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Displayed below are some selected recent viaLibri matches for books published in 1820

        Autograph Manuscript on Oersted's discovery of electro-magnetism

      Geneva 1820 - [La Rive, Gaspard de (1770-1834)] Electro-Magnetisme-titre general pour les l[ivres] nouveaux. Umrisse zu den &c. [Review of Umrisse zu den physischen verhaltnissen des von Herrn Professor Oersted entdeckten elektro-chemischen Magnetismus (1821), by Paul Erman (1764-1851)] Incomplete autograph manuscript draft, consisting of the title, the first two paragraphs and a good portion of the third. 2 pp. 277 x 190 mm. Written chiefly on the left column of a sheet folded into two columns, allowing for revisions. Creased where previously folded, small dampstain in lower corner, one upper corner a little chipped, but otherwise very good.An intriguing autograph manuscript review of Paul Erman's Umrisse zu den physischen verhaltnissen des von Herrn Professor Oersted entdeckten elektro-chemischen Magnetismus (1821), reflecting the extraordinary ferment in physical science aroused by the recent discoveries of Oersted, Ampère, Arago and others re the relationship of electricity and magnetism. The review was written for the Bibliothèque Universelle, Geneva's foremost scientific and literary review, by Gaspard de la Rive, an editor of this journal and himself a physicist and experimenter in electrical science whose work is summarized in the D.S.B.; he is best known for his defense and helpful criticism of Ampère's theory of magnetism. The present review focuses on the work of Paul Erman, professor of physics at the University of Berlin and perpetual secretary of Berlin's Royal Academy. The review is certainly closely connected with Ampère's work, and, according to Ampère's most recent biographer, James R. Hofmann, the account of Erman's experiments contained in it influenced Ampère's investigations of induction in July 1821, in which he very nearly anticipated Faraday's landmark discovery of electromagnetic induction a decade later. The third paragraph of La Rive's work may be translated as follows: The apparatus used in M. Erman's experiments is very ingenious; it bears some resemblance to that which we described [in] Bib. Univ. vol. 16 s. 119. It is the same principle of action, whose effects the author renders more obvious by suspending the entire apparatus from a wire, in such a way that one can make it move by presenting magnets on either its right or its left side; one thus observes the rotation movements printed on a voltaic [carde?] by one or the other pole of a bar magnet. He makes use of a silver or copper crucible, in which he places a small amount of zinc, isolated by means of a watch-glass; the chain between the zinc and copper is formed by a band of zinc. . . . The first sentence in the above paragraph refers to La Rive's own "flotteur électrique," a simple device demonstrating the action of a magnet on a simple current loop, which was first described in La Rive's "Notices sur quelques expériences électro-magnétiques" published in Vol. 16 of the Bibliothèque Universelle (1821). Hofmann, in his account of Ampère's July 1821 induction experiments, notes the influence of both Erman and La Rive on Ampère's work:An interesting experiment by Paul Erman caught Ampère's eye when it was reported in the Bibliothèque Universelle early in 1821 [i.e. most probably in the published review of which we are offering the manuscript draft]. . . . Erman had used a bar magnet detector in his own experiment; Ampère would use bar magnets in 1821. . . . Similarly, in March, 1821, Gaspard de La Rive had used a bar magnet to demonstrate attractions and repulsions of a vertical current loop. Consequently, by early in 1821 Ampère was thoroughly familiar with apparatus in which steady currents in vertical current loops were rotated using magnets (Hofmann, André-Marie Ampère, [1995] pp. 284-85).Earlier in his review La Rive notes that Erman wrote his work after Oersted's discovery of electromagnetism (spring 1820), but before learning of the researches of Ampère and Arago that began the following September. He refers to Ampère's discovery of the relationship [Attributes: Soft Cover]

      [Bookseller: Jeremy Norman's historyofscience]
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        Brown Sepia Watercolour View of the Coast of Timor with Native Boats, and a Mountainous Shore in the Distance].

