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

        POEMS

      London: Edward Moxon, 1842.. Two volumes. vii,[1],233,[1]; vii,[1],231,[1]pp. Small octavo. Handsomely bound in full forest green straight grain morocco, spines gilt extra, gilt inner dentelles, a.e.g., by Wallis & Lloyd. Modest rubbing to spine extremities, but a very good set, bound with the half-titles, but without the terminal ad leaf in volume one. First edition of Tennyson's most substantial collective edition of his work to date, with significant new material appearing for the first time, as well as revisions to poems published earlier in book form. TINKER 2064.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Poems

      London: Edward Moxon, 1842. First edition. leather_bound. Full red morocco. Near fine. 2 vols./No Dust Jacket. 233 & 231 pages, 17.5 x 11 cm. With half titles, no publisher adverts. Tennyson's own revisions to poems published earlier, and new poetry. Lovely association copy, red leather bookplate of Louis Auchinlcoss. Raised bands, spine panels richly gilt, inner dentelles, marbled endpapers, cover panels decorated in gilt at four corners in intricate floral design.

      [Bookseller: Royoung bookseller, Inc.]
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        Original Ink Drawing of New Castle, Delaware

      New Castle Delaware: ca.1842. 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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        Observations on the Poetics of Aristotle

      Sydney,: Kemp & Fairfax,, 1842.. Small quarto; original embossed cloth boards with dark green calf spine gilt, partially unopened, fine. Rare, and very fine: a presentation copy (inscribed on the front endpaper to Walter Wrottersley "from the translator") of an unusual publication for this period in Australia, a translation of an obscure commentary on Aristotle. Almost nothing of a philosophical bent was published in Australia before the 1850s and the creation of the Universities of Sydney and Melbourne.Elwin says that he translated part of the eighteenth-century writer Metastasio's critical observations on the Poetics in order to place "such portion as appeared to be likely to engage the attention, as well from the nature of the immediate topic, as from the spirited manner in which it is treated... within reach of the English reader". Metastasio, or Pietro Antonio Domenico Trapassi, is best known today because Mozart used his "La Clemenzo di Tito" as the basis for his libretto.Ferguson originally entered the translator as Elwin Hastings, but the Addenda notes that his identity as Hastings Elwin was established by an inscribed presentation copy offered by Henry Cork, London, Cat. 5 (1929) No. 294. Hastings Elwin was a rather grand figure, friend of the poet Thomas Moore, elected to the NSW Legislative Council in 1843.See also 3419 (Hastings).

      [Bookseller: Hordern House Rare Books]
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        [Album of watercolours of Bermuda and islands in the Caribbean, including Barbados, Tobago, and St. Lucia]

