darley 1822 (17 resultados)

Paperback. Condición: New.

Paperback. Condición: New.

No Binding. Condición: Very Good. First Edition. Set Of Six Large Original Etchings By Darley, America's First Professional Illustrator, Published In 1848, Published For The American Art Union With Accompanying Text Pages Which Are Not Present Here. Printed By Sarony And Major, Per Text At Lower Right. Some Aging To Paper, A Little Foxing, A Few Small Stains And Some Light Soiling. A Famous Set, Representing The Beginning Of Large-Scale American Illustrative Engraving.

1st edition thus (cf. Gimbel D38). 3 volumes (x, [11] - 315, [3 (blank)]; 315, [3 (blank)]; 310, [4 (blank)] pp). Frontis by F. O. C. Darley in each volume. 12mo. 7-1/4" x 4-5/8" General wear, spine leather a bit dry & scuffed. Joints a bit tender. Prior owner signature. Usual bit of foxing. Withal, an Abt VG set. Original publisher's tan half-leather binding with marbled paper boards. Marbled edges. Marbled eps.

Full title - PICKINGS FROM THE PORTFOLIO OF THE REPORTER OF THE NEW ORLEANS "PICAYUNE:" COMPRISING SKETCHES OF THE EASTERN YANKEE, THE WESTERN HOOSIER, THE QUAINT COCKNEY, THE DROLL IRISHMAN, THE PATIENT HOLLANDER, THE VOLATILE FRENCHMAN, THE SELF-SUFFICIENT EXQUISITE, THE HENPECKED HUSBAND, THE JOLLY TAR, THE ECCENTRIC AFRICAN, AND SUCH OTHERS AS MAKE UP SOCIETY IN THE GREAT METROPOLIS OF THE SOUTH. WITH ORIGINAL DESIGNS, BY FELIX O.C. DARLEY. [6 plates], 1-192 pages. Hardcover: H 16cm x L 10.25cm. Quarter cloth binding - green cloth spine with marbled paper boards; some chips and tears to spine cloth; boards well rubbed with worn edges. Pale green endpapers. Some interior foxing and stains. Binding is firm.

Hardcover. Condición: Very Good. No Jacket. Darley and others Ilustrador. 5th or later Edition. Eleventh edition. Octavo. 8 page preface by IK: Marvel. Frontispiece and full page illustrations and small vignettes by Darley and others. Original ribbed gilt stamped blue cloth with gilt stamped blue thistle on the front and back covers and four thistles on the spine, yellow endpapers, t.e.g. No dust jacket. Very good. 294 pages. No signatures or bookplates. Volume I only. Printed by R. Craighead. See BAL 13926 and 13991.

190, [4] pp. Frontis & engraved t.p. by F. O. C. Darley. 12mo. 6-3/4" x 4-7/16" A popular series, first issued by Redfield in the mid-1840s [cf. Wilkins, pp. 40 - 41]. General binding wear & soiling. Backstrip dull. Period pos to ffep. Overall, Very Good. Original publisher's red cloth binding with gilt stamped spine lettering & decorations. Pale yellow eps.

Hardcover. Condición: Near Fine. illustrations, (ii)p. 13 leaves of plates printed on one side and laid in loose inside a paper wrapper (numbered i-iv). Original flapped green cloth portfolio. 23 cm. Minor wear. Pages iii and iv contain a list of the plates identifying the characters and scene depicted in each of the sketches.

