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


         Twenty-four Autograph Letters Signed (three envelopes) and 1 Autograph Letter, in all 36 pages 8vo and 2½ pages 12mo, all without years noted (1892 post office stamp).

      - Most of the letters were written from 5 Onslow Gardens where Froude lived after 1865, but others come from Kingsbridge, South Devon, 6 Clifton Place, and one from his home in retirement, Cherwell Edge, Oxford. Correspondents include his Manchester friend the Rev William Gaskell (husband of Elizabeth Gaskell), Sir John Harding, Lady Westbury, wife of the Lord Chancellor, the writer Emily Eden, Lady Salisbury, wife of the prime minister, Lady Lytton, Richard Chenevix Trench, Church of Ireland archbishop of Dublin, Lady Russell, the historian William Mason, Sir Henry Thompson, [?John] Murray, and Charles Merivale.'I have not read Mr Green's book and therefore do not know what he says. The honours granted to Sir T Boleyn in 1522 prove nothing as to his daughter's influence over the King. Sir Thomas was attached to his court. He had been employed on a confidential mission to the Imperial court and therefore his promotion was a matter of course. .' To an unnamed correspondent.'. People say we are mad to go to Ireland this year. So I suppose we are also every time that we walk in the streets. The proportion of people ?hurt and killed is considerably greater from that I guess than Irish victims. .' To Trench.'. I am meditating a winter in the West Indies . I feel dead in England. At sea and in the Tropics twenty years are taken off.With firm back and mindYours faithfully .' To [Sir Henry] Thompson.

      [Bookseller: John Wilson Manuscripts Ltd ABA ILAB]
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         Reinsdor/Krs. Delitzsch 20. 03. 1791 - 06. 11. 1860 Berlin). Graf von Möllendorff. Brustbild m. Orden im Oval en face, "Carl von Möllendorff" (faksimilierte Unterschrift?),.

      - Fotografie (Silbergelatinabzug?) v. anonym, um 1865, 23,5 x 19,5 (H) Alt auf einen Or.- Untersatzkarton mit aufgesetztem Rand und Goldfassung montiert. - Tadelloser Abzug ohne Oberflächenschäden. - Selten

      [Bookseller: Antiquariat Nikolaus Struck]
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         Portraits of British Americans

      William Notman, Montreal 1865 - 425; 350; 280 p. An extra few duplicate signatures from volume 3 (p. 1-64) bound in at back of volume 2 with corresponding photographs included. 8vo. 84 mounted albumen photographs. Professionally rebound in lovely crimson quarter leather with red and blue marbled paper over boards. Some mild and medium foxing and dampstains to photograph margins in volume 3. Images not affected. Small chip out of back endpaper volume 3 as well. Owner's signature. Issued originally in 18 parts. Published around the same time as Beers' Canadian sporting books as well as the 'The Canadian Handbook and Tourist's Guide' by H. B. Small, both titles featuring Notman photographs. This book is an excellent example of Notman's forays into photographic book illustration and is an excellent social record as well. TPL 4452. Sabin 56025. [Attributes: First Edition; Hard Cover]

      [Bookseller: Attic Books (ABAC, ILAB)]
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         Die Lukmanierbahn in technischer, commerzieller und finanzieller Beziehung und Vergleichungen mit der Gotthardbahn. St. Gallen. Zollikofer. 1865. (24,5 x 18,5 cm). VII, 195 S. Mit 2 mehrfach gefalteten lithographierten Karten. Bedruckter Original-Kartonband. - Beiliegend: (Koller, Gottlieb, Wilhelm Schmidlin und Georg Stoll). Die Gotthardbahn und der Lukmanier.

