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Displayed below are some selected recent viaLibri matches for books published in 1864

        The Wild Flowers of Great Britain

      - 11 vols 1864-80 Some foxing, mainly at beginning of a few vols, vol.2 particularly. Bindings faded, and a little worn. Front board vol. 11 loose. 924 hand coloured plates

      [Bookseller: gpbrookes]
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        Nouveau dictionnaire de médecine et de chirurgie pratiques illustré de figures intercalées dans le texte

      J.B. Baillière & fils, 1864. - J.B. Baillière & fils, Paris 1864-1886, 40 volumes reliés. - Edizione a cura di Sigismondo Jaccoud.Reliure dolore a metà schiena rossa con cinque nervi, tracce di attrito e un po 'indietro e alcuni tappi danneggiati superiori, angoli urtato, piatti carta marmorizzata, guardie e contreplats di carta fatta a mano , legame di époque.Contributions di rabbia Barrallier, Bert, Delorme, Desormeaux, DUVAL Fournier, FOVILLEN Gosselin, GUERIN, Hallopeau, HERUTAUX, Jaccoud, Ledentu, MARDUEL, Nélaton, Ollivier, Proust, Ricord, Rochard, VEDERE, SIMON, Tardieu, PROSSIMO ... libro illustrato di figure nei texte.Quelques rousseurs.Rare pacchetto completo. - [FRENCH VERSION FOLLOWS] Edition originale publiée sous la direction de Sigismond Jaccoud. Reliure en demi chagrin rouge, dos à cinq nerfs, traces de frottements et sur certains dos et quelques coiffes supérieures abîmées, coins émoussés, plats de papier marbré, gardes et contreplats de papier à la cuve, reliure de l'époque. Contributions de ANGER, BARRALLIER, BERT, DELORME, DESORMEAUX, DUVAL, FOURNIER, FOVILLEN GOSSELIN, GUERIN, HALLOPEAU, HERUTAUX, JACCOUD, LEDENTU, MARDUEL, NELATON, OLLIVIER, PROUST, RICORD, ROCHARD, SEE, SIMON, TARDIEU, VOISIN... Ouvrage illustré de figures dans le texte. Quelques rousseurs. Rare ensemble complet.

      [Bookseller: Librairie Le Feu Follet]
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        Des couleurs et de leurs applications aux Arts industriels à l'aide des cercles chromatiques

      Paris, Jean-Baptiste Baillière et fils, 1864. de 26, (2) pages et 27 planches percaline verte de l'époque 1864, 1864, in-folio, de 26, (2) pages et 27 planches, percaline verte de l'époque, Première édition, rare, portant la signature autographe de Chevreul et une note autographe d'Arthur Liébaut, ingénieur des Arts et manufactures, spécialiste des machines à vapeur et de leurs applications à l'agriculture, témoignant et attestant que "Monsieur Chevreul, âgé de cent ans et demi, a signé ce livre, en [sa] présence, le Dimanche 6 mars 1887, et [l']a chargé de le remettre, de sa part, à Monsieur Gaston Tissandier, comme témoignage de haute estime pour ses travaux scientifiques et pour son admirable courage". Il s'agit probablement de la plus rare de toutes les publications d'Eugène Chevreul sur la couleur. Il y développe les résultats pratiques qu'il avait obtenus pour définir et dénommer les couleurs. On y rencontre aussi, exposée pour la première fois, la manière dont on peut obtenir à volonté, suivant un procédé bien déterminé, les dégradations successives de plusieurs couleurs qui ici ont été notées au crayon sur les planches des 13 gammes chromatiques : gris, violet rouge, rouge orangé, orange, orangé jaune, jaune, jaune vert, vert, vert bleu, bleu, bleu violet, violet et rouge. Outre les 13 planches des gammes chromatiques, Chevreul reprend dans ce traité les 14 planches en couleur de l'atlas qui accompagnait l'exposé d'un moyen de définir et de nommer les couleurs (1861). Les 27 planches furent gravées par René Digeon et imprimées en couleurs par Lamoureux. Malgré quelques rousseurs, bon exemplaire d'une prestigieuse provenance

      [Bookseller: Librairie Alain Brieux]
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        De la réunion en chirurgie

      Paris, Jean-Baptiste Baillière et fils, 1864. de XVI, 720 pages et 7 planches en sépia et en couleurs dont 5 sur double page demi-basane aubergine de l'époque, dos lisse 1864, 1864, in-8, de XVI, 720 pages et 7 planches en sépia et en couleurs dont 5 sur double page, demi-basane aubergine de l'époque, dos lisse, Première édition, peu courante, du dernier des ouvrages publiés par Jobert de Lamballe dans lequel l'auteur des Plaies d'armes à feu (1833) et du Traité de chirurgie plastique (1849), s'intéresse exclusivement à "un grand fait de physiologie pathologique [...], la réunion des parties vivantes, qui ont été divisées accidentellement ou par l'effet de l'art." Le chirurgien étudie diverses techniques de réunion (médiate, immédiate, par bourgeon, adhésive, etc) pour un grand nombre d'organes différents (muqueuses, tendons, tissus cellulaires, cou, trachée-artère, vessie et périnée de la femme, organes génitaux de l'homme, hernies, cuir chevelu, palais et voile du palais, artères, etc.). Enfin, il s'intéresse à l'extraction des corps étrangers et à la réunion dans les cas d'amputation de membres. Bon exemplaire, non rogné, à l'intérieur frais

      [Bookseller: Librairie Alain Brieux]
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        AUTOGRAPH LETTER SIGNED, to [Abraham Dee?] Bartlett, on stationary of the Royal Geographical Society, London, 15, Whitehall Place, December 23, 1864.

      London,: Whitehall Place. 1864. hardcover. 7x4 ½ inches. 1 page. Signed by Bates. Fine.. Written one year after his most important book, The Naturalist on the River Amazons, 1863. ¶ Text: ?Dear Bartlett, The name of the ship owners who have regular trade with Pará are / Messrs. Duarte, Potter & Co. / 2 Royal Bank Building, Liverpool. / I hear they have a vessel once a month ? - I am at home every evening till Monday ? H.W. Bates?. See: Messrs. Edward Potter, Ricardo T Duarte, Samuel W Chaddock, W. E. Potter, 2nd January 1865. See: Estell & Co., The Liverpool Commercial List, 1871-1872, sixth and seventh years. London, 1871. p.3. ¶ ?Bates and Wallace sailed from Liverpool in April 1848, arriving in Pará (now Belém) at the end of May. For the first year they settled in a villa near the city, collecting birds and insects. After that they agreed to collect independently, Bates travelling to Cametá on the Tocantins River. He then moved up the Amazon, to Óbidos, Manaus and finally to the Upper Amazon (Solimões). Tefé was his base-camp for four and a half years. His health eventually deteriorated and he returned to Britain, sending his collection by three different ships to avoid the same fate as Wallace. He spent the next three years writing his account of the trip, The Naturalist on the River Amazons, widely regarded as one of the finest reports of natural history travels.? ¶ ?Bartlett? is almost surely Abraham Dee Bartlett (1812-1897), the British taxidermist and an expert on captive animals and birds, member of the Zoological Society of London, becoming Superintendent of the Zoological Gardens. Through this position he corresponded with other world naturalists, including especially Charles Darwin. See: A.D. Bartlett & Edward Bartlett, ?Biographical notes,? Wild animals in captivity, 1898. ¶ DSB Vol. I, pp. 500-4. . 1

      [Bookseller: Jeff Weber Rare Books]
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        Evidences That Joseph Smith, the Martyr, Was a Prophet of God

      True Latter-Day Saints Herald, Plano, IL - A scarce unbound pamphlet with soil, creased edges, and vertical fold edge wear on the last page resulting in loss of a few letters of text. "By Zenos H. Gurley and Isaac Sheen, a committee appointed by a special conference of the Church of Jesus Christ of Latter-Day Saints for Northern Illinois." A republication of Joseph Smith's famous prediction about Civil War in America, among others, " Verily thus saith the Lord, concerning the wars that will shortly come to pass, beginning at the rebellion of South Carolina, which will eventually terminate in the death and misery of many souls. The days will come that war will be poured out upon all nations, beginning at that place; for behold, the Southern States shall be divided against the Northern States, and the Southern States will call on other nations, even the nation of Great Britain in order to defend themselves against other nations." Flake 3759/3760 notes two variants, neither identified, with a probable date of 1864. ; 9 1/2" x 6"; 8 pp

      [Bookseller: Back of Beyond Books, ABAA]
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        Les destinées, poèmes philosophiques

      Michel Lévy frères, 1864. - Michel Lévy frères, Paris 1864, 14x23cm, relié. - Edition originale. Reliure en demi maroquin à grain long vert sapin à coins, dos lisse décoloré et passé orné de quintuples cartouches dorés agrémentés d'une frise florale dorée enrichie de pièces mosaïquées de maroquin rouge figurant les pétales, date et lieu dorés en queue, filets dorés sur les plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures conservées, reliure signée de C. de Samblanx. Ouvrage illustré d'un portrait de l'auteur en frontispice. Quelques petites rousseurs sans gravité.   - [FRENCH VERSION FOLLOWS] Edition originale. Reliure en demi maroquin à grain long vert sapin à coins, dos lisse décoloré et passé orné de quintuples cartouches dorés agrémentés d'une frise florale dorée enrichie de pièces mosaïquées de maroquin rouge figurant les pétales, date et lieu dorés en queue, filets dorés sur les plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures conservées, reliure signée de C. de Samblanx. Ouvrage illustré d'un portrait de l'auteur en frontispice. Quelques petites rousseurs sans gravité.  

