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

        The Oblong Box in Godey's Magazine

      Philadelphia: Louis A. Godey 1844 - First appearances of Poe's A Tale of the Ragged Mountains, The Oblong Box and Thou Art the Man. Thick quarto half roan over embossed, patterned boards. Spine flat with gilt devices in compartments and gilt lettering. Front joint cracked and plates foxed as usual; contents clean and sound. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
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        Martin Chuzzlewit.

      DICKENS, Charles. The Life and Adventures of Martin Chuzzlewit. With illustrations by Phil. First edition. xiv, errata leaf, 624pp., engraved frontispiece, engraved title page, and 38 engraved plates. A fine clean copy, bound by Bayntun-Riviere in full crimson crushed morocco, single gilt ruled border, enclosing a gilt medallion of the author on the upper cover and the author's signature on the lower cover. Gilt panelled spine, all-edges-gilt, marbled end-papers and paste-downs. Private owner's book-plate on the inner board. 8vo. Chapman and Hall. 1844.

      [Bookseller: Ken Spelman Books Ltd]
 2.   Check availability:     PBFA     Link/Print  

        Geology Familiarly Illustrated

      Mid Victorian pen and ink & water colour panorama: a humorous take on the science of geology. Geology Familiarly Illustrated c. 1840's on wove paper. In 19 sections with 31 numbered and captioned caricatures wittily punning on geological rock types. Bound concertina style in contemporary plain boards. MS title to upper cover. Covers with grubbiness and rubbing. Each panel measures approx 6 1/2" x 5". Overall length approx 122 inches [approx 325 cms]. To the blank verso of final scene is written 'Helen Holbeche Sutton Coldfield'. And a later inscription by her nephew, Richard dated 14th May 1899.' I think that my aunt helen must have drawn these about 1840. I copied them in 1864-45 very indifferently. The Holbeches lived in Sutton Coldfield [West Midlands]. Although Richard attributes the sketches to his aunt this looks to be a ms copy of a panorama published in 1859 under the same title [the author being listed on COPAC as C.M.W; Charlotte Mary Webber, though in fact Catherine, a woman who published only two works in her lifetime] Interestingly it is not an exact copy and some elements are different in the copy from the published version suggesting playful additions on the part of the artist here, for example two Welsh ladies in place of a stout woman. See Abbey Life in England 607]. There appear to be only three holdings of the published version; The Natural History Museum, Bristol University and Imperial College. VG condition, an attractive item illustrating the lively and sometimes rather cruel Struwelpeter-ish Victorian sense of humour.

      [Bookseller: Wool House Autographic]
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        Latter-day Saints' Millennial Star, Volume V.

      Liverpool: James and Woodburn, Printers, 1844. Leather bound. 200pp. Octavo [21.5 cm] 3/4 calf over marbled boards. Very Good. Light rubbing to extremities. Front joint splitting at head and foot. Title page is loose and laid in. Sporadic foxing to endsheets and pastedown. End sheets and paste downs chipped at foot with subtle losses. This Millennial Star contains the "Trial of Sidney Rigdon" and "Awful Assassination". The trial of Sidney Rigdon pertains to elder Rigdon ordaining his own "Prophets, Priests and Kings". Brigham Young compares Rigdon and his actions to those of James Strang and the Strangites. The supplement, 'Awful Assassination' brought the details of the Smith brothers martyrdom to the British and European Saints. The Millennial Star during this time period was one of the only LDS periodicals, and this supplement is where many of the scattered faithful would have received the news of the Prophet Joseph Smith's murder. Flake/Draper 4782. Crawley 233

      [Bookseller: Ken Sanders Rare Books, ABAA ]
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        A Christmas Carol In Prose Being a Ghost Story of Christmas

      New York: Harper & Brothers, 1844. Second American edition, later impression (Preface on verso of title page). Text in two columns. Pp. [3-4], [5]-32. Lacking first leaf (ads and blank verso). 1 vols. 8vo. Disbound. Text a bit browned, early owner's ink signature on title page. Very good. Second American edition, later impression (Preface on verso of title page). Text in two columns. Pp. [3-4], [5]-32. Lacking first leaf (ads and blank verso). 1 vols. 8vo. The First New York Christmas Carol. Issued in wrappers, this unauthorized Harper's Christmas Carol was preceded by the Philadelphia edition (Carey & Hart) of the same year. Gimbel A81 (third copy)

      [Bookseller: James Cummins Bookseller]
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        Emigration to the tropical world, for the melioration of all classes of people of all nations

