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

        Der Freischütz Romantische Oper in drei Aufzügen Gedichtet von Fr. Kind... Partitur. Einzig rechtmäßige mit der Handschrift des Componisten gleichlautende Original-Ausgabe. Eigenthum der Verlagshandlung... S. 3512. Pr. [18] Thlr. [Full score]

      Berlin: in der Schlesingerschen Buch u. Musikhandlung [PN S. 3512], 1849. First Edition. Rare. WeV C.7. Jähns 277. Hoboken 15, 349 and plates 27-29. Hirsch II, 966. Fuld p. 237."With Der Freischütz [Weber] produced a work that competed successfully with popular French and Italian operas not only in Germany but in other countries as well. The impact of Der Freischütz on opera of the 1820s, 30s, and 40s is evident, as it inspired a spate of gothic works like the vampire operas of Marschner and Lindpaintner, and even as late a work as Der fliegende Holländer owes much to it; outside Germany, its success as Robin des Bois prepared the way for Meyerbeer's Robert le diable." Paul Corneilson et al in Grove Music Online.. Folio. Quarter dark red morocco with marbled boards, spine in decorative gilt-ruled compartments, titling gilt, marbled edges and endpapers. 1f. (frontispiece), 1f. (title), 1f. (recto cast list, contents, and "Anmerkung" by the editor Friedrich Wilhelm Jähns dated Berlin, 1849, verso blank), [i] (blank), 3-262 pp. Text in German. Engraved.With frontispiece lithographic portrait of Weber signed by the artist "G. Fleckert 47" in the stone with autograph facsimile of two staves of music from Agathe's aria no. 8 (texted "Leise, leise, fromme Weise..."), tissue guard tipped-in.With signature "Curt Grebe 4." to free front endpaper; notational corrections in pencil.Occasional foxing; title slightly creased; small publisher's blindstamp to lower margin of title. An attractive copy overall.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
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        Sabbath Lyrics; or, Songs from Scripture. A Christmas Gift of Love

      From the Press of Walker and James, Charleston, S.C. 1849 - First edition. [1]-72 pp. 1 vols. 12mo. Presentation Copy from the Publisher. Inked inscription on flyleaf, "From the Publishers," and the signature "Duyckinck" in pencil on front pastedown. BAL 18120 Original cloth, a.e.g. Spine perished, front cover detached, sunned; preliminaries loose [Attributes: First Edition; Signed Copy]

      [Bookseller: James Cummins Bookseller, ABAA]
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        'CERVANTES' [in] PICTORIAL NATIONAL LIBRARY. A Miscellany of Science, Art, and Literature. Volume III. July to December, 1849

      Boston: William Simonds, 1849. 1st appearance of Alger's piece (Bennett, p. 261; Gardner, p. 486). 1st volume edition, BFTP, of the PICTORIAL NATIONAL LIBRARY. Dark brown cloth binding with gilt stamped spine & gilt device to each board. AEG. Gilt bright. Square & tight. Light shelfwear, including two minute holes to front joint cloth. Period pos, bookplate & binder's ticket [J. R. Simonds / Boston] to front eps. Withal, a Nr Fine copy.. iv, [7] - 384 pp. Alger's work: pp 240 - 241 [November issue]. Text printed double column. Volume ilustrated with cuts & plates. Tall 8vo. 10" x 6-1/2" One of Alger's earliest appearances in print, when he is still but a lad of 17. Quite uncommon.

      [Bookseller: Tavistock Books, ABAA ]
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        Teilansicht, Neues Schloß, Ansicht auf einem Lehrbrief der Wagner für Andreas Hasenauer von Vaihingen, "Königreich Würtemberg. Oberamts Stadt Vaihingen. Lehrbrief .".

      - Lithographie ( anonym ), dat. 1849, 28 x 40 Selten! Die Ansicht im Format: 13 x 26 cm. umgeben von einer doppelreihigen Wappenleiste württembergischer Städte. Darunter der ausgefüllte Lehrbrief und Stempel der Stadt Stuttgart. Sehr gut erhalten. Mit alten Längs- und Querfalten.

      [Bookseller: Antiquariat Nikolaus Struck]
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        The History of England

      London: Longman, Brown, Green, and Longmans,, 1849-61. Extra illustrated and extended to nine volumes. 9 volumes, octavo (220 X 138 mm). Finely bound by Root and Son in tan calf, burgundy and brown morocco labels, elaborate decoration to spines in compartments separated by raised bands, triple rule to boards gilt with corner-pieces, inner dentelles gilt, marbled endpapers, top edges gilt. With numerous engravings throughout. Bookplate to verso of front free endpapers, bookseller's small ticket to bottom of front pastedowns, spines a little rubbed, an excellent set. A particularly handsome set of Macaulay's History, profusely illustrated with steel engravings throughout. "The first historical work deliberately designed to outsell the best-selling novel of the day, Macaulay's book immediately fulfilled its author's aspiration. His colourful style and stirring power of description secured for the History a success such as no historical work in the English language had had since Gibbon. Each volume sold about one hundred and fifty thousands copies within a month of its publication, and the numerous reprints and translations into almost every literary language have perpetuated Macaulay's ideas almost to this day" (PMM). The work was published episodically: the first two volumes were published on 2 December 1848, though dated 1849 on the titles; volumes 3 and 4 were first published in December 1855, and volume 5 in 1861. This set has general title pages stating "Extra illustrated and extended to nine volumes", with the original publication date of 1849, although these cannot have been supplied before 1861. Volumes 1 and 2 have individual title pages dated 1849, and the remaining volumes have 1861.

