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Displayed below are some selected recent viaLibri matches for books published in 1849

        Erinnerungen an das preussische Lager vor der Festung Rastadt, (im Juni 1849)'.

      - Lithographie v. Fr. Kaiser b. Friedrich Gutsch in Karlsruhe, dat. 1849, 40 x 42 Schefold, Alte Ansichten aus Baden, Nr. 32343. - Zeigt 7 Einzelszenen auf einem Blatt. - Mittig großes Panorama vor der Stadtsilhouette. - Seltene Ansicht! (hochauflösende Bilder auf meiner Homepage, oder bei Anfrage - high resolution pictures on my homepage or after request)

      [Bookseller: Antiquariat Norbert Haas]
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        DAI NIHON KOKUGUN YOCHI ZENZU: GENERAL MAP OF JAPAN. AHEAD OF TITLE: KAEI SHINZO

      Edo 1849, Tsutaya. Blue stiff covers, very good, woodblock. printed in color by hand, no worming, a few fold mends, four. directional compasses, 143.5 x 72.5 cm. R A R E. A GRAND COLOR WALL MAP SHOWING OF ALL JAPAN This work is nicely done, with heavy black outline for each province, which is colored in a different tone, longitude & latitude given, shipping lanes & distances noted. Color key to rivers, mountains, castles, provinces, capitals, lakes, ocean, with large inset distance chart, &c. * This work a is fairly accurate topography and is representative of the Edo period. A highly decorative map, suitable for framing and display. **** BIBLIOGRAPHY: BEANS, George H. A LIST OF JAPANESE MAPS OF THE TOKUGAWA ERA: "List" p.39, 1849.1. **** Color scans can be sent by email. Images displayed may not always be the exact photo of the copy in stock for sale at any given time. If you want to see the exact image of the book or edition in stock, please request this by email. . Photos of most of our books are posted to our .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        Nouvelle Recueil de No. 60. Vues de Rome antique et moderne.

      (Paris:) Pierre Datri 1849 - Quer-Kl.8° (10:13 cm). Gestochener Titel und 60 Kupfertafeln von Domenico Pronti. Original-Umschlag mit wiederholter gestochener Ansicht auf dem Vorderdeckel, etwas gebräunt und fleckig. Hübsches Ansichtenalbum mit reizenden und zierlichen Kupfern (Plattengröße ca. 5,3:7,6 cm) und vollem breiten Rand. - Alle Kupfer sind im Plattenrand bezeichnet. - Gestochener Titel etwas fleckig und wasserrandig, einige Tafeln in den Rändern unterschiedlich stockfleckig, wenige mit kleinem schwachen Wasserrand im Eck. - Die Kupfer selbst sauber und überwiegend in kräftigen Abdrucken. - Insgesamt gut erhalten. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Scheppler & Müller]
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        Orig. akvarel. Sejlende skibe med jolle.

      - Usigneret. 22x30,5 cm. I træramme [39x50 cm.]. * C.F. Sørensen var som dansk maler ikke upåvirket af C.W. Eckersbergs marinemaleri, skønt han aldrig var direkte elev af denne. S.' temperament gik dog i en anden retning end det tålmodighedsarbejde, som den minutiøse gengivelse af master og takkelage krævede. Til gengæld interesserede han sig for elementerne, som skibene var underlagt, og hans opfattelse var mere umiddelbar og romantisk, ligesom hans stil var mere malerisk og glansfuld. Også brødrene Melbye kan have haft nogen indflydelse på S.' marinemaleri, men denne udviklede dog hurtigt sit eget stilistiske særpræg, så man sjældent er i tvivl om, hvem kunstneren er, når man står over for et af hans søstykker. Oftest er penselføringen livfuld og koloritten spontan og kraftfuld. S. havde en udpræget sans for dramatiske scener, men han malede lige så gerne rene idyller, fyldt af charme og atmosfære. Mødet med Düsseldorf-skolen tilføjede hændelsesvis hans billeder noget tungt i virkningen, men hans effektfulde scener fra søen vandt stor popularitet, også uden for landets grænser. Under Treårskrigen fulgte S. Nordsø-eskadren omkring Helgoland i 1849 og Østersø-eskadren i 1850 og malede således en række billeder af den danske flåde under krig. Han opsøgte gerne for en dansker lidt usædvanlige rejsemål til søs, bl.a. Madeira, De engelske kanaløer og Island, sidstnævnte i Christian IXs følge. Herfra stammer en række mere afdæmpede, men topografisk interessante billeder, som regnes blandt de ypperste i hans produktion. S.' mariner er internationalt efterspurgt som samlerobjekter. [Weilbach].

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        LAWSON'S MAP FROM ACTUAL SURVEY OF THE GOLD, SILVER & QUICKSILVER REGIONS OF UPPER CALIFORNIA EXHIBITING THE MINES, DIGGINGS, ROADS, PATHS, HOUSES, MILLS, STORES, MISSIONS, &c. &c.

      New York: Snyder, [1849]. - Lithographic map, 16 1/2 x 22 3/4 inches. Slight foxing, almost all marginal. Very good to near fine. The second separately issued map of the California gold regions, published in New York in January, 1849. Lawson's map is preceded only by Larkin's map of 1848, which showed only the Sacramento valley. As the gold fever rose, mapmakers moved quickly to fill the demands of those who wanted cartographic information regarding the mines. Lawson was a surveyor in San Francisco and this map, heavily promoted as the best available for those going to the mines, was issued both as a separate map (as here) and bound into a folder. It was the first map to show all the gold regions on a large scale, and shows the area from Pyramid Lake in the north to Santa Cruz in the south (the map is oriented with north to the left and east at the top). The Sierra Nevada mountains are the easternmost portion, and Lake Tahoe is identified as "Mountain Lake." The streams and rivers of the region are heavily dotted with the locations of diggings and indications that there is "gold found on all these streams." "Larkin's Gold" is situated near the mouth of the Bear River, Sutter's Fort is located, and the San Joaquin River delta is shown, with a note that "swamps overflowed in the winter season." Silver and quicksilver mines are shown in the region south of San Jose, and pine, cedar, and redwood forests are also noted. Not in Phillips, MAPS. "Large scale maps, such as this, are the only satisfactory ones of the gold region.from 1849 on almost every map showing California at all indicates the 'gold region'.but, with few exceptions, on such a small scale as to be of little value" - Streeter. A rare and important map. WHEAT GOLD REGIONS 102. WHEAT TRANSMISSISSIPPI 625. STREETER SALE 2541.

      [Bookseller: William Reese Company - Americana]
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        AURIFODINA; OR, ADVENTURES IN THE GOLD REGION by Cantell A. Bigly [pseudonym].

      New York: Baker and Scribner, 1849 - 12mo, pp. [1-3] 4 [5] 6-103 [104: blank] [105-108: ads], original drab boards, no spine label. First edition. One of the earliest American lost race novels, and the first novel written by an American to be set in California. Seeking a route through the Sierra Nevada, the narrator finds "Aurifodina," a kingdom inhabited by an unknown race of golden haired people who have established a pastoral utopia and where gold is abundant and of little value. "This work is somewhat peripheral to the utopian tradition, but in the best tradition of the fantastic voyage to El Dorado." - Lewis, Utopian Literature, p, 144. "A satiric extravaganza ." - Sabin 5350. See DAB. Bleiler, Science-Fiction: The Early Years 204. Clareson, Science Fiction in America, 1870s-1930s 074. Sargent, British and American Utopian Literature, 1516-1985, p. 50. Reginald 01280. Not in Bleiler (1948; 1978). Wright (I) 2030. Baird and Greenwood, An Annotated Bibliography of California Fiction 1664-1970 1995. Cowan (1933), p. 477. Kurutz 490a. Boards rubbed and spotted, outer joints repaired, possibly rebacked, a very good copy with tight, clean interior. An uncommon book. (#137403) [Attributes: First Edition; Hard Cover]

      [Bookseller: Currey, L.W. Inc. ABAA/ILAB]
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        History of Europe from the commencement of The French Revolution to the Restoration of the Bourbons in MDCCCXV - 14 volumes plus atlas