      Zürich Ulrich 1865 - (23 x 15,5 cm). 67 S. Bedruckte Original-Broschur. Hier zwei seltene Streitschriften über die Ostalpenbahnfrage und den Wettlauf um die Alpentransversale. - Zu I: Einzige Ausgabe. - Die Befürworter einer Ostalpenbahn stellen hier die Vorteile einer Eisenbahnstrecke über den Lukmanier zusammen und stellen sie den Nachteilen der Strecke über den Gotthard gegenüber. - Vereinzelt gering fleckig. Einband etwas stärker und mit kleiner Fehlstelle am Rücken. Insgesamt gut erhalten. - Zu II: Einzige Ausgabe der Erwiderung auf die vorausgehende Schrift. - Koller (1823-1900), einer der ersten Ingenieure, die für den Eisenbahnbau in der Schweiz eintraten, hat sich bedeutende Verdienste um den Ausbau der Gotthardbahn erworben. - Der Eisenbahnpionier Schmidlin (1810-1872), Befürworter der Staatsbahnen und Gründer des Gotthard-Komitees, war Mitbegründer und Direktor der Schweizerischen Centralbahn. - Georg Stoll, einer der wichtigsten Mitarbeitern Alfred Eschers im Rahmen des Gotthardprojekts, spielt in der Gotthardbahn-Gesellschaft bis zur Vollendung des Baus eine zentrale Rolle. - Umschlag mit Besitzvermerk von alter Hand. Vereinzelt gering stockfleckig, sonst sauber und wohlerhalten [Attributes: Hard Cover]

      [Bookseller: Antiquariat Gerhard Gruber]
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         The Gipsies; Being a Brief Account of Their History,origin, Capabilities, Manners and Customs with Suggestions for the Reformation and Conversion of the English Gissies.

      London: W. Lister, 1865. Small Octavo. . ix, 178 pp. (2)pp. ads. . While the aristocrats looked down upon the Gipsies for their habits, sloviness and their frequent theft of money or property, Henry Woodcock was among the leading ministers in England who felt they should be viewed as needing the same Gospel that was aimed at all people. They devised scams of every sort such as stealing a horse and selling it to the owner's wife telling her this was an even more noble horse of the same pedigree (costing the owner 10 pounds in the process). Details their devotion to fortune-telling, instead of using banks to invest they would take their valuable acquisitions and deposit them with pawn brokers giving them security just in case inquiring officers inspected their wagons or huts. While the point of Rev. Woodcock's work was to encourage evangelizing the Gipsies, the effect for us today is to enter a glimpse into how a population of an estimated 50 to 60,000 of these outcasts lived and were viewed in Victorian England. Bound in publisher's burgundy floral embossed cloth, spine gilt lettered and with a floral gilt design, pale yellow endpapers, light wear to corners and spine ends, front inner hinge just starting. A very good copy of this scarce work with some fading or staining to cloth.

      [Bookseller: Alcuin Books]
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         Ghost Stories; Collected With a Particular View to Counteract the Vulgar Belief in Ghosts and Apparitions

      James Miller, New York 1865 - 192 p. Engravings by F. O. C. Darley; nine are present. Green cloth hardcover with blind impressing. Mild wear. Ink signature on front endpaper and blind stamp on title page. Some spotting or thumbing throughout. These 20 stories, probably aimed at young readers, are meant to counteract "the inbred horror of supernatural phantoms." Felix Octavius Carr Darley (1821-1888) was an American watercolour painter and illustrator, known for his illustrations in works by well-known 19th century authors like James Fenimore Cooper, Charles Dickens, Nathaniel Hawthorne, etc. [Attributes: Hard Cover]

      [Bookseller: Attic Books (ABAC, ILAB)]
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         TA., Schloßansicht, "Perspectivische Ansicht des Schlosses gegen Süd-Ost (vom grossen See aus)".

      - Farblithographie n. Jentzen b. Loeillot in Berlin, um 1865, 35,5 x 49,5 Seltene großformatige Ansicht des Schweriner Schlosses.

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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         Our Mutual Friend.2 parts in 1 volume

      Chapman and Hall, London 1865, 1st ed. XI,320, VII,310 p.+ 20 plates by Marcus Stone, frontisp. and halftitle stained, bound uncut in one later very beautifull red half morocco with cloth boards, spine gilt in compartments, top edge gilt, Bound by Bayntun

      [Bookseller: Andersens Antikvariat]
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         Witiko. Eine Erzählung. 3 Bände.