      [Bookseller: Librairie Le Feu Follet]
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        Brockhaus Conversations-Lexikon 11.Auflage, 15 Bände, 1864-1868 (II)

      F.A. Brockhaus 1864-1868, Leipzig - Brockhaus. Allgemeine deutsche Real-Encyklopädie für die gebildeten Stände (Conversations-Lexikon). Elfte umgearbeitete, verbesserte und vermehrte Auflage. Komplett in 15 Bänden. Leipzig, F.A. Brockhaus, 1864-1868. Original-Halbledereinbände: Lederrücken mit Blind- & Goldprägungen. Format ca. 24x16 cm. Wie auch den ersten 7 Originalbildern zu entnehmen, die Rücken in einheitlichem Gesamteindruck. Ecken bestoßen; außen berieben, Leder & Deckelkanten stärker. Buchrückenkante bei zwei Bänden mit kleinem Einriß, einer davon zudem mit kleinem Fehlstück. Bei zwei weiteren Bänden kleines bzw. etwas größeres Fehlstück (s. Originalbilder in der Galerie). Zwei Außengelenke weisen auch einen kleinen Einriß auf. Innen alles fest eingebunden, keine losen oder fehlenden Seiten, kein unangenehmer Geruch. Seiten gebräunt. Keine Fleckigkeit. 10 Bände mit eingerissenem Vorsatzpapier mittig; ein Band ist am vorderen Vorsatz durchgängig gerissen, so daß dort nur noch an der Fadenheftung hängend. 27000 Gramm. [Attributes: Hard Cover]

      [Bookseller: Lexikon und Enzyklopädie]
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        Mademoiselle Cléopatre - Histoire parisienne

      Michel Lévy, 1864. - Michel Lévy , Paris 1864, 16x24cm, relié. - Edition originale, un des exemplaires imprimés sur vergé de Hollande. Reliure janséniste en plein maroquin rouge, dos à cinq nerfs, dentelle dorée en encadrement des contreplats, contreplats et gardes doublés de papier peigné, double filet doré sur les coupes, roulettes dorées sur les coiffes, tête dorée sur tépoins, reliure signée Andrieux, relieur de la Maison d'Orléans, qui fut actif de 1837 à 1870 environ. Portrait gravé de Cléopatre en frontispice. Très bel exemplaire parfaitement établi. - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires imprimés sur vergé de Hollande. Reliure janséniste en plein maroquin rouge, dos à cinq nerfs, dentelle dorée en encadrement des contreplats, contreplats et gardes doublés de papier peigné, double filet doré sur les coupes, roulettes dorées sur les coiffes, tête dorée sur témoins, reliure signée Andrieux, relieur de la Maison d'Orléans, qui fut actif de 1837 à 1870 environ. Portrait gravé de Cléopatre en frontispice. Très bel exemplaire parfaitement établi.

      [Bookseller: Librairie Le Feu Follet]
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        Brehms Illustriertes Thierleben / Tierleben, Erstausgabe, 6 Bände, 1864-1869 (II)

      Bibliographisches Institut 1864-1869, Leipzig - Illustriertes Thierleben. Eine allgemeine Kunde des Thierreichs von A. E. Brehm. Erstausgabe (1. Auflage). 6 Bände. Hildburghausen, Verlag des Bibliographischen Instituts, 1864-1869. Seltene, vollständige Erstausgabe von Brehms Tierleben. Original-Halbledereinbände. Schwarze Rücken mit Goldprägungen. Format ca. 25,5 x 19 cm. Alle sechs Bände zus. 5.552 S. Gest. Titel, Holzstichtafeln (vollständig) & unzählige Textabbildungen. Wie auch den ersten fünf Originalbildern zu entnehmen, ist der Einband berieben. Die Rückenkanten & Außengelenke mit stärkerer Bereibung, einige Rückenkanten mit Abplätterungen, bei einer kleinere Einrisse, bei dreien eine Fehlstelle & bei Band 5 wurde sie mit Klebeband ausgebessert. Vier Außengelenke haben einen Einriss (von weniger als 2 cm bis 4 cm), eines ist komplett gerissen, so dass dort der Buchrücken einseitig lose ist. Buchecken ebenfalls stärker bestoßen, Buchschnitt angeschmutzt & gedunkelt. Innen alles vollständig; keine fehlenden Seiten, alle Tafeln vorhanden. Kein unangenehmer Geruch, keine Anstreichungen. Unterschiedlich fleckig; mal gar nicht, mal einige, mal ein wenig mehr Flecke. Seiten am Rand leicht gebräunt; in zwei Bänden einige bzw. alle Tafeln am Rand stärker gebräunt (nicht in die Abbildung reichend); in einem Band einige Seiten komplett gebräunt. Drei Seiten am Rand ein kleines Stück eingerissen. In einem Band die vorderen, in einem Band die hinteren Seiten ein wenig hellbraun wasserrandig. Bei einem Band beginnt sich eine Doppelseite zu lockern & bei einem weiteren ist mittig die Fadenbindung zu sehen, von ihr teils auch einzelne Fäden gerissen, so dass sich einige Seiten zu lockern beginnen. Auf dem Innendeckel handschriftlicher Eintrag alter Zeit (Name und Jahr). 12000 Gramm. [Attributes: First Edition; Hard Cover]

      [Bookseller: Lexikon und Enzyklopädie]
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        Storia d'Italia dal 1815 fino alla promulgazione del Regno d'Italia. Narrata al popolo.

      Usigli, 1864. Due volumi di cm. 28,5, pp. viii, 959 (3); 978. Con 80 belle tavole fuori testo in litografia seppiata raffiguranti episodi storici e ritratti. Solida ed elegante legatura coeva in mezza pelle, dorsi lisci con ricchi fregi e titoli in oro. Piatti in percallina rossa decorata. Qualche usuale e sporadica fioritura, ma complessivamente esemplare fresco, genuino ed in ottimo stato di conservazione. Si tratta di una delle più belle ed iconograficamente ricche storia del Risorgimento italiano

      [Bookseller: Studio Bibliografico Benacense]
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        Traité sur les vins du Médoc et les autres vins rouges et blancs du département de la Gironde

      P. Chaumas, 1864. - P. Chaumas, Bordeaux 1864, 13,5x21,5cm, relié. - Quinta edizione pezzo originale come rivisto e ampliato. Bound in mezzo marina di pelle di pecora, colonna vertebrale piatto decorato con dorati triple, lievi tracce di abrasione sui tappi, piccoli graffi sul piatto abete cartone strappi po 'di luce sui tagli, due angoli urtato, guardie e contreplats di carta fatta a mano , vincolante contemporaneo. Penna Ex - dono su una guardia. Libro di 33 vedute di castelli, 3 mappe e tabelle di sintesi illustrata in 6 - fine. Macchie rare, bella condizione all'interno. Bella copia di questo classico fiocco dell'enologia. - [FRENCH VERSION FOLLOWS] Cinquième édition en partie originale car revue et augmentée. Reliure en demi basane marine, dos lisse orné de triples filets dorés, légères traces de frottements sur les coiffes, petites épidermures sur les plats de cartonnage sapin, quelques légers accrocs sur les coupes, deux coins émoussés, gardes et contreplats de papier à la cuve, reliure de l'époque. Ex - dono à la plume sur une garde. Ouvrage illustré de 33 vues de châteaux, de 3 cartes et de 6 tableaux synoptiques in - fine. Rares rousseurs, bel état intérieur. Agréable exemplaire de cet incontournable classique de l'oenologie.

      [Bookseller: Librairie Le Feu Follet]
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        Le Théâtre érotique de la rue de la Santé. Son histoire

      S.n, 1864. - S.n., Batignolles 1864 - 1866, 11x16,5cm, 2 parties reliées en un volume. - Seconda edizione di questa collezione di erotica, in parte originale, è decorata con 2 frontespizi incisi su rame da Félicien Rops, disegnate sulla Cina, ed è accompagnato da un biglietto invito alla rappresentazione dell'ultimo giorno di fax condannato. Metà legame marocchino rosso contemporanea con gli angoli, torna con cinque nervi decorate con reti dorate, doppio a cassettoni dorati e ornamenti fredde, filetto freddo su piatti di carta al serbatoio, testa dorata sui testimoni. Il libro, pubblicato la prima volta nel 1864, riunisce i testi rappresentati in privato nel 1862 in una stanza situata nella via Batignolles Salute. Esso contiene gli stessi elementi, più alcuni documenti che li riguardano, e una divertente storia di Erotic Teatro di Strada Salute, in cui si trovano i nomi dei dell'edizione 1864 gli autori pensati solo per metafore difficili a cogliere (Pia). - [FRENCH VERSION FOLLOWS] Seconde édition de ce recueil de textes érotiques, en partie originale, elle est ornée de 2 frontispices gravés sur cuivre par Félicien Rops, tirés sur chine, et s'accompagne d'un billet d'invitation pour la représentation du Dernier jour d'un condamné en fac - similé. Reliure de l'époque en demi maroquin rouge à coins, dos à cinq nerfs ornés de filets dorés, de double caissons dorés et de fleurons à froid, filet à froid sur les plats de papier à la cuve, tête dorée sur témoins. L'ouvrage, d'abord paru en 1864, rassemble des textes représentés en privé au cours de l'année 1862 dans un local situé aux Batignolles, rue de la Santé. Elle contient les mêmes pièces, plus quelques documents les concernant, ainsi qu'une amusante Histoire du Théâtre érotique de la rue de la Santé, dans laquelle sont révélés les noms des auteurs que l'édition de 1864 ne désignait que par des métaphores parfois difficile à saisir (Pia).  Petite restauration de papier à l'angle d'un faux - titre, sinon bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Veduta Prospettica del Canale Cavour

      1864. Ampia ed assai dettagliata veduta prospettica della pianura piemontese con evidenziate, oltre al percorso del Canale Cavour tutte le varie cittadine, cascine, fiumi e torrenti che si trovano lungo il suo percorso. In calche da sinistra rimandi da A a K per le opere d'arte del Canale Cavour, 11 righe di Avvertenze e generalità, 13 righe per la Leggenda, rimandi da 1 a 41 delle Citta e villaggi, cascine ed opere già esistenti, rimandi da I a XIII di fiumi e torrenti, rimandi da a fino i dei Canali Demaniali dati in godimento alla Compagnia durante la concessione. Litografia Rolla Torino. Interessante notare l'indicazione "N.B L'osservatore si suppone all'altezza di circa 3 Km sopra un punto intermedio a Settimo Torinese, Castiglione e San Mauro". Litografia stampata in due colori rifinita in bella coloritura coeva, piega centrale editoriale mm 490x785

      [Bookseller: Libreria Trippini Sergio]
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        Lexicon totius latinitatis. Seminarii patavini alumnorum cura opera et studio lucubratum nunc demum juxta opera R. Krotz G. Freund L. Doderlein aliorumque recentiorum auctius emendatius melioremque in formam redactum curante Doct. Francisco Corradini

      Typis Seminarii, 1864. 250x330mm 4 voll

      [Bookseller: Libreria Antiquaria Giulio Cesare]
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        The Photographic Historical Portrait Gallery, consisting of a series of portraits, principally from miniatures, in the most celebrated collections in England. Accompanied by copious illustrative letter-press, by Amelia B. Edwards. Volume I.

