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

        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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        Epilog". Autograph poem signed ("AW v. Schlegel").

      N. p. o. d. - Large 8vo. ½ p. "Nur ein poetisch Feuerwerk | War, Publikum! mein Augenmerk. | Doch ärgerst du dich an den Strophen, | Als kämen sie aus schwarzem Herzen, | So geh' ich dir zu Leib' im Ernst, | Damit du Spaß verstehen lernst". - First published in: Musenalmanach, ed. by Wendt, 1832. - Somewhat browned and with stronger damages to edges.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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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]
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        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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        Recueil : [ Mélanges 1828 - 1832 ] : Que veulent-ils ? [ Suivi de : ] Louis-Philippe aux Tuileries, ou Révélation des véritables motifs qui ont décidé ce Prince à choisir cette résidence [ Suivi de : ] Quelques Notes sur la Conduite de M. le Comte de Bourmont en 1815 [ par le Comte Clouet ; Suivi de : ] Vincennes [ par le Comte de Peyronnet ; Suivi de : ] Variétés [ Par Colnet ; Suivi de : ] Arrêté de M. le Maire de Bordeaux, à l'occasion de l'anniversaire des mémorables journées des 27, 28 et 29 juillet 1830 [ Marquis de Bryas et Comte de Preissac ; Suivi de : ] Discours du Roi [ Par Louis-Philippe roi des Français ; Suivi de : ] Adresse de la Chambre des Députés au Roi [ Suivi de :] Proclamation [ Par Charles X ; Suivi de : ] Lettre de Mo

      Dentu Lebreton 1832 - 1 vol. in-8 cartonnage de l'époque, tranches marbrées : Que veulent-ils ? (s.d., circa 1828, 4 pp. [ Suivi de : ] Louis-Philippe aux Tuileries, ou Révélation des véritables motifs qui ont décidé ce Prince à choisir cette résidence, Imprimerie de Dentu, 16 pp. (circa 1831) [ Suivi de : ] Quelques Notes sur la Conduite de M. le Comte de Bourmont en 1815, Imprimerie de Dentu, 13 pp. (circa 1830) [ par le Comte Clouet ; Suivi de : ] Vincennes, s.l.n.d., 16 pp. (circa 1831), 16 et 8 pp., extrait de la Gazette de France, Chez J. Lebreton, Bordeaux, 1831 [ par le Comte de Peyronnet ; Suivi de : ] Variétés [ Par Colnet ; Suivi de : ] Arrêté de M. le Maire de Bordeaux, à l'occasion de l'anniversaire des mémorables journées des 27, 28 et 29 juillet 1830, un placart dépliant, Chez J. Lebreton, Bordeaux, 1831 [ Marquis de Bryas et Comte de Preissac ; Suivi de : ] Discours du Roi, un placart dépliant, chez J. Lebreton, Bordeaux, 1831 [ Par Louis-Philippe roi des Français ; Suivi de : ] Adresse de la Chambre des Députés au Roi, chez J. Lebreton, Bordeaux, 1831 [ Suivi de :] Proclamation, un feuillet dépliant, s.l.n.d. (circa 1831) [ Par Charles X ; Suivi de : ] Lettre de Monsieur le Vicomte Félix de Conny à M. le Rédacteur de la Quotidienne, chez J. Lebreton, Bordeaux, 1831, 4 pp. [ Suivi de : ] Variétés dont : Ce pauvre Casimir ! - Alger ! Alger ! - Quand aurons-nous la liberté de l'enseignement ? - Où est aujourd'hui l'émeute ? - Garde-à-vous ! - Grand Combat Naval une cinquantaine de pages au total par livraisons de 4 ou 9 pp., extraits de la Gazette de France, chez J. Lebreton, Bordeaux, 1831 [ Par Colnet ; Suivi notamment de : ] Mac Grégor - Plus de lanterne magique, ou le Revers de médaille - Mandement de Mgr. l'Archevêque de Paris, adressé à MM. les Curés de la capitale - [ Suivi de :] La Lyre Fidèle. Journal littéraire par deux hommes de lettres, De l'Imprimerie de J. Lebreton, Bordeaux, 1832, 144 pp. (reliés dans le désordre mais complet) [Suivi de : ] Cancans (Parlementaires - Fulminans, etc.), Imprimerie de Dentu, 15 livraisons de 8 pp., circa 1831 [Par Bérard, à Sainte-Pélagie ; Suivi de : ] Madame la Duchesse de Berry [ Suivi de : ] Un Souvenir Très intéressant recueil d'éditions originales de pamphlets et de journaux publiés au lendemain de la révolution de 1830, dont plusieurs très rares impressions bordelaises (dont "La Lyre Fidèle"), un rare discours de Charles X invitant les Français à se rassembler autour de Henri V ("Notre bien-aimée fille, la Duchesse d'Angoulême, est régente du Royaume . elle saura, comme Blanche de Castille, préparer à la France une autre ère de gloire et de prospérité"), et une quinzaine des fameux "Cancans" ou "Passe-Temps du Jour" de Bérard, "lesquels valurent à l'auteur de nombreuses poursuites qui se résumèrent pour l'auteur en une douzaine d'années de prison et une dizaine de mille francs d'amende" (Hatin, 376). Etat satisfaisant (dos abîmé décollé, bon état par ailleurs) Langue: Français [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie du Cardinal]
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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]
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        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]
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        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]
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        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]
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        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]
 18.   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]
 19.   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]
 20.   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]
 21.   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]
 22.   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.]
 26.   Check availability:     AbeBooks     Link/Print  


