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

        Fine Signature Dated 1849 Accompanied with Envelope and Charles Dickens' Wax Seal

      The First Edition has for sale this rare, collectable and fine example of a Charles Dickens signature which is the end of a letter and is dated 1849. The paper is in Very Good condition with vertical and horizontal folds and mounts to the reverse. It is accompanied with an envelope made out in Charles Dickens hand and bearing a Penny Red stamp and Dickens' wax seal to the reverse An extremely attractive and presentable Charles Dickens autograph with his rarely found wax seal

      [Bookseller: The First Edition]
 1.   Check availability:     Booksatpbfa     Link/Print  


        The Mabinogion from the Llyfr Coch o Hergest, and other ancient Welsh manuscripts, with an English Translation and Notes

      Longman & ReesLondon & Llandovery, 1849. First complete edition. 3 Vols: xxiii, 411 pp, 444 pp, 400 pp (nb. Vol III bound without Part VI - Pwyll Pendefig Dyfed, pp 5-76)..Marbled boards and end papers. Spines have dark labels and 5 raised bands with particularly fine gold tooling, in excellent condition. Several facsimile documents and illustrations. Some rubbing on boards, internally clean and bright. The 11 tales draw on pre-Christian Celtic mythology, international folktale motifs, and early medieval historical traditions, and are considered a prose masterpiece of medieval Welsh and indeed European literature. The stories preserve much of the ancient mythology of the British Celts. Lady Charlotte Guest (1812 -1895), later Lady Charlotte Schreiber, was an English translator and wife of the Welsh ironmaster Sir Josiah Guest.. A very handsome set.

      [Bookseller: Cymric Books]
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        British Butterflies and their Transformations. Arranged and illustrated in a Series of Plates by H.N. Humphreys with Characters and Descriptions by J.O. Westwood. [Second Edition]

      William S Orr, 1849. Roy. 8vo., Second Edition, with hand-coloured and printed titles, and 42 fine engraved plates COLOURED BY HAND, small inscription on blank preliminary; attractively bound in contemporary blue half morocco, pebble-grain cloth boards ruled in gilt, back with five raised bands tooled in gilt, second compartment lettered and ruled in gilt, all other compartments richly tooled and ruled in gilt, all edges gilt, marbled endpapers, an unusually bright, crisp, clean copy.Nice copy of the first one-volume edition, combining in unabridged state the two volumes of the first edition of 1841.Freeman 3951.

      [Bookseller: Island Books]
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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. 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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        Mardi: and a Voyage Hither

      Harper & Brothers New York: Harper & Brothers. 1st Edition. Hardcover. Fine. FIRST AMERICAN EDITION of Melville's third book, containing the first glimpses of the rich symbolism and allegorical style that would later be more fully developed in Moby Dick. New York: Harper & Brothers, 1849. Octavo, original brown blind-stamped cloth. Two volumes. Provenance: with bookplates of Albert Henry Wiggin, the noted book collector and famous Boston and New York banker who was considered for Time's Man of the Year for 1930 for his work during the Depression; also with attractive bookplates of Sydney Ansell Gimson and Fowler Booksellers. Very light wear at spine ends, usual scattered occasional foxing, pastedowns toned and foxed. Cloth very clean and gilt exceptionally bright: a beautiful copy.

      [Bookseller: The Manhattan Rare Book Company ]
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        Der Badische Wehrstand seit dem Siebenzehnten Jahrhundert bis zu Ende der Franzosischen Revolutionskriege. Bilder Deutschen Wehrstandes. Mit Zeichnungen von Feodor Dietz, Lucian Reich und Moritz von Schwind

      Karlsruhe: Herder'sche Buch Handlung, 1849 Believed first edition. All text in German. 310 pages. With 8 full page color illustrations depicting various soldiers and the colors of their uniforms, a full page color map, a fold out chart, and many large decorative initials at the beginning of chapters, as well as several black and white illustrations. With a blank endpaper, half title, title page, secondary title pages following the title page, a table of contents, 310 pages of text and a rear blank endpaper. Collated and complete. A history of the Baden (Germany) Army, an imperial army at the service of the Holy Roman Empire, from its inception in the seventh century to the French Revolution. In GOOD condition. Bound in a rather unattractive marbled light and dark board with a brown cloth backstrip. Handwritten title label on the spine. Moderate to heavy scuffing to the covers, especially to the rear. Minor soiling. Spine darkened and soiled with some chipping to the head and foot, resulting in very minor loss of cloth. Extremities scuffed and bumped, especially to the corners. The interior is solid, with the table of contents pages browned, as well as pages 249 to the end. They appear to have been made to a different consistency. Page 159 had been TORN almost along the gutter and was repaired by a previous owner with tape which has yellowed. This page also has a 3 inch piece of tape along the center fore edge. The illustration following this page was also TORN and repaired in the same manner, with now very yellowed tape. Minor sporadic foxing to most of the pages, with heavier foxing to the pages following page 249. Page 286 has 2 small arrows in pen in the margin and very minor notations in the text. No other notations were found. Solid copy of this work in GOOD condition. Photos available upon request.. First Edition. Hard Cover. Good/No Jacket.

