viaLibri Requires Cookies CLICK HERE TO HIDE THIS NOTICE

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

        St. Etienne du Mont and The Pantheon, 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. 13 7/8 x 11 3/8 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 ]
 1.   Check availability:     ABAA     Link/Print  


        Boston Lighthouse [Vig. 1]

      [Paris, Coblenz and London: 1839-42]. Aquatint engraving by Martens after Bodmer, proof on india paper mounted, issue with no imprint and no titles in French or German, blindstamp. Tear to lower blank margin not affecting plate area, mount spotted. 8 1/2 x 11 inches. 12 1/2 x 17 5/8 inches. A rare India proof of this evocative scene recalling Bodmer's arrival at his gateway to the New World: the American brig Janus, with Bodmer and Prince Maximilian aboard, is here seen at the end of the relatively perilous Atlantic crossing, passing the lighthouse and making its way into Boston harbour. It is the morning of 4th July 1832 and the explorers are greeted by the cry of wheeling sea-birds, perhaps roused by the sound of the cannons being fired in the distance, in celebration of the United States fifty-sixth anniversary of Independence. 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. Well-armed with information and advice, the party finally left St.Louis 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 Assinboine, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assinboins 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 was to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

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


        Om Nationaloeconomiens og Beskatningens Grundsætninger. Oversat efter Originalens tredie Udgave af Sophus Fallesen. (On The Principles of Political Economy and Taxation. Translated from the third edition of the original by Sophus Fallesen).

      Kjøbenhavn, Bianco Luno, 1839. 8vo. Nice cont. hcalf w. gilt back. Minor wear to hinges and capitals. Some brownspotting due to the paper-quality. A nice and tight copy. (8), 470 pp.. Rare first Danish edition of the monumental main work by one of the absolutely most influential classical economists, David Ricardo, the systematizer of economics. The Danish translation is translated from the third edition, which appeared in 1821.David Ricardo (1772-1823) was born in London as the son of a Dutch Jew. Initially Ricardo was primarily interested in science and mathematics, but after having read Adam Smith's "Wealth of Nations" in 1799, he devoted himself entirely to political economy, and in 1817 he could publish his seminal work "The Principles of Political Economy and Taxation" (see PMM 277). Two years later, in 1819, Ricardo was elected to the Parliament, and became the House's acknowledged expert on economic affairs, -also as such he considerably influenced the opinion towards free trade.There are three classical economists, who must be said to have fundamentally changed political economy, and they are Adam Smith, Thomas Robert Malthus, and David Ricardo, -the three main founders of "modern economic analysis". On the basis of "The Wealth of Nations", classical political economy could be founded by Malthus and Ricardo, -in his "Principles". Ricardo was in doubt as to whether he should publish his later so exceedingly famous work, but was persuaded to do so by his friend James Mill, chief Apostle of the Utalitarians, and so he did in 1817, when the work presented the population of Great Britain with some very unexpected conclusions. Enlarging on the Physiocrats, Ricardo places the interest of the landlord and that of the community in the most violent opposition, -he states: "the interest of the landlord is necessarily opposed to the interest of every other class in the community." On the grounds of this theory, he gathered quite a number of opponents, who considered this the embodiment of injustice and strongly opposed of his theories. "Ricardo, in his paradox to arrest attention, outlined the case for class war. It is one of the issues which John Stuart Mill will be forced to confront, and upon which Marx built his theory and makes his observations." (Catlin, A History of the Political Philosophers, Ldn., 1950, p. 374). In opposition to Smith, Ricardo was not interested in the value as the principle for the equal exchange between differentiated individuals, but in it as the means of building up theories of the relation between wages, profits and rents and their distribution to landlords, capitalists and labourers, -thus developing the famous theory of "labour as measure". Against Malthus he opposes the interest of the agriculturalist as against that of the free-trading manufacturer, -one of his distinctive contributions to economics lies in expounding the monopoly theory of rent. "Ricardo was, in a sense, the first "scientific" economist. Lacking Smith's warmth and sympathy for humanity and for the labourer in particular, Ricardo saw the study of economics as a pure science whose abstractions were capable of quasi-mathematical proof. Although his theorems remain hypothetical, his deductive methods have proved a great use in the elementary analysis of economic problems, currency and banking, it has proved a lasting value." (Printing and the Mind of Man 277).The work is groundbreaking in numerous respects, one of them being that Ricardo here also sets out to establish paper-money, -he actualized this as well as the theory that the banks should convert its stock of gold into standardized gold bars, -this is the reason why the very first gold bars, as we know them, were called "Ricardos"; the first was issued in 1820.The work has been immensely influential throughout Europe, and has had a strong effect on Danish liberal thought and politics