        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]
 27.   Check availability:     AbeBooks     Link/Print  


        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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        Chimney Swallow - Hirundo rustica

      London 1832 - ***If you frame up this item with Arader Galleries you can take a 50% discount off the listed price of this work of art.*** 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]
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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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        A Map of the County Palatine of Chester Divided into Hundreds & Parishes, From an Accurate Survey, Made in the Years 1828 & 1829. By W. Swire & W. F. Hutchings, London.

      Published by Henry Tessdale & Co. 302, High Holborn, August 1st, 1832., London, - Hutchings' large-scale map of Cheshire 990 by 1330mm (39 by 52.25 inches). Large engraved map, dissected and mounted on linen, fine original full-wash colour, south west view of Chester cathedral, lower right, edged in green silk, lower left silk edging missing, housed in original tree calf pull-off slipcase, spine ruled in gilt, red morocco label lettered in gilt to spine, rubbed. Uncommon. A fine example in full original wash colour. The large calligraphic title at the upper right surmounts the 'Scale of Miles' and vignette view of the Customs House in Liverpool. A table of explanation towards the bottom left outlines a wealth of topographical detail, including ichnographic representations of the principal towns, villages, churches, gentleman's seats, commons, heaths and hills, parish and other boundaries, canals, wind and water-mills, roads, lanes, toll-bars and rivers.

      [Bookseller: Daniel Crouch Rare Books LLP]
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        Analyse des transversales appliqué à la recherche des propriétés projectives de lignes et surfaces géometriques. Pour faire suite aux mémoires sur les centres de moyennes harmoniques et la théorie générale des polaires réciproques. Lu à l\'Académie Royale des Sciences de l\'Institut de France, le lundi, 5. septbr. 1830

      Berlin: Verlag Georg Reimer, 1832. First Edition. Quarter morocco. Very good. First Edition. Quarter morocco. 4to (260 × 210 mm), pp. [2], 122; text slightly toned with occasional light spotting, especially at initial and final leaves; title-page toned with discrete repair to the head of hinge; ink inscription from Poncelet to Siméon Denis Poisson; very good in modern morocco-backed marbled boards, slightly rubbed, new (marbled) endpapers.

      [Bookseller: Abel Rare Books Ltd.]
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        Westmorland, Cumberland, Durham & Northumberland Illustrated.

