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        The Seat of the War in the East. 1st & 2nd Series. Entirely hand-coloured.

      London: Paul & Dominic Colnaghi & Co. 1855.. Series 1 (published 1855) & Series 2 (published 1856). The superior edition with the two lithographic pictorial titles and the 79 lithographic plates entirely coloured by hand and partly heightened with gum arabic, each with tissue guard. Plate size 22 1/8 x 14 5/8 inches ( 56 x 37 cm). Each volume with 12-pages of text descriptive of the plates at front. Thirty-six of the tissue guards being outline key plates as called for. Two volumes large folio, contemporary quarter morocco, the spines lettered in gilt, upper covers lettered in gilt. Entirely loose due to the perishing of the gutta-percha*. The title to Series 1 chipped on upper margin, that to Series 2 with 2 short tears to foremargin; both titles with some foxing. Some of the preliminary text leaves with minor cuts to fore margins, a few tissue guards with short edge tears without loss, 2 of the tissue guards with creasing. One plate with very short marginal corner crease, 2 with light smudge on lower margin, 5 with very minor short edge cuts with no loss. The tissue guards foxed. Joints of bindings scuffed but firm. The plates overall remarkably clean with what little occasional marginal foxing being very light and not affecting the images, Series 2 being exceptionally clean. The colouring very rich and occasionally heightened with gum arabic. Overall generally very clean and brilliantly coloured. With Molineux armorial bookplates on front pastedowns; perhaps the plate of William Philip Molineaux, Earl of Sefton, Captain, Grenadier Guards, who served in the Crimea.*Gutta-Percha, or Caoutchouc, binding was invented by Thomas Hancock; a process whereby a rubber solution takes the place of sewing for holding the leaves together and was employed by bookbinders from the 1840's. In most 19th Century books so bound the rubber has perished and the leaves have become loose.

      [Bookseller: Bristow & Garland]
 1.   Check availability:     UKBookworld     Link/Print  


        Himalayan Journals.... (2 Vols complete)

      London: John Murray, 1855 Notes of a Naturalist in Bengal, The Sikkim and Nepal Himalayas, The Khasia Mountains &c. 2 Volumes uniformly bound in maroon cloth with gilt image to front covers (possibly the 1st edition covers?, the new edition would normally be green cloth), corners and edges bumped and faded a little, blind tooling to edges. Spines are worn and faded a little, edges worn and bumped, title in gilt, images faded. Internally both volumes have yellow endpapers, a little grubby, with ink names to ffep (Matthias Barker of Poleworth). Volume 1, B&W frontis, (xvi), 348 pp, 6 pl, 42 illustrations of which 6 are full page and 1 is coloured, remainder are in text. Volume 2, lacks half title, B&W frontis, (xii), 3-345 pp, 38 woodcuts of which 12 are full sized, , [1], [2] adverts, printed by Bradbury and Evans, Whitefriars. Minimal amount of foxing to both at front & rear few pages. Important. (Allibone 878. Neat)Hooker was the second son of the botanist Sir William Jackson Hooker. In 1839 he joined Polar explorer Captain Ross's Antarctic expedition on HMS Erebus. In November, 1847 Hooker departed on this Himalayan expedition, he was a great friend of Darwin and dedicated his first edition to him. See ODNB for a full Bio.

      [Bookseller: Madoc Books]
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        History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with One Hundred and Twenty Portraits, from the Indian Gallery in the Department of War, at Washington

      Philadelphia: T.K. & P.G. Collins for D. Rice & A. N. Hart, 1855. 3 volumes, octavo. (10 1/2 x 7 1/4 inches). 120 coloured lithographic plates (3 tinted frontispieces finished by hand, 117 hand-coloured plates), by J.T. Bowen of Philadelphia, most after Charles Bird King. Publisher's red morocco gilt extra, covers elaborately blocked with a panelled design including arabesque cornerpieces of stylized foliage, spines in six compartments with raised bands, lettered in the second and fourth, the others with an overall design of small tools, gilt turn-ins, g.e. The third octavo edition of McKenney and Hall's classic work, after the first octavo edition of 1848-50, reduced from the folio format produced in 1836- 44. The plates for the first four octavo editions were all produced by the same lithographer, J.T. Bowen, and the same high quality of printing and colouring of the plates is found throughout. McKenney and Hall's Indian Tribes of North America has long been renowned for its faithful portraits of Native Americans. The portrait plates are based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. Both authors, not unlike George Catlin, whom they tried to enlist in their publishing enterprise, saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. Howes M129; McGrath p.206; cf. Miles & Reese America Pictured to the Life 53 (first octavo edition); Sabin: 43411 (1854-56 edition with 221 plates); Servies 4028.

      [Bookseller: Donald Heald Rare Books]
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        Strasbourg illustré ou panorama pittoresque, historique et statistique de strasbourg et de ses environs. 2 Bde. Straßburg/Paris/Leipzig, Neukirch, 1855. 5 Bll., 377 S.; 2 Bll., 168 S., 1 Bl., 230 S., 1 Bl. Mit 1 lithogr. Frontisp., 78 lithogr. Taf. (dav. 18 farb. u. 5 mehrf. gefalt.), 1 kolor. gefalt. lithogr. Plan u. 2 Faks. 4°. Hldr.-Bde. d. Zt. (gering berieben).

      Die Tafeln zeigen u.a. Straßburger Trachten aus verschiedenen Jahrhunderten, Ansichten der Stadt, architektonische Details, Münzen, Grundrisse, Panoramen der Umgebung.- Die Tafeln teils etwas stockfleckig, 1 Falttafel mit größerem Einriss (ca. 9 cm).

      [Bookseller: Antiquariat Schramm]
 4.   Check availability:     antiquariat.de     Link/Print  


        HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA

      Philadelphia: By D. Rice & A. N. Hart, 1855. Third Octavo Edition. Beautifully Preserved Elaborate Decorated Morocco,And with Especially Fine Hand Coloring 273 x 191 mm (10 3/4 x 7 1/2"). Three volumes. EXTREMELY ATTRACTIVE PUBLISHER'S PEBBLE-GRAIN CRIMSON MOROCCO, VERY ELABORATELY GILT, covers with many scrolling and foliate stamps, raised bands, spine compartments similarly gilt, all edges gilt. In a recently made sturdy matching linen slipcase. 120 RICHLY COLORED LITHOGRAPHS (including frontispieces) OF AMERICAN INDIANS. Front pastedowns with the monogram bookplate of "K. E. H." Howes M-129; Sabin [43411] (describing the octavo edition of 1850). Two joints with the slightest wear at top, three covers with very minor soiling, but THE BINDINGS EXTREMELY BRIGHT AND QUITE APPEALING. One leaf with one-inch tear at head, three plates (with especially large images and, so, consequently) trimmed close at foot (two of these with bottom line of publisher's imprint cut into), isolated trivial soiling, otherwise very well preserved internally. AN ESPECIALLY FINE COPY, WITH THE BEAUTIFUL PLATES REMARKABLY CLEAN AND RICHLY COLORED. Sabin: "As early as 1824, the practice was begun of taking portraits of the principal Indians who came to Washington, and depositing them in the War Department. They were chiefly painted by Mr. King [Charles Bird King (1785-1862)], an artist of high repute, who has been remarkably successful in transferring to his canvas the strong lineaments of the Indian countenance. Col. McKenney, who was for many years superintendent of Indian affairs at Washington, and was thus brought in constant association with the principal men of the nations and tribes which sent representatives to the seat of government, conceived the plan of making this rare and curious collection more valuable to the world by publishing a series of engraved portraits exactly copied and colored from these paintings. With each portrait is connected a biographical sketch of the individual whom it is intended to represent, interspersed with anecdotes and narrations. The work contains also a historical account of the various Indian tribes within the borders of the United States." Howes calls these "the most colorful portraits of Indians ever executed," and points out that King's original oil paintings were all destroyed in the Smithsonian fire of 1865. The book was first published in parts in large folio from 1836-44. The preface to the octavo edition mentions that the celebrated large folio first printing of this work "has been pronounced by the learned and polished both of Europe and America, to be one of the most valuable and interesting productions of the present age," and indicates that the approbation afforded the earlier edition "has induced the publishers . . . to alter the size to royal octavo, and thus place [the work] within reach of the thousands, who, with taste and learning equal to those of the patrons of the large edition, have no less capacity to appreciate its worth and beauties." Among the octavo editions, the third is generally recognized as having the finest coloring. And in terms of a publisher's deluxe binding, the present intricately decorated red morocco could hardly be excelled. The folio edition, when complete and in attractive condition, now sells for a good deal more than $100,000. Copies of the octavo editions, which are textually augmented, are not extraordinarily rare, but a copy like the present one, in especially fine, fresh condition, certainly is uncommon.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        DUTCH BIBLE WITH SILVER ORNAMENTS. BIBLIA, dat is DIE GANTSCHE HEYLIGE SCHRIFTURE,

      Amsterdam, bij de Nederlandsche Bijbel-Compagnie, J. Brandt en Zoon, en P. Proost. Haarlem, Johannes Enschede en Zonen, 1855.. vervattende alle de canonycke boecken des ouden ende des nieuwen Testaments. Door last van hoogh mogende heeren Staten Generael der vereenigde Nederlanden, ende volgens 't besluit van de synode nationael, gehouden tot Dordrecht, in de jaren 1618 ende 1619. Dutch text, 1855, 12mo, 150 x 82 mm, 6 x 3¼ inches, leaves: 420; 132; 136; pages: (8), 244; leaves: 34, bound in finely patterned calf, single gilt ruled border to covers, gilt rules to spine, no label or lettering, all edges gilt, pale yellow endpapers, silver corner pieces sculpted with figures with symbols such as anchors, books and eagles, silver clasps and fixing pieces also finely sculpted, one clasp engraved inside with the name M. Maars, the other with the date 1860. Hinges slightly rubbed, slight marks on endpapers from silver, ink number on front endpaper, a few faint fox spots on first 2 leaves, clean tight copy in striking unusual silver decorated binding. Old Testament, New Testament and Psalms with music. Not in Darlow and Moule. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        The Physical Geography of the Sea.

      New York, Harper & Brothers, 1855. Royal8vo. Original cloth, gilt spine lettering and vignette on front cover. Rubbing and chipping to extremeties. Corners a little bumped. Some foxing throughout. XXIV,[25]-274 pp. and 8 folding engraved plates. 4 plates in the text.. First edition of "the first major textbook of modern oceanography" - Horblit/Grolier 71. "Mathew Fontaine Maury, an American naval officer and hydrographer, laid the foundations of oceanography in 'The physical geography of the sea' (1855) which includes a general discussion about coastlines, tides currents, and other phases of the ocean and its life. In addition, Maury, with the help of three lines measured for the laying of the transatlantic cables, sketched the first section and the first map of the floor of the Atlantic Ocean." - Sparrow: Milestones of Science 143. Honeyman 2184

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


        HISTOIRE NATURELLE DE LACEPEDE COMPRENANT LES CETACEES LES QUADRUPEDES OVIPARES LES SERPENT ET LES POISSONS. ( 2 volumes)

      Bruxelles, Adolphe Deros & Co., 1855. . Nouveau relié, demi - veau vert, plats marbré, dos orné de fil doré et de pièce de titre doré, 18x27cm, 574pp + 654pp, illustré en colorié à la main. Nouvelle edition précédée de l' éloge de Lacepede par Cuvier. Avec des notes et la nouvelle classification de A.-G. Desmarest. 28 (scènes animées) lithographiées avec rehauts d' eau gommée, en bon état, une et parfois deux scènes animalières par gravure.

      [Bookseller: ERIK TONEN BOOKSELLER]
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        The American Flora, or History of Plants and Wild Flowers: containing their scientific and general description, natural history, chemical and medical properties, mode of culture, propagation, &c. designed as a book of reference for botanists, physicians, florists, gardeners, students, etc

      New York: Hull & Spencer, 1855 The American Flora, or History of Plants and Wild Flowers: containing their scientific and general description, natural history, chemical and medical properties, mode of culture, propagation, &c. designed as a book of reference for botanists, physicians, florists, gardeners, students, etc. // New York // Hull & Spencer, 1855, 4 volumes, octavo. 4 lithographic frontispieces (1 uncoloured portrait of the author, 1 hand-coloured portrait of Linnaeus, 2 hand-coloured plates), 4 hand-coloured lithographic additionnal titles, 182 lithographic plates, some printed in colours, all finished by hand, extra-illustrated with a duplicate plate in vol. III ('Belladonna Lily') and 4 leaves of duplicate text (pp. 35-42), also in vol. III. (Some spotting and browning as usual). Original publisher's red cloth gilt, covers with a gilt-ruled border around a large rococo design incorporating the title, the flat spine with a decorative overall design incorporating the title, volume number and the publisher's name at the foot, gilt edges (small expert repairs to spines). Covers are lightly rubbed and soiled, but still in good condition and tight. // A beautifully bound four-volume set of the later issue of this complicated work with charming plates, including the very rare fourth volume: "Complete sets... are extremely difficult to locate" (Bennett). This work was first issued periodically between 1846 and 1850. The present re-issue was published in 1855 and is recorded, with a limited amount of detail, by Stafleu & Cowan (they admit that their data is "obviously incomplete"). A definitive collation for this work is problematic, as Stafleu & Cowan state: "The copies listed in the National Union Catalog show a great variation." Bennett writes: "The publisher clearly did not count pages of color plates when listing the numbers on the title pages, but counted every separate item on each page." (p.103). The present copy with its duplicate plate and text bears mute testament to the haphazard production methods applied to this work, whilst the binding is a very fine example of decorated publisher's cloth - the gilt design blocked on the covers is particularly note-worthy. CF. Bennett p.103; cf Bradley Bibliography III, p.58; cf McGrath p.218; cf Stafleu & Cowan TL2 13.290. PHOTOS AVAILABLE UPON REQUEST

