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

        The Dispatches and Letters of Vice Admiral Lord Viscount Nelson.

      London: Henry Colburn, , 1844–46. With notes by Sir Nicholas Harris Nicolas. 7 volumes, octavo (218 x 130 mm). Late 19th-century navy blue full morocco by Bedford (with his name in gilt on the turn-in), richly gilt spines, gilt French fillet border on sides, all edges gilt, richly gilt turn-ins, marbled endpapers. Portrait frontispiece of Nelson by Freeman after Abbott (volume I), 4 facsimile letters, 3 plans (2 folding). Contemporary engraved armorial roundel bookplate of Sir Henry Hope Edwardes, 10th baronet (1829-1900), of the Edwardes baronetcy of Shrewsbury (whose "choice and valuable library" was auctioned at Christie's, May 1901). An excellent set. First edition. The essential starting point for any attempt to understand either the mercurial personality or instinctive tactical genius of Nelson, never superseded. "This is the standard work of reference for Nelson's correspondence and is the principal source from which his biographers have drawn (and still do draw) their material" (Cowie). A beautifully bound set, from the atelier of one of the premier London binders of the period.

      [Bookseller: Peter Harrington]
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        The Life And Adventures Of Martin Chuzzlewit [1st Edition / 1st State]

      London: Chapman and Hall. Very Good with no dust jacket. (1844). First Edition; First Printing. Hardcover. B&W Illustrations; Complete with the frontis-piece, engraved title [showing the improperly placed pound sign], and 38 plates by "Phiz". The Errata Page has the "Errata" with 13 lines listed below it. Xiv, [1], 624pp, bound in 3/4 leather and cloth, raised bands on spine, marbled endpapers, marbled page edges, and armorial bookplate of Rev. Mitchell Harvey, mild aging, binding and hinges tight. Considered the last of his picaresque novels. It was originally serialised in 1843 and 1844. Dickens thought it to be his best work, [1] but it was one of his least popular novels; 0 .

      [Bookseller: poor mans books]
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        Neue Gedichte. Erstausgabe.Halbleder.

      Hoffmann und Campe,Hamburg 1844 - Hamburg/Paris, Hoffmann und Campe,Dubochet 1844. 8°. 2 Bl., 421 S., 1 Bl. Halbleder d. Zt. mit reicher Rückenvergoldung.-Erste Ausgabe. - Die Sammlung enthält die Gedichte, die Heine in den siebzehn Jahren seit Erscheinen des Buch der Lieder in den Bänden des Salon und in verschiedenen Zeitschriften veröffentlicht hat. Die Seiten 244-421 enthalten Deutschland. Ein Wintermährchen mit Stellen, die in dem gleichzeitig erschienenen Einzeldruck wegen der Zensur verändert oder weggelassen werden mußten. - Goedeke VIII, 560, 73. - Wilhelm/Galley I, 436. - Gutes Exemplar. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Stammerjohann]
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        The Cruise of H.M.S. Galatea, Captain H.R.H. the Duke of Edinburgh, K.G., in 1867-1868.London, W. H. Allen & Co., 1869. 8vo. With a photographic portrait of the Duke of Edinburgh, 8 chromo-lithographed and 4 double-tinted plates, 6 full-page and 6 smaller black-and-white illustrations, and a folding "engraved" lithographed map (34 x 50 cm), mounted on cloth. Contemporary half calf, shell-marbled sides, re-backed and with new endpapers.

      Allibone, Crit. Dict. Eng. Lit., p. 1117; Ferguson 12627; Forbes 2846; Mendelssohn II, p. 20; South African Bibliography III, p. 333. An account of a journey around the world including a visit to the British colonies in Australia, New Zealand, India and Hong Kong, conducted by Prince Alfred, Duke of Edinburgh (1844-1900) in 1867 and 1868. In 12 chapters, 8 devoted to the visit to Australia, and with an "amusing and lively" account of an elephant hunt. With a folding world map and a list of officers serving on Prince Alfred's ship, the H.M.S. Galatea. Alfred was the first prince to visit Australia, India and Hong Kong, and the first member of the royal family to visit New Zealand. With the stamp of the York Subscription Library and a 20th-century bookplate of A.R. Michaelis. Binding rubbed. A very good copy. An extensively illustrated account of a royal visit to the British colonies.

      [Bookseller: Antiquariaat FORUM BV]
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        A Christmas Carol

      Philadelphia: Carey & Hart, 1844. First Edition. Hardcover. Very Good. First American edition, first printing. Publisher's dark blue cloth with covers stamped in blind and spine in gilt. Near Fine. Cloth lightly rubbed and corners pushed in. Several tiny specks to top edge of page block. Pages with an occasional small spot or bit of foxing. With four hand-colored lithograph plates and four black and white lithographed illustrations. Quite a remarkable copy, with the gilt stamping very sharp and bright.

      [Bookseller: Burnside Rare Books]
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      London, John W. Parker, West Strand, 1844.. FIRST EDITION 1844. 8vo, approximately 225 x 140 mm, 8½ x 5½ inches, pages: half-title, title page, Preface, Contents, [1]-164 plus 4 pages of adverts, original boards, rebacked in thick paper with printed paper label. Boards rubbed with uneven pale staining, slight wear to corners, shelf wear to lower edges, neat ink number to verso title page, pastedowns and pale foxing to pastedowns and endpapers, first inner paper hinge neatly strengthened, hardly noticeable, tip of several corners have small turning crease, small hole to first free endpaper neatly repaired, otherwise a very good copy. See: Goldsmith, Volume 2, page 635, No. 33591. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        An outline of the various social systems and communities which have been founded on the principle of co-operation. With an introductory essay, by the author of 'The Philosophy of Necessity'.

      London: Longman, Brown, Green, and Longmans. 1844. 12mo., in 6s, cxiv + 252pp., small circular inkstamp of a library on blank verso of title, original green cloth embossed in blind. A fine, fresh, copy. First edition. A fascinating and remarkable defence and analysis of the growth of the co-operative system by a female advocate, Mary Hennell, in which she outlines various communities throughout history which have been founded upon such guiding principles. The essay on Social Systems> was first published in 1841 as an appendix to The Philosophy of Necessity> written by her brother-in-law, Charles Bray, an ardent believer in the new wave of socialist theories of the time. The essay itself attracted much attention and was published in its own right three years later, sadly a year after Hennell's death from consumption in 1843. Bray felt that its publication was a fitting tribute to her 'untiring zeal and energy in the cause of truth, and in the promotion of every object which appeared to her strong intellect to lead to the advancement and happiness of mankind' [p.iv]. In his introductory preface, Bray outlines the reason behind the essay's initial conception. 'Its object was to add force to certain arguments in favour of the organisation of industry, by proving that such is no new doctrine, fresh-created in the brains of some of our modern visionaries, but one which has had its enlightened advocates in all ages and almost every clime' [p.iii]. Bray then adds a substantial, and previously unpublished essay, as an Introduction, which is an informed and detailed analysis of population and capitalist economics as further evidence of the benefits and necessity of co-operations. Hennell presents as models of co-operation a vast number of early and contemporary 'social systems', communities and civilisations. These include the North American Indians, Peruvians, Mexicans, Anabaptists, and Prussian peasantry. The ideas of philosophers such as Plato, More and Bacon are also used in defence of co-operatives. Although the purpose of her work was to highlight historical precedents, Hennell does not overlook her contemporaries, and she concludes by discussing such things as 'Mr. Owen's Plan', 'Fourierism', and 'Co-operative societies', amongst many topics. Indeed the work is notable for her full account of Robert Owen's theories and practical experiences, as well as of Fourier and his followers, and Saint Simon. Aware of the many detractors of the system, Mary Hennell presents a spirited, well informed and detailed account and analysis of the growth of such organised societies. She concludes with the words of 'Fourier's disciple'. Although aware that the inherent ideals of co-operativism - equality, harmony and perfection would always be scorned by some 'we shall not conclude with saying - That is impossible, because it is too beautiful; we shall conclude on the contrary, religiously - That is too beautiful not to be possible.' [p.252].

      [Bookseller: John Drury Rare Books]
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        Das "Va Banque!" Louis Napoleons III. oder Der Kampf mit Deutschlands Erbfeind. Gedenkbuch des Krieges mit Frankreich im Jahre 1870. Dem deutschen Volke gewidmet.

      24,5 x 20 cm 600 S. mit 24 farblithographischen Tafeln und der rotgetönten Titelseite. HLn der Zeit. Einband stärker gebräunt und am Rücken angeplatzt, Innendeckel mit Namenseintragungen, Titelseite mit Blutspur und Stempel der Leipziger Kunsthandlung Thust, die ersten 10 Blatt am Rand etwas lädiert, sonst an der Ecke durchgängig fingerspurig, eine Lage leicht ausgebunden, zwei Tafeln fleckig, es fehlen die Seiten 3 - 6 und ebenfalls die Seiten nach Seite 600. Erstausgabe des Freundes und Knastkumpans von Karl May. Julius Eduard Maximilian Dittrich (10.6.1844 - 10..5.1917) war Hauslehrer, Journalist und ab 1870 Redakteur verschiedener Zeitungen in Dresden. Da der frühere kaufmännische Angestellte vom 13.7.1866 - 13.1.1868 wegen Betrugs und Unterschlagung in Schloss Osterstein inhaftiert war, kannten sich May und Dittrich vermutlich bereits aus dieser Zeit. (May sass ab 14.6.1865 ebendort ein.) Das umfangreiche und detaillierte Werk zum Deutsch-Französischen Krieg stellt wohl einen Vorgänger zum 1889 bei Münchmeyer erschienenen Prachtband dar. Eindrucksvoll die farbstarken Lithos von: Preußischen Ulanen bei Rheinheim, Forbach nach der Einnahme der Preußen, Saarbrücken während der Beschießung durch die Franzosen, Eroberung der ersten Mitrailleuse durch die Bayern, Vernichtung der französischen Kürassiere bei Wörth, Erstürmung von Weißenburg, Ansicht von Pont a Mousson, Schlacht bei Vionville, Demolirte Batterie in Straßburg, Preußische Batterie vor Metz, Schlacht bei Belfort, deutsche Truppen überfallen Garibaldianer, Ankunft des Kaisers in Frankfurt, Pflanzung der Friedenseiche in München. Die Datierung erfolgte auf Grund einer handschriftlichen Eintragung auf dem Innendeckel. Der Titel ist in deutschen Bibliotheken nicht bekannt.

