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Displayed below are some selected recent viaLibri matches for books published in 1832

        New Harmony (on the Wabash)

      Paris 1832 - Karl Bodmer; From Travels in the Interior of North America; Paris, 1832-1843 Hand-colored aquatint engravings; paper size approximately 17 1/2” x 22 1/2”Karl Bodmer was a little-known Swiss painter when he was chosen by Prince Maximilian of Prussia to accompany his voyage to America, in order to document in pictorial terms the expedition. With the rest of Maximilian’s company, the two traveled among the Plains Indians from 1832 to 1834, a time when the Plains and the Rockies were still virtually unknown. They arrived in the West before acculturation had begun to change the lives of the Indians, and Bodmer, who was a protegé of the great naturalist von Humbolt, brought a trained ethnologist’s eye to the task. The Bodmer/Maximilian collaboration produced a record of their expedition that is incontestably the finest early graphic study of the Plains tribes. Maximilian and Bodmer journeyed from St. Louis up the Missouri River on the American Fur Company steamboat “Yellowstone,” stopping at a series of forts built by the Fur Company and meeting their first Indians at Bellevue. The travelers continued on another steamboat, “Assiniboin,” to Fort Union, where they met the Crees and Assiniboins. The expedition spent its first winter at Fort Clark, where the Mandans in particular excited Bodmer’s attention, although he was also to draw the Minatarri and Crow peoples. The explorers continued by keelboat to Fort Mackenzie, which proved to be the westernmost point of their journey. After living among and studying the Blackfeet for several weeks, Maximilian decided that it was too dangerous to continue, so the travelers returned southward, reaching St. Louis in May 1834. After the conclusion of the journey, Bodmer spent four years in Paris supervising the production of the aquatints made from his drawings. These prints rank with the finest Western art in any medium, and they are the most complete record of the Plains Indians before the epidemics of the mid-19th century had decimated their numbers, and before the white man’s expansion had taken their lands. In contrast to other artist-explorers of the 19th century, such as George Catlin, Bodmer was well-trained in the classic European tradition. The work that he did in America is considered to be the high point of a distinguished career. Perhaps more significant, the plates made from Bodmer's sketches were the first truly accurate images of the Plains Indians to reach the general public. Because the 1837 smallpox epidemic killed more than half the Blackfeet and almost all the Mandans, Bodmer’s visually striking work, together with prince Maximilian’s detailed studies of these tribes, form the primary accounts of what became virtually lost cultures. These spectacular and atmospheric images are important and beautiful records of the landscape of the American West as it appeared when Bodmer saw it, just before westward expansion took hold and began the indelible transformation of the frontier.

      [Bookseller: Arader Galleries San Francisco]
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        ALS ("le M[arech]al duc de Conegliano").

      Moncey par Rioz, haute Saone, 11. VIII. 1832. - 4to. 2¾ pp. on double leaf. To a "cher et respectable ami": [.] Il n'est pas dans les principes d'un vieux soldat qui a toujours servi son pays aved désintéressement lorsqu'il est près d'être octogénaire et le premier inscrit sur le tableau de l'armée d'aller solliciter quelque grâce du gouvernement du Roi [.] en attendant le temps s'écoule, les besoins viennent et la chandelle brulê durement quand le fruit de toute sa vie a mérité qu'elle s'éteigne doucement. Du reste j'en prends mon parti, voyant les choses comme je les ai vues jusqu'ici; dévouement, fidélité à son devoir, à son pays, et arrive que pourra! En cela pour mon compte, j'ai peu à voir à présent, car pour faire, il faut pouvoir! et je ne sens que trop ma faiblesse, aussi suis-je bien sans aucun désir! [.] Adieu, mon respectable ami, soignez votre santé et veuillez m'en donner des nouvelles; la mienne faiblit beaucoup, mais je vis avec beaucoup de ménagement ce qui la soutient un peu [.]". - With small tears to edges, otherwise in fine condition.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        MEDICAL BOTANY (FIVE VOLUMES)

      John Bonn, London 1832 - John Bonn, London; 1832; Half calf and cloth. Stunning edition of the 1832 MEDICAL BOTANY: with plates of all the medicinal plants The botanical descriptions arranged and corrected by Dr. William Jackson Hooker. The new medico-botanical portion supplied by G. Spratt. The third and most complete edition of Woodville's classic work: Five volumes, including the first printing of the supplemental fifth volume, which was limited to 200 copies and sold separately. Illustrated with 310 hand-colored plates. Half calf - with ribbed spine and glorious gilt lettering. No markings - very very clean inside with almost invisible foxing - so minor its hardly worth mentioning. Bindings in top order, tight and very clean. First compiled by William Woodville (1752-1805), a Quaker physician and botanist, and issued in parts from 1790 to 1795, MEDICAL BOTANY remained the standard illustrated book of plants of the British pharmacopoeia until the late 1870s. This third edition of MEDICAL BOTANY, edited and expanded by the British botanist William Jackson Hooker (1785-1865), who created the modern Royal Garden. An immaculate set - rare to find in this condition. Do enquire for more photographs if desired. (Extra postage will apply). [Attributes: Hard Cover]

      [Bookseller: Brown Owl Books]
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        MEDICAL BOTANY

      1832 - WOODVILLE, William. MEDICAL BOTANY: Containing systematic and general descriptions, with plates of all the medicinal plants, comprehended in the catalogues of the materia medica, as published by the Royal Colleges of Physicians of London, Edinburg, and Dublin; together with the principal medicinal plants not included in those pharmacopoeias. [.] The botanical descriptions arranged and corrected by Dr. William Jackson Hooker [.]. The new medico-botanical portion supplied by G. Spratt, [.] under whose immediate inspection the whole of the plates have been coloured. London: John Bohn, 1832. The third and most complete edition of Woodville's classic work: Five volumes, including the first printing of the supplemental fifth volume, which was limited to 200 copies and sold separately. Illustrated with 310 hand-colored plates, 273 of 274 engraved by James Sowerby (1757-1822) and 37 lithographs by George Spratt, including one duplicate plate. Sowerby's plates are numbered, and the missing plate is "Pansie," number 90. Plate number 112 was never published, but the work was issued with two (different) plates numbered 181 as compensation. Spratt's plates are unnumbered, and the duplicate plate is "Cinchona cordifolia." Volumes 1-4 are continuously paginated: 824 pp., + [28] pp. indices. Volume 5: 157 pp., + [12] pp. indices. Quarto, 28 x 18.5 cm (10 by 7.25 in), in modern two-tone (medium green/dark green) cloth bindings with gilt lettering on spines. Ex library, with no external marks and some library marks within, though not excessive: all volumes have stamps to title-page, first text leaf, on verso of a couple of plates, and sometimes on another text page. Nineteenth-century (private ownership) book label on front pastedowns. Occasional light to moderate foxing and/or toning affecting some text pages and plates - though mostly text pages. It is generally clean and bright, and quite attractive overall. First compiled by William Woodville (1752-1805), a Quaker physician and botanist, and issued in parts from 1790 to 1795, MEDICAL BOTANY remained the standard illustrated book of plants of the British pharmacopoeia until the late 1870s. This third edition of MEDICAL BOTANY, edited and expanded by the British botanist William Jackson Hooker (1785-1865), who created the modern Royal Garden