      [Bookseller: Louis Caron]
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        History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with One Hundred and Twenty Portraits

      Philadelphia: T.K. & P.G. Collins for D. Rice & A. N. Hart, 1855. 3 volumes, octavo. (10 1/2 x 6 7/8 inches). 120 coloured lithographic plates (3 tinted frontispieces finished by hand, 117 hand-coloured plates), by J.T. Bowen of Philadelphia, most after Charles Bird King, text lightly browned as usual, occasional light finger soiling. Contemporary American red morocco gilt, covers elaborately blocked with a panelled design including arabesque cornerpieces of stylized foliage, spines in six compartments with raised bands, lettered in the second and fourth, the others with an overall design of small tools, gilt turn-ins, gilt edges. The third octavo edition of McKenney and Hall's classic work McKenney and Hall's Indian Tribes of North America has long been renowned for its faithful portraits of Native Americans. The portrait plates are based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee, and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. Both authors, not unlike George Catlin, whom they tried to enlist in their publishing enterprise, saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. McKenney provided the biographies, many based on personal interviews, and Hall wrote the general history of the North American Indian. Reduced from the folio format produced in 1836-44, the first octavo edition was published between 1848- 50. The plates for the first four octavo editions were all produced by the same lithographer, J.T. Bowen, and the same high quality of printing and colouring of the plates is found throughout. Howes M129; McGrath p.206; cf. Miles & Reese America Pictured to the Life 53 (first octavo edition); Sabin: 43411 (1854-56 edition with 221 plates); Servies 4028.

      [Bookseller: Donald Heald Rare Books]
 10.   Check availability:     Biblio     Link/Print  


        Hunter's Ottawa Scenery, in the Vicinity of Ottawa City, Canada

      Ottawa: William S. Hunter, 1855. Blindstamped dark brown cloth with gilt circle and titles on the front panel. Thirteen (13) lithographs plus vignette and frontispiece. Folding map. One litho by Winslow Homer and possibly others which are unsigned. Recased spine otherwise a very clean copy outside and in, with virtually no foxing. Important early images of Canada's capital city.. 2nd Edition. Cloth. Near Fine. Illus. by Winslow Homer et al. Folio.

      [Bookseller: Contact Editions]
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        HUNTER'S OTTAWA SCENERY.

      [HUNTER, WILLIAM S., JR.]  HUNTER'S OTTAWA SCENERY, in the Vicinity of Ottawa City, Canada.  Ottawa City: Wm. S. Hunter, Jr., 1855.  Slim folio.  Original brown cloth, stamped in gilt and blind.  A.e.g.  Lithographed title and fourteen tinted lithographic plates with tissue guards, folding map.  Sympathetically rebacked in brown cloth, later endpapers, some light spotting to covers.  Otherwise, a fine copy.”A handsome volume of views, Ottawa Scenery, was probably the first book to include lithographs drawn by [Winslow] Homer” (Tatham, Winslow Homer and the Illustrated Book); this copy with the plate titled “Rideau Falls, Falling into the Ottawa River” unsigned by Homer as called for by Tatham in the first edition, but with the signature marks on the gatherings in letters not numerals, per Tatham's second edition.To view the full description of this item, please contact us. 

      [Bookseller: Bibliotreks]
 12.   Check availability:     Biblio     Link/Print  


        Hunter's Ottawa Scenery, in the vicinity of Ottawa City, Canada

      Ottawa: published by Wm. S. Hunter Jr, 1855. Small folio. (13 1/4 x 10 1/8 inches). Tinted lithographed title, printed by J.H. Bufford of Boston, oval tinted lithographed frontispiece by John Perry Newall, folding lithographed map of "Rail routes to the city of Ottawa" printed on thin paper, 13 oval tinted lithographed views (7 by Newall, 1 by Winslow Homer, 5 unsigned but attributed to Homer), all after Hunter and printed by Bufford. Publisher's brown cloth, the covers blocked with an elaborate blind-stamped border, lettered in gilt at the center of the upper cover, g.e. A very fine copy of this work "which has always held an important place in the history of Canadian topographical art" (Tatham "Winslow Homer and the Illustrated Book", [1992], p.24), and is "probably the first book to include lithographs drawn by [Winslow] Homer" (Tatham p.22) Winslow Homer was apprenticed to Bufford's of Boston at the relatively late age of eighteen, for a period of about two years. The present work includes the apprentice's first substantial published lithograph (the third plate, View of the Locks, Entrance of Rideau Canal) which is initialed by Homer, and the large title vignette and five other plates that are attributable to him on grounds of style. The work as a whole is an unusually deluxe production. Tatham speculates that "Interests seeking Ottawa's selection as the nation's Capitol may have been behind it. The Ottawa and Prescott Railway, which linked the town to Montreal, might have funded it in an attempt to encourage tourism.. Or it might have been purely and simply a labor of love… Hunter was an amateur topographical artist who bought a good deal of enthusiasm… to his projects… He was pleased enough with [the present work] to bring forth another plate book, similar in format and design, in 1860." (Tatham p.23) Gagnon Essai de bibliographie Canadienne I, 1722; Sabin 33937; Spendlove p.44; Tatham Winslow Homer and the illustrated book (1992) p.289; TPL 3563; Volpi Ottawa P.22-36.

      [Bookseller: Donald Heald Rare Books]
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        Oeuvres Completes de H. de Balzac. La Comedie Humaine. The works, in the original French, include: Scenes de la Vie Privee, 4 vols.; Scenes de la Vie de Province, 4 vols.; Scenes de la Vie Parisienne, 4 vols., including Scenes de la Vie Parisienne et Scenes de la Vie Politique; Scenes de la Vie Militaire, 1 vol.; Oeuvres Philosophiques, 3 vols.; Scenes de la Vie Parisienne - Supplement, 2 vols.; Les Contes Drolatiques, 1 vol.; and Theatre, 1 vol

      Paris: Alexandre Houssiaux, 1855., 1855. 20 volumes; 8vo. (23 x 66cm). Text in French. With the Avant-Propos by Theophile Gautier. Generously illustrated with some 150 plates by Bertall, Meissonier, Nanteuil, Monnier, Andrieux, Staal, Daumier and Johannot. Contemporary quarter burgundy morocco with gilt titles and decorative floral onlay to flat spines; marbled boards and end papers; top edges gilt, others untrimmed. Binding rubbed, mostly to vol.I; internally clean and tight, vol.I again with some light occasional foxing. A very attractive set.

