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

        Tiberias, Sea of Galilee.

      France c. 1860 - Three-part folding albumen print photographic panorama. Photograph size: 19.2 x 76.9 cm; mounted. View of the Sea of Galilee, most likely from the south-western shore, with the outskirts of old Tiberias seen in the foreground and the Sea of Galilee (Kineret) in the background.

      [Bookseller: Shapero Rare Books]
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        Den Sidste Franklin-Expedition Med "Fox", Capt M'clintock

      Copenhagen: Fr. Woldikes Forlagsboghandel, 1860. Undetermined. very good. 1st Edition. [6], 266.pp. Octavo. Illustrated with 8 lithographed plates, frontispiece from steel engraving, illustrations from drawings (including coloured blue flag on title page), folding facsimile of a document and 4 maps (including 3 folding maps. Original half red calf with black cloth boards and gilt lettering and decoration on spine. Some light foxing throughout (moreso to last few leaves), but plates unusually clean. Scarce. very good Not in AB. Narrative of the British Franklin search expedition sponsored by Lady Franklin, in the 'Fox' under McClintock, sent out to determine how Franklin and his men had died, written by the interpreter J.C.C. Petersen. 1860

      [Bookseller: Aquila Books]
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        Histoire physique, civile et morale de Paris depuis les premiers temps historiques par J. -A. Dulaure annotée et continuée jusqu'à nos jours par C. LEYNADIER.

      Dufour, Mulat et Boulanger, 1859, 1860. 8 tomes en 4 volumes in-8 demi-chag. vert, dos lisse orné. 135 planches hors-texte, dont 51 de costumes en couleurs. Dos lég. passé. Petites usures et frottements. Bon exemplaire. Avec l'Histoire des Arts et Métiers et des Corporations ouvrières de la Ville de Paris, depuis les temps les plus reculés jusqu'à nos jours par J. M. CAYLA. (tome VI).

      [Bookseller: Librairie de L' Avenue]
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        EN SHO HI CHO: SECRET BOOK OF BIG LEAVES AND SWALLOW. [An Erotic Color Painted J

      [Japan n.d.ca.1860's]. Green silk brocade cloth covers, very clean, solid copy, 8.5 x 12 cm., accordion folded, painted on both sides, 12 double-page erotic color paintings, all edges gilt, on thick album leaves. OBSCURE CHARMING WORK *** *** *** . . . A SUPERB POLYCHROME PAINTED MINIATURE EROTIC ALBUM . . TWELVE DOUBLE-PAGE STUNNING EROTIC SCENES . . *** A miniature Japanese hand-painted erotic album. As was the custom at the time, these albums were seldom signed or signed with a pseudonym to hide the true artist's name. . This stunning and skillfully painted album is most likely the anonymous work of a famous Ukiyo-e artist, executed in polychrome with the utmost detail. * THE TITLE: EN SHO HI CHO:SECRET BOOK OF BIG LEAVES THE SWALLOW: Is a play on words, the "big leaf" means the vagina, and the "swallow" refers to the penis, and of course most of the erotic books contain the character "Hi" [Himitsu = secret] secret or hidden book in the title. . **** TWELVE DOUBLE-PAGE EROTIC PAINTINGS: Front Side: . 1. A man with a large hard-on holds his penis projecting from his Kimono, as he listens to a couple on the other side of the Shoji screen making love. . The opposite page shows a sexually excited woman flushed and pink-faced, while she also listens to the adjacent couple making love. She prepares to wipe her freely flowing love-fluids, she holds a packet of Chirishi [toilet paper] at the ready. Her Kimono is parted, revealing her red under wear with her legs parted. . 2. A man inserts his fingers inside the his lover's vulva, she closes her eyes in ecstasy, pink-faced and flushed. . 3. A couple making love, the woman rides on top of the man, her rear end exposed, showing his penis entering her vagina. She is flushed and red-faced in excitement. . 4. A couple making love. The woman is on her knees offering her rear to him, as he enters her vagina, we can see his testecals and a fierce look on his face. His Kimono is pulled open, her Kimono is pulled over her back, revealing her bright red under Kimono. . 5. Before a grand screen of landscape and a plum tree in blossom, a couple make love. She clutches a packet of Chirishi [toilet paper] in her right hand. She is on her back, spread wide and open, he penetrates her fully-exposed vagina revealing his penis half-way inside her. He clutches her around the back of her neck with both arms, holding her Kimono firmly. He is flushed and pink-faced in ecstasy. . 6. A man makes love and enjoys two women. His penis penetrates the closest woman and sucks her nipple, while inserting his fingers into the vagina of the second. Both women have exposed vagina's. All three display very bright red-pink-flushed faces in fits of sexual passion. * VERSO OR BACK SIDE OF THE ALBUM: . 7. A naked woman is on her back, spread-eagle, right leg held up by his left arm. She is top-mounted by her passionate male lover. He is on his knees penetrating her anus. The woman flails her arms, squinting in pain, the man has a firm look on his pink-flushed face. Her Kimono is spread below, her wooden pillow is pushed off to the side. . 8. A fully naked and well-tattooed man sits on the Tatami mat, while holding a naked woman's left leg up enough to easily enters her exposed vagina from the rear. Love fluids freely flow from her vagina. She faces away from her lover while supporting herself by holding his right leg and left hand on the Tatami. He is pink-faced in ecstasy. . 9. A man catches a prostitute on the street. He pushes her against a building, while pulling up the back side of her Kimono. Spreading his Kimono open, he enters her vagina from the rear. They are both exposed from the hips downward, revealing their genitals. The are both quite red-faced in moment of sexual passion and ecstasy. . 10. An afternoon scene, the man wears a cloth over his head, hiding himself from the public. He secretly entered his lover's room. The eager and passionate lovers embrace, he is on his knees, she willingly sits back spreading her vagina while he penetrates her, ejaculating quickly with excitement. Love fluids flow from her vagina. Their Kimonos are pulled up to their hips, revealing their genitals. She is clutches him tightly holding his Kimono fast. Her face is brightly flushed pink. A white cockatoo observes from his cage. . 11. A night scene, the man has secretly entered his lover's room, he uses his Kimono to block out the lantern light. Holding a lighted candle in his left hand, he sheds light to reveal the sight of the couple's love-making. She is on her back, knees spread wide revealing her naked vagina, he sits on his knee, fully penetrating her vagina, which flows love-fluids. He holds her firmly with right hand. She is locked in a passionate grip behind her neck, eyes closed lost in ecstasy. His face and neck are pink-flushed with sexual passion. Her Kimono is thrown open, her bright-red under Kimono above her pubic area. . 12. The last scene is a classic of Japanese erotica. A man visits his beloved and favorite prostitute. She has pulled open her Kimono revealing her breasts and vagina. She sits back, resting both feet on her lover's chest, offering her vagina to him. He sits back resting against the door jam near naked as his Kimono is pulled off his shoulders. His penis penetrates her vagina as he suddenly notices a person just outside the doorway. . Just beyond the open sliding doors is an unashamed young prostitute, who is voyeuring the couple making love, which greatly excites her. Pulling her Kimono up over her back and on all fours, reveals her naked rear end and vagina. She reaches under and between her legs with her right hand, masturbating her vagina with her fingers. Her whole body is a sexually excited pink-flush. . *** . EXCELLENT AND HIGHLY SKILLED PAINTING TECHNIQUE AND DESIGN: . This adorable and charming miniature album is a very solid, with excellent color and fine detail, executed by a first class artist. Much attention has been paid to the facial details, sensual facial expressions, the elaborately designed Kimono, rooms, their design and art work, and every facet of common life during the mid-19th century Japanese culture. The book reflects the average person, and their dwellings, costume, coiffeur and erotic social customs. . *** EROTIC ART BANNED BY THE SHOGUN: From the Tokugawa period [1604], the Shogun banned erotica in all forms. This was an effort to demonstrate to foreign missionaries and foreign traders [i.e. Dutch merchants in the Nagasaki] that the Japan and the Japanese were a high-cultured people, not a "base people or culture" by prohibiting erotic books and paintings from their culture. . Being illegal, these books mostly circulated privately or "underground," being passed around discreetly. Artists either avoided signing their erotic woodblock-printed books and prints, or signed them with some ironic anti-political or anti-Shogunate name. Nevertheless the public could easily identify the painting style and know the artist's name. Many artists were jailed for either erotic art production or anti-Shogunate political satirical books and prints. . Regardless, substantially large number of anti-Shogun and erotic works were popularly circulated in society continually down to the modern period. Erotica in Japan is an ancient art form, continuing for millenum. . *** SIZE AND FORMAT: The album is small, commonly called "Mamebon" or "Bean Book" in Japan due to its miniature size. This kind of miniature book was easily concealed in the Kimono sleeve and joyfully carried around and jshared among friends, loaned or sold in the street. . *** REFERENCES: LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT, INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E. . LANE, Richard.: THE EARLY SHUNGA SCROLLS. Tokyo 1979, Gabundo. . LANE, Richard.: THE EROTIC THEME IN JAPANESE PAINTING AND PRINTS. [Tokyo 1968-69, Gabundo.] . LANE, Richard.: EROTIC THEME IN JAPANESE PAINTING: THE EARLY SHUNGA SCROLL. [Tokyo 1979, Gabundo] . BEURDELEY, Michel. et al.: EROTIC ART OF JAPAN: The Pillow Poem. * FAGIOLI, Marco.: SHUNGA THE EROTIC ART OF JAPAN. * ILLING, Richard.: JAPANESE EROTIC ART: And the Life of the Courtesan. . Note: Please check with us as we may have some of the above reference items. *** Color scans of this & most other items posted to our website. .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB -]
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        Apollon Boëdromios Bronze-Statue im Besitz seiner Erlaucht des Grafen Sergei Stroganoff. Mit vier Kupfertafeln.

