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Displayed below are some selected recent viaLibri matches for books published in 1848

        Bekanntmachung . Die Kà nigl. Bayer. Polizei-Direktion München theilt dem hiesigen Magistrate offiziell mit, daß die Gräfin Landsfeld, nachdem sie gestern die Haupt= und Residenzstadt München verlassen, heute Vormittags 11 Uhr von Pasing aus in Begleitung zweier Polizei-Bediensteter auf der Eisenbahn nach Lindau abgereist ist .

      - Munich, February 12, 1848. Foolscap folio, broadside in black letter on laid paper; previously folded with one faint spot; well-preserved and fresh. This proclamation announces the expulsion of one of the most famous impostors, dancers, adventuresses and liberated women of the 19th century. She came to Munich, where her conduct and open affair with the ageing King Ludwig I had become the catalyst of the 1848 revolution in Bavaria. 'King Ludwig created her countess of Landsfeld on 25 August 1847, when his initial platonic interest had become frankly erotic, although Montez usually rewarded his desires with frustration. As countess she became even more arrogant, establishing a corps of university students to act as her bodyguard and undermining the new cabinet until it too was replaced. The final crisis began on 9 February 1848, when Montez attempted to defy a mob attacking her student corps and was saved from assassination only by the arrival of troops. Two days later she fled Munich as an enraged mob stormed her villa. She ultimately found refuge in Switzerland, where she corresponded with King Ludwig, encouraging him to abdicate and join her. Depressed by her absence and the concessions forced from him by the revolutionary events of 1848, King Ludwig did abdicate on 19 March 1848' (Oxford DNB). This broadside is signed by the recently appointed minister of war, Mark, who had told the King that he would rather shoot himself than use the army to protect the increasingly unpopular dancer. Further signatures in print are that of the mayor of Munich and his secretary. 'This is made public to counteract diverse rumors,' they state. And more than rumours were to follow, as Lola managed to return to Munich disguised as a man in March and met the King. We were only able to locate two copies, both in the Municipal Museum of Munich. [Attributes: Signed Copy]

      [Bookseller: Henry Sotheran Ltd]
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        Bekanntmachung ... Die Königl. Bayer. Polizei-Direktion München theilt dem hiesigen Magistrate offiziell mit, daß die Gräfin Landsfeld, nachdem sie gestern die Haupt= und Residenzstadt München verlassen, heute Vormittags 11 Uhr von Pasing aus in Begleitung zweier Polizei-Bediensteter auf der Eisenbahn nach Lindau abgereist ist ...

      

      [Bookseller: Henry Sotheran Ltd.]
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        Portrait drawing of Hesing. Signed ("Hesing") in bold black ink at the foot beneath his portrait, also adding the junk name "Keying" and "Brooks" to the head, all with their equivalent Chinese characters beneath.

      [Blackwall, June 20th, 1848.] - 8vo. Mounted on cardboard. One addenda (see below). The drawing bears to the upper corner a red ink stamp with Chinese characters, being the seal of Prince Hui Rui. The document has been affixed to a slightly larger card. - Few stains not affecting the signatures. Small folding and creasing. - Together with a colourful visiting card, with Hesing signature, beneath his name in Chinese characters and alongside a Chinese ink red stamp, being the seal of Prince Hui Rui. The card has been affixed to a slightly larger card with a typed annotation "Signature of a Chinaman written on board the Chinese junk at Blackwall, June 20th, 1848". - With heavy folding. - The Keying was a three-masted Chinese trading junk that sailed from Hong Kong in December 1846 with a mixed crew of Chinese and British sailors. The vessel had been purchased surreptitiously by a conglomerate of enterprising English businessmen. It was placed under the command of Captain Kellett with the intention of carrying curiosities and merchandise to England and thereafter serving as a kind of floating museum. The Chinese crew members that they were embarking on such an extended journey were not aware of such plans. The Keying arrived in New York City on July 9, 1847, creating a sensation, with seven thousand visitors per day. - In late March 1848, the Keying arrived in London to great fanfare, and several different medals were struck to commemorate its appearance, including one that had a bust of Madarin Hesing. It was visited by the Queen Victoria, whose right to be the first European woman to visit it was reserved, The Duke of Wellington and Charles Dickens. - It has been suggested that the Chinese Emperor was aware of the project from the start and secretly kept informed about it, and that the mandarin served as an informer to report back in detail.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Grundriß der Metaphysik. Für Vorlesungen. Trier, Fr. Lintz, 1848.

      1848. (8), (3)-207, (1) SS. Lederband der Zeit mit goldgepr. Deckelfileten und Rückentitel. Dreiseitiger Goldschnitt. 8vo. Erste Ausgabe. Widmungsexemplar des Autors an seinen Lehrer, den Wiener Theologen und Philosophen Anton Günther (1783-1863): "Sr. Hochwürden, dem Herrn Dr. Günther in hochachtungsvoller Ergebenheit, der Verfaßer" (Vorsatzblatt). Der Trierer Theologe Merten (1809-72) war lange Zeit der Philosophie Günthers verpflichtet, dessen Werke 1857 wegen seines "Semirationalismus" vom Vatikan auf den Index gesetzt wurden. Der sog. "Güntherianismus", der in den Jahren 1830-70 großen Einfluß ausübte, bestand hauptsächlich in einer rationalen Begründung des Christentums und einer fundierten Anthropologie. Mertens eigene "Metaphysik" wurde zwar nicht indiziert, doch beugte sich Merten dem Willen der katholischen Kirche, wandte sich allmählich von Güntherianismus ab und "söhnte sich, je länger er lebte, innerlich mit den Principien der großen Scholastiker aus. Es wäre Unrecht, Merten einer rein äußerlichen Accomodation an eine ihm innerlich widerstrebende Richtung anzuklagen. Der einfache demütige Sinn des Mannes machte es ihm verhältnismäßig leicht, mit seiner Vergangenheit zu brechen" (ADB XXI, 470). - Zahlreiche wohl von der Hand des Autors herrührende Textkorrekturen, die in der Regel Zeichensetzung, Textauszeichnung, Sprachrhythmus etc., aber auch Wortergänzungen betreffen. Später in der katholisch-theologischen Fakultätsbibliothek zu Wien mit entspr. Titelstempel. Zuletzt in der Bibliothek Dr. Eduard Kamenicky (1925-2008). Dekorativ gebunden.

      [Bookseller: Antiquariat Inlibris]
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        A History of British Mollusca, and their Shells

      Van Voorst [1848-]1853, London - , 2 plain + 201 hand-coloured lithographic plates. . HB. 4 vols, lxxx, 486; viii, 557; x, 616; vi, 302, roy. 8vo, orig. cloth, patchily faded, a few small nicks to spines; endpapers foxed - generally very clean. Plates exquisitely coloured by hand. Some gatherings unopened. Vg. Plates by G.B. Sowerby and James de Carle Sowerby. Rare large paper edition with plates hand-coloured (in the small paper edition plates are uncoloured). The two plain plates are never coloured. Plates comprise 139 of shells and 64 of animals. [Nissen ZBI, 1406]. [Attributes: Hard Cover]

      [Bookseller: PEMBERLEY NATURAL HISTORY BOOKS BA]
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        Dombey and Son

      Bradbury and Evans, London 1848 - Book measures 8 1/2 x 5 1/2 inches. First edition, first issue, meeting Eckel points, lacking half title. Collation, engraved frontis, engraved title, printed title, xvi, 624pp, 40 plates, as index, 8 line errata. Bound in period or early quater calf, marble boards, raised bands, gilt tooing, coloured edges, marble endpapers. At some time, [ not recently ], the binding has been restored. Showing some signs of wear, marble pattern on boards, rubbed. Generally a nice clean firm binding. Internally, plates are clean, [ possibly washed ]. Pages and plates in good clean condition. A very nice copy, in a period or early binding. Size: 8vo [Attributes: First Edition]

      [Bookseller: George Jeffery Books]
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        Two autograph letters signed.

      Manchester and Pencarrow, 19 Oct. 1847 and 19 July 1848. - 8vo. Together 5 pp. To W. M. Christy and the photographer Edmund Fry, concerning currency reform and defending Robert Peel's Bank Charter Act of 1844: "I dare not attempt in a letter to enter upon the question of the currency but must reserve it for a topic of conversation when we meet. But with regard to Peels late bill for regulating the Bank, & the paper issues of the country, I do not see that it has been proved to be too stringent in its operations. On the contrary, the late gambling excitement in railways occurred after the passing of that measure-and the present depression arises more from the want of confidence & other causes than a deficiency of circulation and declaring: the nations of the Continent are groaning under the cost of their warlike establishments, which are everywhere unpopular, not only with the tax payers, but with those who have to serve as conscripts in the army".

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Oriental Album. Characters, Costumes, and Modes of life, in the valley of the Nile.

      London, James Madden, 1848. - Folio (382 x 522 mm). (6), 60 pp. With mounted chromolithographed additional decorative title heightened with gold, tinted lithographed portrait, and 30 hand-coloured lithographs. Numerous wood-engraved illustrations in the text. Contemp. red half morocco with giltstamped cover and spine title. All edges gilt. Marbled endpapers. Modern calf-backed marbled boards, spine gilt with morocco label. First edition. Only a small portion of the press run - as the present copy - was coloured by hand, providing the utmost detail and atmosphere to the splendid plates showing bedouins, horses, local life and costumes. One of the most sought-after and earliest publications by Prisse d'Avennes, who spent many years in Egypt after 1826, first as an engineer in the service of Mehmet Ali. After 1836 he explored Egypt disguised as an Arab, using the name Edris Effendi; during this period he carried out archaeological excavations in the valley of the Nile. In 1848 he first published his "Oriental Album". This unusual visual collection of "characters, costumes and modes of life in the valley of the Nile" is augmented by a commentary by the renowned orientalist and Egyptologist James Augustus St. John. - The frontispiece portrait depicts the artist's friend George Lloyd in the robes of a sheikh reclining with a hookah, and camels in the background. Lloyd, a botanist accompanying the expedition, accidentally shot himself whilst cleaning a rifle. - Final plate with a few minor repairs to margins; final leaf creased and with marginal repairs. One or two other minor marginal defects. - While normal copies of the first edition regularly appear in the trade or at auctions, the present coloured de luxe issue with all the plates is quite rare. The Atabey copy fetched £36,000 (Sotheby's, May 29, 2002, lot 975); the Longleat copy commanded $59,200 (Christie's, June 13, lot 110) that same year. Atabey 1001. Blackmer 1357. Lipperheide Ma 30. Colas 2427. Hiler 772. Brunet IV, 885. Graesse V, 449. Cf. Heritage Library, Islamic Treasures, s. v. "Art" (illustration). Not in Cook (Egyptological Libr.), Fumagalli (Bibliogr. Etiopica), Gay, Abbey. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Der Handel des Russischen Reichs.

