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Displayed below are some selected recent viaLibri matches for books published in 1837

        Shore Lark. Alauda alpestris; (Linn)

      This splendid hand-colored, folio-size lithograph, Common Cormorant. Phalacrocorax Carbo, (Steph), from John Gould?s (1804-1881) monumental book "Birds Europe" (1832-1837) is in very good condition with light spotting throughout. Measuring 21.5" x 14.5", this lithograph magnificently displays the author?s scientific skill and attention to detail. These birds, also called Horned Larks, are expertly hand-colored with brownish upper-parts and distinct black and yellow face patterns. As illustrated in this lithograph, summer males have black "horns," from which it gets its name.John Gould was an English ornithologist, self-taught artist and naturalist. Gould first worked as a gardener under his father in the Royal Gardens of Windsor from 1818-1824, where he began his illustrations. He became an expert taxidermist, opening his own practice in London in 1824 and in 1827 he became the first Curator and Preserver at the museum of the Zoological Society of London. Through his work he was able to meet with the country?s leading naturalists and view new collections of birds given to the Zoological Society.His interest in birds was continually developing and in 1830 he published his first volume on birds, ?A Century of Birds From the Himalaya Mountains.? For the next fifty years, Gould, his wife and artists working with them traveled around Asia, the East Indies and Australia. His wife Elizabeth and other artists were able to transfer his sketches to stone; hand print and hand-color them. One of the most accomplished and engaging natural history works of the 19th century, ?The Birds of Europe? was also the first of Gould's works to feature plates by Edward Lear.A total of sixty-eight images bear Lear's name, and they are among the most remarkable bird drawings ever made. Lear endowed his illustrations with some measure of his own whimsy and intelligence, and his style is at once fluidly spontaneous and realistically precise. In this way, the images of ?The Birds of Europe? are amazingly distinctive, while also highly realistic. Gould undertook this work partly in an effort to redress the imbalance between the study of local and foreign ornithology.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.

      [Bookseller: Arader Galleries]
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        Traité des Bandages. + Atlas.

      - Deuxième Èdition, revue, corrigée et consdiérablement augumentée-. - Paris, Méquignon-Mavis Père et Fils, 1837, 8°, XXXXII, 536 pp.; (2) pp., 20 feine lith. Tafeln, 2 Halbledereinbände; Tafeln vereinzelt mit Stempel. [Attributes: Hard Cover]

      [Bookseller: Medicusbooks]
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        Recherches sur la probabilite des jugements en matiere criminelle et en matiere civile, precedees des regles generales du calcul des probabilites.

      Paris, Bachelier, 1837.. 415 S. 4°, Broschiert. Papiereinband mit Einrissen, Seiten stellenweise noch unaufgeschnitten, Randläsuren. Stellenweise etwas braunfleckig.

      [Bookseller: Heiko Wiegand, Antiquitäten & Antiquaria]
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        Christian Institutes

      London - J. G. and F. Rivington, 1837 Book. Very Good. Hardcover. First edition. A first edition of this series of critical essays on Christian institutes by clergyman Christopher Wordsworth. Though a high-churchman of the old school, Wordsworth was awake to the danger of laying too much stress upon the church as a mere establishment. Similarly, he was capable of appreciating the good in other Christian traditions, a fact exemplified by his continuing cordial relations with his wife's Quaker relatives, by his praise for the private use made by continental clergy of the Roman Catholic breviary, and by his deliberate inclusion of works by Richard Baxter, in his Christian Institutes (4 vols. , 1837), a work of otherwise impeccable Anglican orthodoxy. (DNB)Two volumes of four only (volume II and III). Condition: In diced calf bindings. Externally, rather worn, with rubbing and marks. Slight wear to the heads of the spines. Three joints starting. Some evidence of past worming to the boards and spines. Dampstaining to the front board of volume II. Internally, generally firmly bound. Ink signatures to front pastedowns. Pages are quite bright, and generally clean, with just the occasional patch of foxing. Some spillmarks to the textblock edge also, and tidemarks to the endpapers, with mould to the rear of Volume II. Overall: GOOD ONLY with GOOD interiors..

      [Bookseller: Rooke Books]
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        DOVETON; OR, THE MAN OF MANY IMPULSES. By the Author of "Jerningham."

      London: Smith, Elder and Co.,. 1837. 12mo, three volumes,. ninteenth-century three-quarter calf and marbled boards,. Volume one lacks the half title; half title leaves present in volumes. two and three. Binding worn at edges some loss from upper spine ends,. split along outer joint of volume one repaired, a sound, good copy. with fine interior. (#133083). First edition. Sir John William Kaye (1814-1876) was a prolific writer, especially on military history. This domestic romance, his second novel, is dedicated to Mary Catherine Puckle, whom he married in 1839. His novels, anonymously or pseudonymously published, were usually printed in small editions for private distribution. All of them are rare. Sutherland, Victorian Fiction, p. 344. Block, The English Novel 1740-1850, p. 126. Not in Sadleir or Wolff.

