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

        The Shooting Party - Ranton Abbey

      [London]: [circa 1840]. Mixed-method engraving, coloured by hand, by William Henry Simmons. 19 3/4 x 28 inches. 22 1/4 x 31 inches. A fine image recalling one of the first great Victorian shooting estates. Ranton Abbey estate in Staffordshire, England, was owned by the Earl of Lichfield. In the early part of the rich 19th-century, landowners vied with each other to create preserves for game, improve their coverts and produce ever large bags at shooting parties. The Earl spent large sums of money on improving his estate and during the 1830s held a series of great shooting parties which made Ranton a centre for Liberal sporting hospitality. Sir Francis Grant often shot with the Earl and the original from which this print is taken still hangs in the present Earl of Lichfield's house at Shugborough. The people pictured include the first Earl of Lichfield, Lord Melbourne, then Prime Minister, Lord Sefton and the Earl of Uxbridge. Sir Francis Grant was largely self-taught, primarily through imitating Velazquez. His early works were primarily to do with fox hunting, but, as demonstrated here, he had an exceptional capacity for portraiture. He painted an equestrian portrait of Lord Melbourne and Queen Victoria and this proved to be the beginning of an enormously successful career painting portraits of most of Britain's most prominent men and women, including the Royal family and several prime ministers, Siltzer p.131.

      [Bookseller: Donald Heald Rare Books]
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        Sketches from the Washington Races on October 1840 by An Eye Witness

      London?: no date, but circa 1840]. Folio. (22 x 15 inches). Without title or text (as published). 3 fine hand-coloured lithographed plates by and after Newdegate. Unbound as issued in original oatmeal paper wrappers, lithographic title on upper cover. Modern black cloth box, black morocco lettering piece. A very fine copy of this rare color-plate work, describing in three plates, with explanatory rhymed quatrains beneath, the course of a race, with black jockeys, run at Washington race course, Charleston, South Carolina in October 1840. The gray mare wins by a large margin, having been pushed all the way to the winning post by her jockey. The descriptive verses beneath each plate describe the race:1. 'At the tap of the drum they jump of from the stand, / Be the track deep in mud or heavy with sand, / At a pace which at once makes fast ones extend, / And e'en the best winded cry bellows to mend.'2. 'And now they have reach'd the third mile, second heat, / The mare is still going, the horse is dead beat; / Says Sambo "Me know how Massa him do it, / So me gib him de whip, and make him stick to it."'3. 'Now the Winner comes in decidedly blown, / Tho 'ere two miles were done the race was her own, / But they go the whole hog in this western clime, / When they've beaten the field they run against time.'The mention of 'western clime' allied with the first line of the verse on the upper cover ('British Steeds that you're fastest I've not a doubt') both suggest that the present series was published in Britain. If this is the case then London seems the most likely city of origin for this excellent series.The Washington Race Course was established in 1735 and until its sale in 1900 was the oldest race track in the world. The South Carolina Jockey Club Spring and Fall race meetings here were one of the highlights of the Charleston season. The first day's races were run in four, the second in three and the third in two-mile heats. On the disbanding of the South Carolina Jockey Club, the piers from the entrance of the Washington Race Course were given to Belmont Park, New York, where they still stand today. The proceeds from the sale of the course were passed to the Charleston Library Society for use as an acquisition fund which is still known as the 'Jockey Club Fund'.Unrecorded. Not in any of the standard bibliographies.

      [Bookseller: Donald Heald Rare Books]
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        Social Destiny of Man: or, Association and Reorganization of Industry

      Philadelphia: C.F. Stollmeyer, 1840. First Edition. Octavo (20cm). Original publisher's cloth-covered boards with leather spine label; xvi, 480pp; double engraved frontispiece. Prelims (including frontispiece) moderately foxed; cloth spotted and unevenly faded on spine; shadow of a removed bookplate on front pastedown. Text tight, clean and unmarked; about a Very Good copy overall, and uncommon in the original cloth. & & Brisbane's (1809-1890) major work, and the first complete exposition in America of the ideas of the French utopian socialist Charles Fourier. As the direct inspiration for the conversion of George Ripley's Brook Farm to a Fourierist phalanx in 1842, and the subsequent establishment of hundreds of American phalansteries which followed through the 1840s and 50s, Brisbane's book can be said to be one of the most influential works of social planning in American history. In it are contained not only the philosophical bases of Fourierist thought, but also quite specific organizational and logistical imperatives for the establishment of a phalanx, including architectural details and rules for the education of children and the organization of workers. The frontispiece plates offer a plan and elevation of a representative phalanx structure.

      [Bookseller: Lorne Bair Rare Books]
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        Herculanum et Pompei; Recueil General des Peintures, Bronzes, Mosaiques, etc

      Paris -Librairie De firmin-Didot Freres, 1840 Book. Very Good. Hardcover. A scarce set of archaeological works, exploring the many mosaiques, antiquities and buildings unearthedin the lost ancient cities of both Herculanum and Pompei; adorned with many beautifully engraved plates. Pompeii along with Herculaneum and many villas in the surrounding area, were mostly destroyed and buried under 4 to 6 m (13 to 20 ft) of ash and pumice in the eruption of Mount Vesuvius in 79 AD. Written in French. Volumes one to seven of the original eight. V. I. Peintures, Premiere serie:Decorations architecturales V. II. Peintures, Deuxieme serie:Compositions de plusieurs figures V. III. Peintures, Deuxieme et Cinquieme series:Tableaux, Paysages V. IV. Peintures, Troisieme serie:Figures isoleesV. V. Peintures, Quatrieme et Sixie`me series:Frises, Mosaiques V. VI. Bronzes, Premiere serie:Statues V. VII. Bronzes, Deuxieme et Troisieme series: Bustes, LampesAfter thick layers of ash covered the two towns, they were abandoned and eventually their names and locations were forgotten. The first time any part of them was unearthed was in 1599, when the digging of an underground channel to divert the river Sarno ran into ancient walls covered with paintings and inscriptions. Herculaneum was properly rediscovered in 1738 by workmen digging for the foundations of a summer palace for the King of Naples, Charles of Bourbon. Pompeii was rediscovered as the result of intentional excavations in 1748 by the Spanish military engineer Rocque Joaquin de Alcubierre. These towns have since been excavated to reveal many intact buildings and wall paintings. Charles of Bourbon took great interest in the findings even after becoming king of Spain because the display of antiquities reinforced the political and cultural power of Naples. Featuring one-hundred and twelve leaves of plates to volume one; ninety to volume two; eighty-eight to volume three; one-hundred and twenty-three to volume four; ninety-two to volume five,including a beautifully hand-coloured plate, andone that is folding; one-hundred and ten to volume six; andone-hundred and twenty-two to volume seven. Collated complete- where collation is available, which is to all aside volume one. Condition: In contemporary paper covered binding, with calf spine labels. Externally, all volumes are rubbed, with wear to the extremities and boards. Sunning and chipping to the head and tail of the spines, as well as damp staining to the spines of all volumes, aside from two. Small ink marks to the front board of volume five, and loss to volume two's spine label. Slight straining to the front hinge of volume seven. Internally, all volumes are generally firmly bound, although with some leaves working loose to volume five and two. All volumes are bright, although with light instances of background foxing throughout. Some leaves are uncut and there is marginal tide marks to volume two. Overall: GOOD.

      [Bookseller: Rooke Books]
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        Chart of the Viti Group or Feejee Islands

      Philadelphia, 1840. unbound. very good(-). Sherman & Smith. Map. Engraving with hand coloring. Image measures 23 5/8" x 33 7/8". Beautifully detailed map of the islands of Fiji showing major towns, waterways and other geographical features. This chart was published in Wilkes' "Narrative of the United States Exploring Expedition During the Years 1838, 1839, 1840, 1841, 1842", which describes his explorations and cultural encounters in mapping the South Seas, the American west, parts of South America, the East Indies and Antarctica. Overall toning, wear to original folds, left margin cropped to border as issued, minor scattered tears and chips.