      [Bookseller: Boston Book Company, inc.o ABAA]
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        Derrotero de las Costas de España en el Mediterráneo y su correspondiente de Africa. Escrito en los añosde 1783 y 1784. (Seguido de:) l Memoria en que se manifiestan las operaciones practicadas para levantar la Carta del Estrecho de Gibraltar

      en la Imprenta Real,, Madrd 1832 - Libro completo, consta de portada, XII pags, de advertencia o introduccion, asi como la introduccion que escribio D. José de Vargas y Ponce, para que precediese a la primera edicion de este derrotero en 1787, que se compone de LX pags. + 244 pags +las 39 pags., correspondientes a la Carta del Estrecho De Gibraltar, escrita por D. Josef Luyando. Cantos tintados. Size: 21 x 15

      [Bookseller: Reus, Paris, Londres]
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        Eigenh. Brief mit U. ("Eckermann").

      Weimar, 28. VI. 1832. - 1 S. auf Doppelblatt. 4to. An einen Hofrat, dem er seinen Aufsatz über die Zeichnungen von Rodolphe Töpffer sendet: "[.] Sie haben Vollmacht zu ändern wo sie es für gut finden. Bringen Sie ihn wenn es geht morgen mit in die Sitzung der Freunde, damit er dem Heft einverleibt werde. Wie steht es um Ihren höchst bedeutenden Aufsatz betreffend die Übersetzungen? Es scheint mir als würde er eine Lücke in unserer Literatur ausfüllen, und ich nehme daran, wie ich Ihnen schon mündlich gesagt, ein inniges Interesse [.]". - Der Aufsatz über die Zeichnungen von Töpffer erschien posthum in Goethes Zeitschrift "Über Kunst und Alterthum" (Heft 6, 1832, S. 581-90). Bei dem Adressaten wird es sich um den Schweizer Privatgelehrten und Numismatiker Frédéric Jacob Soret (1795-1865) gehandelt haben, der der Erzieher des Prinzen Carl Alexander von Sachsen-Weimar gewesen war und die Zeichnungen Töpffers nach Weimar gebracht hatte und der auch einige einige Schriften von Goethe ins Französische übersetzt hatte. - Papierbedingt etwas gebräunt und gering fleckig; im unteren Mittelfalz etwas eingerissen. [Attributes: Soft Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        The Cook's Own Book: Being a Complete Culinary Encyclopedia: Comprehending All Valuable Receipts for Cooking Meat, Fish, and Fowl, and Composing Every Kind of Soup, Gravy, Pastry, Preserves, Essences, &c

      Boston: Munroe and Francis, 1832. First Edition, 1st Printing. Leather. Very Good -. First Edition, 1st Printing. Leather. 12mo - over 6¾" - 7¾" tall. Title contiues: "That Have Been Published or Invented During the Last Twenty Years. Particularly the Very Best of Those in the Cook's Oracle, Cook's Dictionary, and other Systems of Domestic Economy. With Numerous Oiginal Receipts, and a Complete System of Confectionery. By a Boston Housekeeper. Alphabetically Arranged." A very scarce, true first printing without the later 37 page pastry supplement, no mention of Lyman Thurston & Co. on the copyright page, and 1832 showing as both the printing and copyright date. (see Cagle & Stafford 447-8, and Lowenstein 160-1) Complete. Pagination, [i-iii] iv-xxxi [xxxii-xxxiii] xxxiv-xxxv [xxxvi] 1-300, differs slightly from Cagle & Stafford as pages xxxii-xxxiii and 1 are unnumbered. Sound binding. Front hinge sound; no rear free endpaper. Owner's name on flyleaf and inside rear cover. Clipped recipes pasted to the front endpapers and flyleaf. Lower third of the title page is scuffed and thinned with three tiny holes. Occasional light foxing. Cover has some wear; original spine label is in nice shape. "The first alphabetically arranged culinary encyclopedia in America. . . [and] one of the most popular cookbooks of 19th century America. It went through at least a dozen printings before 1865." (from "Feeding America," MSU Libraries).

      [Bookseller: Read 'Em Again Books, ABAA]
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        Anser Brachyrhynchus, Baill.

      London 1832 - John Gould (1804-1881). A selection from Birds of Great Britain, published in London 1862-1873, printed by C. Hullmandel. Lithograph with original hand-coloring measuring 14 ½” x 21 ½”. Condition: Very good, small tear in upper right hand corner measuring less than 1/4". John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. The preparatory drawings that he produced were passed on for completion to skilled illustrators, most notably his wife, Elizabeth, and Edward Lear. The plates which resulted from such partnerships were a splendid fusion of art and science, with a scope that remains unsurpassed. Stunning and at the same time highly accurate, Gould's illustrations linked beauty to science, and science to beauty, in and an unprecedented manner. Gould was especially proud of this sumptuous work. He described the Birds of Great Britain as a return to his old love of native birds. Unlike in earlier publications, however, the illustrations incorporate more nests, eggs, and young than the earlier works, with a focus on landscapes and family groupings. The ornithologist and his collaborators took more of an interest in creating accurate, appropriate settings, and included more plants and fully delineated environments, resulting in a number of lavish scenes of action and interaction.Gould's rightful pride in these illustrations was reflected in his preface explanation of their coloring: " every sky with its varied tints and every feather of each bird were colored by hand; and when it is considered that nearly two hundred and eighty thousand illustrations in the present work have been so treated, it will most likely cause some astonishment to those who give the subject a thought." Gould's pride in The Birds of Great Britain was matched by its public success. The list of 468 subscribers included the nobility and scientific luminaries of Europe and America. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been re-colored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.***If you frame up this item with Arader Galleries you can take a 50% discount off the listed price of this work of art.***

      [Bookseller: Arader Galleries San Francisco]
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        Histoire De La Renaissance De La Liberte En Italie (In 2 Volumes)

      Chez Treuttel et Wurtz 1832 - 2 volume set, 8vo. Hardcover. Exceptionally well preserved. Near Fine. Bound in contemporary full calf leather. Ornate gilt tooling on spine. Inlaid gilt tooling on inside board extremities. Marbled end pages. Tight binding and cover. Minimal wear to extremities. Clean, unmarked pages. Scattered foxing. See our pictures of these lovely books. Significant Swiss historian Simonde de Sismondi's history of the Italian city-states under the Holy Roman Empire. Ships daily.

