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         A Map of the North Polar Sea shewing and connecting all the latest Discoveries by Ross Parry Franklin Scoresby andc andc  

      First edition. Lithograph map measuring 330 by 300mm. Very good indeed, removed from a volume, small closed tear to right hand margin, a little dusty. London, Addison & Co. Globe Makers to His Majesty, April

      [Bookseller: Maggs Bros. Ltd.]
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         Repertorio universale e ragionato di Giurisprudenza e quistioni di dritto del Signor Merlin versione italiana di una società di avvocati eseguita nello studio dell' Avvocato Filippo Carrillo

      NAPOLI: Presso R. Marotte e Vanspandoch, 1824-1835. rilegato. BUONO. 20,5 25,5. 20 vol USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
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         El porqué de la Música, ó sea primeros elementos del noble arte de la Música, y Método fácil que contienen la teórica y práctica del Canto de Organo, y un compendio ó breve explicacion fundamental del Canto Llano, y Canto Figurado. Segun varios autores. Para la instruccion de la juventud.

      Barcelona, imprenta de José Torner, 1824. - in-4. Frontispice. 4ff. 88pp. 2ff. Demi-maroquin postérieur, dos à nerfs orné. Edition Originale illustrée d'un joli frontispice gravé représentant le "Cercle Musical" dessiné au compas par l'auteur, dont le portrait est reproduit en son centre. Le volume contient de nombreuses partitions musicales imprimées dans le texte. Cet ouvrage didactique sur la musique, imprimé en espagnol à Barcelone où l'auteur était professeur, fut réédité pour la première fois en facsimile en 2009. Quelques rousseurs et traces de manipulation. Palau, 23007.

      [Bookseller: Librería Comellas]
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         LA DÉCOUVERTE DES SOURCES DU MISSISSIPPI ET DE LA RIVIERE SANGLANTE DESCRIPTION DU COURS ENTIER DU MISSISSIPPI...OBSERVATIONS CRITICO- PHILOSOPHIQUES, SUR LES MOEURS, LA RELIGION, LES SUPERSTITIONS, LES COSTUMES, LES ARMES, LES CHASSES, LA GUERRE, LA PAIX...DE PLUSIEURS NATIONS INDIENNES...

      New Orleans, 1824. [8],327,[1]pp. plus errata slip. Later paper boards. Light toning and foxing. Very good. Untrimmed. The rare first edition, in French, of this Italian's adventures in America. "[Beltrami] found his way to the upper reaches of the Mississippi River, where he joined an expedition led by Maj. Stephen Long. The latter wrote of him, 'an Italian whom we met at Fort St. Anthony, attached himself to the expedition and accompanied us to Pembina.' Beltrami subsequently traveled down the Mississippi to New Orleans" - Wagner-Camp. "He undertook a hazardous and lonely journey in his search for the sources of the Mississippi and other rivers, in which he claimed success" - Clark. An expanded English translation was printed in London in 1828, and included a folding map illustrating the routes travelled in America, detailing Beltrami's view of the geography of the headwaters of the Mississippi. The inclusion of the map in the later edition was in response to the criticism the author received for not providing a map in this, the first edition of the work. WAGNER-CAMP 26a:1. JUMONVILLE 417. FIELD 110. HOWES B338, "aa." BUCK 181. LeCLERC 135. CLARK II:182. MONAGHAN 178A. PILLING, PROOF-SHEETS 340. SABIN 4604. ROSENBACH, AMERICAN JEWISH 255. REESE, BEST OF THE WEST 50 (note).

      [Bookseller: William Reese Company - Americana ]
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         Religionsphilosophie. I. Nationalismus. II. Mystizismus. III. Supranaturalismus oder die Lehre von der Offenbarung des Alten und Neuen Testaments. 3 Bände.

      Tübingen, Laupp, 1818-1824 - VIII, 432 S.; VIII, 304 S.; X, 662 S. 20 x 11,5 cm. Dekorative Halblederbände der Zeit mit je 2 Rückenschildern und etwas Rückenvergoldung (leicht berieben, 1 Bezug leicht abweichend). Erste Ausgabe. – ADB VI, 349 – Ziegenfuss I, 301. – Carl August von Eschenmayer (1768-1852), Professor der Philosophie und Medizin in Tübingen, ursprünglich von Schelling beeinflusst, später durch Jacobi zur Forderung einer „Nichtphilosophie“ bestimmt, die über die rationale Philosophie hinausgeht und diese im Glauben ergänzt. Der Glaube soll bei Eschenmayer die Spekulation ergänzen; über dem Rationalismus und Mystizismus steht der Supranaturalismus. - Allerdings machte sich Eschenmayer „vorzüglich bekannt durch seine philosophischen Erklärungen der Äußerungen somnambuler Personen, wie die der sogenannten „Seherin von Prevorst“, indem er einer mystischen Auffassung des Lebens huldigte und mannigfache Erscheinungen desselben durch Einwirkung von Geistern zu deuten suchte“, vgl. Pierer's Universal-Lexikon, Band 5. Altenburg 1858, S. 885 f. 886. Dies trug ihm einige kritische Bemerkungen ein. In Herders Conversations-Lexikon von 1854, wird er als „Philosoph von mehr Gemüth und Phantasie als Scharfsinn“ qualifiziert (vgl. dort Band 2, S. 608); und Meyers Großes Konversation verweist darauf, dass Eschenmeyer von Immermann im »Münchhausen« unter dem Namen »Eschenmichel« satirisch dargestellt worden ist. (Band 6. Leipzig 1906, S. 100f.) . – Titel mit Sammlerstempel, dekoratives, sauberes, sammelwürdiges Exemplar. [Attributes: First Edition; Hard Cover]

      [Bookseller: A la Recherche]
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         Il Sacro Tempio di Possagno eretto dal Marchese Antonio Canova.

      per Nicolò Bettoni,, Milano 1824 - In folio (49,5 x 33 cm.), pp. 8 non numerate, frontespizio compreso, lettera dedicatoria e Descrizione del Tempio - 3 incisioni (Pianta, Spaccato e Prospetto del Tempio, tecnica acquatinta in tonalità seppia, 45 x 31 cm.) eseguite da Vincenzo Bianchi, A. Angeli e G. Luciolli su invenzione di Canova. Brossura editoriale cartacea (53 x 37 cm.), titoli a stampa al piatto anteriore entro cornice, in barbe. Assoluta rarità bibliografica, completa, perfettamente conservata e totalmente editoriale. Prima opera a stampa sul Tempio canoviano. In una lettera del 5 agosto 1818, inviata all'amico Giannantonio Selva, Canova dichiarava di essersi deciso a ricostruire la chiesa di Possagno completamente a sue spese. L'idea era quella di realizzare un grandioso edificio circolare dotato di pronao, richiamo al Pantheon di Roma, ma con colonne doriche, come il Partenone di Atene. Commissionò a Pietro Bosio i disegni dell'edificio, i quali furono poi sottoposti alla supervisione dei colleghi dell'Accademia di San Luca e dello stesso Selva. Morto quest'ultimo nel gennaio 1819, Canova trovò il sostegno di Antonio Diedo. L'11 luglio di quell'anno i possagnesi in festa accolsero il compaesano per la posa della prima pietra. La direzione dei lavori fu affidata a suo cugino Giovanni Zardo detto "Fantolin". Il Canova non riuscì a vedere la sua opera conclusa poiché morì il 13 ottobre 1822; i lavori, in base al suo testamento, furono affidati al fratellastro Giovanni Battista Sartori. Negli anni successivi il progetto originario subì qualche modifica, anche per far posto al gruppo della Pietà e alla tomba dell'artista. Finalmente, nel 1830, il tempio venne concluso e il 7 maggio 1832 venne solennemente consacrato dallo stesso Sartori, nel frattempo divenuto Vescovo. Lettera dedicatoria introduttiva di Vincenzo Bianchi a Filippo Francesco Magawly Cerati, nato Philip Francis Magawly de Calry (1787-1835), politico irlandese naturalizzato italiano che, stabilitosi dal 1802 a Parma, ricoprì importanti cariche durante il governo provvisorio. Due copie conservate rispettivamente nella Collezione privata Fondazione Cosway Maria di Lodi e nella Biblioteca del Museo di Roma. Unica copia reperita in vendita, apparsa in catalogo nel 2012 alla "The London international antiquarian book fair", anch'essa con le 3 medesime incisioni, conservato in legatura moderna, definito "portfolio eccezionalmente raro". Manca al Lozzi (3819) che, per la presente edizione, rimanda al Bocca. /, /, / [Attributes: Soft Cover]

      [Bookseller: il Bulino libri rari]
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         Discourses, controversial and practical to which is prefixed Burdy's life of the author Edited by the Rev Robt Lynam

      London: Richard Baynes, 1824. First edition, 3 vols., 8vo, slightly later full polished blue calf, gilt-decorated spines in 6 compartments, red morocco labels in 1, marbled edges and endpapers; light rubbing but generally fine and handsome.

      [Bookseller: Rulon-Miller Books]
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         Autograph letter signed ("CMvWeber").

