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Displayed below are some selected recent viaLibri matches for books published in 1865

        Battery D, Fifth U S Artillery, in action (plate 31 from Gardner's Photographic Sketch Book of the War)

      Albumen print (approx. 7 x 9 in.), original mount with lithographed frame and caption. Minor occasional soiling and fading. Excellent condition, with good strong tones. Made in June 1863, "this picture was made as the guns were engaging the enemy, the gunners who had just received the order, 'cannoniers to your posts,' calling to the photographer to hurry his wagon out of the way, unless he was anxious to figure in the list of casualties" (Gardner). The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Breaking Camp, Brandy Station, Virginia (plate 63 from Gardner's Photographic Sketch Book of the War)

      "Here is represented the deserted quarters of Gen. Sharp, Chief of the Secret Service of the Army of the Potomac, at Brandy Station, Virginia" (Gardner). The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Antietam Bridge, Maryland (plate 19 from Gardner's Photographic Sketch Book of the War)

      Albumen print (approx. 7 x 9 in.), original mount with lithographed frame and caption. Minor occasional soiling and fading. Excellent condition, with good strong tones. "One of the memorable spots in the history of the war ... traces of the engagement are evident in the overturned stone wall, the shattered fences, and down-trodden appearance of the adjacent ground" (Gardner). The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Castle Murray, near Auburn, Virginia (plate 47 from Gardner's Photographic Sketch Book of the War)

      "In the Fall of 1863, Army Headquarters were pitched, for some days, near [Dr. Murray's house]; at the same time, Gen. Pleasanton, commanding the cavalry, had his camp on Rockhill, his tents forming, with Castle Murray, a very effective picture" (Gardner). The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Scene in Pleasant Valley, Maryland (plate 24 from Gardner's Photographic Sketch Book of the War)

      Albumen print (approx. 7 x 9 in.), original mount with lithographed frame and caption. Minor occasional soiling and fading. Excellent condition, with good strong tones. Gen. George McClellan selected this house as a temporary home for his wife, and the Union commander spent many hours here as well. Gardner notes that members of Burnside's and McClellan's staffs are in the photograph and that McClellan was drawn away because of enemy action nearby. The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
 5.   Check availability:     Biblio     Link/Print  


        Trossel's House, Battle-field of Gettysburg (plate 42 from Gardner's Photographic Sketch Book of the War)

      Albumen print (approx. 7 x 9 in.), original mount with lithographed frame and caption. Minor occasional soiling and fading. Excellent condition, with good strong tones. This house was in front of the left of the Union position at Gettysburg. "Thousands of dead and wounded were strewn over the fields adjacent to this house, and graves of Confederates can be found in every direction." (Gardner). The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Inspection of Troops at Cumberlanding [sic], Pamunkey, Virginia (plate 16 from Gardner's Photographic Sketch Book of the War) Washington: Gardner, [1865-66]

      Albumen print (approx. 7 x 9 in.), original mount with lithographed frame and caption. Minor occasional soiling and fading. Excellent condition, with good strong tones. "At Cumberland Landing, one of the most magnificent spectacles ever seen in the army as presented, when the combined forces, massed upon the bank of the river, converted the barren fields as if by magic into an immense city of tents" (Gardner). The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Commissary Department, Head-Quarters Army of the Potomac (plate 61 from Gardner's Photographic Sketch Book of the War)

      "The commissary at General Headquarters of the Army of the Potomac was nothing less than an immense grocery establishment. Coffee, tea, sugar, molasses, bacon, salt pork, fresh beef, potatoes, rice, flour &c. were always kept on hand in large quantities" (Gardner). The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Battery No 4, near Yorktown, Virginia (plate 14 from Gardner's Photographic Sketch Book of the War)

      Albumen print (approx. 7 x 9 in.), original mount with lithographed frame and caption. Minor occasional soiling and fading. Excellent condition, with good strong tones. This battery of 13 inch mortars was placed for the bombardment of Yorktown. The high trajectory of the shells permitted the emplacement to be made under a high bank. The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Beretning om den Internationale Fiskeriudstilling i Bergen i aaret 1865

      Bergen : J.D. Beyers Bogtrykkeri 1865 - in-4° relié demi-toile de l'époque aux coins rouge, le relieur à intercalé dans la reliure le premier plat violet original sur lequel est gravé à froid, en lettres d'or le titre, XXVI-53 pages de texte. 5 planches hors-texte avec des photographies originales contrecollées, 28 planches hors-texte relatives à la pèche en Norvège : hameçons, harpons, embaracations . Magnifique exemplaire un des monuments de la photographie éthnographiques du XIX° siècle [Attributes: First Edition; Hard Cover]

      [Bookseller: PRISCA]
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        Memoirs Illustrative of the Art of Glass-Painting

      John Murray, London 1865 - xiv, 362 p. 24 cm. Colour frontispiece and 37 other illustrations, including 14 colour plates. Full leather binding with gold and black trim. Marbled endpapers with gilt trim to endpapers. All edges gilt. Small chip at bottom of front board. Front hinge cracking internally. Bookplate on front pastedown. Letter attached to a front page written to former book owner by Philip De la Motte or Delamotte. Charles Winston (1814–1864) was the leading 19th-century authority on glass-painting. The numerous tracings which he made of interesting ancient glass reproduced both the design and the colouring of the originals. Towards the end of his life he became more interested in the scientific side of his subject; he made numerous elaborate chemical experiments with the assistance of his friend Charles Harwood Clarke which led to improvement in the manufacture of coloured glass. Winston also claimed to have discovered the secret of the medieval processes but was at the same time strongly opposed to servile imitation of medieval models. To illustrate this work, he chose Philip Henry Delamotte (1821–1889), the British photographer and illustrator best remembered for his photographic images of the Crystal Palace in 1854. A letter from Delamotte, apparently to the former owner of the book, is attached to a front page. [Attributes: Hard Cover]

      [Bookseller: Attic Books (ABAC, ILAB)]
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        Our Mutual Friend