      Fisher. Son & Co., London. 1832 - 220pp + 215 plates (on 108 leaves) as called for. 'G B Dalby, for a remembrance of many happy days amongst the scenes here delineated, August 7 1868' written on first blank. Foxing/browning to some plates, but many clean and crisp. Very good hardback in slightly rubbed, contemporary, half morocco with marbled boards and eps. Aeg. [Attributes: First Edition; Hard Cover]

      [Bookseller: Elaine Beardsell (ABA,PBFA )]
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        Andrew Jackson Disdains Rewarding One Of His Political Enemies

      - ÒHe appears to have some interest of feeling in this case for his Georgia friends and particularly as it is given.to such an open undisguised tra- ducer of the administration as he says Mr. Longstreet is.Ó Jackson believed that changing officeholders would prevent the development of a corrupt bureaucracy. He implemented the theory of ro- tation in office, declaring it Òa leading principle in the republican creed.Ó In practice, this fine theory involved rewarding JacksonÕs support- ers and fellow party members with government posts, as a way to strengthen party loyalty. This system of firing opponents and filling their places with party loyalists came to be known as the Òspoils system,Ó and Jackson received the reputation of being its initiator. During JacksonÕs first term, there was a high tariff on imports of manufactured goods made in Europe. This made those goods more expensive than ones from the northern U.S., raising the prices paid by planters in the South. Southern politicians argued that high tariffs benefited northern industrialists at the expense of southern farmers. South Carolina went so far as to claim the right to ÒnullifyÓÑdeclare voidÑthe tariff legislation, and more generally the right of a state to nullify any Federal laws which went against its interests. Although Jackson sympathized with the South in the tariff debate, he supported a strong union with effec- tive powers for the central government and violently opposed nullification. He vowed to send troops to South Carolina to enforce the laws, and in December 1832 issued a resounding proclamation against the Ònullifiers,Ó stating that he considered Òthe power to annul a law of the United States, assumed by one state, incompatible with the existence of the Union.Ó South Carolina, and by ex- tension all nullifiers, the President declared, stood on Òthe brink of insurrection and treason. In 1833, Congress passed a Òforce billÓ which authorized Jackson to use violence to preserve the Union. Augustus Baldwin Longstreet was the publisher of the Augusta (Georgia) States Rights Sentinel, a newspaper that advocated nullification in the recent crisis and thus opposed JacksonÕs policies. The year after this letter, he would publish what is considered the SouthÕs first important literary work, ÒGeorgia Scenes, Characters, Incidents, Etc. in the First Half Century.Ó His brother Gilbert shared his politics. These Longstreet brothers were uncles of Confederate General James Longstreet - LeeÕs famed Òwar horse.Ó Gilbert owned rights to the Augusta- Savannah mail route and there were complaints that under his aegis, the mails were not delivered often enough. The Georgia congressional delegation brought these to the PresidentÕs attention. Perhaps spoils politics was also on JacksonÕs mind when he wrote the following letter, which was ostensibly about bidding and the granting of other Georgia postal routes. The William Barry mentioned was JacksonÕs Postmaster General. John Forsythe, his Secretary of State, was a Georgian who, when South Carolina nullified the federal tariff in 1832 and asked Georgia to follow persuaded his fellow Georgians to support Jackson instead of its neighbor. Autograph Letter Signed, Washington, November 8, 1834, to Charles K. Gard- ner, acting postmaster responsible for postal appointments, criticizing the selec- tion of political foe (and possibly inept) Longstreet for a government contract instead of one of the PresidentÕs supporters. ÒI am this moment advised that there is great complaint of unfairness in the letting of the route in Georgia - from Augusta to Savannah. The complaints came to me through a high source and is well calculated to do the Department an injury, as it would seem to throw a suspicion that it was done to the injury of our friends, to favor Mr. Longstreet a bitter enemy and constant reviler of the administration. It is stated that Mr. Reesides proposed to carry the mail for $10,000 per annum to run the one half the time on the [Attributes: Signed Copy]

      [Bookseller: The Raab Collection]
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        Afbeelding der Artsenij-Gewassen, welke in de Nederlandsche Apotheek als zoodanige vermeld zijn. Naar de beste Uitlandsche Afbeeldingen geteekend en op steen gebragt.