      Dresden, 24. VIII. 1824. - 4to. 1 p. on bifolium with integral address panel. To Hofkapellmeister Sutor in Hannover, thanking him for a successful performance of his opera Euryanthe ("I know only too well that only through the most careful execution this opera can be effective", transl.) and giving a short report from his stay at Marienbad to regain health. - Somewhat spotty; foldings partly faulty; small defect (from opening the letter) re-backed.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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         The Witch of New England; bound with: Hobomok: A Tale of Early Times. By an American

      Carey & Lea; Cummings, Hilliard & Co, Philadelphia; Boston 1824 - First editions of two 1824 novels set in Puritan New England, both dealing with the theme of romance between Native Americans and white settlers. The early nineteenth century saw a wave of novels set in the early American colonies, reflecting the popularity of historical fiction by Walter Scott and James Fenimore Cooper, and looking ahead to the fiftieth anniversary of the United States. The Witch of New England, published anonymously by poet James Cadwalader McCall, is the more conventional novel, following one white family's entanglement with the local tribes, as the infatuated Sachem Samoset attempts to abduct Agnes Bradley, and the "generous savage" Haneda sacrifices her happiness to help Edward Bradley escape the Indian camp. (The exasperated contemporary annotator of this copy notes that Edward's captivity narrative is lifted "verbatim" from Revolutionary general Israel Putnam's experience, and that an Indian maiden is unlikely to "blush.") Published anonymously by abolitionist Lydia Maria Child, Hobomok was a far more controversial work, depicting a consensual (if never wholly equal) relationship between a white woman and a Pequod chief. Like McCall, Child foregrounds the sacrifice of a noble Native American, as Hobomok tearfully leaves his white wife Mary Conant and their child so that she can marry her first love, an Englishman long believed to be dead. In an 1825 review of both novels, the North American Review largely dismisses The Witch of New England as "ridiculous," but notes that Hobomok has suffered from the "general prejudice against the catastrophe" of miscegenation: "we doubt not that it will one day be regarded with greater favor." A very good copy, bringing together two scarce and complementary early American novels. Twelvemo, [1-4], 5-217, [1]; [i-iv], 5-188, [2]. Contemporary calf, red morocco spine label lettered in gilt, spine ruled in gilt. Amherst College ink-stenciled library mark to front pastedown; contemporary ink annotations, mainly to The Witch of New England. Margins of several pages in The Witch of New England torn or trimmed; Hobomok bound without half-title. Front free endpaper excised, text browned with scattering foxing; light shelfwear to binding. [Attributes: First Edition; Hard Cover]

      [Bookseller: Honey & Wax Booksellers, ABAA]
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         The Witch of New England; bound with: Hobomok: A Tale of Early Times By an American

      Philadelphia; Boston: Carey & Lea; Cummings, Hilliard & Co, 1824. First editions of two 1824 novels set in Puritan New England, both dealing with the theme of romance between Native Americans and white settlers. The early nineteenth century saw a wave of novels set in the early American colonies, reflecting the popularity of historical fiction by Walter Scott and James Fenimore Cooper, and looking ahead to the fiftieth anniversary of the United States. The Witch of New England, published anonymously by poet James Cadwalader McCall, is the more conventional novel, following one white family's entanglement with the local tribes, as the infatuated Sachem Samoset attempts to abduct Agnes Bradley, and the "generous savage" Haneda sacrifices her happiness to help Edward Bradley escape the Indian camp. (The exasperated contemporary annotator of this copy notes that Edward's captivity narrative is lifted "verbatim" from Revolutionary general Israel Putnam's experience, and that an Indian maiden is unlikely to "blush.") Published anonymously by abolitionist Lydia Maria Child, Hobomok was a far more controversial work, depicting a consensual (if never wholly equal) relationship between a white woman and a Pequod chief. Like McCall, Child foregrounds the sacrifice of a noble Native American, as Hobomok tearfully leaves his white wife Mary Conant and their child so that she can marry her first love, an Englishman long believed to be dead. In an 1825 review of both novels, the North American Review largely dismisses The Witch of New England as "ridiculous," but notes that Hobomok has suffered from the "general prejudice against the catastrophe" of miscegenation: "we doubt not that it will one day be regarded with greater favor." A very good copy, bringing together two scarce and complementary early American novels. Twelvemo, [1-4], 5-217, [1]; [i-iv], 5-188, [2]. Contemporary calf, red morocco spine label lettered in gilt, spine ruled in gilt. Amherst College ink-stenciled library mark to front pastedown; contemporary ink annotations, mainly to The Witch of New England. Margins of several pages in The Witch of New England torn or trimmed; Hobomok bound without half-title. Front free endpaper excised, text browned with scattering foxing; light shelfwear to binding.

      [Bookseller: Honey & Wax Booksellers]
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         Napoleon´s Feldzug in Russland 1812 - 2 Bände. aus dem französischen der Historie de l´Expedition de Russie par M*** von L. Blesson.

      Berlin, Duncker und Humblot, 1824. Deutsche Erstauflage, EA XVI, 409, VII, 404 Seiten 8°, Pappband mit leinenrücken Band eins - fünf aufklappbare Karten im Anhang, Kanten etwas berieben, sonst beide Bände guter Zustand Schlagworte: Rußland Versand D: 5,00 EUR

      [Bookseller: Antiquariat Buch-Buch]
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         The Private Journal of Captain G. F. Lyon, of H.M.S. Hecla, during the Recent Voyage of Discovery under Captain Parry.

      London: John Murray,, 1824. Octavo (208 x 128 mm). Contemporary purple calf, broad gilt-hatched flat bands to spine, twin rules gilt either side, red morocco label to second compartment, the others with central quatrefoil in gilt, multiple gilt rules to head and foot, decorative blind border to covers, marbled endpapers. Engraved frontispiece and 6 similar plates after original drawings by the author, folding route map. 20th-century monogram bookplate to front pastedown, blind-stamp reading "Rodlease, Boldre, Lymington", listed Georgian mansion, to the front free endpaper; late-19th-century pencilled marginalia to p. 65 et seq. Spine darkened, subtly repaired at head, joints and corners skilfully refurbished, small dent to top edge, a few light scuffs and indentations to sides, browning to half-title from old laid-in plant leaf, sporadic pale foxing to lower margins of text-block, upper outer corners of sigs. 2B8-2C1 and 2C7-2D1 slightly creased and soiled, light spotting to plates, map very faintly offset, otherwise a few trivial spots or marks. A very good copy, complete with the half-title and dedication leaf. First edition. Presentation copy, inscribed by the author, "Miss Smith, with the best regards of an old acquaintance - Geo. F. Lyon" on the title page. Commissioned lieutenant in 1814, Lyon (1795-1832) accompanied Joseph Ritchie's abortive expedition into southern Libya in 1818 (having replaced Frederick Marryat), publishing a well-received account of his travels in 1821, the same year that he was promoted commander and "appointed to the Hecla under the orders of Captain William Edward Parry in the Fury. The expedition, Parry's second in the search for the north-west passage, sailed on 8 May 1821, entered the Arctic region through Hudson Strait, examined Repulse Bay and the neighbouring coast of Melville peninsula, and wintered at a small island to the eastward of the Frozen Strait. The next summer they went further north and entered Fury and Hecla Strait, but the season being then far advanced they turned back, wintered at Igloolik (lat. 69°21' N, long. 81°44' W), and came home in autumn 1823, as signs of scurvy among the crew made it inadvisable to stay. On 13 November Lyon was promoted captain, and the following year he published The private journal of Captain G. F. Lyon" (ODNB). The next year he led an unsuccessful expedition to Repulse Bay with instructions to continue the survey of the mainland Begun by John Franklin. His Private Journal proved popular and there was a second edition the following year; this copy is appealingly presented in a strictly contemporary, unusual binding of purple calf.

      [Bookseller: Peter Harrington]
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         IL NOTAJO PRINCIPIANTE ISTRUITO EDIZIONE RINNOVATA SULLO STATO ATTUALE DELLA ROMANA GIURISPRUDENZA

      ROMA: ALESSANDRO CERACCHI, 1824. RILEGATO. BUONO. 21 29. USATO

      [Bookseller: Controcorrente Group srl BibliotecadiBab]
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         Les caractères . suivi des caractères de Théophraste, traduits du Grec par le même. 2 vols.

      Paris, Lefèvre 1824 - With engr. portrait of the author. 2 leaves, 432 pp., 1 leaf; 2 leaves, 408 pp. Large 8vo. 19th-century polished calf over four raised bands, spines gilt with 2 gilt-lettered black morocco labels, inner and outer edges gilt, covers surrounded by black fillet with tiny gilt corner fleurons and blind-stamped ornamental border, rhomboid blind-stamped center ornament, partly uncut (two light stains, black fillet parly rubbed). Paris, Lefèvre, 1824. "Collection des Classiques François". Valuable 19th-century edition of La Bruyère's "Caractères" with the preliminary notes on the author and his work by L. S. Auger and J. Schweighaeuser, which were first published in the 32mo edition of the previous year. La Bruyère's (1645-1696) work (1688) is a vivacious and lucid satirical description of the French aristocracy up to the end of the reign of King Louis XIV. Starting with a translation of Theophrast's "Characters", La Bruyère added more and more of his own critical observations with each edition, thereby making numerous enemies. Nevertheless, he was accepted as a member at the "Académie Française" in 1693. - Very slight brownig to the uncut margins. A wide-margined copy in a fine binding. - Quérard, La France littéraire 352; Vicaire IV, 786. LITERATURE: FRENCH ; [Attributes: Hard Cover]

      [Bookseller: Hellmut Schumann Antiquariat]
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         Friendly advice on the management and education of children: addressed to parents of the middle and labouring classes of society. By the author of "Hints for the improvement of early education, and nursery discipline."