      - 8vo. Contemporary dark green calf, ornamented in gilt, spine lettered in gilt, inner dentelles ornamented in gilt, pink watered endpapers, all edges gilt; pp. [iv], 330, [2, errata], tables in the text; light wear to extremities, a little spotted in places; provenance: duplicate from a Latvian library (1920s stamp), crossed out earlier German stamp of the Society for Antiquities of the Baltic Provinces of Russia. Scarce first edition of this picture of Russian economy, trade and manufacturing at the time, written by an English lecturer in Dorpat (Tartu, Estonia), who later wrote a book on the impact of the revolutions of 1848/9 on the Austro-Hungarian economy and administration. In the preface he obliquely hints that he wanted to include more statistical tables and material but was stopped by 'important voices' (i.e. the Russian authorities). Divided into six chapters the book opens with a geographical and statistic survey of the Empire, the national wealth, primary production, and industry. This is followed by the trade, the situation of the merchant class and their restrictions, ports, im- and export. The fifth chapter is on customs and tariffs, and the final one deals with trade companies, steam navigation, transport companies and trade agreements. Goldsmiths'-Kress 33720. [Attributes: First Edition; Hard Cover]

      [Bookseller: Henry Sotheran Ltd]
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        THE PIXY; OR, THE UNBAPTIZED CHILD. A CHRISTMAS TALE ... Beautifully Illustrated

      London: Published, for the Proprietor, by John Dicks, at the Office of "Reynold's Miscellany," Wellington Street North, Strand, 1848.. 12mo, pp. [1-8] [1] 2-136, two illustrations, original decorated gray-green cloth, front and spine panels stamped in gold and blind, rear panel stamped in blind, cream coated endpapers. First edition. A sentimental story about the ghost of an unbaptized child as a symbol of repentance. Bleiler (ed), Supernatural Fiction Writers: Fantasy and Horror, p. 209. Wilson, Shadows in the Attic, p. 420. Bleiler (1978), p. 165. Reginald 12157. Sadleir 2039. Early gift inscription dated 1 January 1849 on the front free endpaper. Spine lean, several small, mild stains to cloth, a very good copy. COPAC reports only two copies (British Library and Cambridge) OCLC reports only the British Library copy. A rare book.(#156312)

      [Bookseller: L. W. Currey, Inc. ]
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        Les confessions d'un ecolier, recueillies et mises en ordre par M. Alexandre de Saillet, maitre de pension. Illustrations de Victor Adam.

      Paris and Rio de Janeiro: Belin Leprieur et Morizot, 1848 - An important and rare juvenile title by Alexandre de Saillet, who ranks among the most important children's authors of 19th century France. In this book, Saillet pretends to be editing the anonymous confessions of a real schoolboy. Illustrated with a full-page frontispiece lithograph and eleven additional charming full-page lithographs by VICTOR ADAM. In this copy, all twelve of these plates are DELICATELY COLORED BY A CONTEMPORARY HAND. Large 8vo. Attractively bound in contemporary quarter calf and boards, spine gilt. Very light wear to binding. Text pages slightly darkened (but not acidic or fragile) due to kind of paper used, but the plates are on far better paper and are thus fine and bright, with only some faint traces of marginal foxing. Not in Gumuchian, who devotes a whole section to Saillet. An excellent copy of a rare book. [Attributes: First Edition; Hard Cover]

      [Bookseller: Cole & Contreras / Sylvan Cole Gallery]
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        Warragumba River. Near the Cow Pastures.

      Exeter: W.Spreat, c. 1848. Hand-coloured lithograph, mounted, 150 x 230 mm. A fine Australian view from a series of tinted lithographic plates (published as Sketches in Australia), of Sydney and Harbour areas, mountains and southern coastal regions of New South Wales, "drawn from nature" by Captain Westmacott.The Warrogamba River, part of the Hawkesbury River in New South Wales. It was discovered by George William Evans in 1804. The name comes from the Aboriginal words warra and gamba, meaning water running over rocks. The river was developed into a dam that now supplies a large portion of Sydney's water; the construction was completed in 1948.Little is known of Westmacott, except that he was a captain in the 4th (King's Own) Regiment, and that he spent the early 1840s in Australia. His published views represent the last in the chronology of work by military or naval officers in the romantic landscape tradition of the early 19th century. Fine.

      [Bookseller: Hordern House]
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        Erinnerungen an die Feldzuge der K. K. Oester Armee in Italien in der Jahren 1848 - 1849.

      Munchen, 1851 (data impressa nella litografia al frontespizio e nella successiva pagina di avvertenza). Album in folio massimo in oblungo (cm 43,5 x 59,8), le tavole (cm 42 x 59), front. in tavola tonolitografica + 24 tavole in b/n ciascuna delle quali protetta da velina con ampia descrizione didascalica dell'evento. Le tavole: 1. Scene aus dem Starssenkampf zu Mailand. Marz 1848; 2. Santa Lucia. 6 Mai 1848; 3. Erstürmung der villa Rotonda bei Vicenza. 1 Juni 1848; 4. Vor Vicenza. Am 10 Juni 1848, 5. Auszug nach der capitulation von Vicenza. Am 11 Juni 1848; 6. Sommacampagna. 23 Juli 1848; 7. Schlacht von Custozza. Der 25 Juli 1848; 8. Reitergefecht bei Volta. Am 27 Juli 1848; 9. Volta. Am 27 Juli 1848; 10. Vor Mailand. Am 4 August 1848. 11. Der Uebergang über den Tessino bei Pavia. 20 marz 1849; 12. San Siro. 21 Marz 1849; 13. Mortara (Den 21 Marz 1849); 14 Schlacht von Novara. 23 Marz 1849; 15. Erstürmung der Casa Visconti. 23 Marz 1849; 16. Die Rückkehr des Marschalls. Am Tage nach der Schlacht von Novara; 17. Verwundete Piemontesen in der Kirke zu St. Peter. Nach der Schlacht von Novara den 26 Marz 1849; 18. Vignale. Am 24 Marz 1849. 19. Auf dem Guelphenthurm zu Mestre. 4 Mai 1849; 20. Aus der Belagerung von Malghera; 21. Croaten - Quartier (in Casa Picozzi bei Mestre Vor Venedig); 22. Malghera; 23 Malghera. Nach der einnahme am 27 mai 1849; 24. Vorposten in den Lagunen während der Belagerung von Venedig, bei Campalto. Leg. in tutta tela verde con impressioni in oro al piatto. Opera completa di tutte le tavole. Tracce marginali di usura alla legatura e una macchia di sbiancamento al piatto, all'angolo inferiore sinistro; un certo allentamento, ingiallimento alle bianche e al frontespizio con sporadiche fioriture a certe tavole. Nell'insieme buone tutte le tavole, e l'album può dirsi in buono stato di conservazione.

      [Bookseller: Studio Bibliografico Botteghina D'arte G]
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        [ABORIGINES] Neuestes Bilderbuch zur Belehrung und Unterhaltung.

      Stuttgart : Engelhorn & Hochdanz, 1848. Folio, original cloth backed pictorial papered boards (rubbed; a few ink marks), the front free-endpaper inscribed 'Mary Stuart Greg / Ellen Greg, from their dear Parents. November 19th 1850'; hand coloured lithographic title page, pp [20 - introduction in German], followed by 28 hand coloured lithographic plates and a world map, each plate with an accompanying page of descriptive text in three columns in German, French and English; text pages with mild foxing, plates fine throughout; a good copy. A beautifully illustrated children's natural history and ethnology primer. The plates, which include depictions of an echidna (plate 1) and an Australian Aborigine (plate 2), illustrate mammals, birds, fishes, reptiles, insects, plants and seashells, as well as peoples of the world. Unrecorded in Australian collections.

      [Bookseller: Douglas Stewart Fine Books]
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        CARRIERA MILITARE DEL MARCHESE FEDERICO MILLET D'ARVILLARS.

      (Codice MB/2297) DOCUMENTI ORiGINALI: Primo documento (29/2/1848): promozione del Marchese d'Arvillars, già aiutante di campo di S.M., a Luogotenente Generale e Comandante Militare della Divisione di Alessandria. Rilasciato dalla Regia Segreteria di Stato per gli Affari di Guerra e di Marina, su foglio ripiegato di cm 30,6x20,5. Il testo si trova sulla 1a pagina, le 3 restanti sono bianche. Secondo documento: Decreto con cui il re Vittorio Emanuele II concede la pensione "per i disagi e le fatiche della guerra" (15/6/1849). Quattro pagine in pergamena di cm 30,5x21 con titolo a penna in francese e piccola etichetta, contenente un ampio testo manoscritto su 2 pagine, le 2 restanti sono bianche. Testo riquadrato da doppio filetto e ricca intestazione calligrafica a stampa, Firma del Duca di Genova Ferdinando di Savoia e varie altre firme alla 2a pagina. Sigillo regio in cera rossa (piuttosto deformato) nella scatola in argento dorato (diametro cm 8,5) mancante del coperchio; cordone in seta bicolore bianca/verde. Allegata ricevuta su carta azzurra (diritti di cancelleria). Tutto interamente originale e in ottimo stato. Euro 450.00 ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA

      [Bookseller: Bergoglio Libri d'Epoca]
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        [MANUSCRIPT] Campagne de la Corvette à Voiles l'Alcméne. Commandée par Mr. Coudein, Capitaine de Frégate, à destination des Mers du Sud et Océanie.