      [Bookseller: bebuquin]
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        Die Ichneumonen der Forstinsecten in forstlicher und entomologischer Beziehung. Ein Anhang zur Abbildung und Beschreibung der Forstinsecten. [Bd. I-III]

      Berlin: Nicolaische Buchhandlung, 1844-52. 3 vols: viii,224; vii,238; xviii,[2],272, 7 engraved plates, 7 folding tables, text figs. 4to. HB. Orig. green printed boards, spines worn, one with some loss; vol. 3: hinges weak, boards coming loose. Some foxing. Good complete set in the original binding. Rare. Complete in 3 vols. This work is intended as a supplement to the series on 'Forstinsecten' by the same author. Contains descriptions of many new species.[Horn-Schenkling, 17693; Nissen ZBI, 3308].

      [Bookseller: Pemberley Natural History Books]
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        Mexkemahuastan. Chief of the Gros-Ventres des Prairies

      , 1844. 1844. BODMER, Karl. Mexkemahuastan. Chief of the Gros-ventres des Prairies. [London: Edward Lumley, 1844]. Original re-engraving, plate impression measures approximately 8 1/2 inches by 12 inches, matted, entire piece measures 16 1/2 inches by 19 1/2 inches. $1500.One of 33 hand-colored

      [Bookseller: Bauman Rare Books ]
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        China historisch, romantisch, malerisch.

      Karlsruhe, im Kunstverlag (1843-1844). - Text- und Bildband in 2 Bänden. Gross-8°. Gestochener Titel, XLVIII, 351 S.; 1 Bl. Lieferungsumschlag und 35 Tafeln mit Stahlstichen von Thomas Allom. Schöne Bordeauxrote Halblederbände der Zeit mit reicher romantischer Rückenvergoldung und blindgeprägter Deckelverzierungen. Einzige deutsche Ausgabe. - Auszug aus dem englischen Werk "China in a series of views". Die deutsche Ausgabe nur mit einem Teil der Kupfer der englischen Ausgabe, wobei die Tafel "Der kaiserliche Palast in Tsau-Tschän", die im Tafelverzeichnis angekündiget ist, wohl nie beigebunden wurde, da sie bei Vergleichsexemplaren immer fehlt. - Rücken verlbasst. - Sonst schönes, nahezu fleckenloses Exemplar in schönen dekorativen Einbänden.

      [Bookseller: Daniel Thierstein]
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        Prospecter af danske herregaarde (band 1-8 av en total utgivning på 20 band)

      Bok. C.A. Reitzel, Kjøbenhavn 1844-56. 96 litografiska planscher och beskrivande text bundet i ett samtida lätt slitet halvfranskt band. 24,5x34 cm. Nära 3 kg. Ställvis milt lagringsfläckad inlaga, planscherna som regel rena. Enstaka textsidor med veck. Proveniens: Främre pärmens insida bär stämpel "WEGEHOLMS BIBLIOTEK. I. SIÖKRONA". Johan Joakim Sjöcrona köpte Vegeholm 1846 och ägde slottet till sin död 1874. De här ej inkluderade 12 banden utkom 1857-68 och har C.E. Secher som författare.

      [Bookseller: Falks Hörna]
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        JOHANN ADAM KLEIN (1792 - 1875). "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 vereinzelt minimal fleckig.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        The Cruise of H.M.S. Galatea, Captain H.R.H. the Duke of Edinburgh, K.G., in 1867-1868.London, W. H. Allen & Co., 1869. 8vo. With a photographic portrait of the Duke of Edinburgh, 8 chromo-lithographed and 4 double-tinted plates, 6 full-page and 6 smaller black-and-white illustrations, and a folding "engraved" lithographed map (34 x 50 cm), mounted on cloth. Contemporary half calf, shell-marbled sides, re-backed and with new endpapers.

      - Allibone, Crit. Dict. Eng. Lit., p. 1117; Ferguson 12627; Forbes 2846; Mendelssohn II, p. 20; South African Bibliography III, p. 333. An account of a journey around the world including a visit to the British colonies in Australia, New Zealand, India and Hong Kong, conducted by Prince Alfred, Duke of Edinburgh (1844-1900) in 1867 and 1868. In 12 chapters, 8 devoted to the visit to Australia, and with an "amusing and lively" account of an elephant hunt. With a folding world map and a list of officers serving on Prince Alfred's ship, the H.M.S. Galatea. Alfred was the first prince to visit Australia, India and Hong Kong, and the first member of the royal family to visit New Zealand. With the stamp of the York Subscription Library and a 20th-century bookplate of A.R. Michaelis. Binding rubbed. A very good copy. An extensively illustrated account of a royal visit to the British colonies.

      [Bookseller: Antiquariaat FORUM BV]
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        Su rutas. Áyurvédas. Id est Medicinae Systema a venerabili d?Hanvantare demonstratum, a Susruta discipulo compositum. Nunc primum ex Sanskrita in Latinum sermonem vertit, introductionem, annotationes et rerum indicem adjecit. 3 Bände in 1.

      Erlangen, F. Enke, 1844-50. - Groß-8vo (25.5 : 16.5 cm). I: VIII S., 2 Bl., 206 S., 1 Bl. Errata. - II: VIII, 248 S., 2 Bl. Tabellen, 1 Bl. Errata. - III: VI, 186 S., 1 Bl. Errata. Erste Übertragung des altindischen Kompendiums der Heilkunde in eine westliche Sprache, sehr selten. Das Werk ist etwa im 7. Jahrhundert n. Chr. um einen älteren Kern entstanden und gliedert sich in Abschnitte zum ärztlichen Ehrenkodex, zu Pathologie, Somatologie, Therapie und Toxikologie. Die Übersetzung schließt mit einem Index Sanskrito-latinus der erwähnten Pflanzen und Bäume. ?First translation of the Su ruta Samhitâ into Latin, and the first publication of this text in the West . includes the earliest description of plastic surgery? (Garrison & Morton, no. 11). - Hessler (1799-1890), bayerischer Gerichts- und Bezirksarzt, bestritt bereits seine Dissertation und Approbation mit indologischen Themen. Er ließ 1852/55 noch zwei Hefte Commentarii et Annotationes (24 und 106 S.) folgen, die von Garrison & Morton als ?separate volumes? unter eigener Nummer (7168) geführt werden. - Unteres Kapital etwas zerschlissen, stellenweise stockfleckig. Insgesamt schönes, sauberes Exemplar. Dunkelgrüner Leinenband d. Zeit mit Rückentitel sowie Rücken- und Deckelfileten in Goldprägung, marmorierter Schnitt.

      [Bookseller: Antiquariat Müller & Draheim (VDA/ILAB)]
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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 [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Martin Chuzzlewit - True First Issue with 100£

      Chapman and Hall, 1844. Hardcover. Very Good. A first edition, first printing, first issue with the '100£' sign on the frontispiece. Bound in contemporary marbled boards with leather spine and corners. Neat name twice to prelims and previous owner's very small bookplate to the front pastedown. Binding is sound and tight. PP. 624 with some spotting to the prelims and to the rear pages. Rubbing and wear to the edges, but a very good copy overall.

      [Bookseller: John Atkinson Books]
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        Cartouche, The Celebrated French Robber.

      London: Hugh Cunningham, 1844. 3 vols, 8vo, contemporary black sheep, marbled paper sides, gilt lettering. Bound without the half-titles. A scarce novel about the legendary French highwayman, Louis Dominque Cartouche (1693-1721). Peake (1792-1847) was a playwright for most of his career, but later wrote fiction for Bentley's Magazine. Edges rubbed; a couple of signatures sprung; a good copy.