      William Blackwood and Sons, Edinburgh and London 1849 - 14 volumes plus atlas (complete). All fully bound in leather with gilt decoration - to fascias, spines and edges - and titling. All have marbled papertrims and frontis and end papers. This is a FABULOUS set of this popular, loquacious history of Europe (with the first major account of the French Revolution). It is smart, handsome, gentlemanly and very clubbable. Some of the books have wear from shelving and are scuffed but this only adds a genial dignity and character. All have binder labels (T. Sowler, Manchester - the very model of a Victorian businessman) on the front pastedowns. Spines have five ridges and six panels. The Atlas (108 pages - published 1850) contains maps of countries and towns and plans of 'battles and sieges &c.' The covers are worn and scuffed. Within there are some small storage marks about. The pages are clean, startlingly bright and clear, finely detailed and the colours for various regiments fresh. Volume 1 (633 pgs; 1849): wear to edges and spine, but dignified and secure. The contents are tight and clean. Covers 1774-1789. Vol 2 (693 pgs; 1849). In very good, handsome condition. Light wear, bright gilt. Inside, the contents are clean and fresh. There is a silk bookmark. 1789 - 1793. Vol 3 (635 pgs; 1749). The stamped decoration (as with all other volumes) is neat and unworn. The spine has some wear but is benign and kindly. The pages are clean and comfortable. Covers 1795. Vol. 4 (654 pages; 1849). A lovely atmospheric copy. At last the story moves on beyond France. The pages are fresh. 1795-1799. Vol V (658 pgs). Neat, contented, bright. 1799 -1801. Vol 6 (670 pgs). Nelson, Pitt, Napoleon! The odd storage stain. Otherwise very clean. 1801-05. Vol 7 (690 pgs). Some age related marks. Tidy and handsome. Fox, Prussia, Clive of India! 1805-07. Vol 8 (696 pgs). Tight, confident, clean. Some cover wear. Wellesley, Napoleon, Peninsula Wars. 1807-09. Vol 9. A happy book. Some wear. Spain, George III! Pages exceptional. Vol. 10 (630 pgs). Some scuffing and wear. Wellington, the Emperor, South America, Turks, Russians! Pages very clean. 1810-12. Vol 11 (637 pgs). Some wear to the covers. Contents are smart. Moscow, Germany, Generals! 1812-13. Vol 12 (640 pgs). Confident, benign copy with some spine wear. Pages very secure and certain. Wellington in France, Blucher, Napoleon on the run. 1813-14. Vol 13 (664 pgs). Edge and spine wear. Pages vigorous and healthy. Come-uppances, America, Vienna decides! 1814-1815 [1814 is the date when Alison had the idea of this history]. Vol 14 (644 pgs). Some aged wear to the covers. The pages are startlingly healthy. Waterloo, St Helena, The First Reform Bill, contemporary judgements. 1815 and index. Oh happy person who owns this THRILLING story as told in these wonderful and REMARKABLE volumes. fk [Attributes: Hard Cover]

      [Bookseller: Chapter 1]
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        Fischerboote vor Halb-Insel mit Leuchturm (vermutl. norwegische Küste). 42 x 67 cm, Öl auf Leinen, auf Keilrahmen. In Goldrahmen der Zeit . Unten links signiert und datiert (18)91.

      - Hans Dahl (1849-1937) war ein norwegischer Landschafts- und Genremaler. Das Gemälde mit wenigen Alterungs - und Schmutzspuren. 20000 gr.

      [Bookseller: Antiquariat Koenitz im Schloss Pillnitz]
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        [AUTOGRAPH LETTER, SIGNED, FROM EMIGRANT FRED SNYDER TO HIS BROTHER, JOHN, WHILE EN ROUTE ON THE OREGON TRAIL]

      Near Fort Kearny, Ne, 1849. Quarto, on a folded folio sheet. Moderate soiling and dampstaining, primarily to second leaf. Small paper loss to a few folds, affecting a few words of text. Still, quite legible. Good. Written from the banks of the Platte River in Nebraska, this letter typifies correspondence sent home from the Oregon Trail, reporting on game, grass, Indian encounters, and deaths on the Trail. Given the date and the destination, it is possible that Fred Snyder was a Forty-Niner, headed West to the California gold fields. He writes: "I have just time to inform you that we have travelled about 310 miles from St. Joseph and 800 from St. Louis and are now encamped upon the Platte River between Fort Kearney and Fort Laramie. We are now within 16 days travel from the latter fort. Game is abundant but the grass is poor. I shall take every opportunity to write to you, but I have not heard a word from home since I left nor do I expect to until my arrival in California. Do not forget to direct letters for me to San Francisco by the way of Chagres & Panama. We meet Indians every day and are now in the Paunee country. By tomorrow we shall be among the Sioux. Nicholas Boismenue of Cahokia accidentally shot himself a few days ago and died immediately. He was buried on the Big Blue River. Regards to all." Until the Panama railway was completed in 1855, Chagres, Panama was the main port of call for travelers who took the sea voyage to California, landing at Chagres and then traversing the Isthmus before boarding a vessel on the other side. A good letter, illustrative of the emigrant experience on the Oregon Trail.

      [Bookseller: William Reese Company - Americana]
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        Bologne, vue prise au-dessus de l'Accadémie des Beaux-Arts.

      Parigi, 1849 - Litografia ad opera di C. Schultz, di mm 285x430 su foglio di mm 380x530. Splendida veduta della città, molto rara, una delle più ricercate vedute ottocentesche per la particolarità di essere colta da un pallone aerostatico con incredibile precisione. La tavola è tratta dall'opera di Guesdon "L'Italie à vol d'oiseau". Bell'esemplare con qualche leggera fioritura marginale.

      [Bookseller: libreria antiquaria perini Sas di Perini]
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        "Round-Up" Meal Time Cabinet Card with Chuckwagon, Near San Angelo, Texas

      Very Good. Photograph. A cabinet or boudoir card of meal time at round-up, from around the 1890s. Corners are round, light edge wear and soil. Mount has been trimmed with the photo fully intact. Tops of handwritten letters that said "Photographer" are visible on the bottom edge where the mount was trimmed. The scene depicts a full chuckwagon and 14 men seated on the desert ground eating, with one dog, the rear end of a horse, and clothes drying on a tree in the background. "'Round-up' at Meal Time" is the penciled caption on the back. McArthur Cullen Ragsdale (1849-1944) was known for his Views of Concho Country series of Texas photographs. ; 4 1/2" x 9" .

      [Bookseller: Back of Beyond Books, ABAA]
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        Slunj. Plitvicka Jezera. (Deckeltitel). Album mit 22 Originalfotografien (Albumin auf Verlagskarton mit gedruckten Bildunterschriften) sowie 2 Kartontafeln (Zwischentitel) u. 4 Bll. gedr. Text. Marburg a. d. Drau und Karlstadt (Kroatien), H. Krapek (um 1885). Je 21 x 25 cm; Goldschnitt, blind- u. goldgepr. Lwd. d. Zt. mit Deckeltitel.

      - Prächtiges Album zusammengestellt für Marie Therese von Österreich-Este (1849?1919), der letzten Königin von Bayern mit qualitätvollen Landschaftsaufnahmen aus der Gegend um Slunj (Rastoke, Korana, Slunj von der Nord- u. Ostseite) und von den Plitvicer Seen (14), jeweils mit kroatischen und deutschen Bildunterschriften.- Die zweisprachigen Beschreibungstexte von A. Tkalcevic u. J. Frischauf.- Heinrich (auch: Hinko) Krapek (* 27. März 1841 in Brünn; ? 12.3.1915 in Maribor) war Atelierfotograf in Zagreb (1880-1884), Karlovac (1884-?) und Marburg.- Trägerkartons im Randbereich tls. etw. braunfleckig, sonst sehr schönes Exemplar.- Vorsatz mit eigenh. Kaufvermerk von Marie Therese, der letzten Königin von Bayern, dat. 1887: "Auf Empfehlung von Baronin Josephina Boxberg und durch dieselbe direct gesandt erhalten (von dem Fotografen abgekauft), Marie Therese".# Superb collection of 22 vintage photographs (albumen prints on cardboard with printed titles) compiled for Marie Therese of Austria-Este (1849-1919), the last Queen of Bavaria with high-quality landscape photographs from the area around Slunj (Rastoke, Korana, Slunj from the North and East side) and from the Plitvice Lakes (14 ), each with Croatian and German titles.- [Attributes: Signed Copy]

      [Bookseller: Antiquariat Müller]
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        Memoirs of The Life of Vice-Admiral Lord Viscount Nelson, K.B. Duke of Bronté, etc., etc., etc.