      An important, unpublished first-hand account of the voyage of the French naval corvette Alcméne in the South Seas, 1848-1852, including extended descriptions of the loss of crew members to cannibalism in New Caledonia in 1850, and of the vessel's infamous shipwreck at Kaipara on the west coast of New Zealand in 1851, whilst en route from Hobart Town to Tahiti. [Libourne, France, between 1882 and 1887]. Folio, 270 x 215 mm, manuscript, [159] pp, in 4 stitched sections of 23, 38, 48 and 50 pages respectively, the third section with 2 pencil and wash drawings in the text, the fourth section with 3 pencil and wash drawings in the text and one laid down on thick paper (a depiction of the wreck of the Alcméne); the manuscript is very well preserved and complete; [together with] Certificats de mes services à l'État. Signed autograph manuscript, Challans, 22 August 1887; folio, [3] pp, being the complete maritime service record of Ernest Gendron, author of the Alcméne manuscript. Born in Bordeaux in 1833, Ernest Gendron embarked as a "mousse" (equivalent to the Royal Navy's rank of "boy") on the three-masted corvette Alcméne in July 1848. Gendron's impeccably handwritten account of the voyage was evidently set down by him at some point in the 1880s, and is drawn from his original shipboard notebooks. The vessel departed the west coast of France for the Marquesas and Tahiti on 15 July, with a complement of 262 crew and 122 passengers, mostly soldiers, missionaries and Sisters of Charity of Saint Vincent De Paul. It reached Rio de Janeiro on 4 September, Valparaiso on 10 January 1849 and Callao on 18 February, where it remained for almost a month before sailing westward. The Alcméne arrived at Nouka-Hiva in the Marquesas on 3 April 1849, where it relieved the corvette Galathée. Gendron's account includes his observations of the Marquesans, whom he describes as "half-savage", despite the fact that cannibalism is no longer practiced in the islands. Some of the ship's crew participate in the construction of a barracks next to the church. After almost a year's sojourn at Nouka-Hiva the Alcméne departed on 30 March 1850 for Tahiti, where it arrived on 12 April. Its duties there included ensuring the supply of provisions to the missionaries living on the various islands, as well as conducting hydrographic surveys. On 4 July 1850 the ship left for Port Jackson, where it arrived on 8 September after calling in at the Gambier Islands and Wallis Island. The Alcméne did not remain in Sydney long, however, as on 4 October it received orders to sail to the Isle of Pines in New Caledonia, where it was to carry out more hydrographic survey work. The greater part of the manuscript is devoted to episodes in this part of the voyage, including revictualling the missionary communities, visits to the smaller islands, topographic surveys, encounters with the indigenous inhabitants, and the discovery in the jungle of the lost headstone of d'Entrecasteaux. On the 14 November 1850 14 of the Alcméne's crew were sent to explore the islands off the northern tip of New Caledonia in the ship's cutter. When they did not return a search was mounted, but only three of the sailors were found. Gendron, who had remained on board the Alcméne, recounts in great detail the gripping eyewitness narrative of one of the survivors, Lafitte. On 2 December 1850, while collecting fresh water on the island of Yenghebane, the sailors had been attacked by natives, who massacred 11 of their number and captured the other three, bringing them before the chief of the village. The three were then compelled to watch the preparations for the ensuing cannibal feast, as their companions were mutilated and then cooked over hot coals for two hours. Their body parts were distributed amongst the villagers and consumed to the accompanying sound of the enormous slit drums. Having witnessed this terrifying scene, the three survivors were led away to a nearby ravine, where they were held hostage under heavy guard for nine days, before their fortuitous rescue by members of the search party. After erecting a memorial stone to their comrades, the sailors carried out a punitive operation which showed the island's inhabitants no mercy: they were shot on sight and their villages were razed to the ground. (One of the repercussions of these events was that the island of Yenghebane was annexed by France in 1853). The voyage of the Alcméne continued regardless, and on 15 January 1851 she arrived at Hobart Town. Here orders were received to return to Tahiti via New Zealand, where she was to collect a cargo of kauri spars at Whangaroa on the east coast of Northland - often referred to as the shipwreck coast. The Alcméne left Hobart on May 22 with a crew of 229 and one female passenger (the Comtesse d'Ehrensvard, who was none other than the granddaughter of the Governor of Tasmania, Mary Bell Scott, the new bride of Comte Carl Augustin d'Ehrensvard, a sub-lieutenant in the Royal Swedish Navy on loan to the French Navy). On 3 June 1851 the Alcméne lost her bearings in a heavy storm and ran aground at Kaipara. Gendron provides a blow-by-blow account of this dramatic event and its aftermath, which sees a party strike out overland to find help, while the other survivors fend for themselves as best they can near the site of the shipwreck. His drawings, in particular his spectacular depiction of the Alcméne coming to grief in the storm, make his narrative all the more immediate. A group of Māori from a village 35 nautical miles distant eventually come to their rescue, transporting them in canoes as far as Akaroa, where they are met by British officers. The wreck of the Alcméne was a sensational event in early colonial New Zealand history. Gendron records that 33 sailors were drowned, although other sources give a lower number. In Auckland the survivors were feted, and a monument commemorating the loss of the French ship and crew was erected. Many of the survivors, including Gendron, were transported back to Tahiti on an American vessel. On 28 January 1852 they finally arrived back in Brest, after a three-and-a-half year voyage that had seen 87 men lose their lives. Gendron's manuscript is completed by brief accounts of his later campaigns, including the Crimea (1854-56) and Mexico (1861-63). For printed works on the voyage of the Alcméne, see O'Reilly, Patrick. Bibliographie de la Nouvelle-Calédonie, 117.

      [Bookseller: Douglas Stewart Fine Books]
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        A History of British Mollusca, and their Shells

      London: Van Voorst, [1848-]1853. , 2 plain + 201 hand-coloured lithographic plates. . HB. 4 vols, lxxx, 486; viii, 557; x, 616; vi, 302, roy. 8vo, orig. cloth, patchily faded, a few small nicks to spines; endpapers foxed - generally very clean. Plates exquisitely coloured by hand. Some gatherings unopened. Vg.. Plates by G.B. Sowerby and James de Carle Sowerby. Rare large paper edition with plates hand-coloured (in the small paper edition plates are uncoloured). The two plain plates are never coloured. Plates comprise 139 of shells and 64 of animals. [Nissen ZBI, 1406]..

      [Bookseller: Pemberley Natural History Books]
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        The Child's Own Book of Animals.)

      London, Darton & Co. n.d. not after 1847 or 1848. - Oblong small folio (15 x11ins, 370 x 270mm) publisher's blind-stamped brown silk cloth, title in gilt and colours to center of top cover, recased. 12 fine hand-coloured lithographic plates - a central figure and many marginal figures - each with phonetically spelled text leaf (horse bound as frontispiece, no text.) Without the coloured title-page (supplied as a photograph). Apparently rare. COPAC finds only one copy at Oxford University Library. Cotsen has a copy as "A Child's." The Dartons, publishers since 1785, were strict Quakers, and important figures in Reforming circles, this being reflected in their many educational books. The main, central, illustration is surrounded by vignettes of the animal in different scenes, and in the case of "useful" animals, their eventual destiny - pig as sausages, beaver as hats, bear as bears'-grease, cow as leather and dairy produce etc. Horse, cat, cow, dog, ass, beaver, pig, sheep, (polar) bear, camel, elephant, lion. [Attributes: Hard Cover]

      [Bookseller: Nicholas Goodyer ABA ILAB]
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        Poems Of Willliam Cowper Double Fore-edge Painting 1848 Fine Leather

      London: William Tegg. Very Good with no dust jacket. 1848. Hardcover. Color fore-edge; Poems Of Willliam Cowper a New Edition. Beautiful volume bound in black morrocco leather with elegant gilt embellishments. The front cover with a coat of arms titled "Tuum Est". Edges gilt. Paintings appear to be contemporaneous with the publication of the book in 1848. Engraved half title. Printed title page also. Line protrait of Cowper. When closed fore-edge is gilt and when spread one way it is London and when spread the other way it is probably Rome but possibly Greece. Contents and binding clean and firm. Paintings are intact . Provenance-A one owner life time collection. A double fore-edge painting. ; 0 .

      [Bookseller: poor mans books]
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        The Poetical Works.

      London:: Edward Moxon, 1848.. 12mo. xi, 377 pp. Half-title, index. Original full maroon morocco, gilt-stamped, gilt spine, a.e.g.; corners worn, else very good. Earlier unrelated ownership inscription, 1848. Bookplates of Edward Laurence Doheny and Carrie Estelle Doheny. With a fine fore-edge painting by the “Dover Painter” (ca. 1920s) of “The ruins of the Villa Maecenas at Tivoli.” The title label inscribed by the artist. The “Dover Painter” worked for Marks & Co. and became the backbone of the Doheny collection, with about half of her collection being specimens from this artist.

      [Bookseller: Jeff Weber Rare Books]
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        Des pieuses institutions Démidoff à Florence. Histoire et réglement. Ouvrage traduit de l'italien.

      [Firenze], Typographie de la Veuve Marie Marchini, 1848, in-8, br. edit. con cornice decorativa, dorso decorato, pp. 216. Titolo in copertina: "Compte rendu décennal des etablissemens de bienfaisance fondés à Florence par la famille Démidoff". Si tratta della traduzione francese di "Delle pie opere ed istituzioni Demidoff in Firenze", [Firenze], Tipografia della vedova Maria Marchini, 1848, edizione rarissima anche in italiano. Questa in francese, dello stesso anno, è, probabilmente, altrettanto rara. Ottime condizioni.

      [Bookseller: Libreria Antiquaria Gozzini]
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        The natural history of man

      1848. PRICHARD, John Cowles. The natural history of man comprising inquiries into the modifying influence of physical and moral agencies on the different tribes of the human family. [18], 678 pp, plus 12 pp ads. Illustrated with steel engraved hand coloured frontispiece, 55 steel engraved plates (on 50 sheets) of which 50 are coloured plus ninety-seven wood engravings within the text. Royal 8vo., 230 x 150, bound in publisher's red cloth with pictorial gilt stamping on spine and front cover. London: Hippolyte Bailliere, 1848. WITH: Six Ethnographical Maps, Illustrative of "The Natural History of Man." Comprised of a 4 pp. "Explanatory Notice" and 6 large double-page hand coloured engraved maps. Tall folio, 560 x 345 mm, bound in publisher's boards with original printed label, professionally rebacked in black cloth. [London, 1851]. |~||~||~||~| Ad 1: Third Enlarged Edition. A richly illustrated survey of the world's ethnographic make up including numerous depictions of Native American, many after George Caitlin's iconic images. The present copy survives in it's original publisher's gilt stamped cloth binding, very uncommon thus. Slight cracking to the front and rear joint, otherwise a fine complete copy. Ad 2: Second Edition. The uncommon separately published atlas as advertised on the verso of the half-title of The natural history of man... A series of six colourful, large scale maps further illustrating Prichard's work. Some wear to the binding, the maps remaining bright and clean. Sabin 65474.

      [Bookseller: Ursus Rare Books]
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        Panoramic Views of Rio de Janeiro and its surrounding scenery, Lithographed by James Dickson, from paintings by the late Le Capelain the original sketches by Edwd. Nicolle Junr Esqre.

