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Displayed below are some selected recent viaLibri matches for books published in 1860

        The Flowering Plants and Ferns of Great Britain. And the Grasses, Sedges, and Ferns of Great Britain.

      Society for Promoting Christian Knowledge, London - 1860, 1871. () Near fine. x,256; xviii,247; xxv,251; x,140pp. Bound in an attractive 19th century half green calf and floral cloth binding. Matching floral endpapers. Binding signed J. Larkins. Bookplates of Elizabeth Rogers dated 1923. Spines a little bit faded otherwise a very attractive clean crisp copy of the book. Flowering Plants contains a total 242 coloured plates and one black and white. The Grasses contains a total of 76 plates in colour. This very popular set of Victorian Botanicals was originally published in 1850-57. This early edition has excellent clean impressions of the plates. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Aquila Books(Cameron Treleaven) ABAC]
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      Longman, Green, Longman, and Roberts, London 1860 - 276 x 197 mm (10 7/8 x 7 3/4"). xvi, 239, [1] pp. Translated and edited, with additions, by Richard Pigot. First Edition with these Illustrations. FINE CONTEMPORARY GREEN STRAIGHT-GRAIN MOROCCO, HANDSOMELY GILT, covers framed by multiple rules and wide, ornate dentelle, the whole enclosing a detailed Greek urn centerpiece, raised bands, spine densely gilt in compartments featuring many small botanical and floral tools, gilt turn-ins, all edges gilt. With allegorical frontispiece featuring a portrait of Cats, 60 large tondo emblems, and 60 tailpieces by John Leighton and others after Adriaen van de Venne. Front flyleaf with ink presentation inscription, "Wilhelmina Colquhoun Jones / 1863 / with Charlotte Harriet Jones' / Love and best wishes" (see below). Spine darkened to an olive brown (as almost always with green morocco), just the faintest hint of wear to joints, occasional minor foxing or stains, but AN EXTREMELY ATTRACTIVE COPY, the very decorative contemporary binding bright and scarcely worn, and the text very fresh and showing no signs of use. This is a beautifully bound, attractively illustrated, and very well-preserved copy of an uncommon Victorian book featuring emblems produced by the Dutchman Jacob Cats and the Scotsman Robert Farley in the 17th century. Each entry, devoted to a particular virtue, opens with a Cats emblem and closes with one by Farley, with numerous quote from philosophers and poets of all eras appearing between the two. A statesman of considerable importance, Cats (1577-1660) has long been considered Holland's household poet, having written a large quantity of insightful and charming philosophical verse, including some of the most important works of emblematic literature produced in the Netherlands. Farley (or Farlie) is an obscure figure known best for his "Lychnocausia," published with 58 full-page emblems in London in 1638. Leighton's interpretations of the illustrations by van der Venne (1589-1662) retain the charm of the originals, which include engravings with allegorical pictures and epigrams, sometimes freighted with mystical profundity, but also winning scenes of life, full of the fascinating detail of costume, architecture, furnishings, recreations, social intercourse of several kinds, and all the other varied physical and interpersonal dimensions of living. Former owner Wilhelmina Colquhoun Jones (1841-1910) likely received this as a wedding gift for her 1863 marriage to Edward Talbot Day Jones, apparently from a relative--perhaps a sister--of her new husband. Whoever Charlotte Jones may have been, she was important enough to the couple that they named their first daughter, who grew up to be the historian Helen Charlotte Foxcroft, for her. The especially handsome binding here is unsigned but is exactly the kind of thing Hayday was producing during its best days. For more on Leighton (1822-1912), see next entry. [Attributes: Hard Cover]

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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        Mitchell's New General Atlas, Containing Maps of the Various Countries of the World, Plans of Cities, etc., Embraced in Forty-Seven Quarto Maps, Forming a Series of Seventy-Six Maps and Plans, Together with Valuable Statistical Tables

      Philadelphia.: S. Augustus Mitchell, Jr.. First Edition.. 1860.. Total of 39 single and 4 double handcolored maps (complete as issued), folio (16 x 13 inches), cloth covered boards with leather corners and spine (hardbound). Covers are very worn and detached, spine has deteriorated, text block/maps largely loose, chipping to preliminary pages and fore edge. The majority of the maps are in very good condition. The first map in the atlas has suffered the most damage: The World (No. 1)is chipped at edges of sheet with very tight side margins, light toning and soiling to lower margin. Split to lower half of centrefold of double page map of New York, New Hampshire etc. Light soiling/toning to margins throughout. Very rich impression and coloring to the maps in this, the first edition of are This is the first edition of Mitchell's New General Atlas, replacing the New Universal Atlas. "The first edition, first state, with no page numbers outside the borders, no New Orleans map between 28 and 29, and with the larger "Map of the World on a Globular Projection" by W. Williams" (David Rumsey). The atlas was issued as the population of the Western United States began to soar, with new states and territories requiring frequent updates of maps of the West. A fascinating collection of maps documenting the rapidly changing face of the United States. .

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        Nestroy - Album. Leporello mit einem Porträtfoto und 12 Rollenfotos von Hermann Klee.

      L. T. Neumann,, Wien, 1860 - Wien, L. T. Neumann, um 1860. OLwd. [11 x 7 cm.] Insgesamt mit der Porträtfotografie von Nestroy und seiner faksimilierten Unterschrift 13 Orig. Fotos, alle in bester Erhaltung und kontrastreichen Abzügen. - Nur in kleiner Auflage erschienen. - Leinenalbum etwas ausgebleicht, ohne der Schließe. - Komplett selten! Deutsch [Attributes: Hard Cover]

      [Bookseller: Antiquariat Weinek]
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        Portrait of Dominic Charles Colnaghi and his wife Catherine Pontet.

