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

        The Vision Of Hell [And] The Vision Of Purgatory And Paradise. New Edition, With Critical And Explanatory Notes, Chronology, And Life Of Dante [Two Volumes, Deluxe, Large Paper Copies In Full Morocco]

      London: Cassell, Petter & Galpin, 1860. Early American Edition . Full Morocco. Very Good +. 15 1/4" x 11 3/4. Plates By Gustave Dore. Large Paper Copy, Outside Dimensions Are 15 1/4" X 12", With Ample Margins, An Early Printing In Original Bindings. Two Volumes In Finest Publisher's Binding, Matching Full Dark Brown Morocco, All Edges Gilt, Watered Endpapers With Doubleur Paste-Downs With 1" Elaborately Gilt Turn-Ins All Around. Some Wear To Bindings But Newly Refreshed To Even Color, All Original Gilt Still Brilliant. Pages Mostly Fine, A Few Pages With Short Tears, Light Foxing To Frontispieces And Title Pages, Some Tearing And Chipping To Tissue Guard For The "Vision Of Hell". Small Ownership Signature Of "E. A. Hatherton" Dated 1860 In Each Volume; Book Is Otherwise Undated, But Printed Circa 1856-1860.. Very Heavy Shipping Weight, Additional Postage Required At Cost. Express Mail Required For International Shipment To Most Destinations, For Insurance Purposes, Probably Well Over $125.

      [Bookseller: Arroyo Seco Books]
 1.   Check availability:     IOBABooks     Link/Print  

        Manuscript on paper entitled "Catalogue des Livres de Mr. Berard."

      Title within fine architectural grey wash frame & engraved port. of the collector inlaid on following leaf. Written in a fine scribal hand in red & black ink. 2 p.l., 351 pp. Large 4to (276 x 210 mm.), cont. half-morocco & marbled boards (some scuffing), spine nicely gilt, t.e.g. [Paris: ca. 1860]. Bérard (1806-73), a practicing architect, was an important member of a group of scholarly amateurs in France who in the 1840s and 1850s began the serious study of historical architecture and design and the comprehensive collecting of primary graphic material in the decorative arts. Bérard's monographs on the ornament prints of François Cuvilliés (1859) and Daniel Marot (1865) have never been superseded. Bérard's manuscript catalogue details in 1174 lots his important collections of architectural and ornament books, prints, and drawings, amongst the richest ever formed. The collections were inherited by Bérard's son, Eugène Charles Bérard (1838-90), who added greatly to the drawings and loose engravings. They were dispersed in two sales in 1891. With Bérard's bookplate. From the reference library of the Rapilly firm, the leading architectural booksellers and publishers in Paris from the 1840s until World War II. Rapilly was the expert for the 1891 sale of Bérard's books. ❧ Lugt, Marques, p. 14-"Bérard était le fondateur d'une importante collection de dessins et de gravures d'ornements, dont des parties figurèrent à plusieurs expositions…La collection avait été recueillie dès la première heure, au moment où les raretés dans ce domaine n'étaient point recherchées et se trouvaient à bon point compte. Elle résumait un travail de près de cinquante années. Il avait été conduit à la réunir par suite de son intérêt pour toutes les manifestations d'art. Il y trouvait en même temps, comme dit A. de Champeaux, des éléments comparatifs, qui facilitaient les nombreux travaux d'architecture dont il était chargé. Il s'en aida également pour la publication des ouvrages qu'il entreprit sur la serrurerie artistique et sur divers détails de la construction…M. Bérard possède aussi beaucoup de dessins d'ornements très rares et très importants…En résumé, il y a peu de cabinets aussi riches en ouvrages d'architecture et en dessins d'ornements.".

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Die Wappenrolle von Zürich. Ein heraldisches Denkmal des vierzehnten Jahrhunderts. Herausgegeben von der Antiquarischen Gesellschaft in Zürich.

      Zürich, Selbstverlag, 1860. Titel + 6 n.n. + 23 S. + 25 Tafeln. Priv. Hld. der Zeit. EA. Mit allen 25 Farblithographien. - Schn. m. Fleck, Buchblock etw. gelockert, tlw. leicht stockfleckig, Tafel I m. kl. Läsur, Gbrsp., zwei eingeklebte Antiquariatseinträge a. V., Ebd. berieben. Versand D: 7,00 EUR Heraldik; Schweiz

      [Bookseller: Antiquariat Weinek]
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        CDV - Russia / Russland : Droscky / Droshky / Droschke /

      J. Monstein Photographer Moskau CdV -- Carte de Visite . - Format ca. 10 cm 6 cm. Um 1860. (Auf Karton aufgezogene Fotografie) - Auf Rückseite von Hand mit Bleistift beschriftet mit \"Russia - Droscky\" sowie gestempelt, Kyrillische Schrift (Phtograph J. Monstein, Moskau - I. Newskago). - Gutes Exemplar, stammt aus dem Vorlass eines Botschafters i. R., aus dem Familienbesitz (ein Urgroßvater war leidenschaftlicher Fotograf.) -- Bankverbindungen in Österreich und Deutschland. Versand D: 12,00 EUR Albumin

      [Bookseller: Antiquariat Gerl]
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        Carte de Visite of a Black Nanny with a White Baby

      Tompkinville, Staten Island: J. Loeffler's Photographic Gallery, 1860. Near Fine. Carte de visite with photographer's mark on the verso. Measuring 2.5" x 4". Slight fading at the extremities, near fine. Image of a seated older black woman in a head scarf and vertically-striped dress holding a white baby. Splendid image.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        STORIA VENETA. Espressa in centocinquanta tavole inventate e disegnate da Giuseppe Gatteri sulla scorta delle cronache e delle storie e secondo i vari costumi del tempo, incise da Antonio Viviani e dai migliori artisti veneziani. Illustrate da Francesco Zanotto.

