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Displayed below are some selected recent viaLibri matches for books published in 1844

        Radierungen von I.A. Klein". Titelblatt der Zeh'schen Ausgabe mit einer Ganzfigur nach halbrechts des Meisters, links beim Zeichnen unter einer Eiche sitzend, vorne Haustiere (Pferd, Kühe, Schafe usw.), im Hintergrund Gesamtansicht von Nürnberg, darüber Arabesken mit zwei von Kleins Radierungen (römischer Viehtreiber, russischer Schlitten) in Verkleinerung, dazu Affen, eine Katze usw.

      - Radierung, in der Platte bez., sign. und dat. "J.A. Klein f. München 1844", 23,5 x 17,5 cm. Jahn 328, III. - "Der Arabeskenzug ist von Eugen Neurether einradirt" (Jahn). - Im Rand veinzelt minimal fleckig.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Le Tiercelet sors de l´autour

      Bird print, original (1844). Hand-coloured lithograph. 70 x 50 cm. Good condition

      [Bookseller: C. Hagelstamin antikvaarinen kirjakauppa]
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        Buffon; Oeuvres Complètes en 6 volumes suivi de Lacépède, Histoire Naturelle, 2 volumes.

      Furne 1844/1853, Paris - Ensemble en reliure uniforme de 8 forts volumes de format grand in 8°. Reliure en demi chagrin vert empire, titres dorés; impression sur deux colonnes. Buffon: Volume 1 et 2: Matières Générales et Théorie de La Terre, Minéraux; T.1; 1 frontispice-portrait, 782 pp., 5 cartes coloriées hors texte; T.II, 776 pp.; Volumes 3 et 4 Mammifères, T.1, 726 pp., 13 planches rehaussées; T.2, 784 pp., 29 planches rehaussées; Volumes 5 et 6 Oiseaux; T.I, 654 pp., 43 planches rehaussées; T.II, 730 pp., 26 planches aquarellées. Pour l'ouvrage de Lacépède; T.I, 668 pp., 22 planches rehaussées; T.II, 648 pp., 9 planches réhaussées. Au total un fontispice et 147 planches réhaussées à l'aquarelle sur papier fort et hors texte. Infime défaut à une coiffe du Lacépède. Sinon exemplaire en bel état avec les oeuvres de Lacépède jointes dans la même reliure. Quelques rousseurs quelques planches rousses mais ensemble très frais. Exemplaire désirable. [Attributes: Hard Cover]

      [Bookseller: librairie Daniel Sciardet]
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        LE GENRE. Etudes Variees Dessinees D'Apres Nature. ILLUSTRATED WITH 24 COLOUR LITHOGRAPHS.

      Paris ;- Jeannin. / London ;- Anaglyphic Company. 1st April 1844 - Slim Folio. Contemporary leather boards, bordered in gilt (worn) and spine perished. 2 Parts in 1 Volume. Two Printed Title-pages. COMPLETE WITH TWENTY FOUR, SUPERB FULL-PAGE, HAND-COLOURED LITHOGRAPHS. Foxing throughout. Heavy in places. Two small 'J.C.Grundy/Manchester' tickets to Title-pages. A GOOD ONLY EXAMPLE OF THIS RARE COLLECTION. Sold W.A.F. [Attributes: Hard Cover]

      [Bookseller: Halewood & Sons ABA ILAB]
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        Die Venetianer Alpen. Ein Beitrag zur Kenntniss der Hochgebirgte, met einen geognostischen Karte und Gebirgteprofilen in achtzehn Tafeln.

      . Solothurn, Jent & Gassmann, 1844. Oblong folio (29.8 x 35.5 cm), [4], 60 pp., 18 mostly hand-coloured engraved maps and plates. Text pages bordered with putti and goddesses. 19th century iridescent blue blind cloth.l Wilhelm Fuchs (1802-1853) was the Königliche-Kaizerliche Bergverwalter zu Agordo im Venetianischen, and as such he dedicated this magnificent work to Stephan Franz Victor von Oesterreich, Prinzen von Ungarn und Boehmen, etc. The work contains the detailed map, scale 1:72000, as well as views on and cross-sections of this massif. The text deals with the geology, geomorphology and vegetation, and with measuring heights. Franz Hauer later published on the fossils collected by Fuchs (in the Denkschriften of the K. Akademie in Vienna). A very good copy of this rare work. BM(NH) Cat. p. 630. Neither in Ward and Carozzi, nor in Henze..

      [Bookseller: Dieter Schierenberg BV]
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        Vedute del Trentino. Spianata di Campo nelle Giudicarie.

      J.B. Kunh, Monaco. 1844 - Veduta di Campo nelle Giudicarie ad opera di Basilio Armani. Presenti sul lato inferiore della singola stampa le iscrizioni "Gez. v. Armani - Gedruckt bei I.B. Kuhn in München". Scheda bibliografica tratta da "Basilio Armani: panorami del Garda e del Tirolo" a cura di Marina Botteri Ottaviani. Molto rara e ricercata. Formato: Litografia di dimensioni 31x23 cm (parte incisa). Buono, ordinari segni d’uso e del tempo. La libreria offre per un periodo limitato uno sconto del 15% su tutti i suoi libri. Il prezzo originale dell'articolo era 1350.00 euro.

      [Bookseller: Studio Bibliografico Adige]
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        El Dorado: a Narrative of the Circumstances which gave rise to Reports, in the 16th Century, of the Existence of a Rich and Splendid City in South America; including a Defence of Sir Walter Raleigh. In Regard to the Relations made by Him Respecting it, and a Nation of Female Warriors, in the Vicinity of the Amazon, in the narrative of his expedition to the Oronoke in 1595 With a Map.

      J. Winchester, New York 1844 - Crisp folding map of Guyana. Quarter black morocco. Moderate foxing; front hinge repaired. ; 8vo 8.5 x 5.75 in; viii,[166],[i]errata,[ii] adv pages

      [Bookseller: Virginia Book Shop, Inc., ABAA, ILAB]
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        HOHENSCHWANGAU. "Hohenschwangau v.d. Südseite". Blick von einer Anhöhe auf das Schloß.

      - Lithographie mit Tonplatte von C.A. Lebschee nach Dom. Quaglio, 1844, 36 x 45,5 cm. Huber "Auf der Suche" S. 185 Nr. 5. - Aus dem in Einzelblättern erschienenen Werk "Sammlung malerischer Burgen und anderer geschichtlich merkwürdiger Baudenkmale der Bayerischen Vorzeit", bei Mey & Widmayer 1844-1846. - Gerahmt. Sehr selten!

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Universal-Handbuch der allgemeinen Wasser-Heilkunde in ihrer Anwendung für alle Krankheiten de menschlichen und thierischen Körpers, mit den genauesten Vorschriften zu ihrer Heilung und Verhütung durch bloße Anwendung...

      Ulm, Ebner, 1844.. (...des kalten Wassers. Mit 21 Abbildungen von verschiedenen Badeinrichtungen. ) 428 Seiten, 2 n.n. Blätter. Mit einer dopppelblattgroßen Lithographie als Frontispiz mit 21 Abbildungen zum Thema wie: Kalte Waschung - Enthüllung der zum Schwitzen ins Vollbad gebrachten Person - Einpackung beim Schwitzen - Hinterkopfbad - Seitenkopfbad - Halbbad, Wannenbad - Flußbad, Wellenbad - Vollbad - Sitzbad - Verschiedene Douchen ( Duschen ) - Sturzbad, Regenbad - Tropfbad - Bad unter der Brause - Maschine zum Herablassen Leidender ins Vollbad - Gesichtsbad - Begießung in der Wanne - Maschine zu einem Bad der Hinter- und Geschlechtstheile - Proben mehrerer Bade- und Sitzwannen und Waschfässer. Schlichter Halbleinenband der Zeit, 8° ( 18,5 x 12 cm ). Einband stark berieben mit Fehlstellen im Bezug, Ecken und Kanten stark bestoßen, der schmale Einbandrücken unten angeplatzt sowie zum oberen Kapital hin gering angeplatzt, Bindung stark gelockert. Innen das doppelblattgroße Frontispizkupfer gebräunt, gering fleckig, Seiten teils etwas fleckig oder stockfleckig, Seiten teils angeknickt bzw. eselsohrig - einige Seiten auch stärker. 1 Seite am Oberrand außerhalb des Textes beschädigt, letzte Seiten fast lose und stärker angeknickt sowie zum Oberrand knapp beschnitten. - sehr selten - ( Gewicht 350 Gramm ) ( Pic erhältlich // webimage available //additional pics on request ).