      Pest: Heckenast, ; 1866; 1867. 1865 - Klein-8°, (10), 368; (6), 393; (6), 408 Seiten, Halbleinen der Zeit mit Rückentitel. Erstausgabe (WG 14). - Jeder Band mit einem einem gestochenen Titel mit Titelill. von J. Axmann nach P.J.N. Geiger und einem gedruckten Titel, Band 1 mit Widmungsseite "Seinen Landsleuten insbesonders der . Stadt Prag . der Verfasser. Linz, im Christmonate 1864". - Zustand: Einbände etwas unfrisch, leicht berieben. Jeder Band mit handschr. Namen und Eignerstempel auf Vorsatz, erste/letzte Bll. fleckig, ansonsten weitgehend fleckenfrei, wenige Bll. mit Randläsuren. [Attributes: First Edition; Hard Cover]

      [Bookseller: "Jos Fritz" Antiquariat Matthias Putze]
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         Organon der Heilkunst. 6. Auflage, herausgegeben von Arthur Lutze.

      Cöthen Lutze 1865 - (22,5 x 14,5 cm). XVI, 356 S. Mit gestochenem Porträt. Halblederband der Zeit mit hübscher Rückenvergoldung. Erste nach Hahnemanns Tod erschienene Ausgabe. Sie enthält die Vorreden und wichtigsten Varianten der ersten fünf Auflagen sowie neue Bemerkungen und einen Anhang aus Hahnemanns Schriften. - Hahnemann (1755-1843), "the founder of homoeopathy, embodied his theories in the 'Organon'. The minute doses set down by him did much to correct the evils of the polypharmacy of his time. He professed to base medicine on a knowledge of symptoms, regarding investigations of the causes of symptoms as useless; he thus rejected all the lessons of pathology and morbid anatomy" (G/M). - Titel gestempelt. Stellenweise etwas stockfleckig bzw. leicht gebräunt. Sechs Seiten mit Anstreichungen. Oberes Kapital gering restauriert. Insgesamt gut erhaltenes, dekoratives Exemplar. - Schmidt, Hahnemann 8; vgl. Garrison/Morton 1966 (EA). [Attributes: Hard Cover]

      [Bookseller: Antiquariat Gerhard Gruber]
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         Das Brandenburger Thor in Berlin. - Le Porte de Brandebourg á Berlin.

      - Farblithographie v. Lütke n. E. Gärtner b. Schröder in Berlin, um 1865, 16,7 x 23,5 Kiewitz 805; Ernst, Gärtner, Nr. 35. - Blick zur Nord- und Nordwestseite des Pariser Platzes, links das Brandenburger Tor mit den Wachhäusern. Rechts die Häuser Pariser Platz 6 und 7, die von Stüler umgebaut wurden ( fertiggestellt 1844 ). 1857 kaufte der Vater von Max Liebermann das direkt an die Toranlage grenzende Haus, das später von Max Liebermann als Stadtwohnung und Atelier genutzt wurde.

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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         LOYAL UNION STATE TICKET. FOR GOVERNOR, WM. G. BROWNLOW.