      London, Paul and Dominic Colnaghi, Scott, and Co. Hardcover. Quarter leather with marbled boards and gilt detailing along the spine and leather edges. General wear to boards with top corners being heavily frayed and minor fraying to bottom edges, rubbing to spine ends and heavy rubbing to marbled boards and some chipping to rear. 50 plates with the silver still intact and the pictures still very detailed and bright with minor toning and foxing to pages. Leonida Caldesi was born in Florence, Italy in 1823 and arrived in England as a political refugee around 1850, though whether he was a photographer at this time is not clear. His brother Vincenzo (1817-1870) served as a major on the staff of the Italian patriot and revolutionary Giuseppe Garibaldi (1807-1882). - Comparatively little is known about Caldesi's career though he was one of the leading London photographers during the 1850's and was acknowledged by contemporaries as one of the foremost photographers of fine art from the 1850's to the 1870's. This rare example of his work is in excellent condition for its age with surprising clarity in the silver photographs. If you'd like more pictures please feel free to ask. . Good. 1864.

      [Bookseller: Infinitebooks]
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        A stunning surgical set owned by John Campbell, commissioned in Ohio circa 1864 as a surgeon during the Civil War

      [Ohio], c. 1864. Various. "A large set of medical instruments including a carte-de-visite of John Campbell, a set of utensils, a pair of eye glasses with the original lens, and the leather medical case/wrap. All in excellent condition except for the leather case/wrap, which is dried and worn as is commensurate for its age. Housed in a cardboard case with a glass top.This fascinating set of period medical instruments was owned by John Campbell, a surgeon from the Civil War who was commissioned into Field & Staff for the Ohio 178th Infantry in September of 1864. The set includes a carte-de-visite of John Campell, signed by him on the verso ""Yours Truly, JH Campbell"", with the photographer's note ""Watson's Gallery, 160 West 5th St…""The original medical leather case still maintains the lightly rubbed original makers sticker stating ""……R. GOULDING…./SURGICAL INSTRUMENT MAKERS/NEW YORK"". William R. Goulding was a prominent surgical instrument maker from New York during the Civil War era. At that time, New York became the home to the greatest concentration of instrument makers in the country.The balance of the instruments includes a wood handle, small fold out pocket knife, 15 medical instruments, a 3 piece utensil set with the hall mark NS, and a salve/ointment case. A beautiful set of medical instruments from the Civil War."

      [Bookseller: University Archives]
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        Notizie dei Professori del disegno in Liguria dalla fondazione dell'Accademia

      Luigi Sambolino, 1864 - 66. Tre volumi in 4° (cm 28x19) legature in mezza pelle coeva con titoli e fregi oro al dorso, pp. XVI, 443; 423;556 con complessive 13 tavole incise da Barbarino raffiguranti ritratti (fratelli Ratti, Giovanni David, Angelo Banchero, Carlo Barabino, Ignazio Peschiera, Federico Peschiera, Salvatore Revelli, Pietro Freccia). La legatura del secondo volume è diversa dagli altri due. Bruniture sparse tipiche della carta, tre carte con abili restauri al margine inferiore. Nel complesso volumi ottimi. Prima edizione assai Rara. Lozzi 2277. Federico Alizeri fu storico, docente e letterato italiano. Quest'opera, che riscosse grande successo, venne ancora ristampata in sei volumi tra il 1873 ed il 1880. (un settimo volume di documenti è rimasto inedito nell'archivio della Società Ligure di Storia Patria).

      [Bookseller: Studio Giuseppina Biggio]
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        Eigenh. Brief mit U.

      Wien, 18. II. 1864. - 1 S. Gr.-8vo. An einen namentlich nicht genannten Adressaten im Bedauern, einer Erkrankung wegen keinen Musikabend im Hesperus-Verein geben zu können: "[.] Indessen, ich hoffe noch im Laufe dieser Saison es möglich zu machen, unter Mitwirkung einiger meiner Collegen ein Quintett von Blasinstrumenten bei der geehrten Gesellschaft aufführen zu können [.]". Michael Alexander Petschacher war Oboist am Burgtheater und der Wiener Hofoper und lehrte als Professor für Oboe am Konservatorium (vgl. ÖBL VIII, 8). - Mit kleinen Läsuren am oberen Rand; papierbedingt leicht gebräunt.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Brockhaus Conversations-Lexikon 11.Auflage, 15 Bände, 1864-1868 (I)

      F.A. Brockhaus 1864-1868, Leipzig - Brockhaus. Allgemeine deutsche Real-Encyklopädie für die gebildeten Stände (Conversations-Lexikon). Elfte umgearbeitete, verbesserte und vermehrte Auflage. Komplett in 15 Bänden. Leipzig, F.A. Brockhaus, 1864-1868. Dekorativ eingebundene Original-Halbledereinbände: Braune Lederrücken mit Gold- & Blindprägungen. Format ca. 24,3x16 cm. Wie auch den 12 Originalbildern zu entnehmen, die Rücken in harmonischem & sehr schönem Gesamteindruck. Buchschnitt erstklassig erhalten, ebenso die Buchdeckel. Ecken bestoßen, Kanten berieben. Am Außengelenk bei drei Bänden ein Einriß, in der Rückenansicht nicht zu sehen. Band 1 ebenfalls mit Einriß, zudem stärkerer Abrieb an der Rückenoberkante. Ein Rückenetikett mit Fehlstelle. Innen sehr sauber. Keine losen oder fehlenden Seiten, kein unangenehmer Geruch. Seiten teils gebräunt. Keine Fleckigkeit, nur in zwei Bänden wurde ganz vereinzelt ein Fleck festgestellt. Eine Seitenecke abgerissen; eine Seite & zwei Vorsatzpapiere ein Stück eingerissen. Zwei Vorsätze ca. zur Hälfte mit handschriftlichem Eintrag. 27000 Gramm. [Attributes: Hard Cover]

      [Bookseller: Lexikon und Enzyklopädie]
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        Our Mutual Friend. With Illustrations by Marcus Stone. (20 parts in 19 vol.)

      London, Chapman and Hall, 1864-65. 20 parts in 19 vol. Complete with wrappers and advertisement. As issued in publisher's printed wrappers. Vol. 2, 3, 6, 8, 18 are unopened and near fine, together with vol. 7, 9. Vol. 1, 4, 10, 11, 12, 15 are worn to margins and a bit soiled. Vol. 5, 13, 14, 16, 19/20 are worn with rear wrappers lose; the first page of vol. 14 is damaged. A good set. Eckel p. 94.

      [Bookseller: Rönnells Antikvariat AB]
 21.   Check availability:     Antikvariat     Link/Print  


        Zeitschrift des Vereins für die Rübenzuckerindustrie im Zollverein. Neue (2.) Folge, mit den Bänden 1 -16 (Lieferungen XCVIX - 287). Späterer Titel ab Band 10 (1873): Zeitschrift des Vereins für die Rübenzuckerindustrie des Deutschen Reichs. In der Gesamtfolge sind dies die Bände 14 - 29.