      [Bookseller: L. W. Currey, Inc.]
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        Maria Immaculata auf Wolken und von zwei Engeln begleitet.

      . Feder in Grau, grau laviert, mit brauner Tuschlinie umrandet, auf Bütten, auf China aufgezogen. 24:21,2 cm. Provenienz: Sammlung E. Führer, Essen, nicht bei Lugt.. 1837 während seines Aufenthaltes in Rom schuf Foltz zwei Madonnenbilder und später noch mehrfach für bayerische Kirchen.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Morristown New York Carpenter and Farmer's Account Book and Diary 1837-1862

      Couper, Morristown, New York - Approx. 7 3/4" X 6 1/4" ledger with marble paper covered boards and leather backstrip. The first 8 sheets is an index used to record names with numbers written to the side. Account dates for named individuals begin in 1837. Most of the account details are from early 1840s. Account information is recorded into the late 1850s. Following the account details midway through the ledger is a diary that commences on July 1, 1856 and are finishes on November 30th, 1862. Pages following the diary are not used for writing with the exception of handwritten days, dates and months arranged in columns ending on December 31st, 1864. Condition of the ledger is good. The lower section of the spine is chipped and starting to come loose from the front board. The handwriting is very small but for the most part is easy to read. Laid inside the ledger book are several misc. pieces of paper, recites, news clippings, etc. The ledger and diary appear to be kept by a Couper family member (possibly Emily Couper) with several family references stated in possessive form. The diary covers weather, births, marriage, deaths, farming, carpentry, surveying, travel, handwritten copied news, pencil diagrams, written narratives, directions for repairing things, supplies, and many more interesting observations. The diary records the local 1860 Presidential Election results showing Abraham Lincoln and Hamlin vote totals. The keeper of the diary also records the names of family members volunteering for the Civil War. One family member was turned away because of health reasons. Interesting details are provided regarding one of the Couper family members John Couper. His name and address are recorded inside. John H. Couper resided in Lewiston, Dakota Co. Minnesota (Territory).

      [Bookseller: Americana Books ABAA]
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        Beschreibung des für die Feuerwacht auf dem St. Petersthurme in München ausgeführten Pyroskop's von Dr. C.Steinheil.

      . Akad. Wiss. München, 1837-1843 - Abh. math.-pysik. Classe der k. Bayer. Akad. Wiss. - München, Georg, Weiss'schen Buchdruckerei, (1843), 4°, Titelbl., pp.563-585, mit 9 gefalt. lithogr. Tafeln von G.Seeberger, geprägter Leinenband der Zeit.. Erste Ausgabe! - Carl Steinheils Pyroskop ermöglichte eine sichere Bestimmung der jeweiligen Brandstelle in München und den Ortschaften im näheren Umkreis. Eine Tafel mit dem Grundriss des Turmes von St. Peter und den Einzelheiten des Pyroskops, die restlichen acht zeigen ein ca. 250 cm langes Panorama von München vom Turm gesehen; 1848 wurde dann die Feuerwache durch eine Telegraphenleitung mit dem Hauptfeuerhaus auf dem Jakobsplatz verbunden, dies war die erste Verwendung des neuerfundenen "elektrischen Telegraphen" für Feuerwehrzwecke. - Poggendorf II, 997; vgl. Lentner 13753; Pfister II, 66.

      [Bookseller: Antiquariat für Medizin - Fritz-Dieter S]
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        Sketches by Boz Second Series Two Vols in One

      John Macrone, 1837. Second Edition. Hardcover. Fair/No Dustjacket. 1837. Second Edition. 375 pages. No dust jacket. Privately bound. Light brown cloth boards with gilt lettering. Pages remain reasonably bright with inscription to front endpaper and strong foxing throughout. Slight cracking to front hinge exposing netting but pages remain tight and text block edge has light scuffing. Binding is firm with moderate corner bumping and soiling to boards. Spine is tanned with moderate edge wear and rubbing. Title page is very creased with loss. Inscription to front end paper.

      [Bookseller: The World of Rare Books]
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        Don Carlos e i Suoi Difensori. Collezione di Ritratti Originali con Introduzione e Notizia Biografica sopra ciascuno dei personaggi rappresentati.