      [Bookseller: Lynge & Søn A/S]
 3.   Check availability:     Antikvariat     Link/Print  


        Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c

      1839. first edition. A Very Beautiful Book""A Genuine Triumph""Worthy of the Highest Possible Praise"BOYS, Thomas Shotter. Picturesque Architecture in Paris, Ghent, Antwerp, Rouen &c. Drawn from Nature and on Stone. London: By Thomas Boys, Printseller to the Royal Family, 1839. First edition. Folio (21 1/8 x 14 1/2 in; 536 x 369 mm). [6, as title, Dedication and Descriptive Notice]. Twenty-six "lithotint" (color-printed lithograph) plates (including title page) printed by G. Hullmandel after drawings by Boys, with tissue guards. Publisher's original half red morocco, inner red moire silk panel enclosed by a continuation of the morocco spine with gilt fillets, and a red morocco label in center of silk panel lettered in gilt with title. Original yellow endpapers. Rear board in half red morocco over cloth. A bit of soiling to silk, as expected. Light rubbing. Withal, an internally clean, gorgeous copy. "A very beautiful book, and one that should take preference over its later and more popular rival, the Original Views of London [by Boys, from] 1842...Apart from the brilliance, sensitivity, and technical mastery of the drawing on stone there is the great, and often under-estimated, 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, on which the unique effect of the book depends..." (Abbey)."...A genuine triumph...by Thomas Shotter Boys, a rather neglected artist who merits a far higher place than he was ever awarded in the annals of the English water-colour school...In this book Boys is head and shoulders above them all. His drawing is refined and sensitive, and his colouring cool, simple, and direct" (Hardie)."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" (Art Union, 1839)."Apart from the brilliance, sensitivity and technical mastery of the drawing on stone, this volume features Hullmandel's great and often under-estimated technical and artistic achievement in making the transmission of such drawings possible and in devolving the cool, transparent, graduated tints - subtle in colouring - on which the unique effect of the book depends" (Bobins II, 512).Abbey, Travel, 33. Tooley 105. Hardie, pp. 247-249. Bobins

      [Bookseller: David Brass Rare Books, Inc. ]
 4.   Check availability:     ABAA     Link/Print  


        EVENING AMUSEMENTS IN ENGLISH GRAMMAR; being a new and purely intellectual mode of instructing and exercising youth in this important science. In three volumes.

      Three volumes each with the same title-page, except for the addition of either, The Grammar, History of Rome, or Key to the History of Rome. 43pp. 70pp. 64pp. Each volume bound in full calf, pressed to appear as shark, and with blind decoration and gilt. 12mo. All edges gilt. Together with two sets of printed cards, 119 of 120, some on coloured papers for playing the various games. All contained in in a slipcase finished similarly to the books and designed to appear as a book. Box a little rubbed and worn, and splitting at base; the books have some light foxing; the wrappers which hold the cards are a little split;. Else an excellent set of this scarce teaching game.From the Preface: 'The Evening Amusements consists of various sets of games, constructed on an Abridgement of The Roman History, expressly written for the purpose; whereby the learner is led, progressively, from the simplest form of expression to the more difficult combination of words in language, and, eventually, to the most difficult passages in Milton.' Rare. OCLC records only a copy in the Osborne Library, lacking three cards. COPAC records a copy held by the Bodleian Library that appears to lack its original case.