      [Bookseller: Peter Harrington]
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        Der Freischütz Romantische Oper in drei Aufzügen Gedichtet von Fr. Kind... Partitur. Einzig rechtmäßige mit der Handschrift des Componisten gleichlautende Original-Ausgabe. Eigenthum der Verlagshandlung... S. 3512. Pr. [18] Thlr. [Full score]

      Berlin: in der Schlesingerschen Buch u. Musikhandlung [PN S. 3512], [1849]. Folio. Quarter dark red morocco with marbled boards, spine in decorative gilt-ruled compartments, titling gilt, marbled edges and endpapers. 1f. (frontispiece), 1f. (title), 1f. (recto cast list, contents, and "Anmerkung" by the editor Friedrich Wilhelm Jähns dated Berlin, 1849, verso blank), [i] (blank), 3-262 pp. Text in German. Engraved. With frontispiece lithographic portrait of Weber signed by the artist "G. Fleckert 47" in the stone with autograph facsimile of two staves of music from Agathe's aria no. 8 (texted "Leise, leise, fromme Weise..."), tissue guard tipped-in. With signature "Curt Grebe 4." to free front endpaper; notational corrections in pencil. Occasional foxing; title slightly creased; small publisher's blindstamp to lower margin of title. An attractive copy overall. First Edition. Rare. WeV C.7. Jähns 277. Hoboken 15, 349 and plates 27-29. Hirsch II, 966. Fuld p. 237. "With Der Freischütz [Weber] produced a work that competed successfully with popular French and Italian operas not only in Germany but in other countries as well. The impact of Der Freischütz on opera of the 1820s, 30s, and 40s is evident, as it inspired a spate of gothic works like the vampire operas of Marschner and Lindpaintner, and even as late a work as Der fliegende Holländer owes much to it; outside Germany, its success as Robin des Bois prepared the way for Meyerbeer's Robert le diable." Paul Corneilson et al in Grove Music Online.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        Medinet Abou, Thebes

      Day & Son, [London 1849 - Tinted lithograph by Louis Haghe, with later professional hand-colouring. Very good condition apart from several natural paper creases in the margins, a small brown spot in the lower margin, and a small loss in the right margin. A fine example from 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. 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 A. Heald Rare Books (ABAA)]
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        Autograph letter signed (as Agha of Mostaganem). N. p., [1849/50].

      1849. 4to. 1 p. on double leaf. In Arabic, to General Viala Charon, French governor in Algeria. Includes contemporary French translation.

      [Bookseller: Antiquariat Inlibris]
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        Nouvelle Iconographie des Camellias Contenant les Figures et la Description des plus Rares, des plus Nouvelles et des plus Belles Variétés de ce Genre. 2 Vols. Tome II & Tome III. First editions

      Gand( Ghent), Belgium: Ambroise and Alexandre Verschaffelt,1849-1850. 16.5 x 24.5 cm. Quarter brown morocco and marbled boards, green morocco spine labels with gilt lettering. With 96 color lithographs. Sacheverell Sitwell, Great Flower Books,,1700-1900, p. 161. "The work is one of the rarest and greatest of the nineteenth-century camellia iconographies. The Verschaffelts were a family of nurserymen specializing in camellias and published this book really as a catalogue of newly introduced species and recently developed hybrids which were available from their nurseries" (De Belder). Published in monthly parts between 1848 and 1860, with each issue containing four plates. Complete and even nearly complete sets are very scarce, especially with complete plates in such good condition Condition: Light wear and soiling to bindings, rubbing to extremities, some volumes with private library stamps on preliminary pages, light occasional foxing to tissue guards, light toning and occasional bit of offsetting to plates, all plates present with vibrant colors and no tears; very good. From the library of the great 19th Century tenor and rose cultivator Giulio Perotti . Giulio Perotti (* 13. März 1841 in Ueckermünde als Julius Prott; ? 28.Februar 1901 in Mailand) war ein deutscher Tenor, Opernsänger und Rosenzüchter. Giulio Perotti fue el nombre artístico de Julius Prott (Ueckermünde, Mecklemburgo-Pomerania Occidental, Alemania, 13 de marzo de 1841 - Milán, Italia, 28 de febrero de 1901), fue un tenor alemán. Giulio Perotti, real name Julius Prott (1841-1901), German opera singer The Verschaffelts were a family of Belgian nurserymen specializing in camellias. They published the newly introduced species and hybrids in this very rare and monumental work from 1848-1860. It continues Lorenzo Berlèse's work Iconographie du genre Camellia. The fine plates were drawn by Bernard Léon, L. Stroobant and son. References: Nissen BBI 2056; Great flower books p. 85; Stafleu & Cowan 16.057.

