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Displayed below are some selected recent viaLibri matches for books published in 1862

        Les Miserables

      Brussels: A. Lacroix, Verboeckhoven & Ce, 1862. First Edition. Hardcover. Very Good. First Edition. Very Good. Ten volumes bound in five. Half sheepskin binding, gilt stamping to spine, marbled end sheets; boards rubbed and edge worn. Title page to volume 8 lacking, hence printing uncertain. Foxing to pages and wear commensurate with age. The first two volumes of the Brussels edition were published several days before the Paris edition, giving it distinction as the first edition; the remaining volumes were published May 15, 1862.

      [Bookseller: Burnside Rare Books ]
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        The Past Present and Future of our Country

      [With:] "Discourse on Secession Movements", [And:] "Secession: The Character and Objects of the Early Settlers of the North and South, Compared" [Plus:] "The Duty of the People in the Present Hour." Manuscript in ink. Three 8vo notebooks, two in original yellow wrappers, the other disbound. 274pp in total. [New England,] 1856 -

      [Bookseller: Maggs Bros. Ltd.]
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        Five Months on the Yang-Tsze; with a Narrative of the Exploration of Its Upper Waters and Notices of the Present Rebellions in China. Original First Edition

      London: John Murray, 1862 - First edition, first printing. Octavo, 23.2*15.4*4cm, xvi,380p. Original cloth, spine worn and stained, but complete with clean pages, maps, plates, and illustrations. Extremely scarce. [Attributes: First Edition; Hard Cover]

      [Bookseller: Chinese Art Books]
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        Gustav Klimt - 25 Zeichnungen in Orginal Leinenmappe

      Vollständig, nur sehr leichte Gebrauchsspuren, die Tafeln Zeigen weibliche Akte aus dem Nachlaß des Künstlers, ein Passpartout fehlt, sonst alles sehr gut erhalten altersbedingt leicht gebräuntes Papier Gebundene Ausgabe Lose in Orginal Leinenmappe mit Kartonschuber Gustav Klimt (Wien 1862-1918) "Gustav Klimt - Mit 25 Zeichnungen Offsetdrucke, alle unter Passpartout montiert ausgewählt von Alice Strobl", 25 Faksimileblätter, z. T. in Farbe, aus 1888-1918, 55,5 x 38 cm, Passep., in Original Ganzleinenmappe, Publikation der Albertina, Akademische Druck und Verlagsanstalt Graz -Wien 1964,Selbstabholung oder Übernahme der kompletten Portokosten. ASIN: B00A93YQ1M Fünfundzwanzig Zeichnungen von Gustav Klimt, in allerbesten Faksimile-Wiedergaben, jedes Blatt im weißen Passepartout, auf verschiedenem gelb getönten Papier gedruckt, wie Klimt es verwendete, das Ganze in einer schwarzen Leinenmappe dargeboten: die Akademische Druck- und Verlagsanstalt in Graz hat für diese Publikation ihre langen bibliophilen Erfahrungen mit einem dem Thema angemessenen delikaten Raffinement ins Spiel gebracht. Klimt, der Repräsentant des Wiener Jugendstils, obgleich ihn das über Gebühr einengt und festlegt, ihn an eine kurzlebige Epoche bindet, hat fast zweitausend Zeichnungen hinterlassen. Die Zeichnungen werden vielfach und nicht ohne Grund seinen Gemälden vorgezogen, weil sie ohne die allegorischen oder symbolischen Intentionen der Bilder nichts weiter darstellen als spontane Bewegungsstudien nach dem Modell, die zu einem Teil als Vorlagen für die Figurenmalerei dienten. In der Auswahl wird die spezifische fin-de-siècle-Aura, die erotische Sensibilität, die sich mit dem Namen Klimt verbindet, nicht überbetont, es handelt sich, man merkt es, um offizielle Veröffentlichungen der Albertina, nicht um eine Liebhaberausgabe, um einen Privatdruck, den man mit vorgehaltener Hand empfiehlt. Alice Strobl betrachtet und würdigt die Blätter ausschließlich unter kunsthistorischem Aspekt, als Emanationen von Klimts Stilwandel oder Stilwende. Der erste Liegende weibliche Akt, datiert um 1888, um eine Spur zu schön und zu glatt und mit effektvollen Weißhöhungen gearbeitet, bewahrt noch die klassizistische Attitüde von Ingres. Die nächsten, um 1900 entstandenen Blätter sind rein linear und flächenhaft, ohne illusionistische Plastizität Frau Strobl spricht von kurvilinearen Schwüngen und Umrißgestaltungen. Bei der Sitzenden Dame nach links,einer Studie für das Bildnis Fritza Riedlers von 1906, wird der Lehnstuhl, in dem die Dame sitzt, allein durch die bewegten Gewandkonturen hergestellt. Das Gerinnsel von Wellen-, Kreis- und Zickzacklinien wird dicht verknäult oder locker auseinandergezogen, in Kontrast zu den leeren Flächen. Nur darf man das Klimtsche Lineament nicht allein als Ornament und abstrakte Arabeske verstehen, weil die Linie auch als Stimmungsträger für Leidenschaft, für Melancholie, für Morbidezza fungiert und schließlich auch noch ihren Gegenstand, das Modell, mit detaillierter Präzision umschreibt. Wer Enthusiastisches über Klimt lesen will, halte sich an seinen Zeitgenossen Hermann Bahr: Das letzte Geheimnis erschloß sich ihm: die Kunst des Weglassens jeder Entbehrbarkeit. Da war seine Hand zur Wünschelrute geworden, er ließ sie den Schein der Welt entlanggleiten, bis sie, wo darunter ein Wesen verborgen lag, es ihm aufzuckend verriet. Stenogramme solcher Rutengänge nach dem Brunnen der Erscheinung sind diese Zeichnungen seiner Meisterschaft. Kokoschka widmete seinem Lehrer Gustav Klimt Die träumenden Knaben. Sein anderer Schüler war Egon Schiele, der nur in der Deutlichkeit, nicht in der Subtilität über den Meister hinausgelangt ist.

      [Bookseller: SECRETA]
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        European Settlements on the West Coast of Africa

      with Remarks on the Slave Trade and the Supply of Cotton.First edition. 8vo. Original plum cloth, blindstamped, spine sunned & a little marked, bookplate removed from front pastedown. viii, 374pp. London, Chapman & Hall,

      [Bookseller: Maggs Bros. Ltd.]
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        The Past, Present, and Future of our Country?