      [Bermuda and the Caribbean: 1842-47]. Folio. 42 pen-and-ink, graphite and watercolour drawings (one with images recto and verso, the rest recto only), each mounted to larger sheets, many captioned in the image or on the mount, several signed by the artist. Expertly bound to style in half calf over period marbled paper covered boards, original red morocco label affixed to the upper cover. Housed in a blue morocco backed box. Extraordinary album of early topographical watercolour views of Bermuda and vicinity by a noted British military officer. Bermuda: 1) Fort Cunningham. Bermuda fr Long Island. 1844. Watercolour. 10 1/2 x 14 1/2 inches 2) Entrance to Castle Harbour Bermuda. 1846. Graphite and watercolour. Panorama on three sheets joined and folded. 7 1/4 x 32 5/8 inches. 3) Hamilton Bermuda from Signal Post Ports Island. 1846. Graphite and watercolour. 6 3/4 x 10 5/8 inches. 4) Looking S.W. / View of Hamilton Harbour Bermuda. Graphite and watercolour. 7 1/2 x 11 inches. 5) From Brackish Pond Bay Bermuda... Graphite. 7 x 10 1/8 inches. 6) Bermuda. 1852. Graphite. 7 x 10 1/8 inches. 7) A Slaver taken by the American Navy vessel to Bermuda. Graphite. 5 x 6 7/8 inches. 8) Fort Catherine Bermuda. 1843. Graphite and watercolour. Panorama on two sheets. 7 x 20 inches. 9) Pembroke Church, Bermuda. 1842. Graphite and watercolour. 4 7/8 x 7 inches. 10) At Bermuda. 1844. Graphite. 4 7/8 x 7 inches. 11) Pembroke Church, Bermuda. 1843. Graphite and watercolour. 7 7/8 x 11 1/2 inches. 12) Ireland Island Bermuda ... 1845. Graphite and watercolour. 7 7/8 x 11 1/2 inches. 13) Fort St. George ... St. George's Bermuda looking N.W. Graphite and watercolour. 9 1/2 x 12 1/2 inches 14) Stokes Point ... 1844. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 15) Ireland Id. Bermuda ... 1843. Graphite and watercolour. 6 5/8 x 10 3/8 inches. 16) Grave Yard. Ireland Id. Bermuda. Graphite. 7 x 10 3/8 inches. [Images of 7 tombstones on verso, 5 identified] 17) Ireland's Island from near Port's Id. 1845. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 18) From Port's Island. 1845. Graphite and watercolour. 6 3/4 x 10 3/8 inches. Caribbean: 19) Passing Deseada on the Voyage from Bermuda to Barbados. Graphite. Four sketches on one sheet. 11 1/2 x 8 7/8 inches. 20) Govt. House Barbados. 1847. Graphite and watercolour. 7 x 10 inches. 21) Queen's House Barbados. 1847. Graphite. 8 3/4 x 10 7/8 inches. 22) Highlands Sugar Works. 1847. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 23) Govt. House Tobago. 1847. Graphite. 7 1/4 x 10 3/4 inches. 24) Saint Lucia / The Small Piton. 1847. Graphite and watercolour. 7 5/8 x 11 inches 25) The Little Piton. St. Lucia. 1847. Graphite. 7 3/8 x 11 1/4 inches. 26) Large Piton / Little Piton. St. Lucia 1847. Graphite and watercolour. 7 5/8 x 11 inches. 27) Saint Lucia. The Small Piton from Souffriere. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 28) Drummond Rock off Martinique. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 29) Little Piton & Mr. Goodman's House. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 30) Gros Inlet Saint Lucia. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 31) Scarbro Bay & Town, Tobago. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 32) Barbados. 1847. Graphite and watercolour. 5 3/8 x 8 3/4 inches. 33) St. Johns. Barbados. 1847. Graphite and watercolour. 7 1/2 x 10 3/4 inches. 34) Hackleton's Cliff. Barbados. 1847. Graphite. 7 3/8 x 10 3/4 inches. 35) Burnt District, Bridge Town, Barbados. 1847. Graphite. 7 x 10 inches. 36) Sugar Works, Barbados. 1847. Graphite. 7 x 10 inches. 37) Post Office at Courtland Bay Tobago. Graphite and watercolour. 6 5/8 x 10 3/8 inches. 38-39) Fontabelle, Barbados. Graphite and watercolour. With an additional watercolour view of Fontabelle on the verso. 7 3/4 x 11 1/2 inches. 40) Highland waterfall Tobago. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 41) Capt. Hutchinson's Grave. 1847. Graphite. 6 7/8 x 10 inches. 42) Nevis. 1847. Graphite and watercolour. Panorama on two sheets, unjoined. 7 3/4 x 23 inches. Edmund Gilling Hallewell, Lieutenant and Adjutant of the 20th or East Devon Regiment, was stationed in Bermuda from 1841 to 1847. In addition to his military duties he also served as private secretary to the Governor, Colonel William Reid. He subsequently married Sophia Reid, the Governor's daughter. In 1842, Hallewell, with Reid's encouragement, produced watercolours of scenes on the island. These were then sent by Reid to the Colonial Office in London. Interest in the watercolours both in London and Bermuda was such that Hallewell published a suite of views in 1848. The suite was obviously issued in relatively small numbers and is now very rare: only two copies (one incomplete) are listed as having sold at auction in the past 35 years. The present watercolours, retained by Hallewell, date from the same period and represent a significant holding of watercolours of Bermuda by Hallewell during this formative period. The son of a Gloucestershire member of parliament, Hallewell's subsequent military career included service in Canada, the Crimea and Malta, before he retired from active service in 1864. In 1869 he was appointed commandant of the Royal Military College at Sandhurst, but died in the same year at the age of 47. The Foreign and Commonwealth Office Library holds an album of drawings (Gorham and Pierce 19) and we know of but eight other extant watercolours of Bermuda by Hallewell located at the Bermuda Historical Society Museum. We believe the present watercolours of Bermuda by Hallewell to be the only in private hands. Cf. Gorham and Pierce, Through British Eyes: Images of Bermuda 1815-1860 (New York: 1996).

