Monsieur, l'assurance de la parfaite considération avec laquelle j'ai l'honneur d'être votre tout dévoué serviteur,De BrébissonIn the letter Brébisson thanks Boutigny for sending him a species of algae (hygrocrocis), and expresses pleasure in their mutual correspondence. He describes Boutigny's specimen as being, "like all others, formed of filaments which, in each species, present themselves a little differently depending on the environments in which they developed." He proposes to put the specimen into his own herbarium under the name of Hygrocrocis boutignyana, after its discoverer. The letter is accompanied by a watercolor sketch of an alga, Hygrocrocis arsenici.

      [Bookseller: Jeremy Norman's Historyofscience.com ]
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        ELEMENTS OF PHYSIOLOGY, 2 VOLUMES

      1839. MULLER, J., transl. with notes by William BALY. ELEMENTS OF PHYSIOLOGY, 2 VOLUMES. London: Taylor and Walton, 1839-1842. Second edition. xxii, 848 pp., with 2 b/w plates at front, errata and corrigenda slips/xxiii - xxxviii, pp. 849 - 1715 with 2 b/w plates at front + errata page + 22 pp. appendix. 8vo., ex-library, green cloth with paper spine labels, library labels to front covers, ink initial to front cover of volume I. Spines sunned, cloth worn, corners bumped, labels soiled and slightly chipped. Library bookplates and stamps within. Foxing to preliminaries and plates. Volume II: first signature loos, plates detached, laid in. Garrison Morton (601), citing the first German edition (1834-40), refers to this text as "The first modern, systematic textbook on physiology ... a milestone in the history of European medicine."

      [Bookseller: Boston Book Company ]
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        Tower-Rock view on the Mississippi [Vig. 9]

      Paris, Coblentz and London: [1839-1842]. Hand-coloured aquatint engraving by John Outhwaite after Bodmer, blindstamp, issue with no date after English imprint. 10 5/8 x 14 inches. 11 3/4 x 15 7/8 inches. Bodmer and Prince Maximilian set out for St.Louis from Mount Vernon on 18 March 1833 making their way rapidly down the River Ohio and joining the Mississippi on 20 March. On the afternoon of 21 March 1833 their steamer approached a feature known as the Grand Tower (or Tower-Rock), which Maximilian described as an isolated drumlike formation between sixty and eighty feet high. He added that `Mr.Bodmer sketched the Grand Tower and found this place highly interesting and picturesque'. The scene includes the traveller's Ohio paddle-steamer and three Mississippi keel-boats, a form of freight transportation that by the 1830s was fast being replaced by the steamers. 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. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the countries leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1

      [Bookseller: Donald Heald Rare Books ]
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        AF DET KONGELIGE THEATERS REPERTOIRE. Til Carl Alstrup 11. April 1927.

      Shubothes Boghandel. Div. Repertoirer. Indb. halvlæder med gulddek. ryg.. Foræring til skuespiller Carl Alstrup på hans 50-års fødselsdag. Lang dedikation i verseform til Carl Alstrup.Vedlagt et visitkort fra Fenja Alstrup, der videregiver bindet til skuespiller Osvald Helmuth. Med Frits Helmuths exlibris på inderside af bindet. Indeholder bl.a.: H.C. Andersen: Den Usynlige paa Strogø, 1839. Noget slid på ryg og kanter.(Porto kr. 40,- på brevforsendelser i Danmark)

      [Bookseller: Bøger & Kuriosa]
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        Woman of the Snake-Tribe. Woman of the Cree- Tribe. [Tab. 33]

      Paris, Coblenz and London: [1839-1842]. Aquatint engraving by Hürlimann after Bodmer, blind stamp. 18 x 24 13/16 inches. A fine double-portrait composed by Bodmer from individual portraits executed at Fort McKenzie and Fort Union. The figure on the left is of a Shoshone (or Shoshoni) woman who was the wife of Marcereau, a fur company employee, who was based at Fort McKenzie. Bodmer sketched her on about 6 September in June of 1833. There were a number of Shoshone women at the fort who were said to have been captured from their home territory west of the Rocky Mountains by raiding Blackfeet. The figure to the right is a Cree woman, married to Deschamps, a man employed by the fur company as a hunter. She was sketched by Bodmer in October 1833 at Fort Union as the party made its way from Fort Mckenzie back down to Fort Clarke and their winter quarters. The blue- black patterning to the chin is a quite distinctive Cree pattern.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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        Lives of Illustrious and Distinguished Irishmen from earliest times to the present period arranged in chronological order, and embodying a History of Ireland in the Lives of Irishmen.