      [Bookseller: Brick Row Book Shop]
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        Collection of Letters from Elihu Vedder to Porter E. Sargent, concerning printing and publication of Vedder?s poetry, including retained copies of Sargent?s letters to Vedder, plus original manuscripts of Vedder, promotional materials et cetera, 1914-1923

      Archive of correspondence, original manuscripts, promotional and other materials pertaining to publication of Elihu Vedder's two volumes of poetry. The archive consists of 19 letters, 48 pages from Elihu Vedder to Porter Sargent; 25 letters 42 pages written by Porter Sargent to Elihu Vedder; 53 pages of original manuscript verse by Elihu Vedder, some with small sketches and designs; 20 pages of typescript copies of Vedder's verse, edited and corrected by Sargent; 8 letters, 26 pages of correspondence between Anita Vedder and Porter Sargent; 3 letters, 7 pages Enoch R. Vedder to Porter Sargent; 43 letters, 45 pages to and from Porter Sargent concerning the printing, publication and marketing of Vedder's verse; Introduction and notes by Porter Sargent, 14 pages; over 20 promotional ephemeral items for Vedder's publications; approximately 16 clippings of reviews and other notices concerning Elihu Vedder. Elihu Vedder was born in New York City, the son of Elihu Vedder, a dentist, and Elizabeth Vedder. His parents were cousins. Between 1844 and 1849 young Elihu shuttled between Cuba, where his parents had settled, and the home of his grandfather in Schenectady, New York. As a boy, Vedder attended the Brinkerhoff School on Long Island and then served a brief apprenticeship at an architect's office before going to study, at about the age of 18, under Tompkins H. Matteson, a landscape, genre and portrait painter. In 1856 Vedder went to Paris to study painting with the French artist Francois-Edouard Picot. He worked with Picot for seven months and then traveled to Rome and Florence. While in Europe, he examined at first-hand the works of the Italian masters and studied with Raffaello Bonaiuti in Florence. He also became friendly with members of the Macchiaioli, the Italian precursors of the French Impressionists. To please his father, who had been supporting him on his Italian sojourn, Vedder briefly returned to Cuba but moved to New York in 1861. The Civil War had begun, and Vedder tried to enlist in the Union army but was rejected on physical grounds. Vedder then found work as an illustrator and contributed to Vanity Fair. He also created comic valentines and continued painting. He exhibited six works at the National Academy of Design in 1862, and his well known The Questioner of the Sphinx (1863, Museum of Fine Arts Boston) was shown there in 1863. The following year he sent his The Lair of the Sea Serpent (1864, Museum of Fine Arts Boston) to the National Academy's Exhibition. He became a full academician in 1865. Near the end of 1865 Vedder settled in Paris, but he soon returned to Rome. Using Rome as his winter home, he made sketching tours of Italy, particularly the Umbrian region. In 1866 he met the art student Elizabeth Caroline Rosekrans, called Carrie, the daughter of a wealthy Glens Falls, New York, family. The couple became engaged, and Vedder returned to the United States to convince her parents of his suitability as a husband. The two married in 1869 and, with funds from Carrie's sister, returned to Italy in October of that year for a honeymoon. The couple had three children, one of whom died in infancy. Italy, particularly Rome, remained Vedder's home for the remainder of his life. He also had a residence on the island of Capri. Vedder made frequent trips to the United States and traveled extensively throughout Europe. He met a number of Pre-Raphaelite painters while on a visit to London in 1876 and attended an exhibition of William Blake's work at the Burlington Club. Vedder's work subsequently displayed a more idealized human form. Vedder exhibited at the Paris Exposition in 1877 ? 1878. While on a trip to New York in 1879-1880, he won a Christmas card design contest sponsored by the Boston publisher Louis Prang. He became friends with the architect Stanford White, who assisted Vedder in obtaining a commission for five covers of the Century Magazine. Another commission to illustrate the 1884 edition of Edward Fitzgerald's Rubaiyat of Omar Khayyam (Houghton Mifflin and Co., Boston) established his fame at home and abroad. His illustrations, intricately linked to the verses (which he rearranged to suit his vision of the book) were a popular success and exhibited widely. He converted a number of the illustrations, such as The Cup of Love (1887, location unknown), into full scale paintings. In 1889-1890 Vedder visited Egypt and saw several exotic sites, including the Sphinx, which he had painted more than twenty times earlier. The biblical subject of Lazarus also occupied Vedder. His Lazarus Rising from the Tomb(c.1895-1899, Museum of Fine Arts, Boston) is a closely cropped portrait of Lazarus depicted from the perspective of a viewer inside the tomb. It was not painting, however, but a wide range of decorative arts, murals, stained glass, mosaics, and metalwork that dominated much of Vedder's public art in the later decades of his life. Among his major work during this period were murals for the mansion of railroad magnate Collis P. Huntington and for the Walker Art Gallery at Bowdoin College in Brunswick, Maine. The latter was completed in 1892. Although he failed to secure the mural commission for the Boston Public Library (won by John Singer Sargent), Vedder was among the artists selected to adorn the newly built Library of Congress building in Washington, D.C. His murals for the library were completed in 1895. He completed a mosaic, Minerva, for the library in 1897. In 1898 he was elected a charter member of the American Academy of Arts and Letters. Vedder completed a number of pastels of the Italian countryside in the 1910s. Path into the Woods, Viareggio (1911, Munson-Williams-Proctor Institute) and Villa Borghese ? Rome(1913, University of Connecticut Museum of Art) are examples of these rustic depictions of Italy. After his wife's death in 1909, Vedder devoted more of his time to writing. His autobiography, Digressions of V., appeared in 1910. Vedder also published two books of poetry, Miscellaneous Moods in Verse (1914) and Doubt and Other Things (1923). He died in Rome. Vedder was one of the most popular artists of the late nineteenth and early twentieth centuries. At his death, the Nation placed him in the "highest ranks" of American painters. However, his mystical and imaginative works fell out of favor with the public quickly after his death. A large retrospective exhibition of his work was organized by his daughter Anita in 1937 at the American Academy and Institute of Arts and Letters in New York City. In 1957 the art historian Regina Soria discovered Vedder's papers (with the exception of the present group of papers) and hundreds of sketches in an apartment above his favorite café in Rome, the Caffe Greco. This discovery revived interest in his work, and since then his accomplishments as a mural painter have been recognized as important contributions to the mural revival of the late nineteenth century. Porter Edward Sargent (1872-1951) born in Brooklyn, New York, and raised in California, was a prominent educational critic and the founder of Porter Sargent Publishers in Boston in 1915. He studied at Harvard with William James, Nathaniel Shaler, Charles Eliot Norton, and William Gilson Farlow. He was described in 1949 as "probably the most outstanding and consistent critic of the American educational scene." Sample Quotations from the Letters: "6 Porta Pinciana, Rome, March 14th, 1914, Elihu Vedder to Porter Sargent My dear Mr. Sargent, I know I have delayed too long, but a virulent attack of laziness has set in owing to a recent birth-day ? showing me that I must not lavish the rest of my life in writing letters altho ? I write this with pleasure. Our little Japanese friend Nomura responded to the receipt of the directions you forwarded to him with promptness, sending me two books and some "nice base for vases" ? but fortunately delayed the other suggestions but will order "to do them newly" is so directed. I find that with me this is no time to go into the least extravagance, I must not only content myself with what I have but seek to dispose of all I can. The "Cassone" hangs fire ? the tapestries are in Germany and we are corresponding about the other things, so no more of Japanezeries for me. The whole "bag of tricks" relating to Alfaru ? I shall make over to you and send to where you direct. ? There are some good drawings among the things. The scheme is useless but makes a fine curiosity as the record of a "fad" ? in fact breaks the record. I have been drawing up some directions for teaching the child you said you experiment with. The demand for the poems keeps up ? but I have been reading the "Tea-Cups ? of Dr. Holmes ? and his comments apropos of verse making have discouraged me ? for I notice that I like some of my things better than I do his, which is a sure symptom of an advanced state of the disease. Only my ignorance of spelling keeps the divine efflatus from coming to the point of bursting. The fact of having to decide whether there should be two Ls or one in a word gives the vision time to vanish. ?" "6 Porta Pinciana, Rome April 26, 1914, Elihu Vedder to Porter Sargent Dear Mr. Sargent, You certainly are comfortingly prompt, card from Bangkok rec'd ? and from it I hope the package of mass ? I send tomorrow may synchronize with your arrival home in Boston. The job of revision has been a tough one also the making out of the Index. I hope it will correspond with the list my daughter sent on to my son, since that young lady has taken to art in which she has made astounding progress all type writing has ceased and so I have had to do all by hand. From 122 on all are new and I trust good. When I picked up by chance number 124 ? a neglected scrap I said to my self ? where in god's name did this come from ? it had such a glowing inspiration. Of course the number are pro tem ? I send all in hopes some may survive ? The editor will close up the ranks, omitted are 54, 57, 100, 103. I know Eben Thomson or Mr. Dearth might take an interest in the things. I write rather despondingly for all my affairs have struck a rut or adverse stream of fortune ? go wells are few and the go badlys many and serious ? but health, teeth, hair, digestion, are better than could be expected, all but a dizziness which prevents much practice on the wire or slack-rope, please remember I scarcely expect you will be in couraged [sic] to attempt anything in the way of decoration or illustration. I should be most gratified if I could see the things well printed in impressive clear type ? such as I see in many circulars or "booklets" and at a modest price take their chance. But I am talking into space, full of possibilities as that last word is of Is but at present seemingly empty. The phonetic business I will make a package of and send as a curiosity ? to be shown as "sich" and only as such. Will be a great weight off my shoulders and mind. What better closing is there than the old one ? I trust this will find you prosperous and well ? with kindest regards to the family ? I feel I have not said much that needs talking over but will wait until I hear from you ? name of book, cover design, which will depend on price tec. In case of need my cable address is simply VedderRome Anita sends her best regards ? E. V. ?" "May 12, 1914, [Boston] Porter E. Sargent to Elihu Vedder, Rome My dear Mr. Vedder, ? Yesterday I received your letter of April 26th and a package of manuscript, registered, which was apparently mailed in Rome on April 14th. This package contained the Table of Contents, the corrections, and the new poems, 123 to 128. I have not received the first 120 poems. I am left a little in doubt from your letter as to whether these have been sent? From your letter, I am left in doubt as to whether you have yet sent the manuscript of "Doubt" and "The Alfaru" manuscript. If you have not, I should be glad to have you do so, as I