      [Bookseller: Donald Heald Rare Books]
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        A Memoir of the late Major-General Robert Craufurd, reprinted from the Military Panorama of October 1812. With an account of his funeral, by the author of "The Subaltern" [i.e. George R. Gleig], reprinted from "The Gem" of 1829

      London : Private impression, 1842. 1st Edition. Physical description.: 32 p. ; 23 cm. Subject: Major-General Robert Craufurd -- Funeral -- Memoir -- History. Very good copy in the original gilt-blocked blind-ruled cloth. Spine bands and panel edges slightly dulled and dust-toned as with age with minor edge wear to corners. Remains particularly well-preserved overall; tight, bright, clean and strong. Copy includes Craufurd's manuscript period letters loosely inserted. Additional scans available upon request.

      [Bookseller: MW Books Ltd.]
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        Praktische Anweisung zum Daguerreotypiren oder die Kunst, Lichtbilder als Porträts, Landschaften, Kupferstiche, etc. nach der neuesten Methode sehr schön und in kürzester Zeit hervorzubringen. Nebst Beschreibung und Abbildungen der dazu gehörigen Apparate

      Leipzig, Rein 1842.. Mit 2 gefalt. lithogr. Tafeln. VI, 1 Bl., 70 S. Neuer Pappband, die (fleckigen) OUmschläge mit eingebunden. 15 x 11 cm. Heidtmann 03573. - Sehr seltene Schrift (nur 1 Ex. im KVK) aus den Anfängen der Photographie. Mit einer Einleitung über die technische Entwicklung seit den ersten Versuchen von Niepce, Talbot, Daguerre und anderen Erfindern. - Etwas gebräunt und stockfleckig.

      [Bookseller: Antiquariat Turszynski]
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        A Description of the Genus Pinus, with directions relative to the cultivation, and remarks on the uses of the several species: also descriptions of many other new species of the family Coniferae. Plates

      London: James Bohn, 1842. Folio. (21 1/2 x 14 5/8 inches). 93 hand- coloured engraved plates (including 7 plates of views of trees in landscapes, 86 plates of botanical details,) after Ferdinand Bauer, J. Sowerby, J.T. Hart and others, engraved by Warner, Mackenzie, J. Sowerby, E.S. Weddell, Quiroz and others. Expertly bound to style in half purple morocco over original purple cloth covered boards, flat spine in six compartments, lettered in the second and third, the others with a repeat overall decoration in gilt. A fine copy of Lambert's masterpiece: the ultimate edition, including spectacular plates after Ferdinand Bauer. Only a few copies of this edition, published by James Bohn, appear to have been printed and no other copies are listed as having sold at auction in the past twenty-five years. It was the first edition to gather all the plates into a single large-format volume (with a separate octavo text volume not present here) thus eliminating any possibility of problems with the text offsetting onto the image area. The majority of the plates are after Ferdinand Bauer, who with his brother Franz "may well claim to be the greatest of all botanical draughtsmen. Their skill in execution of detail is miraculous, yet they never lost sight of the wood for the trees; everything is understood, balanced, controlled ... The splendid illustrations to [the present work] ... deeply impressed Goethe ... The botanical draughtsman was no longer the mere recorder of floral beauty; he now had the more difficult task of serving both Art and Science" (Great Flower Books, p.37). The earliest edition of this work, with the fewest number of plates, was published in two volumes between 1803 and 1824. It then appeared in various formats with varying numbers of plates until the Bohn issue of 1842. According to Henrey the largest number of plates found is 103 in a 3-volume folio edition published by George White between 1837 and 1842 (although Nissen gives a plate total of 117 for the same edition). The present example has one more plate than the Lindley Library copy described by Henrey. Lambert's work is of primary importance as a record of the genus Pinus, and is often cited in subsequent works. However as Renkema and Ardagh point out, the somewhat haphazard way in which the work was published means that these citations are often contradictory and to gain a full understanding of the information given by Lambert it is essential to have access to not just one but all of the main editions, culminating with the present work. Great Flower Books (1990) p.111; Henrey III, 925; cf. H.W. Renkema & J. Ardagh 'Aylmer Bourke Lambert and his "Description of the genus Pinus"' in Journal Linnean Society London, Botany (1930) vol.48, pp.439-466; cf. Stafleu & Cowan TL2 4146.