      London: T & W Boone. 1849 - London: T. and W. Boone, 1849. Second Edition. 2 volumes, octavo (220 × 138 mm). Original Blue cloth (repaired with original spine laid on), title gilt to spines, top edge gilt. Light browning, spines original and repaired, else good. Portrait frontispiece to each, 2 plates of facsimiles, one of them folding, folding plate of the Danish line of Defence at Copenhagen (torn and repaired along the whole length of one fold and at the join of the other) and 2 portrait plates of Emma Hamilton, facsimile autographs to the text. Second Edition. Important contribution to Nelson biography: "Pettigrew used a large selection from the Nelson papers of Lady Hamilton, which he had acquired [from the widow] of an old friend of Nelson, Alderman Joshua Jonathan Smith [who] rescued Lady Hamilton from bankruptcy in 1813" (Cowie). Controversial in its time, not only did Pettigrew "conclusively prove the nature of the tie connecting Lord Nelson with Lady Hamilton" (ODNB), but also established beyond doubt the parentage of Horatia. His decision not to publish the letters in full, but rather to "embody the whole in the form of a narrative" may have allowed doubts about his conclusions to linger. A great number of these papers were to end up in the Morrison collection. Cowie 150, see also 24 & 156; NMM, 2, 960. Condition Report Externally · See above and photos Internally See above and photos [Attributes: Hard Cover]

      [Bookseller: Louis88Books]
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        Altona - Reichstruppen in der Palmaille und am Bahnhofe in Altona. 1tes Blatt. Bildüberschrift : Zur Erinnerung an die Jahre 1848 u. 49 in Schleswig-Holstein. Lithographie mit getönter Platte von Valentin Ruths. Geduckt bei Charles Fuchs in Hamburg.

      Eigenthum u. Verlag von C.Frickinger (1849). - 29,5 x 45,0 cm. Ein 2. Blatt ist wohl nicht erschienen. Zeigt den Blick von der Palmaille Richtung stadtauswärts, rechts der Altonaer Bahnhof, in der Bildmitte im Hintergrund die Christianskirche. Seltenes Blatt. [SW - Ansicht, Ansichten, Hamburgensien, Hamburgensie]

      [Bookseller: Antiquariat Heinz Tessin]
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        The Works of Francis Rabelais

      London: H.G. Bohn 1849 - 2 volume set, 7.25 inches tall. One of a special series of 'Bohn's Extra Volumes' Beautifully bound in full morocco by the celebrated London binder Jeremiah Larkins. With gilt raised bands, extra gilt panels, dentelles and all edges gilt. Bookplates and the neat stamp of Bostonian collector Charles S. Dixwell on the reverse of the front free endpapers. Portraits. [Attributes: Hard Cover]

      [Bookseller: McConnell Fine Books ABA & ILAB]
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        Mardi: and a voyage thither.

      New York: Harper & Brothers,, 1849. In two volumes. 2 volumes, octavo (185 × 122 mm). Original purple cloth, titles and publisher's device to spines gilt, spines and covers elaborately blocked in blind, yellow surface-paper endpapers. Housed in a custom brown quarter-morocco slipcase and each volume in a separate brown cloth chemise. 8 pages of publisher's advertisements to the rear of vol. II. Bookplate of Scott Cunningham to front pastedowns. Cloth very slightly rubbed, corners lightly bumped, endpapers oxidised, occasional spotting as usual; vol. I with faint creasing to upper outer corner of a few earlier leaves, pp. 219-238 a touch proud; plate removed from front free endpaper vol. II. Gilt titles bright and the cloth uncommonly clean and fresh. An excellent copy. First American edition of Melville's third book, his first major full-length fiction, an allegorical romance set in the South Seas based on his own experiences there. Mardi was originally published in London earlier the same year. A highly appealing example of the rare original cloth.

      [Bookseller: Peter Harrington]
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        Théorie de la richesse sociale ou résumé des principes fondamentaux de l'économie politique.

      - Paris, Guillaumin et Cie, 1849. In-12, demi-maroquin vert bronze de l'époque, dos à 5 nerfs filetés or, garnis de compartiments ornés aux petits fers ajourés, tranches marbrées, 105 p. faux-titre et titre inclus (qqs rouss). Rare édition originale et unique ancienne de l’oeuvre majeure d'Auguste Walras et l’une des deux seules qu’il publia de son vivant. L'un des premiers auteurs à remettre en question les fondements de la valeur hérités de Condillac ou Ricardo et à livrer une théorie de l'utilité marginale, Auguste Walras fut également l'un des précurseurs de l'analyse mathématique des phénomènes économiques. Si l’œuvre et l’action d’Auguste Walras furent méconnues à son époque, elles exercèrent une influence décisive sur la pensée de Léon Walras, son fils. (Palgrave, III- 653. Goldsmiths, 36208. Manque à Einaudi). Petit accroc à la coiffe supérieure. Exemplaire bien relié à l'époque. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie HATCHUEL]
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        Madrid al daguerreotipo. Colección de cuadros políticos, morales, literarios y filosóficos, sacados del natural y pintados después al óleo, a la aguada, al pastel ó en miniatura, según a cada uno de ellos conviene; y que representan escenas cómicas, trágicas, dramáticas, melo-dramáticas, pantomímicas y asainetadas; en las que figuran los grandes y los pequeños, los gordos y los flacos, los ricos y los pobres, los tontos y los discretos, con su nombre y apellido, y el delito que han cometido

      Imprenta de L. García, Madrid 1849 - 336 pp. 28 x 20 cm. Encuadernación en media piel holandesa con cantos algo rozados. Numerosas viñetas grabadas. Buen estado. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librería Torres-Espinosa]
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        Oeuvres de M. A. de Lamartine

      Edition dite "des souscripteurs".bindings en demi chagrin bleu, spine lisses éclaircis ornés d'arabesques romantiques estampées à froid, plats de papier marbré, gardes et contreplats de papier à la cuve, quelques petits accrocs sur certains coins et certaines coupes, bindings romantiques de l'époque.Rousseurs éparses, quelques mouillures claires affectant les premiers feuillets de certains volumes.Exemplaire établi dans une binding romantique uniforme de l'époque. Typographie de Firmin Didot frères Paris 1849-1850 14,5x23cm 14 volumes reliés

      [Bookseller: Librairie Le Feu Follet]
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        Die Gallerinn auf der Rieggersburg. Historischer Roman mit Urkunden. 2. Auflage. 6 Teile in 3 Bänden.