      Berlin, C. Feister 'sche Buchdruckerei (L. Mewes), - 1879. 1864 - 23,5 x 17,5 cm. Bände 1 und 2 sind Original-Halblederbände mit goldgeprägtem Titel (Aufdruck: 14. und 15. Band - der Gesamtreihe) auf rotem Rückenschild sowie Prägeschmuck / 14 Originalhalbleinenbände mit goldgeprägten Rückentiteln. Die Einbände sind etwas bestoßen. Bände 1 und 2: Vorderes Außengelenk ist geplatzt, Vorderdeckel dadurch nahezu lose. Bei Band 12 ist das hintere Gelenk betroffen, bei den Bänden 14- 16 beide Gelenke. Band 8 (1871): Vorderes Innengelenk ist angeplatzt. Band 9: Bis 1 cm Fehlstellen im Rückenbezug, Hinteres Außengelenk ist oben 1 cm eingerissen, Bezug des hinteren Innengelenks ist geplatzt. Band 10: Buchblock ist vor dem Titelblatt gebrochen. Band 11: Außengelenke sind nachgeleimt, 3 cm Fehlstelle am unteren Kapital. Band 13: Oberes Kapital mit 1 cm Fehlstelle. Band 16: Seiten 1-3 sind unten 10 cm eingerissen. Ordentlich ausgeschiedenes Bibliotheksexemplar mit den entsprechenden Stempeln und Signaturen. Pro Band 750 - 1200 Seiten mit einigen Holzschnitten im Text und zahlreichen, ausfaltbaren Tafeln. Jeder Band mit Autoren- und Sachregister. Band 1: bis zur Mitte des Buches ist der untere Innenrand feuchtrandig. Insgesamt ist der Innenbereich sauber. Gutes Exemplar. Einzelverkauf für 30 - 40 Euro (je nach Zustand) zzgl. 5 Euro Porto ist auf Anfrage möglich! --- Aus dem Vorwort zur Neuen Folge: 'Es soll die Zeitschrift des Vereines möglichst zu einem den Ansprüchen heutiger Zeit entsprechenden universellen Journal umgewandelt werden.' --- Aus dem Inhalt: Louis Walkhoff - Bericht aus Russland (Band 1) / K. Stammer: Über das Entgypsen der Knochenkohle (Band 2) / H. Bodenbender: Theoretisches und Practisches aus dem Gebiete der Zuckerfabrikation (Band 3) / R. Reimann: Einiges über Schüzenbach 'sche Maceration (Band 4) / Robert Burger: Über den Nutzen der Erneuerung des Zuckerrüben-Samens (Band 5) / F. Stohmann: Über den Einfluss der Kalisalze auf die Vegetation der Zuckerrübe (Band 6) / C. v. Witzleben: Kalkofen mit Kohlensäure-Reiniger (Band 7) / W. v. Nathusius: Über den Futterwerth der Diffusions-Rückstände (Bd. 8) / A. Schmidt: Zweiter Bericht über die Rübennematoden (Band 9) / H. Schwarz: Über die entfärbende Wirkung der Knochenkohle (Band 10) / P. Lagrange: Über die Anwendung des Baryts und des basisch phosphorsauren Ammoniaks bei der Fabrikation und der Raffination des Zuckers (Bd. 11) / P. Elliesen: Übersicht der bis jetzt bekannten Krankheiten der Rübe (Bd. 12) / J. Thausing: Die Wasserreinigung nach Berenger und Stingl (Bd. 13) / P. Doerstling: Über Steinöl-Beleuchtung der Zuckerfabriken (Bd. 14) / M. Schmitz: Über das specifische Drehungsvermögen des Rohrzuckers (Bd. 15) / H. Rodewald und B. Tollens: Über das Reductionsverhältnis des Milchzuckers zu alkalischer Kupferlösung (Bd. 16). HKA03000 [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat und Buchhandlung Carl Wegner]
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        Nice et Savoie: sites pittoresques, monuments, description et histoire des départements de la Savoie, de la Haute - Savoie et des Alpes Maritimes, réunis à la France en 1860. Dessins d?après nature, litographiés à plusieurs teintes (genre aquarelle) par les premiers artistes de Paris. Texte par Joseph Dessaix et Xavier Eyma. Paris, Henri Charpentier, 1864

      Charpentier H, 1864. 3 parti in 2 vol. in - folio, pp. (4), XX, (2), 64; (6), 62; (4), VI, (2), 42; leg. d'editore in m. pelle verde, tit. e ricche decoraz. oro al dorso, piatti in percallina decorati in oro. Stupendamente illustrati: 3 vignette sui titoli, varie testatine ed iniz. ornate, 2 carte topogr. e 90 superbe tavole fuori testo litografate in varie tinte. Le vedute furono litografate dal Benoist medesimo, da E.Ciceri, Jacottet, Sabatier, Bayot, Gaildreau, David. Prima edizione di questa grandiosa classica opera sulle regioni della Savoia, della Alta Savoia, della Costa Azzurra e delle Alpi Marittime, corredata di vedute di grande bellezza. ''Magnifique album sur les Provinces rattachées à la France en 1860: la Savoie et le Comté de Nice. Cet ouvrage est l'album sur la Savoie le plus connu du public'' (Perret). Esemplare assai ben conservato, privo di fioriture della carta, nella elegante legatura editoriale.

      [Bookseller: Libreria Antiquaria Pregliasco]
 23.   Check availability:     maremagnum.com     Link/Print  


        Délices royales ou Le Jeu des échecs, son histoire, ses règles et sa valeur morale par Aben - Ezra et Aben Yé'hia, rabbins du XIIe siècle

      Chez B. Créhange, 1864. - Chez B. Créhange, Paris 1864, 11,5x19cm, broché. - La prima edizione della traduzione francese, testo bilingue francese - ebraico. Sotto muto copertina originale, con un po 'di coda mancanza. Alcuni molto piccoli morsi. Esempio molto rara e bella come pubblicato.   - [FRENCH VERSION FOLLOWS] Edition originale de la traduction française, texte bilingue français - hébreu. Sous couverture muette d'origine, présentant un petit manque en queue. Quelques très infimes piqûres. Très rare et bel exemplaire tel que paru.  

      [Bookseller: Librairie Le Feu Follet]
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        The book of Common Prayer, and Administration of The Sacraments, and Other Rites and Ceremonies of the Church According to the Use of the United Churchof England and Ireland .

      University Press, Oxford 1864 - 16mo. full brown leather custom binding tooled in blind, lettered in gilt over stiff boards, all edges gilt, metal edges on covers with clasp, by Westley of Cheltenham. With a foredge painting of Cheltenham? With contemporary inscriptions in brown ink on free endpaper and first fly leaf. [Attributes: Hard Cover]

      [Bookseller: Randall House Rare Books (ABAA)]
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        EINBLATTDRUCK AUF SEIDE: ZUM GEDÄCHTNISS DES BESTEN HERZENS, DAS JE IN EINER DEUTSCHEN KÖNIGSBRUST GESCHLAGEN. EWIG DENKWÜRDIGE WORTE DES KÖNIGS MAXIMILIAN II. VON BAYERN.

      - Jahr: , Anton Schott in München, Hirtenstrasse 24/2, nach dem 10. März 1864. Zusatz : Einblattdruck zum Gedächtnis des verstorbenen Maximilian II.(1811-10. März 1864, ab 1848 König von Bayern), aufwendig auf Seide und in drei Farben gedruckt. Die verwendeten Farben – Schwarz, Rot, Gold – entsprechen denen der deutschen Flagge, die seit der Revolution von 1848 und dem Beschluss der Nationalversammlung am 9. März 1848 als offizielle Flagge des deutschen Bundes festgelegt wurde. Maximilian II. hatte nach der Revolution von 1848, die zur Abdankung seines Vaters Ludwig I. geführt hatte, die Regierungsgeschäfte als „konstitutioneller König" übernommen. Mit dem Satz „Ich will Frieden haben mit Meinem Volke" spielt der König auf einen Konflikt der Königlichen Staatsregierung mit der Kammer der Abgeordneten an. Weiterhin wird an die Kunst, Wissenschaft und bayerisches Nationalgefühl fördernde Baumaßnahme des Bayerischen Nationalmuseums erinnert, die durch Maximilian II. initiiert wurde (Eröffnung 1867). An der Fassade trug das Museum dessen Devise „Meinem Volk zu Ehr und Vorbild". Maximilian II. war ein exzeptioneller Förderer der Geschichtswissenschaften und sorgte für die Einrichtung Historischer Seminare in allen drei Landesuniversitäten (Erlangen, München, Würzburg) sowie an den Schulen im gesamten Königreich. Auch der Bau des bayerischen Nationalmuseums, mit einem Bilderzyklus über die wichtigsten Ereignisse der bayerischen Nationalgeschichte, ist im Zusammenhang mit diesen Bildungsmaßnahmen zu sehen.

      [Bookseller: Antiquariat Dasa Pahor]
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        Les Modes Parisiennes Illustrées. Journal de la bonne compagnie. Fashions, toilettes, ameublements, théatres, livres nouveaux, romans, poésies, causeries. Juillet - Decembre 1864

      Paris: chez le successeur d'Aubert 1864 - Komplettes Halbjahr dieser Wochenzeitschrift, 26 Nummern, vom 2. 7. bis 31. 12. 1864, HLWd. der Zeit, Seiten 312-636, 30 kolorierte Tafeln mit Lithographien (davon 26 Modenabbildungen, Nrn. 1114-1140 und 4 mit "Lingeries et confections") und 1 SW-Tafel auf einer Doppelseite, mit einer Text-Abb., 21 x 27 cm; Deckelkanten u. Rücken abgeschürft, Vorsätze leicht verschmutzt, Stempel auf der Titelseite, Tafel 1135 mit blauer Farbe befleckt, Tafel 1129 auf Hinterseite mit Farbstift bemalt, Seiten der letzten Nummer mit braunem Fleck, sonst innen sauber u. schön erhalten, altersgemäß sehr guter Zustand. Book Language/s: fr [Attributes: Hard Cover]

      [Bookseller: Antikvariat Valentinska]
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        Les Modes Parisiennes Illustrées. Journal de la bonne compagnie. Fashions, toilettes, ameublements, théatres, livres nouveaux, romans, poésies, causeries. Janvier - Juin 1864

      Paris: chez le successeur d'Aubert 1864 - 24 Nummern dieser Wochenzeitschrift, vom 2. 1. bis 25. 6. 1864, HLwd. der Zeit, 312 Seiten, 28 farbigen Tafeln mit Lithographien (davon 4 mit "Lingeries des Dames") u. eine SW-Tafel auf einer Doppelseite, drei Seiten mit Text-Abb., 20 x 27 cm; 2 Nrn. von diesem Halbjahr, vom 6. 2. u. 27. 2., fehlen (aber Tafeln davon eingebunden), dagegen fehlt die Tafel zu Nr. vom 19. 3., Deckel vor allem an den Kanten u. am Rücken abgeschürft, Kanten auch bestoßen, Stempel auf der Titelseite, innen zuweilen minimal stockfleckig, Tafeln schön erhalten, altersgemäß sehr guter Zustand. Book Language/s: fr [Attributes: Hard Cover]

      [Bookseller: Antikvariat Valentinska]
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        Civil War Musician's Bound Volume of Sheet Music