      London, ca. 1860. original photograph, carte de visite, albumen print, 10 x 6 cm. - P & D Colnaghi. - Colnaghi's impending retirement to Italy was postponed when his son Martin sued both his father and his brother Dominic (1790 - 1879) in 1824. The settlement of the lawsuit left Martin with the old shop. Martin became bankrupt in 1832 and 1843, and died in 1851, but his son (also Martin) continued the separate business in Pall Mall. Paul and Dominic Colnaghi moved to Pall Mall East - near the nascent National Gallery - and Paul Colnaghi continued to work in the business until he died in 1833. Caroline Scott's son, John Anthony Scott, joined Dominic Colnaghi in the business in 1839. Scott commissioned William Simpson to go to the Crimea in 1854 to make watercolour sketches of scenes from the Crimean War, published as a series of 81 lithographs in The Seat of War in the East. The gallery also sold photographs by Roger Fenton. After this early experience with photography, the gallery commissioned Leonida Caldesi and Mattia Montecchi to take photographs at the Art Treasures Exhibition in 1857, published in Gems of the Manchester Art Treasures Exhibition in 1858, and Colnaghi published artistic photographs by Julia Margaret Cameron from 1864. The firm was associated with John Constable, assisting him to exhibit The Hay Wain at the Paris Salon in 1824, where it won a gold medal. The art dealership organised exhibitions for the British Institution, and of paintings by Eugène Delacroix in 1829. After Scott died in 1864, and Dominic Colnaghi retired in 1865 and died in 1879, Scott's cousin Andrew McKay became sole proprietor. He was joined by his son William KcKay in 1879. - - - - Dominic Colnaghi married Catherine Pontet (d. 1881) on 15 October 1831, and they had two sons, neither of whom entered the firm, but the elder, Sir Dominic Ellis Colnaghi (1834 - 1908), became a consular official; posted to Florence in 1865, he served as consul - general for northern Italy from 1881 to 1896, and wrote A Dictionary of Florentine Painters from the Thirteenth to the Seventeenth Centuries, which was edited by P. G. Konody and Selwyn Brinton and published posthumously in 1928 (reprinted 1986). Leonida Caldesi (1823 - 1891). Leonida Caldesi was born in Florence, Italy in 1823 and arrived in England as a political refugee around 1850, though whether he was a photographer at this time is not clear. His brother Vincenzo (1817 - 1870) served as a major on the staff of the Italian patriot and revolutionary Giuseppe Garibaldi (1807 - 1882). - Comparatively little is known about Caldesi's career though he was one of the leading London photographers during the 1850s and was acknowledged by contem­poraries as one of the foremost photographers of fine art from the 1850s to the 1870s. He had a number of short - term professional partners including Mattia Mon - tecchi (1858 - 59), Blandford (1861 - 62) and Lombardi, though throughout his career he maintained a business relationship with the print publisher and art dealer Paul and Dominic Colnaghi. Caldesi had important dealings with the Royal Family as well as three major public art collections in London; The National Gallery, the British Museum and the South Kensington Museum. He also carried out society portraiture and worked for learned societies and private collectors. - In August 1854, probably as part of a project lead by Paul and Dominic Colnaghi, Caldesi had requested per­mission to photograph the Raphael Cartoons at Hampton Court though he did not carry out his campaign until 1858 when he photographed in tandem with the South Kensington Museum's photographer Charles Thurston Thompson [qv]. - 1857 was probably the most important year in Caldesi's photographic career. In May Caldesi and his professional partner Mattia Montecchi, a compatriot who travelled to England with him, were summoned to Osborne on the Isle of Wight to take a series of photo­graphs of the Royal children. His growing reputation was sufficient for him to be established in April on the premises of P&D Colnaghi by John Scott, one of the firms' partners, and by June 1857 this establishment was noted in the columns of the Art - Journal. Colnaghi was to remain the primary publisher of Caldesi's reproduc­tions of works of art. - Although Caldesi specialised in the photographic re­production of works of art, his core business was centred on society portraiture and he exhibited several of these at that year's Art Treasures exhibition in Manchester. Caldesi and Montecchi also were engaged to photograph many of the paintings exhibited at this seminal exhibition. Along­side Robert Howlett [qv], they produced the majority of the 200 photographs for the two - volume 'Ancient' and 'Modern' series of Photographs of the Gems of the Art Treasures Exhibition, Manchester. Caldesi found difficulty in photographing some of the paintings in Manchester and successfully negotiated with the Royal Collection for some of its works to be subsequently moved outdoors to be photographed. - In the summer of 1857 Caldesi and Montecchi photo­graphed a smaller exhibition of portraits of Mary, Queen of Scots held at the Archaeological Institute, London. Theseat were published in 1858. - In 1859 The Gallery of the Most Noble The Marquess of Hertford, K. G., a selection of Caldesi's photographs from the Manchester exhibition, was published. At that year's exhibition of the Societe francaise de Photogra­phie Caldesi and Montecchi exhibited twenty - one pho­tographs of paintings displayed at the 1857 Manchester Art Treasures. Caldesi advertised a studio at Porchester Terrace in London's Bayswater and he began carrying out photo­graphic work for Prince Albert's Raphael Collection project. Perhaps as a result of this commission, Caldesi recorded the paintings in Buckingham Palace and was given permission to remove them to his studio. These photographs were published by P&D Colnaghi as the Royal Collection of Pictures at Buckingham Palace, and comprised forty small Albumen prints mounted on cards with printed captions that credit Caldesi, Bland - ford & Co. as the photographers, Montecchi having disappeared from the scene. This publication may bear the hand of the Prince Consort. Caldesi received further royal patronage that year when he was commissioned by Grand Duchess Marie of Russia to photograph the Elgin Marbles in the British Museum and he exhibited some of these views the following year at the Photographic Society's exhibition in London. - Caldesi advertised in the influential Athenaeum in the early 1860s stating that he personally took carte de visite portraits at 13 Pall Mall East, the Colnaghi premises, while 'portraits, Carriages, Horses, &c.' were taken at the branch studio at 6 Victoria Grove, Kensington. He photographed a number of prominent people including Sir Charles Eastlake, director of the National Gallery. In 1864 Caldesi published carte de viste portraits Giuseppe Garibaldi and his fellow patriot Giuseppe Mazzini (1805 - 1872) during their visits to London. - During the 1860s Caldesi also produced cartes de visites of paintings though it appears that he did not use the stereoscopic or Cabinet formats to any significant degree. - In 1860 Caldesi carried out a photographic campaign in the National Gallery in London, exhibiting some these photographs of paintings at the 1861 exhibition of the Societe francaise de Photographie. Between 1868 and 1873 The Pictures by the Old Masters in The National Gallery, a series of photographs of 360 paintings, was published by Virtue & Company. At this time Caldesi photographed a number of paintings in the Gallery on behalf of the director Sir William Boxall (1800 - 1879). - During the 1860s Caldesi was to carry out photo­graphic campaigns to record important private art col­lections such as the Farnley Hall collection of drawings by J. M.W. Turner These photographs, published by Colnaghi in 1864, seem to have had little impact and were not reviewed by the contemporary press. Another Colnaghi publication of 1864 was the Photographic Historical Portrait Gallery, which required Caldesi to photograph just under 200 Albumen prints of Tudor portrait miniatures. - An account of the latter years of Caldesi's life has yet to be assembled. Photographs by Cave. Leonida Caldesi, of Ancient Marbles, Bronzes, Terracottas, & C, & C. in the British Museum was jointly published with Colnaghi's between 1873 - 1874 but the photographs may have been taken some years before. Caldesi ap­pears to have returned to Bologna in around 1870 and died there in 1891. (Anthony Hamber). - Gernsheim 220: (...) Although it is marked Vol. I, no more were published. KEYWORDS:united kingdom