      1820 - Ca. 1820es. Brown watercolour and pencil on paper, ca. 15,5x23 cm (6x9 in). Recently matted, very good watercolour. The view obviously taken from the ship¿s deck, shows the inhabitants of Timor approaching in boats in attempt to sell their goods; a mountainous shore reveals itself in the background. The watercolour was made during one of the voyages of 'Elphinstone', and the artist was very likely the crew member, Lieutenant William Bowater (the sketch book was inscribed in ink with the initials 'W.B.' on the front endpaper). Bowater was later dismissed from the navy. "On the 2nd of November, 1829, a court-martial, presided over by Captain R. Morgan, of the Marine, was convened at Bombay, to inquire into certain charges for "insubordinate and disrespectful conduct" on the part of Lieutenant W. Bowater, of the Hon. Company's ship 'Elphinstone', preferred against him by his commanding officer, Captain F.W. Greer and that the sentence of the Court, which was dismissal from the service, was confirmed by the Commander-in-chief of the Bombay Army, Lieutenant-General Sir Sydney Beckwith, K.C.B" (Low, C.R. History of the Indian Navy. 2 vols. Vol. 1. London, 1877. P. 498-499). The Honourable East India Company's sloop-of war 'Elphinstone', of 18 guns and 387 tons, "was built by Hilhouse & Sons and launched in 1824. She operated out of London as an East Indiaman and participated with the Royal Navy in the New Zealand land wars. She was sold in 1862" (Wikipedia). The 'Elphinstone' sailed to the Mediterranean, around the southern tip of Africa and on to the East Indies and Australia. As Richard Burton noted in 'First footsteps in East Africa', the sloop carried out a naval blockade of the Somalian coast in 1825-1833, after a British brig from Mauritius had been seized, plundered and broken up near Berberah in 1825. "The 'Elphinstone' sloop of war (Capt. Greer commanding) was sent to blockade the coast; when her guns opened fire, the people fled with their wives and children, and the spot where a horseman was killed by a cannon ball is still shown on the plain near the town". Eventually "the Somal bound themselves to abstain from future attacks upon English vessels, and also to refund by annual statements the full amount of plundered property. For the purpose of enforcing the latter stipulation it was resolved that a vessel of war should remain upon the coast until the whole was liquidated. When attempts at evasion occurred, the traffic was stopped by sending all craft outside the guardship, and forbidding intercourse with the shore. The 'Coote', the 'Palinus' and the 'Tigris', in turn with the 'Elphinstone', maintained the blockade through the trading season till 1833" (Burton, R. First Footsteps in East Africa. London, 1856. P. Xxxiv-xxxv).

      [Bookseller: The Wayfarer's Bookshop, ABAC/ILAB/PBFA]
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        Original Watercolour Showing a Chinese Junk at Sea, with a Native Fisherman Working with a Net in the Foreground, and two European Ships in the Background].

      1820 - Ca. 1820es. Watercolour and pen on paper, ca. 15x23 cm (6x9 in). Recently matted, very good watercolour. The artist shows a maritime scene with a Chinese junk sailing near the coast, a fisherman working with a net from a small boat in the foreground, and two European ships in the distance. The watercolour was made during one of the voyages of 'Elphinstone', and the artist was very likely the crew member, Lieutenant William Bowater (the sketch book was inscribed in ink with the initials 'W.B.' on the front endpaper). Bowater was later dismissed from the navy. "On the 2nd of November, 1829, a court-martial, presided over by Captain R. Morgan, of the Marine, was convened at Bombay, to inquire into certain charges for "insubordinate and disrespectful conduct" on the part of Lieutenant W. Bowater, of the Hon. Company's ship 'Elphinstone', preferred against him by his commanding officer, Captain F.W. Greer and that the sentence of the Court, which was dismissal from the service, was confirmed by the Commander-in-chief of the Bombay Army, Lieutenant-General Sir Sydney Beckwith, K.C.B" (Low, C.R. History of the Indian Navy. 2 vols. Vol. 1. London, 1877. P. 498-499). The Honourable East India Company's sloop-of war 'Elphinstone', of 18 guns and 387 tons, "was built by Hilhouse & Sons and launched in 1824. She operated out of London as an East Indiaman and participated with the Royal Navy in the New Zealand land wars. She was sold in 1862" (Wikipedia). The 'Elphinstone' sailed to the Mediterranean, around the southern tip of Africa and on to the East Indies and Australia. As Richard Burton noted in 'First footsteps in East Africa', the sloop carried out a naval blockade of the Somalian coast in 1825-1833, after a British brig from Mauritius had been seized, plundered and broken up near Berberah in 1825. "The 'Elphinstone' sloop of war (Capt. Greer commanding) was sent to blockade the coast; when her guns opened fire, the people fled with their wives and children, and the spot where a horseman was killed by a cannon ball is still shown on the plain near the town". Eventually "the Somal bound themselves to abstain from future attacks upon English vessels, and also to refund by annual statements the full amount of plundered property. For the purpose of enforcing the latter stipulation it was resolved that a vessel of war should remain upon the coast until the whole was liquidated. When attempts at evasion occurred, the traffic was stopped by sending all craft outside the guardship, and forbidding intercourse with the shore. The 'Coote', the 'Palinus' and the 'Tigris', in turn with the 'Elphinstone', maintained the blockade through the trading season till 1833" (Burton, R. First Footsteps in East Africa. London, 1856. P. Xxxiv-xxxv).