      First edition, sepia issue. A lovely copy of this rare work. Le Capelain produced the ten views here based on original sketches by Nicolle. The ten views are uncaptioned and feature images of the city, Guanabara Bay, Sugarloaf Mountain and the surrounding hills. The son of a Jersey printer, Le Capelain (1812-1848) received most of his training in the family business. His artistic talent came to the notice of many with the publication of his watercolour of Mount Orgueil in Moss's Views of the Channel Islands in 1829. He lived in England for a short while in 1832 and travelled to Scotland and France where he continued to paint. On the visit of Queen Victoria to Jersey, he was commissioned to produce an album of watercolours to comemorate it. The Queen was so delighted with The Queen's Visit to Jersey (1847), she asked him to produce a series of  views of the Isle of Wight. Sadly, Le Capelain died of consumption before he was able to complete the commission. Abbey's note is curious, attributing authorship to Le Capelain, who never travelled further than France. Unfortunately, very little is known about Nicolle. Seven copies of this work located on OCLC. Just two copies have appeared at auction in the past 30 years: one in mordern half morocco, the other disbound. Abbey, 710. Borba de Moraes, 226.

      [Bookseller: HS Rare Books]
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        Letters from Ingersoll to James Madison and Others

      1848. 6 letters. Philadelphia Washington, D.C. 1825-1848. A Notable Philadelphia Attorney Writes to James Madison and Others [Manuscript Archive]. Ingersoll, Charles Jared [1782-1862]. [Madison, James [1751-1836], And Other Recipients]. [Letters from Ingersoll to James Madison and Others]. Philadelphia or Washington, D.C. 1825-1848. 6 letters comprising 11 pages, sizes range from 7-1/4" x 3-1/2" to 10" x 8." Manuscript in ink. Light to moderate toning, fold lines, minor wear and soiling. $950. * The son of Jared Ingersoll [1749-1822], Continental Congressman and Signer of the U.S. Constitution, Charles Jared Ingersoll was a Philadelphia lawyer and Pennsylvania U.S. District Attorney and Congressman. This small but interesting collection of letters are representative of his equally distinguished legislative and judicial careers. The addressees in our group of letters include former U.S. President James Madison, lawyer and later Mayor of Philadelphia John Morin Scott and John Young Mason, jurist and then U.S. Secretary of the Navy. The letter to Madison introduces a French nobleman visiting America who wishes "to examine its institutions." The letter to Scott concerns The Postmaster General v. Eldred &c. of Ridgway, a legal case he was hearing in the Court of the U.S. Eastern District of Pennsylvania. In 1844, while serving as U.S. Representative from Pennsylvania in the 28th Congress, Ingersoll wrote a letter to Richard E. Stillwell providing a detailed response to a request for a professional memoir. Ingersoll's letter of July 17, 1844 to E.L. Burd of Chestnut Street in Philadelphia accedes with the latter's request for an introduction to the newly appointed U.S. Minister to France, William Rufus King. Burd's reply the next day was written upon the same bifolium and returned to Ingersoll with Burd's "sincere thanks." In 1847 Samuel Grice of Kensington in Philadelphia, trying of obtain a midshipman warrant in the navy for his nephew, Samuel J. Deacon, wrote Ingersoll for his help. When no immediate action was taken by the Secretary of the Navy, John Young Mason [1799-1859], Deacon himself appealed to Ingersoll via letter on April 17, 1847. In turn, Congressman Ingersoll (without endorsement or comment) forwarded the letter to the Secretary of the Navy that same day to support his case. Writing to an unnamed recipient, Ingersoll's letter of March 25, 1848 sends along an unaut.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        Wuthering Heights

      New York: Harper & Brothers, 1848. First Edition. Hardcover. Good. 288 pp. First American edition, with publisher's misattribution on the title page "by the Author of Jane Eyre." An early rebind with grey cloth over black leather spine and tips, with leather showing recent restoration and rubbing at edges. Inner hinges exposed, though binding remains intact. Pencil scribbles and toning to end sheets, with corner torn from first blank at front. Title page worn, with previous owner name erased at top margin. Contents generally foxed, with occasional creasing, and several pages show small puncture holes. The author's only novel, published one year before her death at age 30.

      [Bookseller: Burnside Rare Books]
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        Missions de l'Orégon et voyages dans les Montagnes Rocheuses en 1845 et 1846

      Pussielgue-Rusand 1848 - - Pussielgue-Rusand, Paris 1848, 408pp., relié. - Edition originale de la traduction française par Bourlez. Le père de Smet avait lui même donné sa propre traduction dans une édition publiée à Gand, également en 1848. Un frontispice et un titre-frontispice lithographiés sur chine et imprimés en 2 tons. 12 planches lithographiées en 2 tons sur papier fort représentant la vie des indiens. Reliure en demi basane glacée chocolat. Dos à faux nerfs orné de 3 fers romantiques à froid, de roulettes dorées. Mors supérieur fendu en tête et queue et frotté. Coiffe de queue au cuir élimée et laissant apparaître le carton. Feuillet 251 et 253 détachés. Rousseurs éparses. Plats et brodures frottés. L'ouvrage contient la narration du voyage du père missionnaire jésuite de Smet le long du fleuve Colombia qui circule du Canada aux Etats-Unis. Ce dernier poursuit son voyage jusqu'à la rivière Athabasca, arrivant à Fort Augusta le 1er janvier 1846. Dans un autre voyage il retourne à Fort Vancouvert. Il repart enfin en juillet et s'arrête à la mission Saint Marie, puis descend le Missouri. On y trouve de nombreux renseignements sur le territoire de l'Orégon et sur les indiens, leurs coutumes, leurs moeurs et leurs croyances. NB : Cet ouvrage est disponible à la librairie sur demande sous 48 heures. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition of the French translation by Bourlez. 408pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Reise nach der Verbrecher-Colonie Neu-Südwales

      [=Voyage to the penal colony of New South Wales]. Series: Neueren Entdeckungsreisen Nach grösseren Reisewerken für die Jugend; Band 3. Leipzig : Julius Meissner, 1848. Small octavo, contemporary half blue morocco over marbled papered boards, 240 pp, illustrated with [4] steel-engraved plates, scattered foxing and browning (particularly to the plates), a small faint damp stain at bottom centre margin of first 50 pages, otherwise a good copy. Text in German in Fraktur. A work of fiction for children which recounts the voyage of an English convict to the penal colony in New South Wales, as told through the diary of the ship's doctor. Daily life in Sydney is described in great detail, and the narrative includes encounters with Aborigines and hunting game in the bush. An earlier version, also published in Leipzig, appeared in 1832, with the pseudonymous authorship of Peter Cunningham, Surgeon, R. N. Copies are recorded in three Australian collections (National Library of Australia; State Library of New South Wales; University of Sydney Library).

      [Bookseller: Douglas Stewart Fine Books]
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        Minutes of the Inferior Court for the Trial of Slaves and Free

      1848. A Georgia Slave is Executed for the Rape of White Woman [Manuscript] [Slavery]. [Georgia]. Minutes of the Inferior Court for the Trial of Slaves and Free Persons of Color for Capital and Other Offences [Headline Title]. Habersham County, Georgia, March 21-30, 1848. Five 12-1/2" x 8" ruled leaves, probably removed from a ledger, content to rectos and versos. Light toning, otherwise fine. Manuscript accompanied by a typed transcription. An excellent example of a slave trial. $3,000. * This legal record details the arrest, indictment, trial, witness statements and sentencing of the Negro Slave Dave, "property" of Francis Powel, for the Rape of Hester Ann Dobbs. The rape of a white woman by a Black slave was the most horrifying crime in the mind of the white population of the antebellum South. According to Census records, Hester Dodds was the 14 or 15 year-old daughter of a farmer. The rape was alleged to have occurred on March 18, "in the woods nearby a private pathway." Dave, the accused slave was arrested three days later. At first, he maintained his innocence, but after being jailed he allegedly "confessed" to his guilt. The trial took place on March 30. Despite his jail-house confession, Dave pleaded not guilty. Dobbs, the victim, testified that she saw Dave at his master's home. When she left, he followed her into the woods, where, seeing he was naked, ran from him. He followed, carrying a stick in one hand. Though only striking her with his hand, he threw her to the ground. She "resisted his attempts for some time," but he finally "ravished her by force." Though she was "much frightened," she "thinks she remembers all": that Dave "entered her" and that "an Eruption of Matter took place." He then "quit of his own accord and warned her that "he would kill her" if she told anyone about his crime. The victim's mother testified that her daughter returned to her their home "much injured and hurt. Bruised all over" and "much frightened", but relating what had happened, she said "If I don't live, I want you to make" the slave "suffer for this act". Two men who had not personally witnessed the rape merely testified they had seen evidence of a "considerable scuffle" (this despite a "heavy rain") at the scene of the crime, a "dried pine limb" nearby which "looked as though it had been used" and "barefoot tracks" on the path w.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        Die sieben Raben. Oper in einem Vorspiel & drei Akten. Clavierauszug. 296 Seiten Notenhandschrift mit Text in deutscher Handschrift.

      Leinwand des 19. Jahrunderts mit Deckelgoldtitel (Rücken fehlend! Vorderdeckel lose, die erste Lage lose, sonst gutes, nur gelegentlich etwas fingerfleckiges Exemplar mit einigen nachträglichen Korrekturen). Quer-4. Vollständige orig. Notenschrift des Komponisten (Peter) Paul (Heinrich) Schumacher mit dessen Namensstempel auf der ersten Seite. Auf dem vorderen fliegenden Vorsatz ein einmontierter Zettel mit einem kurzem eigenhändigen, erläuternden Text. Schumacher, 6.11.1848 - 25.4.1891 war ein Schüler von Fr. Lux und des Leipziger Konservatoriums. Er gründete um 1882 in seiner Heimatstadt Mainz ein Musikinstitut unter dem Namen "Paul Schumacher'sches Conservatorium der Musik", das 1920 von der Stadt übernommen wurde und sein 1936 als Peter-Cornelius-Konservatorium firmiert. Er komponierte außerdem u.a. eine Symphonie (Serenade) (in D moll) für grosses Orchester, Op. 8 Trauer-Marsch für grosses Orchester, Op. 10 Bilder vom Rhein. Moderne Suite für grosses Orchester, Op. 48 u.a. - Vgl. Frank/Altmann (Tonkünstlerlexikon), 12. Auflage, p. 364f.

      [Bookseller: Antiquariat Dr. Lorenz Kristen]
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        THE NATURAL HISTORY OF MAN. Comprising inquiries into the modiying influence of physical and moral agencies on the different tribes of the human family. Third edition enlarged with 50 coloured and 5 plain illustrations engraved on steel, and 97 engravings on wood.