      Published at the Concordium, Ham Common, Surrey. And sold by J. Watson ... J. Cleave ... Hetherington ... London. 1844. 8vo., 24pp., the paper a little browned, last leaf with some foxing and minor staining, sympathetically bound in old-style quarter calf gilt. First edition: rare. Goldsmiths 34014. Menger p.240. Stammhammer III, p.107. Sargent (Utopian Literature>), p.23, Lewis (Utopian Literature in Penn. State Libraries>), p.59. COPAC finds copies only at BL + Goldsmiths + Glasgow + LSE. Not in Kress, Black or Williams. A curiosity of 19th century utopian literature published shortly after the collapse of the London Phalanx> and Doherty, Young and Tailor's failed attempt to persuade Parliament to finance a comparative experiment testing the Owenite, Etzlerian, and Phalansterian plans. John Etzler had impressed the Fourierist Hugh Doherty with his work, published in 1841, entitled The New World: or mechanical system to perform the labours of man and beast>, which itself was a sequel to his earlier (1836) The Paradise within the reach of all men, without labour, by powers of nature and machinery>. He had exciting and imaginative ideas about self-sustaining communities harnessing nature to provide what he called 're-acting power' through use of the sun, waves, wind and tides. Etzler also proposed a revolution in the technique of living with apartment blocks, central heating, elevators and air-conditioning. With his partner Stollmeyer, Etzler's inventive energies were directed into an extraordinary portfolio of mechanical projects to improve everything from farm machinery to printing and ship navigation. His was to be a technological utopia. With the collapse of the London Phalanx>, and the failure of [Arthur] Young's Fourierist colony near Dijon, Etzler was led to propose yet another scheme: the colonisation of Venezuela. This was outlined in Emigration to the Tropical World for the Melioration of All Classes of People of All Nations>, published by the Concordium Press at Ham Common. Among Etzler's supporters was James Elmzlie Duncan, the publisher of The Sun Beam>, whose verdict was that Etzler was 'the greatest man ever of this enterprising and wonder-working age'. In Emigration to the Tropical World>, the author reviews the advantages of the West Indies, Guiana, Honduras, Africa, Asia and Australia as possible emigration destinations for stressed Europeans. He finally proposes the formation of a Tropical Emigration Society and here sets out its objects and rules of engagement. It would take up the offer of land in Venezuela which would be made ready for settlement by a pioneer corps. The Society would pay for doctors and teachers to work in the community and a library would be provided. A portion of the land so settled would be owned by the Society as communal land, but Society shareholders would also be allocated their own personal plots. The rules of the Society are set out in some detail. Etzler's conclusion is a long and exuberantly enthusiastic portrait of the perfect opportunities in the Venezuelan community for everyone who joins the Society. There would be plenty of leisure time for everybody for 'amusement and instruction', with books, lectures, 'music and social songs; dances and plays of fancy and exercise; scientific amusements and instructions', and much more. Land would be cultivated by machines: living apartments would be saturated with insecticides; and the buildings would be lit by gas-light and there would be air-conditioning. But all this was subordinate to what are called the 'higher objects of the society' which, among other liberal ideas, guaranteed 'the non-interference with any opinion or private independence and domestic concern'.

      [Bookseller: John Drury Rare Books]
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        El Fandango. Periodico nacional. Papelito nuevo, alegre como unas castañuelas, puramente español,

      - Ed. Sociedad Literaria. Imp. de D. Wenceslao Ayguals de Izco. Madrid, 1844. 24 cm. 384 p. De 15 de diciembre de 1844 a 15 de noviembre de 1846: 24 números: 384 p. Ilustrado con caricaturas de Urrabieta. Enc. en pasta española de época, conserva la cubierta original. Papel tosatado. Varias marcas a lápiz de anterior poseedor. . [Attributes: Hard Cover]

      [Bookseller: Antiquària Malda, Llibreria]
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        Théorie des machines de vapeur. 2 tomos

      - Paris, Bachelier, imprimeur-libraire 2º edición 1844. Ouvrage destiné a prouver l inexactitude des methodes en usage pour evaluer les effets ou les proportions des machines à vapeur, et a y substituer une serie de formules analytiques propres a determiner la vitesse d une machine donnée sous une charge connue, sa charge pour une vitesse fixee, sa vaporisation pour des effets voulus, sa force en chevaux, son effet utile pour une consommation connue d eau et de combustible, la charge ou la détente qu il faut lui donner pour lui faire produire son maximum d effet utile, etc, etc. Suivi d un appendice contenant de courtes notions destinées aux personnes peu familiarisées avec les signes algébriques et ayant pour but de leur rendre parfaitement clair et facile l usage des formules. Plena piel editorial con grabados y dorados, rozada. 1er tomo) XII+556 páginas + 23. 2º tomo) Atlas. XXIII láminas con manchas de humedad. Cantos decorados. Ref: 10283 [LS/013449-10283]

      [Bookseller: Libreria Sanchez]
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        Illustrirte Zeitung. Dritter Band - Juli bis Dezember 1844; vierter Band - Januar bis Juni 1845. (Zweiter Jahrgang, Nr. 53 - Nr. 104) Wöchentliche Nachrichten über alle Ereignisse, Zustände und Persönlichkeiten der Gegenwart, über Tagesgeschichte, öffentliches und gesellschaftliches Leben, Handel, Gewerbe und Landwirtschaft, Wissenschaft und Kunst, Musik, Theater und Moden. Mit vielen in den Text gedruckten Abbildungen.