      Wien, In Commission bei Carl Gerold & Sohn, 1849. 8°. Mit 2 lithogr. Titelportraits von Kriehuber, einer radierten Ansicht der Riegersburg u. 12 getönt. lithogr. Tafeln. Zus. ca. 1900 S., Etw. spätere HLdr.-Bde. a. 4 Bünden m. etw. Rückenverg., goldgepr. Rückentiteln, dreiseitigem Rotschnitt u. den eingeb. OUmschlägen. „[...] Uebrigens füllt dieser berühmte Hexenproceß nur ein Paar der letzten Kapitel dieses urkundlichen historischen Romans, dessen Hauptzweck das treue mit Urkunden belegte Sittengemälde der Zeit, in welcher derselbe spielt, das ist während der Hälfte des siebzehnten Jahrhunderts in Oesterreich und namentlich in der Steiermark. Aus dem Gesichtspunkte des Sittengemäldes der Zeit sind manche mit dem Faden der Lebensgeschichte selbst nur lose verbundene Urkunden, wie Testamente, Inventarien und Heirathsverträge aufgenommen worden, weil dieselben über die Moden, Trachten und Hauseinrichtungen selber Zeit kostbare Beiträge enthalten [...]“ (Vorrede). - Die beiden lithogr. Portraittafeln von Kriehuber betitelt „Freyinn Elisabeth Galler“ bzw. „Die Hexe der Rieggersburg“ (letztere wie meist seitlich knapp beschnitten). Die Freifrau Catharina Elisabeth Galler (geb. Freiin Wechsler) lebte von ca. 1607-72. - Vorsatzbl. des ersten Bandes gestempelt. Unterschiedlich gebräunt bzw. (stock-) fleckig sowie tlw. wasserrandig. - Insgesamt gutes Exemplar mit den eingebunden Orig.-Umschlägen. - Vgl. Borst 2159; Holzmann/B. II, 4596; Schlossar 216; Goedeke VII, 768, 117; Giebisch/G. 136; Wilpert/G. 59 (mit falscher Kollation). Versand D: 12,00 EUR Hammer-Purgstall, Die Gallerinn auf der Rieggersburg. Historischer Roman, Steiermark, Hexen, Hexenprozesse, Riegersburg, Gallerin

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Die Gallerinn auf der Rieggersburg. Historischer Roman mit Urkunden. 3 Tle. Zweite Auflage.

      Wien, C. Gerold & Sohn 1849. 8°. XVIII(2) S. (Tit., Vorrede), 222(2), 531(1) S.; Tit., 278(2), 319(1) S.; Tit., 243(1), 292 S. Mit 2 lithogr. Portr. und 1 lithogr. Ansicht als Frontispiz sowie 12 lithogr. Tafeln und 2 wiederh. Textholzst. Halbleinenbde. d. Zt. m. goldgepr. Rü.titel und Deckelbezug aus Achat-Marmorpapier. Einbde. berieben u. an den Deckelkanten z.Tl. abgewetzt, Exlibris auf vord. Spiegel, im Text sauber aber tlw. stark braunfl., mehrere Ss. m. Knickspuren. Goed.VII, 768; Wurzbach VII, 278. Titelauflage zur 1845 bei Leske in Darmstadt anonym erschienenen EA (vgl. dazu Goedeke). Umfaßt: Tl.1: Die Burgfrau und das Erbfräulein. / Tl.2: Die Huldigung und die Verschwörung. / Tl.3: Der Hexenprozeß. - Roman über die österreichische adlige Burgherrin und frühe Frauenrechtlerin Elisabeth Katharina Freifrau von Galler (um 1607-1672) genannt `die Gallerin` oder `die schlimme Liesl`, die als eine der tatkräftigsten Frauen der steirischen Geschichte gilt. Verfasser ist der bedeutende österr. Orientalist und Diplomat Joseph von Hammer-Purgstall, der 1774 in Graz als Joseph von Hammer geboren wurde. Nachdem er nach dem Tod seines Freundes Graf Wenzel Johann Purgstall und dessen Sohnes von der aus Schottland stammenden Gräfin Jane Anne von Purgstall adoptiert wurde, die ihn als Erben von Schloss Hainfeld in der Steiermark einschließlich der dortigen Fideikommissherrschaft einsetzte, wurde er 1835 unter dem Namen von Hammer-Purgstall in den Freiherrnstand erhoben. Die zahlreichen Dokumente über die Gallerin, die durch diese Erbschaft in seinen Besitz kamen, dienten ihm als Material für den vorliegenden Roman. Versand D: 15,00 EUR Belletristik, Geschichte, Österreich, Steiermark

      [Bookseller: Antiquariat Löcker]
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        NINEVEH AND ITS REMAINS: with an account of a visit to the Chaldean Christians of Kurdistan, and the Yezidis, or devil - worshippers; and an enquiry into the manners and arts of the ancient Assyrians.

      London, John Murray, 1849.2 volumes, complete set, THIRD EDITION (same year as first and second edition), 8vo, approximately 215 x 135 mm, 8½ x 5¼ inches, 2 tinted lithograph frontispieces with tissue guards, 20 engraved plates of which 2 double page, numerous illustrations in the text, 6 plans, 4 folding and a large folding map, pages: xxx, (2), 1 - 399; xii, 495 including index, bound in full polished calf, double ruled gilt border to covers, small gilt arms to the centre of covers: a hand with arrow, a crown above, the motto Non Eget Arcu and below the initials AA, spines richly gilt with 2 contrasting gilt lettered labels, gilt decorated board edges, endpapers and page edges marbled, small bookplate to pastedowns with the same arms. 2 small scrapes to upper cover of Volume I, another to lower corner of upper cover of Volume II, minute nick to foot of upper hinge of Volume I, slight foxing to endpapers and to title page of Volume I, folding plan of Nimroud lightly browned and with a small water stain to lower inner corner (see image), small inner corner repair to blank side of folding map at rear of Volume I, faint foxing to top margin of double plate page 76 in Volume II, otherwise a very good clean tight set. From 1845 - 1854 the young British adventurer Austen Henry Layard explored the ruins of Nineveh. For years sceptics had questioned the existence of the city since it could not be found. Layard discovered the lost palace of Sennacherib across the Tigris River from modern Mosul in northern Iraq. Inscribed in cuneiform on the colossal sculptures in the doorway of its throne room was Sennacherib's own account of his siege of Jerusalem. It differed in detail from the biblical one but confirmed that Sennacherib did not capture the city. This created a great deal of public interest, because previously the only account of any siege of Jerusalem by Sennacherib was the one found in the Bible (2 Kings 18 - 19). Sennacherib's account does differ from the Bible's, but both affirm that Sennacherib did not capture the city. Many people felt this vindicated their faith in the Bible, which had been attacked by "increasing religious doubt and scriptural revisionism." The palace's walls were covered with stone slabs chronicling Sennacherib's victories. One of these stone slabs chronicles in what appears to be remarkable detail the Judean city of Lachish, whose destruction the Bible records (2 Kings 18:13 - 14). .MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
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        Homes and Haunts of the Most Eminent British Poets

      1849 - HOWITT, William. Homes and Haunts of the Most Eminent British Poets. London: Richard Bentley, 1849. Two volumes expanded to four. Octavo, early 20th-century full green morocco, elaborately gilt-decorated spines, raised bands, top edges gilt, uncut. $4200.Early edition of this survey of the homes of the great English poetsâ€"among them Chaucer, Shakespeare and Miltonâ€"extra-illustrated with over 150 portraits and plates, and with a three-page autograph letter signed by the author William Howitt tipped in. Expanded with the additional material from two volumes into four, and very handsomely bound in full morocco-gilt by Sangorski & Sutcliffe.Also features the homes and lives of Burns, Shelley, Byron, Wordsworth, Goldsmith, Rogers, Tennyson, Coleridge and Scott. "Howitt's blend of history, topography, spirituality, and democratic politics was immensely popular" (ODNB), and Homes and Haunts was one of the prolific author's most popular works, running through several editions. The autograph letter, on one sheet of paper folded once to make four pages and handwritten on three, is dated May 3, 1852, and reads in part: "I regret to say that my engagements will not allow me to be present at the â€"- tomorrow re the Booksellers' Association question. But you are quite aware that I thoroughly sympathize with the Free Trade advocates, and have entire confidences in the meeting taking the most salutary steps in the matter. I consider that the doom of the association is already pronounced, as one of its chief supporters himself admitted to me the other day…" First published in 1847, in two volumes. Text and plates fine. Joints of Volume I skillfully repaired. A beautiful and desirable extra-illustrated set. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Bauman Rare Books]
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        Mardi: And A Voyage Thither.

