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        Notre-Dame de Paris

      1844. first edition. The First ?'Really Illustrated Edition?' of Notre-Dame de Paris,In a Superb 'Cathedral' Style Binding by Henri NoulhacHUGO, Victor. NOULHAC, binder. Notre-Dame de Paris. Édition Illustrée d'apres les dessins de MM. E. de Beaumont, L. Boulanger, Daubigny, T. Johannot, de Lemud, Meissonnier, C. Roqueplan, de Rudder, Steinheil. Gravés par les Artistes les plus Disingués. Paris: Perrotin, Éditeur… Garnier Freres, 1844. First edition with these illustrations. Royal octavo (10 9/16 x 7 inches; 269 x 178 mm.). [iv], 485, [1, blank], [2, contents & list of plates], [2, advertisement] pp. Woodcut initials, pictorial head and tailpieces, and fifty-nine wood or steel engravings (including as extra-illustrations an additional proof of the frontispiece without printer's name, an additional proof before letters of plate 15 on India paper, and two additional variant versions of plate 24 printed in sepia). The illustrations by Boulanger, Daubigny, de Lemud, Johannot, and others. A very striking 'Cathedral' style binding by Henri Noulhac (stamp-signed Noulhac Rel. 1926) on front turn-in. Full crimson straight-grain morocco, boards with blind, deeply impressed gilt, and onlaid decoration, both covers with a border of multiple gilt fillets and blind palmette roll, the center of each board with a large pictorial panel featuring a gothic wall with two tiers of columns and arches, the tracery windows onlaid in citron, black and maroon morocco and elaborately gilt. Spine with broad raised bands with oblique hatching, gilt in compartments featuring a frame of broad and narrow rules, onlaid black morocco quatrefoil centerpiece with gilt roundel at center, black morocco gilt lettering label, decorative gilt board edges and turn-ins with seven thick and thin gilt rules, cream-colored watered silk endleaves, marbled flyleaves, all edges gilt, original yellow printed pictorial wrappers bound in at front and rear. Housed in the original morocco -edged, marbled paper slipcase. Front flyleaf with the morocco bookplates of Laurent Meeus, Pierre Van der Rest, and Raoul Simonson. Title page and a few other leaves with just a hint of marginal foxing, three or four leaves with tiny marginal tears on fore edges (two expertly repaired). A very fine copy, internally very bright and clean with quite generous margins and with the stunning binding in superb condition.There could hardly be a more appropriate binding for this work than Henri Noulhac's elegant so-called "cathedral" design. As would be expected from a binder of his reputation, the design is beautiful, and the work has been performed with the greatest of skill. "Notre dame de Paris" usually known in English as " The Hunchback of Notre Dame", is the quintessential Romantic novel, and its publication in 1831 made young Victor Hugo the leading Romanticist of 19th century France. As a child, Hugo (1802-1885) was shaken by the experience of the arrest of a political refugee whom his mother had hidden for months in their garden, and partly as a result, he was ever after a supporter of the underdog. His deep sympathy for the oppressed is plainly seen in "Notre Dame" which brings together the twice-kidnapped gypsy dancer Esmeralda and the grotesque hunchback cathedral bell ringer Quasimodo, whom she, for a moment, befriends. Although verisimilitude precludes an amorous relationship between two such characters, their kindness and heroism are nevertheless moving and dramatic, and the discovery of their skeletons in the same place at the end of the novel is compelling. But there is much more to Hugo's enduringly popular first novel than the relationship between gypsy and hunchback; in fact, for the author, the title he has chosen suggests an entirely different focus, as the famous cathedral serves throughout the book as the center of action and context or characterization. This work, a perfect vehicle for displaying the Romantic style, has been illustrated here by a number of leading French artists. Ray calls it a "noble volume, harmoniously planned, well printed on fine paper with ample margins, and splendidly adorned." "In announcing the part-issues, which turned out to be sixty-seven in number, the publisher promised the first ?'really illustrated edition?' of Notre-Dame de Paris, and he keeps his word. The book altogether surpasses its predecessor of 1836… In the fine impressions of the first issue… the illustrations are among the best in the Romantic tradition." (Ray, The Art of the French Illustrated Book).Henri Noulhac (1866-1931) specialized in Jansenist bindings, which were completely plain on the outside, but frequently decorated sumptuously on the doublures inside. He executed several highly elaborate bindings designed by Jules Chadel for his employer Vever, the great jeweller, collector of beautiful books, and one of the greatest compilers of ukiyo-e Japanese woodblock prints. Noulhac also trained Rose Adler and Madeleine Gras who both later designed beautiful Art Deco bindings. (Victor Arwas. Art Nouveau: The French Aesthetic, p. 568).Gordon Ray, The Art of the French Illustrated Book, 234; Vicaire IV, 265-66; Carteret III, pp. 300-304.