      Leipzig: Verlag der Expedition der Illustrirten Zeitung. J. J. Weber, 1844 und 1845. - (IV), 420; (IV) 420 Seiten mit sehr zahlreichen teilsganzseitigen Holzstich-Illustrationen. 37,5 x 27,5 cm, zeitgenössischer schwarzer Leinenband mit blindgeprägtem Rückentitel. Jeder Band durch aphabetisches Inhaltsverzeichnis (Register) und aphabetisches Verzeichnis der Illustrationen erschlossen. "Die Illustrirte Zeitung erschien vom 1. Juli 1843 bis zum September 1944 im Verlag J. J. Weber in Leipzig. Verleger und Herausgeber war Johann Jacob Weber. Mitbegründer, technischer Leiter und Verbindungsmann zu den Holzschnittkünstlern in Leipzig und Berlin war von 1843 bis 1845 der Leipziger Buchhändler und Verleger Carl Berendt Lorck. Die Zeitschrift war das „Flaggschiff" des Unternehmens und kann zugleich als Urmutter aller späteren „Bilderblätter" angesehen werden. Zudem war diese neue Art Zeitschrift in Bezug auf die für solch kostspielige Experimente eher ungünstige Zeit ein wagemutiger, aber erfolgreicher Versuch, der sich in hervorragenden Verkaufserfolg entwickelte. Die Technik der Holzstich-Illustrationen für damalige Verhältnisse zur Perfektion zu entwickeln, war für den Verleger J. J. Weber im Jahr 1843 der eigentliche Anreiz zur Gründung einer illustrierten Zeitschrift. Im Laufe der folgenden Jahre gliederte er ein xylographisches Atelier an, das 1849 bis 1857 von Robert Kretschmer, 1857 bis 1860 von dem Maler Ernst Hartmann aus Berlin, 1860 bis 1870 von dem Maler Anton Muttenthaler aus München und 1870 bis 1901 von Fritz Waibler geleitet wurde. Ihr enormer Einsatz an Bildern und Bildreportagen, die durch den Einsatz eigener Bildkorrespondenten möglich wurde, macht die Illustrirte Zeitung durch ihre lange Laufzeit von einem Jahrhundert zu einer wichtigen Quelle an Materialien zur Geschichte und Kultur, sowie der Politik und des Alltagslebens. Sie bietet damit ein einmaliges Bildarchiv mit über 300.000 Illustrationen, die eindrucksvoll Berichte über das zeitgenössische politische, wissenschaftliche, kulturelle und literarische Leben dieser Zeit liefern. Mit der in der Illustrirten Zeitung erstmals eingeführten Eingliederung des Bildes in die Textseite erhöhte sich die Aussagekraft der bisher nur sprachlich vermittelten Inhalte oder Informationen." / "Johann Jacob Weber (* 3. April 1803 in Basel; † 16. März 1880 in Leipzig) war ein deutscher Buchhändler und Verleger sowie Begründer des Verlagshauses J. J. Weber in Leipzig. 1843 gründete er gemeinsam mit Carl Berendt Lorck die Illustrirte Zeitung, das erste illustrierte Wochenblatt Deutschlands, und revolutionierte damit die Wahrnehmung der Welt. Noch heute prägen die Bildfolgen zunächst der Stahlstiche und später der Holzstiche in seiner llustrirten Zeitung unsere Vorstellungen von der „guten alten Zeit". (Wikipedia) * * * Einband etwas berieben und leicht bestoßen, Leinenbezug am Rücken und hinteren Falz etwas beschädigt, weißer Papierstreifen über den Rücken montiert, Titelblatt rückseitig und letzte Seite gestempelt, die Seiten 81 bis 132, 141 bis 148 und 157 bis 256 sind in der unteren äußeren Ecke etwas wasserrandig, sonst gut bis sehr gut erhaltenes Exemplar. Sprache: Deutsch Gewicht in Gramm: 4500 [Attributes: Hard Cover]

      [Bookseller: Matthias Severin Antiquariat]
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        Vedute del Trentino. Val di Non dalla strada fra Brez e Fondo.

      J.B. Kunh, Monaco, 1844. Litografia di dimensioni 31x23 cm (parte incisa). Buono, ordinari segni d'uso e del tempo. Veduta della Val di Non ad opera di Basilio Armani. Presenti sul lato inferiore della singola stampa le iscrizioni "Gez. v. Armani - Gedruckt bei I.B. Kuhn in München". Scheda bibliografica tratta da "Basilio Armani: panorami del Garda e del Tirolo" a cura di Marina Botteri Ottaviani. Molto rara e ricercata. Esemplare piuttosto brunito.

      [Bookseller: Studio Bibliografico Adige]
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      1844. First Edition . MOORE, Clement C. Poems. New York: Bartlett & Welford, 1844. Small octavo, contemporary three-quarter brown morocco gilt, raised bands, marbled boards. $15,000.Rare first edition, presentation copy, of the volume containing the first appearance in a book by Moore of his immortal poem “A Visit from St. Nicholas” (pages 124-27), inscribed by Moore on the half title, “Mr. Miller, from the author. Dec. 1849.”""Moore, a professor of Hebrew, wrote this poem in 1822 as a Christmas gift for his children. A house guest copied it in the fall of 1823 and later sent her copy to the editor of the Troy Sentinel, where it was first published, anonymously, December 23, 1823Â… The Santa Claus myth begins around 300 A.D. with St. Nicholas, a bishop in Asia Minor, who was generous to the poor—in all seasons. 'Santa Claus as we (and the world, for that matter) now know him is almost one hundred percent American. Not until St. Nicholas passed through the crucible of Doctor Clement Clarke Moore's mind and imagination did the patron saint of childhood ever ride in a sleigh, or have eight tiny reindeer with bells joyfully to convey himÂ… nor was he dressed in furs, nor did he smoke a pipe, nor did he ever get into the homes of good little boys and girls by going down chimneys'"" (Grolier American 100 52). Numerous newspaper printings followed the poem's initial appearance in the Sentinel. The earliest known separate printing was an illustrated broadsheet published circa 1830 (BAL 14346). Its earliest located formal book publication (and its first appearance under Moore's name) was in The New-York Book of Poetry (BAL 14347), edited by Charles Fenno Hoffman, which contained verse by Moore and many others. The present volume contains the first appearance of ""A Visit from St. Nicholas"" in a collection of Moore's own work. BAL 14348. Occasional marginal soiling, light foxing to endpapers and flyleaves. Mild rubbing to contemporary binding. An extremely good inscribed copy.

      [Bookseller: Bauman Rare Books]
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        (Two Volumes) Letters and Notes on the Manners, Customs and Condition of the North American Indians Written during Eight Years' Travel Amongst the Wildest Tribes of Indians in North America in 1832, 33, 34, 35, 36, 37, 38 and 39

      New York: Wiley and Putnam, 1844. Hardcover. Good. Third edition. Octavo (25 cm), pp. 264, 266. Brown cloth boards with gilt titling on spine. Includes more than 300 illustrations engraved from Catlin's original paintings, Mandan chart, and both maps. Pages have moderate foxing, and light stains on bottom edge. Boards have light edge wear, and sunning along spine and top edge. Head and tail of spines are bumped. Bookplate on front pastedowns from deacon/naturalist Samuel P. Fowler of Danvers, Mass. Volume 1 includes plates 113 and 114, which are absent from the first edition (Wagner 84, Howes 241).