      [Bookseller: Mare Booksellers]
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        LE JOURNAL POUR RIRE. Journal d?images, journal comique, critique, satirique et moqueur. Un numéro tous les samedi.

      In folio gr. (mm. 603 x 433), mz. tela mod. Di questo affascinante settimanale satirico, diretto da Ch. Philipon (fondatore del ?Chiarivari?, della ?Caricature Politique?, ecc.), di pp. 4 cad. numero, interamente illustrato da vignette inc. su legno, offriamo le seguenti annate, complete in 52 numeri, ben conservate: - 1949 (dal n. 49 al n. 100) - 1950 (dal n. 101 al n. 152). Cad. annata.

      [Bookseller: Libreria Antiquaria Malavasi]
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        Kalevala. Toinen painos (Second impression).

      Suomalaisen Kirjallisuuden Seuran (The Finnish Literary Society), Helsinki 1849. 8vo. IX+(1)+368+(2) pages. Contemporary dark green half-calf binding. Slight edgewear. Bookplates on front pastedown. Pencil notes (in Finnish) on back endpaper.. Attractive copy of the first complete edition of the Finnish national epic. ** Elias Lönnrot (1802-84) stands as the all-time pioneer in refining and preserving the Finnish language which thorugh centuries was threatened by Swedish. From the late 1820s, Lönnrot (who originally was a doctor) collected folk tales from peasants (quite in the European romantic tradition and spirit). The monumental result of these efforts was the first version of the Kalevala (1835-36), which was expanded to the second and final version (the so-called "New Kalavala" in 1849

      [Bookseller: Vangsgaards Antikvariat]
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        THE POETICAL WORKS

      Edward Moxon London: Edward Moxon, 1849. New and Revised Edition. Hardcover. Very minor rubbing to spine tips and one volume with a few tiny nicks in the raised bands. A close to Fine, pretty little set. Seven small octavo (4" x 6-1/2") volumes bound in 3/4 black morocco by Worsfold and marbled boards with gilt rules and all edges gilt; the spine with five raised bands, gilt lettering, and three red morocco floral inlays. Frontispiece portrait in the first volume.

      [Bookseller: Charles Agvent, ABAA ]
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        Lucretia Rudolph’s signed schoolbook, “Xenophon’s Anabasis” in Greek, with notations in Greek and English by her and James – both read and spoke Greek. James Garfield's signature on clipped paper laid in to book

      The first Presidential memorial library, completed at the Lawnfield estate in Ohio by the widow of James Garfield four years after his assassination, houses almost 3,000 books that were used and treasured by the 20th president. Books were a scarce commodity to young James, who lost his father before the age of two, and was raised by his mother who struggled to maintain a humble existence. Both James Garfield and his wife Lucretia were voracious readers and amassed a large collection of books. Some twenty years ago, several dozen of his books were de-accessioned, and one of these books is described below: Book “Xenophon’s Anabasis” in Greek with notes in English by C. Anthon, 632 pages, 4.5” x 7.5”. New York: 1847. Signed on the first blank flyleaf “Lucretia Rudolph.” Tears at left edge of flyleaf. Affixed opposite this page, inside the front cover, is a 2.75” x 1.5” label imprinted “Inter Folia Fructus / Library of / James A. Garfield.” Bound in leather. Gilt lettering on label on spine. Bumped corners. Some pages foxed and soiled; one section of text block loose. Boards and spine professionally restored to good condition. Signature, "J A Garfield MC", on paper cut to 3.5" X 1.25", laid in to book. From JamesGarfield.org: “In 1849, Garfield’s mother persuaded him to enter Geauga Academy in Chester, Ohio, which was about ten miles from his home. During his vacations he learned and practiced carpentry and helped at harvest, he taught and did anything and everything to get money to pay for his schooling. After his first term, he needed no aid from home, he had reached the point were he was self-sufficient. While at Chester, he met a Miss Lucretia Rudolph, his future wife. He was attracted at first by her interest in the same intellectual pursuits, and he quickly discovered sympathy in other tastes and a congeniality of disposition, which paved the way for the one great love of his life.” The “Anabasis” is the account made by Xenophon of the retreat of the Greek troops that had tried to help Cyrus against Artaxerxes. Following an eight page biography of Xenophon in English, preceding the text in Greek, is a fold-out 11” x 7.5” “Map to illustrate the Expedition of Cyrus, and the retreat of the Ten Thousand Greeks. Compiled from authentic Documents, By W. Francis Ainsworth” and a 7.5” x 4.5” “Plan of the Battle of Cunaxa, according to M. de la Luzerne,” each with a tear at lower blank corner. There are notations in pencil in Greek and English in this book, by Lucretia and James. There was a class taught at Geauga in Xenophon’s Anabasis attended by Lucretia and James, although possibly not at the same time. This book was used by Lucretia and possibly by James. It was undoubtedly read by both. J.N. Bundy writes in “The Nation’s Hero: In Memoriam. The Life of James Abram Garfield” by J.M. Bundy (New York: A.S. Barnes & Co., 1881) about Lucretia and James: “The acquaintance begun at Chester, many years previous, when both were students at the Geauga Seminary, had ripened into congenial companionship in the studies and reading pursued together at Hiram, where he found her living near the Institute. She became Garfield’s pupil, some time afterward, and recited to him in Latin, Greek, and geometry, as well as in some other branches of study. She was a remarkably fine scholar, with keen perceptions, quick intuitions, and high ambitions. She sympathized with all of Garfield’s strenuous struggles for a college education. She was his complement and better self. Their union was inevitable, and they were engaged in 1854, just as Garfield was about to set out for Williams.” On November 11, 1858, James A. Garfield and Lucretia Rudolph were married.