      [Bookseller: Argosy Book Store]
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        Portfolio Chinensis: or a Collection of Authentic Chinese State PapersÖ

      Macao, China,: F.F. de Cruz, 1840.. Octavo, Shuck's presentation note to the Mission Society Library on the half-title dated October 1840, handwritten corrections, bookplates; an excellent copy in the original silk binding, worn but still very attractive, paper label to spine, joints repaired; in a red cloth box. Very rare: an important collection of Chinese state papers relating to the outbreak of the Opium War, published in July 1840 on a press imported from the United States. Shuck presented this copy to the Baptist Missionary Society Library of London in October 1840, as is recorded by his inscription on the half-title. Several manuscript corrections throughout are also in his hand.Jehu Lewis Shuck (1812-1863) was the first Southern Baptist missionary to China. In 1835 Shuck attended a convention on foreign missions at which he put a note reading "I give myself" into the offering plate. He and his wife Henrietta Hall arrived in Macao in 1836, remaining there until the end of the Opium War in 1842. They opened a mission school and orphanage, and Shuck began his small publishing operation. He spent much of the next decade in China, but returned to the United States in 1851, being appointed as a missionary to the Chinese in California two years later. He retired to South Carolina in 1861.'Text of memorials of Lin Tse-hsu dealing with the opium question, with their translation printed below them. The Chinese text, cut on woodblocks and running left to right (contrary to normal Chinese usage), was inserted in the forme, with Western headlines above and translation below. A final memorial in the appendix used the moveable types of the fount of the East India Co., which had been employed for Morrison's dictionary' (Lust). Cordier lists the papers included. Taken together, the papers give an insight into the Chinese government's attempts to end the illicit trade, while Shuck's introduction gives an excellent background history of the cultivation of the poppy.Cordier, Bibliotheca Sinica, 1905-6; Lowendahl, 'China Illustrata Nova', 955; Lust, 478.

      [Bookseller: Hordern House Rare Books]
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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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        Fort Pierre on the Missouri

      Paris, Coblentz and London: 1840. Aquatint engraving, printed in colours and finished by hand, by Salathé after Bodmer, state with date after English imprint, blindstamp. Cut to within platemark. 13 3/8 x 14 15/16 inches. A highly evocative landscape which, with an echo of the vast Biblical epics of John Martin, captures the vastness of the frontier prairies: the Fort, one of the largest settlements of the American Fur Company, is dwarfed amid the huge expanse that surrounds it. Bodmer recorded this image on 29 April 1834 during the journey back down the Missouri River, on whose banks the Fort stands. The Fort, named for Pierre Chouteau of the American Fur Company, is shown with a neighboring encampment of Sioux Indians. The modern Pierre, South Dakota now stands on the far bank of the river. 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 was 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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        Album of 19th century Chinese Pith Paintings illustrating the Tea Industry

      Ca. 1840.. Very good overall. A series of 12 original gouaches on pith paper, mounted on wove paper album pages with blue silk ribbon. The pictures illustrate all phases of the tea industry - planting, harvesting, processing, sorting, labeling the tea chests, selling and drinking. Pith painting albums were popular as inexpensive and easily transported souvenirs in the period following the growth in the China Trade in the first quarter of the 19th century. Because many pictures were sold in albums and hence protected from the light, they retain their bright colors to this day. Botanicals and landscapes were common - occupationals, such as this one, somewhat less so. They were also quite fragile. Crossman states, "The other paper commonly used for watercolors and gouaches, after 1800, was pith... The pith paper is a very fragile medium to work on and many of those watercolors which have survived are cracked and broken... Watercolors in sets of between 12 and 36 pictures, showing the growing, processing, and shipping of tea... were popular from the middle of the 18th century through the 19th." Crossman, "The China Trade," pp 95-97. Overall, the paintings in this album are in excellent condition, some with some minor cracking in the lower margin. Oblong 8vo album measuring 8.5 x 11.5", the images measuring 6.75 x 9.75". Red brocade silk covered boards & silk ties, binding expertly tightened, corner of back board mended.

      [Bookseller: Antipodean Books, Maps & Prints]
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        Ueber die Befestigung und Vertheidigung grosser Platze [bound with] De la Fortification et de la Defense des Grandes Places

      Berlin [and] Paris: G. Reimer [and] J. Correard, 1840 [and] 1847. First edition and first French edition. Three quarter calf over marbled boards, red morocco label, all edges marbled. A very good copy with the bookplate of the Military Order of the Loyal Legion of the United States, Commandery of the State of Illinois on front pastedown, shelf sticker on foot of backstrip, boards rubbed with some loss at one corner, short contemporary notation on rear pastedown. . 8vo. Illus. with 16 b/w drawings on 2 folding plates. Wittich's original work on fortification and defense with Duparcq's French translation. Each version contains a copy of the single plate [51x45 cm (1840) and 60x48 cm (1847)]. Wittich was a Prussian Artillery Major. Deparcq was Chef de Bataillon of Engineers in the French Army, Professor of the Military Art in the Imperial School of St. Cyr, and considered one of the best military writers of his day. Either version is quite scarce. We could find only 2 copies of the German edition, at the Het Legermuseum and the BL; and 2 of the French, at the BN and Biblioteca Torino. Katalog Bibliothek Koniglich Preussichen grosser Generalstabes (1878), p. 77; Freis, Cat. Lib. USMA, 230.

      [Bookseller: Kaaterskill Books, ABAA/ILAB]
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        Pl. 76 Yellow-crowned Wood Warbler (Male & Young). Iris versicolor. 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. Matted in Ivory Rag Board First Royal Octavo 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 J. J. Audubon, FRS, FLS and lithographed, printed and colored by JT Bowen, Philadelphia from 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 of The Birds of America represents John James Audubon's desire to create a democratic (affordable) work based his magnum opus; the Double Elephant Folio Edition of The Birds of America. Satisfied with his research, as well as his portrayals of North America's native and distinct bird species, J.J. Audubon here rendered a miniature yet unique version of The Birds of America.& As is the case with prolific artists, Audubon continued to improve upon a body of work which was viewed as perfection. During the mid-19th century, there were no photomechanical means of reproduction, every composition was then redrawn by hand, with the aid of the Camera Lucida. For this Royal Octavo Edition Audubon and his assistants translated the 435 compositions of the Double Elephant Folio edition into 500 unique compositions of individual species. Previously documented groups of heretofore unrelated birds were now separated and divided according to species, and portrayed either on a new botanical perch or within a renewed landscape. & Unlike the life-sized portraits of the Double Elephant Folio edition each bird was now sized to scale on the octavo-sized plate; approximately 6.5 x 10.25 inches. With this slight alteration, Audubon created a perfected composition, and thus offered a charming vignette view of the bird, or family of birds in its natural setting. & For the Royal Octavo Edition, Audubon enlisted America's premier lithographers, JT Bowen and Co. in Philadelphia and Endicott in New York to produce the work. Every composition was drawn on a limestone tablet, inked, printed and then hand-colored with watercolor. In this format Audubon presented the undocumented birds discovered during his explorations of the American West, but not previously included in the Double Elephant Folio Edition of The Birds of America. & As with the folio edition, the Royal Octavo Edition was sold by subscription. One hundred individual packets of five hand-colored lithographs and accompanying text; Audubon's Ornithological Biography, was sent to the subscriber. It was issued the first and fifteenth of each month for four subsequent years. The pagination of the Royal Octavo Edition was organized to be bound in seven volumes. This successful and popular work of American ornithology was produced in an eventual eight editions, the final edition of which was issued in 1870 by George Lockwood, New York. & (Wood, Casey. An Introduction to the Literature of Vertebrate Literature. London: Oxford University Press, 1931. Tyler, Ron. Audubon's Great National Work. Austin: University of Texas Press, 1993. ) &

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        System des Heutigen Romischen Rechts

