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Displayed below are some selected recent viaLibri matches for books published in 1850

        El Ingenioso Hidalgo Don Quijote de la Mancha. Con notas históricas, gramaticales y críticas, según las de la Academia Española y sus individuos de número, Pellicer, Arrieta, Clemencín y por Sales A. M. Aumentada con "El Buscapié", anotado por Adolfo de Castro.

      Madrid, Imprenta y Librería de Gaspar y Roig, Editores, 1850 - -17 x 26,5 cm.- , XX + 772 págs. + XL + 84 págs. Ilustrado con cientos grabados intercalados en el texto, 10 láminas y el retrato del autor grabado en acero. Enc. en plena piel de becerro con estampaciones en oro. (MAGNÍFICO EJEMPLAR. MUY LIMPIO.) [Attributes: Hard Cover]

      [Bookseller: Berceo (Libros Antiguos)]
 1.   Check availability:     IberLibro     Link/Print  


        Collection of autograph and copyists' manuscripts

      1850s-1870s. AUTOGRAPH MANUSCRIPTS Tarantella for 'Cello & Piano Contemporary wrappers with autograph titling in English. Folio (346 x 267 mm.). Signature of two bifolia. [i] (blank), 2-7, [i] (blank) pp. Notated in black ink to 12- stave printed music paper with the circular blindstamp of Litolff, Braunschweig. With "by A Suck" to upper right corner of first page of music and "Dec[ember] 31. 1879" to lower right corner of p. 7. Final 12 measures notated on small leaf tipped in to lower right corner of p. 7 to be unfolded for performance. Alternate, extended version of mm. 60-79 sketched on separate bifolium in smaller format, in blueish ink; piano staves blank. Browned. All leaves creased at upper outer corner. [6] Capricen [and other works] für Violoncell Solo Contemporary wrappers with autograph titling in German. sewn except for final bifolium, which is unbound. Folio (slightly varying formats, ca. 345 x 270 mm.). Eight leaves, not paginated unless otherwise noted. Notated in black ink on various types of music paper. Fol. 1r: Caprice [unnumbered; A major]. Unsigned. With "Fine. componirt den 14. Janr. 1863, Göteborg" to lower right corner. Fol. 1v: Preludio [G major]. With "comp. v. A Suck" to upper right corner. Fol. 2r: Capricen für Violoncell No. 1 [G major]. With "von A Suck" to upper right corner. Fol. 2v-3r: Etüde No. 3. [G minor.] With "comp. von A Suck" to upper right corner of first page and "Anfang 31/12/1864 Ende 6/1/1865 Stockholm 1868[?]" to lower right corner of second page. One measure of first page and final three staves notated to overpastes. Fol. 3v: Capricen für Violoncell No. 2. [A major.] With "v. A Suck." to upper right corner and "14/1/1863" to lower right corner. Fol. 4r-4v: Caprice No. 4. [D minor-major.] Second page paginated "2." With "v. A Suck" to upper right corner of first page and "15/3 1875" to end of music on second page. Final two staves blank. Fol. 5r: blank Fol. 5v-6r: Etude für Violoncell No. 5. [D minor-major.] With "A Suck" to upper right corner of first page and "Juni 10. 1875. Boston" to lower right corner of second page, Five stave of second page notated to overpaste. Fol. 6v-7r: blank Fol. 7v-8r: No. 6 Caprice pour 'Cello. [G major.] With "A Suck" to upper right corner of first page and "Febr[uary] 4, 1876" to lower right corner of second page. Fol. 8v: blank The two etudes may be tentatively identified with the otherwise lacking caprices of the same numbers. The unnumbered first caprice and the "preludio" seem to belong to an earlier period. Nocturno [G major] and Andante [D major] for two violoncello. [Parts]. Folio (342 x 270 mm.). Notated in black ink on 12-stave printed music paper. Cello 1mo: one bifolium, unpaginated; Nocturno notated to inner pages, Andante to outer pages of bifolium. Cello 2ndo: one bifolium, unpaginated; Nocturno notated to inner pages, Andante to outer pages of bifolium; major autograph corrections to Andante including new ending. With "A Suck" to upper right corner of first page of Nocturno in both parts and "comp. v. A Suck" to upper right corner of first page of Andante in Cello 1mo, "comp. A Suck" in Cello 2do. Autograph date to original ending of Andante in Cello 2 part: "4/2 1868." Bifolium of Cello 2do detached. Nocturno [F major] [for Piano; fragment] Folio (346 x 268 mm). One bifolium, folded inside out. [i] (blank), [2]-4 pp. Notated in black ink to 12-stave printed music paper. Music breaks off in the middle of page 4; clefs and key signatures through end of page. No date. An einen Boten. [Lied for voice and piano] Small folio (306 x 235 mm.). One bifolium. Unpaginated. Notated in black ink to 12-stave paper. Music extends over first half of first page only (two systems of three staves). The German text (incipit: "Wenn du zu meim Schätzel kommst") is from Des Knaben Wunderhorn. Both stanzas are written as underlay. With corrections in pencil. Various sketches and fragments, possibly including composition exercises, to remaining staves of first page and to other pages, partially in ink, partially in pencil. The content of the sketches, signs of immaturity in the musical notation, and the use of paper without pre- printed staff lines suggest that the present bifolium dates from Suck's earlier years (ca. 1850). Unevenly trimmed. Frayed at edges. Wax drop and small stains to first page; ink stains to third page. Together with: [ROMBERG, Bernhard]. [Op. 46 (arr.)]. Divertimento über Oesterreichische Volkslieder für das Violoncello mit Begleitung des Pianoforte. [Score] Folio (348 x 271 mm.); signature of four bifolia. [i] (title), 2-14, [ii] (blank) pp. Notated in black ink on printed 12-stave music paper. No place, no date. Manuscript copy, probably in the hand of August Suck. Name "August Sack [!Suck]" in a different hand to upper right corner of title. The composition is in G major. The piano part, very basic and consisting primarily of simple chords, seems to be derived from the version for violoncello and guitar (Vienna: Tobias Haslinger, [1829], PNs 5210 and 5212). In the few instances where the piano has thematic material, the melodic line follows that of the guitar part, which is distinct from the one in the original piano accompaniment. The cello part is virtually identical with Haslinger's 1829 edition; it also mirrors its characteristic clef changes. The arrangement may or may not be Suck's work. First leaf partly detached. COPYISTS' MANUSCRIPTS [Untitled] Introduction, theme with two variations, and rondo for violoncello and orchestra. Full score. A minor-major. Folio (340 x 272 mm.). Sewn. 1-[50], [ii] (blank) pp. Notated in black ink on 14-stave music paper. Most probably in a copyist's hand; the shape of the C clef is quite different from those in Suck's autographs. Credits to upper right corner of p. 1, "von A. Suck," possibly autograph. Binding fragile; many bifolia entirely or partly detached. Paper browned and brittle; edges frayed; small holes to upper outer corner of final leaves. Concerto [D minor] für Violoncell. [Piano reduction] Gray wrappers with label to upper titled "Concert en ré mineur pour violoncelle, avec piano" using words cut from a newspaper. Folio (344 x 265 mm.). Signature of three bifolia. 12 pp. Notated in black ink on printed 16-stave music paper. No place, no date. Most probably in a copyist's hand; the shape of the C clef is quite different from those in Suck's autographs. Credits to upper right corner of p. 1, "von A. Suck," possibly autograph. The first movement is in D minor, the second in A major, the third in D minor-major. Some literals (tempi, dynamics, expressive marks) added in pencil. Wrappers partially detached, creased, and frayed at edges. . Little is known about cellist and composer August Suck. Born in the German-speaking lands (which then would include Bohemia), as the German titles and other literals in his manuscripts suggest, he moved to the United States in the early 1850s, making Boston his home. He played in the orchestra of the Boston Theatre from its inauguration in September 1854. From 1861, Suck was in Gothenburg, Sweden, where a new orchestra had been founded by German and Bohemian musicians, conducted by his friend Adalbert (properly, Vojt ch) H ímalý (1842-1908). He was, however, back in Boston by 1867; see the account of a quartet evening in Dwight's Journal of Music, February 27, 1867, p. 407 (the later concertmaster of the Boston Symphony, Bernhard Listemann, played the first violin). Dwight's Journal of Music of March 30, 1867, p. 7, includes a "Testimonial to Camilla Urso" signed by a large number of musicians, Suck, John Knowles Paine, and Otto Dresel among them; the "testimonial" was reprinted in the American Art Journal of April 13, 1867, p. 396. In 1881 Suck became one of the founding members of the Boston Symphony Orchestra. In tandem with his colleague Wulf Fries (1829-1902), Suck published a tutor, Practical Violoncello Instruction Book (Boston: Ditson & Co., 1879; 2nd edition 1901). He was noted for teaching the violoncello to girls, still frowned upon at the time; see the articles "A Cambridge Girl," Cambridge Chronicle, December 24, 1898, and "The Girl Cellist," The Etude 25, no. 9 (September 1907), p. 613. Josephine A. Spalding, from 1903 professor of violoncello at the University of Denver, was another student of his. Suck spent the summer of 1900 playing in a trio at the Algonquin hotel in St. Andrews, New Brunswick, as noted by the local paper, St. Andrews Beacon, on July 12, 1900. Apparently this assignment became an annual routine because the same paper still listed him on the hotel's roster on July 20, 1912, which is the last known record of his activity. Two photographic portraits, dated September 11, 1854, and "50 years later," are reproduced in Eugene Tompkins, The History of the Boston Theatre, 1854-1901 (Boston-New York: Houghton Mifflin, 1908), p. 19. The former shows Suck presumably in his early twenties, the latter in his seventies, when he participated in the anniversary performance.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Description De La Nouvelle Californie

