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Displayed below are some selected recent viaLibri matches for books published in 1840

        Reuben Ramble's Travels in the Eastern Counties of England

      London: Darton and Clark. c. 1840., 1840. Rare, with hand-coloured illustrations. Octavo. pp. 16, with 8 large colour plates of the selected counties (Nottinghamshire, Lincolnshire, Leicestershire, Northamptonshire, Huntingdonshire, Rutlandshire, Cambridgeshire and Norfolk). Black ink title page to wrapper, with map of the region. Protected by additional clear plastic wrapper, within modern bespoke black cloth chemise case. Gilt titles to spine. Much wear to spine and edges. Binding fragile, but holding together. Neat copperplate black ink inscription to cover from 1853. A delightful 'pictoral instruction for young children.'

      [Bookseller: Adrian Harrington Rare Books]
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        Pl. 359 Scarlet Ibis ( 1. Adult Male 2. Young second Autumn) The Birds of America, from Drawings Made in the United States and Their Territories

      Audubon J. J. & Chevalier J.B. 1840-44, New York & Philadelphia - A fine original hand-colored lithograph on paper. Sheet size: 6.5 x 10.25 inches. Drawn from nature by John James Audubon, Fellow of the Royal Society, Fellow of the Linnaean Society. Lithographed, printed and colored by JT Bowen, Philadelphia for the First Royal Octavo Edition of John James Audubon's The Birds of America. Includes the text from Audubon's Ornithological Biography. The Royal Octavo Edition represents John James Audubon's (1785-1851) desire to create an affordable work based on his magnum opus; the Double Elephant Folio Edition of The Birds of America. London: Published by the Author, 1827-38, with engravings produced by William H. Lizars and Robert Havell, Jr. after Audubon's dramatic life-sized portraits of North American birds set amidst their native foliage and surroundings. During the mid-nineteenth century, there were no photomechanical means of reproduction. To create a smaller format work, each and every composition was redrawn by hand; with the aid of the Camera Lucida. For the Royal Octavo Edition, Audubon and his assistants translated the 435 engravings of the Double Elephant Folio Edition into 500 unique drawings. Audubon's compositions of heretofore unrelated birds were now rendered according to species; with each bird portrayed on a new botanical perch or within a renewed landscape. With this new envisioning Audubon created a perfected composition: a charming vignette of the bird, or family of birds, in its natural setting- here sized to scale in the smaller (Royal Octavo) format. For the lithographs of the Royal Octavo Edition of The Birds of America, Audubon enlisted the talents of America's premier lithographers and printers: the JT Bowen and Company in Philadelphia and Endicott in New York. Each composition was drawn on a limestone tablet, then inked and printed. Once dried, the print of the bird and setting was faithfully hand-watercolored in splendid array of lifelike tones. In this format Audubon presented the unique compositions of ten birds newly discovered during his explorations of the American West and not previously portrayed in the Double Elephant Folio Edition. As with the Folio Edition, the Royal Octavo Edition was sold by subscription format -issued twice monthly between 1840 and 44- containing one hundred individual packets of five hand-painted lithographs of birds and their accompanying text. Audubon's Ornithological Biography included his characteristic and scientific descriptions of the birds along with his colloquial nature writings describing the robust beauty of the early American landscape as well as reflections on the travels of this unique Ornithologist, Naturalist and Frontiersman. The popularity and success of the Royal Octavo Edition of Audubon's Birds of America is evidenced by its subsequent production of seven editions- albeit of diminishing quality-with the final edition issued in 1870 by George Lockwood, New York. (Nissen 51, Sabin: H.2364, Tyler, Ron. Audubon's Great National Work. Austin: University of Texas Press, 1993. Wood, C. An Introduction to the Literature of Vertebrate Literature. London: Oxford University Press, 1931.) Fine condition with bright original hand-coloring

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        GENF. Vue de Genève, depuis Colognyavec la maison Diodati, ei-devant demeure de Lord Byron".

      - Aquatinta von Himely nach Dubois bei Birmann, Basel, um 1840, 20 x 28 cm. Prächtiger Blick über den See auf die Stadt, links die Villa Diodati. - Breitrandig und gut erhalten.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        HAMBURG. - St. Pauli. "Hamburger Vorstadt St. Pauli". Reich belebte Chaussee mit Alleebäumen auf den Seiten, im Hintergrund Kirche.

      - Altkol. Lithographie bei G. Führmann, um 1840, 42 x 63,5 cm. Imposantes Kapitalblatt, mit zahllosen originellen Volkstypen, Reitern, Kutschen und Fuhrwerk staffagiert. Im Himmel gering fleckig, sonst für ein Blatt dieses Formats sehr gut erhalten.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        A Plan of London and its Environs

      London: , 1840. Steel engraving. Size: 43 x 56 cm Very good condition. Light fold marks as issued. A delightful and detailed plan of London that was published in Lewis's Topographical Dictionary. Engraved by J & C Walker. The plan extends from Chelsea in the south west to Regent's Park in the north west; from Hackney in the north east to Rotherhithe in the south east. The plan is adorned with the crests of Westminster, the City of London and Southwark. All public spaces, parks and major thoroughfares are highlighted in colour.

      [Bookseller: Peter Harrington]
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        KORAN, Commonly called The Alcoran of Mohammed, Translated from the Original Arabic; with Explanatory Notes, taken from the most approved Commentators. To which is prefixed a Preliminary Discourse. By George Sale, Gentleman.

