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Displayed below are some selected recent viaLibri matches for books published in 1847

        PETIT MESSAGER DES MODES ET LE CONFIDENT REUNIS

      1847. Very Good. [FASHION - WOMEN'S - PERIODICAL] LE PETIT MESSAGER DES MODES ET LE CONFIDENT REUNIS: TOME VII, NOS. 1-17, 22-24; TOME IX, NOS. 1-13, 15-17. Paris: Imprim. Schneider et Langrand, 1847 and 1849. Thirty-six issues illustrated with 72 lovely hand-colored engraved plates, of which 33 are by Heloise Leloir and 12 by Laure Colin Noel. Quarto. Text: 2,7-136,169- 192; 104,113-128,121-128 pp. 10 1/4 by 7 in. Nineteenth-century binding: quarter black morocco, marbled boards, gilt title on spine, marbled endpapers. The binding is shelfworn, with top joint is starting and lower joint tender. The first issue is missing four text pages; otherwise, despite some misleading errors in pagination, all text is present. Most issues have a timbre royal mark (a French duty stamp) on one text page (but not on the plates). The plates are generally clean and fresh; however, there are a few exceptions: 1. - Both plates in Vol. VII, no. 1, have old paper repairs on the inner margin, and the top fore-corner of one has been clipped; 2. - The two plates in Vol. VII, no. 2, have been trimmed 1/4" shy of the fore-edge of the bookblock; 3. - One plate in Vol. IX, no. 15, which is the only horizontal image in the entire volume, has been trimmed to the top-edge of the image at the fore-edge. LE PETIT MESSAGER DES MODES was a bi-weekly publication, appearing on the 1st and 16th of each month, comprised of eight pages of text, that was to include 22 engraved plates and 3 large patterns in each six-month period. This volume is bound without any of the large patterns and, instead, an additional plate has been inserted wherever a pattern is called for. These `extra' plates have been supplied from issues that are not included in this volume. Although most issues are complete with text and appropriate plates together, there are twelve instances in this volume, including the plates-for-patterns substitutions, of plates being misbound or of a plate from another issue replacing the expected plate. And so, while the plates are lovely and in very good condition, it is for these reasons that the volume is offered as is.

      [Bookseller: Boston Book Company ]
 1.   Check availability:     ABAA     Link/Print  


        A CAMPAIGN IN NEW MEXICO WITH COLONEL DONIPHAN

      Philadelphia: Carey and Hart,. Very Good with no dust jacket. 1847. First Edition. Hardcover. Mexican History; MEXICO; Mexican War; Texas History; We fit archival quality clear acrylic covers for additional protection whenever possible. ; Map; 8vo 8" - 9" tall; 184, [2], 22 pages; 273 [Mexican War]. Frank S. Edwards. A Campaign In New Mexico With Colonel Doniphan. Phila: Carey and Hart, 1847. 8vo. Xvi, [17]-184pp + 22pp ads. Modern brown cloth. Folded map doesn't show dampstain. This covers the route through the various States of New Mexico, Chihuahua and Coahuila; it shows New Mexico and West Texas in detail, as well as Oklahoma and northern Mexico.1st edition. Howes E52. Sabin 21920. Wagner-Camp 132: 1. Graff 1210. Streeter 164. Binding near fine. Contents lightly dampstained (mostly evident at edges) , light library stamp on title page. Possibly originally from the Streeter sale. Last listed (AE) , auction sale of this book was 1967. .

      [Bookseller: poor mans books]
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        Voyage en Abyssinie dans les provinces du Tigre, du Samen et de l'amahara

      Paris: Lacrampe & Co. for Paulin 1847-48 2 (305 x 230mm) Title-page, sectional titles and 44 leaves of text (8 inlaid to 2 ) fifteen (of fifty) hand colored engraved plates of birds after J.G. Pretre and NINE ORIGINAL WATERCOLOR PREPARATORY DRAWINGS FOR THE PLATES BY PRETRE. (Some light spotting.) Contemporary half calf gilt marbled boards by M. Edwards. Provenance: Paul Leverkuhn (1867-1905) ornithologist and author of studies of ducks and birds nests and eggs, including Fremde Eier im Nest. Ein Beitrag zur Biologie der Vogel.Nebst einer bibliographischen Notiz Uber Lottinger, 1891 (signature and note on flyleaf). POSSIBLY THE PRINTER'S COPY OF THE FIRST EDITION WITH NINE ORIGINAL WATERCOLOR DRAWINGS OF BIRDS BY PRETRE. Fifteen of the fifty plates included in the complete Voyage en Abyssinie are present here with eight accompanied by the original watercolor sketches provided by J.G. Pretre to the engraver Lebrun. Each is signed and dated 1843 for plates 4,6,7, 9 (for which two figures are provided, 10, 11, 13, and 15. The title page with a paste-over slip covering the printed word "Atlas," precedes the text of Enumeration des Mammiferes by M.F.E. Guerin-Meneville (pp. 169-172) and Enumeration des oiseaux by Guerin-Meneville and de la Fresnaie (pp. 176-256). According to the British Museum Catalogue: "This volume seems to have been published in parts, at different dates, probably as follows: Geolog, pp 1-84, 1847, Plantae, Mammalia and Aves as far as p. 224, 1848; rest of Aves with Insecta, 1850." The book recor ds the journey made through Abyssinia from 1839-1843 and is a fine example of the work produced in France to publicize the "grand voyages" undertaken during the first half of the 19th century. BM, p.602, Nissen ZBI 1346.. Book.

      [Bookseller: Arader Galleries]
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        The Thousand and One Nights; or, the Arabian Nights Entertainments: Translated and Arranged for Family Reading with Explanatory Notes (Complete in 3 Volumes)

      London: John Murray, 1847. Second Edition. Complete in 3 Volumes. Published London: John Murray, 1847. x+518, xii+520, xii+552, illustrated with 600 woodcuts by Harvey and illuminated titles for each volume by Owen Jones. Bound in brown cloth with black leather spine labels. Previous owner's name emboss in tiny letters (approximately 6 point size) at bottom of half and title pages, and last sheet of each volume. A very good set. Bindings tight, unworn.. Hard. Very Good/No Jacket, As Issued. 8vo.

      [Bookseller: The Wild Muse]
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        The comic history of England / by Gilbert Abbott A'Beckett with twenty coloured etchings and two hundred woodcuts by John Leech

      London : Bradbury & Agnew, 1847. 1st Edition in this form. Divided into 2 sections with seperate pagination. Subjects; Great Britain - History - Outlines, syllabi, etc. Great Britain - History - Anecdotes. Colour (perceived attribute) etchings (prints) - England - 1847-1848. Referenced by: Tooley, R.V. Coloured plates (1979 ed.), 295-296. Title page in red & black, with added vignette. Scattereed, minor, marginal foxing. Finely and sumptuously bound in modern aniline calf over marble boards. Raised bands with a dark morocco gilt-blocked label. Spine compartments uniformly tooled in gilt. An exceptional copy - scans and additional bibliographic detail on request.

