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Displayed below are some selected recent viaLibri matches for books published in 1845

        THE NATURALIST'S LIBRARY

      W. H. Lizars, Edinburgh 1845 - A Fine Copy of Jardine in Marvelous Morocco,Color-Coded To Reflect Various Animal Groups. 165 x 105 mm (6 1/2 x 4 1/8"). 40 volumes. Second Edition. VERY ATTRACTIVE CONTEMPORARY HALF MOROCCO, HANDSOMELY GILT, THE VOLUMES BOUND IN FOUR DIFFERENT COLORS TO REFLECT THE VARIOUS MEMBERS OF THE ANIMAL KINGDOM (the 14 volumes on birds bound in red, the 13 volumes on mammals in dark green, the seven volumes on insects in dark blue, and the six volumes on fish in deep purple), all the volumes with gilt-decorated raised bands, spines uniformly gilt in compartments with lozenge centerpiece composed of drawer handle stamps and enclosing a small flower, the whole surrounded by triangular scrolling cornerpieces, marbled edges (sides and endpapers not uniform--by design: the mammals and fish with watered silk covers, the birds and insects with buckram; the mammals, fish, and insects with tartan endpapers, the birds with an unusual maze-like design). WITH A TOTAL OF 1,360 ZOOLOGICAL PLATES, INCLUDING 1,280 PLATES OF VARIOUS ANIMALS, ALL BUT A FEW HAND COLORED, along with 40 engraved frontispiece portraits of noted zoologists and 40 (mostly uncolored) engraved title pages, (one fish engraving mentioned in the list of plates, but apparently not issued, since no text relating to it appears), all but a very few of the engravings with original tissue guards. Front pastedowns with armorial bookplate of Edward Salvin Bowlby. Nissen 4708; Wood, pp. 405-06; Zimmer, p. 326. Just the most minor rubbing to leather extremities, slight chafing or soiling here and there to cloth boards, trivial imperfections internally, but AN EXTRAORDINARILY APPEALING SET IN VERY FINE CONDITION, the bindings especially bright, almost without wear, and most pleasing on the shelf, and the text remarkably smooth, clean, and fresh, with virtually no signs of use. This famous collection of writings on natural history and on naturalists, augmented by more than 1,300 (mostly colored) engravings, was issued in individual volumes from 1833-43; the present set is a very early reprint of the completed 40-volume work. The book's general editor, Jardine (1800-74), also wrote about a third of the volumes, mostly on birds and fish. Wood says that it is "a remarkable little library of early nineteenth-century zoology, as well as a brief account of the lives of the chief zoologists of all time." The plates here feature figures of animals that are fully colored against an uncolored background, an arrangement that makes the species under discussion stand out as more clearly delineated. Complete sets with all of the plates, like this one, are not so readily available as in the past. And because the attractive engravings have meant that the work has frequently been the victim of affectionate destruction, sets that are both clean internally and in contemporary bindings in excellent condition are especially rare. This is all the more true in the case of sets bound in attractive leather. The present copy is extraordinary because it still opens stiffly, indicating that it has experienced very little use, and because it is bound so distinctively: we have never seen this work--or any multi-volume work like it, for that matter--bound in such a way as to reflect its various sections of content with varying colors of leather (though compare how color is used to differentiate content in bindings described in items #2 and #9, above). Our set comes from the library of Victorian gentleman Edward Salvin Bowlby (1830-1902), a barrister who served as High Sheriff of Hertfordshire. [Attributes: Hard Cover]

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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        STORIA DELLE CAMPAGNE E DEGLI ASSEDI DEGL'ITALIANI IN ISPAGNA. Dal 1808 al 1813. Seconda edizione approvata dall'Autore, eseguita per cura di F. Longhena.

      Pagnoni 1845 In - 8 p. (mm. 220x140), 3 voll., mz. pelle coeva, dorso a cordoni con fregi e tit. oro + 1 di Atlante (mm. 605x440), mz. pelle mod., piatti in cartonato coevo. Il testo, pp. XXVIII,(2),575; (2),733; (16),704; in appendice al terzo vol.: ?"Saggio" critico - bibliografico sulla ristampa eseguita in Firenze nel 1827 della Storia del Generale Camillo Vacani e "Sunto" dei giudizi pubblicati intorno all?opera medesima in Italia e all?estero sull?edizione originale ultimata in Milano nel 1825?, di pp. (4),60. L?opera, dedicata all'Arciduca Giovanni d'Austria, è preceduta da una lunga introduzione (pp. 267) sulla storia e descrizione geografica della Spagna. Il pregevole Atlante è composto da 16 carte militari, inc. in rame da Antonini, di cui: 1 Carta generale della Spagna e 1 Carta militare della Catalogna (mm. 608x860) sono più volte ripieg. - 14, a una pag. (mm. 440 x 608) raffigurano ?Carta dei contorni di Barcellona - di Tarragona - di Sagunto - di Valenza - Piano della fortezza di Rosas - della città di Zaragoza - della città di Gerona - del forte di Hostalrich - Piani di S. Feliu de Quixols, di Palamos, di Tosa e di Bagur in Catalogna - della città di Tortosa - della città di Tarragona - della fortezza di Figueras - della città di Bilbao - Piani di Lerida (in Catalogna), di Burgos (in Castiglia), di Peniscola (nel Reg. di Valenza) e di Castro (sull?oceano Cantabrico)". "Seconda edizione" di questo importante lavoro del milanese Camillo Vacani (1784 - 1862), ufficiale del Genio del Regno Italico, all?epoca della sua partecipazione alla Campagna di Spagna. Estremamente raro trovare l'opera completa di tutte le carte militari. Cfr. CLIO,VI, p. 4678 - Brunet,V,1024 e Graesse,VII,233 che citano la I ediz. del 1823 di questa "ouvrage important" - Bertarelli "Risorgimento italiano",I,1675. Il testo, con barbe, porta solo qualche lieve fiorit.; l?atlante è ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
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        Zigzags.

      V. Magen 1845 - - V. Magen, Paris 1845, 14,5x23cm, relié. - Edition originale. Reliure à la bradel en demi maroquin à grains longs vert des prés, dos lisse, date en queue. Exemplaire bien complet de sa table in fine qui fait souvent défaut. Un petit manque angulaire à la page 187, une petite déchirure marginale sans manque à la page 300, quelques petites rousseurs. Rare. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        HALMATURUS BILLARDIERII - Tasmanian Pademelon

      London 1845 - This superb folio-sized lithograph with original hand-color from John Gould’s monumental work MAMMALS OF AUSTRALIA, published in London from 1845-1863, is in excellent condition measures 15”x 22” and magnificently displays the author's scientific skill and attention to detail.HALMATURUS BILLARDIERII, more commonly known as the Tasmanian Pademelon is found abundantly on the island of Tasmania. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalog exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Gould became captivated by the mammals of Australia during his time gathering specimens for the Birds of Australia. As he recounted in the preface: “It was not until I arrived in the country, and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna.” Gould produced The Mammals of Australia in an attempt to document the animals of that continent as exhaustively as he had its birds. The artist had a sense that a book on animals would not be as successful financially as his work on birds, for he was straying outside the area in which he was most distinguished. Yet the precision of the lavish illustrations was a testament to Gould's ability -- and that of the artists with whom he collaborated -- to embrace diverse fields with equal talent. Despite Gould's lack of optimism, the Mammals of Australia received immediate acclaim of documenting striking species that were all but unknown (including several which have since gone extinct). The book continues to be considered one of the most important works that Gould ever produced. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine natural history books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his works have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance. All of the Gould prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

      [Bookseller: Arader Galleries San Francisco]
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        SEASONS

      Greenfield A. Phelps 1845 - First edition. VERY RARE. 12 illustrations Small 8vo, original illustrated wraps. 8 pp Cover and pages are still bright, pages separated at hinge. This children’s book is called a chapbook, a more modern term that derives from the chapmen. Chapmen were pedlars who hawked their goods in towns and villages, and at country fairs. In 1553, Edward VI proclaimed that champmen must be licensed and Chettle, in Kind Hart’s Dreame (1592) wrote that "‘Chapmen are able to spred more pamphlets.then all the booksellers in town.’" Although they sold other wares, too, they always had cheap booklets, sometimes ballad sheets which eventually assumed the familiar form af a miniature booklet, with a paper cover thatusually had a picture. Even Shakespeare, in Henry IV, mentioned the chapmen as did Urquhart’s Rabelais in 1653. With the growth of small printers, miniature editions of old favourites could be printed. While chapbooks were ostensibly designed to help children learn how to read, they often broached adult subjects and were the source of entertainment in families and villages. [Attributes: First Edition; Soft Cover]