      London Orlando Hodgson [1840] - A new edition with a memoir of the translator, a long preliminary discourse on Islam and its history and with various readings and illustrative notes from Savary’s version of the Koran. Engraved folding map, a number of genealogical tables, and a folding plan and view of the Temple of Mecca. 8vo, contemporary full polished honey calf, the spine in compartments filled with elaborate arabesque floral designs gilt, raised bands ruled in gilt, dark red morocco lettering label gilt, covers ruled in gilt, board edges gilt lined. (xvi), 143, 1-472 pp. (including index). A very nice copy, handsome and well preserved, bright and pleasing to the eye, internally quite fresh and clean. HANDSOME EXPANDED EDITION OF ISLAM’S HOLIEST BOOK. Sale's version, published initially in 1734, is the best early translation of the Islamic holy book, and the first English translation taken directly from the original Arabic. The only translation published previously to Sale's was "the despicable French version" of André Du Ryer, issued in 1649, and Alexander Ross’s English version derived from Du Ryer's published in the same year. Sale’s intent in translating the Q’uran was seemingly to educate English readers (and perhaps those in power) about Islam in an atmosphere of what he perceived to be ignorance and intolerance: ".it seems as if there was something more than what is vulgarly imagined, in a religion which has made so surprising a progress." He states, ".as Mohammed gave his Arabs the best religion he could, as well as the best laws, preferable, at least, to those of the ancient pagan lawgivers, I confess I cannot see why he deserves not equal respect, though not with Moses or Jesus Christ, whose laws came really from heaven, yet with Minos or Numa, notwithstanding the distinction of a learned writer, who seems to think it a greater crime to make use of an imposture to set up a new religion, founded on the acknowledgement of one true God, and to destroy idolatry, than to use the same means to gain reception to rules and regulations for the more orderly practice of heathenism already established." He goes on to argue that ".if the religious and civil Institutions of foreign nations are worth our knowledge, those of Mohammed, the lawgiver of the Arabians, and founder of an empire, which, in less than a century, spread itself over a greater part of the world than the Romans were ever masters of, must needs be so." Sale’s translation and prefatory statements were a landmark step towards education and understanding about unfamiliar religious beliefs and cultures as opposed to fear and persecution of them. This edition has been expanded with notes based on French author Claude Etiénne Savary’s translation of the Q’uran. [Attributes: Hard Cover]

      [Bookseller: Buddenbrooks, Inc. ABAA]
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        MOZAIK ALPHABETE Europäischer Schriftarten. Alphabets of European Letters in Mosaic.

      Comprising of a four page key sheet partly hand-coloured by a child, and 174 small pieces of shaped wood, painted in a variety of colours, with which the letters may be formed. All contained in a wooden box with a sliding lid bearing a hand-coloured pictorial label, on the verso of which is a key sheet 'alphabet' mosaic we have seen.

      [Bookseller: David Miles]
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        Pl. 413 Hooded Merganser (1. Male 2. Female) The Birds of America, from Drawings Made in the United States and Their Territories

      New York & Philadelphia:: Audubon, J. J. & Chevalier, J.B.,, 1840-44.. First Royal Octavo. Matted in Ivory Rag Board . Fine condition with bright original hand-coloring. A fine original hand-colored lithograph on paper. Sheet size: 6.5 x 10.25 inches. Drawn from nature by John James Audubon, Fellow of the Royal Society, Fellow of the Linnaean Society. Lithographed, printed and colored by JT Bowen, Philadelphia for the First Royal Octavo Edition of John James Audubon's The Birds of America. Includes the text from Audubon's Ornithological Biography. The Royal Octavo Edition represents John James Audubon's (1785-1851) desire to create an affordable work based on his magnum opus; the Double Elephant Folio Edition of The Birds of America. London: Published by the Author, 1827-38, with engravings produced by William H. Lizars and Robert Havell, Jr. after Audubon's dramatic life-sized portraits of North American birds set amidst their native foliage and surroundings. During the mid-nineteenth century, there were no photomechanical means of reproduction. To create a smaller format work, each and every composition was redrawn by hand; with the aid of the Camera Lucida. For the Royal Octavo Edition, Audubon and his assistants translated the 435 engravings of the Double Elephant Folio Edition into 500 unique drawings. Audubon's compositions of heretofore unrelated birds were now rendered according to species; with each bird portrayed on a new botanical perch or within a renewed landscape. With this new envisioning Audubon created a perfected composition: a charming vignette of the bird, or family of birds, in its natural setting- here sized to scale in the smaller (Royal Octavo) format. For the lithographs of the Royal Octavo Edition of The Birds of America, Audubon enlisted the talents of America's premier lithographers and printers: the JT Bowen and Company in Philadelphia and Endicott in New York. Each composition was drawn on a limestone tablet, then inked and printed. Once dried, the print of the bird and setting was faithfully hand-watercolored in splendid array of lifelike tones. In this format Audubon presented the unique compositions of ten birds newly discovered during his explorations of the American West and not previously portrayed in the Double Elephant Folio Edition. As with the Folio Edition, the Royal Octavo Edition was sold by subscription format -issued twice monthly between 1840 and 44- containing one hundred individual packets of five hand-painted lithographs of birds and their accompanying text. Audubon's Ornithological Biography included his characteristic and scientific descriptions of the birds along with his colloquial nature writings describing the robust beauty of the early American landscape as well as reflections on the travels of this unique Ornithologist, Naturalist and Frontiersman. The popularity and success of the Royal Octavo Edition of Audubon's Birds of America is evidenced by its subsequent production of seven editions- albeit of diminishing quality-with the final edition issued in 1870 by George Lockwood, New York. (Nissen 51, Sabin: H.2364, Tyler, Ron. Audubon's Great National Work. Austin: University of Texas Press, 1993. Wood, C.. An Introduction to the Literature of Vertebrate Literature. London: Oxford University Press, 1931.)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        HARZ. "Erinnerung an den Harz". Gesamtansicht von Goslar ("vom Köppelsbleck", 14 x 21 cm), umgeben von 16 kleinen Ansichten aus dem Harz.