      Paris: L. Maison. Fair. 1850. First Edition, 2nd Issue. Printed Wrapper. Early gold-era history of California. Printed wrappers are soiled and chipped on edges. Back wrapper and spine are missing replaced with newer material. Pages are lightly browned within text with light foxing. Deckle edges are soiled and chipped with a few dog-eared pages. The four engraved views are present and clean with views of Pyramid Lake, Sutter's Fort, giant sequoias and San Francisco. 3 single leaf maps include Carte particuliere des Baies de Monterey et de San Francisco", "Carte topographique d'une partie de l'Isthme de Panama comprenant le Bassin de la Riviere de Chagres et la Route de Chagres a Panama", "Carte d'une partie de L'Amerique Meridionale comprenant le Cap Horn et le Detroit de Magellan", plus the large folding map titled de la Nouvlle Californie are present. The large folding map has several tears at folds but is quite detailed showing showing missions, Indian tribes, ranchos, the Great Salt Lake, Colorado river and the gold region of California and includes the area covering present day California, New Mexico, Arizona, Colorado and Nevada and Utah. The folding map indicates Deuxieme Edition but no indication on book title of second edition. Text includes chapters on climate, mountains, rivers, mining, natural history, California Missions and San Francisco. ; 12mo 7" - 7½" tall; 386 pp .

