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

        ILLUSTRATIONS OF THE RECENT CONCHOLOGY OF GREAT BRITAIN AND IRELAND, with the Description and Localities of all the Species, Marine, Land, and Fresh Water.

      London. Smith Elder. 1844 - Quarto 12 1/2 x 10 1/4 inches, original half dark morocco over marbled boards. Second edition, greatly enlarged. xvi, 144 pages and 62 FINE HAND COLOURED PLATES - COMPLETE, numbered as 1-59 with 3 bis plates. Minor spotting to the endpapers but a good clean copy in a period binding. Reference Nissen ZBI 609. [Attributes: Hard Cover]

      [Bookseller: Charles Russell, ABA, ILAB, est 1978]
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        Aus Mehemed Ali's Reich. Vom Verfasser der Briefe eines Verstorbenen. 3 Bände. (komplett). Erster Theil: Unter-Aegypten. Zweiter Theil: Ober-Aegypten. Dritter Theil: Nubien und Sudan. [Erstausgabe].

      Stuttgart, Hallberger'sche Verlagshandlung 1844 - 8°. 19,5 cm. IV, 368, 366 und 344 Seiten. Einfache Halbleinenbände derv zeit mit goldgeprägtem Rückentitel. Erste Ausgabe. WG 10. Kainbacher (2016) Seite 368. Mit einer farbigen Illustration auf Tafel. Exlibris auf Innendeckel. Einbände stärker bestoßen, berieben, Blätter teils wenig fleckig, Band 1 mit 28 Seiten private Korrekturen. Gutes Exemplar. [Attributes: First Edition]

      [Bookseller: Antiquariat Lenzen GbR]
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        Unusual jointly-written, six-page autograph letter, signed by both.

      Windsor Castle: 22 January, 1844. Two bifolia of small note stationery (181 x 113 mm), embossed Royal arms in colours to the first page of each. Pales toning overall, faint creases from old folds, ink unfaded, very good. An extremely uncommon dual six-page autograph letter signed by both Victoria and Albert. Written in German to Victoria's cousin, Count Alphonse Mensdorff-Pouilly, son of Emmanuel von Mensdorff-Pouilly, Victoria's much loved "Uncle Mensdorff", who had married Princess Sophie of Saxe-Coburg-Saalfeld, Victoria's mother's sister. The Queen begins her portion by thanking Alphonse for his letter, and sending him birthday greetings; 'May you remain as happy as you are now with your dear wife. Who can understand your happiness better than both of us who live together so infinitely happy?' Continuing by describing a recent long letter from his brother Alexander, noting, 'He seems to be so alone in his garrison. He very much regrets, as we do, that dear Arthur [another brother] could not follow your example. 'I heard that he had seen the young lady again.' The queen concludes by referring to some lithographed portraits, and asking her correspondent to order her three dozen pairs of gloves. Signed, 'Ever yours most faithful cousin and friend, V.' Albert then adds a note, expressing his good wishes for Alphonse's birthday too. 'I also thank you for your last kind letter, and remain as always, your dear nephew Albert'. Victoria was particularly fond of the brothers, describing them in a letter to Lord Melbourne as "all so nice and amiable and kind and good" (28 May 1842). Autograph letters written and signed by both Queen Victoria and Prince Albert rarely appear on the market, and the present letter is a particularly charming example with an excellent association.

      [Bookseller: Peter Harrington]
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        Kitab fihi Ahasin kalim an-nabi wa-'s-sahaba wa-'t-tabi'im wa-muluk al-gahiliya wa-muluk al-islam wa-'l-wuzara' wa-'l-kuttab wa-'l-bulaga' wa-huwa imma 'l-asl wa-imma muhtasar li-kitab: al-I'gaz fi 'l-igaz]. Specimen e litteris orientalibus, exhibens Taalibii Syntagma dictorum brevium et acutorum [.].

      Leiden, S. & J. Luchtmans, 1844. - Large 4to (235 x 280 mm). (8), 117, (3), 67, (1) pp. Later wrappers. Editio princeps of this "collection of proverbs and sentiments" (Brill's First Encyclopedia of Islam VIII, p. 731), edited by J. Ph. Valeton with the Arabic text, Latin translation and commentary. Abu Mansur al-Tha'alibi is regarded as "one of the most fertile intellects of the 5th (11th) century [.] His numerous compilations, in which he deals by no means scrupulously with the intellectual property of his predecessors and repeats himself frequently, deal mainly with the poetry of his time but also with lexicology and rhetoric" (ibid., p. 730). - Occasional insignificant browning. An untrimmed, uncut copy. GAL I, 286, no. 26. [Attributes: First Edition; Soft Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Ansicht mit der Kilianskapelle von Südosten mit dem Treppenaufgang zum Schloß.

       Lithographie mit Tonplatte von Bichebois u. Bayot nach Chapuy, 1844, 38 x 26,5 cm. Schefold 35259. - Mit schönem Durchblick zum Schloß und lebhafter Personenstaffage im Vordergrund. - Seltenes Blatt in einem schönen Exemplar mit ca. 25 mm Rand. Versand D: 6,00 EUR Baden-Württemberg

      [Bookseller: Antiquariat Bierl]
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        \"Das Münster zu Freiburg\". Ansicht von der Nordwestseite, links der Georgsbrunnen, rechts Häuserflucht.

       Lithographie mit Tonplatte von Dumouza u. Bayot nach Chapuy, 1844, 39 x 27 cm. Nicht bei Schefold. - Seltene, hübsch staffagierte Ansicht: am Brunnen Student in Montur, rechts Faßmacher bei der Arbeit. - Tadelloser Zustand. Versand D: 6,00 EUR Baden-Württemberg

      [Bookseller: Antiquariat Bierl]
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        The Life and Adventures of Martin Chuzzlewit. With Illustrations by Phiz.

      London: Chapman and Hall, 1844 - Octavo (213 × 131 mm). Contemporary black half calf, marbled sides, titles to spine gilt, marbled endpapers and edges. Inkstamp to frontispiece and title page. Spine panel and tips lightly worn, boards a little scuffed, front hinge split but holding, some light toning and spotting to contents. A very good copy. With 40 engraved plates by H. K. Browne. First edition, first issue, bound from parts, with all the issue points listed by Smith. With the £100 title plate, not transposed. The transposed plate is often referred to as a first issue point, though Hatton and Cleaver long ago dismissed this, stating that "It is merely one of the five cases in Chuzzlewit of triplicated steels, one of them reading '100£' and the other two '£100' . all three of them in use during the issue in parts." Smith I, 7; Hatton and Cleaver pp. 183-212. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Collection of Letters from Elihu Vedder to Porter E. Sargent, concerning printing and publication of Vedder’s poetry, including retained copies of Sargent’s letters to Vedder, plus original manuscripts of Vedder, promotional materials et cetera, 1914-1923