      1862 - [With:] ?Discourse on Secession Movements?, [And:] ?Secession: The Character and Objects of the Early Settlers of the North and South, Compared? [Plus:] ?The Duty of the People in the Present Hour.? Manuscript in ink. Three 8vo notebooks, two in original yellow wrappers, the other disbound. 274pp in total. [New England,] 1856 - A collection of unpublished sermons spanning the early years of the Civil War. These were used by Fisk and are filled with deletions, insertions, and annotations. He also records when and where each of them were delivered, most commonly Taunton, Perry, Bristol and Gainsville. The first notebook is a compilation of sermons given to the Republican Clubs of Potsdam and Perry in just the third year of the party?s existence. Deeply political, the first - ?The Precedents which Justify the Pulpit in Dealing with the Morals of Nations, as well as of Individuals? - serves as a philosophical platform upon which the remaining are delivered. Most seriously, they are concerned with the abolition of slavery. The remaining three, all preached during the war itself, throw Fisk?s weight behind the Union. However, slavery is never far from his mind. Indeed, his Discourse on the Succession Movements concludes: ?the following are some of the gains of freedom; viz., The prohibition of slavery in all the territories - The army forbidden to return fugitive slaves - A treaty with England for the more effectual suppression of the slave-trade - The apprehension, conviction and actual execution of pirates in the city of New York - The abolition of slavery in the District of Columbia, and in all places owned by the United States.? Together they form a sort of moral history of the United States from early settlement through to the time of writing. They must have had some effect, the last sermon bears the note on the final page, ?Listening to this speech, caused our very noble Ben Hollister and two or three other young men to go immediately into the army.? Fisk was born in Vermont in 1823 and trained to become a Universalist minister. He moved his family to New York and spent much time lecturing and delivering sermons throughout New England. He saw out his later years in Missouri. [Attributes: Soft Cover]

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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        Atlas Spheroidal et Universel de Geographie Dresse a lAide des Documents Officiels recemment publies en France et a lEtranger

      First Edition. Large folio (600 x 450 mm). Half-title, title page, introductory page and 3 pages of Tables, plus twenty-two double page and forty-four single page coloured maps (these largely fine). Recent quarter calf with contemporary mottled paper-covered boards, gilt lettering to spine. Paris : Widow of Jules Renouard, 

      [Bookseller: Maggs Bros. Ltd.]
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        Geschichte des Illerthales, verbunden mit Jener des ehemaligen Illergaues, so wie des anstoßenden All- und Niebelgaues. Ein Beitrag zu der Geschichte Oberschwabens.

      Ulm J E Ling 1862 - Kl.8°. (8), 555, (1) S. Mit 4 getönten lithogr. Ansichten. Pappband der Zeit Heyd II/3767. Mit Ansichten von Wiblingen, Erolzheim, Illertal/Schloß Marstetten und Schloß Zeil. - Einband berieben und bestoßen. Der lose Rücken (oberes Fünftel fehlt) wurde auf den Buchblock geklebt. Seite I/II gelockert und mit rasiertem Besitzvermerk (an der Stelle Einriß, Randeinriß und starker Papierabrieb). Vorderschnitt und bis Seite 18 stark braunfleckig. Stellenweise stockfleckig. Einriß auf S. 31/32. Gewicht (Gramm): 240

      [Bookseller: Müller & Gräff e.K.]
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        Poems [ Fine Binding With Double Fore- Edge Painting Of River Scenes]

      1862 - 0 colour; Finely bound in green morocco leather with elaborate filigree in a delicate pattern. Bound by Hayday and Mansell, Mansell retired in 1869. One of the finest binders of the period. Their names are above the fine dentels of the front cover. Rubbing along front hinge. White endpapers. Delicately rendered fore-edge painting depicting two sailing craft offshore. When flipped the other way it depicts what is apparently one of the Paris bridges with city scape. Front hinge tender. [Attributes: Hard Cover]

      [Bookseller: poor man's books (mrbooks)]
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        The Works of Thomas Hood

      63 - London - Edward Moxon and Co. 1862 - The complete works of Thomas Hood. Edited and with notes by his son, Tom Hood the playwright and humourist. Volumes I-VI are published in 1862 with the seventh volume appearing the following year. To these volumes Hood's works are arranged chronologically. These volumes containhis best known lyrics and prose writings including the novel Tynley Hall and lyrics 'The Song of the Shirt'and 'The Bridge of Sighs'. With a portrait frontispiece of Hood to the first volume. ThomasHood wrote regularly forThe London Magazine, the Athenaeum and Punch. Condition: In half calf bindings with paper covered boards. Externally, all volumes are smart with a small amount of light rubbing to the head and tail of spines. Small loss to the head of spine to volume VII. Small amount of rubbing to the extremities to all volumes. Internally, all volumes are firmly bound. Pages are bright with a few light spots to the first and last few pages. The odd light spot. Overall: VERY GOOD INDEED. [Attributes: Hard Cover]

      [Bookseller: Rooke Books PBFA]
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        Los Zuavos en Italia. Novela boletin.

      Havana, Impr. del Diario de la Marina, 1862. - 8°, contemporary quarter calf, (worn, especially at corners, edges of boards). Lower corner of title-page torn, not affecting text. Some stains. 308 pp. *** Apparently the First Separate Edition in Spanish, and the First Cuban Edition. The text had appeared previously in Spanish in a collection titled Novelas selectas é ilustradas (Paris: Señores X. de Lassalle y Mélan, 1860). The author was born at Douai in 1817, and died at Morlaix in 1895. Palau lists no fewer than ten translations into Spanish of his works.*** Trelles IV, 179. Palau 378652. Catálogo Colectivo del Património Bibliográfico Español locates a single copy at the Biblioteca de Catalunya. Not in Hollis. Not in Orbis. Not in LC Online Catalog. Not in Melvyl. Not located in NUC. [Attributes: First Edition; Hard Cover]

      [Bookseller: Richard C. Ramer Old and Rare Books]
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        San Augustine Mining Company Certificate [1861 or 1862]

      Mesilla Times, Mesilla, Arizona Territory Under Confederacy - , OCLC reports the only known copy of a dozen issued is at the Rio Grande Historical Collection an New Mexico University Library. According to Martin Hardwick Hall, the Messila Times was founded in 1860 and lasted only for a year and a half since its owners Robert P. Kelley and D.W. Hughes were placing their all their interests into mining and real estate in the area. (The Mesilla Times went out of business in the Spring of 1862). The Territory lay south of Jornada del Muerto and the Gila River (roughly the Gadsen Purchase) and was called "Arizona." It needs to be kept in mind that this was the Arizona Territory under the Confederacy and not that which Lincoln established in 1863 under the United States. The certificate is signed by President Sam'L J. Jones and Secretary James A. Lucas. It has a vignette of an allegorical Indian woman and printed in blue ink with a blue border on paper measuring 4" x 10 1/2". There are a number of fascinating aspects of this mining venture. First, it was originally owned by two Mexican investors but their claims were invalidated by the Gadsen Purchase. Second the original claim owner was William Claude-Jones (who along with Governor Goodwin and Coles Bashford) were signers of the first Arizona legislation in 1864. Claude-Jones also was noted later in Michener's Rascals in Paradise where his predilection for pre-pubescent girls continued. Third, Sylvester Mowry who was a Southern sympathizer (and briefly jailed in 1862 by Union troops) was a vital part of the company. Commissioner Herbert stated their basic idea for being part of the Confederacy to avoid "the black fanaticism of the North". By August of 1861 the territory was back under the control of the Union (and William Claude Jones aligned himself with the Union). It has been pointed out that this company was the earliest land scam in the American southwest making this original scarce document among the earliest witnesses of Arizona before its admission as a Territory to the Union during the Civil War.

      [Bookseller: Alcuin Books, ABAA]
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        Landscape Scenery, Illustrating Sydney, Paramatta, Richmond, Newcastle, Windsor and Port Jackson, New South Wales.