      Hippolyte Baillière. (Codice AP/0522) In 8º (24,2x16 cm) XVIII-677 pp. Terza edizione ampliata, illustrata con 152 incisioni in gran parte a piena pagina su tavole fuori testo, acquerellate a mano e protette da velina, tutte ben conservate. E' l'opera più importante di Prichard (1786-1848), antropologo, psichiatra e linguista inglese, precursore delle teorie di Darwin in quanto affermò l'unica origine delle diverse razze umane. In questo studio dimostra i legami tra le lingue e culture dei popoli di tutto il mondo. Esemplare in ottime condizioni, privo delle ordinarie ingialliture. Antica firma alla sguardia. Tela rossa editoriale, angoli lievemente usati, cerniere fragili, 2 strappettini al dorso. Cornice a secco in copertina, belle illustrazioni oro al piatto e al dorso titolo al dorso in oro. Cofanetto moderno in cartone marmorizzato e bordi in pelle rossa // Third edition enlarged. Signature on fly-leaf. White paper, no browning/foxing. Original red cloth, hinges weak, title and illustration in gold and 2 tiny rips at the spine. Blind stamp frame on covers, gold illustration on upper cover, corners a bit worn. Preserved in modern marbled box. Euro 860.00 ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA

      [Bookseller: Bergoglio Libri d'Epoca]
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        Mémoire sur la planète Neptune.

      Paris, Bachelier, 1848. ____ Tiré à part des Comptes rendus des séances de l'Académie des Sciences', tome XVII, séance du 2 octobre 1848. On joint 9 tirés à part des communications de Le Verrier à l'Académie des Sciences et un de Mouchez : - Recherches sur les comètes périodiques. ... , tome XXV, séance du 25 octobre, 1847. 11 pp. - Recherches sur les comètes périodiques. ..., tome XXV, séance du 20 décembre, 1847. 9 pp. - Nouvelle détermination de la différence de longitude entre les observatoires de Paris et de Greenwich. ..., tome XXXIX, séance du 25 septembre 1854. 14 pp. - Théorie et tables du mouvement de Vénus. ..., tome LI, séance du 26 novembre 1860. 7 pp. - Réponse de M. Le Verrier à M. Delaunay. [sur une modifications de nombres de la Théorie de Vénus et de la Terre.] ..., tome LI, séance du 26 novembre 1860. 4 pp. - Réponse de M. Le Verrier aux critiques [de Delaunay] dirigées à tort contre quelques-uns des derniers chiffres, des derniers coefficients des dernières séries dont dépendent les actions réciproques de Vénus et de la Terre. ..., tome LI, séance du 19 novembre 1860. 7 pp. - Travaux en voie d'exécution à l'Observatoire. ...tome LXXXX, séance du 28 juin 1875. 6 pp. - Eclipse totale du Soleil le 18 août 1868. ... tome LXVI, séance du 3 février 1868. 7 pp. - Exposé des opérations entreprises par l'Observatoire ... pour la détermination astronomique des longitudes et latitudes des points principaux du réseau géodésique français. ...tome LVI, séance du 5 janvier 1863. 20 pp. On joint : Catalogue [des étoiles] de l'Observatoire de Paris. Note de M. Mouchez. ...tome CV, séance du 17 octobre 1887. 4 pp. *-------* 10 off-prints by Le Verrier and one by Mouchez. In-4. [235 x 151 mm] Collation : Brochés, sans couverture.

      [Bookseller: Hugues de Latude]
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        Map of South Australia, New South Wales, Van Diemens Land, and Settled parts of Australia.

      Respectfully dedicated to Major Sir T.L. Mitchell K.t D.C.L. F.G.S. &c Surveyor General of New South Wales .... London : James Wyld, [c.1848]. Engraved map with hand colouring, 620 x 1000 mm, dissected and laid on linen and edged in green silk, as issued, folding to 210 x 130 mm, in original card slipcase with original printed labels to front and spine, a fine copy. With insets of Sydney, Adelaide, Western Australia and Tasmania. This version of Wyld's map, first published in 1841, pre-dates the creation of the colony of Victoria, which is marked 'Australia Felix'.

      [Bookseller: Douglas Stewart Fine Books]
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        Handbüchlein für Wühler oder kurzgefaßte Anleitung in wenigen Tagen ein Volksmann zu werden. Von Peter Struwwel, Demagog.

      Leipzig, Gustav Mayer 1848. - Zweite Auflage. Mit Holzschn.-Titelvignette. 42 S., 3 Bl. Vlg.-Anz. Rückenbroschur. Friedländer 76. - Berühmte Satire auf die deutschen Revolutionäre mit der originellen Titelvignette: Ein typisch gewandeter, wild dreinblickender "Wühler" steht auf einer Deutschlandkarte und tritt mit dem Fuß auf die Königskrone. - Die Satire wurde von der reaktionären Partei mit Anerkennung gelesen, worauf Hoffmann im nächsten Jahr als Gegengewicht den "Heulerspiegel" schrieb. - Titel mit altem Namenszug "Rupprecht". Verso Titel Exlibris von Eduard Erdmann (1896-1958, Pianist und Komponist, Bibliophiler, dessen Bibliothek 1959 größtenteils bei Hauswedell in Hamburg versteigert wurde). Titel verso und letztes Blatt recto etwas stärker braunfleckig bzw. gebräunt.

      [Bookseller: Antiquariat Uwe Turszynski]
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        The Miracles of Our Lord

      London: Longman, London, 1848. Book measures 7 x 5 inches. Engraved title, 32 coloured chromolithagraphic plates, +4pp. Bound in period publishers black paper mache binding, full gilt edges, marble endpapers. Binding has had some minor repairs and restoration work. A very good clean firm binding. Internally, previous owners book plate, text block bound slightly to tightly [ usually the pages on a gutta-percha binding have become loose. or detached, this copy has probably been recased, hence slightly to tightly ] last 4 pages of text has some light staining. Pages and plates in very good clean bright condition throughout. A very nice copy.. Very Good Plus. Illus. by Noel Humphreys.

      [Bookseller: George Jeffery Books]
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        Two original 1848 manuscript real estate maps detailing the plots owned by Jacob Harsen`s estate. - Stephen Colbert. - Jacob Harsen (1750-1835). - John J. Serrell (surveyor)..

      (New York), John Serrell, 1848.. 26 1/8 x 19 1/2 inches and 25 1/2 x 18 5/8 inches. Two original manuscript real estate maps detailing the plots owned by Jacob Harsen`s estate, situated between 54th and 53rd street and Broadway and Ninth Avenue, both titled: "Map of the Real Estate in the 12th Ward of the City of New York belonging to the Estate of Jacob Harsen, decd. Surveyed July 1848 by John J. Serrell City Surveyor" wove paper, pen, ink and wash plans, edged with cloth ribbon, backed onto linen, rolled. Both with light creasing, toning, and some light damage with small losses, edging defective. - Comprising: 1. `Map of the Real Estate...`, 26 1/8 x 19 1/2 inches, 9th to 8th Ave, between 54th and 53rd. - 2. `Map of the Real Estate...`, 25 1/2 x 18 5/8 inches, 8th Ave to `Bloomingdale Road ` [i.e. Broadway], between 54th and 53rd. - The present maps represent one of Jacob Harsen`s subsidiary holdings, and cover an area that now includes the the Midtown North Police Precinct building, the Midtown Community Court , as well as Studio 54 and the Ed Sullivan Theater (the home of `The Late Show` with Stephen Colbert). - The main Harsen holding was originally a 94-acre farm, bought for £450 by Cornelius Dyckman in 1701, centered on what is now Broadway and 73rd Street. Dyckman`s daughter Cornelia married Jacob Harsen, and the farm eventually passed into Harsen family ownership. - John J. Serrell is the eldest of three brothers who were surveyors or engineers with official connections to New York City. The New York Historical Society hold a number of his other surveys of the city.

      [Bookseller: Antiquariat Turszynski]
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        Two original 1848 manuscript real estate maps detailing the plots owned by Jacob Harsens estate. - Stephen Colbert. - Jacob Harsen (1750-1835). - John J. Serrell (surveyor)..

      26 1/8 x 19 1/2 inches and 25 1/2 x 18 5/8 inches. Two original manuscript real estate maps detailing the plots owned by Jacob Harsens estate, situated between 54th and 53rd street and Broadway and Ninth Avenue, both titled: "Map of the Real Estate in the 12th Ward of the City of New York belonging to the Estate of Jacob Harsen, decd. Surveyed July 1848 by John J. Serrell City Surveyor" wove paper, pen, ink and wash plans, edged with cloth ribbon, backed onto linen, rolled. Both with light creasing, toning, and some light damage with small losses, edging defective. - Comprising: 1. Map of the Real Estate..., 26 1/8 x 19 1/2 inches, 9th to 8th Ave, between 54th and 53rd. - 2. Map of the Real Estate..., 25 1/2 x 18 5/8 inches, 8th Ave to Bloomingdale Road [i.e. Broadway], between 54th and 53rd. - The present maps represent one of Jacob Harsens subsidiary holdings, and cover an area that now includes the the Midtown North Police Precinct building, the Midtown Community Court , as well as Studio 54 and the Ed Sullivan Theater (the home of The Late Show with Stephen Colbert). - The main Harsen holding was originally a 94-acre farm, bought for 450 by Cornelius Dyckman in 1701, centered on what is now Broadway and 73rd Street. Dyckmans daughter Cornelia married Jacob Harsen, and the farm eventually passed into Harsen family ownership. - John J. Serrell is the eldest of three brothers who were surveyors or engineers with official connections to New York City. The New York Historical Society hold a number of his other surveys of the city.

      [Bookseller: Antiquariat Turszynski]
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        Two original 1848 manuscript real estate maps detailing the plots owned by Jacob Harsen`s estate. - Stephen Colbert. - Jacob Harsen (1750-1835). - John J. Serrell (surveyor).