      [Bookseller: David Brass Rare Books, Inc.]
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        History Of the War In France And Belgium, in 1815

      London: T. and W. Boone,, 1844. Containing Minute Details of the Battles of Quatre Bras, Ligny, Wavre, and Waterloo. [together with:] Plans and Maps to the History of the Waterloo Campaign. [&:] SIBORNE, H.T. Waterloo Letters: A Selection from Original and hitherto Unpublished Letters bearing on the Operations of the 16th, 17th, and 18th June, 1815, By Officers who served in the Campaign. Edited with Explanatory Notes … 3 octavo text volumes, together with folio portfolio containing the maps. First-named in the original red morocco-grained cloth, title gilt to the spines, large trophy of arms within broad panels in blind to all boards, pale cream surface-paper endpapers; the plans in the publisher's red cloth portfolio, title gilt to the upper board, trophy of arms gilt to the lower; the Waterloo Letters in original red cloth, title gilt to the spine, blind single-ruled panels to the boards. In the first, a superbly engraved medallic portrait frontispiece to each, and 9 other similar portraits in all; the portfolio with 11 engraved maps, dispositions in colour, loosely inserted, as issued; the last-named with folding map frontispiece, and on other similar map, 17 plans with dispositions printed in colour, 8 of these folding, 4 plans to the text A little rubbed and soiled, spines relined and with some minor judicious repairs, rear hinges repaired, frontispiece of volume I foxed and offsetting onto the title page, as usual, as also some foxing throughout, but overall a carefully restored copy in the original cloth; the portfolio a little rubbed and stained, professionally cleaned, the lining and flaps renewed, as also the ties; the Letters a little rubbed, spine sunned, but overall very good. Together an excellent group in the publisher's bindings. The History is the second edition, same year as the first - which "sold off in a very few days" - with minor corrections, and there was only one issue of the extraordinary, and highly sought-after, Plans and Maps, offering the best possible contour view of the field, outside of Siborne's model itself. The Letters are a first edition. Siborne's published works represent an unprecedented synthesis of wide-ranging research, informed direct enquiry, physical immersion, expert surveying, and cutting-edge visual representation. Remains foundational to the understanding of the most famous, and controversial, military engagement of the nineteenth century. A recognized authority on surveying and plan-drawing, having published on the subject, Siborne was commissioned in 1830 to produce a minutely accurate scale model of the field of Waterloo. "He lived for eight months at the farm of La Haye-Sainte on the field of battle, and made a survey of the whole ground, upon which he based his model. The execution of this work occupied some years, as Siborne devoted to it only such time as his professional duties permitted. In 1833 the progress of the work was interrupted by the refusal of the new ministry to allot funds for it. Thrown upon his own resources he continued the work until its completion in 1838, at a cost of nearly £3000" (ODNB) The model stirred controversy, revealing as it did the vital intervention of Blücher's 48,000 Prussians; Wellington pointedly absented himself from the exhibition at the Egyptian Hall, and Siborne failed to recoup costs. He subsequently made a model of a smaller portion of the field on a larger scale to show the decisive charge of Anglesey's cavalry and Picton's infantry, exhibiting both side by side, and publishing his guide to the New Waterloo Model. "Having amassed much information from surviving officers on the battle and the entire campaign, Siborne in 1844 published his two-volume History of the War in France and Belgium in 1815 (with folio atlas); it long remained a standard work." The plates are all engraved by Alfred Robert Freebairn using the anaglyptographic process, whereby "objects with raised surfaces, such as coins, medals, and reliefs, into patterns of printed lines which suggest the contours of the original" (ODNB). The battlefield maps offer truly remarkable visual effects when viewed, as suggested, with the upper edge "placed nearest the light", this atlas is extremely uncommon, and we have never seen another set offered in the original cloth portfolio. Offered in addition to this set is an excellent copy of the volume of correspondence relating to Siborne's model, edited by his son; "When my father, the late Captain William Siborne was engaged in the construction of his Model of the Battle of Waterloo, he was authorised by the General Commanding-in-Chief - Lord Hill - to issue a Circular Letter to the several surviving Officers of the Battle who might be in a position to afford him information necessary for the completion of his undertaking … The greater number of the letters, amounting to several hundreds, are still in my possession, and as the 75th Anniversary of the Battle occurred last year … I have thought that the publication of a selected portion might be of interest … " (Preface). An important adjunct to William Siborne's original account, published 1844. Altogether a superb collection of Siborne's work, offered in the original cloth, complete with the spectacular atlas.