      [Bookseller: Elk River Books]
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        RECOLLECTIONS Of The EMPEROR NAPOLEON, during the First Three Years of His Captivity on the Island of St. Helena: Including the Time of His Residence at Her Father's House, "The Briars"

      London: John Murray, Albemarle Street, 1844. First Edition. Original green publisher's cloth lettered in gilt and with gilt emblem to front board, same emblem stamped in blind to rear board, bees stamped in blind to boards and in gilt to spine. Wear and slight fraying to extremities; sunning and modest soil to case; light foxing to beginning and end leaves, and occasionally throughout; gutter break at pp 120. Text clean and bright overall. Good condition.. xii, 251, [1], [16, ads] pp. B/w engravings. 8vo. 8-1/4" x 5" A solidly good copy of this first edition from Napoleon's most famous friend at St. Helena. Abell was 13 years old when her father invited Napoleon to stay at "The Briars" while Longwood was being readied for him; she became one of his closest friends and admirers. "Even a look, a tone of the voice, a gesture, in an unreserved moment, will give an insight into the real disposition, which years of a more formal intercourse would fail to convey; and this is particularly the case in the association of a person of mature age with very young people. There is generally a confiding candour and openness about them which invites confidence in return, and which tempts a man of the world to throw off the iron mask of reserve and caution, and to assume once more the simplicity of a little child. This, at least, took place in my intercourse with Napoleon . . . " (p 233). Institutionally common, though scarce in the trade: we find only one auction record in the last 20 years.

      [Bookseller: Tavistock Books, ABAA]
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      [Bookseller: Le-Livre]
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        The Anatomy Physiology and Pathology of the Human Teeth; with the most Approved Methods of Treatment; Including Operations, and the Method of Making and Setting Artificial Teeth. With Thirty Plates: Aided in the Practical part by Joseph E. Parker.

      Carey & Hart 1844 - 227p. With 30 lithograaaphed plates. modern half morocco over marbled boards [Attributes: First Edition; Hard Cover]

      [Bookseller: Yushodo Co., Ltd.]
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        Monographie des plantes fossiles du gres bigarre de la chaine des Vosges.

      Leipzig : Guillaume Engelmann Editeur, 1844. 83 pages + avec XL planches imprimes en coleur. Hardcover Originalausgabe, kein Reprint. Buch dem Alter entsprechend in gutem Zustand. Ehemaliges Bibliotheksexemplar. Angaben zum Zustand und detaillierte Fotos auf Anfrage. Sprache: französisch. -- Original edition, no reprint. Ex-library book in good condition. Further pictures and information on request. Language: French. petrominera_alt. Q-037 Versand D: 5,00 EUR Paleobotany Triassic.

      [Bookseller: Antiquariat Bookfarm]
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        Long and entertaining Autograph Letter Signed to Lady MORGAN (Thomas the Elder, 1799-1845, Poet & Humorist)

      1844 - (Sydney, circa 1783-1859, née Owenson, Irish Novelist, wife, 1812, of Sir Thomas, c. 1780-1843), saying that "Observing in the papers your return to town, pray allow me to call on you by proxy, my Magazine being, pro tempore, my representative", commenting that "the great man of Great Marlboro Street", Henry Colburn, (1784 or 1785-1855, the publisher of the New Monthly Magazine and Humorist), "is very sore, on my assuming the right of speculating with my own brains . to judge by his rejecting three letters for me addressed to his care, which were sent adrift with the endorsement by the Postman 'Not known to Mr Colburn'", though "I subsequently received a communication from his Cashier to my private address!", Hood encloses "a verse or two [not present] on the subject which you may give away to any young lady who wants my autograph", Colburn "has since done even worse - for in default of Humourists for his Humourist, & not being able to write an article himself he has dreamt one - a 'Legend by Ingoldsby' - it is not advertised in London, where the trick would be soon detected . what will become of poor Authors when a Colburn is equal to a 'Tale of Trickery?'", explaining that "if there were no Colburnism - if all the world could be quite correct, & no humbug, half the vocation of Punch", to which Hood was an early contributor, "and his fellows would be gone", Hood plans "the same sort of sport in hunting him thro' all his wrigglings & doublings . that I used to enjoy with the rats, stoats & other vermin at Lake House Wanstead", indeed, "What could you have done as a Wild Irish Girl if all the world had been one Quaker? Eh! Lady Morgan? . and what a comfort that so much knavery as this world contains to make us weep, is mixed up with so much folly as to force us to laugh. Eh! Lady Morgan? . and is it not the best and wisest philosophy after all - eh! Lady Morgan? - to count the pieces, we have of our own broken china, though there should be but a jolly Mandarin's head grinning on one of the fragments? And as we are immortal, - as mere dreams may convince us, that having been we must be, tho' but as in dreams, - why then, all we have enjoyed, of good or worthy, we shall live over again, at least in dreams, & so let us make the autotypes as pleasant as possible - eh Lady Morgan?", and ending "Yours very truly", 4 sides 8vo, Devonshire Lodge, New Finchley Road, St John's Wood, 5th January closed tear in side 3 expertly mended, elsewhere in fine condition Lady Morgan made her reputation with The Wild Irish Girl, 1805. Attacked in the Quarterly Review for her patriotic writing, she put the reviewers into her next novels. She received a government pension in 1837 and from 1839 devoted herself to London society. Henry Colburn was the long established proprietor of the New Monthly Magazine, whose title read and Universal Register (1814), replaced by and Literary Journal (1821), to which many famous writers contributed, and more recently by and Humorist (1837), edited for him by Hood from 1841 to 1843. Now in January 1844 the writer had just issued the first number of Hood's Magazine and Comic Miscellany. Colburn had been Lady Morgan's publisher since 1814, but she will have taken Hood's raillery in good part. Lake House was the Hoods' home from 1832 to 1835. It lay in the middle of Wanstead Flats, at the south west corner of Wanstead Park, former home of the heiress Miss Tylney-Long. The mansion house to which it was a lodge had been demolished in 1825. Lake House came with 30 acres of land, and Hood had taken it on the injudicious advice of friends. It had a tall porch with columns and had various wooden extensions, which, with the marshy neighbourhood, contributed to the discomfort. While there Hood wrote his only novel, Tylney Hall, (3 vols., 1834). [Attributes: Soft Cover]

      [Bookseller: Sophie Dupre ABA ILAB PADA]
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        Monographie des plantes fossiles du gres bigarre de la chaine des Vosges.