      Archive of correspondence, original manuscripts, promotional and other materials pertaining to publication of Elihu Vedder's two volumes of poetry. The archive consists of 19 letters, 48 pages from Elihu Vedder to Porter Sargent; 25 letters 42 pages written by Porter Sargent to Elihu Vedder; 53 pages of original manuscript verse by Elihu Vedder, some with small sketches and designs; 20 pages of typescript copies of Vedder's verse, edited and corrected by Sargent; 8 letters, 26 pages of correspondence between Anita Vedder and Porter Sargent; 3 letters, 7 pages Enoch R. Vedder to Porter Sargent; 43 letters, 45 pages to and from Porter Sargent concerning the printing, publication and marketing of Vedder's verse; Introduction and notes by Porter Sargent, 14 pages; over 20 promotional ephemeral items for Vedder's publications; approximately 16 clippings of reviews and other notices concerning Elihu Vedder. Elihu Vedder was born in New York City, the son of Elihu Vedder, a dentist, and Elizabeth Vedder. His parents were cousins. Between 1844 and 1849 young Elihu shuttled between Cuba, where his parents had settled, and the home of his grandfather in Schenectady, New York. As a boy, Vedder attended the Brinkerhoff School on Long Island and then served a brief apprenticeship at an architect's office before going to study, at about the age of 18, under Tompkins H. Matteson, a landscape, genre and portrait painter. In 1856 Vedder went to Paris to study painting with the French artist Francois-Edouard Picot. He worked with Picot for seven months and then traveled to Rome and Florence. While in Europe, he examined at first-hand the works of the Italian masters and studied with Raffaello Bonaiuti in Florence. He also became friendly with members of the Macchiaioli, the Italian precursors of the French Impressionists. To please his father, who had been supporting him on his Italian sojourn, Vedder briefly returned to Cuba but moved to New York in 1861. The Civil War had begun, and Vedder tried to enlist in the Union army but was rejected on physical grounds. Vedder then found work as an illustrator and contributed to Vanity Fair. He also created comic valentines and continued painting. He exhibited six works at the National Academy of Design in 1862, and his well known The Questioner of the Sphinx (1863, Museum of Fine Arts Boston) was shown there in 1863. The following year he sent his The Lair of the Sea Serpent (1864, Museum of Fine Arts Boston) to the National Academy's Exhibition. He became a full academician in 1865. Near the end of 1865 Vedder settled in Paris, but he soon returned to Rome. Using Rome as his winter home, he made sketching tours of Italy, particularly the Umbrian region. In 1866 he met the art student Elizabeth Caroline Rosekrans, called Carrie, the daughter of a wealthy Glens Falls, New York, family. The couple became engaged, and Vedder returned to the United States to convince her parents of his suitability as a husband. The two married in 1869 and, with funds from Carrie's sister, returned to Italy in October of that year for a honeymoon. The couple had three children, one of whom died in infancy. Italy, particularly Rome, remained Vedder's home for the remainder of his life. He also had a residence on the island of Capri. Vedder made frequent trips to the United States and traveled extensively throughout Europe. He met a number of Pre-Raphaelite painters while on a visit to London in 1876 and attended an exhibition of William Blake's work at the Burlington Club. Vedder's work subsequently displayed a more idealized human form. Vedder exhibited at the Paris Exposition in 1877 – 1878. While on a trip to New York in 1879-1880, he won a Christmas card design contest sponsored by the Boston publisher Louis Prang. He became friends with the architect Stanford White, who assisted Vedder in obtaining a commission for five covers of the Century Magazine. Another commission to illustrate the 1884 edition of Edward Fitzgerald's Rubaiyat of Omar Khayyam (Houghton Mifflin and Co., Boston) established his fame at home and abroad. His illustrations, intricately linked to the verses (which he rearranged to suit his vision of the book) were a popular success and exhibited widely. He converted a number of the illustrations, such as The Cup of Love (1887, location unknown), into full scale paintings. In 1889-1890 Vedder visited Egypt and saw several exotic sites, including the Sphinx, which he had painted more than twenty times earlier. The biblical subject of Lazarus also occupied Vedder. His Lazarus Rising from the Tomb(c.1895-1899, Museum of Fine Arts, Boston) is a closely cropped portrait of Lazarus depicted from the perspective of a viewer inside the tomb. It was not painting, however, but a wide range of decorative arts, murals, stained glass, mosaics, and metalwork that dominated much of Vedder's public art in the later decades of his life. Among his major work during this period were murals for the mansion of railroad magnate Collis P. Huntington and for the Walker Art Gallery at Bowdoin College in Brunswick, Maine. The latter was completed in 1892. Although he failed to secure the mural commission for the Boston Public Library (won by John Singer Sargent), Vedder was among the artists selected to adorn the newly built Library of Congress building in Washington, D.C. His murals for the library were completed in 1895. He completed a mosaic, Minerva, for the library in 1897. In 1898 he was elected a charter member of the American Academy of Arts and Letters. Vedder completed a number of pastels of the Italian countryside in the 1910s. Path into the Woods, Viareggio (1911, Munson-Williams-Proctor Institute) and Villa Borghese – Rome(1913, University of Connecticut Museum of Art) are examples of these rustic depictions of Italy. After his wife's death in 1909, Vedder devoted more of his time to writing. His autobiography, Digressions of V., appeared in 1910. Vedder also published two books of poetry, Miscellaneous Moods in Verse (1914) and Doubt and Other Things (1923). He died in Rome. Vedder was one of the most popular artists of the late nineteenth and early twentieth centuries. At his death, the Nation placed him in the "highest ranks" of American painters. However, his mystical and imaginative works fell out of favor with the public quickly after his death. A large retrospective exhibition of his work was organized by his daughter Anita in 1937 at the American Academy and Institute of Arts and Letters in New York City. In 1957 the art historian Regina Soria discovered Vedder's papers (with the exception of the present group of papers) and hundreds of sketches in an apartment above his favorite café in Rome, the Caffe Greco. This discovery revived interest in his work, and since then his accomplishments as a mural painter have been recognized as important contributions to the mural revival of the late nineteenth century. Porter Edward Sargent (1872-1951) born in Brooklyn, New York, and raised in California, was a prominent educational critic and the founder of Porter Sargent Publishers in Boston in 1915. He studied at Harvard with William James, Nathaniel Shaler, Charles Eliot Norton, and William Gilson Farlow. He was described in 1949 as "probably the most outstanding and consistent critic of the American educational scene." Sample Quotations from the Letters: "6 Porta Pinciana, Rome, March 14th, 1914, Elihu Vedder to Porter Sargent My dear Mr. Sargent, I know I have delayed too long, but a virulent attack of laziness has set in owing to a recent birth-day – showing me that I must not lavish the rest of my life in writing letters altho – I write this with pleasure. Our little Japanese friend Nomura responded to the receipt of the directions you forwarded to him with promptness, sending me two books and some "nice base for vases" – but fortunately delayed the other suggestions but will order "to do them newly" is so directed. I find that with me this is no time to go into the least extravagance, I must not only content myself with what I have but seek to dispose of all I can. The "Cassone" hangs fire – the tapestries are in Germany and we are corresponding about the other things, so no more of Japanezeries for me. The whole "bag of tricks" relating to Alfaru … I shall make over to you and send to where you direct. … There are some good drawings among the things. The scheme is useless but makes a fine curiosity as the record of a "fad" – in fact breaks the record. I have been drawing up some directions for teaching the child you said you experiment with. The demand for the poems keeps up – but I have been reading the "Tea-Cups – of Dr. Holmes – and his comments apropos of verse making have discouraged me – for I notice that I like some of my things better than I do his, which is a sure symptom of an advanced state of the disease. Only my ignorance of spelling keeps the divine efflatus from coming to the point of bursting. The fact of having to decide whether there should be two Ls or one in a word gives the vision time to vanish. …" "6 Porta Pinciana, Rome April 26, 1914, Elihu Vedder to Porter Sargent Dear Mr. Sargent, You certainly are comfortingly prompt, card from Bangkok rec'd – and from it I hope the package of mass – I send tomorrow may synchronize with your arrival home in Boston. The job of revision has been a tough one also the making out of the Index. I hope it will correspond with the list my daughter sent on to my son, since that young lady has taken to art in which she has made astounding progress all type writing has ceased and so I have had to do all by hand. From 122 on all are new and I trust good. When I picked up by chance number 124 – a neglected scrap I said to my self – where in god's name did this come from – it had such a glowing inspiration. Of course the number are pro tem – I send all in hopes some may survive – The editor will close up the ranks, omitted are 54, 57, 100, 103. I know Eben Thomson or Mr. Dearth might take an interest in the things. I write rather despondingly for all my affairs have struck a rut or adverse stream of fortune – go wells are few and the go badlys many and serious – but health, teeth, hair, digestion, are better than could be expected, all but a dizziness which prevents much practice on the wire or slack-rope, please remember I scarcely expect you will be in couraged [sic] to attempt anything in the way of decoration or illustration. I should be most gratified if I could see the things well printed in impressive clear type – such as I see in many circulars or "booklets" and at a modest price take their chance. But I am talking into space, full of possibilities as that last word is of Is but at present seemingly empty. The phonetic business I will make a package of and send as a curiosity – to be shown as "sich" and only as such. Will be a great weight off my shoulders and mind. What better closing is there than the old one – I trust this will find you prosperous and well – with kindest regards to the family … I feel I have not said much that needs talking over but will wait until I hear from you – name of book, cover design, which will depend on price tec. In case of need my cable address is simply VedderRome Anita sends her best regards – E. V. …" "May 12, 1914, [Boston] Porter E. Sargent to Elihu Vedder, Rome My dear Mr. Vedder, … Yesterday I received your letter of April 26th and a package of manuscript, registered, which was apparently mailed in Rome on April 14th. This package contained the Table of Contents, the corrections, and the new poems, 123 to 128. I have not received the first 120 poems. I am left a little in doubt from your letter as to whether these have been sent… From your letter, I am left in doubt as to whether you have yet sent the manuscript of "Doubt" and "The Alfaru" manuscript. If you have not, I should be glad to have you do so, as I think I could do better with the whole series than with one. I should like to have Miss Vedder send me, as early as possible, a transcript of names, and so far as possible, the addresses from your "Register of Visitors." As I proposed to you last November, what I want to do is to send out to a list of several hundred of your friends, made up from your Register and the names in the back of "Digression", a circular letter suggesting or announcing the proposed publication of these volumes in two editions; one, a broad margin Edition de Luxe, offering them an opportunity to subscribe in advance. I want to spend $ 100.00 or so in promoting sales and getting subscriptions before I approach a publisher with any proposition. Then, if they do not jump at the opportunity, I want to publish them myself. As to business, I undertake all responsibility and risk and expense, but if the thing yields me revenue, I will deduct actual expenses from the profits, all of which will otherwise be turned over to you. If I so undertake it, I most certainly want to have the book or both books, "Poems" and "Doubt". Illustrated. I should be glad to have you send me the illustrations that I might get estimates as to the cost of reproduction. This is putting large trust in me, but I will have manuscript copied, ready for printer, and the original returned to you, if you request. In drawing up the circular letter, offering opportunity to subscribe, may I announce a limited edition of 100 copies numbered, with the title-page inscribed by you. Title pages could be sent you, returned here, and afterwards bound in. How much would you be willing to undertake to do as to this? The subscription price of such a volume should be $ 10.00, and if the book is decently, but not expensively printed, it ought to pay the cost of the entire edition. As soon as I have the list of names and the manuscript, I shall begin my campaign, but you must allow me three or four months before entering into any contract to print. The time is needed to create interest and get subscriptions, and I have a few other things that need attention in the meantime. Mr. Nomura was pleased to be of service to you. He has instructions to honor your orders and to render no bills. I might as well explain my attitude. Selfishly, I have my eyes on some of those chalk things which I couldn't buy, but I am willing to wait until they are reproduced …" "May 15, 1914 [Boston] Porter E. Sargent to Enoch Vedder, 152 East 36th St., New York, New York My dear Mr. Vedder, This morning I received your letter of the 13th and a large package of manuscript containing the bound manuscript and poems, illustrated manuscript of "Simple Simon" and 30 or more photographs and originals of the illustrations. I shall take the best care of them, keeping them in a fire-proof vault. In the course of a few days I shall get printers' estimates on the cost of printing and reproducing the illustrations in half-tone. … When I have a sufficient number of subscriptions, I thought it might be well to again approach Houghton & Mifflin, offering them the opportunity of publishing these forthcoming volumes so as to have their list complete…" "Capri May 27, 1914, Elihu Vedder to Porter Sargent My dear Mr. Sargent, Your letter came at the very last moment as we were leaving for Capri. We have frequently "come the Warbles" but never as we did this time in getting to Capri – losing hand bags and trunks – but this time we lost the cook and maid. However they turned up the next day. Anita left very ill with an ear ache which we hoped the change of air would modify but it has been steadily growing worse until she is worn out and I nearly crazy. We have been here 3 days and my trunk is still unpacked – all this to explain the delay. She has written to Rome for the address book and I shall get out what I have brought today. And now to business, which I find hard to conduct with the materials in two places – Capri and Rome. A moment's thought would have brought to mind Bay State but it didn't. Of course you must have from my son all the mass and illustrations I sent on to him – if not tell him to turn everything over to you – that I hereby authorize you to hold them. Your propositions are all most generous and I shall make it a point to see to it that you shall not loose anything – the drawings and pictures you will get I hope if I turn out to anything will even up the accounts, and I will see that my daughter – or rather I will direct her to see that my intentions are carried out in case anything happens to me. I think you ought to – or beg you will keep to the poems only. The doubt is doubtful – a fragmentary thing at best, but I will go on getting it into shape and then you can judge – after consulting the proper persons if it is worth including in the book. … The port folio of the Alfaru was left in Rome as that can be of no earthly use for publication – except that as a Fad and accent might go into thoughtswhile dreaming another thing I have my doubts about. …." "Capri, July 6, 1914, Elihu Vedder to Porter Sargent My dear Mr. Sargent, If I don't get this off to day, god only knows when it will reach you, my daughters illness and callers and now the advent of people who are going to make a little stay with us have combined to retard the "Doubt" perhaps providentially as I have been able to make many corrections I found that the quickest was to rewrite all – which with what you already have would make a neat little book, one I think for which there would be a demand – not coming from literary people but from the common sort. … About the covers – I will send on designs, very simple for the doubt, and somewhat more elaborate yet still simple for the poems as soon as I hear from you and the title has been settled …" "July 13, 1914 [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder, Pressure of work has prevented my replying at any length to your two letters of the 27th and the 31st until this time. I wished to be able to report some progress before writing. In the next week or ten days I hope to be able to report much more. We have gone over the list and completed addresses from Directories and Social Registers, so far as possible. There still remain some names without addresses. Further, we have begun to compile an additional list of names to bring