      John Sands, Sydney, and Sands & Mc Dougall, Melbourne, 1862 (circa) - 19 engraved plates + title page with tissue interleaves. Second issues of Terry's series. Minor tone spotting throughout otherwise clean in original decorated blue cloth, corners slightly bumped not affecting contents. 10.25 x 7" Very scarce. [Attributes: Hard Cover]

      [Bookseller: Pennymead Books PBFA]
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        1862 First NT printed by Confederate Bible Society - Augusta, GA

      - Confederate States Bible Society, Augusta, GA, 1862. Good condition. 32mo - over 4" - 5" tall. 1862 Bible, KJV (Soldier's) New Testament; bound in original paper covers, William P. Palmer bookplate, cloth spine, light stain on front cover, complete, pages toned but good, some foxing and occasional spotting, very few last pages have mild staining. First New Testament printed by Confederate States Bible Society. Hills' #1763. Front cover still holding, but half detached. Library cancellation stamp. [Attributes: Soft Cover]

      [Bookseller: Cross and Crown Rare Books]
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        Journal of Landsboroughs Expedition

      from Carpentaria in Search of Burke and Wills.First edition. Folding map. 8vo. Original quarter cloth, printed boards a little shelf worn. 128pp. Melbourne,

      [Bookseller: Maggs Bros. Ltd.]
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        Golden Eagle

      London 1862 - This remarkable folio ithograph with hand-finished color is from the esteemed John Gould’s "Birds of Great Britain" published between 1862 and 1873. This particular lithograph is from an early issue of the work before some problems to the stones occurred (such as the snowy owl stone broke and affected the quality in later editions) --- "Birds of Great Britain" allowed Gould to cultivate his aesthetic style. He created very appealing compositions often featuring nests and young with the adult species and intricate backgrounds. Gould realized that the artistry would make this work far more intriguing than its predecessor Birds of Europe and thus introduced 750 copies. "Birds of Great Britain" remains vastly popular today. John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gould’s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today. --- The work is in excellent condition overall. The paper tone is exceptional for this work. There may be occasional fox marks or imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions.

      [Bookseller: Trillium Antique Prints & Rare Books]
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        Andalusian Turnix [Little Button Quail]

      1862-73 1862 - An original hand-coloured lithograph for Gould's Birds of Great Britain, 1862-73 Vol IV Richter after Gould Andalusian Turnix [Little Button Quail] An original hand-coloured lithograph for Gould's Birds of Great Britain, 1862-73 530 x 360 mm approx £450

      [Bookseller: Henry Sotheran Ltd]
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        Histoire de la Terreur 1792-1794 d'après des documents authentiques et inédits.

      Paris, Michel Lévy 1862-1881. - 8 vol. in-8°, reliure de l'époque demi-basane blonde, dos à 5 nerfs bordés d'un filet doré, pièces de titre sable puis bordeaux, pièces de tomaison vertes, chiffre doré en tête des 6 premiers volumes ("H" surmonté d'une couronne), (Petit rel.) ; VIII-438, 511, 647, 582, 573, 616, 579, VIII-624pp. Qqes coiffes frottées, bel exemplaire relié par le successeur de Simier. Edition originale de cet important ouvrage, capital pour cette période de la Révolution. "Au nombre des documents mis en oeuvre par l'auteur, il faut citer surtout les papiers des sections et de la Commune détruits en 1871". (TOURNEUX, I, 373). Le huitième volume parue de façon posthume en 1881. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Trait d'Union sarl.]
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        City And County Of San Francisco. Compiled From Official Surveys And Sectionalized In Accordance With U.S. Surveys. Drawn By V. Wackenreuder, C.E. 1861. Published By Henry G. Langley For the San Francisco Directory. Entered ... 1861 By Henry G. Langley ... California. Britton & Co. Print. (with 3 inset maps of the Farrallon Islands).

      San Francisco: Henry Langley, 1862.(). Lithograph. Left hand side only. 21 x 14 inches with small section of the right hand side as well. mounted on linen. Scale 1: 32,800. First map of the city to be included in Langley's directory. Early map to show the western and southern parts of the peninsula, with the land grants, and full topography. Also shows the northern part of San Mateo County and a small part of Marin County. Three insets show the Farrallon Islands. Map is without color.References: Norris 3430; Vogdes p234.

      [Bookseller: Wittenborn Art Books]
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        The Cooper Vignettes. India Proofs Before Letter.

      New York: James G. Gregory. 1862 - Full crushed morocco, 15 inches tall. Magnificently Bound by Riviere with gilt raised bands, exceptionally fine gilt tooled panels and a sequence of gilt rolls framing the boards. Gilt dentelles and all edges. Complete with Engraved portrait, engraved title page and a further 62 superb engravings illustrating the novels of James Fenimore Cooper. With some original paper wraps bound in. Some superficial scratching to the lower board. A spectacular example of this finely produced work. [Attributes: Hard Cover]

      [Bookseller: McConnell Fine Books ABA & ILAB]
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        Les misérables

      - Pagnerre, Paris 1862, 10 tomes en 10 Vol. in-8 (14,5x23,5cm), reliés. - Paris Edizione pubblicato tre giorni dopo quella di Bruxelles. False menzione ottava edizione per i primi 6 volumi, l'ultimo 4 o Volumi 7-10, senza alcuna menzione. Binding metà dolore bene ghiaia rosso vintage. Indietro con i nervi decorati con reti audaci e sottili, dorati e fredde. Impostare fresco, privo di foxing. Bella serie piacevolmente collegato. Per fare il punto sulle varie sentenze bibliografi: Mentre Vicario riferisce che l'edizione francese è il vero originale, Clouzot dicendo i due sono originali, dobbiamo affermare che l'edizione belga è apparso tre giorni prima (il 31 Bruxelles marzo e il 3 aprile a Parigi), ma la verità non si tiene in un momento della storia. Lacroix è Hugo editore Pagnerre è solo il custode di Parigi, il che spiega la presenza del nome del Lacroix dietro l'occhietto, insieme a quello di Lacroix. noto anche come Il lavoro deve essere apparsa in tutte le principali capitali, allo stesso tempo, quello che è successo a chiudere un paio di giorni. Alla domanda menziona, questo è probabilmente molto semplice: per ragioni commerciali di costo abbiamo condotto un solo pareggio, con alcuni riferimenti, alcuni non, da distribuire durante l'anno come se ogni volta era nuove edizioni. dicendo si capisce Clouzot un'edizione senza menzione è più desiderabile, perché sembra essere stato in precedenza, ma in realtà, e di vendere quando il titolo senza menzione di pagine sono state esaurite sono stati venduti nel caos queste pagine titoli con distinzione o no, e abbiamo fatto molto spesso copie recanti vari riferimenti (la composizione di spettacoli nostri copia senza menzione e l'ottavo per la prima 6), è pur vero che le copie senza menzione sono stati il primo set vendita, ed edizioni con il massimo dei voti hanno pagine di titolo in rosso e nero, per farli apparire come nuove edizioni. - [FRENCH VERSION FOLLOWS] Edition originale parisienne parue trois jours après celle de Bruxelles. Fausse mention de huitième édition pour les 6 premiers volumes, les 4 derniers, soit les tomes 7 à 10 sans mention aucune. Reliure en demi chagrin maroquinée rouge d'époque. Dos à nerfs orné de filets gras et maigres, dorés et à froid. Ensemble bien frais, exempt de rousseurs. Quelques coins émoussés, les autres frottés. Belle série agréablement reliée. Afin de faire un point sur les divers jugements des bibliographes : Alors que Vicaire signale que l'édition française est la véritable originale, Clouzot affirmant que les deux sont originales, on doit préciser que l'édition belge est parue trois jours avant (le 31 mars pour Bruxelles et le 3 avril pour Paris), mais la vérité ne tient pas à une histoire de date. Lacroix est l'éditeur de Hugo, Pagnerre n'en est que le dépositaire à Paris, ce qui explique la présence du nom de Lacroix derrière le faux-titre, conjointement à celui de Lacroix. On sait en outre que L'oeuvre devait paraître dans toutes les grandes capitales en même temps, ce qui arriva à quelques jours près. Pour la question des mentions, cela est vraisemblablement assez simple : pour des raisons commerciales de coût on a procédé à un seul tirage, certains avec des mentions, d'autres pas, afin de les distribuer au cours de l'année comme si chaque fois, il s'agissait de nouvelles éditions. On comprend Clouzot disant qu'une édition sans mention est plus désirable, car elle parait avoir été antérieure, mais dans les faits, et pour vendre, quand les pages de titre sans mention ont été épuisées on a vendu dans le désordre ces pages de titres avec mention ou non, et on a composé très souvent des exemplaires portant différentes mentions (la composition de nôtre exemplaire le montre bien, sans mention et huitième pour les 6 premiers), il est cependant vrai que les exemplaires sans mention furent les premiers mis en vente, et que les éditions avec mention possèdent des pages de titre en rouge et noir, pour les faire paraître comme des nouvelles éditions. NB : Cet ouvrage est disponible à la librairie sur demande sous 48 heures.