      [Bookseller: MW Books Ltd.]
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        Plate CXVI American Black or Silver Fox. (Vulpes Fulves, Desm. Var Argentatus, Rich.) The Viviparous Quadrupeds of North America

      Philadelphia: Audubon, J.J. , 1847. Imperial Folio Edition Fine with rich original hand-coloring. Plate CXVI. Vulpes Fulves, Desm. Var Argentatus, Rich. Black and Silver Fox Original and rare hand-colored lithograph (21 x 27 inches, 533.4 x 686.8 mm) by JT Bowen after painting by John Woodhouse Audubon, for the Imperial Folio Edition of the Viviparous Quadrupeds of North America. This Black and Silver Fox is in Very Fine condition with bright and rich original hand-coloring, the brightest we have seen to date. Expertly custom framed in conservation materials, as shown, by Lowry-James Rare Prints & Books, ABAA, ILAB. Framed size is 36 x 31 inches, 914 x 787.4 mm. The Viviparous Quadrupeds of North America (Philadelphia c.1845-48) represents the culmination of a lifelong dream held by America's most prominent naturalist and visionary, John James Audubon (1785-1851). Following the completion of his magnum opus, the Double Elephant Folio Edition of Birds of America, c. 1824-38, Audubon was at liberty to pursue a project close to his heart, large scale portraits of all of North America's native animals. Audubon's effort to render America four-legged (thus quadruped) mammals in their natural settings pioneered the way for an entire culture of naturalist artists and engravers. Once the animals were placed within their native habitat, inspired by Audubon's classical composition and watchful eye, most subsequent naturalist painters rarely presented animals and birds void of a full botanical perch, landscaped setting, or woodland background. Very few, if any naturalist artists returned to the solo vignette so commonly found in most natural history works from the previous three centuries. Audubon's dream to complete this monumental work was made manifest through the artistic and clerical assistance of his two sons, John Woodhouse and Victor Gifford, as well as the Reverend John Bachman, who contributed the excellent text for the production. Today, the tale of Audubon's westward journey to hunt and gather skins and specimens and thus inspiration to complete the 155 paintings for the Quadrupeds is common enough. The story of how he sold his work through subscription format and created a smaller (Royal Octavo Edition) as a more democratic and affordable option to the production has been told religiously, and in great detail, by anyone reviewing these masterpieces once again. Yet through these critiques, America's premier ornithologist, painter and naturalist has gained his rightful place among the masters of Animal Portraiture, painters like Edwin Landseer and George Stubbs. Regardless of any criticism his artistic practices and personal affairs may have encountered, Audubon's legacy has enriched our understanding and appreciation of America's native species, both birds and animals. In addition, through Audubon's paintings we are offered the very first glimpses of the American landscape west of the Mississippi, as his work predates that of the Hudson River Artists. Although Lowry-James Rare Prints & Books has featured the monumental edition of Audubon's work since 1989, this new collection of plates is the strongest body of mammals we have has the good fortune to acquire. These plates have not seen the light of day, thus the coloring of each of the plates is strong and rich, hand-painted with a multitude of subtle colors which are often lost to fading. In a word, these prints are the finest Audubon animals available, and must been seen. (Blum, Picturing Nature, Princeton: Princeton University Press, 1993. Sabin 2367, Wood 208).

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Vanity Fair: a Novel Without a Hero

      London: Punch Office (Bradbury & Evans), 1847. Yellow paper wraps serialized in 20 parts (19 & 20 bound together as a double number). The true first state of first edition although the ads are in various states of the first edition. Housed in a burgundy cloth four fold wrapper and then housed in burgundy morocco pull off case by Riviere. Gilt titles to spine. 621pp This was Thackeray's first novel to be published under his own name. Each part is illustrated by engravings (39 total) by Thackeray himself, including the suppressed illustration in the 11th part titled "Marquis of Steyne" not present in subsequent editions. One of the highlights of English literature, it is rare to find it in such nice condition in the original parts.. 1st Edition. Wraps. VG+. 8vo.

      [Bookseller: Contact Editions]
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        A Map of the United States of Mexico, as Organized and Defined by the Several Acts of Congress of that Republic

      New York: Henry Tanner, 1847. TANNER'S MAP OF MEXICO-SERVING AS A BASIS FOR DISTURNELL'S LANDMARK TREATY MAP OF 1846 Lithograph with original hand color . Book.

      [Bookseller: Arader Galleries]
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        Plate CXXVII Ursus Americanus, Pallas. Var Cinnamonum, Aud & Bach. (Cinnamon Bear, Male & Female) The Viviparous Quadrupeds of North America

      Philadelphia: Audubon, J.J., 1847. Matted in ecru silk with gold leaf double mat. Imperial Folio Edition Near Fine with original hand-coloring. A Near Fine and rare original hand-colored lithograph on wove paper by JT Bowen, Phil. after painting by John Woodhouse Audubon. Imperial Folio (27 x 21 1/8 inches). The margins of the paper are uniformly toned however the original hand-coloring is vivid and rich. There are traces of gilt to fore-edge. The Viviparous Quadrupeds of North America (Philadelphia c.1845-48) represents the culmination of a lifelong dream held by America's most prominent naturalist and visionary, John James Audubon (1785-1851). Following the completion of his magnum opus, the Double Elephant Folio Edition of Birds of America, c. 1824-38, Audubon was at liberty to pursue a project close to his heart, large scale portraits of all of North America's native animals. Audubon's effort to render America four-legged (thus quadruped) mammals in their natural settings pioneered the way for an entire culture of naturalist artists and engravers. Once the animals were placed within their native habitat, inspired by Audubon's classical composition and watchful eye, most subsequent naturalist painters rarely presented animals and birds void of a full botanical perch, landscaped setting, or woodland background. Very few, if any naturalist artists returned to the solo vignette so commonly found in most natural history works from the previous three centuries. Audubon's dream to complete this monumental work was made manifest through the artistic and clerical assistance of his two sons, John Woodhouse and Victor Gifford, as well as the Reverend John Bachman, who contributed the excellent text for the production. Today, the tale of Audubon's westward journey to hunt and gather skins and specimens and thus inspiration to complete the 155 paintings for the Quadrupeds is common enough. The story of how he sold his work through subscription format and created a smaller (Royal Octavo Edition) as a more democratic and affordable option to the production has been told religiously, and in great detail, by anyone reviewing these masterpieces once again. Yet through these critiques, America's premier ornithologist, painter and naturalist has gained his rightful place among the masters of Animal Portraiture, painters like Edwin Landseer and George Stubbs. Regardless of any criticism his artistic practices and personal affairs may have encountered, Audubon's legacy has enriched our understanding and appreciation of America's native species, both birds and animals. In addition, through Audubon's paintings we are offered the very first glimpses of the American landscape west of the Mississippi, as his work predates that of the Hudson River Artists. Lowry-James Rare Prints & Books has featured the monumental edition of Audubon's work since 1989. & Lowry-James Rare Prints & Books, ABAA, ILAB& Rare Prints & Books from The Age of Discovery: 16th-19th Centuries& Post Office Box 376 Clinton, WA 98236 USA& Shop location: 101 Anthes. Langley, WA on Whidbey Island& rarebooks@lowryjames.com& www.lowryjames.com& (360) 221-0477

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        DOUBLE FORE-EDGE PAINTING -- The works of Percy Bysshe Shelley

      Edward Moxon, Engraved frontispiece of Shelley facing the original title page dated 1847, reprinted from the earlier edition with an engraved depiction of Shelley's tomb. Two fore-edge paintings of Italian landscapes are executed in colourful detail, the first portraying the Arno and the Ponte Vecchio of Florence, the second showing a shepherd leading a herd of goats into a grand walled city. Bound in coarse, hard-grain morocco with binder's coat of arms (?), expertly re-backed with the original backstrip laid down. Deeply impressed in gilt on upper and lower covers, raised bands, floral gilt dentelles, all edges gilt. Upper joint almost imperceptibly rehinged. According to the preface, this edition contains new poems discovered among his papers by his wife after his decease and, when possible, completed by her.&

      [Bookseller: B & L Rootenberg Rare Books & Manuscript]
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        History of Europe