      [Bookseller: Sequitur Books]
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        VIAJE AL POLO AUSTRAL O DEL SUR, Y AL REDEDOR [sic] DEL MUNDO, hecho en los navíos del Rey la "Resolución" y la "Aventura" en los años desde 1772 al 1775 por el célebre capitán. En el que se inserta la relación del capitán Furneaux."

      Imp. de Don Tomás Jordán, Madrid 1832 - 8 vols. 14x11, 293p = 340p = 260p = 276p = 276p = 237p = 251p = 309p, 7 láms. grabs. (de 8, falta la del tomo 4º, 1 tostada, 3 con leve óx). Pags. levemente tostadas en tomos 1 a 3, tostadas en tomos 4 a 6, algunas págs. tostadas en tomo 7. Rúst. roz. - Primera edición en español. Palau 60988. Cook emprendió este segundo viaje, acompañado del naturalista alemán Foster, con el objeto de verificar la existencia de un continente austral. No pudo pasar del grado 71, pero hizo importantes descubrimientos. 1832-1833

      [Bookseller: Escalinata, librería]
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        VIAJE AL POLO AUSTRAL O DEL SUR, Y AL REDEDOR DEL MUNDO, HECHO EN LOS NAVÍOS DEL REY LA RESOLUCIÓN Y LA AVENTURA EN LOS AÑOS DESDE 1772 AL 1775 POR EL CÉLEBRE CAPITÁN SANTIAGO COOK, COMANDANTE DEL PRIMERO. (6 TOMOS)

      IMPRENTA DE DON TOMÁS JORDÁN, MADRID 1832 - ENCUADERNACIÓN EN PLENA PIEL DE ÉPOCA CON TEJUELOS. FALTAN 2 TOMOS, DE LOS 8 QUE COMPONEN LA OBRA COMPLETA. 4 LÁMINAS. TOMO I--294 PÁGS. TOMO II--323 PÁGS. TOMO III--262 PÁGS. TOMO IV--276 PÁGS. TOMO V--276 PÁGS. TOMO VIII--311 PÁGS. EN EL QUE SE INSERTA LA RELACIÓN DEL CAPITÁN FURNEAUX Y LA DE LOS SEÑORES FORSTER. TRADUCIDO AL CASTELLANO POR DON SANTIAGO DE ALVARADO Y DE LA PEÑA. EN ESTE VIAJE EL CAPITÁN COOK ACOMPAÑADO DEL NATURALISTA ALEMÁN FORSTER PRETENDE VERIFICAR LA EXISTENCIA DEL CONTINENTE AUSTRAL. NUEVA BIBLIOTECA DE VIAJES MODERNOS ÚTILES E INTERESANTES Á LA JUVENTUD ESPAÑOLA. EJEMPLARES MUY BIEN CONSERVADOS. Size: 13 X 8

      [Bookseller: Librería Tormos]
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        Sumario de las antigüedades romanas que hay en España, en especial las pertenecientes a las Bellas Artes.

      Miguel de Burgos, Madrid 1832 - 2 h., inc. portada, XXVIII p., 2 h. sin num., 538 p. Holandesa moderna. Obra póstuma, publicada por la Real Academia de la Historia, sobre la arqueología clásica y la geografía antigua de la Península Ibérica, dividida en tres partes. La primera abarca la provincia Tarraconense, la segunda la Bética o andaluza y la tercera la Lusitana, con descripción de sus límites, pueblos de su jurisdicción, monumentos, monedas en circulación. Impresión en papel de hilo. Ejemplar sin desbarbar, con todos sus márgenes Palau, 50767

      [Bookseller: Delirium Books · Susana Bardón]
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        VIAJE AL REDEDOR DEL MUNDO, HECHO EN LOS AÑOS DE 1768, 69, 70 y 71 POR EL CÉLEBRE SANTIAGO COOK, COMANDANTE DEL NAVÍO DEL REY EL ENDEAVOUR. (5 TOMOS)

      IMPRENTA DE DON TOMÁS JORDÁN, MADRID 1832 - ENCUADERNACIÓN EN PLENA PIEL DE ÉPOCA CON TEJUELOS. FALTA 1 TOMO, DE LOS 6 QUE COMPONEN LA OBRA COMPLETA. 5 LÁMINAS. TOMO II--272 PÁGS. TOMO III--281 PÁGS. TOMO IV--258 PÁGS. TOMO V--250 PÁGS. TOMO VI--162 PÁGS. TRADUCIDO DEL FRANCÉS POR DON SANTIAGO DE ALVARADO Y DE LA PEÑA. NUEVA BIBLIOTECA DE VIAJES MODERNOS ÚTILES E INTERESANTES Á LA JUVENTUD ESPAÑOLA. EJEMPLARES MUY BIEN CONSERVADOS. Size: 13 X 8

      [Bookseller: Librería Tormos]
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        Ephemerides motuum caelestium ex anno 1833 ad annum 1836 quas ad meridianum Bononiae supputavit ?.

      Bologna, Ex Typ. Sassiana, 1832. - Engraved vignette on title-page (perhaps the Piazza Maggiore in Bologna). Engraved allegorical frontispiece (allegorical female figure with starry crown studying an armillary sphere), vi, 340, 12, 23 pp., (2 ll.), 2 engraved folding charts. Text consists almost entirely of tables. Folio (30 x 22 cm.), contemporary red straight-grain morocco, flat spine richly gilt, sides tooled in gilt with two rolls, "GREGORIO XVI. P.O.M." tooled on upper cover, gilt inner dentelles, cream silk endleaves, red silk endbands and ribbon marker, all edges gilt (light wear, a few pinpoint wormholes at the joints). Clean and crisp. In fine condition. Letterpress shelfmark label ("Hà IV. - 34.") and circular stamp ("G V P F") on front flyleaf. From the libraries of Pope Gregory XVI and King Umberto II of Italy. ---- FIRST and ONLY EDITION of these tables of ascension and declination for the sun, moon and stars, with formulas and tables for calculating the same for bodies not included in this volume. The two engraved folding charts show the predicted paths of the solar eclipses of 16 July 1833 and 15 May 1836. Caturegli (d. 1833) was professor of mathematics and astronomy at Bologna.@Provenance: Library of Pope Gregory XVI (1831-1846); later in the library of Umberto II, King of Italy (1904-1983), parts of which were dispersed in Portugal.---- Not located in NUC. OCLC: 32507349 (giving same years in the title as this copy, but a date of printing of 1882, and a collation of 380 pp., at Bibliothèque de l'Observatoire de Paris); 24155684 (years in the title are given as 1833 to 1837, date of printing 1832-1836, collation as 2 volumes). Not located in Orbis. ICCU: Biblioteca dell'INAF - Osservatorio astronomico di Capodimonte - Napoli. Not located in Copac. [Attributes: First Edition; Hard Cover]