      1840. Savigny, Carl Friedrich von [1779-1861]. System des Heutigen Romischen Rechts. Berlin: Bei Veit und Comp., 1840-1849. Eight volumes in four books. Octavo (8" x 5). Contemporary quarter calf over textured paper boards, raised bands, gilt titles and gilt fillets to spines. Moderate rubbing to extremities with some wear to spine ends and corners, minor scuffs and nicks to boards, some hinges starting or cracked. Some toning to text, occasional light foxing, internally clean. * First edition. Savigny was a deeply influential German jurist and an excellent scholar of Roman law. A principal member of the historical school of jurisprudence, he had a keen interest in its role in the subsequent development of European law. He taught Roman law at the Universities of Marburg, Landshut and Berlin, where he later served as rector. His System is a study of Roman law's role in the legal systems of Savigny's day. It can be thought of as a companion to his Geschichte des Romischen Rechts im Mittelalter (1815-31), a study of the revival and influence of Roman law during the medieval era.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        PUBLIC BUILDINGS AND STATUARY OF THE GOVERNMENT: THE PUBLIC BUILDINGS AND ARCHITECTURAL ORNAMENTS OF THE CAPITOL OF THE UNITED STATES, AT THE CITY OF WASHINGTON

      Washington: Lithographed and published by P. Haas, 1840.. [4],44,[2]pp. plus twenty-three lithographic plates (including two folding plans and two folding plates). Contemporary cloth, front cover gilt ("Public Buildings and Statuary of the U.S. Capitol"). Covers lightly worn, contemporary stitching through front and rear boards near spine. Additional lithographic titlepage ("PUBLIC BUILDINGS AND ARCHITECTURAL ORNAMENTS OF THE CAPITOL OF THE U. STATES AT THE CITY OF WASHINGTON"). Minor foxing throughout. Plates generally clean. A very good copy. An enchanting illustrated guide to the art and architecture of the United States Capitol, with lithographic plates by the artist, Augustus Kollner, and the publisher and lithographer, P. Haas. Each of the images is accompanied by explanatory text. Included are views of the Capitol, the "Presidents House," the Treasury, the Post Office, and the Patent Office as well as interior scenes of the Capitol and the Senate Chamber. Representations of statuary found in various Washington buildings include Thomas Jefferson, Pocahontas and Captain John Smith, Daniel Boone, Penn's Treaty, and the Pilgrims at Plymouth. The folding plans are diagrams of the floor of the Senate and the floor of the House of Representatives, and the folding plates are of Greenough's statue of Washington and an interior view of the House of Representatives. This is the second issue of Kollner's guide, with a title dated 1840, after the first issue of 1839. Only the title date is changed. Kollner was a prolific and long- lived Philadelphia artist (he lived until 1908) who also produced a larger series of views of American cities between 1848 and 1851. This book is some of Kollner's earliest work, as well as being one of the earliest series of views of Washington, and one of the earliest publications with representations of the art decorating the U.S. Capitol. OCLC 5620465.

      [Bookseller: William Reese Company - Americana]
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        Lives of the Queens of England, from the Norman Conquest; with Anecdotes of their Court, now first published from Official Records and other Authentic Documents, Private as well as Public, by Agnes Strickland (1840-1848). Together with: Lives of the Princesses of England, from the Normand Conquest, by Mary Ann Green (1849-1855)

      London: Henry Colburn, 1840-1855., 1840. First Editions of all the volumes of the two works; 18 volumes in all (12 + 6); 8vo. A beautiful presentation in a uniform binding circa 1900 by Bayntun in half red morocco with gilt titles and extra gilt to spines, marbled boards with gilt rule, top edges gilt, marbled end papers. A fine set in a sumptuous binding.

      [Bookseller: Adrian Harrington Rare Books]
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        Three Years' Residence in Canada, from 1837 to1839. With Notes of a Winter Voyage to New York, and Journey thence to theBritish Possessions: to which is added A Review of the Condition of theCanadian People. By T.R. Preston, Late of the Government Service atToronto

      London. Richard Bentley. 1840.. 12mo. 19.5cm, the first edition,in 2 volumes bound in One, xii,[errata leaf],285,[2] & vi,307pp., halftitle in volume one, rebound in quarter speckled maroon brown calf, blindruled raised bands, crimson morocco labels, gilt titles, marbled boards,a fine copy, rare. (cgc) Sabin 65378. Story p104. Matthews p98. DionneII-1192. Gagnon I- 2804. Lande 724. T.P.L. 2302. There is no mistaking theelement of pique in the disdainful comments of Canada made by. Preston'sfirst impressions were gained under unfortunate circumstances. He arrivedat Quebec in February 1827, was in Montreal during the riot thatprecipitated the rebellion in that province, and reached Kingston duringthe height of the excitement over the outbreak in Toronto under WilliamLyon Mackenzie. For the rest of his stay he was employed in Toronto. Hisbias appears in his criticism of the stagnant' British colonies ascompared to the vigorous life of the United States, while the emergence ofvigorous qualities among the second generation of Canadians is deprecatedon the ground that young Canadians would be far better employed inagriculture or business than in over-crowding the professions and becomingcompetitors for public employment. It was Preston's view that Torontosociety was pretentious. (Story). His work in the government service inToronto 1837-1839; descriptions of the chief towns, politics, economics,business, public works, land grants, condition of the Indians, settlers,etc.; somewhat impersonal. (Mathews).

      [Bookseller: Patrick McGahern Books, Inc. (ABAC)]
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        LIVES OF THE QUEENS OF ENGLAND, FROM THE NORMAN CONQUEST; WITH ANECDOTES OF THEIR COURTS:

      London: Henry Colburn, 1840-48. About fine, all quite sound with a handsome shelf appearance. First edition Twelve volumes. Octavo. Illustrated with engraved frontispieces and engraved title pages. Bound by Birdsall in quarter dark blue straight grained morocco with cloth sides and marbled endpapers, t.e.g., the spine with tan title label gilt and with gilt panel and raised band ornaments

      [Bookseller: First Folio]
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        Die Masken-Lotterie. Ein Spiel zur geselligen Unterhaltung. / La loterie aux masques. Jeu social et amusant.

      No place, [c. 1840]. - Double leaf; 38 engr. plates (of which 28 are coloured). Original wooden coffer. Charming game of hazard with pretty playing cards, many in vivid colour raised in egg-white. - Ten large cards show men and women wearing masks, including a physician, pantaloon, keeper of the wine cellar, courier, chambermaid, and lady; 18 smaller cards show their accessoires (bouquet, cocked hat, pistols, and spurs). Also included are ten uncoloured "free cards", the function of which (as of all other cards) may be inferred from the lithographed instructions in German and French. - Occasional slight brownstaining; some duststaining to sliding box cover. Probably a number of acessoire cards are missing. Well preserved. Cf. Vogel 148.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Geometrische Untersuchungen zur Theorie der Parallellinien