      Edinburgh and London - William Blackwood and Sons, 1847 Book. Very Good. Hardcover. A comprehensive history of Europe during the turbulent times of the French Revolution, spanning the years 1789 - 1815. With an engraving from a bust of the author with a facsimile of his signature to frontispiece to first volume. In twenty volumes complete. Sir Archibald Alison, 1st Baronet FRSE(29 December 1792 - 23 May 1867) was a Scottish advocate and historian. He held several prominent legal appointments. When travelling in France in 1814 Alison conceived the idea of his expansive History of Europe from the Commencement of the French Revolution to the Restoration of the Bourbons. This multi-volume set is usually regarded as Alison's chief historical work and is considered to be the first scholarly English-language study of the French Revolution. Originally published in ten volumes between 1833 and 1843, History of Europewas revised and reprinted many times throughout the century, including numerous foreign language editions. The work is one of vast industry, containing a wealth of information communicated in a vigorous though wordy style. Disraeli satirises the author in Coningsby as Mr. Wordy, who wrote a history to prove that Providence was on the side of the Tories. Such criticism notwithstanding, History of Europe proved to be a huge commercial success. Alison also composed a comprehensive survey of the military campaigns of the Duke of Marlborough, as well as two standard works on the criminal law of Scotland. With previous owner's ink inscriptions dated 1847 to front free endpaper to some volumes. Bound by Remnant and Edmonds with binder's label to rear pastedown to some volumes. With publisher's catalogues to front and rear of most volumes. Condition: In cloth bindings. Externally, generally sound but with bumping and wear to extremities and with slight rubbing and marks to boards. With slight loss due to wear to clothtohead and tail of spine to some volumes. With 1 joint tender, 3 starting and 2 starting slightly with occasional splitting to cloth in other volumesbut joints firm. With 3 hinges tender, 5 strained and 2 slightly strained. Internally, generally firmly bound although strained and occasionally tender in places with some pages loosening to some volumes. Bright with only the very occasional spot and handlingmark to pages but with marks to endpapers. All volumes are ex-library copies with library labels to front pastedown, evidence of past library labels to front free endpapers or publisher's catalogues to front of volumes, withink stamps to first and last few pages and some throughoutand donation bookplate dated 1924 to rear pastedowns. Overall: GOOD ONLY.

      [Bookseller: Rooke Books]
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        THE FRUITS OF AMERICA, CONTAINING RICHLY COLORED FIGURES, AND FULL DESCRIPTIONS OF THE CHOICEST VARIETIES CULTIVATED IN THE UNITED STATES

      New York & Boston: [Vol. I] C.C. Little & Jas. Brown and Hovey & Co. in Boston and D. Appleton & Co. in New York; [Vol. II] Hovey & Co., [1847]-1856.. Two volumes. 2pp. list of subscribers. Titles with wood- engraved vignettes by A. Roberts. Two lithographed portrait frontispieces (Hovey and Sharp) on india paper mounted, ninety-six fine chromolithographed plates by William Sharp (seventy-two on India paper mounted, twelve on card stock mounted, twelve on full sheets) numerous text illustrations of trees, leaves and fruit. Half title in first volume. Large quarto. Contemporary half green morocco over green cloth covered boards, spine with raised bands in six compartments, lettered in the second and fourth, the others with a repeat decoration in gilt, marbled endpapers, bound by John C. Moore of Rochester, NY (binder's ticket in each volume). Very good. The very rare large-paper issue of the first extensive monograph with color plates devoted to American fruit. The most lavish ante-bellum work on the fruit trees of America and "the first major work executed entirely in chromolithography" (Reese). Charles Hovey was born in Cambridge, Massachusetts in 1810 and with his brother Phineas established a nursery there in 1832. By 1845 his huge collection of fruit trees included a thousand pear trees and four hundred apple trees. A keen plant breeder, he also produced a number of new varieties of Camellia. His literary output brought him to the forefront of horticultural writers with the AMERICAN GARDENERS' MAGAZINE (renamed the MAGAZINE OF HORTICULTURE) which enjoyed great popularity between 1834 and 1868. The present work was intended by Hovey as an international show-case for what American pomologists had achieved, as well as an essential reference guide. It is his masterpiece and originally appeared in parts between 1847 and 1856. "Hovey's work on American fruits was the most lavish treatment of the subject prior to the Civil War...[and] can claim to be the first major publication illustrated with chromolithographs" - Reese. The ninety-six varieties featured include ninety-three fruit trees (fifty-three pear, twenty apple, seven cherry, seven peach, and six plum) and three strawberry varieties. The plates were all executed by the Boston firm headed by William Sharp and are accompanied by text which gives the history of each variety, a full description, its growing habit, flower and fruit, and advice on its cultivation. Each entry is headed by cross- references to the other standard European and American books and periodicals. The illustrations generally comprise a thumb-nail sketch of the growing habit of each tree, an outline of the fruit and occasionally an image of the flower. The work was issued in two formats: a regular issue and a "quarto" or large paper issue. An idea of the rarity of this large paper issue can by gained from studying the list of subscribers: 219 subscribers for 220 copies of Hovey's work are recorded. Of these only eighteen subscribed for the present issue, making it just over twelve times as rare as the normal octavo issue (indeed none of the twenty-two auction records for sets or part sets sold, going back to 1975, are for this large paper issue). The text is printed from the same setting but with much greater space in all the margins, but the chief difference is in the plates. The high-quality India paper allows for much finer detail to be shown as well as displaying the many colors applied by the chromolithographer to their full advantage. Interestingly, the first twenty-four plates in the first volume are not on India paper (as issued), suggesting that the publisher and author were still working out the details of production when the first parts were published. The present copy is bound by a Rochester New York binder. None of the Rochester subscribers (including famed fruitman D.M. Dewey) purchased a large paper issue. In nearby Canandaigua, however, John Greig was indeed a large-paper subscriber, suggesting this to be his copy. Greig served as a U.S. Representative from New York, practiced law in the region and was President of the Ontario [County] Bank. He was also President of the Ontario Agricultural Society and owned an extensive nursery. OAK SPRING POMONA 61. McGRATH, p.112. BENNETT, p.59. REESE, STAMPED WITH A NATIONAL CHARACTER 20. NISSEN BBI 941. SABIN 33206. ARNOLD ARBORETUM/HARVARD, p.354.

      [Bookseller: William Reese Company - Americana]
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        The Fruits of America, containing richly colored figures and full descriptions of all the choicest varieties cultivated in The United States