      Harper & Brothers,, New York: 1849 - Mardi, (the Polynesian word meaning "the world") is Melville's philosophical novel recounting a voyage through fictional South Sea islands; it was a precursor to Moby Dick. Volumes I & II, complete in scarce Harper Brothers cloth. Sml 8vo, xii, 365pp; xii, 387pp, ads (8). Original blindstamped plum cloth, gilt title to spines, Harpers gilt logo at base of spine. Spines & covers faded, slt chipped head & tail of spines. Internally, small owner initial stamps at ffep, some light foxing early, o/w very good. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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        Fragments of the Great Colossi at Memnonium-Thebes

      [London: Day & Son, 1849. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Abbey Travel I, 272 (plate #47).

      [Bookseller: Donald Heald Rare Books]
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        Approach to the Fortress of Ibrim, Nubia

      [London: Day & Son, 1849. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

      [Bookseller: Donald Heald Rare Books]
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        TOPOGRAPHICAL MAP OF THE ROAD FROM MISSOURI TO OREGON COMMENCING AT THE MOUTH OF THE KANSAS IN THE MISSOURI RIVER, ENDING AT THE MOUTH OF THE WALLAH WALLAH IN THE COLUMBIA. IN VII SECTIONS

      [Washington, 1849. Dbd. Very minor wear and foxing. Very good plus. In a blue cloth slipcase and chemise. Second issue of the first map "to show the Oregon Trail accurately" (Rumsey). One of the greatest monuments to the cartography of the American West. This issue of the Preuss map appeared in the Rockwell report, which provided a comprehensive overview of the travel routes between the Atlantic and Pacific coasts, overland as well as isthmian sea passages. Charles Preuss, born George Karl Ludwig Preuss in Höhscheid, Prussia in 1803, served as the cartographer on Fremont's first and second expeditions and drew all of the maps which accompany Fremont's reports. Preuss also produced the present masterful map of the Oregon Trail. It is drawn to a very detailed scale, ten miles to an inch, and in addition to providing accurate cartographical information about the whole of the 1,670 mile route between the Missouri and the Columbia rivers, the sheets combine to give a real feeling of the daily progress of the expedition (in 1842 and 1843, between June 10 and October 26) by including indicators of where and when each overnight camp was set, where each noon-day halt was called, and the total distance from the starting point of Westport Landing. Longitudinal and latitudinal coordinates are also given, as are daily "Meteorological Observations" and "Remarks," including notes on the availability of game, water, grazing, and the friendliness (or otherwise) of local Indian tribes. "More than any other persons, John Charles Fremont and Charles Preuss dominate the cartography of the American West during the three years before the gold rush...Owing to its rarity and to its long having stood in the shadow of the more widely known and distributed Fremont-Preuss map of 1845, Preuss' sectional map of 1846 has been insufficiently appreciated by students of Western history. In particular, those interested either in Fremont's travels in 1842-43 or the revolution of the transcontinental wagon roads will find that the map rewards close study" - Wheat.

      [Bookseller: William Reese Company - Americana]
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        Archäologische Zeitung. Denkmäler, Forschungen und Berichte als Fortsetzung der Archäologiqchen Zeitung.

      Berlin, G. Reimer, 1849-1859 - 11 années réunies en 5 vol. in-4, reliures de l'époque demi-veau blond, dos à nerfs, pièces de titre et de tomaison de maroquin anthracite, en tout 129 très belles planches h.t. gravées sur cuivre ou lithographiées (une en couleurs), certaines à double page, 1 tableau imprimé replié. Quelques légères rouss., mouillure angulaire au dernier vol., rares pet. accrocs aux rel., sinon très bel exemplaire. Welche braunflecken sonst, sehr guter Zustand. Superbe et rare ensemble complet de 11 années consécutives de ce journal d'archéologie allemand. Il est illustré de belles figures gravées sur cuivre h. t. Au début de chaque volume se trouve un index. Très bel exemplaire provenant de la bibliothèque des ducs de Luynes au château de Dampierre (ex-libris armorié). Sommaire : Mannoifigürchen aus Smyrna (JE. G.). — Zur archäologischen Zeitung: 1. Herakles bei Poltys (Punofka) ; das Kyprische -Monument (Welcher). Eros und Agon (Panofka, E. G.). — Zu Gerhard's Antiken Bildwerken (Cnvcdoni). Komödienscenen auf Thongefül'sen. Die erste Scene der Frösche des Aristophanes (Panofka). — Atliene auf dem Widder (J. F. Lauer). — Unedirte griechische Münzen des Freiherrn von Prokesch -Osten (P. v. O.). — Zu Gerhards Antiken Bildwerken (Cuvedoni). — Allerlei: Timarchos, Grofskönig von Medien (K. E. Hermann) ; Hermares und Hermathene (E. Braun, E. G.). Komödienscenen auf Thongefäfsen. Die Weinflasche des Kratinos. Xanthias. Der Sklaven-lehrer des Pherekrates. Zerstörung Ilious nach Phormos (Panofka). — Dionysos und die Kahireu (Bergk). — Allerlei (Admetos und Apollo, von Brunn). Geminenhilder, nämlich: Athenens Gehurt. Philoktet und Palaiuedes. Philoktet und Odysseus. Herakles und Hesione. (Troja's Zerstörung. Mysterienenthüllung. 8. Silen und Demeter. Brudermord und Kahireuweihe (JE. G.). Taurisches Palladion (E. G.). — Winckelmaunsfest-Programme (Zeus Skotitas von Panofka). — Zum Verzeichniss der Vasenbildner (1. Aon des Naseas Sohn, von Panofka). — Allerlei (Andronoe von Birchi). 8. Die Heilung des 'l'elephos (0. Jahn). — Zur Archäologischen Zeitung (3. Komikenaseu nach Aristophanes u. A. von Welcher'). — Allerlei (Apollo Boedromios und Hermes Agoraios von Panofka). Griechische Münzen. Inedita aus der Sammlung des Freiherrn von Prokesch-Osteu. Europäische (P. v. O.). Griechische Münzen. Fernere Inedita aus der Sammlung des Freiherrn von Prokesch -Osten. Asiatische (P. v. 0.). — Römische Inschriften, aus S. Paolo fuori delle mura (Mercklin). — Zu den Monumenti dell' Instituto. 1. Delische Gottheiten (Panofka). — Zur Archäologischen Zeitung. Orestes in Brauron (v. Paucker). Geminenhilder (E. G.). Archaische Reliefs. Orestes-Relief aus Ariccia. Agonistisches aus Athen (0. Jahn). — Zum Verzeichnis der Vasenbildner. Echekrates (Panofka). Iphigenia in Tauiis (O. Jahn). — Allerlei : Verstümmelte Vaseniuschrilteu (Panofka). Griechische Baudenkmäler. Die Statuen am heiligen Wege der Branchiden. Tumulus auf Syine (L. Rofs). — Winckelinannsfest-Programme: Zwei Minerven (E. G.). — Inschriften aus Mösien (L. Mercklin). — Allerlei: Varro's Ikonographie (M. Hertz); der Schatten Achills (Birch). Thronende Kora, Wandgemälde im König). Museum zu Berlin (E. G.). — Widdergottheiten, Bildwerke der Sammlungen zu Berliu, München u. a. ra. (E. G.) — Allerlei: Lagynos (K. F. Hermann. E. G.). Axiokersa, Kora, Libera ; Vasengemälde (E. G.). — Der kleiae Tempel in Rharanus (Rofs). — Epigraphische Analekten (Bergk). Dädalos und Perdix (E. G.). — Pandoreus und Aphroditens Geburt (Panofka). — Zu Gerhard's Vasenbildern (Poseidon und Salamis. Die Eleusinien in Phlius. Punofka). — Zum Verzeiclinifs der Vasenbilduer (Kylkos. Panofka). — Allerlei: Kasten des Kypselos, Pseliumene (0. Jahn). Manto die Kriegsgefangene (Punofka). — Marsyas am Griff eines Plektron (E. G.). — Zur Archäologischen Zeitung : Griechische Münzen der Prokesch-Ostenschen Sammlung (Osann). — Allerlei: Der delphische Drache (J. de Witte)-, der Seher Polyidos (Birch); Armbänder (0. Juhri) ; Venus, Adonis, Myrrha (0. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Trait d'Union sarl.]
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        Constitution of the State of California