      [Bookseller: Peter Harrington]
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        Vida militar y política de Cabrera.

      - Madrid, Eusebio Aguado, 1844-45, 4 tomos en dos tomos, holandesa piel de época, 368 págs. + 2 h. + 3 láminas = 330 págs. + 1 h. + 4 láminas + 1 estado plegado = 574 págs. + 1 h. + 3 láminas + 2 estados plegados = 516 págs. + 2 h. + 3 láminas + carta facsímil y estado plegados + (Lista de suscritores:) 23 págs. (Ejemplar falto de una lámina). CARLISMO

      [Bookseller: Librería Anticuaria Antonio Mateos]
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        Naturgeschichte der domesticirten Vögel in ökonomischer und technischer Hinsicht. Ein Hand. und Hülfsbuch für Jedermann, besonders für Stadt- und Landwirthe.

      Vlg. Heynemann, Halle um 1844.. 8°, fester Kartoneinband der Zeit, ca. 400 Seiten, 6 farbige Abb.-Seiten nach Zeichnungen von Fr. Raumann. Naturgeschichte der domesticirten Vögel in ökonomischer und technischer Hinsicht. Ein Hand- und Hülfsbuch für Jedermann, besonders für Stadt- und Landwirthe. (Die Zwischentitel sind jeweils mit eingebunden, im Ganzen besteht das Werk aus 6 Teilen, jeweils mit einer kolorierten Tafel). 1. Der gemeine Schwan und seine Verwandten. Ihre Naturgeschichte, Zucht, Wartung und Pflege, so wie ökonomische Benutzung. Nebst einer allgemeinen Einleitung in die Naturgeschichte der Vögel (Stich und 56 Seiten). 2. Die gemeine Gans und Ente nebst ihren Verwandten. Ihre ... (1 Stich und 67 Seiten). 3. Der gemeine Pfau, das Truthuhn und Perlhuhn nebst ihren Verwandten. Ihre ... (Stich und 70 Seiten). 4. Die Tauben nebst ihren Verwandten. Ihre Naturgeschichte, Zucht, Wartung, Pflege und Krankheiten und deren Heilung, so wie ökonomisch-technische Benutzung (Stich und 105 Seiten). 5. Das Haus-Huhn nebst seinen Verwandten. Ihre ... (Stich und 67 Seiten). 6. [Die Stubenvögel] (Stich und 135 Seiten). Zustand: Die Jahreszahlen auf den Titeleien sind teils weggeschabt, Bindung angebrochen beim Pfau, Block partiell stockfleckig und fleckig, Stich Tauben mit Stiftgekrakel, Reihentitel Stubenvögel fehlt, Stich Stubenvögel mit hinten geklebtem Riss und mit Randläsuren, einige wenige Seiten angerändert und mit Randläsuren. Einband fleckig, Rücken oben und unten mit Fehlstelle, Besitzervermerk der Zeit auf Vorsatz, sonst gut. Das Buch wurde ehedem ausgiebig gelesen, ist dennoch in einem passablen Zustand.