      Firenze, per V. Batelli e Figli, 1837. - in-folio. Frontispice. 94pp. 21 planches hors-texte (dont 3 planches coloriées et 1 fac-simile de lettre manuscrite). Demi-veau vert à coins, bande dorée à palmettes le long du cartonnage, dos lisse orné (Reliure de l'époque). Edition Originale italienne, parue simultanément avec une édition française à l'occasion de la première guerre carliste (1833-1839), de cette très rare galerie de portraits des personnalités les plus éminentes du parti carliste espagnol, avec pour chacun un notice biographique: Abarca, D.Sebastián, Erro, Aznares, Zumalacárregui, Eguía, Moreno, Villarreal, etc. Les portraits lithographiés par divers artistes italiens ont été dessinés par Isidore Maguès, peintre portraitiste et pastelliste français dont c'est l'une des premières productions (Benezit situe ses débuts au salon de 1842). Trois planches sont coloriées (en particulier celle représentant l'uniforme des troupes carlistes). Bel exemplaire. [Attributes: Hard Cover]

      [Bookseller: Librería Comellas]
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        SYSTEM OF MINERALOGY: INCLUDING AN EXTENDED TREATISE ON CRYSTALLOGRAPHY

      Durrie & Peck and Herrick & Noyes, New Haven, CT 1837 - 8vo. contemporary full leather, red leather spine label. xiv, 452, 119+(1) pages. Rinderknecht 43948. Preface, table of contents, introduction, two appendices, mineralogical bibliography of American and foreign works, index, errata. With numerous engraved illustrations, charts, and tables. Two foldout illustrations follow text. Covers rubbed and scuffed, especially along edges. Front outside joint cracking. Inside hinges cracked. Light foxing throughout text. Previous owner's name on front free endpaper. One foldout chipped at edge. contemporary full leather, red leather spine label [Attributes: Hard Cover]

      [Bookseller: Oak Knoll Books, ABAA, ILAB]
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        Pupuläres Physikalisches Lexikon oder Handwörterbuch der gesammten Naturlehre für die Gebildeten aus allen Ständen. 4 Bände. Mit 8 gefalt. Tafeln in 1. Band; 5 Tafeln in 2. Band; 7 Tafeln in 3. Band; 8 Tafeln in 4. Band

      Leipzig: Otto Wigand 1834-1837 - HLDr.der Zeit, viii, 642 S.; 696 S., 750 S., 1004 S., mit 2 Rückenschildchen. Einbände gering berieben u. abgegriffen. Mehrfach gestempelt auch verso auf Tafeln; alte Besitzersignaturen. Seiten stellenweise leicht altersgebräunt bzw. stockfleckig, sonst sehr gut erhaltenes Exemplar. * Our books are stored in a warehouse, not in the shop. If you want to visit us and see a specific book, please notify us in advance. Unsere Bücher werden nicht in unserem Geschäft, sondern in einem Lager am Stadtrand Prags verwahrt. Bitte teilen Sie uns vorher mit, wenn Sie uns besuchen und ein bestimmtes Buch ansehen wollen. * Book Language/s: de [Attributes: Hard Cover]

      [Bookseller: Antikvariat Valentinska]
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        Die Reise der Herren Karl Green, Robert Hollond und Thomas Monk-Mason von London nach Weilburg am 7. und 8. November 1836 in dem Luftschiffe Royal-Vauxhall-Nassau. Voraus geht eine kurze Geschichte der Aeronautik

      Weilburg, Lanz 1837.. Mit einer lithograph. Tafel. IV, 68 S. Bedruckter Orig.-Pappband. Goldschnitt. Liebmann/Wahl 1150. - Sehr seltene Beschreibung der berühmten Ballonfahrt. Enthält anfangs eine kurze Geschichte der Aeronautik und dann hauptsächlich die Beschreibung des Ballons und der dazugehörigen Instrumente sowie die Geschichte der Reise. "Die hier festgehaltenen Angaben beruhen auf allseitiger Autopsie der Verfasser, theils auf schriftlichen und mündlichen Mittheilungen der Reisenden selbst" (Vorwort). Als Mitverfasser wird der Weilburger Lehrer Eduard Christian Francke vermutet. - Das dekorative Frontispiz zeigt den Ballon von Green über Weilburg und wurde nach einer zurückgelassenen Handzeichnung von Robert Hollond gefertigt. - Einband etwas stockfleckig. Titel verso mit altem Adelsstempel.

      [Bookseller: Antiquariat Turszynski]
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        The English Counties Delineated; or a Topographical Description of England

      London: George Virtue, 1837.. Two volumes. 4to. xxiv, 484; (ii), 582 pp. Contemporary half brown calf over marbled boards, spine with wide raised bands, gilt lettered green title labels and lettered direct to another panel. Light rubbing to extremities, else very good. 2 frontispieces, 2 engraved title pages, folding map of England and Wales, a map of the Inland Navigations over 4 sheets, a plate illustrating the comparative heights of hills plus 54 maps, some folding, of counties and towns.