      [Bookseller: David Miles]
 5.   Check availability:     Direct From Bookseller     Link/Print  


        Trois Grands Quatuors [Subtitle]: pour Deux Violons, Alto et Basse composés et dédiés À Son Altesse Royale Monseigneur Le Prince Royal De Suède... Oeuv. 44. No. I [II and III]. [Parts]

      Breitkopf & Hartel PNs 6022 6023 6024 Leipsic: Breitkopf & Härtel [PNs 6022, 6023, 6024]. [1839]. Folio. Unbound, as issued. I: 13; 11; 11; 9 pp. II: 13; 11; 11; 11 pp. III: 15; 13; 13; 13 pp. With fine decorative titles printed in sepia to each quartet. Staining (mostly marginal) to first few leaves of first quartet, including title, and outer edges of third quartet, otherwise very good copies. . First Editions. Very scarce. Not in Krause. Müller-Reuter I, pp. 131-133. Hoboken 10: 201, 202, 203. "One of the most gifted and versatile prodigies, Mendelssohn stood at the forefront of German music during the 1830s and 40s, as conductor, pianist, organist and, above all, composer. His musical style, fully developed before he was 20, drew upon a variety of influences, including the complex chromatic counterpoint of Bach, the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber..." "The three quartets op.44, written during the idyllic period of Mendelssohn's honeymoon and first year of marriage, show signs of a Classical tendency." Grove online

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
 6.   Check availability:     ABAA     Link/Print  


        POETICAL WORKS

      1839. SHELLEY, Percy Bysshe. THE POETICAL WORKS. Edited by Mrs. Shelley. In four volumes. London: Edward Moxon, 1839. First edition. 12mo., red publisher's cloth, spines lettered and decorated in guilt. A few spots of foxing at preliminary pages, a tiny nick at the top of the spine of volume one, but overall a lovely and appealing set in what might be the delux binding housed in a Sandgorski & Sutcliff solander box, with a small crack along the side. Scarce thus.

      [Bookseller: Boston Book Company ]
 7.   Check availability:     ABAA     Link/Print  


        Ikonographische Darstellung der nicht-syphillitischen Hautkrankheiten. Mit darauf bezüglichem systematischem Texte. Unter Mitwirkung (von Friedrich Leberecht) Trüstedt.

      Folio. XV S., 96 S. und 30 farbig lithographierten Tafeln. Halblederband der Zeit mit goldgeprägtem Rückentitel und wenig Rückenvergoldung. Hirsch-H. I 432. - Nicht bei Waller. Erste Ausgabe. Mit dem Reihentitel: Ikonographische Encyklopädie der bildlichen Darstellung ... der Medicin ... Erste Abteilung. Schöner, und durch die gewählte Technik der Farblithographie leuchtender Atlas. Effektiv wurden nur die Grundfarben, meist in Sepia gedruckt. Alle anderen Farben wurden später von Hand aquarelliert. Behrend war Oberarzt der Berliner Sittenpolizei. - Alle Tafeln mit einem zusätzlichen weissen Deckblatt. Vereinzelt schwach stockfleckig. Einbandrücken fachgerecht restauriert.

      [Bookseller: EOS Buchantiquariat Benz]
 8.   Check availability:     antiquariat.de     Link/Print  


        Atlas universel des sciences. Adopté par le Conseil Royal de l'Instruction publique pur les établissements universitaires, et par le Grand Chancelier pour les Maisons royales d'Education de la Légion-d'Honneur.