      Half Leather. Very Good. Folio - over 12" - 15" tall. There are 37 pieces of music in the volume, Probably bound as a volume in the late 1860s. Sound binding. Some of the pieces have pre-binding wear, soiling, and repairs. Foxing to a few of the pieces. The cover has some minor wear. Overall, a very nice collection of sheet music made all the more significant having been assembled by a Civil War musician. This bound volume of sheet music was compiled by Private Francis (Frank) D. Orcutt, a musician serving in the 7th Battalion Illinois Volunteer Infantry. His service included Sherman's March through Georgia to the Sea and the capture of Savannah. Many of the pieces in the volume are first printings and pertain to Orcutt's service in Georgia including: "We Are Coming or the Prisoners Release," "Tramp, Tramp, Tramp, or the Prisoners Hope," "We've Drunk from the Same Canteen" (inscribed "To Frank From F.Y.H. / Memento, Christmas 1864, Savannah Ga," and "Marching Through Georgia" (for many years the most hated song in the South). Other Civil War music includes "Johnny is My Darling" (first printing) "When Johnny Comes Marching Home" (first printing), "The Bonnie Flag with the Stripes and Stars" (in answer to the "Bonnie Blue Flag"), "That's What's the Matter" (first printing of a Stephen Foster war song), "Washington and Lincoln" (first printing), and "A Gloom is Cast O'er All the Land" (first printing). Other important music in the volume includes two pieces by the Alleghanians and the Baker Family with portrait covers, "Little Eva: Uncle Tom's Guardian Angel" (first printing of John Greeleaf Whittier's work with an illustrated cover), "Our Good Friends" (a Septimus Winner composition written using his Alice Hawthorne pseudonym with a portrait cover), "If You've Only Got a Moustache" (first printing of a comic song by Stephen Foster), and "She Was the World To Me" (first printing of Stephen Foster's last song, published posthumously).

      [Bookseller: Read 'Em Again Books, ABAA]
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        The Census of Ireland for the Year 1861 General Report.

      Alexander Thom & Sons - 1864. Hardcover. 571pp. Folio bound in maroon cloth with new label. Complete with four maps of Ireland showing1:Population 2:Education 3:House accomadation and 4: Property- Live Stock. County by county Summaries + general summaries.Nineteenth century Ireland. Irish Census. Famine in ireland. very good clean copy. . . . . from our Bookshop. [Attributes: Hard Cover]

      [Bookseller: Kennys Bookshop and Art Galleries Ltd.]
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        The Rise of The Dutch Republic: A History

      London: Bickers & Son, 1864. NEW EDITION. 3 vols., 8-7/8" x 6", title-pages printed in red and black. Bound in fine full tree calf, ribbed gilt decorated spines, gilt lettered red and green morocco spine labels, covers ruled in gilt. blind tooled dentelles, top edges gilt, others uncut, hinges fine, head and foot of spines fine.

      [Bookseller: D&D Galleries - ABAA]
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        Fables de la Fontaine

      Paris: Garnier Frères, 1864. - "Grandville Presents La Fontaine's Beasts Acting like Men and Sometimes Costumed like them" (Ray)GRANDVILLE, J.J. LA FONTAINE, [Jean de]. Fables de la Fontaine. Illustrations par Grandville. Paris: Garnier Frères, 1854. Early reprint (first published in 1838-40). Large octavo (10 1/2 x 7 inches; 266 x 178 mm.). [4], xxiv, 598, [1, epitaph], [3, blank] pp. Inserted engraved frontispiece and 240 engraved illustrations of the fables as well as numerous engraved head and tail pieces.Publisher's quarter green morocco over green pebbled cloth over boards. Covers ruled in blind, spine with four raised bands, decoratively tooled and lettered in gilt in compartments, watered silk paper end-leaves, all edges gilt. A near fine copy."In these designs, the most popular he ever drew, Grandville presents La Fontaine's beasts acting like men and sometimes costumed like them. Since La Fontaine's poems are a veiled commentary on human behavior, this formula works to admiration. Even Oudry's drawings do not always match Grandville's in psychological penetration, however superior they may be in other respects. Grandville is effective as well with uncostumed animals, even if he sometimes took them from Buffon rather than from life, but less so with human subjects " (Ray, The Art of the French Illustrated Book 1700 to 1914, p. 270).

      [Bookseller: David Brass Rare Books, Inc.]
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        Des maladies mentales et des asiles d'aliénés. Leçons cliniques & considérations générales

      1864 - (4), LXIX, (1 bl.), 796pp. Paris, J.B. Baillière et Fils, 1864, in-8, (4), LXIX, (1 bl.), 796pp, demi-basane marron, dos à nerfs, Planche dépliante représentant le plan de l'asile d'Illenau, gravée par E. Wormser. PREMIERE EDITION. Jean-Pierre Falret (1794-1870), élève de Pinel et d'Esquirol, fondateur de l'asile de Vanves avec F. Voisin (1822), visita de nombreux asiles en Angleterre, en Irlande et dans le duché de Bade, dont il décrit ici l'établissement d'Illenau. Cet ouvrage est la réunion en un seul volume de travaux publiés à divers intervalles dans des recueils différents. Falret y expose sa théorie mixte sur les maladies mentales, héritée de l'école anatomique et de l'école psychologique. "Nous croyons fermement à l'existence d'une modification organique quelconque dans toute maladie mentale; mais nous regardons comme secondaires les lésions tangibles et visibles constatées (.) chez les aliénés et n'attachons d'importance véritable qu'aux lésions initiales encore inconnues, soustraites jusqu'ici aux recherches du scalpel et même du microscope. (.) Nous considérons comme très digne d'attention l'étude minutieuse des phénomènes psychiques des aliénés, (.) mais nous regardons comme stérile l'étude des lésions isolées des facultés (.) et concentrons tout notre intérêt sur l'observation clinique des états psychiques complexes, tels qu'ils existent chez les aliénés". Cachet ex-libris du Dr Carrier de Lyon. Bon exemplaire. Charnières légèrement frottées et petites griffures. Étiquette en pied du dos. Semelaigne I, p. 179. [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        Zwei Vorstellungen von denen die erste um 4 Uhr und die zweite um 7 Uhr beginnt. - Orientalisches Manoever geritten von 12 Damen.

      (Frankfurt), Montag, den 12. September 1864. - Mehrfach gefalt. Plaket auf gelbem Papier. Mit 2 Abbildungen in Holzschnitt Blattgr.: 76 x 60 cm. Unter den vielen Attraktionen des Abends sind mehrere Nummern von Kunstreiten, u. a. auch "Herr Slezak in seinen Produktionen auf ungesatteltem Pferde, wird als Jockey u. a. mehrere Sprünge u. zwar frei von der Erde sans touche le cheval par la main auf ein 5 Fuß hohes Pferd während es im stärksten Cours läuft ausführen" - die amüsante große Abbildung verrät aber eine Clowns-Nummer, der mutige Artist ist kurz vor dem Abwurf von einem bockigen Esel zu sehen, im Manegenstaub liegt bereits ein Kollege! Auch zu sehen und zu hören sind: Der Violin-Virtuosen Clown Hr. Price, der "Meloman", der auf einer nur einer Saite bespannten Violine "Lucia di Lammermoor" zum Besten gibt, eine "Kraftproduction der 3 Athleten" und weitere vergnügliche und erstaunliche Produktionen!

      [Bookseller: Antiquariat Uwe Turszynski]
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        COMING! COMING! COMING! ODD FELLOWS' HALL! ONE NIGHT ONLY! THURSDAY EVENING, JUNE 30th, 1864. THE EVER POPULAR AND FAR-FAMED CHARLEY GARDNER'S GUN BOAT MINSTRELS! THE STAR TROUPE OF THE WORLD EACH MEMBER BEING SELECTED FOR HIS INDIVIDUAL TALENT AND EXCELLENCE...[caption title]

      Cincinnati: Cincinnati Daily Commercial Steam Job Press, 1864. Broadside, 24 x 9 inches. Light soiling and wear, a few chips and tears at edges. About very good. Minstrel broadside advertising a Cincinnati, Ohio performance of Charley Gardner's troupe. The Canadian- born Gardner (1839-1909) was a black minstrel, also known as "Hop Lite Loo" Gardner for his origination of that song and dance in the 1850s. The present broadside contains a large woodcut illustration showing the minstrel orchestra banging away at a piece of music while a gowned woman pleads with a villainous gentleman in the foreground. All of the actors depicted are black. The man is, presumably, Charley Gardner, while the woman must be "M'lle Lizetta, Queen of Terpsichore" listed for several of the numbers below. The troupe advertises: "The resources of 'Charley Gardner's Gun Boats,' as organized, enables them to present in a superb manner, vocal and instrumental music, burlesque opera, dramatic travesties, national drolleries, together with the lights and shadows, humors and oddities of Southern Plantation Life! in all its broad, mirthful and original phases." Admission, 25 cents.

      [Bookseller: William Reese Company - Americana]
 35.   Check availability:     Biblio     Link/Print  


        Their Majesties Servants: Annals of The English Stage, from Thomas Betterton to Edmund Kean

      London: Wm. H. Allan & Co, 1864. 2 vols. bound in 4. 9" x 6-1/8", titlepages printed in red and black. Bound in fine full red morocco, ribbed gilt decorated spines, covers triple ruled in gilt, gilt dentelles, top edges gilt, others uncut, marbled pastedowns and endpapers, bound by Alfred Mathews. Hinges fine, head and foot of spines fine, A SHARP SET.