      Boston & New York: [vol.I] C.C.Little & Jas. Brown and Hovey & Co. and D.Appleton & Co. in New York, [vol.II] Hovey & Co., [1847-]1856. 2 volumes, octavo. (10 5/8 x 7 1/4 inches). Half-title to vol.I, 2pp. subscribers' list. Titles with wood-engraved vignettes. Lithographic portrait frontispieces of Hovey and William Sharp, 96 chromolithographic plates by William Sharp & Son, numerous woodcut illustrations of trees, flowers and fruit. (A few plates shaved as usual, slight surface damage to plate facing page 47 of text in vol.II). Contemporary black half morocco gilt by Waters of Baltimore, over cloth-covered boards, spines in six compartments with raised bands, lettered in the second, the others with elaborate repeat decoration in gilt, vol.I gilt edges, vol.II with top edge gilt and outer edge uncut, expertly rebacked preserving the original spine. The most lavish ante-bellum work on the fruit trees of America, "the first major work executed entirely in chromolithography" (Reese), and here with an apparently unrecorded first issue title to the first volume. The 96 varieties featured include 93 fruit trees (53 pear, 20 apple, 7 cherry, 7 peach and 6 plum) and 3 strawberry varieties. The plates were all executed by the Boston firm headed by William Sharp and are accompanied by text which gives the history of each variety, a full description, its growing habit, flower and fruit, and advice on its cultivation. Each entry is headed by cross-references to the other standard European and American books and periodicals. The illustrations generally comprise a thumb-nail sketch of the growing habit of each tree, an outline of the fruit and occasionally an image of the flower. Charles Hovey was born in Cambridge, Mass. in 1810 and with his brother Phineas established a nursery there in 1832. By 1845 his huge collection of fruit trees included a thousand pear trees and four hundred apple trees. A keen plant breeder, he also produced a number of new varieties of Camellia. His literary output brought him to the forefront of horticultural writers with the American Gardeners' Magazine (renamed the Magazine of Horticulture) which enjoyed great popularity between 1834 and 1868. The present work was intended by Hovey as an international showcase for what American pomologists had achieved, as well as an essential reference guide. Originally appeared in parts between 1847 and 1856, Hovey's masterpiece is complete in two volumes with 96 plates. Arnold Arboretum/ Harvard p.354; Bennett p.59; BM (NH) II,p.881; Bunyard p.437 & 444; Mass. Horticultural Society p.148; McGrath p.112; Nissen BBI 941; Oak Spring Pomona 61; Reese 20.

      [Bookseller: Donald Heald Rare Books]
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        The Whole Works of the Most Rev. James Ussher, D.D., Lord Archbishop of Armagh, and Primate of All Ireland: in Sixteen Volumes With a Life of the author and an Account of his writings.

      Dublin:: Hodges and Smith (and Whittaker & Co, London),, 1847.. First editions.. Hardcover. Very Good. The sixteen volumes originally published, but without the index volume, Vol 17, published in 1864. c.400-600pp per volume, contents clean, and in very good order, with a frontis portrait in Vol 1. All in rather faded blue, green or purple contemporary cloth, decorated in blind, with a gold mitre on the upper board and boldly titled in gilt on the spine. Spine ends flattened and sometimes fraying a little, minimal splits to some joints, boards all firm. [EXTRA Heavy Item]

      [Bookseller: Chapel Books]
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        OMOO: A NARRATIVE OF ADVENTURES IN THE SOUTH SEAS...COMPLETE IN TWO PARTS

      New York & London: Harper & Brothers / John Murray, 1847.. Two volumes bound in one. xv,[1],389,[1],[xv]- xxiii,[1],8pp. Modern three quarter calf and marbled boards, original printed front wrapper for first part bound in. Frontis map. Scattered foxing and occasional isolated staining, early ink ownership inscription (either 1847 or, less likely 1897) and markings, old repair in blank fore-edge of leaf 23/4; just a sound copy, but well bound. First American edition of Melville's second book, preceded by the London edition. This copy was originally in the format of the two volume issue in printed wrappers, but with only the front wrapper of the first part preserved, bound up in the 19th century as two volumes-in-one. With the previous binding in dilapidated state, it was evidently quite recently rebound. BAL 13656.

      [Bookseller: William Reese Company - Literature ABAA-]
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        NEW AMERICAN PRACTICAL NAVIGATOR: BEING AN EPITOME OF NAVIGATION; CONTAINING ALL THE TABLES NECESSARY TO BE USED WITH THE NAUTICAL ALMANAC IN DETERMINING THE LATITUDE, AND THE LONGITUDE BY LUNAR OBSERVATIONS, AND KEEPING A COMPLETE...WITH AN APPENDIX

      New York & London: E.& G. W. Blunt, 1847. ...[xvi, 318pgs., 451pgs., plus2 pgs. ads.]...SEVENTEENTH NEW STEREOTYPE EDITION..."ILLUSTRATED BY PROPER RULES AND EXAMPLES: THE WHOLE EXEMPLIFIED IN A JOURNAL, KEPT FROM BOSTON TO MADEIRA, IN WHICH ALL THE RULES OF NAVIGATION ARE INTRODUCED..."...ILLUSTRATED WITH A FRONTIS FOLDOUT MAP OF THE "CHART OF THE ATLANTIC OCEAN"( 8" X 11"), AS WELL AS 12 ADDITIONAL FULL PAGE ENGRAVED PLATES, MATH CALCULATIONS, DIAGRAMS, AND TABLES, ...FULL LEATHER BINDING WITH RED LEATHER TITLE LABEL ON GILT DECORATED SPINE, HINGES CRACKED BUT HOLDING NICELY...ORIGINAL PREFACE DATED 1837 INCLUDED...COMPLETE AS REFERENCED IN JOHN CAMPBELL'S BIBLIOGRAPHY OF THE NEW AMERICAN PRACTICAL NAVIGATOR DATED 1964... Minor foxing throughout, Plate XIII toned OTHERWISE OTHER PLATES AND MAP IN BETTER THAN GOOD CONDITION...Bookplate of J.Ashbury Pitman on endpaper. Pitman was the president of Salem State University in Massachusetts from 1906-1937 ...Bowditch is considered the founder of modern maritime navigation and a copy of his first edition from 1802 is carried on board every commissioned U.S. Naval Vessel...A WELL PRESERVED EDITION...Heavy volume, additional shipping charges necessary.... Hard Cover. Very Good.

      [Bookseller: Eveleigh Books & Stamps]
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        [Mexican War] Heights of Monterey, From the Saltillo road looking towards the City, [from the West] [Worth's Division moving into position under the guns of the enemy, after the action of "St. Jeronimo," on the morning of 21st. Septr. 1846] [No. 2 of a Series]

      New York: G. & W. Endicott, 1847. Tinted lithograph, engraved by F. Swinton after Whiting. Marginal losses to corners and marginal tears expertly repaired. Image size: 12 1/4 x 18 7/8; sheet size: 18 3/4 x 23 7/8". From Whiting's "Army Portfolio," a very scarce series of Mexican War views, which is not only one of the primary visual records of the conflict, but also a fine topographical work that accurately recorded the area at a crucial turning point in its history. "The rarest lithographs of the war." (Tyler) According to Whiting family tradition, the work was limited to no more than 24 sets (quoted by Goodspeed's of Boston: "The Month at Goodspeed's Book Shop" vol. XXI, nos. 2-3, Nov-Dec. 1959, p. 43). In late 1845, General Taylor's army was camped at Corpus Christi, Texas. In January 1846, they advanced to the United States side of the Rio Grande, where they remained until May, and then marched on to the strongly fortified city of Monterey, which was taken in September. Whiting's work documents this campaign. Although he originally intended to continue the series beyond five plates, the original drawings for the additional plates were lost aboard a steamboat that sank in the Mississippi. Daniel Powers Whiting was born in Troy, New York, and graduated in 1832 from the U.S. Military Academy, where he received formal training as a topographical artist. He was assigned to the 7th U.S. Infantry, with which he served in various garrisons before being promoted to captain in the spring of 1845. During the Mexican War, he served in the army of General Zachary Taylor and was made major "for gallant and meritorious conduct" in the battles of Fort Brown, Monterey, Vera Cruz and Cerro Gordo. After the war, he fought the Seminoles, joined the Utah expedition of 1859, served in various garrisons in Missouri and Kansas, and completed frontier duty in the Indian Territory. During the Civil War, he commanded at Fort Garland, Colorado (1861-1862), was a member of the Board of Examination at Annapolis (1862-1863), and commanded at Fort Mifflin, Pennsylvania (1864). At the time of his retirement for "disability resulting from long and faithful service," he was Lieutenant-Colonel of the 6th Infantry. Cf. America on Stone, p. 175; cf. Eberstadt, 162, 910; cf. Streeter Sale, 275; cf. Tyler, The Mexican War, pp. 24-45.