      [Bookseller: Alan Wofsy Fine Arts]
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        Der Freischütz Romantische Oper in drei Aufzügen Gedichtet von Fr. Kind. Partitur. Einzig rechtmäßige mit der Handschrift des Componisten gleichlautende Original-Ausgabe. Eigenthum der Verlagshandlung. S. 3512. Pr. [18] Thlr. [Full score]

      in der Schlesingerschen Buch u. Musikhandlung [PN S. 3512], Berlin 1849 - Folio. Quarter dark red morocco with marbled boards, spine in decorative gilt-ruled compartments, titling gilt, marbled edges and endpapers. 1f. (frontispiece), 1f. (title), 1f. (recto cast list, contents, and "Anmerkung" by the editor Friedrich Wilhelm Jähns dated Berlin, 1849, verso blank), [i] (blank), 3-262 pp. Text in German. Engraved.With frontispiece lithographic portrait of Weber signed by the artist "G. Fleckert 47" in the stone with autograph facsimile of two staves of music from Agathe's aria no. 8 (texted "Leise, leise, fromme Weise."), tissue guard tipped-in.With signature "Curt Grebe 4." to free front endpaper; notational corrections in pencil.Occasional foxing; title slightly creased; small publisher's blindstamp to lower margin of title. An attractive copy overall. First Edition. Rare. WeV C.7. Jähns 277. Hoboken 15, 349 and plates 27-29. Hirsch II, 966. Fuld p. 237."With Der Freischütz [Weber] produced a work that competed successfully with popular French and Italian operas not only in Germany but in other countries as well. The impact of Der Freischütz on opera of the 1820s, 30s, and 40s is evident, as it inspired a spate of gothic works like the vampire operas of Marschner and Lindpaintner, and even as late a work as Der fliegende Holländer owes much to it; outside Germany, its success as Robin des Bois prepared the way for Meyerbeer's Robert le diable." Paul Corneilson et al in Grove Music Online. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        The History of England. Extra illustrated and extended to nine volumes.

      London: Longman, Brown, Green, and Longmans, 1849-61 - 9 volumes, octavo (220 X 138 mm). Finely bound by Root and Son in tan calf, burgundy and brown morocco labels, elaborate decoration to spines in compartments separated by raised bands, triple rule to boards gilt with corner-pieces, inner dentelles gilt, marbled endpapers, top edges gilt. Bookplate to verso of front free endpapers, bookseller's small ticket to bottom of front pastedowns, spines a little rubbed, an excellent set. With numerous engravings throughout. A particularly handsome set of Macaulay's History, profusely illustrated with steel engravings throughout. "The first historical work deliberately designed to outsell the best-selling novel of the day, Macaulay's book immediately fulfilled its author's aspiration. His colourful style and stirring power of description secured for the History a success such as no historical work in the English language had had since Gibbon. Each volume sold about one hundred and fifty thousands copies within a month of its publication, and the numerous reprints and translations into almost every literary language have perpetuated Macaulay's ideas almost to this day" (PMM). The work was published episodically: the first two volumes were published on 2 December 1848, though dated 1849 on the titles; volumes 3 and 4 were first published in December 1855, and volume 5 in 1861. This set has general title pages stating "Extra illustrated and extended to nine volumes", with the original publication date of 1849, although these cannot have been supplied before 1861. Volumes 1 and 2 have individual title pages dated 1849, and the remaining volumes have 1861.

      [Bookseller: Peter Harrington. ABA member]
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        St. Jean D'Acre

      Day & Son, [London 1849 - Tinted lithograph by Louis Haghe, with later professional hand-colouring. Very good condition apart from a small loss in the lower left-hand corner, a 1/2" tear in the upper left-hand corner, and a bit of excess ink in the left margin. A fine example from 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. 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 A. Heald Rare Books (ABAA)]
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        The Works of Robert Burns [Five Volume Set]

      A. Fullarton & Co., London 1849 - Small Octavo, Gilt lettered and decorated spine. Five 7"x4.5" volumes in quarter leather binding with marbled boards, very good condition. Covers show light rubbing. Moderate foxing to end papers and title pages. Robert Burns (25 January 1759 - 21 July 1796) (also known as Robbie Burns, Rabbie Burns, Scotland's favourite son, the Ploughman Poet, Robden of Solway Firth, the Bard of Ayrshire and in Scotland as The Bard) was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a light Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these writings his political or civil commentary is often at its bluntest. He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish Diaspora around the world. Celebration of his life and work became almost a national charismatic cult during the 19th and 20th centuries, and his influence has long been strong on Scottish literature. In 2009 he was chosen as the greatest Scot by the Scottish public in a vote run by Scottish television channel STV. As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adapting them. His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and "Scots Wha Hae" served for a long time as an unofficial national anthem of the country. [Attributes: Hard Cover]

      [Bookseller: Sean Fagan, Rare Books]
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        ART AND PRACTICE OF ETCHING; WITH DIRECTIONS FOR OTHER METHODS OF LIGHT AND ENTERTAINING ENGRAVING.|THE

      London: S. & J. Fuller, 1849. original cloth with new spine covering. square 8vo. original cloth with new spine covering. Frontispiece; 58, (6) pages, 8 plates. First edition (Bridson & Wakeman B17 - for second edition of 1851). A treatise on the technique of etching by one of Britain's greatest ever sporting artists. An avid sportsman himself, Alken specialized in depicting hunting, coaching, racing, shooting and fishing scenes. British sporting periodicals frequently carried his illustrations. In this book, he distills some forty years of experience of both practicing and teaching his art into an excellent practical manual on his techniques. Engraved plates by Alken. With the bookplate of Gavin Bridson. Inside hinges cracked. Rebacked with new cloth and with a modern paper spine label. Ink ownership inscription at top of title page.