      Dublin: Macgregor, Poulson, and Company 1839-1847.. 12 volumes complete, as issued, in two parts to a vol.. 496+454+472+472+476+478 pp. embellished by a series of highly finished portraits, selected from the most authentic sources, and engraved by eminent artists, all engraved plates present, hardback, in a sea-green cloth with blind stamped decoration to the front board and a decorative spine title gilt with a border of shamrocks and harp. Bearing the name and stamp of J. H. Purdon on ffep of most vols. These are all very tight bright copies, there is minor spotting to some of the engraved plates or tissue guards, and there is some minor difference to the tone of the cloth from being issued over the course of eight years. A handsome set. Individual copies turn up and we have two odds for sale but we rarely see a set as issued.

      [Bookseller: Saintfield Antiques & Fine Books]
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        The Coasts of Guatimala and Mexico From Panama to Cape Mendocino; With the Principal Harbours in California

      Smith Elder London:: Smith Elder,. 1839.. An exceedingly rare map, unbound (on thin paper, without folds) with original outline color. From Forbes' 'History of Upper and Lower California'. With insets of the Port of S. Gabriel or S. Pedro; Sketch of Port Bodega; Harbour of San Francisco; Sketch of Puerto de S. Diego; Sketch of Monterrey Harbour; and Sketch of S. Barbara Harbour. Image size: 19 3/4 x 14 1/2. Paper size: 22 5/8 x 16 7/8". Very good.

      [Bookseller: Antipodean Books, Maps & Prints ]
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        Real-Encyclopädie der classischen Alterthumswissenschaft in alphabetischer Ordnung.

      6 volumes in 7 (volume 6 is in two parts). J.B. Wetzler'schen Buchhandlung, Stuttgart 1839-1852. 8vo. Bound in contemporary full cloth bindings with titlelabels on the spines in orange leather. The first volume is light blue, the rest of the set in green cloth. The bindings are a bit rubbed and the titlelabels are a bit cracked and torn. Inside with minor foxing.. The complete first edition of the encyclopedia of the ancient Greek and Latin classics, that is of classical scholarship - the Ur-Pauly. The work was completed by Christian Waltz and Wilhelm Teuffel following the death of Pauly in 1845. To this day an updated version called Der neue Pauly is available

      [Bookseller: Vangsgaards Antikvariat]
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        Chief of the Blood Indians. War-Chief of the Piekann Indains. Koutani Indian [Tab. 46]

      Paris, Coblenz and London: 1839-1842. Hand-coloured aquatint engraving by Hurlimann, blindstamp. Excellent condition apart from a skillfully repaired tear from bottom edge to 1 1/2" within platemark. Large margins. 17 3/4 x 24 1/4 inches. A fine half-length triple portrait by Bodmer of two Blackfoot chiefs and a Kutenai (Kootenay or Kootenai) leader who lived amongst the Blackfoot. The figure to the left is Stomíck-Sosáck [`Bull's Hide' or `Bull's Back Fat'], an important Blood Blackfoot chief, who was probably about 50 at the time this portrait was done at Fort McKenzie in September 1833. The middle figure Nínoch-Kiäiu [`Chief of the Bears'], was a Piegan Blackfoot chief. He was an arrogant, aggressive person who was unpopular with both the Indians and the officials at the fort. Wrapped in a robe, he is very simply dressed for this portrait because he is in mourning for his dead nephew, killed near the fort by Blood Indians. The figure on the far right is Hómach-Ksáchkum, a Kutenai who had made his home amongst the Piegan Blackfoot for some time and had become a respected leader. A friendly person, he and Prince Maximilian talked at length about Kutenai customs and language. 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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        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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        GENTLE BOY: A THRICE TOLD TALE WITH AN ORIGINAL ILLUSTRATION

      Boston: Weeks, Jordon & Co., 1839. First separate edition. Softcover. Oblong 4to. Blue morocco backed, blue cloth covered case housing original printed wrappers. Original printed wrappers. With an illustration by Sophia Peabody, later to become Hawthorne's wife. With a dedication to Sophia Peabody. This story originally appeared in THE TOKEN, and later in TWICE TOLD TALES. Professionally cleaned and restored; very good in stained and warped morocco backed box. See BAL 7587, Clark A2.2a. Very good+/.(Insurance required to ship this item).