      [Bookseller: University Archives ]
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        The Illustrated Hand-Book a New Guide for Travelers [travellers] through the United States of America

      New York: Sherman & Smith. G : in Good condition. Cover lightly rubbed soiled and bumped. Slight darkening to page ends. Stamps of previous owner on fep and base of title page. Pencil annotation on ffep. Rear fold out map G+ with small tear at fore edge of centre fold. Contents tight. 1849. Reprint. Red/gilt hardback cloth cover. 234pp :: 125 highly finished engravings and a large and accurate map hand coloured in outline :: 150mm x 90mm (6" x 4") :: Containing a description of the states, cities, towns, villages, watering places, colleges etc.,etc.; with the railroad, stage, and steamboat routes, the distance from place to place, and the fares on the great travelling routes .

      [Bookseller: Barter Books Ltd]
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        Tjensteqvinnans son.

      En själs utvecklingshistoria (1849-1867). Stockholm, Albert Bonniers Förlag 1886. 8:o. Originalupplaga. (4),261,(3 sista blank) s. Trådhäftad. Oskuren i tryckta originalomslag. 10 x 10 mm saknas främre omslag nedre hörn vid rygg samt 4 x 4 mm bakre omslag övre hörn vid rygg. En länsgående spricka i ryggen samt ytterligare en på 7 cm. Med: Ibid. Jäsningstider. En själs utvecklingshistoria (1867-1872). Stockholm, Albert Bonniers Förlag 1886. 8:o. Fjerde tusendet. (4),282,(2 sista blank) s. Trådhäftad. Oskuren och till stora delar ouppskuren i tryckta originalomslag. Förläggarstämpel på främre. Limmad längsgående spricka i ryggen, mindre bitar saknas. Med: Ibid. I Röda Rummet. En själs utvecklingshistoria (1872-1875). Stockholm. Albert Bonniers Förlag 1887. 8:o. Andra tusendet. (4),168,(2 sista blank) s. Trådhäftad. Oskuren i tryckta originalomslag. 42 mm spricka i ryggen. Med: Ibid. Författaren (1877-1887). Stockholm. Albert Bonniers Förlag 1909. 8:o. Originalupplagan. 176,(2 sista blank) s. Trådhäftad. Oskuren och ouppskuren i tryckta originalomslag. Med: Ibid. Han och hon (1875-1876). Stockholm. Albert Bonniers Förlag 1919. 8:o. Första upplagan. 237,(1 blank) s. Trådhäftad. Oskuren i tryckta originalomslag. Liten fläck främre omslag. 18,5 x 12 cm. Sista volymen 19,5 x 12,5 cm

      [Bookseller: Antiquaria]
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        TJENSTEQVINNANS SON I-V.

      (I). Tjensteqvinnans son. En själs utvecklingshistoria (1849-1867). Stockholm: Bonniers, 1886. Originalupplagan. (4), 261, (2) s. II. Tjensteqvinnans son. Jäsningstiden. En själs utvecklingshistoria (1867-1872). Stockholm: Bonniers, 1886. Originalupplagans tredje tusende. (4), 282, (1) s. III. Tjensteqvinnans son. I Röda rummet. En själs utvecklingshistoria (1872-1875). Stockholm: Bonniers, 1887. Originalupplagans andra tusende. (4), 168, (1) s. (IV). Tjänstekvinnans son. Författaren. (1877-1887). Stockholm: Bonniers, 1909. Originalupplagan. 176, (1) s. (V). Tjänstekvinnans son. Han och hon. En själs utvecklingshistoria (1887-76). Stockholm: Bonniers, 1919. Originalupplagan. 237, (2) s. 5 volymer i handbundna modernare halvskinnband (Peter Meyer, Beck & Son, Stockholm) med ryggdekor och hela guldsnitt. Volym I-IV i ljusbrunt skinn och del V i rött skinn m. a. o. i avvikande färg. Volym I och V inbundna med främre omslag. Volym II-IV inbundna med både främre och bakre omslag.. Zetterlund I: 34, 35, 36 och 117. - Fjärde volymen med gåvotillskrift på främre omslaget "Folke Henschen af S og" skriven av Signe Thiel till sin blivande man

      [Bookseller: Ryös Antikvariat]
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        Dictionary of Greek and Roman Biography and Mythology

      Boston: Charles C. Little and James Brown, 1849. First US edition. Hardcover. Very good plus. Three thick 8vo volumes. xii,1093;viii,1219;viii, 496pp. Modern quarter calf, gilt titles. Maroon cloth sides. Marbled endpapers. illustrated throughout with woodcuts. A very good plus set. Smith (1813-1893) was a noted Lexicographer. His first attempt was the Dictionary of Greek and Roman Antiquities of 1842; this was followed by the present work in 1849. In 1857 he published a Greek and Roman Geography. Thereafter he published school, Latin and Ecclesiastical dictionaries.

