the birds of europe von gould (464 Ergebnisse)

5 volumes, folio (21 1/4 x 14 1/2 in.; 54 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, tissue guards between plates and text leaves, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; minor marginal spotting (generally near fore-edge) to approximately 35 plates, 5 instances of very faint pigment offsetting to text, 3 plates toned, 5 plates in vol. 2 without tissue guards but retaining their brightness, Wood Pigeon plate in vol. 4 lightly creased in top and lower margins, long but expertly closed tear along lower margin of Woodcock plate in vol. 4 not significantly affecting image. Nineteenth-century half green morocco over green cloth, spine in 7 compartments richly gilt with raised bands (2 lettered and numbered), "Dutch Curl" marbled endpapers, edges gilt; extremities lightly rubbed, one short tar near joint of vol. 1 front cover, short indentation on front cover of vol. 2, a few light scratches elsewhere to boards. FIRST EDITION OF JOHN GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. AN EXCEPTIONALLY CLEAN AND BRIGHT COPY WITH VIVID HANDCOLORING. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Sir John Arthur Brooke (1844-1920) of Huddersfield, West Riding, Yorkshire (his Fenay Hall bookplate). His 20,000-volume library was sold at auction (Sotheby's, May-June 1921) for a total of £32,312 (approximately £1.5 million in today's money) L65BTH1A.

5 volumes, folio (21 x 14 1/2 in.; 53.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; most plates with light to moderate pigment offsetting to text (most prevalent in vols. 4-5), occasional faint text offsetting and marginal spotting to plates, caption on Snowy Owl plate in vol. 1 partially cropped, caption on White Crane plate in vol. 4 a trifle shaved, Tufted Duck plate in vol. 5 a little toned. Modern half green morocco to style over green cloth, the spine in 6 compartments gilt with raised bands, grey holland endpapers, top edges gilt, with Hatchard's stamp on verso of front free endpapers; foot of spine of vol. 1 rubbed. FIRST EDITION OF GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series, this copy having belonged to Henry Richard Cox, whose name appears in the list of subscribers in volume 1. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Henry Richard Cox (1779-1865) (armorial bookplate and named in list of subscribers); Sacchetti, (bookplate, possibly the House of Sacchetti, an Italian noble family) L65BTH2A.

5 volumes, folio (22 x 14 1/2 in.; 55.9 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches) and heightened with gum arabic, printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; light offsetting in gutter of first plate and text leaf in vol. 1 from a previously inserted slip of paper, some faint pigment offsetting, most prevalent in vol. 5, bottom margin of a few plates and text leaves in vol. 2 bumped, occasional, minor marginal spotting to plates. Contemporary burgundy half straight-grained morocco over brown moiré-patterned cloth, smooth spines ruled and lettered gilt, plain endpapers; extremities rubbed, endpapers foxed, board edge of vol. 5 upper cover slightly bumped. FIRST EDITION OF GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 (65BTH3A).

