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Displayed below are some selected recent viaLibri matches for books published in 1842

        London Bridge From Southwark Bridge

      [London: T. Boys, 1842. Hand-coloured lithograph by Thomas Shotter Boys, printed by Charles Hullmandel. Very good condition apart from some overall light foxing and a water stain in the top margin. A very fine image from Boys' 'London As It Is': a work 'of considerable importance' (Abbey) Abbey writes of the work London As It Is from which this beautiful image comes: apart "from the beauty of its plates, it records London at a period when good pictorial records were few. The London of the 1840's is probably more difficult to reconstruct than at any other period in the nineteenth century" (Abbey Life 239). High production costs and changing fashion caused aquatint to die out, photography was still in an experimental stage, and chromolithography did not appear until 1850. Boys' work was issued with the plates hand-coloured mounted in imitation of watercolours, with no imprint, or as here, with the plates tinted and hand-coloured, including Boys' name at the foot. Boys garnered enormous prestige from this work and from his earlier, Picturesque Views in Paris, Ghent... (1839). The "accuracy of his portraits of buildings and his skill in composition have seldom been bettered" (Mallalieu Dictionary of British Watercolour Artists p.38). Cf. Abbey Scenery 239.

      [Bookseller: Donald Heald Rare Books]
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        Guildhall

      London 1842 - Tinted Lithograph. Dimensions: 36 x 52.5 cm. Abbey 239. From 'London As It Is'.

      [Bookseller: Shapero Rare Books]
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        Die organische Chemie in ihrer Anwendung auf Physiologie und Pathologie

      Braunschweig: F. Vieweg & Sohn, 1842. Liebig, Justus von (1803-73). Die organische Chemie in ihrer Anwendung auf Physiologie und Pathologie. xvi, [2], 342, [2, including errata]pp. Braunschweig: F. Vieweg, 1842. 215 x 136 mm. Half morocco gilt ca. 1842, gilt cloth boards, all edges gilt, light wear, back cover a bit faded. Foxing, heavy at times, errata corrected in ink, but a good copy. Ownership signature (illegible) on front free endpaper. First Edition. Liebig published the present work two years after his groundbreaking Die organische Chemie in ihrer Anwendung auf Agricultur und Physiologie (1840); these two treatises, on plant and animal chemistry respectively, mark the foundation of organic chemistry. ?Indeed, modern views on the molecular structure and chemical constitution of organic compounds lead straight back to the ?twin constellation? represented by Liebig?s two volumes? (Printing and the Mind of Man). In the above work Liebig discussed the chemical processes of animal respiration and nutrition, introducing the modern concept of metabolism. Based upon his understanding of chemical reactions, Liebig supported Lavoisier?s theory of animal heat, which stated that it was solely the product of the oxidation of ingested hydrogen and carbon to carbon dioxide and water. He also classified the organic foodstuffs according to function into proteins, carbohydrates and fats, and attempted to deduce the actual chemical transformations that these undergo within the body. Although marred by some speculative excesses, Liebig?s work inspired even its detractors ?to view the chemical phenomena of life differently than they had before, for Liebig had provided one of the first comprehensive pictures of the overall meaning of the ceaseless chemical exchanges which form an integral part of the vital processes . . . As with his agricultural chemistry, Liebig?s physiological writings provided an impetus which outlasted the refutation of some of his specific theories? (Dictionary of Scientific Biography). Garrison-Morton.com 677. Norman 1351. Printing and the Mind of Man 310b.

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        Original Ink Drawing of New Castle, Delaware

      New Castle Delaware, 1842. Ink drawing on a 9¼ x 12½ inch sheet. Small chip in lower left corner, small crease in upper left corner. Near fine. An attractive view of an historic Delaware city, by a talented artist who also participated in notable American naval expeditions. An accomplished pen and ink drawing of New Castle, Delaware, made by United States Navy Lieutenant John B. Dale. The drawing is captioned, in Dale's hand, "New Castle, Del." and though undated was likely made around 1842, when Dale was stationed in Washington, DC, and participating in the U.S. Coastal Survey. The scene shows the skyline of New Castle, with many distinguishable steeples, towers, and multi-story buildings. Several ships are seen in the waters of Delaware Bay, on the right side of the drawing. Lieutenant John B. Dale was born in Springfield, Massachusetts in 1814 and appointed a midshipman in the United States Navy in 1829. He was one of three artists assigned to the United States Exploring Expedition, the pioneering scientific exploration commanded by Charles Wilkes that lasted from 1838 to 1842. During that voyage Dale butted heads with the famously irascible Wilkes several times, and was sent home half-way through the expedition. Nonetheless, many of Dale's drawings appear in the official published account of the expedition. He was married in 1840 and had two sons. From 1844 to 1846 Dale was a member of the crew of of the U.S.S. Constitution ("Old Ironsides") during its circumnavigation of the globe. Dale died in Lebanon in 1848, while on duty in the Mediterranean as part of the Lynch Expedition. Dale's manuscript journal of his cruise aboard the Constitution is in the collection of the New England Historical Genealogical Society.

      [Bookseller: Donald Heald Rare Books]
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        Sämmtliche Werke. Herausgegeben und eingeleitet von Ernst Förster. 2. (revidierte) Gesamtausgabe. 33 Bände in 29 Bänden.

      Berlin, Georg Reimer, 1840-1842. - Zus. ca. 11500 S. Mit 1 gest. Portrait (in Band 33) und 12 Textholzschnitten (in Band 13). 8°, marmorierte Pappbände d. Zeit mit Rückenschild und sparsamer Vergoldung. Gering berieben und etwas bestoßen; Kapitale häufiger etwas beschabt (kleine Bezugsläsuren); bei wenigen Bänden auch Rückenkanten etwas beschabt; Deckel und Rücken teils gering beschabt; jeweils zu Beginn und Schluß stockfleckig; marmoriertes Bezugspapier der letzten 4 Bände farblich etwas abweichend. In die vorliegende 2. Gesamtausgabe wurde auch Jean Pauls literarischer Nachlaß aufgenommen. Goedeke V, 466.38/ Berend 169 b. DE [Attributes: Hard Cover]

      [Bookseller: AixLibris Antiquariat Klaus Schymiczek]
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        Journals of the Rev. James Frederick Schon and Mr. Samuel Crowther, Who, with the Sanction of Her Majesty's Government, Accompanied the Expedition up the Niger, in 1841, in Behalf of the Church Missionary Society

      London: Hatchard and Son; Nisbet and Co.; and Seeley's, 1842. 1st ed. Hardcover. Very Good. frontis (double-page map), xxii, 393p. Original patterned cloth. 20cm. Backstrip wrinkled. Two 19th century names on endpaper. Crowther, a Yoruba born in Nigeria, was captured by Moslem slavers and soon freed from his Portuguese purchasers by the British Royal Navy. He became the first African bishop in the Anglican Church in 1864 and also made important contributions to African linguistics before his death in 1891. Crowther's account of his captivity and early life, first published in a missionary periodical in 1837, was reprinted as an appendix in this volume (pages 371-385).