      Giuseppe Grimaldo Tipografo, 1860. Album oblungo (mm. 304x430), 2 voll. in 1, mz. pelle coeva con angoli, tit. oro al dorso. Introdotta da una grande e bella tavola con l'allegoria di Venezia, questa pregevole edizione è molto ben illustrata da 150 tavole inc. in rame (con relativo Indice). Il Gatteri ha saputo rappresentare in modo mirabile la storia di Venezia, "ne' principali suoi fasti", dalle origini (anno 452) agli ultimi istanti della Repubblica (1797). Ciascuno dei 150 episodi è corredato da un testo illustrativo di Francesco Zanotto, di 2 pagine. Al fine "Prospetto della storia veneta nel quale annualmente sono segnate le guerre, le vittorie, i fatti illustri, la erezione dei monumenti e delle fabbriche, la fondazione delle chiese e de' monasteri, l'instituzione de' magistrati, la promulgazione delle leggi principali, la nascita e la morte degli uomini illustri, la elezione de' Dogi, ecc. ecc., pp.nn. 18. "Seconda edizione". Cfr. Lozzi,II,6168 Testo e tavv. 93 e 94 restaur. al margine per mancanza; con uniformi lievi ingialliture interc. nel t. e con qualche alone e fiorit. margin., ma complessivamente un buon esemplare.

      [Bookseller: Libreria Antiquaria Malavasi]
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        Calvary Tactics by Order of the War Department

      Beautiful and rare 3 vol set, 120 folded Engravings/illustrations, 10 folded music pets, printed by order of The War Department in 1860. Black leather spines, brown marbled paper covers. First Part: The School of the Trooper, of the Platoon, and of the Squadron, DISMOUNTED. Second Part: School of the Trooper, of the Platoon, and of the Squadren, MOUNTED. Third Part: EVOLUTIONS OF A REGIMENT. Horstmann Bros' & Alleien, Miliary dealers tag on title pages. Fold outs in fine condition. Page edges minutely tanned. A few light spots here and there. Spines replaced. Hinge of third vol cracked but not detached. Covers scuffed. Very good condition overall.

      [Bookseller: Kabi Rare Books]
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      - [1860, Matsuura]. Green stitched wrs.,blind-stamped swastica design, title slip, rear covers mottled, tightly bound, the contents exceptionally clean, 30 double-page text + 2 last pages colophon, 11 illustrations, of which 4 are in color. This very unusual and famous work. It covers the early official and primary travels of Matsuura Takeshiro to Ezo [Hokkaido prior to being named "Hokkaido"] in 1859. . Matsuura executed his Shogunate appointed objective of exploring Ezo, and making a visual and written record of what he saw, the Ainu people and others he met on his travels. He wrote several works on that area, this example is one of those historic records. Matsuura was officially authorized by the Shogunate to name/rename areas he traveled in the Hokkaido area. Matsuura is the man responsible for changing the name of "Ezo" to be "Hokkaido." *** Per Bartlett, p.198-199: Bartlett gives KITA EZO YOSHI a variant English title: A FURTHER ACCOUNT OF NORTH EZO: TRIP TO DARUIKA AND THE OROKKO TRIBES. . "In the preface the author states that this book extract from the official report on the expedition to Karafuto [Sakhalin] in 30 volumes that was then presented to the Hokkaido Government Office. In June 1854 [a later edition of this title] the author parted from his companions to visit Daruika and the Orokko people and rejoined them in July after having had the experiences recounted in this book." . Again in Bartlett, on p.198 exhibit 68, figure 63 he shows the exact illustration found our copy of Matsuura being entertained by several Ainu peoples. . Bartlett states about this double-page illustration: "Japanese dignitary, presumably the author, visiting Ainu at an island touched during the voyage to Sakhalin. The bearded Ainu are offering gifts of fish and other food." See our website for a scan of this fascinating example. *** THE ELEVEN ILLUSTRATIONS: There are a total of ten woodblock illustrations in this book: a. Two double-page black, gray, shaded illustrations. b. Two color double-page illustrations. c. Three double-page black outline illustrations. d. Three single page black outline drawings/illustrations. *** CONDITION: The front covers and the title slip are quite clean. There is a bit of mild discoloration spots at upper 4 cm. of this part of the front cover. The title slip is excellent a bit dusty. See cover.jpg . The back covers are mottled, with several spots . Please see color scan spine.jpg posted to our website for more details. . Contents: The contents are excellent, very clean, no worming whatsoever. The color illustrations and line drawings are also excellent, no issue. . The book is firmly bound in its original threads. The book is enclosed in a more recent indigo-blue Chitsu folding case with bone clasps. *** WHO WAS MATSUURA Takeshiro [1818-1888]: "The author was an explorer who went as far north as Ezo [modern day Hokkaido before it was named "Hokkaido"]. He was later commissioned by the Shogunate to survey the topography of Hokkaido in 1885, and then appointed judge at Hakodate and concurrently secretary of the bureau that was established to give names to various parts of Hokkaido in 1868. He wrote many books on his travels, most noted of which is TOZAI EZO NIKKI: DIARY OF EAST AND WEST HOKKAIDO." Extracted from J.B.E.& W.W., see below for bibliographical citation. *** ADDITIONAL BIBLIOGRAPHIC DETAILS: The work contains double-folded pages 1-30 of text and illustrations, plus 2 sheets postscript, dated Man nen 1, introduction dated Ansei 7 [1860], [1860], no place of publication, but somewhere in Japan. The woodblocks were owned by the author. Inside the front cover is the alternate title: "TARAIKA OROKKO KIKOH." . Per Mitchell [see below] the work was illustrated by "various artists." He continues to list the illustrator/artist of each plate *** THE ILLUSTRATIONS: This work was illustrated by Matsuura and others: Per Mitchell p.369. we list the illustrations: 1. LANDSCAPE by Matsuura 2. AINU BEARING GIF

      [Bookseller: RARE ORIENTAL BOOK CO., ABAA, ILAB]
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        CDV - Russia / Russland (Mann in Ledermantel und Lederstiefeln mit Bart)

      J. Monstein Photographer Moskau CdV -- Carte de Visite . - Format ca. 10,8 cm 6,4 cm. Um 1860 - 1870. (Auf Karton aufgezogene Fotografie) - Auf Rückseite von Hand mit Bleistift beschriftet mit \"Russia\" sowie gestempelt, Kyrillische Schrift (J. Monstein, Moskau - I. Newskago). - Gutes Exemplar, stammt aus dem Vorlass eines Botschafters i. R., aus dem Familienbesitz (ein Urgroßvater war leidenschaftlicher Fotograf.) -- Bankverbindungen in Österreich und Deutschland. Versand D: 12,00 EUR Kyrilisch Mondstein Monschtein Albumin Bauer Peasant Landmann Sibire Sibirien

      [Bookseller: Antiquariat Gerl]
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        Fairmount, Philadelphia

      D. Appleton & Co., New York 1860 - Image Size : 215x710 (mm), 8.5x27.875 (Inches), Platemark Size : , Paper Size : 255x755 (mm), 10x29.75 (Inches), Hand Colored, Wood Engraving Very Good, lower margin has been extended, laid on acid free paper for long term preservation.