      [Bookseller: Buddenbrooks, Inc. ABAA]
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        History of the Irish Rebellion in 1798; with Memoirs of the Union, and Emmett's Insurrection in 1803 / by W. H. Maxwell, Esq. , Author of "The Life of the Duke of Wellington, " & C. &c

      London : Baily, Brothers, Cornhill 1845 - Physical desc. : vii, [1], 477, [1] p. , [27] leaves of plates : ill. ; 23 cm. Subject: Cornwallis, Charles Cornwallis, Marquis, 1738-1805 - Portraits. Subversive activities - Ireland. Ireland - History - Union, 1801. Illustrations: Engravings chiefly by George Cruikshank. Illustrations: Engraved portraits chiefly by P. Lightfoot. Signatures: A4 B-2H8. Referenced by: Cohn, A. M. George Cruikshank, 541. Very good in the original gilt-blocked, half aniline calf over marble boards. Raised bands with elaborate gilt-tooling. Dust-dulling to the spine bands with minor wear to the panel edges. Remains an uncommonly good copy tight, clean and strong. 1 Kg. 477 pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: MW Books Ltd]
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        Memoirs of the Jacobites of 1715 and 1745 / by Mrs. Thomson, author of "Memoirs of the court of Henry the Eighth," "Memoirs of Sarah, duchess of Marlborough," etc. - [Complete in 3 volumes]

      London : Richard Bentley, New Burlington Street, publisher in ordinary to Her Majesty 1845 - Physical desc.: 3v. : ill., ports. ; 8vo. Notes: With engraved portraits in each volume. Contents: v. 1. John Erskine, earl of Mar. James Radcliffe, earl of Derwentwater. The Master of Sinclair. Cameron of Lochiel.--v. 2. William Maxwell, earl of Nithisdale. William Gordon, viscount Kenmure. William Murray, marquis of Tullibardine. Sir John Maclean. Rob Roy Macgregor Campbell. Simon Fraser, lord Lovat.--v. 3. Lord George Murray. James Drummond, duke of Perth. Flora Macdonald. William Boyd, earl of Kilmarnock. Charles Radcliffe. Subject: Jacobites. Jacobite Rebellion, 1715. Jacobite Rebellion, 1745-1746. Genre: Memoirs - England - 1845-1846. Very good copies all in the original, elaborately blind-tooled green cloth. Professionally and period sympathetically re-backed in matching, gilt-blocked aniline calf with raised bands and gilt-blocked titles; very impressively finished. Remains an exceptional example; tight, bright, clean and sharp-cornered. 4 Kg. [Attributes: First Edition; Hard Cover]

      [Bookseller: MW Books Ltd]
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        The Book of Ballads Edited By Bon Gaultier (Sir Theodore Martin & William Edmondstoune Aytoun). Including 3 First Editions, with the Crowquill, the Doyle and Finally That with the Leech illustrations, (with) 2 MS Letters Signed By Sir Theodore Martin

      W.S. Orr, London 1845 - A grouping of the three first editions of this group of satirical ballads: 1) 1845, with the Crowquill illustrations; in the original decorativley blind-stamped and purple-lavender striped cloth, elaborate gilt decoration on spine, cover with gilt title and device, all edges gilt, with the bookplate of Juliani Marshall on the front paste-down (with) tipped-in at front, a letter on Bryntisilio, near Llangollen notepaper dated 27th August (18)87 signed by Theodore Martin, in which he speaks to an inquiry concerning the Bon Gaultier Ballads and rather wryly comments on amusing literature. With chromolithgraphed title pages, black and white illustrated throughout by Crowquill. (A.H. Forrester) light wear, in very good condition. 2) 1849, the first edition which was illustrated by Crowquill and Richard Doyle and (according to a pencilled note) containing 12 new Ballads not in the first; this bound in a larger format, original decorativley blind-stamped red straight-grained cloth, elaborate gilt decoration & rules on spine, cover with gilt title and device, all edges gilt, with the bookplate of Juliani Marshall on the front paste-down, with some wear and rubbing to cloth, some splitting along the spine cloth on the back board side; with the wear, in good condition. 3) 1850 edition, the first illustrated by John Leech and with the different frontispiece illustration; (with) a litter tipped-in at front bearing a small version of the Martin family motto, dated 6th March 1872 signed by Theodore Martin and regarding some very interesting stage and theatre history, especially concerning Madame Riccioboni (nee McRae de Mezieres) and her introudction to Steven Bickerstaff who ".a few years afterwards, had to fly from England to escape the consequences of a charge of the same criminal nature as was brought (most unjustly) against Foote."; again noting ".several new ballads" as being included in the edition; bound in original decorativley blind-stamped green cloth, gilt titles decoratively lettered on spine, cover with gilt title "Balladeer" humorous portrait device & titles, all edges gilt, with a little wear and rubbing to cloth, front inner hinge paper split, consequently board loosened; with the wear, in very good condition; all three volumes contained in a cozily shaped folding marbled-paper lined box, the smaller volume with its own 'bed' within, others resting comfortably above it; box in red cloth and with leather "false" spine, with gilt titles and deocorations, with the bindery stamp of Charles E. Lauriat Co. Boston on the inner hinge of the box; box with some wear and rubbing, spine cover loosening on box; very good condition overall, and an interesting grouping of these ballads by Martin and Aytoun, along with the illustrations of the most famous English cartoonist-satirists of the time and especially nice for the Martin letters concerning his work and researches. [Attributes: First Edition; Hard Cover]

      [Bookseller: Certain Books, ABAA]
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        Plate 135 - Western Blue Bird

      New York and Philadelphia 1845 - John James Audubon Selection from Birds of America, From Drawings Made in the United States and Their Territories, octavo ed. New York and Philadelphia: J. J. Audubon and J. B. Chevalier, 1839-44. Hand-colored lithographs 10” x 6 1/2”; 15.25” x 18.75” framed A tireless entrepreneur, John James Audubon devoted himself to an unprecedented project, becoming the first to attempt the seemingly insurmountable task of documenting all the bird life of North America. This task grew out of a genuine and passionate interest in his subjects, and Audubon determined not only to complete a project that no one else had undertaken, but to approach it in an entirely innovative manner. His style and his persona were much like the notion of America itself: ambitious, animated, larger than life. The artist's tireless efforts and remarkable talent culminated in the publication in London of his 435-plate Birds of America (1827-1838), undoubtedly the greatest work on birds ever produced. The celebration of this quintessentially American work, and the enterprising, talented artist who created it, has grown steadily since the time of its publication. Even before the double elephant folio edition had been completed, Audubon was planning this, the octavo edition, in order to make his magnificent Birds of America available to a wider spectrum of people. In the introduction to the first part of his reduced format edition, Audubon wrote that he had “been frequently asked, for several years past, by numerous friends of science, both in America and Europe, to present to them and to the public a work on the Ornithology of our country, similar to my large work, but of such dimensions, and at such price, as would enable every student or lover of nature to place it in his Library.” All of the birds from Audubon’s original folio aquatints were reduced by camera lucida for lithography by the artist’s son John Woodhouse, and new species were added. The octavo edition was expanded to 500 plates, and included the text of Audubon’s “Ornithological Biography.” It was beautifully printed and colored by John Bowen of Philadelphia, one of the finest American lithographers of his day, and issued in 100 serial parts over a five-year span. Audubon’s “little work,” as he called it, was a great success, attracting nearly 1,200 subscribers and becoming the format through which Audubon’s ornithology was most widely disseminated in the nineteenth century.