      - Leyden, Du Mortier en Zoon, 1832-1838. 4 volumes bound in two. Folio (340 x 240mm). With 265 fine handcoloured lithographed plates. Contemporary half cloth. One of the first scientific works with lithographed plates published in the Netherlands. The fine plates are after drawings by the author. Only 116 copies were subscribed and probably 130 copies were printed. It was issued in 53 parts and published over a period of 5 years. The publishing history of the work is complex. The first 5 plates were printed by Van Sander and Co. and published by J.C. Sepp and Son. Sepp discontinued the publication which was taken over by Mortier. Mortier issued the first 5 plates again. For this reason copies are sometimes found with 5 extra plates, and hence most bibliographies quote the wrong number of plates. Landwehr gives 266 plates, which is incorrect as plate 232 was never published. In the lists of plates in volume IV plate 232 is not listed. A fine and clean copy.Landwehr 6; Nissen BBI, 39. [Attributes: Hard Cover]

      [Bookseller: Antiquariaat Junk]
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        Poésies De Marie De France, Poète Anglo-Normand Du XIIIe Siècle, Ou Recueil De Lais, Fables et Autres Productions De Cette Femme Célèbre (2 tomes)

      Chez Marescq, Paris 1832 - Deux volumes en reliure d'époque, demi veau glacé havane, dos à nerfs pièces de titres et tomaisons rouges et vertes, date en queue, plats marbrés jaunes. Frontispice gravé par Godefroy d'après Chasselat en début de chaque volume, dédicace en tome1, 581p, 504p. Paris, Imprimerie de Decourchant, rue d'Erfurt. Texte à grandes marges, non rogné.

      [Bookseller: Rossignol]
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        Trichoglossus Rubritorquis. Scarlet-collared Parrakeet

      London 1832 - Edward Lear (1812-1888) is fondly remembered for his books of nonsense and for popularizing the limerick, but he was also a prolific watercolorist, who as a young man earned his livelihood and achieved recognition as an illustrator of birds and animals. Born in the north London suburb of Holloway on 12 May 1812, he was the youngest of twenty-one children born to Jeremiah and Ann Lear. His childhood was one of outward prosperity but in 1825, his father, a stockbroker, was ruined by a financial crisis brought on by unfortunate speculation, and consigned to the debtor's prison. At the age of fifteen the young and somewhat sickly Edward had to start earning his own living drawing and assisting printsellers. In 1830, at the age of 18, Lear obtained permission to work as a draughtsman at the Zoological Society gardens, located at Regent’s Park. The following year he moved with his sister, Ann, to nearby lodgings in Albany Street, in order to be close to his work and during the course of the next two years devoted his time to recording the different members of the parrot family. He was encouraged in this task by N. A. Vigors, John Gould and Lord Stanley and between 1830 and 1832 “Illustrations of the Family Psittacidae, or Parrots” was published in parts. Lear’s publication was innovative in several significant ways. Unlike previous bird artists, he drew whenever possible from life rather than stuffed specimens, thus combining anatomical accuracy and subtlety of detail with the pose and expression of the living, moving bird. Lear also employed the relatively new medium of lithography which, by dispensing with the need for professional engravers, allowed him to retain complete artistic control over all stages of his work. This expertly hand-colored lithograph, Trichoglossus Rubritorquis. Scarlet-collared Parrakeet, measures 21" x 14.5" and is in good condition with light foxing and staining with lightly torn left edge. This parakeet is vibrantly colored and detailed, against the pencil-sketch-like background, making it the focal piece of this lithograph. The head and neck are colored in a deep blue, with an orange beak, throat and chest and brilliant green wings and legs. Precise lines define and detail each feather and characteristic of this magnificent bird.

      [Bookseller: Arader Galleries San Francisco]
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