      [Bookseller: D&D Galleries - ABAA]
 36.   Check availability:     Biblio     Link/Print  


        Civil War Musician's Bound Volume of Sheet Music

      Half Leather. Very Good. Folio - over 12" - 15" tall. There are 37 pieces of music in the volume, Probably bound as a volume in the late 1860s. Sound binding. Some of the pieces have pre-binding wear, soiling, and repairs. Foxing to a few of the pieces. The cover has some minor wear. Overall, a very nice collection of sheet music made all the more significant having been assembled by a Civil War musician. This bound volume of sheet music was compiled by Private Francis (Frank) D. Orcutt, a musician serving in the 7th Battalion Illinois Volunteer Infantry. His service included Sherman's March through Georgia to the Sea and the capture of Savannah. Many of the pieces in the volume are first printings and pertain to Orcutt's service in Georgia including: "We Are Coming or the Prisoners Release," "Tramp, Tramp, Tramp, or the Prisoners Hope," "We've Drunk from the Same Canteen" (inscribed "To Frank From F.Y.H. / Memento, Christmas 1864, Savannah Ga," and "Marching Through Georgia" (for many years the most hated song in the South). Other Civil War music includes "Johnny is My Darling" (first printing) "When Johnny Comes Marching Home" (first printing), "The Bonnie Flag with the Stripes and Stars" (in answer to the "Bonnie Blue Flag"), "That's What's the Matter" (first printing of a Stephen Foster war song), "Washington and Lincoln" (first printing), and "A Gloom is Cast O'er All the Land" (first printing). Other important music in the volume includes two pieces by the Alleghanians and the Baker Family with portrait covers, "Little Eva: Uncle Tom's Guardian Angel" (first printing of John Greeleaf Whittier's work with an illustrated cover), "Our Good Friends" (a Septimus Winner composition written using his Alice Hawthorne pseudonym with a portrait cover), "If You've Only Got a Moustache" (first printing of a comic song by Stephen Foster), and "She Was the World To Me" (first printing of Stephen Foster's last song, published posthumously).

      [Bookseller: Read 'Em Again Books, ABAA]
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        [LIFE IN CAMP, PART II]

      [Boston: L. Prang & Co., 1864. Twelve chromolithographed cards, each 4 1/2 x 2 1/2 inches. Very minor wear and scattered light foxing. Small stain at the foot of one card, and a few light stray pencil marks on another. Images generally clean and bright. Near fine. The second part of Winslow Homer's series of lithographs from his formative Civil War period, and a defining moment in his career as a printmaker. This series follows Homer's seminal CAMPAIGN SKETCHES (1863), and furthers the artist's talent for communicating the war experience on an intimate and personal level. Homer's illustrations for this series, printed by the lithographer Louis Prang, are most often encountered as individual cards affixed to larger sheets, though not here. Homer's lithographs were produced in colored and uncolored versions; this set is colored. In 1854, Homer began his career as an apprentice for the famed Boston lithography firm of John H. Bufford, and in the course of several years there he learned the techniques of lithography which he later employed in making LIFE IN CAMP. Most of his published work from this period is illustrated sheet music. In 1859 he moved to New York, creating illustrations for publications such as BALLOU'S MAGAZINE and HARPER'S WEEKLY. It was as an illustrator for the latter publication that Homer made his first contact with the Civil War. In the fall of 1861, and again in the spring of 1862, Homer joined the encampment of McClellan's Army of the Potomac near Washington. He afterwards embarked with the troops from the port of Alexandria and spent five weeks with them on the Peninsular Campaign to reach Richmond. During this period he produced a number of sketches and watercolors which appeared in HARPER'S WEEKLY, bringing him considerable recognition. Significantly, Homer had no control over the final images, which were rendered by Harper's woodblock cutters from his originals. Julian Grossman demonstrates the significant changes wrought by these artisans in his book on Homer and the Civil War. Like Homer's previous CAMPAIGN SKETCHES, LIFE IN CAMP was published by the energetic Boston lithographer, Louis Prang. Prang and Homer probably knew each other from the 1850s, when Prang was beginning in business while Homer was still apprenticing at Bufford's. Prang later became famous as the greatest chromolithographer in America and a masterful innovator in printing technology, but he was young and unknown in 1863, and full of ideas of what might be marketable. Homer, gaining fame but unhappy with the crude distortions of his work in HARPER'S WEEKLY, probably jumped at the chance to create graphic images in which he could control the medium. Though only the first part of CAMPAIGN SKETCHES was produced (a planned second part never followed), Prang and Homer decided to issue the LIFE IN CAMP series as a holiday gift item for 1864. Like CAMPAIGN SKETCHES, LIFE IN CAMP focuses, as much of Homer's Civil War works do, on incidents in the daily life of soldiers, rather than battle scenes. Also like CAMPAIGN SKETCHES, the images were produced in lithography and chromolithography. It is possible that Homer, drawing on his apprenticeship as a lithographer, drew the images on stone directly himself, because a letter from him to Prang survives, from December 1863, in which he states that he has "received the stones" and "shall commence it very soon." The images were issued in two twelve-card sets, of which this is the second. The images are as follows: 1) "The Rifle Pit." A Zouave soldier surrounded by gabions holds his rifle at the ready. 2) "Home on a Furlough." A young soldier enthusiastically enjoys a ballet. 3) "The Field Barber." A Zouave soldier administers a haircut while another looks on. 4) "The Girl He Left Behind Him." A young woman holding a letter. 5) "In the Trenches." A Black soldier hoisting a gabion over a trench wall. Wood & Dalton write this "back- breaking" task was assigned to black workers by both armies. The role of Blacks in the war was a favorite subject of Homer, treated in such other works as ARMY TEAMSTERS, "Our Jolly Cook" from CAMPAIGN SKETCHES, and more. 6) "Good Bye." A young girl kisses a soldier. 7) "Fording." Three unhappy soldiers crossing a river with their boots suspended from their bayonets. 8) "Extra Ration." A Zouave soldier roasting a pig. According to Neely & Holzer, this image may have been inspired by Currier & Ives' LIFE IN THE CAMP. 9) "A Deserter." An equally unhappy Zouave soldier sits with his chin in his hands. 10) "Our Special." A self-caricature, Homer shows himself seated on what looks like a cannon barrel, sketching away. 11) "Drummer." A simple profile of a young drummer boy with his instrument hung from his shoulder. 12) "Teamster." A soldier, possibly black, shown from behind, drives a wagon mule. A beautiful, colored set of one of the rarest works by one of America's greatest artists. PETERS, AMERICA ON STONE, p.223-24. ANB 11, pp.113-14. Julian Grossman, ECHO OF A DISTANT DRUM, WINSLOW HOMER AND THE CIVIL WAR (New York, 1974). Lloyd Goodrich, THE GRAPHIC ART OF WINSLOW HOMER (New York, 1968), reproductions of the 24 images, pp.21-24. Peter H. Wood & Karen C.C. Dalton, WINSLOW HOMER'S IMAGES OF BLACKS (Austin, 1988), p.130. Mark E. Neely & Harold Holzer, THE UNION IMAGE (Chapel Hill, 2000), pp.69-73.

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        A Sketch of the Operations of His Majesty's Fleet and Army under the Command of Vice Admiral the Rt. Hble. Lord Viscount Howe and Genl. Sr. Wm. Howe, K.B., in 1776.

      New York: D. T. Valentine, 1864. unbound. Map. Uncolored. Mounted on linen. Image measures 35 7/8" x 22 3/4". This important map shows the sites of the Revolutionary War battles in and around New York City. Extends from Sandy Hook in New Jersey north to Haverstraw and the Croton River and includes Staten Island, Manhattan, eastern New Jersey, Brooklyn and Queens. Highly detailed, the map features detailed topographical features, roads, coastal features, farms and buildings. It also details troop positions. Several warships are visible around New York City. A reference index in included below the title, noting important events including the final battle at Fort Washington. The map is mounted on linen and exhibits some chips and loss along the folds. Some toning along fold lines. The "Manuals of the Corporation" were directories of extensive historical and contemporary records of New York compiled by D.T. Much of the information was gleaned from Dutch and English sources, as processed by Valentine. D.T. Valentine (1801-1869) served as the Deputy to the Clerk of the Common Council for thirty-seven years without being promoted to Clerk. Valentine took it upon himself to compile the "Manuals", which he updated and published annually from 1841-1866. Many copies were personalized for prominent officials. This compendium is an excellent source of early New York City history.

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        INTERVENTION DE L'ART DANS LA PHOTOGRAPHIE

      Leiber; Leipzig: Jung-Treuttel; Madrid: C. Bailly-Baillère, Paris 1864 - 12mo., 35 pp., mounted photo plate frontispiece. Illustrated paper wrappers. Creased, occasional staining, else very good. Housed in a newly made morocco and cloth clamshell box. Blanquart-Evrard was a prolific inventor of photographic process and notable publisher of outstanding photographic work. This contains a survey of his more notable techniques. Extract from Mémories de la Société Impériale des Sciences, de l'Agriculture et des Arts de Lille, 1863. The photographic frontispiece was made by tThe photographic frontispiece was made by F.(rëdëric) Pierson. OCLC locates 6 copies; George Eastman House, New York Public Library, National Gallery of Australia, State Library of Victoria, National Gallery of Canada Library, and Bibliotheque Nationale de France. Roosens and Salu 921. [Attributes: First Edition]

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        Shortly after Mobile Bay, Admiral David G. Farragut reflects on his historic victory after reading Edward Everett's public remarks on the battle: "It is to such as Mr. Everet[t], that an officer looks for his ultimate reward, it is those who hand us down to posterity for what we are worth, & that worth is measured by our services to the country ... reference to the services I have rendered the Navy by the fortunate issue of our late Battles"