      [Bookseller: Arader Galleries San Francisco]
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        Diable a Paris, Le

      Paris: Publié par J. Hetzel, 1845. - The Devil in ParisWith 208 Wood-Engraved Plates After Gavarni[GAVARNI (pseudonym of Guillaume Sulpice Chevallier), and others, illustrators]. Le Diable à Paris. Paris et les Parisiens. Mœurs et coutumes, caractèes et portraits des habitants de Paris, tableau complet de leur vie privée, publique, politique, artistique, littéraire, industrielle, etc., etc. Texte par MM. George dDe Balzac, Taxile Delord, Alphonse Karr, Méry, A. Juncetis, Gérard de Nerval, Arsène Houssaye, Albert Aubert, Théophile Gautier, Octave Feuillet, Alfred de Musset, Frédéric Bérat, précédé d’une Histoire de Paris par Théophile Lavallée. Illustrations Les Gens de Paris, Séries de gravures avec légendes par Gavarni. Paris comique, vignettes par Bertall. Vues, monuments, édifices particuliers, lieux célèbres et principaux aspects de Paris par Champin, Bertrand, d’Aubigny, Français. Paris: Publié par J. Hetzel, 1845-1846.First edition. Two large octavo volumes (10 3/8 x 6 7/8 inches; 263 x 175 mm.). [4], xxxii, 380; [4], lxxx, 364 pp. Wood-engraved title vignette in each volume, 212 wood-engraved plates (208 after Gavarni and four after Bertall), with tissue guards, and numerous wood-engraved head- and tail-pieces, vignettes, and initials. This copy with a duplicate of the plate facing in Volume I. Music.Contemporary half black hard-grain morocco, ruled in gilt, over black morocco-grain paper over boards. Smooth spines decoratively tooled in gilt and blind and lettered in gilt. Marbled edges and endpapers. Minor rubbing to extremities, head of spine of Volume II expertly and almost invisibly repaired, front hinge of Volume I cracked, but sound. Minimal foxing and soiling. Small area of surface abrasion to upper blank margin of plate "Artistes, —6" facing p. 160 in Volume II, where it was once adhered to the facing page. Bookplate ("Bibliothèque de A. Vautrain") on front pastedown of each volume. Overall, an excellent copy."Hetzel’s two volumes are something of a potpourri. There are texts by well-known writers including Balzac, Gautier, Musset, George Sand, and Hetzel himself. There is much detailed information about Paris of a historical, geographical, and statistical nature, but the bulk of the book is made up of essays, stories, and dialogues with Parisian subjects, sometimes documentary in the manner of Les français peints par eux-mêmes (227), sometimes facetious. The illustrations are also heterogeneous. The most impressive are the 208 wood-engraved plates after Gavarni. There are also wood engravings in the text, said by Hetzel to number 800, which are largely the work of Bertall, though Champin, Bertrand, and occasionally Daubigny provided architectural and topographical designs. "The book appeared in part-issues, at the rate of one or two a week, between April of 1843 and December of 1845. The major attraction of Le diable à Paris resides in Gavarni’s plates, which are of even greater interest than the 320 wood engravings of his Oeuvres choisies (207). The engraving is superior for the most part, and they are new conceptions, not versions of his lithographs. He limits himself almost entirely to single figures or pairs, evoked with his usual concentration and psychological subtlety. He had a free hand with his subjects, since his designs are quite unrelated to Hetzel’s text. As usual he arranged them is series, some of which (those devoted to writers and politicians, for example) are largely unprecedented in his previous repertory. He invaded Daumier’s world with success in the fifteen plates of ‘Bourgeois,’ exampled in the self-satisfied worthy reproduced (II, 328). "Other sequences, such as ‘Ceintures dorées’ (II, 104), anticipate the spirit and the subjects of Masques et visages (157). Hetzel’s way of imposing unity on these varied materials was to present them as documents bearing on the Devil’s visitation of Paris. Gavarni’s only contribution to this aspect of the book was a melodramatic frontispiece which depicts his satanic majesty with his foot [Attributes: First Edition]

      [Bookseller: David Brass Rare Books, Inc.]
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        Le diable à Paris.

      Hetzel 1845 - - Hetzel, Paris 1845-1846, 2 tomes en 2 vol. grand in-8 (17,5x27cm), LBR6. - Ouvrage illustré hors-texte de 212 gravures sur bois de Gavarni, à l'exception des 4 dernières qui sont de Bertall, ainsi que de 800 vignettes in texte. Exemplaire de premier tirage. On notera l'étonnante diversité typographique en matière d'illustration (encadrements de texte, cul-de-lampe.). Les bois de Gavarni légendés et satiriques constituent une incroyable profusion illustrative, comme une précoce bande dessinée. Reliures en demi-basane brune. Dos lisse ornés de filets dorés et d'une dentelle dorée à la cathédrale en queue. Plats de papier et coins frottés, deux coins du second tome très légèrement pliés. Reliure strictement de l'époque. Quelques très rares et pâles rousseurs. Livre extraordinaire et typiquement romantique, le Diable à Paris réunit des textes à la signature prestigieuse (la philosophie de la vie conjugale de Balzac Mimi Pinson de Musset.) et les dote d'une illustration abondante. Ce type de livre fait suite au succès énorme que rencontra les Physiologies et qui croque des caractères parisiens au moral et au physique. Le premier tome est précédé d'une histoire de Paris par Lavallée et le second d'une géographie de Paris (en fin de volume Statistiques de Paris). Ce tableau de la capitale est des plus intéressants car il précède les grands bouleversements que va connaître Paris sous le second empire. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Histoire des villes de France avec une introduction générale pour chaque province.

      Paris, 1845 - Sei volumi di cm. 27, pp. 4.600 circa complessive. Figura centrale a ciascun frontespizio, alcune testate, 11 tavole di stemmi in cromolitografia, 87 tavole in rame di vedute di città e una grande carta geografica della Francia ripiegata. Il tutto finemente inciso fuori testo. Bella legatura coeva in mezza pelle rossa, dorsi a nervi con titoli in oro e ricchi fregi d'ispirazione romantica. Esemplare a carte particolarmente candide e del tutto privo di fioriture. Cfr. Vicaire III, 1159 che cita due tavole in più che nel nostro esemplare non appaiono (sicuramente dall'origine). Preziosa documentazione storica e topografica per l'intera nazione francese (compresa la Corsica), in cui ogni città viene raffigurata e descritta nei suoi aspetti storici e topografici. Opera impreziosita da un apparato iconografico di grande bellezza. [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Benacense]
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        Theologische Ethik. Von Richard Rothe. Erste Auflage, alle 3 Bände ( 1845/1845/1848) Zimmermannsche Buchhandlung Wittenberg

      Zimmermann'sche Buchhandlung, 1845 - 1848.. XVI, 430 Seiten, IV, 485 Seiten, 3 Blatt Berichtigungen, VIII 1125 Seiten Orig. Pappbände der Zeit mit Rückentitel. Zustand : Bd.1 - Rückenbezug ( oberflächlich) stärker berieben, der hintere Deckel unten beschabt, Buchblock fest, Gelenke intakt, die überwiegend ersten und letzten Seiten teils altersfleckig, selten stärker altersfleckig ohne Textverlust. Sonst schön textsauber, gelegentlich altersfleckig, altersübliche Bräunungen , gelegentlich sehr feine Bleistiftunterstreichungen. Bd. 2 - Ecken Kanten bestoßen, leicht a. Rücken berieben, Deckel geringf. beschabt, Block und Gelenke intakt, gelegentlich Altersbräunungen - selten stärker - ohne Textverlust o.ä. Band 3 : etwas bestoßen berieben, gelegentlich meist am Blattrand etwas altersfleckig. Gelenke und Block intakt. Selten sehr schwache Bleistiftunterstreichungen 176

      [Bookseller: Versandhandel Rosemarie Wassmann]
 13.   Check availability:     ZVAB     Link/Print  


        No. 12 - Buffalo Hunt, Chasing Back

      London 1845 - George Catlin. A selection from the North American Indian Portfolio: London, 1845. Hand-colored lithograph. Paper size 15 ¾" x 22 ¾". Condition: Margins of paper slightly darkened, some minute areas of foxing not affecting main image. In 1827, George Catlin, an illustrator from Philadelphia, became the first artist to attempt the perilous journey up the Missouri River, and the first to create visual records of his experiences traveling among the Plains Indians of North America. Catlin embarked upon his journey in the Spring of 1832, traveling from St. Louis up the Missouri on the steamboat Yellowstone to Fort Union, at the intersection of the Yellowstone and Missouri rivers. It was a path that Karl Bodmer was also to follow just a year later, leading along a series of trading posts that served as a conduit for the furs and pelts brought down from the Rocky Mountains and channeled East. Catlin’s motivation was entirely unselfish and idealistic, and he labored unceasingly to persuade his contemporaries that Native American culture should be honored and preserved. The artist himself best expressed his goal in the preface to the first edition of his North American Indian Portfolio: “The history and customs of such a people, preserved by pictorial illustrations, are themes worthy the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian.” Catlin’s project filled a great need. After Lewis & Clark’s celebrated expedition up the Missouri River into the Pacific Northwest, Europeans read avidly of the sights and experiences of the voyage. They traced the route followed by the explorers, using the map that accompanied the wildly popular printed volumes on the journey. But a crucial aspect was missing from the accounts of the expedition of Lewis and Clark. Without pictorial documentation, Europeans (and Americans) were unable to visualize the all-but-unbelievable journey. This lack meant that the people, landscape, and customs of the vast American frontier remained abstract ideas -- and much less vividly imaginable -- to anyone who had not personally experienced the voyage. When Catlin first issued his volume in 1844, his animated, colorful, sympathetic views of Native Americans finally filled the void of imagery. Suddenly, Europeans and Americans were able to visualize the people and customs of whom they had read so extensively, and to gain a level of respect for the Native Americans, so often feared, misunderstood or misrepresented. Catlin’s work endeavors to tell the story of the Plains Indians in a logical, graphic way that is not evident in the works of artists and publishers who followed in his footsteps, most notably Bodmer and McKenney & Hall. Catlin tells a story about the culture of the Plains Indians throughout the North American Indian Portfolio from the Indian standpoint. Catlin appealed to his readers with the thrill of the hunt and the mystery of ritual, and conveyed his respect for his subjects masterfully. The immediacy of his images is irresistible, drawing viewers into the scenes and portraits with unprecedented intimacy. When Catlin issued the North American Indian Portfolio, not even fifteen years after his expedition, his crusade to preserve America’s “Noble Savage” was failing. The Indians were beginning to give way to the expansion of the American frontier and to European disease. Because most of Catlin’s paintings and collections were destroyed by fire and neglect, his lithographs remain the principal medium by which his message was conveyed, they have come to hold even greater significance today than when they were first published.