      Leipzig : Guillaume Engelmann Editeur, 1844 - 83 pages + avec XL planches imprimes en coleur. Originalausgabe, kein Reprint. Buch dem Alter entsprechend in gutem Zustand. Ehemaliges Bibliotheksexemplar. Angaben zum Zustand und detaillierte Fotos auf Anfrage. Sprache: französisch. -- Original edition, no reprint. Ex-library book in good condition. Further pictures and information on request. Language: French. petrominera_alt. Q-037 Sprache: Französisch Gewicht in Gramm: 1700 [Attributes: Hard Cover]

      [Bookseller: Antiq. Bookfarm/ Sebastian Seckfort]
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        Antica e nuova Grecia. Scene Elleniche di Angelo Brofferio.

      1844. Storia - Grecia " Titolo: Antica e nuova Grecia. Scene Elleniche di Angelo Brofferio. Autore: BROFFERIO ANGELO Editore: Stab Tipografico Fontana Anno di stampa: 1844 39505 BROFFERIO ANGELO Antica e nuova Grecia. Scene Elleniche di Angelo Brofferio. Adorna di 500 intagli intercalati nel testo e 40 finissime incisioni in acciaio con cenni ed illustrazioni sull?antica Grecia del cav. Amedeo Peyron Torino, Stab Tipografico Fontana, 1844. Due volumi rilegati in un Tomo. Legatura successiva in tutta pelle con titolo e fregi dorati al dorso. Pp. 425, 488. Cm 30x20. Con numerose ill. in b/n nel testo e numerose vedute f. t. conservate le copertine in velina originali, solo alcune incisioni f.t. sono con mende ai bordi, ma altres? opera molto importante ed ampiamente documentata ed illustrata, a larghi margini, ed il testo in perfetta conservazione. ? 1000 "

      [Bookseller: Studio Bibliografico Salvatore Viscuso]
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        Stadtplan ('Plan der Stadt Mannheim').

      - Lithographie v. J. Moutoux b. J. Moutoux in Karlsruhe, 1844, 52 x 60,5 Vgl. Schefold 30120 - (dieser Zustand nicht bei Schefold). - Unter dem Stadtplan Widmung an Großherzogin Stephanie von Baden. - Das Blatt mit minimalen Gebrauchsspuren. - Selten!

      [Bookseller: Antiquariat Norbert Haas]
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        Martin Chuzzlewit - True First Issue with 100£

      Chapman and Hall, 1844 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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        Illustrations of the Recent Conchology of Great Britain and Ireland

      1844. BROWN, Captain Thomas. Illustrations of the Recent Conchology of Great Britain and Ireland, with the Description and Localities of All the Species, Marine, Land, and Fresh Water. London: Smith, Elder, 1844. Large quarto, modern three-quarter blue morocco gilt, marbled boards. $2200.Second edition, “greatly enlarged,” of this classic catalogue of mollusca, with 62 full-page plates of shells (nine hand-colored), drawn by Thomas Brown and engraved by William Home Lizars.Having produced paintings for the first European edition of WilsonÂ’s American Ornithology (1831, later published as separate prints in 1834) and having edited Oliver GoldsmithÂ’s History of the Earth and Animated Nature (1832), artist Thomas Brown cemented his career as a naturalist in 1838 by accepting the position of curator of the Manchester Museum. He was later elected fellow of the Linnean Society and president of the Royal Physical Society. First published in 1827 (with only 53 plates), this enlarged edition of BrownÂ’s splendid catalogue of mollusks of the British Isles contains 62 engraved plates executed by William Home Lizars, whose works, including those for AudubonÂ’s Birds of America and many editions of Sir Walter Scott, “rank among the finest of the early 19th century” (Greg Peters). Lizars had begun in his fatherÂ’s print shop by producing bookplates and notes for local banks, as well as views for publications catering to the Scottish tourist trade. “He constantly experimented with new techniques and, in 1821, perfected a method of etching away the background of a copper plate to produce a relief surface similar to that in a wood engraving” (Edinburgh University Library). Plates generally very clean with only an occasional spot of foxing. An extremely good copy.

      [Bookseller: Bauman Rare Books]
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        ILLUSTRATIONS OF THE RECENT CONCHOLOGY OF GREAT BRITAIN AND IRELAND, with the Description and Localities of all the Species, Marine, Land, and Fresh Water.

      London. Smith Elder. 1844 - Quarto 12 1/2 x 10 1/4 inches, original half dark morocco over marbled boards. Second edition, greatly enlarged. xvi, 144 pages and 62 FINE HAND COLOURED PLATES - COMPLETE, numbered as 1-59 with 3 bis plates. Minor spotting to the endpapers but a good clean copy in a period binding. Reference Nissen ZBI 609. [Attributes: Hard Cover]

      [Bookseller: Charles Russell, ABA, ILAB, est 1978]
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        Aus Mehemed Ali's Reich. Vom Verfasser der Briefe eines Verstorbenen. 3 Bände. (komplett). Erster Theil: Unter-Aegypten. Zweiter Theil: Ober-Aegypten. Dritter Theil: Nubien und Sudan. [Erstausgabe].