the total up to one thousand, from "Who's Who," from Club books, from officers of Art Clubs, and similar sources. I am getting up a little circular announcing the publication of these volumes. I wish to have on the front page very little – the title, and in the center of the page a portrait of you – the one that Curtis & Cameron use on their little circular by Pennington. The second page is to give a partial Table of Contents, taking the more imaginative and significant titles. The third page should be a very brief discourse or essay on the poems made up briefly of quotations from the poems, using some of the best lines and outlets – the sort that will whet one's appetite for more. Then on the back of the four page circular should be an order form like the enclosed. As for the title, I like your "MISCELLANEOUS MOODS." Why should it not read thus:-MISCELLANEOUS MOODSIn VerseOne Hundred PoemsBy Elihu Vedder. Accompanying this circular, I want to send a very brief letter. The enclosed is what I have drafted to go to your personal friends, this to be modified for others. You needn't give your approval to all this if it troubles your modesty to do so, but unless you suggest other alternatives, I shall go ahead with this program as outlined. I have gone over the poems pretty carefully, but not your corrections in lead pencil on your manuscript. Some of the corrections, I think, should not be adopted, the original version being preferable. If you are willing, I should like to cut the number of poems to an even hundred. I think it would, on the whole, improve the volume. I believe it might save us possible unkindly criticism. You see I write frankly and without mincing words. …" "July 22, 1914 [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder: Your "DOUBT" has arrived safely and I have read it through with the keenest enjoyment. I think it's big virile stuff and I should be interested to help it into print. The 58 quatrains present no difficulties to straight printing. How to handle the twelve short sections which you sent on half sheets, I am in DOUBT. I notice that you say, "The things sent now with the body of verses are the following," then naming the titles of these twelve short sections, "Creed," "Supine Comedy", etc. Tell me what your idea was as to the printing of these. My suggestions would be that we print four quatrains (of the 58) to a page, and then follow them by the twelve shorter poems … one to a page. I think it would add much to the appearance of such a volume and little to the cost to have a few head and tail pieces simple sketches in line that could be reproduced by the zinc process. Now I come to the matter of the poems. We have edited the poems roughly, introducing your corrections, selecting certain ones for omission, to bring the total to one hundred. I think the volume would gain by that. I have gone over the text and the illustrations with two printers and gotten two sets of estimates. The expense of printing will vary between $ 400.00 and $ 750.00. It depends on how we do it…" "Capri, July 29, 1914, Elihu Vedder to Porter Sargent My dear Sargent- Your anxiously expected letter has come. I thought first to cable you but imagined that silence would mean to you to go ahead as I see you doing. The title will do. I had wished to limit the poems to ninety nine – that being the number of the "disgrazie" or misfortunes of pulcinella Number 100 is a "mal augurio" fatal to him. I wish him to go on living; but do as you please, you have full control as you should have. Of course I expected the number to be cut down, but in avoiding "possible unkindly criticism" I hope you will not omit "Chippendale" or Libations" and such like. I hope you will take good advice as to my penciled emendations, of course correct all obvious errors. A Mr. Eben Francis Thompson has been here – came on purpose to see me. He is a reader (with slides) of Omar Khayam, an enthusiastic admirer of mine – he might be of great use . He is a friend also of Mr. Dole who it would be well to consult. I see no notice of an ordinary edition. Friends are constantly asking about this with a view of distribution among friends …" "Capri Aug. 5th, 1914 Elihu Vedder to Porter Sargent My dear Mr. Sargent, … of all my portraits I consider Pennington's the best adapted for the poems. It is not vignette a thing I hate and would spoil the title-page. It is good – but as it gives not only the front face but the two sides, it is too broad a sort of mercator's projection as it were. The best for this purpose is Paxton's, the Boston portrait painter's You can get a photo from him … We think the war craze will not affect us much here in Italy – but 'tis a case of who knows – if ever there was one…" "Capri August 8, 1914 My dear Sargent, Yours of July 2nd came the other day – but Anita's departure for Rome – she left yesterday – prevented me answering at once. You see she goes on to dismantle the house and move the things into a studio and the deciding on what to save – what to sacrifice has put us in a fearful quandary. Then the War craze and now the prospect of your sending on the whole "Bag of Tricks" fills me with dismay. First as to the "Doubt" – I am glad you enjoyed it and think printed black it might be impressive even raise a Tempest – in a Tea-pot. If you have rec'd allthe drawings last sent on you will see one with two philosophers and the symbol – the labyrinth hanging against the sky between them. Now instead of making for the "Doubt" little head and tail pieces (the hardest thing to do) – my idea is to take the symbol as a frontispiece – print opposite the lines from Omar K-ym verse 27 my edition "myself when young did especially frequent " etc. for you will see by following its lines you evermore come out by the same door wherein you went – which well illustrates Doubt and theology in general. For the ending the "Ever Open Door" would be appropriate – Also "The Advent of Man" and the "Birth of the Idea" might be used making four full page illustrations by E. V. The quatrains of Doubt divided up into sections according to subject – Hell, Saints Jerusalem etc separated by some little devise which I will send – and the other things in the nature of short poems coming in at intervals- as the verses of Love come in, in Richard le Galienne's – Omar Khayyam. … this would break up the dog trot of the quatrains. Four illustrations then would make the book – and not be very expensive – half tone engraved by Simeone Chadwick? – The book should be cheap consult le Galliene's book…" "August 12, 1914, [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder:- … At last I see clearly how the volume is to look. We will take out all the verses from "Doubt," saving them for the second volume – "Doubt." We will with your permission, keep the number one hundred. There will be six full page half tone inserts; twelve full page line cuts, reproducing your own lettering of the poems; and thirty or more head and tail pieces…" "Capri Aug. 18th 1914, Elihu Vedder to Porter Sargent My dear Sargent, I write this not knowing if you will get it unless sent by private hand such is the ridiculous but also the awful state of affairs brought on by the peace-loving German Emperor – may the devil fly away with him. Of course all is panic here but I think if Italy cannot remain neutral, she will have to side with France and England, else risk a revolution. …" September 30, 1914, [Boston] Porter E. Sargent to Elihu Vedder, Torre Quatro Viente, Capri, Italy My dear Mr. Vedder:- Since I wrote you last on Sept. 17th, I have received your two letters, dated August 18th and Sept. 5th. It is evident that the mails are halting and irregular. … First, however, we must see the volume of poems successfully floated. I expect to send out, about the first week in October, two hundred letters with the printed circulars announcing the poems and with proof sheets of the illustrations, to two hundred of your friends. If the response is slow, then I shall wait another month before sending out the other eight hundred. If the response is favorable, I will push them out promptly. The poems and annotations are now all in shape for the printer and as soon as I have subscriptions for one hundred or so volumes, we will go ahead with the printing. We shall need from you a design for the title. The book, you understand is to be bound in rough, grayish Italian hand-made paper, - no cloth about it – and I want the design for the title to be printed on Japanese vellum and pasted on the back and front, "Miscellaneous Moods" by Elihu Vedder. The book will be printed on Old Stratford paper which costs twenty cents a pound, and in Old Stratford Type. The enclosed proof shows the size of the type. … No, there will be no Travel School this year and God knows when there will be if the Britons keep their backs up and Russia wins out as seems inevitable. I am absolutely neutral. My friends here accuse me of being strongly pro-German. At any rate, I am not frothing at the mouth with Germanophobia. You ask me for my frank opinion of your verses presented in your last letters. My opinions are always frank and they can be had for the asking, sometimes without. "The Year of Our Lord, 1914" is, I think, rather weak. Evidently the war has effected it. "In Umbria" is a corker, and I like the added poems you sent for "Doubt." I get more and more enthusiastic about "Doubt" each day. Some of the stanzas are undoubtedly weak, but fully two-thirds of them keep running through my head and they do not wear out by any means…." "October 28, 1914, [Boston] Porter E. Sargent to Elihu Vedder, 6 via Porta Pinciani, Rome My dear Vedder: … I can see you wondering why things move so slowly. As I have suggested before, these poems are not my only source of pleasure. The war has gotten so on my mind that I can't sleep o' nights, and so I have taken to writing my thoughts while sleepless in the form of a little book entitled. "After the War, - What?" which I hope to see it in print in a month. How many years can we count on the war's continuing? In addition to such diversions, I am naturally doing somethings which I hope will eventually bring some bread and butter. I have recently reapproached the editors of the "Century," "Harper's" "Scribner's," and The Atlantic Monthly" in the attempt to stimulate in the editors some appreciation for really good poetry. Some of them claim appreciation but have no confidence in their readers. The result is the same in any case. We have to do all the printing ourselves. …" "53 B Palazzo Patrizzi, Rome, Nov. 4, 1914, Elihu Vedder to Porter Sargent My dear Sargent – Yours of Oct. 8th with "booklet" rec'd. Packing up in Capri and trying to settle in new quarters in Rome has brought all to a stand-still. Of course all later things are crude and must ripen a bit for the public stomach. Yes I will send them along. My daughter has found a lot of things I had rejected but did not tear up. I will send one with this she thought ought to be saved … P.S. Just arrived The Cornhill Booklet for Novr. … a fine sendoff, you are certainly doing things in style. Bravo!! I hope with all my heart the reproductions will be of the size and excellence of the "Labyrinth" sent folded – only in the book not folded. Also the poems in larger type for I see how much more impressive those in my lettering are. The selections are good. If the poems remain in the type sent – they will be very clear and legible only I would like them bolder. …" "53 B Palazzo Patrizzi, Rome, Nov. 15th, 1914, Elihu Vedder to Porter Sargent My dear Sargent, Yours of Oct 28th just rec'd. The circular is all that can be asked of a circular, except the "original drawing" which seems to promise too much, slight sketch and artist's signature might have been better, some may expect an oil painting framed. However I will do my best "for Vedder's friends." I sent from Capen – the Paxton portrait – but see that the Pennington portrait on the circular will do very well, it ought to have a black line about it to unite it with the type … I mean weakens the look of the page. I am sorry you have the impression that I think things have been moving slowly – on the contrary I am amazed that they are so advanced - … You cant imagine what confusion this moving into smaller quarters – and this being seated in two spots Capri and Rome involves, I have to literally excavate things from innumerable portfolios & don't always find them even then. …" "November 23, 1914 [Boston] Porter E. Sargent to Elihu Vedder 53 B Palazzo Patrizzi, Rome My dear Mr. Vedder, … However, as I now have the proof before me and the thing is to go to press the last of this week, it seems a little doubtful. I shall then have the title printed on the cover in gold. This will look well on the dark brown hand-made paper of the cheap edition and also on the vellum of the more expensive edition. I will endeavor to concoct some kind of an editor's note to preface the thing and shall make up some explanatory notes to the poems, largely from extracts from your letters, thinking that you will not chide me too severely for violation of private correspondence. I am sending you under another cover some additional circulars of the poems. At present, we have as a result of the thousand circulars sent out and other work done to attract attention to it, sixty-two subscriptions to the $ 2.00 and thirty-three to the $ 10.00. I do not believe I can dispose of anything like five hundred copies, but I suppose you will want and can dispose of a considerable number in Rome, so I shall ship you fifty unless you say that is too many …" "December 12, 1914, [Boston] Porter E. Sargent to Elihu Vedder 53 B Palazzo Patrizzi, Rome My dear Vedder: I am sending you under another cover the first two "forms" of your "Moods", showing how it will appear in the cheap $ 2.00 edition. Some of your poems you will hardly recognize. It will shock you at first to find them so mutilated. I see already from your letter of the 19th that you are going to grieve over the final stanza of the "Midsummer Day Dream" which is omitted. All the critics and literary advisers who have assisted me tell me it weakens it, - that it is an anti-climax and I could not but agree with them though if I had not consulted them I should have left it. I have taken the best advice I could get, which was pretty good and have adopted it very conservatively, attempting to retain everything that was especially characteristic unless it weakened other things. Still I imagine you will be as much shocked as the fond mother who first sees her darling with his curls clipped – but in many such cases she has later grown accustomed to it and continued to love him., … … What I am working for however is a big Loan Exhibit of your work in line and color and type, which will show something of your range. I want to have this take place in Boston under the auspices of the Copley Society, in your eightieth year… I wish you would send me a list of such things as you have in Rome that are for sale, with prices. I think I could place some of them …" "December 24, 1914 [Boston] Porter E. Sargent to Elihu Vedder 53 B Palazzo Patrizzi, Rome My dear Mr. Vedder: The Poems are out and in part distributed, and I am sending by this mail one copy, - others to follow. The $ 10.00 edition is going well and I have doubled the price on the last twenty copies, and have already some subscriptions at the increased price. Perhaps one hundred and fifty of the $ 2.00 edition have already been placed. … I have received the inscribed pages for the first six De Luxe volumes. One of them I noticed was not signed. The others, I think, will answer. Of course it is important to have each drawing not only inscribed with the name of the subscriber, but signed by you, in order to fulfill the letter of the contract …" "Rome May 26, 1915, Elihu Vedder to Porter E. Sargent Dear Sargent, Having just made my last will and testament – reminds me that I must write you a last letter from Rome – on the verge of this I hope my last moving. We keep this studio as a storing place – although our things are stored also in other places and with friends. It has been something awful – the combination of the war this moving and my son's illness and the uncertainty about my fine old chest – which was held up by the authorities. We have just learned that the veto on its exportation has been removed – a thing of great importance to us as the sale of it will give a little more to the money in my daughter's name on the interest of which she must try to scrape along… All things have been changed by this state of war – even the boats to Capri, replaced by one little one…" "Capri June 28, 1915, Elihu Vedder to Porter E. Sargent My dear Sargent, … I can now only hint at the things under which we are living and leave the rest to your imagination. After all the moving in Rome and from Rome we joined my son and his wife here. Heis simply quite crazy and we do not know from one moment to another – day or night what may take place. His mind is one long disordered and troubled dream – with only rarely a gleam, like sunshine, of his old sweet self. Inordinate greed in eating – a total lack of consideration for others ceaseless activity beginning and never ending, or a dull reading over and over again of the same book. He never asks for a key but bursts open the trunk or room he wishes to examine – and spends the rest of the day in mending the locks. In the mean time every available moment at all hours night or day – killing flies pursuing them outside as well as inside the house. He is stubborn to the degree of scarcely admitting it is noon when the sun is pointed out to him high over head. And always an indulging threat of violence. All this while his wife was here – and it keeps up now that she has gone – for she has left for America. He since her departure has never even asked for her this after all her devotion to him. You can see what has become of my "little hermitage" - It looks sweeter than ever as it takes its departure. But the strain? I do not know at my age how long I can stand it. …" American National Biography, volume 22, pp., 312-313 Dictionary of American Biography, vol. X, pp., 244-245