      Saint-Pétersbourg, Buchdruckerei der kaiserlichen Akademie der Wissenschaften 1860 - in-folio, [4]-55 pp., avec 4 planches gravées au trait, montées sur onglets, et légendées chacune d'un feuillet en regard, demi-chagrin crème, dos lisse orné de filets dorés, pièce de titre noire en long, tranches mouchetées (reliure de l'époque). Rousseurs, mais bon exemplaire. Rare monographie sur une statue d'Apollon "secourable" en possession de Serguei Grigoriévitch Stroganoff (1794-1882, un moment gouverneur général de Moscou, et passionné d'archéologie toute sa vie durant). - Le philologue et archéologue Ludolf Stephani (1816-1887) se vit offrir en 1845 deux postes importants en-dehors de l'Allemagne : une chaire de philologie classique à l'Université de Dorpat (Tartu, en Estonie) ; un siège à l'Académie des Sciences de Saint-Pétersbourg. S'il opta d'abord pour Dorpat, où il enseigna de 1846 à 1850, il finit par se rendre à Saint-Pétersbourg, où il put devenir également conservateur à l'Ermitage. Seulement trois exemplaires au CCF (Bnf, Lille et Strasbourg).

      [Bookseller: Librairie Historique F. Teissèdre]
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        A screen of the four seasons, mountains and water, or, Living live through the four seasons

      1860. Toshin. Handscroll, measuring 10 3/4 by 331 inches (273x8407mm). An elegant makimono-e painting in sumi ink and color wash on paper by 83-year-old artist Toshin. Handscrolls are meant to be viewed right to left in sections, traveling arms-length by arms-length through the continuous landscape. This painting takes the viewer through each of the four seasons in a mountainous landscape, dotted with buildings and tiny figures and crossed by roads and rivers. It opens with a green spring bustling with travelers. Summer is blown in with a driving hail storm before gentling into autumn, where a full moon glows overhead. The journey ends in winter with a pristine snowscape. Calligraphic text at the beginning and end of the scroll give the title, artist, and year, and explains that the scroll is "after a painting by Hojo Bokkei, copied by Kakusenro Sesson." A few of the seams in the paper are beginning to come unglued, otherwise this lovely painting is in near fine condition. Housed in a wooden box, chipped to one corner.

      [Bookseller: Bromer Booksellers]
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        OTO HIME GYORETSU ZU: OTO HIME DAUGHTER OF THE SEA GOD'S PARADE.

      [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 began to design "Kyoga [crazy pictures]. It was in 1857 he married Okyo, the daughter of a Rimpa painter Suzuki Kiitsu, but Okyo died in 1859, and he remarried Tose, who died in 1860. . It is more than likely Kyosai being a Buddhist, he felt it was his religious obligation to do pennants by contributing to and drawing Buddhist or such traditional images as a way to placate the loss of his wife... . *** THE STORY OF OTOHIME, DAUGHTER OF THE SEA GOD: . Because this work was part of the Zojo-ji temple restoration, it can not be considered a commercial painting, one that was casually drawn and put on the market for sale. This was part of a commissioned restoration, financed by some benefactor to the temple, and most likely supported by the Tokugawa family. . ONE OF JAPAN'S EARLIEST AND MOST FAMOUS MYTHS: . The story of OTOHIME, DAUGHTER OF THE SEA GODD is one of Japan's oldest and most famous myths, known to all Japanese. Treasured as one of the most important in the ancient pantheon, it is found in the earliest writing about the origin of Japan and the Emperor, in the KOJIKI and the NIHON SHOKI. . This kind of larger paper illustrated story would take months to complete, by It would also take devotion to the subject and focus, with responsibility to produce a good number of paints daily. This was something Kyosai could and would do ! . *** THE ARTIST/PAINTER: This work is unsigned, which is expected as part of a larger series of paintings. If this was the work of Kyosai, it falls entirely within the dates during his period of work, produced when he was 29 years old. . The caricature in the faces and fluid bodies in motion, the "flowing" style are his. Although there is no signature, and it is a true reflection of Kawanabe's work, we are attributing it to him. . Another convincing point is that this kind of painting and meticulous style is also found in his famous instructional showing various 'schools' of painting in his KYOSAI GADEN. See below. . *** WHO WAS KAWANABE GYOSAI/KYOSAI: [1831-1889]: Kawanabe Kyosai was a superb artist, in the words of a critic, "an individualist and an independent, perhaps the last virtuoso in traditional Japanese painting". . Living through the Edo period to the Meiji period, Kyosai witnessed Japan transform itself from a feudal country into a modern state. Born at Koga, he was the son of a Samurai. His first aesthetic shock was at the age of nine when he picked up a human head apart from a corpse in the Kanda river. . After working for a short time as a boy with Utagawa Kuniyoshi, he received his artistic training in the Kano school, but soon abandoned the formal traditions for the greater freedom of the popular school. During the political ferment which produced and followed the revolution of 1867, Kyosai attained a reputation as a caricaturist. His very long painting on Makimono" [scroll] The battle of the farts" may be seen as a caricature of this ferment. . He was arrested three times and imprisoned by the authorities of the Shogunate. Soon after the assumption of effective power by the Emperor, a great congress of painters and men of letters was held at which Kyosai was present. . He again expressed his opinion of the new movement in a caricature, which had a great popular success, but also brought him into the hands of the police this time of the opposite party. After this time, he changed his name from Kyo [crazy or wild] to any one of 19 other "Go" [studio names] he used. However after the police jailed him, he avoided use of "Kyo" but returned back to it with three other "GO" that used the same character "Kyo" [crazy & wild], such as #7 "Baiga Kyosha," #10 "Kyosai, #12 Kyosha Gaishi, #16 "Shosho Kyosai" Quoted from Roberts below, see that reference for more details. . Kyosai is considered by many to be the greatest successor of Hokusai, as well as the first political caricaturist of Japan. His work mirrored his life in its wild and undisciplined nature and occasionally reflected his love of drink. *** . REFERENCE: . More on OTOHIME: https://en.wikipedia.org/wiki/Toyotama-hime http://www.pantheon.org/articles/o/otohime.html * KAWANABE Gyosao [ later known as Kyosai]: Is well collected by world museums https://en.wikipedia.org/wiki/Kawanabe_Ky%C5%8Dsai . KYOSAI GADAN: 1887, 4 vol. set]: In this work, he outlines and exhibits a wide variety of "styles" of painting. In this work there are several examples of this kind or school of painting. * Wikipedia stated about this book: "The most important work about Kyosai's art and life was written by himself: Kyosai Gadan, or "Kyosai's Treatise on Painting", half autobiography and half painting manual. * WESTERN APPRECIATORS: Many westerners came to visit Kyosai, and their memoirs about the artist are valuable. The two important ones, both rare, were: Émile Étienne Guimet, Promenades Japonaises, Paris, 1880. * Josiah Conder: "Paintings and Studies by Kawanabe Kyosai," Tokyo, 1911. Conder was a serious student of Japanese art; after some initial rejections, he was accepted as Kyosai's pupil, and accompanied him for ten years until the master's death. * Timothy Clark, Demon of painting: the art of Kawanabe Kyosai, p.186 chronology, and the drawing #21, p.58 is very similar to the pose found in our painting of OTOHIME [Toyotama-hime], both in pose, facial quality, hair style and the general perspective. * ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, p.100, stated of him: [Kyosai] "...was marked by a wild, eccentric humor...caricatures of full of fantasy and invention..." * [KAWANABE KYOSAI MEMORIAL MUSEUM]. KAWANABE KYOSAI DOKU HON. * OTOHIME: Nihon Jinmei Daijiten [Toyotama-hime]. Tokyo: Shogakukan. 2012. . *** .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB -]
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        Arctic Rovings: Or, The Adventures Of A New Bedford Boy On Sea And Land 1861