      [Bookseller: Thorn Books]
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        Memoirs of the Life of Vice-Admiral Lord Viscount Nelson KB. 2 volume set

      London: T. and W. Boone. Rebacked. Cover rubbed and bumped. Small tear to part of fold out illustration in volume II with no loss. Slight darkening to page ends otherwise contents VG. 1849. First Edition. Blue hardback cloth cover. xxxiv, 501pp; 668pp + adverts :: Engravings, facsimiles and fold out illustrations :: 230mm x 150mm (9" x 6") .

      [Bookseller: Barter Books Ltd]
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        PL 111 Musk Ox The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl 116 American Black or Silver Fox The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Archivally matted and famed as shown. Sized to 19.5 x 17.5 inches. First Royal Octavo Edition Fine condition A Fine and rare original lithotint on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American naturalist painters: John James, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl 146 Nine-banded Armadillo The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl. 73 Rocky Mountain Sheep The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl 112 Californian Hare The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl. 137 Sea Otter The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Very Good with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl 133 Texian Hare The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl 47. American Badger The Quadrupeds of North America

      New York: V.G. Audubon, 1849. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John James Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American naturalist painters: John James, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to the American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Pl 108 Bachman's Hare The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Matted in Ivory Rag Board, 12 x 16 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        The Ladies' Flower-Garden Of Ornamental Greenhouse Plants

      William S. Orr & Co. London: William S. Orr & Co., (1849). Second edition. Hardcover. Three quarter green morocco and green cloth. Teg. Very good./No Dust Jacket. 215 pages. 30 x 25 cm. Forty-two lithographic plates printed in colors and finished by hand, tissue guards. With no entry level manuals for gardening available in her day, she pioneered gardening as a suitable occupation for women. Her husband -- John C. Loudon, a prolific horticultural and landscape design writer founded the "Gardener's Magazine," the first periodical devoted solely to horticulture -- influenced her as did John Lindley, whose lectures she attended. Prior to her marriage her fiction writing, "The Mummy," an early science fiction novel, adumbrated perhaps by Mary Shelley's "Frankenstein," and published anonymously in 1827 by Henry Colburn, received favorable reviews. NISSEN 1236 [1848 edition]. Plates generally clean, a few minor age spots to first few plates at upper margins not affecting images, raised bands, gilt decorated spine panels, joints and extremities rubbed.

      [Bookseller: Royoung bookseller, Inc. ]
 25.   Check availability:     ABAA     Link/Print  


        The Working Man's Handbook to South Australia. With Advice to the Farmer, and Detailed Information for the Several Classes of Labourers and Artizans. [Bound with an edition of: MELVILLE, Herman. Omoo: a Narrative of Adventures in the South Seas.].

      London: John Murray, Albermarle Street; Trelawney Saunders, Charing Cross. 1849.. 8vo. xii, 110 pp; title page of second work never bound in, otherwise iii-ix, [i], 242 pp. Contemporary half brown calf over marbled boards, spine with raised bands, gilt rules to compartments, gilt lettered black label, plain endpapers, armorial bookplate of William Edward Armstrong, New Hall to paste down, his ownership inscription reading "W E A MacDonnall" to head of title page of principal work. Folding map towards front of volume. Extremities rubbed, small tear confined to inner margin of map and small tear with loss to upper margin of contents leaf of second work, otherwise very good. From the preface to the first work: "The working man and small capitalist may here see at a glance whether the colony will suit his peculiar circumstances; and, if so, what wages he may expect, and what prospects lie before him." The work includes sections on occupations and trades, including farming and mining. Published the year after Wilkinson's other, more commonly available, work "South Australia. Its Advantages And Its Resources Being A Description Of That Colony ...". The additional leaves of advertisements etc. mentioned by Ferguson never bound in. Omoo, an autobiographical and somewhat sensationalised novel, recounting a sailor's adventures on the South Seas. First published in 1847, the edition bound in here would appear to have been published by George Routledge & Co., printed by J. Billing of Woking. Ferguson, 5248.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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        Notes on Artillery. Drawings on Artillery

      [n.p.] (1849). . Two volumes, large 8vo (text) and oblong folio. (xiv), 544 pp. Uniformly bound in contemporary brown half morocco over matching brown cloth sides, gilt lettered to upper boards with the author’s name and the titles along with the initials “R.M.A.” (presumably the Royal Military Academy), the spine of the text volume with gilt tooled raised bands, gilt lettered to one panel and with date at the foot of the spine, the atlas volume neatly rebacked to style, the bookplate of the Naval and Military Club to the front pastedown featuring their armorial crest. Some minor wear to the bindings, small crack at the head of the upper joint of the text volume, though the binding remains sound. An impressive mid-19th century manuscript treatise on various aspects of artillery, providing a comprehensive description of the weapons and ammunition and the technology used in their manufacture. The text volume commences with a hand drawn title page bearing the student’s name and family crest and is followed by an 11 page index of the contents, arranging the work under the broad section headings “Artillery”, “Remarks on the Foundry”, “Remarks on the Boring Department”, “Notes on Proof Department”, “Reports on Military Carriages, Notes on Gun Powder”, “Laboratory Course” and “List of Works to be Considered on Artillery”. The work is embellished by numerous tables and illustrations drawn and coloured by hand. The folio atlas volume contains 40 fine drawings of various sizes, with 25 measuring 20 x 32 cm being predominantly uncoloured, the others variously measuring between 20 x 26 cm and 24 x 45 cm, all but one handcoloured.& Richard Oldfield went on to serve in the Royal Artillery in the succeeding decades and eventually gained the rank of Major-General in 1887.