      Folio (42 x 31 cm). 4 Bl., 50 doppeblattgr. Taf. m. kolor. Karten u. farbig hinterlegtem Text. Hldr. d. Zt. m. geprägt. Rückentitel. Prächtiger allumfassender Atlas mit systematisch in Kästen gegliederten Texten sowie meist kolorierten Abb., zum größten Teil Karten, darunter einer ganzs. Weltkrate in 2 Hemisphären, aber auch Stichen aus Mythologie, Geologie, Geometrie, Astronomie, Zoologie, Botanik, Mechanik u.a. - Beispielsweise führt die Tafel von Deutschland zu allen Seiten der kolor. Karte die deutschen Staaten mit kurzen Texten zu Staatsform u. Geschichte auf, enthält eine Tabelle mit den wichtigsten Genealogien, einen Text zur Statistik sowie eine Liste mit berühmten Persönlichkeiten aus Geschichte und Gegenwart. Größere Staaten sind auf eigenen Blättern mit historischer Einführung und Chronologie beschrieben. - Einband etw. berieben. Exlibris auf Innendeckel. Vorsatzbl. verknittert, m. Namen. Die Tafelns sehr sauber und wohlerhalten.

      [Bookseller: Antiquariat Düwal]
 9.   Check availability:     antiquariat.de     Link/Print  


        SKETCHES By BOZ

      Lea and Blanchard Philadelphia:: Lea and Blanchard,. 1839.. 4to. 24 cm x 15.5 cm. 1st edition thus (Edgar & Vail, p. 16; Gimbel A13). 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 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 ]
 10.   Check availability:     ABAA     Link/Print  


        Monuments Français Inédits pour Servir à l'Histoire des Arts, Depuis le VIe siècle jusqu'au commencement du XVIIe. Choix de Costumes Civils et Militaires, d'Armes, Armures, Instruments de Musique, Meubles de toute espèce, et de Décorations Intérieures et Extérieures des Maisons. Dessinés... par... et accompagnés d'un texte Historique et Descriptif par André Pottier.

      Paris: Chez Mlle Willeman, 1839.. Folio, 2 volumes, with a hand coloured second title in volume I plus 300 fine engraved plates, of which 184 are hand coloured, either entirely or in part, marbled endpapers, bound in later green half morocco, gilt titled spines, some minor wear to extremities otherwise a fine clean set. A magnificent collection originally issued in parts over the previous 3 decades, illustrating over a millennia of French decorative arts, including costume, weaponry, architecture and furniture, with skilful and bright colouring.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
 11.   Check availability:     UKBookworld     Link/Print  


        Storia romana dalla sua origine alla venuta di gesu' cristo

      # Autore: Bartolomeo Pinelli # Titolo: Storia romana dalla sua origine alla venuta di Gesù Cristo - 3 volumi # Editore: Tipi Delle Muse Bologna # Anno di stampa: 1839 (1° volume) - 1843 (2° volume) - 1849 (3° volume) # Pagine: 730 # Formato: cm 46 x 60 # Illustrazioni: Con 110 incisioni in rame a tutta pagina del celebre incisore Bartolomeo Pinelli # Tipo di legatura: Mezzatela con piatti marmorizzati # Note: 1^ edizione - Rarissima opera completa in 3 volumi corredata da 110 tavole originali di metà ottocento Esemplare in buonissime condizioni - Legatura che presenta un leggerissimo allentamento al 1° volume - Le incisioni sono fresche e in ottimo stato

      [Bookseller: Libreria Librisuperflui]
 12.   Check availability:     maremagnum.com     Link/Print  


        British Salmonidae. 2 parts.