      [Bookseller: Donald Heald Rare Books]
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        City of Tiberias on the Sea of Galilee

      Egypt and Nubia; the Holy Land., 1842-1849. Lithograph. Hand coloured. Fine condition. Size: 52 x 36 cm. Mounted size: 75 x 60.5

      [Bookseller: Peter Harrington]
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        Ascent of the Lower range of Sinai

      London., 1842-9. February, 18th 1839. Size: 425 x 605 mm. Original tinted lithograph. Additional hand colouring. Very good condition. Unobtrusive blind stamp. Roberts was the first independent, professional British artist to travel so extensively in the Near East. His tour in 1838-9 produced 272 sketches, a panorama of Cairo and three full sketchbooks, enough material to "serve me for the rest of my life" (Roberts, eastern journal, 28 Jan 1839). Over the next decade he made "a series of intire new drawings" for the large coloured lithographs executed by Louis Haghe for The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, which was originally published by subscription, 1842-9. No publication before this had presented so comprehensive a series of views of the monuments, landscape, and people of the Near East. "Robert's Holy Land was one of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph" (Abbey, Travel). These lithographs were originally published in twenty parts, most parts containing six plates, the price for each part with coloured plates (the most expensive state) being 3 guineas. The Holy Land, Syria..., from Drawings made on the Spot. London: F.G. Moon.

      [Bookseller: Peter Harrington]
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        Vues et Souvenirs de l'Amerique du Nord

      Paris: Chez Arthus Bertrand, 1842. 4to. (12 1/4 x 9 1/4 inches). Half title. 35 lithographed plates (34 mounted India paper proofs, plate 19 printed on regular paper). (Scattered minor foxing to the text and plate mounts, plate 19 age toned). Contemporary black morocco backed paper covered boards with vellum tips, covers bordered in gilt, spine with semi- raised bands in five compartments, lettered in the second compartment, the others with a repeat decoration in gilt, marbled endpapers. Among the rarest books of North American views, including views of Florida, Georgia, Alabama, the Great Lakes region and parts of Canada. "Born in London from an early age Castelnau took an interest in science and adventure, having read the accounts of Captain Cook and others, and having studied natural history under Cuvier and Saint-Hilaire. Between 1837 and 1841 he travelled through the United States and Upper and Lower Canada, studying their institutions and meeting many prominent people" (Howgego). The text contains a description of Florida, Georgia, Alabama, Wisconsin, Illinois, Michigan, and Lower Canada, based upon the authors travels. In his description of each region, Castelnau describes the agriculture, education, customs, etc., dividing each section to separately discuss "des blances, des noirs, and des indiens." Castelnau traveled in areas that were comparatively remote and had not been extensively pictured previously. From Florida he included views of Tallahassee, Key West and the Everglades, while the scenes of Augusta and Columbus, Georgia are among the earliest of those infant cities. From the Great Lakes region he provided several scenes of Michilimackinac Island, an early view of Sheboygan, Wisconsin, two pictures of Quebec, and the Entrée de la rivière de Chicago, Illinois; thus being referred to as the "first book to contain a view of Chicago" (Howes). The plates comprise: 1) Tallahassée 2) Capitole de Tallahassée 3) Magnolia 4) Plantation sur le lac Jackson 5) Vues de la Floride [4 views on one plate] 6) Plantation sur le lac Lafayette (Floride) 7) Bois de la Floride 8) Chêne vert Riviere d'Appalachicola 9) Village Indien sur l'Appalachicola / Riviere d'Appalachicola / Arsenal a Montvernon / Chemin de feu de Tallahassee [four views on one plate] 10) Arsenal a Key West 11) Key West Golfe du Mexique 12) Chûtes de la Chattahoutchie (Alabama) 13) Hotel de ville de Millegville (Georgie) / Pont d'Augusta - Georgie / Pont de Columbus (Georgie et Alabama) [three views on one plate] 14) Wissegong Indien Chippeway (Michigan) 15) Piniswaneket (l'oiseau dans le Nuage) Indienne Chippeway (Michigan) 16) Fort Howard dans le grande Baie verte (Ouisconsin) 17) Danse de guerre des Folle - avoines de la Baie verte (Ouisconsin) 18) Presqu'île Michigan / Sheboigan Ouisconsin / Fort Gratiot Michigan / Entrée de la Rivière de Chicago, Illinois [four views on one plate] 19) Guerrier Folle Avoine Grande baie verte 20) Indien Delaware Monses, Lac Winnebagoe 21) Roche Folie de Robinson, Ile de Michilimakimac 22) Village des Folle - Avoines Ouisconsin 23) Roche dite le Pain de Sucre, Ile de Michilimakimac 24) La roche arquéee, Ile de Michilimakimac 25) Village Ottowa, Ile de Michilimakimac 26) Fort Americain, dans l'Ile de Michilimakimac 27) Ile de Michilimakimac (Lac Huron) 28) Fort Brady (Lac Supérieur) 29) Banc de sable dit l'Ours endormi, Lac Michigan 30) Indiens hurons (Canada) 31) Chûtes St. Marie, Lac Supérieur 32) Bracelets, Nattes, Armes, Raquettes et Instrumens de musique des Indiens de l'Amerique du Nord 33) Ornemens, calumets, boites, etc. des Indiens d l'Amerique du Nord 34) Marches naturelles prés de Québec 35) Cascade de la riviere de Monmarency (Canada) The work seems to have been issued on regular paper or as India proofs, as here (one plate from the present copy is on regular paper but appears issued as such and not supplied at a later date). Castelnau's Vues, in either form, is very rare, with only a handful of copies trading on the market in the last century. Sabin 11412; Howes C225a; Buck, Travel and Description 321; Greenly, Bibliography of Michigan 82; Monaghan, French Travellers in the United States 368; Streeter sale II:847; Howgego C14. Not in Deak.