      [Bookseller: Adrian Harrington Rare Books]
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        [PARTIALLY PRINTED DOCUMENT, COMPLETED IN MANUSCRIPT, SIGNED BY FRANKLIN PIERCE]

      Washington. Nov. 28, 1855.. 1p., plus integral docketing leaf. Quarto, on a folded folio sheet. Old folds. Slight separation at horizontal center fold. Minor toning and soiling. Very good. Signed as President, a document authorizing the Secretary of State to "affix the seal of the United States to the envelope of a letter addressed to His Majesty Dom Pedro II, Constitutional Emperor and Perpetual Defender of Brazil, in reply to his announcement of the withdrawal of Mr. Moreira." Francisco Ignacio de Carvalho Moreira was Brazilian Envoy to the United States from 1852 to 1855; this document authorizes official recognition of his withdrawal from that post in August 1855. Franklin Pierce is considered to be one of the least effective presidents in U.S. history, due in part to the fact that his administration presided over some of the most divisive years leading up to the Civil War.

      [Bookseller: William Reese Company - Americana]
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        THE BOOK OF NONSENSE, by Derry Down Derry

      London, Thomas McLean, 1855.. SECOND EDITION [1855], LACKING 1 PLATE (The Young Lady of Bute), and original boards. Small oblong, approximately 210 x 145 mm, 8 x 5¾ inches, no printed title page to the second edition, but the first plate is "Old Derry Down Derry" with the title of the book in the illustration, plus 71 lithographic plates, printed on 1 side only. Rebound, black leather spine and corners, gilt lettering to smooth spine, marbled boards, new endpapers but old endpapers retained. First plate (title) has small repairs to top edge and outer edge on blank side, just affecting the finger tips of Derry, 1 plate torn in half, now neatly repaired on the blank side with no loss to image, first 2 plates slightly dusty, varying pale foxing throughout, a few tiny edge tears neatly repaired, not affecting image, 1 plate has tip of top corner missing, 3 line neat old ink inscription dated 1858, the outer edges of 2 original endpapers slightly chipped, otherwise a good copy. The second edition has the same plates as the first edition of 1846, and only the first 2 editions were printed with lithographic plates, the second edition has the captions in 5 lines not 3 as the first edition, the first and second editions had three plates which were surpressed and did not appear again until recent times. Those plates were: "Old Man of Kildare", "There was an Old Man of New York" and "There was an Old Sailor of Compton". See: The Osborne Collection of Early Chidren's Books 1566-1910, Volume 1, page 69; Edward Lear, 1812-1888 by Viven Noakes, page 168; and Nonsensus by Justin Schiller. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        The PIctorial Bible being the Old and New Testaments According to the Authorized Version

      London - W. and R. Chambers, 1855 Book. Very Good. Hardcover. Kitto'simpressive Pictorial Bible in a smart binding, with gilt tooled decoration and gauffered edges. A New Edition, with additional notes, based on the discoveriesof recent travellers. Bound by H. Smart, with a gilt bookbinder's stamp to the front pastedown. Illustrated with steel engravings and many hundred wood-cuts, representinglandscape scenes, and subjects of natural history, costume and antiquities. With eleven steel plates and three maps, collated complete. With original notes, explanatory of passages connected with the history, geography, natural history, literature andand antiquities of the sacred scriptures. With a decorative Maguire bookplate to the front pastedowns. With an additional ink inscription beneath each bookplatefor Adsett from 1949. John Kitto, 1804-1854, was a writer and missionary. At the suggestion of Charles Knight Kitto began in 1834 a series of narratives illustrative of the life of blind, deaf, and mute people, later collected as The Lost Senses (1845); in 1835 he wrote a Biblical commentary, which resulted in The Pictorial Bible, originally published anonymously in monthly parts -ODNB. Condition: In a full calf binding. Externally, some shelfwear, with a few marks. Most joints are starting. The rear joint of volume four is cracked. The hinges are cracked but firm, andhave been reinforced with clear tape. Internally, firmly bound, with occasional browning and the occasional spot. Overall: GOOD..

      [Bookseller: Rooke Books]
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        [Perrault's Fairy Tales] LES CONTES DE PERRAULT. Précédés d'une préface par J.T. De Saint Germain

      Paris: Théodore Lefèvre, s.d. (c. 1855)., 1855 One Of only 10 Copies On Vergé With Two States Of The Engravings. Extremely Rare. Quarto. Contemporary Half Morocco, gilt lettered spine, raised bands, top edge gilt. An extremely nice copy with minor faults. 12 plates in 2 states; the original set of illustrations but with an added definitive set of engravings by Lefrancq after Desandré on Chine. Only 1 other copy has surfaced in the last 30 years & it's uncertain if it included the engravings. Grand in-8. 2 ff.n. c h., xviii pp. et 119 ff.n.ch. Demi-maroquin rouge à coins, dos à nerfs janséniste, tête dorée (Reliure d'époque). Cachet de bibliothèque à froid sur un feuillet, cachet gratté sur le titre et cachet humide sur deux tranches. Quelques rousseurs. Edition très rare illustrée de 12 bois hors-texte avec encadrement gravé par Lefrancq d'après Desandré et également de vignettes dans le texte. Un des 10 ex. num. sur papier vergé contenant les hors-texte en deux états (épreuve avant la lettre tirée sur Chine collé et état définitif). Edition très rare mentionnée ni par Vicaire ni par Carteret et citée seulemant dans le catalogue Gumuchian (Les livres de l'Enface. no. 4446). L'exemplaire Gumuchian était également un des 10 ex. sur vergé mais ne semblait pas contenir de gravures. Cette édition est qualifiée par Gumuchian de "recherchée" et peu commune". Exemplaire de bibliothèque d'un livre rare. Not in NUC or The British Museum Catalogue. Charles Perrault [1628 – 1703] laid the foundation for a new literary genre, the fairy tale, & whose best known tales include Le Petit Chaperon rouge (Little Red Riding Hood), La Belle au bois dormant (Sleeping Beauty), Le Maître chat ou le Chat botté (Puss in Boots), Cendrillon ou la petite pantoufle de verre (Cinderella), La Barbe bleue (Bluebeard), Le Petit Poucet (Hop o' My Thumb), Les Fées (Diamonds and Toads), La Marquise de Salusses ou la Patience de Griselidis (Patient Griselda), Les Souhaits ridicules (The Ridiculous Wishes), Peau d'Âne (Donkeyskin) and Riquet à la houppe (Riquet with the Tuft). Perrault's stories continue to be printed and have been adapted to opera, ballet (for example, Tchaikovsky's Sleeping Beauty), theatre, and film. In 1669 Perrault advised Louis XIV to include thirty-nine fountains each representing one of the fables of Aesop in the labyrinth of Versailles in the gardens of Versailles. The work was carried out between 1672 and 1677. Water jets spurting from the animals mouths were conceived to give the impression of speech between the creatures. There was a plaque with a caption and a quatrain written by the poet Isaac de Benserade next to each fountain. Perrault produced the guidebook for the labyrinth, Labyrinte de Versailles, printed at the royal press, Paris, in 1677, and illustrated by Sebastien le Clerc A lovely copy.. First Thus.