      - Lithographie mit Tonplatte von Ed. Brückner, Goslar, um 1840, 26 x 38,5 cm. Auch die Hauptansicht von Goslar ist von kleinen Teilansichten aus der Stadt umrahmt, ein Souvenirblatt als Mittelteil eines Souvenirblattes! - Die Harzansichten zeigen u.a. Ballenstedt, Ilsenstein, Bocken, Alexisbad, Stolberg, Harzburg, Lauterberg, Falkenstein, Walkenried, Ilefeld, Mägdesprung. - Kleinere Randdefekte sorgfältig restauriert. Mit breitem Rand. Selten.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        LEIPZIG. "Deutsche Buchhändler Börse in Leipzig". Die Börse (23 x 29,5 cm) umgeben von 16 kleinen Teilansichten aus der Stadt.

      - Lithographie von C.C. Böhme und F. Krätzschmer nach C. Leibner, bei Krätzschmer, um 1840, insgesamt: 43 x 53,5 cm. Die kleinen Detailansichten zeigen das Theater, Augusteum, Rathaus, Paulinum, Handels-Börse, Thomaskirche, Schützenhaus, Büergerschule, Georgenhaus, Pleissenburg usw. - Mit Faltspuren, rechts bis über die Einfassungslinie beschnitten und angerändert.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Pl. 353 American Avocet (Young in first Winter Plumage. Adult in the distance) The Birds of America, from Drawings Made in the United States and Their Territories

      New York & Philadelphia:: Audubon, J. J. & Chevalier, J.B.,, 1840-44.. First Royal Octavo. Matted in Ivory Rag Board . Fine condition with bright original hand-coloring. A fine original hand-colored lithograph on paper. Sheet size: 6.5 x 10.25 inches. Drawn from nature by John James Audubon, Fellow of the Royal Society, Fellow of the Linnaean Society. Lithographed, printed and colored by JT Bowen, Philadelphia for the First Royal Octavo Edition of John James Audubon's The Birds of America. Includes the text from Audubon's Ornithological Biography. The Royal Octavo Edition represents John James Audubon's (1785-1851) desire to create an affordable work based on his magnum opus; the Double Elephant Folio Edition of The Birds of America. London: Published by the Author, 1827-38, with engravings produced by William H. Lizars and Robert Havell, Jr. after Audubon's dramatic life-sized portraits of North American birds set amidst their native foliage and surroundings. During the mid-nineteenth century, there were no photomechanical means of reproduction. To create a smaller format work, each and every composition was redrawn by hand; with the aid of the Camera Lucida. For the Royal Octavo Edition, Audubon and his assistants translated the 435 engravings of the Double Elephant Folio Edition into 500 unique drawings. Audubon's compositions of heretofore unrelated birds were now rendered according to species; with each bird portrayed on a new botanical perch or within a renewed landscape. With this new envisioning Audubon created a perfected composition: a charming vignette of the bird, or family of birds, in its natural setting- here sized to scale in the smaller (Royal Octavo) format. For the lithographs of the Royal Octavo Edition of The Birds of America, Audubon enlisted the talents of America's premier lithographers and printers: the JT Bowen and Company in Philadelphia and Endicott in New York. Each composition was drawn on a limestone tablet, then inked and printed. Once dried, the print of the bird and setting was faithfully hand-watercolored in splendid array of lifelike tones. In this format Audubon presented the unique compositions of ten birds newly discovered during his explorations of the American West and not previously portrayed in the Double Elephant Folio Edition. As with the Folio Edition, the Royal Octavo Edition was sold by subscription format -issued twice monthly between 1840 and 44- containing one hundred individual packets of five hand-painted lithographs of birds and their accompanying text. Audubon's Ornithological Biography included his characteristic and scientific descriptions of the birds along with his colloquial nature writings describing the robust beauty of the early American landscape as well as reflections on the travels of this unique Ornithologist, Naturalist and Frontiersman. The popularity and success of the Royal Octavo Edition of Audubon's Birds of America is evidenced by its subsequent production of seven editions- albeit of diminishing quality-with the final edition issued in 1870 by George Lockwood, New York. (Nissen 51, Sabin: H.2364, Tyler, Ron. Audubon's Great National Work. Austin: University of Texas Press, 1993. Wood, C.. An Introduction to the Literature of Vertebrate Literature. London: Oxford University Press, 1931.)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        LEIPZIG. "Deutsche Buchhändler Börse in Leipzig". Die Börse (23 x 29,5 cm) umgeben von 16 kleinen Teilansichten aus der Stadt.

      - Lithographie von C.C. Böhme und F. Krätzschmer nach C. Leibner, bei Krätzschmer, um 1840, insgesamt: 43 x 53,5 cm. Die kleinen Detailansichten zeigen das Theater, Augusteum, Rathaus, Paulinum, Handels-Börse, Thomaskirche, Schützenhaus, Büergerschule, Georgenhaus, Pleissenburg usw. - Mit geglätteten Faltspuren, rechts bis an die Einfassungslinie beschnitten.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Romantische Landschaft im Abendlicht mit einigen Jägern im Bildvordergrund, hinten Berge im späten Sonnenlicht.