      [Bookseller: Oak Knoll Books/Oak Knoll Press]
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        A Second Visit to the United States of North America…in Two Volumes

      London: John Murray, 1849. First Edition. xii, 368; xii, 385 pp. 2 vols. 12mo. Original cloth, rebacked. Some rubbing to tips. A clean, tight copy. First Edition. xii, 368; xii, 385 pp. 2 vols. 12mo. In September of 1845 Lyell returned to America, and after a trip to Maine and the mountains of New Hampshire, travelled extensively through the South. He stayed for two weeks on a Georgia plantation on the Altamaha River, crossed that state partly by handcar in order to collect rocks and fossils in the grade cuts along the way, went to Claiborne on the Alabama River where he collected more fossils, then to Montgomery and Mobile along the Alabama, Mobile, Tombigbee, and Black Warrior Rivers. From Mobile he went up the Tombigbee River to Tuscaloosa to visit the Alabama coal field, continuing by steamboat to New Orleans, where Lyell made an expedition to the mouth of the Mississippi River to study the growth of the delta. From there he went up the Mississippi and Ohio Rivers by steamboat, then overland to Philadelphia. After a quick trip to Richmond, Virginia to re-examine the coal deposits there, he sailed from Boston to Liverpool on June 1, 1846. "Lyell's description of the coastal islands of the southeastern coast, erosion, topography, and fossils in Georgia and Alabama are an important contribution…, while his detaled observations of the Mississippi Valley from the delto to the mouth of the Ohio River equal or excell the accounts of other travelers…" -- Clark. Howes L 574; Sabin 42763; Clark III, 352

      [Bookseller: James Cummins Bookseller]
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        Visits to Monasteries in the Levant

      Woodcut frontis., woodcut vignette on title, text illus., 14 plates, & one folding floor-plan. xxxi, 449 pp. Small 8vo, cont. green pebbled half-morocco & marbled boards (joints a little rubbed), spine gilt. London: J. Murray, 1849. First edition of "a great classic of the literature of travel, and one, moreover, which has book-collecting for its main theme."-Munby, Phillipps Studies, III, p. 124. Munby considered Curzon "perhaps the most attractive figure in the annals of book-collecting in England."-p. 122. In 1833, Curzon (1810-73), embarked on a tour of Greece and Egypt, amassing a large collection of valuable manuscripts. He recounted his adventures in the present work. "It immediately gained popularity, running to six editions by 1881. From a scientific point of view, also, these revelations of monastic treasures were of great importance, and it was Curzon's experience that set others on the track which led to the acquisition of the magnificent collection of Nitrian manuscripts by the British Museum. Curzon has subsequently been criticized for removing the manuscripts to Britain, but it seems certain that many owe their preservation to the removal."-ODNB. Several of the illustrations are after sketches by the author. A very good copy with bookplates of John Deakin Heaton, M.D. (1817-80), a founder of Yorkshire College (now University of Leeds), and Cecil William Kaye (1865-1941), headmaster of several schools in England. Early note on upper-left corner of verso of free endpaper "Bound by Hayday 1863.".

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Von Aufschnaiters Villa in Gries bei Bozen. Ihrer Kauserliken Hoheit der Frau Erzherzogin Adelgunde, regierenden Herzogin von Modena...

      1849. Litografia a colori di cm 28x35 (solo parte incisa) e di cm 42x37 (dimensioni del foglio). Buono, ordinari segni d'uso e del tempo. Pubblicata a pg. 64 nel catalogo di LONER, Arnaldo - FRANGIPANE, Ettore - HELLBERG, Peter von. "Bozen in alten Ansichten - Bolzano nelle antiche vedute."

      [Bookseller: Studio Bibliografico Adige]
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        Arctic Fox [Plate 121]

      Philadelphia: J.T. Bowen. unbound. very good. J.W. Audubon. Octavo quadruped print. Lithograph with original hand coloring. Page measures 6.5" x 10" From J.J. Audubon's "Viviparous Quadrupeds of North America", published 1849-54. Minor staining. John James Audubon (1785-1851) was an American naturalist, painter and ornithologist known for his extensive field work studying birds and then painting them. By the late 1830's, he was planning a new book on the viviparous quadrupeds of North America. Audubon was assisted by many family members in this enterprise including his two sons. Please visit our gallery for more Audubon prints.

      [Bookseller: Argosy Book Store ]
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        Panama, Nicaragua, and Tehuantepec; or, considerations upon the question of communication between the Atlantic and Pacific Oceans.

      - London, Simpkin & Marshall 1849. Octavo blindstamped cloth; vi,63pp & errata slip, two very long and handsome folding lithograph panoramas. Foxing but a pretty good copy. Liot first visited Panama in 1845 and the following year produced a report for a proposed transit company in London - which got nowhere. The discovery of gold in California and Mexico has re-ignited interest and this (after five more visits it is still pretty well as first written) is now published. His scheme for a road and or railroad is, as he said, less satisfactory than a canal but he does not see this being practicable for another half century. [Attributes: Hard Cover]

      [Bookseller: Richard Neylon]
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        VIEW OF UNION PARK, NEW YORK, FROM THE HEAD OF BROADWAY

      New York: Published by Williams and Stevens, 353 Broadway, 1849. Handcolored lithograph, image 11 3/4 x 16 inches, full margins. Title and legend in lower margin. Uniformly but lightly browned. An interesting panorama of downtown New York City, peopled with stylish Manhattaners, their horses and coaches. In addition to the superb depiction of Union Park and its great fountain, this print provides an excellent architectural view of the Church of the Puritans, the Spingler Institute, and Calvary Church. James Smillie (Scottish, 1807-85; active in the United States after 1829), elected to the National Academy of Design in 1851, was widely known for his American city and country scenes. His principal livelihood came from the engraving of bank notes. The lithography firm of Sarony & Major was established in 1846 by Napleon Sarony and Henry B. Major, former employees of Nathaniel Currier. GROCE & WALLACE, pp.558,585.