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


        Plate 306 - Canada Porcupine

      New York 1845 - John James Audubon Viviparous Quadrupeds of North America 150 hand colored lithographs: each 27 ¾" x 21 ½" New York, 1845-1848 In the 1830s, as the final plates were being completed for John James Audubon's monumental Birds of America, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive as that he used for his birds. Moreover, despite his advancing age, the great naturalist was determined to make the journey to the American West to personally document the little-known wildlife of the frontier. Following in the footsteps of Catlin, Bodmer, and Miller, Audubon was only the fourth artist to travel up the Missouri River. He arrived there before Christianity, smallpox, syphilis, gunpowder, and alcohol changed the frontier, its native peoples, and its wildlife indelibly -- even if these forces had already made their presence felt -- and his Quadrupeds offer us one of the great pre-Civil War glimpses of the West. The Quadrupeds, as Audubon envisioned, would complete his record of the animal life of North America. Audubon began the project in 1839 from his home in New York, where at first he solicited specimens from his correspondents throughout the east, recommending that animals be sent to him preserved in "good common rum." His assistants in the endeavor were his sons Victor and John Woodhouse, as well as John Bachman, a Lutheran minister who had been the artist's closest friend and supporter for many years. The artist's enthusiasm at the start of the project was unbounded. In 1840, Audubon wrote to Bachman: "I promise you that I will give the very best figures of all our quadrupeds that ever have been thought of or expected I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." By 1841, Audubon had drawn one hundred figures, including thirty-six species, for his new book. It soon became clear, however, that not all animals were available to him in the East, and moreover he was determined to use "drawings made on the spot and not from stuffed museums' moth-eaten remains." He began to plan for his trip west, a journey he had wanted to make for twenty-two years. In March of 1843, one month before his 58th birthday, Audubon set out on the last great trip of his long career. He traveled down the Ohio River to St. Louis, boarded a steamboat bound for the Upper Missouri, and rode as far west as Fort Union at the mouth of the Yellowstone. His eight-month journey was unprecedented in American natural history. The result of the naturalist's years of field research, travel, and seemingly endless study was the Viviparous Quadrupeds of North America, the outstanding work on American animals produced in the 19th century. The arduous journey, however, took its toll. Still, Audubon managed to complete seventy-seven drawings before failing health kept him from his work. Before his death in 1851, Audubon's sons managed to solicit some three hundred subscriptions for the Quadrupeds. Together, the three men, along with John Bachman, produced an unequaled record of American wildlife, matching the great combination of art and science attained in the Birds of America. Like that series, the Quadrupeds are wonderfully animated, superbly rendered, and beautifully printed in large format. As one reviewer wrote, the American people should be proud, for "in the 'Quadrupeds of America' we have at last a Great National Work, originated and completed among us."

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


        The Madras Almanac and Compendium of Intelligence for 1845. Compiled from the most authentic sources, and published for the benefit of the Military Male Orphan Asylum.

      Madras: Printed and published by Edmund Marsden, at the Asylum Press, Mount Road, 1845 - Octavo (225 × 148 mm). Contemporary sheep on marbled boards, skilfully rebacked to style with the original label laid down. Slightly rubbed on the boards, part of front free endpaper neatly excised, typically somewhat browned, and consequently brittle in the margins, but overall a very good copy, sensitively restored. 3 hand-coloured plates of signal flags, based upon Marryat's system. First edition. These local vade mecums, annual publications produced using local materials, are inevitably uncommon on the market. Although substantial at around c.700 pages, they have a low survival rate. That they were retained after their supersession is demonstrated by the fact that this copy has the presentation inscription dated in 1849 of the Massachusetts-born missionary and educator of Ceylon, Rev. Daniel Poor, to the title page. Genuinely compendious, covering the civil, military and religious establishments, including salaries; the legal administration; professional regulations, including those for palankeen bearers; post office regulations and charges; ship arrivals and departures; births, deaths, marriages and estates probated within the presidency; this is an excellent source of reference for the understanding of the nature of the British administration in India. [Attributes: First Edition]

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


        Plantae Utiliores; or Illustrations of Useful Plants,

      Whittaker & Co,, London: 1845 - Employed in the Arts and Medicine. 4to, sold as a collection of 65 plates. Steel engravings, hand-colored, with text describing the plant. Includes olives, melons, water lilies, mushrooms, bread-fruit, many medicinal plants & flowers, including the Swan River daisy.

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
 17.   Check availability:     AbeBooks     Link/Print  


        An Inquiry Into the Homoeopathic Practice of Medicine

      London J Leath 1845. G : in Good condition. Cover lightly rubbed. Outer spine cracked at joints. Ex.-lib. Royal College of Surgeons First Edition Green hardback cloth cover 230mm x 140mm (9" x 6"). 241pp, + 2pp catalogue.

      [Bookseller: Barter Books]
 18.   Check availability:     TomFolio     Link/Print  


        This Plan of the City of Quebec by special permission is respectfully inscribed to the Mayor & Corporation of the City.

      Alfred Hawkins, Montreal, New York 1845 - A very rare map of the city of Quebec, by Alfred Hawkins. Born in 1792 in England, he rose to prominence among the civil society of Quebec in the early half of the 19th century. His keen interest in the history of Quebec led to the publishing, in 1834, of his book Hawkins?s picture of Quebec. ?The work contains a history of Quebec from its discovery to the founding of the city, accounts of the various sieges, and histories of the religious establishments and the important buildings.? ?In 1835 Hawkins issued a Plan of the city of Quebec, engraved by William Cumming Smillie. The plan was reprinted in 1840, and five years later it was brought up to date by the city surveyor, Joseph Hamel.?Hawkins?s Plan of the city of Quebec ?and his two directories remain of value to the antiquary, the historian, and the genealogist.?, Size : 480x610 (mm), 18.875x24 (Inches), Hand Colored, 0 Very Good, margins shaved, small tear on the left margin, laid on acid free paper for long term preservation.

      [Bookseller: Alexandre Antique Prints, Maps & Books]
 19.   Check availability:     AbeBooks     Link/Print  


        Fragment aus dem Orient.

      J.G. Cotta'scher Verlag, Stuttgart und Tübingen, 1845 - 2 Bände. Stuttgart und Tübingen, J.G. Cotta'scher Verlag 1845. Gross-8°. XXXVII S., 344 S.; 3 n.n. Bl., 512 S. Halbleinwandbände der Zeit mit goldgeprägten Rückentiteln und Rückenvergoldung. Goedeke XII, 275,3 . - Borst 2155. - Erste Ausgabe. - Schilderungen und Aufsätze seiner Reise 1840 - 1842 in der Türkei und Griechenland. Band 1 schildert die Reise von Regensburg durch die Donau und dem Schwarzen Meer nach Trapezunt, die Länder des ehemaligen Königreichs und Konstantinopel. - Band 2 über den Norden Griechenlands: Athos, Thessalien und den slavischen Einfluss in Griechenland. - Papier vereinzelt stockfleckig. - handschriftlicher Besitzvermerk. Ecken leicht bestossen. Sprache: N Halbleinwandbände der Zeit mit goldgeprägten Rückentiteln und Rückenvergoldung. [Attributes: First Edition]

      [Bookseller: Daniel Thierstein]
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        Die Gallerinn auf der Rieggersburg. Historischer Roman mit Urkunden. 3 Bände. 2. Aufl. Wien, Gerold 1849. Gr. 8°. XVIII., 1 Bl., 531 S.; 1 Bl. 319 S.; 1 Bl., 292 S., mit 15 lithogr. Tafeln, Hlwd. um 1900 mit goldgepr. Rtit.