      - Bildgröße: 28,5 x 45 cm ( Höhe x Breite ), gerahmt ( Rahmenmaß: 34 x 50,5 cm ). Das Bild ist auf Holzplatte gemalt, links unten mit *Ferd. Schiertz, Leipzig* signiert, undatiert ( ca. um 1840 ). Das Bild leicht craquelliert, am Unterrand durch die Rahmung etwas berieben, der Rahmen stärker bestoßen und etwas beschädigt. >>>Literatur: Thieme-Becker, Band XXX, Seite 60. <<< ( Pic erhältlich // webimage available ) [Attributes: Signed Copy]

      [Bookseller: Antiquariat Friederichsen]
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        Master Humphrey's Clock [The Old Curiosity Shop; Barnaby Rudge] With Illustrations by George Cattermole and Hablot Browne

      London: Chapman and Hall, 1840,, 1840. FIRST EDITIONS of Barnaby Rudge, The Old Curiosity Shop, and Master Humphrey's Clock. 3 volumes. Large 8vo. Contemporary half red calf, gilt, over marbled sides. Bookplates and Dickens' centenary stamps affixed to pastedown, neat owner sigature to each volume, foxing to prelims, calf a little bloomed, some darkening /rubbing to spine but essentially a clean, presentable set. Narrator Master Humphrey was a lonely man who lived in London. He keeps old manuscripts in an antique grandfather clock by the chimney-corner, and decides to start a little club, called Master Humphrey's Clock, where the members, including Mr. Pickwick himself, have a penchant for telling strories. In the book, several short tales are recounted, followed by the novels 'The Old Curiosity Shop', which follows the life of the beautiful and virtuous Little Nell and her Grandfather, and 'Barnaby Rudge', Dickens first effort at historical fiction, set during London's non-Popery 'Gordon' Riots (Protestant rallying against the Roman Catholic Relief Act, 1778). Podeschi; Gimbel Catalogue [A51], Grolier Exhibition [100], Slater; Suzannet Catalogue [57]. Collins; Dickens and Crime (1962).

      [Bookseller: Adrian Harrington Rare Books]
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        Re?gne animal dispose? en tableaux me?thodiques:

      Paris: Fortin Masson et Cie, Successeurs de Crochard et cie., 1840 VG+, 1840, Tall Elephant Folio, 90 pls + TP. In modern, to style, half red morocco, with contemporary red faded boards, some blind tooling, edges lightly bumped and rubbed. Spine, raised bands, decorative gilt tooling and titles. Internally, red marbled endpapers, text block edges sprinkled red, book label to fpd (William Alexander Murray), [1] engraved titlepage, [1] blank, [2] introduction, 90 pls (of 90) double page pictorial charts 80*55.5 cms (20 of which were produced at 32 Southampton St, Strand London & the remainder in Paris at Rue de Place de l'Ecole de Medecine, No 13), depicting approximately 5,000 images, new cloth joints, minimal paper repairs. A very good + copy. Weighs 10.5 Kg, and is 56.7*44.5*5 cms. (Graesse 315. Brunet 5572. Nissen 938. Crochard 1839 p11) Title continues: ouvrage adopte? par le Conseil royal de l'instruction publique pour l'enseignement des colle?ges et autroes etablissements de l'universite?

      [Bookseller: Madoc Books (ABA-ILAB)]
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        Fabeln aller Voelker

      Verlag August Riese Berlin ohne Jahr,ca 1840. Format 8° **Bestellen Sie an einem Tag mehr als einen Titel bei uns, so versenden wir innerhalb Deutschlands generell versandkostenfrei** . - 1. Auflage - , 284 S. + 12 colorierte Tafeln ( 11 Tafeln + farbig illustriertes Titelblatt ) , Originalpappband mit farbigen Deckelbild , Deckel - und Rückentitel, ca 5 cm des Papieraufzugs des Rückens fehlen, gelockert und Seiten teilweise etwas gebräunt , Vorbesitzerstempel mit handschriftlichen Eintrag " ausgeschieden " in alter Schrift , etwas bestoßen , insgesamt ordentlicher Zustand

      [Bookseller: Antiquariat Alfred Tauchnitz]
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        Pl. 359 Scarlet Ibis ( 1. Adult Male 2. Young second Autumn) The Birds of America, from Drawings Made in the United States and Their Territories