      [Bookseller: Michael Brown Rare Books, LLC]
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        Der Führer am Rhein von seiner Quelle bis zur Mündung. Ein Handbuch für Freunde der schönen Natur, der Kunst und des Alterthums, mit ausgewählten Balladen und Liedern.

      Mit 40 Stahlstichen und einer 11-fach gefalteten Karte des Rheinverlaufs. Karte ca. 18 x 136 cm ! Buchblock ca. 20,5 x 13 cm, 2 Blatt Verlagsanzeigen, IV Seiten Vorwort, 1 Bl. Verzeichnis der Stahlstiche, 298 S. mit Register, 40 Bl., Orig.-Leinenband. Gedruckt bei Carl Georgi, Bonn. Alle Tafeln mit rosa Schutzpapier. Verso Titelblatt Widmung aus dem Jahr 1844: Meiner lieben Marie zum Andenken an unsere Rhein-Reisen - 1839 - 1841 und 1844 von Ihrem F. v. B., 1844. Stahlstiche: Dom zu Köln / Dom zu Mainz gegen Nordwesten / Dom zu Mainz gegen Osten / Bingen / Rheinstein / Clemenskirche und Falkenburg / Bacharach / Caub und die Pfalz / Oberwesel / Lurley / Bornhofen, Sternberg und Liebenstein / Kirche zu Boppard / Königsstuhl / Stolzenfels / Braubach und die Marxburg / Oberlahnstein / Burg Lahneck / Koblenz und Ehrenbreitstein / Ruine Sayn bei Neuwied / Andernach / Abteikirche am Laacher See / Schloß Rheineck / Kirche zu Sinzig / Ruine Altenahr mit dem Durchbruch / Portal des Pallastes Sconilare zu Remagen / Stadt Linz / Rolandseck und Nonnenwerth / Drachenfels / Abteikirche zu Heisterbach / Godesberg / Hohekreuz / Rosenburg / Bonn vom Kreuzberg / Münsterkirche zu Bonn / Sternwarte bei Bonn / Kirche auf dem Kreuzberg / Kirche zu Schwarz-Rheindorf / Köln / Düsseldorf.

      [Bookseller: Antiquariat Günter Hochgrebe]
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        Naturgeschichte der domesticirten V

      Vlg. Heynemann, Halle um 1844. - 8

      [Bookseller: Cassiodor Antiquariat]
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      London, Grant and Griffith, 1844.. FIRST EDITION 1844, small 8vo, approximately 180 x 115 mm, 7 x 4½ inches, 20 illustrations by W. H. Prior, 8 full page engravings including frontispiece, and 12 text illustrations, pages: xii, 316 plus 16 pages of adverts, original publisher's cloth, gilt decoration to spine, blind decoration to covers. Head and tail of spine neatly strengthened, new endpapers, pale age-browning to margins of plates, pale stain to lower margins of last 2 plates, neat old ink inscription to blank side of title page, plate at page 266 misplaced at page 255, otherwise a very good copy. No copies of this dated edition in the major UK libraries, no copies listed in Lowendahl, Sino-Western Relations Western Printed Books 1477-1877. 1 dated copy listed in World Catalogue, undated edition listed in Henri Cordier, Bibliotheca Sinica. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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        Letter Signed, Merrion Square, Dublin August 4th, 1843, to Monsr. Leduc Rollin, Member of the Chamber of Deputies, Paris

      Quarto, two pages of a bi-folium, the main text is written in a secretarial or clerk's hand, possibly dictated, the closing and O'Connell's signature is in his hand, there are two corrections to the text in O'Connell's hand as well. Formerly folded, in very good clean and legible condition.O'Connell needs little introduction. O'Connell in the present letter thanks Rollin for his support, it is written at a critical time in O'Connell's career, during the period of his "monster meetings", the Repeal Movement, and just before his arrest and imprisonment in 1844. Written in response to a letter from Rollin it contains a concise statement of O'Connell's goals and principles, and it reads: "Sir, It is my pleasing duty to acknowledge the receipt of the letter with which you have hnoured me, and to express my individual thanks for that letter. It is also my pleasing duty to convey to you the respectful gratitude of the Repeal Association for the sentiments of liberality and justice which you have displayed in that communication. We understand each other perfectly, your present countenance and sympathy is bestowed upon men who are struggling within the limits of local law and constitutional principle for the rights and liberties of their native Land – of men who desire to use no other means than those which are peaceable means, having no other efficacy than that which arises from their moral force and power. You indeed allude to another contingency in which you may be disposed to be more active in our support, but that is a contingency which we decline to discuss, because we now deem it impossible that it should arise, the British Government having retracted every menace of illegal force and unjust violence and confirming its resistance to our claims; - If it shall continue to resist those claims; - within the ordinary channels of legalized administration. That the London and Parisian journals belonging to the class inimicable to Civil and religious liberty should misrepresent our mutual intentions and motives, is a matter of course, even when those motives and intentions are publickly expressed, and have the advantage of exhibiting the turpitude of our calumniators, but we strongly apprehend that that the visit which you have intimated that you might make to this country would whilst it could be of no practical utility afford opportunity for further calumny and for mischievous (though utterly false) insinuations. – Upon these grounds we deem your contemplated visit to Ireland in anything resembling a public capacity as being to say the least of it premature. Permit me respectfully to add that if at a more suitable period you should ever have leisure and inclination to visit Ireland I should be very proud indeed to be permitted the honour and favor of exercising during your sojourn, the rites of hospitality towards you. To conclude, let me assure you that the Irish People are exceedingly gratified by the sympathy for their sufferings which you and your nobly minded friends proclaim, you do us but justice when you appreciate our principles – they are the principles of democratic liberty mitigated and secured by the stability of a restricted Monarchy the principles of Civil and Religious liberty enforcing practical justice thus combining the freedom of Religion the freedom of Education, the freedom of the press, and the freedom of all popular Institutions with the fixity of Monarchial authority. This genuine liberty can be maintained and secured only on the basis of veneration for the religious sentiment and of disinterested sincereity in practical religious observances. Be pleased, Sir, to accept the emphatic expression of the sentiments of respect and esteem with which I have the honour to be Your faithful and Obedient Servant Daniel O'Connell" "Daniel O'Connell, political leader, was born near Cahersiveen, Co. Kerry; educated at Saint-Omer, Douai, and London. After early success as a barrister he became increasingly involved in politics and was active from his early thirties onwards in the campaign for Catholic Emancipation. Though he gained popularity with fellow Catholics for his opposition to the Veto, it was not until he jointly founded the Catholic Association in 1823 and became its chief spokesman that he began to dominate nationalist politics. O'Connell's suggestion that the association open its ranks to anyone who could pay a subscription of one penny a month (the Catholic Rent) transformed this body into a mass political organization that was without precedent in Europe. His stunning victory in the Clare election in 1828 led directly to the attainment of Catholic Emancipation, which earned him the title of 'the Liberator'. In Parliament he and like-minded MPs eventually allied themselves with the Whigs to obtain social legislation for Ireland by means of the Litchfield House Compact. His ultimate goal was repeal of the Act of Union, and this became the focus of his final years. The Repeal Movement that he led after 1842 culminated in his arrest and brief imprisonment in 1844. On his release it became increasingly apparent that his once-formidable physical and mental powers were on the wane. His last days were clouded by quarrels with former Young Ireland allies, which split the nationalist movement. O'Connell ranks among the greatest figures of modern Irish political history. His skills as a layer, orator, political organizer and parliamentarian, together with his legendary charisma, earned him the admiration of millions of contemporaries, who looked upon him as 'Ireland's uncrowned monarch'. Subsequent generations of nationalists, particularly physical-force separatists, were more ambivalent, praising his organizational skills while criticizing his opposition to armed rebellion as a means of achieving Irish self-government. He also had a major influence on the emergence of European Christian democracy." – The Encylopedia of Ireland (New Haven: 2003) p. 804.

      [Bookseller: Michael Brown Rare Books, LLC]
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        Vie de Rancé

      First edition.Contemporary half brown sheep over marbled paper boards, decorated with blacks fillets, with slight tears, not serious, over marbled paper boards.Occasional foxing. H.L. Delloye & Garnier Paris s.d. (1844) 13,5x21,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Statue of King William the Fourth Erected by the Corporation of the City of London in King William Street.

      Printed by M & N Hanhart, [1844-45]. - The Sailor King Tinted lithograph, printed in three colours and finished by hand, heightened in gum Arabic. A print showing the statue of William IV erected in December 1844 on a street also named after the monarch, as it was built during this reign. The statue was commissioned by the Corporation of the City of London, and carved by Samuel Nixon, a now relatively unknown sculptor from a family of glass painters and sculptors. It shows William in the uniform of the Lord High Admiral, an office he gained in 1827, three years before he became king. William entered the navy at the age of 14 and found his calling; he acted as best man to Admiral Nelson. He was known as the Sailor King, which is why the Corporation chose to honour him in this way. Fittingly, the statue is now in Greenwich, where it was moved to make room for a pedestrian subway in 1933, presented to HM Office of Works by the Corporation in 1937. Image: 605 by 514mm. (23.75 by 20.25 inches) Sheet: 740 by 550mm. (29.25 by 21.75 inches). London Metropolitan Archives La.Pr.335/KIN(1).

      [Bookseller: Daniel Crouch Rare Books LLP]
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        History of Europe from the Commencement of the French Revolution in MDCCLXXXIX to the Restoration of the Bourbons in MDCCCXV [10 volume set]

      London: William Blackwood and Sons. 1844. Large octavo size [16x24cm approx]. Very Good condition. 10 volumes. Full leather binding with raised bands, gilt & title patches to spine. Marbled endpapers and page edges. Gilt to spine a little rubbed. Bookplate of Francis Stacker Dutton to front pastedown of all volumes. This set is ex the private library of St Francis Xavier's Seminary -only markings are a few discreet stamps. A very attractive set. Francis Stacker Dutton was the seventh [7th] Premier of South Australia. . 6th Edition. Leather Bound.

      [Bookseller: Adelaide Booksellers]
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        Unusual jointly-written, six-page autograph letter, signed by both.