      [Bookseller: Bow Windows Bookshop]
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        BERETNING OM CORVETTEN GALATHEA'S REISE OMKRING JORDEN 1845, 46 OG 47

      Copenhagen: C.A. Reitzel: 1849-51.. Three volumes. [4],xii,495,[1]pp. including half title, plus six plates and two folding maps; [4]viii,465,[3]pp. including half title, plus eight plates and two folding maps; [4],513,lxvii,[2]pp. including half title, plus six plates, one folding map, and one facsimile. 19th-century three quarter calf, spine stamped in blind and gilt. Joints slightly worn. Later ownership inscription of F. Nielsen on front pastedown of first and second volumes. A few short, light annotations in pencil in text and below inscriptions on plates in first volume. Scattered light foxing and tanning in text, on maps, and in margins of plates. A very good copy. The first edition of the official account of the first Danish circumnavigation, written by Steen Bille, the chief of the expedition. According to Forbes, there were three major purposes to this voyage: "exploring (with the idea of establishing a colony of the Nicobar Islands; encouraging and wherever possible forming trade agreements with foreign governments; and scientific exploration and discovery. The expedition included two zoologists, a botanist, a geologist, an etymologist, and the artists Paul Plum and Christian Thornam." Leaving Denmark in 1845, the expedition began by way of the Cape of Good Hope, then proceeded by visiting southern India, Penang, the Philippines, Java, China, and Japan, before arriving at the Hawaiian Islands. They then proceeded to the west coast of South America, Rio de Janeiro, and home. The twenty tinted lithographs focus on indigenous people, while the maps illustrate their route and places visited. It was during this voyage that Bille, representing the Danish crown, signed a treaty with the then-sovereign Hawaiian nation granting Denmark most-favored nation trading status. The expedition spent most of October and the first half of November 1846 in Hawaii, and the first two hundred pages of the third volume are devoted to an account of their visit. Two abridged editions were published in 1852 and 1853, following this first edition. FORBES HAWAII 1723. OCLC 16326286. HILL 126 (1853 abridgement). HOWGEGO 1800-1850, B35. BORBA DE MORAES p. 106 (ref.)

      [Bookseller: William Reese Company - Americana]
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        Pl 101. The Jaguar The Quadrupeds of North America

      New York: V.G. Audubon, 1849-54. Archivally matted and framed as shown. 17.25 x 15.25 inches. First Royal Octavo Edition Fine with original hand-coloring A Fine original hand-colored lithograph on rag stock. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Woodhouse Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. This print is accompanied by the original scientific text about the animal written by Rev. John Bachman. The Quadrupeds of North America, which encompassed a total of 155 native American four-legged (thus quadruped) mammals individually documented and portrayed in their landscape and natural settings, was a collaborative effort between premier Nineteenth Century American wildlife painters: John James Audubon, his sons John Woodhouse and Victor Gifford Audubon and the naturalist Reverend John Bachman. To document and portray what John James Audubon considered a dwindling resource; the native mammals set among the splendor and majesty of the uninhabited American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark, from the Canadian border of the Northern Russian Territories, now Alaska, southward to Mexico. Arduous and monumental, the journey influenced the pathos of the compositions, however, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless reflection of Nineteenth Century American Culture and contribution to American Wildlife Art. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last a Great National Work, originated and completed among us- authors, artists and artisans of which are our own citizens.. the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000)

      [Bookseller: Lowry-James Rare Prints & Books, ABAA]
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        Autograph musical quotation signed ("Ch. Lecocq") and dated April 18, 1897

      8 measures in piano-vocal score from Act II of the composer's opera, La Fille de Madame Angot. Folio. 1 page. Notated in ink on 12-stave music manuscript paper. & & Very slightly browned. . Lecocq "entered the Paris Conservatoire in 1849, where he studied harmony with Bazin and composition with Halévy, and made friends with his fellow students Bizet and Saint-Saëns..."& & "... In Brussels, where [he] lived for several years from 1870, the popular acclaim accorded his operettas Les cent vierges (1872), La fille de Madame Angot (1872) and Giroflé-Girofla (1874), all of which were later produced with great success in Paris and abroad, established him as a natural successor to Offenbach..." & & "... Much of Lecocq’s music is characterized by a light touch, but he could also adopt a more lyrical and elevated style than Offenbach and termed several of his operettas opéras comiques. His greatest popular triumph, La fille de Madame Angot, has remained a classic among operettas, and demonstrates Lecocq’s abundant flow of pleasing melodies, his deft exploitation of rhythm for a lively theatrical effect, impressive building up of extended numbers, and typically French shaping of phrases." Andrew Lamb in Grove online

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        History of Europe, from the commencement of the French Revolution to the Restoration of the Bourbons in 1815

      Edinburgh: William Blackwood and Sons, 1849., 1849. 14 volumes; 8vo. (22 x 65 cm). Contemporary full brown diced calf, black and tan title labels, gilt raised bands to blind tooled spines, marbled end papers and edges. With engraved portraits. Light general rubbing. A splendid set.