      Stuttgart, Hallberger'sche Verlagshandlung 1844 - 8°. 19,5 cm. IV, 368, 366 und 344 Seiten. Einfache Halbleinenbände derv zeit mit goldgeprägtem Rückentitel. Erste Ausgabe. WG 10. Kainbacher (2016) Seite 368. Mit einer farbigen Illustration auf Tafel. Exlibris auf Innendeckel. Einbände stärker bestoßen, berieben, Blätter teils wenig fleckig, Band 1 mit 28 Seiten private Korrekturen. Gutes Exemplar. [Attributes: First Edition]

      [Bookseller: Antiquariat Lenzen GbR]
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        Unusual jointly-written, six-page autograph letter, signed by both.

      Windsor Castle: 22 January, 1844. Two bifolia of small note stationery (181 x 113 mm), embossed Royal arms in colours to the first page of each. Pales toning overall, faint creases from old folds, ink unfaded, very good. An extremely uncommon dual six-page autograph letter signed by both Victoria and Albert. Written in German to Victoria's cousin, Count Alphonse Mensdorff-Pouilly, son of Emmanuel von Mensdorff-Pouilly, Victoria's much loved "Uncle Mensdorff", who had married Princess Sophie of Saxe-Coburg-Saalfeld, Victoria's mother's sister. The Queen begins her portion by thanking Alphonse for his letter, and sending him birthday greetings; 'May you remain as happy as you are now with your dear wife. Who can understand your happiness better than both of us who live together so infinitely happy?' Continuing by describing a recent long letter from his brother Alexander, noting, 'He seems to be so alone in his garrison. He very much regrets, as we do, that dear Arthur [another brother] could not follow your example. 'I heard that he had seen the young lady again.' The queen concludes by referring to some lithographed portraits, and asking her correspondent to order her three dozen pairs of gloves. Signed, 'Ever yours most faithful cousin and friend, V.' Albert then adds a note, expressing his good wishes for Alphonse's birthday too. 'I also thank you for your last kind letter, and remain as always, your dear nephew Albert'. Victoria was particularly fond of the brothers, describing them in a letter to Lord Melbourne as "all so nice and amiable and kind and good" (28 May 1842). Autograph letters written and signed by both Queen Victoria and Prince Albert rarely appear on the market, and the present letter is a particularly charming example with an excellent association.

      [Bookseller: Peter Harrington]
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        Kitab fihi Ahasin kalim an-nabi wa-'s-sahaba wa-'t-tabi'im wa-muluk al-gahiliya wa-muluk al-islam wa-'l-wuzara' wa-'l-kuttab wa-'l-bulaga' wa-huwa imma 'l-asl wa-imma muhtasar li-kitab: al-I'gaz fi 'l-igaz]. Specimen e litteris orientalibus, exhibens Taalibii Syntagma dictorum brevium et acutorum [.].

      Leiden, S. & J. Luchtmans, 1844. - Large 4to (235 x 280 mm). (8), 117, (3), 67, (1) pp. Later wrappers. Editio princeps of this "collection of proverbs and sentiments" (Brill's First Encyclopedia of Islam VIII, p. 731), edited by J. Ph. Valeton with the Arabic text, Latin translation and commentary. Abu Mansur al-Tha'alibi is regarded as "one of the most fertile intellects of the 5th (11th) century [.] His numerous compilations, in which he deals by no means scrupulously with the intellectual property of his predecessors and repeats himself frequently, deal mainly with the poetry of his time but also with lexicology and rhetoric" (ibid., p. 730). - Occasional insignificant browning. An untrimmed, uncut copy. GAL I, 286, no. 26. [Attributes: First Edition; Soft Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Ansicht mit der Kilianskapelle von Südosten mit dem Treppenaufgang zum Schloß.

       Lithographie mit Tonplatte von Bichebois u. Bayot nach Chapuy, 1844, 38 x 26,5 cm. Schefold 35259. - Mit schönem Durchblick zum Schloß und lebhafter Personenstaffage im Vordergrund. - Seltenes Blatt in einem schönen Exemplar mit ca. 25 mm Rand. Versand D: 6,00 EUR Baden-Württemberg

      [Bookseller: Antiquariat Bierl]
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        \"Das Münster zu Freiburg\". Ansicht von der Nordwestseite, links der Georgsbrunnen, rechts Häuserflucht.

       Lithographie mit Tonplatte von Dumouza u. Bayot nach Chapuy, 1844, 39 x 27 cm. Nicht bei Schefold. - Seltene, hübsch staffagierte Ansicht: am Brunnen Student in Montur, rechts Faßmacher bei der Arbeit. - Tadelloser Zustand. Versand D: 6,00 EUR Baden-Württemberg

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

      London: Chapman and Hall, 1844 - Octavo (213 × 131 mm). Contemporary black half calf, marbled sides, titles to spine gilt, marbled endpapers and edges. Inkstamp to frontispiece and title page. Spine panel and tips lightly worn, boards a little scuffed, front hinge split but holding, some light toning and spotting to contents. A very good copy. With 40 engraved plates by H. K. Browne. First edition, first issue, bound from parts, with all the issue points listed by Smith. With the £100 title plate, not transposed. The transposed plate is often referred to 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." Smith I, 7; Hatton and Cleaver pp. 183-212. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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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

      [Bookseller: Michael Brown Rare Books, LLC]
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        Der Führer am Rhein von seiner Quelle bis zur Mündung. Ein Handbuch für Freunde der schönen Natur, der Kunst und des Alterthums, mit ausgewählten Balladen und Liedern.