      San Francisco: Printed at the Office of the Alta California, 1849. Octavo. (9 3/4 x 6 1/4 inches). Uncut. 19pp. Stitched, later red cloth four fold chemise, all within a red morocco-backed cloth slipcase, titled in gilt on the spine Provenance: Henry Lafayette Dodge (1810-1856, inscription dated 1850, U.S. Indian Agent in New Mexico, killed by Apache) The rare first separate printing of California's first Constitution: this is one of the most important and difficult to obtain state Constitutions, and includes the very rare three-page "Address" found in only a few copies. "The first appearance of the Constitution in book form and one of the earliest works printed in San Francisco" (Cowan). This copy contains the very rare final signature of leaves issued only with some copies, which comprise a three-page "Address to the People of California" (pages 17-19). The Eberstadts describe these last three pages as lacking from most copies, and it appears that many copies of the constitution were distributed before the "Address" had been printed. Section 18 of Article I (the "Declaration of Rights") bans slavery. "The text was a model of advanced, liberal, and democratic social and political thought" (Howell). California became a state in 1850. AII (California) 89; Cowan, p.140; Eberstadt 112:63a; Fahey 127; Graff 539; Greenwood 124; Howell 50:46; Jones 245; Libros Californianos (Wagner & Bliss lists); Streeter Sale 2553; Sabin 9998; Wagner California Imprints 37.

      [Bookseller: Donald Heald Rare Books]
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        Libyan Chain of Mountains, from the Temple of Luxor

      [London: Day & Son, 1849. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Abbey Travel I, 272 (plate #30).

      [Bookseller: Donald Heald Rare Books]
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        An Antiquarian and Picturesque Tour Round the Southern Coast of England Illustrated with Eighty-Four Plates, from Drawings by J. M. W. Turner R.A., W. Collins, R.A., William Westall, R.A., S. Prout, P. Dewint and Others

      London: Nattali, 1849. First edition.. Hardcover. 4to. (11.5 x 9.75 inches). pp.viii, 202. Full-page frontis plate and 48 further full-page plates, hors-texte. Numerous engravings laid in. 84 engravings in all, as called for. All engravings with tissue guards. Half morocco gilt, over marbled boards. Marbled endpapers. All edges gilt. Foxing and offsetting to prelims and extrems, with scattered light foxing and offsetting to main textblock and engravings. O/w contents clean and bright. Binding firm and square. No inscriptions. A handsome copy. Very heavy book, requiring much extra postage overseas. We reduce the default shipping charge for lighter books or use it for a tracked service if books are expensive or uncommon. We pack books securely in boxes, or corrugated card or cardboard, and protect corners with bubble-wrap.

      [Bookseller: John Taylor Books P.B.F.A.]
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        Dyeing and Calico-Printing

      Taylor, Walton, and Maberly, London 1849 - viii, 228, [8 ads] pp. 8vo. Green cloth boards with blind embossed borders to boards, gold titling to spine. Wear and scuffing to covers, previous owner's name in pencil as well as bookplate on front pastedown. Small, 1" tear at head of title page, light foxing within. Contains 21 printed fabric samples pasted in the text to illustrate the process being described. Colors sharp and clear. [Attributes: First Edition; Hard Cover]

      [Bookseller: Artisan Books & Bindery, ABAA/ILAB]
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        Karnak

      [London: Day & Son, 1849. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition, apart from overall light toning, and slight cockling to paper. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Abbey Travel I, 272 (plate #75).

      [Bookseller: Donald Heald Rare Books]
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        Versetzungs und Beförderungs-Urkunde für Dr. Nauck von Cottbus zum Director des Gymnasiums zu Königsberg / Neumark mit zusätzlicher Bestallungs-Urkunde des Magistrats von Königsberg.

      - Potsdam, 21. April 1849; ca. 35,5 (H) x 22 cm. Beförderungs-Urkunde des bisherigen Prorectors am Gymnysium zu Cottbus, Dr. Nauck, zum Director des Gymnysiums zu Königsberg durch König Friedrich Wilhelm, König von Preußen, datiert Potsdam, den 21. April 1849, mit dessen eigenhändiger Unterschrift und aufmontiertem großem papiergedecktem preußischem Blind-Präge-Siegel; der Urkunde ist ein elfzeiliger, kleingeschriebener Text per Hand eingefügt, aus dem u.a. hervorgeht, daß Dr. Nauck durch den Magistrat zu Königsberg gewählt wurde. Auf diese Urkunde wird vom König Bezug genommen und diese Bestallungs-Urkunde ist dem Patent mit Faden beigeheftet. Sie ist in einem etwas kleineren Format (33,5 x 21,5 cm) auf einem Stempelpapier zu einem halben Thaler (15 Gr.) ausgefertigt, handgeschrieben und nimmt 3 Seiten des gefalteten Bogens ein. In ihr wird beurkundet, daß der Magistrat der Königl. Neumärkischen Haupt- und Kreisstadt Königsberg als Patron des Friedrich-Wilhelms-Gymnasiums in Einverständnis mit dem Königl. Kompatronats-Kommissar Dr. Nauck zum Director berufen hat. Es folgen die aus der Berufung herrührenden Pflichten für den neuen Direktor sowie eine gewissenhafte Einkommens-Auflistung bis hin zur Pensionsberechtigung. Die Urkunde wird besiegelt mit dem Magistrats -Siegel der Stadt Königsberg und 7 Original-Unterschriften von Magistrats-Angehörigen (lesbar davon 5: Waldmann; Schlecht; Belitz; Hoffmann; Behrendt). Den Abschluß bildet die Unterschrift des Kompatronats-Kommissarius Kuntzemüller. - Patent mit Spuren alter Brief-Faltung (wurde wahrscheinlich als Faltbrief ehedem verschickt), sowie einer zusätlichen Querfaltung, etwas stärker gebräunt und angerändert; minimale Einrisse am Rand. - Insgesamt dennoch passabel erhalten. [Attributes: Signed Copy]

      [Bookseller: Antiquariat Harald Holder]
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        History of Europe from the commencement of The French Revolution to the Restoration of the Bourbons in MDCCCXV - 14 volumes plus atlas

      William Blackwood and Sons, Edinburgh and London, 1849, Hardcover, Book Condition: Very Good, Dust Jacket Condition: No Jacket, 5th or later Edition. 14 volumes plus atlas (complete). All fully bound in leather with gilt decoration - to fascias, spines and edges - and titling. All have marbled papertrims and frontis and end papers. This is a FABULOUS set of this popular, loquacious history of Europe (with the first major account of the French Revolution). It is smart, handsome, gentlemanly and very clubbable. Some of the books have wear from shelving and are scuffed but this only adds a genial dignity and character. All have binder labels (T. Sowler, Manchester - the very model of a Victorian businessman) on the front pastedowns. Spines have five ridges and six panels. The Atlas (108 pages - published 1850) contains maps of countries and towns and plans of 'battles and sieges &c.' The covers are worn and scuffed. Within there are some small storage marks about. The pages are clean, startlingly bright and clear, finely detailed and the colours for various regiments fresh. Volume 1 (633 pgs; 1849): wear to edges and spine, but dignified and secure. The contents are tight and clean. Covers 1774-1789. Vol 2 (693 pgs; 1849). In very good, handsome condition. Light wear, bright gilt. Inside, the contents are clean and fresh. There is a silk bookmark. 1789 - 1793. Vol 3 (635 pgs; 1749). The stamped decoration (as with all other volumes) is neat and unworn. The spine has some wear but is benign and kindly. The pages are clean and comfortable. Covers 1795. Vol. 4 (654 pages; 1849). A lovely atmospheric copy. At last the story moves on beyond France. The pages are fresh. 1795-1799. Vol V (658 pgs). Neat, contented, bright. 1799 -1801. Vol 6 (670 pgs). Nelson, Pitt, Napoleon! The odd storage stain. Otherwise very clean. 1801-05. Vol 7 (690 pgs). Some age related marks. Tidy and handsome. Fox, Prussia, Clive of India! 1805-07. Vol 8 (696 pgs). Tight, confident, clean. Some cover wear. Wellesley, Napoleon, Peninsula Wars. 1807-09. Vol 9. A happy book. Some wear. Spain, George III! Pages exceptional. Vol. 10 (630 pgs). Some scuffing and wear. Wellington, the Emperor, South America, Turks, Russians! Pages very clean. 1810-12. Vol 11 (637 pgs). Some wear to the covers. Contents are smart. Moscow, Germany, Generals! 1812-13. Vol 12 (640 pgs). Confident, benign copy with some spine wear. Pages very secure and certain. Wellington in France, Blucher, Napoleon on the run. 1813-14. Vol 13 (664 pgs). Edge and spine wear. Pages vigorous and healthy. Come-uppances, America, Vienna decides! 1814-1815 [1814 is the date when Alison had the idea of this history]. Vol 14 (644 pgs). Some aged wear to the covers. The pages are startlingly healthy. Waterloo, St Helena, The First Reform Bill, contemporary judgements. 1815 and index. Oh happy person who owns this THRILLING story as told in these wonderful and REMARKABLE volumes. fk