      [Bookseller: Librairie Feu Follet]
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        THE GREAT PANIC: BEING INCIDENTS CONNECTED WITH TWO WEEKS OF THE WAR IN TENNESSEE...

      Nashville: Johnson & Whiting, 1862. 36pp. Original yellow printed wrappers. Wrappers detached, chipped. Mild staining, some wrinkling to text. Good. A vivid account of the immediate aftermath of the capture of Forts Henry and Donelson in western Tennessee, the first significant Union victory of the Civil War. This success forced the abandonment of Nashville by Confederate authorities, and opened up the Cumberland River as an important pathway to a subsequent invasion of the South. The narrative in this pamphlet begins with dispatches received in Nashville from Fort Donelson on February 12, 1862, describing the gallant restsiance by Confederate forces in the face of superior numbers; over the next few days, however, the tide of battle turned, and in the ensuing "great panic" all those with the means to do so fled from Nashville, leaving the city in chaos until order was restored by the arrival of Union troops. It was this episode of the war which first brought to prominence the hitherto obscure and untested Brig. Gen. Ulysses S. Grant, whose reply to a plea for the cessation of hostilities by the commander of Confederate forces at Fort Donelson brought him immediate fame: "Sir: Yours of this date, proposing an armistice and appointment of Commissioners to settle terms of capitulation, is just received. No terms except unconditional and immediate surrender can be accepted." More than 12,000 Confederates did in fact surrender under these terms on February 16, and Grant and his army proceeded to occupy Nashville. The author describes this reversal in considerable detail, and ends his account on a subdued note: "Thus, after ten days, and they were days of much anxiety to many, were we turned over to Federal authorities. The agony was over, and so far nothing had occurred which seemed to justify the course of those who had so frantically torn themselves from their houses when the news of the reverse to the Confederate arms at Fort Donelson reached here....The occupation of Nashville by the Federals was a bloodless achievement, but it forms a memorable epoch in the history of the war." The authorship of this remarkable pamphlet was first revealed in Edwin L. Drake's Annals of the Army of the Tennessee, printed in Nashville in 1878 (Howes D470), where the text was reproduced in full. John Miller McKee (ca.1800-1973) was a professional newspaperman who had joined the Nashville Union and American as commercial and city editor in 1858, having previously worked at the Knoxville Register (1849-1855); earlier in his career McKee had edited a temperance newspaper called the Southern Monitor, and had been part owner of the Ashville Messenger. As a journalist McKee frequently engaged in political controversy with Parson Brownlow, the former Methodist circuit rider turned radical Whig and newspaperman who became governor of Tennessee from 1865 to 1869, and a Senator from 1869 to 1875. Very little was printed in Nashville in the period immediately following the city's occupation by Union forces, and the few titles that were published are all rare. ALLEN 5458. HOWES G348, "aa."

      [Bookseller: William Reese Company - Americana]
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        (xt) THE JEWISH CHRONICLE. JAN 3, 1862-DEC 25 1863 [WHOLE NRS. 368-380, 382-392, 394-458, 460-471]. 2 YEARS COMPLETE SAVE FOR 4 ISSUES. 100 ISSUES.

      London : Abraham Benisch(1862-1863). 1st edition. Later Cloth binding, Folio, 800 pages (8 pages each issue. Nearly complete for 1862 and 1863. English with occasional Hebrew. The Jewish Chronicle, Founded in 1841, it is the oldest continuously published Jewish newspaper in the world. It was initially under the editorship of D. Meldola and M. Angel. "On Oct 18, 1844, to the editorship of Joseph Mitchell, it took the title of "The Jewish Chronicle (New Series) and Working Man's Friend"; it appeared only fortnightly till July 9, 1847, when it became a weekly; from Aug. 18, 1854, it was edited by M. H. Bresslau, who changed the title to "The Jewish Chronicle and Hebrew Observer. " From Jan. 12, 1855, A. Benisch assumed the editorship, which he retained till April 2, 1869, when Michael Henry took charge of the paper until his death" (JE, 1905) . This run from the era of the American Civil War, includes numerous ads and announcements from the period, indicating deaths, weddings, and celebrations of all kinds, from across the UK, the British Empire, English Speaking Jewry and, indeed, the entire world. Anniversary dinners and events often list participants, which sometimes read like who's who's of Anglo-jewry of the period, and at other times mention names from the far reaches of the British Empire. Too many various reports, letters, discussions, and ads to describe, SUBJECT(S) : Jews -- Great Britain -- Newspapers. Internal hinges of binding broken. 1st issue with heavy edgewear, 2nd issue moderate edgewear, other issues in good solid condition with some old staining as expected. Scarce to come up in the trade. (br-11-5)

      [Bookseller: Dan Wyman Books]
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        KUTSUWANOOTO TAZUNANO SOMEWAKE (ESCENA DE TEATRO)

      1862 - Materia: Xilografía en color japonesa, original del siglo XIX. Publicación: 1889 Dimensiones: Tríptico cada plancha 36,5 X 25 cm. Las tres planchas 36,5 x 75 cm. Técnica: Xilografía en color (el dibujo se crea con planchas de madera) Ukiyo-e. Conservación: Buen estado. Utagawa Kunisada, también conocido como Utagawa Toyokuni III (1786-1864) fue un pintor japonés de la escuela Utagawa, discípulo de Utagawa Toyokuni. Su nombre de nacimiento era Sumida Sh?gor? IX, aunque también se le conocía como Sumida Sh?z? Adoptó como nombre artístico Kunisada y, tras la muerte de su maestro, Toyokuni III. Se especializó en el género de actores yakusha-e, aunque también realizó bijin-ga (retratos de damas y cortesanas), con un crudo realismo y un estilo enérgico, aunque de un colorido un tanto monótono. Su obra fue abundante, siendo uno de los mejores representantes de los cuadros de actores, por lo que recibió el apodo Yakusha-e no Kunisada («Kunisada que pinta cuadros de actores»). RBS1

      [Bookseller: LIBRERIA MARGARITA DE DIOS]
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        Autograph musical manuscript signed ("A: Fryer"; "e" inserted subsequently) at head.