      [Bookseller: Krul Antiquarian Books]
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        Panoramaansicht, "Mayence".

      . Farblithographie v. Müller u. Gluck n. Mercereau b. Lemercier in Paris, um 1860, 13 x 55. Seltenes Rheinpanorama. Blick von Kastel aus, links die Alte Schiffbrücke über den Rhein. Auf dem Rhein zahlreiche Schiffe.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Die königl. preussische Armee in ihrer neuesten Uniformierung. 48 Abbildungen in Aquarell-Manier.

      Berlin, Mitscher & Röstell, ca. 1860.. Titelblatt und 48 montierte Farblithographien, je 12,6 cm x 8,9 cm, auf Trägerkarton, je 19,8 cm x 15,4 cm. Lose in Original-Leinenkassette mit goldgeprägtem Preußenadler.. Komplettes Set, mit farbfrischen Lithographien. Eine Schuberkante eingerissen. Titel und wenige Kartons am Rand minimal stockfleckig. Die kräftigen Abbildungen in ausgezeichetem Zustand.

      [Bookseller: Antiquariat Mertens & Pomplun GbR (Versa]
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        Manuel du Librarie et de l'Amateur de Livres, Contenant: 1. Un Noueveau Dictionnaire Bibliographie... 2. Une Table en forme de Catalogue Raisonné... 5eme édition originale entièrement refondue et augmentée d'un tiers par l'auteur

      Paris,: Borbon-Ainé,, (1860-1880).. 8 volumes: [iv], xlvi, 1902 (columns), [v]; [iv], 1848 (columns), [iv]; [iv], 1984 (columns), [iv]; [iv], 1476 (columns), [vi]; [iv], 1800 (columns), [iv]; [iv], 1778 (columns), [v]; xv, [i], 1138 (columns), [vii]; [iv], 1226 (colums), [vii] pp. (thus a total of 6,708 pages). Uniformly bound in contemporary half red chagrin (shagreen), spine with raised bands, in compartments gilt lettered. Illustrated with many wood-engraved facsimiles in the text. ¶ Last and best edition of this legendary work. Although obsolete from bibliographical point of vue, and not always accurate, still useful for its collations, learned annotations and the many very rare items described. From sentimental point of vue, a desirable item for every bookcollector and antiquarian bookseller.

      [Bookseller: Sylco bvba livres anciens - antiquarian ]
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        THE ISLAND OF ANTIGUA. Revised by J.W. Norie, 1827.

      Antigua [but actually Philadelphia]: R.B. Eldridge & Co., [ca. 1860]. - Lithographic sheet map, 20 1/2 x 26 1/2 inches. Backed with contemporary blue paper. Light foxing and toning. A few small tears in margins. Very good. An unusual lithographic edition of Norie's 1827 revision of this handsome chart, lithographed by Wagner & McGuigan in Philadelphia. A statement in the cartouche reads, "Presented by R.B. Eldridge, Antigua, to Captain Andrew Tyler." The captain's name is accomplished in manuscript. R.B. Eldridge is not listed in Tooley's Dictionary of Mapmakers and appears to be unrelated to known chart publisher George Eldridge. It seems most likely that he was rather an Antigua merchant who commissioned a re- print of the chart for complimentary distribution to sea captains. A handsome piece.