      [Bookseller: Bow Windows Bookshop]
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        Natural History and Antiquities of Selborne, The

      London: Printed [at the Chiswick Press] for J. and A. Arch; Longman and Co.,[et al], 1837. - A Superb Art Nouveau Binding[KELLIEGRAM BINDING]. WHITE, Gilbert. The Natural History and Antiquities of Selborne. With the Naturalist's Calendar; and Miscellaneous Observations, extracted from his papers. London: Printed [at the Chiswick Press] for J. and A. Arch; Longman and Co.,[et al], [1837]. Octavo (8 7/16 x 5 1/4 inches; 214 x 135 mm.). xxiv, 640 pp. Forty-five engraved vignette illustrations. A New Edition; with notes , by Edward Turner Bennett and others. Original front cloth cover and spine bound in at end.Bound ca. 1910 in a stunning Art Noveau binding of dark green crushed morocco, handsomely gilt and inlaid, by Kelliegram (stamp-signed on rear turn-in), covers with fanciful Art Nouveau-style frame formed by inlaid flowers of sky blue and leaves in two shades of green, these inlays connected by gilt and inlaid red morocco dots, and the spaces between them featuring swooping gilt birds and sprinklings of gilt dots; raised bands, spine compartments tooled in gilt with similar inlaid leaves and flowers, turn-ins with gilt tendrils and continuing the bird, flower, and leaf motifs, the turn-ins enclosing pictorial morocco doublures, the front doublure depicting Gilbert White’s vine-covered house in Selbourne, the rear a slate-roofed country church and cemetery, moss green silk endleaves, all edges gilt. Original cloth spine and cover bound in at rear. Housed in a ca. 1930s felt lined, quarter dark green morocco clamshell case by James MacDonald of Norwalk, Conn.With numerous engravings of flora, fauna, and landscapes in the text. Verso of front free endpaper with engraved armorial bookplate of James Douglas.This is a lovely copy of White’s beloved account of the wonders of nature, offered in a very pleasing pictorial binding from the firm that is best known for that kind of work. First published in 1789, Gilbert White’s beloved account of the wonders of nature, which he wished to inspire readers to observe in their own backyards, "is open to everyone, for everyone has observed much of what it describes. Writer and reader each share the inheritance of the natural world, and delight in what is given, so that Selbourne becomes an expression of universal thanksgiving, treasured by all." (DNB) The present edition is in a binding that reflects the passions of the writer’s life. Kelly & Sons had one of the longest histories in the London binding trade, having been founded in 1770 by John Kellie, as the name was then spelled. The firm was continued by successive members of the family into the 1930s. Though the bindery would never be considered among the two or three outstanding workshops, it produced consistently high quality bindings and was notably innovative in its designs. Our cover design is animated and unusual, the gilt birds in flight adding a charming note of whimsy to the graceful Art Nouveau design. As with many Kelliegram bindings, pictorial inlays are prominently featured – though here they are atypically large and found inside, rather than on, the covers. The doublures represent two things dear to White’s heart: his Selbourne home, "The Wakes," and a small country church like the one where he served as a perpetual curate, forsaking a more brilliant career in the church or at Oxford in order to remain in the place that he loved. The doublure scenes employ at least ten different consonant colors of morocco and much incising to give a fine level of detail. James Douglas (1867-1949) was the founder of the Phelps Dodge mining empire in Arizona. He was known by the colorful nickname "Rawhide Jimmy" for his method of protecting the rollers on mining equipment with untanned leather. Douglas’ bookplate gives us an idea of the size and range of his library: the design includes the words "History Science Literature Theology" and there is a space provided for a shelf number, in which the complete Dewey Decimal call number for this work has been neatly written.

      [Bookseller: David Brass Rare Books, Inc.]
 15.   Check availability:     AbeBooks     Link/Print  


        Great Black Woodpecker, Picus martius (Linn)