      (New York), John Serrell, 1848. - 26 1/8 x 19 1/2 inches and 25 1/2 x 18 5/8 inches. Two original manuscript real estate maps detailing the plots owned by Jacob Harsen`s estate, situated between 54th and 53rd street and Broadway and Ninth Avenue, both titled: "Map of the Real Estate in the 12th Ward of the City of New York belonging to the Estate of Jacob Harsen, decd. Surveyed July 1848 by John J. Serrell City Surveyor" wove paper, pen, ink and wash plans, edged with cloth ribbon, backed onto linen, rolled. Both with light creasing, toning, and some light damage with small losses, edging defective. - Comprising: 1. `Map of the Real Estate.`, 26 1/8 x 19 1/2 inches, 9th to 8th Ave, between 54th and 53rd. - 2. `Map of the Real Estate.`, 25 1/2 x 18 5/8 inches, 8th Ave to `Bloomingdale Road ` [i.e. Broadway], between 54th and 53rd. - The present maps represent one of Jacob Harsen`s subsidiary holdings, and cover an area that now includes the the Midtown North Police Precinct building, the Midtown Community Court , as well as Studio 54 and the Ed Sullivan Theater (the home of `The Late Show` with Stephen Colbert). - The main Harsen holding was originally a 94-acre farm, bought for £450 by Cornelius Dyckman in 1701, centered on what is now Broadway and 73rd Street. Dyckman`s daughter Cornelia married Jacob Harsen, and the farm eventually passed into Harsen family ownership. - John J. Serrell is the eldest of three brothers who were surveyors or engineers with official connections to New York City. The New York Historical Society hold a number of his other surveys of the city. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Uwe Turszynski]
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        Autograph Letter, signed, to Barto. Parodi [?], in Genoa

      Messina, 1848. Docketed "copia" at top left corner; and with integral address sheet, with red Messina postal stamp of "12 Luglio". 4to. Docketed "copia" at upper left corner. Docketed "copia" at top left corner; and with integral address sheet, with red Messina postal stamp of "12 Luglio". 4to. From Sicily during the First Italian Independence War. Lella was a prominent Sicilian banker and politician who eventually became a Senator in the united Kingdom of Italy, in 1861. The present letter was written around the time of the first Italian War of Independence (1848-1849), when revolts against the Austrians broke out in Naples and Sicily, Lella's homeland. Difficulties and dangers of communication and travel during a time of war no doubt explain the time gap between the composition of the letter and its posting over two weeks later. "The one remaining means of communication between Napoli and Este is via French postal steamers ..." A fascinating letter from a prominent politician during the turbulent years leading to the unification opf Italy.

      [Bookseller: James Cummins Bookseller]
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        Gemmi d`Arti Italiane, anno quarto. Contenenti le piu insigni opere italiane di pittura e scultura, state eposte nelle principali accademie.

      Milano e Venezia, Carpano 1848. 4°. Titelbl. u. Vorwort mehrfarbig lithogr., 7 Bll., 140 (4) S. Mit 18 Tafeln in versch. Techniken. HLdrBd. mit rotem RüSch. (dieser erneuert), Vorderdeckel mit mont. Farblithogr. unter mehrfarb. geprägtem Passepartout, dieses mit kl. Ausriß. Kanten berieb., Ecken etw. bestoßen, insgesamt gutes Exempl.- Die Tafeln zeigen Reproduktionen u. Veduten. Dekoratives Beispiel der italienischen Buchkunst dieser Zeit. Versand D: 15,00 EUR Literatur, italienische, 19. Jhdt., Ansichtenwerke, Alben

      [Bookseller: Antiquariat Löcker]
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        Friedrich der Weise, Kurfürst von Sachsen, Ein Lebensbild aus dem Zeitalter der Reformation,

      Grimma, Verlag von J. M. Gebhardt, 1848. Mit einem Frontispiz und der Karte des Kurfürstentums Sachsen, VIII, 586 Seiten, 8°, schwarzes Hln mit Rückenschildern Gutes festes Exemplar mit eingeklebtem gestempeltem Besitzvermerk und Rückenschild. Seltene Biographia! Versand D: 5,00 EUR Hs 46027, i

      [Bookseller: Antiquariat im Baldreit]
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        Collection de 124 carnets de bal du XVIIIe siècle formée par M. Bernard Franck a Paris de l'année 1875 au 23 avril 1902.Paris, Gerschel, Photographe, 1902. Large 4to (32.5 x 29 cm). With one full-page (27.5 x 23 cm) and 248 mounted carbon print photographs (ca. 8.5-9 x 4.5-5.5 cm) on 63 leaves of thick hinged card board, and 4 preliminary letterpress text pages printed in red and black. Original dark green half morocco, with title in gold on front board and spine, gilt edges.

      Rare catalogue of the collection of dance card cases of Bernard Franck (1848-1924), a well-known collector of memorabilia from the Napoleonic era. It shortly describes and displays both sides of 124 ornate eighteenth century jewelled cases to house dance cards issued for royal and aristocratic balls. The catalogue was only produced in 20 copies, and the collection of cases was sold to J.P. Morgan around 1910, who donated it to the Metropolitan Museum of Art in 1917.While there appear to be a few copies, with a varying amount of photographs, the present copy is complete except for the full-page portrait of Franck, and is otherwise identical to the copy in the BnF, including the binding. The bookblock is almost fully separated from the front hinge and the spine is slightly rubbed, but the binding is still attractive. The photos and text are in very good condition.

      [Bookseller: Antiquariaat FORUM BV]
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        INSHOKU YOJYO KAGAMI & BOJI YOJYO KAGAMI: A MODEL OF MEN'S &WOMEN'S HEALTH CARE