      [Bookseller: The Wayfarer's Bookshop, ABAC/ILAB/PBFA]
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        The Tour of Doctor Syntax Through London

      J. Johnston, London 1820 - .or the Pleasures and Miseries of the Metropolis. A Poem. Third Edition, London, J. Johnston, 1820. Large 8º (254 x 155 mm.), untimmed as issued in original drab boards, 20C. rebacking in purple cloth with new paper label, original endpapers retained, inner hinges reinforced with paper. Pp. iv, [list of plates], 319. Vignetted title-page plus 19 full page plates all hand-coloured as called for. Old ownership signature on first free endpaper and again faintly at head of page 1, small 20C. bookplate of Lawrence Strangman (the noted book-collector) on pastedown, a little very minor offseting from some plates, the odd mark to text; an excellent large copy in very clean and fresh condition, rarely seen in the original boards. One of the several imitations of William Combe's series of Dr Syntax books, the illustrations sometimes attributed to Isaac Robert Cruikshank (George's brother), though more likely by other illustrators (but definitely nothing to do with Rowlandson!).

      [Bookseller: Richard Smith]
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        30 mahlerische An- und Aussichten von Dresden und den nächsten Umgebungen; aufgenommen, gezeichnet und radirt.

      1820 1820 - 2. verb. Aufl. Dresden: in den Arnoldischen Buchhandlung [1820]. Oblong-8vo. 17 pp. + 30 plates. Contp. yellow boards, loose. First 8 pages dampstained. * This copy belonged to the Danish artist Wilhelm Ferdinand Bendz, dated 4. August 1831 Dresden (on the titlepage). [Attributes: Hard Cover]

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
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        The history of England, from the invasion of Julius Caesar, to the revolution in 1688 / by David Hume to which is prefixed a short account of his life [volumes 2 - 8]

      London : Printed for Richardson & Co. 1820 - Physical description: 7v. ; 22cm. Volumes 2 - 8 only. Subjects: England -- History. Summary: The History of England (1754-61) is David Hume's great work on England's history which was written in installments while he was serving as librarian to the Faculty of Advocates in Edinburgh. It was first published in six volumes in 1754, 1756, 1759, and 1761. More a category of books than a single work, Hume's History spanned "from the invasion of Julius Caesar to the Revolution of 1688" and went through over 100 editions. Many considered it the standard history of England until Thomas Macaulay's The History of England from the Accession of James the Second. Very good copies bound in contemporary full aniline calf. Gilt-blocked leather labels to spines, with gilt-crossed bands. Wear to some title labels. Spine bands and panel edges somewhat dulled and rubbed as with age. General surface marks as with age. Remains quite well-preserved overall. 3 Kg. [Attributes: Hard Cover]

      [Bookseller: MW Books Ltd]
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        Swinhoe's Deer