      [Bookseller: Richard C. Ramer Old and Rare Books]
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        Expedition scientifique de Moree. Section des sciences physiques. Tome III. Premiere partie. Zoologie. Premiere section. Des animaux vertebres. Mammiferes et Oiseaux [AND reptiles, fish, molluscs and polypes]. (AND) Deuxieme section. Des animaux articules (AND) Atlas. (the complete zoology).

      . Paris and Strasbourg, 1832-1833-[1835]. 4to (35.0 x 26.2 cm) and large folio (52.3 x 35.1 cm). Text: III(1) (1833) half title, title (to the mammals and birds) 209 pp., including the "Vertebres a sang froid" (reptiles and amphibians) and the "Mollusques", two finely engraved endpieces; III(2) (1832) half title, title, 400 pp., one engraved endpiece; Atlas with 55 plates of which 39 finely hand-coloured (numbered I, Ia, II-LIV). Contemporary uniform green half morocco over marbled boards, borders with intricate patterned gilt lines. Spines with five raised bands. Compartments with gilt vignettes and gilt titles. Marbled endpapers. All edges marbled.* The very rare complete zoological results of a scientific expedition to the Peloponnese (Greece) lead by Jean Baptiste Georges Genevieve Marcellin Bory de Saint-Vincent (1780-1846). The voyage was made on behalf of the French government following a military operation to eradicate the Egyptian army of Ibrahim Pasha in the wake of the Greek war of independence. The whole operation, including the scientific researches, was modelled after Napoleon's campaign in Egypt, 25 years earlier. This is the entire volume III, Zoologie, with all 55 plates. Volumes I and II contain the narrative by Bory, architecture and archeology, geography, geology and mineralogy, and volume III contains a second part, on botany, however, these are not included. The area was surprisingly understudied by zoologists, which resulted in the discovery and descriptions of many new species. The parts were written by specialists in each field, namely Isodore and Etienne Geoffroy Saint-Hilaire jointly for the birds and mammals, Gabriel Bibron and de Bory described the herpetology and the fishes, Gerard Paul Deshayes the Mollusca, Bory added a "Notice sur les polypiers de la Grece" (all in volume III part one). In volume III part 2, Auguste Brulle described the crustaceans, arachnids, Myriapoda, Scorpiones and Insecta (with numerous new species) and, in a 5 pp. section, the annelids. Many species including several reptiles and molluscs were described and figured for the first time in this work, which is one of the rarest works in natural history. One vignette, tail piece of the Mollusca section, shows Chama brocchii Deshayes, described in this work. The plates, by Paul Louis Oudart (illustrating most of the lizards and snakes), Jean Gabriel Pretre (molluscs), Jean Charles Werner, and E. Guerin (the insects), arguably the best French natural history illustrators of the 19th century, are of an outstanding quality, rich in detail and beautifully hand-coloured. Corners a bit rubbed. Some pages, notably the endpapers, spotted, a few hand-coloured plates with some spotting, mostly in the margins, several plain plates (mostly depicting fossil molluscs) more heavily spotted. The atlas is without title page but it is unclear if one has been issued as it is not mentioned in any bibliography. According to Stafleu & Cowan the plates were among the last parts published. Two plates with a short marginal tear (one with an old repair). Otherwise a superb copy in a fine contemporary binding. Dean I, p. 157; Horn-Schenkling, 2695; Nissen ZBI, 4628; Stafleu & Cowan, 672..

      [Bookseller: Dieter Schierenberg BV]
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        Relazione dell'origine e dei progressi dell' Ospizio Apostolico di S. Michele.

      Stamperia dell' Osp(izio). Apost(olico),, Rom, 1832 - Rom, Stamperia dell' Osp(izio). Apost(olico), 1832. 4°. XVIII, (2) 110 S., 1 leeres Bl.; 95 S. Mit 2 gef. Grundrissplänen. Maroquin der Zeit mit reicher Rücken- u. Deckelvergoldung (berieben und bestossen). Seltenes Werk über das römische Armenhaus "Ospizio Apostolico di S. Michele" des Cardinals Antonio Tosti (1776-1866). - Vorderer Einbanddeckel verzogen. Einbandrücken am Fuss beschädigt. Durchgehend etwas stockfleckig. Résumé: Rare book about the Roman poorhouse "Ospizio Apostolico". With 2 folded plates (plans). Contemporary gilt marocco (rubbed and bumped). Sprache: Italienisch / Italiano / Italian Maroquin der Zeit mit reicher Rücken- u. Deckelvergoldung [Attributes: Hard Cover]

      [Bookseller: EOS Buchantiquariat Benz]
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        Lettre de Napoléon François, ex-roi de Rome, Duc de Reichstadt, à S.M. Louis-Philippe Ier, Roi des Français. Relative à l'opinion de ce jeune Prince, touchant les affaires de la France et au désir qu'il aurait de venir tirer le sort à Paris. [ Rare lettre apocryphe de l'Aiglon ]

      Nivelleau D.L.V. Omp 1832 - 1 brochure in-4, Saintes, Nivelleau D.L.V. Omp., Saintes, s.d. [circa 1832 ], 4 pp Dans son ouvrage consacré aux Bonaparte, Quérard cite cette brochure (vraisemblablement apocryphe) dans des éditions de Bordeaux et Bar-le-Duc. On connaît d'autres éditions (Toulon, Paris, Chartres, Lille, Nantes), mais cette édition de Saintes semble inconnue des bibliographies. Bon état (petites annotations effacées en p.4) . Langue: Français [Attributes: Soft Cover]

      [Bookseller: Librairie du Cardinal]
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        Chinese Botanical Watercolor

      1832 - Chinese watercolors Indian School, circa 1820’s Watercolors on paper Framed size: 21 1/2" x 18 1/4"

      [Bookseller: Arader Galleries San Francisco]
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        Voyage de la corvette l'Astrolabe execute pendant les annees 1826-1827-1828-1829 sous le commandement de Jules Dumont d'Urville capitaine de Vaisseau. Essai d'une flore de la Nouvelle-Zelande (AND) Sertum astrolabianum. Description des especes nouvelles ou peu connues, recueillies par M. Lesson jeune, chirurgien de la marine royale, pendant la circumnavigation de la corvette l'Astrolabe.