      [Bookseller: Back of Beyond Books, ABAA]
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        SHIRLEY

      1850. [in original wrappers] A Tale. By Currer Bell, author of "Jane Eyre." New York: Harper & Brothers, 1850. 2 pages of preliminary ads + 18 pages of terminal ads, undated. Original orange-brown wrappers printed in black. First American Edition, issued as No. 132 in Harper's "Library of Select Novels." This was Charlotte Bronte's second published novel, following JANE EYRE -- still under the pseudonym of "Currer Bell." The tale takes place in Yorkshire at the time of the Luddite riots (during the later stages of the war against Bonaparte): a textile mill owner risks death and destruction by trying to replace workers with machinery, and hopes to avoid financial ruin with a loveless marriage to Shirley -- who sees through him and rejects him. The tale is generally considered not to be one of Charlotte Bronte's better efforts -- she did a magnificent job describing Shirley (modeling her after her sister Emily), but most critics agree that having to stretch the novel to fill three volumes (as was required by the British lending libraries of the time) was not a good idea.~Smith Elder & Co. first published SHIRLEY in England in three volumes in late-October 1849 (bearing that year on the title pages); a month before that, they had sold to Harper (for fifty pounds) a set of advance sheets. Harper published TWO different editions on November 22nd (post-dating both of them 1850) -- this double-column 206-page edition bound in wrappers, plus a single-column 572-page edition bound in cloth.~This copy has all the proper ads, front and rear, that are called for in the Smith bibliography; the ad on the inside rear cover is in the second state, listing 135 titles (and not 130) in the "Library of Select Novels." This copy also includes the four inserted lines on the final page of text (beginning with "You may meet these two again, reader..."), which Smith says he could not find in any other edition of SHIRLEY, including Smith Elder's and Harper's other (cloth-bound) one. Condition is generally very good: the fragile wrappers are worn and dog-eared at the corners (including several chips out of the rear wrapper, and at the spine ends), and the bottom inch of the final two ad leaves are torn away. Still, it is very hard to acquire SHIRLEY in wrappers in any better original condition; this is much scarcer than the cloth-bound edition. Smith BRONTE pp 122-128.

      [Bookseller: Sumner & Stillman]
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        Typee : A Peep at Polynesian Life, During a Four Months' Residence in a Valley of Marquesas (revised Edition with a sequel); & Omoo: a Narrative of Adventures in the South Seas Volumes Bound as One

      London: George Routledge & Co , 1850. Early reprint. Green Leather with bright gilt title in Burgundy flag, marbled bds, Tan eps, Omoo is bound in first with a note incopper plate script stating "NB Typee should be read first" , pp x 242, 222. Bds have minor shelf wear, internally bright and crisp. Some spotting to leading edge and odd spot inside. . Re-Issue. Half Leather. Near Fine/N/A. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: Ariel Books]
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        Meine Pilgerreise über Rom, Griechenland und Egypten durch die Wüste nach Jerusalem und zurück, vom 4. October 1847 bis 25. September 1848.

      Wien, Greinee, 1850.. 18 x 12 cm. 508 S. ISBN: Keine. OLn. / Orginal cloth. No jacket. Guter Zustand / Good condition. Einband lichtrandig und berieben sowie fleckig. . Innen vereinzelt stockfleckig. Immer noch ein gutes Exemplar dieser so seltenen ausgabe. 1. Auflage.. * Versandfertig innerhalb von 20 Stunden! Gf. (RE). Jpg.

      [Bookseller: Umbras Kuriositätenkabinett / Einzelunte]
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        Basel St. Jakob. Original Bleistift-Zeichnung leicht in Sepia aquarelliert.

      o.J. um 1850,. 18.4x27 cm, gekonnte Skizze vom Dorf mit Brücke. Passepartout. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Basel Rathausplatz. Original Bleistift-Zeichnung leicht in Sepia aquarelliert.

      o.J. um 1850,. 18.5x27 cm, gekonnte Skizze vom Platz mit Häuserreihe, Passepartout. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        WHITE-JACKET; OR THE WORLD IN A MAN-OF-WAR

      New York & London: Harper & Brothers ... London: Richard Bentley, 1850.. vii[1],[9]-465,[1],[6]pp. Gray-green cloth, sides ornately stamped in blind with frame and publisher's device, spine lettered in gilt, yellow coated endsheets. Usual darkening offset to coated endsheets, light foxing (a bit heavier in prelims and terminal leaves), shallow loss at extreme crown and toe of spine, neat engraved bookplate, otherwise a very good copy. First U.S. edition, BAL's first printing, first cloth binding, form 'B' of the end gatherings. The London edition in two volumes appeared in late January; this edition followed up in March, and includes an author's 'Note' dated New York, March 1850. BAL 13662.

      [Bookseller: William Reese Company - Literature ABAA-]
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        "Kennst Du das Land wo die Zitronen blühen?" originales Gemälde, Öl auf Leinwand ca. 55x75cm; rechts unten signiert; um 1850 [Maße im dekorativen Rahmen 69x89cm. ]

      . Qualitätvolle Arbeit des Rottmann-Schülers mit ansprechender Personenstaffage und herrlichen Blick in die weite der italienischen Landschaft..

      [Bookseller: Antiquariat Niederbayern GbR]
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        Große Gesamtansicht von der Höhe aus mit Blick auf den Fremersberg rechts, im Vordergrund Eselsreiter und Frau. Stahlstich von E. Willmann.,

      Paris, C. Chardon, ca. 1850. - Format (Bildbereich): 34,5 x 53 cm. Blattgröße ca. 50 x 65 cm. *Schöne und klassische Vedute von Baden-Baden. In vorzüglicher und fleckenloser Erhaltung. Sprache: Deutsch Gewicht in Gramm: 2000 Hinter Passepartout und gerahmt in moderner in moderner Goldleiste.

      [Bookseller: Antiquariat Braun]
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        Eigenh. Verzeichnis von Schuberts nachgelassenen Liedern mit Notenzitaten.