      Berlin, G. Fincke, (tatsächlich etwas später:) 1840.. Mit 2 gefalt. Tafeln. 1 Bl., 61 S. HLdr. des späten 19. Jhdts. PMM 293 Anm.; Poggendorff I, 1482; Engel/Stäckel, Urkunden zur Geschichte der nichteuklidischen Geometrie I, 448, 13; DSB VIII, 432 f. - Erste Ausgabe, aber wohl anastatischer Nachdruck der Zeit. Bekannt ist ein auch als solcher gekennzeichneter bei Mayer & Müller, Berlin aus dem Jahr 1887; die hier vorliegende, den Bibliographen und Bibliotheken völlig unbekannte Ausgabe hat keinerlei gedruckten Verweise auf einen Nachdruck, ist aber als solcher, recht zeitnaher erkenntlich. - Lobatschewskis erste Veröffentlichung in Buchform über die nichteuklidische Geometrie, gleichzeitig eines seiner wenigen selbständigen Werke, von ihm in deutscher Sprache verfasst. Die vorliegende Schrift ist eine eigenständige Zusammenfassung seiner 1829-30 in russischer Sprache im Kasaner Universitätskurier erschienenen Aufsätze über "Die Anfangsgründe der Geometrie". Die darin entwickelte nichteuklidische Geometrie revolutionierte unsere Vorstellung vom Wesen der Mathematik. Nachdem Gauss von Lobatschewski ein Exemplar seiner "Geometrischen Untersuchungen" erhalten hatte, begann er, einzig um dessen frühere Arbeiten im Original zu lesen, mit dem Studium der russischen Sprache. Er war selbst schon zu ähnlichen allgemeinen Schlussfolgerungen wie Lobatschewski gekommen, ohne jedoch etwas darüber zu verüffentlichen, und bewertete dessen Arbeiten ausgesprochen positiv. - Vorderdeckel und Titelblatt mit Nameneintrag Dr. Henry Taber (1860-1936), am Titel datiert 1889. Taber war Professor der Mathematik an der Clark University (Worcester, Massachusetts) 1888-1921. - Etwas bestoßen, Rücken lädiert. Vorderer Spiegel mit Exlibris einer amerikanischen Bibliothek. Das Titelblatt etwas knittrig und eng eingebunden. Eine Tafel mit kurzem, hinterlegtem Einriss.

      [Bookseller: Antiquariat Turszynski]
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        Treatise on the Theory and Practice of Naval Architecture: being the article 'Ship-Building' in the Encyclopaedia Britannica, Seventh Edition.

      Adam and Charles Black, Simpkin etc,, Edinburgh: 1840 - xvi, 90, printed in double column except for the Introduction, and followed by the 15 plates, five being double-page, and one of these folding. A little foxing to the plates, text clean. Original yellow endpapers, with professional repairs to hinges. Large quarto, in contemporary grained brown cloth ruled in blind: rebacked, with the original spine with faded gilt title relaid. A very nice copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Chapel Books]
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        Memoir, Historical and Political, on the Northwest Coast of North America, and the Adjacent Territories; Illustrated By a Map and a Geographical View of Those Countries - Signed and Inscribed By Author to Historian William Hickling Prescott

      Washington, D.C.: Blair and Rives. Hardcover. xi, 227 pages. Index. Fold-out map. Signed and inscribed by author to renowned historian William Hickling Prescott inside front board. Upon front free endpaper a subsequent owner (late 1800s) has documented the provenance of this copy and documented Prescott's pencil markings to pages 23 through 27 which deal with Cortes and Mexico. Occasional light markings to contents. Prior owner's mini-bookplate inside front board. Narrow openings along both hinges. Usual library markings. Fold-out map bears several short openings and a tape repair along right edge. Front free endpaper loose but present. Prior owner's signature atop title page. Above-average external wear to brown marbled boards. . Fair. 1840. First Edition.

      [Bookseller: RareNonFiction.com]
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        Voyages of the Dutch Brig of War Dourga, through the Southern and Little-Known Parts of the Moluccan Archipelago, and along the Previously Unknown Southern Coast of New Guinea, Performed During the Years 1825 & 1826

      London.: Madden.. 1840.. Translated from the Dutch by George Windsor Earl. 2 maps, xxiv + 365pp + advert, bookplate front paste down, some light foxing throughout, little offsetting from the frontis on to the title page as usual, full calf, very attractive marbled endpapers, marbled edges, rebacked, decorative gilt backstrip with raised bands showing a little wear laid down, light shelf wear edges, light foxing preliminary and lower blanks. .

      [Bookseller: Asia Bookroom]
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        MASTER HUMPHREY'S CLOCK

      London:: Chapman & Hall,. 1840-41.. Bound in 6s. 10-3/8" x 6-3/4". 1st edition (Eckel, pp. 67- 70; Smith I, p. 47). 3 volumes (306; 306; 426 pp).. Original publisher's brown cloth with Smith's primary binding design, i.e., a gilt clock motif with the hands pointing to the time that corresponds to the volume number.. Volumes I & III professionally rebacked. Volume II slightly cocked.. Bookplate, usual bit of foxing & average wear; overall VG.. Contains first appearance of Dickens' popular 'Old Curiosity Shop' & his first historical work, 'Barnaby Rudge'. . Frontis in each volume & 195 intratextual woodcut illustrations [primarily] by Phiz and George Cattermole.

      [Bookseller: Tavistock Books, ABAA]
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        Discorso letto nell' ateneo in Bergamo da Paolo Conte Vimercati Sozzi sovra alcuni monumenti esistenti in Roma alla memoria d'illustri bergamaschi annessivi i relativi disegni ed analoghe illustrazioni.

      Dalla Stamperia Mazzoleni;, Bergamo: 1840 - Bergamo: Dalla Stamperia Mazzoleni; 1840. 54 S., Abb. Oppd. Einband angeschmutzt und beschabt. Innen tls. etwas stockfleckig. BEIGEBUNDEN: Ragionamento di Paolo Conte Vimercati Sozzi sovra alcuni vasi e lucerne fittili un vetro ed un bronzo tratti da vetustissime arche sepolcrali presso lovere letto nella publica seduta 22 aprile 1841 dell'ateneo di bergamo. Bergamo: Dalla Stamperia Mazzoleni; 1841. 36 S., Falttafel. - Sulla moneta della citta di bergamo nel secolo decimoterzo dissertazione storico-critica di Paolo Conte Vimercati Sozzi. Bergamo: Dalla Stamperia Mazzoleni; 1842. 76 S., Abb., 4 Tafeln. - Su varj argomenti relativi a Torquato Tasso illustrazione die Paolo Conte Vimercati Sozzi. Bergamo; Stamperia Mazzoleni; 1844. Falttafel, Titelkupfer, 42 S. - Sulle belemniti d'entratico cenni di P.C.V.S. Bergamo: Stamperia Mazzoleni; 1846. 23 S., 2 Tafeln. - LOSE BEILIEGEND: Ritrovamenti numismatico-archeologici suardi e volpi esposti da Paolo Vimercati-Sozzi. 7 S., Falttafel. - Lapide romana sterrata nella provincia di Bergamo annunziata da Paolo Vimercati Sozzi. 8 S. Jeweils schmucklose Broschur. Insgesamt sieben Teile. Sprache: Italienisch Sonderrabatt August 2013: Das Antiquariat Hamecher bietet AbeBooks-Kunden einen exklusiven Rabatt von 25% auf sämtliche Preise. Alter Preis: 600.00 EUR. Einband angeschmutzt und beschabt. Innen tls. etwas stockfleckig. [Attributes: Soft Cover]

      [Bookseller: Antiquariat Hamecher]
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        The Comic Latin Grammar & The Comic English Grammar

      Charles Tilt - Richard Bentley, London, 1840. First Edition. Hardcover (Full Leather). Very Good Condition. 2 volumes both in full red morocco with leather inlays depiciting a figure on each board by the Guild of Women Binders. Spines darkened and slightly dry, but still an attractive pair of bindings. Endpapers darkened, armorial bookplates to pastedowns (J. Barton Townswed). Text is clean, tipped in plates in Latin Grammar are darkened. Size: Octavo (8vo). Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Humour; Antiquarian & Rare. Inventory No: 042000. .