      [Bookseller: William Reese Company - Americana]
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      London: Henry Lea. n/d c. 1860 - Lithograph by R. S. Groom, Wilkinson & Co., 9.2 in. x 11.11 in. (23.4 cm. x 30.4 cm.)Handful of spots, but generally a very good impression. [Attributes: First Edition]

      [Bookseller: Golden Goose Books]
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        A Midnight Race on the Mississippi

      New York: Currier & Ives, 1860. AN ICONIC IMAGE OF A STEAMBOAT RACE ON THE MISSISSIPPI RIVER Paper size: 23 3/4" x 33" The Mississippi riverboat was second only to the cowboy as the quintessential American product. Indeed, Gulf Coast steamboats achieved such international popularity that wagers were placed as far away as Berlin and Vienna on the outcomes of the famous steamboat races down the Mississippi. Besides their profound economic and technological importance, steamboats also figured as important thematic elements in nineteenth-century European and American art, literature, speech and song. For example, within the works of Joseph Conrad, Charles Dickens, Edna Ferber, Jack London, Herman Melville, Eugene O'Neill, Robert Louis Stevenson and, of course, Mark Twain, steamers served variously as symbols for the contemporary pride and progress in technology, as metaphors for the conflict between man and nature, and as elements of plot and setting.This work wonderfully encapsulates the period of the steamboat's transportational and cultural dominance in the United States, a position soon to be usurped by the mighty railroads. . Book.

      [Bookseller: Arader Galleries]
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        The Autocrat of the Breakfast-Table

      Boston: Ticknor & Fields, 1860. PRESENTATION COPY - ARTHUR SWANN'S COPY WITH HIS BOOKPLATE. 1 volume, illustrated, inscribed on the half-title by Holmes which reads "Ms David,/ old friend "Lucy Stimson"/ from Oliver Wendell Holmes/ Sept. 15th 1860." Bound in the publishers pebble grained brown cloth, covers stamped in blind, mild overall handling, housed in a 1/2 brown morocco slipcase, ribbed gilt decorated spine. This work was first published in 1858 and is one of the elder Holmes' more popular literary works. The work is a series of essays. A heterogeneous collection of boarders gather around a table, providing an audience for the wit and philosophy of the Autocrat. The essays take the form of conversations that generally develop into monologues. Cleverly and epigram-matically, the seemingly disconnected, is unified by the recurring themes and personalities.

      [Bookseller: D&D Galleries - ABAA]
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        Sveriges ätliga och giftiga svampar, tecknade efter naturen.

      . Utgifna af Kongl. Vetenskaps-Akademien. Stockholm: Norstedt 1860. Med 94 (en dobbelt) plancher, nogle foldede. Folio. 53 s. + plancher. Samtidigt, let slidt halvlaeder med guldtryk pa ryggen; nogle blade svagt bruneret, forsatsblad löst..

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        Musée cosmopolite. (Costumes de) Algérie No. 1-24.

      Ancienne Maison Aubert,, Paris, 1860 - Paris, Ancienne Maison Aubert, (ca. 1860). 26,8x21 cm. 24 handkolor. Stahlstiche. Neuerer HPg.-Bd. Mit dem heraldischen Exlibris von Gustav von Schulthess Rechberg. - (Die ersten und letzten 4 Tafeln stockfleckig, die übrigen stellenweise im Rand leicht fleckig).

      [Bookseller: Biblion Antiquariat]
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        Musee cosmopolite. (Costumes de) Algerie No. 1-24.

      Paris, Ancienne Maison Aubert, (ca. 1860).. 26,8x21 cm. 24 handkolor. Stahlstiche. Neuerer HPg.-Bd.. Mit dem heraldischen Exlibris von Gustav von Schulthess Rechberg. - (Die ersten und letzten 4 Tafeln stockfleckig, die übrigen stellenweise im Rand leicht fleckig).

      [Bookseller: Biblion Antiquariat Leonidas Sakellaridi]
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        Souvenirblatt, Gesamtans. v. Brauhausberg, umgeben v. 20 Teilansichten.

      . altkol. Lithographie n. u. v. G. Frank, um 1860, 32,5 x 46. Nicht bei Drescher/Kroll: "Potsdam, Ansichten aus 3 Jahrh.". - Die Randansichten zeigen: Nicolaikirche, Charlottenhof, das neue Palais, Communs, königl. Schloß, Rathaus, Schützenhaus, Kirche inSacrow, das Casino, Babelsberg, heil. Geist Kirche, Mamorpalais, Sanssouci von der Rückseite, Sanssouci, das Schauspielhaus, dieGarnison- und Hofkirche, Schloß Glienicke, die Garde-Husaren Kaserne, die Pfaueninsel vom Blockhaus aus und den Bahnhof.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Panoramaartige Gesamtansicht mit den umliegenden Bergen, im Vordergrund ländliche Staffage.

      . Lithographie mit Tonplatte von Gustav Frank, gedruckt im königl. lith. Institut, Berlin, um 1860, 33,5 x 51,5 cm.. Einriß im unteren Rand sorgfältig restauriert, sonst breitrandig und wohl erhalten!

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Schwerin. Große Gesamtansicht von der Nord-Seite, umgeben von 20 Veduten verschiedener Gebäude und Plätze der Stadt.

      Schwerin ca 1860.. Kreidelithographie mit gelblichem Tondruck und feinem zeitgenössischen Kolorit von Gustav Frank. 33,5 x 48,5 cm.. Abgebildet bei Jesse, Bd II Taf. XXXV. Mit den Ansichten: Schloß, Grünhaus, Marktplatz mit Rathaus, Marktplatz von der Nordseite, Tempelberg, Dom, Arsenal, Sachsenberg, Schauspielhaus, Regierungsgebäude, Katholische Kirche, Gasthaus in Zippendorf, Post-Amt, Amtsgebäude, Friedrichsthal, Schelfkirche, Großherzogl. Palais, Bahnhof, Marstall, Statue des Großherzogs Paul Friedrich. - Gerahmt. Die Abbildung ist aus Jesse entnommen und zeigt nicht das angebotene Originalexemplar. :Graphiken 5.80

      [Bookseller: Schweriner Antiquariat]
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        Peterskirche, Vatikan und Engelsburg Rom.