      (Edinburgh, 1839-41). Elephant-folio. In the two original half-calf-folders with green leather-spines and pattern-stamped cloth boards; gilt title and author to front boards. Remains of the original green cloth-ties. Some wear to spines, especially at capitals. 12 magnificent hand-coloured plates with one leaf of text for each, the first, 8th and 11th text-leaves with an engraved illustration measuring 22x13,5 cm. (depicting "Stake Nets of the Solway Firth", "Poke Nets of the Solway Firth", and "Young States of S. Truttafrom Mr. Shaw's Ponds" - the last beautifully hand-coloured); all leaves laid in loose, as originally published, and all plates with the original tissue-guards. Plates and text-leaves measuring ab. 64,5 x 49 cm. The exceedingly scarce first printing of this monumental work on British salmon, one of the finest books on fishes ever produced. The work is generally considered the Audubon of salmons; the quality of the plates is considered unsurpassed and the scientific research that lies behind it makes it of the utmost importance to the study of salmons."Jardine was a keen sportsman, expert with rod and gun, and followed his hounds. He was not averse to making deer which strayed from his neighbour's estate onto Jerdine Hall land pay for their trespass. He was also an amateur artist, working in watercolours, and exhibited, as an honorary member, at the Scottish Royal Academy, as well as other art exhibitions in Dumfries. When writing his books, he learned to etch, to draw on wood blocks for wood engraving, to lithograph and to use a variant of lithography called papyrography. One of the finest books of fishes ever printed was Jardine's "The British Salmonidae", for which he did the drawings and etchings himself.Jardine was the foremost ichthyologist in Scotland, perhaps even in the United Kingdom, in the nineteenth century. He was a fine fisherman and fished the Annan, which flowed through his grounds in Dumfriesshire, and the best stretches of the Tweed when he lived for three years at St Boswells, Roxburghshire. One of his aims was to establish his life cycles of the salmon and the sea trout, for which he tagged fish in a specially constructed pool at Jardine Hall, and visited the fisheries at Perth where experiments were carried out. His reputation as a fly fisherman was well known, and he enjoyed many days of sport with other eminent naturalists such as P.J. Selby, John Gould, Richard Parnall, as well as friends and neighbours. His interest in fishing and fisheries led to his appointment as one of the royal commissioners to the Salmon Fisheries Survey of England and Wales in 1860." (Jackson and Davis, "Sir William Jardine. A Life in Natural History", p. X). Jardine was also famous for his huge museum collections, among these a very extensive collection of skins. In the late 1820'ies the collections began to encompass vertebrates other than birds, and it is from this time that his scientific interests in fish began to develop. Although Jardine's interest had always extended beyond the British Isles and he also received many specimens of fish from abroad, his main interest remained British fish, and especially those of the salmon family, which greatly fascinated him. "Some of these were little known, and even in the early nineteenth century were considered rare." (Jackson & Davis, p. 57). From around the beginning of the 1830'ies Jardine was on the lookout for more specimens and further advice, and he began corresponding with the famous Cornish naturalist and ichthyologist, Jonathan Couch. He also began corresponding with other respected scientists and correspondents and with much support from all of these, Jardine devoted more and more of his time and effort to investigating fish, especially the salmon family. In 1834 he began a tour of Sutherland that came to have a significant impact on his studies of the salmon family. He brought Selby with him, and due to their many notes, drawings, and observations, Jardine now had the confidence to present a lecture, in which he revised the scientific status of the Salmonidae discovered on their excursion, to the British Association, which he held in Edinburgh during the late summer of 1834. It is this lecture that established his reputation as an ichthyologist, and it is evident from many sources of the period that he was now much admired within this field. "[w]hen he attended the British Association meeting in Newcastle in August 1838, not only did he chair the Botany and Zoology section, but he also gave a lecture on the Salmonidae of Scotland. By this time he was bringing to fruition a much more ambitious project, with the preparation of the plates for the "Illustrations of British Salmonidae, with Descriptions", which was published in two parts in 1839 and 1841." (Jackson & Davis, p. 60).Jardine had originally planned to work on the project with Selby and had already suggested him this in 1834. Selby supported him throughout the project, but eventually Jardine undertook the work alone. The illustrations of the work were to comprise the salmons of both England and Ireland, and in a letter to T.C. Eyton he indicates many of his thoughts concerning the production as well as his continued interest in fishes around the world; he describes his wish to illustrate the specimens life-size, although that would restrict sales, his and Lizar's frustrations of finding a skilled enough colourist, as well as his view on drawing the fish directly at the edge of the water in order to capture the iridescence and colours of the fish straight away, so that they would not have had time to fade, which they do rapidly after death. Among other things he writes "The sale will of course be limited & one to my list is important. If it will clear its way I shall be satisfied so far as the plates are concerned... but Illustrations of the size which I have chosen are always attended with more expense in the publication than those of a less [?] size. All the drawings have been made at the waters edge, and I am sanguine that the work will be creditable to all both artist and engraver... The 1st number will be out in a very short time it is all prepared except the colouring which we have been annoyed about in the north. We have however now selected Mr. Gould' colourer [Gabriel Bayfield] in London, & from what he has put out in these departments we have considerable reliance." (See Jackson & Davis, p. 61).Thus, the plates were etched by Jardine himself and coloured by Bayfield. The first number of plates were sent to Bayfiled for colouring in July 1838, and the first part of "Illustrations" was advertised as published in August 1839, whereas the second was ready in September 1841. "It is not known how many copies were eventually sold, but Jardine (who had exclusive rights to the publication) hinted in 1844 that "There are only 70 copies coloured" - and indication that few coloured copies were to hand after supplying copies to the subscribers. Lizars had been responsible for producing and distributing the books, but when his establishment in Edinburgh closed, Jardine transferred the stock of uncoloured plates to Jardine Hall. Even in the 1860s there was a demand for copies of the Salmonidae, and also for individual plates, and the faithful Bayfield was asked once more to act as colourist for these. Some indication of the price of the complete work is given by Jardine in a letter to John Gould, asking him to deliver a copy to Pickering in Picadilly and asking him "to take payment for £5 16". Initially prices of £2 12s 6d (coloured) and £1 11s 6d (plain) per part had been suggested, which had risen to £3 3s 0d by August 1839. The first estimates also suggested that an initial run of some 50 copies was sensible until the demand could be gauged, and noted that the cost of colouring each impression was 1s 6d." (Jackson & Davis, p. 62).The work is now considered one of the finest books on fish ever produced, both due to its great artistic value and its "meticulous and painstaiking scientific research" (p. 62); besides its scientific value and scientific importance, it is of the greatest scarcity with no more than 70 copies (at the most) produced, and many fewer that have survived. Nissen 2092; not in Wood;