      [Bookseller: TBCL The Book Collector's Library]
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        Øieblikket. Nr. 1-9.

      Kbh., 1855. Indb. i et samt. hldrbd. m. enkel rygforgyldn. Restaureret m. ny skindryg under den samt., som mgl. ca. 1/6 for oven. Her og der brunplettet. 20, 31, 16, 23, 32, 26, 77, 30, 22 pp.Bound in one contemporary half calf w. simple gilding to spine. Rebacked, preserving the cont. spine, which lacks ab. 1/6 at the top. 20, 31, 16, 23, 32, 26, 77, 30, 22 pp.. Originaludgaven m. alle 9 numre i 1. oplag, hvilket er sjældent. Himmelstrup 180.The first edition with all nine numbers in firsr issue, which is very rare. Himmelstrup 180

      [Bookseller: Lynge & Søn A/S]
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        Traité du langage symbolique, emblématique et réligieux des fleurs.

      Paris; A. Touzet, libraire, [1855]. 4:o. 26,5x18 cm. vii, (1 blank), 493, (1 blank) pp. + 30 chromolithographed plates. Contemporary green half morocco with four raised bands, gilt compartments and gilt edges. Original wrappers not preserved. Spine slightly faded and with two split joints. Extremities a bit worn. A light dampstain in top margin of pp. 209-492, not affecting the text, contents otherwise clean and bright, save for a few insignificant specks. Insignificant specks in margins of most plates, one of them also with a faint fingerprint in outer margin. All tissue-guards are present, of which a few are a little torn. A well-preserved copy. Drawing on ancient Persian and Ottoman traditions, the sélam, the symbolic language of flowers was brought to France in the 18th Century by Seigneur Aubry de la Mottraye, a French traveller and writer. By the 19th Century, the study of the flower language had become a popular pass-time in France and England, and the publication of Charlotte de Latour's 'Le langage des fleurs' in 1819, of overwhelming international success, marked the beginning of a wave of similar treaties. The fascination with the flower language would last throughout the century and reach its peak in the Victorian era. Casimir Magnat, or l'abbé Magnat as he is frequently referred to, was a French clergyman and writer, most notably known for his 1855 essay, 'Traité du langage symbolique, emblématique et réligieux des fleurs'. Born in Buis-les-Baronnies in 1822, Magnat embraced the ecclesiastical vocation and, an accomplished botanist, came to dedicate his writings to the relationship between the Christian faith and the botanical world. His 1852 'Traité de botanique élémentaire et chrétienne' served as a forerunner for the later and more widely known 'Traité du langage symbolique, emblématique et réligieux des fleurs'. However steeped in the long tradition of symbolism and iconography within the Christian doctrine, believing that the symbolism of flowers is an expression of the Divine, Magnat is a writer in Latour's tradition, taking on a more scientific and historical view of the meaning of flowers than the title of his works suggests. Although mainly drawing his information on well known sources, and thus not contributing much himself to the formal development of the flower language, his elaborate and sophisticated use of the flower grammar, together with the book's beautiful colour plates, has secured Magnat of a central position in the history of 19th Century flower symbolism, where his treaty has become a minor classic in its genre

      [Bookseller: Patrik Andersson Antikvariat]
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        Little Dorrit. First edition in parts. 20 original parts in 19.

      London, Bradbury & Evans, December 1855 - June, 1857. Orig. blue printed wappers. With 40 illustrations by H. K. Browne. Part I lacking front wrapper, Back cover loose in parts 2-6, 10, 11, 14,15, 17, 19/20. Front cover loose in parts 13 and 19/20. All ads and slips are present, except: Part 8 lacking some ads in the back, errata slip lacking in part 16. Some wrappers with tears, creases and stains; most front covers are generally in good condition. All plates foxed and with dark edges.. Hatton & Cleaver pp. 307- 330

      [Bookseller: Lynge & Søn A/S]
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        The Ingoldsby Legends

      1855. In an Elegant, Beautifully Wrought Pictorial Binding[BAYNTUN OF BATH, binders]. INGOLDSBY, Thomas (pseudonym of Richard Harris Barham). The Ingoldsby Legends. Or, Mirth and Marvels. The Three Series. London: Richard Bentley, 1855. Tenth edition. Three octavo volumes (7 5/8 x 4 3/4 in; 193 x 121 mm). xii, 338, [2]; iv, 288; vi, [2], 364 pp. Twenty engraved plates by George Cruikshank and John Leech, including frontispieces.Uniformly bound c. 1925 by Bayntun of Bath (stamp-signed to front turn-in) in full crushed blue morocco with a multi-colored pictorial onlay vignette to each upper cover, the vignette within an enchanting arabesque-bordered frame with extensive gilt dots as background. Wide turn-ins with triple fillets. Gilt rolled edges. Gilt ornamented raised bands. Gilt framed and ornamented compartments. All edges gilt. Pink marbled endpapers. A fine set, handsomely bound.The exquisite multi-color leather inlays on the front cover of each volume depict as follows:First Series: The Great Lord Cardinal. From the Jackdaw of Rheims (opposite page 221)"Then the great Lord Cardinal call'd for his book,And off that terrible curse he took;The mute expressionServed in lieu of confession,And, being thus coupled with full restitution,The Jackdaw got plenary absolution."Second Series: Shylock. From The Merchant of Venice (opposite page 45)"I believe there are fewBut have heard of a Jew,Named Shylock, of Venice, as arranta "Screw"In money transactions, as ever youknew;An exorbitant miser, who never yetlentA Ducat at less than three hundred per cent."Third Series: Sir Christopher Hatton. From The House-Warming, A Legend of Bleeding-Heart Yard (opposite page 292)"The fact is, Sir Christopher, early in life,As all bachelors should do, had taken a wife,A Fanshawe by family, ---one of a houseWell descended, but boasting less "nobles" than nous…""George Bayntun [1873-1940] served an apprenticeship with the Taylor family, before starting his own bookbinding business in 1894. He took on London binders to raise the standard of craftsmanship and soon moved into larger premises on Walcot Street. It was recognized that 'He has brought intelligence into play as well as high craftsmanship." In 1939 the Bayntun and Rivière & Son binderies were incorporated into a new set of premises on Manvers Street (Bath), in which the business still exists today."George Bayntun adhered to traditional book binding techniques: 'We work in the old way. Machine binding? Ah yes....but not for us.' He had an especially good relationship with many pre-eminent American dealers, and Arthur Brenanto, Maurice Inman, Nat Ladden and Dr Rosenbach hosted a lunch in his honour on a visit to New York in 1936."George Bayntun died at the age of 67 in 1940, having built a world famous business. George Bayntun's last years were crowned by the frequent patronage of Queen Mary, who spent the war years near Bath. She granted the firm the appointment of Bookseller to Her Majesty in 1950" (Wiki).Richard Barham's famous series of often-macabre (and often non-politically-correct!) parodies of myths, legends and ghost stories, many in verse - illustrated with plates by George Cruikshank and John Leech. These pieces began appearing in Bentley's Miscellany in 1837 (at about the time Oliver Twist was appearing there), and were immensely popular with that journal's readers -- so much so that they were subsequently collected in these three separately-published volumes. Though Barham's work is largely forgotten today, we do have several hold-overs from it - such as the tale from which Walt Disney devised "The Sorcerer's Apprentice," and the earliest published version of the children's poem about the dog "Bingo" …and Bingo was his name-O".