      Chapman and Hall, London 1865 - First edition, bound from the parts. Overall a very good copy bound in contemporary half calf a bit rubbed at the edges, with a small split to the upper hinge, but the binding is holding firm. Previous owner's name on the title page with a small tear to the foot. Related newsclipping tipped onto front end paper. Unusually the cover to the first part and adds to the final part are bound in the edges are uncut, and the flyer for Uncle Silas is tipped onto the front end paper. [Attributes: First Edition; Hard Cover]

      [Bookseller: Blackrock Rare Books]
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        Two autograph manuscripts: "Give me the splendid silent sun," autograph manuscript [recto]; and autograph manuscript on equality and American government [verso]

      This leaf contains two fine Whitman manuscripts. The first is a Whitman poem from Drum-Taps and Leaves of Grass, a working draft of the opening of his much-quoted poem "Give me the splendid silent sun." This poem first appeared in Drum-Taps (1865) and then was incorporated in Leaves of Grass beginning with the 1871 edition. The manuscript exhibits several small differences from the printed form. Writing immediately following the upheaval of the Civil War, Whitman longingly calls for the beauty, quiet, and calm of nature and life on the land. Nonetheless, in the second stanza the poet comes to acknowledge that he is irresistibly drawn to the city, celebrating the activity and teeming humanity of Manhattan. The present manuscript comprises the first seven lines of the first of the poem's two stanzas. This is the only recorded manuscript of "Give me the splendid silent sun," according to Walt Whitman Archive. The second manuscript contains Whitman's unpublished discussion of equality and government in America: "And again, and eternally the idea of the perfect equality & average rights and privileges of These States, each toward any [crossed out: the and each] other, & towards the whole. And again the idea that the contracts and compacts of American government are strictly with each individual, with you me, the man who stands next to you, behind you - with every one - And that it is not permitted for the government to shirk its duty to any person [crossed out: individual] or class of persons [crossed out: individuals]." This manuscript is related in its subject matter to Whitman's "Poem of Many in One" (1856, revised in 1867 to become "As I Sat Alone by Blue Ontario's Shore") in which the poet writes, "The American compact is with individuals, / The only government is that which makes minute of individuals." This is an outstanding pair of manuscripts combining, in a single object, Whitman's poetical reaction to the Civil War and his prose reflections on the nature of equality and the relation between the individual and government. Two pages, on a composite sheet assembled in his characteristic way by Whitman from a single sheet of lined paper and a smaller unlined slip pasted on verso. Some chipping, cross-through by Whitman, upper corner cut away with loss of several letters on verso, minor staining.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Photograph of the execution of the Lincoln assassination conspirators

      The hanging of the Lincoln assassination conspirators. Within two weeks of Lincoln's death, eight accused conspirators were in custody. President Andrew Johnson ordered a trial by military commission. After a seven-week trial in May and June, the commission retired to deliberate. On July 5 Johnson approved the verdicts and sentences including four death sentences. On July 6 the verdicts were revealed, and the very next day the four executions were carried out simultaneously. The convicted conspirators were stunned to learn that they were to be executed immediately. Alexander Gardner, the leading photographer in Washington, secured permission to document the carefully orchestrated event for which tickets were hotly contested. He made a series of ten images documenting the execution. This dramatic photograph shows the preparation for the hanging of the conspirators (from left to right): Mary Surratt (at whose boarding house the conspirators met) Lewis Powell (who attempted to assassinate Secretary of State William Seward) David Herold (who assisted John Wilkes Booth in his flight from Washington) George Atzerodt (who conspired to assassinate Vice-President Andrew Johnson) This photograph was the sole Alexander Gardner view used as a double-page spread in the standard work on the subject, which observed: "Adjusting the Ropes. The conspirators are bound, hooded, and fitted with nooses. On the right, Atzerodt, the last to be bound, recoils at what he sees" (Swanson and Weinberg, Lincoln's Assassins: Their Trial and Execution, plate 190). Officials hold umbrellas to block the sun while preparations are made for the hanging. Men below the platform await the order to knock away the posts holding the trapdoors in place. This momentous image is one of the first news photographs. Albumen print (8 3/4 x 6 3/4 in.), mounted. Some chipping to mount. Manuscript caption on mount "preparing for the Execution of President Lincoln's Conspirat[ors], Jail yard Washington, D.C. July 7th, 1865." Some fading, but generally in good condition.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Abraham Lincoln

      April 12, 1865. Printed document signed [in print] by Abraham Lincoln, three pages on a folded quarto leaf to 5" x 8", Navy Department, April 12, 1865. Three presidential proclamations, General Orders No. 50, issued by Lincoln three days before his assassination. Concerning military blockades, collection of duties on imports, the correction of Key West's status as a port open to commerce and the privileges and immunity of vessels of war. In extremely fine condition.

      [Bookseller: University Archives]
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        GRAZ. "Graz. Südseite No. 2". Ansicht vom Schloßberg aus, mit Blick über die Mur.

      - Kol. Lithographie von Carl Reichert bei Jamnik & Willmer, um 1865, 27,5 x 37 cm. Nebehay-Wagner 537,5. - Das "Grazer Streifenpanorama" vom Schloßberg aus aufgenommen, Blatt 5. - Mit breitem Rand, minimal fleckig.