      [Bookseller: McBlain Books]
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        Woman of the Snake-Tribe Woman of the Cree- Tribe

      Paris, Coblenz and London, 1842. Aquatint engraving by Hürlimann after Bodmer, blind stamp. A fine double-portrait composed by Bodmer from individual portraits executed at Fort McKenzie and Fort Union. The figure on the left is of a Shoshone (or Shoshoni) woman who was the wife of Marcereau, a fur company employee, who was based at Fort McKenzie. Bodmer sketched her on about 6 September in June of 1833. There were a number of Shoshone women at the fort who were said to have been captured from their home territory west of the Rocky Mountains by raiding Blackfeet. The figure to the right is a Cree woman, married to Deschamps, a man employed by the fur company as a hunter. She was sketched by Bodmer in October 1833 at Fort Union as the party made its way from Fort Mckenzie back down to Fort Clarke and their winter quarters. The blue-black patterning to the chin is a quite distinctive Cree pattern. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        [TWO ORIGINAL INK DRAWINGS OF MOUNT VERNON, BY UNITED STATES NAVY LIEUTENANT JOHN B. DALE]

      Mount Vernon, Va, 1842. Fine. An attractive duo of original ink drawings of George Washington's home at Mount Vernon, made by United States Navy lieutenant John B. Dale. One of the drawings is dated February 16, 1842, within days of what would have been Washington's 110th birthday. The drawings were likely created by Dale on a visit to Mount Vernon from nearby Washington, D.C., where he was stationed at the time and participating in the U.S. Coastal Survey. By the 1840s the estate, still in the hands of the Washington family, had fallen into disrepair and was not formally open to the public. Dale's position as a naval officer from a prominent family would have helped gain him access, and his visit demonstrates the lasting appeal of Washington's home. Lieutenant John B. Dale was born in Springfield, Massachusetts in 1814 and appointed a midshipman in the United States Navy in 1829. He was one of three artists assigned to the United States Exploring Expedition, the pioneering scientific exploration commanded by Charles Wilkes that lasted from 1838 to 1842. During that voyage Dale butted heads several times with the famously irascible Wilkes, and was sent home half-way through the expedition. Nonetheless, many of Dale's drawings appear in the official published account of the expedition. He was married in 1840 and had two sons. From 1844 to 1846, Dale was a member of the crew of the U.S.S. Constitution ("Old Ironsides") during its circumnavigation of the globe. He died in Lebanon in 1848, while on duty in the Mediterranean as part of the Lynch Expedition. Dale's manuscript journal of his cruise aboard the Constitution is in the collection of the New England Historical Genealogical Society. The drawings are as follows, and are captioned in Dale's hand: 1) "Washington's Tomb. Mount Vernon 16th Feb. 1842." Ink on a 4 3/4 x 6 1/2-inch sheet. A very nice view of Washington's Tomb, built in 1831 after the original burial vault had deteriorated. Washington chose the location himself, and Dale's rendering shows the full tomb, with George and Martha Washington's caskets visible inside. A plantation building is seen in the right distance, and the rear of a carriage is shown in the right foreground. 2) "Lodge at Mount Vernon." Ink on a 4 3/4 x 6 1/2-inch sheet. A fine drawing of one of the small, octagonal buildings on the grounds of Mount Vernon known as a "Garden House." An attractive pair of ink drawings of Mount Vernon, by a talented artist who also participated in notable American naval expeditions.

      [Bookseller: William Reese Company - Americana]
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        Mih-Tutta-Hangkusch. A Mandan Village

      Paris, Coblenz and London, 1842. Hand-coloured aquatint engraving by Salathé after Bodmer, blind stamp. In response to raids by its neighbours, the Mandan Tribe consolidated its people in two main villages: Mih-Tutta-Hang-Kusch and Ruhptare. Mih-Tutta-Hang-Kusch, the larger of these, is represented here by Bodmer as it appeared in the summer of 1833. Close to Fort Clark, it consisted of sixty-five earth lodges or houses, many with scaffolding around the houses that was used for drying corn and other food. The village's position, high on a promontory jutting out into the Missouri, made it easily defensible. However, all is tranquil in this scene as the women in the foreground collect driftwood using bullboats: circular vessels constructed from a willow frame over which was stretched and secured a raw bull buffalo hide, which was then allowed to dry and shrink into place. Light yet durable, these vessels were ideally suited to their purpose in the hands of an adept helmswoman. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        Journal of an exploring tour beyond the Rocky Mountains, under the direction of the A.B.C.F.M. in the years 1835, '36, and '37; containing a description of the geography, geology, climate, productions. and the numbers, manners, and customs of the natives: with a map of Oregon Territory.

      Mack, Andrus, & Woodruff [etc.], Ithaca, N.Y. 1842 - "Third edition (first published 1838), 8vo, pp. 408; folding frontispiece map of the Oregon Territory dated 1838, plus 1 engraved plate; in a plain, contemporary full leather binding; moderate wear, waterstains to the first handfull of pages, a good and sound copy. Howes P-89: The map is "earliest showing accurately the Oregon interior Parker accompanied a fur-trading party, in 1835, from Council Bluffs to Walla Walla." Forbes 1120: "After arriving at the Columbia River and exploring Oregon and Washington, Parker joined the barque Columbia headed for the Hawaiian Islands in June 1836 Parker was invited to stay at the Binghams. He describes Honolulu at some length visited Waikiki later went to Ewa, Wialua, and Kaneohe, and has brief remarks on resident missionaries at each station " "

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
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        St. Jean d'Acre