      Abel Tompkins [1860], Boston - 171, [4] pages; 12mo, original ornamental and pictorial blind-stamped green cloth, spine gilt. Heqad and foot of spine lightly worn, Frontispiece. Internally generally clean. Early ink ownership on front blank, modern ink annotation on verso of frontispiece. Publisher's advertisements in the rear. A youth's advenures as a mariner touchng on Whaling, Hawaii and the Arctic. Has a chapter titled "Peep at the Whale Fisheries." Sabin 29745. Appendix. ; 0 [Attributes: Hard Cover]

      [Bookseller: poor man's books (mrbooks)]
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        REPORT OF THE SUPERINTENDENT OF THE COAST SURVEY, SHOWING THE PROGRESS OF THE SURVEY DURING THE YEAR 1859.

      Thomas H. Ford, Printer, Washington 1860 - 4to., xv 370, (1)pp., with 39 folding maps and diagrams attached at rear. Bound in original black cloth with title on front board and spine in gilt. Moderate wear to the crown and foot of spine; tips rubbed. Library call label affixed to lower spine. Wake Forest College book donation plate on the front paste down. Some browning to the paste downs and end papers; text clean and bright. All maps called for (1 omitted at publishing). Occasional mis-folding to the maps, and rare breaks along the mis-folds. A Very Good copy. *** Library markings limited to the sticker on the spine, and the book plate*** [Attributes: First Edition; Hard Cover]

      [Bookseller: Frey Fine Books]
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        Message of Love. South-Side View of Cotton is King; and the Philosophy of African Slavery

      Atlanta: Printed at the Daily Locomotive Job Office, 1860. 47 pp. 1 vols. 8vo. Original blue printed wrappers. Wrapper a bit chipped, else Fine. 47 pp. 1 vols. 8vo.

      [Bookseller: James Cummins Bookseller ]
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        Erinnerung an Stade'.

      - Farblithographie v. F.W. Kähler n. Friedr. Steudel, um 1860, 44,5 x 56,5 Souvenirblatt. - Mittig Gesamtansicht umgeben vom Fischmarkt, Seminar, Holzstrasse, Sand, Hohe Tor, Höckerstrasse, Cosmarkirche, Wilhadikirche, Rathaus, Pferdemarkt, Salztor, Kehdinger Tor, Schiffer Tor, vier Villen, Stadtwappen und Töchterschule. - Perfekter Zustand!

      [Bookseller: Antiquariat Norbert Haas]
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        A treatise on the calculus of finite differences.

      Cambridge MacMillan 1860 - First edition. 8vo., 248 pp., modern brown half morocco gilt, an excellent example. Boole's last major published work. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        Palaeontology or a Systematic Summary of Extinct Animals and their Geological Relations.

      Edinburgh: Adam and Charles Black, 1860. 1st Edition. Hardcover. 8vo - over 7¾ - 9¾" tall. 8vo (215 x 138 mm). xv [1], 420 pp., folding table, several text illustrations. Bound without half-title and publisher's advertisements at end. Contemporary three-quarter morocco, spine with 5 raised bands and gilt lettering, marbled edges, marbled endpapers (some rubbing to boards and extremities). Provenance: illegible signature to title-page. Internally generally a fresh and clean copy. ----FIRST EDITION. Richard Owen's Palaeontology defines, describes and classifies all the fossil animal forms then known, and discusses the origin of species, commenting on the theories of Buffon, Lamarck, the then anonymous author of Vestiges of Creation, Wallace and Darwin. Richard Owen's career as an outstanding paleontologist began when he was cataloging the Hunterian Collection of human and animal anatomical specimens which had passed to the Royal College of Surgeons in London. His public lectures on anatomy were attended by Darwin, and he was entrusted with the classification and description of the fossil vertebrates sent back by Darwin from the Beagle voyage. He was responsible for coining many of the terms now used in anatomy and evolutionary biology, including the word 'dinosaur'. Very Good.

      [Bookseller: Milestones of Science Books]
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        Über die Entstehung der Arten im Thier- und Pflanzen-Reich durch natürliche Züchtung, oder Erhaltung der vervollkommneten Rassen im Kampfe um's Daseyn. Nach der zweiten Auflage mit einer geschichtlichen Vorrede und andern Zusätzen des Verfassers für diese deutsche Ausgabe aus dem Englischen übersetzt und mit Anmerkungen versehen von H. G. Bronn.

      E. Schweizerbart'sche Verlagshandlung und Druckerei, Stuttgart 1860 - 8vo (220 x 138 mm). viii, [6], 520 pp., including half-title and lithographed plate. Contemporary cloth over marbled boards, spine with floral gilt decoration and gilt lettering (extremities little chipped and rubbed, minor chipping to hinges and spine ends, corners bumped). Internally little age-toned throughout, occasional brown spotting, a few ink smudges, frequent weak text markings in pencil. Still a very good copy of this work. ---- Freeman 672 (2nd edition); PMM 344b and Horblit 23b (both first English ed.). THE RARE FIRST GERMAN EDITION OF "THE MOST INFLUENTIAL SCIENTIFIC WORK OF THE NINETEENTH CENTURY. Its publication aroused world-wide criticism and controversy, both religious and scientific" (Grolier/Horblit). The whole edition of 1250 copies was sold on the day of publication. Though the work was initially prompted by observations, made during his travels aboard the Beagle from 1831 to 1836, of the biology and geology of isolated islands, Darwin spent nearly 25 years after his return to England accumulating evidence and considering his theory before publishing. "Although the theory of evolution can be traced to the ancient Greek belief in the 'great chain of being,' Darwin's greatest achievement was to make this centuries-old 'underground' concept acceptable to the scientific community by cogently arguing for the existence of a viable mechanism -- natural selection -- by which new species evolve over vast periods of time. Darwin's influence on biology was fundamental and continues to be felt today" (Garrison-Morton 220). Erste deutsche Ausgabe, übertragen vom großen Paläontologen Hch. Gg. Bronn (1800-1862), der "trotz der Verschiedenheit der Meinung der erste war, der, die eminente Bedeutung von Darwin's Buch richtig einschätzend, demselben in einer vorzügl. Übersetzung die weiteste u. rascheste Verbreitung verschaffte u. dadurch nicht wenig beitrug zu dem raschen Siege der Theorie" (ADB III, 360). - Visit our website for additional images and information. [Attributes: First Edition; Hard Cover]

      [Bookseller: Milestones of Science Books]
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        ESPANA CORRIDA DE TOROS. COURSES ET COMBATS DE TAUREAUX.