      [Bookseller: Chapter 1 Books]
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        [Jerusalem from the South] April 12th, 1839

      [London: Day & Son, 1849. Tinted lithograph by Louis Haghe, coloured by hand, removed from original card. A fine example of David Roberts' monumental work on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated work issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image) with hand- colouring (and originally mounted on card). It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Cf. Abbey Travel I, 272 & II, 385; cf. Blackmer 1432; cf. Gay 2216; cf. Ibrahim-Hilmy II,p.176; cf. Lipperheide Ma 27; cf. Röhrict 1984; cf. Tobler p. 229; cf. Tooley 402.

      [Bookseller: Donald Heald Rare Books]
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        Heck / Brockhaus Bilder-Atlas, Erstausgabe, 1849 (f. 500 Tafeln)

      F.A.Brockhaus 1849-1851, Leipzig - (Brockhaus) Systematischer Bilder-Atlas zum Conversations-Lexikon. Ikonographische Encyklopädie der Wissenschaften und Künste. Von Johann Georg Heck. Erstausgabe / 1.Auflage. 2 Tafelbände (alle 10 Abteilungen). Leipzig, F.A.Brockhaus, 1849-1851. Exemplar mit allen Abteilungen der Tafelbände in für die Zeit äußerst dekorativen Original-Halbledereinbänden: Rücken mit sechs Bünden, drei Flächen mit Blindprägungen sowie reichen Goldprägunge. Format ca. 23,5 x 32 cm (Quer Gr.8°). Band 1 mit den Tafeln der ersten vier Abteilungen, Band 2 enthält die Abteilungen 5-10. Mit 489/490 (von 500) Tafeln. Kriegswesen mit 45 von 51 Tafeln (174, 199, 229, 242, 254, 301 fehlen). Schiffbau und Seewesen mit 30 von 32 Tafeln (182, 216 fehlen). Religion und Cultus mit 31 von 30 Tafeln (die zusätzliche Tafel ist ebenfalls mit Abteilung VIII gekennzeichnet). Gewerbswissenschaft (Technologie) mit 34 von 35 Tafeln (280 fehlt). Wie auch den 22 Originalbildern zu entnehmenm ist die Rückenansicht ist überdurchschnittlich gut erhalten. Keinerlei Einrisse oder Fehlstellen. Außen berieben; Kanten & Ecken stärker. Buchschnitt sehr gut erhalten. Erwähnenswert ist am Papier des Deckelbezugs beim zweiten Band ein Fehlstück (s. Bild 22 in der Bilder-Galerie). Innen alles in sehr gutem Zustand. Bindung fest, keine losen oder eingerissenen Tafeln. Von den hanschriftlichen Nummerierungen abgesehen, keine Anstreichungen oder dgl. Seiten teils fleckig (überwiegend rückseitig) bzw. etwas braunrandig. Alle Bilder jedoch ohne nennenswerte Läsuren (alle Abbildungen sind Originalbilder). In diesem Zustand & in derart dekorativen Einbänden sowie mit nahezu allen Tafeln heute nicht mehr allzu häufig erhältlich. 7000 Gramm. [Attributes: First Edition; Hard Cover]

      [Bookseller: Lexikon und Enzyklopädie]
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        Temple of Isis on the roof of the Great Temple of Dendera

      [London: Day & Son, 1849. Tinted lithograph by Louis Haghe, coloured by hand, mounted on card in imitation of a watercolour (as issued). Fine condition. A fine example from the deluxe issue of David Roberts' monumental works on the Middle East: 'The Holy Land' and 'Egypt & Nubia', considered the greatest lithographically illustrated works issued in the 19th century. Roberts' masterpiece was issued in 41 parts over seven years in three states; tinted, tinted proof and in its finest form (as with the present image), coloured and mounted on card. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, `Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone'. Abbey regarded the work as `one of the most important and elaborate ventures of nineteenth-century publishing, and...the apotheosis of the tinted lithograph'. David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theatre in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £ 3,000. for the copyright of the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. Abbey Travel I, 272 (plate #66).

      [Bookseller: Donald Heald Rare Books]
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        The Holy Land, Syria, Idumea, Arabia. [With:] Egypt & Nubia, from drawings made on the spot... With historical descriptions by William Brockedon

      London: F.G. Moon, 1849. 6 volumes, large folio. (23 7/8 x 17 inches). [Holy Land:] Mounted on guards throughout. 4pp. list of subscribers. Lithographic portrait of Roberts by C. Baugniet on india paper mounted, 3 hand-coloured mounted lithographic titles, 120 hand-coloured lithographic plates, all cut to the edge of the image and mounted on card in imitation of watercolours, as issued, all drawn on stone by Louis Haghe after David Roberts. [Egypt:] Mounted on guards throughout. 3 hand-coloured mounted lithographic titles, 121 hand-coloured lithographic plates, all cut to the edge of the image and mounted in imitation of watercolours, as issued, all drawn on stone by Louis Haghe after David Roberts, 1 engraved map. [Holy Land:] Contemporary green morocco gilt by Charles Lewis, the covers with an outer gilt border built up from numerous small tools including arabesques, stylised foliage, crescent moons, flowerheads, etc., the upper covers lettered in gilt with author and title, spines in six compartments with double raised bands, the bands highlighted in gilt, the second and third compartments lettered in gilt, the remaining compartments with repeat overall tooling using tools which echo those used on the covers, gilt turn-ins, cream glazed endpapers, gilt edges. [Egypt:] Contemporary red morocco gilt by Charles Lewis, the covers with an outer gilt border made up from fillets and roll tools, all surrounding an elaborate inner border tooled to a rococco design incorporating shells, scrolling styised foliage and irregularly-shaped panels with overall tooling of lattice work with small tools, the upper covers lettered in gilt with author, title and volume number, spines in six compartments with dou Provenance: Henry Christopher Robarts (1811-1880, armorial bookplate, subscriber); William Graves Perry (bookplate dated 1931) Very fine subscriber's copies of the deluxe hand-coloured editions of Roberts' monumental works on the Middle East: the Holy Land, Syria, Idumea, Arabia and Egypt. The greatest lithographically illustrated work of the 19th century, here in stunning contemporary bindings. Roberts' masterpiece was issued in 41 parts over seven years. It is beautifully lithographed by Louis Haghe, to whom Roberts paid tribute in glowing terms, "Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone." Abbey regarded the work as "one of the most important and elaborate ventures of nineteenth-century publishing." David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego, a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon theater in Edinburgh, moving on to work in theatres in Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield. Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830 Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £3,000 for copyright to the sketches, and for his labour in supervising Louis Haghe's lithography. Both the exhibition of his original watercolours and the subsequent published work were an immediate success and confirmed his reputation as an architectural and landscape artist of the highest order. It is clear that these two works should be considered as a set. They were supplied to the same original subscriber: H.C. Robarts, a London banker and evidently a collector of some taste. He employed the firm of Charles Lewis to bind the work, resulting in these unique and dramatic red and green highly-decorative bindings.