      - Schlossar 216 (E. A. v. 1845) - Goedeke VII, 768, 2 - Rabenlechner 120: "Ganz aus dem Rahmen seines sonstigen Schaffens fällt dann ein Roman aus dem 17. Jhdt".- Enth.: 1. Tl.: Die Burgfrau und das Erbfräulein; 2. Tl.: Die Huldigung und die Verschwörung; 3. Tl.: Der Hexenprozeß.- Die Tafeln zeigen eine Ansicht der Riegersburg von der Westseite sowie u.a. Epithaphe, Grabplatten u. ein Portr. v. Elisabeth Galler der Hexe der Riegersburg - Leicht gebräunt u. tls. etw. stockfleckig, sonst gutes Ex.

      [Bookseller: Antiquariat Müller]
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        Reuben Ramble's Travels in the Southern Counties of England

      Darton & Clark, London 1845 - (ca. 1845) 8vo. c.p. 8 hand col'd maps, light browning to text and extremities a little rubbed, maps have faint foxing but overall nice and bright, in original card wraps,which are a little grubby and a little crumpled, with later green reinforcing tape to spine, Images on request. very scarce in this format - (publishers' printed wrappers). Rueben Ramble 'maps are costly and difficult to obtain" Booth - Looking at Old Maps. Size: 8vo - over 7¾" - 9¾" tall [Attributes: Soft Cover]

      [Bookseller: Tombland Bookshop]
 22.   Check availability:     AbeBooks     Link/Print  


        Alexander Macleay

      London: for the Linnean Society, 1845. Engraving, 243 x 300 mm. (plate size), slight browning yet very good. Fine engraved portrait of Alexander Macleay, after the oil painting by Sir Thomas Lawrence commissioned by the Linnean Society and displayed in their prestigious portrait gallery of eminent naturalists at Burlington House, London. Macleay was Secretary of the Society from 1798 until his departure to Australia in 1825. Macleay was Colonial Secretary for New South Wales from 1825 to 1837, and became the first speaker of the Legislative Council in 1843. He is best remembered today as a man of science, particularly through the Museum which bears his name at the University of Sydney where his vast natural history collection is housed. By 1825 Macleay 'had accumulated what was probably the finest collection of insects then in existence' (Oxford Dictionary of Biography). During his lifetime he was actively involved in the development of the Sydney Botanical Gardens and the Australian Museum. He built Elizabeth Bay House where he developed a garden renowned for its rare plants. Macleay died in Sydney in July of 1848.

      [Bookseller: Hordern House Rare Books]
 23.   Check availability:     Biblio     Link/Print  


        Historia de la Ciudad de Cadiz / Compuesta por. [a partir del manuscrito original en 4º de 264 hojas útiles, dividido en 6 libros, y su título y frontispicio cual aquí va figurado: "Historia de la ciudad de Cádiz, compuesta por Agustín de Horozco criado del Rey. Ann. Domini CIC. IC. XCVIII (1598)".] La publica el Ecmo. Ayuntamiento.

      - [PRIMERA EDICION].- Cádiz: Imp. de Don Manuel Bosch, 1845.- VIII,311 p. + 15 p.: con 5 láminas plegadas grabadas al cobre sobre numismática antigua gaditana; 4º (24 cm.); Plena Piel Valenciana marrón con tejuelos verdes.- Primera impresión de esta historia de Cádiz, a partir del manuscrito original del siglo XVI, propiedad del Ayuntamiento de la ciudad. Algunas hojas tienen ténues motas de oxido, por lo demás en perfecto estado. Libro en español [Attributes: First Edition; Hard Cover]

      [Bookseller: Librería Miguel Miranda, AILA ILAB]
 24.   Check availability:     IberLibro     Link/Print  


        The History of Greece

      London - Whittaker and Co., 1845 Book. Very Good. Hardcover. An 1854 fifth edition of the History of Greece by Thomas Keightley. Thomas Keightley(17891872) was a historian, educated atTrinity College, Dublin, who wrote works on mythology and folklore, and, at request of Dr. Thomas Arnold of Rugby, a series of textbooks on English,Greek, and other histories. His History of Greece was translated into modern Greek. Samuel Warren, the British lawyer, novelist and MP, in his Legal Studies, 3rd ed. 1854, highly praises his historical work. Condition: In a faded dark cloth binding with gilt lettering to the spine. Externally, very smart, lightly rubbed in places. Spine and corners are a little worn. Internally, generally firmly bound. Front hinge is a little tender. Cracks to back hinge. Some slight spotting to the pages with some pencil marks in margins. Ink inscription and pencil marking to the front pastedown and free-end paper. Smaller page has been added in before the 'Works by the Same Author' page. Overall: VERY GOOD..

      [Bookseller: Rooke Books]
 25.   Check availability:     Biblio     Link/Print  


        OEUVRES COMPLETES DE BUFFON, 19 TOMES (INCOMPLET)

      Administration de Librairie, Paris 1845 - RO40231557: 19 tomes d'env. 400-500 pages chacun. Tome XIX manquant. Sans illustrations. Dos le plus souvent très abîmés, avec manques importants. Certains plats et cahiers se détachant, ou détachés. Texte frais et bien lisible. Début du tome XII très abîmé, avec fortes mouillures et manques en bords de pages, sans altération de la lecture. Oeuvres revues par M. A. Richard, Professeur à la faculté de Médecine de paris. Avec la Classification comparée de CUVIER, LESSON, et des Extraits de DAUBENTON. In-8 Broché. Etat passable. Plats abîmés. Dos abîmé. Quelques rousseurs Classification Dewey : 508-Histoire naturelle [Attributes: Soft Cover]

      [Bookseller: le-livre]
 26.   Check availability:     AbeBooks     Link/Print  


        HALMATURUS UALABATUS - Black Wallaby

      London 1845 - This superb folio-sized lithograph with original hand-color from John Gould’s monumental work MAMMALS OF AUSTRALIA, published in London from 1845-1863, is in excellent condition measures 15”x 22” and magnificently displays the author's scientific skill and attention to detail. Gould named this wallaby HALMATURUS UALABATUS, and commonly, the Black Wallaby. Now known commonly as the Swamp Wallaby, it was renamed Wallabia bicolor. It is the only living member of the genus Wallabia and is found throughout Eastern Australia. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalog exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Gould became captivated by the mammals of Australia during his time gathering specimens for the Birds of Australia. As he recounted in the preface: “It was not until I arrived in the country, and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna.” Gould produced The Mammals of Australia in an attempt to document the animals of that continent as exhaustively as he had its birds. The artist had a sense that a book on animals would not be as successful financially as his work on birds, for he was straying outside the area in which he was most distinguished. Yet the precision of the lavish illustrations was a testament to Gould's ability -- and that of the artists with whom he collaborated -- to embrace diverse fields with equal talent. Despite Gould's lack of optimism, the Mammals of Australia received immediate acclaim of documenting striking species that were all but unknown (including several which have since gone extinct). The book continues to be considered one of the most important works that Gould ever produced. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine natural history books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his works have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance. All of the Gould prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

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


        Audubon's Rocky Mountain Goat, Capra Americana from The viviparous quadrupeds of North America, Plate 128. , Imperial folio edition

      Audubon, John James, New York 1845 - id#: m3m0124H Title: Audubon's Rocky Mountain Goat, Capra Americana from The viviparous quadrupeds of North America, Plate 128. , Imperial folio edition Medium: Hand colored lithograph Artist: Audubon, John James, 1785-1851 -- Author Audubon, John Woodhouse, 1812-1862 -- Artist Bachman, John, 1790-1874 -- Author Bowen, John T., ca. 1801-1856? -- Lithographer Size: 27 3/4 inches x 21 1/2 inches Date: 1845-48 Listed by Ilsoon Han condition: very good condition, very good color, no tears or stains Title:Audubon's Rocky Mountain Goat, Capra Americana from The viviparous quadrupeds of North America, Plate 128. , Imperial folio edition The Viviparous Quadrupeds of North America In the 1830s, as the final plates were being completed for John James Audubon's monumental 'Birds of America' series, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive and sweeping as that he used for his birds. The result of the artist/naturalist's years of field research, travel, and seemingly endless study was the Viviparous Quadrupeds of North America, the outstanding work on American animals produced in the 19th century. The Quadrupeds, as Audubon envisioned, would complete his record of the animal life of North America. The artist's enthusiasm at the start of the Quadrupeds was unbounded. In 1840, Audubon wrote to his friend and collaborator John Bachman, 'I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come . Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman.' This work, with text by John Bachman, was conceived in similar terms as Audubon's Birds of America, viz. as a complete depiction of the quadrupeds of "the British and Russian possessions in American, the whole of the United States and their territories, California, and that part of Mexico north of the Tropic of Cancer;" another project of monumental proportions, this one to consume the last twelve years of Audubon's life. Trekking over much of that territory, Audubon made many studies of the animals in their natural habitats and collected many skins. With the help of his sons John Woodhouse and Victor, Audubon was finally able to start issuing the prints by subscription beginning in 1842, with the first volume of 50 plates published in 1845. The entire work comprises 150 prints in the imperial folio size, each lithographed and hand-colored with such precision and care as to give the fur on the animals a superbly realistic appearance. As the first work on American quadrupeds of this scope and quality, Audubon's second great work is a landmark of American natural science. Overshadowed by the Birds of America, and unjustly unknown, the prints from Audubon's Quadrupeds of North America are considered by some to be even finer and more accurate than the bird prints; they surely are prints of the highest quality and beauty.