      Paris, L. Turgis, no date, circa 1860.. Edition uknown circa 1860, oblong approximately 100 x 165 mm, 4 x 6½ inches, hand coloured title page and portrait of Francisco Montes and 17 hand coloured lithograph plates of bull fighting by Turgis, captions in French and Spanish, no text, bound in plain brown paper wrappers. Title page has pale stain to lower margin, pale foxing to margins and blank side of plates, otherwise a very good copy. NOT on Copac, Bibliotheque Nationale or WorldCat. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Ilm Tedbiri Milk The Science of The Administration of a State or An Essay on Political Economy in Turkish Being The First Ever Written In That Language

      First edition. Small 8vo., viii, [2pp.], [90pp.], started at both ends, introduction and contents in English, Ottoman Turkish text lithographed in red and black within red ruled boxes, on stiff white paper, in contemporary, blind stamped, grained purple cloth, gilt titles and decoration on lower board, all edges gilt, an inscribed presentation copy from the author to the Royal Society of Literature. London and Edinburgh, Williams and Norgate,

      [Bookseller: Maggs Bros. Ltd.]
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        The night-flyers. A series of moth pictures.

      London Paul Jerrard n.d. circa 1860 - First edition. 8vo., hand-coloured pictorial title-page, hand-coloured presentation page, 10 fine hand-coloured lithograph plates, text printed in red with decorative borders of grasses printed in gold, contemporary green morocco gilt, covers with fancy gilt borders and decorative gilt centre panel, panelled spine in six compartments, red morocco lettering piece to second, others richly gilt, raised bands, all edges gilt, a fine copy. "A scarce treasure for the collector" (Dunbar). Published in Paul Gerard's series of "Cream and Gold Presents appropriate for marriage, birthday and festive occasions for all seasons", these were the ultimate in Victorian drawing-room books. Originally brought out in a gutta-percha binding, copies easily fell apart and few copies have survived. Dunbar p56. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        CDV - Marchand des poisson (Fischhändler)

      J. Monstein Photographer Moscow / Moskau Sehr selten. CdV - Carte de Visite von Phtograph Johann Monstein in Moskau. - Um 1860 - 1870. Stammt aus dem Vorlass eines Botschafters i. R., aus dem Familienbesitz (bereits der Urgroßvater war leidenschaftlicher Fotograf). - Format ca. 10,5 x 6,2 cm. Auf Rückseite Firmenaufdruck von J. Monstein in Kyrilisch, sowie von Hand mit Bleistift beigefügt: \"Russia - Marchand des poisson\".. -- Bankverbindungen in Österreich und Deutschland. Versand D: 12,00 EUR Moskwa Russland Albumin Albumen Vintage Visitkarton Visitformat

      [Bookseller: Antiquariat Gerl]
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        Travels Researches and Missionary Labours During an Eighteen Years Residence in Eastern Africa

      First English edition. 2 folding maps, portrait, 12 coloured lithograph plates. 8vo. Original cloth, gilt,  recased inner joints repaired, back a little stainedli, ii, 566pp. London,Trubner

      [Bookseller: Maggs Bros. Ltd.]
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        Oeuvres posthumes. I. Ma biographie, écrite par Béranger. Avec un appendice et des notes. Ornée d'un portrait en pied dessiné par Charlet, d'une photographie d'après le marbre de M. Geoffroy-Dechaume et de huit gravures d'après d'Aubigny, Sandoz et Wattier, exécutées par Durond, Massart, Lalaisse, Nargeaot et Ruhierre. - II. Dernières chansons de Béranger, de 1834 à 1851. Avec une préface de l'auteur. Illustrées de 14 dessins de A. de Lemud gravés sur acier par MM. Balin, Brunet, Colin, Darodes, Doherty, Goutières, Massart, Noret, Lalaisse, Nargeaot et Pelée.

      Paris, Perrotin 1860 - 2 volumes in-8, [2] ff. n. ch. (faux-titre et titre), 416 pp., un f. n. ch; d'avis au relieur ; [2] ff. n. ch. (faux-titre et titre), III-374 pp., un f. n. ch. d'avis au relieur ; 25 planches dont un portrait-frontispice gravé au trait, un tirage photographique contrecollé et 23 gravures en deux états (avant la lettre sur Chine appliqué ; après la lettre), avec deux collettes explicatives sur papier rose, en feuilles, sous couvertures imprimées, et chemises modernes, dans double emboîtage de toile cerise gaufrée, pièces de titre, toutes couvertures de livraisons conservées (étui postérieur). Pièces de titre frottées. Troisième édition de la Biographie (l'originale est de 1857, la deuxième de 1859), plus ample que les précédentes, le texte étant augmenté de notes de l'éditeur. Et second tirage des Dernières chansons (l'originale est aussi de 1857, et ne présente pas de gravures). Exceptionnel exemplaire conservant l'intégralité des couvertures des 108 livraisons (96 pour le texte, 12 pour les gravures), et présentant la suite complète de l'iconographie en premier tirage, y compris la deuxième planche (double) représentant la chambre mortuaire de Béranger. Toutes les planches sont en deux états, sauf le portrait-frontispice, la planche double et l'épreuve photographique. Il n'y eut que 200 exemplaires à présenter les planches sur Chine. Nombre d'exemplaires ne présentent d'ailleurs pas les 14 planches de Lemud qui étaient vendues séparément. Viciare I, 415 (pour l'originale de 1857). Brivois, pp. 81, 82, 83 et 84. On joint : I. Le prospectus de l'ouvrage (un bifeuillet in-8). - II. Supplément aux premières éditions in-octavo (1857-1860) des Oeuvres posthumes de P.-J. de Béranger (8 pp. in-8, non coupées). Brivois, p. 82. Une note manuscrite moderne sur la chemise de la Biographie précise que notre exemplaire était celui de l'éditeur Perrotin ; donné par Madame Perrotin à Jules Brivois (1832-1920), il lui aurait servi à établir sa bibliographie de 1876. Il fut ensuite récupéré par Edouard Tulliez, comme nombre d'ouvrages provenant de Béranger, de son éditeur et de son bibliographe. La bibliothèque Tulliez fut dispersée en 1935.

      [Bookseller: Librairie Historique F. Teissèdre]
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        Lights and Shadows, a Yule Tide Rhyme.

      Ipswich: Cowell's Anastatic Press, (c. 1850s-1860s). Quarto. (8)ff., final leaf blank. Lithographed throughout, hand-colored in red, green, and blue and heightened with gold. Photographic reproduction of a madonna and child pasted to the title page as part of the decorative border. Each page shows a Christmas verse surrounded by borders of greenery, ribbons, and occasional angelic and star imagery to fit the holiday theme. The title page identifies the author not by name, but with the image of a robin. A production of Cowell's Anastatic Press in Ipswich, a printing and stationary business led by Samuel Harrison Cowell. Cowell took out a license on the anastatic process in 1848, and for a time it was the only anastatic press in the country. Although not internally dated, this book was likely produced during the 1850s and 1860s. To the inside front cover is the bookplate of Edward J. Law, a leading collector and scholar of anastatic lithography. Bound in green wrappers, decorated with a printed or lithographed reproduction of the title page, heightened in gold. Cover rubbed with occasional marking, with wear to extremities. Protected by a modern folio. No copies in OCLC or COPAC.