      Windsor Castle: 22 January 1844 - Two bifolia of small note stationery (181 x 113 mm), embossed Royal arms in colours to the first page of each. Pales toning overall, faint creases from old folds, ink unfaded, very good. An extremely uncommon dual six-page autograph letter signed by both Victoria and Albert. Written in German to Victoria's cousin, Count Alphonse Mensdorff-Pouilly, son of Emmanuel von Mensdorff-Pouilly, Victoria's much loved "Uncle Mensdorff", who had married Princess Sophie of Saxe-Coburg-Saalfeld, Victoria's mother's sister. The Queen begins her portion by thanking Alphonse for his letter, and sending him birthday greetings; 'May you remain as happy as you are now with your dear wife. Who can understand your happiness better than both of us who live together so infinitely happy?' Continuing by describing a recent long letter from his brother Alexander, noting, 'He seems to be so alone in his garrison. He very much regrets, as we do, that dear Arthur [another brother] could not follow your example. 'I heard that he had seen the young lady again.' The queen concludes by referring to some lithographed portraits, and asking her correspondent to order her three dozen pairs of gloves. Signed, 'Ever yours most faithful cousin and friend, V.' Albert then adds a note, expressing his good wishes for Alphonse's birthday too. 'I also thank you for your last kind letter, and remain as always, your dear nephew Albert'. Victoria was particularly fond of the brothers, describing them in a letter to Lord Melbourne as "all so nice and amiable and kind and good" (28 May 1842). Autograph letters written and signed by both Queen Victoria and Prince Albert rarely appear on the market, and the present letter is a particularly charming example with an excellent association. [Attributes: Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Malerisch-technischer Atlas der k. k. Staatseisebahn-Strecke von M

      Wien, H. F. M

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Stadtplan, "Neuester Plan der Haupt= und Residenzstadt Wien.".

      - altkol. Kupferstich b. Artaria Wien, 1844, 60 x 75 Vergl. D

      [Bookseller: Antiquariat Nikolaus Struck]
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        SACHSENS KIRCHEN - GALERIE (Kirchengalerie).- Elfter Band. Das Voigtland umfassend die Ephorien: Plauen, Reichenbach, Auerbach, Markneukirchen, Oelsnitz und Werdau.

      Dresden (Herrmann Schmidt), (1844). 4°. 196 S. + 128 meist ganzseitige lithografische Ansichten der Dörfer und Kirchen, davon fünf mehrfach gefaltet. ill. OPb. teils etwas braunfleckig und durch Pflanzenblätter teils fleckig, einige Tafeln wie beschrieben lädiert. insgesamt von überraschend guter Erhaltung. Ein Werk, das über die Historie der jeweiligen Ortschaften unter besonderer Berücksichtigung der klerikalen Belange und der damals aktuellen Situation informierte. Es dauerte über zwei Generationen, bis zu Beginn des 20. Jahrhunderts die \"Neue Sächsische Kirchengalerie\" erschien, die - zwar wesentlich umfangreicher und gründlicher- ein visuelles Hilfsmittel nicht mehr seinsetzte: Die Lithografie. Die \"alte\" Galerie aber verfügt über zahlreiche Steindrucke der jeweiligen Kirchen, bei größeren Städten auch vieler Profanbauten, die nach Federzeichnungen von G. Täubert entstanden (Steindrucker Renner bzw. Ketzschau). Diese kleinen Kunstwerke geben nicht nur sehr detailgetreu die Architektur und Zustände der betreffenden Bauwerke wieder, der Künstler bemühte sich, diese in ihrer gesamten Umgebung wirken zu lassen und vergaß auch nicht, die Stilleben durch Menschen und Tiere zu beleben. Hier mit der großen Zahl von Lithographien (eine Vollständigkeitsprüfung war mir nicht möglich) von: Schöneck, Treuen, Röthenbach, Plohn, Untertriebel, Ruppertsgrün, Auerbach (Falttafel mit Rand- und Falzeinrissen), Schwand, Eichigt, Waldkirchen, Langenbach, Zwota, Marienei, Langenbach, Stelzen, Kemnitz, Taltitz, Reusa, Neuensalz, Arnoldsgrün, Elster, Oberlosa, Raun, Adorf, Münchenreuth, Planschwitz, Geilsdorf, Blankenhain, Frankenhausen, Niebra, Hilbersdorf, Crimmitzschau (Falttafell mit 10 Ansichten und kleinem Falzeinriss), Bobenneukirchen, Lengenfeld, Groß-Zoebern, Unterwirschnitz, Wohlbach, Bösenbrunn, Burgstein, Krebes, Posseck, Wiedersberg, Landwüst, St. Klara, Langenhessen, Königswalde, Kanschwitz, Schönberg, Thierbach, Reuth, Mühltroff, Dröda, Erlbach, Ranspach, Oelsnitz ((Falttafell mit 10 Ansichten und kleinem Falzeinriss), Gablenz, Waldsachsen, Trünzig, Lauenhain, Rodewisch, Lauterbach, Grünberg, Heyersdorf, Falkenstein (Falttafel mit 9 Ansichten mit diversen Einrissen), Rodersdorf, Thossen, Sachsgrün, Rothenkirchen, Rodan, Klingenthal, Stützengrün, Strassberg, Kürbitz, Oberalbertsdorf, Marienthal, Niederalbertsdorf, Klein-Bernsdorf, Wehrsdorf, Mislareuth, Leulitz, Türpersdorf, Theuma, Trautzschen, Elstertrebnitz, Langenbernsdorf, Chursdorf, Langenbernsdorf, Werdau (Falttafel mit 8 Ansichten und zahlreichen Ein- und Durchrissen), Langenreinsdorf, Russdorf, Rudelswalde, Adorf, Leubnitz, Pausa, Mylau, Liebschwitz, Taubenpreskeln, Neukirchen, Hohndorf, Reichenbach (Falttafel mit 12 Ansichten und kleinem Falzeinriss), Altensalz, Ebersgrün, Bergen, Kirchberg, Erlbach, Seelingstädt (ca 7 cm Randeinriss), Tanneberg (Randeinriss), Jössnitz, Irfersgrün, Rautenkranz, Steinsdorf, Limbach (mit Abklatsch), Schweinsburg, Voigtsberg, Plauen (Falttafel mit 12 Ansichten und diversen Ein- und Durchrissen), Netzschkau, Gersdorf, Elsterberg, Ernstthal, Markneukirchen, Bräunsdorf, Schönheide, Wernersgrün, Pöhl, Christgrün, Kloschwitz, Ernstthal sowie Syrau beiliegend. Versand D: 6,00 EUR

      [Bookseller: Antiquariat Bebuquin]
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        Großer Circus der Gymnastik und Akrobatik. Mit höchster Genehmigung wird heute zum Drittenmale die rühmlichst bekannte akrobatische Künstler-Gesellschaft, unter der Direktion des Herrn Carl Stark, eine ausserordentliche große gymnastisch-athletisch-akrobatische Vorstellung in 5 Abteilungen zu geben die Ehre haben. Der Schauplatz ist in dem dazu erbauten Circus im Schießgraben.

      Augsburg, ca. 1844. Plakat mit typograph. Text und gr. Holzschnitt (26 x 34 cm). Blattgr.: 55 x 40 cm. Der große Holzschnitt zeigt die Truppe auf dem Schrägseil vor einer Kirchenfassade, deren Türme an das Augsburger Rathaus erinnern. Neben dieser Vorstellung mit mehreren Familienmitgliedern Stark macht der Direktor seinem Namen alle Ehre und zeigt "Proben seiner außerordentlichen Muskel- und Körperkraft". Julius und Wilhelm Stark treten als "Der Herkules und seine Kind" auf. Bücher de

      [Bookseller: Antiquariat Turszynski]
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        Autograph Receipt of due salary in the hand of Washington Irving "Minister in Spain from April 1 to July 1 1844"

      Spain, 1844. Docketed. Oblong 8vo. Old folds. Docketed. Oblong 8vo. at bottom " Darft on ___Baring Brothers...By Balance due W.I. 2.25 Total $2380.31." In 1843, Barings became exclusive agent to the U.S. government, a position they held until 1871.

      [Bookseller: James Cummins Bookseller]
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      Allgemeine und specielle Naturgeschichte der Käfer, mit vorzüglicher Rücksicht auf die europäischen Gattungen. Nebst der Anweisung, sie zu sammeln, zuzubereiten und aufzubewahren. Stuttgart, Hoffmann'sche Verlagsbuchhandlung, 1844. Royal-8vo (235 x 200 mm). pp. 268, with 36 (34 handcoloured) lithographed plates. Publisher's printed wrappers (slightly soiled). Nissen ZBI, 321; Horn & Schenkling 1220. The scarcest of the three works by Berge; less known than his 'Conchylien-Buch' and 'Schmetterlingsbuch'. The nice plates depict 1315 illustrations of beetles.

      [Bookseller: Antiquariaat JUNK B.V. (Natural History]
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        Illustrations of the Highlands of andAEligthiopia


      [Bookseller: Maggs Bros. Ltd.]
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        Emigration to the tropical world, for the melioration of all classes of people of all nations.

      8vo., 24pp., the paper a little browned, last leaf with some foxing and minor staining, sympathetically bound in old-style quarter calf gilt.Publisher: Published at the Concordium, Ham Common, Surrey. And sold by J. Watson ... J. Cleave ... Hetherington ... London.Year: 1844Edition: First edition: rare.

      [Bookseller: John Drury Rare Books]
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        Recueil de 13 textes, thèses et mémoires importants de médecine et de botanique de l'école de Montpellier

      1844 - Fort in-4° demi-vélin ivoire, pièce de titre : 1- Titres et travaux scientifiques de M. Charles Martins, 11pages -- 2- Charles Martins : De la tératologie végétale, de ses rapports avec la tératologie animale (Montp., 1851), 96 pp. Martins, traducteur de Goethe, correspondant de Darwin, accède en 1851 à la chaire de botanique médicale. Il est (1851-1879) , directeur du Jardin des Plantes de Montpellier ; la grande serre porte son nom. - - 3- Dominique Clos : Concours pour la chaire de botanique et d'histoire naturelle de Montpellier. Etudier les fluides des végétaux, et les comparer à ceux des animaux. Thèse de Montpellier (Montp., Boehm, 1851), 109 pp. Dominique Clos, né en 1821 à Sorèze (Tarn) et mort dans la même ville en 1908, médecin et botaniste a fait ses études à Toulouse puis à Paris où il devient docteur en médecine en 1845 et docteur ès sciences en 1848. En 1853, il succède à Horace Bénédict Alfred Moquin-Tandon (1801-1863) à la chaire de botanique de la Faculté de Toulouse, fonction qu'il occupe jusqu'à la retraite en 1889.- - - - 4- L. Lombard : Des maladies des végétaux et des modifications qu'elles font subir à leurs propriétés (Montp., Ricard, 1851), 64 pp. Cette thèse n'ayant finalement jamais été soutenue ne se trouve pas en bibliothèque - - - 5- Énumération des titres antérieurs du Docteur Touchy, 6 pp - - - 6- Jules Emile Planchon : Des limites de la concordance entre les formes, la structure, les affinités des plantes et leurs propriétés médicinales. Thèse (Montp., 1851), 54 pp. Une note au crayon sur la page de titre indique "M. Planchon s'est retiré du concours de botanique avant la thèse" - - - 7- Jules Emile Planchon : Mémoire sur les développemens et les caractères des vrais et des faux Arilles, suivi de considérations sur les ovules de quelques véroniques et de l'avicennia (Montp. Boehm 1844), 53 pp et 3 planches hors-texte. - - - 8- Planchon : Histoire d'une larve aquatique du genre Simulium (Montpellier, de Boehm, 1844), 15 pp. Éconduit à la faculté de médecine où il briguait un poste de professeur, il part travailler aux jardins botaniques de Kew en Angleterre, puis devient enseignant à Gand et à Nancy. Son ancien maître, Dunal, le fait revenir à Montpellier en 1853. Il devient ensuite directeur de l'École supérieure de pharmacie en 1859, puis professeur à la faculté de médecine en 1881, avec dans ses attributions la direction du Jardin des plantes. On lui doit la description d'une des espèces produisant des kiwis, Actinidia chinensis. Il devient célèbre lors de la crise du phylloxéra. D'abord, il fait partie du groupe de trois experts (avec Gaston Bazille et Félix Sahut) qui détecte le phylloxéra sur des racines de vigne à Saint-Martin-de-Crau, le 15 juillet 1868. Un compte rendu à l'Académie des sciences immortalise la découverte. Ensuite, il se distingue avec son beau-frère Jules Lichtenstein par plusieurs articles matérialisant des avancées dans la compréhension de la biologie du phylloxéra et dans son mode de propagation. - - - 9- Germain Dupré : Concours pour la chaire de clinique médicale à la Faculté de médecine de Montpellier. Déterminer le rôle que joue le régime alimentaire dans le traitement des maladies. Thèse (Montp. : impr. L. Cristin, 1852), 131 pp - - - 10- Pierre Romain DOSOUS : De l'influence que les progrès de la physiologie, depuis le commencement du 19e siècle, ont exercé sur la médecine pratique Montp., impr. L. Cristin, 1852), 90 pp - - - 11- Joseph-Antoine Pons : Comparer l'Humorisme moderne à l'Humorisme ancien ; déterminer l'influence qu'il a exercée, celle qu'il peut exercer encore sur les progrès de la médecine pratique (Montpellier : J.-A. Dumas, 1852), 70 pp. - - - 12- A - T Chrestien : De l'immunité et de la susceptibilité morbides, au point de vue de la clinique médicale : thèse (Montp. : Imprimerie Ricard, 1852), 121 pp. - - - 13- J. Quissac : De la généralisation et de la localisation des maladies (Monpt, 1852), 87 pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: PRISCA]
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        Jeux de cartes tarots et de cartes numérales du XIV° au XVIII° siècle représentés en 100 planches d'après les originaux avec un précis historique et explicatif, publiés par la société des bibliophiles français.