      . Paris, J. Tastu, 1832-1834. 8vo (text) and folio (atlas; 52.0 x 35.3 cm). lvi, 167, xvi, 376 pp.; title page, plate explanation, one engraved title-vignette and 80 [41, 39] nicely engraved plates of which 12 are printed in sepia colour and four are hand-coloured. Contemporary uniform half red morocco over marbled boards. Spines with five raised, gilt-ornamented bands and gilt title. Marbled flyleaves.* The complete botanical section of the Dumont d'Urville expedition as published in two monographs. It is regarded as the finest work ever published on the flora of New Zealand, and includes a great number of new species. A. P. Lesson and Achille Richard jointly wrote the part on the botany of New Zealand, while Richard alone was responsible for the section describing the plants collected during the voyage at other stations, especially at "Tonga-Tabou ou Archipel des Amis". The artists of the fine plates are Delile and Vauthier and the engravers Massard, Legrand, Noiret, Schmelz, Visto and others. The first engravings on algae and a fern are tinted and very decorative. The text has been bound with the earlier (1832) part on New Zealand last. Some light scattered foxing in the text. A small old stamp on the title pages of the text volume. The title page, the list of plates and the first six plates of the atlas affected by a water stain in the right margin, not touching the image, however. First flyleaf of the atlas almost detached and text pages 21-22 with a large, but clean tear (no loss of text), otherwise a good, complete copy. DSB vol. VII p. 401. Nissen BBI, 555; Stafleu & Cowan, 1556 (under Dumont d'Urville)..

      [Bookseller: Dieter Schierenberg BV]
 19.   Check availability:     ZVAB     Link/Print  


        Illustrations of the Family of Psittacidae, or Parrots

      London 1832 - First Edition of Lear's rare first work, one of only 175 copies printed. Folio (21x14 inches). Old binding, letterpress title page, dedication leaf, list of subscribers, list of plates, 42 fine hand-colored lithographic plates by and after Lear. The copy is rather damaged. Throughout the book the lower right edge is discolored (see illustrations), but the actual pictures are preserved with their wonderful original colors. This copy should be preserved as it is. It is a unique possibility for any collector to have an original LEAR. The actual Illustrations are nearly untouched, a new binding would be fine. [Attributes: First Edition; Hard Cover]

      [Bookseller: Dr Herbert Traxel]
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        Baudin's Cockatoo. Calyptorhynclus Baudinii

      E. Lear, [London 1832 - A fine example of the work of "perhaps the greatest draughtsman of birds in European culture." (Philip Hofer) This image is from Lear's masterpiece: "Illustrations of the Family Psittacidae, or Parrots," a work that combines "the most exacting scientific naturalism with a masterly sense of design and intuitive sympathy for animal intelligence." (Susan Hayman, "Edward Lear's Birds", 1980) This excellent image is from Lear's first published work, limited to 175 copies, and the first English ornithological work published in folio format with lithographic plates. Lear began work on this monograph when he was only eighteen and carefully supervised every step of the publication. He made many of his original sketches from the live specimens at the Regent's Park Zoological Gardens, and then prepared numerous preliminary lithographs. Many of these appear not to have satisfied him, for they were never published. Christine Jackson describes Lear's painstaking approach to his work: "Lear worked in great detail, outlining every feather and filling in the details with fine lines. This scientific accuracy extended to every part of the bird, from the beak to the claws .The colouring was done with opaque watercolours with touches of egg-white for parts of the feathers requiring sheen, and for the eye, to add that life-like touch." ( Bird Illustrators: Some Artists in Early Lithography, London: 1975). The present image depicts a long-billed black cockatoo (Calyptorhynchus baudinii) native of southwestern Australia, named in honor of the French explorer Nicolas Baudin. The provenance of this plate is impressive, having originally come from a copy of Lear's parrots presented by Lear to famed ornithologist John James Audubon (sold Sotheby's New York, 14 June 1993, lot 62). Cf. Anker 283; cf. Fine Bird Books (1990) p. 115; cf. Nissen IVB 536; cf. Ray The Illustrator and the Book 90; Zimmer, pp. 380-381. Hand-coloured lithograph by Lear, printed by Charles Hullmandel. Wove paper. In gold leaf frame with hand-painted French wash-line. Provenance: John James Audubon.

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Naval Evolutions; A Memoir by containing a Review and Refutation of the Principal Essays and Arguments advocating Mr. Clerk's Claims in relation to the Manoeuvre of the 12th of April, 1782; and vindicating, by Tactical Demonstration, and Numerous Authentic Documents, the Professional Skill of the British Officers chiefly on that Memorable Occasion.

      London: Thomas and William Boone, 1832 - Octavo. Original dark green moiré cloth, paper label to the upper board, yellow surface-paper endpapers. A little rubbed and soiled, mild toning, scattered very light foxing, a very good copy. 14 diagrammatic plates, and one double-sided, folding facsimile letter. First edition. The third son of Vice-Admiral Sir Charles Douglas, Douglas was originally intended for the Navy, but after his father's death, his guardians, without consultation, obtained a place for him at the Royal Military Academy. He was subsequently superintendent of the senior department at Sandhurst, and served with distinction as assistant quartermaster-general in Spain, and on the disastrous Walcheren Expedition. In later life he gravitated toward naval matters, his Treatise on Naval Gunnery (1820) was the basis for training until the late 1840s; "Douglas's book was more than a mere artillery training manual; it encompassed key elements of national strategy, notably the development of new weapons and tactics for the bombardment of foreign naval bases He considered that mortars, and later Armstrong breech-loading cannon, enabled naval forces to lay off at long range and destroy naval bases. In the Crimean War his ideas were applied at Sveaborg in August 1855 with devastating results." (ODNB) The present work, which was "suggested by a conversation with his old friend and school companion Sir Walter Scott," is a defence of his father's claim to be the originator if the manoeuvre of "the breaking of the line." Douglas first published an article in the Quarterly Review in 1829 questioning the claims of John Clerk of Eldin, which initiated a furious controversy with Clerk's supporters, despite the fact that Clerk, who had died in 1812, had "maintained in 1804 that his ideas were not fully developed at the time of the battle of the Saints, and that his thinking had not finally come together until the late 1790s, when he published details of the manoeuvre." [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Common Pheasant.