think I could do better with the whole series than with one. I should like to have Miss Vedder send me, as early as possible, a transcript of names, and so far as possible, the addresses from your "Register of Visitors." As I proposed to you last November, what I want to do is to send out to a list of several hundred of your friends, made up from your Register and the names in the back of "Digression", a circular letter suggesting or announcing the proposed publication of these volumes in two editions; one, a broad margin Edition de Luxe, offering them an opportunity to subscribe in advance. I want to spend $ 100.00 or so in promoting sales and getting subscriptions before I approach a publisher with any proposition. Then, if they do not jump at the opportunity, I want to publish them myself. As to business, I undertake all responsibility and risk and expense, but if the thing yields me revenue, I will deduct actual expenses from the profits, all of which will otherwise be turned over to you. If I so undertake it, I most certainly want to have the book or both books, "Poems" and "Doubt". Illustrated. I should be glad to have you send me the illustrations that I might get estimates as to the cost of reproduction. This is putting large trust in me, but I will have manuscript copied, ready for printer, and the original returned to you, if you request. In drawing up the circular letter, offering opportunity to subscribe, may I announce a limited edition of 100 copies numbered, with the title-page inscribed by you. Title pages could be sent you, returned here, and afterwards bound in. How much would you be willing to undertake to do as to this? The subscription price of such a volume should be $ 10.00, and if the book is decently, but not expensively printed, it ought to pay the cost of the entire edition. As soon as I have the list of names and the manuscript, I shall begin my campaign, but you must allow me three or four months before entering into any contract to print. The time is needed to create interest and get subscriptions, and I have a few other things that need attention in the meantime. Mr. Nomura was pleased to be of service to you. He has instructions to honor your orders and to render no bills. I might as well explain my attitude. Selfishly, I have my eyes on some of those chalk things which I couldn't buy, but I am willing to wait until they are reproduced ?" "May 15, 1914 [Boston] Porter E. Sargent to Enoch Vedder, 152 East 36th St., New York, New York My dear Mr. Vedder, This morning I received your letter of the 13th and a large package of manuscript containing the bound manuscript and poems, illustrated manuscript of "Simple Simon" and 30 or more photographs and originals of the illustrations. I shall take the best care of them, keeping them in a fire-proof vault. In the course of a few days I shall get printers' estimates on the cost of printing and reproducing the illustrations in half-tone. ? When I have a sufficient number of subscriptions, I thought it might be well to again approach Houghton & Mifflin, offering them the opportunity of publishing these forthcoming volumes so as to have their list complete?" "Capri May 27, 1914, Elihu Vedder to Porter Sargent My dear Mr. Sargent, Your letter came at the very last moment as we were leaving for Capri. We have frequently "come the Warbles" but never as we did this time in getting to Capri ? losing hand bags and trunks ? but this time we lost the cook and maid. However they turned up the next day. Anita left very ill with an ear ache which we hoped the change of air would modify but it has been steadily growing worse until she is worn out and I nearly crazy. We have been here 3 days and my trunk is still unpacked ? all this to explain the delay. She has written to Rome for the address book and I shall get out what I have brought today. And now to business, which I find hard to conduct with the materials in two places ? Capri and Rome. A moment's thought would have brought to mind Bay State but it didn't. Of course you must have from my son all the mass and illustrations I sent on to him ? if not tell him to turn everything over to you ? that I hereby authorize you to hold them. Your propositions are all most generous and I shall make it a point to see to it that you shall not loose anything ? the drawings and pictures you will get I hope if I turn out to anything will even up the accounts, and I will see that my daughter ? or rather I will direct her to see that my intentions are carried out in case anything happens to me. I think you ought to ? or beg you will keep to the poems only. The doubt is doubtful ? a fragmentary thing at best, but I will go on getting it into shape and then you can judge ? after consulting the proper persons if it is worth including in the book. ? The port folio of the Alfaru was left in Rome as that can be of no earthly use for publication ? except that as a Fad and accent might go into thoughtswhile dreaming another thing I have my doubts about. ?." "Capri, July 6, 1914, Elihu Vedder to Porter Sargent My dear Mr. Sargent, If I don't get this off to day, god only knows when it will reach you, my daughters illness and callers and now the advent of people who are going to make a little stay with us have combined to retard the "Doubt" perhaps providentially as I have been able to make many corrections I found that the quickest was to rewrite all ? which with what you already have would make a neat little book, one I think for which there would be a demand ? not coming from literary people but from the common sort. ? About the covers ? I will send on designs, very simple for the doubt, and somewhat more elaborate yet still simple for the poems as soon as I hear from you and the title has been settled ?" "July 13, 1914 [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder, Pressure of work has prevented my replying at any length to your two letters of the 27th and the 31st until this time. I wished to be able to report some progress before writing. In the next week or ten days I hope to be able to report much more. We have gone over the list and completed addresses from Directories and Social Registers, so far as possible. There still remain some names without addresses. Further, we have begun to compile an additional list of names to bring the total up to one thousand, from "Who's Who," from Club books, from officers of Art Clubs, and similar sources. I am getting up a little circular announcing the publication of these volumes. I wish to have on the front page very little ? the title, and in the center of the page a portrait of you ? the one that Curtis & Cameron use on their little circular by Pennington. The second page is to give a partial Table of Contents, taking the more imaginative and significant titles. The third page should be a very brief discourse or essay on the poems made up briefly of quotations from the poems, using some of the best lines and outlets ? the sort that will whet one's appetite for more. Then on the back of the four page circular should be an order form like the enclosed. As for the title, I like your "MISCELLANEOUS MOODS." Why should it not read thus:-MISCELLANEOUS MOODSIn VerseOne Hundred PoemsBy Elihu Vedder. Accompanying this circular, I want to send a very brief letter. The enclosed is what I have drafted to go to your personal friends, this to be modified for others. You needn't give your approval to all this if it troubles your modesty to do so, but unless you suggest other alternatives, I shall go ahead with this program as outlined. I have gone over the poems pretty carefully, but not your corrections in lead pencil on your manuscript. Some of the corrections, I think, should not be adopted, the original version being preferable. If you are willing, I should like to cut the number of poems to an even hundred. I think it would, on the whole, improve the volume. I believe it might save us possible unkindly criticism. You see I write frankly and without mincing words. ?" "July 22, 1914 [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder: Your "DOUBT" has arrived safely and I have read it through with the keenest enjoyment. I think it's big virile stuff and I should be interested to help it into print. The 58 quatrains present no difficulties to straight printing. How to handle the twelve short sections which you sent on half sheets, I am in DOUBT. I notice that you say, "The things sent now with the body of verses are the following," then naming the titles of these twelve short sections, "Creed," "Supine Comedy", etc. Tell me what your idea was as to the printing of these. My suggestions would be that we print four quatrains (of the 58) to a page, and then follow them by the twelve shorter poems ? one to a page. I think it would add much to the appearance of such a volume and little to the cost to have a few head and tail pieces simple sketches in line that could be reproduced by the zinc process. Now I come to the matter of the poems. We have edited the poems roughly, introducing your corrections, selecting certain ones for omission, to bring the total to one hundred. I think the volume would gain by that. I have gone over the text and the illustrations with two printers and gotten two sets of estimates. The expense of printing will vary between $ 400.00 and $ 750.00. It depends on how we do it?" "Capri, July 29, 1914, Elihu Vedder to Porter Sargent My dear Sargent- Your anxiously expected letter has come. I thought first to cable you but imagined that silence would mean to you to go ahead as I see you doing. The title will do. I had wished to limit the poems to ninety nine ? that being the number of the "disgrazie" or misfortunes of pulcinella Number 100 is a "mal augurio" fatal to him. I wish him to go on living; but do as you please, you have full control as you should have. Of course I expected the number to be cut down, but in avoiding "possible unkindly criticism" I hope you will not omit "Chippendale" or Libations" and such like. I hope you will take good advice as to my penciled emendations, of course correct all obvious errors. A Mr. Eben Francis Thompson has been here ? came on purpose to see me. He is a reader (with slides) of Omar Khayam, an enthusiastic admirer of mine ? he might be of great use . He is a friend also of Mr. Dole who it would be well to consult. I see no notice of an ordinary edition. Friends are constantly asking about this with a view of distribution among friends ?" "Capri Aug. 5th, 1914 Elihu Vedder to Porter Sargent My dear Mr. Sargent, ? of all my portraits I consider Pennington's the best adapted for the poems. It is not vignette a thing I hate and would spoil the title-page. It is good ? but as it gives not only the front face but the two sides, it is too broad a sort of mercator's projection as it were. The best for this purpose is Paxton's, the Boston portrait painter's You can get a photo from him ? We think the war craze will not affect us much here in Italy ? but 'tis a case of who knows ? if ever there was one?" "Capri August 8, 1914 My dear Sargent, Yours of July 2nd came the other day ? but Anita's departure for Rome ? she left yesterday ? prevented me answering at once. You see she goes on to dismantle the house and move the things into a studio and the deciding on what to save ? what to sacrifice has put us in a fearful quandary. Then the War craze and now the prospect of your sending on the whole "Bag of Tricks" fills me with dismay. First as to the "Doubt" ? I am glad you enjoyed it and think printed black it might be impressive even raise a Tempest ? in a Tea-pot. If you have rec'd allthe drawings last sent on you will see one with two philosophers and the symbol ? the labyrinth hanging against the sky between them. Now instead of making for the "Doubt" little head and tail pieces (the hardest thing to do) ? my idea is to take the symbol as a frontispiece ? print opposite the lines from Omar K-ym verse 27 my edition "myself when young did especially frequent " etc. for you will see by following its lines you evermore come out by the same door wherein you went ? which well illustrates Doubt and theology in general. For the ending the "Ever Open Door" would be appropriate ? Also "The Advent of