      New York & Philadelphia:: Audubon, J. J. & Chevalier, J.B.,, 1840-44.. First Royal Octavo. Matted in Ivory Rag Board . Fine condition with bright original hand-coloring. A fine original hand-colored lithograph on paper. Sheet size: 6.5 x 10.25 inches. Drawn from nature by John James Audubon, Fellow of the Royal Society, Fellow of the Linnaean Society. Lithographed, printed and colored by JT Bowen, Philadelphia for the First Royal Octavo Edition of John James Audubon's The Birds of America. Includes the text from Audubon's Ornithological Biography. The Royal Octavo Edition represents John James Audubon's (1785-1851) desire to create an affordable work based on his magnum opus; the Double Elephant Folio Edition of The Birds of America. London: Published by the Author, 1827-38, with engravings produced by William H. Lizars and Robert Havell, Jr. after Audubon's dramatic life-sized portraits of North American birds set amidst their native foliage and surroundings. During the mid-nineteenth century, there were no photomechanical means of reproduction. To create a smaller format work, each and every composition was redrawn by hand; with the aid of the Camera Lucida. For the Royal Octavo Edition, Audubon and his assistants translated the 435 engravings of the Double Elephant Folio Edition into 500 unique drawings. Audubon's compositions of heretofore unrelated birds were now rendered according to species; with each bird portrayed on a new botanical perch or within a renewed landscape. With this new envisioning Audubon created a perfected composition: a charming vignette of the bird, or family of birds, in its natural setting- here sized to scale in the smaller (Royal Octavo) format. For the lithographs of the Royal Octavo Edition of The Birds of America, Audubon enlisted the talents of America's premier lithographers and printers: the JT Bowen and Company in Philadelphia and Endicott in New York. Each composition was drawn on a limestone tablet, then inked and printed. Once dried, the print of the bird and setting was faithfully hand-watercolored in splendid array of lifelike tones. In this format Audubon presented the unique compositions of ten birds newly discovered during his explorations of the American West and not previously portrayed in the Double Elephant Folio Edition. As with the Folio Edition, the Royal Octavo Edition was sold by subscription format -issued twice monthly between 1840 and 44- containing one hundred individual packets of five hand-painted lithographs of birds and their accompanying text. Audubon's Ornithological Biography included his characteristic and scientific descriptions of the birds along with his colloquial nature writings describing the robust beauty of the early American landscape as well as reflections on the travels of this unique Ornithologist, Naturalist and Frontiersman. The popularity and success of the Royal Octavo Edition of Audubon's Birds of America is evidenced by its subsequent production of seven editions- albeit of diminishing quality-with the final edition issued in 1870 by George Lockwood, New York. (Nissen 51, Sabin: H.2364, Tyler, Ron. Audubon's Great National Work. Austin: University of Texas Press, 1993. Wood, C.. An Introduction to the Literature of Vertebrate Literature. London: Oxford University Press, 1931.)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        A brief account of the First Concordium, or Harmonious Industrial College,

      a home for the affectionate, skilful, and industrious, uncontaminated by false sympathy, avaricious cunning, or excessive labour.James Pierrepont Greaves (1777-1842) and the Concordium at Ham Common in Surrey played a significant role in the development of utopian socialism in England in the second quarter of the 19th century. Greaves' own career had taken him via Yverdun in Switzerland where (1817) he had joined Pestalozzi, the Swiss educational reformer; London where (1825) he had become secretary of the London Infant School Society; Randwick in Gloucestershire where (1832) he had engaged in a scheme for the benefit of agricultural labourers; and London again, where the Aesthetic Society, founded by him, met at his house in Burton Crescent. He was a follower of Jacob Boehme and became saturated with German transcendentalism. But it was at Alcott House on Ham Common that his followers congregated and a school was organized to give effect to his educational views. It was, however, not until Greaves' death in March 1842 that Alcott House was reorganized as the First Concordium, a community based on Greaves' transcendental, vegetarian and ascetic principles."The members, to be called Concordists, were to unite for the purposes of submitting to the universal law until they 'accord or concord with it'. Here in the Concordium, the triune law of goodness, wisdom and power, 'the most lawful, intelligent and efficient conditions for divine progress in humanity' would be worked out. The regimen was based on the spartan rules of life enunciated by James Pierrepont Greaves: 'Pure air, simple food, exercise and cold water are much more beneficial to man, than any national doctrinal creeds, or any churches, chapels, or cathedrals'.And a stern regimen it proved to be. Members rose at 5.30 a.m. and after repairing to the bath-house went for their morning run; at 6.15 a bell rang summoning them to their occupation. They breakfasted at 8 a.m. on brown bread, or Scotch oatmeal bread, figs and cold vegetables, returning at 9 a.m. to their occupations. The children lunched at 12 noon, the adults at 1 p.m., and during each meal there would be reading. At two o'clock in the afternoon they would return to work, continuing till half past four. The last meal, signalized by the ringing of a bell, took place at 6 p.m., and after this there was a lecture.The meals were spartan. The consumption of flesh, butter, cheese, eggs, mustard, vinegar, oil, spices, beer, wine, tea, coffee, and chocolate was banned; and the school (with fees of £5 a quarter) specialized in shoemaking, carpentry and gardening. Friendly visitors were accommodated on Sundays and Mondays at 6d. a meal and 6d. a bed. One of these visitors (on 28 April 1843) was Robert Owen. The dress was equally utilitarian: each member were a brown holland or cotton blouse, a neat check shirt without neck cloth or any other clumsy wrapper round the neck. Hats and caps were rarely worn on the premises. But, living as they did near the metropolis, concessions had to be made: 'When going out each dresses rather more in accordance with the world without, which to them is more like a foreign country than their native above.'One of the principal objects of the Concordium was to prepare missionaries for the cause. A new monthly The New Age, first published in May 1843 from 'the Concordium Press' stressed the importance of employing the people on the land." [W.H.G. Armytage, Heavens Below: utopian experiments in England, 1560-1960, 1961, pp.178-9].8vo., caption title, 8pp., rather foxed and browned, well bound in old style quarter calf gilt. A good, most attractively bound, copy., n.d. [1840?]. First edition: variant issue. Rare. Goldsmiths 33490. Menger p.238. Harrison p.297. Not in Kress, Williams, Black or Stammhammer. OCLC + COPAC find copies at 5 libraries in British Isles in addition to an issue of 14pp. at Yale.. a home for the affectionate, skilful, and industrious, uncontaminated by false sympathy, avaricious cunning, or excessive labour. James Pierrepont Greaves (1777-1842) and the Concordium at Ham Common in Surrey played a significant role in the development of utopian socialism in England in the second quarter of the 19th century. Greaves' own career had taken him via Yverdun in Switzerland where (1817) he had joined Pestalozzi, the Swiss educational reformer; London where (1825) he had become secretary of the London Infant School Society; Randwick in Gloucestershire where (1832) he had engaged in a scheme for the benefit of agricultural labourers; and London again, where the Aesthetic Society, founded by him, met at his house in Burton Crescent. He was a follower of Jacob Boehme and became saturated with German transcendentalism. But it was at Alcott House on Ham Common that his followers congregated and a school was organized to give effect to his educational views. It was, however, not until Greaves' death in March 1842 that Alcott House was reorganized as the First Concordium, a community based on Greaves' transcendental, vegetarian and ascetic principles."The members, to be called Concordists, were to unite for the purposes of submitting to the universal law until they 'accord or concord with it'. Here in the Concordium, the triune law of goodness, wisdom and power, 'the most lawful, intelligent and efficient conditions for divine progress in humanity' would be worked out. The regimen was based on the spartan rules of life enunciated by James Pierrepont Greaves: 'Pure air, simple food, exercise and cold water are much more beneficial to man, than any national doctrinal creeds, or any churches, chapels, or cathedrals'.And a stern regimen it proved to be. Members rose at 5.30 a.m. and after repairing to the bath-house went for their morning run; at 6.15 a bell rang summoning them to their occupation. They breakfasted at 8 a.m. on brown bread, or Scotch oatmeal bread, figs and cold vegetables, returning at 9 a.m. to their occupations. The children lunched at 12 noon, the adults at 1 p.m., and during each meal there would be reading. At two o'clock in the afternoon they would return to work, continuing till half past four. The last meal, signalized by the ringing of a bell, took place at 6 p.m., and after this there was a lecture.The meals were spartan. The consumption of flesh, butter, cheese, eggs, mustard, vinegar, oil, spices, beer, wine, tea, coffee, and chocolate was banned; and the school (with fees of £5 a quarter) specialized in shoemaking, carpentry and gardening. Friendly visitors were accommodated on Sundays and Mondays at 6d. a meal and 6d. a bed. One of these visitors (on 28 April 1843) was Robert Owen. The dress was equally utilitarian: each member were a brown holland or cotton blouse, a neat check shirt without neck cloth or any other clumsy wrapper round the neck. Hats and caps were rarely worn on the premises. But, living as they did near the metropolis, concessions had to be made: 'When going out each dresses rather more in accordance with the world without, which to them is more like a foreign country than their native above.'One of the principal objects of the Concordium was to prepare missionaries for the cause. A new monthly The New Age, first published in May 1843 from 'the Concordium Press' stressed the importance of employing the people on the land." [W.H.G. Armytage, Heavens Below: utopian experiments in England, 1560-1960, 1961, pp.178-9]. 8vo., caption title, 8pp., rather foxed and browned, well bound in old style quarter calf gilt. A good, most attractively bound, copy.