      [Bookseller: Buchhandlung & Antiquariat Friederichsen]
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        Immortelle der Erinnerung. Dem Hochgebornen Herrn Herrn S. M. Rothschild [...] zur Feier seines siebzigsten Geburtsfestes am 9. September 1844 im Gefühle der innigsten Verehrung gewidmet.

      [Wien] 1844.. gr.-2°. (46, 5 x 35 cm.). 6 Bll. Mit chromolithogr. Tit. u. Einbandill. v. J[ohann] Rauh, 1 Bl.: Gedicht von A. v. Haller in Medaillon m. floraler Umrahmung, 4 Bll.: Huldigungstext. OHLn. Beide Deckel mit üppiger Einbandlithogr. in Gold auf dunkelblauem Grund. Am Vorderdeckel das Rothschild-Wappen mit dem Motto: "Concordia - Integritas - Industria". Darunter die Darstellung von zwei Eisenbahnlokomotiven als Hinweis auf das Engagement im Eisenbahnbau. Oben ist unter anderem Merkur vor Segelschiff und Bienenkorb zu sehen. Das alles umgeben von reicher floraler Dekoration. Hs. Signatur am Vorsatz. Kanten berieb. Seidenhemdchen u. Taf. tlw. staub- u. stockfl.. Huldigungswerk für Salomon Meyer Freiherr von Rothschild (1774-1855), österreichischer Unternehmer und Bankier. Als zweiter Sohn des Dynastiegründers Mayer Amschel Rothschild wurde Salomon zum eigentlichen Begründer des österreichischen Zweigs der Rothschild-Familie. Salomon Rothschild eröffnete 1821 eine Bank (die spätere Creditanstalt in Wien und wurde zum führenden Financier des Habsburgerreiches. Fürst Metternich und das Haus Habsburg waren ihm dadurch verpflichtet. Rothschild wurde letztlich zu einem der größten Grundbesitzer der Donaumonarchie. Auch in der Industrialisierung spielte er eine bedeutende Rolle. Er erhielt 1835 die Konzession zum Bau der Kaiser-Ferdinands-Nordbahn, baute in diesem Zusammenhang die Witkowitzer Eisenwerke aus, organisierte ein europäisches Monopol für Quecksilber und verhinderte im Jahr 1839 den Zusammenbruch des Österreichischen Lloyds, an dem er sich bereits bei seiner Gründung mit einer nennenswerten Aktienübernahme beteiligt hatte. Im Oktober des Revolutionsjahr 1848 flüchtete Rothschild nach Frankreich. Er kehrte 1849 nur kurz nach Wien zurück. - Der Lithograph Johann Rauh (1803-1863) wurde "wegen seiner vorzüglichen Arbeit" sehr geschätzt (ÖBL VIII, 439). - Als Ausdruck seiner höchsten Ergebenheit und Dankbarkeit ließ Johann Gastl, der seit mehr als 30 Jahren als königl. kaiserl. priv. Großhändler für Rothschild tätig war, das vorlieg. Werk anfertigen.

      [Bookseller: Burgverlag Buchhandelsges.mb.H.]
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        The Life of Samuel Johnson, LL D including A Journal of his Tour to the Hebrides (10 volume set)

      John Murray, 1844-01-01. Hardcover. Good. London: John Murray, 1844. Complete in ten volumes. 12mo. A new edition. Later marbled paper covered boards with leather spines and corners, raised bands. Good condition overall. Marbled end papers. Contents are generally quite neat. From the personal collection of American author Osmond Tiffany with his bookplate on all front paste downs. Worn library bookplate on paste down as well, perforation to title pages, small red stamps to verso; no other marks/wear as such. Leather worn at edges with some flaking, especially at heads. All boards attached; some hinges are a bit tender.

      [Bookseller: Burnside Rare Books]
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        To ti kong Small Temple nr. Macao

      Macau, 1844. Watercolour, 215 x 290 mm; ink caption at lower right; some darkening of paper around edges where previously framed, now in acid-free mount to original framing dimensions. Original watercolour of the temple to T'ou T'ei in Macau. An important original watercolour of Macau. This once formed part of a series of watercolours of the European enclaves on the South China coast in the mid-1840s. The series was described in full in the Hordern House catalogue Edward Ashworth, Artist & Architect (available online at www.hordern.com). The suite of views of Hong Kong from that series was acquired by the Hong Kong Museum of Art.To ti kong Small Temple nr. MacaoT'ou T'ei (Tu Di Gong / To ti kong), the 'God of Earth', held sway over all the land. There are many temples dedicated to T'ou T'ei in Macau, a god commonly worshipped for centuries on the peninsula and neighbouring islands. Among the oldest and most famous is the T'ou T'ei Temple in Patane (Pou Tai Un), of which Guillén-Nuñez has identified this Ashworth watercolour to be a rare, early view. The Patane shrine, always significant, may take on more importance given the recent proposal by Macao officials to declare the earth god Tou Tei a UNESCO World Heritage. Sitting at the junction between the Rua da Palmeira and the Rua do Patane, the temple rises up on a granite footing by the base of the Luís de Camões Garden. Wooded and hilly, this adjacent garden was formerly part of the residence of the China director of the English East India Company, and therefore known as Casa Garden. The British vacated the house and grounds in 1835, presumably due to the loss of the tea monopoly during the course of their renewal of charter in 1833. The new owner, a Portuguese, had a grotto built in the grounds in which he placed the bust of Portugal's national poet Luís de Camões, since Macau tradition argues that the poet wrote part of his epic poem The Lusiads in the vicinity of the present garden sometime in 1557. Because of the area's legacy Ashworth, along with other Europeans, would have had privileged access to the garden, a popular destination for this relatively small community.The angle of this intimate painting is an interesting one for Ashworth. Taken from an unusual viewpoint, this is his most adventurous attempt at a picturesque composition, of a playful interplay between foreground and background to be found within the catalogue. There is no dominant, central vanishing point, rather an askew view with the temple's entrance partially concealed and again further concealed by overhanging foliage. Ashworth painstakingly reproduced the various woven decoration ornamenting the transverse beams. While overall, the rectilinear structure of the temple is amplified and offset by the streaming and fanning fronds of bamboo which appear to press and squeeze against it upon either side. The only glimpse we have of the expansive garden landscape beyond appears within the frame of one of the large roundels or 'moon gates' of the temple's projecting walls.Edward AshworthEdward Ashworth was born near Exeter, Devon in 1814, and trained as an articled apprentice to Robert Cornish, architect to Exeter Cathedral. He then moved to London to work under another Exeter-born man, Charles Fowler, architect to the Duke of Bedford and a founder-member of the Institute of British Architects. Unhappy with the quality of his commissions, Ashworth decided to immigrate to New Zealand. Aged 28, he left England in May 1842 aboard the ship Tuscan, bound for Auckland. The trip included a brief stay in Melbourne, landing at Port Phillip in September 1842. Ashworth continued on to Auckland, arriving a month later in October. After failing to find work as an architect he accepted a position as tutor to the children of the first New Zealand Governor, William Hobson, recently deceased. Other tutoring posts soon came his way. During his two-year stay, Ashworth made numerous watercolours of Auckland and its street life including an expedition into the Waikato, now treasured views of the very first stages of colonial occupation. This was to become a habit, drawing and painting the landscapes and streetscapes of each place he visited. In 1843 he gave a lecture to the local Mechanics Institute on Greek architecture in which his drawings were widely admired for their 'exquisite' quality. By early 1844 he had decided to make his way back to England via a slow sojourn in China - presumably he had heard of the sudden flurry of building construction then underway in Hong Kong. Ashworth left Auckland in February 1844 arriving for the second time in Australia that same month, this time in Sydney, New South Wales. He spent three months in that city, again painting and drawing, before heading across to Hong Kong aboard the American ship Navigator by way of Batavia (Jakarta) and Macau. The timing was impeccable. The first 'official' land auction of Hong Kong under Crown sovereignty had taken place just a few months earlier, in January 1844, and a building boom ensued. Now, finally, he could find actual architectural commissions and build.Ashworth returned to England in 1846 and set up practice in Exeter. His first job in the county was as clerk of works for Up Ottery Manor, a new, suitably expansive neo-Tudor pile, which he completed for the 2nd Viscount Sidmouth in 1847. Here, in bucolic Devon, he remained until his death in 1896, devoting much of his work to the restoration of parish churches.Ashworth's newly-discovered watercolours of Macau add significantly to the corpus of material explored by previous European painters such as the Daniells, William Alexander, Auguste Borget and George Chinnery, although with a greater urbanity and intimacy to the settings, partly as a result of his close interest in detail, particularly architectural.ProvenanceEdward Ashworth's family, by descent, in a group of drawings.AcknowledgementsWe are grateful to Chris Cowell who prepared a skilful analysis of the Ashworth drawings; for information summarised here we also thank Marian Minson and the staff of the Alexander Turnbull Library, Wellington, New Zealand; Cesar Guillen Nuñez, Historian of Art at the Macau Ricci Institute, Macau; Dr. Stuart Braga, Sydney; Sarah Cunich, Hong Kong; the staff of the Hong Kong Museum of Art, the State Library of New South Wales, Sydney, and the National Library of Australia, Canberra.Bibliography: AshworthAshworth, E. 'Chinese Architecture.' In Detached Essays and Illustrations Issued During the Years 1850- 51. London: Architectural Publication Society, 21 February 1853. (Essay first published in 1851); Cates, Arthur. 'The Dictionary of Architecture. A Retrospect. 1848-1892.' In Dictionary of Architecture, edited by Wyatt Papworth, 1-3. London: Architectural Publication Society, 1892; Mitchell and Dixson Libraries Manuscript Collection, State Library of New South Wales: Edward Ashworth - Records (1842-1844), Microfilm of journal, notebooks and sketchbooks of travels in Australia, New Zealand and China 1842-44 [1 reel, FM 4/3403]; National Library of Australia, Papers [M602] microform: Ashworth, Edward, 1814-1896; Platts, Una. Nineteenth Century New Zealand Artists: A Guide & Handbook. Christchurch: Avon Fine Prints, 1980; National Library of New Zealand, Ref: MSGroup-1954, Edward Ashworth Journals (1841-45) & Ref: E-042, Edward Ashworth Sketchbook (1844).Bibliography: MacauCremer, R.D., ed. Macau: City of Commerce and Culture. Hong Kong: UEA Press, 1987; Guillén-Nuñez, César. Macao Streets. Hong Kong; New York: Oxford University Press, 1999; Orange, James. The Chater Collection: Pictures Relating to China, Hong Kong, Macao, 1655-1860. London: Thornton Butterworth, 1924; Porter, Jonathan. Macau, the Imaginary City: Culture and Society, 1557 to the Present. Boulder, Colorado: Westview Press, 1996; Shipp, Steve. Macau, China: A Political History of the Portuguese Colony's Transition to Chinese Rule. Jefferson, N. Carolina; London: McFarland & Co. Inc., 1997.