      - A very detailed hand-colored natural history lithograph by Joseph Wolf (German-English, 1820-1899) from his book "Zoological Sketches", which was compiled for the Zoological Society of London and printed in London: by Henry Graves & Company in 1867. Overall this print measures 13 ½" x 19", the lithograph is tipped into the larger paper which includes a boarder and lettering. Sir Edwin Landseer described Joseph Wolf as “.without exception the best all-round animal painter who ever lived.” Born and educated in Prussia, Wolf moved to London in 1848 to pursue a growing number of commissions to illustrate natural history works. He quickly became the foremost animal illustrator in Britain. Among his achievements were the illustrations he produced for Gould’s “The Birds of Great Britain”(1862-1873) and the romantic subjects he drew for “The Life and Habits of Wild Animals” (1873). Wolf did not wish to be categorized as a scientific illustrator, preferring to create complete and naturalistic compositions, which conveyed a sense of drama and mystery. Rather than show his subjects isolated from their environment, Wolf integrated them into a natural setting and portrayed them involved in dramatic action. In 1852, the British Zoological Society commissioned Wolf to complete several watercolors for its Zoological Sketches published in parts between 1856 and 1867. P.L. Sclater, the secretary of the society, noted in the publication’s preface, “the Council was fortunate enough to secure the services of Mr Joseph Wolf, who may be fairly said to stand alone in intimate knowledge of the habits and forms of Mammals and Birds.” By this stage in his career, Wolf’s works were in considerable demand both in their own right and as illustrations to books and journals. From 1859 to 1869 Wolf was the regular artist for Ibis, the journal of the Zoological Society, and his work was also reproduced in the Illustrated London News, Once a Week, The Leisure Hour, The Sunday at Home, and The Graphic. Unfortunately, during the 1870s, Wolf was increasingly hindered by the onset of chronic rheumatism, which gradually curtailed his work, but he lived on into his eightieth year and died in London surrounded by his pet birds and held in high popular esteem. More than three-quarters of a century later his plates are regarded as among the finest productions of the great period of the illustrated book, while his oil paintings, watercolors and drawings are prized by museums and collectors alike. Overall this print is in good condition with some foxing and staining throughout.

      [Bookseller: Arader Galleries San Francisco]
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        Essais historiques sur la ville de Caen et son arrondissement.

      A Caen, Poisson, A Rouen, Chez Renault 1820 - 2 vol. in-8, XII-401 pp. et 454-8 pp. (liste des souscripteurs), 10 planches dont 2 frontispices et une d'armoiries dépliante, demi-basane verte à grain long, dos lisse orné de filets dorés (reliure de l'époque). Dos légt passés, qqs manques sur les plats mais bon exemplaire. Ex-libris Beaujour et Lebastard.

      [Bookseller: Librairie Historique F. Teissèdre]
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        Storia della decadenza e rovina dell Impero Romano

      Milano, Bettoni 1820 - 13 volumi form. 21X14. Legatura coeva marmorizzata in mezza pelle con titoli e fregi impressi in oro al dorso. Pp. 6000 circa. Traduzione di di D.Bertolotti. Ottimo esemplare della piu importante edizione italiana dell Opera di Gibbon. Fine condition Cat. Quarantasette/57 [Attributes: Hard Cover]

      [Bookseller: libreria Metamorfosi]
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        Literary Hours: or Sketches, Critical, Narrative and Poetical

      London - Longman, Hurst, Rees, Orme and Brown, 1820 Book. Very Good. Hardcover. Nathan Drake's charming collection of short works. The fourth edition, corrected. Complete in three volumes. Nathan Drake (17661836) was an essayist and physician. He published various collections of miscellaneous essays, critical, narrative, biographical, and descriptive throughout his life, of which this was the first. Condition: In full leather bindings. Externally, worn with loss. Four joints are starting, one board held by the cords only. Internally, firmly bound, bright and clean with just the odd spot. Overall: GOOD ONLY with very good interiors..

      [Bookseller: Rooke Books]
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        Malerische Reise in 6 Bändchen. Ägypten, Syrien, Constantinopel, Griechenland, Istrien, Dalmatien, Neapel, und Sicilien. 6 Bände in 3 Bd.