      Mobile Bay, Alabama, October 1, 1864. 5" x 8". "Autograph Letter Signed ""D. G. Farragut Rear Admiral"" , 3 pages, 5"" x 8"" on ""U.S. Flag Ship, West Gulf Squadron"" letterhead, Mobile Bay, aboard the U.S.S. Hartford, October 1, 1864 to Capt. Henry A. Wise, Chief of the Bureau of Ordnance concerning Edward Everett's remarks on the admiral's signal victory at Mobile Bay less than two months before. Glue remnants along left margin, usual folds and some creases, else very good. After gaining control of the Mississippi River in July 1863 with the fall of Vicksburg, Rear Admiral Farragut turned his attention to Mobile, the last major Confederate port on the Gulf of Mexico. The channel leading into the bay was heavily mined, with tethered charges known at the time as ""torpedoes."" Farragut ordered his fleet to charge the channel, but when the ironclad Tecumseh sank as the result of one of these ""torpedoes,"" the other ships pulled back. Farragut was lashed high in his flagship's rigging, and upon learning the reason for the hesitation, reportedly shouted ""Damn the torpedoes. Four bells. Captain Drayton, go ahead! Jouett, full speed."" (The quote is popularly rendered: ""Damn the torpedoes. Full speed ahead."") Whether Farragut said any of this is doubted by many historians, yet the statement captures the admiral's intent and orders. Farragut writes, in full: ""I take great pleasure in acknowledging the receipt of your kind letter enclosing one from Mrs. Wise & a note form Mr. Everet[t] together with the news paper containing his remarks upon the recent victory [not present], in which he is pleased to compliment the Navy & Army generally, & my self in particular, for all of which please express to him my sincere thanks, & assure him of my full appreciation of this high mark of his respect for my successful exertions, to serve my county in this her day of great peril – It is to such as Mr. Everet[t], that an officer looks for his ultimate reward, it is those who hand us down to posterity for what we are worth, & that worth is measured by our services to the country. Permit me to thank you again, for your complimentary expressions in reference to the services I have rendered the Navy by the fortunate issue of our late Battles - would that all the Navy could have joined in it, & participated in that glory they so generously accord to us – with great respect..."" Farragut may have been referring to the letter Everett wrote to be read at a grand patriotic demonstration at Faneuil Hall held Tuesday September 6 to celebrate the breakthrough victories at Mobile and Atlanta. Farragut's victory at Mobile Bay, together with Sherman's capture of Atlanta several weeks later boosted popular morale tremendously. The Union victories of the summer of 1864 spelled the beginning of the end of the war in the popular mind and helped assure Abraham Lincoln a resounding victory in the presidential election that fall. Everett's letter, read by Charles Slack, before a hall packed with thousands of celebrants, gave Farragut's victory a prominent place in the string of Union victories: ""Then came the 5th of August, the glorious achievement of Admiral Farragut, unsurpassed by anything in naval warfare, but forming a fit sequel to his own exploits in the Mississippi. History will show no brighter page than that, which tells how this gallant veteran, as modest as he is brave, lashing himself to the maintop of his vessel and that a wooden one, al[l]owed his engines as he passed the most formidable fort on the coast, crashed at the tremendous rebel ram, regardless of the infernal machines which had destroyed one of his iron clads before his eyes, vanquished his seemingly impregnable antagonist after a short action, captured or destroyed all the rebel fleet save one vessel, and with the efficient cooperation of General Granger's army, compelled the self destruction of Fort Powell, the honorable capitulation of Fort Gaines, and the surrender of Fort Morgan, in a manner peculiarly discreditable to the commander of the garrison,—all accomplished in 18 days from the time Fort Morgan was passed. With what words can we do full justice to the admiration, with which we contemplate deeds like these? How can we sufficiently express our gratitude to our navel heroes,—officers and men,—to whom the country is indebted for these invaluable services?..."" (""Grand Patriotic Demonstration at Faneuil Hall, Rejoicing for Union Victories,"" Boston Daily Advertiser, September 7, 1864, 1.) Edward Everett (1794-1865) is best known as the orator that preceded Lincoln at the dedication ceremony at Gettysburg. But Everett was also a pastor (Unitarian), educator (Harvard), politician (House of Representatives, Senate, Gov. of Massachusetts), diplomat (ambassador to England, Secretary of State) as well as orator. His second daughter, Charlotte (1825-1879) married Henry Augustus Wise (1819-1869), the recipient of this missive. Wise began his naval career as a mid-shipman in 1834 and served in the Mexican War. When the Civil War broke out he had to chose between his home state of Virginia and the Federal Navy in which he was serving. He chose to stay with the Union. He was appointed Chief of the Bureau of Ordnance and Hydrography in 1864, and held the position until he resigned in 1868. Letters by Farragut discussing his historic victory at Mobile Bay seldom appear on the market. A similar letter, though dated two months later than the present example, discussing the same subject brought nearly $10,000 at auction in 2000 (Christie's, New York, May 19, 2000, lot 28). "

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        HEADQUARTERS 2d SUB-DISTRICT OF ST. LOUIS DISTRICT, CAPE GIRARDEAU, MO., OCTOBER 1st, 1864. SPECIAL ORDER No. 124. COL. HENRY J. DEAL, COMMANDING THE MISSISSIPPI COUNTY REGIMENT OF E.M.M., WILL CALL HIS SAID REGIMENT INTO SERVICE IMMEDIATELY...[caption title]

      [Missouri, 1864. Broadside, approximately 10 3/4 x 7 3/4 inches. Light dampstain covering the right two-thirds of the broadside, light wear, else very good. Mounted on cardboard and matted in a modern wood frame. An unrecorded special orders broadside calling into service members of the Enrolled Missouri Militia in Mississippi County during the Civil War. The Enrolled Missouri Militia was organized in 1862 as a compulsory part-time militia for Missouri men between the ages of eighteen and forty-five loyal to the Union and not otherwise engaged in military service. The militia served principally to guard garrisons and infrastructure and free the volunteer Missouri State Militia to fight bands of pro-Confederate guerillas. The special orders are signed here in print by Lieut. Col. Cmdg. H.M. Hiller, Lieut. L.E. Irwin, "A.A.A. Genl.," Col. Comdg. Henry J. Deal, and Adjutant George M. Keyser. A rare and interesting piece of Civil War ephemera from the beleaguered border state of Missouri.

      [Bookseller: William Reese Company - Americana]
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        The Photographic Historical Portrait Gallery, consisting of a series of portraits, principally from miniatures, in the most celebrated collections in England. Accompanied by copious illustrative letter-press, by Amelia B. Edwards. Volume I

