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

        Hortus suburbanus Calcuttensis. A catalogue of the plants which have been cultivated in the Hon. East India Company's Botanical Garden, Calcutta, and in the Serampore Botanical Garden, generally known as Dr. Carey's Garden, from the beginning of both establishments (1786 and 1800) to the end of August 1841 .

      Calcutta Bishop's College Press 1845 - First edition. 8vo (15.5 x 23.5cm) xxv, [1], 747, [1], lxviiipp., modern pebble grain boards in period style, endpapers renewed, a very good, clean copy. A substantial catalogue of the plants cultivated in two Anglo-Indian gardens: the East India Company Botanical garden in Calcutta and the Serampore Botanical Garden. The author J.O.Voigt was a Danish government surgeon at Serampore. He based the work on Roxburgh's "Hortus Bengalensis", which had been prepared for publication by the orientalist and missionary William Carey, who himself had a strong interest in botany and founded the second of the gardens which this work catalogues. Voigt was careful to note down the native Bengalee names of the plants so that specimens might be more easily procured from local Indian gardeners. A good copy of an uncommon work. Copac lists copies at British Library, Edinburgh, Aberdeen and Glasgow. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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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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        L'APPARITION DE JEHAN DE MEUN OU LE SONGE DU PRIEUR DE SALON

      Imprimé par Crapelet pour la Société des Bibliophiles Français, Paris 1845 - Bibliophile's Copy on Vellum of a 14th C. SatireAgainst Quacks, Loan Sharks, Corrupt Crusaders. 235 x 181 mm (9 1/4 x 7 1/8"). 2 p.l. (the first blank), xxiii, [i], 84 pp. NO. 7 OF 17 COPIES ON VELLUM (printed for M. le Comte de La Bédoyère, member of the Société des Bibliophiles). (Another 100 copies were issued on paper). Recent fine white pigskin, decorated in blind to a Medieval style, by Courtland Benson. Housed in a titled custom-made morocco-backed folding cloth box. With 10 engraved plates replicating illustrations from early manuscript copies of the work. Front pastedown with morocco bookplate of Comte H. de La Bédoyère and engraved bookplate of Marcellus Schlimovich; front free endpaper with embossed library stamp of Dr. Detlef Mauss; half-title with ink library stamp of Sociedad Hebraica Argentina (Collection M. Schlimovich). Brunet I, 1097; Graesse VII, 105. A FINE COPY, especially clean and bright internally, with only the most trivial imperfections, and in a striking new retrospective binding. This is a beautiful copy of an important work of Medieval French literature that had largely been forgotten until the Society of Bibliophiles brought out this luxury edition, which was praised for the beauty of its typography. Honoré Bonet (or Bouvet, ca. 1340-ca. 1410) was the prior of Salon, a Benedictine monastery in Provence. In this social satire attacking quack physicians, rapacious lenders, and corrupt crusaders first published in 1398, Jean de Meun, who satirized society in the "Romance of the Rose," appears to the author in a dream with fresh attacks on the failings of contemporary France. Bonet used the voices of the oppressed and outcast to make his points: in the dream, a Jew inveighs against the Christians who banished his people from France only to take up the profession of moneylending themselves and a Saracen criticizes luxury-loving French crusaders who mistreat their prisoners. A physician decries the charlatans--like those treating the king--whose superstitious spells and absurd cures undermine the credibility of the profession, and a Jacobin acts as the voice of Bonet, who seeks reforms for these ills. Bonet was an important influence on other writers of the period, including Christine de Pisan, who cited his works, and William Caxton. This copy was printed for French collector Henri Huchet, comte de La Bédoyère, who was at the time of publication assembling a second great library; he had sold his first collection in 1837, but soon regretted it and began to acquire fine books once again. This work is rare in the marketplace: ABPC records none at auction since at least 1975; Americana Exchange finds just one copy (on paper); the two copies currently available for sale are both on paper. NO. 7 OF 17 COPIES ON VELLUM (printed for M. le Comte de La Bédoyère, member of the Société des Bibliophiles). (Another 100 copies were issued on paper) [Attributes: Hard Cover]

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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        Historia de la Milicia Nacional : desde su creacion hasta el desarme general, redactada por/

      Sociedad tipográfica de Don Benito Hortelano y Compañía, Madrid 1845 - 23,5 cm. 2 tomos. Holandesa piel época. Nervios. Hierros dorado en el lomo. Conserva una de las cubiertas originales. Profusión de grabados en el texto y 24 láminas fuera de texto (cuatro coloreadas), con retratos, escenas militares y uniformes por armas y provincias. 459- 590 pp. En español. Book in spanish. El pago contrarrembolso lleva un recargo de 2 euros. [Attributes: Hard Cover]

      [Bookseller: Boxoyo Libros S.L.]
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        Plate 263 - Downy Woodpecker

      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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        MITCHELL'S REFERENCE AND DISTANCE MAP OF THE UNITED STATES.