      [Bookseller: Alexandre Antique Prints, Maps & Books]
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        A Tale of Two Cities.

      London: Chapman and Hall, 1860. First edition, first issue of one of Dickens' most enduring work, with p. 213 misnumbered "113," the signature mark "b" at the foot of the plate list, and the misspelling "affetcionately" on line 12, p. 134. Octavo, bound in three quarters contemporary calf over marbled boards, gilt titles and tooling to the spine, marbled endpapers. Sixteen plates after H.K. Browne including frontispiece and title vignette. In near fine condition with light rubbing and wear, bookplate. An exceptional example of this Dickens classic. The most famous and possibly the most popular of Dickens's novels, A Tale of Two Cities shows a master of dramatic narrative extracting gold from the ore of history. If the bloody tableau of the French Revolution were not in itself sufficient for a dozen novels, Dickens added to it a professional resurrectionist, an authentic ogress, and an antihero as convincingly flawed as any in modern literature. Here, too, are all of Dickens's recurring themes -- imprisonment, injustice, and cataclysmic violence, resurrection and the renunciation that makes renewal possible.

      [Bookseller: Raptis Rare Books]
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        Episodios da historia patria contados á infancia . obra adoptada pelo Conselho Direcor da Instrucção Publica.

      Rio de Janeiro, B.L. Garnier (printed at Typ. de Pinheiro e Comp., 1859), 1860 (printer's colophon: 1859). - 12°, old quarter cloth over marbled boards (somewhat worn, especially at corners), spine gilt. Woodcut vignette on title page. Slightly browned, a few small stains. Overall in good to very good condition. Early signature on title page. Rectangular black on brown printed paper ticket of Loja de Papel Souza e Lima, Rua de S. Pedro N.º 36, Rio de Janeiro, in upper outer corner of front pastedown endleaf. vi pp., (2 ll.), [7]-179 pp., (1 l.), 6 pp. advt. *** FIRST EDITION of this history of Brazil for children. Very rare; all editions are rare. Between pp. vi and [7] are inserted two unnumbered leaves with the caption title "Juizo do Sr. J. Norberto de S.S. estrahido da 'Revista Popular' de 5 de Janeiro de 1860." The six pages at the end begin with the caption title "Lista de alguns livros de instrucção e recreio proprios para meninos. Á venda na Livraria de B.L. Garnier, 69 - Rua do Ouvidor - 69, Rio de Janeiro."The author (1825-1876), a native of Rio de Janeiro, was a secular priest with a doctorate in Theology from the University of Rome. He was honorary canon of the Imperial Chapel and of the Cathedral in Rio de Janeiro, as well as being a member and secretary of the Instituto Historico e Geographico Brasileiro; he was also a member of practically every Brazilian literary association, and became a member of learned societies in Lisbon, Madrid, Paris and New York. He taught rhetoric at the Imperial Collegio D. Pedro II, and was Cronista-mor of the Brazilian Empire.*** Innocêncio IV, 70-2; XII, 27-9: calling for vi, 179 pp. Blake IV, 107-13: calling for 185 pp. Porbase cites a single copy each of the sixth and thirteenth editions, both undated but said to be post 1900, both at the Biblioteca Nacional de Portugal. This first edition not located in WorldCat, which cites the third edition of Rio de Janeiro, 1864, at the Ibero-Amerikanisches Inst-Berlin and the Bibliotheque Nationale de France; 5 copies of the fifth edition, Rio de Janeiro, 1866; as well as single copies of the sixth and twelfth editions, and two copies of the thirteenth edition. Copac locates only a single copy of the third edition at the British Library. NUC: Not located in NUC.@, which lists only the sixth edition, at CtY. [Attributes: First Edition; Hard Cover]

      [Bookseller: Richard C. Ramer Old and Rare Books]
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        Travels in the Regions of the Upper and Lower Amoor and the Russian Acquisitions on the Confines of India and China. With Adventures among the Mountain Kirghis; and the Manjours, Manyargs, Toungouz, Touzemtz, Goldi and Gelyaks: the Hunting and Pastoral Tribes

      London, Hurst and Blackett, 1860. Octavo, xiv, 570 pages with 82 illustrations plus a tinted frontispiece and a folding map. Early gilt-decorated half calf and cloth, with a contrasting title-label on the spine, all edges and endpapers marbled; leather slightly scuffed, with a light tidemark near the foot of the spine (and on the endpapers); foxing to a few early leaves; light shallow tidemark around the outer edges of the frontispiece (presumably as a result of the edge marbling process); overall an excellent copy. The ownership details of the Chief Examiner of the NSW Department of Instruction, 1881, are written neatly in ink at the head of the title page.

      [Bookseller: Michael Treloar Antiquarian Booksellers]
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      - SHAPE BOOK. CINDERELLA. (Hamburg: Gustav W. Setiz) circa 1860. 16mo (2 1/2 x 7"), pictorial wraps die-cut in the shape of Cinderella, Fine. Illustrated with color lithographs on each page with text in the middle - done in the same size and format of Prang's shaped books of the same era. Rare. [Attributes: Soft Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        CDV - Russia / Russland : Droscky / Droshky / Droschke /

      CdV -- Carte de Visite . - Format ca. 10 cm 6 cm. Um 1860. (Auf Karton aufgezogene Fotografie) - Auf Rückseite von Hand mit Bleistift beschriftet mit "Russia - Droscky" sowie gestempelt, Kyrillische Schrift (Phtograph J. Monstein, Moskau - I. Newskago). - Gutes Exemplar, stammt aus dem Vorlass eines Botschafters i. R., aus dem Familienbesitz (ein Urgroßvater war leidenschaftlicher Fotograf.) -- Bankverbindungen in Österreich und Deutschland.