      [Bookseller: Donald Heald Rare Books]
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        Jahresbericht über die Fortschritte der reinen, pharmaceutischen und technischen Chemie, Physik, Mineralogie und Geologie. Unter Mitwirkung von H. Bulff, E. Dieffenbach, C. Ettling, F. Knapp, H. Will, F. Zamminer. Für 1847 ff.

       Giessen, Ricker`sche Buchh. 1849 ff. 1. Jg. 1847-62, 1865, 1867-69, 1871-77. (Insges. 27 Jgge. in 25 geb.). HLdr.-Bde. d. Zt. m. Rückengoldpräg.Tit. gestemp. Kanten berieb.Dazu: Register zu den Berichten für 1847 bis 1856. - Unter den Mitwirkenden befanden sich Justus Liebig , Hermann Kopp , Heinrich Will , Adolph Strecker , Alexander Nikolaus Franz Naumann, August Laubenheimer, Friedrich Bernhard Fittica, Guido Bodländer, Julius Tröger, Emil Baur u.v.a. Versand D: 4,00 EUR Naturwissenschaften, Zeitschriften, Chemie, Physik

      [Bookseller: Antiquariat Burgverlag]
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        AUTOGRAPH NOTE, SIGNED, BY J.W. JUDD, TO GUY R. PHELPS, REGARDING A LIFE INSURANCE POLICY FOR LANGDON H. HAVENS, A FORTY-NINER AND MEMBER OF JOHN WOODHOUSE AUDUBON'S ILL- FATED OVERLAND EXPEDITION TO CALIFORNIA IN 1849].

      New York. Jan. 29, 1849. - [1]p. of a bifolium, docketed on verso of second bifolium leaf. Mailing folds, slight edge discoloration, else fine. An intriguing note regarding life insurance for a forty- niner traveling to California in 1849 with Henry Webb and John Woodhouse Audubon. The note reads, "Langdon H. Havens wants a [life insurance] permit for California to go over the Overland Route in company with persons bearing dispatches from our Government, in a Company of 100 or more. He wants to leave for Washington immediately." Perhaps the twenty-six-year-old Haven (sometimes spelled Havens) originally intended to join a safe government-sponsored expedition from Washington, but he was in fact among the 100 Forty-Niners who embarked on a famously ill-fated overland expedition, led by Army Colonel Henry Webb, with John Woodhouse Audubon, son of the famous ornithologist, as his second in command, which left New York on Feb. 8. The company proceeded by ship, train, stagecoach and riverboat to New Orleans and from there by steamer across the Gulf of Mexico to the mouth of the Rio Grande, where they arrived on March 13 - an odd overland route dictated by Webb, a veteran of the Mexican War. There disaster struck. A dozen men died of cholera, the company's money was stolen, and leadership conflict led Webb to leave the company with a dozen followers. Some of the remaining stalwarts, including Haven followed Audubon onward, trekking for seven months through Mexico and Arizona, the survivors finally reaching San Diego in November. Some then took a boat to San Francisco; others continued overland to the gold fields. As meticulously recorded by Audubon, a naturalist and painter in his own right, the entire venture has gone down in history as "one of the most poorly-planned" Forty-Niner expeditions "on record." Haven, though nearly dying en route, was one of the fortunate few who "made it to California." An appealing note, dated in the famous year of the California Gold Rush, that eerily anticipates the dangers inherent in overland travel in America in the 19th century.

      [Bookseller: William Reese Company - Americana]
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        [AUTOGRAPH NOTE, SIGNED, BY J.W. JUDD, TO GUY R. PHELPS, REGARDING A LIFE INSURANCE POLICY FOR LANGDON H. HAVENS, A FORTY-NINER AND MEMBER OF JOHN WOODHOUSE AUDUBON'S ILL- FATED OVERLAND EXPEDITION TO CALIFORNIA IN 1849]

      New York, 1849. Mailing folds, slight edge discoloration, else fine. An intriguing note regarding life insurance for a forty- niner traveling to California in 1849 with Henry Webb and John Woodhouse Audubon. The note reads, "Langdon H. Havens wants a [life insurance] permit for California to go over the Overland Route in company with persons bearing dispatches from our Government, in a Company of 100 or more. He wants to leave for Washington immediately...." Perhaps the twenty-six-year-old Haven (sometimes spelled Havens) originally intended to join a safe government-sponsored expedition from Washington, but he was in fact among the 100 Forty-Niners who embarked on a famously ill-fated overland expedition, led by Army Colonel Henry Webb, with John Woodhouse Audubon, son of the famous ornithologist, as his second in command, which left New York on Feb. 8. The company proceeded by ship, train, stagecoach and riverboat to New Orleans and from there by steamer across the Gulf of Mexico to the mouth of the Rio Grande, where they arrived on March 13 - an odd overland route dictated by Webb, a veteran of the Mexican War. There disaster struck. A dozen men died of cholera, the company's money was stolen, and leadership conflict led Webb to leave the company with a dozen followers. Some of the remaining stalwarts, including Haven followed Audubon onward, trekking for seven months through Mexico and Arizona, the survivors finally reaching San Diego in November. Some then took a boat to San Francisco; others continued overland to the gold fields. As meticulously recorded by Audubon, a naturalist and painter in his own right, the entire venture has gone down in history as "one of the most poorly-planned" Forty-Niner expeditions "on record." Haven, though nearly dying en route, was one of the fortunate few who "made it to California." An appealing note, dated in the famous year of the California Gold Rush, that eerily anticipates the dangers inherent in overland travel in America in the 19th century.

      [Bookseller: William Reese Company - Americana]
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        NINEVEH AND ITS REMAINS: with an account of a visit to the Chaldean Christians of Kurdistan, and the Yezidis, or devil-worshippers; and an enquiry into the manners and arts of the ancient Assyrians

      London, John Murray, 1849.. 2 volumes, complete set, THIRD EDITION (same year as first and second edition), 8vo, approximately 215 x 135 mm, 8½ x 5¼ inches, 2 tinted lithograph frontispieces with tissue guards, 20 engraved plates of which 2 double page, numerous illustrations in the text, 6 plans, 4 folding and a large folding map, pages: xxx, (2), 1-399; xii, 495 including index, bound in full polished calf, double ruled gilt border to covers, small gilt arms to the centre of covers: a hand with arrow, a crown above, the motto Non Eget Arcu and below the initials AA, spines richly gilt with 2 contrasting gilt lettered labels, gilt decorated board edges, endpapers and page edges marbled, small bookplate to pastedowns with the same arms. 2 small scrapes to upper cover of Volume I, another to lower corner of upper cover of Volume II, minute nick to foot of upper hinge of Volume I, slight foxing to endpapers and to title page of Volume I, folding plan of Nimroud lightly browned and with a small water stain to lower inner corner (see image), small inner corner repair to blank side of folding map at rear of Volume I, faint foxing to top margin of double plate page 76 in Volume II, otherwise a very good clean tight set. From 1845-1854 the young British adventurer Austen Henry Layard explored the ruins of Nineveh. For years sceptics had questioned the existence of the city since it could not be found. Layard discovered the lost palace of Sennacherib across the Tigris River from modern Mosul in northern Iraq. Inscribed in cuneiform on the colossal sculptures in the doorway of its throne room was Sennacherib's own account of his siege of Jerusalem. It differed in detail from the biblical one but confirmed that Sennacherib did not capture the city. This created a great deal of public interest, because previously the only account of any siege of Jerusalem by Sennacherib was the one found in the Bible (2 Kings 18-19). Sennacherib's account does differ from the Bible's, but both affirm that Sennacherib did not capture the city. Many people felt this vindicated their faith in the Bible, which had been attacked by "increasing religious doubt and scriptural revisionism." The palace's walls were covered with stone slabs chronicling Sennacherib's victories. One of these stone slabs chronicles in what appears to be remarkable detail the Judean city of Lachish, whose destruction the Bible records (2 Kings 18:13-14). .MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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