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        Fortifications on Heights of Centreville, Va. (plate 5 from Gardner's Photographic Sketch Book of the War)

      Albumen print (approx. 7 x 9 in.), original mount with lithographed frame and caption. Minor occasional soiling and fading. Excellent condition, with good strong tones. This fine view shows Confederate defenses near Bull Run. After the first battle of Bull Run the Confederates extended their earthworks from Manassas across Bull Run and along the ridge of Centreville. The most celebrated collection of Civil War photographs, Gardner's Photographic Sketch Book of the War contains "many of the most graphic and memorable Civil War images that have come down to us" (ICP). The photographs covered the entire conflict from Manassas in 1862 to the dedication of the monument at Bull Run in June 1865. Gardner presents the photographs, each accompanied by his descriptive text, as "mementoes of the fearful struggle," recording war as it had never been recorded before. Alexander Gardner joined Mathew Brady's studio in the 1850s and introduced the new wet-plate collodion process there. This process was employed in the photographs of the Sketch Book. When Brady's sight deteriorated in the 1850s, Gardner became the studio's chief photographer. Working with the Army of the Potomac as a civilian photographer, Gardner happened to be present during the Battle of Antietam. Carrying his heavy equipment over the battlefield in the immediate aftermath of this bloodiest of battles, he captured a series of beautiful and shocking images. Within a month of publication they were exhibited at Brady's New York gallery, where crowds waited in line for hours to view them. When Brady accepted credit for the images, as he was wont to do, the outraged Gardner resigned and set up his own studio, bringing the leading Brady photographers with him. These men, including George Barnard, David Knox, Timothy O'Sullivan, and William Pywell, contributed to the immense Photographic Sketch Book project, and they are scrupulously credited in its captions.

      [Bookseller: 19th Century Rare Book and Photograph Sh]
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        Puteshestvie vokrug sveta na korable Bigl' [i.e. "The Voyage Around the World on HMS Beagle"], Translated by A.Beketov. 2 vols.

      S.-Petersburg, Golitsyn, 1865. 8vo. Bound in two nice recent half-leather bindings with five raised bands and gilt lettering to spine. Small stamp to last leaf in volume 2, waterstain to upper margin in volume 2, affecting 25 leaves, a few underlignings in pencil in volume 2, light occasional staining throughout of both volumes. A fine set. VIII, 540, [1] pp. + frontispiece; [4], VI, 466 pp. ¶ The exceedingly rare first Russian edition of 'The Zoology of the Voyage of H.M.S. Beagle', with the text reduced for Russian readers. Andrey Beketov (1825-1909) who translated the work, was the well-known Russian botanist and one of the founders of geobotany in Russia. He also was the teacher of Konstantin Timiryazev. The work predates the first Russian translation of "Journal of Researches" by five years and is not mentioned in Freeman.

      [Bookseller: Herman H J Lynge & Søn A/S]
 18.   Check availability:     Antikvariat     Link/Print  


        Les Douze Mois Par Édouard Lià vre.

      1865 - Paris; Viginet, rue de Lanery 39. [1865]. Landscape 4to. Original green cloth-backed darker green pebble-grain publisher's cloth with a rococo panel and title lettering in gilt; ff. [13], interleaved with blank guards; with a title-page printed in black, gilt, and russet and 12 fine and glorious handcoloured lithographs representing the months of the year (each 100 x 75mm and titled in the plate), handsomely presented with wide margins and depicting children in adult costumes as artists, peasants, jockeys, train travellers, huntsmen and even staggering drunk from a beer festival; a very good example of a scarce item with abrasion, and some shelf-wear, to board edges, rubbing to corners, and cracking to upper hinge but otherwise internally near fine with just mild offsetting to endpapers; very scarce. First edition. Only 2 copies located online, both on WorldCat (Indiana State and New York Public Library); no additional copies listed on KVK, or appearing on the commercial market at the time of cataloguing. [Attributes: First Edition; Hard Cover]

      [Bookseller: Henry Sotheran Ltd]
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        Theorie der Bewegung der Himmelskörper welche in Kegelschnitten die Sonne umlaufen

      Hanover: Carl Meyer, 1865 HANDSOMELY BOUND FIRST GERMAN EDITION (INCLUSIVE OF ITS ORIGINAL WRAPS) OF GAUSS' MASTERFUL WORK ON CELESTIAL MECHANICS & MATHEMATICAL STATISTICS. The work was first published in Latin in 1809 as "Theoria motus corporum coelestium in sectinibus conicis solem ambientum" ["Theory of the Motion of the Heavenly Bodies Moving about the Sun in Conic Sections"]. Gauss' work systematically develops his methods of orbital calculation and demonstrated his ability to accurately calculate and predict orbital location, including the theory and use of least squares," which is here applied for the first time (DSB). It introduced the Gaussian gravitational constant along with the first application of the normal distribution to observational errors" (History of Science: The Wenner Collection). The astronomical methodology Gauss described in Theory Motus required only a few modifications for use with computers and is still in use today. Gauss believed that "the problem of finding the orbit that connects two position vectors in a certain time" was "among the most important in the theory of the motions of the heavenly bodies" (Roa, Regularization in Orbital Mechanics, 233). "On January 1, 1801, the Italian astronomer Giuseppe Piazzi discovered Ceres and was able to track its path for 40 days before it was lost in the glare of the sun. Based on this data, it was desired to determine the location of Ceres after it emerged from behind the sun without solving the complicated Kepler's nonlinear equations of planetary motion" (Hald: History of Mathematical Statistics 1750-1930, pp.351-357). That same year, 1801, a 24 year old Gauss calculated the orbit of the asteroid Ceres with great precision based on what most scientists thought was inadequate data. The astroid was found near Gauss' predicted position by von Zach, a Hungarian astronomer and the German astronomer Heinrich Wilhelm Matthias Olbers. Many predictions had been made, but only Gauss' least-squares analysis allowed von Zach and Olbers to determine Ceres' location. "When Olbers asked Gauss how he made the orbit calculation, Gauss sent him an essay in 1802 describing his methods. The essay was finally published in 1809 in von Zach's journal, Monatliche Correspondenz [and contained] a set of linear equations that are described as the beginning of linear algebra… Gauss went on to further develop his analytical methodology for predicting orbital motion and published this in 1809 in a work titled Theoria Motus" (Wenner). In the first part of Theoria Motus, Gauss "dealt with differential equations, conic sections and elliptic orbits, while in the second part, the main part of the work, he showed how to estimate and then to refine the estimation of a planet's orbit using a new method involving minimizing the sum of squared residuals, e.g., the method of least squares. He was able to prove the correctness of the method under the assumption of normally distributed errors. It is here that the Gaussian curve, expressing statistical distribution in probability, makes its appearance" (Hald). The German mathematician Johann Carl Friedrich Gauss (1777-1855) was "a truly original mathematician and scientist…, the last great mathematician to be called the prince of mathematicians' (Princeton Companion: Mathematics, 756). Gauss was "admired as much for his breadth as for the depth of his insights and the fertility of his ideas" (ibid). CONDITION & DETAILS: Hannover: Carl Meyer. 4to. 11.25 x 8.75 inches. [4], xvi, [279], 72, [4]. 2 original photographs (the Gauss Medal) mounted as frontispiece. 3 plates; 6 tables. Handsomely rebound in period leather over marbled boards; 5 raised bands at the tilted-lettered and -tooled spine. Original wraps bound within. Institutional stamp on front wrap, otherwise fine condition in every way.