      [Bookseller: John Drury Rare Books]
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        ALTENBURG. "Ansicht der herzoglichen Residenzstadt Altenburg". Gesamtansicht (20,5 x 28,5), umgeben von 14 kleineren Teilansichten und vier Trachtendarstellungen.

      - Altkol. Stahlstich von Julius Helbig nach Bernh. Bechstein, gedruckt im Kunst Verlag, Karlsruhe, um 1840, 42,5 x 49 cm. Die Ansichten zeigen u. a. die Landesbank, das herzogliche Residenz-Schloss, das Rathaus, die Freimaurer Loge, das Magdalenen Stift, das Schloss Ehrenberg, das Casino. - Einige geschickt restaurierte Wurmlöchlein, Legende mit Ausbesserung (geringer Buchstabenverlust). - Dekoratives Souvenirblatt in feinem Altkolorit.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        [Op. 32, no. 4]. Fughette für Pianoforte. [Sammlung von Musikstücken alter und neuer Zeit, Vol. X; Supplement to Neue Zeitschrift für Musik 12/51]

      Leipzig: Robert Friese [without PN]. [June 23, 1840]. Folio. Disbound. 1f. (decorative title), 3-15, [i] (blank) pp. Engraved. Containing the following works: J. S. Bach [BWV 637] "Durch Adams Fall ist ganz verderbt" Choralvorspiel für Orgel (p. 3) Wilhelm Taubert, Präludium für Pianoforte (pp. 4-7) Stephan[!] Heller, Toccatina für Pianoforte (pp. 8-11) J.J.H. Verhulst, Notturno für Pianoforte (pp. 12- 13) Robert Schumann, Fughette für Pianoforte (pp. 14-15) Contemporary owner's signature in ink to foot of title: "Elsa Tescher." Unclear marks in ink to lower tight corner of p. 5. Slightly worn, stained and soiled; vertical crease to each leaf where previously folded. . First Edition of the Bach and Schumann pieces (and possibly of the other compositions as well). Bach edition not in Schmieder (listing an 1843 edition as the first); for Schumann see Hofmann p. 77 and McCorkle p. 135. The Bach chorale prelude is part of the Orgelbüchlein, BWV 599-644 (1713-15), first published as a whole in ca. 1846. The Schumann fughette became no. 4 of the Vier Klavierstücke, op. 32, first published in 1841.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        MARIA NIKOLAJEWNA, Herzogin von Leuchtenberg (1819 - 1876). Hüftbild nach dreiviertellinks der Gemahlin des Herzogs Maximilian von Leuchtenberg, geborene Großfürstin von Rußland, in schulterfreiem Kleid sitzend in einem Armstuhl, in der Linken eine Rose, links Aussicht auf Schloß Tegernsee, in gedrucktem Rahmen, unten Inschrift in Russisch und Französisch.