      [Bookseller: David Brass Rare Books, Inc. ]
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        Autograph Manuscript signed ("Walter Savage Landor") of an untitled essay on the CRIMEAN WAR, probably intended as a Letter to the Editor of THE ATLAS newspaper

      N.p. Bath dated may 1 1855 N.p. [Bath?], dated may 1 [1855]. Folio. One page, working draft, densely written in ink on one side of single sheet of foolscap, with several deletions and corrections. Docketed at bottom in a different hand: "Atlas Newspaper, May 5th, 1855". Very good. cf. Wise, A LANDOR LIBRARY, p. 82, No. 10, for a similar letter of April 7 . A scathing attack on the conduct of the Crimean War, "one of many letters addressed by Landor to the London newspapers during the Crimean War", according to T.J. Wise. The tenor of it can be gleaned from the following extract: "Who could have doubted it? By whom was it unexpected? The siege of Sevastopol is raised, or, if the word sounds better, suspended. Happy is it for the bravest of our surviving men, who have performed their part gloriously, and for whom nothing was left but to die in the trenches, knee-deep in mud, without clothing and without food ... Happy is it also for England, now so very unlike the progeny she sent forth, and having lost all sense of humiliation and disgrace, all sense of national honor, too dim-sighted to danger near ... Alas! poor England! ... "

      [Bookseller: James Cummins Bookseller ]
 23.   Check availability:     ABAA     Link/Print  


        Map of Australia, Compiled from the Nautical Surveys, Made by Order of the Admiralty, And other Authentic Documents. By James Wyld. Geographer to the Queen. London. Published by James Wyld. Charing Cross East & Model of the Earth, Leicester Sq

      James WyldLondon:: James Wyld,. (1855).. Dissected map mounted on linen. With green buckram end boards, and stored in a green cloth slip case with engraved title piece on cover and title on spine. With 68 counties in New South Wales; includes what was later to become Queensland; 25 counties in Western Australia (called "New Holland"); 6 counties in South Australia; 24 counties in Victoria; and 11 counties in Van Diemen's Land, all numbered. Three states have borders: New South Wales, Victoria and South Australia; inset of Van Diemen's Land lower right, insert of the world lower left. Gold discoveries are recorded in dark yellow. Pacific currents are denoted with arrows. Includes the expedition routes of Sturt (1845), Mitchell (1835), and Sturt and Hume (1829). Also includes "Mr. Cunningham was killed here" and "Milmeridun Burying Ground". Steel engraving with period outline color. 82 x 55.5 cm. Slight brown toning, otherwise in very good condition. Tooley 1385.

      [Bookseller: Antipodean Books, Maps & Prints ]
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        Bett's Family Atlas South Eastern Australia [with] Betts's Map of the Gold Regions of Australia

      John Betts London:: John Betts,. 1848 &1855.. A pair of maps of South eastern Australia, showing the area pre- gold discovery and post- gold discovery. The first map, South eastern Australia, published in 1848, shows New South Wales extending from Farquhar Inlet down to just below Bateman Bay, with Victoria named Australia Felix, and with an inset at the upper left, Plan of Adelaide, and "Continuation of South Australia inset at lower left. The number 43 on a small paper label at the lower right corner of the map. 15 x 12 1/2". The second Betts map (of the gold regions), is a re-issue of the South Eastern Australia map and shows much new detail. It was separately published for the use of arriving gold miners to Victoria and New South Wales and was referred to as a six penny map. New South Wales now extends from Farquhar Inlet all the way down to Cape Howe. Australia Felix is there, but with Victoria printed below. Gold regions & the shoreline are outlined in color, and relief is shown with hachures. With many topographical notes for the use of prospectors ("poor vegetation and water scarce"), and the river system north of the Darling with much more detail, up to "R. Condamine". Inset of "Port Philip District" and "Continuation of the South Australian Coast Westward." The Port Phillip District inset with many areas highlighted in yellow for gold, and with the city of Melbourne laid out.Rex Nan Kivell Collection Map NK 2456/111; Tooley p25, no 171. Price sixpence in lower right margin, with 2 old folds. 14 3/4 x 12 1/2". Very good condition.

      [Bookseller: Antipodean Books, Maps & Prints ]
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        Colton's Atlas of the World, Illustrating Physical and Political Geography

      J.H. Colton & Co. New York: J.H. Colton & Co.. 1855-56. First. First edition. Two large folio volumes. 48.5 cm. Contemporary black half morocco and publisher's decorative gold and blind-stamped cloth boards. Volume one: Engraved vignette title page and 56 hand-colored plates, lacking plate no. 42 (Michigan), else complete; only the last plate (Patagonia) is uncolored. Volume two: Engraved vignette title page and 45 plates, most hand-colored, complete. The exterior binding of both volumes is fair only, with soiling and scuffing to the boards. Volume one, consisting of North and South America, etc., is broken, with age-toning, chipping, and scattered spotting to the text pages. The plates are very good, with scattered spotting, and with fraying, soiling, and small tears to the edges of about half of the plates, that is, to the margins outside of the printed borders. Only the last plate (Patagonia) is good only, with a bit more soiling and fraying to the edges; the rest are very good or better, all excellent impressions, the printing and hand-coloring bright and clean. The second volume, consisting of Europe, Asia, Africa, Oceanica, etc., lacks the spine back, and the front board is detached, but the text block is undamaged. The text pages and plates are very good and better, clean and bright, with moderate scattered spotting. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 26.   Check availability:     ABAA     Link/Print  


        "Die eisenhaltig - salinischen Schwefelquellen und die Seebäder bei Sandefjord im südlichen Norwegen in ihren Heilkräften und eigenthümlichen Bademethoden so wie der Gebrauch der Medusen und des eisenhaltigen Mineral-Schlammes (Gytje) als Heilmittel bei Bädern dargestellt von Heinr. A. Thaulow, Districts- und Badeartz so wie Artz am Blaufarben-Werke in Modum."