      [Bookseller: A. Parker's Books, Inc. ]
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        "BOZ". Lithographed Portrait of Charles Dickens. D. Lawrence, Delt. E. Brown, Jr. Lith

      Published by E. Brown Junr. Printed by N. Currier New York. New York:: Published by E. Brown Junr. Printed by N. Currier, New York.. 1839.. Image - 11-3/4" x 8-7/8". Framed: 25" x 19-1/2". Cf. Conningham 643.. Housed in an attractive gilt frame.. Lithograph paper itself shows a bit of soiling & wear with mostly. vertical stress line [repaired tear?] to right edge [does not affect. image itself]. Stiffer stock shows minor edgewear & some foxing.. Frame is Fine.. Image of a young Dickens [bust aspect, after the "Nickleby Portrait" by Maclise] lithographed on proof paper & laid down on stiffer stock, measuring 22-1/2" x 16-3/4". Quite scarce; the first time we've been able to offer this item.

      [Bookseller: Tavistock Books, ABAA ]
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        Selected works, including: The Confessions of Harry Lorrequer, Charles O'Malley The Irish Dragoon; Our Mess (consisting of Jack Hinton [and] Tom Burke), [and] Arthur O'Leary

      Dublin: William Curry 1839 45 Dublin: William Curry, 1839-45. All are first editions except Arthur O'Leary, which is the second edition. 7 vols., 8vo. Illustrated by Phiz. Three quarters green morocco, spines gilt with alternating devices of crossed guns and clover leaves, a.e.g. Bookplates of C. L. Despard. Spines faded to brown, else fine. CBEL III:492-3 . Lever's vivid and rollicking pictures of military and hunting life were quite popular in his day, and remain a delight to read

      [Bookseller: James Cummins Bookseller ]
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        Monuments et rues de Paris. Dessins et lithographiés.

      Paris: Rittner & Goupil and Susse Frères 1839. With tinted lithographed titlepage + 20 tinted lithographies 23-26,5x c.40 cm. Granfolio bound in contemporary halfleather with gold on spine. Name on inner frontboard and free endpaper. Titlepage browning, plates weakly browning.. Wyld was born in London. After a merchant career and travels to Algiers and Rome, he 1834 set up his studio in Paris, where he was commissioned to produce paintings of orientalist scenes and Venetian architecture. Becoming known to the public, he exhibited a 2m wide canvas "Venice at Sunrise" at the Paris Salon of 1839, winning the 1st Gold Medal in the 3rd class for it. After the 1848 Revolution he returned to the United Kingdom where he specialized in orientalist subjects, became a member of the New Society of Painters in Water Colours and had a major success with the businessmen of Manchester. In 1852 the Queen invited him to her summer residence at Balmoral Castle to draw its surroundings. He then continued to live in Paris and exhibit at various salons. He remained active until his last breath, dying in his Paris home in 1889

      [Bookseller: Peter Grosell's Antikvariat]
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        Skandinaviska foglar tecknade efter naturen, lithografierade, tryckte och utgifne.

      Lund, M. Körner respektive Berlingska boktryckeriet, 1839-46. Stor 4:o. Litograferat titelblad,(2),22,(2) s. & 62 handkolorerade litograferade plr. Samtida nött hfrbd med upphöjda bind och sparsamt guldornerad rygg samt infärgat svart titelfält. Delvis sprucken i främre ytterfals och även lite svag i innerfalsarna. Texten delvis hårt lagerfläckig och med fuktrand, inte minst i början. En del av planscherna med trista fläckar i marginalen, andra svagt solkiga. Med R. H. Westrings namnteckning, daterad 1869 och Sten Sjöstedts, daterad 1904, samt Anton Rehnborgs respektive Gunnar Brusewitz exlibris.. Friesen s. 11. Utkom i tio häften. Med det ovanliga dedikationsbladet som är ställt till Axel Gustaf Gyllenkrok. Björn Dal spekulerar i om titelbladets motiv kan vara hämtat från Gyllenkroks vinterbostad i Lund. För att kunna producera Nilssons "Illuminerade figurer" startade Körner tillsammans med denne ett litografiskt tryckeri 1831, där senare planscherna till detta arbete och "Skandinaviska däggdjur" 1855 trycktes. Tanken var att nå ut även till dem som inte hade råd med det dyrbara praktverket. Enligt Dal är detta första gången som den skandinaviska fågelfaunan presenteras på bild i sin helhet

