The viaLibri website requires cookies to work properly. You can find more information in our Terms of Service and Privacy Policy.

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

        Volksagen und Volkslieder aus Schwedens älterer und neuerer Zeit.

      Aus dem Schwedischen übersetzt von Dr. F. G. Ungewitter. Mit Vorwort von Ludwig Tieck. 1-3. Leipzig, Chr. C. Kollmann, 1842. 8vo. XXIV,+ 303,+ (1); VIII,+ 374,+ (1); VI,+ 258 pp. Partly uncut in contemporary half calf, gilt spines with raised bands and black labels, blue marbled paper boards. Thre volumes. From the library of Ericsberg, with the book plate of Carl Jedvard Bonde. Setterwall 243. All published of the German translation of Afzelius' "Swenska folkets sago-häfder, eller fäderneslandets historia, sådan hon lefwat och till en del ännu lefwer i sägner, folksånger och andra minnesmärken". The Swedish original was published in 11 parts, in 1839-70. The German parts corresponds to the same parts in the Swedish edition. Part three ends with the 13th-century

      [Bookseller: Centralantikvariatet]
 1.   Check availability:     Antikvariat     Link/Print  


        CHILDREN'S EMPLOYMENT COMMISSION. APPENDIX to First Report of Commissioners. MINES, Part I (with:) Part II. Reports and Evidence from Sub-Commissioners,

      [Commands 381, 382] ii, 886; ii, 878, 13, 41pp., 2 volumes folio, extensively illustrated both with plates and wood-engravings, fine copies in red buckram, top edges gilt, the Public Record Office copy with armorial bookplates, Presented to both Houses of Parliament by Command of Her Majesty, London, Clowes, HMSO, 1842. PHOTOGRAPHS SENT ON REQUEST. *Of all the horrors suffered by working children, it was those inherent in the mines that were the worst and captured the public imagination. The evidence gathered was of a hell-like underground world full of incessant work, depravity and vice. To a large extent this was because of the wood-engraved illustrations, unique to these Reports, which were widely reproduced. In early mines coal was brought up the surface in very primitive ways and whole families worked as a team in the mines. The father and the boys hewed the coal (cutting the coal from seams with a pick). The mother and girls 'hurried' (carried) the coal to the surface by climbing a spiral staircase with a basket, filled with coal, on their backs. It was held in place by a strap around the front of their heads. In some mines, both the coal and the miners were brought to the surface in wooden buckets which were pulled up the shaft. Sometimes the miners just had a rope to hold on to. Rope failures and mistakes with a windlass often led to miners plunging to their deaths. As these awful accidents became known, there were calls to find out just how bad conditions actual were in the mines and a commission was set up.The 1842/3 Parliamentary Committee which reported on the mines found that many workers were working in the most appalling conditions. Not only did they work very long hours, but they were also hired at very young ages. Children as young as five were used as 'trappers' to open and close underground doors in the mine to let the 'hurriers', who pulled the loaded wagons, get through. These children worked in the dark because their families were often too poor to be able to afford candles. They were in the dark for up to twelve hours each day and often had rats scurrying all over them. If they fell asleep they were beaten by the miners.The commission also found that children were employed as coal 'hurriers', pulling carts or sledges filled with coal over long distances and through very small tunnels. Girls as young as thirteen were often used for this work. The chain around their waist caused damage to their pelvic bones, distorting them and making them smaller. This often proved fatal in later life when many of them died in childbirth. "[The women] have a chain or belt about the waist, which passes between the legs of the female, and is hooked on to the wagon of coals which they pull from the place where the men work to the bottom of the shaft. I should also add, that the men in the pit work perfectly naked.." (p.h.28)

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
 2.   Check availability:     UKBookworld     Link/Print  


        Talmud Babli Berachoth - Babylonischer Talmud Tractat Segenspr¸che; Compendium des Hierosolymitanischen und Babylonischen Thalmud (with) Compendium des Hierosolymitanischen und Babylonischen Thalmud. Ein Betrag zur Geschichte der Israeliten und Eine Probeschrift der zu erscheinenden deutschen Uebersetzung des ganzen Talmuds