      [Bookseller: Bromer Booksellers]
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        Mucha, A. Maler, Graphik u. Plakatkünstler, (1860-1939). Eigenhändiger Brief mit Unterschrift und eigenhändig adress. frank. Kuvert. O. O. u. Dat. (Poststempel: Velky Osek 16.IX.30). 27,7 x 21,6 cm. 1 3/4 S. Gefaltet.

      . Mucha, A. Maler, Graphik u. Plakatkünstler, (1860-1939). Eigenhändiger Brief mit Unterschrift und eigenhändig adress. frank. Kuvert. O. O. u. Dat. (Poststempel: Velky Osek 16.IX.30). 27,7 x 21,6 cm. 1 3/4 S. Gefaltet. - In tschechischer Sprache an den Vereinsbruder Frant. Sebl mit Vorschlägen zur Terminverschiebung für einen Vortrag. Bittet um telegraphische Benachrichtigung, um nicht umsonst nach Prag zu fahren Daß sich unsere Vereinigung (mit Ital.) schon vollzogen hat u. daß wir uns zur gemeinsamen Arbeit mit unseren südslawischen Brüdern entschlossen haben, wirst Du vielleicht schon wissen, wenn nicht, erfährst Du es sicher bald. Frei übersetzt: - An Herrn Frant. Sebl, Bruder eines Vereins. Lieber Bruder. Deinen netten Brief habei ich eben erhalten und ich beeile mich, Dir zu antworten. Die Sache ist so: Wir haben jeden Mittwoch zwischen 1/2 8 und 10 Uhr Versammlung Sup:. Cons.: (?) in meinem Atelier. Am Dienstag Abend gibt normalerweise unsere Arbeit. So ist sehr Schwer sich das einzurichten - aber wie ich eben erfahre, denke ich, daß unsere Arbeit am Dienstag weg fällt. Darüber schreibe ich gerade dem Bruder Moucka. Er wird es wissen, weil, wie mir telegraphierte Bruder Dr. Thein, er bis jetzt für unsere Arbeit am Dienstag nicht eingeladen hat. Dann könntest Du den Vortrag anstatt für Mittwoch - für Dienstag 7-8 Uhr bekannt machen, aber sicherheitshalber, bitte ich dich, informier dich bei Bruder Moucka, er wohnt Valentinska Nr. 7 Prag II. Aber er hat kein Telefon, dann könntest Du ihm erreichen, wenn Du jemanden hinschicken würdest, am Mittag - etwa zu 1 Uhr, in der Regel kommt er nach Hause zum Mittagsessen. Ich komme auf jeden Fall nach Prag am Dienstag, und hier erfahre ich, ob die Arbeit gibt oder nicht. Köntest Du mir bitte am Montag Nachmittag telegraphieren, dann brauche ich nicht umsonst vom Bahnhof nach Hause gehen, dann könnte ich ganz gut um 7 Uhr in Atelier des Meister Mary sein. Letztemal habe ich aufmerksame Zuhörer gehabt. Ich hoffe, daß den es bischen, wenigstens bischen geholfen hat. Anderes habe ich den für das zweitemal versprochen. So bitte ich Dich, teurer Bruder, richte das bitte so ein, wie sich das einrichten läßt, sonst musste ich am Mittwoch nur für eine halbe Stunde, weil die Zuhörer (Hochschulstudenten?) früher nicht zusammen kommen können und ich muß wieder um 7 1/2 Uhr auf der Versammlung sein. Daß sich unser Vereinigung (mit Ital.) schon vollgezogen hat und daß wir uns zugeneigt zu Brüdern Südslawen haben zur gemeinsamen Arbeit, vielleicht wirds Du schon wissen, wenn nicht, erfährst Du sicher bald. Es grüßt Dich aus dem Herzen Bruder: ergeben Mucha - Dabei: eigenhändig adressierter, frankierter gelaufener Briefumschlag. .

      [Bookseller: aaa5]
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        Les historiettes. Troisième édition entièrement revue sur le manuscrit original et disposée dans un nouvel ordre par MM. de Monmerqué et Paulin Paris.

      Paris, J. Techener, 1854-1860, demi-maroquin de l’époque, à coins, dos à nerfs, coiffe sup. du tome 1 habilement restaurée. -Petits manques de papier dans les marges de 3 ff., dont 2 ayant entraîné la perte de la pagination (sans gravité). - 9 volumes in-8 ; 3e édition, la meilleure ; la première donnant le texte intégral sans aucune suppression. Bourgeois et André 793. "Les Historiettes valent beaucoup mieux que leur médiocre réputation [.]. Les historiens qui ont étudié la vie des personnages dont Tallemant a tracé de si vivants portraits, ont tous constaté que, le plus souvent, les documents d'archives venaient confirmer ses dires jusque dans les moindres détails [.]. Son témoignage sur son époque est donc d'une grande valeur ; il convient d'ajouter que ses qualités d'écrivain lui vaudront toujours des lecteurs [.], il conte l'anecdote avec naturel [.]. Son œuvre a la variété et le mouvement même de la vie. A le lire, on s'instruira toujours et on ne s'ennuiera jamais." (Dict. des lettres françaises, XVIIe siècle, p. 972).

      [Bookseller: LIBRAIRIE PHILIPPE SERIGNAN]
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        The Mill on the Floss.

      Edinburgh William Blackwood and Sons 1860 - First edition, first printing, *presumed first state, 8vo., volume I: vi, [2], 361, [3, blank]; volume II: vi, [2], 319, [1, blank]; volume III: vi, [2], 313, [1, blank], with 16pp. publisher's catalogue at end, three small closed tears to half-title of volume III, very occasional light mark or spot otherwise very good, publisher's cinnamon ripple-grain cloth (Carter's variant B), covers decoratively blind-stamped, spines lettered in gilt, Edmonds & Remnant's binder's ticket at end of volume I, some light soiling, inner hinges starting but still sound, spines bumped at head and foot, corners slightly bumped, preserved in a solander box by Zaehnsdorf for E. Joseph, a very good set. *Without the advertisement leaf in volume I; according to Carter this is the first state, since the leaf was inserted in later copies and rear advertisements in volume III list the 'Seventh Edition' of Adam Bede, while some copies list the 'Eighth Edition.' After Middlemarch this is Eliot's most popular novel. Sadleir 816a; Wolff 2060; Parrish, pp. 14-15. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        Iconographie des Maladies Vénériennes.

      Paris, Vicor Masson et Fils, (1860), 4, 74 feinste handcolorierte Farbpunktierstiche mit 74 Blätter Tafelerklärungen, in roten Halbledereinband der Zeit feines Exemplar. Erste Ausgabe - Schönste und feinste mir bekannte Ikonographie der Vernerologie! Die 74 aussergewöhnlich feienen Tafeln wurde gezeichnet von Léveille, bekannt durch die Illustration der berühmte Hirschfeld'schen "Névrologie". Adrien Fidèle Auguste Cullerier (1805-1874), Chirurgie in de l'hopital du Midi, Chevalier de la Légion d'honneur etc, war jedenfalls der Bedeutendste aus der berühmten Syphilographenfamilie der Cullerier. Ausser der Herausgabe seiner Icongraphie beteiligte er sich in einer ansehnlichen Reihe von Artiklen und Vorträgen an der schwebenden Streitfragen seiner Zeit mit grossem Eifer.. Viele Inoculationsversuche, welche Cullerier an Thieren stets resultatslos verogenommen hatte, machten ihn zu einem Gegener Auzias-Turenne's auch in den übrigen Punkten der Contagienlehre verfocht er die ursprüngliche Theorien Ricord's.. Proksch, Gesch. vener. Krankh., II, p.793ff.

      [Bookseller: MedicusBooks.Com]
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        Spinale Kinderlähmung. Monographie.