      [Bookseller: Mats Rehnström]
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        Junction of the Yellow Stone River with the Missouri [Tab. 29]

      Paris, Coblenz and London: [1839-1842]. Engraving by Salathé after Bodmer, proof on india paper mounted, blindstamp. Some minor foxing, a 1" loss in the top left corner of the sheet. 16 1/8 x 21 3/8 inches. 17 15/16 x 24 3/4 inches. This title was printed from two different plates, one engraved by Salathé with six pronghorn antelope in the foreground and the French title starting 'Réunion...', the second by L. Weber with nine antelope in the foreground, a further seven in the mid-ground and the French title starting 'Confluent...' A rare India proof of one of the greatest landscape images to result from the Bodmer and Prince Maximilian's expedition to America's "Interior Parts." The travelers, aboard the steamer Assiniboine arrived at Fort Union, just above the junction of the Yellowstone and Missouri Rivers, on June 24, 1833, after a journey of seventy-five days up the Missouri River from St.Louis. They stayed until July 6th, when they departed upriver by keelboat for Fort McKenzie. Fort Union was the uppermost point of steamer traffic at the time of Bodmer's visit and like most fur company posts on the Missouri at this time, was situated on a low open prairie sufficiently large to accommodate the large encampments of numerous Indians during the height of the trading season.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. David Dreidoppel (Prince Maximilian's servant and hunting companion) accompanied the men on their travels in North America, which lasted 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 the 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 for 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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        Fragmenta Comicorum Graecorum. Collegit et disposuit Augustus Meineke.

      5 volumes bound in seven. G. Reimer, Berlin 1839-1857. Bound in seven modest, brown halfcloth bindings with gilt lettering on the spines (bindings from the middle of 20th century). Inside with only a few spots. Otherwise a nice set.. From the library of the Danish classical scholar Holger Friis Johansen

      [Bookseller: Vangsgaards Antikvariat]
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        Det går an. En tafla ur lifvet. Af författaren till Törnrosens bok.

      Stockholm; tryckt hos L. J. Hjerta, 1839. 12:o. 168 s. Sammanbunden med: [Snellman, Joh. Wilh.]: Det går an. En tafla ur lifvet. Fortsättning. Stockholm; tryckt hos L. J. Hjerta, 1840. (2, 2 blanka), 188 s. Sammanbunden med: [Silfverstolpe, Malla]: Månne det går an? Fortsättning af ''Det går an''. Uppsala; Leffler och Sebell, 1840. 12:o. (1, 1 blank), 64 s. Samtida brunt halvfranskt band med blindpressat mönster och förgyllda bårder på ryggen, marmorerade pärmpapper och stänkmålade snitt. Ryggändarna något nötta, pärmhörn och -kanter nötta. Svårtydd äldre namnteckning på främre innerpärm. Omslag ej medbundna. Titelbladet till första arbetet lätt nött i den inre marginalen, troligen beroende på att ett limmat häftesomslag avlägsnats. S. 29/30, 53/54, 79/80, 149/150 med ett litet riss i yttermarginalen. Litet hål i yttermarginalen på s. 77/78. Liten svag fläck i yttermarginalen på s. 24-54. Liten pappersförlust i nedre marginalen på s. 103/104, samt en liten nagg i yttre marginalen. En fläck i texten på s. 136-139. Några spridda, lätta fläckar. Andra arbetet med ett litet hål i yttre marginalen på s. 29-32, s. 53/54. Liten nagg i yttre marginalen på s. 55/56, 151/152, 173-176. Svag fuktfläck som berör texten på s. 185-188. Några spridda småfläckar. Tredje arbetet med en liten fläck i nedre marginalen på de första fyra bladen, annars rent och snyggt. Almquistiana 231. Originalupplaga av ''Det går an'', vilken även existerar i ett fåtal tryck - troligen korrekturavdrag - med tryckåret 1838. Bygdén I:334 resp. II:84. Almquists vän, den finländske publicisten och filosofen J. W. Snellman var den förste att publicera en följdskrift till ''Det går an''; denna fortsätter där Almquists skildring slutar och härmar såväl stil som typografi, men det går slutligen illa för konvenansbrytarna som vågat leva tillsammans utan äktenskapliga band. I Malla Silfverstolpes version väljer de båda att gifta sig då deras gemensamma barn föds och efter kyrkoherden förmaningar, och lever därefter lyckligt

