Belgium, AnversBiblio.com
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1870037082Anvers Belgium: s.n. 1870. First Edition. Decorated Boards. Very Good. 24 Albertype photographic views on 24 plates accordion format folding into embossed green boards gilt cover title. Contains exterior and interior views of: Anvers Place Verte et Cathedrale; birdseye views; La Bourse; Cour du Mussee Plantin; Musee Steen; Le Puits de Quentin Mestis; La Banque; Maison de Charles-Quint; Eglise des Jesuites; Bassin de Kattendyk; Theatre Flamand; &c. 4" x 6" Precedes the 1885 Universal Exposition at Anvers. This title not found in WorldCat. s.n. unknown
18852950661885. Ephemera. Autograph letter signed on letterhead Weston Lodge 16 Grove End Road N. W. dated Feb. 17 1885. Addressed to E Grattan Esq. 'My dear Sir.' Single sheet folded to create 4 pages written on all leaves. Calderon apologizes for not being able to submit work for a proposed exhibition in Antwerp and suggests the names of other painters 'whom I remember as being part our little band in Antwerp were: Mr. G. A. Storey ARA 19 St. John's Wood Road NW and David W. Wynfield 14 Grove-end-Road St. John's Wood N.W.' Mild foxing. Previously folded for mailing.<br> unknown
1804ZB533638Anvers: Chez Allebe Imprimeur An 12. -- 1804. iv half title and title leaves 82 1 errata 1 blank pp.; green calf binding sound but fair only book label of General J. Watts de Peyster on verso of half title clean text; includes details of the bizarre procession several poetic tributes and a list of dignitaries present at the reception. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Anvers: Chez Allebe, Imprimeur unknown
1847D1254Anvers: Chez l'Auteur 1847. Hardcover. Very Good. Full navy morocco with border stamped in blind and gilt on boards gilt-stamped lettering and ornament on spine 4 raised bands inside gilt dentelles a. e. g.; with 11 folding plates plus numerous illustrations both full-page and in text. Spine tips a little chipped; a few tiny scuff marks on raised bands and corners. A bright tight copy. In slipcase. <br/><br/> Chez l'Auteur hardcover
183355397Paris L'Imprimerie Royale 1833. 4to. Contemp. hcalf. Gilt spine. Gilt lettering. Stamp on title-page. 4138 pp. 2 large folded engraved maps/plans. Clean and fine printed on thick paper. <br/><br/><em> </em> unknown
1895352981New York: Metroploitan Job Print 224-232 West 26th St 1895. 43 charts some two sheets. Sheets loose. 9pp. of text. Folio. Brown cloth porfolio. 43 charts some two sheets. Sheets loose. 9pp. of text. Folio. Keenelland Association Library: p.6 Metroploitan Job Print 224-232 West 26th St unknown
189267459London: Longmans Green and Co 1892. First edition 8vo pp. xviii 268; frontispiece portrait of the author 29 plates 3 illustrations in the text and a folding map printed in color at the back; original pictorial blue cloth stamped in gilt on upper cover and spine; lightly rubbed the spine a little darkened else a very good sound and clean copy. Bookplate of Wilson S. Howell. Pratt 1852-1924 was a member of the Royal Geographical Society "and in 1891 he received the Gill Memorial Award for the encouragement of geographical research in early career researchers who have shown great potential. In the same year he visited Tibet and China. In China his activities were treated with suspicion and notices were posted warning locals of assisting him. He made some progress by employing Chinese Christians. These employees were harassed by the locals and his German assistant had to retreat from his work. Whilst he was in Tatsienlu in China he met and was assisted by the French missionaries and naturalists Bishop Felix Biet and Father Jean André Soulié . In 1892 he published an account of his journey The snows of Tibet through China. This book is thought to show that Pratt did not actually get to Tibet but he only got close enough to meet the missionaries who had been ejected from the country. Incidentally Pratt's book is thought to be a source for the work of Vladimir Nabokov" Wikipedia. Yakushi P290a. See also "Chinese Rhubarb and Caterpillars" by Dieter E. Zimmer a paper read at the International Vladimir Nabokov Symposium St. Petersburg July 18 2002. Longmans, Green, and Co unknown
18702005280042Handcrafted 1870. Hardcover. Very Good. A unique lovely hand-painted book in a fine binding. 28.5 x 25 cm. No date circa 1870-1880. Bound in fine contemporary red morocco with gilt lettering and decoration. Boards are heavily gilt ruled with extra-gilt dentelle. Marbled end sheets. All edges gilt. Manuscript calligraphic text of Aldrich's poem with hand-painted illustrations. "Painted by Mrs. John H. Van Antwerp Albany New York." Calligraphic title and 25 botanical plates many with the names of the flowers on the verso in Martha's hand with tissue guards. Many of the plates also include lovely images of butterflies moths or various insects. Drawn on Reynolds' Bristol Board. The artist has matched the variety of flower with Aldrich's verse. The artist Martha Wiswall Van Antwerp died August 30 1880 and drew this work on Reynolds' Bristolboard; and thus this work must have been created some time in the 1870s. Van Antwerp has signed the book in calligraphic initials on the title page and a small bookplate in the rear assigns this work to her. <br> Text of Aldrich's poem: "I like not lady-slippers Nor yet the sweet-pea blossoms Nor yet the flaky roses Red or white as snow; I like the chaliced lilies The heavy Eastern lilies The gorgeous tiger-lilies That in our garden grow." This volume was bound by Martha Van Antwerp's brother-in-law Daniel Lewis Van Antwerp 1828-1910 who began binding in Albany under his name in 1852 having previously worked for Anthony L. Harrison whose business he assumed. Binding Provenance provided to us by Mr. Steve Beare Handcrafted hardcover
1850103087<p>Antwerp S. Mayer n.d. c. 1860. Four porcelain cards. size: c. 225 x 31 cm. All signed: "Gravé par S. Mayer a Anvers" & "Etabl. lith. de S. Mayer à Anvers". In 1880 the firm of S. Mayer was taken over by Seghers. some light staining & two plates with some tiny damage to the margins but good copies.</p><p>The five senses - sight hearing smell taste and touch - are represented on these charming porcelain cards. Sight hearing and smell each have their own card and taste & touch share a card. Five scenes represent the five senses: sound is represented by a woman listening at at door; taste by a clergyman drinking a glass of wine smell by a man sitting on a chair who smells a substance he has taken from a small pot; sight by a girl looking through binoculars and a woman who is reading; and touch by a miser touching coins. Surrounding these scenes on each of the plates are numerous tiny drawings also representing the senses. They range from seventeen small noses on cord held by two little devils twelve tiny eyes no a scroll held by two little angels to small scenes showing a painter at work a cook two fencing boys a little girl playing a piano a woman being revived with smelling salt etc. etc. The lithographer obviously had fun making these.</p><p>Porcelain-cards or were mainly produced in Belgium in the nineteenth century between 1825 and the 1870's. They are called porcelain-cards because they look a bit like porcelain. They were printed in lithography on a white background of paper with kaolin or lead white. Their production gradually stopped in the 1870's because of the health hazards for printers. They are technical masterpieces of the so-called chromolithography just after its invention.</p>