      1842 - ROBERTS, David. Original lithograph plate, St. Jean d’Acre. London: Moon, 1842-49. Hand-colored lithograph on onionskin, measuring 13-3/4 by 19-7/8 inches, on original mount, measuring 16-7/8 by 23-7/8 inches. $4500.Beautiful original hand-colored lithograph of St. Jean d'Acre, depicting the city skyline and sea with costumed natives and horses in the foreground, from the superb large format first issue of Roberts' landmark work, The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia (only the first issue is hand-colored on onionskin and mounted on heavier card).Famed lithographer Louis Haghe produced splendid lithographs (including this print) of drawings Roberts made during his 1838-9 journeys to Egypt and the Holy Land, which were received with widespread enthusiasm when they appeared in 1842-9. “Roberts’ Holy Land was one of the most important and elaborate ventures of nineteenth-century publishing… Haghe’s skillful and delicate lithography, and his faithful interpretation of Roberts’ draughtsmanship and dramatic sense, combine in what are undoubtedly remarkable examples of… lithographic works… one feels that the colossal subjects and broad vistas were ideally suited to Roberts’ talent” (Abbey, Travel 341). Penned name in one corner of mount.Slight chipping and soiling to mount; print slightly buckled and with one small spot. Overall, very good condition. Magnificent hand-colored lithograph print from the most famous and desirable work on the Holy Land. [Attributes: First Edition]

      [Bookseller: Bauman Rare Books]
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        Ka hele malihini ana mai keia ao aku a hiki i kela ao : he olelonane i hoohalikeia me he moeuhane la Aut [Pilgrim's Progress in Hawaiian]

      Honolulu HI: Mea paipalapala a na misionari [Missionary Society], 1842. First printing. Hardcover. Very Good. 12 mo. 4 x 6 inches. 418 pages. With all 8 woodcut plates (including frontis). In original sheep binding with 2 lines of diamond motif lines around the edges of covers. Condition is Very Good; Has been nicely rebacked using the original spine leather (with some small losses), a few spots on covers, corners lightly worn, gift inscription on second front endpaper; "C. Blake. Please receive this with a great deal of fraternal [??] [?] thine E.B. Kohala Hawaii, Sept. 20 '43", fronts illustration has light stains at top, about 20 pages have light brown spots, rest of text and illustrations are very clean, binding is tight. Text in Hawaiian. Bunyan RGR

      [Bookseller: Andre Strong Bookseller]
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        [Idols of the Mandan Indians

      Paris, Coblenz and London, 1842. Aquatint engraving by Ch. Vogel after Bodmer, proof on india paper mounted, issue without imprint or English title, blindstamp. Rare India proof of the Vogel plate. This image was printed from plates attributing the print to three different engravers: 'Ch. Vogel', 'Himely' and 'Hürlimann et Himely'. A highly atmospheric scene executed by Bodmer during the winter of 1833-1834 when the travelers stayed at Fort Clark on the banks of the upper reaches of Missouri River. The hide-wrapped poles represent the sun and the moon, which in turn are symbols of two of the most powerful Mandan deities: the Lord of Life (creator of all things) and the Old Woman Who Never Dies, who was associated with corn and buffalo. The Mandan standing before the effigies is apparently seeking the help of these sacred beings. In Mandan life no important decisions or undertakings were made without this sort of consultation, which generally involved fasting and offerings or sacrifices. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        Le Jardin des Plantes - description et moeurs des mammifères de la ménagerie et du Muséum d?Histoire Naturelle

      Paris, J.J. Dubochet et Cie, 1842. Fort volume in / 4 reliure éditeur romantique de toile marine à beau décor doré, 1 grande planche dépliante, illustrations in et hors - texte (53 planches) dont les portraits en camaïeu de Buffon et Cuvier, 4 planches en couleur (par TRAVIES) réhaussées à la main, 472 p. Edition originale. Exemplaire très frais hormis le plan dépliant ayant une déchirure sans manque. Biblio Carteret p. 97 Pierre Boitard (1789 Mâcon ?" 1859) botaniste et géologue français Français relié Bon état

      [Bookseller: Livres Anciens Lucas Philippe]
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        Großes Wiener Affentheater. Zwei ausserordentlich große Vorstellungen von bewunderungswürdigen Fertigkeits - Uebungen, in Kunstreiten, Voltigiren, Seiltänzen mit und ohne Balancirstange, künstlichen Wendungen und höchst komischen Scenen durch Affen und Hunde auszuführen. (Unterzeichner:) Heinrich Schreyer.

      (München), 26. und 27. Juli 1842.Einblattdruck mit gr. Holzschnitt (17 x 36 cm). Blattgr.: 56 x 39 cm. Wurzbach XXXI, 305: "Heinrich Schreyer, Menageriebesitzer und Thierhändler, war aus Lemberg in Galizien gebürtig (geb. 1793, gest. zu Wien 22. August 1847). Im Sommer 1847 kam er nach Wien, wo er im Prater das große Affentheater erbaute, welches er im Juni d. J. eröffnete. Der Zulauf zu dieser Sehenswürdigkeit - die Dressur der Hunde und Affen war psychologisch merkwürdig - war ein ungeheurer. In wenigen Wochen hatte S. einen Gewinn von über 20.000 fl. erzielt. Aber mit diesem Glücke seines Unternehmens schritt das Unglück in seiner Familie Hand in Hand. Kaum in Wien angekommen, erkrankten Frau und Kinder am Typhus. Kaum waren aber diese genesen, wurde er selbst von der Seuche hingerafft. Das Theater führte nun die Witwe fort. Später übernahm das Ganze Casanova, der in Schreyer?s Diensten gestanden und der nun einige Zeit noch in Wien Vorstellungen gab. Im Jahre 1861 brachte der damalige Volkssänger Fürst die Bude käuflich an sich, gestaltete sie um und eröffnete sie am 21. April 1862 als Singspielhalle, aus welcher das Volkstheater im Prater und zuletzt das ?Fürst - Theater? sich entwickelte. Anregend im Hinblick auf Abrichtung der Thiere, wirkte die Schreyer?sche Affenbude auf die Bevölkerung ganz anders, wie der Cancan der Fürst?schen Bühne! Noch sei bemerkt, daß Schreyer während seines kurzen Aufenthaltes in Wien im Jahre 1847 dem im genannten Jahre errichteten Affenhause in der Schönbrunner Menagerie die erste Affenbevölkerung lieferte." Bücher de

      [Bookseller: Antiquariat Turszynski]
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        Canadian Scenery Illustrated