      [Bookseller: Atticus Rare Books]
 20.   Check availability:     Biblio     Link/Print  


        TA., Marktkirche "Evangelische Hauptkirche in Wiesbaden. Von Oberbaurath C. Boos".

      - Farblithographie v. Loeillot in Berlin n. Spieker, um 1865, 48,8 x 34,3 (H) Die evangelische Kirche ( = Marktkirche am Schlossplatz ) wurde durch den Baumeister Carl Boos von 1853-1862 erbaut. In dieser Zeit war es der größte Bausteinbau im Herzogtum Nassau. Sprache: Deutsch

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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        Stadtplan, mit Randansichten, "Hamburg u. Altona".

      - Lithographie v. W. Heuer ( Druck v. Petersen & Ohrmann ) b. Gassmann, um 1865, 42 x 53 Salamon, Anmut des Nordens, Sta 1b ( S. 240 ). 2. Zustand dieses Planes mit geändertem Titel und mit Einzeichnung der ersten Gebäude des Zoologischen Gartens. - Am oberen Rand in der Mitte Gesamtansicht von Hamburg ( 7 x 32,5) flankiert von 2 kleinen Ansichten der neuen Börse und des "Heus' schen Hofes" ( je 7 x 8,5 ), am unteren Rand Gesamtansicht von Altona ( 6,5 x 32,5 ), ebenfalls flankiert von 2 kleinen Ansichten: Rathaus und Rainville ( je 6,5 x 8 ). - Mit alten Längs- und Querfalten. Sprache: Deutsch

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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        Deutsche Geschichte im Zeitalter der Französischen Revolution 1786-1815

      FA Brockhaus Leipzig 1865 - In Vorlesungen Einband am Leder berieben (Buchrücken und Ecken), Name im Vorblatt, Seiten nachgedunkelt und teils leicht fingerfleckig, sonst innen guter Zustand. Karte an der Falz teils leicht angerissen 500 gr. [Attributes: Hard Cover]

      [Bookseller: planet-miro]
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        Signed Cabinet Photo 1905

      Russian composer (1865-1936), who was also conductor and music teacher. Glazunov had a big impact in Russian music and composers of his time, both as a pedagogue and composer, and left a large number of compositions including 8 completed symphonies.  Beautiful signed cabinet photo, shown inspecting a score, a photo by Helene de Mrosovsky, St. Petersburg, Russia. Size is 4.25 x 6.5 inches, inscribed (to a conductor named Edoardo Cabella), and dated in 1905 - minor mounting traces on verso, otherwise in excellent condition!.

      [Bookseller: Tamino Autographs]
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        histoires grotesques et sérieuses

      michel levy 1865 - rare édition originale [Attributes: First Edition; Soft Cover]

      [Bookseller: MBLIVRES]
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        Transportation Tycoon Gould Adds Another Railroad To His Vast Collection

      DS. 1pg. 10 ¾" x 4". April 4, 1865. Troy, New York. A partly printed document signed "Jay Gould" approving the transfer of shares in the Saratoga & Whitehall Rail Road Company to himself, as part of his project to consolidate the railroads in Vermont and northern New York. The document is in fine condition.

      [Bookseller: Stuart Lutz Historic Documents, Inc.]
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        Memoirs Illustrative of the Art of Glass-Painting

      London: John Murray, 1865. Leatherbound. Very good. xiv, 362 p. 24 cm. Colour frontispiece and 37 other illustrations, including 14 colour plates. Full leather binding with gold and black trim. Marbled endpapers with gilt trim to endpapers. All edges gilt. Small chip at bottom of front board. Front hinge cracking internally. Bookplate on front pastedown. Letter attached to a front page written to former book owner by Philip De la Motte or Delamotte. Charles Winston (1814–1864) was the leading 19th-century authority on glass-painting. The numerous tracings which he made of interesting ancient glass reproduced both the design and the colouring of the originals. Towards the end of his life he became more interested in the scientific side of his subject; he made numerous elaborate chemical experiments with the assistance of his friend Charles Harwood Clarke which led to improvement in the manufacture of coloured glass. Winston also claimed to have discovered the secret of the medieval processes but was at the same time strongly opposed to servile imitation of medieval models. To illustrate this work, he chose Philip Henry Delamotte (1821–1889), the British photographer and illustrator best remembered for his photographic images of the Crystal Palace in 1854. A letter from Delamotte, apparently to the former owner of the book, is attached to a front page.

      [Bookseller: Attic Books]
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        Allgemeine Maschinenlehre. Ein Leitfaden für Vorträge, sowie zum Selbststudium des heutigen Maschinenwesens, mit besonderer Berücksichtigung seiner Entwicklung. Für angehende Techniker, Cameralisten, Landwirthe und Gebildete jeden Standes, 4 Bände.