      - Lithographie von D. Haiz nach J. Stieler bei Th. Kammerer, München, um 1840, 43 x 36,5 cm. APK 39400. Slg. Maillinger Bd. I, Nr. 2055. - Dekorative Darstellung, nur im sehr breiten Rand minimal fleckig.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        BAYERN. - Das Königreich Bayern in seinen acht Kreisen.

      Ca. 1840. - 43 x 34 cm. Altkolor. Kupfertitel und 8 altkolor. Kupfertafeln von F. Würthle und J.P. Walther nach Kreul. 1 Bl. Erklärung, 10, 7, 9, 10 S., 9 Bl., 12 S., 11 Bl., 9 S. Pfister II, 2935; Lipperheide 757. - Das sehr hübsch kolorierte Titelkupfer zeigt die bekrönte Bavaria auf goldenem Löwenthron. Die 8 dekorativen Tafeln in feinstem Altkolorit zeigen im Vordergrund Trachtengruppen umrahmt von lokalen Torbogen, im Hintergrund mit einer Ansicht der jeweiligen Kreishauptstadt: München, Landshut (!), Regensburg, Augsburg, Ansbach, Bayreuth, Würzburg und Speyer. Bis auf die Ansicht von Landshut (2. Zustand), alle Tafeln im ersten Zustand und der Erklärungstext für alle Tafeln in der ersten Auflage. - Entgegen dem Titel und der weitläufigen Meinung erschien das Werk vermutlich nie mit Karten, es konnte aber ab 1837 ein kompletter Satz Karten dazugekauft werden. - Einband berieben und leicht fleckig, der Lederrücken professionell erneuert. Ohne den gestochenen Titel. Alle Tafeln und Kapitel alt handschriftlich mit der neuen Gebietseinteilung (28. November 1837) versehen. Teils leicht einheitlich gebräunt, vorallem im Text gering fleckig. [Attributes: Hard Cover]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        FRANKFURT. "Ansicht von Frankfurt a/M". Blick von der Mainbrücke auf den Fluß und die Häuserzeilen am Ufer mit dem Dom rechts. Auf der Brücke zahlreiche Personengruppen (Handwerker, ein Bauer mit seiner Kuh, Spaziergänger mit Hund).

      - Lithographie von F. Heister nach Carl Morgenstern, gedruckt bei F.C. Vogel, Frankfurt, um 1840, 42,5 x 65,5 cm. Thieme-Becker Bd. XXV, S. 147/48. - Der Frankfurt Landschaftsmaler Carl Morgenstern lebte von 1811 bis 1893. Er war Schüler seines Vaters Johann Friedrich. Seit 1832 wirkte er in München, beeinflußt von Christian Morgenstern und Rottmann. Er bereiste Italien, Belgien, Holland und Frankreich. - Monumentales Blatt mit breitem Rand und einwandfreier Erhaltung.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        USLAR. "Uslar im Solling". Gesamtansicht von einer Anhöhe, links Kapelle, rechts Burgruine.

      - Kolorierte Lithographie von E. Ritmüller in Göttingen, um 1840, 45 x 66 cm. Prachtvolle Lithographie mit interessanter Staffage: links wird ein erlegter Hirsch auf einem Ochsen- und Pferdegespann transportiert, ein Jäger mit Gewehr und Hund folgt. Mittig auf einer Bank ein Herr mit seinem ruhenden Hund und rechts, über einem Bachlauf, zwei biedermeierlich gekleidete Damen. - Im Himmel sorgfältig restaurierter Einriss, der von vorne kaum mehr zu sehen ist. Sehr feines Kolorit. Kapitalblatt in einem für die Größe guten Zustand.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        EBINGEN. - Tracht. "Aus dem Unteramt Ebingen". Junges Paar in Festtagstracht vor einem Bauernhaus, im Hintergrund Landschaft mit Burgruine.

      - Altkol. Aquatinta bei G. Ebner, Stuttgart, um 1840, 19 x 15,5 cm. Nicht bei Schefold. - Das seltene Trachtenblatt in leuchtendem Altkolorit. Gleichmäßig gebräunt.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        "Aus dem Oberamt Göppingen".

      . altkol. Aquatinta aus Heideloff, Volkstrachten .. b. Ebner in Stgt., um 1840, 19,5 x 15,5 (H). Selten, nicht bei Schefold. - Zeigt ein junges Paar in Tracht. Im Hintergrund Blick ins Umland mit einer Burgruine.

      [Bookseller: Antiquariat Nikolaus Struck]
 26.   Check availability:     ZVAB     Link/Print  


        BAD LIEBENZELL/bei Calw. "Liebenzell". Gesamtansicht von der Burgruine aus mit weitem Blick ins Tal.

      - Altkol. Lithographie von C. Baumann bei L.F. Fues, Tübingen, um 1840, 18 x 25,5 cm. Schefold 4593. - Feines Altkolorit. Breitrandig.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        "Liebenzell". Gesamtansicht von der Burgruine aus mit weitem Blick ins Tal.

      . Altkol. Lithographie von C. Baumann bei L.F. Fues, Tübingen, um 1840, 18 x 25,5 cm.. Schefold 4593. - Feines Altkolorit. Breitrandig.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Gesamtans., "Liebenzell".

      . kol. Lithographie n. u. v. C. Baumann b. Fues in Tübingen, um 1840, 26 x 32,5. Schefold, Nr. 4594 a. - Seltenes Blatt. Blick von einer Anhöhe auf die Stadt, links die Burgruine.