      Leipzig, Fleischer & Jung. 1820 - Mit 102 (von 103) Kupfern. Oktav. Pappband der Zeit. Kupfer Nr. 18 im 2.Bändchen fehlt. Titelblatt des 5. Bändchens hinterklebt. Kapitale geplatzt. Rücken mit Fehlstellen, sonst gut erhalten. [Attributes: Hard Cover]

      [Bookseller: Biblio Industries Alain Haezeleer]
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        Italian Scenery from Drawings made in 1817

      Published by Rodwell & Martin, New Bond Street 1820 Italian Scenery from Drawings made in 1817. Batty Elizabeth Frances - Published by Rodwell & Martin, New Bond Street, London, 1820. In - 8°, grande, (26 x 16). Piena pelle con impressioni a secco, taglio dorato (cop. anteriore staccata). (10), 197, (1) pp. e 60 tavole finissime tavole f.t. a piena pagina protette da veline incise in acciaio. Frontespizio con vignetta incisa al centro e veduta del Vesuvio come vignetta finale. Doppia cornice ai piatti e doppia filettatura in oro. Margini interni dei piatti con ricca cornice impressa in oro. Esemplare stampato su carta forte di ottima qualità. Interno esemplare in ottimo stato di conservazione. Prima edizione di questa descrizione dell' Italia come appariva agli inizi del XIX secolo. Fra le magnifiche vedute: Torino, Genova, Sempione, Domodossola, Venezia, Rapallo, Lavenza, Pisa, Firenze, Terni, Roma, Tivoli, Napoli ecc. A parte il difetto alla legatura, l' esemplare è ottimamente conservato. Brunet, I, 701 - 2: Les vignettes de ce livre sont, en général d' un effet agréable... Cremonini, L' Italia nelle vedute, 93.

      [Bookseller: Brighenti libri esauriti e rari]
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        Lebens-Ansichten des Katers Murr,

      Berlin: Ferdinand Dümmler,, 1820–22. nebst fragmentarischer Biographie des Kapellmeisters Johannes Kreisler in zufalligen Makulaturblättern. 2 volumes, octavo (163 × 97 mm). Contemporary binding of black paper backing marbled boards, spine lettered gilt and with four gilt rolls, pale green endpapers. Spines rubbed at ends, the occasional hint of very light browning internally, an excellent copy. First edition of Hoffmann's final work and masterpiece, a novel ("The Life and Opinions of Tomcat Murr") dealing with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr — a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals. Hoffmann points to the failings of many so-called "artists" to differentiate between the superficial and the authentic aspects of such ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is structurally conveyed through a discursive "splicing together" of two biographical narratives. As a subversive writer, Hoffmann had a lasting and sometimes underestimated influence: this work had a particularly strong effect on the Russians, especially Gogol and Dostoevsky.

      [Bookseller: Peter Harrington]
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        Plate 174 - Rosa Myriacantha

      Paris 1820 - Pierre-Joseph Redouté(1759-1840). From Les Roses. Hand-colored stipple engraving. Paper Size: 14” x 10 1/2”. Extremely rare print, from one of probably only 5 large paper editions that were hand-colored by Redouté himself. Pierre-Joseph Redouté’s Roses are perhaps his most celebrated images, which the artist issued while under the patronage of the Empress Josephine, wife of Napoleon. The flowers are classical “portraits” which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. This image demonstrates the flawless and pristine French style of botanical art that Redouté pioneered and brought to a pinnacle of quality. Redouté is unquestionably the best-known botanical illustrator of any era. The decorative appeal of his original engravings has led to their modern reproduction, which in turn has popularized Redouté’s work in a way unique among botanical artists. Yet no reproduction can capture the great and subtle beauty of his original engravings from Les Roses. This magnificent engraving demonstrates the full mastery of his abilities, as the form of the rose is set off dramatically by Redouté’s masterful and rich modulations of tone and hue. Born into a family of artists in what is now Belgium, Redouté’s talent was recognized and encouraged from an early age. Eventually, Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to the Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, eventually contributing to over fifty works on natural history and archeology. The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in minuscule dots, it did not obscure the “light” of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor.