      [N.p., likely Nashville. 1865]. - Broadside, 11 3/4 x 2 3/4 inches. Toned, small hole affecting just a few initials in three names. Very good. An unrecorded and important Unionist election ticket for the state offices in Reconstruction Tennessee in 1865. The Republican newspaper editor and staunch Unionist William Gannaway Brownlow is listed as the nominee for governor. The ticket also includes the nominees for the Tennessee General Assembly, the Senators listed by district. Tennessee Unionists had nominated Brownlow for governor, and also offered two important state constitutional amendments at their convention in January 1865: one to outlaw slavery and the other repealing the Ordinance of Secession. On March 4, the two amendments passed easily, and Brownlow won the election by a popular vote of 23,352 to 35. William G. Brownlow, who worked in his early life as a Methodist minister, was one of the most important and controversial southern anti-secessionists. Previously the editor of the TENNESSEE WHIG and later the KNOXVILLE WHIG (the last pro-Union newspaper operating in the Confederacy), Brownlow was a loud voice against secession, believing that the Confederacy would establish nothing more than a southern planter-class aristocracy. At the outset of the Civil War, he refused allegiance to the Confederacy, and fled to the mountains on the border with North Carolina in November 1861. After he was found the next month, he was arrested on suspicion of burning railroad bridges, and initially charged with treason. With his jailers under intense political pressure, Brownlow only spent about a month in jail, before being released and sent into Union-controlled territory near Nashville on March 3, 1862. He spent the next few years traveling back and forth from the north to the south, agitating against the war. Towards the end of the war, Tennessee Unionists decided to hold an election for governor, and put forth Brownlow as their only nominee. Brownlow's election as the first Reconstruction-era governor of Tennessee resulted both in the state being the first to leave the Confederacy, and the first to be formally readmitted to the Union in 1866. His only term as governor was marked by some controversy. Once Brownlow decided to align himself with the Radical Republicans, some of Brownlow's policies were seen as draconian. And decisions such as empowering freed slaves to vote in Tennessee elections helped give rise to the Tennessee Ku Klux Klan. Not in Mitchell's checklist nor in any standard reference. A seemingly-unique copy of an important political artifact from Reconstruction Tennessee.

      [Bookseller: William Reese Company - Americana]
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         Slaughter Pen, Foot of Round Top, Gettysburg (plate 44 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 famous site on the Gettysburg battlefield is in front of Little Round Top. 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]
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         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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         LITTLE BO PEEP

      - MCLOUGHLIN PUB. LITTLE BO PEEP. NY: McLoughlin Brothers, no date, circa 1865 based on 30 Beekman address. 4to (6 3/4 x 10 1/2"), pictorial wraps, small chip off upper corner else fine condition. Aunt Jenny's Series. This is a combined prose and rhymed version of the nursery rhyme, illustrated with 7 fine hand-colored illustrations. Printed on one side of the paper. Scarce and nice. [Attributes: Soft Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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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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         Causa celebre : asesinato del Presidente Lincoln, y atentados contra Mr. Seward y otros.

      Imprenta del Diario de la Marina, Habana 1865 - On Lincoln s assassination - printed in Cuba. FIRST SPANISH EDITION, PRINTED IN CUBA. Originally published in English as: The assassination of President Lincoln and the trial of the conspirators. This is the trial of David E. Herold, Mary E. Surratt, Samuel A. Mudd and others before a Military Commission at Washington, D.C. vols. volumen(es)/volume(s) S.P. páginas [Attributes: First Edition; Hard Cover]

      [Bookseller: Libreria de Antano (ILAB & ABA Members)]
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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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         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. Unbound. Very good. 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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         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]
 33.   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]
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         Essays on Woman's Work.

      London: Alexander Strahan, 1865. - 4 leaves, 240 pp; ads. Original cloth. Spine a little darkened. Small hole at bottom of rear joint. Slight discoloration at bottom corner of front cover. Slightly foxed. Mostly unopened. A nice, very good copy. First Edition. "Parkes was . . . indignant about the distinction made between 'ladies' and 'women'. 'Ladies', that is to say middle-class women, lost social status if they earned money, the only acceptable exceptions being writing, painting, or teaching, which for the most part meant governessing. Due in part to her efforts, by the close of the century, it became acceptable for a middle-class woman to acquire a proper education and train to do paid work. Working-class women had always belonged to the work force, whether they wanted to or not" (Wikipedia) [Attributes: First Edition; Hard Cover]

      [Bookseller: Scientia Books, ABAA]
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         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]
 37.   Check availability:     ZVAB     Link/Print  


         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]
 38.   Check availability:     ZVAB     Link/Print  


         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]
 39.   Check availability:     Direct From Seller     Link/Print  


        histoires grotesques et sérieuses

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

      [Bookseller: MBLIVRES]
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More rare books found from 1865


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