      Mit 40 Stahlstichen und einer 11-fach gefalteten Karte des Rheinverlaufs. Karte ca. 18 x 136 cm ! Buchblock ca. 20,5 x 13 cm, 2 Blatt Verlagsanzeigen, IV Seiten Vorwort, 1 Bl. Verzeichnis der Stahlstiche, 298 S. mit Register, 40 Bl., Orig.-Leinenband. Gedruckt bei Carl Georgi, Bonn. Alle Tafeln mit rosa Schutzpapier. Verso Titelblatt Widmung aus dem Jahr 1844: Meiner lieben Marie zum Andenken an unsere Rhein-Reisen - 1839 - 1841 und 1844 von Ihrem F. v. B., 1844. Stahlstiche: Dom zu Köln / Dom zu Mainz gegen Nordwesten / Dom zu Mainz gegen Osten / Bingen / Rheinstein / Clemenskirche und Falkenburg / Bacharach / Caub und die Pfalz / Oberwesel / Lurley / Bornhofen, Sternberg und Liebenstein / Kirche zu Boppard / Königsstuhl / Stolzenfels / Braubach und die Marxburg / Oberlahnstein / Burg Lahneck / Koblenz und Ehrenbreitstein / Ruine Sayn bei Neuwied / Andernach / Abteikirche am Laacher See / Schloß Rheineck / Kirche zu Sinzig / Ruine Altenahr mit dem Durchbruch / Portal des Pallastes Sconilare zu Remagen / Stadt Linz / Rolandseck und Nonnenwerth / Drachenfels / Abteikirche zu Heisterbach / Godesberg / Hohekreuz / Rosenburg / Bonn vom Kreuzberg / Münsterkirche zu Bonn / Sternwarte bei Bonn / Kirche auf dem Kreuzberg / Kirche zu Schwarz-Rheindorf / Köln / Düsseldorf.

      [Bookseller: Antiquariat Günter Hochgrebe]
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      , 1844. 1844. First Edition . MOORE, Clement C. Poems. New York: Bartlett & Welford, 1844. Small octavo, contemporary three-quarter brown morocco gilt, raised bands, marbled boards. $15,000.Rare first edition, presentation copy, of the volume containing the first appearance in a book by Moore of his immortal poem

      [Bookseller: Bauman Rare Books ]
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        Naturgeschichte der domesticirten V

      Vlg. Heynemann, Halle um 1844. - 8

      [Bookseller: Cassiodor Antiquariat]
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      London, Grant and Griffith, 1844.. FIRST EDITION 1844, small 8vo, approximately 180 x 115 mm, 7 x 4½ inches, 20 illustrations by W. H. Prior, 8 full page engravings including frontispiece, and 12 text illustrations, pages: xii, 316 plus 16 pages of adverts, original publisher's cloth, gilt decoration to spine, blind decoration to covers. Head and tail of spine neatly strengthened, new endpapers, pale age-browning to margins of plates, pale stain to lower margins of last 2 plates, neat old ink inscription to blank side of title page, plate at page 266 misplaced at page 255, otherwise a very good copy. No copies of this dated edition in the major UK libraries, no copies listed in Lowendahl, Sino-Western Relations Western Printed Books 1477-1877. 1 dated copy listed in World Catalogue, undated edition listed in Henri Cordier, Bibliotheca Sinica. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Letter Signed, Merrion Square, Dublin August 4th, 1843, to Monsr. Leduc Rollin, Member of the Chamber of Deputies, Paris

      Quarto, two pages of a bi-folium, the main text is written in a secretarial or clerk's hand, possibly dictated, the closing and O'Connell's signature is in his hand, there are two corrections to the text in O'Connell's hand as well. Formerly folded, in very good clean and legible condition.O'Connell needs little introduction. O'Connell in the present letter thanks Rollin for his support, it is written at a critical time in O'Connell's career, during the period of his "monster meetings", the Repeal Movement, and just before his arrest and imprisonment in 1844. Written in response to a letter from Rollin it contains a concise statement of O'Connell's goals and principles, and it reads: "Sir, It is my pleasing duty to acknowledge the receipt of the letter with which you have hnoured me, and to express my individual thanks for that letter. It is also my pleasing duty to convey to you the respectful gratitude of the Repeal Association for the sentiments of liberality and justice which you have displayed in that communication. We understand each other perfectly, your present countenance and sympathy is bestowed upon men who are struggling within the limits of local law and constitutional principle for the rights and liberties of their native Land – of men who desire to use no other means than those which are peaceable means, having no other efficacy than that which arises from their moral force and power. You indeed allude to another contingency in which you may be disposed to be more active in our support, but that is a contingency which we decline to discuss, because we now deem it impossible that it should arise, the British Government having retracted every menace of illegal force and unjust violence and confirming its resistance to our claims; - If it shall continue to resist those claims; - within the ordinary channels of legalized administration. That the London and Parisian journals belonging to the class inimicable to Civil and religious liberty should misrepresent our mutual intentions and motives, is a matter of course, even when those motives and intentions are publickly expressed, and have the advantage of exhibiting the turpitude of our calumniators, but we strongly apprehend that that the visit which you have intimated that you might make to this country would whilst it could be of no practical utility afford opportunity for further calumny and for mischievous (though utterly false) insinuations. – Upon these grounds we deem your contemplated visit to Ireland in anything resembling a public capacity as being to say the least of it premature. Permit me respectfully to add that if at a more suitable period you should ever have leisure and inclination to visit Ireland I should be very proud indeed to be permitted the honour and favor of exercising during your sojourn, the rites of hospitality towards you. To conclude, let me assure you that the Irish People are exceedingly gratified by the sympathy for their sufferings which you and your nobly minded friends proclaim, you do us but justice when you appreciate our principles – they are the principles of democratic liberty mitigated and secured by the stability of a restricted Monarchy the principles of Civil and Religious liberty enforcing practical justice thus combining the freedom of Religion the freedom of Education, the freedom of the press, and the freedom of all popular Institutions with the fixity of Monarchial authority. This genuine liberty can be maintained and secured only on the basis of veneration for the religious sentiment and of disinterested sincereity in practical religious observances. Be pleased, Sir, to accept the emphatic expression of the sentiments of respect and esteem with which I have the honour to be Your faithful and Obedient Servant Daniel O'Connell" "Daniel O'Connell, political leader, was born near Cahersiveen, Co. Kerry; educated at Saint-Omer, Douai, and London. After early success as a barrister he became increasingly involved in politics and was active from his early thirties onwards in the campaign for Catholic Emancipation. Though he gained popularity with fellow Catholics for his opposition to the Veto, it was not until he jointly founded the Catholic Association in 1823 and became its chief spokesman that he began to dominate nationalist politics. O'Connell's suggestion that the association open its ranks to anyone who could pay a subscription of one penny a month (the Catholic Rent) transformed this body into a mass political organization that was without precedent in Europe. His stunning victory in the Clare election in 1828 led directly to the attainment of Catholic Emancipation, which earned him the title of 'the Liberator'. In Parliament he and like-minded MPs eventually allied themselves with the Whigs to obtain social legislation for Ireland by means of the Litchfield House Compact. His ultimate goal was repeal of the Act of Union, and this became the focus of his final years. The Repeal Movement that he led after 1842 culminated in his arrest and brief imprisonment in 1844. On his release it became increasingly apparent that his once-formidable physical and mental powers were on the wane. His last days were clouded by quarrels with former Young Ireland allies, which split the nationalist movement. O'Connell ranks among the greatest figures of modern Irish political history. His skills as a layer, orator, political organizer and parliamentarian, together with his legendary charisma, earned him the admiration of millions of contemporaries, who looked upon him as 'Ireland's uncrowned monarch'. Subsequent generations of nationalists, particularly physical-force separatists, were more ambivalent, praising his organizational skills while criticizing his opposition to armed rebellion as a means of achieving Irish self-government. He also had a major influence on the emergence of European Christian democracy." – The Encylopedia of Ireland (New Haven: 2003) p. 804.