      [Bookseller: Donald Heald Rare Books]
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        Les Fleurs Animées

      Gabriel de Gonet, Paris, 1847. Early Edition. Hardcover (Half Leather). Very Good Condition. 2 volumes in contemporary half morocco, gilt. Worn at the edges and corners bumped, but still attractive and intact. Scattered foxing including to plates, but mostly clean with 50 handcolored plates, 2 hand colored engraved title pages and 2 uncolored plates. The uncolored plates in the Horticulture des Dames section are more heavily foxed. An attractive copy of Grandville's famous work. Vicaire 133 Size: Quarto (4to). 2-volume set (complete). Quantity Available: 1. Shipped Weight: Over 3 kilos. Category: Fiction; Gardening. Inventory No: 042468. . This book is extra heavy, and may involve extra shipping charges to some countries.

      [Bookseller: Pazzo Books]
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        The Flowers Personified: Being A Translation of Grandville's "Les Fleurs Animees," by N. Cleaveland

      NY: R. Martin, 1847 . 1st American edition. leather_bound. Full black morocco professionally rebacked, most of the original spines laid-down. Aeg. Near fine. 2 vols./No Dust Jacket. 4to, 26 x 17 cm, illustrated with fifty two hand-colored plates, and two engraved, uncolored botanical plates in volume II -- published the same year as the French edition. Introduction by Alphonse Karr, text by Taxile Delord. Bound with MODERN BOTANY FOR LADIES; AND LADIES HORTICULTURE by Cte. Foelix. According to Gordon Ray [ART OF THE FRENCH ILLUSTRATED BOOK 1700 TO 1914, p.278] "Fleurs animees" were his favorite work....."the work into the execution of which he put all that was in him poetic and gracious originality..." CARTERET III, 286. Covers elaborately decorated and lettered in gilt using a Grandville "flower lady" as decorative motif, gilt border panels, text clean, Vol. I, lower margins stained not affecting image, and more apparent to tissue guards than the plates.

      [Bookseller: Royoung bookseller, Inc.]
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        Les Fleurs Animées

      Gabriel de Gonet, Paris, 1847. Early Edition. Hardcover (Half Leather). Very Good Condition. 2 volumes in contemporary half morocco, gilt. Worn at the edges and corners bumped, but still attractive and intact. Scattered foxing including to plates, but mostly clean with 50 handcolored plates, 2 hand colored engraved title pages and 2 uncolored plates. The uncolored plates in the Horticulture des Dames section are more heavily foxed. An attractive copy of Grandville's famous work. Vicaire 133 Size: Quarto (4to). 2-volume set (complete). Quantity Available: 1. Shipped Weight: Over 3 kilos. Category: Fiction; Gardening. Inventory No: 042468. . This book is extra heavy, and may involve extra shipping charges to some countries.

      [Bookseller: Pazzo Books]
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        The Comic History of England

      - London - Punch Office, 1847 Book. Very Good. Hardcover. First edition. Two attractively bound first editions of the famous Punch Comic History of England, witha uniformly bound copy of TheComic History of Rome. With thirty coloured plates, collated complete, and many woodcut illustrations in the text. Bound by Stikeman and Co, with binder's ink stamp to verso of front free-endpaper. With original cloth spine labels and boardstipped in to rear endpapers, and. Complete in three volumes. Bookplate of Katharine de B. Parsons to front pastedowns. Condition: Rebound in half-morocco bindings with marbled boards. Externally smart, with just some light rubbing to the spines. Three joints starting. Internally, firmly bound. Pages have some foxing throughout. Some small loss totwo of the plates in Rome. Overall: VERY GOOD..

      [Bookseller: Rooke Books]
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        Typee:

      London: John Murray, Albemarle Street 1847, 1847. FIRST EDITION, early issue. COLONIAL PRINTING. Small 8vo. Pp. 286 with map and 16-page catalogue at rear. Publisher's red cloth, colonial binding and blocked as such in blind to covers, gilt titles to spine. Some minor wear to spine ends, backstrip a little toned, neat inscription to flyleaf. Very good indeed. BAL 13652

      [Bookseller: Adrian Harrington Rare Books]
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        The Rule and Exercises of Holy Living; The Rule and Exercises of Holy Dying

      London: William Pickering, 1847. Hardcover. Near fine. 2 volumes. 8vo. (xvii), 424; (xxx), 327pp. Engraved frontispiece in the volume on Holy Living. Title pages and half titles printed in red and black. Contemporary binding of full morocco. Spines in six compartments with raised bands, ornately stamped in blind with gilt titles. Boards are also ornately stamped in blind with rules and stamps, and with a central rectangular design of diamonds enclosing crosses. Inner dentelles also stamped in blind, with marbled endpapers. Triple sewn silk headbands. All edges gilt and gauffered, with painted banners on all edges entwined around green staves and with calligraphed sentiments: To learn live; For me to live (die) is Christ and to live (die) is gain. The hinges on Vol. 1 have been nearly invisibly repaired; two corners worn; frontispiece has offset to the title page; else this is a near fine set in a lovely example of the bookbinder's craft.

      [Bookseller: Thorn Books]
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        SURGICAL OPERATIONS PERFORMED DURING INSENSIBILITY , Produced by the Inhalation of Sulphuric Ether (running title)

      Lancet, 1847. Extract. [1]-26 pages complete. An extract from a bound volume, with a thin white tape applied to the spine. The first publication of the use of ether in a surgical operation (a keystone in the history of surgical anaesthesia) was published in the Boston Medical and Surgical Journal in November 1846. There were several American reprints in the next month, each with minor changes. Jacob Bigelow (the father of JH Bigelow) wrote on 28 November to Francis Boott of London, enclosing the text of the first publication. The article offered here, published in The Lancet, was the first British reprinting of the initial announcement and included both Bigelow's letter and the original paper. Appended was a letter from Robert Liston on his use of ether during an amputation of the knee. This records the first operation under ether anesthesia in Europe, conducted a mere 2 days after Liston learned of the procedure. (Centennial of Surgical Anesthesia, Fulton & Stanton, IV-5). Near Fine.

      [Bookseller: Kuenzig Books, ABAA/ILAB]
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        Mémorial de Sainte-Hélène par le Comte de Las Cases, suivi du Mémorial de MM. les docteurs O'Meara et Antommarchi [Francesco], Médecins de Napoleon à Sainte-Hélène et de la relation du retour des cendres de l'Empereur, 2 Bände (= alles),

      Paris, Garnier Freres, o.J. (laut KVK: 1847, in einem anderen KVK-Katalog: 1851),. vermutl. Erstausgabe dieser Ausgabe, Bd. 1: 516 S., Bd. 2: 646 S. + 48 S. mit Frontispiz von Napoleon in Bd. I und Las Cases in Bd. 2 sowie zwei Karten, einem Kupferstich und einem Grundrissplan in Bd. 1 und zwei Kupferstiche in Bd. 2, unten auf den Rücken ist in goldenen Buchstaben jeweils "H.v.H" (wohl Hugo von Hofmannsthal) eingeprägt, original Halbpergament-Prachteinbänfde mit goldener Rückenbeschriftung, Kopfgoldschnitt, Einbände zart berieben, Rücken stellenw. mit winzigen Fleckchen, Schnitt deutlicher innen ein wenig stockfleckig, sonst schön, sauberes Exemplare,

      [Bookseller: Antiquariat Orban & Streu]
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        History of Art by Its Monuments, from its Decline in the Fourth Century to Its Restoration in the Sixteenth; Translated from the French of Seroux D'Agincourt