      London: The Birds of Europe. 1832-37. - Lithograph. Original colour. Size: 34 x 47 cm. (13½ x 18½ inches). Mounted size 57 x 69cm. Fine condition The Birds of Europe is the first of Gould's works to feature plates by Edward Lear. The greater number were drawn and lithographed by Elizabeth Gould, but a quarter of them were drawn and lithographed by Lear. All the plates were coloured under the direction of My Bayfield. Finally the printing was done by C. Hullmandel (Copenhagen/Anker). Engraved by LEAR, Edward.

      [Bookseller: Peter Harrington. ABA member]
 23.   Check availability:     AbeBooks     Link/Print  


        Little Egret - Ardea garzetta

      London 1832 - John Gould (1804-1881) A selection from Birds of Europe published in London 1832-37. Lithograph with original hand-coloring measuring 14 ½” x 21 ½” accompanied by corresponding natural history description written by John Gould. Condition: Very good. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 24.   Check availability:     AbeBooks     Link/Print  


        Capercailzie or Cock of the Wood - Tetrao urogallus

      London 1832 - This splendid hand-colored, folio size lthograph from John Gould's (1804-1881)monumental book "Birds of Europe" is in excellent condition, measures 14 ½” x 21 ½” and magnificently displays the author's scientific skill and attention to detail. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalog exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 25.   Check availability:     AbeBooks     Link/Print  


        Common Bittern - Botaurus stellarus

      London 1832 - John Gould (1804-1881) A selection from Birds of Europe published in London 1832-37. Lithograph with original hand-coloring measuring 14 ½” x 21 ½” accompanied by corresponding natural history description written by John Gould. Condition: Very good. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 26.   Check availability:     AbeBooks     Link/Print  


        Gadwall. Anas strepera; (linn) Chauliodes strepera; (Swains)

      London 1832 - John Gould (1804-1881). A selection from Gould's Birds of Europe, published in London 1832-1837, printed by C. Hullmandel. Lithograph with original hand-coloring measuring 14 ½” x 21 ½”. Condition: Very good. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. The preparatory drawings that he produced were passed on for completion to skilled illustrators, most notably his wife, Elizabeth, and Edward Lear. The plates which resulted from such partnerships were a splendid fusion of art and science, with a scope that remains unsurpassed. Stunning and at the same time highly accurate, Gould's illustrations linked beauty to science, and science to beauty, in and an unprecedented manner. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been re-colored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 27.   Check availability:     AbeBooks     Link/Print  


        Freckled Bittern - Botaurus letiginosus

      London 1832 - John Gould (1804-1881) A selection from Birds of Europe published in London 1832-37. Lithograph with original hand-coloring measuring 14 ½” x 21 ½” accompanied by corresponding natural history description written by John Gould. Condition: Very good. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 28.   Check availability:     AbeBooks     Link/Print  


        Magpie - Pica caudata

      London 1832 - This splendid hand-colored, folio size lithograph from John Gould's (1804-1881) monumental work "Birds of Europe" is in excellent condition, measures 14 ½” x 21 ½” and magnificently displays the author's scientific skill and attention to detail. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalog exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 29.   Check availability:     AbeBooks     Link/Print  


        Baillon's Crake

      London 1832 - John Gould (1804-1881) A selection from Birds of Europe published in London 1832-37. Lithograph with original hand-coloring measuring 14 ½” x 21 ½” accompanied by corresponding natural history description written by John Gould. Condition: Very good. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 30.   Check availability:     AbeBooks     Link/Print  


        Hooded Merganser. Mergus Cucullatus

      London 1832 - John Gould (1804-1881). A selection from Gould's Birds of Europe, published in London 1832-1837, printed by C. Hullmandel. Lithograph with original hand-coloring measuring 14 ½” x 21 ½”. Condition: Very good. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. The preparatory drawings that he produced were passed on for completion to skilled illustrators, most notably his wife, Elizabeth, and Edward Lear. The plates which resulted from such partnerships were a splendid fusion of art and science, with a scope that remains unsurpassed. Stunning and at the same time highly accurate, Gould's illustrations linked beauty to science, and science to beauty, in and an unprecedented manner. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been re-colored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
 31.   Check availability:     AbeBooks     Link/Print  


        Contes Bruns

      Canel & Guyot, Paris 1832 - par une [tête à l?envers]. In-8 de (2) ff., 398 pp. : demi-maroquin à coins, dos à nerfs, non rogné, tête dorée. Édition originale parue sous le voile de l?anonymat. Titre orné d?une vignette gravée d?après Johannot. Balzac ne tarda pas à révéler la paternité des contes peu après la parution du recueil, dans La Caricature du 16 février 1832: «Ils étaient trois, avec de l?esprit comme quatre; trois anonymes qui avaient nom Chasles, Balzac et Rabou.». Deux des 10 contes émanent de la plume de Balzac et paraissent ici pour la première fois: Une Conversation entre onze heures et minuit, figurera sous le titre La Grande Bretèche dans le tome III des Scènes de la vie de province. Un grand d?Espagne réapparaîtra dans La Muse du département. Bel exemplaire. Carteret, I, 181: «Ouvrage rare».

      [Bookseller: Librairie Benoît Forgeot]
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        An Historical Sketch of the Origin and Progress of Gas-Lighting

      Simpkin and Marshall, London 1832 - Hardback, 110mm x 180mm tall (4.5" x 7.25" approx.). Pp x, 440, with vignette illustration to title-page. Signature of an early owner, one James H. Wilton, to front free endpaper, and that of one N.H. Bradley, Oct 18th 1879 with a note of the book's December 1913 re-binding, to the upper blank margin of the titlepage. Front free endpaper browned and some foxing throughout, but not heavy, otherwise very good and tight in a binding of full black morocco, with gilt rulings to boards and five raised bands to spine/gilt spine title & date; four gilt symbols to spine panels/top edges gilt & marbled endpapers. Photograph/s and or insured postal quote provided on request. [Attributes: First Edition]

      [Bookseller: Hale Books]
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        EL INGENIOSO HIDALGO DON QUIJOTE DE LA MANCHA. 4 Tomos

      - Madrid. Imp. que fue de Fuentenebro. Mayo de 1832. 14x9 cm. T. I, portadilla+1 lám. de Cervantes+portada+LIV + 356 págs. + 3 láms. * T. II, portadilla+portada+469 págs.+3 láms. * T. III, portadilla+portada+460 págs.+3 láms. * T. IV, portadilla+portada+450 págs.+3 láms. plena piel época, cortes tintados, exlibris anterior propietario, uno de los excelentes grabados corto de margen inferior afectado a la leyenda, algunas marcas de agua sin afectar. El editor advierte que se ha copiado de la edición de la Real Imprenta del año 1797, y con las mismas 48 estampas, esto no fue así, solo compuso 12 y el retrato de Cervantes, que es lo que ofertamos. Contiene Noticia de la vida y de las obras de Cervantes. [Attributes: Hard Cover]