      [Bookseller: Adrian Harrington Rare Books]
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        Palaeographia Sacra Pictoria: Being a Series of Illustrations of the Ancient Versions of the Bible, Copied from Illuminated Manuscripts Executed Between the Fourth and Sixteenth Centuries

      London: Published by Henry G. Bohn, [1849?] First edition. Half red morocco over marbled boards, rubbed. Large quarto. Fifty chromolithographic plates, some heightened in gold. Spine somewhat faded, binding extremities rubbed, small wormholes at bottom outer joint, endpapers and some tissue guards lightly foxed. Armorial bookplate of William Betts. A good clean, copy, with the plates bright and clean. John Obadiah Westwood (1805-1893) was an entomologist and paleographer who devoted his life to antiquarian pursuits. He became an esteemed authority on Anglo Saxon and medieval manuscripts. His other publications include Illuminated Illustrations of the Bible (1846), On the Distinctive Character of the…Ornamentation employed by the early British Anglo-Saxon, and Irish artists (1854), A Descriptive Catalogue of the Fictile Ivories in the South Kensington Museum (1876), Lapidarium Walliae: the Early Inscribed and Sculptured Stones of Wales (1876–9), and The Book of Kells: a Lecture (1887).

      [Bookseller: Michael R. Thompson, Booksellers, ABAA/I]
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        J. E. Barre, Representing him engaged in the Grand Match played in the Tennis Court - Lords Cricket Ground July 3rd 1849

      London: J.H. Dark, 1849. AN EXCEPTIONALLY RARE PRINT OF J. EDMOND BARRE: THE GREATEST NINETEENTH-CENTURY COURT TENNIS PLAYER Mezzotint engraving Paper size: 27 1/2" x 20 1/4" Frame size: 39" x 31 3/4" Condition: Very good. Extremely minor browning of paper. Repair to upper right corner. Crease mark along lower edge. Frame: Modern . Book.

      [Bookseller: Arader Galleries]
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        Histoire du Consulat et de l'Empire faisant suite a l'Histoire de la Revolution Francaise (21 volume set)

      Paulin, libraire-editeur, 1849. Hardcover. Good. 21 volume set. Contemporary green leather. Octavo, 8 vo. Clean, white, unmarked pages. Hardcover. Ex-libris stamps and markings. French. Library book plate inside cover. Stamp on spine. Mostly solid. 3 volumes are missing part of the spine material. Minor rubbing to spine edges. Ships daily.

      [Bookseller: SequiturBooks]
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        Shirley. A Tale. By Currer Bell, author of "Jane Eyre." In three volumes. 3 Vols.

      London, Smith, Elder and Co., 1849. Three volumes, uncut in the original brown full cloth bindings with gilt title to spines and blindstamped ornamental frames to boards. All three volumes professionally rebacked, preserving the original spines (that are lacking a bit at capitals). Upper part of spines with old library-numberings. Corners bumped. Inner hinges re-inforced. A bit of brownspotting throughout all three volumes. With the 16 pp. of advertisements at the end of volume 1 (dated October, 1849) and the 3 pp. of advertisements at the end of volume 3. Book-plate of the renowned Danish book collector K.F. Plesner to inside of front boards.. First edition of the seminal work that made "Shirley" a woman's name and portrayed the inequality and exploitation of both women and workers, Charlotte Brontë's second published novel, only preceded by "Jane Eyre" (1847). The social novel "Shirley" takes place during the industrial depression resulting from the Napoleonic Wars, more precisely the Luddite uprisings in the Yorkshire textile industry, and is set in Yorkshire during the years 1811-12. The novel is both social and political, and the two great themes are the rights of women and the rights of workers. As women are dependent on men for their survival, so the workers are dependent on the mill owners for theirs. Although Brontë also defends the property rights of the owners, she greatly sympathizes with the workers, and the work is renowned for its deploring of the inequality that exists in society and of the way that women and workers are exploited.Not only was the novel, with its powerful indictment of the position of women in nineteenth-century England, highly influential as to the way that women were being viewed, its immediate popularity quite literally also led to "Shirley" becoming a woman's name. Shirley Keeldar, the main character of the novel, was given the name that her father had intended to give a son. Before the publication of the novel, "Shirley", apart from being uncommon, was a distinctly male name and would have been highly unusual for a woman. Today "Shirley", because of Brontë, is a distinctly female name and would be highly uncommon for a man.In recent years, "Shirley" has received a great deal of attention from feminist critics and it is praised as an early feminist text.While Charlotte Brontë was writing "Shirley", three of her siblings died. Her brother Branwell died in September 1848, her sister Emily died in December, and her then only remaining sibling, her sister Anne, upon whom the character of Caroline Helstone was loosely based, died in May 1849

      [Bookseller: Lynge & Søn A/S]
 35.   Check availability:     Antikvariat     Link/Print  