      N. p. o. d. - Oblong 4to. 2 pp. The soprano voice of a Polish choral. 42 bars with underlined text. With subsequent dedication to the German composer, conductor and cellist Julius Rietz in Dresden (dated 30. IX. 1862).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        De l'usage de la déformation des pieds chez les femmes chinoises, principalement au point de vue médico-chirurgical [ édition originale ]

      Victor Rozier 1862 - 1 brochure in-8, qques ill. noir et blanc, Librairie de la Médecine, de la Chirurgie et de la pharmacie militaires, Victor Rozier éditeur, Paris, 1862, 31 pp. Etat satisfaisant (dos fendu et avec petits mques en couv., petite annot. ms. en page de garde, bon état par ailleurs, avec intérieur frais). L'auteur était médecin de l'artillerie du Corps Expéditionnaire en Chine, lors de la Seconde Guerre de l'Opium (1856-1860), qui s'acheva sur le pillage du Palais d'Eté et la prise de Pékin par le Corps Expéditionnaire franco-britannique. L'exemplaire proposé ici est l'édition originale de cette brochure, dont le contenu fut également publié dans l'hebdomadaire Recueil de mémoires de médecine militaire (V. Rozier édit.) et réimprimé plus tard chez l'éditeur médical Baillière. En tant que médecin militaire, le Dr. Fuzier publia également, quelques années plus tard, une "Etude sur la fièvre jaune" (à la suite de "Aperçu sur les Expéditions de Chine, Cochinchine, Syrie et Mexique" par J.C. Chenu, Masson Paris, 1877). A la fin de sa carrière, le Dr. Duzier devint médecin principal de l'Ecole Polytechnique. Ouvrage peu courant, surtout dans son édition d'origine. Langue: Français [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie du Cardinal]
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        La Russie historique, monumentale et pittoresque (2 Tomes - Complet) [ Edition originale ]

      Imprimerie de Ch. Lahure et Cie 1862 - 1 vol. in-folio reliure de l'époque demi-chagrin rouge, dos à 4 nerfs orné, Imprimerie de Ch. Lahure et Cie, 1862 [1862-1865], 392 pp. et 6 ff. n. ch., 1 f. blanc ; 376 pp. et 6 ff. n. ch. Edition originale de ce grand classique très richement illustré par Flameng, Foulquier, etc. Le texte publié sous le pseudonyme de Piotre Artamof est dû au Comte Vladimir de La Fite de Pelleport (1818-1870). Y sont évoqués tant Saint-Pétersbourg, les provinces baltiques, Moscou et ses environs, que les territoires orientaux, la Crimée, la Pologne, etc. Bon état (rel. très lég. frottée, des rouss. mais belle fraîcheur générale). Langue: Français [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie du Cardinal]
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        The President, General McClellan and Suite on the Battle-Field of Antietam

      New York: Mathew Brady 1862 - Albumen silver print (7 x 9 in.), original printed mount with neat identifications of the figures in pencil. Surface lightly cleaned, mount trimmed at edge. A handsome example with the original printed Brady mount with title, copyright notice, “Gardner, Photographer,” “M. B. Brady, Publisher,” and date October 3, 1862. This photograph of Lincoln at Antietam is one of the best-known images of the Civil War. The Battle of Antietam, fought on September 17, 1862, was the bloodiest single-day battle in American history. The Confederate withdrawal was sufficiently heartening for Lincoln to announce his Emancipation Proclamation, which had been withheld awaiting a victory. Two weeks later Lincoln came to survey the Maryland battlefield, to see the troops, and to confront George McClellan, commander of the Army of the Potomac, who had failed to pursue Lee’s army. Soon after the engagement, Alexander Gardner and other photographers working for Mathew Brady came to the battlefield, capturing the carnage in dozens of photographs and then documenting Abraham Lincoln’s tour of the battlefield on October 3. In an unprecedented exhibition, Mathew Brady displayed Gardner’s Antietam photographs in New York. “Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it. At the door of his gallery hangs a little placard, ‘The Dead of Antietam ’” (New York Times, October 20, 1862). Not long after Brady’s Antietam exhibition, Gardner struck out on his own, establishing his own gallery in Washington. Lincoln would sit for him more than any other photographer. The photograph shows, from left to right: Colonel Delos B. Sacket, Captain George Monteith, Lieutenant Colonel Nelson B. Sweitzer, General George W. Morell, Colonel Alexander S. Webb (Chief of Staff, 5th Corps), General George B. McClellan, Scout Adams, Dr. Jonathan Letterman (Army Medical Director), unidentified soldier, President Abraham Lincoln, Colonel Henry J. Hunt, General Fitz-John Porter, Joseph C. G. Kennedy, Colonel Frederick T. Locke, General Andrew A. Humphreys, and Captain George Armstrong Custer (Ostendorf p. 107). This is a classic photograph of Abraham Lincoln with the troops in the field, bearing the imprints of Mathew Brady and Alexander Gardner, the two most important figures in Civil War photography. Ostendorf, Lincoln’s Photographs: A Complete Album O-62

      [Bookseller: 19th Century Rare Book & Photograph Shop]
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        Ampio carteggio costituito da venti lettere autografe firmate del patriota e giurista appartenute alla raccolta di documenti storici del Leti. Regnoli fu Ministro di Grazia e Giustizia nel Governo provvisorio delle Romagne. Insegno' diritto civile nell'Universita' di Bologna ed ebbe buona consuetudine con il Carducci che scrisse in suo onore sia l'epigrafe della lapide apposta presso la casa in cui abito'. Da Torino, Firenze e Ronco Scrivia (Genova) tutte datate al 1862 e indirizzate all'amico deputato Vincenzo Capriolo. Corrispondenza nello svolgimento dell'attivita' di avvocato, deputato, senatore, le lettere fanno riferimento ai lavori del Parlamento nel periodo in cui egli fu deputato.

      1862.

      [Bookseller: Studio Bibliografico Lim Antiqua s.a.s.]
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        AUTOGRAPH. Confederate General and Tennessee Governor JOHN CALVIN BROWN'S SIGNATURE on a card.

      - Very good. - John Calvin Brown's signature penned on a 2-5/8 inch high by 4-1/2 inch wide buff white card, signed "Jno C. Brown / Tennessee". The edges of the card are lightly darkened, else near fine. Although he originally supported the Union, at the outbreak of the war John Calvin Brown embraced the Confederacy and joined the Confederate Army as a private. He quickly rose through the ranks and, as a Colonel, commanded the Third Brigade of General Bruckner's division at Fort Donelson. Captured when the fort surrendered in 1862, Brown was imprisoned at Fort Warren Massachusetts for six months. Commissioned as Brigadier General after his release, he served under General Braxton Bragg in the Army of Tennessee. Despite being injured at Perryville, he saw action at Chicamauga and Missionary Hill and was promoted to Major General following his heroic actions in the Dalton-Atlanta campaign. He was severely wounded at Franklin Tennessee in 1864 and resumed his law practice in Pulaski after the war. John Calvin Brown served as President of the 1870 Constitutional Convention and was elected Tennessee's Governor. Under his administration, the state's enormous debt which had ballooned following the Civil War was reduced to twenty million and the large floating debt was paid off thus restoring Tennessee's credit. A scarce autograph. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Blue Mountain Books & Manuscripts, Ltd.]
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        AUGSBURG. - Augsburger Album. Album d'Augsbourg.