      London: Printed by Richard Taylor...for John Hatchard, 1824. [6], 98pp, [2]. With terminal advertisement leaf. Uncut in original publisher's printed blue boards. Rubbed, with some marking, creasing to corners, small split to base of spine. Occasional marginal loss, touching pagination of c5. Inscription to head of title. A rare survival in unsophisticated condition of Mrs Louisa Gurney Hoare's (1784-1836) second educational work, designed to supplement the privileges of 'all the numerous excellent schools established in all parts of the country' by avoiding 'neglectful treatment of the children' in the homes of the intended petit bourgeois and proletarian audience. Instructions are largely related to manners and deportment. The author's enlightened attitudes do, however, extend to outlining that children have rights and are due respect as well as to be respectful of others. As a text it was frequently reprinted (including by the Religious Tract) although perhaps not quite as popular as Hoare's first work, on Early education, this first edition is now remarkably scarce. COPAC locates only two copies, at BL and Oxford. . First edition. 12mo in 6s.

      [Bookseller: Antiquates]
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         Scenes and Impressions in Egypt and in Italy.

      - London, Longman, Hurst, Rees, Orme, Brown, and Green, 1824. 8vo. 20th-century half-calf over pebble-grained cloth, spine with gilt-sdtamperd morocco lettering-piece (this a little chipped); pp. iv, [2], 452; beggining and end a little spotted, otherwise internally very good. Scarce first edition of a first hand report and travelogue by a British soldier, who explains how it came to that journey: 'I sailed from Bombay in an Arab vessel on the 26th December, 1822. It had been my intention, when I left Madras, to have returned over land by myself; but I met at Bomaby two officers, bound in the same direction, and I gladly joined them' (Introductory Note). What follows is an early report of what tourists admired and visited in Egypt, and later Italy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Henry Sotheran Ltd]
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         An Album of Bewick Vignettes or 'Tale-Pieces' presented to Richard Arkwright.

      n.p.: [circa 1824]. Square 12mo. (145 x 110 mm), ll. 24 unnumbered, 8 with proof printings of woodcut vignettes bound in landscape format. Contemporary straight-grained blue morocco, with gilt roll border and emblematic tools (an angler's basket and a fish) in corners and at the center, gilt dentelles, a.e.g. Ink gift inscription on the first plate by "Thomas Bewick to Mr. Arkwright, 7 Aug. 1824," in ink. Bookplate of Arkwright of Sutton Scarsdale to front pastedown. A very good copy. A unique album of woodcut vignettes by Thomas Bewick, all with a pastoral or fishing theme, presented by Bewick to Richard Arkwright. Included are, 'elderly gentleman angler on horseback,' 'angler disturbed while fishing when his dog barks at a bull,' 'heron catches an eel,' 'cows in the water,' two images of fish: a 'John Dory' and a 'Brandling,' 'a well-dressed man rides a grey horse leading a train of five other horses,' and 'a sow yoked with sticks watches as nine of her piglets run through an open gate.' Most were intended for the abandoned History of British Fishes and were attributed to Bewick's later phase by Iain Bain. Bewick is best known for his wood engravings, especially for the miniature, precise, and often humorous vignettes referred to by him as "tale-pieces."

      [Bookseller: John Windle Antiquarian Bookseller]
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         THE COMPLETE ANGLER

      London: John Major, 1824. Second Major Edition. The charming pictorial binding is the perfect finishing touch for this truly complete edition of the beloved classic. Walton (1593-1683) lived in turbulent times, and he suffered personal tragedy (he endured the deaths of both his wives and eight of his nine children), but, largely because of the present work, he is forever identified with quietude and serenity. First published in 1653, his "Compleat Angler" is the classic work on the art of angling, infused with wise fish lore, written by an indomitable angler who knew every haunt of fresh water fish in the south of England. But, as Day says, "the love of angling is only the outward sign of a gentle inward grace, the soul of a thoroughly good man who loves peace and quiet meditation. If any one man created the idyll of the English countryside, it was Walton. The modern reader may shake his head at Walton's complete absence of 'social consciousness' and the perplexing conundrums of men and life; but the headshaking is ultimately stilled by the naïve genius who evokes with all the charm of an old woodcut an England of sweet streams, smiling fields, cheery taverns, and unshakable faith in God and His wonderful world." The present copy comes from an important edition, being the first issued by John Major (1782-1849). It includes "the notes of all previous editors carefully revised and amended" (Oliver) and was lavishly illustrated by some of the best artists of the day, including Huysman and Lely. The notes were ably edited by Richard Thomson (1794-1865), Librarian of the London Institution and respected scholar. The attractive binding captures the tranquility of the work beautifully, and the level of workmanship suggests an accomplished atelier like the Bayntun Bindery in Bath, which produced a number of fine, but unsigned, pictorial bindings.. 195 x 125 mm. (7 3/4 x 5"). lviii, 416 pp.With an introductory essay, the Linnæan arrangement of river fish, illustrative notes, and general index. Second Major Edition. INTRICATELY DECORATED LATE 19TH CENTURY NAVY MOROCCO INLAID WITH A DETAILED SCENE (unsigned but quite likely by Bayntun), upper cover with large inlaid panel depicting an angler sitting in his boat at dawn, this picture painted with morocco in more than 20 different colors, with an orange sun rising over purple mountains, ploughed fields, green hills and forests, and a tranquil blue-green lake, where a gray-haired gent is casting his line from his flat-bottomed boat, his angling basket at his feet, very expertly rebacked preserving original backstrip, flat spine with inlaid tan title label above an elongated gilt-framed panel containing two inlaid fish, one about to bite on the fly at the end of the angler's line, pastedown framed by blue morocco with gilt-ruled sides and fish medallions at corners, marbled endpapers, all edges gilt. In a fine modern brown cloth clamshell box. With 14 copper plates on India paper, with original tissue guards, and 77 woodcuts in the text. Oliver 23; Coigney 25. A hint of soil and darkening to the leather, gilt on the spine slightly dulled, faint browning at edges of text, but still a very pleasing copy, the binding without any wear, the text with no signs of use. The charming pictorial binding is the perfect finishing touch for this truly complete edition of the beloved classic. Walton (1593-1683) lived in turbulent times, and he suffered personal tragedy (he endured the deaths of both his wives and eight of his nine children), but, largely because of the present work, he is forever identified with quietude and serenity. First published in 1653, his "Compleat Angler" is the classic work on the art of angling, infused with wise fish lore, written by an indomitable angler who knew every haunt of fresh water fish in the south of England. But, as Day says, "the love of angling is only the outward sign of a gentle inward grace, the soul of a thoroughly good man who loves peace and quiet meditation. If any one man created the idyll of the English countryside, it was Walton. The modern reader may shake his head at Walton's complete absence of 'social consciousness' and the perplexing conundrums of men and life; but the headshaking is ultimately stilled by the naïve genius who evokes with all the charm of an old woodcut an England of sweet streams, smiling fields, cheery taverns, and unshakable faith in God and His wonderful world." The present copy comes from an important edition, being the first issued by John Major (1782-1849). It includes "the notes of all previous editors carefully revised and amended" (Oliver) and was lavishly illustrated by some of the best artists of the day, including Huysman and Lely. The notes were ably edited by Richard Thomson (1794-1865), Librarian of the London Institution and respected scholar. The attractive binding captures the tranquility of the work beautifully, and the level of workmanship suggests an accomplished atelier like the Bayntun Bindery in Bath, which produced a number of fine, but unsigned, pictorial bindings.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         The Works of William Hogarth; Containing One Hundred and Fifty-Eight Engravings, by Mr. Cooke and Mr. Davenport; with Descriptions, in which are Pointed Out Many Beauties that have Hitherto Escaped Notice, with a Comment on their Moral Tendency.

      London: Printed for J. Goodwin, Upper Thames Street, 1824. Two vols., 4to., [x], 149, [8]; [iv], 158, with 158 engravings. Contemporary full blue straight-grain morocco, roll-tooled in blind and gilt. Gilt paneled backstrip with title stamped in gilt, and gilt dentelles, a.e.g. Edges and corners of boards are slightly rubbed, some rubbing at joints, minor foxing confined mostly to pages facing plates; very good. First edition thus: newly revised and corrected. William Hogarth (1697-1764) was a painter and engraver, sometimes described as the father of British painting, though not the earliest English-born painter of note. His work typically was of social utility, and exemplified morally inflected realism. Cook and Davenport capture the essence and depth of his work in these two volumes with 158 rich engravings.

      [Bookseller: John Windle Antiquarian Bookseller]
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         An Album of Bewick Vignettes or ‘Tale-Pieces’ presented to Richard Arkwright.

      n.p.: [circa 1824]. Square 12mo. (145 x 110 mm), ll. 24 unnumbered, 8 with proof printings of woodcut vignettes bound in landscape format. Contemporary straight-grained blue morocco, with gilt roll border and emblematic tools (an angler’s basket and a fish) in corners and at the center, gilt dentelles, a.e.g. Ink gift inscription on the first plate by “Thomas Bewick to Mr. Arkwright, 7 Aug. 1824,” in ink. Bookplate of Arkwright of Sutton Scarsdale to front pastedown. A very good copy. A unique album of woodcut vignettes by Thomas Bewick, all with a pastoral or fishing theme, presented by Bewick to Richard Arkwright. Included are, ‘elderly gentleman angler on horseback,’ ‘angler disturbed while fishing when his dog barks at a bull,’ ‘heron catches an eel,’ ‘cows in the water,’ two images of fish: a ‘John Dory’ and a ‘Brandling,’ ‘a well-dressed man rides a grey horse leading a train of five other horses,’ and ‘a sow yoked with sticks watches as nine of her piglets run through an open gate.’ Most were intended for the abandoned History of British Fishes and were attributed to Bewick’s later phase by Iain Bain. Bewick is best known for his wood engravings, especially for the miniature, precise, and often humorous vignettes referred to by him as “tale-pieces.”