      [Bookseller: Librería Torreón de Rueda]
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        Übergabevertrag zwischen Thomas Windsor (Schiffskommandant in der Royal Navy; Cardiff 1752 - 1832 Knightsbridge) und Ellen Frances Oldham (London 1787 - ?) das Woodside Lodge betreffend. Dated 4th Octd. 1832. 14 (davon 9 beidseitig) handgeschriebene Pergament-Blätter und 1 handgezeichneten Plan auf Pergament. Mit zusammen 22 (teils doppelten) eigenhändigen Unterschriften. Mit 11 roten Lacksiegeln, teils geprägt 'W'. 61 x 69 cm. Gefaltet.,

      1832 - Der handgezeichnete Plan bezeichnet: 'Plan of Woodside Lodge in the Parish of Amersham in the counties of Buckingham & Hertford'.- Amersham liegt im Nordwesten von London in Buckingham. Woodside war ein Grundstück auf dem Anwesen von Thomas Tyrwhitt-Drake in diesem Ort, das bereits mehrere Besitzer (u.a. Oliver Cromwells Ehefrau und Töchter) und wohl auch Namen hatte.- Diese Abtretung, Übertragung und Vertrag zur Übergabe (auch Nachlass der Woodside Lodge) wurde geschlossen zwischen Thomas Windsor of Gore House Kensington und Ellen Frances Oldham und deren Treuhändern, weitere Namen wie Henry Windsor (der 8. Earl of Plymouth), Reverend Henry Townsend, John Thomas Miller und Thomas Walker of Furnivals Inn, London, werden genannt und unterzeichneten (als Zeugen) den Vertrag. Die jeweils verso beschriebenen Blätter dokumentierten gleichzeitig die Bestätigung der Abtretung.- Belegt zugleich die Besitzverhältnisse des Grundstücks ab 1755.- Die Blätter mit zusammen 22 geprägten 1-Pfund-Marken und einer 12-Pfund-Marke. Die notariellen Kosten des Vertrages beliefen sich auf 5000 Pfund (!). Gewicht in Gramm: 500

      [Bookseller: Antiquariat Daniel Schramm e.K.]
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        Herring Gull. Larus argentatus, (Brunn)

      London 1832 - John Gould (1804-1881) A selection from the Birds of Europe. Lithograph with original hand-coloring measuring 14 ½” x 21 ½”. Condition: Very good. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalogue exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Drawing on these abilities, he embarked on a series of projects that would eventually make him the leading publisher of ornithological illustrations in Victorian Britain. Gould’s unparalleled career spanned five decades, and he produced a monumental series of books of birds throughout the world. Gould planned the Birds of Europe in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: “the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency.” Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his monumental "Birds of Europe" have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
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        Geschichte des Kantons Schwyz. Von dessen ersten Gründung . bis zur gewaltingen Staatsumwälzung der löbl. Eidgenossenschaft 1798 herausgeben von einem Zögling und Verehrer des Verfassers (Caspar Rigert, Pfarrer in Gersau). 5 Bde.

      Schwyz, Jos. Kälin u. Comp., 1832-38 - 8°, je ca 400 S., insgesamt 26 lithogr. Tafeln und 1 gef. Karte., Kart d. Zeit m. Rückenschild, Etwas stockfleckig, insgesamt schönes Exemplar. Erste Ausgabe. Lonchamp 1021. Feller/Bonjour 592ff. Bd.: 1: Von dessen ersten Gründung bis zur Sempacher Schlacht; 2: Von der Sempacher Schlacht bis und mit dem Frieden vom Jahre 1450; 3: Vom Frieden mit Zürich und vom Schwabenkrieg bis zur Reformation; 4: Vom Anfang der Reformation in der Eidgenossenschaft bis zur Stiftung des goldenen Bundes; 5: Von Schliessung des goldenen Bundes 1586 bis zur gewaltigen Staatsumwälzung der löbl. Eidgenossenschaft 1798. Joseph Thomas Fassbind (1755?1824) lebte in Schwyz, studiert in Einsiedeln, Bellinzona, Como und Besançon. 1798 wurde er wegen seines Widerstands gegen den helvetischen Bürgereid des Landesverrats für schuldig befunden und zu zwölf Jahren Exil im Kloster Engelberg verurteilt. Die von ihm zwischen 1791 und 1803 verfasste «Schwyzer Geschichte» ist der erste Versuch, alle «wissenswerten und merkwürdigen Ereignisse» der Region festzuhalten. Sie beginnt mit der Frage nach der Herkunft der Schwyzer und endet im dritten Band mit einer detaillierten Darstellung der Kämpfe gegen die Franzosen 1798. Fassbind beschreibt nicht nur die politische Geschichte, sondern auch demographische, soziale und ökonomische Eigenheiten des Alten Landes Schwyz.Die von Pfarrer Kaspar Rigert 1832 im Namen von Fassbind veröffentlichte fünfbändige Geschichte wurde vom Herausgeber zu stark verändert, um noch als Fassbinds «Schwyzer Geschichte» gelten zu können. 2600 gr. [Attributes: First Edition; Soft Cover]

      [Bookseller: antiquariat peter petrej]
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        PROYECTO Y MEMORIA DE. SOBRE LA CONDUCCION DE AGUAS A MADRID, mandado imprimir con aprobacion de S.M. por el Excelentísimo Ayuntamiento de esta M. I. Villa.

      Imprenta Real, Madrid 1832 - 31'5x21, 3h (incluída port. con escudo grab.), 103p, 2 grandes láms. despl. Plena piel, tejuelo y dorados en lomo. - Se incluyen dos folios impresos por las dos caras sobre la traida de aguas a Madrid fechadas en 8 de Julio de 1851. 1832

      [Bookseller: Escalinata, librería]
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        CARY'S NEW MAP OF ENGLAND AND WALES with part of Scotland . Cross Roads, Rivers, . Canals

      Cary 2nd edition corrected to 1832, London - Hand coloured maps on 81 leaves incl. General map, dedication, explanations, & distance gauge by Cary Quarto half calf (covers off & lacking spine/tips worn) 81 leaves + 102pp incl. adverts for Atlases. Slight edge dusting to a few leaves and some offsetting where opposite page is mainly sea. One opening has small ink spotting. All roads, boundaries and wooded areas colored. 1 volume.