      Published by the author Berlin Published by the author 1832-1842 First edition g 8vo. xlviii. 132pp. Blue paper covered boards. Hebrew and German title page. Printed on very high quality cotton rag paper. Introduction to the Jerusalem and Babylonian Talmud with selected translations by the German Talmudic scholar Ephraim Moses Pinner. The book covers the origins, language and authenticity of the Talmud, as well as a biography of the 2nd century sage Rabbi Shimon Bar-Yohai. Translated sections include the original Hebrew and Aramaic texts, a German translation, translation and etymology of specific words and a commentary in German following each section. Foreword by Johann Joachim Kellermann. Text in German with Gothic script, Aramaic and Hebrew. Hebrew and English signatures of previous owner on front endpapers. Serious age wear to binding, with water stains and parts missing at spine and edges. German title-page partially separated from binding, but still holding. Minor browning throughout. Overall very clean and tight. Binding in poor, book in very good condition. Talmud title-page information: "Mit deutscher Uebersetzung und den Commentaren Raschi und Tosephoth nebst den verschiendenen Verbesserungen aller fr¸heren Ausgaben. Hinzugef¸gt sind: Neue Lesarten und Parallelstellen in allen Theilen dies?es Tractates und der Commentare, Vokalisation der Mischnah, Interpunktion der Mischnah, Interpunktion der Mischnah und Gemara, Raschi und Tosephoth, Etymologie und Uebertragung der fremden W?rter, Erkl?rungen des Meharschal und Meharscha, R. Ascher mit Erl?uterung der Halachah und den abweichenden Lesarten, R. Moscheh's, Sohnes R. Maimon's, Commentar zur Mischnah mit Berichtigungen, Einleitung in den Talmud, enthaltend Grundprincipien der Methodologie und Exegetik des Talmud. Von Dr. E. M. Pinner, Membre de la SociÈtÈ Asiatique de Paris &c. &c. &c. Erster band. Berlin 1842. Eigenthum des Verfassers. (Preis 8 Rthlr. Veliupapier 10 Rthir.)" Compendium title-page information: "Ein Betrag zur Geschichte der Israeliten und Eine Probeschrift der zu erscheinenden deutschen Uebersetzung des ganzen Talmuds. Uebersetzt und erl?utert von M. Pinner, Dr. der Philosophie. Mit einer Vorrede von Johann Joachim Kellermann. Erster Band: Entstehung, Sprache, Aechtheit des Thalmud, Reden und Thaten des Rabbi Simon, des Sohnes des Jochai." Ephraim Moses Pinner was a 19th century German Talmudist and archeologist. His first work, published in 1831, the "Kizzur Talmud Yerushalmi V'Talmud Babli" was a translation of sections of both the Jerusalem and Babylonian Talmuds. This was the beginning of his larger project to produce a translation of the entire Talmud. Pinner's work took him to libraries across Eastern Europe. He even secured the aid of the anti-Jewish Czar Nicholas I and dedicated the translation to him. Only the first of the proposed 28 volumes was ever published. Besides for securing sponsorships from royalty across European, Pinner gained letters of approbation from several rabbis, none of whom lived in Russia. This was down apparently through some trickery on Pinner's part.

      [Bookseller: Eric Chaim Kline - Bookseller ]
 3.   Check availability:     ABAA     Link/Print  


        Jericho. April 3rd, 1839

      [London: Day & Son, 1842-1849]. Tinted lithograph by Louis Haghe, coloured by hand. 12 1/2 x 18 1/2 inches. 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. This example has been removed from the card mount 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 ]
 4.   Check availability:     ABAA     Link/Print  


        Libyan Chain of Mountains, from the Temple of Luxor

      [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 5/8 inches.Card 16 1/8 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 #30)

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


        Original-Ansichten der historisch merkwürdigsten Staedte in Deutschland nach der Natur aufgenommen von verschiedenen Künstlern in Stahl gestochen von E. Willmann, Louis Hoffmeister, E.E. Höfer, Joh. Poppel und anderen Künstlern. Mit einem artistisch topographischen Text.

      Ca. 27 x 23 cm. Mit gestochenem Titel, 53 Stahlstichansichten auf Tafeln und erläuternden Textseiten. Blindgeprägter Leinenband der Zeit. 3. Band. Der gestochene Titel zeigt eine Ansicht des Erzbrunnen in Prag. Die Stahlstichtafeln mit folgenden Ansichten: Prag (mit 19 Tafeln), Karlsbad (7), Teplitz (4), Eger (2), Franzensbrunn (1), Kuttenberg (3), Kolin (1), Leitmeritz 1), Tabor (1), Marienbad (3), Tübingen (1), Hohenzollern und Hechingen (1), Reutlingen (1), Gmünd (1), Tuttlingen und Honburg (1), Sigmaringen (1), Mergentheim (1), Calw (1), Helfenstein und Geißlingen (1), Regensburg (1), Darmstadt (1). Einband ausgeblichen. Rücken geplatzt. Vorderes fliegendes Vorsatzblatt fehlt. Textseiten stärker stockfleckig, Tafeln teils im Bild etwas stockfleckig, meist nur im weißen Rand. Einige Tafeln Papier gebräunt.