      [Bookseller: Pazzo Books]
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        Laws of the General Assembly.Commonwealth Pennsylvania.1840-1971

      1840 - [Pennsylvania]. Laws of the General Assembly of the Commonwealth of Pennsylvania, Passed at the Session of 1840 [-1971]. Published by Authority. Harrisburg: William D. Boas [and others], 1840-1971. Some years missing (see below). Together 88 books. Octavo (8-1/2" x 5-1/2"). 1840-97 volumes: Contemporary quarter sheep over paper, lettering pieces to spines, several rebacked in buckram, some volumes have hand-lettered sppines. Moderate shelfwear, some hinges cracked, internally clean. 1901-1911 volumes: Contemporary law calf, red and black lettering pieces to spine. Moderate shelfwear, boards detached from two volumes, several joints and hinges cracked but secure,internally clean. 1913-1971 volumes: Original buckram, reed and black lettering pieces to spines. Light shelfear and soiling, internally clean. All volumes have owner signatures and owner stamps to preliminaries. * This set is lacking the following years: 1845, 1849, 1856, 1863-1867, 1872-1873 and 1876, 1880, 1882, 1884, 1886, 1888, 1890, 1892, 1894, 1896, 1898-1900. Babbitt, Hand-List of Legislative Sessions and Session Laws 426-427. [Attributes: Hard Cover]

      [Bookseller: The Lawbook Exchange, Ltd., ABAA ILAB]
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        L'Avocat De La Republique, 1798

      1840. Gillray, James [1756/57-1815]. [Erskine, Thomas, First Baron Erskine (1750-1823)]. L'Avocat De La Republique. London: Hannah Humphrey, 21 May 1798. Reissue. London: Thomas McLean, 1840. Attractively glazed and matted 10" x 7-1/2" colored lithograph in handsome 18" x 15-1/2" wooden frame, small brass plaque to center of bottom. Light toning to margins, image vivid. An attractive piece. * Second issue. Plate 7 from the series French Habits. Gillray, a British caricaturist and printmaker, was famous for his political and social satires. Most of his work was published from 1792 to 1810. French Habits is a 12-plate folio depicting leading members of the Whig Party as leaders of France's revolutionary government.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        VOYAGE EN SUISSE

      [ca, 1840. Hardcover. Fine Collection of Lovely Hand-Colored ViewsFrom Mid-19th Century Swiss Travels. 140 x 194 mm (5 1/2 x 7 5/8"). 1 p.l. (title in manuscript) followed by plates. Pleasing contemporary red straight-grain morocco, intricately gilt, covers with wide, twisting strapwork floral frame and large filigree lozenge centerpiece, raised bands, spine gilt in compartments with vase of flowers at center within a lozenge of small tools and floral garland cornerpieces, ornately gilt turn-ins, marbled endpapers, all edges gilt (joints expertly repaired at top and bottom). WITH 79 VERY APPEALING HAND-COLORED AQUATINTS OF SWISS VIEWS, each with printed captions, all with a protective blank sheet (except the last, where the sheet is mostly torn away). Leather a little faded, corners a bit worn, minor soiling to boards, occasional trivial foxing to guards and to a few plate margins, a couple of small smudges, but an excellent copy, THE PLATES CLEAN AND FRESH WITH VIBRANT COLORS, and the carefully restored binding quite sound, lustrous, and without any serious wear. This is a lovely collection of views by Swiss painter Rudolf Dikenmann, printed by the artist's family atelier and hand colored by his sister Anna. There are city views of Geneva, Lausanne, Lucerne, Bern, and Zurich, and tranquil rural landscapes of mountains, lakes, chalets, glaciers, a stunning waterfalls. The scenes are quite natural and animated, whether inhabited by peasants, livestock, hikers, and tourists or enlivened by the rushing waters of the Reichnbach or the dizzying heights of an Alpine bridge. The composition is pleasing, the detail remarkable, and the colors quite rich, skillfully applied, and heightened in spots with gum arabic. This delightful souvenir album can hold its own beside far more famous "picturesque voyages." The manuscript title page--and the lack of any OCLC or ABPC records for the item--may indicate that these prints were especially assembled by a traveller to commemorate a visit to Switzerland, a common practice at the time. Dikenmann did publish a "Souvenir de la Suisse," containing 50 plates, in the 1860s.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Pl. 297 Cock of the Plains 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. Matted in Ivory Rag Board First Royal Octavo 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 J. J. Audubon, FRS, FLS and lithographed, printed and colored by JT Bowen, Philadelphia from 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 of The Birds of America represents John James Audubon's desire to create a democratic (affordable) work based his magnum opus; the Double Elephant Folio Edition of The Birds of America. Satisfied with his research, as well as his portrayals of North America's native and distinct bird species, J.J. Audubon here rendered a miniature yet unique version of The Birds of America. As is the case with prolific artists, Audubon continued to improve upon a body of work which was viewed as perfection. During the mid-19th century, there were no photomechanical means of reproduction, every composition was then redrawn by hand, with the aid of the Camera Lucida. For this Royal Octavo Edition Audubon and his assistants translated the 435 compositions of the Double Elephant Folio edition into 500 unique compositions of individual species. Previously documented groups of heretofore unrelated birds were now separated and divided according to species, and portrayed either on a new botanical perch or within a renewed landscape. Unlike the life-sized portraits of the Double Elephant Folio edition each bird was now sized to scale on the octavo-sized plate; approximately 6.5 x 10.25 inches. With this slight alteration, Audubon created a perfected composition, and thus offered a charming vignette view of the bird, or family of birds in its natural setting. For the Royal Octavo Edition, Audubon enlisted America's premier lithographers, JT Bowen and Co. in Philadelphia and Endicott in New York to produce the work. Every composition was drawn on a limestone tablet, inked, printed and then hand-colored with watercolor. In this format Audubon presented the undocumented birds discovered during his explorations of the American West, but not previously included in the Double Elephant Folio Edition of The Birds of America. As with the folio edition, the Royal Octavo Edition was sold by subscription. One hundred individual packets of five hand-colored lithographs and accompanying text; Audubon's Ornithological Biography, was sent to the subscriber. It was issued the first and fifteenth of each month for four subsequent years. The pagination of the Royal Octavo Edition was organized to be bound in seven volumes. This successful and popular work of American ornithology was produced in an eventual eight editions, the final edition of which was issued in 1870 by George Lockwood, New York. (Wood, Casey. An Introduction to the Literature of Vertebrate Literature. London: Oxford University Press, 1931. Tyler, Ron. Audubon's Great National Work. Austin: University of Texas Press, 1993. )

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Tales of the Grotesque and Arabesque

      Philadelphia: Lea and Blanchard,, 1840. 2 volumes, duodecimo in half-sheets. Original purple muslin, printed paper spine labels. Complete with 4pp. critical notices serving as adverts bound in before the title page in vol. 2 and all blank flyleaves. Early ownership inscriptions to front free endpapers in each vol.: A. Somano[?] in ink and John Bain in pencil. Spines inevitably somewhat faded, labels rubbed and darkened, faint staining (presumably from damp) to first few leaves of vol. 1, small amount of threadlike worming to upper outer corner of front pastedown of vol. 1 and very minimally affecting next few leaves in same place but not the text; scattered light foxing as usual, chiefly marginal; overall, an excellent copy in the somewhat delicate publisher's binding, rare and highly desirable thus. First edition of the first collection of Poe's tales, one of only 750 copies published, including such notable titles as "The Fall of the House of Usher", "Ms Found in a Bottle", "Siope" ("Silence") and "The Visionary" ("The Assignation"). "These volumes mark the culmination of Poe's effort, beginning as early as 1834, to get his prose tales into volume form. It is a milestone in his career as a prose writer, but was a failure commercially" (Heartman & Canny, A Bibliography of First Printings of the Writings of Edgar Allan Poe, p. 53). BAL notes that signature 20, vol. 2 occurs in several states due to the progressive loosening of type during the course of a single printing. In this copy, p. 213 is correctly numbered, while the "i" in "ing", line 13 up, and the hyphen at the end of line 6 up are both below the line.