      Braunschweig, C. A. Schwetschke und Sohn, 1865 - 1875 (Bd. 1 in zweiter Auflage). Braune Original-Halblederbände mit goldgeprägten Rückentiteln sowie goldgeprägten Ornamentbändern an den Kapitalen; Buchdeckel mit dunkelbraunen Bezügen und Lederecken; marmorierter Buchschnitt; farbige Vorsätze. Einschlägiges Übersichtswerk zum Stand und zur Geschichte des Maschinenbaus und der Maschinentechnik des Ingenieurs und Mathematikers Moritz Rühlmann (1811 - 1896). Rühlmann lehrte von 1840 an als Professor der angewandten Mathematik und Maschinenlehre an der Höheren Gewerbeschule in Hannover. Er wurde 1877 zum Geheimen Regierungsrat ernannt und in der Folgezeit als anerkannter Fachmann für Maschinenbau und Industrietechnik vom Königreich Hannover als Abgeordneter zu internationalen Welt- und Industrieausstellungen entsandt. Rühlmann verfaßte mehrere Fachbücher über Mechanik und Maschinenlehre. Er gilt als Begründer der historischen Schule der Technik. Seine \"Allgemeine Maschinenlehre\", mit der er an eine bereits 1842 erschienene Arbeit (Die technische Mechanik und Maschinenlehre) anknüpfte, kann als sein thematisch breitestes Werk gelten. Alle Bände mit zahlreichen, teils großformatigen Holzschnitt-Illustrationen sowie ausfaltbaren Tabellen. 1902 - mehrere Jahre nach dem Tode Rühlmanns - wurde das Werk von dem Schiffbauingenieur Oswald Flamm (1861 - 1935) noch um einen Band zur Schiffbautechnik ergänzt. Bd. 1: Maschinen zum Messen und Zählen - Maschinen zur Aufnahme der Menschen- und Thierkräfte - Wasserräder - Wassersäulenmaschinen - Windräder - Dampfmaschinen - Luftmaschinen. Mit 429 Holzschnitten (XII, 659 S.). Bd. 2: Mühlen. Landwirthschaftliche Maschinen. Mit 479 Holzschnitten (VII, 544 S.). Bd. 3: Strassen- und Eisenbahnfuhrwerke einschließlich der Locomotiven. Mit 289 Holzschnitten und vier lithographirten Tafeln (VIII, 430 S.). Bd. 4: Dampfschiffe, Dampfschiffsmaschinen, sowie Hebmaschinen für feste Körper, Rammmaschinen, Baggermaschinen, Wasserförderungsmaschinen und Maschinen zum Comprimiren und Fortschaffen atmosphärischer Luft. Mit 549 Holzschnitten (VIII, 767 S.). Die Bände, die sich durch eine robuste, hochwertige Lederqualität auszeichnen, in tadellosem, geradezu frischem Zustand. Seiten partiell etwas fleckig, überwiegend aber sauber und fleckenfrei. Sehr schönes, würdiges Exemplar dieser einschlägigen Maschinenlehre, in der sich der Stand der Mechanisierung und Technisierung in der zweiten Hälfte des 19. Jahrhunderts in anschaulicher Weise widerspiegelt. Weitere Fotos auf der Homepage des Antiquariats (bitte Art.-Nr. auf der Angebotsseite in das Suchfeld eingeben). Versand D: 5,00 EUR Maschinenbau Maschinenindustrie

      [Bookseller: Das Konversations-Lexikon]
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        A DESCRIPTION OF THE RECENTLY DISCOVERED PETROLEUM REGION IN CALIFORNIA. WITH A REPORT ON THE SAME

      New York, NY: Francis & Loutel, 1865. Book. Very Good. Soft cover. First Edition. 8vo - over 7¾ - 9¾" tall. iii, 1 folding map, 24pp, 1 folding sectional plan (1). Inscribed in ink on the front cover: "Walker & ?? Agts. For the sale of tock. of the California Petroleum Co Corning NY," The name of the agent is also handwritten on the (blank) outside rear page. There are a few small stains to the edges of the last 2 pages, not affecting readability, and pencil marks to the outside rear page, but this is otherwise an excellent copy of a rare report..

      [Bookseller: Old Authors Bookshop]
 29.   Check availability:     Biblio     Link/Print  


        The Jolly Old Man Who Sings Down Derry Down

      London: Dean & Son 65 Ludgate Hill, 1865. Hardcover. Very Good +. Large 8vo.Not dated but circa 1865. Bound in a printed coloured upper board, cloth spine, rear board printed in black on buff/ yellow paper with a list of Dean's ‘Little Plays, for Little People'. Illustrated with eight full page hand-coloured woodcuts. The page following the last of the illustrations contains a printed face of the "jolly old man" about an inch high which penetrates right through the book to the front cover, the faces of the woodcuts being cut away . Beneath each plate is a rhyming verse about the activities of the Jolly Old Man. Additional publisher's advertisements are on the green endpapers.Pages are misbound, the collation is 1,2,3,4,7,8,5,6. Boards are soiled with rubbed corners and edges; inner hinge looks as if it has been strengthened as there is a little glue residue. A very good copy and a scarce book. I suspect that this was originally issued with a carved face of the jolly old man, such as the edition on offer by Thorn Books. I do have another copy, a very worn copy with the face missing. The title again printed in colour but on yellow paper. The Dean & Son address being '11 Ludgate Hill' with different adverts on the rear. Advertising ‘Novelties in Children's Books' including the ‘Dean's new Book of Dissolving Views' etc. The above copy I have for sale is addressed as ‘65 Ludgate Hill'. Dean & Son moved to Fleet street in 1871.