      [Bookseller: Patrik Andersson Antikvariat]
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        Incidents of Border Life, Illustrative of the Times and Condition of the First Settlements in Parts of the Middle and Western States Comprising Narratives of Strange and Thrilling Adventure--Accounts of Battles--Skirmishes and Personal Encounters with the Indians-- Descriptions of their Manners, Customs, Modes of Warfare, Treatment of Prisoners &c. &c.--also, the History of Sev

      Chambersburg, PA: J. Pritts, 1839. First edition. Hardcover. Very good. Yes. 8vo. 491pp. followed by the Supplement bringing the total pagination to 511. The Supplement contains three pieces by Charles Fenno Hoffman: "The Dead Clearing:", "The Last Arrow" and "Indian Parents at their Child's Grave". Eight plates, including the three plates in the supplementary material and the 5 called for by Howes. Original sheep. Spine with simple gilt rules, red leather lettering piece, gilt. Typical foxing and some staining else a very good copy. As seems to be usual with this edition, though not mentioned by either Howes nor Sabin, bound without pp. 485-488. Howes P-622. Sabin 65719.

      [Bookseller: Thorn Books]
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        Det går an.

      En tafla ur lifvet af författaren till Törnrosens bok. Sthlm, L. J. Hjerta, 1839. 12:o. 168 s. Lätt nött samtida hfrbd med guldornerad rygg och sprängda snitt. Bra inlaga med endast några enstaka lagerfläckar. Sista bladet med en gammal lagning i inre marginalen. Med Harald Swanbergs namnteckning.. Almquistiana 231. Andra upplagan som har ett nyskrivet förord. Första upplagan trycktes 1838 men makulerades och är endast känd i ett par exemplar. Inget har synts till på marknaden sedan Göteborgs universitetsbibliotek köpte ett på Carlanders auktion 1892

      [Bookseller: Mats Rehnström]
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        The Book Of Royalty. Characteristics Of British Palaces The Drawings By W. Perring And J. Brown

      Ackermann and Company London: Ackermann and Company, 1839. First edition. leather_bound. Orig. publisher's crimson russia, sides elaborately gilt with armorial and floral ornaments, front cover center piece inlaid with blue morocco. Aeg. Near fine/No Dust Jacket. 42 pages in text. Folio, 37 x 27.5 cm. Twelve full-page chromolithographs, plus half-title chromolithograph (Coronation of Queen Elizabeth printed by C. Hullmandel) -- all printed recto only. Plates are clean save for the first three with light marginal toning only, plate 4 (The Summons) lacks one meter at lower corner, affecting neither text or image. ABBEY LIFE 297. TOOLEY 242.

      [Bookseller: Royoung bookseller, Inc. ]
 25.   Check availability:     ABAA     Link/Print  