      [Bookseller: Peter Harrington]
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        Les Débardeurs

      1840. first edition. Sixty-Six Lithographed Plates by Gavarni"Stevedores" at the Carnival of Paris GAVARNI [pseudonym of Guillaume Sulpice Chevallier]. Les Débardeurs. Album par Garvarni. Paris: Au Bureau du Charivari, [n.d., 1840-1842].Large quarto (13 1/8 x 9 7/8 inches; 334 x 251 mm). Sixty-six numbered lithographed plates. Plates printed by Aubert & Cie.Plates 1-12, 14, 15, 17, 19-20, 22, 25-30, 34-35, 37-43, 45-47, 50-51, 53, and 55-59 are in the second state, as described in Armelhault & Bocher; Plates 13, 16, 18, 21, 23-24, 31-33, 36, 44, 48-49, 52, 54, and 60-66 are in the third state; and Plates 21 and 61 are in the fourth state. Plates 44 and 62 have a loose duplicates inserted to place.Contemporary quarter purple roan over purple floral embossed paper over boards. Some margin spotting with an occasional intrusion to image. Previous owners' small circular ink stamps in the lower right corner of each plate. Prior owner's small, neat and penciled Gavarni catalogue notes at foot to each plate. Spine near invisibly repaired and refurbished. A very good copy.A series of sixty-six lithographs, of which nine first appeared in other journals (eight in La Caricature (plates 21, 23, and 24 under the title “Souvenirs du Carnaval” and 32, 44, 49, 54, and 61 under the title “Les Débardeurs”) and one (plate 58) in La Mode) prior to the publication of the entire series in Le Charivari from 19 January 1840 to 5 February 1842.“In [Les Débardeurs]...a series of sixty-six lithographs published in Le Charivari between 1840 and 1843, Gavarni depicts a variation on the most famous of the costumes he designed for the masquerade balls, the débardeur [stevedore]. The braided wig, loose shirt, black velvet trousers fastened with brass buttons and tied with a fringed sash are derived from the working costume of the longshoreman or stevedore, who unloaded the barges that traveled up the Seine to Paris. As Nancy Olsen points out [in Gavarni: The Carnival Lithographs], the majority of Gavarni’s carnival lithographs reflect his interest in the small groups that drift away from the crowd as a consequence of the romantic liaisons that preoccupied many of the participants at a masked ball. Intrigue was the name of the gave, and the information being conveyed in this scene comes in all probability from an agent provocateur” (Beatrice Farwell, The Charged Image: French Lithographic Caricature 1816-1848, p. 88).“This is the most considerable of the several series of lithographs devoted by Gavarni to the balls which were a passion with him. He was an organizer and patron of the more elegant, and he found the popular balls at the Opera and elsewhere an attractive subject for his designs. Théophile Gautier, who believed that at this period Parisian balls had virtually ‘effaced the former carnival of Venice,’ called Gavarni ‘their depicter and historian.’ As dancers throw themselves into their round of pleasure, ‘a man stands with his back against a pillar; he watches, he listens, he observes.’ And the following day on stone ‘he lends his own wit to all the masks, perhaps stupid in themselves; he sums up in a profound word the chit-chat of the foyer; he translates into a pleasant legend the hoarse excitement of the hall.’ (Quoted by Lemoisne, I, 120)” (Ray, The Art of the French Illustrated Book).Such elements have made Gavarni's carnival lithographs among his finest, most famous and desired works of art.The imprints vary slightly. Plates 1, 2, 3, 4, 6, 7, 9, 12, 16, 18, 19, 20, and 22-31 have imprints: “Chez Bauger R. du Croissant 16” and “Imp. d’Aubert & Cie.” (“Chez Bauger R. du Croissant 16” barely visible on Plate 1 and “Imp. d’Aubert & Cie.” barely visible on plate 2); Plates 5, 8, 10, 11, 14, 15, 17, and 21 have imprints: “Chez Aubert gal. [or g.] Vero-Dodat”, “Imp. d’Aubert & Cie.”, and “Chez Bauger R. du Croissant 16”; Plate 13 has imprint: “Imp. d’Aubert & Cie.”; Plates 32-35 and 37-59 have imprints: “Imp. d’Aubert & Cie.” and “Se Vend chez Bauger & Cie. Editeurs des Dessins de la CARICATURE, du FIGARO et du CHARIVARI, R. du Croissant, 16;” Plates 36, 61, and 63-66 have imprints: “Chez Aubert gal. Véro-Dodat” and “Imp. d’Aubert & Cie.” beneath the image and (at foot) “Se vend chez Bauger & Cie. Editeurs des Dessins de la CARICATURE du FIGARO et du CHARIVARI, R. [or Rue] du Croissant, 16 or [No. 16]”; and Plates 60 and 62 have imprints: “Chez Aubert gal. Véro-Dodat” and “Imp. d’Aubert & Cie.” beneath the image and (at foot) “Se Vend Chez Bauger & Cie. Editeur des Dessins du FIGARO de la CARICATURE et du CHARIVARI, R. du Croissant No. 16.”Armelhault & Bocher, nos. 486-542, 307-309 (plates 21, 23, and 24), 259-263 (plates 44, 49, 32, 54, and 61), and 1223 (plate 58). Ray, The Art of the French Illustrated Book, 154.

      [Bookseller: David Brass Rare Books, Inc.]
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        Neues Zoologisches oder naturgeschichtliches Lottospiel

      Germany,: circa, 1840.. Lottery game with 12 handcoloured illustrated cards (each with 15 illustrations of mammals), 60 printed markers (text in German, French and English) in a cloth sack and 12 glass counters in a patterned cloth sack, and 2 pp. instruction leaflet; all contained in the original painted timber box with lithographed titling label decorated in gilt; minor restoration to lid, else in excellent original condition. A beautiful German children's lottery game in remarkably fine original condition.The theme of the game is mammals or the 'first class of the animal kingdom'. The object of the game is to be the first to fill the squares on an illustrated game card with the smaller name cards of the animals. The handcoloured drawings are based on the works of Buffon, Schreber, Cuvier and Schinz, and include a wide variety of mammals ranging from human beings to exotic Australian species, including the echidna, platypus, kangaroo and wombat.Games of this period with all of their pieces intact are particularly rare. This one is complete with its printed rule sheet, original glass counters and the original box.

      [Bookseller: Hordern House Rare Books]
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        MASTER HUMPHREY'S CLOCK

      1840. With Illustrations by George Catter­mole and Hablot Browne. London: Chapman and Hall, 1840-41. 20 monthly serial parts, in original pictorial light blue-green wrappers. First Edition of THE OLD CURIOSITY SHOP and of BARNABY RUDGE. After the publication of NICHOLAS NICKLEBY in monthly parts in 1839, Dickens decided to create a weekly serial named MASTER HUMPHREY'S CLOCK, within which he would issue his future novels. The first issue, beginning THE OLD CURIOSITY SHOP, was issued on April 4, 1840. When that novel was completed 44 issues later, Dickens started right in with BARNABY RUDGE (the 45th part is a transition part). When that novel was completed in the 88th (November 27, 1841) issue, Dickens terminated the MASTER HUM­PHREY'S CLOCK publication and, beginning with MARTIN CHUZZLEWIT, reverted to his standard monthly serialization. These weekly parts are quite different from Dickens's monthly ones: each weekly part consisted of one large sheet folded to create sixteen pages (twelve of text, plus a front and rear "wrapper"), without any of the myriad inserted advertisements common to the monthly parts. In addition, the illustrations are woodcuts within the text, rather than separate steel-engraved plates. ~After every fourth or fifth weekly part, they were also available bound together in twenty monthly parts (as here), trimmed down a bit and with added advertisements and colored wrappers -- making them similar to Dickens's other novels. Also, MASTER HUM­PHREY'S CLOCK was available in (three) clothbound volumes, each published at intervals of about seven months -- for which the preminary leaves are provided in monthly parts VI, XII & XX. Finally, simultaneous with the publication of Vol III, MASTER HUMPHREY'S CLOCK was divided and issued as two separate one-volume novels titled THE OLD CURIOSITY SHOP and BARNABY RUDGE.~This set is in remarkably near-fine condition. A few parts (such as the first and last) have minor cover soil or edgewear, but most are in close-to-fine condition. The upper margin of some front wrappers bears the signature of initial subscribers. The inserted ads are all present with the exception of the Rippon & Burton and Tyas ads for Part 1 (almost always lacking), plus some ads in Parts 7, 10 and 13; the final part does contain the Virtue ads, often lacking. In our experience these monthly parts are scarcer than either the weekly parts or the three-volume edition. Gimbel A49; Hatton & Cleaver pp 161-182 (monthly parts); Smith I pp 44-57 and Wolff 1804 (three volumes). Housed in a morocco-backed pull-off case (showing wear) with inner cloth chemise.