      Philadelphia: S. Augustus Mitchell, . 1845 - Wall map, 52 x 66 inches, with full period hand-color. Expertly repaired, backed with modern linen, trimmed in green cloth, on contemporary rollers. A few light creases and some marginal soiling, but on the whole a bright map in very good condition. This impressive wall map of the United States was originally published in 1836 and again in 1841, supplemented by an occasional ACCOMPANIMENT. In this 1846 edition an important inset map is added, entitled "A General Map of the United States with the Contiguous British & Mexican Possessions" (16 1/2 x 21 inches). This inset incorporates the discoveries of Fremont in the Great Basin and California, shows all of Texas, and stretches Oregon Territory well into Canada, beyond the line of the Treaty of Guadalupe Hidalgo. In the large map, some counties are added in Iowa Territory. There are also small inset maps of Boston, New York, Philadelphia, Charleston, Washington, Albany, Rochester, and Niagara Falls. An important American map, showing the country on the eve of its second great national expansion. RUMSEY 4223. PHILLIPS MAPS, p.898.

      [Bookseller: William Reese Company - Americana]
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        Description of the American Electro Magnetic Telegraph: now in operation between the Cities of Washington and Baltimre. Bound with: Johnson, A Brief and Simple Explanation of the Electro-magnetic Telegraph (1847) and Hubbard, The Proposed Changes in the Telegraphic System (1873)

      J. and G.S. Gideon, Washington, D. C. 1845 - Morse CodeVail, Alfred (1807-59). Description of the American electro magnetic telegraph: Now in operation between the cities of Washington and Baltimore. 24pp. Woodcut text illustrations. Washington: J. & G. S. Gideon, 1845. 221 x 140 mm. Bound with 2 other works on the telegraph in 19th century boards, cloth backstrip, hand-lettered spine label and library label, corners worn. Light toning but very good. Library bookplate.First Edition. Probably the first publication of the standardized Morse code, the first widely used data code. On May 24, 1844 Samuel F. B. Morse transmitted the first telegraph message ("What hath God wrought?") on an experimental telegraph line strung between Baltimore and Washington D.C., using the version of "Morse code" that became standard in the United States and Canada. The recipient of the message was Albert Vail, Morse's partner in developing the telegraph. Vail, who had worked with Morse since 1837, expanded Morse's original experimental numeric code (based on optical telegraph codes) to include letters and special characters so that it could be used more generally. Vail determined the frequency of use of letters in English by counting the moveable type he found in the typecases of a local newspaper. The code consisted of arrangements of shorter marks ("dots") and longer marks ("dashes"); the letters most commonly used were assigned shorter sequences of dots and dashes. Vail was thus responsible for inventing the most useful and efficient features of Morse code. Vail published the code in 1845 in the present pamphlet and in a 208-page book; the pamphlet most likely preceded the book. This copy of Vail's pamphlet is bound with two other later works on the telegraph: Moses Johnson's A Brief and Simple Explanation of the Electro-Magnetic Telegraph (Cincinnati, 1847); and Gardiner G. Hubbard's The Proposed Changes in the Telegraphic System (Boston, 1873). Origins of Cyberspace 208. [Attributes: First Edition; Hard Cover]

      [Bookseller: Jeremy Norman's historyofscience]
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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]
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        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]
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        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]
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        JOURNAL OF A VOYAGE ACROSS THE ATLANTIC: WITH NOTES ON CANADA & THE UNITED STATES; AND RETURN TO GREAT BRITAIN, IN 1844.

      London: Printed for private circulation, 1845. - [8],96pp. Half title. Original green cloth, stamped in blind. Corners bumped, extremities rubbed. Presentation inscription on front flyleaf. Inner hinges cracked. Lightly foxed. About very good. Scarce, privately printed account of an Englishman's trip to the Eastern United States and Canada. He gives bills of fare on shipboard, scenes in New York, Philadelphia, and Baltimore, then going south to Washington, then to Niagara and Canada. This copy inscribed by the author to his friend, Thomas Adams. HOWES M768, "aa." SABIN 50377.

      [Bookseller: William Reese Company - Americana]
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        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]
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        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]
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        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]
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        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]
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        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  


        Commerce of the Prairies or the Journal of a Sante Fe Trader, During Eight Expeditions Across The Great Western Prairies, and A Residence of Nearly Nine Years in Northern Mexico. In Two Volumes

      New York: J. H. G. Langley, 1845. Second Edition. Hardcover. Very good. Second Edition. Hardcover. 12mo. 2 volumes: [1], xvi, 17-323pp., [1]; viii, 9-327pp. 6 plates, 1 plate map and illustrations. Brown cloth hardcovers with blind stamped covers and gilt illustrated horseman and rider on front covers. Gilt stamped titles on spine. Number 161 typed on very small labels bottom of spines. Not an ex-institutional copy. Light scattered foxing to contents. Light shelf wear and a few dried spots on covers. Second issue of the second edition omits the folding map of the Indian Territory according to Howes. Howes G 401; Rader 1684; Wagner-Camp 108; Bradford 1996; Graff 1660.

      [Bookseller: Americana Books ABAA ]
 24.   Check availability:     ABAA     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]
 25.   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]
 26.   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]
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        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]
 28.   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]
 29.   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]
 30.   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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