      London: Bernard Quaritch, 1847. Spine ends with some wear, some rubbing at edges, hinge of volume III cracked , interior fine. Folio. Three volumes Volumes II and III are plates only, over 3,335 illustrations on 328 large plates custom three-quarter red morocco over marbled boards, spine with raised bands, gilt and gilt lettered burgundy spine labels & Volume I - Architecture, 73 plates; volume II - Sculpture, 51 plates; volume III - Painting, 204 plates.& & "This fine work of Agincourt was the first in which the idea of exhibiting the Progress of Art by a series of its nobles Monuments, was perfectly carried out. Here we see, not only in theory, but in practice, the passage of art though its various phases. In Architecture, we pass form the simple magnificence of the Greek to the more complicated grandeur of the Roman -from the later Roman to the Lombardic and Norman - from the gradual introduction of the pointed arch to the formation of a perfect style founded on that feature, - a style which, in its turn, we see gradually disappear under the innovations of the "revival"; in short, by a Series of accurate Engravings from celebrated Monuments, we trace the transitions of art from the classic period to our own times.& & Sculpture - Painting -the Art of Illumination - Engraving on Wood - Gems - and Medals - are similarly represented.& It is a work that has long been sought and prized by all who could afford the high price at which alone it was to be procured, but by which it has been confined to the libraries of the wealthy. To place this English edition within the reach of all, and to secure to the Artists of England its valuable assistance in their labours, it has been published at an unprecedentedly low price [5 pounds 5 shillings in 1847 was still a very large sum], the proprietor feeling confident that a large circulation must necessarily result. It is anticipated that no Architect, Painter, or Sculptor - or, in fact, any one connected with the Fine Arts - will willingly be without such a work, when so small a sum can purchase it." from the publisher's advertisement of the work in the "Edinburgh Review," volume 86 July - October, 1847 .

      [Bookseller: Randall House Rare Books]
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        Egarement de la raison démontré par les ridicules des sciences incertaines et fragments

      Paris: Au bureau de La Phalange, 1847. Broché. 15x22cm. Edition originale de ce tiré à part de la revue La Phalange. Couverture bleu-gris d'attente, pièce de titre encollée sur le premier plat. Rare et agréable état intérieur quasi exempt de rousseurs. - Au bureau de La Phalange, Paris _1847, 15x22cm, broché. - broché

      [Bookseller: Librairie Le Feu Follet]
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        MAZATLAN, WAS TAKEN BY THE U.S. PACIFIC SQUADRON, COMMODORE WM. BRANFORD SHUBRICK, NOV. 12th, 1847 [manuscript caption title]

      [Np. ca. 1847].. Gouache and pencil on paper, 11 x 18 1/2 inches. Some flaking of the blue paint in the water. 4 1/2-inch horizontal closed tear in right portion of the image. Overall, very good. Matted, and in a modern frame. A detailed, colorful, and accomplished painting of the American capture of Mazatlán during the Mexican-American War. William H. Meyers, a gunner on board the U.S.S. Dale, produced some of the most significant artwork illustrating the fighting in California and on the west coast of Mexico. A collection of his drawings, owned by Franklin Roosevelt, was published in 1939. The present work was not a part of that collection but is clearly part of the same series. Original artwork from the Mexican-American War is rarely available. In the preface to the 1939 publication of the Meyers sketchbook that he owned, Roosevelt wrote: "By means of Meyers' realistic sketches...we are enabled to follow the epic naval conquest of California with an understanding which has heretofore been impossible. He participated in many of the scenes depicted, and for the others had the privilege of discussion with eye- witnesses. There seems to have been no facile pen among the handful of bold, hard-bitten husky sailors, marines, soldiers and frontiersmen who won that empire for us. No doubt pen and paper were scarce in that primitive region. Complicated war operations scattered through a thousand miles of virgin coast and country gave little opportunity for writing or sketching. Thus the very dearth of adequate contemporary literature adds much to the historical value of Gunner Meyers' brush." The capture of Mazatlán, on the west coast of Mexico, was a important American victory during the Mexican- American War. The most active Mexican port on the West Coast, Mazatlán was strategically important as an information link to the East Coast, and was a major supply base for Mexican forces. The port was captured by naval forces led by Commodore William Shubrick commanding his ship, Independence, assisted by the United States ships Congress and Cyane. At the time that Mazatlán was captured, the U.S.S. Dale, on which William Meyers served, was patrolling off the coast of Guaymas, some 560 miles to the north. As Roosevelt noted, for the scenes that Meyers did not witness personally (such as this one), he relied on eyewitness testimony for his paintings. This painting is dominated by Shubrick's flagship, the Independence, with a number of smaller rowboats behind it. The buildings and hills of Mazatlán stretch the length of the image beyond the ship, and a number of individuals can be seen along the beach and on the waterfront. Several of the buildings fly various flags, demonstrating the importance of Mazatlán as a port. William H. Meyers (b. 1815) went to sea aboard a trading vessel to the West Indies in 1838 and also worked as a civilian in ordinance at the Washington Navy Yard. In 1841 he joined the United States Navy as a gunner, and was assigned to the U.S.S. Cyane. He served under Commodore Thomas Ap Catesby Jones, taking part in the presumptive American seizure of Monterey in 1842. During the Mexican-American War, Meyers served as gunner on the U.S.S. Dale, and participated in many naval and land battles on the coast of Mexico and California. Due to ill health Meyers resigned from the Navy in 1848, and worked at the naval laboratory in Washington, DC. Meyers was an untrained but accomplished and prolific artist and he made a number of sketches and paintings during his career of naval service in the 1840s. Franklin Roosevelt owned one of Meyers' original sketchbooks, containing fifty-four drawings of scenes during the Mexican- American War. Twenty-eight of those sketches were published by Random House in 1939 in a volume printed by the Grabhorn Press in an edition of 1000 copies, and with an introduction by Roosevelt and a historical narrative by Captain Dudley W. Knox. Roosevelt's sketchbook is part of the collection at the Franklin Delano Roosevelt Presidential Library in Hyde Park, New York. Meyers also made sketches of his 1841-44 cruise in the Pacific aboard the U.S.S. Cyane, several of which were published in 1955 in a volume also printed by the Grabhorn Press. The Bancroft Library at the University of California owns a painting by Meyers of "The Taking of Monterey on October 20, 1842," created during Meyers' service on the Cyane. The present view of Mazatlán being taken by the U.S. Pacific Squadron in 1847 was part of an exhibition at the Los Angeles County Museum of Art in 1976. An attractive painting of an important American naval victory during the Mexican-American War. HUGHES, ARTISTS IN CALIFORNIA II:378.

      [Bookseller: William Reese Company - Americana]
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        The True Story of My Life: A Sketch. Translated by Mary Howitt.