      London, Paul and Dominic Colnaghi, Scott, and Co., 1864. (2),lv,102pp text and 50 plates with mounted original photographs, albumen prints by Leonida Caldesi and Co., Folio, contemporary gilt halfmorocco.Title and dedication page repaired, one leaf restored in lower margin, some foxing. The photographs in excellent condition. - Very rare. Leonida Caldesi (1823-1891). Leonida Caldesi was born in Florence, Italy in 1823 and arrived in England as a political refugee around 1850, though whether he was a photographer at this time is not clear. His brother Vincenzo (1817-1870) served as a major on the staff of the Italian patriot and revolutionary Giuseppe Garibaldi (1807-1882). - Comparatively little is known about Caldesi's career though he was one of the leading London photographers during the 1850s and was acknowledged by contem­poraries as one of the foremost photographers of fine art from the 1850s to the 1870s. He had a number of short-term professional partners including Mattia Mon - tecchi (1858-59), Blandford (1861-62) and Lombardi, though throughout his career he maintained a business relationship with the print publisher and art dealer Paul and Dominic Colnaghi. Caldesi had important dealings with the Royal Family as well as three major public art collections in London; The National Gallery, the British Museum and the South Kensington Museum. He also carried out society portraiture and worked for learned societies and private collectors. - In August 1854, probably as part of a project lead by Paul and Dominic Colnaghi, Caldesi had requested per­mission to photograph the Raphael Cartoons at Hampton Court though he did not carry out his campaign until 1858 when he photographed in tandem with the South Kensington Museum's photographer Charles Thurston Thompson [qv]. - 1857 was probably the most important year in Caldesi's photographic career. In May Caldesi and his professional partner Mattia Montecchi, a compatriot who travelled to England with him, were summoned to Osborne on the Isle of Wight to take a series of photo­graphs of the Royal children. His growing reputation was sufficient for him to be established in April on the premises of P&D Colnaghi by John Scott, one of the firms' partners, and by June 1857 this establishment was noted in the columns of the Art-Journal. Colnaghi was to remain the primary publisher of Caldesi's reproduc­tions of works of art. - Although Caldesi specialised in the photographic re­production of works of art, his core business was centred on society portraiture and he exhibited several of these at that year's Art Treasures exhibition in Manchester. Caldesi and Montecchi also were engaged to photograph many of the paintings exhibited at this seminal exhibition. Along­side Robert Howlett [qv], they produced the majority of the 200 photographs for the two-volume 'Ancient' and 'Modern' series of Photographs of the Gems of the Art Treasures Exhibition, Manchester. Caldesi found difficulty in photographing some of the paintings in Manchester and successfully negotiated with the Royal Collection for some of its works to be subsequently moved outdoors to be photographed. - In the summer of 1857 Caldesi and Montecchi photo­graphed a smaller exhibition of portraits of Mary, Queen of Scots held at the Archaeological Institute, London. Theseat were published in 1858. - In 1859 The Gallery of the Most Noble The Marquess of Hertford, K. G., a selection of Caldesi's photographs from the Manchester exhibition, was published. At that year's exhibition of the Societe francaise de Photogra­phie Caldesi and Montecchi exhibited twenty-one pho­tographs of paintings displayed at the 1857 Manchester Art Treasures. Caldesi advertised a studio at Porchester Terrace in London's Bayswater and he began carrying out photo­graphic work for Prince Albert's Raphael Collection project. Perhaps as a result of this commission, Caldesi recorded the paintings in Buckingham Palace and was given permission to remove them to his studio. These photographs were published by P&D Colnaghi as the Royal Collection of Pictures at Buckingham Palace, and comprised forty small Albumen prints mounted on cards with printed captions that credit Caldesi, Bland - ford & Co. as the photographers, Montecchi having disappeared from the scene. This publication may bear the hand of the Prince Consort. Caldesi received further royal patronage that year when he was commissioned by Grand Duchess Marie of Russia to photograph the Elgin Marbles in the British Museum and he exhibited some of these views the following year at the Photographic Society's exhibition in London. - Caldesi advertised in the influential Athenaeum in the early 1860s stating that he personally took carte de visite portraits at 13 Pall Mall East, the Colnaghi premises, while 'portraits, Carriages, Horses, &c.' were taken at the branch studio at 6 Victoria Grove, Kensington. He photographed a number of prominent people including Sir Charles Eastlake, director of the National Gallery. In 1864 Caldesi published carte de viste portraits Giuseppe Garibaldi and his fellow patriot Giuseppe Mazzini (1805-1872) during their visits to London. - During the 1860s Caldesi also produced cartes de visites of paintings though it appears that he did not use the stereoscopic or Cabinet formats to any significant degree. - In 1860 Caldesi carried out a photographic campaign in the National Gallery in London, exhibiting some these photographs of paintings at the 1861 exhibition of the Societe francaise de Photographie. Between 1868 and 1873 The Pictures by the Old Masters in The National Gallery, a series of photographs of 360 paintings, was published by Virtue & Company. At this time Caldesi photographed a number of paintings in the Gallery on behalf of the director Sir William Boxall (1800-1879). - During the 1860s Caldesi was to carry out photo­graphic campaigns to record important private art col­lections such as the Farnley Hall collection of drawings by J. M.W. Turner These photographs, published by Colnaghi in 1864, seem to have had little impact and were not reviewed by the contemporary press. Another Colnaghi publication of 1864 was the Photographic Historical Portrait Gallery, which required Caldesi to photograph just under 200 Albumen prints of Tudor portrait miniatures. - An account of the latter years of Caldesi's life has yet to be assembled. Photographs by Cave. Leonida Caldesi, of Ancient Marbles, Bronzes, Terracottas, & C, & C. in the British Museum was jointly published with Colnaghi's between 1873-1874 but the photographs may have been taken some years before. Caldesi ap­pears to have returned to Bologna in around 1870 and died there in 1891. (Anthony Hamber). - Gernsheim 220: (...) Although it is marked Vol. I, no more were published. - - - - - Colnaghi family (per. c.1785-1911), art dealers, were established in England by Paul [Paolo] Colnaghi (1751-1833), who was born in the Brianza region near Milan, the younger son of Martino Colnago (d. 1783), a distinguished Milanese lawyer, and his wife, Ippolita Raggi. Having settled his father's encumbered estate, Paul left Italy for France in 1783 and became the Paris agent of Antony Torre to sell English prints from a shop in the Palais Royal in 1784. Antony Torre was the son of Giovanni Battista Torre (d. 1780), who had established himself, first in London in 1753, then in Paris in 1760, as a maker of fireworks and instruments (principally barometers and thermometers) and bookseller. Antony ran a London branch at 14 Market Lane, Pall Mall, from 1767. On his father's death, Antony entered briefly (1780-82) into partnership with an optician, Ciceri of Milan (who had employed Paul Colnaghi on his arrival in Paris), before asking Colnaghi, on Ciceri's recommendation, to open his Paris branch. Torre and Colnaghi became partners in May 1785, when Colnaghi moved to London (and was naturalized English), and brothers-in-law when Paul married Maria Elizabetha (Elizabeth) Baker, sister to Antony's wife, on 21 March 1787. The Market Lane shop was abandoned in 1786 for grander premises at 132 Pall Mall, and two years later Torre handed the business over to Colnaghi. After a brief partnership with Anthony Molteno, printseller, Colnaghi assumed full control. Thus the firm, which began as instrument makers and booksellers in 1760, only later specializing in printselling, underwent a similar evolution to that of Agnews sixty years later. Paul Colnaghi must have been an impressive man, erudite, fluent in several languages, and charming; he attracted Benjamin Franklin's notice in Paris and was almost persuaded by him to emigrate to America. Giovanni Battista Torre's shop in the rue St Honoré had become a meeting place for savants, and for collectors of English mezzotints (known as manière anglaise) by William Woollett, William Sharp, and Sir Robert Strange and coloured stipple-prints by Francesco Bartolozzi (1727-1815), a superb engraver with whom the firm dealt for forty years. The flourishing market for English prints collapsed with the outbreak of the French Revolution and the Napoleonic wars; but Colnaghi survived by shrewdly publishing such popular colour stipple engravings as The Cries of London, after Francis Wheatley, in 1792-7, and a portrait of Nelson, after Hoppner, which appeared on the day (7 November 1805) that news came of the battle of Trafalgar. He also supplied the British government with views of besieged towns on the continent, thus providing invaluable information for the attacking allied armies. In 1799 Paul Colnaghi moved his London premises to 23 Cockspur Street, where he held monthly 3 o'clock levees attended by the aristocracy and landed gentry. From these sprang a series of engraved portraits entitled Royal and Noble Ladies; Lawrence was paid £700 for permission to engrave his painting of Princess Charlotte (1817; Belgian Royal Collection). Appointed printseller to the prince regent, Colnaghi received further royal warrants from him as George IV, and from William IV; other royal patrons included the duc d'Orléans and the duc d'Aumale. Paul and Elizabeth Colnaghi had three sons and two daughters: the elder son, Dominic Charles Colnaghi (1790?1879), was born at 132 Pall Mall, London, on 15 July 1790; another son, Martin Henry Lewis Gaetano, followed, and there was a daughter, Caroline (b. c.1786). All three siblings worked in the firm, but Dominic was the most outstanding and joined his father about 1808-10. He travelled to Italy in 1816-17 and collected specimens of armour, thus opening up a new field of connoisseurship. He sold these to Sir Samuel Rush Meyrick (1783-1848) in 1818, and continued to act for this famous antiquarian; much of Sir Richard Wallace's collection (Wallace Collection, London) originally came from Meyrick. Martin Colnaghi (c.1792-1851) was also active, but showed less judgement and diligence than his brother. In 1821 Paul Colnaghi wished to retire to Italy and settled the business, then worth some £25,000 in stock, on his two sons. Martin quarrelled with his father and brother, and in 1824 sued them in chancery. The suit was settled in April 1825, through the good offices of a family friend, by buying out Martin for £3000. Paul and Dominic Colnaghi then moved to 14 Pall Mall East and began trading as P. and D. Colnaghi & Co., the name by which the firm is still known. Martin remained at Cockspur Street, and the two brothers thereafter ruthlessly bid against each other, to Paul's chagrin. John Constable, with whom the family became intimate, as the correspondence between Dominic and Constable attests, recorded in his journal for 16 June 1824 I hear there is quite a bustle at Colnaghi's. - They are all brisking up. Martin seems to be clearing the house of the old man & Dominic - but he is not quite liked himself - he is said to make love to all the ladies who look over prints there. (Constable's Correspondence, 4.154) Constable had reason to be grateful to Paul, who, vouching for the Paris-based dealer John Arrowsmith, enabled Constable to show The Hay Wain (1821; National Gallery, London) at the Paris Salon in 1824, where it created a sensation and won him a gold medal. Colnaghi's tried, with only moderate success, to sell prints after Constable's work, and acted as his agents for the 1827 Paris Salon exhibition. In November 1829 Paul admitted his daughter, Caroline, into partnership until her son John Anthony Scott (d. 1864) came of age. On 30 September 1807 Caroline had married John Scott (1784-1821), editor of The Champion, who had died after a duel defending the ?Cockney school? of poetry. A subscription for the widow raised £800, which enabled her to join the firm. After Constable's death in 1837 Dominic Colnaghi helped lead the subscription campaign to purchase The Cornfield (1826) for the National Gallery. Dominic Colnaghi married Catherine Pontet (d. 1881) on 15 October 1831, and they had two sons, neither of whom entered the firm, but the elder, Sir Dominic Ellis Colnaghi (1834-1908), became a consular official; posted to Florence in 1865, he served as consul-general for northern Italy from 1881 to 1896, and wrote A Dictionary of Florentine Painters from the Thirteenth to the Seventeenth Centuries, which was edited by P. G. Konody and Selwyn Brinton and published posthumously in 1928 (reprinted 1986). Dominic Colnaghi greatly admired the work of R. P. Bonington, and in 1827 commissioned from him a number of Italian scenes with Shakespearian characters. After the artist's death the following year Dominic organized the two-day sale of his work at Sothebys in July 1829, buying thirty-five lots for himself, and later that year issued thirteen lithographs after Bonington's Scottish views. Some insight into Dominic Colnaghi's activities for special clients such as Sir Robert Peel emerges from his correspondence with Peel in November and December 1842, when he informed him about the availability of a Lawrence portrait of Lord Brougham (presumably the one of c.1825 now in the National Portrait Gallery, London) that the owner was willing to sell; and in March 1844 Colnaghi explained that Lawrence painted two versions of a portrait of Antonio Canova, the sculptor. There is also a contract with Henry Graves & Co. for a joint venture of August 1836 for selling an engraving by James Bromley after Sir George Hayter's portrait of Lord John Russell, then home secretary, in an edition of 750 prints, the proceeds to be evenly divided between Graves and Colnaghi. This continued the tradition, begun by Paul Colnaghi, of selling engraved portraits of prominent personalities of the day. Paul Colnaghi died, after a short illness, at his London home in St George's Place, Hanover Square, on 26 August 1833, aged eighty-two. His son Dominic and his daughter, Caroline Scott, took over the business, with her son John Anthony Scott and his cousin Andrew McKay joining as clerks. Dominic, or Old Dom as he became affectionately known, continued with the firm until about 1865, when he retired. He died at his home, 62 Margaret Street, Cavendish Square, on 19 December 1879, and was buried in Brompton cemetery. In 1858 Colnaghis joined with Agnews in publishing The Gems of the Art Treasury, two de luxe volumes of photographs by Leonida Caldesi and Monte KEYWORDS:united kingdom/photo

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        Gesamtans.

      - Lithographie m. Tonplatte v. Groschwitz n. Sachs, 1864, 16 x 23,5

      [Bookseller: Antiquariat Nikolaus Struck]
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