      [Bookseller: Donald Heald Rare Books]
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        Waverley Novels

      Edinburgh: Robert Cadell; London: Houlston & Stoneman 1842 - Twelve volumes, thick 8vo., half morocco lettered in gilt, ornate gilt spine designs, raised bands, top edges gilt; lightly soiled with faint rubbing to extremities, scattered foxing. The Abbotsford Edition, published between 1842-7, with some 2000 wood-engraved illustrations and steel-engraved plates. Shipping extra. [Attributes: Hard Cover]

      [Bookseller: North Star Rare Books & Manuscripts]
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        Oliver Twist / by Charles Dickens (Boz)

      Philadelphia : Lea and Blanchard, 1842. 3rd Edition. Description: 212 p. : ill. ; 23 cm. Subjects: Orphans -- Criminals -- Kidnapping victims -- London (England) --Fiction. Very good copy in the original gilt-blocked cloth. Professionally recased with the original spine laid back; very impressively finished. Minor, scattered marginal foxing. Remains particularly well-preserved overall; tight, bright, clean and strong.

      [Bookseller: MW Books Ltd.]
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        The PICKWICK POSTHUMOUS PAPERS. Containing an Account of the Wonderful Discovery Club, and the Extraordinary Adventures of Pickwick, Sam Veller, Tupnall, Winkletop, &c. &c. Edited by Bos

      London:: Published by Lloyd, Wych-Street, Strand.. 1842.. 8vo. 8-7/8" x 5-1/2". 1st volume edition thus, i.e., with this title page. 1 - 48, 65 - 88, 129 - 192, 185 - 256, 289 - 432, [12] pp. Text double column. Adverts last 12 pages comprised of two "Pickwickian Advertiser" issues [#5, 8 pp; #8, 4 pp].. Original publishers brown muslin cloth spine over drab paper boards. Printed paper title label to spine.. Volume professionally, and unobtrusively, rebacked. Very Good.. A re-packaging of Lloyd's PENNY PICKWICK, first published in the late 1830s, eventually reaching 112 issues. The volume concludes with issue #54 [as does the Harvard copy]. This copy with 2 of issue 24, and wanting issues 7-8, 12-16, 33-36. & & OCLC records just one holding institution: Harvard. . Illustrated with cuts.