        A Forget-Me-Not. Flowers from nature, with selected poetry

      New York: [privately published], 1849 [but 1848]. Folio. (15 3/4 x 10 7/8 inches). Letterpress title, 18 leaves of letterpress text. 18 original botanical watercolours by Clarissa Badger, highlighted with gum arabic. Original red moiré cloth, covers blocked in gilt with an elaborate neo- classical design with a large central motif of two muses, lyres in hand, seated at the foot of a column topped by an urn, all surrounded by a border of stylized foliage and birds at the corners, cream glazed-paper endpapers, gilt edges, spine expertly repaired. All within a modern red morocco-backed red cloth box, titled in gilt. The rarest American colour plate botanical book, here containing the maximum recorded number of original watercolours This work was privately published and apparently issued with varying numbers of both 'plates' and text leaves: it is very rare and we know of only two other copies both complete as issued. One with 13 water-colours and text leaves was sold at Christies London (sale: March 17, 1999, Lot 4), and we have handled one other inscribed copy with 17 watercolours and text leaves. The present example is therefore the most extensively illustrated copy recorded to date. "Both Clarissa Munger and her sister, Caroline, were artists. Caroline went on to become proficient at painting miniature portraits on ivory… Clarissa concentrated her talents on drawing plants and flowers. In 1828 Clarissa married the Reverend Milton Badger. During their marriage they lived … in.. Massachusetts.; New York City; and… Connecticut… Though little is known about her life other than the landmark dates of her birth, marriage, and death, Mrs. … Badger's fine drawings and talented hand have survived to keep her name alive" (J. Kramer. "Women of Flowers" New York: 1996). Mrs. Badger was an illustrator with an intuitive feeling for the decorative, as she amply demonstrates in this work and in her later published works. The present work is in effect a prototype for these published works ("Wild Flowers drawn and coloured from nature" [New York: 1859, 4to, 22 plates] and "Floral Belles from the green-house and garden" [New York: 1867, folio, 16 plates]).

      [Bookseller: Donald Heald Rare Books]
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        FORGET-ME-NOT. FLOWERS FROM NATURE, WITH SELECTED POETRY

      New York: [Privately printed], 1849 [i.e. 1848].. Letterpress title, 18 leaves of letterpress text. Eighteen original botanical watercolors by Clarissa Badger, highlighted with gum arabic. Folio. Original red moiré cloth, covers blocked in gilt with an elaborate neo- classical design with a large central motif of two muses, lyres in hand, seated at the foot of column topped by an urn, all surrounded by a border of stylized foliage and birds at the corners, cream glazed-paper endpapers, a.e.g. Spine expertly repaired. Very good. All within a modern red morocco- backed red cloth box, titled in gilt. The rarest American color plate botanical book, here containing the maximum recorded number of original watercolors. This work was privately published and apparently issued with varying numbers of both "plates" and text leaves: it is very rare and we know of only two other copies both complete as issued. One with thirteen watercolors and text leaves was sold at Christie's London (sale: March 17, 1999, lot 4), and we have handled one other inscribed copy with seventeen watercolors and text leaves. The present example is therefore the most extensive copy recorded so far. "Both Clarissa Munger and her sister, Caroline, were artists. Caroline went on to become proficient at painting miniature portraits on ivory...Clarissa concentrated her talents on drawing plants and flowers. In 1828 Clarissa married the Reverend Milton Badger. During their marriage they lived...in...Massachusetts; New York City; and...Connecticut...Though little is known about her life other than the landmark dates of her birth, marriage, and death, Mrs....Badger's fine drawings and talented hand have survived to keep her name alive" - Kramer. Mrs. Badger was an illustrator with an intuitive feeling for the decorative, as she amply demonstrates in this work and in her later published works. The present work is in effect a prototype for these published works (WILD FLOWERS DRAWN AND COLOURED FROM NATURE [New York, 1859], quarto, 22 plates; and FLORAL BELLES FROM THE GREEN-HOUSE AND GARDEN [New York, 1867], folio, 16 plates). J. Kramer, WOMEN OF FLOWERS (New York, 1996).

      [Bookseller: William Reese Company - Americana]
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        Mardi: and A Voyage Thither

      NY: Harper & Brothers, 1849. Two octavo volumes. 365; 387pp., + 8pp. ads. First American edition. Mardi was Melville's third book, and his third on the theme of South Pacific exploration. In the novel, an American sailor deserts his whaling ship in order to pursue his own adventures. At the time of its publication, Mardi was considered a critical failure, but it is now viewed by many as the first novel in which Melville began to develop his characteristic voice as a writer. Bound in blue-green T cloth, elaborately blind-stamped, with gilt title to spine. Corners faintly rubbed, tiny hole to head of spine and slight dampstain to lower front cover on Volume I, occasional foxing throughout, as usual. Despite these very minor faults, this is still a very bright and nearly fine set. The Skiff-Doheny copy with their bookplates.

      [Bookseller: Bromer Booksellers]
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        Mardi And A Voyage Thither

      NY: Harper & Brothers, 1849. First edition. Cloth. Orig. publisher's plum, blind stamped cloth, backstrips printed and decorated in gilt. 2 vols. Very good./No Dust Jacket. 365 & 387. 19 x 13 1/2 cm. Melville's third book, and first American edition, preceded one month by the three volume British edition published by Bentley. John Murray rejected the manuscript of MARDI being disappointed with the sales of OMOO and Melville's high asking price for this work. Bentley paid Melville 200 guineas for the rights. Intended as a fictional South Seas adventure, MARDI as it progresses slides increasingly into satire and metaphysical speculation. BAL 13658. Yellow coated endpapers remarkably clean with offset blemish to rear endpapers of Vol. I only, interior contents fresh and bright (no foxing), with publisher adverts end of Vol. II, with blind stamped rule at backstrip head, spine slightly faded, rubbing to backstrip foot, cloth at spine head worn to block on both volumes, covers are tight and clean.