      Mchn., Georg Franz 1862 - 16 x 25,5 cm. Titel und 20 altkolor. Stahlstich-Tafeln. Rote OHLwd. mit Deckelblindpräg. und goldgeprägt. Deckeltitel. So komplett. Der Titel kündigt 24 Tafeln an, das Verzeichnis nennt jedoch nur vorliegende 20 Tafeln. - Einband gering berieben. Exlibris. - Die Ansichten in entzückendem Altkolorit. Von großer Seltenheit. [Attributes: Hard Cover]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Les misérables

      Pagnerre 1862 - - Pagnerre, Paris 1862, 10 tomes en 10 Vol. in-8 (14,5x23,5cm), reliés. - Edition originale parisienne parue trois jours après celle de Bruxelles. Fausse mention de huitième édition pour les 6 premiers volumes, les 4 derniers, soit les tomes 7 à 10 sans mention aucune. Reliure en demi chagrin maroquinée rouge d'époque. Dos à nerfs orné de filets gras et maigres, dorés et à froid. Ensemble bien frais, exempt de rousseurs. Quelques coins émoussés, les autres frottés. Belle série agréablement reliée. Afin de faire un point sur les divers jugements des bibliographes : Alors que Vicaire signale que l'édition française est la véritable originale, Clouzot affirmant que les deux sont originales, on doit préciser que l'édition belge est parue trois jours avant (le 31 mars pour Bruxelles et le 3 avril pour Paris), mais la vérité ne tient pas à une histoire de date. Lacroix est l'éditeur de Hugo, Pagnerre n'en est que le dépositaire à Paris, ce qui explique la présence du nom de Lacroix derrière le faux-titre, conjointement à celui de Lacroix. On sait en outre que L'oeuvre devait paraître dans toutes les grandes capitales en même temps, ce qui arriva à quelques jours près. Pour la question des mentions, cela est vraisemblablement assez simple : pour des raisons commerciales de coût on a procédé à un seul tirage, certains avec des mentions, d'autres pas, afin de les distribuer au cours de l'année comme si chaque fois, il s'agissait de nouvelles éditions. On comprend Clouzot disant qu'une édition sans mention est plus désirable, car elle parait avoir été antérieure, mais dans les faits, et pour vendre, quand les pages de titre sans mention ont été épuisées on a vendu dans le désordre ces pages de titres avec mention ou non, et on a composé très souvent des exemplaires portant différentes mentions (la composition de nôtre exemplaire le montre bien, sans mention et huitième pour les 6 premiers), il est cependant vrai que les exemplaires sans mention furent les premiers mis en vente, et que les éditions avec mention possèdent des pages de titre en rouge et noir, pour les faire paraître comme des nouvelles éditions. NB : Cet ouvrage est disponible à la librairie sur demande sous 48 heures. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Parisian first edition published three days after that of Brussels. False mention of eighth edition for the first 6 volumes, the last 4, ie volumes 7 to 10 without any mention. Binding semi morbid red morocco contemporary. Back with nerves adorned with fat and lean, golden and cold fillets. Together fresh, freckles. Nice series pleasantly connected. In order to make a point on the various judgments of the bibliographers: While Vicaire indicates that the French edition is the true original, Clouzot affirming that the two are original, it must be specified that the Belgian edition was published three days before (the 31 March for Brussels and April 3 for Paris), but the truth is not a story of date. Lacroix is the publisher of Hugo, Pagnerre is only the depository in Paris, which explains the presence of the name of Lacroix behind the false title, together with that of Lacroix. It is also known that the work was to appear in all major capitals at the same time, which happened in a few days. For the question of the mentions, this is probably quite simple: for commercial reasons of cost we proceeded to a single draw, some with mentions, others not, in order to distribute them during the year as if each time it was new editions. We understand Clouzot saying that an edition without mention is more desirable, because it seems to have been earlier, but in fact, and to sell, when the title pages without mention have been exhausted we sold in the disorder these pages of titles with mention or not, and very often copies were made bearing various mentions (the composition of our copy shows it well, without mention and eighth for the first 6), it is however true that the copies without mention were the first put in sale, and that e [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Svenska Jägarförbundets Nya Tidskrift. Första årgången -24. årgången , från 1863-1886 inbundna två årgång i varje i gröna helklotband med halvfransk rygg; samt: årg 29-26 inbundna två år i varje. Därtill Register till årg. 1:a-20:e.c

      Samson&Wllin förlag, 1862. Inbunden bok. De första tolv banden lite ljusare gröna. Några med små skador i rygg och längst ner. De fyra senare årgångarna lite mörkare gröna band. Innehåller mängder med litografiska planscher.

      [Bookseller: Gefle Antikvariat]
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        A WEEK ON THE CONCORD AND MERRIMACK RIVERS

      Boston: Ticknor & Fields(1862). First Edition, Original green Z cloth, Binding D, no priority. BAL 20104 notes this binding only in green P cloth. Borst A1.1.a notes only copies in brown or purple cloth. The famous Second Issue of Thoreau's first book and, other than WALDEN, the only of his books published in his lifetime. There were 1000 sets of sheets printed at the author's expense in 1849. The book did not sell well, and in 1853 the 706 remaining copies (256 bound copies and 450 in sheets) were shipped back to Thoreau, prompting the author to remark, "I have now a library of nearly nine hundred volumes, over seven hundred of which I wrote myself." Over the years Thoreau occasionally sold or gave away copies. Ticknor & Fields purchased the remaining 145 bound copies and 450 unbound copies from Thoreau in 1862, publishing the book with a cancel title page and leaving the final leaf advertising the upcoming publication of WALDEN intact. As has often been noted, whoever owns a copy of this issue owns a copy once in Thoreau's library. This issue is scarcer than the First Issue of 1849, and with its personal association with Thoreau, it is quite desirable., Hardcover, A large, skimmed spot at the center of the front blank with slight effect on the title page is the only defect to this otherwise gorgeous copy. A spectacular example of this scarce book

      [Bookseller: Charles Agvent, ABAA]
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        Storia della Valle Lagarina.

      Monauni, Trento. 1862 - L’autore nacque a Sacco nel 1824 e morì a Trento nel 1873. La presente è la sua opera principale: nel primo volume tratta della storia antica della valle fino al dominio della Repubblica Veneta (1509), nel secondo analizza i tre periodi storici: signoria austriaca (1510-1796), guerra francese (1796-1815), e epoca austriaca dal 1815 al 1863. Esemplare completo della grande carta geografica a colori (molte volte ripiegata e inserita in busta in fine al secondo volume spesso mancante) intitolata: Topografia della Valle Lagarina desunta dalle migliori e più recenti carte topografiche del Trentino ad illustrare la storia della Valle Lagarina compilata e narrata per Raffaele Zotti socio dell’Accademia roveretana degli Agiati". Piacevole legatura coeva realizzata da Abriani di Trento (come da etichettina sui contropiatti posteriori) con dorsi a quattro nervi con fregi e titoli in oro e nero, piatti marmorizzati e tagli finemente e fittamente spruzzati. L’esemplare si vende completo di carta in copia a colori. Formato: 2 v. (520; 537 p.), 23 cm, m.p. coeva. Buono, ordinari segni d’uso e del tempo, piccoli difetti alla legatura, qualche fioritura.