      [Bookseller: Cassiodor Antiquariat]
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        MAINZ. "Mainzer Dom, Ost = Seite". Blick vom Liebfrauenplatz auf den Dom, links Hauptwache, rechts das heutige Gutenbergmuseum.

      - Lithographie mit Tonplatte von Dumuoza und A. Bayot nach Ch.C. Bachelier aus N.M.J. Chapuy, 1844, 38 x 27 cm.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Wappenbuch der Preussischen Monarchie: Bde. 1- 16 in 10 Bdn.

      Nürnberg, Selbstvlg., 1844-57 - Kl.4°, gestochenes Titelblattje ca. 100 Kuperstichtafeln m. jeweils einem oder zwei Wappen, Namensregister., HLdr. d. Zeit m. Rückenschild, Deckel berieben, Bd.1 am Fuss im Ausengelenk angerissen, einige Bände im Gelenk etwas locker. Exlibiris u. Namenszug a. Vorsatz (Dr. Gottfried von Bülow). Ausserdem späterer Besitzvermerk(Eigentum der Familie v. Koscielski, 1920. Oskar v. Koscielski-Ponoschau, Kgl. Preuss. Major a. D.). Einige Blätter gebräunt u. etwas fingerfleckig - insgesamt gutes Exemplar. Graesse VI/2, 220. Bernd 2569 - Enthält ca. 1300 Wappen der Fürsten, Grafen, Freiherren sowie der Adeligen von A-Z. Das Werk wurde bis 1870 weitergeführt- Bd. XXXI. - «Begründer der "Dynastie" von Kupferstechern und Verlegern der Familie Tyroff war Martin Tyroff (1705-1758). Es bestand anfangs sogar eine enge Verbindung zu dem Siebmacherschen Wappenwerk. Denn eine Tochter von Weigel (vgl. Weigelsches Wappenbuch) hatte Johann Kenckel (1688-1722) geheiratet, und dessen Schwiegersohn war Martin Tyroff. Dieser gab im Jahr 1753 das erste Supplement zum "Alten Siebmacher" heraus. Sein Sohn Johann David Tyroff (geb. ca. 1730) brachte Supplement 2 (1759), Supplement 3 (1765) und die ersten Tafeln von Supplement 4 (1767) heraus. Die Familie Tyroff, zu der noch Hermann Jakob (geb. um 1742, Sohn von Martin) und dessen Sohn Konrad (gest. 1826) gehörten, trennte sich aber vom Siebmacher-Projekt und publizierte ab 1791 bis zum Ende des 19. Jh. in Nürnberg ihre eigene Serie der Tyroffschen Wappenbücher. Ihre Wappenbücher unterscheiden sich von den Siebmacherschen erstens durch die landschaftliche Gliederung der Serien und zweitens durch die viel geringere Anzahl von Wappen pro Seite, denn die meisten Tafeln enthalten jeweils nur ein besonders liebevoll und entsprechend groß gestochenes Wappen. Die Farben werden durch Schraffuren angegeben. Genealogische Angaben fehlen jedoch durchweg in den Tyroffschen Wappenbüchern.» (Dank an Dr. Bernhard Peter). 15000 gr. [Attributes: Hard Cover]

      [Bookseller: antiquariat peter petrej]
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        The Logic of Political Economy.

