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Displayed below are some selected recent viaLibri matches for books published in 1844

        Pomerania.

      Geschichte und Beschreibung des Pommernlandes zur Förderung der pommerschen Vaterlandskunde. 2 Bände (6 Bücher). In einem Band gebunden. Stettin, E. Sanne & Comp. 1844 - 1846. 4° (etwa 26 x 22,5 cm). 4 Bl., 339 S. und 3 Bl., 354 [richtig: 346] S. Mit 8 lithograph. Portraits und 100 [von 109] lithogr. Ansichten auf Tafeln (2 doppelblattgroß). Etwas beschädigter Halblederband d. Zt. Erste Ausgabe. - Ein Vedutenwerk, das das ehemalige Pommernland in einzigartiger Weise wiedergibt. Die jeweiligen Stadt- und Dorfansichten mit figürlicher Staffage im Vordergrund sowie Baudenkmale zeigen Pommern zur Zeit des Biedermeier wie es nicht mehr zu finden ist. Nicht zuletzt deshalb ein Quellenwerk ersten Ranges, die Ikonographie Nordost-Deutschlands schlechthin. Ewa Gwiazdoeska u. a. vermuten Friedrich Thiede als ausführenden Künstler und auch unser Exemplar trägt diesen Namen handschriftlich auf dem Titel (und zwei weitere) als Verfasserangabe. - Mit schönen Ansichten von Stettin, Elisens Höhe bei Freudendorf, Finkenwalde, Papiermühle Hohenkrug, Damm, Penkum, Politz, Ueckermünde, Pasewalk, Neuwarp, Anklam, Demmin, Heringsdorf bei Swinemünde, Wollin, Kammin, Treptow, Greifenberg, Daber, Massow, Naugard, Greifenhagen, Bahn, Pyritz, Stargard, Freienwalde, Regenwalde, Labes, Marienflies, Schlawe, Coeslin, Kolberg, Bublitz, Klempenow, Neu Stettin, Kolbatz, Stralsund im 16ten Jahrhundert (doppelblattgroß), Stralsund, Barth, Franzburg, Richtenberg, Loitz, Triebsees, Greiswald, Wolgast, Lassan, Bergen auf Rügen, u. a. - Es fehlen der lith. Titel und 9 Ansichten. Vermutlich wurden diese unserem Exemplar nicht begegeben. Die Tafelanzahl schwankt bei den überlieferten Exemplaren. - Einband beschabt, -gelenke gerissen. Vorsatzbll. alt erneuert. Innen Text teils papierbedingt etwas gebräunt bzw. fleckig. Einige wenige Blätter mit Druckerfarbspuren. Vereinzelt Anstreichungen im Text. Teil 2 mit fehlerhafter Paginierung (Seitensprung von 232 auf 241). - Buchblock im Tafelteil gelockert. Tafeln stellenw. gering stockfleckig, teils in der Darstellung, meist im weißen Außenrand. Etwa 40 Tafeln im äußersten Unterrand etwas wasserrandig, zu Beginn kaum, dann etwas stärker werdend. Die doppelblattgr. Tafel »Stettinum« im Falz eingerissen. 1 Tafel lose. [26 Warenabbildungen bei antiquariat.de]

      [Bookseller: Antiquariat Halkyone]
 1.   Check availability:     antiquariat.de     Link/Print  


        Black's General Atlas: Comprehending Sixty-One Maps from the Latest and Most Authentic Sources.

      Edinburgh: Adam and Charles Black [et al], 1844.. Folio. (4), 12, maps, 57, (1) pp. Contemporary half maroon morocco over brown cloth boards, spine with raised bands, gilt lettered to one panels, gilt rules to compartments and sides, plain yellow endpapers, small binders ticket of Alexander Banks Jr. of Edinburgh to lower edge of inner cover, all edges gilt. The maps and charts are numbered I-LX (no. 3 with a bis chart), of which nos. 12-13, 15-16, 21-22, 27-28, 29-30 and 47-48 are double page, another six are also double page though numbered singly and the remainder are single page. The maps with original hand colouring in outline. Upper joint just starting at head and foot, likewise lower joint at foot, though both sides holding firm, map of India slightly darkened and with minor splits at edges of centrefold, crease to the map of Ireland adjacent to fold, some occasional trivial spotting, else a very good example.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
 2.   Check availability:     UKBookworld     Link/Print  


        Plate LXXIII Rocky Mountain Sheep The Viviparous Quadrupeds of North America

      Audubon J.J. Philadelphia: Audubon, J.J., 1844. Imperial Folio Edition Fine with bright original hand-coloring. Original and rare hand-colored lithograph (21 x 27 inches, 533.4 x 686.8 mm) by JT Bowen after painting by John James Audubon, FRS, FLS for the Imperial Folio Edition of the Viviparous Quadrupeds of North America. The Rocky Mountain Sheep is in Fine condition with bright and rich original hand-coloring, The Viviparous Quadrupeds of North America (Philadelphia c.1845-48) represents the culmination of a lifelong dream held by America's most prominent naturalist and visionary, John James Audubon (1785-1851). Following the completion of his magnum opus, the Double Elephant Folio Edition of Birds of America, c. 1824-38, Audubon was at liberty to pursue a project close to his heart, large scale portraits of all of North America's native animals. Audubon's effort to render America four-legged (thus quadruped) mammals in their natural settings pioneered the way for an entire culture of naturalist artists and engravers. Once the animals were placed within their native habitat, inspired by Audubon's classical composition and watchful eye, most subsequent naturalist painters rarely presented animals and birds void of a full botanical perch, landscaped setting, or woodland background. Very few, if any naturalist artists returned to the solo vignette so commonly found in most natural history works from the previous three centuries. Audubon's dream to complete this monumental work was made manifest through the artistic and clerical assistance of his two sons, John Woodhouse and Victor Gifford, as well as the Reverend John Bachman, who contributed the excellent text for the production. Today, the tale of Audubon's westward journey to hunt and gather skins and specimens and thus inspiration to complete the 155 paintings for the Quadrupeds is common enough. The story of how he sold his work through subscription format and created a smaller (Royal Octavo Edition) as a more democratic and affordable option to the production has been told religiously, and in great detail, by anyone reviewing these masterpieces once again. Yet through these critiques, America's premier ornithologist, painter and naturalist has gained his rightful place among the masters of Animal Portraiture, painters like Edwin Landseer and George Stubbs. Regardless of any criticism his artistic practices and personal affairs may have encountered, Audubon's legacy has enriched our understanding and appreciation of America's native species, both birds and animals. In addition, through Audubon's paintings we are offered the very first glimpses of the American landscape west of the Mississippi, as his work predates that of the Hudson River Artists. (Blum, Picturing Nature, Princeton: Princeton University Press, 1993. Sabin 2367, Wood 208).

      [Bookseller: Lowry-James Rare Prints & Books, ABAA ]
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