      Stuttgart, Gebr. Mäntler, um 1860.. Farblithografie von R. Zimmermann nach Hermann Herdtle bei A. Bonz, Bildausschnitt 27 x 39 cm, Blattgr. 46 x55,5 cm.. Großformatige und seltene Ansicht, der württembergische Maler Hermann Herdtle (wohl senior, 1819-89) nahm für diese dekorative Ansicht des Petersdoms und der Engelsburg mit Sicherheit die berühmte Vedute von Piranesi "Veduta del Ponte e Castello Sant' Angelo" zum Vorbild; Blatt etwas gebräunt, leicht fleckig, verso Montagereste.

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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        Batavia in 1858 of schetsen en beelden uit de hoofdstad van Neêrlandsch Indië.

      Gorinchem, J. Noorduijn & Zoon, 1860.Modern marbled boards. With lithographed title with nice vignette depicting the roadstead of Batavia and frontispiece with plan of Batavia. 208 pp.* Original edition. - Lively description of the old and new town and the people of Batavia, including a survey of the scientific institutions in town. Written by general Weitzel who lived there from 1853-1858.Tiele 1203; Cat. KITLV p.11; Ebing and De Jager, Batavia - Jakarta, 1481; Catalogues 300-jarig bestaan van Batavia 400.

      [Bookseller: Gert Jan BESTEBREURTJE]
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        Overland Mail Company

      San Francisco: Britton & Rey, 1860. A SUPERB IMAGE OF THE OVERLAND ROUTE BY PREMIER WESTERN LITHOGRAPHY FIRM, BRITTON & REY Chromolithograph Framed size: 34 5/8" x 41 3/8" Sheet size: 20 ¾" x 27 3/8" ca. 1860 Literature: The American West, Vol. V, No. 4, July 1868 This spectacular chromolithograph is an excellent example of the work produced by Britton & Rey, and served as the cover image of the July 1968 issue of The American West: The Magazine of the Western History Association. The work depicts the quintessential symbol of the American West: the stagecoach. The particular vehicle shown in this print was operated by Barlow & Sanderson, a big-time stagecoach operation that worked the Kansas City-Santa Fe lines, the California & Oregon line, and in the Colorado Mining region. Passengers on this journey included a woman with a parasol, a number of gentlemen, Chinese workers, and a child, merely a sampling of the diverse faces who populated and visited the American West. The travelers are seen traversing in front of a stunning mountain, likely Mount Shasta in California, and across a beautifully verdant and wooded landscape. The scene rendered in this lithograph was originally produced by Aaron Stein, an executive of Wells Fargo. . Book.

      [Bookseller: Arader Galleries]
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        View of Michigan Avenue &c

      Chicago: Charles Shober, 1860. SPECTACULAR CIVIL WAR ERA VIEW OF CHICAGO BY EDWIN WHITEFIELD Hand-colored lithographs From: Whitefield's Views of Chicago 1860-1863 Paper size: 16" x 21 1/2"; framed size: 25 1/2" x 31" Edwin Whitefield was born in 1816 in East Lulworth, Dorset, England. His father was a schoolmaster, and it is believed he was taught at home and had no formal education. In 1837 Whitefield immigrated to the United States. During his first years he was an agent for Godey's Magazine, traveling to Troy, NY and Baltimore, MD. He also taught school and added to his income by sketching and painting watercolor views of Hudson Valley estates. Whitefield began to experiment with lithography in 1842, and became most well known for his views of urban cities. He published two large prints of Albany and Troy, NY in 1845. From 1847 to 1852 he traveled through Canada and across the northern states collection views which he published in Original Views. This lithograph View of Michigan Avenue &c. was done when the artist was living in Chicago from 1860 to 1863. During these years he published a series of seven scenes of the city in Views of Chicago. Whitefield exhibited at the National Academy of Design from 1852 to 1854. His works are now preserved at the Boston Athenaeum, the Boston Museum of Fine Art, the Minnesota Historical Society, and the Shelburne (VT) Museum.. Book.

      [Bookseller: Arader Galleries]
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      in der K. Residenz zu München. (Title on frontboard). München: Piloty & Loehle c. 1860. 38 original albumenprinted photoes depicting female portraits after lithographs tipped on boards. Each photo ca. 9,5x5,5 cm. In contemporary full leather decorated on boards and all edges gilt. Binding a little marked of use.. No titlepage or text, photographs only

      [Bookseller: Peter Grosells Antikvariat]
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        Original-Fotografie von E. Pfeiffer, Linz [ohne Jahr (ca. 1860)] mit rückseitiger eigenhändiger Signatur Stifters. Carte de visite, ca. 10,5 x 6,2 cm (Kartonaußenmaß).

      . . Signatur Stifters mit brauner Sepia-Tinte. Fotografie leicht verblasst. Selten!

      [Bookseller: Antiquariat Rainer Schlicht]
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        Souvenirblatt. Rose von Bristol und Clifton.

      . Stahlstich b. Adler in Hamburg, 1860, Durchmesser 25 cm.. Stuhla, H. in "Lüneburger Beiträge zur Vedutenforschung", S. 133 ff.; - Rose von Bristol und Clifton. Zusammenfaltbar, bestehend aus 8 Segmenten, jeweils ( bis auf die Deckelsegmente = farb. lithogr. Rosendarstellung m. Blättern ) von beiden Seiten m. je 2 Ansichtenreihen in Stahlstich von Bristol and Clifton ( Insgesamt 28 Ansichten ). - Ohne den Umschlag.