      London: George Virtue, 1842. 2 volumes, quarto. (10 5/8 x 8 3/8 inches). Steel-engraved portrait frontispiece of Bartlett, 2 engraved additional titles with integral vignettes, 1 map of Canada. 117 plates by R. Wallis and others, after William Bartlett (scattered minor foxing as usual). Contemporary red half morocco over marbled paper-covered boards, the spine gilt in five compartments with wide semi-raised bands, lettered in gilt in the second and fourth compartments, the others panelled in gilt, cream moiré endpapers, gilt edges A fine copy of this well-known work: one of the greatest steel-engraved view books of the 19th century. Born in London, William Henry Bartlett "was apprenticed to the architect and antiquarian, John Britton ... Bartlett studied and copied architectural drawings of the past and present and, with Britton, visited noted ruins in England from which he made detailed sketches to be engraved for some of Brittons own publications. ... One of [Bartlett's] first major assignments was to supply illustrations for Dr William Beatties Switzerland illustrated (London, 1836), published by George Virtue... the rest of his life Bartlett's travels were extensive and continuous, and they led to illustrations for works on Syria, the Holy Land and Asia Minor, the Mediterranean coast, northern Italy, the Netherlands and Belgium, Scotland, Ireland, the coastal areas of Britain, the Bosphorus, the Danube, the United States, and Canada ... According to Britton and Beattie, Bartlett visited North America four times: 1836-37, 1838, 1841, and 1852. From the summer of 1836 to July 1837 he was in the United States acquiring illustrations for Nathaniel Parker Willis's American scenery (1840), and in the summer and autumn of 1838 he was in the Canadas sketching for Willis's Canadian scenery illustrated (1842). Although little is known about Bartlett's itinerary in North America, a map in American scenery suggests that his travels during 1836-37 began in New York City and took him north to the White Mountains, N.H., west to Niagara Falls, N.Y., and south to Washington, D.C. His itinerary in the Canadas in 1838 and the observations he may have made also remain obscure because none of his letters from this period has been found. His route appears on a map in Canadian scenery illustrated : he seems to have travelled from Quebec City westward to Niagara Falls, and then by way of the Erie Canal to visit Willis at Owego, N.Y., before sailing for England in December 1838. No written record survives of Bartletts visit to the Maritimes. The dates of the engravings in Canadian scenery illustrated seem to indicate that he went there in 1841 after another visit to the United States ... [Bartlett's] skill in sketching architectural detail, his love for picturesque landscape, and his interest in the life of the people ... gave to his illustrations in Canadian scenery illustrated ... a historical importance that merits their survival" ( Dictionary of Canadian Biography .). Lande 2310; Staton & Tremaine 2424.

      [Bookseller: Donald Heald Rare Books]
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        Les poésies du duc Charles d'Orléans -

      A la Librairie, quai Malaquais 1842 -, Paris - 1 volume. In-8 XXXVIII-504 pp. Reliure demi-maroquin olive à coins. Dos à nerfs parsemé de fleurs de lisse dorée. Tête dorée. Reliure signée CAPE. Intérieur très propre. Avec une préface historique, des notes et des éclaircissements littéraires par Aimé Champollion-Figeac. Appendice, notes et glossaire in-fine. Très bel état. Troisième édition, en grande partie inédite. TIRAGE LIMITE. Un des 100 exemplaires numérotés tirés dans le format in-8, sur papier vélin blanc. [Attributes: Hard Cover]

      [Bookseller: Librairie KOEGUI]
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        Cirque Olympique. Vorstellung in vier Abtheilungen.

      (Breslau), 8. März 1842.Mit Holzschnittabbildung (19x 20 cm). Einblattdruck. 46 x 56 cm. Der bei dem berühmten Pferdeartisten Rudolph Brilloff ausgebildete Ernst Jakob Renz (1815 - 1892) übernahm 1842 das Brilloffsche Unternehmen und führte es als "Circus Olympic" und später als Circus Renz bis 1897 fort. Mehrere Nachfahren betreiben noch heute Zirkusunternehmen mit dem Namen Renz. - Vorliegendes Plakat vom 8. März 1842 gibt allerdings noch Dietrich Gautier (vgl. Otto, Artisten - Lexicon, p. 76 - 77) als Direktor an. Die etwas merkwürdige Illustration zeigt einen Löwen oder Tiger, der sich an seinem Seilende festgebissen hat und von 3 Helfern mittels eines Flaschenzugs bis unter die Zirkuskuppel gezogen worden ist. Rechts zeigt sich der Direktor mit einer Gerte in der Hand. - Unbeschnitten. Mit horizontaler und vertikaler Falte. Mit kleineren Randdefekte und kürzeren Einrissen in den Faltungen. Einblattdrucke. Bücher de

      [Bookseller: Antiquariat Turszynski]
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        A pair of albums, each titled "Sketches of Costume by Coke Smyth", containing original watercolours: the artwork for an unpublished work which was to have been entitled "The Costume of the principal Nations of Europe from the beginning of the 13th to the end of the 17th century"