Incomplete set - Volumes II, III, IV, and V of Simms' six volume "Border Novels and Romances of the South" set (i.e. lacking Vol. I "Guy Rivers" and Vol. VI "Confession"). Hardcovers, H 18.75cm x L 13.25, in matching half-leather bindings - leather spines and marbled paper boards with leather corners. Rubbed boards with edges worn and some stains; varied chipping/wear at spine ends with some vertical furrows; spines' title labels mostly lacking; spines minimally decorated with five slightly raised bands with muted gilt decoration within delineated compartments. All edges marbled. Marbled endpapers; mid-late 19th century private library bookplate of Herbert D. Richards affixed at top of each volume's respective front pastedown; ink name stamps "Luther D. Fuller" (probably early-mid 20th century) on each front flyleaf recto; J.S. Redfield publisher advertisements at rear of volume. Toning/foxing and some stains to initial and rear leaves; fairly minimal foxing to interior pages which otherwise are mostly clean. Each volume with tissue guard sheet between their frontispiece and opposing pictorial title page; illustrations credited only to "Darley" on leadoff series title pages which online references attribute to Delaware and New York illustrator/artist Felix Octavius Carr Darley (1822-1888). ***** VOLUME II. RICHARD HURDIS; A TALE OF ALABAMA. Redfield: 1856 (title leaf verso copyright is 1855). "New and Revised Edition" stated upon title page. Collates as [adv.], [series title], [frontis], [pictorial title], [text title|copyright], 5-403, [1], 1-4. Binding separated between front flyleaf verso and initial ad leaf recto; binding shaken between pages 166-167 with preceding quire slightly pulled. Publisher's rear advertising section states Redfield's address as 110 and 112 Nassau Street contrasting to text title page which specifies 34 Beekman Street. ***** VOLUME III. BORDER BEAGLES; A TALE OF MISSISSIPPI. Redfield: 1855 (matching copyright date on title leaf verso). "New and Revised Edition" stated upon title page. Collates as [adv.] [series title], [frontis], [pictorial title], [text title], 7-495, [1], 1-4, 7-10. Binding is firm. ***** VOLUME IV. CHARLEMONT OR THE PRIDE OF THE VILLAGE; A TALE OF KENTUCKY. Redfield: 1856 (matching copyright date on title leaf verso). Collates as [series title], [frontis], [pictorial title], [text title|copyright], 5-447, [1], 1-4, 7-10. Binding shaken between front flyleaf and series title. ***** VOLUME V. BEAUCHAMPE OR THE KENTUCKY TRAGEDY; A SEQUEL TO CHARLEMONT. Redfield: 1856 (matching copyright date on title leaf verso). Title page specifies "New and Revised Edition" at center with "Second Edition" stated at lower left. Collates as [adv.], [series title], [frontis], [pictorial title], [text title|copyright], 7-402, 1-6. Binding is firm. ***** Please note that this set has an approximate shipping weight of 5.75 pounds (2.6 kg) and may require additional postage for any postal class other than domestic Media Mail.

Hardcover. 8vo. pp. viii, 192. 88 plates & text illus. (incl. frontis.) engraved on wood by J.Augustus Bogert & James L.Langridge after drawings by the author. original gilt-stamped cloth (spine ends chipped). Second Edition (first: 1868) of the American illustrator's trip to England and the Continent undertaken in 1867-68. cfSmith D14.

Condición: Good. Folio. 11 x 15 inches. Parts 1-4 only (of 8). Each containing 8 steel-engraved plates in India paper, mounted on French plate paper, each with accompanying letterpress. (Folio) 38 x2 7.5 cm (15 x 11") loose in original pictorial board portfolios, as issued. The prints are artists proofs before letters. The publisher's prospectus, printed inside the front boards explains: "It was known that the extensive bank-note system of our country had developed a style of engraving superior in brilliancy and effect to almost anything which the European burins afford, but which, from its peculiarly laborious and costly method, has been confined nearly exclusively to bank-note dies. In order, therefore, to secure these Vignettes a style of execution which should commend them to all patrons of art, it was determined to have them engraved, so far as practicable, by the leading artists of this much admired school. It was the first attempt, it is believed, to introduce the deep cutting and solid lining of a bank-note die into book work, and was only accomplished at a cost fully double that usually paid for book illustrations of a similar character . . . No work of the same magnitude and kind has hitherto been accomplished in this country.". The edition was limited to 500 impressions. Scarce.Library of Congress Control Number 17002065.

Condición: Good. Etching. 31 x 37 cm (sheet). Good, some moisture staining in the lower margin area.

Condición: Good. Etching. 31 x 37 cm (sheet). Good, some moisture staining in the margin areas.

Condición: Good. Etching. 31 x 37 cm (sheet). Good, some moisture staining in the margin areas.

Condición: Good. Etching. 31 x 37 cm (sheet). Good, some moisture staining in the lower margin area.