Man" and the "Birth of the Idea" might be used making four full page illustrations by E. V. The quatrains of Doubt divided up into sections according to subject ? Hell, Saints Jerusalem etc separated by some little devise which I will send ? and the other things in the nature of short poems coming in at intervals- as the verses of Love come in, in Richard le Galienne's ? Omar Khayyam. ? this would break up the dog trot of the quatrains. Four illustrations then would make the book ? and not be very expensive ? half tone engraved by Simeone Chadwick? ? The book should be cheap consult le Galliene's book?" "August 12, 1914, [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder:- ? At last I see clearly how the volume is to look. We will take out all the verses from "Doubt," saving them for the second volume ? "Doubt." We will with your permission, keep the number one hundred. There will be six full page half tone inserts; twelve full page line cuts, reproducing your own lettering of the poems; and thirty or more head and tail pieces?" "Capri Aug. 18th 1914, Elihu Vedder to Porter Sargent My dear Sargent, I write this not knowing if you will get it unless sent by private hand such is the ridiculous but also the awful state of affairs brought on by the peace-loving German Emperor ? may the devil fly away with him. Of course all is panic here but I think if Italy cannot remain neutral, she will have to side with France and England, else risk a revolution. ?" September 30, 1914, [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder:- Since I wrote you last on Sept. 17th, I have received your two letters, dated August 18th and Sept. 5th. It is evident that the mails are halting and irregular. ? First, however, we must see the volume of poems successfully floated. I expect to send out, about the first week in October, two hundred letters with the printed circulars announcing the poems and with proof sheets of the illustrations, to two hundred of your friends. If the response is slow, then I shall wait another month before sending out the other eight hundred. If the response is favorable, I will push them out promptly. The poems and annotations are now all in shape for the printer and as soon as I have subscriptions for one hundred or so volumes, we will go ahead with the printing. We shall need from you a design for the title. The book, you understand is to be bound in rough, grayish Italian hand-made paper, - no cloth about it ? and I want the design for the title to be printed on Japanese vellum and pasted on the back and front, "Miscellaneous Moods" by Elihu Vedder. The book will be printed on Old Stratford paper which costs twenty cents a pound, and in Old Stratford Type. The enclosed proof shows the size of the type. ? No, there will be no Travel School this year and God knows when there will be if the Britons keep their backs up and Russia wins out as seems inevitable. I am absolutely neutral. My friends here accuse me of being strongly pro-German. At any rate, I am not frothing at the mouth with Germanophobia. You ask me for my frank opinion of your verses presented in your last letters. My opinions are always frank and they can be had for the asking, sometimes without. "The Year of Our Lord, 1914" is, I think, rather weak. Evidently the war has effected it. "In Umbria" is a corker, and I like the added poems you sent for "Doubt." I get more and more enthusiastic about "Doubt" each day. Some of the stanzas are undoubtedly weak, but fully two-thirds of them keep running through my head and they do not wear out by any means?." "October 28, 1914, [Boston] Porter E. Sargent to Elihu Vedder, 6 via Porta Pinciani, Rome My dear Vedder: ? I can see you wondering why things move so slowly. As I have suggested before, these poems are not my only source of pleasure. The war has gotten so on my mind that I can't sleep o' nights, and so I have taken to writing my thoughts while sleepless in the form of a little book entitled. "After the War, - What?" which I hope to see it in print in a month. How many years can we count on the war's continuing? In addition to such diversions, I am naturally doing somethings which I hope will eventually bring some bread and butter. I have recently reapproached the editors of the "Century," "Harper's" "Scribner's," and The Atlantic Monthly" in the attempt to stimulate in the editors some appreciation for really good poetry. Some of them claim appreciation but have no confidence in their readers. The result is the same in any case. We have to do all the printing ourselves. ?" "53 B Palazzo Patrizzi, Rome, Nov. 4, 1914, Elihu Vedder to Porter Sargent My dear Sargent ? Yours of Oct. 8th with "booklet" rec'd. Packing up in Capri and trying to settle in new quarters in Rome has brought all to a stand-still. Of course all later things are crude and must ripen a bit for the public stomach. Yes I will send them along. My daughter has found a lot of things I had rejected but did not tear up. I will send one with this she thought ought to be saved ? P.S. Just arrived The Cornhill Booklet for Novr. ? a fine sendoff, you are certainly doing things in style. Bravo!! I hope with all my heart the reproductions will be of the size and excellence of the "Labyrinth" sent folded ? only in the book not folded. Also the poems in larger type for I see how much more impressive those in my lettering are. The selections are good. If the poems remain in the type sent ? they will be very clear and legible only I would like them bolder. ?" "53 B Palazzo Patrizzi, Rome, Nov. 15th, 1914, Elihu Vedder to Porter Sargent My dear Sargent, Yours of Oct 28th just rec'd. The circular is all that can be asked of a circular, except the "original drawing" which seems to promise too much, slight sketch and artist's signature might have been better, some may expect an oil painting framed. However I will do my best "for Vedder's friends." I sent from Capen ? the Paxton portrait ? but see that the Pennington portrait on the circular will do very well, it ought to have a black line about it to unite it with the type ? I mean weakens the look of the page. I am sorry you have the impression that I think things have been moving slowly ? on the contrary I am amazed that they are so advanced - ? You cant imagine what confusion this moving into smaller quarters ? and this being seated in two spots Capri and Rome involves, I have to literally excavate things from innumerable portfolios & don't always find them even then. ?" "November 23, 1914 [Boston] Porter E. Sargent to Elihu Vedder 53 B Palazzo Patrizzi, Rome My dear Mr. Vedder, ? However, as I now have the proof before me and the thing is to go to press the last of this week, it seems a little doubtful. I shall then have the title printed on the cover in gold. This will look well on the dark brown hand-made paper of the cheap edition and also on the vellum of the more expensive edition. I will endeavor to concoct some kind of an editor's note to preface the thing and shall make up some explanatory notes to the poems, largely from extracts from your letters, thinking that you will not chide me too severely for violation of private correspondence. I am sending you under another cover some additional circulars of the poems. At present, we have as a result of the thousand circulars sent out and other work done to attract attention to it, sixty-two subscriptions to the $ 2.00 and thirty-three to the $ 10.00. I do not believe I can dispose of anything like five hundred copies, but I suppose you will want and can dispose of a considerable number in Rome, so I shall ship you fifty unless you say that is too many ?" "December 12, 1914, [Boston] Porter E. Sargent to Elihu Vedder 53 B Palazzo Patrizzi, Rome My dear Vedder: I am sending you under another cover the first two "forms" of your "Moods", showing how it will appear in the cheap $ 2.00 edition. Some of your poems you will hardly recognize. It will shock you at first to find them so mutilated. I see already from your letter of the 19th that you are going to grieve over the final stanza of the "Midsummer Day Dream" which is omitted. All the critics and literary advisers who have assisted me tell me it weakens it, - that it is an anti-climax and I could not but agree with them though if I had not consulted them I should have left it. I have taken the best advice I could get, which was pretty good and have adopted it very conservatively, attempting to retain everything that was especially characteristic unless it weakened other things. Still I imagine you will be as much shocked as the fond mother who first sees her darling with his curls clipped ? but in many such cases she has later grown accustomed to it and continued to love him., ? ? What I am working for however is a big Loan Exhibit of your work in line and color and type, which will show something of your range. I want to have this take place in Boston under the auspices of the Copley Society, in your eightieth year? I wish you would send me a list of such things as you have in Rome that are for sale, with prices. I think I could place some of them ?" "December 24, 1914 [Boston] Porter E. Sargent to Elihu Vedder 53 B Palazzo Patrizzi, Rome My dear Mr. Vedder: The Poems are out and in part distributed, and I am sending by this mail one copy, - others to follow. The $ 10.00 edition is going well and I have doubled the price on the last twenty copies, and have already some subscriptions at the increased price. Perhaps one hundred and fifty of the $ 2.00 edition have already been placed. ? I have received the inscribed pages for the first six De Luxe volumes. One of them I noticed was not signed. The others, I think, will answer. Of course it is important to have each drawing not only inscribed with the name of the subscriber, but signed by you, in order to fulfill the letter of the contract ?" "Rome May 26, 1915, Elihu Vedder to Porter E. Sargent Dear Sargent, Having just made my last will and testament ? reminds me that I must write you a last letter from Rome ? on the verge of this I hope my last moving. We keep this studio as a storing place ? although our things are stored also in other places and with friends. It has been something awful ? the combination of the war this moving and my son's illness and the uncertainty about my fine old chest ? which was held up by the authorities. We have just learned that the veto on its exportation has been removed ? a thing of great importance to us as the sale of it will give a little more to the money in my daughter's name on the interest of which she must try to scrape along? All things have been changed by this state of war ? even the boats to Capri, replaced by one little one?" "Capri June 28, 1915, Elihu Vedder to Porter E. Sargent My dear Sargent, ? I can now only hint at the things under which we are living and leave the rest to your imagination. After all the moving in Rome and from Rome we joined my son and his wife here. Heis simply quite crazy and we do not know from one moment to another ? day or night what may take place. His mind is one long disordered and troubled dream ? with only rarely a gleam, like sunshine, of his old sweet self. Inordinate greed in eating ? a total lack of consideration for others ceaseless activity beginning and never ending, or a dull reading over and over again of the same book. He never asks for a key but bursts open the trunk or room he wishes to examine ? and spends the rest of the day in mending the locks. In the mean time every available moment at all hours night or day ? killing flies pursuing them outside as well as inside the house. He is stubborn to the degree of scarcely admitting it is noon when the sun is pointed out to him high over head. And always an indulging threat of violence. All this while his wife was here ? and it keeps up now that she has gone ? for she has left for America. He since her departure has never even asked for her this after all her devotion to him. You can see what has become of my "little hermitage" - It looks sweeter than ever as it takes its departure. But the strain? I do not know at my age how long I can stand it. ?" American National Biography, volume 22, pp., 312-313 Dictionary of American Biography, vol. X, pp., 244-245