      [London], 1842. 2 volumes, quarto. (11 3/4 x 1`0 3/4 inches). 2 ink manuscript titles "Sketches of Costume by Coke Smyth 1842", 125 card leaves on cloth guards, with 125 tipped-on original pencil and watercolour drawings by Smyth (sheet sizes approx. 8 7/8 x 7 7/16 inches, mounted recto only, one drawing per card leaf), all with integral pencilled captions beneath, three with additional manuscript notes in pencil by Queen Victoria, with 1 additional leaf (9 3/4 x 11 inches) with original pencil sketches by Prince Albert (including a recognisable self-portrait of Albert in medieval costume) mounted at the back of one volume. Contemporary green morocco bound for "P. & D. Colnaghi & Co. Pall Mall East", covers bordered with fillets in gilt and blind, elaborate corner-tooling in blind, spine in six compartments with semi-raised bands, the bands highlighted with gilt fillets and small arabesque tools, the compartments bordered in gilt and blind with fillets, gilt turn-ins, cream-glazed endpapers. Neat repair to spine of one volume. An important discovery: two albums of watercolours of Royal costume by one of great early Canadian painters, used by Queen Victoria and Prince Albert and the basis for a never published book on the subject. Coke Smyth's connections to the Governor of Canada and his family are probably what led to him showing Queen Victoria and her Consort, Prince Albert, the present albums. The Royal couple were planning a bal costumé, or fancy-dress ball, with an historical theme and clearly looked through the albums searching for inspiration. The Queen appears to have particularly liked two of Coke Smyth's drawings and marked them as possible patterns for her and her husband's costume. Prince Albert seems to have had his own ideas, which he sketched out on the sheet bound at the back of one of the albums. The ball took place at Buckingham Palace on 12th May 1842, and Coke Smyth was encouraged to record the costumes, a selection of which were published in James Robinson Planché's Souvenir of the Bal Costumé, given by Her Most Gracious Majesty Queen Victoria, at Buckingham Palace, May 12, 1842 The drawings from the original dresses by Mr. Coke Smyth ; the descriptive letterpress by J.R. Planché . (London : Printed by William Nicol, Shakespeare Press, for P. and D. Colnaghi, 1843). This very rare folio work included a coloured title and 52 coloured plates and evidently enjoyed enough success to encourage Coke Smyth to attempt to publish a further work on a similar theme, using the drawings in the present albums as the artwork. In conjunction with Colnaghi's he went ahead and issued a prospectus, but a lack of subscribers meant that the scheme was not taken any further, and the present albums remain the only pictorial record of what might have been. There is a further particularly interesting facet to these albums: in addition to the 103 drawings that are obvious candidates for inclusion in a work on historical costume, there is also a significant selection of 22 drawings that are of contemporary costume as worn in Italy, Greece and the Turkish Empire. These appear to have been drawn from life and would therefore have been drawn by Coke Smyth during his journey to and stay in Constantinople. According W. Martha E. Cooke's entry in the catalogue of the W.H. Coverdale Collection of Canadiana, John Richard Coke Smyth was born in 1808 "the only son of Richard Smyth and Elizabeth Coke (c.l777-c. 1851) ... More commonly known as Coke Smyth, with which name he signed his works ... Smyth's passport, still in the family's possession, would suggest that he was a gentleman of means who travelled widely on the Continent ... In 1835-6, Smyth visited Constantinople .... His on-the-spot sketches were published in Illustrations of Constantinople made in the Years 1835-6 (London, 1837), which comprised 26 lithographic views arranged and drawn on stone by John Frederick Lewis ... Subsequently he was engaged as drawing master to the household of John George Lambton (1792-1840), 1st Earl of Durham. It was in this capacity in April 1838 that Smyth accompanied Durham, newly appointed Governor to the Canadas, and his party on board HMS Hastings . During Durham's brief tenure of office, which terminated with his resignation that October, he travelled extensively in Lower and Upper Canada. Thus there was ample opportunity for Smyth ... to sketch firsthand the Canadian scene at the time of the Mackenzie-Papineau Rebellions. ... Several of these drawings provided the basis for the 23 lithographic views dedicated to the Earl of Durham in Sketches in the Canadas (London, c.1840) by Coke Smyth. Smyth exhibited at the Royal Academy between 1842 and 1855 and also at the British Institution and Society of British Artists up to 1867. In 1842, Messrs. Paul and Dominic Colnaghi exhibited and later published Smyth's costume figures which were commissioned by Queen Victoria to illustrate a commemorative volume of the Queen's masked ball en-titled Souvenir of the Bal Costumé (London; 1843). Several of the drawings used for the lithographic plates are in an album in the Victoria and Albert Museum. Smyth specialized in costume studies. He approached Colnaghi with a view to publication of an album ... [for which he issued a ] Prospectus & Specimen of a proposed work on the Costume of the principal Nations of Europe from the beginning of the 13th to the end of the 17th century. Smyth intended to etch the plates personally and provide accompanying text; however, it appears that the number of subscribers was insufficient to publish the work. Smyth is known to have experimented in lithography, and produced a self-portrait among his associates at drawing class. He also painted portraits of his family and made some fine architectural drawings. One of the latest known books to include his illustrations was Henry Beveridge's A Comprehensive History of India .(London, 1871). Coke Smyth died in 1882." Substantial collections of Coke Smyth's work are very rare, however individual examples can be seen in the Public Archives of Canada (Ottawa); the John Ross Robertson Collection in the Metropolitan Toronto Central Library; the Royal Ontario Museum, Toronto; the Department of Prints and Drawings in the British Museum, London; the Victoria and Albert Museum, London; the National Portrait Gallery, London, and the National Gallery of Scotland, Edinburgh. Cf. Abbey Travel II, 394 and 625; cf. Allodi Canadian Watercolours II, 1532-1583; cf. Benezit (2006) XII, p.1395; cf. Bobins I, 66; cf. Colas II, 2403; cf. W.H. Coverdale Collection of Canadiana: Paintings, Water-colours and Drawings (Ottawa: 1983), p.189; cf. Lande 2215; cf. Staton & Tremaine 2549; cf. Thieme-Becker 31, p.185.

      [Bookseller: Donald Heald Rare Books]
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        PLANOS DE BOLSILLO DE LA ISLA DE CUBA, LA CIUDAD DE LA HABANA Y SUS BARRIOS ESTRAMUROS, CON LA TABLA DE DISTANCIAS DE UNOS PUEBLOS A OTROS.

      Havana. 1842.. [18]pp. plus eight plates (seven folding). 16mo. Original half cloth and marbled paper, printed label on front cover. Extremities worn. Lacking front fly leaf. Contemporary ownership inscription on titlepage. Minor foxing to plates, internally very clean. Very good. An attractive pocket guide for the island of Cuba, including Havana and its surrounding neighborhoods. Includes tables recording the distances between towns, currency rates, and post schedules. With two plans of Havana and a map of Cuba, as well as several intriguing color plates demonstrating the various flag signals to be posted in the plaza in Havana, each representing a specific message or warning. Notable for both its maps and color plates. SABIN 63307.