      [Bookseller: John Windle Antiquarian Bookseller]
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         The Dangerous Voyage Performed by Captain Bligh, with a part of the crew of His Majesty's Ship Bounty, in an open boat, Over Twelve Hundred Leagues of the Ocean; in the year 1789.

      R. Napper Dublin 1824 - Small, 141 x 84mm, frontispiece, 175 p. Contemporary brown full tree calf, backstrip lettered gilt Bligh and with four horizontal rules. Blind stamp J.H.Squire on the upper cover and on the first six leaves, tanned edges to the endpapers from the calf turn-ins, a small corner off the front free endpaper (30mm on the hypotenuse), a small corner off leaf 169/70 (12mm on the hypotenuse) otherwise a near fine truly exceptional copy with completely sound hinges and joints. Apparently the compilation dealing with Bligh's voyage has been considerably extended in this Dublin edition. The title continues: To which is added, an account of the sufferings and fate of the remainder of the crew of said ship. [Attributes: Hard Cover]

      [Bookseller: JIRI Books]
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         Observations on some points of seamanship; with practical hints on naval oeconomy . . . The whole profits are for the benefit of the Royal Naval Charitable Society.

      Cheltenham, printed by J. J. Hadley, 1824. - 8vo (210 x 130 mm), pp. xii, 290; contemporary crushed blue morocco, elaborate gilt border; spine gilt; gilt edges; extremities slightly rubbed but an excellent copy with the Mansel bookplate, probably that of Captain Robert Mansell (1786–1845) who is noted as having received three copies in the list of subscribers (p. 284), and the ticket of Williams Bookseller, Cheltenham.First edition. The Observations was written in 1811 when the author was captain of the Leonidas frigate and is based on his experience of a wartime navy during the Napoleonic Wars. 'As its title suggests, the book is mainly concerned with matters of seamanship but contains many notes on ship organisation . . . . The chapter on "Conduct of the ship's company" ranges over many issues and is perhaps the most humane and liberal of all the documents which have emerged from the period. Perhaps this is because the bitterness caused by the great wave of mutinies culminating in 1797 had died down and officers such as Griffiths were able to consider ways to keep up morale for the future. Certainly the book can be seen as part of a general humanisation of the Navy after about 1805, with many small reforms such as the abolition of running the gauntlet and starting and the regularisation of the position of the caplain on board ship' (Lavery, ed., Shipboard life and organisation 1731–1815, pp. 255–6).'Griffiths, the son of a clergyman in Kingston-upon-Thames, became a midshipman in 1781 and was first commissioned in 1790. He served on the Culloden at the Glorious First of June in 1794 and was promoted commander in the sloop Atalante four years later. After some success against privateers in the Channel he was posted captain in 1802 and appointed to the Constance frigate, in which he served in various parts of the world. He was transferred to the Leonidas frigate in 1809 and served mainly in the Mediterranean' (Lavery, p. 255). He expresses his reasons for writing the Observations in the preface, mentioning, in particular, that the 'want of exercising our reason, the habit of taking things of every day occurrence by rote, are certainly ill calculated to produce a good seaman. The whole movements and management of a ship at sea are so strictly scientific, that if the hints herein embodied only tend to promote inquiry, and to foster a habit of thinking on the why and wherefore, I shall be satisfied' (p. iv).The esteem in which Griffiths and his work were held is made evident from an extensive list of subscribers. This is littered with such celebrated names as Sir Jahleel Brenton, Francis Austen (the novelist's, Jane Austen, brother), Sir Alexander Cochrane, Lord Gambier, Sir Philip Broke, Sir Israel Pellew, Sir George Montagu and Sir James Saumarez, as well as institutions such as the Royal Naval Club. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bernard Quaritch Ltd ABA ILAB]
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         Topographie der sichtbaren Mondoberfläche

      1824 - Topographie der sichtbaren mondoberfläche von Wilhelm Gotthelf Lohrmann. Erste Antheilung. Mit VI Kupfertafeln. - Dresden : Selbstverl ; Leipzig : Hartknoch, 1824. - 6 Bl., 110 S., 1 Bl., XVIII S., 6 Bl. (Kupferst.) 28 x 25,5 cm. Neuzeitlicher Halblederband (gering bestoßen, OPappband eingebunden) /Seiten leicht randgebräunt mit wenigen Stockflecken, 2 Seiten schmutzfleckig, Tafeln stellenweise, vorwiegend im Rand stockfleckig/ - Hier der seltene und erstmalig erschienene erste Teil des Kartenwerks "Mondkarte in 25 Sektionen" von Wilhelm Gotthelf Lohrmann (1796 - 1840, Dresden), dass gleichzeitig sein Hauptwerk war. 1839 wurde er Direktor der sächsischen Vermessungsanstalt (als Nachfolger von Wilhelm Ernst August von Schlieben) und 1828 Oberinspektor des Mathematisch-Physikalischen Salons im Dresdner Zwinger. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Hardner]
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         [GERMAN FINE BINDING by LEHMANN] [occasional album]

      sm. oblong 4to, 21.5 x 26.5 cms (8.5 x 10.75 inches), different coloured papers, elaborate binding with tapestry onlays, gilded hasps (clasp gone), gilt inner dentelles, silk doublures, binder's printed ticketA very handsome album, with the printed label at the back of Carl Lehmann, Berlin, i.e. the Royal Court binder Carl Ernst Lehmann III (1807-1848); his father, Carl Lehmann II died in 1823. Dating the album is helped by the presence of paper watermarked Whatman 1824. We have traced two similar albums (both with the gilt leaf-shaped hasps): 1) at the Gutenburg Museum 2) Reiss & Sohn, auctioneers, 30/10-2/11/2012. lot 4935; both are attributed to the father, but since he had died in 1823, the present work is either the work of the son, or the work of the bindery in its transitionary period. The contents comprise a fairly modest concoction of watercolours, drawings, prints, etc., by various hands, 1820's - 1850's.

      [Bookseller: Ian Marr Rare Books]
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         Imitation de Jésus-Christ. Traduction nouvelle, par Eugène de Genoude.

      Paris, 1824 - Plein maroquin noir à grain long, dos à nerfs orné, titre doré, riche encadrement de frises florales dorées et à froid, frise intérieure dorée, contreplats et gardes de tabis crème, tranches dorées. Exemplaire sur grand papier, au format in-4 sur papier vélin, avec un frontispice de F. Gérard gravé par Sisco sur chine monté.Très belle reliure dans le pur style de Bozérian. Discrète décoloration à une moitié du dos. Rousseurs aux premiers et derniers feuillets ainsi qu?en marge de certains autres.Quérard, La France littéraire, p292. [Attributes: Hard Cover]

      [Bookseller: Librairie Gaëlle Cambon]
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         The Private Journal of Captain G. F. Lyon, of H.M.S. Hecla, during the Recent Voyage of Discovery under Captain Parry.

      London: John Murray, 1824 - Octavo (208 x 128 mm). Contemporary purple calf, broad gilt-hatched flat bands to spine, twin rules gilt either side, red morocco label to second compartment, the others with central quatrefoil in gilt, multiple gilt rules to head and foot, decorative blind border to covers, marbled endpapers. 20th-century monogram bookplate to front pastedown, blind-stamp reading "Rodlease, Boldre, Lymington", listed Georgian mansion, to the front free endpaper; late-19th-century pencilled marginalia to p. 65 et seq. Spine darkened, subtly repaired at head, joints and corners skilfully refurbished, small dent to top edge, a few light scuffs and indentations to sides, browning to half-title from old laid-in plant leaf, sporadic pale foxing to lower margins of text-block, upper outer corners of sigs. 2B8-2C1 and 2C7-2D1 slightly creased and soiled, light spotting to plates, map very faintly offset, otherwise a few trivial spots or marks. A very good copy, complete with the half-title and dedication leaf. Engraved frontispiece and 6 similar plates after original drawings by the author, folding route map. First edition. Presentation copy, inscribed by the author, "Miss Smith, with the best regards of an old acquaintance - Geo. F. Lyon" on the title page. Commissioned lieutenant in 1814, Lyon (1795-1832) accompanied Joseph Ritchie's abortive expedition into southern Libya in 1818 (having replaced Frederick Marryat), publishing a well-received account of his travels in 1821, the same year that he was promoted commander and "appointed to the Hecla under the orders of Captain William Edward Parry in the Fury. The expedition, Parry's second in the search for the north-west passage, sailed on 8 May 1821, entered the Arctic region through Hudson Strait, examined Repulse Bay and the neighbouring coast of Melville peninsula, and wintered at a small island to the eastward of the Frozen Strait. The next summer they went further north and entered Fury and Hecla Strait, but the season being then far advanced they turned back, wintered at Igloolik (lat. 69°21' N, long. 81°44' W), and came home in autumn 1823, as signs of scurvy among the crew made it inadvisable to stay. On 13 November Lyon was promoted captain, and the following year he published The private journal of Captain G. F. Lyon" (ODNB). The next year he led an unsuccessful expedition to Repulse Bay with instructions to continue the survey of the mainland Begun by John Franklin. His Private Journal proved popular and there was a second edition the following year; this copy is appealingly presented in a strictly contemporary, unusual binding of purple calf. Howgego II L52. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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         Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; Performed in the Years 1821-22-23 in His Majesty's Ships Fury and Hecla...