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


        DENDROLAGUS INUSTUS - Grizzled Tree Kangaroo

      London 1845 - This superb folio-sized lithograph with original hand-color from John Gould’s monumental work MAMMALS OF AUSTRALIA, published in London from 1845-1863, is in excellent condition measures 15”x 22” and magnificently displays the author's scientific skill and attention to detail. Dendrolagus inustus, more commonly known as the Grizzled Tree Kangaroo, is a rare and threatened marsupial found on the Island of New Guinea and is listed on the IUCN Red List. John Gould was without question the most prolific natural history artist of the nineteenth century. He worked during a period of intense fascination with discoveries in natural history, especially regarding knowledge of the wildlife of exotic lands. Gould shared the romantic enthusiasm of his time for such subjects, as well as the popular impulse to catalog exotic wildlife. He combined his passion for natural history with outstanding scientific, artistic, and entrepreneurial talents. Gould became captivated by the mammals of Australia during his time gathering specimens for the Birds of Australia. As he recounted in the preface: “It was not until I arrived in the country, and found myself surrounded by objects as strange as if I had been transported to another planet, that I conceived the idea of devoting a portion of my attention to the mammalian class of its extraordinary fauna.” Gould produced The Mammals of Australia in an attempt to document the animals of that continent as exhaustively as he had its birds. The artist had a sense that a book on animals would not be as successful financially as his work on birds, for he was straying outside the area in which he was most distinguished. Yet the precision of the lavish illustrations was a testament to Gould's ability -- and that of the artists with whom he collaborated -- to embrace diverse fields with equal talent. Despite Gould's lack of optimism, the Mammals of Australia received immediate acclaim of documenting striking species that were all but unknown (including several which have since gone extinct). The book continues to be considered one of the most important works that Gould ever produced. Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works. John Gould died in 1881 still actively illustrating and producing fine natural history books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his works have been recolored in the last thirty years, and these are often found on the market. Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begun to breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance. All of the Gould prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled. The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

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


        Plate 108 - Bachman's Hare

      New York 1845 - John James Audubon Viviparous Quadrupeds of North America 150 hand colored lithographs: each 27 ¾" x 21 ½" New York, 1845-1848 In the 1830s, as the final plates were being completed for John James Audubon's monumental Birds of America, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive as that he used for his birds. Moreover, despite his advancing age, the great naturalist was determined to make the journey to the American West to personally document the little-known wildlife of the frontier. Following in the footsteps of Catlin, Bodmer, and Miller, Audubon was only the fourth artist to travel up the Missouri River. He arrived there before Christianity, smallpox, syphilis, gunpowder, and alcohol changed the frontier, its native peoples, and its wildlife indelibly -- even if these forces had already made their presence felt -- and his Quadrupeds offer us one of the great pre-Civil War glimpses of the West. The Quadrupeds, as Audubon envisioned, would complete his record of the animal life of North America. Audubon began the project in 1839 from his home in New York, where at first he solicited specimens from his correspondents throughout the east, recommending that animals be sent to him preserved in "good common rum." His assistants in the endeavor were his sons Victor and John Woodhouse, as well as John Bachman, a Lutheran minister who had been the artist's closest friend and supporter for many years. The artist's enthusiasm at the start of the project was unbounded. In 1840, Audubon wrote to Bachman: "I promise you that I will give the very best figures of all our quadrupeds that ever have been thought of or expected I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." By 1841, Audubon had drawn one hundred figures, including thirty-six species, for his new book. It soon became clear, however, that not all animals were available to him in the East, and moreover he was determined to use "drawings made on the spot and not from stuffed museums' moth-eaten remains." He began to plan for his trip west, a journey he had wanted to make for twenty-two years. In March of 1843, one month before his 58th birthday, Audubon set out on the last great trip of his long career. He traveled down the Ohio River to St. Louis, boarded a steamboat bound for the Upper Missouri, and rode as far west as Fort Union at the mouth of the Yellowstone. His eight-month journey was unprecedented in American natural history. The result of the naturalist's years of field research, travel, and seemingly endless study was the Viviparous Quadrupeds of North America, the outstanding work on American animals produced in the 19th century. The arduous journey, however, took its toll. Still, Audubon managed to complete seventy-seven drawings before failing health kept him from his work. Before his death in 1851, Audubon's sons managed to solicit some three hundred subscriptions for the Quadrupeds. Together, the three men, along with John Bachman, produced an unequaled record of American wildlife, matching the great combination of art and science attained in the Birds of America. Like that series, the Quadrupeds are wonderfully animated, superbly rendered, and beautifully printed in large format. As one reviewer wrote, the American people should be proud, for "in the 'Quadrupeds of America' we have at last a Great National Work, originated and completed among us."

      [Bookseller: Arader Galleries San Francisco]
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        Audubon's Mink, Putorius Vison from The viviparous quadrupeds of North America, Plate 33. , Imperial folio edition

      Audubon, John James, New York 1845 - id#: m3m0123H Title: Audubon's Mink, Putorius Vison from The viviparous quadrupeds of North America, Plate 33. , Imperial folio edition Medium: Hand colored lithograph Artist: Audubon, John James, 1785-1851 -- Author Audubon, John Woodhouse, 1812-1862 -- Artist Bachman, John, 1790-1874 -- Author Bowen, John T., ca. 1801-1856? -- Lithographer Size: 27 3/4 inches x 21 1/2 inches Date: 1845-48 Listed by Ilsoon Han condition: very good condition, very good color, no tears or stains Title: Audubon's Mink, Putorius Vison from The viviparous quadrupeds of North America, Plate 33. , Imperial folio edition Body, long and slender ; head, small and depressed ; nose, short, flat, and thick ; eyes, small, and placed far forward; whiskers, few. and reach¬ing to the ears ; ears, broad, short, rounded, and covered with hair ; neck, very long; legs, short and stout. The toes are connected by short hairy webs, and may be described as semi-palmated. There are short hairs on the webs above and below. Claws, very slightly arched, and acute. On the fore-feet, the third and fourth toes, counting from the inner side, are about of equal length; the second a line shorter, the fifth a little less, and the first, shortest. On the hind-feet, the third and fourth toes are equal, the second and fifth shorter and nearly equal, and the first very short. There are callosities on the toes resembling in miniature those on the toes of the Bay lynx. The feet and palms are covered with hair even to the extremity of the nails; tail, round, and thick at the roots, tapering gradually to the end ; the longer hairs of the tail are inclined to stand out horizontally, giving it a bushy appearance. There are two brown-coloured glands situated on each side of the under surface of the tail, which have a small cavity lined by a thin white wrinkled mem¬brane ; they contain a strong musky fluid, the smell of which is rather disagreeable. Mamma, six, ventral. The Viviparous Quadrupeds of North America In the 1830s, as the final plates were being completed for John James Audubon's monumental 'Birds of America' series, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive and sweeping as that he used for his birds. The result of the artist/naturalist's years of field research, travel, and seemingly endless study was the Viviparous Quadrupeds of North America, the outstanding work on American animals produced in the 19th century. The Quadrupeds, as Audubon envisioned, would complete his record of the animal life of North America. The artist's enthusiasm at the start of the Quadrupeds was unbounded. In 1840, Audubon wrote to his friend and collaborator John Bachman, 'I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come . Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman.' This work, with text by John Bachman, was conceived in similar terms as Audubon's Birds of America, viz. as a complete depiction of the quadrupeds of "the British and Russian possessions in American, the whole of the United States and their territories, California, and that part of Mexico north of the Tropic of Cancer;" another project of monumental proportions, this one to consume the last twelve years of Audubon's life. Trekking over much of that territory, Audubon made many studies of the animals in their natural habitats and collected many skins. With the help of his sons John Woodhouse and Victor, Audubon was finally able to start issuing the prints by subscription beginning in 1842, with the first volume of 50 plates published in 1845. The entire work comprises 150 prints in the imperial folio size, each lithographed and hand-colored with such preci