      [Bookseller: William Reese Company - Americana]
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        Péhriska-Rúhpa. [A Minatarre or Big-Bellied Indian]

      [Paris, Coblenz and London, 1842. Hand-coloured aquatint engraving by Paul Legrand after Bodmer, state with three figures in the background, blindstamp, issue without imprint line or English sub-title. There are two distinct states of this image: one with three small figures in the mid-ground to the right of the main figure, and a second where these figures have been removed This powerful portrait of Péhriska-Rúhpa ('Two Ravens') presents the warrior and chief of the Hidatsa as a figure of great dignity. He adopts an attitude that would have been familiar to all men of power and rank, his worth displayed symbolically in his clothing and adornment. His shirt is trimmed with bands of bright yellow quillwork, elaborately fringed with ermine, locks of human hair and dyed horsehair. He wears a striped woolen breechclout and quilled leggings of deer skin. Around his neck is a necklace of bear claws, fastened to an otter-skin band and spaced with blue and white beads. Symbols of great wealth, these necklaces were made from the foreclaws of grizzly bears, preferably from animals taken in the spring when the claws were large comparatively unworn and showing white tips. A decorated buffalo robe over one shoulder and arm, Péhriska-Rúhpa holds his decorated pipe in the crook of his other arm. This is one of Bodmer's masterpieces of portraiture, and was carried out during the travellers' winter stop-over at Fort Clark in 1833-1834 Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        Two Original Ink Drawings of Mount Vernon, by United States Navy Lieutenant John B. Dale

      Mount Vernon, VA, 1842. Two ink drawings, as described below. Fine. An attractive set of southern sporting views, by a talented artist who also participated in notable American naval expeditions. An attractive duo of original ink drawings of George Washington's home at Mount Vernon, made by United States Navy Lieutenant John B. Dale. One of the drawings is dated February 16, 1842, within days of what would have been Washington's 110th birthday. The drawings were likely created by Dale on a visit to Mount Vernon from nearby Washington, DC, where he was stationed at the time and participating in the U.S. Coastal Survey. By the 1840s the estate, still in the hands of the Washington family, had fallen into disrepair and was not formally open to the public. Dale's position as a naval officer from a prominent family would have helped gain him access, and his visit demonstrates the lasting appeal of Washington's home. Lieutenant John B. Dale was born in Springfield, Massachusetts in 1814 and appointed a midshipman in the United States Navy in 1829. He was one of three artists assigned to the United States Exploring Expedition, the pioneering scientific exploration commanded by Charles Wilkes that lasted from 1838 to 1842. During that voyage Dale butted heads with the famously irascible Wilkes several times, and was sent home half-way through the expedition. Nonetheless, many of Dale's drawings appear in the official published account of the expedition. He was married in 1840 and had two sons. From 1844 to 1846 Dale was a member of the crew of of the U.S.S. Constitution ("Old Ironsides") during its circumnavigation of the globe. Dale died in Lebanon in 1848, while on duty in the Mediterranean as part of the Lynch Expedition. Dale's manuscript journal of his cruise aboard the Constitution is in the collection of the New England Historical Genealogical Society. The drawings are as follow, and are captioned in Dale's hand: 1) "Washington's Tomb. Mount Vernon 16th Feb. 1842." Ink on a 4¾ x 6½ inch sheet. A very nice view of Washington's Tomb, built in 1831 after the original burial vault had deteriorated. Washington chose the location himself, and Dale's rendering shows the full tomb, with George and Martha Washington's caskets visible inside. A plantation building is seen in the right distance, and the rear of a carriage is shown in the right foreground. 2) "Lodge at Mount Vernon." Ink on a 4¾ x 6½ inch sheet. A fine drawing of one of the small, octagonal buildings on the grounds of Mount Vernon known as a "Garden House."

      [Bookseller: Donald Heald Rare Books]
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        Junction of the Yellow Stone River with the Missouri

      Paris, Coblenz and London, 1842. Engraving by Salathé after Bodmer, proof on india paper mounted, blindstamp. Some minor foxing, a 1" loss in the top left corner of the sheet. This title was printed from two different plates, one engraved by Salathé with six pronghorn antelope in the foreground and the French title starting 'Réunion...', the second by L. Weber with nine antelope in the foreground, a further seven in the mid-ground and the French title starting 'Confluent...' A rare India proof of one of the greatest landscape images to result from the Bodmer and Prince Maximilian's expedition to America's "Interior Parts." The travelers, aboard the steamer Assiniboine arrived at Fort Union, just above the junction of the Yellowstone and Missouri Rivers, on June 24, 1833, after a journey of seventy-five days up the Missouri River from St.Louis. They stayed until July 6th, when they departed upriver by keelboat for Fort McKenzie. Fort Union was the uppermost point of steamer traffic at the time of Bodmer's visit and like most fur company posts on the Missouri at this time, was situated on a low open prairie sufficiently large to accommodate the large encampments of numerous Indians during the height of the trading season. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. David Dreidoppel (Prince Maximilian's servant and hunting companion) accompanied the men on their travels in North America, which lasted from 1832 to 1834. Well-armed with information and advice, the party finally left St. Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10, 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari, and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of the villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as for forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        Panorama von Hamburg. Aufgenommen von der Süd-West-Seite des Jacobi-Thurmes nach dem Brande im Monat Mai 1842. Lithographie um 1842.

      Lithographisches Institut Wieter & Hertz Sehr seltenes Blatt von Heinrich Wieter und S. Hertz ( Lithographisches Institut H. Wieter und S. Hertz, kleine Michaelis-Kirche No. 14 ). Gezeigt wird die Hamburger Brandstätte mit der abgebrannten Petrikirche, einem großen Bereich der Innenstadt und Nicolaikirche. Bildgröße: 34 x 47 cm / Blattgröße: 40,5 x 59 cm, auf Papier aufgezogen. Das Blatt etwas angestaubt, leicht stockfleckig, leicht fingerfleckig. Mit Mittelfalz. Mit 1 größeren Einriß linkerhand ( hinterlegt ) sowie einem kleinen Einriß rechterhand ( ebenfalls hinterlegt ). - sehr selten - ( Literatur zu Wieter u.a. im Rump: Hamburger Künstlerlexikon ) ( Pic erhältlich // webimage available ) Versandkostenfreie Lieferung Hamburg, Brand, Grosser Brand, 1842, Wieter, Hertz, Petrikirche, Nicolaikirche, Google, Feuer, Feuersbruns

      [Bookseller: Antiquariat Friederichsen]
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        Mató-Tópe. Adorned with the insignia of his warlike deeds