      [Bookseller: Hordern House Rare Books]
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        EL PRIMER MAPA HISTORICO ORIGINAL DE LOS FERROCARRILES DE ESPAÑA 1844-1877

      Artes Gráficas Mateu. Madrid. 1844-1885. 90X80. El primer y única impresión del mapa historico de los ferrocariles en españa. Mapa histórico de los ferrocarriles de España en explotación en el que se representan las líneas construidas en los cuatro periodos históricos, al primer informe de 1844 y el resto a las principales leyes ferroviarias, las de 1855, 1868 y 1877 y con sus signos convencionales. Extremadamente raro ejemplar. Ref Pics 1.. 1ª Edición. Encuadernación de tapa blanda. Muy bien.

      [Bookseller: Libreria Anticuaria Marc & Antiques]
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        Chinese Street in Macao

      Macau, 1844. Watercolour, 370 x 274 mm; ink caption at centre below; original cropping marks and marginal annotations relating to subsequent publication; now in acid-free mount to original framing dimensions. Original watercolour for the published street scene in Macau. An important original watercolour of Macau. This once formed part of a series of watercolours of the European enclaves on the South China coast in the mid-1840s. The series was described in full in the Hordern House catalogue Edward Ashworth, Artist & Architect (available online at www.hordern.com). The suite of views of Hong Kong from that series was acquired by the Hong Kong Museum of Art.Chinese Street in MacaoThis recently-discovered drawing appears very familiar, for the reason that it was one of the images to have been turned into a lithograph (Plate 5) for Ashworth's essay 'Chinese Architecture', first published in 1851 by the Architectural Publication Society. This explains the cropping marks and side instructions to the engraver and printer around its margins.The watercolour depicts a street of Chinese shops. Concerning the published version Ashworth writes rather brusquely in his essay of: 'A street in Macao, the Chinese part of the town. These shops are quite second rate. The foolish custom of constructing segment roofs to verandahs is here displayed to disadvantage'. Presumably he is referring to the roofs to the left, drainage - if left unprotected by an additional roof - being an obvious problem with their inward returns. If we are to believe the written evidence, it seems that Ashworth drew this scene more as a visual, moral lesson in bad design rather than for any painterly or romantic compulsion, though some ethnographic fascination with such an intimate Chinese setting must certainly have played a part.On this original drawing, at the lower right, Ashworth has scribbled in pencil: 'The effect of this is to be copie[d] with the colour of the other draw[ing]'. This could be a note to his lithographers Messrs. Day and Son, a reference to another street scene by Ashworth that would become Plate 4: 'Street Scene, Canton, near the Foreign Factories', since both exhibit an identical viewing angle and perspective. In addition, the eaves of the buildings along the Canton street display similar 'segment roofs' of the pattern Ashworth so despised in Macau.Edward AshworthEdward Ashworth was born near Exeter, Devon in 1814, and trained as an articled apprentice to Robert Cornish, architect to Exeter Cathedral. He then moved to London to work under another Exeter-born man, Charles Fowler, architect to the Duke of Bedford and a founder-member of the Institute of British Architects. Unhappy with the quality of his commissions, Ashworth decided to immigrate to New Zealand. Aged 28, he left England in May 1842 aboard the ship Tuscan, bound for Auckland. The trip included a brief stay in Melbourne, landing at Port Phillip in September 1842. Ashworth continued on to Auckland, arriving a month later in October. After failing to find work as an architect he accepted a position as tutor to the children of the first New Zealand Governor, William Hobson, recently deceased. Other tutoring posts soon came his way. During his two-year stay, Ashworth made numerous watercolours of Auckland and its street life including an expedition into the Waikato, now treasured views of the very first stages of colonial occupation. This was to become a habit, drawing and painting the landscapes and streetscapes of each place he visited. In 1843 he gave a lecture to the local Mechanics Institute on Greek architecture in which his drawings were widely admired for their 'exquisite' quality. By early 1844 he had decided to make his way back to England via a slow sojourn in China - presumably he had heard of the sudden flurry of building construction then underway in Hong Kong. Ashworth left Auckland in February 1844 arriving for the second time in Australia that same month, this time in Sydney, New South Wales. He spent three months in that city, again painting and drawing, before heading across to Hong Kong aboard the American ship Navigator by way of Batavia (Jakarta) and Macau. The timing was impeccable. The first 'official' land auction of Hong Kong under Crown sovereignty had taken place just a few months earlier, in January 1844, and a building boom ensued. Now, finally, he could find actual architectural commissions and build.Ashworth returned to England in 1846 and set up practice in Exeter. His first job in the county was as clerk of works for Up Ottery Manor, a new, suitably expansive neo-Tudor pile, which he completed for the 2nd Viscount Sidmouth in 1847. Here, in bucolic Devon, he remained until his death in 1896, devoting much of his work to the restoration of parish churches.Ashworth's newly-discovered watercolours of Macau add significantly to the corpus of material explored by previous European painters such as the Daniells, William Alexander, Auguste Borget and George Chinnery, although with a greater urbanity and intimacy to the settings, partly as a result of his close interest in detail, particularly architectural.ProvenanceEdward Ashworth's family, by descent, in a group of drawings.AcknowledgementsWe are grateful to Chris Cowell who prepared a skilful analysis of the Ashworth drawings; for information summarised here we also thank Marian Minson and the staff of the Alexander Turnbull Library, Wellington, New Zealand; Cesar Guillen Nuñez, Historian of Art at the Macau Ricci Institute, Macau; Dr. Stuart Braga, Sydney; Sarah Cunich, Hong Kong; the staff of the Hong Kong Museum of Art, the State Library of New South Wales, Sydney, and the National Library of Australia, Canberra.Bibliography: AshworthAshworth, E. 'Chinese Architecture.' In Detached Essays and Illustrations Issued During the Years 1850- 51. London: Architectural Publication Society, 21 February 1853. (Essay first published in 1851); Cates, Arthur. 'The Dictionary of Architecture. A Retrospect. 1848-1892.' In Dictionary of Architecture, edited by Wyatt Papworth, 1-3. London: Architectural Publication Society, 1892; Mitchell and Dixson Libraries Manuscript Collection, State Library of New South Wales: Edward Ashworth - Records (1842-1844), Microfilm of journal, notebooks and sketchbooks of travels in Australia, New Zealand and China 1842-44 [1 reel, FM 4/3403]; National Library of Australia, Papers [M602] microform: Ashworth, Edward, 1814-1896; Platts, Una. Nineteenth Century New Zealand Artists: A Guide & Handbook. Christchurch: Avon Fine Prints, 1980; National Library of New Zealand, Ref: MSGroup-1954, Edward Ashworth Journals (1841-45) & Ref: E-042, Edward Ashworth Sketchbook (1844).Bibliography: MacauCremer, R.D., ed. Macau: City of Commerce and Culture. Hong Kong: UEA Press, 1987; Guillén-Nuñez, César. Macao Streets. Hong Kong; New York: Oxford University Press, 1999; Orange, James. The Chater Collection: Pictures Relating to China, Hong Kong, Macao, 1655-1860. London: Thornton Butterworth, 1924; Porter, Jonathan. Macau, the Imaginary City: Culture and Society, 1557 to the Present. Boulder, Colorado: Westview Press, 1996; Shipp, Steve. Macau, China: A Political History of the Portuguese Colony's Transition to Chinese Rule. Jefferson, N. Carolina; London: McFarland & Co. Inc., 1997.