      London: John Murray, 1824. sep 22 2017. (6), xxx, (1 half title) 571, (1 errata) pp. thirty-one b/w plates, four folding recognition views, four folding charts. "Parry sailed on another arctic expedition on May, 1821, and was twice frozen in for several months, but made many explorations and discoveries by sea and land... This work deals with the characteristics of the Eskimos and is a treatise on aboriginal life as well as a narrative of scientific discoveries." - Hill 1312. Arctic Bib. 13142, Lande 1385. Field 1184, who says, "twenty-two [of the beautifully engraved copperplates] are illustrative of the Domestic Life of the Esquimaux, their fishing and walrus hunting, their boats, summer tents, winter huts, ... The work is a splendid treatise on aboriginal life." A very good copy, showing only light foxing. Bound in half calf over marbled boards.

      [Bookseller: Ten Pound Island Book Co. ]
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         Voyage Dans la République de Colombia, en 1823

      Arthus Bertrand, Paris 1824 - 2 vols.: iv, 307, [2]; 316, [1] p. 20 cm. Vol. 1 has engraved frontispiece, three other engraved plates, and one table. Vol. 2 has frontispiece engraving, three engraved plates, two tables, and a fold-out map of Colombia at rear. Full leather bindings. Early spine replacements. Spines chipped. Gaspard Théodore Mollien (1796 – 1872) was a French diplomat and explorer. At the time of his travels in Colombia, the country had just become independent, having separated from Spain in 1819. Mollien describes his journey, the natives, and the politics of the country. Plates engraved by Pierre Francois Legrand (1743-1824). This is a scarce as well as an important work, published later in 1824 in English and the following year in German, Dutch, and Italian. French text. Sabin 49917. [Attributes: First Edition; Hard Cover]

      [Bookseller: Attic Books (ABAC, ILAB)]
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         Mémoire sur les bateaux à vapeur des Etats Unis DAmerique

      First edition. 2 vols. 4to & folio. 17 engraved plates (1 double-page). Contemporary half calf, rebacked, extremities rubbed & quarter green roan, a little rubbed. [iv], 290, [1errata]pp. Paris, Imprime Royale,

      [Bookseller: Maggs Bros. Ltd.]
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         Plans Coupes et Elevations de l'Ancien et du Nouveau Palais de l'Académie de Françe pour l'Etude des Beaux arts, à Rome, par les Artistes pensionnaires du Roi qui ont remporté, à l'Académie des beaux arts de l'Institut de Françe à Paris, les 1ers grands Prix en Peinture historique, Peinture de Paysage, Sculpture, Architecture, Composition Musicale, et enfin en Gravure en taille douce, en Médailles et en pierres fines. L'Ancien Palais, rüe du Cours. Le Nouveau Palais, à la Villa Medici. Le tout, d'après les dessins Originaux levés Mesurés rapportés et déssinés sur les Lieux par M.M. Norry, père et fils Architectes. et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817. Rome. 1817