      [Paris, Coblenz and London, 1842. Aquatint engraved by Hürlimann after Bodmer, proof printed in black, brown and blue/green 'à la poupée' with the lettering uninked. A very rare experimental proof, with three colours used to ink different areas of a single printing plate. The same printing method was used by Redouté to such spectacular effect on his botanical prints Mató-Tópe (`Four Bears') was the second chief of the Mandans, and a popular leader amongst his people, respected for his prowess in battle. This carefully-worked portrait was carried out by Bodmer during the travellers' winter stop-over at Fort Clark in 1833-1834, Mató-Tópe was keen on having his portrait painted and also on painting and, as a frequent visitor, he closely observed both Bodmer and Prince Maximilian at work. Here Mató-Tópe presents a living record of his bravery in battle. In his hair he wears a wooden knife to represent the weapon he wrestled from a Cheyenne, the six coloured wooden sticks represent gunshot wounds he has received, the split turkey feather stands for an arrow injury and the others feathers probably represent other coup. His membership of the prestigious Dog Society is signaled by the cluster of painted owl plumage at the back of his head, the barred stripes on his arm represent more coup and the hand on his chest indicates that he has taken prisoners. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        A Critical Inquiry into Antient Armour, as it Existed in Europe, particularly in Great Britain, from the Norman Conquest to the reign of King Charles II. Illustrated by a series of illuminated engravings. With a glossary of military terms of the Middle Ages ... Second edition, corrected and enlarged

      London: Henry G. Bohn, 1842. 3 volumes, folio. (14 3/8 x 10 3/8 inches). Half-titles. Hand-coloured lithographic frontispiece to vol.I, 80 plates (70 hand-coloured aquatints, most heightened with gilt, 10 etched uncoloured plates), 27 large hand-coloured initials, most heightened with gilt. Publisher's red half morocco over marbled paper-covered boards, the spines gilt in six compartments with raised bands, olive morocco lettering-pieces in the second compartment, brown morocco lettering-piece in the third, the others with repeated outer border decorations surrounding a single large tool: a helm in the first and sixth compartments, crossed swords in the fourth and a gauntlet and pair of spurs in the fifth, marbled endpapers, gilt edges Provenance: John Gretton, 1st Baron Gretton (1867-1947, armorial bookplate) An excellent set of the second and best edition of Meyrick's great work on arms and armour, with beautiful plates "as fine as the monuments of Westminster Abbey" (Edinburgh Review). Prideaux writes that this "book is certainly superb." A contemporary review echoed this sentiment: "Sir Walter Scott justly describes this work as 'the incomparable Armoury.' 'This most superb archaeological work is animated with numerous novelties, curious and historical disquisitions, and brilliant and recondite learning - Learning going to Court in the full, rich costume of the Order of the Garter. - Plates as fine as the monuments of Westminster Abbey. Really and truly the work is admirably executed, and deserves every eulogy.' - Edinburgh Review." (quoted in Lowndes II, p.1541) First published in 1824, this work was one of the first to view the subject of ancient arms and armour from an historical perspective. The present second edition includes revised text and a new hand-coloured lithographic frontispiece to the first volume. The presentation is otherwise very similar to the first edition with both plates and initials hand-coloured and heightened with gold where necessary. As a whole the work is beautifully designed and printed. The plates and initial letters, which are expertly hand-coloured, are taken from copies of 'antient [sic.] seals, illuminations, painted glass, and monuments' (preface, p.xiv), whilst the author's intention for the whole work was that it should supply 'the general deficiency of information on the subject: to throw a glimpse of light over the rugged paths of the historian, to furnish dates to the antiquary, and to give vividness of truth to the efforts of painting, sculpture, and the drama' (preface, p.xiv). Cf. Hiler p.587; Lipperheide Qb62 (2nd edition); Lowndes II, p.1541; cf. Prideaux p.322.

      [Bookseller: Donald Heald Rare Books]
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        Quebec from Point Levi

      Quebec, 1842. Watercolour over pencil with scratching out and gum arabic, inscribed in pencil on verso. 19th century water gilt frame. A spectacular 19th century watercolour view of Quebec from across the St. Lawrence River by a noted military artist. Philip J. Bainbrigge (1817-1881), son of General Sir Philip Bainbrigge (1786-1862), was born at Lichfield, Staffordshire, on January 16, 1817. He entered the Royal Military Academy at Woolwich in 1830 and graduated in 1833. Requesting a posting abroad, Bainbrigge "arrived in Canada on board the Arab transport on June 25, 1836, in time to take part in the military operations along the Richelieu RIver and at St. Eustache during the Rebellions of 1837-8. Bainbrigge travelled widely in Upper and Lower Canada and the Maritimes, reporting on fortifications and other defensive measures. He was assigned oin special survey duty concerning the Maine-New Brunswick boundary dispute and was acting adjutant from 1841 until his return to England August 4, 1842" (Cooke). "Like many British officer-painters, Bainbrigge received his artistic training at the Royal Military Academy at Woolwich. There, he was instructed in the proper use of perspective and in the handling of light and shade, and he employed these techniques with an ease and spontaneity well-suited to the principles of landscape painting. His rather individual style, while in accordance with the artistic trends of the time, resulted in watercolours that are quite distinctive. A thematic analysis of Bainbrigge's work reveals a definite predilection for depicting landscapes - either in summer or winter - into which he would work whatever section of the city he could see from his vantage point. His palette thus consisted of a range of natural colours, such as browns, reds and dark greens, which he applied in varying degrees of thickness" (Graham). The Public Archives Canada holds the principal collection of works by Bainbrigge, including approximately 170 watercolours. Two Bainbrigge watercolours are cited in the catalogue of the Samuel Collection (Jefferys 450 and 460), including a view of Quebec from the Citadel on the opposite shore from the present watercolour, with two more in the Coverdale Collection (Cooke 35 and 36) and three in the Royal Ontario Museum (Allodi 57-59). Other holdings include the National Gallery of Canada (no. 28043). Harper, p. 14; Conrad Graham, Mont Royalville Marie: Early Plans and Views of Montreal , McCord Museum of Canadian History, p.103; Allodi, Canadian Watercolours and Drawings in the Royal Ontario Museum (Ontario: 1974); Cooke, W. H. Coverdale Collection of Canadiana (Ottawa: 1983); Jefferys, A Catalogue of the Sigmund Samuel Collection (Toronto: 1948).

      [Bookseller: Donald Heald Rare Books]
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        Mit hoher Bewilligung wird die hier neu angekommene Kunst - Schulbereiter - Gesellschaft der Inhaberin Frau Elisabeth Schmidt die Ehre haben, sich zum Erstenmale in einer großen Equitations - Vorstellung zu zeigen. Die Vorstellung beginnt mit dem großen Manöver und den Fahnenexercitien der 6 Mamelucken zu Pferd. - Großer Schauplatz der Akademie der höhern Reitkunst.