      [Bookseller: Hordern House Rare Books]
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        Hogarth's Kupferstiche [...], in 62 Blättern.

      Wien, Rudolf Sammer, [1844].. Drucktitel und 62 numerierte Radierungen (eine in späterem Abzug). Blauer Pappband der Zeit mit dem originalen Broschurtitel am Vorderdeckel aufgezogen. Folio (370 x 255 mm).. Zur Illustration von "Georg Christoph Lichtenberg's Ausführlicher Erklärung der Hogarthischen Kupferstiche" schuf der Kupferstecher Carl Rahl als Radierung ausgeführte Reproduktionen der Blätter William Hogarths. Sie geben die originalen Graphiken in auf etwa die Hälfte reduzierter Größe wieder. außerhalb der Plattenränder. - Einband an den Rändern stärker lädiert; Titel stockfleckig, sonst im ganzen wohlerhalten. Die erste Radierung ("Herumstreifenden Komödiantinnen") in einem späteren Abzug lose beiliegend und an den Rändern lappig. - ÖBL VIII, 390.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        NÜRNBERG. "Seitenansicht der Laurentius- Kirche", mit Blick auf gotisches Haus mit Erker und zwei Türmchen, reiche Personenstaffage auf der Strasse.

      - Lithographie mit Tonplatte von Bachelier u. Bayot nach Chapuy, 1844, 39 x 27 cm.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        The Life and Adventures of Martin Chuzzlewit. With Illustrations by Phiz.

      London: Chapman and Hall, 1844 - Octavo (220 × 135 mm). Recent brown half calf, marbled sides, red morocco spine label, raised bands, gilt rule to compartments, marbled edges. Moderate toning to plates, occasional spotting, a very good copy. black and white engravings through out by Phiz. First edition, later issue, bound from parts.

      [Bookseller: Peter Harrington. ABA member]
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        Unterricht für Gold- und Silberarbeiter bei Bearbeitung der edlen Metalle, in chemischer und metallurgischer Hinsicht. 2. sehr vermehrte und durchaus verbesserte Auflage von Albrecht Kleemann.

      Ulm, Stettin, 1844. - (18,5 x 11 cm). XIV (statt XIV) 280 S. Mit 1 lithographierten Tafel. Halblederband der Zeit. Der vorliegende 2. Abdruck ist um eine Anweisung zur galvanischen Vergoldung und Versilberung sowie einen Anhang mit wichtigen Rezepten und Vorsichts-Maßregeln für Gold- und Silberarbeiter erweitert. Die Tafel zeigt einen Sicherheitsofen und seine Details. - Ohne Vortitel. Vorsatz mit hinterlegtem Einriss. Stellenweise leicht stockfleckig. Einband gering berieben, sonst gut erhalten. - Engelmann, Bibl. mech.-techn. 193 [Attributes: Hard Cover]

      [Bookseller: Antiquariat Gerhard Gruber]
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        Fortaleza de São Francisco Macao