      London 1837 - This splendid hand-colored, folio-size lithograph, Great black Woodpecker, Picus martius (Linn), from John Gould’s (1804-1881) monumental book "Birds Europe" (1832-1837) is in very good condition with light foxing throughout. Measuring 21.5" x 14.5", this lithograph magnificently displays the author’s scientific skill and attention to detail. These Great Black Woodpeckers are expertly hand-colored in rich black with red crowns. Precise lines define and detail each feather adding dimension to their bodies. The woodpeckers are illustrated resting on a tree branch, one peering at a small bug. John Gould was an English ornithologist, self-taught artist and naturalist. Gould first worked as a gardener under his father in the Royal Gardens of Windsor from 1818-1824, where he began his illustrations. He became an expert taxidermist, opening his own practice in London in 1824 and in 1827 he became the first Curator and Preserver at the museum of the Zoological Society of London. Through his work he was able to meet with the country’s leading naturalists and view new collections of birds given to the Zoological Society. His interest in birds was continually developing and in 1830 he published his first volume on birds, “A Century of Birds From the Himalaya Mountains.” For the next fifty years, Gould, his wife and artists working with them traveled around Asia, the East Indies and Australia. His wife Elizabeth and other artists were able to transfer his sketches to stone; hand print and hand-color them. One of the most accomplished and engaging natural history works of the 19th century, “The Birds of Europe” was also the first of Gould's works to feature plates by Edward Lear. A total of sixty-eight images bear Lear's name, and they are among the most remarkable bird drawings ever made. Lear endowed his illustrations with some measure of his own whimsy and intelligence, and his style is at once fluidly spontaneous and realistically precise. In this way, the images of “The Birds of Europe” are amazingly distinctive, while also highly realistic. Gould undertook this work partly in an effort to redress the imbalance between the study of local and foreign ornithology. 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.

      [Bookseller: Arader Galleries San Francisco]
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        Race for the Great St. Leger Stakes, 1836. Doncaster Races. (Tafel 2). London 1837. Altkolor. Aquatinta-Radierung von J. Harris nach J. Pollard. 44 x 55 cm.,

      1837 - Prächtige Rennpferde auf der Bahn, im Hintergrund Zuschauer, Kutschen, und Gebäude auf dem Lande.- Auf Papier montiert. Gewicht in Gramm: 500

      [Bookseller: Antiquariat Daniel Schramm e.K.]
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        Natural History and Antiquities of Selborne, The

      1837. A Superb Art Nouveau Binding[KELLIEGRAM BINDING]. WHITE, Gilbert. The Natural History and Antiquities of Selborne. With the Naturalist's Calendar; and Miscellaneous Observations, extracted from his papers. London: Printed [at the Chiswick Press] for J. and A. Arch; Longman and Co.,[et al], [1837]. Octavo (8 7/16 x 5 1/4 inches; 214 x 135 mm.). xxiv, 640 pp. Forty-five engraved vignette illustrations. A New Edition; with notes , by Edward Turner Bennett and others. Original front cloth cover and spine bound in at end.Bound ca. 1910 in a stunning Art Noveau binding of dark green crushed morocco, handsomely gilt and inlaid, by Kelliegram (stamp-signed on rear turn-in), covers with fanciful Art Nouveau-style frame formed by inlaid flowers of sky blue and leaves in two shades of green, these inlays connected by gilt and inlaid red morocco dots, and the spaces between them featuring swooping gilt birds and sprinklings of gilt dots; raised bands, spine compartments tooled in gilt with similar inlaid leaves and flowers, turn-ins with gilt tendrils and continuing the bird, flower, and leaf motifs, the turn-ins enclosing pictorial morocco doublures, the front doublure depicting Gilbert White?'s vine-covered house in Selbourne, the rear a slate-roofed country church and cemetery, moss green silk endleaves, all edges gilt. Original cloth spine and cover bound in at rear. Housed in a ca. 1930s felt lined, quarter dark green morocco clamshell case by James MacDonald of Norwalk, Conn.With numerous engravings of flora, fauna, and landscapes in the text. Verso of front free endpaper with engraved armorial bookplate of James Douglas.This is a lovely copy of White?'s beloved account of the wonders of nature, offered in a very pleasing pictorial binding from the firm that is best known for that kind of work. First published in 1789, Gilbert White?'s beloved account of the wonders of nature, which he wished to inspire readers to observe in their own backyards, ?"is open to everyone, for everyone has observed much of what it describes. Writer and reader each share the inheritance of the natural world, and delight in what is given, so that Selbourne becomes an expression of universal thanksgiving, treasured by all.?" (DNB) The present edition is in a binding that reflects the passions of the writer?'s life. Kelly & Sons had one of the longest histories in the London binding trade, having been founded in 1770 by John Kellie, as the name was then spelled. The firm was continued by successive members of the family into the 1930s. Though the bindery would never be considered among the two or three outstanding workshops, it produced consistently high quality bindings and was notably innovative in its designs. Our cover design is animated and unusual, the gilt birds in flight adding a charming note of whimsy to the graceful Art Nouveau design. As with many Kelliegram bindings, pictorial inlays are prominently featured ?- though here they are atypically large and found inside, rather than on, the covers. The doublures represent two things dear to White?'s heart: his Selbourne home, ?"The Wakes,?" and a small country church like the one where he served as a perpetual curate, forsaking a more brilliant career in the church or at Oxford in order to remain in the place that he loved. The doublure scenes employ at least ten different consonant colors of morocco and much incising to give a fine level of detail. James Douglas (1867-1949) was the founder of the Phelps Dodge mining empire in Arizona. He was known by the colorful nickname ?"Rawhide Jimmy?" for his method of protecting the rollers on mining equipment with untanned leather. Douglas?' bookplate gives us an idea of the size and range of his library: the design includes the words ?"History Science Literature Theology?" and there is a space provided for a shelf number, in which the complete Dewey Decimal call number for this work has been neatly written.