      [Bookseller: Roe and Moore]
 30.   Check availability:     Biblio     Link/Print  


        Hardwicke's Science-Gossip. Vol. 1-28 / Science-Gossip New Series Vol. 1-8

      Robert Hardwicke/David Bogue/Chatto & Windus/Simpking Marshall, Hamilton, Kent &Co 1865-1902, London - , illus. . HB. A rare almost complete set, comprising 36 (of 37) vols, missing only the final volume from the 1st Series, vol. 29 (1893). 1st series bound in orig. dec. cloth, except for two vols, one rebound in half-leather, the other in cloth; 2nd series bound in mixed cont. cloth, gt titles to spines. One vol is ex-lib. with usual stamps and markings. Vg. Science-Gossip was a monthly popular-science periodical. 1st Series (1865-1893), was published by Hardwicke, and titled Hardwicke's Science-Gossip: an illustrated medium of interchange and gossip for students and lovers of nature'. The first editor was the mycologist Mordecai Cubitt Cooke (1825-1914). In 1893 John T. Carrington became proprietor of 'Science-Gossip,' which he edited until 1902. The New (2nd) Series (1894-1902) published under Carrington's ownership was titled 'Science-Gossip; an illustrated monthly record of nature and country-lore'. The journal provides a fascinating insight to the exchange of natural history observations and queries between amateur and professional naturalists of the period, richly illustrated with fine text figures. [Attributes: Soft Cover]

      [Bookseller: PEMBERLEY NATURAL HISTORY BOOKS BA]
 31.   Check availability:     ZVAB     Link/Print  


        Allgemeine Maschinenlehre. Ein Leitfaden für Vorträge, sowie zum Selbststudium des heutigen Maschinenwesens, mit besonderer Berücksichtigung seiner Entwicklung. Für angehende Techniker, Cameralisten, Landwirthe und Gebildete jeden Standes, 4 Bände.

      Braunschweig, C. A. Schwetschke und Sohn, 1865 - 1875 (Bd. 1 in zweiter Auflage). Einschlägiges Übersichtswerk zum Stand und zur Geschichte des Maschinenbaus und der Maschinentechnik des Ingenieurs und Mathematikers Moritz Rühlmann (1811 - 1896). Rühlmann lehrte von 1840 an als Professor der angewandten Mathematik und Maschinenlehre an der Höheren Gewerbeschule in Hannover. Er wurde 1877 zum Geheimen Regierungsrat ernannt und in der Folgezeit als anerkannter Fachmann für Maschinenbau und Industrietechnik vom Königreich Hannover als Abgeordneter zu internationalen Welt- und Industrieausstellungen entsandt. Rühlmann verfaßte mehrere Fachbücher über Mechanik und Maschinenlehre. Er gilt als Begründer der historischen Schule der Technik. Seine "Allgemeine Maschinenlehre", mit der er an eine bereits 1842 erschienene Arbeit (Die technische Mechanik und Maschinenlehre) anknüpfte, kann als sein thematisch breitestes Werk gelten. Alle Bände mit zahlreichen, teils großformatigen Holzschnitt-Illustrationen sowie ausfaltbaren Tabellen. 1902 - mehrere Jahre nach dem Tode Rühlmanns - wurde das Werk von dem Schiffbauingenieur Oswald Flamm (1861 - 1935) noch um einen Band zur Schiffbautechnik ergänzt. Bd. 1: Maschinen zum Messen und Zählen - Maschinen zur Aufnahme der Menschen- und Thierkräfte - Wasserräder - Wassersäulenmaschinen - Windräder - Dampfmaschinen - Luftmaschinen. Mit 429 Holzschnitten (XII, 659 S.). Bd. 2: Mühlen. Landwirthschaftliche Maschinen. Mit 479 Holzschnitten (VII, 544 S.). Bd. 3: Strassen- und Eisenbahnfuhrwerke einschließlich der Locomotiven. Mit 289 Holzschnitten und vier lithographirten Tafeln (VIII, 430 S.). Bd. 4: Dampfschiffe, Dampfschiffsmaschinen, sowie Hebmaschinen für feste Körper, Rammmaschinen, Baggermaschinen, Wasserförderungsmaschinen und Maschinen zum Comprimiren und Fortschaffen atmosphärischer Luft. Mit 549 Holzschnitten (VIII, 767 S.). Die Bände, die sich durch eine robuste, hochwertige Lederqualität auszeichnen, in tadellosem, geradezu frischem Zustand. Seiten partiell etwas fleckig, überwiegend aber sauber und fleckenfrei. Sehr schönes, würdiges Exemplar dieser einschlägigen Maschinenlehre, in der sich der Stand der Mechanisierung und Technisierung in der zweiten Hälfte des 19. Jahrhunderts in anschaulicher Weise widerspiegelt. Weitere Fotos auf der Homepage des Antiquariats (bitte Art.-Nr. auf der Angebotsseite in das Suchfeld eingeben).

      [Bookseller: Anton-Heinrich]
 32.   Check availability:     booklooker.de     Link/Print  


        History of the Three Little Kittens Who Lost Their Mittens Dean's Moveable Books

      Dean & Son, 11 Ludgate Hill 1865 - Large 8vo. Not dated but circa 1865.Bound in a pictorial colour printed on yellow /buff paper with orange paper on rear printed in black with adverts for 'Dean & Son's Coloured Sixpenny Books' Illustrated with eight hand coloured wood engraved pictures that can be moved with a tab. Like most of these books, this does have issues. There is foxing throughout the book; many of the tabs are new but do work and the tab holes have repaired tears; I think two cats head have been replaced on page 2; I think a cats head has been replaced on page 8; the cover is worn especially the corners, else an acceptable copy of a scarce book. [Attributes: Hard Cover]

      [Bookseller: Roe and Moore]
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        La Photographe. Comédie en un acte.