5 volumes. Folio (22 4/8 x 14 4/8 inches). 448 hand-colored lithographs by Edward Lear, and by Elizabeth Gould after sketches by John Gould (small repair to plate 68). Contemporary full green morocco gilt, all edges gilt. Provenance: Bookplate of the Arcadian Library on the front paste-down. First edition of Gould's first multi-volume ornithological work, as opposed to monograph. Gould undertook this work partly in an effort to redress the imbalance between the study of local and foreign ornithology. In his preface he stated his mission: "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places, using specimens in museums and zoos in Holland, Germany and Switzerland. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. Though the majority of the plates in "The Birds of Europe" were drawn and lithographed by Elizabeth Gould, John Gould employed the masterly talents of Edward Lear for the first time, and his influence can be seen in many of the plates: "There is no doubt that Edward Lear was the first person to understand the art of lithography, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Tree). A total of sixty-eight images bear Lear's name: "they are certainly among the most remarkable bird drawings ever made, . it is evident that Lear endowed them with some measure of his own whimsy and intelligence, his energetic curiosity, his self-conscious clumsiness and his unselfconscious charm." (Hyman). From the distinguished Arcadian Library (Natural History Collection), the leading repository of rare books recording the relations and influences between Europe and the Arab and Islamic world. Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds began in the "late 1820s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds (A Century of Birds Hitherto Unfigured from the Himalaya Mountains, 1830-32). Gould's friend and mentor N. A. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones. Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. "With this volume Gould initiated a format of publishing that he was to continue for the next fifty years, although for future works he was to write his own text. Eventually fifty imperial folio volumes were published on the birds of the world, except Africa, and on the mammals of Australia-he always had a number of works in progress at the same time. Several smaller volumes, the majority not illustrated, were published, and he also presented more than 300 scientific papers. "His hand-coloured lithographic plates, more than 3300 in total, are called 'Gould plates'. Although he did not paint the final illustrations, this description is largely correct: he was the collector (especially in Australia) or purchaser of the specimens, the taxonomist, the publisher, the agent, and the distributor of the parts or volumes. He never claimed he was the artist for these plates, but repeatedly wrote of the 'rough sketches' he made from which, with reference to the specimens, his artists painted the finished drawings. The design and natural arrangement of the birds on the.

5 volumes, folio (21 x 14 1/2 in.; 53.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches), heightened with gum arabic, printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; approximately a third of the plates with light to moderate pigment offsetting to text most prevalent in vol. 5, occasional faint text offsetting to plates, minor marginal spotting to a few plates and text leaves, light toning to 3 plates, short internal tear in bottom text margin (vol. 5, plate 91 - Ivory Gull). Nineteenth-century full green morocco elaborately panelled gilt with foliate rolls and one large roll with alternating birds in flight and cornucopia, the spine in 6 compartments richly gilt (2 lettered and numbered), gilt dentelles, Bouquet combed marbled endpapers, edges gilt; extremities rubbed, a few scratches and scuffs to boards, vol. 2 binding a bit shaken. RAILROAD MAGNATE JAY GOULD'S COPY, FIRST EDITION OF JOHN GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration" (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 PROVENANCE: Jay Gould, 1836-1892, (his bookplate depicting "Lyndhurst," his Gothic Revival mansion on the Hudson, and his shelf ticket); his daughter, the philanthropist Helen Gould Shepard, 1868-1938 (her bookplate) L65BTH1B.

Hardcover. Zustand: Very good. First. First edition of Gould's first multi-volume bird book. London: By the author, [1832]-1837. Five volumes. 448 hand-colored lithographed plates (images 447 and 448 are on a single plate) by Edward Lear, John Gould and Elizabeth Gould, printed by C. Hullmandel. Bound by Hering (signed at the upper edge of the front paste-down) in contemporary green morocco with extra gilt borders on the boards. On the spine, five raised bands with a triple gilt fillet. Panels gilt. Title gilt to the second panel, number gilt to the third panel. Triple gilt fillets to the edges of the boards. Gilt inside dentelle. With all edges of the text-block gilt. Spines uniformly sunned. Extremities a little scuffed. End-papers foxed, but internally very good, with occasional offsetting. With the armorial bookplate of Algernon Peckover on the front paste-down of vol. I. Ownership signature (1842) of William Peckover on the verso of the first free end-paper of vol. I. Here is the beginning of the great project by Gould: to present the birds of the world in large-format richly-illustrated multi-volume works. The masterful plates illustrate the text by N.A. Vigors, and in this respect The Birds of Europe stands apart: Gould would provide the text for subsequent endeavors. The challenge of illustrating European birds was to overcome the familiarity of his audience. The result is clear from the subsequent dozens of volumes that would emerge over the following five decades. One of the keys to this success is the involvement of Edward Lear. 68 of the plates were drawn by the poet-artist, and have an almost cartoonish clarity; there is a surety of line that distinguishes his work from other ornithological illustrators' preciousness. Lear's working method differed somewhat from the Goulds' (John Gould was called "bird-stuffer" as his initial role was as taxidermist for the Zoological Society), since he was given to drawing from life. This practice began in his employment by the Earl of Derby drawing the menagerie at Knowsley Hall. To his achievement in gathering the material and superintending the great project we must also add his business acumen: he undertook the subscription, printing and publication of the work - in parts, and, remarkably, ahead of schedule. Unlike so many of the great entrepreneurs of plate-books, Gould managed not only to avoid bankruptcy but also to turn a great profit. William (1790â1877) and Algernon (1803â1893) Peckover were sons of the famous Quaker banker Jonathan Peckover of Wisbech in Cambridgeshire. The brothers were founder members of the Wisbech Museum, of which Algernon would go on to be president. Jonathan founded the Wisbech Literary Society in 1871. Ayer/Zimmer 251; Hyman, Lear's Birds p. 45; Jackson, Bird Illustrators pp. 32-58; Nissen, IVB 371. Sauer 2; Sitwell, Fine Bird Books p. 101.