Condición: Good. Oblong folio. Original waps stained and with tears.16pp. text and 6 plates.Darley's etchings were apparently printed as lithographs ito llustrate Washington Irving's "Legend of Sleepy Hollow," which centers on a tall, thin, Connecticut-born schoolmaster named Ichabod Crane, described by the author as an "odd mixture of small shrewdness and simple credulity." We find him teaching children of Dutch descent in a riverside hamlet near Tarrytown, New York. Since his meagre income is insufficient to satisfy his hearty appetite, Ichabod often visits the families of his pupils to exchange gossip and ghost stories, knowing he will be fed by the generous housewives. When he decides to woo Katrina Van Tassel, the beautiful daughter and heir of a prosperous farmer, Ichabod uses singing lessons as a cover for their meetings. This infuriates a rival suitor, the athletic and hot-headed Brom Van Brunt who determines to undermine Ichabod's plans. After attending a dance and feast hosted by the Van Tassels, Ichabod rides home at "the witching hour" and encounters a famous local spectre, the headless horseman-the author hints that this apparition is Brom in disguise. A terrifying pursuit along the riverside road ends by the church graveyard in Tarrytown where the horseman flings his "head" at Ichabod and knocks him to the ground. The next day, a broken saddle and smashed pumpkin are discovered, but the schoolmaster has disappeared.The set of prints was chosen as a supplement for subscriber members of the American Art-Union in 1849. The plates are:Plate 1: Ichabod Crane in his schoolroom at Sleepy Hollow, near Tarrytown, New York.Plate 2: Ichabod Crane visits a pupil's family and tells a frightening tale.Plate 3: Ichabod Crane woos Katrina Van Tassel at her family farm overlooking the Hudson River.Plate 4: Ichabod dances with Katrina at a reception held by her family.Plate 5: Icabod Crane encounters the headless horseman as he rides home at "the witching hour.".Plate 6: Ichabod Crane flees toward Tarrytown, purshed by the headless horseman.While Darley indicates that the prints are etchings, they were printed bySarony & Major (1845-1857) a lithography firm founded by Napoleon Sarony on Fulton Street in New York City. Born in Québec, Sarony worked as an illustrator for Currier & Ives before starting his own business with Henry Major in 1845. The company produced prints such as a set of views of Commodore Perry's expedition to Japan under the Sarony & Major name until 1857, when it merged with Joseph F. Knapp and the name was changed to Sarony, Major & Knapp. In 1867, Sarony left to establish his own photography studio, although the firm would continue producing lithographs into the 1870s. Sarony would later become one of the best-known celebrity portrait photographers in New York, photographing such notable figures as Oscar Wilde, Samuel Clemens and William T. Sherman.Physical Description:16 pages, 6 leaves of plates : illustrations ; 32 x 39 cmOCLC Number / Unique Identifier:2483010.

Condición: Good. Steel line and stipple engraving. 24 x 33.5 inches. Marginal tears and abrasions., partially mounted on linen.left to right: Henry T. Tuckerman (1813-1871), Oliver Wendell Holmes (1809-1894), William Gilmore Simms (1806-1870), Fitz-Greene Halleck (1790-1867), Nathaniel Hawthorne (1804-1864), Henry Wadsworth Longfellow (1807-1882), Nathaniel Parker Willis (1806-1867), William H. Prescott (1796-1859), Washington Irving (1783-1859), James Kirke Paulding (1778-1860), Ralph Waldo Emerson (1803-1882), William Cullen Bryant (1794-1878), John Pendleton Kennedy (1795-1870), James Fenimore Cooper (1789-1851), and George Bancroft (1800-1891).This imaginary scene shows fifteen celebrated literary figures gathered at the home of Washington Irving, author of such popular tales as "Rip Van Winkle" (1819) and "The Legend of Sleepy Hollow" (1820). Advertisements published in the New York Times in December 1863 announced the painting's exhibition at a Manhattan art gallery, where visitors could purchase a fifty-four-page booklet describing the work. "It is, in the truest and completest sense, a National picture," the anonymous author declared, and its production "will be universally regarded as a National event."The painting resulted from a collaborative effort. The photographer Mathew Brady captured the likeness of each writer (including Nathaniel Hawthorne, Henry Wadsworth Longfellow, Ralph Waldo Emerson, and Irving himself), and the artist F. O. C. Darley designed the group composition. Working from those materials, Christian Schussele painted this canvas while Thomas Oldham Barlow engraved a widely reproduced print.From the collection of Frederic Gale Ruffner, Jr., the founder of Gale Research, Detroit.