      - Paris, Michel Lévy frères, 1865. In-12 (4)-40-36(catalogue de l'éditeur) pp., broché (rares rousseurs). Un des premiers ouvrages littéraires où apparaît un photographe en personnage principal. Bel exemplaire. * Voir photographie(s) / See picture(s). *** Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du mardi au samedi de 14h à 19h. Si vous souhaitez passer à la librairie pour un livre, merci de nous prévenir au préalable, l'ensemble du stock visible en ligne n'étant pas immédiatement consultable. *** La librairie sera fermée du 24 décembre au 1er janvier inclus ; les commandes seront traitées à notre retour par ordre d'arrivée. Nous vous souhaitons de joyeuses fêtes. *** Langue : Français

      [Bookseller: Chez les libraires associés]
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        CUADROS DOLOROSOS O serie de reflexiones SOBRE CADA UNO DE LOS PRINCIPALES DOLORES de MARÍA SANTÍSIMA

      IMPRENTA DE LA MUGER CRISTIANA, Madrid 1865 - Libro en aceptable estado, rozado y fatigado, con puntos de óxido, con sellos y tejuelo del anterior propietario, en holandesa. Libro eminentemente religioso y mariano que en siete cuadros realiza una hermeneútica de la vida de la Virgen María. 286 páginas [Attributes: Hard Cover]

      [Bookseller: Libros Dickens]
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        Group of 19th Century Cuban Cigarette Labels

      Complete series of twelve chromolithograph "Marquillas de Tabaco" labels from the Para Usted Gran Manufactura de Cigarros de Eduardo Guillo, each showing a "mentira de hermosura", or a trick of beauty women use to disguise their age or less attractive feature, with a surprised man viewing each deception through a spyglass, including a rosy complexion, dentures, hair extensions, stockings, and gloves. Some small minor tears, a few labels with small losses to corners, some spots of staining from glue residue to the versos. Each label approx. 10.5 by 14 cm. Loose as issued, housed in photograph album pages. Havana (Eduardo Guillo) n.d. (circa 1865). It was in the early 1860s that tobacco factories in Havana began to package cigarettes with illustrated labels called "marquillas de tabaco" or "marquillas cigarreras". For the tobacco companies, the newly-available chromolithography techniques provided an attractive and cost-effective way to package and advertise their products in an increasingly competitive market. Approximately 20 to 25 cigarettes were packaged together in rolls, each wrapped in one of these labels. The labels were often eye-catching combinations of text and bright colors, many incorporating humor and whimsy.

      [Bookseller: F.A. Bernett Books]
 36.   Check availability:     Biblio     Link/Print  


        Atalanta in Calydon

      Edward Moxon, London 1865 - 12mo, 16pp ads, xiv, 130pp, publisher¿s blue cloth with title on the spine. The second edition preceded by the limited edition of 300 with cover designs by Dante Gabriel Rossetti , minor rubbing to the edges but overall a near fine copy. Inscribed by author on front blank to his sister Isabel Swinburne. Signed copies of Swinburne¿e early works are uncommon, and those to his family are rare. The last signed (presentation) copy we can trace appeared at auction in New York in 1976. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Blackrock Rare Books]
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        Topographische Karte des Herzogthums S. Coburg im Jahre 1865. - Gravirt im kgl. Steuer-Kataster-Bureau zu München - J. Stinglwagner Contour, Schraffur und Culturen, Melchior, Schrift':.

      - Lithographie auf 2 Blättern gedruckt v. J. Stinglwagner, dat. 1865, je 57 x 47, zus. Zeigt das Herzogtum Coburg auf zwei Karten nebeneinander. - Auf der rechten Kartenhälfte oben rechts Titelkartusche; darunter Erklärungen. - Auf der linken Kartenhälfte drei Insetkarten der "Enclaven im Königreich Bayern" (Königsberg in Unterfranken, Erlsdorf und Nassach). - Sehr seltene Flurkarte.

      [Bookseller: Antiquariat Norbert Haas]
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        SMALL ARCHIVE OF CIVIL WAR LETTERS WRITTEN TO A WOUNDED MEMBER OF THE 39TH NEW YORK VOLUNTEER INFANTRY REGIMENT, THE GARIBALDI GUARD, ALONG WITH THE SOLDIER'S DISCHARGE CERTIFICATE

      Various locations 1865 - Nine letters written to Stephen H. Gregory, a member of D Company, 39th New York Volunteer Infantry. Eight were written during April and May of 1865 while Gregory was recovering from wounds at the Homewood Hospital in Washington D. C. The ninth letter is pre-war. Two of the letters are enclosed in mailing envelopes with indistinct postal markings; one of the envelopes is franked with a 3-cent rose Washington stamp (Scott #65), the stamp is missing from the other. Gregory's discharge certificate is also included. The letters are all in nice shape; the certificate has some storage folds and minor wear. The 39th New York Infantry (the Garibaldi Guard) was organized in New York City in the Spring of 1861 by Colonel Frederick George D'Utassy under special authority from the War Department. Initially, the unit was divided into eleven companies each primarily composed of men of different national heritage; three companies were Hungarian, three were German, one Swiss, one Italian, one French, one Spanish and one Portuguese. In the Summer of 1864 four companies (A through D) were mustered out, however, a new D Company was mustered into service that October from upstate New York. Gregory, was from Lisbon, New York and joined D Company while it was being organized at Malone, New York. D Company fought in the Appomattox Campaign during March and April, and it was during this time that Private Gregory was wounded. Gregory's military records are sparse, but they do confirm that he was hospitalized for four weeks although they do not specify where or how badly he was wounded, but, based on the dates of the letters, it must have been some time in April shortly be General Lee surrendered. The letters are primarily queries from family and friends about his wound ("Stephen you had not aut to wash your wound after eny other persons wound for fear of the gang green"), his general health, "shugar making," and the death and wounding of other local soldiers, mixed with considerable hope that Stephen would soon be able to return home. One letter, however, also references the assassination of President Abraham Lincoln and the hunt for John Wilkes Booth: "las Friday they is a corpral and three privates to the depo looking for the man kiled abrham linkin and they say that they git 3000 if they git him" A nice collection of letters to a wounded soldier, clearly evidencing the love and concern of his family.

      [Bookseller: Read'Em Again Books, ABAA]
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        HEAD QUARTERS, DIST. OF TEXAS, NEW MEXICO AND ARIZONA. GENERAL ORDERS, No. 6

      [Houston, 1865. Broadside, 8 x 4 3/4 inches. Small, closed tear in upper margin. Minor foxing. Small institutional stamp ("withdrawn") on verso. Good. A scarce Confederate imprint, reporting the details of the attempted desertion of Private Antone Richers of Degé's Light Battery. Richers deserted on December 10, 1864 at Galveston, Texas, but his boat capsized in trying to navigate the channel, and when he was rescued he was charged with desertion and found guilty. Richers was sentenced "to be shot to death with musketry." If only he had waited it out a few more months. PARRISH & WILLINGHAM 1431.