      [Bookseller: Antiquariat Nikolaus Struck]
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        HERRNSTADT/an der Bartsch. Gesamtansicht über Felder hinweg, in der Ferne Hügelkette, rechts Windmühle.

      - Altkol. Lithographie "Nach d. Natur gez. u. lithogr." von W. Vogt, Schmiedeberg, um 1840, 23,5 x 38 cm. Die schöne Ansicht alt auf braun gouachierten Karton montiert, die Beschriftung einzeln ausgeschnitten und ebenfalls altmontiert. [Attributes: Soft Cover]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        KYNAST/Riesengebirge. "Der Künast." Im Mittelgrund das Amt Hermsdorf, im Hintergrund Ruine der Burg, im Vordergrund rechts Arbeiter am Fluß.

      - Aquarell über Feder, sign. und dat. "O. Wachs 1840", 29,5 x 39 cm. Nach der altkolorierten Umrißradierung von D. Berger nach S.C.C. Reinhardt, 1793, Katalog Slg. Haselbach 49: "Gegend vom Künast mit dem Amte Hermsdorff in Schlesien". - Im Himmel etwas stockfleckig, geglätteter Mittelbug. Dekoratives Blatt!

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Quatre moutons

      Original pencil drawing representing four sleeping sheep. Stamp of the bottom right of the design studio.Old weathered frame; a small minor hitch on the left side of the frame.  S.n. S.l. 1840 Cadre : 27x20cm ; dessin : 16,5x8,5cm une feuille encadrée

      [Bookseller: Librairie Le Feu Follet]
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        Régne animal disposé en tableaux méthodiques:

      Paris: Fortin Masson et Cie, Successeurs de Crochard et cie., 1840 VG+, 1840, Tall Elephant Folio, 90 pls + TP. In modern, to style, half red morocco, with contemporary red faded boards, some blind tooling, edges lightly bumped and rubbed. Spine, raised bands, decorative gilt tooling and titles. Internally, red marbled endpapers, text block edges sprinkled red, book label to fpd (William Alexander Murray), [1] engraved titlepage, [1] blank, [2] introduction, 90 pls (of 90) double page pictorial charts 80*55.5 cms (20 of which were produced at 32 Southampton St, Strand London & the remainder in Paris at Rue de Place de l'Ecole de Medecine, No 13), depicting approximately 5,000 images, new cloth joints, minimal paper repairs. A very good + copy. Weighs 10.5 Kg, and is 56.7*44.5*5 cms. (Graesse 315. Brunet 5572. Nissen 938. Crochard 1839 p11) Title continues: ouvrage adopté par le Conseil royal de l'instruction publique pour l'enseignement des colléges et autroes etablissements de l'université

      [Bookseller: Madoc Books (ABA-ILAB)]
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        La moderna coltura calligrafica a mano posata, e volante, de' Fratelli Santerini di Cesena, maestri di scritto, ornata di varie Figure e Vignette, con Serie numerosa di Caratteri tratteggiati Oltramontani

      in folio massimo (55x42) formato album, leg. coeva m/tela con angoli (rifatti), piatti in carta decor., grande inc. su carta celeste con tit. calligrafici, vignetta e girari applicata al piatto. L'opera composta da 26 grandi tavv. incise in rame da Raffaele Radisini, di cui la 1^ contiene la dedica ed il ritratto del Cardinale Oppizzoni datata 1840, le 3 tavv. successive spiegano i vari alfabeti e mostrano le tecniche di taglio ed impugnatura delle penne; le altre tavv. illustrano i vari caratteri delle diverse lingue anche esotiche come siriaco, arabo, turco, ebraico, samaritano, sono tutte ornate di figure, motti, proverbi, fregi e girari. Lievi fior. ed ombreggiature ma opera bellissima, molto raffinata e rara, su carta forte. Vedere Bonacini 1609. Molto raro, censito in una sola biblioteca italiana. 024/19

      [Bookseller: Libreria Antiquaria La Fenice]
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        Keepsake pour 1840

      Paris: M.D. Wilmann, 1840. First edition. Twenty steel-engraved plates after Catermole. 302, [1] pp. 8vo. Probable publisher&#39;s binding of full contemporary green morocco, covers blocked in blind with scrollwork border surrounding a large gilt-stamped urn, a.e.g., by Boutigny (ticket on flyleaf). Fine. Small bookplate. Ramsden notes that Boutigny was the leading exponent of the rocaille style and did much of his work anonymously for publishers.

      [Bookseller: James Cummins Bookseller ]
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        The Rhine, Italy, and Greece (Cover title: The Rhine Illustrated)

      No date. Ca. 1840.. TWO VOLUMES BOUND IN ONE, tissue-guarded steel engravings throughout, 4to (11 x 9 inches), half morocco considerably rubbed, decorative spine gilt, raised bands, all edges gilt, name front free endpaper, occasional browning and a few marks throughout. Volume 1: title page vignette, 31 (of 32) other engravings, 76 pp. Volume 2: engraved title page vignette, 39 other engravings, 90pp. The engraving of Itri (Italy) is missing, apparently never bound in. A good example of nineteenth century illustrated travel books popular at a time when the world was opening up for general interest in travel. The Rev. G.N. Wright was the prolific writer of travel books illustrated with steel engravings. Volume 1 is entitled The Rhine Illustrated, volume 2 Italy Illustrated (although illustrations from both areas appear in both volumes). Steel engravings include Cologne, Florence, Athens, Venice. .

      [Bookseller: oldimprints.com]
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