      P., imp. de Crapelet, 1844, gd. in f°, de 6ff-22pp-1f., illustré de 100 planches gravées h.t. de Th. Delarue, certaines enluminées d'argent et d'autres aquarellées, demi-chagrin brun moderne, dos à filets dorés, p. de t. rouge. Un des 100 exemplaires sur papier vergé. Magnifique ouvrage de luxe non mis dans le commerce consacré aux tarots anciens, montrant les plus précieux jeux de cartes conservés à la Bibliothèque Royale ou provenant de la collection Duchesne. Avec un précis historique de Jean Duchesne et des notices par Constant Leber et Jérôme Pichon. Publié par souscription pour les membres de la Société des Bibliophiles français, et tiré seulement à 132 exemplaires en tout et pour tout. Rarissime.

      [Bookseller: L'intersigne Livres anciens]
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        The modern Syrians; or native society in Damascus, Aleppo, and the mountains of the Druses, from notes made 1841, 2, 3, by an Oriental student.

      London Longman 1844 - First edition. 8vo., viii, 309 pp., 32 pages ads at end dated September 1844, original dark green blindstamped cloth gilt, an excellent example. Scarce. A career diplomat, Paton (1811-1874), acted as private secretary to Colonel George Hodges in Egypt from 1839-1840, and was afterwards attached to the political department of the British staff in Syria under Colonel Hugh Henry Rose (afterwards Baron Strathnairn). He was given the rank of deputy assistant quartermaster-general. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        An outline of the various social systems and communities which have been founded on the principle of co-operation.

      12mo., in 6s, cxiv + 252pp., small circular inkstamp of a library on blank verso of title, original green cloth embossed in blind. A fine, fresh, copy.Publisher: London: Longman, Brown, Green, and Longmans.Year: 1844Edition: First edition.

      [Bookseller: John Drury Rare Books]
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        Fortaleza de São Francisco Macao.

      Macau: probably mid-1844. Watercolour, 220 x 260 mm; ink caption lower right; mounted. An important original watercolour of Macau. This once formed part of a series of watercolours of the European enclaves on the South China coast in the mid-1840s. The series was described in full in the Hordern House catalogue Edward Ashworth, Artist & Architect (available online at The suite of views of Hong Kong from that series was acquired by the Hong Kong Museum of Art.The Fortaleza de São FranciscoFortress building was instinctual to the Portuguese for their overseas possessions. No self-respecting town in early modern Portugal could be considered so without some castle installation or defensive structure, so it was not surprising that the Portuguese chose to construct the same quite soon after settling in Macau. Repeated Dutch attacks on the enclave at the start of the seventeenth century gave the Portuguese authorities the excuse needed to overcome Chinese hostility and rapidly build a chain of fortresses and defensive walls. This enclosed the higher ground and excluded the lower Chinese town stretching along the north-western flank of the peninsula. Most of these fortresses were built adjacent to religious sites such as chapels, churches, convents or monasteries from which their names derived. From the Chinese imperial authority's point of view it also had the unexpected advantage of keeping the Europeans neatly and visibly contained within their own territory. Completed in 1629, the Fortaleza de São Francisco, a Franciscan monastic site, sat at the northern edge of the Praia Grande, with Bom Parto fort at the southern end, and the São Tiago da Barra battery further down at the southernmost tip close to the A-Ma Temple. The walls were made of a material called chunambo or taipa. Built by African slaves, it was a unique concoction based upon earth, straw, lime and oyster shells that, when pounded together and reinforced with wooden strips, formed a cementitious material more absorbent of projectile bombardment than stone. By the time Ashworth was in the colony the forts had long since become obsolete, their guns silent. But the resilience of their unusual walls remained intact.Tinged with Romanticism, this is somewhat out of character with Ashworth's other studies. The artist, having possibly seen Chinnery's fine pencil sketch of the fortress drawn in 1825 (**), chooses a very similar view, but with one distinct difference. Unlike Chinnery, where the focus is upon the formidable mass of boulders and rocks, Ashworth has pulled the viewer back onto a surprisingly turbulent seascape. The relatively calm waters within the sweeping embrace of the Praia Grande and the Porto Interior (inner harbour) are just beyond view, though one would not think it from this spot: a sampan with its floating family stray perilously close to the rocks upon which the fortress crouches above. The Fortaleza de São Francisco, not the most imposing of Macau's sea batteries, nevertheless has been artistically amplified in the scene by the threatening water and visually raised up by the promontory of rocks girdling it. Ashworth also neatly encapsulates, through the figures of two distant vessels entering Macau's bay - a Chinese junk and Western clipper - that rare intercourse of early nineteenth-century commerce between two civilisations engaged, almost uniquely, at Macau. Two civilizations found rarely in agreement or in having any understanding of the other.Edward AshworthEdward Ashworth was born near Exeter, Devon in 1814, and trained as an articled apprentice to Robert Cornish, architect to Exeter Cathedral. He then moved to London to work under another Exeter-born man, Charles Fowler, architect to the Duke of Bedford and a founder-member of the Institute of British Architects. Unhappy with the quality of his commissions, Ashworth decided to immigrate to New Zealand. Aged 28, he left England in May 1842 aboard the ship Tuscan, bound for Auckland. The trip included a brief stay in Melbourne, landing at Port Phillip in September 1842. Ashworth continued on to Auckland, arriving a month later in October. After failing to find work as an architect he accepted a position as tutor to the children of the first New Zealand Governor, William Hobson, recently deceased. Other tutoring posts soon came his way. During his two-year stay, Ashworth made numerous watercolours of Auckland and its street life including an expedition into the Waikato, now treasured views of the very first stages of colonial occupation. This was to become a habit, drawing and painting the landscapes and streetscapes of each place he visited. In 1843 he gave a lecture to the local Mechanics Institute on Greek architecture in which his drawings were widely admired for their 'exquisite' quality. By early 1844 he had decided to make his way back to England via a slow sojourn in China - presumably he had heard of the sudden flurry of building construction then underway in Hong Kong. Ashworth left Auckland in February 1844 arriving for the second time in Australia that same month, this time in Sydney, New South Wales. He spent three months in that city, again painting and drawing, before heading across to Hong Kong aboard the American ship Navigator by way of Batavia (Jakarta) and Macau. The timing was impeccable. The first 'official' land auction of Hong Kong under Crown sovereignty had taken place just a few months earlier, in January 1844, and a building boom ensued. Now, finally, he could find actual architectural commissions and build.Ashworth returned to England in 1846 and set up practice in Exeter. His first job in the county was as clerk of works for Up Ottery Manor, a new, suitably expansive neo-Tudor pile, which he completed for the 2nd Viscount Sidmouth in 1847. Here, in bucolic Devon, he remained until his death in 1896, devoting much of his work to the restoration of parish churches.Ashworth's newly-discovered watercolours of Macau add significantly to the corpus of material explored by previous European painters such as the Daniells, William Alexander, Auguste Borget and George Chinnery, although with a greater urbanity and intimacy to the settings, partly as a result of his close interest in detail, particularly architectural.ProvenanceEdward Ashworth's family, by descent, in a group of drawings.AcknowledgementsWe are grateful to Chris Cowell who prepared a skilful analysis of the Ashworth drawings; for information summarised here we also thank Marian Minson and the staff of the Alexander Turnbull Library, Wellington, New Zealand; Cesar Guillen Nuñez, Historian of Art at the Macau Ricci Institute, Macau; Dr. Stuart Braga, Sydney; Sarah Cunich, Hong Kong; the staff of the Hong Kong Museum of Art, the State Library of New South Wales, Sydney, and the National Library of Australia, Canberra.Bibliography: AshworthAshworth, E. 'Chinese Architecture.' In Detached Essays and Illustrations Issued During the Years 1850- 51. London: Architectural Publication Society, 21 February 1853. (Essay first published in 1851); Cates, Arthur. 'The Dictionary of Architecture. A Retrospect. 1848-1892.' In Dictionary of Architecture, edited by Wyatt Papworth, 1-3. London: Architectural Publication Society, 1892; Mitchell and Dixson Libraries Manuscript Collection, State Library of New South Wales: Edward Ashworth - Records (1842-1844), Microfilm of journal, notebooks and sketchbooks of travels in Australia, New Zealand and China 1842-44 [1 reel, FM 4/3403]; National Library of Australia, Papers [M602] microform: Ashworth, Edward, 1814-1896; Platts, Una. Nineteenth Century New Zealand Artists: A Guide & Handbook. Christchurch: Avon Fine Prints, 1980; National Library of New Zealand, Ref: MSGroup-1954, Edward Ashworth Journals (1841-45) & Ref: E-042, Edward Ashworth Sketchbook (1844).Bibliography: MacauCremer, R.D., ed. Macau: City of Commerce and Culture. Hong Kong: UEA Press, 1987; Guillén-Nuñez, César. Macao Streets. Hong Kong; New York: Oxford University Press, 1999; Orange, James. The Chater Collection: Pictures Relating to China, Hong Kong, Macao, 1655-1860. London: Thornton Butterworth, 1924; Porter, Jonathan. Macau, the Imaginary City: Culture and Society, 1557 to the Present. Boulder, Colorado: Westview Press, 1996; Shipp, Steve. Macau, China: A Political History of the Portuguese Colony's Transition to Chinese Rule. Jefferson, N. Carolina; London: McFarland & Co. Inc., 1997.(**) George Chinnery, 'St. Francis Fort,' 1825, Hong Kong Museum of Art, AH84.10 (reproduced in Gerard Tsang et al, Views of the Pearl River Delta: Macau, Canton and Hong Kong (Hong Kong: Hong Kong Museum of Art, 1996), 87, plate 18. Some darkening of paper around edges where previously framed, now in acid-free mount to original framing dimensions.

      [Bookseller: Hordern House]
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        Peacocks Polite Repositoryandnbsp


      [Bookseller: Maggs Bros. Ltd.]
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        Dream-Land in Graham's

      Graham's Lady's and Gentleman's Magazine, 1844 The first appearance of Poe's Dream-Land and his review of Orion. Also appearances by Fenimore Cooper, Longfellow, O. W. Holmes and Nathaniel Hawthorne. Large thick quarto full publisher's black morocco. Leather covers and spine with elaborate gilt designs. All edges gilt. Appears to be a deluxe binding. Contents with light scattered foxing.

      [Bookseller: Bookbid Rare Books]
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        La Journée du Chrétien, Sanctifiée par la Prière et la Meditation.