      [Bookseller: Antiquariat Nikolaus Struck]
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        Der Kehlkopfspiegel und seine Verwerthung für Physiologie und Medizin : Eine Monographie

      Leipzig, Verlag Wilhelm Engelmann, 1860. - (1. Aufl.), 8° (21x14), VI, 104 S.,mit 4 Tafeln und 26 Holzschnitten, Hldr d.Zt., Ecken/Kanten bestossen, RSchild, Stempel auf Innenspiegel/verso Titelblatt, handschriftl Gesamtverzeichnis des Sammelbandes auf Vorsatz, anfangs wenige Eckknicke, gutes Exemplar, [Hirsch I, 164].-- ANGEBUNDEN: Ziegler, Adolf: Die Uroscopie am Krankenbette : Zum Gebrauch für Aerzte. (1. Aufl.), Erlangen, Ferd. Enke, 1861. VII, 71 S., NaT.-- ANGEBUNDEN: Bardeleben, [Heinrich Adolf]: Über die conservative Richtung der neueren Chirurgie : Fest-Rede . im Auftrage der Universität Greifswald. 2., unveränderter Abdruck, Berlin, Verlag von Georg Reimer, 1861. 23 S., NaT.-- ANGEBUNDEN: Langenbeck, [Bernhard]: Beiträge zur Osteoplastik : Vorläufige Mittheilung. (SA Göschen's Deutsche Klinik 1859, No.48). (Berlin, Reimer, 1859).-- ANGEBUNDEN: Schreiber, C.A. : Über die wahre und alleinige Ursache des Eintritts der Geburtswehen im schwangeren Uterus. Königsberg, C.Th. Nürmberger, 1861. 16 S., NaT.-- ANGEBUNDEN: Laehr, [ Heinrich]: Die Seelenheilkunde in der Gegenwart : Vortrag gehalten im wissenschaftlichen Verein zu Berlin am 16. Februard 1861. Berlin Verlag von August Hirschwald, 1861. 42 S., naT.- [Attributes: Hard Cover]

      [Bookseller: Antiquariat an der Stiftskirche]
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        Album von Halle [teka 16 oryginalnych fotografii].

      [b.m.]: [b.w.], [XIX w.]. - Notka wydawnicza: [b.m.]: [b.w.], [XIX w.].; Wymiar bloku: 12x17cm.; Naklad: 0; Uwagi: Dosc wczesne oryginalne fotografie z lat ok. 1860-1870. Komplet? Bardzo rzadkie.zawiera:- A. H. Francke's Denkmal in Halle a. S.; - Rathaus in Halle a. S.;- Felsenburgkeller bei Halle a. S.;- Moritzburg zu Halle a. S.;- Cröllwitz von Burg Giebichenstein.;- Marktplatz in Halle a. S.;- Halle vom Rannischen Thore.;- Bad Wittekind.;- Hof des Waisenhauses zu Halle a. S.;- Klinik zu Halle a. S.;- Belle - vue bei Halle a. S.;- Salonhaus in Wittekind.;- Waisenhaus zu Halle a. S.;- Universität zu Halle a. S.;- Bergschenke bei Halle a. S.;- Burg Giebichenstein bei Halle a. S.; Waga: 220g; Strony: [16]k.; Kategorie tematyczne: design grafika uzytkowa ksiazki z oryginalnymi fotografiami, sztuka XIX wieku architektura europejska Niemcy fotografia albumy / , art art of the 19th century architecture / , Kunst Kunst des 19. Jh.s Architektur ; Oprawa uszkodzona, naderwana, same fotografie w ladnym stanie, jedna tylko z plama, wydawnicze tekturki nieco poplamione, jedna uszkodzona. Pozycja w stanie co najmniej dobrym. Oprawa wydawnicza plotno zlocone i tloczone w formie pudelka.

      [Bookseller: POLIART Beata Kalke]
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        Travels, Researches, and Missionary Labours, During an eighteen years' residence in Eastern Africa. Together with journeys to Jagga, Usambara, Ukambani, Shoa, Abessinia, and Khartum; and a coasting voyage from Mombaz to Cape Delgado.

      London: Trübner and Co 1860 - First edition, 8vo, li, (iii), 554 pp. Portrait frontispiece, 12 tinted lithographic plates and 2 folding maps, closed tear to the inner margin of the map at the end, front and rear blanks foxed. Recent half calf, marbled sides, a handsome copy.

      [Bookseller: Bow Windows Bookshop (ABA, ILAB)]
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        H.M. Brig Pilot. To the Commander and Officers of H.M. Brig Pilot This Print is respectfully dedicated

      Edmund Fry & Son, Edmund Fry Junr, London & Plymouth 1860 - A fine ship portrait of the brig Pilot, by one of the most successful marine painters of the latter part of the 19th century. Sir Oswald Brierly, after an adventurous early life when he emigrated to New South Wales and took part in a number of exploring expeditions, returned to Britain in 1851. He recorded the French and English fleets' operations in the Baltic during the war with Russia, and developed a close artistic association with the British Royal family. Upon the death of Schetky in 1874 he was appointed marine painter to Queen Victoria, and at the same time was made marine painter to the Royal Yacht Squadron. He was eventually knighted in 1885. Tinted lithograph, coloured by hand, after Brierly, printed by Day & Haghe.