      Macau, 1844. Watercolour, 220 x 260 mm; ink caption lower right; some darkening of paper around edges where previously framed, now in acid-free mount to original framing dimensions. Original watercolour of the Fortaleza de São Francisco, Macau. An important original watercolour of Macau. This once formed part of a series of watercolours of the European enclaves on the South China coast in the mid-1840s. The series was described in full in the Hordern House catalogue Edward Ashworth, Artist & Architect (available online at www.hordern.com). The suite of views of Hong Kong from that series was acquired by the Hong Kong Museum of Art.The Fortaleza de São FranciscoFortress building was instinctual to the Portuguese for their overseas possessions. No self-respecting town in early modern Portugal could be considered so without some castle installation or defensive structure, so it was not surprising that the Portuguese chose to construct the same quite soon after settling in Macau. Repeated Dutch attacks on the enclave at the start of the seventeenth century gave the Portuguese authorities the excuse needed to overcome Chinese hostility and rapidly build a chain of fortresses and defensive walls. This enclosed the higher ground and excluded the lower Chinese town stretching along the north-western flank of the peninsula. Most of these fortresses were built adjacent to religious sites such as chapels, churches, convents or monasteries from which their names derived. From the Chinese imperial authority's point of view it also had the unexpected advantage of keeping the Europeans neatly and visibly contained within their own territory. Completed in 1629, the Fortaleza de São Francisco, a Franciscan monastic site, sat at the northern edge of the Praia Grande, with Bom Parto fort at the southern end, and the São Tiago da Barra battery further down at the southernmost tip close to the A-Ma Temple. The walls were made of a material called chunambo or taipa. Built by African slaves, it was a unique concoction based upon earth, straw, lime and oyster shells that, when pounded together and reinforced with wooden strips, formed a cementitious material more absorbent of projectile bombardment than stone. By the time Ashworth was in the colony the forts had long since become obsolete, their guns silent. But the resilience of their unusual walls remained intact.Tinged with Romanticism, this is somewhat out of character with Ashworth's other studies. The artist, having possibly seen Chinnery's fine pencil sketch of the fortress drawn in 1825 (**), chooses a very similar view, but with one distinct difference. Unlike Chinnery, where the focus is upon the formidable mass of boulders and rocks, Ashworth has pulled the viewer back onto a surprisingly turbulent seascape. The relatively calm waters within the sweeping embrace of the Praia Grande and the Porto Interior (inner harbour) are just beyond view, though one would not think it from this spot: a sampan with its floating family stray perilously close to the rocks upon which the fortress crouches above. The Fortaleza de São Francisco, not the most imposing of Macau's sea batteries, nevertheless has been artistically amplified in the scene by the threatening water and visually raised up by the promontory of rocks girdling it. Ashworth also neatly encapsulates, through the figures of two distant vessels entering Macau's bay - a Chinese junk and Western clipper - that rare intercourse of early nineteenth-century commerce between two civilisations engaged, almost uniquely, at Macau. Two civilizations found rarely in agreement or in having any understanding of the other.Edward AshworthEdward Ashworth was born near Exeter, Devon in 1814, and trained as an articled apprentice to Robert Cornish, architect to Exeter Cathedral. He then moved to London to work under another Exeter-born man, Charles Fowler, architect to the Duke of Bedford and a founder-member of the Institute of British Architects. Unhappy with the quality of his commissions, Ashworth decided to immigrate to New Zealand. Aged 28, he left England in May 1842 aboard the ship Tuscan, bound for Auckland. The trip included a brief stay in Melbourne, landing at Port Phillip in September 1842. Ashworth continued on to Auckland, arriving a month later in October. After failing to find work as an architect he accepted a position as tutor to the children of the first New Zealand Governor, William Hobson, recently deceased. Other tutoring posts soon came his way. During his two-year stay, Ashworth made numerous watercolours of Auckland and its street life including an expedition into the Waikato, now treasured views of the very first stages of colonial occupation. This was to become a habit, drawing and painting the landscapes and streetscapes of each place he visited. In 1843 he gave a lecture to the local Mechanics Institute on Greek architecture in which his drawings were widely admired for their 'exquisite' quality. By early 1844 he had decided to make his way back to England via a slow sojourn in China - presumably he had heard of the sudden flurry of building construction then underway in Hong Kong. Ashworth left Auckland in February 1844 arriving for the second time in Australia that same month, this time in Sydney, New South Wales. He spent three months in that city, again painting and drawing, before heading across to Hong Kong aboard the American ship Navigator by way of Batavia (Jakarta) and Macau. The timing was impeccable. The first 'official' land auction of Hong Kong under Crown sovereignty had taken place just a few months earlier, in January 1844, and a building boom ensued. Now, finally, he could find actual architectural commissions and build.Ashworth returned to England in 1846 and set up practice in Exeter. His first job in the county was as clerk of works for Up Ottery Manor, a new, suitably expansive neo-Tudor pile, which he completed for the 2nd Viscount Sidmouth in 1847. Here, in bucolic Devon, he remained until his death in 1896, devoting much of his work to the restoration of parish churches.Ashworth's newly-discovered watercolours of Macau add significantly to the corpus of material explored by previous European painters such as the Daniells, William Alexander, Auguste Borget and George Chinnery, although with a greater urbanity and intimacy to the settings, partly as a result of his close interest in detail, particularly architectural.ProvenanceEdward Ashworth's family, by descent, in a group of drawings.AcknowledgementsWe are grateful to Chris Cowell who prepared a skilful analysis of the Ashworth drawings; for information summarised here we also thank Marian Minson and the staff of the Alexander Turnbull Library, Wellington, New Zealand; Cesar Guillen Nuñez, Historian of Art at the Macau Ricci Institute, Macau; Dr. Stuart Braga, Sydney; Sarah Cunich, Hong Kong; the staff of the Hong Kong Museum of Art, the State Library of New South Wales, Sydney, and the National Library of Australia, Canberra.Bibliography: AshworthAshworth, E. 'Chinese Architecture.' In Detached Essays and Illustrations Issued During the Years 1850- 51. London: Architectural Publication Society, 21 February 1853. (Essay first published in 1851); Cates, Arthur. 'The Dictionary of Architecture. A Retrospect. 1848-1892.' In Dictionary of Architecture, edited by Wyatt Papworth, 1-3. London: Architectural Publication Society, 1892; Mitchell and Dixson Libraries Manuscript Collection, State Library of New South Wales: Edward Ashworth - Records (1842-1844), Microfilm of journal, notebooks and sketchbooks of travels in Australia, New Zealand and China 1842-44 [1 reel, FM 4/3403]; National Library of Australia, Papers [M602] microform: Ashworth, Edward, 1814-1896; Platts, Una. Nineteenth Century New Zealand Artists: A Guide & Handbook. Christchurch: Avon Fine Prints, 1980; National Library of New Zealand, Ref: MSGroup-1954, Edward Ashworth Journals (1841-45) & Ref: E-042, Edward Ashworth Sketchbook (1844).Bibliography: MacauCremer, R.D., ed. Macau: City of Commerce and Culture. Hong Kong: UEA Press, 1987; Guillén-Nuñez, César. Macao Streets. Hong Kong; New York: Oxford University Press, 1999; Orange, James. The Chater Collection: Pictures Relating to China, Hong Kong, Macao, 1655-1860. London: Thornton Butterworth, 1924; Porter, Jonathan. Macau, the Imaginary City: Culture and Society, 1557 to the Present. Boulder, Colorado: Westview Press, 1996; Shipp, Steve. Macau, China: A Political History of the Portuguese Colony's Transition to Chinese Rule. Jefferson, N. Carolina; London: McFarland & Co. Inc., 1997.(**) George Chinnery, 'St. Francis Fort,' 1825, Hong Kong Museum of Art, AH84.10 (reproduced in Gerard Tsang et al, Views of the Pearl River Delta: Macau, Canton and Hong Kong (Hong Kong: Hong Kong Museum of Art, 1996), 87, plate 18.

      [Bookseller: Hordern House Rare Books]
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        The Complete Angler. Edited by John Major

      D. Bogue, Fleet-Street and H. Wix, New Bridge-Street, London 1844 - LARGE PAPER COPY, WITH PROOFS Major produced a fine series of editions of the Complete Angler from 1823 to 1844, this being the final one. This copy has a set of India Paper proofs of the wood engravings bound-in, with an added facsimile of the title page cartouche from the 1653 Angler (from the first Major edition). Coigney notes that one of his large paper copies had a set of proofs bound in; an earlier note in this copy suggests only ten sets of proofs of the wood engravings were produced. Coigney 56. Provenance: Henry A. Sherwin Bound in full green morocco extra gilt, a.e.g. by Holloway. Spine very faintly toned, very slight rubbing to extremities, a few leaves with faint offsetting or spotting in margins, else fine With 12 steel-engraved plates and numerous wood engraved illustrations in the text. Extra-illustrated with an inserted set of proofs of the wood engravings on india paper. 1 vols. 8vo The Sixth (titled 4th) Major edition, Large Paper Copy

      [Bookseller: James Cummins Bookseller, ABAA]
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        OLMÜTZ. - Kalender. "Neuer Mährischer Kalender auf das Jahr . 1845". Jahreskalender in einer Altararchitektur, oben Allianzwappen des Bischofs von Olmütz, Maximilian Joseph von Somerau-Beeckh, darunter Hüftbild des hl. Wenzel als Patron von Olmütz. Der Kalender flankiert von zwei Engeln und zwei allegorischen Figuren mit Fürsten- bzw. Bischofsinsignien, unten Gesamtansicht von Olmütz. Seitlich eingefaßt von 24 Wappenmedaillons.

      - Radierung von A. Petrak nach Doyaschofsky und Geiger, (1844), 83 x 59 cm. Alois Petrak (geb. 1811) begann seine künstlerische Tätigkeit nach Thieme-Becker und Andresen erst 1846. Es dürfte sich daher bei diesem Blatt um Petraks früheste Radierung handeln. - Sommerau-Beckh war von 1837 bis 1853 Erzbischof von Olmütz. Unten Hinweis auf Franz Kardinal Dietrichstein. - Oben und unten alt geschlossene Randeinrisse, im Rand rechts Altersschäden. - Prächtiger Kalender.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        The Queen's Orphan Schools, New Town &c. from the Risdon Road.

      T. Bluett,, Hobart: 1844 - Original colored lithograph, plate #10, to the rare folio 'Tasmania Illustrated' by John Skinner Prout (1805 - 1876). A pastoral view of the Queen's Orphan Schools in the background with the road, sheep, and travelers in the foreground. Signed lower left within image. Title centered below image. Image size 40x30 cm. Toned overall, title in buff, otherwise very good condition. ADRI #AUTAS001124073321; Trove 6940408; OCLC: 220670803 (SLT, NLA); Ferguson 3893 (Plate 10 is unnumbered in this edition, published same year as Ferguson 3892). [Attributes: Signed Copy]

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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        Ranke einer Ackerwinde.