      Komplett bok, 8vo, 22,7x14cm Hamburg 1855 Prospekt av Sandefjord som frontispice, litografert tittel og typografisk tittelblad, 4ss forord, 4ss innholdsfortegnelse, 1-156ss med 2 foldeplansjer, et foldekart over Sandefjord med omegn, et foldet musikkbilag "No. 1 Barcarole Für Männer" av Halfdan Kjerulf og 11 litografiplansjer fra Sandefjord og omegn. Litografiene er utført hos Fuchs i Hamburg og er innbundet utenom nummerrekkefølgen. ALLE LITOGRAFIENE HAR EN VAKKER OG SAMTIDIG HÅNDKOLORERING OPPHØYD MED GLANS. Originalt kartonasjebind med typografisk tekst (noe slitt, flekker og støtt i kantene, deler av ryggstripen mangler)Den norske legen Heinrich A. Thaulow kom til Sandefjord i 1834 og grunnla kurbadet i 1837. Sandefjord hadde omkring 800 innbyggere på denne tiden. Kurbadet skulle snart bli berømt også ute i Europa. Thaulow var også lege ved Blaafarveværket på Modum og grunnla badet her i 1857. Samme år som Thaulows bok utga Ebbesen et tilsvarende verk i Christiania "Sandefjords Bad" (se Kunstantikvariat PAMA, katalog 17 i 2009, nr. 87). De vakre håndkolorerte litografiene viser: "Gogsöe, Fiskerhytten i Midfjorden, Jettegryderne, Kjærringvig, Lahelle, Von Bellevue auf Hjærtnæs (2 stk.), Fra Lundene, Vom Bautastein bei Hystad, Sand, Fra Bryggerne". Enkelte flekker på tekstsidene og lett bruning. Noen få margflekker på bildene. Plansje 3 med litt tekstsmitte. Et fint og dekorativt eksemplar

      [Bookseller: Kunstantikvariat PAMA AS]
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        Johnston's Atlas of the War 1855.

      Edinburgh: Johnston, 1855... Johnston's Atlas of the War 1855, published by W and A K Johnston, Edinburgh 1855. 6 folding maps on paper in original decorated red slipcase. The maps are: New Map of the Seat of War in the Danubian Principalities and Turkey with Maps of Central Europe 1854 (10th edition); New Chart of the Baltic Sea with enlarged plans of Cronstandt, Sveaborg, Revel, Port Baltic & Gulf of Riga 1854 (4th edition); New Map of the Crimea 1855; New Map of The Black Sea, Caucasus, Crimea etc., with enlarged plans of Sevastopol as seen by the Officers of HMSF Retribution 6th January 1854 and the Bosphorus 1854; Johnston's War Map of Europe 1855 Showing the Seat of Operations in the Black Sea & Sea of Azov, the Baltic and White Seas, positions of Naval and Military Engagements, Bessarabia, Poland, the Ukraine etc., the original area, progressive extent, and present limits of the Russia Empire 1855; and Johnston's Plan of the Siege of Sevastopol April 1855. Average map size 69 by 53 cm. Some hand-colouring and a vignette of Sevastopol. Good to VG condition with occasional strengthening of folds to reverse with archival standard clear tape and restoration of the corners of the slipcase. Images available.

      [Bookseller: Arthur Hook ]
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        Album Pintoresco de la Isla de Cuba

      Oilprinting Storch & Kramer for B. May y Ca.. Berlin:: Oilprinting Storch & Kramer (for) B. May y Ca... Oblong 4to, ca 1855. 27 colored lithograph plates of Cuba. Color illustrated lithographic title page, title printed in gold. With their original tissue guards (some ruffled). Two folding maps. Original elaborate red velvet binding titled and ornamented in gold, expertly rebacked. Possibly a presentation binding. One of two pirated editions printed in Germany in the 1850's, a marvelous album of views based on the work of Cuba's master lithographer Frederic Mialhe depicted in his Viaje Pintoresco al Rededor de la Isla de Cuba (Havana, 1847-1848); this edition with captions in Spanish only and without vignettes on the maps (the other pirated edition was printed in either Berlin or Hamburg, with tinted lithographs instead of the color lithographed plates, as here, the captions were in Spanish, English and German, and a series of vignettes were printed around the border of the two maps); the lithographs in this issue are much more detailed than in the other pirated edition. Perhaps the finest pictorial record of daily life in Cuba in the 19th century, with port and city views of Havana, countryside scenes, a bullfight and a cockfight. This copy with all plates fully and beautifully color lithographed. Sabin 17748 (for the other pirated edition which had only 26 plates). Though OCLC locates an equal number of the two editions, this colored issue seems to be less common in trade. For an account of Mialhe's original edition, which was printed in Cuba, and the two German piracies, see Emilio Cueto's Mialhe's Colonial Cuba (Miami, 1994), pp. 73- 77. Oblong 4to. 27 color lithographed plates and color lithographed illustrated title leaf [printed rectos only], with tissue guards, 2 folding maps.

      [Bookseller: Antipodean Books, Maps & Prints ]
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        Renaissance. Histoire de France au seizième siècle.

      Paris, 1855. 8vo. Very nice contemporary diced half calf with gilt spine. Cracks to upper and lower hinges, and inner front hinge weak, but overall a very nice copy. A bit of brwning and soiling to first and last leaves and dampstaining to inner margin of first ab. 20 leaves. (10), CLX, 334 pp. First edition of this seminal work - the third in Michelet's series of "The History of France" - in which he coins the term "Renaissance" and uses it for the period of the sixteenth century as an historical period in its own right.The humanists of the period that we now call the Renaissance had a strong sense of being and doing something that was very different from that of the centuries before them; they clearly thought of themselves as living in and creating a new epoch, re-inventing and re-using the classical Greek and Roman values. Once again they gave birth to the humanistic arts, literature, philosophy, painting, sculpting, etc. It is not a new invention of later times to view this historical epoch as something new and still something different, something worthy of the term "Re-birth", acknowledging both the source from which inspiration was drawn as well as the achievements of the new era.Thus, Michelet is not the first to understand what went on in this period, but still he changed our concept of it for ever - he invented the term which has not only determined this perioed ever since, but which has also been used to explain and understand all that went on in this most crucial period for modern man. It is in the present work by Michelet that he uses for the first time the noun "Renaissance" for this epoch and lets it refer to the discovery of world and of man in the 16th century. He not only lets the term refer to the artistic or scholarly part of the period, he lets it refer to the entire complex of changes that were taking place in this period, and he thus gives birth to the period as that of the mind and spirit of man, instead of just that of painting and learning. Michelet's work appeared at a time that allowed for it to exercise the greatest of influence. From the end of the 16th century until the middle of the 18th century, the history of the Renaissance was a field that barely existed. Only with Voltaire was some focus put on this period that we ever since Michelet have called the "Renaissance". Only with Michelet are we given the vocabulary to sum up this period and to describe it properly and in detail. When he publishes his work in 1855, historians and thinkers are ready to view this period as something in itself and as something worth noticing. That which Michelet thus began is that which Burchardt takes up in his "Cultur der Renaissance in Italien" (1860), in which "Renaissance" is finally characterized as the birth of modern humanity. Both Michelet and Burckhardt believed that modern, secular man is a product of the "Renaissance"."The terms "restauratio" or "resttitutio" had been applied by fourteenth-century Italian humanists to the revival of ancient languages and literatures, that of "rinascita" by Ghiberti and Vasari to the new blossoming art and architecture. In the eighteenth century Voltaire and Gibbon first saw the Italian civilization of the fourteenth to sixteenth centuries as an entity and as a determining factor in the whole course of European history. Michelet (324) in 1855 first used the term "renaissance" for this period as an historical epoch in its own right. Burckhardt, an admirer of both Voltaire and Gibbon, supplied the final synthesis." (Printing and the Mind of Man, p. 211)