        Hotel de Sens, Paris

      [London]: 1839. Lithograph by Shotter Boys. Printed in colours by Charles Hullmandel, deluxe edition, trimmed to the subject as issued, mounted on archival mount. 14 7/8 x 10 5/8 inches. A very fine image from Boys' 'Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c': ''a work of exceeding beauty' (Abbey) and one of the most important in the history of English colour-printing. This print represents part of what was the first serious challenge to the supremacy in England of the hand-coloured aquatint. The plates in Boys' Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c 'are produced entirely by means of lithography: they are printed with oil-colours, and come from the press precisely as they now appear.' As detailed in the Descriptive Notice, it was strictly stipulated by the publisher that no colour be added, and goes on to state that previous attempts at chromolithography had suffered from an unnatural flatness 'whereas in these views, the various effects of light and shade, of local colour and general tone, result from graduated tone. The atmospheric appearance of the skies, giving day-light appearance to the out-door scenes, is the best evidence of the purity and relevance of the tints of colour; which...combine solidity with transparency'. Boys fully explored the range of possibilities that the new technique offered: one subject is presented as if it were 'a crayon sketch heightened with colour', others 'a sepia drawing, with touches of colour...a slight sketch in water-colours...a finished water-colour...an oil painting', etc. Abbey waxes lyrical about the work: "A very beautiful [work]...Apart from the brilliance, sensitivity, and...mastery of the drawing on stone there is the great...technical and artistic achievement of Hullmandel in making possible the transmission of such drawings, and in developing the cool, transparent, graduated tints, subtle in colouring...the [work] appears to have made a great impression at the time, King Louis Philippe...is said to have presented the publishers with a diamond ring; and a review in a contemporary magazine, Art Union, said: Our recommendation of it to all who love and can appreciate art cannot be given in terms too strong; it is worthy of the highest possible praise. The Work is of exceeding beauty." (AbbeyTravel I, 33). Cf. Abbey Travel I, 33; cf. E. Beresford Chancellor, Picturesque Architecture in Paris..by Thomas Shotter Boys, London: Architectural Press, 1928; cf. Friedman 134; Tooley 105.

      [Bookseller: Donald Heald Rare Books ]
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        [Mouth of the Fox River (Indiana)] [Tab. 5]

      [Paris, Coblenz and London: 1839-1842]. Aquatint engraving by Himely after Bodmer, blindstamp. 16 3/8 x 21 1/8 inches. 17 3/4 x 24 1/2 inches. A highly evocative view of the confluence of the Fox and Wabash Rivers: the almost pre-Columbian scene is shown at sunset, the final red light of the sun adding an ochre wash to the entire scene. Cattle drink from their watering-place on the opposite bank, a flock of Carolina Parrakeets settles down noisily at the roost for the night, beneath a Bald Eagle perches watchfully: all this is allied with the untamed nature of the landscape and gives us a view of America as it was before the arrival of the white man. Prince Maximilian's health had suffered on the journey out to New Harmony, and during November and December 1832, whilst he recovered, Bodmer and Dreidoppel made many excursions along the rivers in search of zoological specimens. On 6 December 1832 Maximilian was sufficiently recovered to accompany them and as he recorded in his journal `Mr. Bodmer made a drawing from an interesting landscape, the estuary of the Fox River into the Wabash', he goes on, the water was `clear and dark green' and the surrounding forest of `colossal Plantanus trees were shining white in the densely tangled thicket'. 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. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books ]
 27.   Check availability:     ABAA     Link/Print  


        Nuovo Dizionario Teorico-Pratico del Notariato nel Quale si Espongono

      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.

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


        Mih-Tutta-Hangkusch. A Mandan Village. [Tab. 16]

      Paris, Coblenz and London: [1839-1842]. Hand-coloured aquatint engraving by Salathé after Bodmer, blind stamp. 12 3/8 x 17 11/16 inches. In response to the pressures of the raids of neighbours the Mandan Tribe had consolidated its people in two main villages: Mih-Tutta-Hang-Kusch and Ruhptare. Mih-Tutta-Hang-Kusch, the largest of these, is represented here by Bodmer as it appeared in the summer of 1833. Close to Fort Clark, it consisted of sixty-five earth lodges or houses, many with scaffolding around the houses that was used for drying corn and other food. The village's position, high on a promontory jutting out into the Missouri, made it easily defensible. However, all is tranquil in this scene as the women in the foreground collect driftwood using bullboats: circular vessels constructed from a willow frame over which was stretched and secured a raw bull buffalo hide, which was then allowed to dry and shrink into place. Light yet durable, these vessels were ideally suited to their purpose when in the hands of an adept helmswoman. 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 ]
 29.   Check availability:     ABAA     Link/Print  


        THE CHARTIST CIRCULAR.