      [Japan c.1848, n.p.]. A matching pair, large broadsides,very good, vegetal colored woodblock prints, hand-printed on hand made large Washi Kawaraban paper, size ca: 36.5 x 50 cm., with title cartouche and adjacent texts. A RARE SET COMPLETE MEDICAL TECHNOLOGY IN JAPAN CA. 1848: The general understanding of "medicine" in the daily lives of the common Japanese was exceptionally limited. They truly lived on superstitious beliefs, or some believed in some primitive Chinese-related traditional and ancient medical practices, most of which were anecdotal. Japanese of this period had little factual knowledge, and lacked reliable, "medical" knowledge of how their bodies actually functioned. The name of and workings of various organs were not well understood. * With the appearance of this set of large sized color charts showing the bodily functions and names had a great impact and value on to a society of rather ignorant people. Hitherto these people only had rudimentary concepts on the workings of their own bodies. This print gave graphic insights to the workings and functions in laymen terms. * An unique look at how ingenious Japanese physicians conceived of and applied known native concepts of "medical technology" and expanded on that to give ordinary Japanese a better insight to actual bodily functions. These physicians utilized every-day products to explained and relate the complex functions of the human organism. A graphic look at the workings of human anatomy expanded the horizons of most Japanese. This set of prints accomplished the goals of the physicians achieving superb results. * THE WORKING OF THE ORGANS: Collecting teams of miniature male or female workers, the bodily functions were reduced to common, familiar & daily activities of rural Japanese in terms of farming, metallurgy, grain production. Also the common practice of making of essential oils, all graphically shown in easy terms of contemporary technological images and supported with easy text and vocabulary, to facilitate understanding. Most every one in Japan during this time understood and had observed these methods of production, so it was natural to assume that the body worked along similar lines. Using examples from daily life helped to insure good understanding of the body. * DESCRIPTION OF THE PAIR OF PRINTS: This superb and most rare example consists of the complete set of two color woodcut prints; "INSHOKU YOJYO KAGAMI" [the male print] & "BOJI YOJYO KAGAMI" [the female print]. Each print shows the complete body with the organ functions, and the resulting bi-products. Biological function is enhanced by emotional motives and other characteristics are portrayed in a similar manner. * The pair of prints clearly shows the major differences between the male and female, their emotions, psychological factors influencing bodily functions, beautifully illustrated with much detail. * "INSHOKU YOJYO KAGAMI" [reflections on the male]: This shows an ordinary Edo period Japanese man drinking a cup of hot Sake [wine], with a tray of celebratory food before him on a tray, perhaps it was New Years ? The tray holds a red snapper with ginger. He is seated and as he drinks, all internal organs are identified from the top: lungs, heart, liver, pancreas, stomach, the large & small intestines. There is a profusion of descriptive text surrounding the illustration, with red lines to indicate the function of each organ, which is described in much detail. The prints are like a road map to the body and its complex components. * THE MALE ORGANS: * The heart shows GREED; showing people bringing gold to the owner, while he pours over his account book. The lungs are shown as a team of men with giant fans making the exchange of air possible, resulting in breathing. Other workers in the stomach show a team of labors with bamboo poles or yokes on their shoulder with wooden buckets suspended at each end carrying food being moved about, as others shovel and hoe food around. Another worker climbs up a ladder to the heart to dump food there ! The process of cleansing [creation & movement of urine] is shown as a group of men pouring buckets of liquid in a press to filter and extract. As the food goes through the digestion process the last stop is the "Mon" or "gates," controlled by two "gate keepers" who allow the flow and refuse to depart. * BOJI YOJYO KAGAMI: [reflections on the female]: This superb and most RARE example, shows a Japanese Oiran or prostitute at leisure. She has the typical elaborate hair pins and stunning silk Kimono, she also displays another sign of her profession: upper lip in red, lower lip in green. She is sitting beside her black and gold lacquered smoking box, and she is smoking a "Kiseru" pipe. Draped over the handle of the smoking box is a large group of Chirishi [toilet paper] used to wipe up after love-making. The whole print was done like a pictorial map of bodily functions, with a large crew of tiny women workers who labor to make the body perform digestion and all related functions. At the top, as the woman inhales the smoke, there are two tiny women who operate the mechanical bellows [often used in metal & Japanese sword production] by pushing & pulling to 'pump' & fan lung activity. One just rests while the woman is at ease. Another pair of female workers have hand held fans as an auxiliary to lung pumping. The heart is surrounded by flames, indicating this is the source of passion and emotions: greed is displayed by a woman who is the bookkeeper, who counts the money, another is in charge of actual money or gold "Ryo" coins. These two areas are in her breast, and the breasts are shown, the right side shows a mother scolding a child for taunting cats. The process of digestion begins just under this area with a team of women who haul buckets of food. Another pair of female workers tend the "Kama" or rice cooker made of metal held over a fire with another worker who blows through a bamboo tube to force the fire to surge, which in turn "fires" the emotions of the heart. Others female workers haul rice, tea & other things to eat on a small pathway leading towards a stone grain [grist] grinder attended by two other workers who turn the grist mill while the other rakes the grain. Other organs are represented by a woman who fans the hot food to cool it before it proceeds along the digestive path. The results of the grist mill is poured into what appears as circular intestines dividing the results into liquid and solid. The solid is raked into fields [typical use by farmers in Japan], the liquid goes down to be discharged. Adjacent to the uterus are the fallopian tubes, which shows an elder women in a fine Kimono holding fans; one shows a very old woman with a cane being tended by a younger woman. * The internal organs are identified from the top: lungs, heart, liver, pancreas, stomach, small & large intestines. There is a profusion of text surrounding and within the illustration, with oval paragraph markers. Each paragraph explains the function of an organ. In the heart, GREED is the subject of the illustrated, as a woman bring Gold down a ladder from above the throat. This was a superb example created for the common woman to understand the complex process with a visual aid, and written in simple Japanese. It is interesting to note, that the female subject of this print is not an ordinary woman, but rather one who was a prostitute, the clear message was that it would have been improper to expose the internal and sex organs of anyone other than a prostitute. * THE EDUCATIONAL USE AND APPLICATION OF THESE MEDICAL PRINTS: The Japanese understanding of their own bodily functions in the mid-19th. century was very limited and basic. This set of prints were used as educational tools by physicians and medical doctors to explain medical problems and causes of illness to the lay public. They were also used by medical teachers to give students a graphic insight to the bodily functions. In essence, these superb examples were created for the common man and woman to understand the complex process put into simple Japanese terms. * VARIANTS: Male There are three variants to the male print: a. The man wears a black and white plaid Kimono over one shoulder with a bottle of Sake near his left hand, with the artist's signature and censor's seal, with gray background. * b. The same similar print of the man but without the Kimono and the bottle of Sake is at his right hand side, with a green background at the bottom one third of the illustration, without the artist's signature or seals. See Nakahara cited below, pp. 144 & 145 i.e. illustrations numbers 114 & 115 for variants a. & b. * VARIANTS: Female: As for the female print there was only one variant. It was later issued in a "cheap edition," without any color, it was issued in "key blocks" or with black outline. This reliable detail was gleaned in a hand-written letter to us from Dr. Richard Lane, a scholar and author of several reference books on Japanese woodcut prints, dated Jan. 30, 1978 [see a scan of this on our web site]. Wherein he wrote to us about these two prints. "...My books are 1/2 started & I've only found "medical" discussion of the "male" print [by a scholar who was unaware of the "female" one--which is rarer]--the [one] I know. There's a discussion of the banning of the latter, somewhere. However, I have dug out my own 1967*** very preliminary study of them and enclose this shows the NON-colored, later ["cheaper"] version of the "female," but the "male" is a similar version to yours. [You can quote this [me] if desired. FOOTNOTE: *** = See Lane's 2 page article on these two prints in ASIA SCENE December 1967, pp.113-114 with illustrations [a scan is on our site]. The "female" print was never signed, nor censor sealed as this print was prohibited as being considered "licentious" by the Shogunate, therefore again as per Dr. Lane's letter cited above, there was in the literature a citation [now lost] concerning the banning of this print. Evidence is clear, a print lacking artist's signature, and without a censor's seal means an unauthorized printing and publication. All prints, books and maps of the period had to have Shogunate censor's approval and seal carved into the woodblocks. Because this print lacks all of that crucial information it means these were never approved by the Shogunate government. They remained unauthorized and "banned" but were printed as the companion to the "male" counterpart. It is worthy to note here, that the first printing of the "male" part was approved by the Shogunate government censors, and therefore also signed by the artist and had the censor's seal. See Nakahara p.114, illustration 114, where these appear. However on the following page 145, illustration number 115 is completely devoid of the artist's signature and the censor's seal. This means that the Shogunate changed its mind after publication and the print was there after "banned" and the "female" print never approved at all. This means the female print was printed in a very small and limited number, and not for sale on the open market but strictly sold covertly. * RARITY: * Per Dr. Lane's letter cited above: "...[the] "female" one --which is rarer..." Gives us a very good insight to this piece of vital information. Dr. Lane had lived in Japan from the early 1950's and had a major collection of Japanese Ehon [illustrated books] and Shunga [erotic prints, books]. He also had a copy of these two prints in his collection, and was in a position to know what "rare" was. His comment that the "female" print was "RARER" was an opinion based on living, writing and collecting Japanese woodblock printed works in Japan for more than 28 years. * In the above letter he even cites a Japanese scholar's unawareness of the existence of the "female" print ! Therefore it is understandable, that indeed the "female" print remains substantially rarer than the male counterpart. Given the fact that the "male" print was approved and published, one can assume that the standard edition of about 200 copies were produced in all. * KAWRABAN: GRAND SIZE OF THE PRINT, PRINTING AND WOODBLOCKS: RARITY OF BROADSIZE [KAWARABAN] PRINTS * It is worthy to note here, that these two prints were "Kawaraban" or double the standard Oban size [ca. 23 x 35 cm.] Therefore these prints were at least twice as costly to make and carve, and used double the paper of standard sized prints. Using a single cherry-wood slab of this large size was expensive and seldom found and even more unusual to use as a single "Kawaraban" or broadside format print. "Kawaraban" was more commonly used in the making of maps, but again many of them were composed of several smaller prints being glued to form a larger size. This single sheet "Kawaraban" print required special large-sized paper and special large blocks. One must remember, that for every color found in each print another block was required. Typical woodblock printing involved a "key block" is done in black outline; next an additional block for every color found in the print. * In this case, this print took at least seven blocks including, covering the "key block," using colors: black, blue green, yellow, red and pink. This is a large number of "Kawaraban" size blocks, other "Kawaraban" never approached this size for a single polychrome print. Most "Kawaraban" were strictly done in "key block" or black ink on white paper. The standard print production of a set of wood blocks was known to be about 200 prints before gaps in between the colors and the "key blocks" began to appear. These 'gaps' were the results of the blocks drying overnight, after the application of water-based inks. As the blocks dried out, they began to warp and check, rendering them useless for any quality reprinting. Therefore the printing of this set of prints must have been done at a very fast pace, without rest time to print the complete multi-color work and all copies before the blocks became useless. The larger the blocks the faster they warp and become useless. One may deduce from all of these factors, that who ever financed this printing was clearly was a person financial means and a great desire to see the work come to fruition. One can also presume that a Japanese physician or Rangaku-sha [Scholar of Dutch learning] was behind this in an effort to teach the public about basic health issues even if contrary to Shogun law. The strong desire to educate the public was a altruistic endeavor and had obvious risks by openly going against the Shogun's policy against licentious print production. * "DO-GOODERS" PRODUCE THIS SET OF PRINTS FOR THE PUBLIC: * Therefore, given the large and extra costs to produce this set of prints, in terms of super-sized blocks and extra large "Kawaraban" hand-made "Washi" paper, in addition to the carving and printing costs, are clear examples of a great desire to bring these prints to the public's eye. It is therefore worthy to contemplate that the actual costs of these prints were partially borne by "do-gooders" in the medical community*** [see footnote below]. In that cast, in our opinion, the "male" part was produced in two printings and variants, in total yielding about 400 prints in all [i.e. 200 per each printing]. The "female" print was done in a single version, yielding about 200 copies in all. The later, "cheap" edition that Dr. Lane has spoken of is not something we have ever seen nor found in any collections throughout the world, and we now question the actual existence of any "key block" editions of either or both prints. The examples he used in his ASIA SCENE article seem to have been the colored versions. Therefore we feel that in all there were no more than about 400 prints of the two "male" editions and no more than 200 of the "female" edition, thus the understandable comment from Dr. Lane comment about the "female" version being the "RARER" of the two prints. * FOOTNOTE: A prime example of a "do-gooder" was Matsukawa Hanzan was a grand innovator who took it upon himself to educate the average Japanese in agriculture, nature, natural science, medicine and a host of other "foreign and Western technological and scientific subjects. Perhaps he or group of his like-minded colleagues collected their assets to produce this set of prints for the general education and benefit to the public good. * YOSHITSUNA'S BURNING DESIRE TO FINISH HIS SERIES OF TWO: * Based on the fact that there was no signature nor Shogunate censor's seal on the "female" print, we must assume that Yoshitsuna had a burning desire to finish his series. He may have been one of those people who had no compunctions about disregarding what he felt was the public's "need to know" about their own sexuality and their own bodily functions. He was obviously willing to risk all by printing the second part of this series about the female body. Anyone in the Shogunate government would know, by looking at the "female" print that it must have been done by the one-in-the-same as the artist who did the "male" version. The profile is the exact; both the "male" and "female" look to their right, both show the same kind of pose, both have the same open structure of the internal organs, both show the actions of the internal organs as staffed by miniature humans: men for the "male" print; women for the "female" print. Both are of the same physical size. "male" ca. 38.5 x 51.5 cm., "female" 37 x 50.5 cm. Both have title cartouche at the upper right corner. Stylistically, they are remarkably similar in composition and nature. These are indeed the works of the same artist, See Nakahara for authorship proof. * CONDITION: * These prints are rare and seldom found in a matching pair on the open market. Each print has been professionally re-backed in Japan, using rice glue and hand-made very thin "Washi" paper to reinforce and give substance to the original tissue-like paper that was very thin and fragile. * The "male" print is exceptionally clean, but has been previously been folded three times and shows some dustiness on some of the fold lines; there is a faint blemish on his left elbow and knee, with an occasional 3-4 small blemishes here and there. The paper is solid and the registry is very good, with clear text and images throughout. There are two or three small pin holes which are covered and solid with the re-backing, all-in-all a very good example of an exceptionally rare print. * The "female" print has been previously folded 3-4 times and shows some dustiness on some of the fold lines; there are two black "collector's seals" chops in the lower right outside margin, with a few small discoloration's here and there. There was some weakness to one or two fold lines plus some old minor worming, the upper & lower left corner areas had some loss, all of which are now stabilized with the re-backing. There is an overall slight dustiness and a bit of rubbing here and there, the print is now stable and sold. * REFERENCES & BIBLIOGRAPHY: * After careful perusal of G. Mestler's: A GALAXY OF OLD JAPANESE MEDICAL BOOKS WITH MISCELLANEOUS NOTES ON EARLY MEDICINE IN JAPAN, after careful perusal of this work, one is at a loss to learn that Mestler missed this and stunning work. * L. Roberts: DICTIONARY OF JAPANESE ARTISTS, we are guided by Richard Lane again, in his hand-corrected copy of his ASIA SCENE 1967 article, which he personally sent to me, wherein he has changed the authorship from the published "Utagawa School ca. 1840's to be [Yoshimune]. It must be remembered, that Lane's article was a "work in progress" and therefore subject to final confirmation as to the artist's name. See L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.204 for info on Yoshimune [1819-1879]. One is hard put to agree with Lane on this point, for in fact, the high quality of the art work would preclude Yoshimune from being capable of doing this set of superb prints when he was just in his early-mid twenties. Therefore the exact author/artist will remain a mystery. However, we can assume he was a sort of medical rebel as he clearly went against the Shogun censors and did publish the set of prints including the female companion work until the authorities either got too close or he was shut down buy them. Utagawa Yoshitsuna [Ittosai] was the name assigned by Sen Nakahara in his: MANNERS AND CUSTOMS OF DENTISTRY IN UKIYOE, p.144-145 with brief explanation on p.156. The artist Yoshitsuna is listed in L. Roberts: A DICTIONARY OF JAPANESE ARTISTS, p.204 for details, who flourished 1848-1868 is a more likely the correct candidate. Aka Ittosai his "studio" or painter's name and he was a fine pupil of the famous Utagawa Kuniyoshi. Ittosai was known as a Ukiyo-E printmaker, who had the skill and experience to produce this magnificent set of works. * We have included a scan from an unknown newspaper [?] article, perhaps an announcement for a Smithsonian MUSEUM OF HISTORY & TECHNOLOGY exhibition, no date cited. * P. Huard et al: CHINESE MEDICINE, page 85, it cites this wood engraving as "the physiology of digestion according to Chinese & Japanese theories." He wrongly attributes this to Utagawa Kunisada. * MEDICAL TECHNOLOGY IN JAPAN CA. 1848: An unusual look at how the Japanese conceived of and applied known native "technology" used in the making of daily and common products related to human anatomy. Collecting teams of male or female workers, the bodily functions were reduced to familiar and daily known methods of farming, metallurgy, grain production, essential oils, in easy terms of contemporary technological vocabulary, to facilitate easy understanding by common Japanese. Most every one in Japan during this time understood and had observed these methods of production, so it was natural to assume that the body worked along similar lines. Using examples from daily life helped to insure understanding of the body via these terms. * [GRMEK, M.D. ] et al. LA MEDECINE JAPONAISE. Illustrates the male portion of the pair in his work as plate III. * Richard Lane. Original letter sent to us held on file. * Sen Nakahara: MANNERS AND CUSTOMS OF DENTISTRY IN UKIYOE: see p.143 and plate #113, also for the male version, see pp. 144-145, #'s 114 & 115. with brief explanation on p.156. * OBSCURE REFERENCE: Richard Lane.: ASIA SCENE, December 1967, POPULAR ANATOMY AND POPULAR PIONEER SURGEONS. Illustrates the male and female prints. pp.113-114, Lane attributes the artist to be the "Utagawa school ca. 1840's" and he penned in the copy of this article to us the name to be Yoshimune as a guess, but that was incorrect. Yoshimune [1817-1880] could not be the artist because we later acquired a copy of the male version which clearly states the artist's name to be Utagawa Ittosai, but surely of the same Utagawa Kuniyoshi school. Ittosai was a star pupil of Kuniyoshi. pp.113-114, Lane attributes the artist to be the "Utagawa school ca. 1840's" and he penned in the copy of this article to us the name to be Yoshimune as a guess, but that was incorrect. Yoshimune [1817-1880] could not be the artist because we later acquired a copy of the male version which clearly states the artist's name to be Utagawa Ittosai, but surely of the same Utagawa Kuniyoshi school. Ittosai was a star pupil of Kuniyoshi. * An another illustration of the male print companion was found in an obscure & unknown newspaper [?] announcement of a Smithsonian MUSEUM OF HISTORY & TECHNOLOGY exhibition, no date cited. * Pierre Huard et al: CHINESE MEDICINE, page 85, he cites this as "...the physiology of digestion according to Chinese & Japanese theories." He has wrongly attributed this to Utagawa Kunisada. *** In all cases these prints are exceptionally rare & important examples for the male and female anatomical knowledge. Always RARE ! when found. * .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB -]
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        Narrative of events in Borneo and Celebes, down to the occupation of Labuan: from the journals of James Brooke, Esq. Rajah of Sarawak, and governor of Labuan. Together with a narrative of the operations of H. M. S. Iris