      [Wohl Wien, um 1850].. 8 SS. auf gefalt. Doppelblättern. Tinte, Blei- und Rötelstift. Kl.-Folio.. Eigenhändige Aufzeichnungen über 76 Musikstücke von Franz Schubert mit den Anfangstakten, der Plattenzahl, der Angabe ob gestochen etc. Geordnet nach den Textdichtern: Körner (6 Nrn.), Schlegel (6 Nrn.), Schiller (12 Nrn.), Mayerhofer (26 Nrn.), Klopstock (15 Nrn.), Schober (4 Nrn.), Schlechta (3 Nrn.), Collin (2 Nrn. ) und Grillparzer (2 Nrn.). 1830 hatte der Verleger Diabelli begonnen, die nachgelassenen Lieder Schuberts in Lieferungen herauszugeben. "Diabelli made the praiseworthy attempt to assemble the vast store of manuscripts at his disposal into some sensible order before publication. Songs were grouped sometimes by author [...] and sometimes by subject matter. But inevitably the choice had occasionally to be arbitrary. The series was advertised as 'Franz Schubert's Posthumous Musical Poems [Nachgelassene musikalische Dichtungen] for Song and Pianoforte', but it soon became known as the 'Nachlass', and Diabelli used this title in the later parts" (Reed, The Schubert Song Companion, S. 506). - Die erste Seite minimal angestaubt sowie mit alt aufmontierter Katalogbeschreibung, sonst sauber und wohlerhalten.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Passau vom Oberhaus),,

      um 1850. - Gesamtansicht von Norden auf Höhe der Feste Oberhaus. Zentral blickt man auf die Altstadt, die von Donau und Inn eingeschlossen ist. Am gegenüberliegenden Hang schließen die Szene die Hügel um das Kloster Mariahilf und die Innstadt. Auf der Donau herrscht reger Schiffsbetrieb. Getönte Lithographie von M. Kuhn nach F. Maillinger, bei J.B. Kuhn in München, um 1850. 46 x 72,5 cm. - Bis auf die Einfassung beschnitten (deshalb ohne den Titel), sauber und glatt, einige Wurmlöcher fachmännisch ausgebessert. - Prächtige großformatige Stadtansicht im kräftigen Druck. Selten! - Nicht nur in seiner Größe besitzt das Blatt eine herausragende Stellung, sondern auch in kompositorischer Hinsicht. Die Stadt wird in einem ampitheatergleichem Halbrund präsentiert, Donau und Inn bilden dazu den idealen Rahmen. Eine zeitliche Einordnung lässt sich zumindest zwischen die Jahre 1846 und 1860 legen. Die 1846 gebaute Innbrücke existiert bereits, die 1860 eröffnete Eisenbahn allerdings nicht. Sprache: de Gewicht in Gramm: 0

      [Bookseller: Buch- und Kunstantiquariat Tobias Müller]
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        USA

      . Texas. Grenzkolorierte, lithographierte Karte aus "Vollständiger Universal-Handatlas". Glogau, Carl Flemming ca 1850, 40 x 32 cm - wir garantieren für die Echtheit. Scarce German lithographic map of Texas, based on Arrowsmith's 1841 map, features thirty counties. An inset at lower left shows a plan of Galveston Bay. Original outline color and printed green in gulf. Good condition.

      [Bookseller: Kunsthandlung Johannes Müller]
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        Histoire de l'administration de la police de Paris. Depuis Philippe-Auguste jusqu'aux Etats Généraux de 1789 ou Tableau moral et politique de la ville de Paris durant cette période considéré dans ses rapports avec l'action de la police.

      Guillaumin 1850 - Deux volumes in-8 (22,5 cm x 13,5 cm), XV-560-560 pp. Demi-chagrin marron, pièce de titre prune et de tomaison verte. Dos à 4 nerfs, filets et titres dorés. Reliure très légèrement frottée. Un des ouvrages de référence sur la police parisienne. Pour accéder à la totalité de notre offre, consultez notre site Paris-Libris. [Attributes: First Edition; Hard Cover]

      [Bookseller: PARIS-LIBRIS]
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        HANNOVER. "Hannover aus der Vogelschau". Große Gesamtansicht mit weitem Fernblick.

      - Altkol. Stahlstich von A. Eltzner bei C.F. Hornemann, um 1850, 36,5 x 54,5 cm. In zarten Braun- und Grüntönen koloriert. Ränder minimal fleckig. Links im Rand kleiner Trockenstempel.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        "Neustadt an der Aisch (Mittelfranken)". Gesamtansicht, rechts ein Reiter, links Bäuerin mit zwei Ziegen.

      . Lithographie mit Tonplatte von E. Waldau nach Muller, gedruckt bei G.P. Buchner, um 1850, 19,5 x 35 cm.. Sehr seltene Ansicht in tadelloser Erhaltung.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Hamburg. - Souvenierblatt. - "Hamburg".

      - Historische Ortsansicht. Stahlstich, koloriert, um 1850. Von Jens Gray. 19,5 x 26,6 cm (Darstellung) / 37,6 x 48,6 cm (Blatt). Unterhalb mit dem gestochenen Titel in drei Sprachen "Andenken an Hamburg". Ferner mit den Künstler- und Verlagsangaben "Verlag von Robert Kittler in Hamburg" und "Gez. u. gest. v. J. Gray". - Das schöne Souvenierblatt zeigt die Hansestadt in elf Ansichten. Das Zentralbild mit der Panoramaansicht wir eingesäumt von folgenden jeweils unterhalb betitelten Teilansichten. Börse, Alster, Europahotel, Wall Hall, Ton Hall, Stadttheater, Jungfernsteg, Post, Mühle und die Michaeliskirche. Sehr dekorative Vedute in ansprechendem malerischem Kolorit gehalten. - Minimale Lagerspuren. Im Ganzen gut erhalten. Jens Gray (Vedutenstecher des 19. Jahrhunderts). Lithograf und Stahlstecher in Hamburg. Arbeitete hautsächlich in der Zeit von 1842 bis 1868 für den Verlag Lange in Darmstadt.