      [Bookseller: Antiquariat Birgit Gerl]
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        [Macbeth posto in Musica da Giuseppe Verdi e per grata memoria dedicato al suo amatissimo succero Antonio Barezzi Riduzione per Canto e Piano di E. Muzio]. [Piano-vocal score]

      [Milano]: [R. Stabilimento Musicale Ricordi] [PNs 19621-19643], 1860. Proof copy of a new revised edition of the first version of the opera (same plate numbers but considerably enlarged). Rare. Worldcat (3 copies of the published edition only, at the Newberry, Harvard, and the University of Nebraska, Lincoln). OCLC no. 53004966. Not in Chusid. Not in Hopkinson, but cf. 46A(a). Macbeth, to a libretto by Francesco Maria Piave (with additional material by Andrea Maffei) after William Shakespeare's play, was first performed in Florence at the Teatro della Pergola on March 14, 1847. "There is no doubt that Verdi's frequently voiced perception of the 1847 Macbeth as an especially important work, ennobled by its Shakespearean theme, was one that he successfully converted into dramatic substance. Much of the opera shows an attention to detail and sureness of effect unprecedented in earlier works. This holds true as much for the 'conventional' numbers, such as Lady Macbeth's opening aria or the subsequent duet with Macbeth, as for formal experiments like the Macbeth-Banquo duettino in Act 1. What is more, the new standard set by Macbeth was one that Verdi rarely retreated from in subsequent works." Roger Parker in Grove Music Online.. Folio. Original publisher's light tan wrappers with printed label to upper: "Macbeth di G. Verdi Propietà esclusiva del R. Stabilimento Musicale Ricordi. " 291, [i] (blank) pp. Each number with its own price and secondary pagination. Signed and dated "Sigr. Mo. Vincenzo Lombardi 17-10-[1]903" in pencil to recto of lower wrapper. Occasional markings and minor annotations in blue crayon, black ink, and pencil. Wrappers soiled with some loss, especially to lower outer corner of upper; spine split and reinforced with black tape. Signatures loosely bound; several pages partially detached; upper margins slightly cockled; occasional creasing; small tears, performations, and stains, occasionally affecting music; first and final leaves browned.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        CDV - Russia / Russland - Frau in Kittelschürze (ev. Amme / Wet-Nurse / Nourice)

      CdV -- Carte de Visite . - Format ca. 10,4 cm 6,2 cm. Um 1860. (Auf Karton aufgezogene Fotografie) - Auf Rückseite von Hand mit Bleistift beschriftet mit "Russia" sowie Aufdruck, Kyrillische Schrift (Phtograph J. Monstein, Moskau - I. Newskago). - Gutes Exemplar, stammt aus dem Vorlass eines Botschafters i. R., aus dem Familienbesitz (ein Urgroßvater war leidenschaftlicher Fotograf.) -- Bankverbindungen in Österreich und Deutschland.

      [Bookseller: Antiquariat Birgit Gerl]
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        Vertus and Qualités.

      Chez Aubert and Cie, 1860. Album di mm. 291x428; tela editoriale nera con decorazioni ad arabesco impresse a secco sui piatti, titolo in oro (Vices et Vertus) entro cartouche dorata al piatto superiore, fregio in oro al centro del piatto posteriore, risguardi in carta gialla, tagli dorati (dorso rinforzato in tela); frontespizio stampato a più colori e 12 tavole litografiche a colori intervallate da carte protettive (Montaut pinx.-Aubert e Cie. imp.). Ottima copia. Prima edizione, nella rara variante a colori, stampata dalla celebre litografia parigina Aubert e Cie., che stampò anche il volume compagno di questo dedicato ai vizi (Defauts et Vices). Le tavole mostrano bambini vestiti in sontuosi abiti Ancien Regime intenti ad inscenare con effetti comici virtù da adulti: 1. Humanité – Générosité, 2. Etude – Talente, 3. Politesse-Amabilité, 4. Travail – Savoir, 5. Dévouement-Générosité, 6. Valeur-Courage, 7. Adresse-Précision, 8. La Propreté, 9. Plaison-Philanthropie, 10. Bonté-Bienfaisance, 11. La Poiété, 12. Le Dévouement. Henri de Montaut fu un celebre caricaturista ed illustratore, che contribuì all'illustrazione di molti romanzi di Jules Verne e collaborò con varie riviste dell'epoca come il Journal amusant, il Journal pour rire e La Vie parisienne..

      [Bookseller: Libreria Govi Alberto]
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        Du rôle de l'alcool et des anesthésiques dans l'organisme. Recherches expérimentales.

      Paris, Chamerot, 1860. ____ Première édition de cet ouvrage pionnier dans l'étude des substances anesthésiques. Ludger Lallemand, Maurice-Constantin Perrin et J -L -P Duroy ont étudié le rôle physiologique de l'alcool, du chloroforme, de l'éther sulfurique, de l'amylène et des "pseudo-anesthésiques", l'acide carbonique et l'oxyde de carbone. Envoi des auteurs sur le faux-titre : "à M. Bussy, directeur de l'Ecole de pharmacie de Paris, membre de l'Académie des sciences, hommages respectueux." On retrouve le nom de Bussy doré en queue du dos de la reliure. Illustré par 10 figures dans le texte. Coiffes élimées. *-------*. In-8. Collation : XII, 432 pp. Demi-basane noire, dos à nerfs orné de filets dorés. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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        \"Donaupanorama von der Befreiungshalle bis zur Walhalla\". Detaillierte Karte des Donaulaufs, links und rechts 8 bzw. 9 kleine Ansichten.

       Stahlstich bei J.G. Manz, um 1860, 52 x 36 cm (gefaltet in Original-Umschlag). Die hübschen kleinen Ansichten zeigen u.a. Walhalla, Winzer, Maria Ort, Kelheim (2x), Regensburg (5x), Oberndorf, Bad Abbach, Weltenburg. - Seltenes Panorama. Versand D: 6,00 EUR BAYERN, Oberpfalz, Panoramen

      [Bookseller: Antiquariat Bierl]
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        Rügen und Usedom. - Souvenirrose.