      [Bookseller: David Brass Rare Books, Inc.]
 18.   Check availability:     Biblio     Link/Print  


        Black-Eared Wheat Ear, Saxicola aurita; (Temm)

      London 1837 - This splendid hand-colored, folio-size lithograph, Black-Eared Wheat Ear, Saxicola aurita; (Temm), from John Gould’s (1804-1881) monumental book "Birds Europe" (1832-1837) is in excellent condition with a few light foxing marks. Measuring 21.5" x 14.5", this lithograph magnificently displays the author’s scientific skill and attention to detail. These Black-Eared Wheatears are expertly hand colored, the male seen on the ground with a white forehead and crown, buff body and black wings. The female, perched on the branch, is similarly colored but with an all buff head. John Gould was an English ornithologist, self-taught artist and naturalist. Gould first worked as a gardener under his father in the Royal Gardens of Windsor from 1818-1824, where he began his illustrations. He became an expert taxidermist, opening his own practice in London in 1824 and in 1827 he became the first Curator and Preserver at the museum of the Zoological Society of London. Through his work he was able to meet with the country’s leading naturalists and view new collections of birds given to the Zoological Society. His interest in birds was continually developing and in 1830 he published his first volume on birds, “A Century of Birds From the Himalaya Mountains.” For the next fifty years, Gould, his wife and artists working with them traveled around Asia, the East Indies and Australia. His wife Elizabeth and other artists were able to transfer his sketches to stone; hand print and hand-color them. One of the most accomplished and engaging natural history works of the 19th century, “The Birds of Europe” was also the first of Gould's works to feature plates by Edward Lear. A total of sixty-eight images bear Lear's name, and they are among the most remarkable bird drawings ever made. Lear endowed his illustrations with some measure of his own whimsy and intelligence, and his style is at once fluidly spontaneous and realistically precise. In this way, the images of “The Birds of Europe” are amazingly distinctive, while also highly realistic. Gould undertook this work partly in an effort to redress the imbalance between the study of local and foreign ornithology. 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.

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


        Strafford: An Historical Tragedy

      London: Longman, Rees, Orme, Brown, Green, & Longman, 1837. First edition. Original brown wrappers with original printed paper label on cover. 132pp. Side and bottom edges uncut. With 4pp advertisements at end dated April 15, 1837. A superlative copy, the best copy we have seen in many years. The paper covering on spine is almost completely intact, hinges are integral, contents clean and bright. A near fine copy of Brownings early work, his first play and perhaps his most original: (Michael Peverett) "... the one that is least like a closet drama; five acts and numerous speaking parts. It played for five nights in 1837, with Macready in the title role." Though the performance was critically, rather than well received, it was well attended and certainly contributed to Browning's early popularity and respect in literary circles.

      [Bookseller: Nudelman Rare Books ]
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        Rant-Che-Wai-Me, Female Flying Pigeon

      Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph. In excellent condition. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. The devoted and audacious wife of the famous Iowa chief Mahaska, Flying Pigeon or Rant-Che-Wai-Me accompanied her husband, with his six other wives, on his 1824 trip to Washington to visit President Monroe. Upon her return, she organized a meeting of Iowa women to whom she recounted her trip to the White House. Of all Mahaska's wives, Flying Pigeon was his favorite, and she bore him a son, Mahaska the Younger, who would later become a respected Iowa chief. She was killed in a riding accident the following year. Young Mahaska is said to have recognized his mother's portrait, this image, in a visit to Washington years later by the fan in her hand. Mckenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a.

      [Bookseller: Donald Heald Rare Books]
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        Vor den Toren der Porta Portese in Rom