      München, 24. April 1842.Einblattdruck mit gr. Holzschnitt (27 x 25 cm). Blattgr.: 65 x 42 cm. Die Truppe der Kunstreiterin Elisabeth Schmidt ist seit 1828 im süddeutschen Raum nachweisbar. Hier werden 10 Programmpunkte aufgeführt, bei denen diverse Voltigeure atemberaubende und halsbrecherische Kunststücke ausführen. Der Holzschnitt zeigt zwei Kunstreiter bei einer Vorführung. Bücher de

      [Bookseller: Antiquariat Turszynski]
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        Cirque Olympique. Zum ersten Male: Uto, der stählerne Ritter, im Kampfe mit dem rothen Feuer - Riesen, Eine große Pantomime mit großem Brillant - Feuerwerk, das mit einer Kanonade und Bengalflamme endet.

      München, 29. April 1842.Mehrfach gefalt.Plakat mit gr. Holzschnitt (27 x 39,5 cm). Blattgr.: 51 x 42 cm. Wohl eine Ümsetzung für den Circus des Ritterromans "Udo der Stählerne" des Joseph Alois Gleich. Der mit "J. M." monogrammierte Holzschnitt zeigt einen Kampf zwischen Rittern, im Hintergrund ein von zahlreichen Feuerrädern illuminiertes Gebäude, das hinter Gittern ein in Ketten geschlagenes Burgfräulein beherbergt. Der "Cirque Olympique" wurde von Elisabeth Schmidt betrieben. - Mit Stempel der Königlichen Polzei Direction (KPD); linker Rand oben und unten jeweils ca. 1 cm auf 7 cm Länge beschnitten. Bücher de

      [Bookseller: Antiquariat Turszynski]
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        Naturgeschichte der Vögel Deutschlands, nach eigenen Erfahrungen entworfen. Elfter [11.] Theil.

      Fleischer Leipzig, 1842. 771 S. Leder fest gebunden Neuer privater Einband. Papier alterungsbedingt vergilbt und leicht braunfleckig, erste 13 Seiten unten wasserfleckig. Mit 29 kolorierten Kupfertafeln und 1 kolorierten Titelkupfer. Bei 9 Tafeln fehlen die Schutzblätter aus Seidenpapier. Wenige Seiten mit Bleistiftanmerkungen am Rand.Guter Zustand Versand D: 3,50 EUR Ornithologie Vogelkunde Deutschland

      [Bookseller: Antiquariat Thomas Haker GmbH & Co. KG]
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        American Notes for General Circulation

      London: Chapman and Hall, 1842. First Edition. American Notes is largely based on Dickens's letters to John Forster, Daniel Maclise, Beard, Mitton and Fontblanque. He sailed from Liverpool on 3 January 1842 and visited numerous cities in the United States and Canada, including Boston, New York, Philadelphia, Richmond, St. Louis, Montreal, and Quebec, before leaving for England from New York City on June 7. It was an exhausting trip, and Dickens was especially tired of the often virulent reactions to his support of international copyright laws. His dissolution is apparent his criticisms of slavery, the American press, and the sanitary conditions of American cities. First state, with verso of contents leaf incorrectly numbered "xvi" instead of "x". Two octavo volumes (20cm); bound in recent half green calf and marbled boards, spines in six compartments with raised bands, titling and decorations stamped in gilt; top edges gilt; [x], [2], 308; [viii], 306pp; lacking ad leaf. Text edges slightly tanned; faint moisture staining to upper right corners of Vol.2; clean otherwise, and free of foxing - about Fine.

      [Bookseller: Lorne Bair Rare Books]
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        Garantien der Harmonie und Freiheit.

      - Vivis (Vevey), im Verlage des Verfassers, 1842. XII S., 1 Bl., 264 S. Einfacher Pappband d. Zt. Stammhammer, Socialismus, I, 261; Borst, 2049. - Seltene erste Ausgabe des Hauptwerkes von Wilhelm Weitling. "Marx erblickte in diesem Buche das 'brilliante literarische Debut der deutschen Arbeiter', die 'riesenhaften Kinderschuhe des Proletariats', und Engels stellte Weitling geradezu den großen französischen Utopisten an die Seite. Lange Zeit war das Werk der Katechismus der deutschen Arbeiter" (Keller, Polit. Verlagsanstalten in der Schweiz, S. 138f). So und ähnlich wird Weitling als erster Theoretiker des Kommunismus gefeiert. Von Fourier beeinflusst, strebte Weitling eine Gesellschaft an, deren Organisation den Fähigkeiten und Trieben der Menschen angepasst ist. Aufklärung, Revolution und Anarchie bereiten einer Neuorganisation den Weg. (vgl. Ziegenfuss II, 853). Weitling schrieb sein Hauptwerk in seiner Schweizer Zeit (1841-43). - Berieben und bestoßen, Buchblock etwas verschoben. Etwas gebräunt und braunfleckig, Titel verso alter Stempel. [Attributes: First Edition; Hard Cover]

      [Bookseller: Buch & Consult Ulrich Keip]
 32.   Check availability:     ZVAB     Link/Print  


        Circus Gymnasticus der Witwwe Elisabeth Schmidt. Die heutige Vorstellung eröffnen: Die beiden Chinesen ausgeführt von den Voltigeurs Herrn Creter und Herrn Pichler (...) Zum Beschluß der Vorstellung folgt: die große kgl. Post, ausgeführt von Herrn Koßmeyer mit 9 Pferden.

      München, 26. April 1842.Plakat mit großem Holzschnitt (23,5 x 22,5 cm). Blattgr.: 51 x 40 cm. Die Truppe der Kunstreiterin Elisabeth Schmidt ist seit 1828 im süddeutschen Raum nachweisbar. Hier werden 9 Programmpunkte aufgeführt, bei denen diverse Voltigeure atemberaubende und halsbrecherische Kunststücke ausführen. Der Holzschnitt zeigt einen Kunstreiter bei einer Vorführung. Bitte um Beachtung: Wir sind bis einschließlich 14.01.2016 im Urlaub, der Versand Ihrer Bestellung erfolgt am 15.01. - Please note: Until Jan. 14th we are on holidays, ordered items will be mailed at Jan. 15th. Bücher de

      [Bookseller: Antiquariat Turszynski]
 33.   Check availability:     maremagnum.com     Link/Print  

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