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        The Book of Common Prayer Together with the Psalter

      William Pickering. 1844. Folio, [628]pp., printed throughout in red and black on Pouncey's hand-made paper, the magnificent title page is framed within a border of coats of arms of the Anglican episcopate, with large initials and ornaments engraved on wood by Mary Byfield from designs by J.A. Montague, printer's device at end, cont. vellum, gilt, expertly re-backed with original spine laid-down, leather labels. An attractive copy of this elaborate Book of Common Prayer from the press of Whittingham for Pickering. 'Printed by Whittingham and... even if the conception was Pickering's, the execution and typographic design in detail were the printer's... perhaps the crowning achievement of that great collaboration.' McLean, Victorian Book Design. p.13; Keynes p.86; Warren p. 163.

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        3 eigenh. Briefe m. Unterschrift.

      Zus. 11 S., 8. u. 4. By profession he was an architect, but subsequently devoted himself to journalism in Paris. He was one of the band of laymen who surrounded Frederick Ozanam and who founded with him the Society of St. Vincent de Paul. At Ozanam's suggestion he wrote some letters to The Tablet describing the aims and the work of the new Society. Frederick Lucas, editor of The Tablet, then wrote some articles on the same subject and in January, 1844, the English branch was formed, Wigley, who was by then living in London, becoming one of the original thirteen members. In or about 1860 Wigley took a leading part in forming both in England and in France the Peterspence Association for assisting the Pope. Shortly after, Pius IX bestowed on him the Cross of St. Gregory the Great. He met his death in attending one of the St. Vincent de Paul cases in Rome, a Protestant English sailor. Wigley nursed him, and had him received into the Catholic Church on his death-bed. Then falling ill himself, he went to the hospital of the Brothers of St. John of God, where he died on 20 January 1866 (Wikipedia). - Der Empfänger der auf Französisch abgefassten Briefe ist Jacques (Jacob) Mislin (1807-1878). Der aus ärmlichen Verhältnissen stammende Mislin konnte dank seines Onkels an der berühmten Lehranstalt von Porrentruy im Schweizer Kanton Bern studieren, wo er nicht viel später auch selbst unterrichten sollte. Der 1830 zum Priester geweihte kath. Theologe wurde 1836 auf Vermittlung des Grafen von Bombelle an den Wiener Hof berufen, wo er einer der Lehrer der Söhne von Erzherzog Franz Karl und Erzherzogin Sophie wurde und damit sowohl den zukünftigen Kaiser Franz Joseph wie auch Erzherzog Ferdinand Maximilian (später Kaiser Max von Mexiko) unterrichtete (u.a. auch in Erdkunde). Vor der Revolution von 1848 unternahm Mislin eine Pilgerreise von Wien über Budapest und Konstantinopel nach Jersusalem. Der danach erschienene Reisebericht wurde in mehrere Sprachen übersetzt und mehrfach nachgedruckt. In den folgenden Jahren leitete er die Bibliothek am Hof der Herzogin von Parma, Erzherzogin Marie Louise, wurde zum Abt von St. Maria von Deg (Ungarn), geheimer Kämmerer u. Hausprälat Papst Pius' XI., Apostolischer Pronotar, Kanoniker der Kathedrale von Großwardein, Träger zahlr. Orden (u.a. von Spanien, Parma u. des Ritterordens vom Heiligen Grab zu Jerusalem) sowie Mitglied zahlr. Akademien. Der Verfasser zahlr. Publikationen und Vertraute des belgischen Königs und des Grafen von Chambord blieb nach der Rückkehr von seiner Pilgerreise in Wien, wo er weiterhin in persönlichem Kontakt mit dem Kaiserhaus stand. - In einem numerierten, von Mislin eigenh. beschrifteten Papierumschlag. -

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Obras dramáticas y líricas (2 tomos)

      Establecimiento tipográfico de D. Francisco de P. Mellado, Madrid, España. 1844 - Madrid, Establecimiento tipográfico de D. Francisco de P. Mellado, 1844.Características: Media piel. En muy buen estado. Contiene diversas obras de Moratín y la obra de Hamlet de Shakespeare en la 2ª. Mitad del primer tomo. Con sellos del propietario original. 541 p. 1er. Tomo y 554 p. 2º tomo. (16 x 11) Peso: 750 grs. [Attributes: Hard Cover]

      [Bookseller: Carlos Héctor García Toscano]
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        Lehrbuch der physikalischen Geographie und Geologie. 2 Bde zus. in 1 Bd. gebunden.

      Bern, Chur und Leipzig, J.F.J. Dalp, 1844-47, - in-8vo, X + 398 S., mit Abb. + 1 Bl. + 4 Tafeln (davon 1 farbig) / VIII + 526 S., mit Abb. + 4 Tafeln, vereinzelt wasser- und stockfleckig, hs. Fs. Venetz & (Kleber:) Fs. Ggre Venetz Ingénieur auf Titelbl. (in Bleistift: Sohn des Eiszeit-Venetz), Hldr., Rückenvergoldung. Erstausgabe. Bd. 1 Die Erde im Verhältniss zur Schwere / Band 2: Die Erde im Verhältniss zur Wärme. B.R. Studer war Prof. d. Mineralogie u. Geologie in Bern.First edition of his most important work. ?Besides his (most important) geological works, Studer wrote textbooks on physics and mechanics and on mathematical and physical geography. He was also the author of an extensive history of the physical geography of Switzerland. With Escher, he was one of the founders of modern alpine geology in Switzerland? (DSB).Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. HBLS VI/582-583 (mit Porträt); DSB XIII/123-124; Poggendorff II/1040. [Attributes: First Edition; Hard Cover]

      [Bookseller: Harteveld Rare Books Ltd.]
 23.   Check availability:     ZVAB     Link/Print  

        Faune méridionale ou description de tous les animaux vertébrés vivans et fossiles, sauvages ou domestiques qui se rencontrent toute l'année ou qui ne sont que de passage dans les plus grande partie du Midi de la France; suivie d'une méthode de taxidermie ou l'art d'empailler les oiseaux.

      - Nimes, chez l'auteur, and Montpellier, M. Lebrun, 1844. Two volumes of text and one atlas in three. 8vo (text volumes 21.5 x 13.0 cm; atlas 21.6 x 15.2 cm). 714 pp. [xxviii, 320, (2); ix, 354 (1)], 74 lithographed plates (one double-sized and double present). Contemporary uniform pebbled calf over pebbled boards. Spines with gilt lines and tite. Marbled endpapers.l One of the earliest general works on the zoology of this part of France. The text volumes are not uncommon, but the plate volume, with illustrations by the author, is extremely rare. The plates mostly depict birds (53 plates). Six plates are herpetological, including lizards, turtles, snakes, frogs, toads, and salamanders. Nissen only quotes 70 plates, as follows: 1-74 without 12, 28, 70, and 73. This copy confirms the absence of 12, 28, and 70, but it does include 14bis, 35bis, 36bis, and 73 (twice, both double-sized and dealing with bird taxidermy). One is numbered plate 70 in pencil and this seems to be an error for 74 or vice versa. In any event, the total is 73 plates, disregarding the double plate. ADDED is a very rare, perhaps unrecorded printed pamphlet with the drop-head title: "Catalogue de la collection zoologique de Jean Crespon, de Nimes a vendre" (12 pp), in original blind wrappers with script title. This catalogue includes extensive lists of animals covered in the book, and much more. Again, most are stuffed birds, and eggs, but there is also an interesting section on reptiles, as well as on fish, insects, shells, jewels, weapons, etc., etc. Jules Crespon (1797-1857) was a tinker, barber, soldier, and professional taxidermist; this list probably contains his inventory as well as his scarce personal belongings and may therefore date from 1857. According to Wikipedia, "En 1844, il fait paraître un ouvrage encore plus ambitieux intitulé La Faune méridionale en deux volumes. Crespon y décrit 27 nouvelles espèces. Les vingt dernières années de la vie de Crespon sont difficiles: malade, il finit par ne plus pouvoir s’occuper de ses collections dont nombre de spécimens disparaissent. Elles sont léguées au Muséum de Nîmes créé en 1895". Old owner's stamp (a taxidermist) on the title page and half-title, some marginal spotting to plates. Two plates with an old, small repair, some 12 plates cut short at the bottom with slight loss of the captions, otherwise a good set. Nissen ZBI, 989. [Attributes: Soft Cover]

      [Bookseller: Antiquariaat Schierenberg]
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        A Christmas Carol In Prose Being a Ghost Story of Christmas

      London: Chapman & Hall, 1844. Sixth Edition. Near Fine. John Leech. 12mo. Original vertically ribbed cinnamon colored cloth, stamped in blind and gilt; yellow end papers, all edges gilt. [i-viii]1[2-168]167-8 pages. Title page printed in red and blue; "Stave One" with 8 plates, 4 are hand-colored. Most errors in the text have been corrected. One of 1000 copies, according to Smith, of the sixth edition. Internally clean and bright, with no markings of any kind. A superior copy.

      [Bookseller: Charles Parkhurst Rare Books, Inc.]
 25.   Check availability:     Biblio     Link/Print  

        Schiller's Works in Ten Volumes Rendered in Old German.