      - Historische Ortsansicht. kolorierter Stahlstich, um 1860., nach Julius Gottheil. 23,4 x 23,0 cm (Blatt). Auf der Rose mit dem Verlagsvermerk "C. Adler Fabrik u. Verlag v. Druckarbeiten Hamburg". Die Teilansichten alle unterhalb betitelt. - Die Souvenirrose zeigt in 28 Ansichten die Facetten der Insel Rügen an der Ostsee. Auf der Vorderseite mit den aufkaschierten Rosen sind von links nach rechts und oben nach unten zu sehen: Schloss Putbus mit Pavillon und Salon, Jagdschloss Granitz, Schloss Spicker, Friedrich Wilhelmbad, Pädagogium und Schauspielhas in Putbus, Lauterbach und Insel Vilm. Auf der Rückseite zu sehen: Misdroy, Bergen auf Rügen, der Leuchtturm und die Kreidefelsen bei Kap Arcona und Stubenkammer, Herthasee, Sagard, Sassnitz, diverse Ansichten von Heringsdorf, Ralswieck, Swinemünde und Hochhilgor. - Mit den üblichen Falzungen und minimalen Alterungsspuren. Insgesamt gut erhaltenes Exemplar. Julius Gottheil (1810 Leszno / Lissa in Polen - 1868 Hamburg). Deutscher Maler und Grafiker. 1850-64 in Hamburg nachweisbar. Fertigte Vorlagenzeichnungen sowie Stahlstiche und Lithografien, vorwiegend von Hamburg. Lieferte die Vorzeichnungen für das 1855 in Hamburg bei Berendson erschienene "Mecklenburgische Album". Sprache: Deutsch

      [Bookseller: Graphikantiquariat Koenitz]
 21.   Check availability:     ZVAB     Link/Print  

        Carte de Visite of a Black Nanny with a White Baby

      Tompkinville, Staten Island: J. Loeffler's Photographic Gallery, 1860. Near Fine. Carte de visite with photographer's mark on the verso. Measuring 2.5" x 4". Slight fading at the extremities, near fine. Image of a seated older black woman in a head scarf and vertically-striped dress holding a white baby. Splendid image.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Illustrirte Skizzen. Album mit 23 Karikaturen in verschiedenen Techniken (Aquarell, Blei, Tusche) sowie 27 handschriftlich beschriebene, zwischen die Illustrationen gebundene Blätter und 8 Scherenschnitte. Mit 2 Beigaben.

      Bremen, datiert 1850-1860. - Kl.-Oktav. Zeitgenössisches Halbleder mit marmorierten Bezügen. Die Beigaben abweichend aber sehr dekorativ gebunden. Reizend illustrierter Sammelband in der Art eines Liber amicorum mit gekonnten Biedermeier-Karikaturzeichnungen, diese jeweils mit satirischen handschriftlichen Beschreibungen auf dem gegenüberliegenden Blatt: eine Karikatur zum schwedischen König Gustav Adolph, auf das Wundarzt-Gewerbe („die Wundschau"), ein Doppelbild einer jungen Hübschen und einer Gealterten („Sonst – Jetzt"), 4 Scenen im Platzregen (Wasserballet mit Regenschirmen), der 5 syphillitische Damen als Besucherinnen des Truner-Balles, eine Ansicht von Hönisch bei Verden etc. Darüberhinaus enthalten sind einige gekonnte, sehr fein ausgeführte Scherenschnitte: „Industriellenklage" („Aah, schon seit 14 Tagen keinen Crawall mehr"), „Narren blasen auf" etc. – Dabei: Pfeiffer: Poetische Skizzen. 2 Halblederbände der Zeit, durchgehend handschriftlich beschrieben mit Zitaten aus verschiedenen Büchern und Zeitschriften der Zeit: „Was man in langer weiter Strecke / Geschrieben aus einander fand / Das kömmt nun unter einer Decke / Manch guten Leser in die Hand". Insgesamt schönes und dekoratives Ensemble. 1001 g

      [Bookseller: Antiquariat Stefan Wulf]
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        Traitement Des Pseudarthroses Par L'Autoplastie Périostique Envoi Autographe À Nélaton (Précieux Exemplaire De Nelaton) COPY SIGNED TO NELATON

      Paris, Germer Baillière 1860 - In-4° relié, cartonnage éditeur, 47 pages, 3 planches hors-texte. Envoi autographe de Nélaton en partie effacé. Travail de première importance dont on peut dire en tout premier lieu, qu'il a été comme certains autres desservi par une réelle et grande rareté. Dans son avant propos l'auteur revendique la priorité de sa découverte dans son principe et dans son application et remercie Nélaton qui a fait connaitre les faits cliniques établissant indiscutablement dès 1856 cette priorité. L'auteur fait référence aux praticiens qui l'ont précédé en se montrant convaincu de l'importance de la conservation du périoste dans leurs opérations : Blandin, Maisonneuve, Verneuil, Flourens. Jordan annonce, dès ses deux premières observations, que son opération consiste dans une véritable transplantation. Il rappelle qu'en mai 1856 il se rendit à, Paris, où il communiqua ses idées sur la cure des pseudarthoses à Nélaton qui en fit l'objet d'une leçon reproduite dans la gazette des Hôpitaux du 7 juin 1856 sous le titre sans ambiguité de « Autoplastie périostique ». en 1859 Malgaigne cite la méthode de Jordan dans son anatomie chirurgicale. Les planches représentant l'incision, la résection, le rapprochement des fragments et la suture du périoste, sont l'oeuvre de F. Bion. Cet exemplaire d'un ouvrage rarissime et novateur est rendu encore plus précieux par son apparteance, c'est en effet l'exemplaire de Nélaton lui-même que lui a offert Jordan. Cet ouvrage est absent des grandes collections Waller et Osler, un exemplaire seulement est recensé en France à la Bibliothèque Nationale de France. - - - Auguste Nélaton, (1807- 1873) est reçu docteur en 1836 avec une thèse sur la tuberculose osseuse. Trois ans plus tard, il est nommé professeur à l'hôpital Saint-Louis avec pour spécialité les tumeurs du sein. De 1851 à 1867, il est professeur à temps plein, poste qu'il abandonne pour devenir le chirurgien personnel de Napoléon III. Sa renommée est illustrée par l'anecdote suivante : le général Garibaldi ayant été blessé par balle au pied à Aspromonte en 1862, les médecins prétendent que la balle n'est pas restée dans le pied. Mais la cicatrisation tardant, les médecins, qui craignent une future amputation, font appel à Nélaton ; ce dernier se rend auprès de Garibaldi le 28 octobre. Il diagnostique la présence de la balle et donne une méthode pour l'extraire sans difficulté. Pour convaincre ses interlocuteurs, il fait réaliser un instrument particulier qui confirme qu'un objet dur contenant du plomb est dans la plaie. La balle est finalement extraite selon ses préconisations, le 23 novembre, par le chirurgien florentin Ferdinando Zannetti . Nélaton fut un précurseur de la chirurgie plastique. Il fut le premier à proposer la ligature bout-à-bout des artères en cas de plaie hémorragique. - - - - Il tint une place de premier plan dans le domaine de la chirurgie pelvienne et abdominale. Auguste Nélaton (17 June 1807 - 21 September 1873) was a French physician and surgeon. Born in Paris, he began studying medicine in 1828 and graduated as an MD in 1836 with a thesis on the effects of tuberculosis on the bones. Three years later, he became an agrégé at the Hôpital Saint-Louis after his publication of On the treatment of breast tumors. From 1851 to 1867, he was a full professor, a post he abandoned when he became the personal surgeon of Napoleon III. Ramón Emeterio Betances¿Puerto Rican pro-independence leader, surgeon and Légion d'honneur laureate¿was one of Nélaton's prominent student. Nélaton worked in plastic surgery. He was the first to re-emphasize ligature of the two ends of arteries in hemorrhages first promoted by Ambroise Paré in the mid-16th century. He invented the porcelain-knobbed probe for locating bullets known as Nélaton's probe. The probe was used to locate a bullet in the ankle of Giuseppe Garibaldi in 1862. He also made noted contributions to pelvic and abdominal surgery. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: PRISCA]
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        Vue du Chateau de Sigmundskran - aux environs de Bolzano.\r