      Lyon and Paris: Librairie Catholique de Perisse Frères, 1844. Small octavo. viii, 524, (v) pp. A seventeenth-century silver gilt, jeweled binding covering a French prayer book, which was placed into the binding at a later date. Very fine in a modern, velvet-lined dropback box. The Journée du Chrétien concerned the daily duties of Christians, including devotional prayers to saints and angels, and was similar in construction and function to a Book of Hours. This copy is exquisitely presented in a seventeenth-century jewel-encrusted binding, both covers of which bear a filigree ornament in all four corners as well as, at the top, a crucifix in which Adam's skull appears at the feet of Christ to symbolize the cleansing of Adam's sin through Christ's blood. In the center of each cover is the imperial double eagle of the Holy Roman Empire, and below is a pair of hands clasping a heart. Both of the covers and the spine are decorated with dozens of semiprecious stones including amethysts, garnets, simulated sapphires, and turquoise; the clasps are encrusted with similar jewels, as are the elongated head- and tailbands. The paste-downs are red velvet, endleaves blue silk. This is a truly remarkable binding of uncommon beauty, with all the stones present and firmly set, and only minor wear to the gilt. The book previously had been in the Hohenzollern collection exhibited at Frankfurt's Städel Museum in 1928, and more recently was owned by Cornelius Hauck, who had acquired it from the famed German bookseller Emil Offenbacher in the mid-1950s. The inside of the front endpaper bears Hauck's bookplate, and the stamp of "Stadtbibliothek" appears on the verso of the title page.

      [Bookseller: Bromer Booksellers]
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        Extraits des auteurs et voyageurs qui ont ecrit sur la guyane

      Paris: Imprimerie de Bethune and Plon, 1844. xcii+616 pages. Octavo (8 1/2" x 5 1/2") bound in contemporary three quarter calf with black spine label and gilt lettering. Publications de la Societe d'Etudes pour la colonisation de la Guyane francaise, Number 4. The bibliographical catalogue occupies pages 579-616, and contains descriptions of 240 works on Guiana. Sabin 56097. First edition.French Guiana (French: Guyane française, officially Guyane) is an overseas department (French: département d'outre-mer, or DOM) of France, located on the northern coast of South America. It has borders with two nations, Brazil and Suriname. Like the other DOMs, French Guiana is also an overseas region of France, one of the 26 regions of France. Its currency is the euro. The prefecture is Cayenne. The addition of the adjective "French" comes from colonial times when three such colonies existed: British Guiana (now Guyana), Dutch Guiana (now Suriname) and French Guiana. The three are still often collectively referred to as the Guianas. French Guiana was originally inhabited by a number of indigenous American people. It was settled by the French during the 17th century. After the Treaty of Paris in 1763, Louis XV sent 12,000 settlers to French Guiana to colonise the region. One and a half years later only a few hundred survived.[2] Its infamous ÃŽle du Diable (Devil's Island) was the site of penal settlements from 1852 until 1951. More than 70,000 French convicts were deported to French Guiana between 1852 and 1939.[3] In 1809 a Portuguese-British naval squadron took French Guiana for the Portuguese Empire. With the signing of the Treaty of Paris in 1814 the region was handed back to the French, though a Portuguese presence remained until 1817. A border dispute with Brazil arose in the late nineteenth century over a vast area of jungle, leading to the short-lived pro-French independent state of Counani in the disputed territory and some fighting between settlers, before the dispute was resolved largely in favor of Brazil by the arbitration of the Swiss government. In 1946, French Guiana became an overseas department of France.Condition:Front inner hinge separated, rubbing to hinges and corners else a very good copy.

      [Bookseller: The Book Collector ]
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        Un Autre Monde Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folâtreries, facéties, lubies, métamorphoses

      H. Fournier, 1844. demi-veau bleu glacé à coins, dos lisse orné à la rocaille, tête or, tranches jaspées, couverture Édition originale du texte de Taxile Delord et premier tirage des illustrations de Grandville. Pâles rousseurs, mais bon exemplaire cependant, comportant - ce qui est très rare - ses extraordinaires couvertures illustrées. Fragiles, elles sont ici remontées et doublées.

      [Bookseller: Librairie Pierre Saunier]
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        Architecture Suisse, ou Chois de Maisons rustiques des Alpes du Canton de Berne. (Zweiter Titel): Schweizerische Architektur oder Auswahl hölzerner Gebäude aus dem Berner Oberland.

      Berne, en commission chez J.J. Burgdorfer. (2. Titel): Brienz (O.Dr.). 1844 - 55,5x41 cm. 20 S. Mit koloriertem lithographiertem 2. Titel und 32 (davon 12 farbigen) lithographierte Tafeln. Neuer Halblederband mit goldgeprägtem Rückentitel und Verwendung des reich illustrierter lithographierter Originalumschlags. Barth 26537. - Aufwendig gestaltete, hervorragende Publikation zur Schweizerischen Holzkonstruktion. Die Tafeln zeigen Abbildungen von Wohnhäusern aus Iseltwald, Oberried, Meiringen, Goldern, Grindelwald, Bettelried, Diemtigen und Erlenbach sowie Konsturktionsdetails. Der illustrierte 2. Titel und die Deckelillustration bilden m.E. eines der schönsten Zeugnisse Schweizerischer Buchkunst im 19. Jahrhundert. Text in Deutsche und Französisch. - Der Originalumschlag leicht fleckig. Ecken etwas fingerfleckig. 3 Blätter mit schwachem Wasserrand.

      [Bookseller: Daniel Thierstein]
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        Commerce of the Prairies or the Journal of a Santa Fe Trader, During Eight Expeditions Across the Great Western Prairies, and a Residence of Nearly Nine Years in Northern Mexico

      Langley 1844, 1845, New York - 2 vols., 12mo. Dk. brown blind embossed cloth. Both vols. tastefully re-backed in matching cloth with orig. gold spine titles laid on. The boards seem to be original but do not bear gilt designs. Because vol. 1 is the 1845, 2nd ed., it lacks the map of Indian territory, which was omitted from this ed. Otherwise both volumes have all plates and illus. called for and vol. 2 has the requisite map of northern Mexico. Minimal wear to the corners of the boards only. Tight hinges. New eps. Very mild age toning and very minimal scattered foxing, restricted to a few page margins. There is mild offsetting opposite the plates. pp. 320, 318. Mylar covers. A classic, sought-after work dealing with travel and trade on the Santa Fe trail. Quite scarce in such good condition. Howes G-401, Graff 1559, Rittenhouse 255, Wagner-Camp 108, Rader 1684, Larned 2040, Dobie p. 76, Flake 3716. [Attributes: First Edition; Hard Cover]

      [Bookseller: Gunstock Hill Books]
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        Narrative of the Texan Santa Fe Expedition, 2 volumes

      Harper and Brothers, New York 1844 - 2 vols., lg. 12mo, orig. brown blind-emb. cloth-covered bds, bright gold titles on spines, trace spine fade, back bd. vol. II has lighter speckling near spine crease, mild bumping to spine ends without loss, light bumping and wear to corners, else clean, tight and unworn; each vol. has attractive bookplate on ft pastedown, light soil to eps; internally very rare spots of light foxing, else clean and unmarked; illus with 2 engraved frontispieces, 3 eng. plates and fold-out map (vol.I), plates have a few tiny speckles, map has short repaired tear near attachment but is otherwise clean and bright; pp.xii,13-405,xii,11-406; no dj, volumes protected in clear mylar covers. Very nice copies of a western classic. Howes K-75, Wagner -Camp 110, Graff 2304, Rader 2157, Basic TX Books 116. [Attributes: First Edition; Hard Cover]

      [Bookseller: Gunstock Hill Books]
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        Traité de Minéralogie

      Paris: Carilian-Goeury et Vor Dalmont, 1844.- 4 vols.: il.; 22cm.-EPrimeira edição deste clássico da mineralogia. O autor foi um notável professor e engenheiro que utilizou pela primeira vez meios quimicos para classificar os minerais. O volume de Atlas tem 224 estampas com mais de 1.200 diagramas cristalogáficos.Meias-encadernações de pele, da época, com rótulos nas lombadas. Conjunto estimado. Carimbos nos anterrostos.

      [Bookseller: Livraria Luis Burnay]
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        Les marrons.

      Paris, Ebrard, 1844. ____ Première édition. Très rare. Le seul exemplaire dans le Ccfr et dans OCLC est celui de la Bibliothèque Nationale. Ce roman, le premier de la littérature réunionnaise, dénonce l'horreur de l'esclavage à la Réunion. Louis Timagène Houat (1809-1890), né à Saint-Denis de La Réunion était un mulâtre. Libre de couleur, il fut arrêté en 1835 puis emprisonné, pour incitation à la révolte des esclaves lors de la répression du "complot de Saint-André". Condamné à la prison à perpétuité, sa peine fut commuée en exil et, en 1838, il fut expulsé vers la France. Il y publia ce roman en 1844, ce qui fait de lui le premier romancier réunionnais. Quatre ans plus tard, le 20 décembre 1848, l'abolition de l'esclavage était prononcée à La Réunion. Les "Marrons" est inspiré de "Bug-Jargal" de Victor Hugo et de la nouvelle d'Alexandre Dumas, "Georges". Illustré de 14 charmantes lithographies hors-texte. Au vu de la rareté de cette première édition dans les dépôts publics, on imagine qu'il a été tiré à très petit nombre. Coupes de la reliure frottées, quelques rousseurs, mais bel exemplaire, bien relié.***** First edition, (the second in 1989 !). This novel, the first of Reunion literature, illustrates the inhuman conditions imposed on slaves. Very rare. The only copy recorded in OCLC is in Bibliothèque nationale de France. Illustrated by 14 lithographics plates. In-8. Collation : (4), 160, (1) pp., 14 planches h.-t. Demi-veau brun foncé, dos orné. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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        Voyage aux prairies Osages, Louisiane et Missouri, 1839-40.

      Clermond-Ferrand, Pérol, Paris, Roret, 1844. ____ Première édition. Edité et imprimé à Clermond-Ferrand à compte d'auteur, l'ouvrage est rare. Illustré par 4 planches lithographiées montrant des Indiens et une planche de musique gravée. L'essentiel du volume relate le voyage de Victor Texier dans les Plaines. Il contient d'intéressantes observations ethnographiques sur les Osages, les Konsas, les Patokas... et sur la chasse aux bisons. Quelques rousseurs. Bel exemplaire. Numa Broc, Amérique, pp. 319. Leclerc, Bibliotheca Americana 1026. ***** First edition. Contents some interesting facts about Osages, Konsas and Patokas and others Indians tribes. Very rare. Published in a small town of France at the author's expense. Illustrated by 4 plates and one table of music. Few foxing, good copy. In-8. [202 x 127 mm] Collation : Frontispice, 260, (4) pp., 4 planches h.-t. Demi-basane verte, dos orné de filets dorés. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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        Chess Player's Chronicle, The