      [Bookseller: Arader Galleries]
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        Pride & Prejudice, Love and Money, Agatha's Husband

      WINCHESTER, HARPER ETC. 1845 - Three titles bound together. Leather spine & corners, marbled covers. General shelf wear, boards detaching from spine, 1.5" piece of spine detaching, rubbed covers, worn leather, tanned pages, foxing, and worn edges. DATE PUBLISHED: 1845 EDITION: 52+100+140 [Attributes: Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
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        Plate 138 - Pine Martin

      New York 1845 - John James Audubon Viviparous Quadrupeds of North America 150 hand colored lithographs: each 27 ¾" x 21 ½" New York, 1845-1848 In the 1830s, as the final plates were being completed for John James Audubon's monumental Birds of America, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive as that he used for his birds. Moreover, despite his advancing age, the great naturalist was determined to make the journey to the American West to personally document the little-known wildlife of the frontier. Following in the footsteps of Catlin, Bodmer, and Miller, Audubon was only the fourth artist to travel up the Missouri River. He arrived there before Christianity, smallpox, syphilis, gunpowder, and alcohol changed the frontier, its native peoples, and its wildlife indelibly -- even if these forces had already made their presence felt -- and his Quadrupeds offer us one of the great pre-Civil War glimpses of the West. The Quadrupeds, as Audubon envisioned, would complete his record of the animal life of North America. Audubon began the project in 1839 from his home in New York, where at first he solicited specimens from his correspondents throughout the east, recommending that animals be sent to him preserved in "good common rum." His assistants in the endeavor were his sons Victor and John Woodhouse, as well as John Bachman, a Lutheran minister who had been the artist's closest friend and supporter for many years. The artist's enthusiasm at the start of the project was unbounded. In 1840, Audubon wrote to Bachman: "I promise you that I will give the very best figures of all our quadrupeds that ever have been thought of or expected I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." By 1841, Audubon had drawn one hundred figures, including thirty-six species, for his new book. It soon became clear, however, that not all animals were available to him in the East, and moreover he was determined to use "drawings made on the spot and not from stuffed museums' moth-eaten remains." He began to plan for his trip west, a journey he had wanted to make for twenty-two years. In March of 1843, one month before his 58th birthday, Audubon set out on the last great trip of his long career. He traveled down the Ohio River to St. Louis, boarded a steamboat bound for the Upper Missouri, and rode as far west as Fort Union at the mouth of the Yellowstone. His eight-month journey was unprecedented in American natural history. The result of the naturalist's years of field research, travel, and seemingly endless study was the Viviparous Quadrupeds of North America, the outstanding work on American animals produced in the 19th century. The arduous journey, however, took its toll. Still, Audubon managed to complete seventy-seven drawings before failing health kept him from his work. Before his death in 1851, Audubon's sons managed to solicit some three hundred subscriptions for the Quadrupeds. Together, the three men, along with John Bachman, produced an unequaled record of American wildlife, matching the great combination of art and science attained in the Birds of America. Like that series, the Quadrupeds are wonderfully animated, superbly rendered, and beautifully printed in large format. As one reviewer wrote, the American people should be proud, for "in the 'Quadrupeds of America' we have at last a Great National Work, originated and completed among us."

      [Bookseller: Arader Galleries San Francisco]
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        NARRATIVE OF THE UNITED STATES EXPLORING EXPEDITION. DURING THE YEARS 1838, 1839, 1840, 1841, 1842.

      Philadelphia: Lea and Blanchard, . 1845 - Five text volumes plus atlas. Plates and maps. Quarto. Original gilt cloth, text volumes and atlas expertly rebacked, retaining original backstrips; new endpapers. Occasional minor soiling of boards, several corners and edges worn. Slight age-toning (particularly at outer edges), occasional instances of light foxing and soiling, else internally very clean. Three maps in atlas torn at folds and detached from volume, two other maps with a few clean tears, one map with 1 x 4-inch tear in upper corner (affecting printed area). A very good set. This is the first regularly available trade edition of the narrative of the expedition, preceded only by the extremely rare official edition and the further printing of 150 copies made for gifts. The Wilkes expedition was the first United States scientific expedition by sea, working mainly in the Pacific Ocean. Wilkes sailed along the Antarctic continent and throughout the islands of the South Pacific, visited the Hawaiian Islands in 1840, and explored the northwest coast of America in 1841. The expedition was made up of a number of notable American scientists, and their botanical, natural history, and geological findings are included. HOWES W414, "aa." STREETER SALE 3324. TWENEY 89, 83. HILL 1867. TAXONOMIC LITERATURE 17646. HASKELL 2B. SABIN 103994. FORBES HAWAII 1574. ROSOVE ANTARCTIC 353. FERGUSON 4209. COWAN, p.683.

      [Bookseller: William Reese Company - Americana]
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        Narrative of the United States Exploring Expedition. During the Years 1838, 1839, 1840, 1841, 1842

      Lea & Blanchard, Philadelphia 1845 - Original cloth, covers elaborately panelled in blind around blocked central gilt vignettes, text volumes with flat spines blocked and lettered in gilt and blind, the atlas lettered in gilt (splits to joints of vols.I and II, spines chipped at head and foot, extremities rubbed, occasional light dampstaining, damage to edge of cloth on upper cover of vol.V) A fine unsophisticated set of the first regularly available trade edition of the official record of this ground-breaking expedition. The United States Exploring Expedition 'was the first American scientific expedition of any size, charged to "extend the bounds of Science and promote the acquisition of knowledge," and was one of the most ambitious Pacific expeditions ever attempted' (Forbes). The expedition represents 'the first governmental sponsorship of scientific endeavor and was instrumental in the nation's westward expansion. Specimens gathered by expedition scientists became the foundation collections of the Smithsonian Institution. Significant American contributions in the fields of geology, botany, conchology, anthropology, and linguistics came from the scientific work of the expedition. Wilkes's evaluations of his landfalls influenced later U.S. positions in those areas' ( Dictionary of American Biography ). 'The chief fields of exploration in this expedition were the coast of the Antarctic continent, the islands of the Pacific Ocean, and the American northwest coast. In total some 280 islands in the Pacific and adjacent waters and 800 miles of streams and coasts in the Oregon country were surveyed, and 1,600 miles of the coast of Antarctica were charted. After leaving Hampton Roads in 1838, the expedition visited Madeira, the Cape Verde Islands, Brazil, Patagonia, the South Shetland Islands, Peter Island, Chile, and Peru, before proceeding to the Tuamotu or the low Archipelago, the Samoa Islands, and New South Wales. From Sydney, Wilkes sailed into the region now known as Wilkesland. He visited Tonga, the Fiji group, and the Hawaiian Islands in 1840, and in 1841 explored the west coast of North America. Much valuable information is given on the Columbia River, the Willamette Valley, Puget Sound, the Strait of Juan de Fuca, and the Sacramento Valley, and the findings on the northwest coast of America proved timely in light of the dispute with Great Britain over the Oregon Territory. The Wilkes expedition also visited San Francisco bay and the Sacramento River. Crossing the Pacific, Wilkes called at the Philippine Islands, the Sulu Archipelago, Borneo, Singapore, and, rounding the Cape of Good Hope, finally reached New York in 1842, having sailed round the world' (Hill p.662). Cowan p.683; Ferguson 4209; Forbes 1574; Haskell 2B; Hill (2004) 1867; Howes W414, "aa."; Rosove 353; Sabin 103994; Stafleu & Cowan 17646; Streeter Sale 3324. (11 x 7 inches). Text: 64 engraved plates, 8 double-page maps, numerous vignette illustrations (42 steel-engraved); Atlas: 5 folding maps (1 hand-coloured). 6 volumes (text: 5 volumes; atlas: 1 volume), imperial octavo signed in 4s [Attributes: Hard Cover]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Narrative of the United States Exploring Expeditions, during the Years 1838, 1839, 1840, 1841, 1842. (6 volumes, Complete with Atlas)

      Lea & Blanchard, Philadelphia and London/Grand Rapids 1845 - Size 11x7.25 inches (275 x 185mm). 6 volumes collated and complete with atlas volume. Original full spotted sheep leather with raised bands, black calf labels with gilt lettering. Moderate to heavy wear (photos available) but still a very presentable set. Binding is tight with the boards still well attached. Overall a very sound binding which is quite rare for sheep bound books of this period. 5th volume has very old pasted numerals and the 6th atlas volume is bound in 3/4 sheep instead of the full sheep of the other volumes. Gilt rolled edges. Volumes are complete with all plates and maps. Moderate foxing to the plates as is usual with this set, text pages clean and unfoxed. Some curious marginal damp staining to some plates (but not to text) Overall a VERY GOOD set in a rare binding. Photos are available of bindings, plates and maps. The Wilkes-led US exploring expedition was the most ambitious scientific undertaking to that date. Its chief areas of exploration were the Antarctic, the islands of the Pacific, and the American northwest coast. The poor condition of many of the expedition ships meant that Antarctic exploration was largely infeasible, and Wilkes sailed southwards in 1839 without his scientific staff. Though charting a series of land-falls and "appearances of land" in the Antarctic, what Wilkes actually saw remains matter for debate. In spite of the poorly equipped fleet, loss of ships and similar misadventures, the scientific work of the expedition was a great success. Indeed, the Smithsonian Institute was established to house and study the expedition's extensive collections, and the Naval Observatory was set up to continue the scientific studies. INCLUDES ATLAS VOLUME. Photos available upon request. Size: 4to - over 9¾" - 12" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Ziern-Hanon Galleries]
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        Narrative of the United States Exploring Expedition, during the Years 1838, 1839, 1840, 1841, 1842 With Illustrations and Maps. In Five Volumes.