      Edinburgh & London: William Blackwood and Sons, 1844 - Octavo. Original blue cloth, paper spine label, cream coated endpapers, edges uncut. Housed in a custom-made blue cloth slipcase. Twentieth-century US booksellers' labels to pastedowns. Spine tanned, top corners of boards a little bumped, gatherings a little shaken but firm. An excellent copy. First edition. The Logic of Political Economy, De Quincey's exposition of Ricardian economics, is the author's principal economic work. Rearranged from a series of papers by his publisher and discussing the relative influence of utility and scarcity, the former being described as affirmative or power value, the latter as negative or resistance value, De Quincey's essay received a glowing review from John Stuart Mill. Presentation copy to the author's friend Edmund Lushington (1811–1893), inscribed at the head of the title page, "Ed Lushington From the Author", the first part of the inscription being most probably in the recipient's hand and the second part in a Blackwood's clerk's. De Quincey was first introduced to Lushington in 1840 by political economist John Pringle Nichol and a friendship quickly developed, lasting until De Quincey's death in 1859. Lushington, professor of Greek at Glasgow, had been one of the "Apostles" at Trinity College, Cambridge, along with Tennyson, for whom he translated into Greek "Oenone" and "Crossing the Bar" and whose sister Cecilia he later married. This marriage was commemorated by Tennyson in the Epilogue of "In Memoriam". For a few years in the early 1840s Lushington provided De Quincey, perpetually running away from debts, with a home at his university lodgings and practical support with his writing. "Procrastination, [De Quincey] confessed to Lushington, remained amongst his 'infirmities', but Lushington's classical expertise, together with his willingness to borrow books from the university library, enabled De Quincey to produce a string of Blackwood's essays on Greek literature, beginning with 'Plato's Republic' (.) and followed shortly thereafter by a three-part examination of 'Homer and the Homeriade'" (Morrison). Less than a month before De Quincey's death, "Lushington told Emily Tennyson that he had seen 'poor De Quincey', who was 'somewhat seriously ill with a sort of delirious fever: his daughter told me he was now better, but one cannot quite be sure how much the better means - he was taking rather more opium than the Dr seemed to approve'" (ibid.) Laid in is a contemporary manuscript transcript from memory of parts of Tennyson's "In Memoriam", Section XCIX, "Risest thou thus, dim dawn, again. " and "Immortality", totalling seven stanzas on two sides of a folded sheet. Einaudi 1535; Goldsmiths' 33558; Green 152; Kress C.6279; McCulloch, p. 20; Morrison pp. 321–4; 336; 393. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Milano e il suo territorio. Tomo I [ - II].

      Luigi di Giacomo Pirola] 1844 2 volumi in - 8° (cm. 25,5), splendide legature coeve in p. marocchino scuro con stemma della città inquadrato in cornici floreale e di filetti ai piatti anteriori che si ripetono ai posteriori, eleganti fregi e titolo in oro ai dorsi (lievissime usure ai bordi), dentelles ai risguardi e tagli dorati; pp. [16] 391 [5], [4] 506 [2] con 14 tavole di vedute f.t. all'acquatinta (Cherobuin) protette da velina, 2 ampie carte ripiegate f.t. (rinforzi al retro), frontespizio testate e finalini illustrati in legno (Ratti), capilettera decorati; impercettibile brunitura e sporadicissime fioriture. Celebre compilazione diretta dal Cantù in edizione originale. Esemplare privo di un fascicolo ma completo delle tavole. Cfr. Lozzi 2650; Predari 164; Hoepli 787; Villa 221. Ottimo stato di conservazione.

      [Bookseller: Gabriele Maspero Libri Antichi]
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        Guide Francais-Arabe Vulgaire des voyageurs et des Francs en Syrie et en Egypte.

      Uppsala, Leffler et Sebell, 1844. - 4to. 884 columns, 885-924 pp. 2 folding maps. Contemporary boards. First edition of this "Guide" by J. Berggren (1790-1868), minister at Soenderkoeping. The work includes a summarized dictionary as well as a "droguier arabe" (first appendix) printed in two columns and grammatical notes on the Arabic vernacular. - Uncut copy. Cahine 442. Tobler 148. Röhricht 355. Brunet I, 785. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        History Of the War In France And Belgium, in 1815. Containing Minute Details of the Battles of Quatre Bras, Ligny, Wavre, and Waterloo. [together with:] Plans and Maps to the History of the Waterloo Campaign. [&:] SIBORNE, H.T. Waterloo Letters: A Selection from Original and hitherto Unpublished Letters bearing on the Operations of the 16th, 17th, and 18th June, 1815, By Officers who served in the Campaign. Edited with Explanatory Notes