      [Bookseller: Graphikantiquariat Koenitz]
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        Andenken an Hamburg. Kolorierter Stahlstich von James Gray,

      um 1850. - 19,5 x 26,2 cm. Souvenirblatt mit zentraler Ansicht "Hamburg vom Hafen" sowie 10 Randansichten: Alster–Arkaden, Alter Jungfernstieg, Börse, Windmühle, St.Michaelis Kirche, Post Gebäude, Hotel de L`Europe, Wallhalle, Ton Halle, Stadt Theater. Unterer Rand mit weißem Papier angesetzt. [SW – Ansicht, Ansichten, Hamburgensien, Hamburgensie]

      [Bookseller: Antiquariat Heinz Tessin]
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        Household Words : a weekly journal conducted by Charles Dickens (1850-59) With: The Household Narrative of Current Events 1853-55

      16, Wellington Street North, London. 1850-59.. Household Words, Volumes I-XIX, nos 1 to 479. March 30, 1850 to May 28, 1859 [with] The Household Narrative of Current Events: being a monthly supplement to Household Words, for the years 1853, 1854 & 1855 (bound in two volumes, 1853-54 & 1855; each year comprising viii, 280pp). Twenty-one volumes uniformly bound in half calf and marbled paper sides, spine labels and gilt decorations, marbled endpapers. The bindings slightly rubbed at the extremities, the labels for Vol VI have dropped off but the gilt lettering remains, the gilt pattern on the raised bands changes a little from Vol XIII. Edges dulled, the paper is a little yellowed but clean and in excellent condition; barely read it seems. A handsome set in very good condition. .

      [Bookseller: Astrolabe Booksellers]
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        Daguerreotype original. - Etats-Unis. Portrait de jeune couple.

      Vers 1850,. 8 x 7 cm (1/6 de plaque). Dans un magnifique ecrin (10 x 8.5 cm) en forme de livre, dos en cuir, couvercle richement orne a l'or et nacre (pot de fleurs). En tres bon etat.. Le daguerreotype est un procede photographique mis au point par Louis Daguerre (1787-1851). A la difference des photographies modernes, il s'agit d'une image sans negatif, exposee directement sur une surface en argent polie comme un miroir.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Le chariot d'enfant EDITION ORIGINALE

      Paris: D. Giraud & J. Dagneau, 1850. Fine. D. Giraud & J. Dagneau, Paris 1850, 11x18cm, relié. - First edition, printed 500 copies of the French translation of this Indian tale established by Gerard de Nerval and Gustave Mery on current paper, he would have been fired only two colored paper in large sheets. Bound in half roan raspberry, flat spine decorated with typographic designs and quintuple gilt, slightly rubbed boards containing small missing paper, lower corner slightly rubbed, contemporary binding. Some minor foxing. Rare. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, imprimée à 500 exemplaires, de la traduction française de ce conte indien établie par Gérard de Nerval et G. Méry sur papier courant, il n'aurait été tiré que 2 papier de couleurs en grands papiers. Reliure en demi basane framboise, dos lisse orné de motifs typographiques et de quintuple filets dorés, plats légèrement frottés comportant de petits manques de papier, un coin inférieur très légèrement frotté, reliure de l'époque. Quelques petites rousseurs. Rare.

      [Bookseller: Librairie Le Feu Follet]
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        WEISSENFELS. "Weissenfels". Gesamtansicht mit Blick über die Saale, links das Schloss, mittig die Marienkirche.

      - Lithographie mit Tonplatte von und nach Gustav Frank, gedruckt beim königl. lith. Institut, Berlin, um 1850, 29 x 49 cm. Thieme-Becker Bd. XII, S. 345. - Der Landschaftsmaler, Zeichner und Lithograph Gustav Frank (1819 Stralsund - 1886 Dessau) wurde berühmt durch seine über 90 großformatigen, lithographierten Ansichten deutscher Städte, die heute sehr selten und gesucht sind. - Schöne, seltene Ansicht, in Goldleiste gerahmt.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        LANGENSALZA. Gesamtansicht von der Ostseite (15,5 x 29 cm), umgeben von 10 weiteren Ansichten.

      - Kol. Lithographie mit Tonplatte "Nach der Natur gezeichnet u. gemalt v. W.F. Schneemann Maler", lithographiert bei Arnz, Düsseldorf, verlegt bei J.W. Klinghammer, um 1850, 34 x 47 cm. Die hübsch staffagierten Ansichten zeigen das Rathaus, Schulberg, Schützenhaus, Bonifatius- und Stephanskirche, Schloß Dryburg, Bad, Böhmen, Weissen's Garten und Ette's Haus. - Im Rand gering fleckig, einige kleine Einrisse hinterlegt. Aufwendig in Echtgoldleiste gerahmt.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Diary and Correspondence of John Evelyn. F.R.S. To Which in Subjoined The Private Correspondence Between King Charles I. and Sir Edward Nicholas. And Between Sir Edward Hyde, Afterwards Earl of Clarendon, and Sir Richard Browne

      London: Henry Colburn, 1850-1854. New edition. Octavo. Frontispiece portrait of John Evelyn from the painting by Sir Godfrey Kneller and three illustrations. Edited by William Bray. 3/4 gilt stamped dark maroon morocco over matching cloth, spines with five raised bands, gilt ruled, patterned endpapers, t.e.g. by Wood. Very good-fine, fresh. 4 volumes, complete. No signatures. Bookplate of W.B Matteson on the back pastedown of each volume.

      [Bookseller: George Houle Rare Books & Autographs ]
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        Der gefangene Unionist.

      um, Bln., Vlg. Oswald Seehagen, 1850 - Tonlithographie. Bln., Vlg. Oswald Seehagen, um 1850. 39x52,7. Papier altersbedingt fleckig. Bartsch, G(ustav) *1821 Gleiwitz OS., tätig in Blasewitz b. Dresden. Porträt- und Genremaler. TB II./584. [Attributes: Soft Cover]

      [Bookseller: Altstadt Antiquariat Bode]
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        "Ausee". Gouachierte Tonlithographie von Franz X. Sandmann, gedruckt bei J. Höfelich. Aus: Josef Bermann, Ansichten der Oesterreichischen Monarchie, von den besten Meistern nach der Natur aufgenommen u. gestochen.