      [Bookseller: Tavistock Books, ABAA]
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        La petite chouannerie : ou, Histoire d'un college breton sous l'Empire

      Londres: Moxon 1842 - Physical desc.: 398 p. ; 22 cm. Subject: College de Vannes. Chouans. Language: French. Very good copy in later gilt-blocked vellum with gilt borders to front and rear panels. Gilt raised bands over contrasting red leather with gilt-blocked title and spine compartments uniformly tooled in gilt. Publisher and publication date gilt-blocked to lower spine. Marginal scattered foxing throughout. Minor, generalized wear to the bands and panel edges. Remains uncommonly well-preserved overall; tight, bright, clean and strong. 1 Kg. 398 pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: MW Books Ltd.]
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        Dickinson's Embossed Cards. First Specimen Book

      Boston: Samuel N. Dickinson, 1842. (TRADE CATALOGUE, EMBOSSING) Oblong 4to. Printed title in blue and red within an embossed gilt ornamental frame, one printed "Notice" from the publisher dated June, 1842, 49 specimens of embossed cards (many tinted, some printed), all mounted to stiff card stock; and 7 sheets of "Embossed Specimens of Printed Billets" sewn to a stiff printed card. Bound in an album of contemporary half calf and marbled paper boards with red leather label on upper cover stamped in gilt "Dickinson's Embossed Cards," calf shows much deterioration and corrosion, although the sewing is still intact, 28 specimen cards have been removed and are no longer present, some minor soiling and foxing, but generally vey clean and sound internally, custom morocco backed folding box . With a very interesting presentation note from a previous Philadelphia owner, Alfred Darrach, dated 1928, affixed to the front pastedown, identifying the original owner (his grandfather) as Christian Gobrecht (1785-1844), artist, engraver, embosser, inventor, engraver to the U.S. Mint, and, from 1840-1844, the 4th United States Engraver of the Mint, where he was responsible for the creation of several new models and designs, including the famous Seated Liberty design which appeared on a variety of American coins from 1836 through 1890. Gobrecht designed many notable medals, coins and dies during his career, but he also "invented a speaking doll, and later a camera lucida. He also produced engravings for calico printers, and dies for bookbinders. He engraved the brass dies for embossing the Morocco covers of the Boston Token, from 1831 - 1836, as well as the eagle cover of the Philadelphia Token. Among the medals he engraved were the Charles Willson Peale medal, the Franklin Institute medal, etc -" - DAB. A remarkable specimen album in and of itself, all the more so for having belonged to one of America's most important engravers. We cannot say for sure, but it is entirely likely that if Gobrecht himself did not design many of the dies for this embosser, he may have used the album for his own work and possibly removed the cards which are no longer present

      [Bookseller: James Cummins Bookseller]
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        Voyage en Islande et au Groenland, execute pendant les annees 1835 et 1836 sur la corvette La Recherche

      Three magnificent atlases on Iceland. 1842. Paris. Arthus Bertrand. Three volumes in large folio. 1 ff. + 3 ff. + 77 plates; 3 ff. + 74 plates; zoology 1 ff. + 50 plates -35 colored. Contemporary half green chagrin over boards, raised bands to spine, lettered and tooled in gilt, rubbed and scuffed. Some foxing to titles and a few plates, the colored ones are remarkably well done; overall an impressively fresh and crisp copy. First edition. The three atlases of Gaimard?s definitive work on Iceland and the Artic Sea, recording the voyage undertaken aboard the corvette Recherche, sent to the Arctic Sea to recover geographer Jules de Blosseville, lost in 1833 between the waters of Greenland and Iceland during the expedition aboard the Lilloise. These magnificent atlases include 200 large lithographed plates by Mayer, Lassalle and Oudart, made on China paper; they show portraits, the towns, cities, ethnography, effects of leprosy, fauna and flora of the places visited. The zoology volume plates are mostly hand colored. Gaimard (1793 - 1858) was a naval surgeon and experienced explorer; he served on board the Uranie under Freycinet and Dumont D?Urville aboard the Astrolabe (1826 ? 1829). The main goal of the expedition was not reached, as Blosseville was never found, however Gaimard?s explorations throughout Iceland resulted on a most important work on the region, finely illustrated. In order to be complete, the work comprises 8 volumes of text. At the time it was published, the work was one of the most extensive ever made dedicated to Iceland. Chadenat, 5061. Sabin 26330.