      London: T. and W. Boone, 1844 - 3 octavo text volumes, together with folio portfolio containing the maps. First-named in the original red morocco-grained cloth, title gilt to the spines, large trophy of arms within broad panels in blind to all boards, pale cream surface-paper endpapers; the plans in the publisher's red cloth portfolio, title gilt to the upper board, trophy of arms gilt to the lower; the Waterloo Letters in original red cloth, title gilt to the spine, blind single-ruled panels to the boards. A little rubbed and soiled, spines relined and with some minor judicious repairs, rear hinges repaired, frontispiece of volume I foxed and offsetting onto the title page, as usual, as also some foxing throughout, but overall a carefully restored copy in the original cloth; the portfolio a little rubbed and stained, professionally cleaned, the lining and flaps renewed, as also the ties; the Letters a little rubbed, spine sunned, but overall very good. Together an excellent group in the publisher's bindings. In the first, a superbly engraved medallic portrait frontispiece to each, and 9 other similar portraits in all; the portfolio with 11 engraved maps, dispositions in colour, loosely inserted, as issued; the last-named with folding map frontispiece, and on other similar map, 17 plans with dispositions printed in colour, 8 of these folding, 4 plans to the text The History is the second edition, same year as the first - which "sold off in a very few days" - with minor corrections, and there was only one issue of the extraordinary, and highly sought-after, Plans and Maps, offering the best possible contour view of the field, outside of Siborne's model itself. The Letters are a first edition. Siborne's published works represent an unprecedented synthesis of wide-ranging research, informed direct enquiry, physical immersion, expert surveying, and cutting-edge visual representation. Remains foundational to the understanding of the most famous, and controversial, military engagement of the nineteenth century. A recognized authority on surveying and plan-drawing, having published on the subject, Siborne was commissioned in 1830 to produce a minutely accurate scale model of the field of Waterloo. "He lived for eight months at the farm of La Haye-Sainte on the field of battle, and made a survey of the whole ground, upon which he based his model. The execution of this work occupied some years, as Siborne devoted to it only such time as his professional duties permitted. In 1833 the progress of the work was interrupted by the refusal of the new ministry to allot funds for it. Thrown upon his own resources he continued the work until its completion in 1838, at a cost of nearly £3000" (ODNB) The model stirred controversy, revealing as it did the vital intervention of Blücher's 48,000 Prussians; Wellington pointedly absented himself from the exhibition at the Egyptian Hall, and Siborne failed to recoup costs. He subsequently made a model of a smaller portion of the field on a larger scale to show the decisive charge of Anglesey's cavalry and Picton's infantry, exhibiting both side by side, and publishing his guide to the New Waterloo Model. "Having amassed much information from surviving officers on the battle and the entire campaign, Siborne in 1844 published his two-volume History of the War in France and Belgium in 1815 (with folio atlas); it long remained a standard work." The plates are all engraved by Alfred Robert Freebairn using the anaglyptographic process, whereby "objects with raised surfaces, such as coins, medals, and reliefs, into patterns of printed lines which suggest the contours of the original" (ODNB). The battlefield maps offer truly remarkable visual effects when viewed, as suggested, with the upper edge "placed nearest the light", this atlas is extremely uncommon, and we have never seen another set offered in the original cloth portfolio. Offered in addition to this set is an excellent copy of the volume of correspondence relating to Siborne's mode

      [Bookseller: Peter Harrington. ABA member]
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        The Logic of Political Economy