      Zweite umgearbeitete und vermehrte Auflage. - Stuttgart, J.G. Cotta'scher Verlag, 1860, VIII, 204 pp., 14 getönten lithogr. Taf., Pappband der Zeit. Die erste Monographie über dieses Krankheitsbild von Jakob von Heine (1800-1879). "Erst in dieser stark vermehrten zweiten Auflage, unter Bekanntgabe von vielen neuen Methoden und Erkenntnissen erhielt dieses klassische Werk den Titel "Spinale Kinderlähmung", da er den Sitz der Krankheit im Rückenmark annahm, wenn er sich auch noch nicht auf Sektionsergebnisse stützen konnte. Er teilte das Leiden ein in das akute (primäre) und das chronische (sekundäre) Stadium und unterschied sehr wohl die cerebrale (spastische) Hemiplegie von der spinalen Lähmung, die er "Paralysis infantilis spinalis" nannte. Ferner führte er sehr genaue Temperaturmessungen an den verschiedenen Körpergegenden durch und stellte dabei Unterschiede der Hautemperatur zwischen der gesunden und gelähmten Seite fest auch das Zurückbleiben im Wachstum entging ihm nicht. Ebenso wies er schon auf das epidemische Auftreten hin, ferner auf die Kontrakturen und die anderen Fehlstellungen...." "..namentlich die zweite aus dem Jahre 1860, deren reicher Inhalt nur in Stichworten angedeutet werden konnte, sind als wahre klassische Werke zu bezeichnen nach ihrer Lektüre wird man es voll und ganz verstehen (...) das die Bezeichnung einer der schlimmsten Plagen, welche Kinder und Erwachsene befallen kann, mit dem Namen des deutschen Orthopäden Jacob von Heine (1800-1879) als 'Heine-Medinische Krankheit' verbunden bleiben wird. Ferner war Jakob Heine wahrscheinlich der erste in Deutschland welcher die orthopädische Gymnastik in seinem Institut bei Cannstatt einführte.""In 1940 Heine (1799-1879) gave the first description of acute anterior polyomelitus in a slender monograph of 78 pages. "Twenty years later (1860) in a much enlarged edition Heine gathered again his rich experiences, announcing many new methods and observations. He called his new monograph "Spinale Kinderlähmung" as he assumed the seat of the disease to be in the spinal cord --- These tow monographs by Heine, especially the second of 1860 ... must be considered true classics ... "Valentin After a brief account of the acute or primary stage comes a detailed description of the second or paralytic stage with numerous clinical histories of the different forms of paralysis, followed by sections on etiology and pathologic anatomy, differential diagnosis, prognosis and treatment, especially by orthopaedics means. The 29 lithographic figures illustrate deformities and apparatus. The book contains numerous references to the literature. (Fischbein et al)Valentin, Gesch. d. Orthopädie, pp.5,57,125,134,136,230 Grulee Collection 1116 Bloomfield, Bibl. of internal Med., p.407 Bick, Source Book of Orthopaedics, p.155 Levinson, Pioneer pf Paediatrics, pp.55 Hist. of Poliomyelitis Haymaker, Founders of Neurology Walker 4209

      [Bookseller: MedicusBooks.Com]
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        Über die Entstehung der Arten im Thier- und Pflanzen-Reich durch natürliche Züchtung, oder Erhaltung der vervollkommneten Rassen im Kampfe um's Daseyn. Nach der zweiten Auflage mit einer geschichtlichen Vorrede und andern Zusätzen des Verfassers für diese deutsche Ausgabe aus dem Englischen übersetzt und mit Anmerkungen versehen von H. G. Bronn.

      Stuttgart: E. Schweizerbart'sche Verlagshandlung und Druckerei, 1860. 1st Edition. Hardcover. 8vo - over 7¾ - 9¾" tall. 8vo (220 x 138 mm). viii, [6], 520 pp., including half-title and lithographed plate. Contemporary cloth over marbled boards, spine with floral gilt decoration and gilt lettering (extremities little chipped and rubbed, minor chipping to hinges and spine ends, corners bumped). Internally little age-toned throughout, occasional brown spotting, a few ink smudges, frequent weak text markings in pencil. Still a very good copy of this work. ----Freeman 672 (2nd edition); PMM 344b and Horblit 23b (both first English ed.). THE RARE FIRST GERMAN EDITION OF "THE MOST INFLUENTIAL SCIENTIFIC WORK OF THE NINETEENTH CENTURY. Its publication aroused world-wide criticism and controversy, both religious and scientific" (Grolier/Horblit). The whole edition of 1250 copies was sold on the day of publication. Though the work was initially prompted by observations, made during his travels aboard the Beagle from 1831 to 1836, of the biology and geology of isolated islands, Darwin spent nearly 25 years after his return to England accumulating evidence and considering his theory before publishing. "Although the theory of evolution can be traced to the ancient Greek belief in the 'great chain of being,' Darwin's greatest achievement was to make this centuries-old 'underground' concept acceptable to the scientific community by cogently arguing for the existence of a viable mechanism -- natural selection -- by which new species evolve over vast periods of time. Darwin's influence on biology was fundamental and continues to be felt today" (Garrison-Morton 220). Erste deutsche Ausgabe, übertragen vom großen Paläontologen Hch. Gg. Bronn (1800-1862), der "trotz der Verschiedenheit der Meinung der erste war, der, die eminente Bedeutung von Darwin's Buch richtig einschätzend, demselben in einer vorzügl. Übersetzung die weiteste u. rascheste Verbreitung verschaffte u. dadurch nicht wenig beitrug zu dem raschen Siege der Theorie" (ADB III, 360). - Visit our website for additional images and information. Very Good.

      [Bookseller: Milestones of Science Books]
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        \"Hamburg von der Wallhalle gesehen\". Hübsch staffagierte Gesamtansicht.

       Altkol. Lithographie von Wilhelm Heuer, gedruckt bei Char. Fuchs, um 1860, 30 x 48,5 cm. Thieme-Becker Bd. XVII, S. 3. - Der Lithograph und Zeichner Wilhelm Heuer wurde 1813 in Hamburg geboren, wo er 1890 starb. Er lernte bei den Gebrüdern Suhr, studierte dann in Dresden und Wien. Ab 1842 war er wieder in Hamburg und entwickelte sich zum \"bedeutendsten und fruchtbarsten Berufslithographen seiner Zeit. Namentlich seine Blätter, die das Hamburg der 1850er und 60er Jahre schildern sind von den Sammlern begehrt\" (Th.-B.). - Im Ganzen minimal gebräunt. Sehr breitrandig und mit schönem Altkolorit. Versand D: 6,00 EUR Hamburg

      [Bookseller: Antiquariat Bierl]
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        Notes on Nursing: What it is, and what it is not.

      London: Harrison, 1860. 1st Edition. Soft cover. 8vo - over 7¾ - 9¾" tall. 8vo (218 x 140 mm). [1-5] 6-79 [1] pp. Original black pebbled cloth, title in gilt on front cover (very little rubbing to extremities). Text crisp and clean, paper flaw at lower blank corner of p.43/44 repaired with tissue paper. Provenance: Charles Cat*, 44 Middle St. (contemporary ownership inscription to front pastedown). An outstanding, unusually well-preserved and unsophisticated copy of the very rare first issue. ----Norman 1600; Bishop & Goldie 4(i); Lilly p. 215; Garrison-Morton 1612; Grolier Medicine 71; Heirs of Hippocrates 1884; Osler 7737; Waller 6872. - FIRST EDITION, FIRST ISSUE, without the notice "[The right of translation is reserved]" on the title-page, the textual errors uncorrected, and the plain yellow endpapers, as in the earliest known copy (see Bishop & Goldie, 1962, pp.15-18). "Defining nursing as 'helping the patient to live,' Nightingale 'introduced the modern standards of training and esprit de corps, and early grasped the idea that diseases are not 'separate entities, which must exist, like cats and dogs,' but altered conditions, qualitative disturbances of normal physiological processes, through which the patient is passing. While she did not know the bacterial theory of infectious diseases, she realized that absolute cleanliness, fresh air, pure water, light, and efficient drainage are the surest means of preventing them" (Garrison-Morton, History of Medicine, p. 773). "A disciple of the pioneer statistician Adolphe Quetelet, Nightingale supported all of her writings with statistical evidence; a chart on page 78 of the Notes shows the number of women employed as nurses in 1851-- some of them as young as five years of age!" (Norman 1600). *Charles Cat (1817-1885) was a brewer who resided at 44 Middle Street, Brighton - Visit our website for additional images and information. [1860]. Near Fine.