      1860. Acquatinta colorata di mm 470x570. Buono, ordinari segni d'uso, esemplare restaurato. Pietro Marchioretto nacque a Lamon, dal secondo matrimonio di Giovanni Maria Marchioretto e Francesca Fiorenza, nel 1761. I suoi biografi, quando ancora era in vita, posero la data di nascita nel 1772 e l'errore venne ripetuto spesso, fino a quando Liberale Paganini riportò un riassunto dell'atto di nascita. La prima biografia di Marchioretto è opera di Antonio Frigo, arciprete di Borgo Valsugana, scritta tra il 1812 e il 1814 quando l'artista lamonese era ancora in vita e viveva a Telve Valsugana. Secondo il sacerdote Marchioretto se ne va di casa a 13 anni, dopo il terzo matrimonio del padre. Si reca dapprima a Bassano dove ricopia e vende le immagini sacre tratte dalle stampe dell'editore Remondini. Poi lo ritroviamo a Ramon di Loria, vicino a Castelfranco Veneto, dove è a servizio di un contadino. Qui viene notato per la sua abilità nel disegno dal nobile veneziano Pietro Civran che aveva alle sue dipendenze, come accadeva allora, un artista, il bellunese Giovan Battista Lazzarini, con il quale Marchioretto ebbe la sua prima vera formazione artistica. Le sue tracce si ritrovano a Venezia dove nel 1791 è indicato come «"angente" di Pietro Civran», cioè lavorava per lui, come domestico o con maggiori responsabilità. Nello stesso anno muore Lazzarini che lo indica come erede di parte dei suoi beni. Vive bene, ora, Marchioretto. Nel 1797 incontra il pittore goriziano Francesco Causig, suo secondo maestro. E' di quegli anni anche l'incontro con l'incisore Gaetano Zancon, con la pubblicazione a Venezia di dodici incisioni su rame: i dipinti sono di Marchioretto, le incisioni di Zancon. Da Venezia, Marchioretto passa a Verona e poi a Bressanone, dove avvia una attività insieme allo stesso Zancon e allo stampatore Bisdomini che proseguirà per un paio d'anni con la produzione e la vendita di opere pregevoli, una ventina. Il pittore lamonese si sposta poi in Valsugana e a Trento, mentre le sue opere vengono diffuse sotto forma di incisioni nel mondo tedesco, dal 1806 al 1820. A Telve Valsugana Marchioretto si stabilisce attorno al 1811, dopo il matrimonio con Elisabetta Franceschi. Dalle lettere trovate da Conte, ci sono tracce di rapporti con nobili e personaggi conosciuti del Trentino, a testimonianza che il pittore aveva raggiunto una buona fama. Marchioretto è morto nel 1828 a Telve. Per maggiori informazione rimandiamo alla monografia di Conte Paolo "Pietro Marchioretto. Un paesaggista tra Veneto e Tirolo". Si vende in cornice.

      [Bookseller: Studio Bibliografico Adige]
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        United States Mail Steamer Fulton, J.A. Wotten, commander. Burthen 2300 tons.

      Endicott & Co. New York -70s 1860 - Lithograph printed in colour (image 50 x 84 cm; sheet 63 x 94,5 cm) after a drawing by Parsons; small tear in right margin, anciently laid-down but in fine condition. An early work by a master of the genre: a fine example, with wide margins, of this beautiful chromolithograph. Before serving as the art director for Harper's Weekly and Magazine from 1863 to 1889 and as such being instrumental in the development of the art of American illustration, Charles Parsons (1821-1910) apprenticed at 15 to the New York lithographic studio of George Endicott (1802-1848). Through Endicott's studio he worked directly for the famous firm of Currier & Ives, and deserves credit for many of the best marine lithographs ever produced. Before he left for Harper's he was made a full partner and it was undoubtedly his marines which earned him the position and drew the most public attention. He chose to revisit nautical subjects when he returned to watercolours and lithography in retirement from Harper's. Parsons was an associate member of the National Academy of Design and a member of the New York Watercolor Society. The United State Mail Steamer Fulton, commanded by James A. Wotton, travelled in the 1850s and 1860s across the Atlantic Ocean, from Le Havre to New York through Southampton to deliver passengers and mails to the United States Quartermaster. Numerous reports about her voyages were published in The New York Times in the 1860s. An advertisement from the 15th March 1856 quoted the price of passage for First Cabin at $130 and for Second Cabin at $75. [Attributes: Soft Cover]

      [Bookseller: Shapero Rare Books]
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        Un ballo in maschera melodramma tragico in tre atti... Rappresentato per la prima volta al Teatro Apollo in Roma il 17 Febbrajo 1859 Riduzione per Canto e Pianoforte di Luigi ed Aless. Truzzi... - Fr. 40 -. [Piano-vocal score]