      [Paris?], c. 1824. An album of architectural drawings of the Palazzo Mancini and the Villa Medici, successive homes of the Académie de France in Rome. The first two drawings are plans of the ground floor and top floor of Palazzo Mancini, indicating respectively the instructional rooms and the lodgings of the pensionnaires, as implemented in 1784. In 1793, the Academy departed Palazzo Mancini, and was homeless until relocated in 1803 in the Villa Medici. The remaining ten drawings are plans, sections, and elevations of the Villa Medici, constituting a survey undertaken in 1817 by the architect Charles Norry, assisted by his elder son and pupil, Charles-Désiré Norry (1796-1818), and by Lucien-Tyrté Van Cleemputte (1795-1871). Norry, Charles Conflans-Charenton 1756 - 1832 Paris Plans Coupes et Elevations de l'Ancien et du Nouveau Palais de l'Académie de Françe pour l'Etude des Beaux arts, à Rome, par les Artistes pensionnaires du Roi qui ont remporté, à l'Académie des beaux arts de l'Institut de Françe à Paris, les 1ers grands Prix en Peinture historique, Peinture de Paysage, Sculpture, Architecture, Composition Musicale, et enfin en Gravure en taille douce, en Médailles et en pierres fines [rule] L'Ancien Palais, rüe du Cours, Le Nouveau Palais, à la Villa Medici. [rule] Le tout, d'après les dessins Originaux levés Mesurés rapportés et déssinés sur les Lieux par M.M. Norry, père et fils Architectes. et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817. [rule] Rome. 1817. [Paris, circa 1824] folio (binding 550 × 405 mm), (1) manuscript half-title, Villa Medici (2) manuscript title, transcribed above (3-14) twelve, unnumbered architectural drawings (eleven double-page and one folding), executed in pen and ink and wash, on tracing paper laid down on thin card (see list below). paper (half-title:) watermark Horne | 1824; (title and drawing:) large watermark of a crowned lion with sword and countermark J Kool & Comp; (drawings:) large watermark of an imperial eagle and countermark LL (?); (binder's endpapers:) large shield incorporating a fleur-de-lys and charged with initial M. Tear in drawing 11 (without loss, early repair), other small defects; generally in fine, fresh state of preservation. provenance Prince Henry de la Tour d'Auvergne Lauraguais (1921-1999) -- Sotheby's, 'From the Collection of Prince and Princess Henry de la Tour d'Auvergne Lauraguais', London, 3 May 2012, lot 483 binding contemporary blue calf-backed marbled boards, back decorated in gilt and lettered Villa Medici | 1817 (backstrip relaid on new leather). An album of architectural drawings of the Palazzo Mancini and the Villa Medici, successive homes of the Académie de France in Rome. The first two draw­ings are plans of the ground floor and top floor of Palazzo Mancini, indicating respectively the instructional rooms and the lodgings of the pensionnaires, as implemented in 1784. In 1793, the Academy departed Palazzo Mancini, and was homeless until relocated in 1803 in the Villa Medici. The remaining ten drawings are plans, sections, and elevations of the Villa Medici, constituting a survey undertaken in 1817 by the architect Charles Norry, assisted apparently by his elder son and pupil, Charles-Désiré Norry (1796-1818), and by Lucien-Tyrté Van Cleemputte (1795-1871), who had won the previous Grand Prix for Architecture (1816). Charles Norry had trained in the studio of Charles de Wailly, and afterwards collaborated with him on projects both at home and abroad; in 1779-1782, while De Wailly worked in The Netherlands, Norry was Inspecteur des Travaux during construction of the Théâtre de l'Odéon in Paris. 1 He then made a voyage to Italy, where he met Séroux d'Agincourt, and became a supplier of drawings for the embryonic 'Histoire de l'Art par les Monumens'. 2 On returning from Italy, Norry's practice developed steadily, despite the disruption of the Revolution. A founder member of the Institut d'Égypte, he was one of four architects on the Egyptian expedition, charged specifically with designing barracks, hospitals, and a gunpowder factory. 3 In 1803, he became a membre titulaire of the Conseil des Bâtiments civils, and later was appointed by the Ministère de l'Interieur as Chef du Bureau des Bâtiments civils. Norry arrived in Rome on 6 October 1817 and was accommodated in the Villa Medici. His son, Charles-Désiré, was then attached to the Académie de France as an external student (not as a pensionnaire), 4 and during Norry's residence, Ingres executed drawings of both father 5 and son. 6 The Villa Medici had fallen into a poor state before its occupation by the Académie de France. In 1803, the new director of the French Academy, Joseph-Benoît Suvée, ordered the architect Grandjean de Montigny to draw plans of the building, and these had been submitted to Napoleon together with a detailed report on its potential utilisation and an estimate of the cost of remodelling. 7 In 1803, an Italian architect was instructed to proceed with the conversion. Building work continued for nine months: windows were lowered to admit more light, interior partitions were erected, doors were opened, and other doors closed, and the gardens were replanted and ornamented by an ensemble of antique statues, reliefs, and other artefacts. The current director of the Academy, Charles Thévenin, was determined to continue restoration of the fabric of the Villa and to restore also the Academy's collections. At some point, Norry undertook the survey, producing 'the first truly reliable drawings of the Villa'. 8 It was presented to the Minister of the Interior, vicomte Joseph Henri Joachim Lainé (1767-1835), in late February or early March 1818. 9 Norry also communicated to Lainé a list of books needed in the library. 10 For comparative purposes, Norry included in his survey two drawings showing how the Academy had been accommodated in Palazzo Mancini. The first is a plan of the ground floor, indicating the principal rooms used for instruction: the 'Salle à manger' (refectory, where geometry was taught), the 'Académie [du nud] d'hiver' and 'Académie d'Eté' (halls for studying and copying models), and the 'Salle de Marc-Aurèle'. The second sheet shows the lodging of the pensionnaires on the third floor (twelve bedrooms, with the position of the bed indicated in each; a ‘Salle Commune'; and 'Latrines'). Both plans are dated 1784. They may be copies of plans drawn by Joseph Subleyras (1745-1810), an architect attached to the Academy; 11 or based on plans drawn in August 1775 by Jean-Augustin Renard. 12 It is conceivable that Norry made them in Rome, from originals in the library of the Académie de France; more likely, however, they were copied by him later, in Paris. The first of the ten sheets representing the Villa Medici is a general plan, with details of five garden pavilions which had been remodelled into ateliers for the pensionnaires. The second drawing is a plan of the ground floor, on which Norry has stated the name or purpose of each room, and located eight statues and busts. 13 The next five drawings are plans of the upper floors. On the plan of the Étage principal, Norry indicates how the collection of casts ('statues moulées sur l'antique') is displayed (the positions of thirty-two casts can be pinpointed through a key), also the organisation of the casts in the adjacent 'Gallerie d'antiques', and locations of statues of Louis xiv and xviii in the 'Salle d'Exposition'. 14 The last three sheets are elevations or sections; 15 the elevation of the highly-ornamented garden façade is of particular interest, as it depicts the reliefs and busts before successive alterations. 16 As announced in the manuscript title, the drawings in our album are copies, 'Le tout, d'après les dessins Originaux levés Mesurés rapportés et déssinés sur les Lieux par M.M. Norry, père et fils Architectes. et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817'. The originals, some of which are signed by Norry, were presented to Lainé in 1818, and are now in the Bibliothèque de l'Institut de France. 17 Our copies were produced by laboriously tracing the original drawings onto a translucent support of tracing paper. The tracings must have been done immediately, before submission of the original drawings to the Academy in 1818. Several years later, the thin sheets were laid on card, and assembled as an album by a bookbinder. The manuscript half-title (Villa Medici) is a sheet of paper watermarked 1824, the terminus post quem for production of the album. The copies probably were made by or at the behest of Charles Norry, as a record of his work, even perhaps as a memorial of his late son (Charles-Désire died in Paris, 27 September 1818). Several drawings have additions in graphite, as for example the 'Plan du deuxième Étage', where the placement of furniture in the 'Logement du Directeur' and in the 'Bibliothèque' is indicated, and the 'Plan de L'Entresol' where the furniture in a student's 'Logement' is shown. Unlike the originals, all of the copies have scale bars (in mètres and toises). Alternatively, the copies may have been made by Lucien-Tyrté Van Cleemputte, as testi­mony to his involvement in the project. It may be significant that the phrase 'et Mr Vandemputte, jeune, architecte, pensionnaire du Roi en 1817' appears on the manuscript title in this volume, but not in the original set of drawings. Van Cleemputte returned to Paris in June 1822. 18 In 1824 he exhibited a number of drawings he had made in Rome. List of Drawings [img-3142-left-large_default] Fig.1 Palazzo Mancini on the Corso, home of the French Academy in Rome from 1737 to 1793. Plan of the ground floor, where the students were instructed, in 1784 ■ Plan du Rez de chaussée du Palais | de l'académie de France à Rome. | 1784. Borderline 500 × 705 mm (sheet 545 × 750 mm), pen and ink with brown, grey wash; details in pink, red, blue, green. Two scale bars (Echelle de mètres and toises). Fig.1 [img-3148-left-large_default] Fig.2 Palazzo Mancini, plan of the students' accommodation, third floor, in 1784 ■ Plan du troisième et dernier etage du Palais | de l'academie de France à Rome. 1784 | appartements de mm.rs les Pensionnaires Borderline 495 × 705 mm (sheet 545 × 750 mm), pen and ink with brown, grey wash, details in pink. Two scale bars (Echelle de mètres and toises). Fig.2 [img-3149-left-large_default] Fig.3 General plan of Villa Medici, with details of five garden pavilions used as ateliers ■ Plan général de la Villa Medici maintenant l'école des | Beaux arts à Rome Borderline 495 × 700 mm (sheet 545 × 750 mm), pen and ink with green, blue, brown, pink wash; details in blue. One scale bar (Echelle de mètres). Fig.3 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.72-74 no. 43 and p.211 no. 224 (detail: 'Batiment de dépendance où se trouve un Attelier') (53 × 78 cm, signed right Norry) [img-3150-left-large_default] Fig.4 Plan of the ground floor of Villa Medici ■ Villa Medici à Rome | Plan du Rez de chaussée [Key:] 1. Appollon du Belveder. 3. Venus du Capitole | 2. Antinous du Vatican 4. Le Discobole | 5. Hercule enfant 6, et 7. Bustes du Poussin et de Raphaël d'Urbin Borderline 715 × 505 mm (sheet 545 × 750 mm), pen and ink with brown, grey, green wash; details in pink. Two scale bars (Echelle de mètres and toises). Fig.4 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.176-177 no. 187a (51 × 70 cm, signed right Norry). Maestà di Roma: da Napoleone all'unità d'Italia. D'Ingres à Degas: les artistes français à Rome, catalogue of an exhibition held at the Villa Medici, Rome, 7 March-29 June 2003 ([Milan] 2003), p.50 fig. 1. Matthias Quast, 'Zur Planung römischer Villenanlagen der zweiten Hälfte des Cinquecento: die Organisation des Terrains' in Mitteilungen des Kunsthistori­schen Institutes in Florenz 38 (1994), p.256 fig. 9 [img-3151-left-large_default] Fig.5 Plan of the mezzanine floor of Villa Medici ■ Villa Medici à Rome | Plan de L'Entresol Borderline 710 × 495 mm (sheet 545 × 750 mm), pen and ink with grey wash; details in blue. Two scale bars (Echelle de toises and mètres). Fig.5 Additions in graphite, locating furniture in a 'Logement' Original: Paris, Institut de France, Ms 1033. Toulier, op. ci t., pp.176, 178 no.187b (51 × 70 cm) [img-3152-left-large_default] Fig.6 Plan of the first floor of Villa Medici, indicating the display of statuary ■ Villa Medici | à Rome | Plan de l'Etage Principal [Key (above):] Noms des statues moulées sur l'antique | qui ornent l'étage principal [these indi­cated nos. 1-32] | La Galerie est composée des statues bas reliefs bustes et détails | moules sur les antiques du vatican du capitole et les galeries | particulières de Rome | nota. les fragments d'architecture sont en dépot da ns une salle | placée sous la terrasse des bosquets élevés. V. le plan général [Key (below):] a. Statue de Louis dix huit b. Statue de Louis quatorze. | (nota) c.d.e. Chambres au dessus desquélles il y à des Entresols Borderline 700 × 495 mm (sheet 545 × 750 mm), pen and ink with green, blue, grey wash; details in pink, blue. Two scale bars (Echelle de mètres and toises). Fig.6 Additions in graphite. Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.176, 179 no.187c (51 × 70 cm). Maestà di Roma, op. cit., p.50 fig. 2. Quast, op. cit., p.257 fig. 10 [img-3153-left-large_default] Fig.7 Plan of the second floor of Villa Medici, showing the Director's apartment ■ Villa Medici a Rome | Plan du deuxième Etage | avec pièces et greniers an dessus, excepté sur les pièces composant la Bibliothèque Borderline 700 × 495 mm (545 × 750 mm), pen and ink with grey wash; detail in pink. Two scale bars (Echelle de mètres and [toises]). Fig.7 Additions in graphite, indicating placement of furniture in the 'Logement du Directeur' and 'Bibliothèque' Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.180, 182 no. 187d (51 × 70 cm). Maestà di Roma, op. cit., p.50 fig. 3. [img-3154-left-large_default] Fig.8 Plan of the third floor of Villa Medici ■ Villa Medici à Rome | Plan du troisième Étage en attique [Key:] a. Petit escalier de bois qui conduit à la loge. (nota bene) Au dessous des chambres bb sont deux | chambres semblables Borderline 705 × 500 mm (sheet 545 × 750 mm), pen and ink with brown wash. Two scale bars (Echelle de mètres and toises). Fig.8 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.181-182 no. 187e (51 × 70 cm). Two scale bars (mètres and toises) [img-3155-left-large_default] Fig.9 Plan of the fourth floor of Villa Medici ■ Villa Medici à Rome | Plan du Quatrième Etage. Borderline 710 × 495 mm (sheet 545 × 750 mm), pen and ink with brown, grey wash. Two scale bars (Echelle de mètres and toises). Fig.9 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., p.182 no. 187f (51 × 70 cm) [img-3156-left-large_default] Fig.10 Elevation of the front façade of Villa Medici ■ Villa Medici à Rome | Elévation du cote de Rome. Borderline 530 × 705 mm (sheet 545 × 750 mm), pen and ink with brown, grey, pink wash. Two scale bars (Echelle de mètres and toises). Fig.10 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.114-115 no. 107 (49.3 × 70 cm) [img-3157-left-large_default] Fig.11 Elevation of the garden façade of Villa Medici ■ Villa Medici à Rome | Elévation du Coté des Jardins | niveau du sol du coté de la promenade de Rome Borderline 530 × 710 mm (sheet 545 × 750 mm), pen and ink with brown, grey, green, pink wash. Two scale bars (Echelle de mètres and mètres [sic]). Fig.11 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.140-141 no. 143 (53 × 70 cm, signed right Norry) [img-3158-left-large_default] Fig.12 ( left) Elevation of the Terrace of the Bosco, a grove of trees with an artificial mount ('Parnassus', or Belvedere), built by Ferdinando Cardinal de'Medici over the remains of an ancient temple; (right) Longitudinal section of the Villa Medici, depicting on the Étage Principal (Salle d'Exposition) Domenico Guidi's statue of Louis xiv ■ Villa Medici à Rome | Coupe en travers des jardins Borderline 495 × 1240 mm (sheet 545 × 1300 mm), pen and ink with blue, grey, pink wash. Three scale bars (Echelle de mètres and mètres [sic]; mètres). Fig.12 Original: Paris, Institut de France, Ms 1033. Toulier, op. cit., pp.183 nos. 188a-b, pp.202-203 no. 212 (48.5 × 114 cm, signed Norry) 1. H. Lemonnier, Notes biographiques sur Charles Norry et sur Moreau le jeune (Paris [n.d.; c. 1860]), pp.3-14; Charles de Wailly: peintre architecte dans l'Europe des lumières, catalogue of an exhibition held in the Hôtel de Sully, Paris, 23 April-1 July 1979, edited by Monique Mosser (Paris 1979), p.102. A plan drawn by Norry in 1781 of the area between Oberneustadt and the Residenzschloß Kassel is Staatliche Museen Kassel, Graphische Sammlung, L GS 13821 (http://lineamenta.biblhertz.it; link). 2. The preparatory materials gathered by Seroux d'Agincourt for his great work were bequeathed to the Biblioteca Apostolica Vaticana (Ms Lat 9839-9849, 13479-13480). Norry's contribution includes plans of monuments in Benevento, Perugia, and Rimini (Henri Loyrette, 'Séroux d'Agincourt et les origines de l'histoire de l'art médiéval' in Revue de l'art, 48, 1980, pp.43, 51 note 26, 53 note 70; Valerio Ascani, 'La documentazione grafica inedita sul duomo di Benevento nella raccolta di Séroux d'Agincourt' in Arte medievale, 3, no. 2, 1989, pp.149, 152 note 37). Among other drawings executed by Norry in Italy are a 'Vue des Thermes de Dioclétien à Rome' (Private Collection, Paris; Charles de Wailly: peintre architecte, op. cit., p.114 no. 28 and reproduction p.29) and a pen and wash drawing in the Stammbuch von Brack dated 22 July 1784 (In Erlesen gestiftet: die Stiftung der Gebrüder Linel in der Buchkunst- und Graphiksammlung des Museums für Kunsthandwerk Frankfurt am Main, 5. Dezember 1991 bis 16. Februar 1992, Frankfurt am Main 1991, pp.154, 159). 3. Norry published an account of his experiences as Relation de l'expédition d'Égypte (Paris 1799; English translation, London 1800) and also wrote a play, 'L'Entrée des Français au Kaire' (Paris 1830). He was an early member of a pseudo-Egyptian secret society, the Ordre Sacré des Sophisiens, founded in 1801; see Darius A. Spieth, Napoleon's sorcerers: the Sophisians (Newark, de 2007), pp.56, 154. 4. Catalogue général des manuscrits des bibliothèques publiques de France, Paris: Bibliothèque de l'Arsenal, by Henry Martin (Paris 1892), vi, p.303 no. 6648 f.103: 'Lettre de [vicomte Joseph Henri Joachim] Lainé, ministre de l'interieur, à Norry relative à une demande de gratification pour son fils, étudiant en Italie' (31 January 1817). Charles-Désiré evidently arrived in Rome before Easter 1817, as he is recorded in the Stato delle Anime, parish of S. Lorenzo in Lucina, in 1817 (Hans Naef, Die Bildniszeichnungen von J.-A.-D. Ingres, Bern 1978, ii, p.232). 5. Charles Norry: Naef, op. cit., ii, pp.229-233 ('Die Architekten Charles und Charles-Désiré Norry'); iv, pp.400-401 no. 215, signed, inscribed Par Son très respectueux serviteur Ingres, à Madame Norry. The drawing was offered by Sotheby's, 'Revolution in Art', New York, 24 January 2002, lot 96 (ex-William S. Paley Collection). 6. Charles-Désiré Norry: Naef, op. cit., ii, pp.229-233; iv, pp.402-403 no. 216, signed, inscribed, and dated at lower left Ingres à Mr. Norry | Pere. | rome | 1817. The drawing is in the Morgan Library & Museum in New York; see European drawings 1375-1825, compiled by Cara Dufour Denison and Helen B. Mules (New York 1981) p.130 no. 121, and French master drawings: from the Pierpont Morgan Library, by Cara Dufour Denison, catalogue of an exhibition held at the Musée du Louvre, Paris, 1 June-30 August 1993 (New York 1993), pp.226-227 no. 103. 7. Glenn M. Andres, The Villa Medici in Rome (New York & London 1976), i, pp.472-474. Grandjean de Montigny's drawings are lost. 8. La Villa Médicis, 1: Documentation et description, by Bernard Toulier (Rome 1989), p.72: 'Après quelque temps, ils entreprennent ensemble le relevé. La mise au net est effectuée sur place. Ce sont les premiers relevés réellement fiables de la villa'. We have been unable to consult a 'Notice sur le relevé de la ville Médicis par Charles Norry' by A.L.T. Vaudoyer, presented to the Académie des Beaux-arts in 1846 by his son, the architect Léon Vaudoyer, and now Bibliothèque de l'Institut de France, Ms 1034 (Procès-verbaux de l'Académie des Beaux-arts: 1845-1849, edited by Sybille Bellamy-Brown, Paris 2008, pp.185-186; Catalogue géné­ral des manuscrits des bibliothèques publiques de France, Paris: Bibliothèque de l'Institut [de France], by Marcel Bouteron and Jean Camille Tremblot, Paris 1928, p.230 no. 1034). 9. Martin, op. cit., vi, p.303 no. 6648 f.103: 'Lettre du ministère de l'intérieur [J.L.J. Lainé] relative aux plans de la villa Médicis présentés par Norry' (6 March 1818); 'Lettre du ministre Lainé accusant à Norry réception de ses plans de la villa Médicis et accordant une gratification à le son fils' (20 April 1818). See also 'Correspondance des directeurs de l'Académie de France à Rome, Tome troisième: Directorat de Charles Thévenin (1816-1822)', edited by François Fossier', p.209 no. 163 (link). 10. Lainé acknowledged receipt of this list in a letter to Thévenin on 27 March 1818 ('Correspondance des directeurs de l'Académie de France à Rome, Tome troisième: Directorat de Charles Thévenin', op. cit., p.209 no. 163). See also Lettres adressées au Baron François Gérard, peintre d'histoire, par les artistes et les per­sonnages célèbres de son temps (third edition, Paris 1888), i, p.274 (letter of Thévenin, 5 March 1819): 'J'ai appelé l'attention du ministre sur cette pénurie et j'ai remis à M. Norry, lorsqu'il vint à Rome à la fin de 1817, une note des ouvrages qui nous seraient le plus nécessaires. Elle doit donc se trouver dans les bureaux, ainsi que les plans détaillés de la villa Médicis et ses dépendan­ces, levés dans le même temps par cet architecte'. 11. No set of drawings by Subleyras of '1784' has been identified; however, in 1788 Subleyras prepa­red an 'État des réparations les plus nécessaires à faire dans le palais de l'Académie de France à Rome' for which there may be associated plans (Correspondance des directeurs de l'Académie de France à Rome avec les surintendants des bâtiments, Paris 1887-1908, xv, pp.227-230). 12. Paris, Institut national d'histoire de l'art, Ms 673: 'Plan de l'Académie Royale de Peinture Sculpture Architecture entretenue à Rome par sa Majesté, ordonné par Monsieur le comte d'Angiviller, directeur général des bâtimens du Roy sous la direction de M.r Hallé peintre et professeur de la d.te Académie. Levées en Aoust 1775 par Renard Arch.te Pens.re du Roy' (each drawing 410 × 295 mm). Proposed alterations indicated on Renard's plan of the Rez-de-chaussée (an entry from the vestibule into the Loge du Suisse; alterations to rooms facing the courtyard to provide a Lavoir, Ecurie, Magasin, etc.) are shown as accomplished on Norry's plan. A manuscript note on the title identifies the drawings in Paris as copies: 'Ces plans sont doubles à l'Académie de Rome et conformes aux lettres alphabéti­ques qui sont à chacun de ces plans pour servir à l'intelligence des changemens ou dispositions qui en seront ordonnées par Monsieur le directeur général' (link). 13. Toulier, op. cit., p.176 no. 187a, comments on the evidential value of this drawing: 'Le dessin très minutieux nous révèle des détails inédits aujourd'hui disparus: la limite du tuf sous l'escalier avec le retour du mur de la citerne, l'existence d'un passage souterrain (actuellement bouché et muré) le long des fondations depuis l'escalier sud, l'emplacement précis de la rampe d'accès le long de l'ancien jeu de paume (reconverti en galerie des creux), l'existence près de ce dépôt des moules d'une pièce de service avec un cagnard/cheminée, etc'. 14. Toulier, op. cit., p.176 no. 187c: 'Avec un soin méticuleux, Norry a relevé l'emplacement et la désigna­tion de chacune des sculptures et de chaque moulage (provenant essentiellement du Vatican, du Capitole ou des collections privées romaines). A l'exception des appartements nord réservés au direc­teur, l'étage est devenu lui-même une vaste galerie de sculptures où sont mêlés les dieux du Panthéon et les rois de France, au milieu des bustes des anciens directeurs et des statues faites par d'anciens pensionnaires. A noter la séparation avec les fragments d'architecture qui sont relégués dans la loggia du bosco. Norry pousse l'exactitude jusqu'à dessiner dans l'épaisseur des murs tous les conduits de cheminée de l'étage'. 15. Toulier, op. cit., p.114 no.107, Elévation du côté de Rome: 'En dessous du balcon, Norry a dessiné les armes de France nouvellement installées. La fenêtre du niveau 5 de la galerie a été abaissée entre 1807 et 1817'. Toulier, op. cit., p.183 nos.188a-b, Coupe en travers des Jardins: 'Dans la grande salle, la statue de Louis xiv est surmontée d'une inscription'. 16. Toulier, op. cit., p.140 no.143, Elévation du côté des jardins: 'Quelques copies ou moulages de statues ont déjà été replacées dans la loggia et dans les niches, mais toutes les niches en forme de médaillon furent-elles vraiment décorées de bustes? Le profil de la passerelle de l'étage de la galerie apparaît sur le côté sud. La fenêtre de l'étage du pignon de la galerie a été agrandie, comme celle de la façade opposée, au moment des travaux d'installation de l'académie, vers 1805-1810...'. 17. Paris, Bibliothèque de l'Institut de France, Ms 1033; see Bouteron and Tremblot, op. cit., p.229 no. 1033: 'Plans, coupes et élévations de la Ville Médicis, maintenant École Royale des Beaux-arts à Rome, relevés et dessinés fin de 1817, par Norry' (21 folios, 530 × 390 mm, 'Demi-reliure'). (http://www.calames.abes.fr/pub/#details?id=IF2B10868; link). For reproductions, see Toulier, op. cit., nos. 43, 107, 143, 187a-f, 188a-b, 212, 224. 18. Italia antiqua: Envois de Rome des architectes français en Italie et dans le monde méditerranéen aux xix e et xx e siècles, catalogue of an exhibition, École nationale supérieure des beaux-arts, Paris, 12 February-21 April 2002 (Paris 2002), pp.45-56.