      J.G. Cotta, Stuttgart und Tubigen 1844 - Oktav, [20.5cm/8inches], Vollchromprägung Rhein grünen Tuch Staub sans Jacken, Vol. paginiert, von denen jeder mit einem gravierten,-und Gewebe-geschützten, frontis sowie Textplatten Illustrierte. Johann Christoph Friedrich von Schiller, (1759 - 1805), war ein deutscher Dichter, Philosoph, Historiker und Dramatiker. Während der letzten 17 Jahre seines Lebens schlug Schiller eine produktive und ziemlich kompliziert, Freundschaft mit Johann Wolfgang von Goethe. Sie diskutierten häufig Fragen der Ästhetik, und Schiller Goethe angeregt, um Werke, die er als Skizzen links beenden. Die Freundschaft führte zu dem, was heute als Weimarer Klassik bezeichnet. Die beiden arbeiteten auch zusammen auf Xenien, eine Sammlung von kurzen satirischen Gedichte, in denen sowohl Schiller und Goethe Herausforderung Gegner, um ihre philosophische Vision. Er ist vielleicht am besten für Kanadier und Amis bekannt als der Schöpfer des 1804 spielen Wilhelm Tell, die Gioachino Rossinis Ouvertüre zu 1829 eine Oper mit dem gleichen Namen inspiriert und die den Titelsong der TV-Serie Lone Ranger in den 1950er Jahren wurde. Im Jahr 1839, fünf Jahre vor der Veröffentlichung dieser Bände in Stuttgart, die Stadt Stuttgart errichtet ein Statut in Schillers Speicher auf einem Platz umbenannt Schillerplatz. Im September 2008 wurde Friedrich Schiller durch das Publikum von dem deutsch-französischen Fernsehsender Arte als die zweitwichtigste in Europa nach Dramatiker William Shakespeare gewählt. Bitte zögern Sie nicht, um Angaben und / oder zusätzliche Schnappschüsse erkundigen.Octavo, [20.5cm/8inches], full chrome-embossed Rhine green cloth sans dust jackets, paginated by volume, each of which is Illustrated with an engraved, -and tissue-protected-, frontis as well as textual plates. Johann Christoph Friedrich von Schiller, (1759 – 1805), was a German poet, philosopher, historian, and playwright. During the last seventeen years of his life Schiller struck up a productive, and quite complicated, friendship with Johann Wolfgang von Goethe. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This friendship led to what is now referred to as Weimar Classicism. The two also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision. He is perhaps best known to Canadians and Yanks as the creator of the 1804 play William Tell, which inspired Gioachino Rossini’s 1829 overture to an opera of the same name, and which became the theme song of the Lone Ranger television series in the 1950s. In 1839, five years prior to the publication of these volumes in Stuttgart, The city of Stuttgart erected a statute in Schiller’s memory on a square renamed Schillerplatz. In September 2008, Friedrich Schiller was voted by the audience of the Franco-German television channel Arte as the second most important playwright in Europe after William Shakespeare. Please feel free to inquire as to particulars and/or additional snapshots. In exceptionally good condition. Hardcover. (22015) In exceptionally good condition [Attributes: First Edition; Hard Cover]

      [Bookseller: Charles Lewis Best Booksellers]
 26.   Check availability:     AbeBooks     Link/Print  

        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 and cross-sections of this massif. The text deals with the region's 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. [Attributes: Hard Cover]

      [Bookseller: Antiquariaat Schierenberg]
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        A detailed estimate and specification for an 'elegant new chariot' to be supplied to Timothy Hutton, of Clifton Castle, Yorkshire, together with related correspondence, dated variously in

      1844 and 1845. Horne, Thompson and Holland, coach builders and harness makers, and successors to the coach makers Edward and James Houlditch, had premises at 93 Long Acre (London) having just moved from 254 Oxford Street (according to the Post Office London Directory for 1843). Timothy Hutton (b. 1779) had purchased the Cliftonestate in 1802, demolished the original Clifton Castle and commissioned John Foss to build the present Grecian style house. In 1844/45 Hutton was High Sheriff of Yorkshire. He died without heirs in 1863. Clifton Castle is now the seat of the Marquess of Downshire. The principal document in this small archive is a single folded sheet (folio size: 40 x 25.5 cms), with clean tears at folds (no loss), comprising a long and detailed quotation for the supply of a new coach at a total estimated cost of a massive 304 guineas (5% discount for cash). It begins thus: 'April 17 1844. Estimate of an elegant new chariot of the very best materials & workmanship with sword case & inside seat-box, the inside lined with fine cloth & improved watered silk or morocco squabs stuffed with the best curled hair & trimmed with lace double folding steps recessed in the doors trimmed with cloth & morocco the roof covered with leather & mounted with brass or silver plated mouldings, fashionable door handles, a splash frame covered with double patent leather, & a pair of patent double bodied lamps. .....'. There follow an extensive list of further details of fixtures and fittings. The four accompanying letters are: 1. Horne, Thompson & Holland, 23 July 1844, informing Hutton that his new chariot would be sent up to Yorkshire 'per 8 o'clock morning train from Euston Square'. 2. Retained copy of a letter from Hutton dated July 30, 1844, enclosing £300 draft but also noting that 'the carriage appears large and heavy' but hoping that 'when a little more used, will not prove too much so for a pair of horses'. Hutton also points out a defect to the steps which has 'injured the spokes of the wheel'. 3. Horne & Co.'s response of 31 July 1844 apologising for the wheel problem ('which can be remeaded [sic] with a very little attention') and thanking Hutton for the £300. 4. Retained copy of another letter from Hutton dated April 7, 1845, suggesting in strong terms that a further bill from Horne's was unacceptable.

      [Bookseller: John Drury Rare Books]
 28.   Check availability:     Biblio     Link/Print  

        Spécies générales et iconographie des coquilles vivantes comprenant la collection du Muséum d'Histoire naturelle de Paris, la collection Lamarck, celle du Prince Masséna (appartenant maintenant A. M. B. Delessert) et les découvertes récentes des voyageurs. Famille des enroulées. Genre Cone.

      Paris, Rousseau, and J. B. Baillière, 1844-1850. One part in two (text and atlas). 4to (32.0 x 25.0 cm). Title page and half title, 379 pp.; 111 fine hand-coloured engraved plates. Contemporary uniform half cloth over marbled boards. Spines with gilt title. Marbled endpapers.l A very rare large-paper edition of this beautifully executed work of great scientific (taxonomical and nomenclatural) importance containing the descriptions and illustrations of many new and poorly-known shells. The larger quarto edition better suits the fine illustrations by Duménil, Roch, Vaillant, Kiener himself, and others, as this work was meant to be of a scientific and aesthetic value. Nissen only mentions the 8vo edition, but on original wrappers from Kiener's time the work was stated to be available in "Grand in-8°, papier grand-raisin...figures coloriées. 6 fr.", AND "Grand in-4°, papier vélin satiné, figures coloriées 12 [fr]", i.e. twice as expensive. Louis Charles Kiener (1799-1881) made use of the famous Delessert collection and that of the Natural History Museum of Paris, the largest and most varied repositories of conchological material on the continent. "He soon put it to good use; and in 1834 he published the first part of his ‘Spécies'... This exquisitely illustrated iconography, started before the Sowerbys and Reeve began to issue theirs, appeared at intervals up to 1880, when eleven volumes had been completed" (Dance, A History of Shell Collecting). This set covers the complete Conidae (cone shells), divided over two volumes - text and atlas - as it is, by far, the largest section of Kiener's magnum opus. Many species are described here for the first time. Kiener listed the genus Conus under the "famille des enroulés", together with other groups with an elongate aperture and short spire. The fine, hand-coloured plates by Maubert, Vaillant, Roch, and others, including some by Kiener himself, are among the most beautiful illustrations of cone shells ever published. Publication started in 1844 and was completed in 1850 (Faber, 2011). Some rubbing to the boards, several sections in text spotted, sometimes more heavily in the margins; a few plates age-toned, usually mildly, or with a few spots, most plates, however, near-clean. The colouring strong yet subtle, often bright, enhanced with gum arabic. Caprotti, p. 197; Dance, p. 137; Faber, pp. 64-65; Nissen ZBI, 2183.

      [Bookseller: Antiquariaat Schierenberg]
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      London: Printed for Longman, Brown, Green, and Longmans, 1844. First edition. 8vo., vii, 303 pp., 32 pp. adverts, hand-colored engraved folding frontispiece, text diagrams. Recased in the decoratively blind-stamped publisher's original cloth. The lower edge of the binding is rubbed, with moderate wear at the tips. A very good copy. "Robert Hunt (1807 - 1887) was a librarian keeper of mining records the the Museum of Practical Geology and professor of mechanical engineering at the Royal School of Mines, at London. He carried on numerous photographic and photomechanical experiments and he was one of the founders of the London Photographic Society. These experiments with organic and inorganic light-sensitive substances, which, with characteristic unselfishness, he made public during the early forties of the last century, were extremely useful in the study of photochemistry, which was then in its infancy, and were of great service for years to those who came after him and used his researches for the basis of their studies." Eder- HISTORY OF PHOTOGRAPHY p. 326. "Included are reports on Hunt's earliest experiments on solar energy and its effect involving both vegetation and metallic salts or compounds. An introductory chapter on the discoveries of Daguerre and Fox Talbot is exceedingly useful as it establishes the range of various light sensitive materials applicable to photography, including platinum, iron and antimony. His is the first use of the word 'platinotype' with reference to platinum prints. The book as a whole is one of the most crucial and one of the earliest theoretical treatises on the science, and differs slightly from the later, 1854 edition, except in some more recent discoveries." From the Arno Press description THE LITERATURE OF PHOTOGRAPHY . Often referred to as the first history of photography, a distinction not quite true. Gernsheim - Incunabula No. 668. Roosens and Salu No. 7952.