      . Aquarell über Bleistift, auf chamoisfarbenem Velin, verso Nachlaßstempel. 29,7:21,3 cm.. Schlegel war von Oktober 1844 bis Ostern 1848 Schüler der Dresdener Akademie und dort auch Klassenschüler Ludwig Richters (1803-1884). Allerdings war er nicht in dessen Landschaftsatelier tätig. Eine Reise nach Rom ist nachgewiesen. Von dort brachte er Aquarelle mit, wie überhaupt das Aquarell die von ihm bevorzugte Technik war.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Plate LXXIII Rocky Mountain Sheep The Viviparous Quadrupeds of North America

      Audubon J.J., Philadelphia 1844 - Original and rare hand-colored lithograph (21 x 27 inches, 533.4 x 686.8 mm) by JT Bowen after painting by John James Audubon, FRS, FLS for the Imperial Folio Edition of the Viviparous Quadrupeds of North America. The Rocky Mountain Sheep is in Fine condition with bright and rich original hand-coloring, The Viviparous Quadrupeds of North America (Philadelphia c.1845-48) represents the culmination of a lifelong dream held by America's most prominent naturalist and visionary, John James Audubon (1785-1851). Following the completion of his magnum opus, the Double Elephant Folio Edition of Birds of America, c. 1824-38, Audubon was at liberty to pursue a project close to his heart, large scale portraits of all of North America's native animals. Audubon's effort to render America four-legged (thus quadruped) mammals in their natural settings pioneered the way for an entire culture of naturalist artists and engravers. Once the animals were placed within their native habitat, inspired by Audubon's classical composition and watchful eye, most subsequent naturalist painters rarely presented animals and birds void of a full botanical perch, landscaped setting, or woodland background. Very few, if any naturalist artists returned to the solo vignette so commonly found in most natural history works from the previous three centuries. Audubon's dream to complete this monumental work was made manifest through the artistic and clerical assistance of his two sons, John Woodhouse and Victor Gifford, as well as the Reverend John Bachman, who contributed the excellent text for the production. Today, the tale of Audubon's westward journey to hunt and gather skins and specimens and thus inspiration to complete the 155 paintings for the Quadrupeds is common enough. The story of how he sold his work through subscription format and created a smaller (Royal Octavo Edition) as a more democratic and affordable option to the production has been told religiously, and in great detail, by anyone reviewing these masterpieces once again. Yet through these critiques, America's premier ornithologist, painter and naturalist has gained his rightful place among the masters of Animal Portraiture, painters like Edwin Landseer and George Stubbs.Regardless of any criticism his artistic practices and personal affairs may have encountered, Audubon's legacy has enriched our understanding and appreciation of America's native species, both birds and animals. In addition, through Audubon's paintings we are offered the very first glimpses of the American landscape west of the Mississippi, as his work predates that of the Hudson River Artists. (Blum, Picturing Nature, Princeton: Princeton University Press, 1993. Sabin 2367, Wood 208). Fine with bright original hand-coloring.

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        The Historical Geography of Arabia;

      London: Duncan and Malcolm,, 1844. Or, the Patriarchal Evidences of Revealed Religion: a Memoir, with Illustrative Maps; and an Appendix, containing Translations, with an Alphabet and Glossary, of the Hamyaritic Inscriptions recently discovered in Hadramaut. 2 volumes, octavo . original purplish fine diapered cloth, title gilt to the spine, elaborate panels to the boards, cream endpapers. A large folding engraved map in an end-pocket to each volume - Classical and Scriptural Geography - an engraved map and 3 plates of inscriptions, 2 folding, one of them stub-mounted and double-folded. Ex-Malta Garrison library, their paper labels to the upper board, small ink stamps to the title pages, rubbed and bumped, sunned at the extremities, some repairs, hinges cracking, light browning throughout, occasional foxing, about very good. First and only edition. "An attempt at the proof of the descent of the Arabs from Ishmael" (Ghani), based on the analysis of the pre-Islamic inscriptions uncovered in the Hadhramaut. Forster (1787?-1871) was a graduate of Trinity College, Dublin, and a protégé of Bishop John Jebb (1775?-1833). Although he did not live to know it, he was also grandfather of the novelist E. M. Forster. After assisting Jebb as curate and later as chaplain, Forster became rector of Sisted in Essex and one of the Six Preachers in Canterbury Cathedral. His first book, the controversially conciliatory Mahometanism Unveiled, appeared in 1829. Uncommon, particularly so in the cloth.

      [Bookseller: Peter Harrington]
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        The Life and Adventures of Martin Chuzzlewit. With Illustrations by Phiz

      Chapman and Hall, London, 1844,, 1844. FIRST EDITION. 8vo., pp. (xv) + 624. Illustrated throughout with 38 original plates by Phiz, plus frontispiece, plus engraved title-page. Bound in original publisher's blue straight grain embossed cloth, expertly rebacked. Minor edgewear and bumping. Internally clean, glazed endpapers, with some foxing to the plates as usual, but to a lesser degree than most copies we've seen. £100 sign on title page in later configuration. London 1844 printed in gilt at base of spine and with a 14 line errata present. A handsome copy. Charles Dickens' Martin Chuzzlewit' is considered the last of his picaresque novels, and was written and serialized in 1843-1844; initial sales of the monthly parts were disappointing, compared to the authors' previous works, so Dickens changed the plot to send the title character to America. This allowed him to portray America, which he had recently visited, as a near wilderness, whose pockets of civilization were filled with deceptive and self-promoting hucksters. The main theme of the novel is selfishness, which is portrayed in a satirical fashion using all the members of the Chuzzlewit family. The novel is also notable for one of Dickens' great villains, Seth Pecksniff, whose rise and fall follows the arc of the novel's plot. Book Collector No.271, 'The Great Illustrators'.

      [Bookseller: Adrian Harrington Rare Books]
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        Gemälde des Wiener Congresses 1814 - 1815[ komplett in 4 Bänden]. Uebers. von Ludwig Eichler

      Verlag Friedrich Fleischer, Leipzig 1844 - 4 Halblederbände um 1880 mit 5 falschen Bünden, Lesebändchen und vergoldeter Rückenprägung, kl.-8°, 1. Band: 1. Blatt, 241 Seiten / 2. Band: 1 Blatt, 241 Seiten / 3. Band: 1 Blatt 263 Seiten / 4. Band: 1 Blatt, 226 Seiten; jeweils zu Beginn und Ende etwas stockfleckig; ErsteDeutsche Ausgabe in traumhaften Einbänden und nahezu tadellosem Zustand, bis auf oben erw. Stockf. Erste Deutsche Ausgabe; vgl. Fromm: IV, 13867 /Gugitz: I, 1264 / Sammlung Eckl IV, No 77 / Sammlung Mayer: 610 dort allerdings nur Band 1 und 2 / Hayn Gotendorf VIII, 434 de 1500 Buch [Attributes: First Edition; Hard Cover]

      [Bookseller: ANTIQUARIAT.WIEN Fine Books & Prints]
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        Widdin/Bulgarien. Blick auf die Stadt vom gegenüberliegenden Ufer der Donau aus gesehen, mit einem Segelschiff.

      - Feder und Pinsel in Grau, mit Deckweiß gehöht, über Bleistift, auf Velin, aufgezogen, unten signiert „F. Laufberger." 16,5:25,8 cm. Etwas fleckig. Vermutlich Vorzeichnung für einen Stahlstich. Laufberger studierte an der Akademie in Prag und Wien 1844-1859. War von 1855-1863 als Zeichner für die Wiener xylograph. Anstalt von R. von Waldheim tätig. Zahlreiche Reisen führten ihn entlang der Donau bis nach Rumänien, in die Alpen, nach Paris und Rom. Er fertigte Vorzeichnungen für Stahlstich des 2. Teils des „Album zur Erinnerung an die Donau".

      [Bookseller: Galerie Joseph Fach GmbH]
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        Abend bei Albano.

      1844 1844 - Radierung, 1844, auf festem Bütten. 23,5:30,5 cm. Literatur: Boetticher II, II, A, Radierungen 25; Vomm D 1844:1, III (von III). Eine von 8 Radierungen, die auch 1847 und 1870 in den Sammelmappen der Original-Radierungen Schirmers erschienen.