      Wien, Bermann, (ca. 1850).. Ca. 36 cm x 49 cm.. Nebehay-W. 892, 3, 2. Zahn140/12. - Franz Xaver (oder Josef) Sandmann hat ein überreiches Oeuvre an Landschaftsaquarellen und Lithographien, zum Teil nach eigenen Zeichnungen, zum Teil nach Vorlagen anderer Künstler, hinterlassen. Seine Lithographien, die zu den künstlerisch und technisch besten ihrer Zeit zählen, zeichnen sich durch "warme Töne und ungemeine Lebendigkeit" (Wurzbach XXVIII, 183) aus. - Prachtvoll altkoloriertes Blatt. - Bis an den Rand beschnitten, alt montiert.

      [Bookseller: Matthäus Truppe Buchhandlung & Antiquari]
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        Blick über den Traunsee ins Gebirge, vorne geerntetes Feld und Staffage.

      . Aquarell über Bleistift, sign. "Eberl", um 1850, 19 x 27 cm.. Thieme-Becker Bd. X, S. 301; Bruckmann, Münchner Maler Bd. 1, S. 262. - Robert Eberle wurde 1815 in Meersburg geboren. Er war Schüler bei Jakob Biedermann und ab 1830 an der Münchner Akademie. Er starb 1860 in Eberfing. - Verso handschriftlich bezeichnet: "Gewidmet dem hochverehrten Herrn Professor v. Bossee zu Florenz, von ihren achtungsvollen Eberl zu Gmunden am Traunsee." - Stimmungsvolles Blatt in lichten Farbtönen.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Stansbury's Expedition: Maps

      Departments of the Army, 1850. 2 maps of an expedition now know at The Stansbury Expedition are bound into a hardcover book. The book is bound in very dark blue cloth with gilt title and stamped design. Both maps were created under order of J.J. Albert by Capt. Howard Stansbury assisted by Lt. J. W. Gunnison and Albert Carrington. The maps were drawn by Lt. J. W.Gunnison and Charles Preus. Maps are: (1)opening to the right - Great Salt Lake and Adjacent Areas of the Territory of Utah which measures approximately 44 by 32 inches, scale is 1:240000. (2) opening to the left is Fort Leavenworth (along with) The Missouri River (and) The Great Salt Lake measuring approximately 69 by 30.5 inches, scale is 1: 1000000. Dating on the maps is 1849 to 1850. Maps were created during the two year expedition from Ft. Leavenworth, Kansas westward to evaluate emigration trails and scout for possible railroad routes. In a meeting with Mormon leader, Brigham Young, Albert Carrington was added to the expeditions as Young's representative. Maps have been and are folded which has created weakness and tearing in places along the folds with the worst have been repaired, there is moderate foxing and a few small tears, dimensions have been written in pencil on verso of both maps, very light smudging/fingering. The book in which the maps are bound is worn on edges with the heaviest wear at tips of corners, spine has been reinforced on the inside, rear panel a bit soiled. Gilt title is still bright. Images available. USPS confirmation used on all U.S. shipments.. First Edition. Hardcover. Good. Illus. by Gunnison, J.W.; Preus, Charles.

      [Bookseller: The Bookbums at Ish Kabibble Books]
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        Voyage Pittoresque Dans Les Pyrénées Françaises Et Les Départements Adjacents.

      [Paris: Firmin Didot, c1850]. - oblong folio. ff. [2], 74. 66 aquatint plates by Benedikt Piringer & F.Slathé after sketches by Melling. contemporary bds. (worn, hinges & upper front joint cracked, some light foxing, few short marginal tears to first 2 leaves, former owner's small rubberstamp on title). Second Edition. The Voyage Pittoresque was the result of the German painter Melling's travels in the Pyrenees region in 1821 and is illustrated with a fine series of aquatints based on his original sepia watercolours, depicting picturesque views of the mountains, waterfalls, villages, grottoes, thermal baths, monuments, villages, chateaux, &c. Melling's intention was to demonstrate that the beauty of the Pyrenees rivalled that of the Swiss and Italian Alps. The first edition, published by Treuttel and Wurtz in 1826-30, contained seventy-two plates, a portrait, and a map, while the present edition is complete with sixty-six plates. cfBrunet III 1591-92. cfGraesse IV 473. [Attributes: First Edition; Hard Cover]

      [Bookseller: D & E LAKE LTD. (ABAC/ILAB)]
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        CORRESPONDENCE BETWEEN MR. WEBSTER AND HIS NEW HAMPSHIRE NEIGHBORS

      Gideon and Co., Printers, Washington, (D,C.) 1850 - Original printed wrappers. 8vo. 10 pp. Inscribed on the front wrapper: "To the Honble Mr. Goodwin with the best respects of Danl Webster." This pamphlet, in the form of a letter from his constituents dated August 1850, commends Webster for his part in the Compromise of 1850 that resulted in the Fugitive Slave Act. "Your recent labors to remind a distracted people of the duties which they owe to a common country, and the blessings which they derive from a common Constitution, are, in our judgment as important as any which you have performed in a long public service." It also prints a letter of thanks from Webster. At this time he was being attacked for his work on behalf of the Union by abolitionists. Ichabod Goodwin, the recipient of this copy, was a state representative at the time and later Governor of New Hampshire (1859-1861), who supported legislation to oppose the extension of slavery. Pamphlet folded for mailing, accompanied by the original mailing envelope addressed by Webster with his signature and bearing the free frank he was entitled to. [Attributes: Soft Cover]

      [Bookseller: Bartleby's Books, ABAA]
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        ROSENHEIM. Gesamtansicht von der Westseite, im Vordergrund ländliche Staffage, rechts Bergpanorama.