      [Bookseller: Milestones of Science Books]
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        Gesamtansicht ('Der Kreuzberg bei Ummendorf').

      - getönte Lithographie v. Eberhard Emminger gedr. v. Tr. Fritzsche in München b. Pfarrer Dr. Hofele in Ummendorf, um 1860, 25,5 x 31,5 Schefold, Alte Ansichten aus Württemberg, Nr. 10266 - Laut Schefold einzige gestochene Gesamtansicht von Ummendorf! - Eberhard Emminger war Lithograph u. Landschaftszeichner (1808 - Biberach - 1885). - Seine Lehre absolvierte er bei der Ebnerschen Kunsthandlung in Stuttgart. - Emminger gehört zu den bedeutesten Lithographen des 19. Jahrhunderts.

      [Bookseller: Antiquariat Norbert Haas]
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        Gesamtansicht mit Burg Hohenneuffen ('Hohen-Neuffen').

      - getönte Lithographie v. Eberhard Emminger gedr. v. G. Küstner b. Th. Caelius in Urach, 1860, 18 x 23

      [Bookseller: Antiquariat Norbert Haas]
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        Gesamtansicht ('Oberamtsstadt Urach').

      - getönte Lithographie v. Eberhard Emminger gedr. v. G. Küstner b. Th. Caelius in Urach, 1860, 17 x 23

      [Bookseller: Antiquariat Norbert Haas]
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        \"Ober-Audorf\". Gesamtansicht mit schönem Blick auf die Berge, im Vordergrund Tierstaffage.

       Lithographie mit Tonplatte von Eberhard Emminger bei Ravizza, um 1860, 12 x 19,5 cm. Henning/Maier, Eberhard Emminger, S. 151; Lentner 9595. - Aus der Folge \"Ansichten vom bayerischen Hochland\" Nr. 28. - Breitrandig. Versand D: 6,00 EUR BAYERN, Oberbayern

      [Bookseller: Antiquariat Bierl]
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        The lake regions of Central Africa. A picture of exploration.

      London Longman 1860 - First edition, two volumes, 8vo., xviii, 412; viii, 468 pp., twelve tinted woodcut plates, twenty-two woodcut illustrations in the text, folding tinted map, bound as an Eton College leaving gift in contemporary polished calf gilt, panelled spines in six compartments, tan morocco lettering piece to second, green morocco numbering roundel on citron morocco label to third, others richly gilt, raised bands, marbled edges, a fine set. One of the most important Burton titles, considered by many to be his best piece of writing. Burton travelled with Speke on their second journey together in order to found the "Jebel Kumri", or the "Mountains of the Moon." They made a brief examination of Lake Tanganyika, but with failing health they were forced to return to Kazeh to recuperate. Following this, Burton sent Speke off by himself to investigate a large lake. Speke became convinced that this was the source of the Nile; a conclusion disputed by Burton which led to their falling out and, probably, Speke's mysterious death. This work contains Burton's first attack on Speke in print. Penzer pp67-68. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        CDV - Marchand des poisson (Fischhändler)

      J. Monstein Photographer, Moscow / Moskau - Sehr selten. CdV - Carte de Visite von Phtograph Johann Monstein in Moskau. - Um 1860 - 1870. Stammt aus dem Vorlass eines Botschafters i. R., aus dem Familienbesitz (bereits der Urgroßvater war leidenschaftlicher Fotograf). - Format ca. 10,5 x 6,2 cm. Auf Rückseite Firmenaufdruck von J. Monstein in Kyrilisch, sowie von Hand mit Bleistift beigefügt: "Russia - Marchand des poisson". -- Bankverbindungen in Österreich und Deutschland.

      [Bookseller: Antiquariat Birgit Gerl]
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        Gesamtansicht von der Ostseite.

      - getönte Lithographie v. Loeillot gedr. v. L. Zöllner in Berlin n. F. Koska b. F. Behrend, um 1860, 22 x 36,5

      [Bookseller: Antiquariat Norbert Haas]
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        Three legal documents reporting the sale of a female slave and her child

      Taylor County, Kentucky, 1860. Unbound. Very good. Three one-page Taylor County, Kentucy documents regarding the sale of two slaves, Ann and her son John, as part of an inheritance lawsuit following the death of their owner, James F. Campbell of Taylor County, Kentucky. All three documents are in nice shape. After James F. Campbell, a farmer in Taylor County, Kentucky, died in 1854, his wife, Melinda, and their two children moved in with her father Rezin H. Davis, also of Taylor County. Davis was appointed as guardian of James and Melinda's son, Alfred T. Campbell. Alfred T.'s other grandfather, Alfred Hazelwood, was appointed as the administrator of James F.'s estate. There was friction between the two families regarding disposition of the estate, and Davis won a judgement on behalf of Alfred T. against the estate administered by Hazelwood, and the Circuit Court directed two of the slaves belonging to the estate, Ann and her son James, be sold and that the proceeds go to Davis on behalf of Alfred T. Two of the documents, signed by D. J. Hotchkiss, are promissary notes addressed to George W. Montague, a commissioner of the court. The first, dated 14 November 1859, promises to pay "the sum of Seven Hundred & Eighty Dollars - with interest from this date, being the purchase money for a Negro woman named Ann & her Child named John." Apparently the court found the price paid to be insufficient and directed that Ann and John be sold at auction. In the second document, dated 2 April 1860, Hotchkiss promises to pay Montague "the sum of Nine Hundred * Sixty One dollars with interest therein from this date being the purchase money for a Negro woman named Ann & child John." The third document is an official court document, signed by Montague, reporting that "he did . . . expose to sale to the highest bidder . . . said Slaves Ann & John and D. J. Hotchkiss being the highest bidder for said slaves Ann & John became the purchaser . . . at the sum of Nine hundred and Sixt one Dollars." A telling group of documents that drives home the fact slaves were no more than property to be bought and sold like any other commodity in order to raise money or settle debts.

      [Bookseller: Read 'Em Again Books, ABAA]
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        Weimar- Album. Blätter der Erinnerung an Carl August und seinen Musenhof. Eine geschichtliche Schilderung.

      Lpz., Heinrich Schmidt & Carl Günther. 1860 - 2°. VIII, 125 S. Mit ill. Titelblatt und 22 ganzseitigen Stahlstichen von Gustav Brinckmann. Ill. OLn., goldgeprägt mit ornamentaler Randleiste. Ganzgoldschnitt. Einband berieben, Ecken bestossen. Alt restauriert, (Buchrücken verstärkt). Vereinzelt fleckig. Insgesamt gutes, dekoratives Exemplar. Stahlstiche:1. Portraits. 2. Ansicht des Schlosses zu Weimar. 3. Goethe's Büste nach Trippel. 4. Goethe's Gartenhaus. 5. Herder's Haus. 6. Wielands, Haus. 7. Das Borkenhäuschen. Die Sternbrücke. 9. Der Stern. 10. Der Aufgang zu dem römischen Hause.11. Das römische Haus. 12. Denkstein für Franz von Dessau. 13. Die Schillerbank. 14. der Stein mit der Schlange. 15. Das Tempelherrnhaus. 16. Goethe's Colossal- Statue in Marmor von Steinhäuser in Rom, nach einer Idee von Bettina von Arnim. 17. Schiller's Büste nach Dannecker. 18. Goethes Haus in der Stadt. 19. Schiller's Haus. 20. Herder- Statue. 21. Wieland- Statue. 22. Goethe- und Schiller Monument. 23. Tiefurt. 24. Ettersburg. 25. Die Fürstengruft auf dem Friedhofe. [Attributes: First Edition; Hard Cover]

      [Bookseller: Altstadt Antiquariat Bode]
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        Set of Twelve Chinese Junks and Barges.

      c 1860 - A set of twelve Chinese Junks and Barges: Watercolour and gouache studies on pith paper, edged in blue silk ribbon. Framed and glazed in hand-made gold leaf reeded frames. The vessels depicted include variants of the traditional flat-bottomed Junk, the similar but European-hulled Lorcha, State and pleasure barges, and a large floating duck house. Pith came into use for painting to satisfy the increasing demand for small, inexpensive and easily transported souvenirs, following the massive growth in the China Trade in the first quarter of the nineteenth century. Paintings in oils, on board and canvas were costly and difficult to carry home. Earlier and more prestigious export watercolours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings (and later the little glass-fronted boxes) were inexpensive, light, easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light, they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera, native to south-west China. It has had a variety of uses, some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting, it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom, if ever, measure more than about 30cms by 20cms. The sheets are dried, trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure, the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours.