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Photographie médicale: fillette atteinte de dermatose et d'ataxie locomotrice. Circa 1860

      1860 - Photographie médicale originale d'une fillette atteinte de dermatose (les piqûres de la photo le laissent mal entrevoir) et d'ataxie locomotrice. 15,5 x 21cm, sur papier fort, tirage original, circa 1860(TV) [Attributes: First Edition; Hard Cover]

      [Bookseller: PRISCA]
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        Autograph letter signed, with instructions to Messrs Harper & Co. to send out copies of The Lake Regions

      Panama: , 1860. One page quarto, 23 lines in Burton's hand, subsequently annotated in two other hands. Lightly browned, light creases from old mailing folds, docketed verso. A letter from Burton sending out presentation copies of his most recent book following his sojourn in the American West. He asks his publishers to "oblige" him "by forwarding (for my expense) copies of The Lake Regions to the following directions and by letting me know what my bill for them to you is … [list of three names in Canyon City and Virginia City, Utah Terr.; and 5 names in California] … the latter to be addressed in the care of Wm. Lane Booker Esq. H.M. Consul, San Francisco, Cal. Believe me ever, yours sincerely, Richd F. Burton." The postage amounts in each case have been added and tallied, with a note in another hand to charge both books & postage. One of the recipients is a judge in Carson City, a place described by Burton as being full of "legal vultures — attorneys, lawyers, and judges … In and about Carson City a dead man for breakfast was the rule" (Rice). Burton sent this letter to his American publishers from the "horrible, wet, dull, and dirty" town of Panama. He was about to return to England.

      [Bookseller: Peter Harrington]
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        "Vue de Constance". Gesamtansicht vom See aus.

      . Farblithographie von F. Stroobant bei C. Muquardt, um 1860, 22,5 x 30,5 cm.. Schefold 28712. - Aus "Le Rhin monumental et pittoresque".

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Edith Wharton's Sterling Silver and Coral Baby Rattle / Teething Device / Whistle, Engraved "Edith" on the lip.

      Birmingham 1860 - Baby rattle with English hallmarks as follows: "L" date letter for 1860; Lion Passant for sterling; Anchor for Birmingham; Maker's Mark "T. illegible. Rattle is approximately 5" long and 1-1/2" wide at the center portion, with whistle at one end and "Edith" engraved on the lip of the whistle, decorated with three bells, with 1-1/2 x º" piece of coral [used for teething] at end, lacking three bells, else fine. Housed in custom- made black cloth clamshell box lined with purple velvet with black leather gilt-stamped label on spine. Given to the only child of Leon and Germaine Belugou, by Edith Wharton on the occasion her christening in 1920. It is known that Edith Wharton gave her sterling silver baby mug to Bill Tyler, son of other intimate friends in Paris, Bill and Elisina Tyler, but until now, this gift, like Edith's relationship with Leon Belugou, was not known.In 1908 Edith Wharton wrote her first note to Leon Belugou asking him to tea and informing him that Henry James would be there. Introduced to both Wharton and James by Morton Fullerton, Belugou's good friend, and Edith Wharton's lover, Leon Belugou would come to play a crucial role in Edith Wharton's expatriate life. Over the next 25 years they developed an intimate friendship; he was, perhaps, her closest French friend. Leon Belugou (1865-1934) French scholar and journalist had known Morton Fullerton since 1902. Belugou was introduced into the best "salons" in Paris; in fact, he was private tutor for noble wealthy families, including that of the Duke de Gramont. Although not actually part of the highest French society, he was quite close to them and often acted as a sort of non-clerical Abby Mugnier when their money or love affairs became compromising. He was known for his tact and ability at handling embarrassing situations. As such, he was invaluable when Wharton decided to conquer the Faubourg Saint-Germain. In business affairs, his connections served him well. He was in charge of the "Cao Bang Mine" in Tonkin and spent seven years at that endeavor. He managed Armand de Gramont's optical instruments factory in Levallois. In 1919 he married an opera singer, Germaine Gien; l'Abbe Mugnier officiated. Madame Belugou's best friend was the noted soprano Lucienne Breval. Edith Wharton's marriage to Teddy had, from 1909-1913, gone into decline. Her affair with Fullerton, dating from 1908, undoubtedly contributed to this, but there seems to be little doubt that Edith's intellectual life did not suit Teddy. Leon Belugou was one of two people (Henry James the other) who knew of her affair with Fullerton. Edith approached her dear friend, Leon Belugou for assistance; he complied, finding her an attorney to handle the divorce and acting as official translator for the letters Teddy and his family wrote that were introduced into the legal proceedings. It is clear that Belugou served as the model for the character in THE AGE OF INNOCENCE, the secretary of Count and Countess Olenska's. Although he remained nameless, he is referred to and cited as assisting the Countess in obtaining her divorce later in her life - much as the author had. Leon Belugou cherished his friendship with Edith Wharton; he kept everything she sent or gave him. The items offered here come from directly through the family. See page 299 of Hermione Lee's biography of Edith Wharton published by Knopf in 2007 for detail of this gift by Edith Wharton to Lucienne Belugou, only child of Leon Belugou. See an Image. [Attributes: Hard Cover]

      [Bookseller: Priscilla Juvelis Inc., ABAA]
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        Album D'Ostende

      Bruges and Ostende: J. Buffa. Half Morocco . Very Good. Cham, Victor Eeckhout, H. Borremans, van Cuyck, Gerlier, F. Stroobant, J. Van de Putte, Baldisseroni, de Nestele (?) [spellings of these names somewhat elastic]. N.d., circa 1860. A fabulous collection of hand-colored plates of the popular Belgian beach resort, with a mix of character studies (mostly of the local, non-fashionable citizenry), humorous genre scenes and views of the beach, the architecture, the beachgoers, the sea. 52 plates in all, all but one of which is hand-colored, the final plate is a folding tinted panorama of the beach looking in from the sea . Some of the beach scenes are evocative of Boudin. The mix of humor and more sober portraits lends a balance from which we can better approximate the culture and atmosphere at this early destination resort. And through the pictures we can sense the uneasy embrace of the vacationing bathers with the sea. The colored plates are all 13.5 by 10 inches, or 34 by 25 cm, including their margins. The plates are mostly clean, but there is some finger soiling and the like in the margins, and a few plates have chips and small chunks of card missing, never affecting the images. Rebacked with attractive green morocco. The contemporary cloth boards are soiled, with a few minor edge dings.No title, and no evidence there ever was one.