      [Bookseller: Arader Galleries San Francisco]
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        Rosa Rosenbergiana

      Paris 1820 - Pierre-Joseph Redouté Illustrated plate from Les Roses Paris: circa 1820 Hand-colored stipple engraving 24” x 20 1/2” framed; framed in a beautiful gold leaf museum quality frame, mounted with archival materials and UV plexiglass Excellent condition Pierre-Joseph Redouté’s Roses are perhaps his most celebrated images, which the artist issued while under the patronage of the Empress Josephine, wife of Napoleon. The present selection comprises the three images that are often considered the most magnificent roses that Redouté ever painted and engraved. Certain common themes run through them. In each, the flowers are classical “portraits” which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Perhaps better than any other engravings that the artist ever made, these three images demonstrate the flawless and pristine French style of botanical art that Redouté pioneered and brought to a pinnacle of quality.

      [Bookseller: Arader Galleries San Francisco]
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        Plate 57 - Rosa Berberfolia

      Paris 1820 - Pierre-Joseph Redouté(1759-1840). From Les Roses. Hand-colored stipple engraving. Paper Size: 14” x 10 1/2”. Extremely rare print, from one of probably only 5 large paper editions that were hand-colored by Redouté himself. Pierre-Joseph Redouté’s Roses are perhaps his most celebrated images, which the artist issued while under the patronage of the Empress Josephine, wife of Napoleon. The flowers are classical “portraits” which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. This image demonstrates the flawless and pristine French style of botanical art that Redouté pioneered and brought to a pinnacle of quality. Redouté is unquestionably the best-known botanical illustrator of any era. The decorative appeal of his original engravings has led to their modern reproduction, which in turn has popularized Redouté’s work in a way unique among botanical artists. Yet no reproduction can capture the great and subtle beauty of his original engravings from Les Roses. This magnificent engraving demonstrates the full mastery of his abilities, as the form of the rose is set off dramatically by Redouté’s masterful and rich modulations of tone and hue. Born into a family of artists in what is now Belgium, Redouté’s talent was recognized and encouraged from an early age. Eventually, Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to the Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, eventually contributing to over fifty works on natural history and archeology. The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the “light” of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided.

      [Bookseller: Arader Galleries San Francisco]
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        Rosa bifera alba (Autumn Damask Rose)

      Paris 1820 - Pierre-Joseph Redouté Illustrated plate from Les Roses Paris: circa 1820 Hand-colored stipple engraving 24” x 20 1/2” framed Pierre-Joseph Redouté’s Roses are perhaps his most celebrated images, which the artist issued while under the patronage of the Empress Josephine, wife of Napoleon. The present selection comprises the three images that are often considered the most magnificent roses that Redouté ever painted and engraved. Certain common themes run through them. In each, the flowers are classical “portraits” which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Perhaps better than any other engravings that the artist ever made, these three images demonstrate the flawless and pristine French style of botanical art that Redouté pioneered and brought to a pinnacle of quality. Redouté (1759-1840) is unquestionably the best-known botanical illustrator of any era. The decorative appeal of his original engravings has led to their modern reproduction, which in turn has popularized Redouté’s work in a way unique among botanical artists. Yet no reproduction can capture the great and subtle beauty of his original engravings from Les Roses, nor can any introductory paragraph fully describe his many achievements. These magnificent engravings demonstrate the full mastery of his abilities, as the forms of the roses are set off dramatically by Redouté’s masterful and rich modulations of tone and hue. Born into a family of artists in what is now Belgium, Redouté’s talent was recognized and encouraged from an early age. Eventually, Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to the Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, eventually contributing to over fifty works on natural history and archeology. The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the “light” of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided.