      [Bookseller: Sumner & Stillman]
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        [OIL PAINTING OF BALTIMORE, MARYLAND]

      [ca. 1840].. Oil on canvas, 18 x 24 inches. Titled in shaded red block letters lower center: BALTIMORE. Bearing signature lower right: "W H Bartlett." Provenance: Kennedy Galleries (label); Collection of Edward Eberstadt & Sons. Original canvas and stretcher, in excellent condition. A beautiful and richly colored painting, this view of Baltimore Harbor is based on the print of Baltimore in William Henry Bartlett’s 1840 view book, AMERICAN SCENERY... Bartlett painted Baltimore quite fancifully, giving it the Levantine look found in his other American cityscape (his view of Boston is very similar to this picture). The city appears as a magnificent white pyramid of shimmering buildings, towers, smokestacks, and statues rising over the harbor, a few commercial and pleasure crafts at sail. The painting is close in perspective and detail to French marine artist Louis Le Breton's 1840 engraving of Baltimore Harbor, which also gives the appearance of a Middle Eastern city. Bartlett, London-born painter, watercolorist, draftsman, engraver, is thought to have exhibited at the Royal Academy, circa 1831-34. An intrepid traveler, his lifetime itinerary included visits to the Balkans, the Near East and edges of the Orient, North America, and, finally, death in a shipwreck off Marseilles. He is best remembered today for AMERICAN SCENERY (1840) and its companion CANADIAN SCENERY (1842), based on his travels in America after 1836. Bartlett travelled extensively in Canada and America, sketching and painting the principal cities and famous scenic vistas of North America for publication in the view books. A slightly larger version of this painting of Baltimore is exhibited by the Maryland Historical Society. WHO WAS WHO IN AMERICAN ART (Madison, Ct.: Soundview Press, 1999), Vol. 1, p.225. BENEZIT (Grund, 2006), Vol. 1, p.1235.

      [Bookseller: William Reese Company - Americana]
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        WATERCOLOR TITLED "AN AMERICAN CUTTER"].

      [Np. ca. ?]. 1840 - Watercolor on stiff paper. 27.2 x 20.8 cm. With a rather unobtrusive 7 cm. tear through the lower left quadrant. Contemporary manuscript title on verso, "An American Cutter." Overall a fine image. A handsome, unsigned watercolor depicting a single-horse sleigh pulling a clever-looking American trapper with hunting dog barely keeping up. A lively image, probably a Canadian scene, very displayable.

      [Bookseller: William Reese Company - Americana]
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        Burton's Gentleman's Magazine: Volume V, July to December 1839; & Volume VI, January to June 1840

      Philadelphia, PA.: William Burton, 1840 Edgar Allan Poe's Writings in Burton's Gentleman's Magazine: Volume V, July to December 1839; & Volume VI, January to June 1840. These two volumes are combined together in one book. Edited by William E. Burton and Edgar A. Poe. Published by William E. Burton, Philadelphia, PA. Volume 5 contains 334 pages minus one engraving plate. Volume VI has 294 pages. Condition: Bound in 3/4 leather with marbled covers which are securely attached to the spine and binding with some edge wear. The pages are tightly bound. The pages are supple and legible. There is some foxing and the pages shown give a fairly good cross-section of the amount of foxing with half the pages having none at all. The "Fall of the House of Usher" has mild to moderate foxing and a page is shown. The last four pages of Volume VI have slightly heavier foxing than shown. EXTREMELY RARE BOOK with no copies for sale currently showing on book broker sites.******Poem - "To Ianthe in Heaven" (reprint) (text ?) (p. 49) (signed, "BY E. A. POE") Poem - "Spirits of the Dead" (revised reprint) (text ?) (p. 51) (unsigned) Misc - "A Chapter on Field Sports and Manly Pastimes ****Tale - "The Man That Was Used Up" (first printing) (pp. 66-70) ******Tale - "The Fall of the House of Usher" (first printing) (text A) (pp. 145-152) *******Tale - "William Wilson" (reprint) (text B) (pp. 205-212) (Signed "BY EDGAR A. POE.") (Noted as "From the Gift for 1840") ********Article - "The Capitol at Washington" (first printing) (pp. 231-235) (Attributed to Poe by T. O. Mabbott) Tale - "Morella" (tale) (text D) (pp. 264-266) ********* 1839 - December (vol. V, no. 6) Tale - "The Conversation of Eiros and Charmion" (tale, first printing) (text A) (pp. 321-323) *****Tale - "The Journal of Julius Rodman" (Tale, first printing) (text x) (pp. 44-47) (This is the first chapter of the six-part series. It carries the subtitle "Introductory.") *****Tale - "The Journal of Julius Rodman" (first printing) (text x) (pp. 44-47) (This is the second chapter of the six-part series.) Tale - "Peter Pendulum, the Business Man" (first printing) (text x) (pp. 87-89) *******Tale - "The Journal of Julius Rodman" (Tale, first printing) (text x) (pp. 109-113) (This is the third chapter of the six-part series.) *******Tale - "The Journal of Julius Rodman" (Tale, first printing) (text x) (pp. 178-183) (This is the fourth chapter of the six-part series.) Misc - "Omniana" (first printing) (text x) (p. 161) (This is the first installment of the four-part series.) Poem - "Silence. A Sonnet" (reprint) (text x) (p. 166)*****Article - "A Notice of William Cullen Bryant" (article, first printing) (text x) (p. 203-205) Tale - "The Journal of Julius Rodman" (Tale, first printing) (text x) (pp. 206-210) (This is the fifth installment of the six-part series.) Misc - "Omniana" (first printing) (text x) (pp. 235-236) (This is the second installment of the series.) Article - "The Philosophy of Furniture" (first printing) (text x) (pp. 243-245) ******Article - "Some Account of Stonehenge" (article, first printing) (text x) (pp. 251-252) Tale - "The Journal of Julius Rodman" (Tale, first printing) (text x) (pp. 255-259) (This is the sixth and final installment of the series.) Misc - "Omniana" (first printing) (text x) (p. 289-290) (This is the third installment of the series.) Review of New Books (pp. 293-294) . First Edition. Three-Quarter Leather. Veery Good Minus. 8vo - over 7¾" - 9¾" tall.

      [Bookseller: Mikandra Books]
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        THE RAILWAYS OF GREAT BRITAIN AND IRELAND

      London: Simpkin, Marshall, and Co, 1840. FIRST EDITION. Hardcover. 289 x 216 mm (11 3/8 x 8 1/2"). xxvi, [ii], 500, lxiv pp. FIRST EDITION. Recent very appealing retrospective full calf, raised bands, maroon morocco label. Engraved dedication page to the "Railway Capitalists of the United Kingdom," a large folding map of Britain showing railway lines, and 16 engraved plates, 10 of them double-page, two of them folding, the illustrations largely showing locomotives and railcars. With 12 folding tables. Occasional pencilled marginalia. Minor foxing to opening leaves and plates, one folding plate with neat early repairs on blank verso, other trivial imperfections, but an excellent copy, the leaves clean and fresh, and the attractive sympathetic binding unworn. This comprehensive, detailed survey of all the railways operating in Britain and Ireland covers 58 lines, from "A" (Abbroath and Forfar) to "Y" (York and North Midland) Railways. Special praise is reserved for the legendary Great Western Railway, "by far the most gigantic work of the kind . . . in the whole world." Civil engineer Whishaw (1804-56) is said to have travelled 7,000 miles in completing the personal inspections that make this work so accurate and reliable. The work describes for each railway the general course, gradients, gauge, permanent way, earthworks, bridges, tunnels, stations, the carrying departments, locomotives, estimated and actual cost, management, revenue, and expenditure. Whishaw wrote several other works on railways, and as Secretary to the Society of the Arts, was one of the forces behind the Great "Crystal Palace" Exhibition of 1851. This is quite a rare book: since 1975, ABPC lists just three copies of our first edition (all defective or in disagreeable shape), none of them since 1980.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        In Commemoration of the Establishment of Steam Navigation between Great Britain and America, the Magnificent Steam Ship the Great Western