      [Bookseller: White Fox Rare Books and Antiques ]
 34.   Check availability:     ABAA     Link/Print  

        Poesias. Prologo de Gertrudis Gomez de Avellaneda

      Librería e Imprenta El Iris, Habana 1860 - holandesa época rozada con nervios, interior bien conservado retrato grabado autora y firma manuscrita a tinta. . 267 págs.

 35.   Check availability:     IberLibro     Link/Print  

        The Marble Faun

      Ticknor and Fields, 1860-01-01. Hardcover. Very Good. First American edition, first issue. Boston: Ticknor & Fields, 1860. Brown buckram with gilt stamping on spine. Two volumes. All points present: correct signing with pg. xi of vol. 1 signed "1*," preface placed before table of contents, ads at rear dated February 1860; volume II has no conclusion, signed "4*" at pg. 197. Most likely issued simultaneously with the British edition. Very Good condition. Clean pages with occasional foxing and small stains. Cloth at extremities of both volumes worn, a bit of cloth missing from head of first volume. Former owner's name and date of August 1860 on second volume. A few spots on spine of second volume, which has a bit more stray stains and foxing, wear along its bottom edge, and a slightly leaning spine. Both volumes have clear protective sleeves. Nice condition overall. The first American appearance of one of Hawthorne's most ambitious works.

      [Bookseller: Burnside Rare Books]
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        "Panorama aus dem Salzkammergut" originales Aquarell ca. 27x36cm; links unten signiert; um 1860

      . .

      [Bookseller: Antiquariat Niederbayern]
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        Eigenh. Brief mit U. ("v. Goethe").

      Wien, 5. XII. 1860.. 3 SS. auf Doppelblatt. Gr.-4to.. An einen Mathematiker in Jena, dem er u. a. für "die Nachrichten über die schöne umfassende Thätigkeit der Mathematischen Gesellschaft" dankt: "[...] Wäre ich nur noch so in solche Dinge eingeweiht, wie ich wünschte, dann würde ich auch Bartholomäi's [wohl der Mathematiker und Philosoph Friedrich Bartholomäi, 1817-1878] "Vorlesungen über Philosophie der Mathematik besser haben folgen können [...] ich [...] bin jedoch den Grundlagen seines Werkes durch Leben und Studien jetzt so ferngerückt, daß ich mich eigentlich außer Stande fühlte seinen Gedankengang [...] in mich aufnehmen zu können [...]". - Erwähnt seinen älteren Bruder, den Komponisten Walther von Goethe. - Mit einigen tls. ausgebesserten Falteinrissen.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        L'ETE A BADE.

      Paris, by Ernest Bourdin, sans date(ca 1860), Illustre par Tony Johannot, Eugène Lami, Français et Daubigny,4e édition, Précédé d'une notice sur l'auteur par M. Jules Janin, et de l'inauguration de l'embranchement de Strasbourg à Kehl par M. Amédée Achard. 299 pp.Avec 1 map,2 portraits,6 coll.plts and 14 steelengr.plts.8to.

      [Bookseller: Antiquariaat DE VRIES & DE VRIES]
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        Nouveau Plan de la Ville et Fauxbourgs de Paris. Paris en 1713.

      1860 - Paris, Ch.Chardon, c.1860. Coloured. Heliogravure, 680 x 850mm. A two-thirds reduced version of Jaillot's large plan of Paris, made using one of the first photo-engraving techniques. Superbly detailed.

      [Bookseller: Altea Antique Maps]
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        Herdringen." Blick auf Schloss Herdringen mit dem Park, im Vordergrund dekorative Staffage mit einer Jagdgesellschaft

      Farblithographie von W. Korn nach Wilhelm Riefstahl bei Friderichs 1860. 21.5x29.8 cm. - Westfalia Picta I. S. 87 - Korzus, Westfalen S. 29 - Schönes Blatt in frischen Farben.

      [Bookseller: Wenner Antiquariat]
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        Schloss Tegel." Ansicht des nach Plänen Karl Friedrich Schinkels umgebauten Schlosses

      Farblithographie von Bardtenschlager aus Alexander Duncker um 1860. 15x20 cm. Mit dem dazugehörigen Textblatt. - Hahn / Lorenz II, S. 597ff. - War im Besitz der Familien von Holwede und Wilhelm von Humboldts und seiner Familie. - Die Farblithographie wurde auf separates Papier gedruckt und auf das weiße Unterblatt mit der in Gold aufgedruckten Beschriftung: Titel, Künstler, Verlag, Angabe der Provinz u. a. und Einrahmungslinien, montiert. Blattgröße ca. 30 x 40 cm.

      [Bookseller: Wenner Antiquariat]
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        "Erinnerungen an das Freimaurer Institut zu Dresden". Gesamtansicht des Instituts, umgeben von 14 Teilansichten sowie Szenen aus dem Leben im Institut.

      . Altkol. Lithographie von W. Bässler nach G. Wunderlich bei J. Braunsdorf, Dresden, um 1860, 26 x 33,5 cm.. Das Dresdner Freimaurerinstitut wurde bereits 1772 als Schule für Arme und Waise gegründet, mehrfach erweitert und ausgebaut. 1876 wurde es in eine Realschule umgewandelt. Sie existiert heute noch unter dem Namen Kreuzschule. - Der Zeichner des Blattes Carl Gustav Wunderlich gilt als einer der bedeutendsten Lehrer am Institut. Er leitete der Kunstunterricht und war erster Lehrer und Förderer der Maler Sascha Schneider und Ferdinand Rayski. - Das seltene Souvenirblatt mit schmalem Rändchen und sorgfältig geschlossenen Randeinrissen. Feines altes Kolorit. Im Unterrand mit Widmung.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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