      [Bookseller: Andrew Cahan: Bookseller, Ltd]
 30.   Check availability:     Biblio     Link/Print  

        Carnet de dessins par Ferdinand Corrèges (1844-1904) -

      Sans mention d'éditeur. Sans date. -, Sans lieu d'édition. - 1 volume. In-8 à l'italienne Reliure toilée à l'italienne marquée à l'encre "F. C. 1894" et titrée "Vues de St Jean de Luz [&] Espagne". Etat correct. EXCEPTIONNEL ALBUM de plus de 60 pages (parfois recto-verso) croquis, dessins et aquarelles principalement de la côte basque dont Urrugne, Ciboure, Saint-Jean-de-Luz, Biarritz et Bayonne, mais aussi l'Espagne avec Fontarabie, Grenade. la plupart situés et datés 1894. [Attributes: Hard Cover]

      [Bookseller: Librairie KOEGUI]
 31.   Check availability:     IberLibro     Link/Print  

        Manuscript on paper entitled "Catalogue de la Bibliothéque de M. Le Comte de Fortis," written throughout in a neat hand. 61 pages with entries and several hundred blank pages. Folio (330 x 200 cm.), cont. green reversed calf-backed marbled boards (a little worn)

      N.p.: ca. 1844. A fine library catalogue describing the collection of the Comte de Fortis (1768-1847), French man of letters and lawyer. Born at Chambéry, Fortis served as an avocat général at the court of Lyon and wrote many literary works including accounts of Lyon and Aix-les-Bains as well as a memoir of Jacquard. This is a handsomely-written manuscript library catalogue, listing about 1300 books, mostly belles-lettres, travel, and law from the 18th and early 19th centuries. The latest book entered we have noticed is dated 1844. In fine condition. Larousse, Grand Dictionnaire Universel du XIXe Siècle, Vol. 8, p. 625.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc. ]
 32.   Check availability:     ABAA     Link/Print  

        The Life and Adventures of Martin Chuzzlewit

      London: Chapman and Hall, , 1844. With Illustrations by Phiz. Octavo. Original blue diagonal-grain cloth, neatly rebacked with original spine laid down, spine lettered in gilt, sides blocked in blind, new endpapers. Engraved frontispiece, vignette title page and 39 plates by "Phiz" (H. K. Browne). Rubbed, some foxing to plates, a very good copy. First edition, with the textual flaws noted by Smith. This copy has the £100 title plate, not transposed. The transposed plate is often suggested as a first issue point, though Hatton and Cleaver long ago dismissed this, stating that "It is merely one of the five cases in Chuzzlewit of triplicated steels, one of them reading '100£' and the other two '£100' ... all three of them in use during the issue in parts.

      [Bookseller: Peter Harrington]
 33.   Check availability:     Biblio     Link/Print  

        Naturwissenschaftliche Reisen nach den Inseln des grünen Vorgebirges, Südamerika, dem Feuerlande, den Falkland-Inseln, Chiloe-Inseln, Galapagos-Inseln, Otaheiti, Neuholland, Neuseeland, Van Diemen´s Land, Keeling-Inseln, Mauritius, St. Helena, den Azoren... I-III.

      Bok. Braunschweig 1844. xvi, 319, viii, 301 s., träsnitt, utv.-karta. 2 vol. gulddekorerade halvfranska band, lätt nötta. 14x22 cm. Namnt. Lagerfläckad inlaga.

      [Bookseller: Antikvariat Asken]
 34.   Check availability:     Bokbörsen     Link/Print  

        Manuscript on paper entitled "Catalogue de la Bibliothéque de M. Le Comte de Fortis," written throughout in a neat hand. 61 pages with entries and several hundred blank pages. Folio (330 x 200 cm.), cont. green reversed calf-backed marbled boards (a little worn)

      N.p.: ca. 1844. A fine library catalogue describing the collection of the Comte de Fortis (1768-1847), French man of letters and lawyer. Born at Chambéry, Fortis served as an avocat général at the court of Lyon and wrote many literary works including accounts of Lyon and Aix-les-Bains as well as a memoir of Jacquard. This is a handsomely-written manuscript library catalogue, listing about 1300 books, mostly belles-lettres, travel, and law from the 18th and early 19th centuries. The latest book entered we have noticed is dated 1844. In fine condition. Larousse, Grand Dictionnaire Universel du XIXe Siècle, Vol. 8, p. 625.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
 35.   Check availability:     Biblio     Link/Print  

        Exposition des produits de l'Industrie Française en 1844. Rapport du Jury Central.

      Imprimerie de Fain et Thunot, Paris 1844 - 3 vol. in-8 de LXXII-880 pp. ; (4)-978 pp. ; (4)-842 pp., demi-basane, dos à nerfs orné de filets dorés (relié vers 1860). Dixième exposition des produits de l'industrie. Parmi les 44 membres du Jury central présidé par le baron Thénard avec pour vice-président le baron Charles Dupin et pour secrétaire général Payen, on trouve Michel Chevalier, Héricart de Thury, Charles Schlumberger, Adolphe Blanqui, Alexandre Brongniart, Girod de l'Ain, Firmin Didot, baron Séguier. 3960 exposants se réunirent pour présenter leurs produits jugés par huit commissions spéciales : Tissus, Métaux et substances minérales, Instruments de précision et Instruments de musique, Arts chimiques, Beaux-Arts, Arts céramiques, Arts divers. Table Alphabétique des fabricants et des artistes récompensés par le Jury Central de l'Exposition. [Attributes: Hard Cover]

      [Bookseller: Bonnefoi Livres Anciens]
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        Ernani: dramma lirico in quattro parti [vocal score]

      Giovanni Ricordi, Milano 1844 - [1844]. Oblong 4to. 1st edition, early issue, with Paris agent listed as 'France Musicale,' without corner dates. Numbers 16221 to 16241. Lacking covers and spine cover. Title page (with blue ornamental border) and endpaper detached. Light moisture stain to corners. Generally clean and tight. Binding copy. Good. [Attributes: First Edition; Soft Cover]

      [Bookseller: Strand Book Store, ABAA]
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        THE HISTORY OF ILLINOIS, from Its First Discovery and Settlement, to the Present Time.

      J. Winchester, New World Press, New York, NY 1844 - x, 492 pages of text, followed by [x] pages of publisher's advertisement. Original purple hardcover cloth binding with minimal shelfwear, with heavy sunning to spine with spine panel detached from one side, cleanly torn, and with one chip; protected in custom stiff archival mylar. Minor scuff from label removal at bottom of spine. Illustrated with a large uncolored fold-out map in almost perfect condition; the best we have ever seen; the title is "Guide through Ohio, Michigan, Indiana, Illinois, Missouri, Wisconsin & Iowa. Showing the Township lines of the United States Surves, Location of Cities, Towns, Villages, Post Hamlets, Canals, Rail and State Roads. By J. Calvin Smith New York. Published by J.H. Colton. 1844." Institutional bookplate neatly on front paste-down endpaper, title page moderately browned, with a small tear at top margin and five numerals stamped at the bottom margin; title page is starting to detach, due the the placement of the adjacent map. Library stamp to top and bottom edges of closed pages, and minor evidence of pocket removal on rear paste-down endpaper. Previous owner's printed ticket/bookplate affixed to rear endpaper; N.C. Thompson (1828-1898) came to Rockford, IL in 1857 and was an industrialist and banker. His company made agricultural machinery, specializing in a version of John Manny's reaper. Howes B839; Graff 421. Size: Octavo (8vo) [Attributes: First Edition; Hard Cover]

      [Bookseller: Kurt Gippert Bookseller ABAA]
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        Poems. Presentation Copy (contains A Visit From St. Nicholas)

      New York: Bartlett & Wellford, 1844. First Edition. Very good+ with a professional repaired backstrip and strengthened joints and hinges leaving intact the 1/2 leather (calf) and the patterned purple cloth covered boards. The gilt text of the title remains on the spine. A 12mo measuring 7 1/4" by 4 1/2" with the prior owner's name: "S. Victor Constant | New York" stamped on the front paste down. A presentation copy inscribed "To Miss Southey | with the respects | of the author. | June, 1844." On the verso side of the half title page, the author has also added a line of correction for page 58. 216 pages being a collection of 37 poems, the most important being A Visit From St. Nicholas. This is the first appearance of this now famous and beloved poem "in a collection of Moore's own verse, and thus his first public acknowledgment of authorship." (Marshall, The Night Before Christmas A Descriptive Bibliography of Clement Clarke Moore's Immortal Poem, p. 10) The poem first appeared in The Troy Sentinel on December 23, 1823 anonymously. (BAL, 14348) As stated in Marshall's bibliography regarding this title: "This is considered by many scholars to be the definitive version." One's imagination is provoked with the possible connection between the author's last poem titled: "Southey" which is an ode to his deceased wife, and the name of the person who was presented with this book: "Miss Southey".

      [Bookseller: Town's End Books]
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        Histoire de la Bastille depuis sa fondation 1374 jusqu'à sa destruction 1789, ses prisonniers, ses gouverneurs ses archives; détails des tortures et supplices usités envers les prisonniers; révélations sur le régime intérieur de la Bastille; aventures dramatiques, lugubres, scandaleuses; évasions; archives de la police. (Tomes I à VI). Suivie par Le donjon de Vincennes depuis sa fondation jusqu'à nos jours (Tomes VII-VIII).

      Administration de librairie 1844 - 8 volumes in-8 (25,5 cm x 17 cm), 335-350-326-347-344-337-364-264 pp. Edition illustrée de nombreuses gravures sur acier. Volume I (6), Volume II (5 dont 1 plan de la Bastille), Volume III (3), Volume IV (3), Volume V (5), Volume VI (3), Volume VII (4), Volume VIII (4). Demi-veau vert, dos ornés de filets et roulettes dorés (reliure de l'époque). Rousseurs éparses dans certains volumes. Quelques légers accidents sans gravité à la reliure. Etiquette de relieur (Joubert, relieur doreur, 30 rue d'Artois Reims). Bon ensemble de cette série complète dans une reliure uniforme. L'histoire au cours des siècles de ces deux forteresses parisiennes. Pour accéder à la totalité de notre offre, consultez notre site Paris-Libris. [Attributes: Hard Cover]

      [Bookseller: PARIS-LIBRIS]
 40.   Check availability:     AbeBooks     Link/Print  


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