      [Bookseller: Abbey Antiquarian Books]
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        Chinese repository1832.5-1851.1221Vol.s(Chinese Edition) ZHONG GUO CONG BAO ( 1832.51851.12 ) ( YING YIN BAN QUAN 21 CE )

      paperback. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Language: English. Vol.1. List of Articles and Subject Index of Chinese repositoryVol.2. No. 1-12. from May. 1832. to April. 1833Vol.3. From May. 1833 to April 1834Vol.4. From May 1834. to April 1835Vol.5. From May 1835. to April 1836Vol.6. From May. 1836. to April. 1837Vol.7. From May 1837. to April 1838Vol.8. From May. 1838. to April. 1839Vol.10. From May. 1839. to April. 1840Vol.11. From January to December. 1841Vol.12. From January to December. 1842 Vol.13. From January to December. 1843V... Satisfaction guaranteed,or money back.

      [Bookseller: cninternationalseller]
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        The Works of Lord Byron: with his Letters and Journals, and his Life by Thomas Moore [in Seventeen Volumes]. COMPLETE AND EXTENDED SET IN ORIGINAL CLOTH

      John Murray -33 1832 - 17 vols., sm. 8vo., First Edition, with all half-titles (save vols I and. IX as usual), 17 engraved frontispieces (most original tissue guards present), engraved and printed titles in each volume, and a folding facsimile, frontispieces, guards and engraved titles mildly foxed, all text remarkably crisp and clean; original dark-green moiré cloth, gilt backs, uncut, patterned endpapers (save where rebacked), all bindings rubbed at extremities, backstrips chipped at heads and tails, four volumes neatlky rebacked with old backstrips laid down, cases of four volumes loose or shaken (but all text blocks entirely sound), one volume with short split in backstrip, generally a nice, notably clean set in publisher's original binding. All volumes have title blocked in gilt at head of backstrips (this is a very early example of gilt blocking directly onto cloth) and the gilt of every volume is uniformly bright and clear. The frontispieces and title-vignettes are by Finden after various artists. This edition was originally intended as fourteen volumes, as stated on the printed titles of the first twelve volumes. 'When this Edition was first announced.the printer calculated that the whole might be comprised in fourteen volumes. While, however, the Notices of Lord Byron's Life were for the second time passing through the press, it was suggested to the Publisher, that the time had come when the Public had a right to look for such notes and illustrations to Lord Byron's text, as are usually appended to the pages of a deceased author of established and permanent popularity. These additions will extend the Work to seventeen volumes; the last of which will [and does] include a very copious and careful Index to the whole collection.' (Advertisement, vol. XIII). AN ORIGINAL COPY AND NOT, AS SOMETIMES, A MADE-UP SET. Despite the broken cases, which are wholly forgivable given the fragility of the publisher's binding which was not intended to last, this set is in very good contemporary state and has considerable shelf presence. COMPLETE SETS OF THIS NOTABLE EDITION ARE VERY SCARCE, THE MORE SO IN THIS EXTENDED FORM. Coleridge, xlvi; CBEL III, 187(2a). [Attributes: Hard Cover]

      [Bookseller: Island Books [formerly of Devon]]
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        METAMORPHOSEON - libri XV, cum appositis ITALICO CARMINE. Interpretationibus ac noris, Florentiae, Apud Vincentum Batelli & Soc., 1832

      - 15 x 24-7.Editio secunda in 4 volumi. Rilegatura mz.pelle con dorsi restaurati e titolo e fregi in oro su tasselli ai dorsi, carte di sguardia sostituite, opera in buone condizioni, testi in italiano. Volume primo: pag. 434 con 45 tavole + 1 all'antiporta. Numerate 1-45. Manca la n. 12 ma la 39 è doppia. Volume secondo: pp. 583 con 20 tavole. Numerate 46-65 e sono tutte presenti. Volume terzo: pp. 564 con 13 tavole. Numerate 66-78 e sono tutte presenti. Volume quarto: pp. 407 con 11 tavole. Numerate 79-90 (manca la n. 86) Le tavole con splendide incisioni allegoriche, sono opera di Ademollo, Scotti, Tagliani, Rosaspina, Sasso A.G., Morghen, Martelli, Migliavacca (a richiesta possiamo inviare elenchi e dettagli) Buona edizione in quattro volumi.

      [Bookseller: Ferraguti service s.a.s. - Rivisteria]
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        RECHERCHES ARCHEOLOGIQUES POUR SERVIR D'INTRODUCTION A UN VOYAGE DANS LA SEINE-INFERIEURE ET DANS L'ARRONDISSEMENT DES ANDELYS / RECUEIL DE PIECES ACADEMIQUES EXTRAITES DU PRECIS ANALYTIQUE DES TRAVAUX DE L'ACADEMIE ROYALE DE ROUEN PENDANT L'ANNEE 1834 / ESSAI SUR LES SARCOPHAGES, LEUR ORIGINE ET LA DUREE DE LEUR USAGE / MEMOIRE SUR LES ANTIQUITES DE LA FORET ET DE LA PRESQU'ILE DE BROTONNE ET SUR LA VILLA DE MAULEVRIER PRES CAUDEBEC / DES VILLES ET VOIES ROMAINES EN BASSE-NORMANDIE ET DE LEUR COMMUNICATION AVEC LE MANS ET RENNES / VOYAGE ARCHEOLOGIQUE FAIT EN NORMANDIE EN 1836 PAR M. GALLY-KNIGHT / LETTRE SUR L'ARCHITECTURE DES EGLISES DU DEPARTEMENT DE LA MANCHE / MONUMENTS ROMAINS D'ALLEAUME / RECHERCHES SUR LES ILES DU COTENTIN EN GENER

      - Rouen + Caen + Valognes, Nicétas Periaux + A. Hardel + Carette-Bondessein + Henri Gomont Mme veuve H. Gomont + Mégard et Cie, 1832-1835-1837-1838-1843-1846-1848-1885. 14x22,5 cm. 12 petits fascicules brochés reliés en un fort volume. 13+54+45+96 (2 planches dépliantes) +93+153+28+19+45+16+38+ (5 planches dépliantes) +15 pages. Reliure de la fin du XIXème siècle en demi basane brune. Plats recouverts de papier moucheté vert. Dos à 5 faux nerfs peu prononcés, portant le titre "ARCHEOLOGIE NORMANDE" en lettres dorées. Brochures d'origine conservées. Traces d'usage sur la reliure et quelques rousseurs éparses à l'intérieur, cependant ouvrage solide et d'un grand intérêt pour l'histoire régionale. [Attributes: Soft Cover]

      [Bookseller: Librairie de l'Univers]
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