      London: R. Ackermann, 1840. Aquatint, hand-colored, by R.G. & A.W. Reeve. 22 5/8 x 28 1/2 inches. The Great Western, creation of legendary engineer Sir Isambard Kingdom Brunel, was the first ship to be designed to carry enough coal, specifically to steam across the Atlantic. She set off on her maiden voyage from Bristol in April 1838, apparently unaware that the Sirius, a smaller ship from a rival company, had left Cork three days earlier on the same run. The Sirius arrived in New York on the morning of April 23 and the Great Western came in four hours later - her passage had taken fifteen days, and she had averaged 8.2 knots, an impressive speed. This was one of the most important events the port of New York had witnessed and it was the main story in the newspapers. One writer observed that "the problem of…establishing a regular intercourse by steam between Europe and America is considered to be solved by the arrival of these vessels." Over the eight years of her transatlantic service, the Great Western made about ninety voyages. This is the largest recorded print of the Great Western. The Marine Collection at India House, pages 86- 87; Parker and Bowen, Mail and Passenger Steamships of the XIX century, pages 140-141, number (i).

      [Bookseller: Donald Heald Rare Books]
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        NARRATIVE OF A VOYAGE TO MADEIRA,

      - TENERIFFE, AND ALONG THE SHORES OF MEDITERRANIAN, including a visit to Algiers, Egypt, Palestine, Tyre, Rhodes, Telmessus, Cyprus, and Greece. With observations on the present state and prospects of Egypt and Palestine, and on the climate, natural history, antiquities, etc. of the countries visited. By M. R. I. A. Licentiate of the Royal College of Surgeons In Ireland, Member of the Dublin Natural History Society, &c. In two volumes. William Curry, Jun. and Company. Dublin 1840. Obra em 2 volumes. In 4º (de 22x14 cm) com xiv, [i], 464 e viii, 495 pags. Encadernações da época com lombadas e cantos em pele. Corte das folhas marmoreado. Ilustrado no texto e em extra-texto com litografias coloridas e mapas. A descrição da Ilha da Madeira ocupa as pags. 83 a 126 do Iº volume desta obra. O autor W. R. Wilde, cirurgião irlandês, foi o pai do escritor Óscar Wilde. [EN] The description of Madeira Island is running from pages 83 to 126. The author William Wilde was Ireland's leading oto-ophthalmologic (ear and eye) surgeon and was knighted in 1864 for his services as medical adviser and assistant commissioner to the censuses of Ireland. He also wrote books about Irish archaeology and peasant folklore. A renowned philanthropist, his dispensary for the care of the city's poor at the rear of Trinity College, Dublin, was the forerunner of the Dublin Eye and Ear Hospital, now located at Adelaide Road. Location/localizacao: raros

      [Bookseller: Livraria Castro e Silva]
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        Siegen." Blick von Nordwesten auf die Stadt mit der Sieg, Unterem und Oberen Schloss, im Hintergrund der Lindenberg mit der Windmühle, vorn auf einem Weg zwei Frauen mit einem Kind und Mann mit Handkarren

      Federlithographie auf Chine appliqué von Jakob Scheiner bei Wilhelm Friedrich, Siegen um 1840. 11.5x20.5 cm. - Die Darstellung auf Chine appliqué gedruckt und auf das Blatt mit dem gedruckten Titel und der Verlagsangabe montiert. Diese Ansicht ist weder in Westfalia Picta III noch im Werkverzeichnis von G. Steinebach aufgeführt.

      [Bookseller: Wenner Antiquariat]
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        Elements of chemical philosophy : as regards the laws of chemical changes: undecompounded bodies and their primary combinations

      London : Smith, 1840. 2nd Edition. Series: The collected works of Sir Humphrey Davy, Bart. Includes the author's new advertisement to the work. Physical desc.: xx, 376 p., [12] leaves of plates ; 21 cm. Subject: Chemistry - Textbooks. Chemistry - Nomenclature. Chemistry - History. Very good copy in the original full calf. Professionally and period-sympathetically re-cased with the title blocked direct in gilt; spines uniformly tooled; all very impressively finished. An uncommonly good example - scans and additional bibliographic detail on request.

      [Bookseller: MW Books Ltd.]
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        Morrison's North River Traveller's Companion Containing a Map of the Hudson or North River, with a Description of the adjoining Country; the Names and Distances of the different Towns, the Names and Heights of the surrounding Mountains, &c

      Philadelphia. hardcover. very good(+). Case map. Engraving with original hand coloring. Page measures 8.75" x 22.25". Fantastic pocket map following the path of the Hudson River from New York City to Hadley Falls, circa 1840. Each county the river passes through has been differentiated with color and notable towns and cities are marked along the way. As a "Traveller's Companion" the map provides lists of distances between various U.S. cities, hotels, and lengths of U.S. canals. A map of New York City and its environs is printed on the inside cover. Title in decorative scroll motif with an uncolored view of a waterfall. Minor scattered foxing and adhesive stain to inside cover.

      [Bookseller: Argosy Book Store]
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        Pl. 346 Greenshank 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. Matted in Ivory Rag Board The First Royal Octavo 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 J. J. Audubon, FRS, FLS and lithographed, printed and colored by JT Bowen, Philadelphia from 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 of The Birds of America represents John James Audubon's desire to create a democratic (affordable) work based his magnum opus; the Double Elephant Folio Edition of The Birds of America. Satisfied with his research, as well as his portrayals of North America's native and distinct bird species, J.J. Audubon here rendered a miniature yet unique version of The Birds of America.& As is the case with prolific artists, Audubon continued to improve upon a body of work which was viewed as perfection. During the mid-19th century, there were no photomechanical means of reproduction, every composition was then redrawn by hand, with the aid of the Camera Lucida. For this Royal Octavo Edition Audubon and his assistants translated the 435 compositions of the Double Elephant Folio edition into 500 unique compositions of individual species. Previously documented groups of heretofore unrelated birds were now separated and divided according to species, and portrayed either on a new botanical perch or within a renewed landscape. & Unlike the life-sized portraits of the Double Elephant Folio edition each bird was now sized to scale on the octavo-sized plate; approximately 6.5 x 10.25 inches. With this slight alteration, Audubon created a perfected composition, and thus offered a charming vignette view of the bird, or family of birds in its natural setting. & For the Royal Octavo Edition, Audubon enlisted America's premier lithographers, JT Bowen and Co. in Philadelphia and Endicott in New York to produce the work. Every composition was drawn on a limestone tablet, inked, printed and then hand-colored with watercolor. In this format Audubon presented the undocumented birds discovered during his explorations of the American West, but not previously included in the Double Elephant Folio Edition of The Birds of America. & As with the folio edition, the Royal Octavo Edition was sold by subscription. One hundred individual packets of five hand-colored lithographs and accompanying text; Audubon's Ornithological Biography, was sent to the subscriber. It was issued the first and fifteenth of each month for four subsequent years. The pagination of the Royal Octavo Edition was organized to be bound in seven volumes. This successful and popular work of American ornithology was produced in an eventual eight editions, the final edition of which was issued in 1870 by George Lockwood, New York. & (Wood, Casey. An Introduction to the Literature of Vertebrate Literature. London: Oxford University Press, 1931. Tyler, Ron. Audubon's Great National Work. Austin: University of Texas Press, 1993. ) &

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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