      London: John Murray, 1848. First edition, 2 volumes, 8vo, pp. xvii, [1], 385, [1]; xi, [1], 395; engraved frontispiece portrait, 5 folding maps and charts (1 hand-colored), 6 lithograph plates, 11 wood-engraved plates; original pictorial red cloth, gilt-lettered spine and gilt vignette of a sailing vessel on upper covers, the seal of the Sultan of Borneo on lower covers; both volumes neatly rebacked with old spines laid down, but with loss of "ah" in 'Rajah' on volume I, vol. II with a 2" x 1" piece of cloth laid down on the upper cover (not affecting the vignette); all else very good and sound. National Maritime Museum Catalogue I, 461: "These events, which occurred between 1839-1847, were closely connected with the expedition of Captain Henry Keppel to the area, in HMS Dido and Maeander" in order to suppress Borneo piracy."

      [Bookseller: Rulon-Miller Books]
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        Analisi storico-topografico-antiquaria della Carta de' dintorni di Roma Edizione seconda

      Roma, Tipografia delle Belle Arti, 1848-1849. 3 vols and portfolio, uniformly bound. 8vo(22,5x15,5 cm). Contemporary halfvellum, spine gilt; with cornerpieces, covers marbled paper (rubbed). With red morocco title-labels with gilt titles. Vol. 1: (iv),48 "Discorso Preliminare),(iv),556 pp.; Vol. 2: 680 pp.; Vol. 3: 753,(iii: blank) pp.; Vol. 4: Portfolio with "Carta de'dintorni di Roma secondo le osservazioni di sir William Gell e del professore Ant. Nibby", a large folding map (74x83 cm), divided in 20 segments, pasted on linen. The map is engraved by E. Troiani, 1827. - Convent-stamps on titles and on verso map, but in all a fine set, hard to find complete with the original map.

      [Bookseller: Boekhandel - Antiquariaat Emile Kerssema]
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        ANTWERPEN- ANVERS - Annales Antverpienses ab urbe condita ad annum M.DCC collecti ex ipsius civitatis monumentis publicis privatisque latinae ac patriae linguae Tomi 1- 5 volumes, all published--1845, With large folding panoramic view on Antwerp !

      Antwerp Buschmann uitgever 1845-1848 - Couverture reliée, 5 volumes; xvi,473 + 499 + xvi,532 + 502 + 446pp., illustrated with 3 folding plates (large folding panoramic view on Antwerp, "Turris Croneburgica" & "Vetus curia. large folding panoramic view on Antwerp.+ illustrated with 3 folding plates (large folding panoramic view on Antwerp, in volume I and 2 folding plates (of which 1 large map of Antwerp) in volume 2 and 1 folding plate in volume 3, good set and complet ! 0 g. [Attributes: Hard Cover]

      [Bookseller: BOOKSELLER - ERIK TONEN BOOKS]
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        Drop-head title] The Diary of a retired country parson

      [s.n.], [Bath?] 1848 - 8pp. In original decorated blue paper boards, with gilt title running through upper and lower boards. A.E.G. Slightly rubbed to extremities, else a handsome survival of a delicate production. Recently dispersed from the Bath Reference Library collection, with neat bookplate and manuscript call number to FEP, blind-stamps to text. Presented by the author to Francis Kilvert, with lengthy Latin inscription denoting receipt from the author in 1848 to FFEP, with further slip in the same hand, signed 'F.K' and dated September 1853, tipped to FEP. Small printed label 'The Rev. Francis Kilvert M.' affixed to head of upper board. Produced to a remarkably high early-Victorian standard, this little known work printed in blue on high quality yellow stock, with elaborate red floral border, was according to the Cotton's Typographical gazetteer (Second series, Oxford, 1866) produced privately at Chelwood, the parish of English antiquary and Richard Warner (1763â€"1857). The verse itself, signed R.W., Chelwood, 1. September 1848, forms the autobiographical wanderings in rhyming couplets of a retired Parson's day and its diversions, most notably amongst the newspapers (including references to 'CHARTISTS plotting.POTATOES rotting') but also featuring the famed Bath baked produce from 'Sally Luns'. A rare piece in itself, that this copy was presented to Francis Kilvert (1793â€"1863), English cleric, antiquary, early member of the Bath literary club and uncle and tutor of the somewhat better known and later published diarist of the same name makes this cataloguer wonder if the young Francis encountered this volume in his uncle's library and was inspired to keep his own! COPAC and OCLC locate only five copies, all in Westcountry libraries. Size: Quarto [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquates - ABA, ILAB]
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        [9 autograph letters, signed, mostly from the writer's time as Préfet maritime in Brest]. Brest, 22 February 1819 - 18 June 1829. Folio and 4to. Autograph letters in French, written in brown ink on single and double leaves of several laid and wove paper stocks. With: (2) GHÉMAR, Louis-Joseph. Duperré [lithographic portrait].Brussels, Charles Hen (printed by P. Degobert), dated 1842 by the artist.

      For Duperré: F. Chassériau, Vie de l'Amiral Duperré (1848); for Ghémar: Louis Ghemar (1819-1873): photographe du roi (1992). Significant collection of 9 autograph letters by Guy-Victor Duperré (1775-1846), a French admiral, Pair de France and three times Naval Minister. The letters, all sent from Brest, are addressed to important French naval officers and ministers, including: Cristophe, Comte de Chabrol de Crouzol; Jean Guillaume, Baron Hyde de Neuville (1776-1857) and "Mon Cher Amiral", most likely Laurent Jean François Truguet (1752-1839). The letters were written from 22 February 1819 to 18 June 1829 (6 of them in 1828). They concern political and maritime issues and events related to Duperré's naval service. From 1812 to 1814, Duperré commanded the French and Italian naval forces. In 1827, he was appointed Préfet maritime of Brest and inspector of the 5th arrondissement militaire. On 5 February 1830, eight months after the last letter in the present collection, King Charles X appointed him commander of the fleet of the expeditionary forces that carried out the 1830 invasion of Algiers. Seven of the nine letters are written in Duperré's informal running script. One appears to have been written for him, perhaps by dictation, but he added a nine-line postscript in his usual running hand below his signature. One to the minister of the marine is carefully and neatly written in a formal hand, with the lines perfectly horizontal (the lines of Duperré's running script slope upward across the page), but that may be his own formal hand, used only when the occasion demands.Accompanying the letters is a lithographic portrait of Duperré, drawn on stone and dated 1842 by the lithographic artist Louis-Joseph Ghémar (Lannoy, France 1819-Brussels 1873), better known for his later work (from 1855) as a photographer in Antwerp and Brussels and court photographer to the King of Belgium.Most of the letters were formerly folded, probably for sending in envelopes. In good condition.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        VANITY FAIR. A NOVEL WITHOUT A HERO

      London: Bradbury & Evans, 1848. First edition. Contents about pristing, binding very fine. First edition. xvi, 624p. Illustrated by the author with text drawings and 40 engraved plates. Bound by Bayntun for Asprey in Cosway style with portrait of Thackeray mounted under beveled glass on upper cover, The binding in full bright deep red crushed morocco, a.e.g., the spine with gilt titles and floral panel ornaments, the covers with a series of ruled frames including ribbon devices and geometric squares festooned within with gilt ribbons and bows, the portrait with fancy gilt frame, dentelles with similar frames and red watered silk doblures and flyleaves.

      [Bookseller: First Folio]
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