      [Bookseller: William Reese Company - Americana ]
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        The Book of Doctrine & Covenants, of the Church of Jesus Christ of Latter-Day Saints; selected from the Revelations of God. [The Book of Mormon]

      Liverpool: Orson Pratt. Very Good. 1849. Second European Edition. Hardback. Rare copy. In original binding and in very good condition: Blind stamped buckram, sixteen mo., 16x10.5cm, errata slip bound in. William Huskins' copy with his name in contemporary ink to paste-down. Light unobtrusive cracking of inner joints, very small chip to head of lower board, faint mark to upper board, two small brown spots to endpaper. 5,000 printed. ; After an unsuccessful attempt to publish in 1833, the first edition appeared in 1835 and later editions incorporated additional revelations and reference aids. In February 1841 in Liverpool, some 4000 reprints of the 1837 Kirtland edition were printed and it was from the 'European' edition that subsequent Latter-Day Saint editions would descend. This 1849 'Second European Edition' published by Apostle Orson Pratt moved the index to the front of the volume along with other format changes which were retained for many later editions. Five thousand copies were printed and George Q Cannon used it for his translation for the Hawaii edition. The Nauvoo edition had been printed in 1844. ; xxiii+223pp pages .

      [Bookseller: Marijana Dworski Books]
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        History of The United States, From The Discovery of The American Continent.

      THIRTEENTH EDITION. 3 vols., 9" x 5-3/4", illustrated. Bound in 1/2 tan calf, ribbed gilt decorated spines, gilt lettered red and brown morocco spine labels.

      [Bookseller: D & D Galleries]
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        Notes of a Twenty Five Yearsandrsquo Service in the Hudsonandrsquos Bay Territory

      

      [Bookseller: Maggs Bros. Ltd.]
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        Experimental Researches in Electricity -- Twenty-Second Series" (Philosophical Transactions of the Royal Society of London, Vol. 139 for the Year 1849 Part I & Part II, pp. 1-41)

      Royal Society of London, London 1849 - Also see our #27486 which contains Faraday's "Experimental Researches in Electricity -- Eleventh, Supplemental Note, Twelfth, Thirteenth & Fourteenth Series, #27489 which contains Faraday's "Experimental Researches in Electricity -- Fifteenth Series" (pp. 1-12), #27495 which contains Faraday's "Experimental Researches in Electricity -- Eighteenth Series" (pp. 17-32), & #27500 "Experimental Researches in Electricity -- Nineteenth, Twentieth & Twenty-First Series" (pp. 1-62), our #27505 which contains"Experimental Researches in Electricity -- Twenty-Third Series" (pp. 171-188), #27508 which contains "Experimental Researches in Electricity -- Twenty-Fourth, Twenty-Fifth, Twenty-Sixth, & Twenty-Seventh Series" (pp. 1-116), #27513 "Experimental Researches in Electricity -- Twenty-Eighth & Twenty-Ninth Series" (pp. 25-56, 137-159), #27530 "Experimental Researches in Electricity --Thirtieth Series" (pp. 159-180), Also contains Thomas Graham's "On the Motion of Gases. Part II" (pp. 349-391). viii, [1]-523, 15 pp. 4to. Library binding, tan leather spine with gold embossed titling. Interiors clean, ex-library stamp on title page, and occurring sporadically within. Numerous folding plates that illustrate articles. Pages were trimmed slightly when rebound. [Attributes: First Edition; Hard Cover]

      [Bookseller: Artisan Books & Bindery, ABAA/ILAB]
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        Plate 232 - Patagona gigas

      London 1849 - London, 1849. No Binding. Book Condition: Very Good. John Gould (1804-1881) A selection from A Monograph of the Trochilidae, or Family of Hummingbirds First edition: London, 1849-61 (supplement printed 1880-87) Hand-colored lithographs with gum arabic metallic detail Paper size: 21 ½’ x 14 ½’ Condition: Minute areas of foxing along some margins John Gould was without question the most prolific ornithological artist of the 19th century, and the only one to rival John James Audubon in ambition and quality. The19th century was a time of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. From the time he took up taxidermy in his early teens, Gould was devoted to recording bird life, either as he observed it personally or as it was reported to him by other ornithologists. He procured the scientific information through extensive correspondence, travel, and field research. The preparatory drawings that he produced were passed on for completion to skilled illustrators, most notably his wife, Elizabeth, and Edward Lear. The plates which resulted from such partnerships were a splendid fusion of art and science, with a scope than remains unsurpassed. Stunning and at the same time highly accurate, Gould’s illustrations linked beauty to science, and science to beauty, in and an unprecedented manner. Of all his works, many of Gould’s best-known images come from this beautiful and comprehensive monograph on hummingbirds. One of his largest productions, the Hummingbirds was also the most painstaking, meticulously detailed project that the ornithologist attempted. In order to create accurate representations of the tiny, delicately beautiful birds, Gould invented a new method of coloring, using metallic pigments to reproduce the iridescence of their plumage. Most images also show at least one subject in flight to further accentuate the coloring of their feathers. The compositions generally show the birds in animated groupings of two or three, surrounded by foliage and landscapes. All of the hummingbirds are drawn to scale and are anatomically correct to the smallest detail, their brilliant coloring highlighted with gold and transparent luster. Most of the subjects in the book were taken from Gould’s personal collection of hummingbird specimens, a number of which he exhibited at the Zoological Gardens, Regent’s Park, during the Great Exhibition of 1851. Joining commerce with science, Gould also utilized the exhibition to display his method of metallic coloring (a shrewd move that worked to publicize his monograph). Gould’s exhibition was a major success, attracting more that 75,000 visitors and, very possibly, not a few of the 273 subscribers to A Monograph of the Trochilidae. These tiny, exuberantly colored birds captured the attention and affection of a vast number of European viewers. Gould’s Hummingbirds represents a splendid triumph of aesthetic sensitivity and scientific rigor. ***If you frame up this item with Arader Galleries you can take a 50% discount off the listed price of this work of art.***