      [Bookseller: Hs Rare Books]
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        Greece Revisited And Sketches In Lower Egypt In 1840. With Thirty-six Hours Of A Campaign In Greece In 1825

      London: Saunders & Otley, 1842. First Edition. Garston, an 'adventurer' and philhellene, had previously visited Greece in 1825, and an extract from his journal from that period is included at the end of Volume II. During his second visit in 1840, he travelled to Athens from Corfu and went on to Hydra. His account contains long sections on prominent men in public life, temples and monuments, and a description of life in Athens and the islands. He is able to compare his experiences in the country during and after the revolution and laments the damages wrought by the war. The second volume is devoted to Egypt (Alexandria, Cairo), with remarks on mosques and tombs, slave markets, the Pacha's harem, pyramids, &c. Blackmer 652. Ibrahim-Hilmy II p. 253 (mentioning only 2 plates). 2 Volumes in 1. 8vo. pp. xvi, 313; 1 p.l., [v]-viii, 343. lacking half-title in Vol. II (none required in Vol. I). 3 lithographed plates. An attractive copy in near contemporary full purple morocco, gilt paneled sides, spine richly gilt, gilt inside dentelles, all edges gilt. Inscribed from the Author on verso of frontis. portrait

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        The Birds of America, from Drawings Made in the United States and Their Territories. Volume V

      New York and Philadelphia: J.J. Audubon and J. B. Chevalier, 1842. Hard Cover. Very Good. Hard Cover. Volume V only. First octavo edition. This volume has 80 hand colored lithographic plates numbered 281 - 350 including several doves, the wild turkey, partridges, grouse, rails, cranes, plovers, and sandpipers. The lithographs are based on Audubon's elephant folio aquatint plates, which were reduced using camera lucida by the printer J.T. Bowen. Some of the resulting images have different backgrounds than the original aquatints. The compositions were also reconfigured so that only one species is shown on each plate. Wood-engraved anatomical drawings are printed within the text. The octavo edition consisting of 7 volumes was printed for subscribers between 1839 and 1844; it is a reprint of the original double elephant folio edition with the addition of 65 plates. The subscription price for this octavo edition was $100 which was quite a lot for the time; however, it was much more affordable and of a more practical size than the double-elephant folio. Many well-to-do American families purchased subscriptions and Audubon's work gained circulation and renown. Audubon was personally involved with the production of this edition. All following editions were printed after his death in 1851. Bound in attractive contemporary full leather with gilt title and volume number to spine. Elaborate gilt tooling to spine, both covers, and dentelles. Minor wear to the hinges and edges with a few pulls to the leather. Full gilt edges with glossy yellow endsheets. The text block is completely split into two sections after the first signature and there are a few smaller splits throughout. Overall the plates are in very good condition although there is light foxing to the margins of many and there is minor soiling on eight. A few of the tissue guards are missing and many of the remaining guards are foxed and/or stained. Pages 141 / 142 and 147 / 148 both have long closed tears which have been repaired; no text is missing. 346 pages. NAT/010913.

      [Bookseller: The Kelmscott Bookshop]
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        My working friend: Being plain directions for the various stitches in fancy needlework

      G. Curling Hope 1842 - First edition 1842. Small hardcover book is good plus with shelfwear, some wear and small breaks to the binding, and foxing to the first several and last couple of pages. A nice example of a very scarce book. [Attributes: First Edition; Hard Cover]

      [Bookseller: MyFirstEditions]
 20.   Check availability:     AbeBooks     Link/Print  


        ADVENTURES DE ROBINSON CRUSOE PAR DANIEL DE FOE Traduction Nouvelle [revue et corrigee] / illustree de 20 Gravures

      Paris: P.-C. Lehuby, Libraire-Editeur, 1842. Biblioteque Speciale de la Jeunesse. (Victorian Polychrome Binding) 8vo (about 8 1/2" x 5 1/2"). Pagination: vii (viii blank), 1-456 (pp. 453-456 "Table des Chapitres"); 20 tinted illustrations not part of pagination. ________ French percaline doree cloth binding of dark blue cloth blind-stamped around front cover with large, elaborate central gilt-stamped medallion of various colors (pink, red, green, white and blue) of paper appliques (onlays) overstamped in gilt (see pictures illustrations); back cover again stamped in blind with smaller medallion of a seated young woman; spine likewise heavily gilt stamped over color appliques.; all page edges gilt. Light wear to covers, small chip out of tail of spine; yellow endpapers with some browning and occasional light brown spotting of text pages, else about fine. ________ The approbation at the front of the book indicates that it has been examined by S.A.E. Monsignor the Cardinal Prince de Croy, archbishop of Rouen and changed toexclude all that was contrary to the Catholic faith and so now can be read without danger [to young minds]. This approbation is dated 1842, but we suspect the book is possibly later 1850's in keeping with emergence of other French percaline doree cloth bindings of the period. ________ A VERY HANDSOME AND QUITE RARE FRENCH POLYCHROM BINDING.