      [Bookseller: Studio Bibliografico Adige]
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        HEURES DU MOYEN-AGE (copy customized to celebrate the marriage of Marie-Anne Froment-Meurice and Léon Lefebure); chromolithograph on paper, in French and Latin

      NEO-GOTHIC MASTERPIECE, CUSTOMIZED TO CELEBRATE A PRESTIGIOUS MARRIAGE. Chromolithograph on paper, in French and Latin, France (Paris), GRUEL-ENGELMANN, 1862 and January 1874. Dimensions 154 x 115 mm. 101 p, complete, RED RULING, gothic text, "ILLUMINATED" INITIALS on every text page with FULL BORDERS. BINDING: ORIGIONAL binding by GRUEL in light brown leather, blind tooled with Renaissance-style ornament including four roundels (Moses, St. Paul, King David, and St. Peter), full-color painting of St. Anne and the Virgin Mary done in oils, lettered "S. Anna mater matris dei,"on the back cover a monogram including the letters "M. F. L," surrounded by Renaissance ornament in gold with two full-color cherubs at the top, rounded spine with five raised bands outlined in blind, lettered "GRUEL" in gold at the bottom, gilt edges with paintings of lilies of the valley and blue bells, two brass clasps by JULES WIESE (his mark, "JW" between two stars visible on the back of the clasps), fastening back to front, enameled in red, blue, and white and set with two red glass gems, inside front and back covers framed with double gold filets and lined with blue watered silk, blue silk ribbon place marker (detached at the top), in nearly pristine condition apart from a few small stains on both covers. ILLUSTRATION: The calendar pages are decorated with roundels of the zodiac, and the labors of the month. Every page includes a full border, some inspired by medieval borders (in a wide range of styles), and others original creations by the artist who worked on this book (see for example the "oriental"-style border on p. 107). The artist, EDOUARD JEAN_BAPTISE MOREAU (1825-1878) was a miniature painter and draftsmen. He studied at Ecole des Beaux-Arts and with H. Lehmann, and appeared at the Salon de Paris from 1848 to 1875 with gouaches and miniatures on parchment usually treating historical subjects. Here he is drawing inspiration from a very wide range of Books of Hours dating from the early fifteenth into the sixteenth century from across Europe (France, the Low Countries, and Italy). PROVENANCE: This was customized to celebrate the marriage of Marie-Anne Froment-Meurice and Léon Lefebure in January 1874. This is the first edition of the prayer book, Heures du Moyen Age, published by Gruel-Engelmann in Paris in 1862, the famous firm of binders, printers, and publishers. Later, it was in a private European collection (descent through the Lefebure family). Condition: in almost pristine condition apart from slight foxing to front endleaves, and rare and very light foxing to a few internal leaves. Full description and photographs available. (BOH 143)

      [Bookseller: Les Enluminures ]
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        Jefferson and The American Democracy

      London: Longman, Green, Longman, Roberts, & Green, 1862. Hardcover. Good. 8vo - over 7¾ - 9¾" tall.

      [Bookseller: Henniker Book Farm]
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        Opere Complete Iliade, Tragedie,Drammi e Cantate,Epistolario, Dedicatorie, Frammenti indediti Pulzella D’Orleans

      F.Rossi Romano, Napoli 1862 - 1 volume in 8, pp 840, rilegatura mezza pelle, titoli e fregi oro, ritratto autore all’antiporta, prima edizione napoletana completa, lettera a E.Napoleone vicerè d’Italia. Esemplare fresco e nitido. 1 volume in 8°, pp 840, half-leather binding, gilt titles and ornaments, portrait of the author on the frontispiece, first complete Napolitan edition, letter to E. Napoleon viceroy of Italy, fresh and sharp copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Redaelli Alberto]
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        Portrait of Prince Ludwig II, King of Bavaria and his 3 year younger brother Prince Otto.

      ca. 1862/1863. Original photograph, cabinetcard, albumen print, 11,3 x 17,1 cm. Ludwig II (German: Ludwig Otto Friedrich Wilhelm; English: Louis Otto Frederick William; 25 August 1845 - 13 June 1886) was King of Bavaria from 1864 until his death in 1886. He is sometimes called the Swan King, Mad King Ludwig or der Märchenkönig (the 'Fairy Tale King'). He also held the titles of Count Palatine of the Rhine, Duke of Bavaria, Duke of Franconia, and Duke in Swabia. He succeeded to the throne aged 18. Two years later Bavaria and Austria fought a war against Prussia, which they lost. However, in the Franco-Prussian War of 1870 Bavaria sided with Prussia against France, and after the Prussian victory it became part of the new German Empire led by Prussia. Though Bavaria retained a degree of autonomy on some matters within the new German Reich, Ludwig increasingly withdrew from day-to-day affairs of state in favour of extravagant artistic and architectural projects. He commissioned the construction of two lavish palaces and the Neuschwanstein Castle, and was a devoted patron of the composer Richard Wagner. Ludwig spent all his royal revenues (although not state funds) on these projects, borrowed extensively, and defied all attempts by his ministers to restrain him. This extravagance was used against him to declare him insane, an accusation which has since come under scrutiny. Today, his architectural and artistic legacy includes many of Bavaria's most important tourist attractions. Born in Nymphenburg Palace (today located in suburban Munich), he was the elder son of Maximilian II of Bavaria (then Bavarian Crown Prince) of the House of Wittelsbach, and his wife Princess Marie of Prussia. His parents intended to name him Otto, but his grandfather, Ludwig I of Bavaria, insisted that his grandson be named after him, since their common birthday, 25 August, is the feast day of Saint Louis IX of France, patron saint of Bavaria. His younger brother, born three years later, was named Otto. Like many young heirs in an age when kings governed most of Europe, Ludwig was continually reminded of his royal status. King Maximilian wanted to instruct both of his sons in the burdens of royal duty from an early age. Ludwig was both extremely indulged and severely controlled by his tutors and subjected to a strict regimen of study and exercise. There are some who point to these stresses of growing up in a royal family as the causes for much of his odd behavior as an adult. Ludwig was not close to either of his parents. King Maximilian's advisers had suggested that on his daily walks he might like, at times, to be accompanied by his future successor. The King replied, "But what am I to say to him? After all, my son takes no interest in what other people tell him." Later, Ludwig would refer to his mother as "my predecessor's consort". He was far closer to his grandfather, the deposed and notorious King Ludwig I, who came from a family of eccentrics. Ludwig's childhood years did have happy moments. He lived for much of the time at Castle Hohenschwangau, a fantasy castle his father had built near the Alpsee (Alp Lake) near Füssen. It was decorated in the Gothic Revival style with many frescoes depicting heroic German sagas. The family also visited Lake Starnberg. As an adolescent, Ludwig became close friends with his aide de camp, Prince Paul, a member of Bavaria's wealthy Thurn und Taxis family. The two young men rode together, read poetry aloud, and staged scenes from the Romantic operas of Richard Wagner. The friendship ended when Paul became engaged in 1866. During his youth Ludwig also initiated a lifelong friendship with his cousin, Duchess Elisabeth in Bavaria, later Empress of Austria. - - - Otto (Otto Wilhelm Luitpold Adalbert Waldemar von Wittelsbach; 27 April 1848 - 11 October 1916), was King of Bavaria from 1886 to 1913. However, he never actively reigned due to severe mental illness; his uncle, Luitpold, and cousin, Ludwig, served as regents. Ludwig deposed him in 1913 a day after the legislature passed a law allowing him to do so, becoming king in his own right. He was the son of Maximilian II and his wife, Marie of Prussia, and younger brother of Ludwig II. King Otto of Bavaria is not to be confused with King Otto of Greece, who was his uncle and godfather. Prince Otto was born on 27 April 1848, two months premature, in the Munich Residenz. His parents were King Maximilian II of Bavaria and Marie of Prussia. His uncle King Otto I of Greece served as his godfather. Otto had an older brother, the Crown Prince Ludwig. They spent most of their childhood with servants and teachers at Hohenschwangau Castle. Their parents were distant and formal and had little time for them and Ludwig had a tendency to lord it over Otto. Their parents were aware that Otto and Ludwig didn't like them much, but they made no effort to win the children over. Their parents were at such a loss about what to say to Otto and Ludwig that they often ignored and even avoided them. Their mother did take an interest in what the brothers wore: she ordered that Ludwig should always be dressed in blue while Otto should always wear red. Their father was strict with the brothers, particularly Ludwig, the heir to the throne. Between 1853 and 1863, the brothers spent their summer holidays at the Royal Villa in Berchtesgaden, which had been specially built for their father. Otto served in the Bavarian army from 1863. He was appointed sub-lieutenant on 27 April 1863 and admitted to the Cadet Corps on 1 March 1864. On 26 May 1864, he was promoted to full lieutenant. On 10 March 1864, Otto's father died and his brother Ludwig succeeded as King of Bavaria. Between 18 June and 15 July 1864, the two brothers received state visits by the emperors of Austria and Russia. Otto was promoted to Captain on 27 April 1866 and entered active military service in the Royal Bavarian Infantry Guards. He participated in the Austro-Prussian War of 1866 and as colonel in the Franco-Prussian War of 1870-1871. His experiences on the battlefield traumatized him and caused him to suffer from depression and insomnia. When Wilhelm I was proclaimed German Emperor on 18 January 1871 at the Palace of Versailles, Prince Otto and his uncle Luitpold represented King Ludwig II, who refused to participate. Otto then criticized the celebration as ostentatious and heartless in a letter to his brother. Ludwig and Otto despised their ambitious Prussian relatives and cordially disliked their Prussian mother, so they were appalled by the creation of the new German Empire. Ludwig and Otto's hostility was no secret to the Prussian government. Otto and Ludwig were often seen together during the early years of Ludwig's reign but they became estranged over time. Ludwig was shy and introverted and eventually became a recluse while Otto was cheerful, outgoing and extroverted until the Franco-Prussian War. In 1868, Otto received the Royal Order of Saint George for the Defense of the Immaculate Conception, the house order of the House of Wittelsbach. In 1869, he joined the Order of the Holy Sepulchre, on the initiative of Cardinal Karl-August von Reisach. (Wikipedia). KEYWORDS:photo/münchen/germany