      [Bookseller: Lynge & Søn A/S]
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        Les Fleurs du mal. [In: Revue des Deux Mondes. Tome dixième. Seconde série de la nouvelle période (i.e. Avril-Mai-Juin)].

      Paris, 1855. 8vo. Entire second series of the tenth volume of Revue des Deux Mondes bound in a very nice and elegant contemporary dark blue half calf binding with gilt spine. First and last few leaves browned (lightly) and some occasional light brownspotting. A very nice copy indeed. Pp. (1079) - 1093. [Entire volume: 1336 pp. + 1 map].. First printing of 18 poems from Les Fleurs du Mal, constituting the very first appearance of any part of the work under the canonical title Les Fleurs du Mal and the first appearance in print of this seminal title. By the time Baudelaire published his magnum opus, The Flowers of Evil, he had not published much else. In fact, he is known to have been a slow worker, for whom emotions, illness, and indolence often stood in the way of his literary production. Thus, it was not until 1857 that his first and most famous volume of poems, Les Fleurs du Mal appeared in its entirety. 18 of the poems had appeared under the same, now canonical, title in 1855 (in the present volume of Revue des Deux Mondes), when they were published by Baudelaire's friend Auguste Poulet Malassis.That the work would cause a scandal may have been foreseen, but the extent of that scandal was greater than anyone could have known. In fact, it was not until 1949 - almost a decade after its first appearance - that the work was finally acquitted, the condemnation of it officially annulled, and the suppressed poems finally allowed published. Even though the title had been changed from the projected The Lesbians, the subject matter - and the principle themes of sex and death - was such that the work instantly came to be synonymous with all things profane. With its allusions to lesbianism, lost innocence, corruption, intoxication, etc., etc., legal action against it was almost unavoidable. The main legal instigator was J. Habs from Le Figaro, who claimed of the work: Everything in it which is not hideous is incomprehensible, everything one understands is putrid.Unlike Flaubert's Madame Bovary, which also appeared in 1857, Les Fleurs du Mal was not acquitted at court and had to suffer 92 years of condemnation. Baudelaire's Les Fleurs du Mal, which used to be the most infamous book of poems in French literature, has in this century become the most famous, and the most admired; this development would surely have astounded his nineteenth-century contemporaries. But then the whole history of this book, from beginning to end, is shot through with paradox. Les Fleurs du Mal (which began life, in th 1840's and early 1850's, under two quite different titles: Les Lesbiennes and Les Limbes) earned its initial notoriety from the trial and judicial condemnation which followed its first publication in 1857; some ninety years later, in 1949, this condemnation was to be officially annulled by the Supreme Court of Appeal in Paris. But this ultimate canonisation, both legal and literary, carries a further paradox. Les Fleurs du Mal now owes its true prestige, its true attainment of landmark status, to the sheer aesthetic quality of its verses, and it is this above all, therefore, that we must study and appreciate; yet even today a lingering and piquant aura of scandal, of remembered bravado in a challenge to conviction and authority, persists from that first publication. (F.W. Leakey, Les Fleurs du Mal). The first published mention that we have of the work that later became Les Fleurs du Mal appeared in 1845 announcing the forthcoming appearance of the work then entitled Les Lesbiennes. Three years later, in 1848, no part of the work had appeared, only a few more announcements of it, but now it was announced, in an obscure journal of the wine trade, to appear under the title Les Limbes. Finally, after a few further announcements in 1850 and 1851, on the 9th of April 1851 the publication of 11 hitherto unpublished sonnets under the title Les Limbes for the projected work of the same name appeared (in Le Messager de l'assemblée). It was not until 1855 that any part of the work bearing the title Les Fleurs du Mal appeared, however, this time in the periodical Revue des Deux Mondes, with 18 Flowers of Evil-poems. ''Les Fleurs du Mal, the most celebrated collection of verse in the history of modern poetry, first appeared on the horizon in 1845 in an advertisement on a book cover: To be published shortly: The Lesbians by Baudelaire-Dufaÿs. (Introduction for the Oxford World Classics-edition, 1992). By then the 24-year old Baudelaire had only published one poem. The work under progress was announced again on several book covers in 1846 and 1847, but nothing had yet appeared, when in 1848 the title had changed to Limbo and was announced as being published shortly. In 1851 some poems from the future work Les Fleurs du Mal were published, all under the title Limbo. Finally in 1855 the Revue des deux mondes printed eighteen poems under the title, Les Fleurs du Mal, and the complete collection appeared in 1857. (Introduction for the Oxford World Classics-edition, 1992).In all, Les Fleurs du Mal contains 101 poems, or sonnets, 18 of them here printed for the first time

      [Bookseller: Lynge & Søn A/S]
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        A BOOK OF NONSENSE By Derry Down Derry.

      Title and 72 leaves, each printed by lithography on one side only. Original pictorial semi-stiff covers, cloth-backed. Oblong octavo. Second edition. 'There was an old person of Rhodes,' and 'There was an old person of Kildaire' cropped at bottom edges, and some images slightly cropped at upper edge; some foxing; else a very good copy indeed that has been expertly re-backed and re-cased. An early repair to the endpapers has been left so as to retain the original endpapers with the near contemporary inscription. Rare. First published in 1846 in two volumes, only the first two editions were printed by lithography, wood-engraving being preferred for the third and subsequent editions. Both of the first two editions were small, possibly as few as 250 - 500 copies being printed. Even the third edition only numbered 1000 copies. The binding method for the first two editions was by the 'perfect' or gutta-percha method, and copies are often found in a distressed state, most probably lacking their original bindings and usually incomplete. The first two lithographed editions (the first edition and this, the second edition) include three limericks which were suppressed when Routledge issued the 3rd, wood-engraved, edition.

      [Bookseller: David Miles]
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