      Milano: Tito di Gio. Ricordi [PNs 31031-31059], 1860. First complete Edition. Hopkinson 59A(a). Chusid p. 31. Catalogo Ricordi online. OCLC no. 9061941. Crawford p. 574. Un ballo in maschera, to a libretto by Antonio Somma after Eugène Scribe's libretto Gustave III, ou Le bal masqué, was first performed in Rome at the Teatro Apollo on February 17, 1859. "Un ballo in maschera, as many have remarked, is a masterpiece of variety, of the blending of stylistic elements. Verdi's experiment with a 'pure' version of French grand opera in the mid-1850s, Les vêpres siciliennes, was not entirely happy; here we see him instead gesturing to the lighter side of French opera, primarily with the character of Oscar, but also in aspects of Riccardo's musical personality. The juxtaposition of this style with the intense, interior version of Italian serious opera that Verdi had preferred in the early 1850s is extremely bold, particularly in sections such as Act 1 scene ii (where Riccardo confronts Ulrica) or in the finale to Act 2 (the so-called laughing chorus), in both of which the two styles meet head on with little mediation. One of the reasons why the blend is so successful is that Verdi's treatment of the traditional forms at the backbone of his 'Italian' manner were themselves changing, adapting towards the more elliptical manner of French models. Ballo is notable for the shortness and intensity of its principal arias, for the absence of grand design." Roger Parker in Grove Music Online.. Large oblong folio. Full modern ivory linen boards with red simulated title label gilt to spine, decorative endpapers. 1f. (recto title within decorative sepia borders, verso blank), 1f. (recto table of contents with plate and page numbers, verso named cast list), 5-323, [i] (blank) pp. Each number with its own plate number, price, imprint, and secondary pagination. Title, table of contents, and cast list typeset. Music engraved. Blindstamp of Tito Ricordi ("T.R."), dated [18]61 to lower outer corner of title. With a polychrome illustration of the final scene of the opera from a later Ricordi edition laid down to upper board (?fragmentary wrapper) and another illustration of the final scene of the opera by Focosi lithographed by Fr. Tersaghi from the first complete Ricordi edition laid down to lower board. Some, mostly light, dampstaining to margins; some minor foxing, light soiling and creasing; somewhat crude tape repair to blank upper margins of pp. 259-260; small tear to lower blank margins of pp. 297-298; final leaf reinforced, with a small perforation and crude tape repair, slightly affecting music. Quite a good copy overall.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Paris moderne et ses environs d'aprà s la photographie [cover title].

      - [Paris, Ledot Jeune, c. 1860]. Oblong large 4to. Original brown morocco-backed pebble-grained cloth, spine with raised bands, ruled and lettered in gilt, front cover ruled in blind and lettered in gilt; 50 tinted lithographic plates; light rubbing to extremities, front free endpapers renewed; first plate minimally spotted, one with short maginal tear; otherwise a very good, clean and complete copy. Very rare pictorial album of Paris during the the Second Empire, the Paris of Jacques Offenbach, urban mass culture and immense wealth and poverty, as described by Zola. The very few albums with that title we were able to trace contain fewer plates, sometimes 48, 45 or only 28. The numbering is not consecutive, which might indicate that the publisher Ledot compiled albums on demand and for different markets. Photography is certainly the basis for many images, with the speeding carriages and the moving crowd of Paris added by the artists. [Attributes: Hard Cover]

      [Bookseller: Henry Sotheran Ltd]
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        Crónica de Salamanca. Revista de Ciencias, Lieratura y Artes. .

      1860. . 1860 - Imprenta de D. Jose Atienza . Salamanca. . 1 Vol. . Tomo I.- 26 ejemp. + Tomo II.- 24 ejemp. pp. Cuarto. Media Piel de época. Hemeroteca / Revistas / Publicaciones , Local España (Salamanca) . Publicación salmantina de mediados del siglo XIX. Revista de Arte, Ciencia, Historia, Literatura, etc. Perfecto estado conservación.

      [Bookseller: Librería Anticuaria Astarloa]
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        Poésies inédites

      Imp. de Jules Fick, Genève 1860, 15x23cm, reliure de l'éditeur. - Imp. de Jules Fick, Genève 1860, 15x23cm, reliure de l'éditeur. - Prima edizione pubblicata da Gustave Revilliod. Legatura Editor in piena cartone blu leggermente più scuro ornata da due motivi tipografici d'oro, piccole tracce di attrito sui tappi, coaching e motivi tipografici piatti freddi, leggermente urtato angoli. Autografo firmato G. Revilliod. Piccole macchie sparse. Raro esempio presentato nella sua confezione originale romantica. [FRENCH VERSION FOLLOWS] Edition originale publiée par Gustave Revilliod. Reliure de l'éditeur en plein cartonnage bleu, dos légèrement plus foncé orné de deux motifs typographiques dorés, petites traces de frottements sur les coiffes, encadrement et motifs typographiques à froid sur les plats, coins légèrement émoussés. Envoi autographe signé de Gustave Revilliod. Petites rousseurs éparses. Rare exemplaire présenté dans son cartonnage romantique d'origine.

      [Bookseller: Librairie Feu Follet]
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        Allgemeines Reichs-Gesetz- und Regierungsblatt für das Kaiserthum Österreich, Jahrgang 1849-1860 in insgesamt 16 Bänden

      Wien: Aus der kaiserlich-königlichen Hof- und Staatsdruckerei 1860 Komplett von 16 Bänden, genauere Beschreibung s. Angebote zu einzelnen Bänden. Nach vorzunehmender einfacher Restaurierung eignen sich die Bände perfekt als Dekoration z.B. in einer Anwaltskanzlei.Österreich-Ungarn, Monarchie, Gesetzessammlungen, Rechtsgeschichte, schöne Einbände

      [Bookseller: Antikvariát Valentinská]
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        \"Erinnerung an den Harz\". Gesamtansicht von Blankenburg (24 x 35,5 cm), umgeben von 24 weiteren Ansichten aus dem Harz.

       Gouachierte Lithographie von E. Schulz bei C.W. Ramdohr, Braunschweig, um 1860, 37 x 51 cm. Thieme-Becker Bd. XXX, S. 329. - Emil Schulz, geboren 1822 in Wolfenbüttel, war Schüler des Landschaftsmalers H.H. Brandes sowie von Th. Hildebrandt an der Düsseldorfer Akademie. Schulz war als Landschafts- und Bildnismaler sowie als Lithographie tätig in Dresden, München, Düsseldorf und Braunschweig, wo er 1912 auch starb. - Die Hauptansicht zeigt Blankenburg vom Heidelberg aus. Tadellos erhaltenes Souvenirblatt in feinem Kolorit. In Echtgoldleiste gerahmt. Versand D: 6,00 EUR Sachsen und Sachsen-Anhalt, Souvenir-Blätter

      [Bookseller: Antiquariat Bierl]
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        Burgruine Betzendorf.

      - Farblithographie v. W. Schroeder b. W. Loeillot in Berlin, um 1860, 32 x 41 Besitzer: von der Schulenburg.