      Philadelphia, Lea and Blanchard, 1845 - 5 volumes, medium octavo. Original publisher's brown vertical fine-ribbed cloth, American arms in gilt on front cover and in blind on rear cover, spines blindstamped, lettered gilt and with large gilt anchor at foot. Spines a little worn at head and foot, corners bumped and one corner worn, some marking to sides, small amount of worm to lower outer corner of first few leaves of vol. 2 not affecting text, a good set in unrestored original condition. 11 maps, 10 folding, nearly 300 woodcut illustrations in text including numerous examples of native (principally South Seas) music and sketch maps; tables and appendices, general index at end. Contemporary ownership inscriptions on front pastedowns. Third Edition overall. In smaller format than the imperial octavo edition of the same year, this edition was reprinted from stereos of that edition but without the plates or accompanying atlas and with 47 woodcuts substituted for the steel vignettes. The text is complete, with no abridgement; the edition was 3000 copies. Wilkes's expedition explored the American Pacific coasts, the islands of the South Pacific and Antarctica, marking an important step in the growth of American self-reliance. Until this date, the American navy was still using British maps. As originally conceived in 1828, the expedition was merely intended to promote commerce and protect American investments in the whaling and sealing industries in the South Seas. By the time the expedition set off in 1836, its crew augmented with a body of scientists and draughtsmen including Titian Ramsey Peale, Horatio Hale, James Drayton and Alfred Agate (but not Nathaniel Hawthorne who had applied but been turned down), it had acquired the additional desire "to extend the bounds of science, and promote the acquisition of knowledge". Among the expedition's numerous accomplishments were the first rigorous survey of Antarctica, the best map of the California coast to date, a collection of 50,000 plant and animal samples, 5,000 anthropological samples (including clothing and pottery), and one of the finest collections of coral samples in the world, now at the Smithsonian. Haskell 3; Renard 1698. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        PATROLOGIAE CURSUS COMPLETUS, SERIES PRIMA, TOMUS XXXII - XXXIII - XXXIV - XXXV - XXXVI - XXXVII - XXXVIII - XXXIX - XL - XLI - XLII - XLIII - XLIV - XLVI: SANCTI AURELII AUGUSTINI HIPPONENSIS EPISCOPI OPERA OMNIA, POST LOVANIENSIUM THEOLOGORUM RECENS.

      J.-P. Migne 1845 - RO40177718: 1504 + 1176 + 1308 + 1155 + 1028 + 945 + 1484 + 945 + 1396 + 872 + 1236 + 842 + 992 + 1004 pages. Tome XLV manquant. Texte en latin sur 2 colonnes, chacune étant paginée. Papiers muets et étiquettes de code collés sur les dos. Tampons de bibliothèque en pages de titre. Quelques cahiers se détachant. Manques importants sur certains plats. Quelques rousseurs. Sive Bibliotheca Universalis, Integra, Uniformis, Commoda, Oeconomica, Omnium SS. Patrum, Doctorum Scriptorumque Ecclesiasticorum. Qui ab Aevo Apostolico ad Usque Innocentii III Tempora Floruerunt. Accurante J.-P. Migne. In-4 Broché. Etat d'usage. Plats abîmés. Dos satisfaisant. Non coupé Classification Dewey : 470-Langues italiques. Latin [Attributes: Soft Cover]

      [Bookseller: le-livre]
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        The Brunnens of Nassau and the River Lahn

      London: Published by Thos. McLean, 1845. Folio. Contemporary blue/green moiré cloth-covered boards, expertly re-backed to style with red morocco, titled in gilt on spine, yellow glazed endpapers A fine copy of this charming work A fine series of views of Nassau and the Lahn valley: an area renowned in the 19th century for the curative properties of its bubbling spa waters, and a fashionable destination for the wealthy of Europe. "In this work the Author has endeavoured , as far as was in his power, to combine graphically the characteristic incidents and manners of the country of certain German Spas [Weisbaden, Ems, Langen Schwalbach, Schlangenbad, the Lahn, etc.], with the striking beauties of scenery, whether drawn from the works of Nature or from the structures raised by man. Having gone over most of the ground broken up by Sir Francis Head, he has essayed to do that with his pencil which the former has done so well with his pen." The plates are presented in four sections marked by subtitles and with the salient points of each image explained in the accompanying text. Cf. Abbey Travel 120. (21 3/16 x 14 1/4 inches). 4 leaves letterpress text. Lithographic title printed in two colours, uncoloured lithographic dedication to Apolph, Duke of Nassau, tinted lithographic list of plates with decorative surround and illustrative vignettes, 28 tinted lithographic plates (including 4 section titles), all by and after George Barnard.

      [Bookseller: Donald Heald Rare Books]
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        HMS Dido. (18 Guns) running up Channel, 1845. To the Hon.ble Capt.n Keppel and the Officers of the Ship, this print is respectfully dedicated by The Publisher.

      Messrs. Fores, lith. Day & Hague, Lithrs. to the Queen, ., London: 1845 - Tinted lithograph with beautiful hand color. Fine lithograph of the sloop Brigattin running up channel 1845. Sir Henry Keppel's career in the Royal Navy included several tours to South East Asia & China for service against the Malay pirates, 1st in command of the H.M.S. Dido and later of the H.M.S. Maeander. Inglefield related the story of his two commands in two publications, "The Expedition to Borneo of H.M.S. Dido for the Suppression of Piracy" (1846), and in "A Visit to the Indian Archipelago in H.M.S. Maeander" (1853). Published Oct.r 21st 1845 by Messrs. Fores, 41 Piccadilly, corner of Sackville Street, London. 15 3/4 x 11" printed area with small margins.

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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        LES PRISONS DE L'EUROPE. Bicêtre, la Conciergerie, la Force, la Salpétrière, le For-l'Evêque, Saint-Lazare, le Chatelet, La Tournelle, L'Abbaye etc .Les cachots de l'Inquisition. Histoire des prisonniers d'état, des Victimes du Fanatisme politique et re

      Administration De Librairie 1845 - Les prisons de l'Europe, Bicêtre, La Conciergerie, La Force, La Salpêtrière, Le For-L'Evêque, Saint-Lazare, Le Chatelet, La Tournelle, L'Abbaye, Sainte-Pélagie, Pierre en Cize, Poissy, Ham, Fenestrelles, Le Chateau d'If, Chateau Trompette, Le Mont Saint-Michel, Clairvaux, Les Iles Sainte-Marguerite, La Tour de Londres, Pignerolles, Le Spielberg, Les Plombs de Venise, Les Mines de Sibérie, Les Sept Tours, Les Cachots de l'Inquisition / Histoire des prisonniers d'état, des victimes du fanatisme politique et religieux, intérieur des bagnes, travaux et punitions des forçats, détails inédits sur toutes les prisons élevées par le despotisme / magnifique édition, splendidement illustrée de gravures sur acier8 parties reliées en quatre volumes grand in-8 ( 255 X 170 mm ) de 340 368 363 326 344 347 348 et 399 pages, demi-chagrin, dos à nerfs ornés de caissons et fleurons dorés ( Reliures d'époque en bon état ). Ouvrage illustré de 32 gravures sur acier en hors-texte. Piqures à certains feuillets, mouillure marginale à quelques feuillets. Exemplaire bien relié dans une reliure décorative. Le Tome VIII contient l'histoire des prisons des femmes publiques. Ouvrage célèbre et recherché, très documenté sur le système pénitentiaire. Auguste Maquet fut le collaborateur favori d'Alexandre Dumas, avec lui il écrira Monte-Cristo, Les trois Mousquetaires, Le Vicomte de Bragelonne, etc. Justice Prison bagne [Attributes: Hard Cover]

      [Bookseller: Tiré à Part]
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