      [Bookseller: MOSHER BOOKS]
 21.   Check availability:     IOBABooks     Link/Print  


        Tre fruar i Småland.

      Roman af författaren till Törnrosens bok. I-III. Jönköping, J. P. Lundström, 1842-43. 8:o. (4),VII,(1 blank),192 + (4),204 + (4),282,(1) s. Tre oskurna häften i blå tryckta omslag. Omslagen med smärre defekter och flera av dem loss. Snedlästa och delvis lösa i häftningen. Inlagda i välgjord löspärm med mörkröd skinnrygg, enkel guldornering och grön titeletikett samt med tillhörande skjutkassett. Några spridda lager- och småfläckar. Smårevor i inre marginalen på s. 133-40 i första delen. Bläckfläck på s. 157-60. Sista bladet loss och med smärre revor. Andra delen med lagerfläck på s. 24-25 och liten fläck i nedre marginalen på s. 35-40. Med W. Flincks namnteckning på omslagen.. Almquistiana 235. Två översättningar gjordes till tyska 1843-44 respektive 1845

      [Bookseller: Mats Rehnström]
 22.   Check availability:     Antikvariat     Link/Print  


        Fragments of the Great Colossi at Memnonium-Thebes

      [London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. 13 5/8 x 19 7/8 inches. 15 3/4 x 23 inches. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Abbey Travel I, 272 (plate #47)

      [Bookseller: Donald Heald Rare Books]
 23.   Check availability:     Biblio     Link/Print  


        Approach to the Fortress of Ibrim, Nubia

      [London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). 12 7/8 x 18 1/2 inches. (of mount): 17 3/8 x 24 3/8 inches. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

      [Bookseller: Donald Heald Rare Books]
 24.   Check availability:     Biblio     Link/Print  


        Medinet abou, Thebes

      [London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. 12 7/8 19 3/16 inches. Card 16 3/8 x 24 1/8 inches. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Abbey Travel I, 272 (plate #63)

      [Bookseller: Donald Heald Rare Books]
 25.   Check availability:     Biblio     Link/Print  


        [Jerusalem from the South] April 12th, 1839

      [London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand, removed from original card. 12 3/8 x 18 7/16 inches. A fine example of David Roberts' monumental work on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated work issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image) with hand- colouring (and originally mounted on card). It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

      [Bookseller: Donald Heald Rare Books]
 26.   Check availability:     Biblio     Link/Print  


        Site of Petra

      [London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, with later professional hand-colouring. Very good condition apart from several small black spots in the margins and the image. 15 1/4 x 20 3/8 inches. 17 1/8 x 23 5/8 inches. A fine example from David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

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


        The Monthly Chronicle, of Events, Discoveries, Improvements and Opinions

      Samuel Smith/Charles S. Francis Boston and New York:: Samuel Smith/Charles S. Francis,. September 1, 1842.. First edition. Very good condition. With the famous early Washington Hood (Corps of Topographical Engineers) map of Oregon titled "Map of the United States Territory of Oregon West of the Rocky Mountains", 1838, one of the first to focus on Oregon Territory before it was formally established as a territory in 1846. According to Wheat, Mapping the Transmississippi West, 433: "Hood's map as drawn to illustrate the report of Senator Linn on a Bill to authorize the President to occupy the Oregon Territory ... it was believed to be the most correct, and furnishes the most recent and authentic information of any yet published". The map extends from British Territory in the north (showing the "Northern Boundary 1818") to Mexico in the south; it shows the trading depots and forts of the British Hudson Bay Company and the route of Lewis and Clarke from the Missouri River and over the Rocky Mountains. The text, p338 - 384, describes the history of exploration and the topography of the area. 8vo, 13pp. Front cover corners chipped, otherwise fine condition.

      [Bookseller: Antipodean Books, Maps & Prints ]
 28.   Check availability:     ABAA     Link/Print  

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