      [Bookseller: Krul Antiquarian Books]
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        Les misérables

      Parisian first edition published three days after that of Brussels. False mention of eighth edition for the first 6 volumes, the last 4, ie volumes 7 to 10 without any mention.Binding semi morbid red morocco contemporary. Back with nerves adorned with fat and lean, golden and cold fillets. Together fresh, freckles. Nice series pleasantly connected.In order to make a point on the various judgments of the bibliographers: While Vicaire indicates that the French edition is the true original, Clouzot affirming that the two are original, it must be specified that the Belgian edition was published three days before (the 31 March for Brussels and April 3 for Paris), but the truth is not a story of date. Lacroix is ​​the publisher of Hugo, Pagnerre is only the depository in Paris, which explains the presence of the name of Lacroix behind the false title, together with that of Lacroix. It is also known that the work was to appear in all major capitals at the same time, which happened in a few days. For the question of the mentions, this is probably quite simple: for commercial reasons of cost we proceeded to a single draw, some with mentions, others not, in order to distribute them during the year as if each time it was new editions. We understand Clouzot saying that an edition without mention is more desirable, because it seems to have been earlier, but in fact, and to sell, when the title pages without mention have been exhausted we sold in the disorder these pages of titles with mention or not, and very often copies were made bearing various mentions (the composition of our copy shows it well, without mention and eighth for the first 6), it is however true that the copies without mention were the first put in sale, and that editions with mention have title pages in red and black, to make them appear as new editions. Pagnerre Paris 1862 10 tomes en 10 Vol. in-8 (14,5x23,5cm) reliés

      [Bookseller: Librairie Le Feu Follet]
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        The Slaver Gordon, His Dying Soliloquy

      1862 - Broadside, illustrated border, chipped. Measuring approximately 250 by 155mm. New York, H.D. Chatham, Very rare song sheet imagining the dying lament of Nathaniel Gordon, the only American slave trader to be tried, convicted and executed under the Piracy Law of 1820. His ship was captured by US troops off the coast of West Africa in August 1860. After his conviction, supporters appealed to President Lincoln for a pardon. Although Lincoln issued many pardons during his presidency, he refused to consider one for Gordon, viewing the execution as an important demonstration of his administration's uncompromising position on the slave trade. In this ballad, Gordon is generously portrayed as driven by avarice but consumed by guilt. An interesting decorative border includes African American caricatures, such as black cherubs and a man in minstrel costume playing the banjo.

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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        Curiosities of Occult Literature. [Author's annotated copy].

      8. XI, 275 pages plus 11 pages of a travel manuscript to Palestine in the rear of the volume (dates from 1862-1863). Original Hardcover (blindstamped cloth with gilt lettering on spine: "Occult Literature 1878 M.S.S.". Very good condition with only minor signs of wear. Exlibris of Marci H. Huthwaite to front pastedown. Interleaved volume with multiple annotations by the author. Cooke's Curiosities of Occult Literature, interleaved, and extensively annotated by the author. The binding is in worn contemporary brown cloth with blind decorations and brown coated endpapers. Both printed text and interleaved pages show marginal browning. Bibliographically the book is not simple: the title page dates from 1863, but the binding is dated to 1878. In the years in between, and afterwards, the author has filled the interleaved pages with his jottings and annotations, meriting the description 'M.S.S.' - manuscript - on the spine. The book itself purports to be 'a plain, unvarnished tale' written in defence of his legal work and pamphleteering on behalf of astrology. In effect the 58 interleaved pages and marginal annotations unpack and amplify the author's opinions as expressed in the printed text. Thus the author appends a two page long explanation of the court case that set in train the book's narrative opposite the title page. It's not possible to do justice to the range and eccentricity of the manuscript interventions but instead to point to some highlights. At one extreme the author expands on the printed text with additional factual information, for example giving the address of a London phrenologist, additionally noting that it was 'in Piccadilly opposite St James's Church where the author's mother was baptised.' At the opposite extreme there are lengthy narrative interventions such as an account of the death of Mr White, a 'martyr' to astrology in the Isle of Wight and a lengthy excursus against Britain's 'secret police'. The author debates Robert Owen's complicated relationship with the establishment particularly the alarm this 'socialist' caused with his 'appearance at the Levee of Queen V[ictoria]' The astrological theme runs consistently through the annotations with exercises in astrological physiognomy as well as astrological tables and analyses of many of the people referred to in the text. To the rear of the book is an eight page diary of a trip to Palestine, undertaken by the author in 1862-3.

      [Bookseller: The Time Traveller's Bookshop]
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