      [Bookseller: Lynge & Søn A/S]
 13.   Check availability:     Antikvariat     Link/Print  


        Gesang der Mönche aus Schillers Wilhelm Tell für zwei Tenore und Bass

      A.R. Friese Leipzig: A.R. Friese. [June 1839]. Published together with: - Schubert, Franz. Chor der Engel, aus Göthe's Faust für Sopran, Alt, Tenor u. Bass; - Weber, Carl Maria von. Erstes Werk: Sechs Fugetten [Op. 1] im eilsten Jahre componirt; - Sechter, Simon. Studien für Orgel oder Clavier. [1] (collective title with central decorative vignette, [2] (blank), 3 (Beethoven song, with "Zur erinnerung an den schnellen unverhofften Tod unsers Krumpholz am 3. Mai 1817" to head and a printed note stating that the autograph of the song is in the collection of A[]loys] Fuchs in Vienna at foot), 4-6 (Schubert song, with "Componirt in June 1816" to head of page 4), 7-8 (Weber VI Fugetten, with dedication to the composer's brother Edmund von Weber at head and "Der Bass ist offenbar falsch. Man lese wie in No. 3. R.S.," i.e. Robert Schumann, to foot), 9-11 (Sechter Studien, with "Contrapunctische Studien" at head of page 9) pp. Engraved throughout. Folio. Unbound. Slightly worn and soiled; central vertical crease; small oval embossed stamp "Kottenbach" to most leaves with small rectangular label to verso of title; identification in red ink to each piece. . First Edition of the Beethoven song. Kinsky WoO104. Hoboken 3, 678. A separate issue in the series Sammlung von Musikstücken alter und neuer Zeit als Zulage zur neuen Zeitschrift für Musik, Heft VI, Juni 1839, published as a supplement to the Neue Zeitschrift für Musik edited by Robert Schumnann. First Edition of the Schubert song. Deutsch 440.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
 14.   Check availability:     ABAA     Link/Print  

______________________________________________________________________________


      Home     Wants Manager     Library Search     562 Years   Links     Contact      Search Help      Terms of Service     


Copyright © 2018 viaLibri™ Limited. All rights reserved.