      [Bookseller: Antiquariat Rainer Kurz]
 6.   Check availability:     antiquariat.de     Link/Print  


        Description of an extinct lacertian reptile, Rhynchosaurus articeps (Owen). Inscribed by Owen to Henry Witham

      Cambridge, 1842. No Dust Jacket. Owen, Richard (1804-92). Description of an extinct lacertian reptile, Rhynchosaurus articeps (Owen) . . . Offprint from Transactions of the Cambridge Philosophical Society 7 (1842). [2], 355-369pp. 2 lithographed plates. Cambridge: John W. Parker. 287 x 223 mm. Original plain wrappers, spine worn, some creasing, soiling and chipping. Edges frayed, a few marginal tears in plates not affecting the images, but good to very good overall. Presentation copy, inscribed by Owen to geologist Henry Witham (1779-1844) on the title: “H. T. M. Witham, Esqr. from the Author.” Witham's signature on the front wrapper. First Edition, Offprint Issue. Owen, the foremost British paleontologist and comparative anatomist of the nineteenth century, gave in this paper the first description and classification of the fossil reptile Rhynchosaurus articeps, a species of herbivorous beaked lizard that lived during the Middle Triassic Period. Owen presented this copy to Henry Witham, a founder of the Royal Geological Society and the first English person to investigate the internal structure of fossil plants.

      [Bookseller: Jeremy Norman's Historyofscience.com ]
 7.   Check availability:     ABAA     Link/Print  


        Histoire Naturelle-Agricole des Animaux Domestiques de l'Europe publiée par les Fondateurs du Moniteur de la Propriété et de L'Agriculture. Races de la Grande- Bretagne. D'apres les tableaux exécutés par M. Shiels, de l'Academie royale d'Ecosse pour le Musée agricole de l'Université d'Edinbourg. Avec Texte Par David Low. (1.-2. Part - l. Part: Le Boef (Cattle) - 2. Part: Le cochon (Pigs).

      Paris, Bureaux du Moniteur de la Proprieté, 1842. Large 4to. (30x23 cm.). Bound in one cont. hcalf, raised bands. Compartments with gilt animals. Minor scratches to edges, but fine. There are 3 half-titles and 3 title-pages (all dated 1842, the second title after page 27, the third after page 176, where the section with the pigs starts). (4), I-X (11-) 176, (6), 33, (1) pp., last leaf=Table des Matieres. Having 22 fine lithographic plates of Cattles, of which 20 are hand-coloured and shown in landscape-settings with coloured backgrounds, (2 uncold.) and 4 plates showing pigs, all hand-coloured. The plates with tissue-guards. One of the pig-plates with a tear not reaching image. 2 plates loosening. A small marginal dampstain to af few leaves and plates. Otherwise clean and fine.. Extremely scarce first French edition of this pioneering work in the science of selective breeding, illustrating the forerunners of the most important breeds of cows and pigs of all times. The French edition is a translation of "The Breeds of the Domestic Animals in the British Isles" issued in 4 parts in folio, London 1840-42. The 2 other parts, which are not present here deal in the same manner with sheep (le mouton) and with horses (le cheval). Nissen ZBI No. 2565. - Not in BMC (NH). - Not in Wood

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


        La Bourse de Hambourg, en 1838.

      Litografi af Guiaud efter forlæg af A. Mayer. 27 x 42 cm. Koloreret. Paris, Arthus-Bertrand éditeur, uden år. Fint eksemplar.. Fra "Atlas historique et pittoresque lithographié d'apres les dessins de MM. Mayer, Lauvergne et Giraud", bind 1 [udsendt i hefter 1842-1852].Dette planchebind indgik i "Voyages en Scandinavie, en Laponie, au Spitzberg et aux Feröe pendant les années 1838, 1839 et 1840, sur la corvette La Recherche... Udgivet i Paris 1842-1856. Ialt kom 26 bind med tekst og 5 bind med illustrationer.Denne store ekspedition til Skandinavien, Lapland, Spitsbergen, Færøerne, Island, Rusland og Baltikum hed officielt "Commission scientifique du Nord", dog er den bedre kendt som "Recherche-Ekspeditionen" efter det statelige ekspeditionsskib, korvetten La Recherche, eller som "Gaimard-Ekspeditionen" efter ekspeditionens leder, den franske marinelæge og naturforsker Paul Gaimard. Både franske og nordiske naturforskere deltog i de tre sommertogter i perioden 1838-1840. De blev ledsaget af franske kunstnere, der arbejdede på stedet - senere blev deres tegninger overført til den litografiske sten

      [Bookseller: Finnerups Antikvariat]
 9.   Check availability:     Antikvariat     Link/Print  


        La Bourse et le Palais de Christiansborg à Copenhague.