      Edinburgh & London: William Blackwood and Sons,, 1844. Octavo. Original blue cloth, paper spine label, cream coated endpapers, edges uncut. Housed in a custom-made blue cloth slipcase. Twentieth-century US booksellers' labels to pastedowns. Spine tanned, top corners of boards a little bumped, gatherings a little shaken but firm. An excellent copy. First edition. The Logic of Political Economy, De Quincey's exposition of Ricardian economics, is the author's principal economic work. Rearranged from a series of papers by his publisher and discussing the relative influence of utility and scarcity, the former being described as affirmative or power value, the latter as negative or resistance value, De Quincey's essay received a glowing review from John Stuart Mill. Presentation copy to the author's friend Edmund Lushington (1811?-1893), inscribed at the head of the title page, "Ed Lushington From the Author", the first part of the inscription being most probably in the recipient's hand and the second part in a Blackwood's clerk's. De Quincey was first introduced to Lushington in 1840 by political economist John Pringle Nichol and a friendship quickly developed, lasting until De Quincey's death in 1859. Lushington, professor of Greek at Glasgow, had been one of the "Apostles" at Trinity College, Cambridge, along with Tennyson, for whom he translated into Greek "Oenone" and "Crossing the Bar" and whose sister Cecilia he later married. This marriage was commemorated by Tennyson in the Epilogue of "In Memoriam". For a few years in the early 1840s Lushington provided De Quincey, perpetually running away from debts, with a home at his university lodgings and practical support with his writing. "Procrastination, [De Quincey] confessed to Lushington, remained amongst his 'infirmities', but Lushington's classical expertise, together with his willingness to borrow books from the university library, enabled De Quincey to produce a string of Blackwood's essays on Greek literature, beginning with 'Plato's Republic' (...) and followed shortly thereafter by a three-part examination of 'Homer and the Homeriade'" (Morrison). Less than a month before De Quincey's death, "Lushington told Emily Tennyson that he had seen 'poor De Quincey', who was 'somewhat seriously ill with a sort of delirious fever: his daughter told me he was now better, but one cannot quite be sure how much the better means - he was taking rather more opium than the Dr seemed to approve'" (ibid.) Laid in is a contemporary manuscript transcript from memory of parts of Tennyson's "In Memoriam", Section XCIX, "Risest thou thus, dim dawn, again... " and "Immortality", totalling seven stanzas on two sides of a folded sheet.

      [Bookseller: Peter Harrington]
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        HISTORIA DE LA CONQUISTA DE MEXICO, CON UNA OJEADA PRELIMINAR SOBRE LA ANTIGUA CIVILIZACION DE LOS MEXICANOS Y vida de su conquistador Fernando Cortés. Tomo I.

      Ignacio Cumplido, 1844 - - ANTIGUOS 563 pag. 21 cm. Tapa dura, piel. ATENCIÓN: En el pago Contra Reembolso el precio del envío se incrementará en 5 EUROS.

      [Bookseller: Hijazo Libros]
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        ESSLINGEN. Blick auf Frauen- und St. Dionyskirche, im Vordergrund Brunnen mit Wäscherinnen.

      - Lithographie mit Tonplatte von Mathieu u. Bayot bei Lemercier aus Chapuy, 1844, 41 x 30 cm. Schefold 1606. - Prächtige, reich staffagierte Vedute in sehr guter Erhaltung. - Selten.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Hamburg's Neubau: Sammlung von Façaden der Gebäude an den neubebauten Strassen; für Architecten, Bauhandwerker etc., so wie für alle welche sich für den Wiederaufbau Hamburg's und den herrschenden Geschmack in den verschiedenen Baustylen int

      154629 FUCHS, Charles. Hamburgs Neubau: Sammlung von Façaden der Gebäude an den neubebauten Strassen; für Architecten, Bauhandwerker etc., so wie für alle welche sich für den Wiederaufbau Hamburg's und den herrschenden Geschmack in den verschiedenen Baustylen interessiren. Illustrated with original lithographic wrapper printed on green paper followed by 60 full-page lithographic plates. Oblong folio, 267 x 430 mm, bound in contemporary half morocco over marbled paper covered boards. Hamburg: Charles Fuchs, [1844-1848]. |~||~||~||~|$4750.00 Following the great fire of 1842, in which one third of Hamburg was destroyed, the city was completely rebuilt along modern lines. This detailed depiction of the new city is invaluable, since Hamburg was destroyed again almost exactly 100 years later during the Second World War. This is a rare work which was published in 12 parts in 1844 and 1848, of which OCLC lists ony two copies in the U.S., at Cal State (only 30 plates) and BL; and 4 copies in Europe. Plates 46 and 55 trimmed to fit, with lower margin of plate 55 folded in and slightly soiled, and a small tear to lower margin of plate 49, else in very good condition. PROVENANCE: A. Weitzer, his ownership signature in pencil on title-page, and small drawings on a few leaves.