      [Bookseller: Galerie Joseph Fach GmbH]
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        [Op. 50]. Das Paradies und die Peri. Dichtung aus Lalla Rookh von Th. Moore für Solostimmen, Chor und Orchester... Klavierauszug. Op. 50... Pr. 5 Thlr. [Piano-vocal score]

      Leipzig: Breitkopf & Härtel [PN 7069]. [1844]. Folio. Contemporary green half leather with matching green textured cloth boards with titling and date "11 July 1849" within gilt rules to upper. 1f. (title), [1]-4 (text), 3-133, [i] (blank) pp. Title lithographed, text typeset, music engraved. Enumeration of all pages with alto solo entrances in pencil to first page of text; alto solo entrances in score marked in pencil throughout. Binding slightly worn, rubbed and bumped. Slightly foxed and browned; upper edges dampstained throughout, more heavily to first and last leaves; publisher's handstamp to foot of title. . First Edition. Hofmann p. 115. McCorkle pp. 223-24. Hoboken 15, 93 (with original wrappers). This score was evidently used by a person who sang the alto solo part.The text was translated from the English original by Emil Flechsig (1808-1878); Schumann made significant alterations.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
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        [Op. 50]. Das Paradies und die Peri. Dichtung aus Lalla Rookh von Th. Moore für Solostimmen, Chor und Orchester... Klavierauszug. Op. 50... Pr. 5 Thlr. [Piano-vocal score]

      Leipzig: Breitkopf & Härtel [PN 7069]. [1844]. Folio. Contemporary green half leather with matching green textured cloth boards with titling and date "11 July 1849" within gilt rules to upper. 1f. (title), [1]-4 (text), 3-133, [i] (blank) pp. Title lithographed, text typeset, music engraved. Enumeration of all pages with alto solo entrances in pencil to first page of text; alto solo entrances in score marked in pencil throughout. Binding slightly worn, rubbed and bumped. Slightly foxed and browned; upper edges dampstained throughout, more heavily to first and last leaves; publisher's handstamp to foot of title. . First Edition. Hofmann p. 115. McCorkle pp. 223-24. Hoboken 15, 93 (with original wrappers). This score was evidently used by a person who sang the alto solo part. The text was translated from the English original by Emil Flechsig (1808-1878); Schumann made significant alterations.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        The Alpaca its Naturalization in the Briish Isles Considered as a Natural Benefit and as an Object of Immediate Utility to the Farmer and Manufacturer

      Edinburgh and London: William Blackwood and Sons 1844. Frontispiece and engraved title, iv, 199 pp. Bound in a recent quarter brown speckled calf with gilt lettering and marbled boards. There is some restoration to the inner edge of the frontispiece, and there is the odd smudge, but this is otherwise a tight and solid little volume on a very uncommon subject . Very Good. 1/4 Calf. First Edition. 1844. Small 8vo..

      [Bookseller: Fosters' Bookshop]
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        Kerkerpoesien. XII, 78 S., 1 w. Bl. Bibliophiler Halblederbd (P. Weihersmüller) auf 5 Bünden mit Rückentitel und Rückenvergoldung. Der bedruckte Orig.-Umschlag ist beigebunden.

      Hamburg, Hoffmann und Campe, 1844. - Erste Ausgabe, selten wie alle Schriften Weitlings. Mit dem nahezu unauffindbaren Orig.-Umschlag. Enthält Erlebnisse, Träume, Anklagen gegen seine Richter und die Gesellschaft, die ihn im Kerker verkommen ließ, sowie 'Gemüthsstimmungen', die Weitling im Gefängnis, in das ihn sein 'Evangelium für arme Sünder' gebracht hatte, verfasst hat. Weitling, als Handwerker teils Proletarier, teils Kleinbürger, bildete ein "Mittelglied zwischen dem utopischen und dem proletarischen Sozialismus" (Mehring). So übten die 'Kerkerpoesien' Einfluss sowohl auf die bürgerlich-sentimentale Lyrik eines Beck als auch auf die revolutionäre Lyrik aus. Ohne Zweifel gehören diese Gedichte zu den frühesten Zeugnissen der deutschen Arbeiterlyrik. – Nur gelegentlich etwas fleckig, der Umschlag stärker. Schönes, unbeschnittenes Exemplar. – Stammhammer I 261. Borst 2148. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Wolfgang Braecklein]
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        Dialogi de dignitate sacerdotii.

      27 lines, rubricated with red capitals and initials throughout. Half - calf over marbled boards, 2 spine labels. Book - label of Georgius Klok, M.D., of Frankfurt am Main, dated bookplate of Gilbert R. Redgrave (1844 - 1941) of Pollard & Redgrave (bibliographer, STC) on paste - down with his annotations and signature dated 1895 on the fly - leaf. An excellent copy with wide margins. Johannes Chrysostomus (John Chrysostom, AD 348 - 407), is regarded as one of the ?Fathers of the Eastern Church? and one of the greatest preachers of all time ?" a skill which earned him the cognomen Chrysostomos (?golden mouth?). Born at Antioch in the Roman province of Syria about A.D. 348, he studied rhetoric and theology before being ordained deacon in 381 and presbyter in 386, and eventually was consecrated as bishop in 398 before being banished not once, but twice, before his death in exile. ?Chrysostom was a legendarily prolific author whose surviving works include five biblical commentaries, sixteen treatises, 245 letters, and over 900 sermons, all written between 378 and 406. Many of the sermons were first drafted by scribes who copied as he was preaching, then were later revised by Chrysostom for publication. Some consequently survive in two versions, one rough, the other polished. In addition, there are over a thousand other works that are either excerpts or redactions or translations from his authentic writings or texts falsely attributed to him.? Early in his career Chrysostom wrote the Dialogi de dignitate sacerdotii, a lengthy dialogue on the priesthood addressed to a friend defending his decision not to assume the priesthood. The work twists and turns about several topics, discoursing on the manifold weighty responsibilities of priests, warning of the political pressures that bear on priestly elections, insisting that priests must be able to speak well in public, and comparing the life of a priest to that of a monk. It soon came to be regarded throughout the Byzantine world as ?the classic treatise on the responsibility, dignity, function, and obligation of priesthood, both in its lower degree and in its higher, the episcopate.? This Latin translation was printed in 1472 by Ulrich Zel but has never been critically edited.

      [Bookseller: B & L Rootenberg]
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        TALES FROM THE GERMAN Comprising Specimens from the Most Celebrated Authors

      Chapman & Hall, 186 Strand C. Whiting House, London 1844 - Very Good in rebound boards. A Few owner stamps some inked out, sticker removal to rear paste down. Extremely rare; 8vo 8" - 9" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Rare Book Cellar]
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        Eigenhändiger Brief mit Autograph kurz vor dem Verkauf von Muskau und Rückzug nach Branitz. Berlin im August 1844

      Berlin den 10 August 1844 - eigenhändig in brauner Tinte geschriebener und signierter Brief ohne Adresse und ohne Anrede auf gefaltetem privaten Briefpapier mit blindgeprägtem, in Gold und Rot gedrucktem Wappen und Monogramm "PM", Octavo (21 x 13 cm), Faltspuren, sonst tadellos erhalten, sehr selten Bemerkenswerter und historisch interessanter Brief des durch seinen extravaganten Lebensstil und seine kostspieligen landschaftsarchitektonischen Projekte in große Finanznot geratenen Fürsten, möglicherweise bereits bei der Anbahnung seines Verkaufs der Standesherrschaft Muskau. "Berlin den 10. August / 1844. / Ihr Herr Vater schreibt / mir daß er Sie mit / der Antwort auf mei- / nen Brief beauftragt / habe. Da ich nun hier (in Berlin) / bin und die Sache pres- / siert, so bitte ich Sie / sobald als möglich her / zukommen um unser / Geschäft in Ordnung zu bringen. / Euer Wohlgeboren / ergebener / H. Pückler Muskau". Wenige Monate später, Anfang 1845, verkaufte Fürst Pückler-Muskau seine Standesherrschaft Muskau mit allen Dörfern, Ländereien und Parkanlagen für 1,700,000 Taler an die Grafen August von Nostitz und Edmund von Hatzfeld-Weißweiler. Der König von Preußen und weite Teile des Hochadels waren über diesen Schritt wenig begeistert und seine Frau Lucie trauerte über den Verlust Muskaus, in das beide gemeinsam so viel Zeit und Geld investiert hatten. Für den Fürsten war der Verkauf angesichts des drohenden finanziellen Ruins eine große Erleichterung, machte ihn als Sechzigjährigen erstmals in seinem Leben schuldenfrei und setzte ihn darüber hinaus in die Lage, sein Erbschloß Branitz bei Cottbus zu erweitern, zu restaurieren und mit neuen grandiosen Parkanlagen zu verschönern. Dorthin zog er sich mit seiner Frau bis zu seinem Lebensende zurück. 980 gr. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: historicArt Antiquariat & Kunsthandlung]
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        Eva mit ihrem Sohne Abel.