      [Bookseller: Shapero Rare Books]
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        Documents in the Spanish and two of the early tongues of Florida (Apalachian and Timuquan).]

      n.p. 1860 - Folio, 10 leaves; 4 leaves of facsimile manuscript (1 leaf blank); without a title page, as issued. A manuscript note: "George H. Moore Esq, these copies (seven sheets) [i.e. 14 leaves] of official papers in Spanish and in Apalachian and Timuquan - early languages of Florida - from his friend / Buckingham Smith / January 1860" stands in its place. Pilling records a similar note on his copy, which contains a further mention that this is one of 50 copies. Blue library cloth, gilt title direct on spine, near fine. An Ayer Linguistics duplicate, with their release stamp on flyleaf and labels on rear pastedown. Pilling, Proof-sheets 3633; Pilling, Muskhogean p. 85. [Attributes: Soft Cover]

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
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        Leipzig.

      Leipzig Payne um 1860 - Stahlstich von Payne nach Elsner (eig. Christian Adolf Eltzner), Bildausschnitt 20 x 33,5 cm, Blattgr. 24,5 x 37 cm. Detailreiche Ansicht von Leipzig aus der Vogelschau, im Bildmittelpunkt der Augustusplatz mit der Paulinerkirche und dem Augusteum, dahinter die Innenstadt, im Vordergrund die 1963 gesprengte Johanniskirche; knapprandig, von guter Erhaltung.

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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        Poésies inédites

      Imp. de Jules Fick 1860 - - Imp. de Jules Fick, Genève 1860, 15x23cm, reliure de l'éditeur. - 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. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] First Edition published by Gustave Revilliod. Publisher's binding in full blue cardboard back slightly darker adorned with two golden typographical reasons, small traces of friction on the caps, coaching and typographical reasons Cold boards, lightly bumped corners. Autograph signed G. Revilliod. Small scattered spots. Rare example presented in its original carton romantic. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Eigenh. Brief m. Unterschrift.

      Oldenburg, 12. II. 1860. - [An den österr. Chemiker u. Mineralogen Anton Schrötter von Kristelli (1802-1875)]. - Umfang- und inhaltsreicher Brief. - „[.] Stephan von Österreich gehörte zu den berühmtesten Mineralsammlern des österreich-ungarischen Reiches, dessen Interesse an den Mineralen bereits mit fünf Jahren erwachte. Nach seiner politischen Ausbildung am Königshof von Wien unternahm er ausgedehnte Erkundungstouren durch das Reich und nutzte während dieser Zeit jede Gelegenheit, berühmte Mineralmuseen und bekannte Mineralfundorte zu besuchen, um seine Sammlung durch eigene Funde oder Käufe zu erweitern. 1845 ehrte der bekannte Mineraloge Wilhelm Ritter von Haidinger seine Bemühungen um die Mineralogie mit der Benennung eines wichtigen Silberminerals und -erzes nach ihm als Stephanit. Die mineralogische Sammlung Stephans von Österreich enthielt bei seinem Tod 1867 rund 20.000 Proben und wurde auf den für damalige Verhältnisse enormen Wert von 300.000 Mark geschätzt. Nach Stephans Tod ging die Mineralsammlung auf das Haus Oldenburg über und wurde bis zu deren Verkauf 1888 an den Unternehmer Carl Rumpff weiter ausgebaut. Nach dessen Tod 1889 wurde die Sammlung schließlich an das Museum für Naturkunde in Berlin übergeben" (Wikipedia). --- Der in Olmütz geborene Anton Schrötter, Sohn eines Apothekers, studierte ab 1822 zunächst auf Wunsch seines Vaters in Wien Medizin, wechselte dann aber unter dem Einfluss von Friedrich Mohs zu den naturwissenschaftlichen Fächern, speziell der Mineralogie. 1827 erhielt er eine Assistentenstelle für Physik und Mathematik an der Universität Wien. 1830 wurde er Professor für Physik und Chemie am Technischen Institut Joanneum in Graz. Während eines halbjährigen Urlaubs im Jahre 1838 besuchte er chemische Institute in Göttingen, Heidelberg, Frankfurt und Paris. In Gießen machte er sich bei Justus von Liebig mit der organischen Elementaranalyse vertraut. Ab 1843 arbeitete er als Professor für technische Chemie am Polytechnischen Institut der Universität Wien und übernahm dort 1845 die Professur für allgemeine Chemie. Schrötter war neben Baumgartner, Ettingshausen und Haidinger einer der Begründer der Kaiserlichen Akademie der Wissenschaften in Wien und wurde 1850 ihr Generalsekretär. Die Deutsche Akademie der Naturforscher Leopoldina wählte Schrötter 1856 zu ihrem Mitglied. Ab 1868 leitete er das österreichische Hauptmünzamt und wurde gleichzeitig zum Ministerialrat ernannt. Er wurde 1874 in den Ruhestand versetzt und eröffnete in seiner Wohnung ein Privatlaboratorium, in dem er Studien über Edelmetalle betrieb. 1875 starb er in Wien. Schrötter hat in seinem Leben ca. 60 wissenschaftliche Publikationen verfasst. Ab 1845 beschäftigte Schrötter sich intensiv mit Phosphor. 1848 gelang ihm der Nachweis der schon von Berzelius geäußerten Vermutung, dass roter Phosphor eine allotrope Modifikation des weißen Phosphors, nicht aber eine Phosphorverbindung ist. Schrötter wandelte weißen Phosphor durch Erhitzen in roten um, den man zeitweise Schrötterschen Phosphor nannte. Sein Verfahren zur Darstellung desselben revolutionierte die Streichholzindustrie, wo roter Phosphor schon bald als Bestandteil der Reibflächen genutzt wurde. Er war ein Organisator in Industrie und Wissenschaft sowie Berater bei den Vorbereitungen zur Novara-Expedition und zur Österreich-Ungarischen Nordpolexpedition. - ge Gewicht in Gramm: 350 [Attributes: Signed Copy]

      [Bookseller: Antiquariat Wolfgang Friebes]
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        SHADOW AND SUBSTANCE

      W. Kent & Co, London 1860 - Bound in full crimson crushed morocco with triple gilt ruled boards, spine decorated with floral sprays and publishing information, exaggerated gilt decorated turn-ins attractive end papers. BINDING SIGNED TWICE BY L. BROCA. Binding shows light rubbing to high spots and edges but clean, attractive and square. This amusing spoof of English characters comes illustrated with plates in two states, both black ink and hand colored. The colored plate titled "Puppy" opposite pg.97 is missing and the black ink plate titled "Windbag" opposite pg.181 is missing making 29 (of 30) of each state. A very attractive volume with only very mining spotting in places and with colored plates very clean. From the library of Thomas W. Lawon [American investor/financier] with his book plate attached at front paste down. [Attributes: Hard Cover]

      [Bookseller: Charles Thomas Bookseller]
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