      [Bookseller: Ursus Rare Books]
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        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 Mainufer und ihre nächsten Umgebungen.

      Würzburg, C. Etlinger`sche Verlagsbuchhandlung, ohne Jahr ( 1844 - 458 Seiten (mit Titelblatt, Widmungsblatt an Fürsten Löwenstein-Wertheim-Freudenberg) und 54 Stahlstichen (gestochenes Titelblatt (Mainquelle), Frontispiz (Würzburg vom Stein aus), sowie im Text eingebunden: Schneeberg und Ochsenkopf im Fichtelgebirg / Berneck / Culmbach / Baireuth / Kloster Banz und Lichtenfels / Bamberg / Die Altenburg bei Bamberg / Hassfurt / Mainberg / Schweinfurt / Wipfeld / Volkach / Dettelbach / Kitzingen / Markt Steft mit dem Schwanberg / Markt Breit / Ochsenfurt / Würzburg vom Hieb / Dom zu Würzburg / Zell a.M. / Carlstadt / Gemünden / Lohr / Rothenfels / Markt Heidenfeld / Triefenstein I / Triefenstein II / Homburg / Wertheim I / Wertheim II / Stadt-Prozelten / Ruine Stadt Prozelten / Collenberg / Ruine Freudenberg / Freudenberg / Feggenbach / Miltenberg / Schloss Miltenberg / Schloss Heubach / Klingenberg / Achaffenburg I / Aschaffenburg II / Seligenstadt / Steinheim / Hanau / Rumpenheim / Offenbach / Frankfurt a. M. I / Frankfurt a. M. II / Höchst / Hochheim / Mainz), VI Seiten Inhalt und die ausklappbare Stromkarte vom Main. Die Stahlstiche mit vorgebundenem Pergaminblatt (fehlt bei Bamberg und Frankfurt a. M. II). Ca. 23,5 cm x ca. 16 cm. Kräftiger Halbledereinband mit gold-geprägtem Rückentitel und etwas Rückenverzierung. - Die Stiche wurden nach Originalzeichnungen von Fritz Bamberger (Ausnahmen: Mainquelle/Titel, Dom zu Würzburg, Zell a. M.) von Carl Mayer`s Kunstanstalt in Nürnberg gestochen. Sie sind hier in der Reihenfolge der Orte entlang des Mains passend zum beschreibenden Text eingebunden (bei vielen Exemplaren entspricht die Reihenfolge der Stiche nicht dem Text). Die Stromkarte von C. Sprunner, gestochen in der Kunst- u. geogr. Anstalt von Serz & Cie. in Nürnberg, Verlag der Stahel`schen Buchhandlung in Würzburg. - Die Ansicht Frankfurt a. M. II (von Westen aus) ist lose eingelegt. Nur wenig berieben oder bestoßen. Exlibris auf Vorsatz (Dr. Albert K. Franz). Die Stromkarte mit einigen Randeinrissen, insbesondere entlang der Faltungen (einige rückseitig hinterlegt). Keine Einträge. Papier gering gebräunt, vereinzelt gering fleckig, einige Tafeln und die Stromkarte etwas stärker (wie leider fast immer). Alle Gelenke intakt, Bindung sehr gut und fest (bis auf die eine lose Tafel). Zustand I - II (deutsche Schulnotenskala). Auf Wunsch senden wir Ihnen gern per E-Mail Fotos des Werkes zu. [Attributes: First Edition]

      [Bookseller: Antiquariat Lycaste]
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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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