      London, Longman, Brown, Green, and Longmans, 1847. Beautiful cont. red hcalf w. richly gilt back. A excellent copy in very fine condition. W. half-title (w. old owner's presentation inscription dated 1878). VIII, 298 pp.. First English language edition, being the first separate edition, of Hans Christian Andersen's first official autobiography. The English edition preceded the Danish with 95 years (!), as the first Danish edition did not appear until 1942, when it was issued by H. Topsøe-Jensen under the title "Mit eget Eventyr uden Digtning" (i.e. "My Own Fairy Tale Without Poetry"). The first German edition appeared as an introduction in the collected German edition of Andersen's works, also in 1847, under the title: "Das Märchen meines Lebens ohne Dichtung." The general idea that underlies the work is that life is like a fairy tale and that God makes curious things happen. "This True Story of his Life will not be found the least interesting of his writings; indeed, to me it seems one of the most so. It furnishes the key, as it were to all the rest [...]" (Translator's preface). The autobiography is written in the same wonderful language and with the same straightforward mystique that characterizes H.C. Andersen's other writings, and the person H.C.A. cannot be said to be less interesting or intriguing than his fairy tales. "My life is a lovely story, happy and full of incident. If, when I was a boy, and went forth into the world poor and friendless, a good fairy had met me and said, "Choose now thy own course through life [...]" (the initiating lines of Chapter one). H.C. Andresen wrote his autobiography while travelling in Europe. Numerous interruptions appeared, and Andersen sent the sheets of the manuscript off to the publisher as they were written, which meant that he did not have the earlier parts of the work with him when he wrote the latter. The work also much exceeded the length that he had intended. The manuscript was written in Danish and was translated into English and German the year after he had finished the final sheets (August 1846). For this work he only worked on one single manuscript, and made all of the numerous corrections directly in this, meaning that it was exceedingly difficult to read and that it could not be sent to a translator straight away. The publisher had been told to send the sheets of the manuscript directly to his friend and financial advisor, Edvard Collin, as they arrived, and Collin, realizing that no stranger would be able to read the manuscript, made a fair copy of the entire manuscript, correcting all of Andersen's linguistic and stylistic errors. In return he got to keep the manuscript, which is why it was still in existence almost 100 years later, when the first Danish edition of it was to be printed. Andersen borrowed his manuscript from Collin, when, some years later, he had to deliver a Danish autobiography for the edition of his collected works. He used it as the basis for "Mit Livs Eventyr" (The Fairy Tale of My Life"), which appeared in his collected works in 1854-55, but which is much different from the present and principal autobiography

      [Bookseller: Lynge & Søn A/S]
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        The Comic History of England. Illustrated by John Leech. 2-volume set (complete)

      Bradbury Agnew & Co. London Bradbury, Agnew & Co. 1847/48 Second edition vg Quarto. Uncut. XVIII, 432, XIV, 416pp. Original gilt pictorial cloth with gold lettering on spines and front boards. Ex-libris of Lucy Smith Battson (ex Lucy Doheny) on both free front endpapers. Illustrated title-pages with black and red lettering. Decorative initials. Laid in in first volume, a typed letter signed by M. de Lente-Neville, and dated 12/20/1935 explains in detail the history of this book. Fascinating work profusely illustrated with numerous in-text duo tone illustrations and 20 full-page colored steel engravings by John Leech, each one protected by a tissue-guard. Some edge wear on bindings with spines sunned and corners rubbed. Spine edges of first volume chipped out and spine edges of second volume frayed. Minor rubbing and soiling to boards. Hinges starting. Bindings in overall good- to good, interior in very good to near fine condition

      [Bookseller: Eric Chaim Kline - Bookseller ]
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        The Comic History of England.

      2 vols. London 1847-48. Illustrated with 20 handcoloured etchings by John Leech and with 240 woodcuts in the text. Bound uncut with top edge gilt with all covers to the parts and several advertisments in full brown skin with raised bands, top edge gilt and gilt decorations

      [Bookseller: Peter Grosell's Antikvariat]
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        The Lives of the Lord Chancellors and Keepers of the Great Seal of England, from the Earliest Times till the Reign of King George IV. Eight Volumes

      The most famous of all works devoted to England's Lord Chancellors, described as a work which "challenge[s] comparison with the best biographies in the language"; with the eighth index volume, printed in 1869. 3/4 tan morocco, the top edges gilt; a pretty set. John Murray, Albemarle Street, London, 1847-69.

      [Bookseller:  Meyer Boswell Books, Inc.]
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        The Life of Lord Chancellor Hardwicke; With Selections from His Correspondence, Diaries, Speeches, and Judgments. In Three Volumes

      Lord Lyndhurst's presentation set of the principal early account of Lord Hardwicke, pairing two of the greatest lawyers and Lord Chancellors of the 18th and 19th centuries--"The Right Honble Lord Lyndhurst / with the authors most / respectful compts". Original green embossed cloth, the spines a bit faded, else a very crisp, largely uncut set; with Lord Lyndhurst's armorial bookplate on each pastedown. Edward Moxon [and] Stevens' & Norton . . . Fleet Street, London, 1847.

      [Bookseller:  Meyer Boswell Books, Inc.]
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        On the Conservation of Force; a Physical Memoire.London: Taylor & Francis, 1853.

      First edition in English of his very rare paper 'Über die Erhaltung der Kraft', 1847 (PMM 323, Grolier/Horblit 48, Dibner 159, Sparrow 96). "This short paper of twenty-eight pages, 'On the Conservation of Energy', is the first comprehensive statement of the first law of thermodynamics: that all modes of energy, heat, light, electricity, and all chemical phenomena, are capable of transformation from one to the other but are indestructable and cannot be created." (Printing and the Mind of Man, p.196). "Helmholtz analyzed different forms of energy and different kinds of force and motion, classifying them as kinetic or potential. He gave mathematical expression to the energy of motion, thus providing an experimental measure for research into force and energy. The principle of conservation of energy proved to be of fundamental importance both in scientific research and in the development of technology." (Norman 1039).. 8vo: 224 x 145 mm. In: 'Scientific Memoires, Selected from the Transactions of Foreign Academies of Science, and from Foreign Journals', pp. 114-162. The complete volume (IV, 360 and 5 plates) offered in contemporary quarter-morocco. Spine with some wear. Small rubber stamp to title page and plates (not belonging to the Helmholtz paper). A very good copy

      [Bookseller: Sophia Rare Books]
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        Histoire de la Révolution Francaise. 7 Volumes.

      Paris, Chamerot, 1847- 53. 8vo. Bound in seven nice cont. uniform hcalfs w. gilt spines. A bit of bumping to corners, otherwise very fine. Some brownspotting internally. (2), CXXVIII, (2), 335; (2), 603; (2), 557, (18); (2), 505, (17); (2), 624; (2), (444), (1); (2), 543 pp.. The seminal first edition of Michelet's groundbreaking work about the French Revolution."During the same years when Macauley was fixing the Whig image of the Glorious Revolution in the minds of the English public, Michelet was giving to the French radicals the most colourful and fervent justification of the French Revolution. Ten years after Carlyle had painted it as the twilight of the gods, Michelet hailed it as the birth of a new age." (PMM p. 197).Michelet's work became of the utmost importance to the reception of the historical event of the French Revolution, because he hails it as one of the most important events in the history of man. Furthermore he justifies the Revolution and sees it as an important step in the process of freeing man from his bondage to the material world. According to Michelet, Christianity was the first major step towards freeing the individual from earthly concerns, and The French Revolution of 1789 is the next, and perhaps most important, step towards this freedom. As opposed to Christianity, The French Revolution deals with social problems, and thus it comes to play an even greater role in human history than the coming of Christ.The people, who are the core of the Revolution, are responsible for the progress of the world. Due to the injustice, material lacks, inequality, class hatred etc. that the people have suffered, they create a constant pressure on the world, and in the attempt to better their own lives, they force the world to move forward, and The French Revolution is the culmination of this attempt. Michelt defends the people and the Revolution, claiming that it takes place under the sign of fraternal love, justice and equality. When Michelet wrote his "Histoire de la Révolution Francaise", he was actually in the middle of writing his famous "Histoire de France", but as he felt that the people of France were beginning to forget its destiny and losing its revolutionary spirit, he broke of his "History of France" for a while and wrote his seminal "History of the French Revolution""His "History of the French Revolution" is a sustained panegyric of radical democracy: "from the first page to the last", he said, "there is only one hero - the people." Neither his openly anti-clerical and anti-royalist partisanship nor his many inaccuracies can detract from the grandiose narrative which has secured the book a permanent place in French literature such as none of his successors has attained." (PMM p. 197)."La Révolution est en nous, dans nos âmes; au dehors, elle n'a point de monument. Vivant esprit de la France, où te saisirai-je, si ce n'est en moi?... Les pouvoirs qui se sont succédé, ennemis dans tout le reste, ont semblé d'accord sur un point, relever, réveiller les ages lointains et morts... Toi, ils auraint voulu t'ensouir... Et pourquoi?... Toi seul, tu vis." (Michelet, (Preface), p. II).PMM 324

      [Bookseller: Lynge & Søn A/S]
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        Les Fleurs animées par J.-J. Grandville. Introductions par Alph. Karr,Texte par Taxile Delord.