      Published under the superintendence of the Universal Suffrage Central Committee for Scotland.Issue nos. 1 - 146, folio, (viii) + 604pp, a very good copy in modern calf backed boards antique style,Glasgow, September 28 1839 - July 9 1842. PHOTOGRAPH AVAILABLE ON REQUEST. Complete and all published. H.T. p.101. A.F.R. 396. Foxwell (Menger) p.258. Goldsmiths 37352. Kress C.4823. With 2 issues of The English Chartist Circular inserted loose. For nearly three years the Chartist Circular was the principal voice of Scottish Chartism and its pages certainly reflect in considerable detail the various forces at work in democratic radical circles in Glasgow and elsewhere. Edited by William Thomson of Parkhead, who had helped to establish some seventy co-operative societies in the west of Scotland in the early 1830s, the Chartist Circular averaged a circulation of 20,000 copies and proved to be the most widely read periodical of its kind. William Thomson, secretary of the Central Committee, had been an exponent of retail co-operation, formerly Secretary of the Scottish National Association for the Protection of Hand-loom Weavers and editor of the Weavers' Journal. Under his leadership the Circular, although providing "little news of the progress of the movement and eschewing controversial issues, confined itself to the propagation of the principles of the Charter, the exposure of abuses in the existing social and political structure of Great Britain, and the extolling of the heroes of past struggles for national freedom. Its main object was the provision of a self-financing substitute for the tracts and lecturers which the Central Committee could ill afford. Its editor's policy was to ignore the divisions which existed within the Chartist ranks, while providing readers with an awareness of social and political evils, and an encyclopedia on the history of democracy and popular freedom. The successful launching of the Chartist Circular was widely regarded as an outstanding achievement". [Alexander Wilson, The Chartist Movement in Scotland, 1970, pp.91-92].

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
 30.   Check availability:     UKBookworld     Link/Print  


        Swenska djuren.

      Med 32 figurer, skurna i träd. Ett sällskap till almanachan. Sthlm, L. J. Hjerta, 1839. 12:o. (4),VI,282 s. Med illustrationer i texten. Häftad och oskuren i nött småsolkigt gult omslag. Delvis loss i häftningen mellan s. 96 och 97. Några enstaka obetydliga lager- och småfläckar. Förlagsstpl, "B. A.", på titelbladet. Bra ex.. Müntzing Svensk jaktlitteratur I:69: "Innehåller spridda uppgifter om jakt och djurfångst." Denna andra upplaga är tryckt i samma format som den vanliga almanackan och är "betydligt utwidgad och med flere figurer". Första upplagan utkom 1817 och var en av de första svenska böckerna som illustrerades med trägravyrer. De skars med Thomas Bewicks zoologiska arbeten som förebild. Författaren påstod sig i förordet till första upplagan ha utfört bilderna i arbetet själv, vilket Björn Dal betvivlar då han saknade vänster underarm och bar protes. Förutom beskrivningar av själva djuren övergår t.ex. artikeln om renen i en berättelse om samerna och deras levnadsförhållanden

      [Bookseller: Mats Rehnström]
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        Opere. milano, presso giovanni resnati, 1839-42.

      Sei volumi di cm. 25, pp. 3.500 ca. complessive. Con ritratto inciso all'antiporta del primo volume e una tavola ripiegata riproducente una lettera del Monti. Bella legatura coeva in piena percallina interamente decorata a secco e con titoli in oro ai dorsi. Esemplare fresco, marginoso ed in eccellente stato di conservazione. Si tratta della non comune tiratura in-8 grande, più curata e su carta di maggiore qualità rispetto a quella in-12 apparsa con le stesse note editoriali. La legatura è stata eseguita dall'atelier milanese C. Mauri, come attestato dalle etichette coeve apposte alle sguardie.

      [Bookseller: Studio Bibliografico Benacense]
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        Herd of Bisons on the Upper Missouri

      Paris, Coblenz and London: 1839-1842. Hand-coloured aquatint engraving. 18 x 24 3/8 inches. Prince Maximilian and his party left Fort Union on 6 July aboard the 60-foot keelboat Flora and eventually arrived at Fort McKenzie on 9 August 1833. On leaving Fort Union the hunters were again able to find a ready supply of game from which to provide meat for the keelboat passengers. Buffalo appeared near the river on July 10 and several were taken. On 14 July below the mouth of the Milk River near the junction of Porcupine Creek the buffalo appeared again, the present image is based on these incidents and shows the buffalo grazing and coming to the waters edge to drink on the Missouri bottoms, all against a backdrop of the sky turned red and gold by the last rays of the western sunset. 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 it's 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 ]
 33.   Check availability:     ABAA     Link/Print  

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