      1837. Aquarell über Bleistift auf zwei zusammengesetzten Blättern eines Skizzenbuches, unten rechts bezeichnet und datiert: "fuori porta Portese 12/4 37", verso mit dem Nachlassstempel des Künstlers, 8,5 x 29,2 cm. Professionell unter säurefreiem Museumspassepartout montiert.. Theobald von Oer erreichte am 20. März 1837 zusammen mit Heinrich Matthäi, dem Sohn seines Dresdner Lehrers Johann Friedrich Matthäi, Rom. Unser Aquarell gehört zu den wenigen überlieferten Landschaftsstudien aus den ersten Tagen in der italienischen Metropole und scheint das früheste nachweisbare Zeugnis der Rom-Erkundung zu sein. Auch wenn die Landschaftsmalerei nicht im Zentrum seines Schaffens steht, so beweist gerade dieses Aquarell sein Gespür für die Natur und es ist interessant zu sehen, dass er sich auch außerhalb der sonst üblichen Landschaftstopoi bewegt. Obwohl sich von jenem Standpunkt, den von Oer in diesem Aquarell wählte, ein wunderbares Panorama auf die Umgebung Roms eröffnet, findet man diesen Blickwinkel verhältnismäßig selten dargestellt. Möglicherweise entsprach die Aussicht nicht ganz dem idealisierenden Blick: Die ruinösen Gebäudereste rücken die Cestius-Pyramide und die Porta S. Paolo stark in den Hintergrund und die Tiberufer mit ihren zerklüfteten Abbruchkanten zeugen eher von einer tatsächlich belebten Landschaft als von einem erträumten Ideal antiker Monumente. Das geschäftige Treiben am nahen Porto di Ripa Grande dürfte dazu beigetragen haben, die Realität der Gegenwart in jedes sich versenkende Sehen zu wehen, was den seit seinem zwölften Lebensjahr tauben von Oer jedoch nicht gestört haben dürfte. Scheinbar hatte gerade dieser Kontrast, dieses natürliche Verschmelzen der Antike mit ihrer Umgebung für von Oer seinen Reiz entfaltet. Auch wenn von Oer weder in Dresden noch bei seinem späteren Lehrer Wilhelm von Schadow in Düsseldorf gezielt Landschaftsmalerei betrieb, so wird er gerade in der Stadt am Rhein die Umwälzungen innerhalb der Akademie mitbekommen haben. Unter Johann Wilhelm Schirmers Leitung setzte sich die Landschaftsmalerei als eigenständige Gattung innerhalb der Akademiehierarchie immer stärker durch. Wichtige Vertreter dieser Düsseldorfer Landschaftsmalerei wie Andreas und Oswald Achenbach verhalfen diesem Zweig der Malerei zu stetig steigendem Ruhm. Lag die Reduktion auf die reine Landschaft dem Historienmaler von Oer zwar fern, so kann man doch in diesem Aquarell Tendenzen beider Kunstschulen wiederfinden. In der klaren Strukturierung und der summarischen Detailwiedergabe, die dem Diktat der Linie folgt, fühlt man sich an Künstler aus Ludwig Richters Kreis erinnert. Die flächige Erschließung des Blattes durch die Aquarellierung wiederum scheint er von Johann Wilhelm Schirmer übernommen zu haben. Schirmer selbst hat zwei Jahre nach von Oer die Landschaft vor der Porta Portese studiert,3 doch seine Skizzen verraten wesentlich stärker als von Oers Blatt den Drang nach Idealisierung, nach einem harmonischen Ausblick auf die Landschaft.

      [Bookseller: H. W. Fichter Kunsthandel e.K.]
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        BENTLEYS MISCELLANY. Volumes 1-10. Containing the first appearance of Oliver Twist, Thackerays first publication, and the first UK appearance of works by Longfellow and Poe.

      Richard Bentley . These volumes contain the first appearance of Oliver Twist in volumes: 1-4, Feb.1837 - March, 1839 (It was first printed in book form in 1838); also first publication of works by Thackeray, Harrison AINSWORTH, Washington Irving, etc.; and the first UK appearance of works by Longfellow and Poe. Illustrators include George Cruikshank, Crowquill and Leech. BINDING: The ten volumes are bound in matching half leather over marbled boards, with gilt ruling to spines and gilt lettered label to each volume. CONDITION: spine of volume two scuffed and two other volumes with the spines a little darker than the rest (see image), others with light scuffing; many of the plates are browned at the edges; on the whole a very good run of the first ten volumes.

      [Bookseller: ELY BOOKS]
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        JOURNAL DU PALAIS. Recueil le plus complet de la Jurisprudence Francaise. 1837-1847.