      [Bookseller: Arader Galleries San Francisco]
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        Dahcotah; or, Life and Legends of the Sioux Around Fort Snelling.

      John Wiley, New York 1849 - xi, [4], ii-xxxi, [2], 34-268pp. Original green pictorial cloth stamped in gold and blind on the front panel and the spine panel. With several inserted plates and in-text illustrations. A touch of fading to spine panel, mild scattered foxing. A bright, near fine copy. Housed in a custom cloth slipcase. ; Octavo [Attributes: First Edition; Hard Cover]

      [Bookseller: Lyrical Ballad Bookstore ABAA/ILAB]
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        Eidgen. Amt für geistiges Eigentum, Patentschrift. Patent Nr. 21959, Klasse 57, 5. Mai 1900, 7 3/4 Uhr p.: Georg Luger, in Charlottenburg (Deutschland): Rückstosslader mit beweglichem Lauf und Kniegelenk-Verschluss.

      4, 7 (1) S. Text u. 3 Doppeltaf., Geh., Min. knittrig, tadellos. Auf Hinterdeckel klein als Amtsexemplar gestempelt. Georg Johann Luger (1849-1923 in Fichtenau bei Berlin) war ein österreichischer Waffentechniker. Er ist der Erfinder der Parabellum-Pistole. Georg von Luger wurde während der 1870er Jahre mit Ferdinand Ritter von Mannlicher bekannt, der ihn schließlich aufgrund seiner Sprachkenntnisse und Weltgewandtheit als Handelsvertreter für den Waffenerzeuger Deutsche Waffen- und Munitionsfabrik AG, vormals Ludwig Loewe & Co. in Berlin anwarb. Luger sollte das von DWM gefertigte Mannlicher M118 Gewehr in den italienischen Markt einführen und sich darüber hinaus seiner eigentlichen Neigung, der Waffenentwicklung, widmen.Im November 1894 führte ihn eine Vortrags- und Präsentationsreise zur Bewerbung neuer Produkte über die Schweiz, Deutschland und Belgien in die USA, wo er auch der U.S. Navy die Borchardt C93 vorführte. Die Verkaufsergebnisse waren schleppend, da die C93 vielerseits als zu groß, zu schwer und schlecht ausbalanciert kritisiert wurde.In Auswertung der Kundenwünsche entwickelte Luger in Berlin die C93 weiter. Nach Belastungs- und Hitzetests wurde ihm klar, dass ein völlig neues Konzept erstellt werden musste, aus dem der später legendär gewordene Kniegelenkverschluss entstand. Die neuartige Waffe wurde von den großen Militärmächten zunächst zurückgewiesen, einerseits aus Kostengründen, andererseits weil man sie als zu kompliziert für den Feldgebrauch einschätzte. Der Durchbruch erfolgte, nachdem die Schweizer Armee Lugers Entwurf bestellte und als erstes Militär einführte und zwar als "Modell 1900" im Kaliber 7,65 mm Parabellum.

      [Bookseller: antiquariat peter petrej]
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        Seven Lamps Of Architecture [ 1st Ed, 1st Issue, Ruskin Signed Letter]

      Smith, Elder and Co., London 1849 - B&W Illustrations; 205, [1], 16 pages; Bound in publisher's blind stamped brown cloth. 1st issue of 1st ediiton. Back spine fold chipped. Glued inside of the front cover is a two page piece of printed stationary from Denmark HIlls SE and dated 1st February 1869. "Dear Clif[? ] Jay, I have been unable to get over to Lexington till now- but now- at two on the first Students [sic] day. Please- after tomorrow- that is quite cnvenient if you find your own day. Truly Yours, J Ruskin." Provenance, Herbert Boyce satcher [small bookplate]; W Fielding, penciled name. Illustrations drawn and etched by author Ruskin . Contents sound and clean. 16 page catalog bound at the back. ; 0 [Attributes: First Edition; Hard Cover]

      [Bookseller: poor man's books (mrbooks)]
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        Carte générale de la mer Mèditerranée. 1ère feuille (con) Carte générale de la mer Mèditerranée. 2ème feuille

      1849. Incisione in rame, due grandi fogli mm 600x900 e 600x920 incisi da Jacobs. Insieme costituiscono l'intero bacino del Mediterraneo e del Mar Nero. In 19 riquadri di varia dimensione nel foglio ovest e 16 nel foglio est sono raffigurati i maggiori porti, stretti e golfi fra cui Gibilterra, Barcellona, Marsiglia, Stretto di Messina, Valletta, Bonifacio, Trieste, Corfù, Rodi, Costantinopoli, Smirne, Sebastopoli, Odessa, Alessandria, Tripoli. Perfettamente conservato e a pieni margini, eccettuati piccoli strappi ai margini stessi.