      1844 1844 - Holzschnitt, 1844, von Engelhardt Graeff (1807-1878), auf chamoisfarbenem Velin. 22,6:20 cm. - Verso an den Ecken mit alten Leimspuren, kleine Fehlstelle in der linken oberen Ecke außerhalb der Darstellung. Literatur: Alphons M. von Steinle, Edward von Steinle. Des Meisters Gesamtwerk in Abbildungen. Kempten/München 1910, vg. Abb. 11, Verzeichnis der abgebildeten Werke, S. 2. Schon 1823 trat Steinle in die Wiener Akademie ein, seit 1826 wurde er von L. Kupelwieser (1796 - 1862) unterrichtet. Zwischen 1828 und 1833 hielt er sich zweimal in Rom auf und fand dort Anschluß an den Kreis der Nazarener (Fr. Overbeck,1789 - 1869; Ph. Veit, 1793 - 1877; J. von Führich, 1800 - 1876). 1829 arbeitete er zusammen mit Overbeck an der Porziuncula bei Assisi. 1833 wieder in Wien, 1837 folgte eine Reise nach Frankfurt am Main und an den Rhein. 1839 übersiedelte er nach Frankfurt am Main und fand Anschluß an den Nazarener-Kreis um Veit. 1850 wurde er Professor für Historienmalerei am Städelschen Kunstinstitut. Steinle ist einer der führenden Vertreter der katholischen Kirchenkunst nach der Mitte des 19. Jahrhunderts; doch hat er sich auch mit anderen Stoffen befaßt, so z.B. mit Märchen und Dichtungen.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Die Oberlausitz als besondere Abteilung von Sachsens Kirchen-Galerie in 96 Lieferungen (komplett).

      Dresden, Hermann Schmidt o. J. (ca. 1844). Mit 149 ganzseitigen lith. Ansichten und 5 Doppelblättern, IV, 452 S. Gr.-8°. Etwas späterer HLeder d. Zt. (ca. 1880). Teilweise etwas fleckig, gering beschnittten, Einband bestoßen und mit kleineren Beschädigungen. *Bemmann/Jatzwauk, II, 171 **Mit Ansichten von: Jonsdorf, Spitz-Cunnersdorf (Spitzkunnersdorf) / Schmorkau / 2 x Haynewalde (Hainewalde) / Gersdorf / Kosel / Waltersdorf / Königsbrück / Schwepnitz / Hospitalkirche von Königsbrück / Stadtkirche zu Königsbrück / Bertsdorf / Mädchen-Stadtschule in Königsbrück / Knaben-Stadtschule in Königsbrück / Neukirch bei Königsbrück / Neukirch / Dürr-Hennersdof (Dürhennersdorf) / Groß-Grabe / Türchau / Das Barmherzigkeits-Stift in Camenz (Kamenz) / Camenz / Hauptkirche zu St. Maria in Camenz / Kamenz und seine Kirchen (Dreifachblatt mit 6 Ansichten) / Bürgerschule zu Camenz / Begräbnis-Kirche zu Camenz / Kirche St. Anna zu Camenz / Catechismus-KIrche zu Camenz / Spittel-Kirche zu Camenz / Brauna / Schönbach gegen Mittag / Berthelsorf (Bertelsdorf) / Pohla / Walddorf / Reicenbach bei Königsbrück / Reichenau bei Königsbrück / Nieder-Lichtenau - Reichenbach bei Königsbrück / Herrnhut / Reichenau / Knabenschule in Herrnhut / Betsaal in Herrnhut / Kleinschönau / Schönbach / Schönbach gegen Mittag / Groß-Postwitz / Ober-Gurig (Obergurig) / Groß-Schönau (Großschönau) / Groß-Schönau gegen Morgen / Groß-Schönau gegen Abend / Wändigs Häuser in Groß-Schönau / Baruth / Königswartha / Ossling / Burkersdorf / Eybau (Eibau) / Ebersdorf / Hirschfelde / Ruine des Raubschlosses Rohnau - Kaltenstein / Dittersbach / Herwigsdorf / Nostitz / Ostritz / Groß-Hennersdorf I / Groß-Hennersdorf II / Herwigsdorf bei Löbau / Dreifachblatt mit 14 Ansichten: Löbau und seine Hauptgebäude / Guttau / Die Fabrik in Tiefendorf - Groß-Schweidnitz / Klix / Sdier / Königshayn (Königshain) / Lawalda / Weilsenberg / Radibor / Radibor II / Alt-Gersdorf / Reibersdorf / Reibersdorf II / Sohland am Rothstein / Lückendorf / Oybin / Seifhennersdorf / Malschwitz / Seitendorf / Leuba / Reichenau / Ober-Seyfersdorf (Oberseifersdorf) / Rennersdorf / Wehrsdorf / Ober-Cunnersdorf (Obercunnersdorf) / Kemnitz / Schmölln / Schmölln II / Gaussig / Schönau auf dem Eigen / Ober-Ullersdorf / Sohland an der Spree / Rosenthal / Crostau / Ostro / Dreifachblatt mit 12 Teilansichten : Zittau und seine Kirchen / Adelige evangelische Fräuleinstift Joachimstein, Nieder Olbersdorf / Weigsdorf / Wippach / Spreedorf gegen Morgen / Nebelschütz / Nieder-Cunnersdorf (Niedercunnersdorf) / Pulsnitz (rückseitig Niederzwönitz/ Leubsdorf) / Cunewalde (rückseitig Groß-Schönau gegen Morgen) / Strahwalde / Ober-Strahwalda / Kleinwelka / Taubenheim (rückseitig: Kirche zu Pillnitz) / Hirschfelde / Kotitz / Gurkau / Milkel / Uhist (Uhyst) / Friedersdorf / 2 Ansichten: Die Gottesackerkapelle zu Pulsnitz - Die Kirche zu Pulsnitz) / Bischheim / Ruppersdorf / Ober Ruppersdorf gegen Abend / Prietizu / Kalbitz / Grunau / Ober-Leutersdorf (rückseitig: Bärenwalde) / Ober-Leutersdorf / Gröditz / Crostewitz / Ober-Friedersdorf / Neschwitz / Wittgendorf (rückseitig: Herwigsdorf) / Marienthal / Rammenau (rückseitig: Walddorf) / Ober Oderwitz (Oberoderwitz) / Kittlitz / Berzdorf auf dem Eigen / Dreifachblatt mit 9 Teilansichten: Bautzen und seine Kirchen / Doppelblatt mit 11 Teilansichten: Bautzen und seine Hauptgebäude / Elstra / Kirche zu Elstra / Frankenthal / Hauswalde / Bernstadt / Klein-Bautzen / Hochkirch / Purschwitz / Kloster Marienstern

      [Bookseller: Historica Antiquariat Bert Wawrzinek]
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        Mitchell's National Map of the American Republic or United States of North America. Together with Maps of the Vicinities of 32 of the Principle Cities and Towns in the Union

      S. Augustus Mitchell, Philadelphia 1844 - Large scale map of the eastern United States surrounded with insets of major harbors and towns. Elaborate border design with national coat of arms placed in the each corner contributes to its official quality. Population tables listed in three different insets plus an inset map of the Treaty of 1842, also called Webster-Ashburton Treaty settling a border dispute between Maine and New Brunswick. Large Iowa Territory and Minnesota is not yet named showing impending Westward expansion. From the "National Map Series" that Mitchell produced by subscription over a series of years. Original color but heavily varnished as issued. Samuel Augustus Mitchell Sr. (1792-1868) is one of the pioneers in American cartography of the 19th century and led the conversion of engraved map plates to more affordable lithographic plates. Drawn by James Henry Young (1817-1866) and engraved by J.H. Brightly, both collaborated with Mitchell on this series of maps. Map. Wall map on linen with wooden scrolls. 31.5" x 48.75"

      [Bookseller: Argosy Book Store, ABAA, ILAB]
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