      - Lithographie mit Tonplatte von Eberhard Emminger bei Ravizza, um 1850, 18 x 26,5 cm. Nicht bei Lentner u. Henning/Maier, E. Emminger. - Unser Blatt stammt nicht aus der Folge "Ansichten vom bayerischen Hochland". Sehr seltene Ansicht. Mit schmalem Rändchen alt auf blauen Karton montiert. [Attributes: Soft Cover]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Gesamtansicht von der Westseite, im Vordergrund ländliche Staffage, rechts Bergpanorama.

      . Lithographie mit Tonplatte von Eberhard Emminger bei Ravizza, um 1850, 18 x 26,5 cm.. Nicht bei Lentner u. Henning/Maier, E. Emminger. - Unser Blatt stammt nicht aus der Folge "Ansichten vom bayerischen Hochland". Sehr seltene Ansicht. Mit schmalem Rändchen alt auf blauen Karton montiert.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        WEISSENSEE. "Weissensee (bei Füssen)." Gesamtansicht von einer Anhöhe.

      - Lithographie auf China von Eberhard Emminger nach Buck bei Dannheimer, um 1850, 16 x 24 cm. Schefold 49195; nicht bei Henning/Maier. - Sehr schöne Panoramaansicht über den Weissensee. - Tadellos erhalten mit breitem Rand.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        LEONI/Starnberger See. Ansicht vom Ufer aus, in der Ferne Starnberg.

      - Altkol. Lithographie mit Tonplatte von Eberhard Emminger bei Ravizza, um 1850, 13 x 20 cm. Lentner 2244. - Malerische Ansicht mit zwei Kähnen und Spaziergängern im Vordergrund. - Nur ganz leicht gebräunt. Verso mit Stempel "Sammlung Gg. Rieser".

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        KOCHELSEE. Blick auf Kochel, den See mit Schlehdorf in der Ferne, im Mittelpunkt Herzogstand mit Jochberg.

      - Altgouachierte Lithographie mit Tonplatte von Eberhard Emminger bei Ravizza, um 1850, 12,5 x 19,5 cm. Lentner 8537. - Feine Ansicht, von Julius Adam gedruckt. Leuchtendes Altkolorit!

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        "Weissensee (bei Füssen)." Gesamtansicht von einer Anhöhe.

      . Lithographie auf China von Eberhard Emminger nach Buck bei Dannheimer, um 1850, 16 x 24 cm.. Schefold 49195; nicht bei Henning/Maier. - Sehr schöne Panoramaansicht über den Weissensee. - Tadellos erhalten mit breitem Rand.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Ansicht vom Ufer aus, in der Ferne Starnberg.

      . Altkol. Lithographie mit Tonplatte von Eberhard Emminger bei Ravizza, um 1850, 13 x 20 cm.. Lentner 2244. - Malerische Ansicht mit zwei Kähnen und Spaziergängern im Vordergrund. - Nur ganz leicht gebräunt. Verso mit Stempel "Sammlung Gg. Rieser".

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Schussental. - Panoramaansicht. - "Ansicht vom Schussenthal".

      - Historische Stadtansichten. Lithografie, um 1850. Von Eberhard Emminger. 45,0 x 68,7 cm (Darstellung) / 60,2 x 79,4 cm (Blatt). Unterhalb der Darstellung betitelt sowie mit den Verlags- und Künstlerangaben versehen "Ansicht vom Schussenthal" und "Druk v. G. Küstner, Nach d. Nat. gez. u. lith. von Eberhard Emminger". - Die großformatige Ansicht zeigt das oberschwäbische Schussental, das einst durch eine Gletscherzunge entstand, im Panorama mit dem Blick über die Orte Baindt nach Weingarten und Ravensburg. Im Zentrum dominiert die St. Martin Basilika von Weingarten, die zu den größten Kirchenbauten nördlich der Alpen gehört. Dekoriert mit umfangreichen Genrestaffagen: Schäferszene, Obstpflücker, Bauern und Viehstücken. Seltene und künstlerich hochwertige Vedute im Zeitgeist des ausgehenden Biedermeier. - Mit nur leichten Lagerspuren. Minimal fleckig. Insgesamt gut erhaltenes Exemplar. Eberhard Emminger (1808 Biberach - 1885 Biberach). Eigentlich Markus Eberhard Emminger. Deutscher Landschaftsmaler und Lithograf. Erster Zeichenunterricht bei Johann Baptist Pflug. Ausbildung zum Reproduktionsstecher beim Stuttgarter Verleger Georg Christoph Ebner. Die Handhabung der Lithografie erlernte er autodidaktisch. Nach der Lehrzeit Schüler von Johann Friedrich Dieterich, dem späteren Direktor der Stuttgarter Kunstschule. In seiner Stuttgarter Zeit entstanden zahlreiche Landschaftsbilder sowie Historien- und Genrebilder nach Vorzeichnungen anderer Künstler. 1835 Umzug nach München. Einjährige Reise durch Italien. 1836 Studium an der Akademie in München. Das sich daran anschließende Wanderleben führte ihn an den Rhein, nach Süddeutschland bis nach Wien und Italien. Ab 1854 lebte er mit seiner Familie in München. Zog nach dem Tod seines Sohnes und seiner Frau 1873 wieder nach Stuttgart und schließlich 1878 zurück nach Biberach.

      [Bookseller: Graphikantiquariat Koenitz]
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        A treatise on the climate and meteorology of Madeira; by the late J.A. Mason, M.D. ...... Edited by James Sheridan Knowles. To which are attached A Review of the State of Agriculture and of the Tenure of Land; by George Peacock, D.D., F.R.S. ..... and An Historical and Descriptive Account of the Island, and Guide to Visitors; By John Driver

      London: John Churchill. Liverpool: Deighton and Laughton. 1850. 8vo., xiv + (2) + 388 + (2)pp., including the half-title but wanting the errata slip, followed at the end by 8pp. of Deighton advertisements and finally by 32pp. of Churchill advertisements dated November 1849, 5 statistical charts on 3 plates, in the original blue cloth, the upper cover and spine ornately gilt within borders of entwined grape vines and sugar cane, the lower cover stamped in blind, the slightest wear to head and foot of spine but still a fine, bright, copy sometime in the library of the Royal College of Surgeons in Ireland> with its occasional inoffensive blindstamp. First edition. Not in Wellcome. This is a remarkably good and comprehensive portrait of mid-19th century Madeira with useful and detailed reports on climate and weather, supported by relevant meteorological observations. There are also supplementary chapters on agriculture and tenure of land, and a long section on the wine industry. There is, finally, a chapter providing practical advice and information for the English tourist: shipping lines, clothes, currency, hotels, boarding houses, lists of 'medical men' and 'advice to invalid visitors'.