      [Bookseller: Libreria Antiquaria Perini s.a.s.]
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        Sienne. Vue prise au dessus du Chemin de Fer et de la Porte Camullia

      Siena 1849 - Veduta a volo d'uccello della città di Siena. In primo piano, all'interno delle mura, risalta il quartiere di Camullia, che va a sfociare nei giardini della Lizza. Al centro il palazzo Comunale che si affaccia sulla piazza del Campo. Una chiara descrizione è riservata anche alle chiese principali: il Duomo, S. Domenico, a Provenzano ed a S. Francesco; in lontananza anche se sfumate si riconoscono la Chiesa del Carmine e quella dei Servi. La stampa è caratterizzata da una vivace coloritura coeva. Rara a reperirsi in questo stato. Alcuni segni del tempo. Riferimenti: Pellegrini, "L'iconografia di Siena nelle opere a stampa Vedute generali della città dal XV al XIX secolo", p. 176 mm 282x440

      [Bookseller: Sergio Trippini]
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        Mantoue. Vue prise au dessus de la Citadelle

      Mantova 1849 - Veduta a volod'uccello della città di Mantova. Si riconoscono tutte le principali strutture quali: il ponte coperto dei Mulini, quello di S. Giorgio, il castello con il complesso di palazzo ducale, le chiese principali, le torri, le piazze ed i giardini. L'incisione è caratterizzata da una bella e vivace coloritura coeva. Rara a reperisci in questo stato. Riferimenti: Ferrari, "Mantova nelle stampe", p. 124, n 235. mm 288x440

      [Bookseller: Sergio Trippini]
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        A VIEW OF THE ART OF COLONIZATION, WITH PRESENT REFERENCE TO THE BRITISH EMPIRE; IN LETTERS BETWEEN A STATESMAN AND A COLONIST.

      London. . 1849 - xxiv,512pp. plus 6pp. of ads and errata slip. Modern half calf and marbled boards, leather label. Very good. A classic work in the theory of colonization, the culmination of Wakefield's attempt at a theory of colonization based upon scientific principles. His ideas influenced colonial officials and practices in Canada, Australia and New Zealand, and in the latter place Wakefield was instrumental in establishing a permanent British colony. "The importance of Wakefield's achievements in colonial matters can hardly be overestimated. The tangible fruits of his labours are the least part of their result, for all subsequent colonial development has followed the direction of his thought" - DNB. FERGUSON 5235. DNB XX, pp.449-52.

      [Bookseller: William Reese Company - Americana]
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        Autograph letter signed to John Brett, with Brett's autograph reply

      1849. Very Good. Moigno, François Napoléon Marie (1804-84). A.L.s. to [John] Brett (1805-63), addressed to "Monsieur Brett Esq. inventeur du télégraph imprémant" (Mr. Brett Esq. inventor of the printing telegraph), with Brett's autograph reply on the recto of the address leaf. N.p., "22 dimanche," 1849. Brett's reply dated Paris, April 30, 1849. 2pp. 210 x 135 mm. Small hole where seal was broken, light soiling along folds. Provenance: Latimer Clark.The Abbé Moigno, an eminent mathematician, physicist and science writer, authored several works on telegraphy. His correspondent, John Brett, laid the first submarine telegraph cable (between England and France) in 1850, and was one of the founders of the Atlantic Telegraph Company. Moigno's letter to Brett, written the year before Brett laid his first submarine cable, asks Brett for news of his current researches ("N'avez-vous rien de nouveau Å• m'apprendre? Quand ferez-vous une nouvelle expérience?") and asks Brett to supply him with an electric battery for a M. Soleil ("M. Soleil n'ose pas me dire qu'il a absolument besoin de la pile, mais je m'en aperçois chaque jour. Pourriez vous fixer Å• peu prčs l'époque Å• laquelle vous pourrez la rendre"). Brett's response, written on the blank recto of the address leaf, says that he will be in Lille shortly and will meet with Moigno in person. Origins of Cyberspace 177.

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        GROUP OF NINE POLITICAL BROADSIDES RELATING TO THE 1848 REVOLUTIONS IN GERMANY].

      Berlin. 1848-1849. - Nine broadsides, various sizes. Folded. Some wrinkling and chipping. One broadside split along central fold. Light tanning and foxing. About very good. Nine German political broadsides addressing aspects of the 1848 Revolution in Prussia. Along with citizens of several European countries, German citizens in a number of states rose up in the spring of 1848 to demand more democratic government and a unified Germany. In Prussia, protestors confronted the King, Frederick William IV demanding parliamentary elections and a free press. Several days later, a prolonged street battle between demonstrators and the Prussian army left over two hundred dead, and the King agreed to the formation of a Constitutional Assembly. By the end of the year, however, the body was unable to agree upon a functioning constitution, and Frederick William was able to regain almost all of his authority by the middle of 1849. The vast majority of broadsides present in this group express the revolutionary perspective. They put forth ideas for the prospective new constitution, impugn the monarch and the ruling classes, and issue calls to arms to the Prussian people to protect their country and their fellow brothers and citizens. One broadside prints a satire of army officers among the revolutionary forces; another publishes Frederick William's rejection of the imperial crown offered to him by the failing National Assembly in May, 1849, of which only three copies are recorded in OCLC. Fascinating and ephemeral propaganda from a period of great upheaval in Central Europe.