      [Bookseller: William Reese Company - Americana]
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        Ulysses S. Grant Civil War Letter

      1865 - Autograph war letter signed "U.S. Grant, Lt. General" , dated March 12, 1865 and marked "Cipher" (sent by telegram). War letter on the letterhead of Headquarters, Army of the Potomac. Very fine, attractive, and important full, one-page war letter, entirely in Grant's hand, to Secretary of War Stanton in Washington with an account of Gen. Phil Sheridan's troop movements in the last weeks of the Civil War. On March 12, Sheridan's troops were in hot pursuit of Lee's Army of Northern Virginia en-route to Lee's surrender at Appomattox, a few weeks later. In the letter, Grant informs Stanton that, "The scouts who brought Gen. Sheridan's dispatch represent having found forage and provisions in great abundance. He also found plenty of horses to remount his men where their horses failed. They say that the command is better mounted now than when they left. I start supplies and forage for Sheridan tonight. I have also sent for the command that is now on the Potomac to run up to White House [on the James River] and to remain there until they meet Sheridan." The letter is signed, "U.S. Grant, Lt. Gen." The episode related in the letter concerning "the [two] scouts who brought Gen. Sheridan¿s dispatch" is well documented in both Grant's and Sheridan's published Memoirs. Copies of the pertinent text from each will be supplied with the letter. Reading Grant's memoir wording, it appears certain that he had this very letter at hand when, years later, he wrote the account of the incident in his highly acclaimed memoir. Purchased from Goodspeed's Bookshop in Boston, 1974. Rare, important, and fine.

      [Bookseller: Boppas Books]
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        MINERS AND TRAVELERS' GUIDE TO OREGON, WASHINGTON, IDAHO, MONTANA, WYOMING, AND COLORADO VIA THE MISSOURI AND COLUMBIA RIVERS

      New York: Wm. M. Franklin, 1865. FIRST EDITION. Intended for those preparing to undertake the long, arduous journey across the Territories to the West Coast, this guide offers a fascinating glimpse into the practical considerations, logistics, and everyday realities that these emigrants faced. It includes information about the amount of supplies that ought to be procured, the price of oxen, proposed itineraries, weather, the availability of grazing land, and other practical advice that one would need to know for a successful journey. It also includes sections describing the geography and natural resources, making it an important source of information about gold and silver mining in the area. Of particular interest is the section titled "Indians along the Route," in which the author enumerates the various tribes that one might encounter along the way, their habits, locations, and estimated numbers. More politically charged are his ideas for how the US government ought to "keep them in order." This includes forcibly taking away Indian children to reeducate them "under a proper system" and transferring the duties of the Indian Affairs to the War Department "so that the hand that rewards should be the one to punish when needed." Included here is an important map, impressive for its range and the amount of detail it shows, including trails, mail roads, and well-travelled emigrant routes. Copies available on the market are often missing the map and/or they fall considerably short of the present copy in terms of condition.. 191 x 125 mm. (7 1/2 x 4 7/8"). 153, [1] (blank) pp. FIRST EDITION. Publisher's original plum-colored blind-stamped cloth (now faded to brown), gilt titling on spine. With folding, hand-colored map. Tweney 55; Cowan p.159; Wheat, Transmississippi West 1126; Howes M-885; Graff 2933; Streeter IV 2103; Sabin 51274. One bottom edge and one bottom corner slightly worn, spine ends with small chips, very minor dampstain on a few leaves at beginning and end, map with a short tear at one of the major folds, but A FINE COPY, the binding unsoiled, with covers that show virtually no wear, and with a text that is uniformly clean, smooth, and fresh. Intended for those preparing to undertake the long, arduous journey across the Territories to the West Coast, this guide offers a fascinating glimpse into the practical considerations, logistics, and everyday realities that these emigrants faced. It includes information about the amount of supplies that ought to be procured, the price of oxen, proposed itineraries, weather, the availability of grazing land, and other practical advice that one would need to know for a successful journey. It also includes sections describing the geography and natural resources, making it an important source of information about gold and silver mining in the area. Of particular interest is the section titled "Indians along the Route," in which the author enumerates the various tribes that one might encounter along the way, their habits, locations, and estimated numbers. More politically charged are his ideas for how the US government ought to "keep them in order." This includes forcibly taking away Indian children to reeducate them "under a proper system" and transferring the duties of the Indian Affairs to the War Department "so that the hand that rewards should be the one to punish when needed." Included here is an important map, impressive for its range and the amount of detail it shows, including trails, mail roads, and well-travelled emigrant routes. Copies available on the market are often missing the map and/or they fall considerably short of the present copy in terms of condition.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 42.   Check availability:     Biblio     Link/Print  


        Verhör bei dem Schulmeister.

      - Stahlstich v. Raab n. Vautier, um 1865, 35 x 49,5 Drei junge "Übeltäter" stehen vor ihrem Lehrer. Eine alte Frau mit einer Katze auf dem Arm bezichtigt die Schüler.

      [Bookseller: Antiquariat Nikolaus Struck]
 43.   Check availability:     ZVAB     Link/Print  


        Walden

      Boston: Ticknor and Fields, 1865. Near Fine. Third printing. Octavo. pp. [1-2] 3-357 [358-360 (blank)]. With a map inserted after page 306, and a 24-page publisher's catalog at the back dated September 1865. Bound in publisher's purple cloth, gilt spine, boards stamped in blind. With light blue-gray glazed endpapers. Early ownership signature ("Malcolm Macdonald, Princeton, Aug. 6th 1866") in ink on the front free endpaper. Light fading to the spine and back board, a pleasing, near fine copy, tight and clean, and unrestored. A scarce early reprint from the Ticknor and Fields stereotype plates: only 500 copies of the third printing were printed on 1 March 1865. Borst A2.1e.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 44.   Check availability:     Biblio     Link/Print  

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