      [Bookseller: Antiquariat Norbert Haas]
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        SCHUHMACHER., "St. Crépin et St. Crépinien. Patrons des Cordonniers". Blick in eine Schusterweckstatt (29 x 20 cm), der Meister schneidet die Sohle für einen Stiefel zurecht, während der Gehilfe das Leder zuschneidet, im Hintergrund an der Wand die Leisten. Die Darstellung umgeben von einer aufwendigen Umrahmung mit 13 Stationen vom Kreuzweg, sowie einer Darstellung von Christi Geburt.

      Altkol. Holzschnitt bei Pellerin, um 1860, 54 x 36,5 cm. Verso: Ganzfigur von Papst Cornelius (31 x 20 cm), in aufwendiger floraler Umrahmung (insgesamt 54 x 37 cm), unten Inschrift. - Leicht fleckig. Berufe

      [Bookseller: Buch- und Kunstantiquariat]
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        \"St. Crépin et St. Crépinien. Patrons des Cordonniers\". Blick in eine Schusterweckstatt (29 x 20 cm), der Meister schneidet die Sohle für einen Stiefel zurecht, während der Gehilfe das Leder zuschneidet, im Hintergrund an der Wand die Leisten. Die Darstellung umgeben von einer aufwendigen Umrahmung mit 13 Stationen vom Kreuzweg, sowie einer Darstellung von Christi Geburt.

       Altkol. Holzschnitt bei Pellerin, um 1860, 54 x 36,5 cm. Verso: Ganzfigur von Papst Cornelius (31 x 20 cm), in aufwendiger floraler Umrahmung (insgesamt 54 x 37 cm), unten Inschrift. - Leicht fleckig. Versand D: 6,00 EUR Berufe

      [Bookseller: Antiquariat Bierl]
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        SCHUHMACHER. "St. Crépin et St. Crépinien. Patrons des Cordonniers". Blick in eine Schusterweckstatt (29 x 20 cm), der Meister schneidet die Sohle für einen Stiefel zurecht, während der Gehilfe das Leder zuschneidet, im Hintergrund an der Wand die Leisten. Die Darstellung umgeben von einer aufwendigen Umrahmung mit 13 Stationen vom Kreuzweg, sowie einer Darstellung von Christi Geburt.

      - Altkol. Holzschnitt bei Pellerin, um 1860, 54 x 36,5 cm. Verso: Ganzfigur von Papst Cornelius (31 x 20 cm), in aufwendiger floraler Umrahmung (insgesamt 54 x 37 cm), unten Inschrift. - Leicht fleckig.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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      - [Japan 1860], n.p. Large sheet, 96 x 1m 44cm., gouache,very clean work no worming or other condition issues, painted on 16 joined sheets of Washi paper to make one large sheet,fine water-color painting. THIS IS AN ORIGINAL PAINTED ART WORK *** *** *** . . FROM JAPAN'S OLDEST MYTHOLOGY KOJIKI & NIHON SHOKI . . . THE ORIGINS OF THE EMPEROR . . . OTOHIME GYO RETSU ZU: . . . PROCESSION OF OTOHIME, DAUGHTER OF THE SEA GOD . . *** OTOHIME is a goddess in Japanese mythology and is featured in the Kojiki as well as Nihon Shoki. Also known as "Luminous Jewel". A Japanese goddess, the beautiful daughter of the sea-king Ryujin. She married Hoori and gave birth to a son after which she turned into a dragon. . * Per the Japanese text brushed on the verso upper left corner: "239 ban, [dated] Ansei 7th, Kanoe-Saru-doshi, 2 gatsu jojun [end of February], OTOHIME GYO RETSU ZU" . English: "#239, [dated] Ansei 7th, monkey zodiac year, end of Feb.: [1860] . * PAINTING TITLE PER VERSO: "THE FIGURE OF PRINCESS OTOHIME'S PROCESSION, THE DAUGHTER OF THE SEA GOD" . "Toyotama-hime" [Japanese for "Lady Bountiful Soul"], better known as Otohime, is a goddess in Japanese mythology and is featured in the Kojiki as well as Nihon Shoki. She is the beautiful daughter of Ryujin, the "God of the Sea." . *** A STUNNING ORIGINAL POLYCHROME GOUACHE PAINTING: . This original color watercolor painting shows the lively procession of OTOHIME and her hand maid. She is followed by a flag and umbrella bearer. Also following is a man with a pair of deer antlers [good omen], a man with a small red offering table with peaches, the Wind God and his thunder-drum. Another flag bearer, his helper, followed by two others, one holds a staff, the other an offering of golden egg. . The items carries are symbolic good fortune and wealth in terms of deer antlers, peaches and the golden egg represent ancient Chinese [also used by the Japanese] of omens of good fortune and good luck. . *** THE PAINTING: . Per the Japanese brushed text on the verso, there is a number found, meaning this panel of several was part of a larger work, per the chronology found in Clark [see below]. . This panel of several paintings was part of a restoration of Zojo-ji [temple] in Shiba. In 1859, KANO Toei & Kyosai "participates in a repair project at the Zojo-ji temple." See Clark. . Although Kyosai had officially left the Kano school in 1854, by participating in the restoration of Tokugawa's family temple in Shiba, he was showing loyalty to the Tokugawa family a good reason to volunteer his skills to the temple. It is also noteworthy that his mentor [Kano Toei] also participated in the restoration, and in all likelihood Kyosai joined his master in a sign of respect and loyalty to him. . Based on this chronology, it is clear Kyosai was one of the painters who worked at Zojo-ji temple along with his mentor and master teacher, Kano Toei. It was not uncommon at this time for schools to volunteer teachers and students to do temple restoration, and art work, painting, replacing or enhancing paintings and large murals. . This item's date matches the restoration dates for the Zojo-ji temple, which began in 1859 and continued into 1860. . This panel was unused, in the restoration, it may have been a precursor to the final painting which was actually used in the restoration project. It matches the scenes found in Zojo-ji temple restoration. The work is the exact style of others painted by Kyosai and his genre. The caricatures of the people in this painting reflect Kyosai's style exactly, the theme of his eccentric humor, expressing his love for creativity and the joy of painting. . It is entirely within Kyosai's bizarre character to undertake and devote himself to such a project as illustrating the famous myth of OTOHIME in more than 200 deluxe, extra large-size format paintings. . This restoration project could also have been a 'paying job' for Kyosai as at that time, he did not seem to be employed but in 1858 he beg

      [Bookseller: RARE ORIENTAL BOOK CO., ABAA, ILAB]
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