      London: R Hastings, 1844. viii+376 pages with diagrams and index. Octavo (8 3/4" x 5 3/4") bound in period cloth with blind stamped covers with gilt insignia, and gilt decoration and lettering to spine. Title in red and green with published 1845 but published in 1844. Volume V. (Betts: 7-1) First edition.The Chess Player's Chronicle, founded by Howard Staunton and extant from 1841–56 and 1859–62, was the world's first successful English-language magazine devoted exclusively to chess. Various unrelated but identically or similarly named publications were published until 1902. The earliest chess magazine in any language was the French Le Palamède, published in 1836-39 and 1842-47. In 1837 George Walker introduced an English-language magazine, the Philidorian, that was devoted to "chess and other scientific games". Only six issues of it were published, and it "expired in May, 1838". The Chess Player's Chronicle became the first successful English-language chess magazine. In 1840 or 1841 Staunton bought the fortnightly magazine The British Miscellany and Chess Player's Chronicle. In 1841 it became The Chess Player's Chronicle. In 1843, the Chess Player's Chronicle became a shilling monthly magazine. Staunton "made the inclusion of a large number of games by himself and other leading players of the day a special feature" of the magazine. He also used the magazine as a forum for attacking others. Staunton was the owner and editor of the magazine until the early 1850s, when he sold it to R.B. Brien. O'Brien became editor of the magazine, but was unable to continue its success and discontinued it in 1856 because of financial losses and his own illness. It reappeared in 1859 under the editorship of Ignatz Kolisch, Zytogorski, and Josef Kling, but survived only until July 1862. Thereafter, a number of magazines appeared with the same or similar name (such as Chess Players' Chronicle) appeared. Arthur Skipworth, assisted by William Wayte and Charles Ranken, wrote The Chess Players' Quarterly Chronicle, which was published in York from February 1868 to December 1871. Skipworth, who had left Bilsdale for Tetford Rectory, Horncastle, and John Wisker became the editors of the new The Chess Players' Chronicle in February 1872. Johann Löwenthal began writing for it in 1873. The magazine ran until 1875. In January 1876, it was succeeded by The Chess Player's Chronicle, whose editor-in-chief was J. Jenkin of Helensburgh. Its editorial staff consisted of Jenkin, Skipworth, Ranken, Wayte, and Andrew Hunter of Glasgow. Billed as a "monthly record of provincial chess", it was published at Glasgow, costing sixpence. Its short run under Jenkin's editorship was marked by xenophobia. The February issue stated that the West End Club had "cleared away the disturbing foreign element which whilom infected the Divan" and referring to Wilhelm Steinitz as "the hot-headed little Austrian". Its third and last issue was published in March. The magazine reappeared in January 1877. It was now under Ranken's editorship, assisted by J. Crum, G. B. Fraser, Skipworth, and Wayte. The first issue apologized for "certain offensive statements and insinuations, seriously affecting the honor of some eminent players", and explained that some members of the present editorial staff had only contributed games and other inoffensive material to it in 1875. Ranken continued to edit the magazine until September 1880. In 1881, the title was enlarged to The Chess Player's Chronicle, and Journal of Indoor and Outdoor Sports, and "the magazine's importance in the chess world was no longer the same". None of these magazines compared in quality with what Staunton had achieved, and the success of the British Chess Magazine, by the turn of the century a superb magazine, put an end to the title in 1902.Condition:Corners bumped, earlier owner's stamp to title, some occasional pencil notations, recased with new end papers else a very good copy.

      [Bookseller: The Book Collector ]
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        Album der Taunus-Bäder: Eine Sammlung der interessantesten Ansichten von Wiesbaden, Ems, Schwalbach und Schlangenbad.

      Carl Jügel, Frankfurt am Main 1844 - Orginal Halb Leinen Einband des Verlags mit Titel in Gold auf Deckel; nur leichte Benutzungspuren auf Deckel, Ecken berieben; Schliessen nicht mehr vorhanden; Innen drei farbig und Gold gedruckte Titelseiten für die 36 Stahlstiche; meistens guter Zustand der Stahlstiche, einige vom Einband gelöst, wenige kleinere Braunflecken auf einigen Ansichten; [Attributes: Hard Cover]

      [Bookseller: Magnus]
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        Das Ganze des Treppenbaues, oder ausführliche Anleitung im Zeichnen, Zureißen, Errichten etc. aller Arten hölzener Treppen, nebst einigen Bemerkungen über die steinernen Treppen. Nach dem Französischen ... von J. A. Schultz.

      Mit 20 gefalt. lithograph. Tafeln mit 273 Darstellungen. XX, 232 S. Marmorierter Pappband d. Zt. Neuer Schauplatz der Künste und Handwerke, Bd. 140. - Deutsche Bearbeitung von "Construction des escaliers en bois" (Paris, 1844). - Berieben und bestoßen. Tls. stockfleckig bzw. etwas gebräunt. Einige Tafeln an den seitlichen Außenrändern mit kl. Defekten.

      [Bookseller: Antiquariat Turszynski]
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        The Night Toil; or a Familiar Account of the First Missionaries in the South Sea Islands...

      London: G.J. Palmer for J. Hatchard and Son, 1844. Octavo, engraved frontispiece, map and seven text vignettes; full contemporary calf; a fine copy. A particularly fine copy of an updated account of the London Missionary Society's activities in Tahiti, aimed at a juvenile market but full of information not readily available elsewhere. Mrs Mortimer drew initially on the Duff voyage accounts of the late-1790s, but for the later period used unpublished letters and journals and numerous reports printed in Missionary Transactions and the Quarterly Chronicle. Her account was first published in 1838; this second edition has additional material, including a violent attack on the French Catholic missionaries who had returned to the island in 1843. Letters from Queen Pomare to Queen Victoria about the "invasion" are quoted from and there are recent voyagers' accounts of the island, including Fitzroy's visit on the Beagle.Provenance: presentation inscription from Anna Everett to Lucy Edgar, Clapham, 20 December 1849.

      [Bookseller: Hordern House]
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        Oeuvres complètes de Buffon avec les suppléments augmentées de la classiffication de G. Cuvier. Oeuvres du Compte de Lacépède comprenant l'Histoire naturelle des quadrupèdes ovipares, des serpents, des poissons et des cétacés. 12 volumes complet

      1844. Paris, Chez Abel Ledoux 1844 - 1845. 12 volumes in-8 reliés demi-chagrin chocolat. Dos à faux-nerfs dorés, fleurons, titres et tomaisons dorés. Les 9 premiers volumes pour Buffon : Oeuvres complètes de Buffon avec les suppléments augmentées de la classification de G Cuvier accompagnées de belles gravures sur acier, représentant plus de 800 animaux, et d'un beau portrait de Buffon (fontrispice du tome 1). 3 volumes pour : Oeuvres du Comte de Lacépède comprenant l'Histoire Naturelle des quadrupèdes ovipares, des serpents, des poissons et des cétacés accompagnéees de belles gravures sur aciers représentant au moins 500 animaux. Textes sur 2 colonnes, très légères rousseurs. Enfin, le dernier volumes étant le volumes des planches. 55/56 planches couleurs à divers sujets pour les oiseaux (la planche 11 est manquante) - 64 planches couleurs à divers sujets pour les poissons - 25 planches couleurs à divers sujets pour les mamifères - 21 planches couleurs à divers sujets pour les serpents - 11 planches couleurs à divers sujets pour les sauriens (la planche 7 est manquante) - 6 planches couleurs à divers sujets pour les tortues (la planches 6 est manquante) - 6 planches couleurs à divers sujets pour les batraciens. Soit un total de 188 planches couleurs, totues montées sur onglets.

      [Bookseller: Librairie Artgil]
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        Poems. FIRST EDITION.

      Edward Moxon. 1844 Excellently rebound in half straight-grained morocco, marbled boards, spine gilt, maroon label. a.e.g. v.g.Patmore's first published book. Pencil marginal lines & underlining in 'Lilian - The Tale'.

      [Bookseller: Jarndyce Rare Books]
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        An Alphabet of Quadrupeds, partly selected from the Works of Old Masters, and partly drawn from Nature.

      London: Joseph Cundall, 1844. Small square octavo, frontispiece and 24 sepia plates, all edges gilt; in the original blind-stamped green cloth, lettered in gilt, First edition, uncommon. An attractive illustrated alphabet, with a charming image of a Kangaroo. Among the other plates are etchings after Rembrandt and Albrecht Durer.Handsome chapter initials decorate the accompanying text which is enchantingly written. 'Fox. Look at this cunning, cruel fellow, making ready to spring among the chickens... But he will be punished tomorrow I think, for I heard uncle Tom order his red coat to be ready for hunting...' The Kangaroo entry remains the highlight, 'The Kangaroo is brought from New Holland: we have some in England in the Zoological Gardens. Their Nature is not at all savage.'Henry Cole, who published this and other children's books under the pseudonym F.S. (Felix Summerly), was a notable figure of nineteenth-century England. A distinguished civil servant and associate of John Stuart Mill, he was eventually knighted and is credited with producing the first commercial Christmas card. The Home Treasury series, to which the Alphabet belongs, was edited by Cole and aimed to improve upon the standard of children's books. A little sunned especially to spine, a very good copy.

      [Bookseller: Hordern House]
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        THE ROYAL ALPHABET. [Uncle Buncle Series.]

      8 leaves, all printed on one side only, the first and last pasted to the wrappers, each leaf bearing hand-coloured engravings, 7 of which, illustrated the letters of the alphabet, with royalty as their theme. Origina yellow wrappers, the upper pictorial, the lower, bearing ad's for the Uncle Buncle series of toybooks, and Dame Wonders New and Curious Transformations. 19.8 x 6.2 cm. Disbound from a collection, with evidence of that to the spine; some light creasing; else a delightful alphabet. Illustrations include, the young Queen, Prince Albert, the Prince of Wales as a baby, and other eminent guests attending a banquet. Very scarce.

      [Bookseller: David Miles]
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        The Botanic Garden parts XVI-XIX.

      London: Simpkin, Marshall, 1841-1844. The collection comprises 46 separately issued parts in original wrappers, numbered 194-240, being complete parts XVI-XIX for the years 1841-1844; lacking one issue for October 1842, otherwise a continuous series each with a handcoloured plate illustrating four species followed by letterpress; beautifully preserved large paper issue preserved in a custom built folding case. Benjamin Maund (1790-1864) botanist and horticulturist, started out as apprentice to a printer and bookseller in Ludlow named Thomas Griffiths. In 1815 he bought his own business and moved to the High Street, where he prospered, combining his work as a printer and publisher with his passion for plants; at the rear of the business he had a large garden and was able to experiment with seeds and plants obtained from around the world. Clearly somewhat of a social pollinator himself, Maund worked in closely with master horticulturalists at the Birmingham Horticultural Society and similar associations. The publication of the Botanic Garden spanned the years 1825-1851.Each issue of the Botanic Garden contains three parts. The first is the Botanic Garden as such: a plate illustrating four species followed by letterpress descriptions of each. The second part is The Floral Register, another independent work issued serially and separately paginated. The third is titled The Auctarium of the Botanical Garden; containing miscellaneous information connected with the cultivation of a garden, and natural history.It was intended that each of these three parts would be assembled and separately bound when completed, evidenced by the inclusion of free-standing title-pages and index leaves for each part. This fact makes the survival of an almost complete run in original wrappers, such as this fine example, highly unlikely. The rear cover of each of the wrappers is a gardener's calendar, listing seasonal tasks and maintenance chores, and would have been discarded when the constituent parts were bound up. Not content with his already ambitious project, Maund added a fourth part to the publication commencing January 1843, being Professor Henslow's Dictionary of English and Latin Terms used in Botanical Descriptions. As the front wrapper indicates this was available as a large paper issue (1s. 6p.) and regular for a single shilling apiece. This collection here offered is an excellent example of the large paper issue.Maund was overwhelmingly successful in sharing his horticultural enthusiasm with a wide public, and enjoyed the support of none less than Queen Victoria. The plants included are primarily exotics from across Europe and beyond, including Nepal, Mexico, Siberia, Virginia, China, the Falkland Islands, and so forth. One Australian acacia, illustrated with a two page description, is included. The engraving and handcolouring of the plates is unusually good, with fine tone and colour gradation, and Maund's own daughters were actively involved in the process. Not all sets are coloured, as a loosely inserted advertisement announces that an uncoloured 'Gardener's edition' will commence from 1843. Of additional interest is a catalogue of some six pages bound into one of the issues, advertising plants available from the Handsworth nursery near Birmingham, J. Pope and Sons proprietors. Two of the rear covers are missing, and a few wrappers a little chipped; nonetheless a very fine set.

      [Bookseller: Hordern House]
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