      [Bookseller: Robin Halwas | Rare Books]
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         Nachrichten über Leoben und die Umgegend nach der Zeitordnung. Ein Beytrag zur Landesgeschichte.

      Graz, Johann And. Kienreich, 1824. - Erstausgabe der ersten Monographie über Leoben des damaligen Leobener Bürgermeisters. - Die beiden Karten zeigen ein „Croqui des Steuerbezirks Leoben" bzw. das „Gebieth der Grafschaft Leoben mit der Grafschaft Krauwat aus dem 11. 12. 13ten Jahrhundert". - Einband berieben u. fleckig. Rückenkanten rissig. Vorsatzbl. m. älterem Eintrag u. kl. Besitzvermerk. Titel m. Namesstempel. Ränder etw. bestoßen. Gebräunt u. stockfleckig. - Schlossar 181. ge Gewicht in Gramm: 500 8°. Mit lithogr. Frontispiz („Ansicht der Stadt Leoben" v. J. F. Kaiser), lithogr. Titel, einer gefalt. gest. Tafel (mit 8 Darstellungen von Siegeln), 2 gefalt. lithogr. Karten u. 4 mehrf. gefalt. Stammbäumen. 1 Bl., 192 S., Bedruckter OKart. [Attributes: First Edition; Soft Cover]

      [Bookseller: Antiquariat Wolfgang Friebes]
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         Vues pittoresques des ruines les plus remarquables de l`ancienne ville de Pompei. Dessinees et gravees a l`aqua tinta.

      Zürich, Fuessli, 1824 (- 1832). - 28 Bll. 24 Aquatinta-Tafeln. Erste Ausgabe, selten. - Brunet III, 357f.: "Ouvrage assez bien executé" - Seltenes vollständiges Exemplar des Ansichtenwerks von Pompeji mit den schönen, in Sepia gedruckten Aquatintatafeln. Den begleitenden Text verfaßte der Züricher Archäologe Jacob Horner. - Jakob Wilhelm Huber (1787 - 1821) begann sich während seiner Ausbildung bei Jakob Christoph Miville mit der italienischen Landschaft zu beschäftigen. "als Vorbilder dienten ihm Claude Lorrain, Nicolas Poussin und Herman van Swanevelt. In den Jahren 1805–07 widmete er sich, durch die Landschaften von Ludwig Hess angeregt, auch vorübergehend der Darstellung der Alpen. 1808 begab sich Huber auf Wanderschaft, unter anderem, um dem Militärdienst zu entfliehen: Ein halbes Jahr weilte er in München; 1808–09 war er in Wien an der Kunstakademie und als Zeichenlehrer tätig; nach einem Aufenthalt in Karlsruhe 1809–1810 gelangte er schliesslich mit der befreundeten Wiener Malerin und Radiererin Sophie Reinhard im Herbst 1810 nach Rom. Landschaftsstudien in Stadt und Umgebung. Bekanntschaft mit Joseph Anton Koch und Peter Cornelius. In Begleitung des Wiener Malers Joseph Rebell, Sophie Reinhards und der Mailänder Künstlerin Bianca Milesi reiste Huber 1812 nach Neapel; ab 1815 nahm er dort festen Wohnsitz. 1816 Reise durch Sizilien; Jahre später verwendete er sechs Studien für `La Salles Voyage pittoresque en Sicile`. 1821 wegen des Carbonari-Aufstandes in Neapel über erschiedene Zwischenstationen Rückkehr nach Zürich. Bevor er sich dort 1824 endgültig niederliess . Wilhelm Huber gehörte zu den zahlreichen Künstlern, die in Italien für ein touristisch interessiertes Publikum Veduten produzierten. Im Umgang mit Koch und Johann Christian Reinhart erkannte er seine Bestimmung vor allem als Zeichner solcher Landschaftsdarstellungen. Zu den Persönlichkeiten, die ihn im Atelier aufsuchten, gehörten der österreichische Kaiser Franz II. und die Königin von Württemberg, der Huber später seine pompejanischen Veduten widmete. Daneben entstanden in und um Neapel Naturskizzen sowie ab 1817 Studien in den Ruinen von Pompeji. Zwischen 1823 und 1832 arbeitete Huber an der Herausgabe eines Prachtbandes mit 24 pompejanischen Ansichten mit Kommentaren des Zürcher Altertumsforschers Johann Jakob Horner (Ruinen Pompejis, Zürich 1832)" (Paola von Wyss-Giacosa [1998], in: SIKART Lexikon zur Kunst in der Schweiz, Zugriff vom 24.05.2016). - "In 1810, as part of his apprenticeship and journeyman `Wanderjahre`, Jakob Wilhelm Huber went to Rome and later Naples to pursue his interest in Italian landscape painting. Eventually he developed a special concern for Naples and the nearby ruins of Pompeii. Sensing the preferences of his clientele, he recorded in 1817 in sketches and watercolours the picturesque ancient ruins. After Huber`s politically motivated return to Zurich in 1821, this material formed the basis for his 24 aquatint veduta, published between 1824 and 1832 by Heinrich Füssli as `Vues pittoresques de Pompéi`. Accompanied by a commentary by the Zurich philologist Jacob Horner, the aquatints entered the market in two editions: a more modest uncoloured one, and a coloured de luxe edition" (Graphische Sammlung ETH Zürich). - Vorsatz mit Besitzvermerk in Tinte, Block gebrochen, leicht gebräunt, vor allem an den Rändern braunfleckig. *** /// *** Copyright: Matthaeus Truppe - Stubenberggasse 7 - A-8010 Graz - +43 316 829552 *** /// *** Sprache: Deutsch Gewicht in Gramm: 2100 Fol. Pp. des 19. Jahrhunderts mit Rückenschild (bestoßen). [Attributes: First Edition]

      [Bookseller: Matthaeus Truppe Antiquariat]
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         Reliquiae Diluvianae :or, Observations on the Organic Remains Contained in Caves, Fissures, and Diluvial Gravel, and on other Geological Phenomena, attesting the action of an Universal Deluge

      London 1824 2nd ed - vii + 303pp, 27pls & maps inc some hand coloured and some folding, 2 figs, half leather, gilt lines around boards, marbling on the front/back/ board & page edges, new front / end paper, end paper sympathetic, 27 x 22cm book has been rebound, two private ex lib plates on first page, spine tanned, shelf wear, light scuffs on cover/cover edges, internally clean A splendid copy of this key archaeological work first published in 1823. The second edition included a reply to opinions expressed by the French geologist Monsieur Cuvier. Buckland was the first Reader of Geology at Oxford and later became Dean of Westminster.He was a proponent of the catastrophic geological approach to the problem of early man and tried to reconcile the evidence of fossils and geological deposits with the biblical chronology of Archbishop Ussher. This book recounts a number of important cave explorations including the discovery of the Red Lady of Paviland. [Attributes: Hard Cover]

      [Bookseller: Archaeology Plus]
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         Gedachten over den Chinahandel en den Theehandel.

      Rotterdam, Arbon & Krap, 1824. - 8vo (23 : 13 cm). 1 Bl., 95 S. Einzige Ausgabe. Vorschläge zur Wiederbelebung des niederländisch-chinesischen Handels. Holland hatte im 18. Jahrhundert den lukrativen Teeimport aus China an die Britische Ostindien-Kompagnie verloren. Haan strebt eine Art Nachfolgeorganisation der 1798 aufgelösten VOC an. Der Leidener Tuchfabrikant (1757-1833) veröffentlichte eine Reihe ökonomischer Schriften, auch die niederländische Übersetzung von Crawfurds History of the Indian Archipelago entstammt seiner Altersmuße. - Kress C.1245; nicht bei Cordier, Bibliotheca Sinica. - Titel mit alter, teils radierter Stempelung, sonst sauberes, unbeschnittenes Exemplar. Bedruckte Original-Kartonage, Rücken sauber erneuert.

      [Bookseller: Antiquariat Müller & Draheim (VDA/ILAB)]
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        ACCOUNT OF THE MURDER OF THE LATE MR. WILLIAM WEARE,

      - of Lyon's Inn, London, including the circumstances which first let to the discovery of the murder, and the detection of the murderers. Pp. [iv]+344, frontispiece, plus 3 plates, 2 folding maps; later (but not recent) qr. maroon cloth with printed paper title label on spine, beige papered boards, the cloth slightly flecked and rubbed; later endpapers, bookplate of Nancye Kent Perry on the upper pastedown, with faint signs of a bookseller's sticker removed from foot of same, the upper hinge starting, scattered light foxing and occasional slight soiling; printed by J. Nichols and Son, London, 1824. First edition. F.956. *One of several published accounts of the notorious murder of William Weare, including portraits of the prisoners 'drawn by Mr. George Lewis with their autographs' [title page]. After the trial, one of the accused was hanged and another, Joseph Hunt, was transported to Botany Bay. Hunt was granted a ticket of leave in 1832, and eventually became a police constable. [Attributes: Hard Cover]

      [Bookseller: Kay Craddock - Antiquarian Bookseller]
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