      F.F.Patris, Paris - Disponibile un'ampia raccolta del celebre repertorio di giurisprudenza francese, comprendente tutti i primi 47 volumi pubblicati. 2^-3^ edizione. Testi francesi su due colonne. Cm.26x16. Legature in mz.pergamena con piatti marmorizzati. Tasselli con titoli in oro ai dorsi, trattati con trasparente protettivo. La numerazione seguita è quella della terza edizione. Disponibili: N°1, 1791 - anno VIII (3^ edizione, anno di stampa 1838, pg.756); N°2, anno IX - anno X (3^ edizione, anno di stampa 1837, pg.756); N°3, anno XI - Floréal anno XII (3^ edizione, anno di stampa 1839, pg.780); N°4, Prairial anno XII - anno XIII (3^ edizione, anno di stampa 1837, pg.796). N°5, anno XIV - Marzo 1807 (3^ edizione, anno di stampa 1838, pg.796); N°6, Aprile 1807 - Giugno 1808 (3^ edizione, anno di stampa 1838, pg.802); N°7, Luglio 1808 - 1809 (3^ edizione, anno di stampa 1838, pg.688); N°8, 1810 (3^ edizione, anno di stampa 1838, pg.764); N°9, 1811 (3^ edizione, anno di stampa 1838, pg.860); N°10, 1812 (3^ edizione, anno di stampa 1838, pg.1002); N°11, 1813 (3^ edizione, anno di stampa 1838, pg.908); N°12, 1814 - Luglio 1815 (3^ edizione, anno di stampa 1839, pg.780); N°13, Luglio 1815 - 1816 (3^ edizione, anno di stampa 1839, pg.800); N°14, 1817-1818 (3^ edizione, anno di stampa 1839, pg.1198); N°15, 1819 - Giugno 1820 (3^ edizione, anno di stampa 1839, pg.1128); N°16, Luglio 1820 - 1821 (3^ edizione, anno di stampa 1839, pg.1096); N°17, 1822 - Luglio 1823 (3^ edizione, anno di stampa 1840, pg.1264, lievi abrasioni al capitello superiore); N°18, Luglio 1823 - 1824 (3^ edizione, anno di stampa 1840, pg.1340); N°19, 1825 (3^ edizione, anno di stampa 1840, pg.1148, lieve abrasione al capitello superiore); N°20, 1826 (3^ edizione, anno di stampa 1840, pg.1108); N°21, 1827 - Luglio 1828 (3^ edizione, anno di stampa 1841, pg.1656); N°22, 1828-1829 (3^ edizione, anno di stampa 1841, pg.1728); N°23, 1830-1831 (3^ edizione, anno di stampa 1841, pg.1818); N°24, 1831-1832 (3^ edizione, anno di stampa 1841, pg.1768); N°25, 1833 (3^ edizione, anno di stampa 1842, pg.1164); N°26, 1834-1835 (3^ edizione, anno di stampa 1842, pg.1628); N°27, Aprile 1835 - 1836 (3^ edizione, anno di stampa 1842, pg.1770); N°28, 1837 (1° volume, 2^edizione, pg.700); N°29, 1837 (2° volume, 2^edizione, pg.684); N°30, 1838 (1° volume, 2^edizione, pg.736); N°31, 1838 (2° volume, 2^edizione, pg.734); N°32, 1839 (1° volume, 2^edizione, pg.732); N°33, 1839 (2° volume, 2^edizione, pg.756); N°34, 1840 (1° volume, 2^edizione, pg.840); N°35, 1840 (2° volume, 2^edizione, pg.874); N°36, 1841 (1° volume, 2^edizione, pg.820); N°37, 1841 (2° volume, 2^edizione, pg.828); N°38, 1842 (1° volume, 3^edizione, pg.840); N°39, 1842 (2° volume, 3^edizione, pg.832); N°40, 1843 (1° volume, 3^edizione, pg.828); N°41, 1843 (2° volume, 3^edizione, pg.916); N°42, 1844 (1° volume, 3^edizione, pg.920); N°43, 1844 (2° volume, 3^edizione, pg.718); N°44, 1845 (1° volume, 3^edizione, pg.860); N°45, 1845 (2° volume, 3^edizione, pg.868); N°46, 1846 (1° volume, 3^edizione, pg.840); 1846 (2° volume, 3^edizione, pg.840); N°47, 1847 (1° volume, 3^edizione, pg.836); 1847 (2° volume, 3^edizione, pg.836). Gli ultimi due volumi sono rilegati in mz.pelle. La prima edizione comparve come "Journal du Palais" fondé pendant la Révolution par une société d'avoués, composé de «questions oiseuses, quelquefois plaisantes ou étrangères à la jurisprudence»". La seconda edizione, completamente riveduta, apparve con l'intestazione "Journal du Palais: présentant la jurisprudence de la Cour de Cassation et des cours royales. Nouvelle édition" e curatore ne fu M.Bourgois: tra il 1823 e il 1827 furono pubblicati 24 volumi, che coprivano un arco temporale compreso tra il 1791 e il 1822. La terza edizione fu infine curata da Alexandre Auguste Ledru-Rollin (1807-1874), che ottenne ampia fama nella difesa dei Repubblicani. Ledru Rollin ne mantenne la direzione fino al 1847, affiancato dal 1845 da Jean Antoine Levesque. Dal 1848 al 1852 il suo n 5 [Attributes: First Edition; Soft Cover]

      [Bookseller: studio bibliografico pera s.a.s.]
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