      Litografi af Ph. Benoist efter forlæg af A. Mayer. 25 x 38 cm. Paris, Arthus-Bertrand éditeur, uden år. Børsen set fra Børsgade med Christiansborg og Holmens Kirke i baggrunden.. Fra "Atlas historique et pittoresque lithographié d'apres les dessins de MM. Mayer, Lauvergne et Giraud", bind 1 [udsendt i hefter 1842-1852].Dette planchebind indgik i "Voyages en Scandinavie, en Laponie, au Spitzberg et aux Feröe pendant les années 1838, 1839 et 1840, sur la corvette La Recherche... Udgivet i Paris 1842-1856. Ialt kom 26 bind med tekst og 5 bind med illustrationer.Denne store ekspedition til Skandinavien, Lapland, Spitsbergen, Færøerne, Island, Rusland og Baltikum hed officielt "Commission scientifique du Nord", dog er den bedre kendt som "Recherche-Ekspeditionen" efter det statelige ekspeditionsskib, korvetten La Recherche, eller som "Gaimard-Ekspeditionen" efter ekspeditionens leder, den franske marinelæge og naturforsker Paul Gaimard. Både franske og nordiske naturforskere deltog i de tre sommertogter i perioden 1838-1840. De blev ledsaget af franske kunstnere, der arbejdede på stedet - senere blev deres tegninger overført til den litografiske sten

      [Bookseller: Finnerups Antikvariat]
 10.   Check availability:     Antikvariat     Link/Print  


        Czarina, The

      1842. first edition. An Historical Romance of the Court of Russia at the Time of Catherine the GreatHOFLAND, Mrs. [Barbara]. The Czarina; An Historical Romance of the Court of Russia. By Mrs. Hofland…In Three Volumes. London: Henry Colburn, Publisher, 1842. First edition. Three twelvemo volumes (7 3/8 x 4 5/8 inches; 187 x 117 mm.). [2], 302; [2], 317, [1, blank]; [2], 325, [1, blank] pp. Possibly bound without the half-titles.Contemporary half maroon morocco, ruled in blind, over marbled boards. Spines ruled in blind and lettered in gilt with five raised bands. Marbled edges. Armorial bookplate of Viscount Chersley on front pastedown in each volume. A near fine copy. OCLC locates only four copies: UCLA, the University of Wisconsin, Madison, the University of Victoria, and Cambridge University. KVK locates an additional three copies: the British Library, the National Library of Scotland, and the Library of Congress.Mrs. Barbara Hofland (1770-1844) “was the daughter of Robert Wreaks, a Sheffield manufacturer, who died when she was an infant. She was brought up by an aunt and in 1796 married T. Bradshawe Hoole, a merchant, by whom she had a son. Hoole’s death from consumption two years later left her wealthy but the money was subsequently lost through a bad investment, and she turned to writing. A volume of Poems (1805) attracted 2,000 subscribers, mainly out of sympathy. She opened a boarding school at Harrogate on the proceeds, and when this failed she began to write fiction. The History of a Clergyman’s Widow (1812) sold 17,000 copies in various editions. In 1808 she married the landscape painter Thomas Cristopher Hofland (1777-1843). The precariousness of an artist’s life together with Hofland’s natural improvidence and subsequent illness meant that she had to work even harder at her fiction. By 1824 she had produced upwards of twenty titles, the most successful of which, and probably her best, was The Son of a Genius [1812], which drew on her experience of the artistic temperament and also on the emotional legacy of her son’s death from consumption. She followed it with The Daughter of a Genius (1823). She was a popular as well as prolific writer although her fiction, which extended to nearly seventy works, was remorselessly didactic in tone. Towards the end of her career she turned out conventional Victorian three-deckers, including The Czarina (1842), The King’s Son (1843), The Unloved One (1844), and Daniel Dennison (1846). She was also an energetic journalist, having begun as early as 1795 with ‘Characteristics of Some Leading Inhabitants of Sheffield’, which she published in the Sheffield Courant. She expanded this vein later by contributing gossipy letters about London literary life to provincial newspapers. Her children’s books include both history and travel and, despite their moralizing, are attractive and readable. Hofland was a friend of Mary Russell Mitford” (The Oxford to British Women Writers).“[Mrs. Hofland’s] work for children includes imaginative textbooks (she centres both histories and travels on invented young people). Some simplified moral judgements apart, it is intelligent and readable. Depth and variety is added in adult works like Iwanowa, or The Maid of Moscow, 1813 (Richardsonian letters; clash of armies and cultures), Katherine, 1828 (delicate psychological analysis of misunderstandings in love), The Captives in India, 1834 (effective use of Eliza Fay), and The King’s Son, 1843 (fictional vindication of Richard III)” (The Feminist Companion to Literature in English).Block, pp. 109-110. CBEL III, 734. CBEL (3) IV, 934. Not in Sadleir or in Wolff, who had only two of her works—The Captives in India, A Tale; and A Widow and a Will (1834) and A Season in Harrogate (1812).

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

______________________________________________________________________________


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


Copyright © 2018 viaLibri™ Limited. All rights reserved.