      [Bookseller: John Drury Rare Books]
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        Gesamtans., "Aschach".

      . Lithographie m. Tonplatte v. Wolf in München, um 1850, 17 x 23,5.

      [Bookseller: Antiquariat Nikolaus Struck]
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        The Physical Atlas of Natural Phenomena

      Edinburgh: William Blackwood and Sons,, 1850. Reduced from the Edition in Imperial Folio for the Use of Colleges, Academies, and Families. Folio (360 × 280 mm). Publisher's brown half morocco, brown linen-grained cloth boards, title gilt to spine and upper board, double gilt fillets to spine and corner edges, all edges gilt, pale yellow surface-paper endpapers. Double-page engraved frontispiece map with hand colour, and 24 similar single-page maps, one engraved map to the text. Slightly rubbed at the extremities, boards a touch sunned, light browning and occasional light foxing, else a very nicely preserved copy. First thus. Excellent group of maps accompanied by brief explanatory texts grouped under the headings of Geology, Hydrography, Meteorology, and Natural History, a smaller-scale version of relevant section of Johnston's monumental National Atlas. Armorial bookplate of Henry Robertson Sandbach to the front pastedown. Sandbach inherited large estates in British Guiana, and in 1860 commissioned Hafodunos, a Gothic Revival manor house, from Sir George Gilbert Scott to replace the seventeenth-century hall on the family estate at Llangernyw in Wales. Sandbach and wife were "instrumental in turning a run-down and ramshackle parkland into one of the most efficient and beautiful estates of North Wales. Artists flocked to this rather remote Welsh house, the sculptor John Gibson was a friend of the family and as a result the largest collection of his work was accumulated there Gladstone was also a friend of Henry Robertson Sandbach and frequently dined within this splendid house" (Welsh Historic Gardens Trust, Bulletin 42, 2006). After a disastrous fire in 2004, the house is just now undergoing full restoration. Pressmark plate with embossed arms of Mordaunt verso of the front free endpaper.

      [Bookseller: Peter Harrington]
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        New Varieties of Gold and Silver Coins, Counterfeit Coins, and Bullion; With Mint Values

      Philadelphia, 1850. 60, [1] pp. plus plate of gold coinage. Frontispiece. 8vo. Original printed boards, gilt-lettered cover with illustrations of gold coins, expertly rebacked in matching paper, a.e.g. Covers slightly rubbed. Very good. In a cloth clamshell case, leather label. 60, [1] pp. plus plate of gold coinage. Frontispiece. 8vo. Original Sample of California Gold. Included as illustrative material is a sample of genuine gold from the California mines, as well as an inserted leaf illustrating California and Mormon coins, in gilt. The authors were the official assayers for the Philadelphia Mint at the time of this work's publication, and the book was intended as a guide for those unfamiliar with recent advances in coinage and assaying. The text includes much data regarding the recent strikes in California, and devotes an entire chapter to the analysis of the quality of ore coming from California. The sample is included so that the novice can discriminate between alloyed and unalloyed gold. There is also a discussion of the coinage of various countries of the world, including the TONG TSIEN of China, a "trashy coin...extremely convenient for alms-giving, a single piece being the usual quietus for a beggar." "...An extraordinary and colorful souvenir of the Gold Rush" - Wheat. WHEAT GOLD RUSH 67. HOWELL 50:74. STREETER SALE 2629. KURUTZ 217a. COWAN, p.76

      [Bookseller: James Cummins Bookseller]
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        Porträt eines sitzenden Herrn in mittleren Jahren, Kniestück im Dreiviertelprofil nach rechts.

      - Aquarell, über Bleistift, ein wenig weiß gehöht, auf chamoisfarbenem Velin, innerhalb der Darstellung (unter der linken Hand) monogrammiert und datiert „H.A. – F 81;". 34,6:24,9 cm. Minimale Fehlstelle in der rechten unteren Ecke. Diese Porträtzeichnung eines eleganten Herrn besticht durch Lebendigkeit und Leichtigkeit des Strichs. Anton Hähnisch studierte an der Wiener Akademie. Anschließend war er häufig auf Reisen, unterbrochen von längeren Aufenthalten vor allem in Berlin und Frankfurt am Main. Weitere Reisen führten ihn u.a nach Paris, zwischen 1850 und 1862 nach London und Edinburgh, und 1872-1873 nach Rom. Dann lebte er in Berlin und in den letzten Jahren in Karlsruhe. Hähnisch schuf Bildnisminiaturen, Aquarelle (auch auf Elfenbein und Milchglas) und Pastelle, die bunt unterlegt, mit schwarzer Kreide schraffiert und mit dem Pinsel gehöht sind. Bekannt wurde er vor allem durch Porträts des Adels und von Fürstenhäusern, so von Kronprinz Friedrich Wilhelm von Preußen und seiner Gemahlin Luise von Preußen, spätere Großherzogin von Baden, Lord und Lady Hamilton, ferner Berühmtheiten wie den Schriftsteller Franz Grillparzer. Auch fertigte er zahlreiche Porträtlithographien an. Seine Arbeiten befinden sich u.a. in der Royal Collection London, im Historisches Museum Wien oder in der Kunsthalle Karlsruhe.

      [Bookseller: Galerie Joseph Fach GmbH]
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