      [Bookseller: Michael Brown Rare Books, LLC]
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        Vie de Rancé

      First edition.Contemporary half brown sheep over marbled paper boards, decorated with blacks fillets, with slight tears, not serious, over marbled paper boards.Occasional foxing. H.L. Delloye & Garnier Paris s.d. (1844) 13,5x21,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Statue of King William the Fourth Erected by the Corporation of the City of London in King William Street.

      Printed by M & N Hanhart, [1844-45]. - The Sailor King Tinted lithograph, printed in three colours and finished by hand, heightened in gum Arabic. A print showing the statue of William IV erected in December 1844 on a street also named after the monarch, as it was built during this reign. The statue was commissioned by the Corporation of the City of London, and carved by Samuel Nixon, a now relatively unknown sculptor from a family of glass painters and sculptors. It shows William in the uniform of the Lord High Admiral, an office he gained in 1827, three years before he became king. William entered the navy at the age of 14 and found his calling; he acted as best man to Admiral Nelson. He was known as the Sailor King, which is why the Corporation chose to honour him in this way. Fittingly, the statue is now in Greenwich, where it was moved to make room for a pedestrian subway in 1933, presented to HM Office of Works by the Corporation in 1937. Image: 605 by 514mm. (23.75 by 20.25 inches) Sheet: 740 by 550mm. (29.25 by 21.75 inches). London Metropolitan Archives La.Pr.335/KIN(1).

      [Bookseller: Daniel Crouch Rare Books LLP]
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        History of Europe from the Commencement of the French Revolution in MDCCLXXXIX to the Restoration of the Bourbons in MDCCCXV [10 volume set]

      London: William Blackwood and Sons. 1844. Large octavo size [16x24cm approx]. Very Good condition. 10 volumes. Full leather binding with raised bands, gilt & title patches to spine. Marbled endpapers and page edges. Gilt to spine a little rubbed. Bookplate of Francis Stacker Dutton to front pastedown of all volumes. This set is ex the private library of St Francis Xavier's Seminary -only markings are a few discreet stamps. A very attractive set. Francis Stacker Dutton was the seventh [7th] Premier of South Australia. . 6th Edition. Leather Bound.

      [Bookseller: Adelaide Booksellers]
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        Unusual jointly-written, six-page autograph letter, signed by both.

      Windsor Castle: 22 January 1844 - Two bifolia of small note stationery (181 x 113 mm), embossed Royal arms in colours to the first page of each. Pales toning overall, faint creases from old folds, ink unfaded, very good. An extremely uncommon dual six-page autograph letter signed by both Victoria and Albert. Written in German to Victoria's cousin, Count Alphonse Mensdorff-Pouilly, son of Emmanuel von Mensdorff-Pouilly, Victoria's much loved "Uncle Mensdorff", who had married Princess Sophie of Saxe-Coburg-Saalfeld, Victoria's mother's sister. The Queen begins her portion by thanking Alphonse for his letter, and sending him birthday greetings; 'May you remain as happy as you are now with your dear wife. Who can understand your happiness better than both of us who live together so infinitely happy?' Continuing by describing a recent long letter from his brother Alexander, noting, 'He seems to be so alone in his garrison. He very much regrets, as we do, that dear Arthur [another brother] could not follow your example. 'I heard that he had seen the young lady again.' The queen concludes by referring to some lithographed portraits, and asking her correspondent to order her three dozen pairs of gloves. Signed, 'Ever yours most faithful cousin and friend, V.' Albert then adds a note, expressing his good wishes for Alphonse's birthday too. 'I also thank you for your last kind letter, and remain as always, your dear nephew Albert'. Victoria was particularly fond of the brothers, describing them in a letter to Lord Melbourne as "all so nice and amiable and kind and good" (28 May 1842). Autograph letters written and signed by both Queen Victoria and Prince Albert rarely appear on the market, and the present letter is a particularly charming example with an excellent association. [Attributes: Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Malerisch-technischer Atlas der k. k. Staatseisebahn-Strecke von M

      Wien, H. F. M

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Stadtplan, "Neuester Plan der Haupt= und Residenzstadt Wien.".

      - altkol. Kupferstich b. Artaria Wien, 1844, 60 x 75 Vergl. D

      [Bookseller: Antiquariat Nikolaus Struck]
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