      [Bookseller: Royoung bookseller, Inc.]
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        MARDI: AND A VOYAGE THITHER

      London: Richard Bentley, 1849.. Three volumes. Octavo. Mottled 18th century calf, neatly and sturdily rebacked at a recent date in matching calf, with raised bands, gilt rules, contrasting red and black gilt labels, new endsheets. Boards somewhat worn and darkened at edges, else a very good set, with the half- title in the third volume, but not the second (none called for in the first). The second and third volumes are largely unopened. First edition, preceding the U.S. edition. One of one thousand sets printed. Apart from THE WHALE, Melville's only other three volume novel. In any state, even in an English provincial remboitage such as this, it is uncommon. SADLEIR (EXCURSIONS), p.225. BAL 13657.

      [Bookseller: William Reese Company - Literature ABAA-]
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        Redburn : his first voyage : being the sailor-boy confessions and reminiscences of the son-of-a-gentleman, in the merchant service

      London: Richard Bentley, New Burlington Street, 1849. First Printing. Cloth. Complete in two volumes, the rare first printing of the first edition, one of only 750 copies. iii-viii, 316; iii-viii, 314pp. Original publisher's dark blue cloth, decorated in blind, the spines lettered in gilt, with yellow-coated end papers (BAL's state B, "sequence, if any, not determined," without the advertisements printed at front) and without the half-titles. A highly collectible set, beautifully preserved in a drop-spine box covered with antique pea-green cloth, the spine label printed on Japanese paper. Minor restoration to several tips and the spine ends, involving none of the lettering or design. Pages generally clean and bright, with a stain to the bottom of the end papers, several chips and a few short closed tears to the tops of the preliminaries (no loss of text), and a previous owner's inscription to the title page, all in vol. I. The true first edition, preceding the New York edition by more than a month. BAL 13659. OCLC Number: 3268404. Melville's fourth novel followed his two immensely popular, largely autobiographical narratives, Typee and Omoo, based on his sojourn in Polynesia , and his third, long, satiric, poorly received allegory, Mardi. In the spring of 1849, financially strained, Melville hastily undertook Redburn, which he hoped would burnish again his reputation for tales of maritime adventure, assuring his English publisher that the book would be nothing like Mardi; it would contain, Melville wrote, “no metaphysics, no conic-sections, nothing but cakes & ale." In fact, "Redburn is simple in its conception—the story of a naïve adolescent’s first trip to sea, based upon Melville’s own first voyage . . . from New York to Liverpool in 1839, at the age of 19. . . . making the novel in many respects a conventional bildungsroman . . . [But] Redburn is more complex than it seems . . . [with] multiple narrative voices. . . . [and] overlapping perspectives . . . Additionally, Redburn is not strictly autobiographical. As in many of his novels, Melville supplemented his experience by borrowing from published sources, and the interplay of these sources renders Redburn’s story more complicated than a simple journey from innocence to experience. Though Melville may have begun by writing a light rite-of-passage story, internal textual evidence as well as Melville’s letters suggest he proceeded to expand his manuscript so that it would be published in England as a two-volume edition [a rare copy of which is the set on offer here] . . . . In the early 20th century, scholars believed Redburn was pure autobiography and viewed it principally as a window into the life of the author of Moby-Dick. As they studied the novel more closely and discovered how much of it Melville had invented or synthesized from other sources, scholars found in Redburn a window into Melville’s literary practice and finally a literary creation of interest in its own right." (Literary Encyclopedia)

      [Bookseller: Fine Editions Ltd]
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        REDBURN: HIS FIRST VOYAGE. BEING THE SAILOR BOY CONFESSIONS AND REMINISCENCES OF THE SON OF A GENTLEMAN IN THE MERCHANT SERVICE

      London: Richard Bentley, 1849.. Two volumes. Original publisher's dark blue cloth, decorated in blind, spines lettered in gilt, printed endleaves (BAL's A). 15mm. snag at crown of first spine toward lower joint, with some surface loss, foretips a bit bruised, old faded ink signature in top margin of each title, some occasional mild smudging and a few old spots to first title, otherwise a very good set. The rare first issue of the first edition, being one of 335 sets in the primary binding of Bentley's first printing of 750 copies. The remaining sets of sheets were bound up two volumes in one with cancel title leaves for each volume, with a new date, when Bentley remaindered this title in 1853, along with WHITE-JACKET and THE WHALE, due to continuing poor sales. This London edition preceded the New York edition by over a month, and like all of Melville's multi-volume London publications, is very scarce, particularly when in original cloth. The half-title is present in the second volume, but the first was published without a half-title. BAL 13659. SADLEIR EXCURSIONS, p.226.

      [Bookseller: William Reese Company - Literature ABAA-]
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