      262 p., 2 f.n.ch. (titres), 16 p., p. 279 -364, IV p., p. 105-166, 1 f., IV p., p. (169)-236. Avec 2 frontispices, 50 gravures coloriées, 2 gravures en n/b. Reliure demi cuir brun foncé, titre, caissons et tranches dorés (sign. Sénèz. R.). 3 parties en 1 volume. Carteret III, 286. - Première tirage de l'édition originale à part de la page 1-16 de la deuxième partie et de "La Botanique des Dames" qui porte la pagination du deuxième tirage. - Exlibris. Quelques rousseurs. [2 Warenabbildungen bei antiquariat.de]

      [Bookseller: Daniel Thierstein Buchantiquariat]
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        Manuscript Document, signed ("J. C. FrEmont"), as Governor & Commander in Chief of California, a blank Appointment to the Legislative Council

      Ciudad de los Angeles january 22 1847 Ciudad de los Angeles, january 22, 1847. 4to. 1p. pen and ink on paper. Some old folds, very light soiling, old adhesion in lower blank margin, else fine, in half blue morocco folding case with gilt stamped blue morocco label on upper cover . Rare and of historic importance, this document from FrEmont's short-lived Governorship of California, during which time he attempted to establish civil rule in the new territory. The document reads: "To all to whom these presents shall come, Greetings: Know ye that I, J.C. FrEmont Governor of the Territory of California in virtue of the authority in me vested and for the purpose of an immediate organisation of the territory so as to render it conformable to civil law do hereby appoint a member of the Legislative Council to hold said office until by election his successor shall be appointed. Given under my hand and seal this 22nd day of January A.D. One thousand eight hundred and forty seven at the Ciudad de Los Angele. [Signed:] J.C. FrEmont. Governor & Commander in Chief of California. Attest: Wm H. Naples Secy of State" California had become an American Territory only 6 days prior, when, in a famous controversy, FrEmont was appointed Civil Governor by Commodore Stockton. When orders were received shortly thereafter from Washington appointing General S.W. Kearny to the position, a serious conflict ensued between Stockton and Kearny. FrEmont's refusal to obey orders from Kearny led to his court martial, and, after a trial which lasted more than a year, he was eventually convicted of of "mutiny," "disobedience to the lawful command of a superior officer," and "conduct to the prejudice of good order and military discipline," he was finally sentenced to dismissal from the service. President Polk approved of the conviction for disobedience and mutiny, but remitted the penalty, and FrEmont resigned. This episode was followed by FrEmont's famous expeditions to the Rockies, his campaign for the Senate, and finally his campaign for the Presidency as a Republican in 1856 - the first man, in fact, to run for the Presidency as a Republican. The Republicans heralded their first candidate, with the chant, "Free Soil, Free Labor, Free Speech, Free Men, FrEmont." In a losing effort FrEmont nonetheless captured 33% of the popular vote

      [Bookseller: James Cummins Bookseller ]
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        Manuscript medical ledger,

      Dover, OH, 1847-54. No Dust Jacket. [Slingluff, Joseph(?)]. Manuscript medical ledger. Ca. 450pp., the first 137 with manuscript page numbers. Dover, Ohio, September 1847 - August 1854. 385 x 160 mm. Original reverse calf stamped in black, worn and rubbed. One leaf (pp. 46-47) torn out, light soiling and toning, upper portion of front flyleaf cut away but a very good example. Several manuscript sheets with text and figures laid in. The manuscript ledger of an extremely active physician and landowner in Dover, Ohio, most likely Dr. Joseph Slingluff, who began his medical practice at Dover in 1828 and served as the town's first mayor when it was incorporated in 1842. Slingluff belonged to one of Dover's founding families: The initial settlement land (2175 acres) was purchased from Col. James Morrison of Kentucky in 1806 by Jesse Slingluff and his brother-in-law Christian Deardorff. The Deardorff and Slingluff names feature prominently in our ledger. Dover's prosperity increased dramatically with the building of the Erie Canal, as the canal's only tolling station was located there; the population grew from 46 in 1820 to nearly 600 in 1840, and the town became a flour mill and warehouse center. This prosperity is reflected in Dr. Slingluff's ledger, which records that he often saw more than 10 patients a day; the ledger also contains records of real estate owned by the doctor (including a small plat map) and the construction costs of his house. At the back are two pages recording difficult obstetric cases. Mansfield, The History of Tuscarawas County, Ohio (1884), p. 543 and passim.

      [Bookseller: Jeremy Norman's Historyofscience.com ]
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        The Fruits of America, containing richly colored figures and full descriptions of all the choicest varieties cultivated in The United States

      Boston and New York: C.C. Little & Jas. Brown and Hovey & Co. (Boston), D.Appleton & Co. (New York), 1847-1854. Vol. I, parts 1-12, vol.II, parts 1-5 (only, of 12), octavo. (10 7/8 x 7 3/8 inches). 2 half-titles, title to vol.I with wood-engraved vignette, 2pp. list of subscribers. Lithographic portrait frontispiece of Hovey, 68 chromolithographic plates by William Sharp & Son, numerous woodcut illustrations of trees, flowers and fruit. Original wrappers, titled on the upper cover with integral uncoloured vignette, letterpress prospectus on the lower cover. A rare substantial run of the original parts from the most lavish ante-bellum work on the fruit trees of America: "the first major work executed entirely in chromolithography" (Reese). The 64 varieties featured include pear, apple, cherry, peach, plum and strawberry. The plates were all executed by the Boston firm headed by William Sharp and are accompanied by text which gives the history of each variety, a full description, its growing habit, flower and fruit, and advice on its cultivation. Each entry is headed by cross-references to the other standard European and American books and periodicals. The illustrations generally comprise a sketch of the growing habit of each tree, an outline of the fruit and occasionally an image of the flower. Charles Hovey was born in Cambridge, Mass. in 1810 and with his brother Phineas established a nursery there in 1832. By 1845 his huge collection of fruit trees included a thousand pear trees and four hundred apple trees. A keen plant breeder, he also produced a number of new varieties of Camellia. His literary output brought him to the forefront of horticultural writers with the American Gardeners' Magazine (renamed the Magazine of Horticulture) which enjoyed great popularity between 1834 and 1868. The present work was intended by Hovey as an international show-case for what American pomologists had achieved, as well as an essential reference guide. It is his masterpiece and originally appeared in parts between 1847 and 1856 and is considered complete in two volumes with 96 plates. Arnold Arboretum/ Harvard p.354; Bennett p.59; BM (NH) II,p.881; Bunyard p.437 & 444; Mass. Horticultural Society p.148; McGrath p.112; Nissen BBI 941; Oak Spring Pomona 61; Reese, American Color Plate Books 20.

      [Bookseller: Donald Heald Rare Books ]
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