      [Bookseller: Arader Galleries San Francisco]
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        Plate LVI, Stock Dove, Rock Pigeon

      London 1820 - Prideaux John Selby (1788-1867) created some of the most memorable bird images of the 19th century. This expertly hand-colored copperplate engraving, Plate LVI, Stock Dove, Rock Pigeon, from his work “Illustrations of British Ornithology,” measures 27" x 21.5” and is in excellent condition with a few light stain marks. This well detailed engraving illustrates two large and well detailed birds, the Stock Dove and the Rock Pigeon. Both of these birds are members of the Columba genus. Expertly hand-colored in rich gray, these birds also each have accents of green and red around their necks and have red legs. Selby’s contributions to British Ornithology were rivaled only by those of John Gould, and yet his images were on a larger scale and less purely scientific, exhibiting Selby's distinctive and charming style. nBorn in Northumberland and educated at University College, Oxford, Selby was a landowner and squire with ample time to devote to the study of the plant and animal life at his country estate, Twizell House. As a boy, he had studied the habits of local birds, drawn them, and learned how to preserve and set up specimens. Later, Selby became an active member of several British natural history societies and contributed many articles to their journals. Although Selby was interested in botany and produced a "History of British Trees" in 1842, he is best known for his "Illustrations of British Ornithology," printed in 1820, the first attempt to produce a set of life-sized illustrations of British birds, remarkable for their naturalism and the delicacy of their execution. Issued in nineteen parts over thirteen years, the book consisted of 89 plates of land birds and 129 plates of water birds, engraved by William Lizars of Edinburgh.

      [Bookseller: Arader Galleries San Francisco]
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        MEMOIRES POUR SERVIR A L'HISTOIRE DE LA REVOLUTION DE SAINT-DOMINGUE PAR LE LIEUTENANT-GENERAL BARON PAMPHILE DE LACROIX AVEC UN CARTE NOUVELLE DE L'ILE ET UN PLAN TOPOGRAPHIQUE DE LA CRETE-A-PIERROT [CT IN 2 VOLS]

      Chex Pillet Aine, Port-au-prince 1820 - 8vo 8" - 9" tall; xv, 417; 351 pages; Complete in two volumes. Memoires pour servir a l'histoire de la revolution de saint-domingue par le lieutenant-general baron pamphile de lacroix avec un carte nouvelle de l'ile et un plan topographique de la crete-a-pierrot [ MEMORIES TO SERVE THE HISTORY OF THE REVOLUTION OF SANTO DOMINGO IN THE LIEUTENANT-GENERAL BARON DE LACROIX PAMPHILE WITH A NEW MAP OF THE ISLAND AND A TOPOGRAPHIC MAP OF THE PEAK-A-PIERROT] French language text. See Leclerc 2816 and Sabin 38496. Attempted suppression of the actions of Toussaint Louverture in the Negro rebellion. Later 1/2 red calf leather over marbled boards. Moderately heavy toning with scattered light foxing. Some repaired worming to text. Binding solid and attractive. Photographed in owner's plastic covers. Title page of vol I repaired and pp415-417 of Table des Matieres supplied on typed leaves, also pp351-2- no doubt bound in with later binding. Foldout data chart and foldout map of Crete a Pierrot engraved by Lapie. Two unidentified signatures, one contemporary and one a little later, on back of half-titles. Deals with the military campaign as well as France's mis-management of the colony. ; 0 [Attributes: Hard Cover]

      [Bookseller: poor man's books (mrbooks)]
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        Journal of a Tour through part of the Snowy Range of The Himala Mountains, and to the sources of the Rivers Jumna and Ganges.

      London: for Rodwell and Martin, 1820 - Large quarto. Modern blue morocco, spine with gilt devices in compartments, covers with double gilt rules, marbled endpapers, sprinkled edges. Ex-Newcastle Public Library copy with accession marks on verso of title and small faint inkstamps occasionally throughout. Some light foxing, but generally fresh and clean throughout, a good copy. Large folding map. First Edition. Fraser came as a merchant to Calcutta in 1813 and remained in India until 1820. In 1815 he spent some time with his brother William, a political agent to General Martindale, in the Himalayan region. In June 1815 Fraser penetrated almost to the source of the Ganges, reaching the shrine of the Mother Goddess, Ganga Mai, at Gangotri. Thinking that this marked the source, he made no further effort to explore and returned to the plains with material for this very popular book. Rodwell and Martin also published a folio of coloured aquatints of Fraser's Himalayan sketches the same year, but the two are separate publications. Howgego F24; see Abbey Travel 498. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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