      [Bookseller: William Reese Company - Americana]
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        [GROUP OF NINE POLITICAL BROADSIDES RELATING TO THE 1848 REVOLUTIONS IN GERMANY]

      Berlin, 1849. Nine broadsides, various sizes. Folded. Some wrinkling and chipping. One broadside split along central fold. Light tanning and foxing. About very good. Nine German political broadsides addressing aspects of the 1848 Revolution in Prussia. Along with citizens of several European countries, German citizens in a number of states rose up in the spring of 1848 to demand more democratic government and a unified Germany. In Prussia, protestors confronted the King, Frederick William IV demanding parliamentary elections and a free press. Several days later, a prolonged street battle between demonstrators and the Prussian army left over two hundred dead, and the King agreed to the formation of a Constitutional Assembly. By the end of the year, however, the body was unable to agree upon a functioning constitution, and Frederick William was able to regain almost all of his authority by the middle of 1849. The vast majority of broadsides present in this group express the revolutionary perspective. They put forth ideas for the prospective new constitution, impugn the monarch and the ruling classes, and issue calls to arms to the Prussian people to protect their country and their fellow brothers and citizens. One broadside prints a satire of army officers among the revolutionary forces; another publishes Frederick William's rejection of the imperial crown offered to him by the failing National Assembly in May, 1849, of which only three copies are recorded in OCLC. Fascinating and ephemeral propaganda from a period of great upheaval in Central Europe.

      [Bookseller: William Reese Company - Americana]
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        The Coffee Shop

      London: F. G. Moon, lithographed by Louis Haghe, 1849. unframed. Excellent condition, conservatorially cleaned. Original colours, no modern additional colouring. Half folio (approximately 10 x 14 inches exclusive of margins). Original tinted lithograph David Roberts RA (24 October 1796 – 25 November 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841. In 1824, he exhibited another view of Dryburgh Abbey at the British Institution and sent two works to the first exhibition of the newly formed Society of British Artists. In the autumn of 1824 he visited Normandy. His paintings based on this trip began to lay the foundation of his reputation; one of them, a view of Rouen Cathedral, sold for 80 guineas. While he built his reputation as a fine artist, Roberts's stage work had also been commercially successful. Commissions from Covent Garden included the sets for the London premiere of Mozart's Die Entführung aus dem Serail (The Abduction from the Seraglio) in 1827, scenery for a pantomime depicting the naval victory of Navarino, and two panoramas that he executed jointly with Stanfield. During the second part of the 1820s, and in addition to English and Scottish scenes, Roberts painted views of prominent buildings in France and the Low Countries including Amiens, Caen, Dieppe, Rouen, Antwerp, Brussels and Ghent, sometimes making several paintings of the same scene with only minor variations. By 1829 he was working full-time as a fine artist. That year, he exhibited the Departure of the Israelites from Egypt, in which his style first became apparent. In 1831, the Society of British Artists elected him as their president. J.M.W. Turner managed to persuade him to abandon scene painting and devote himself to becoming a full-time artist. Roberts set sail for Egypt on 31 August 1838, a few years after Owen Jones. His intent was to produce drawings that he could later use as the basis for the paintings and lithographs to sell to the public. Egypt was much in vogue at this time, and travellers, collectors and lovers of antiquities were keen to buy works inspired by the East or depicting the great monuments of ancient Egypt. Roberts made a long tour in Egypt, Nubia, the Sinai, the Holy Land, Jordan and Lebanon. Throughout, he produced a vast collection of drawings and watercolour sketches. Muhammad Ali Pasha received Roberts in Alexandria on 16 May 1839, shortly before his return to the UK. He later reproduced this scene, apparently from memory, in Volume 3 of Egypt & Nubia. 1839 he was elected an associate and in 1841 a full member of the Royal Academy; and in 1858 he was presented with the freedom of the city of Edinburgh. The last years of his life were occupied with a series of views of London from the Thames. He had executed six of these, and was at work upon a picture of St Paul's Cathedral as seen from Ludgate Hill, when he died suddenly. He collapsed on Berners Street on the afternoon of 25 November 1864 and died at home that evening. The symptoms, described as apoplexy in most histories, were those of a stroke. He was buried at West Norwood Cemetery -wikipedia.

      [Bookseller: Randall House Rare Books]
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        The History of Pendennis. The Fortunes and Misfortunes, His Friends and His Greatest Enemy

      Bradbury and Evans, London 1849 - First edition. Illustrations on Steel and Wood by the Author. viii, 384; xii, 372 pp. 2 vols. Large 8vo. Van Duzer 166; CBEL III, 430 Contemporary three quarter green pebbled morocco and marbled paper boards, endpapers, and edges; gilt-lettered spines with raised bands. Slight rubbing to joints of Vol. I, otherwise fine, with the armorial bookplate of W.H. Thompson in each volume Illustrations on Steel and Wood by the Author. viii, 384; xii, 372 pp. 2 vols. Large 8vo [Attributes: First Edition]

      [Bookseller: James Cummins Bookseller, ABAA]
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