Hardcover. Zustand: Very Good. 1st Edition. 5 volumes, folio (21 3/8 x 14 1/2 in.; 54.3 x 36.8 cm). 448 fine handcolored lithographic plates (68 by Edward Lear, the rest by Elizabeth Gould after her husband's sketches) and printed by Charles Hullmandel, dedication to Lord Derby, 2-page list of subscriber's and general list of plates for all 5 volumes in vol. 1, list of plates in each volume; vertical creases to list of plates in vols. 2-5 and to first plate (Snow Goose) in vol. 5, very faint, occasional marginal foxing to plates, neat repair to small tear along bottom margin of Rose Coloured Pastor in vol. 3, overall a VERY FRESH, BRIGHT COPY. Contemporary red morocco paneled gilt, spines in 6 compartments richly gilt (2 lettered), marbled endpapers, edges gilt; joints lightly rubbed, small tear to spine head of vol. 2, covers a bit darkened from leather treatment. FIRST EDITION OF GOULD'S FIRST MULTI-VOLUME ORNITHOLOGICAL WORK, the second in his folio series. As stated in the preface, "the Birds of Europe, in which we are, or ought to be, most interested, have not received that degree of attention which they naturally demand. The present work has been undertaken to supply that deficiency." The drawings of continental species were taken from specimens in museums and zoos in Holland, German, and Switzerland, which Gould had toured several times in the 1830s-at least once with Lear, who was the first and one of the greatest of the series of fine artists that he employed over the ensuing half century. "AMONG THE MOST REMARKABLE BIRD DRAWINGS EVER MADE" (Susan Hyman, Edward Lear's Birds). "There is no doubt that Edward Lear was the first person to understand the art of lithograph, and to use it to its fullest potential. It was a legacy that granted the fabled works of Gould their success, and took them into the forefront of nineteenth-century illustration (Isabella Tree, The Ruling Passion of John Gould, p. 43). REFERENCES: Anker 169; Ayer/Zimmer, pp. 251-252, Fine Bird Books (1990) p. 101; McGill/Wood, p. 364; Nissen IVB 371 (L64F16C-D).

Hardcover. Zustand: New. HardCover. Pub Date: 2018-06-01 Pages: 934 Language: English Publisher: East China Normal University Press famous British ornithologist and bird artist John Gould (John Gould) was born in Dorset. which father is the gardener in charge of Windsor Castle. the Imperial Garden. Because of family ties. Gould often young and from the Royal Court. ten .

Bildmaß der Darstellung ca. 13 x 38 cm, Blattmaß ca. 36 x 53 cm. Das großformatige Blatt in der Darstellung von guter Erhaltung, im weißen Außenrand minimal fingerfleckig, gering angeknickt, der weiße Unterrand mit Randläsionen ( gut durch ein Passepartout abdeckbar ). Insgesamt guter Zustand. ( Lagerort Große Grafikmappe 4 / Küche )( Weitere Bilder auf Anfrage / further pics on request ). ( Bitte beachten: Hier erhöhte Versandkosten, Sperrgut / increased shipping costs ) /// Image size of the depiction approx. 13 x 38 cm, sheet size approx. 36 x 53 cm. The large-format sheet in the image in good condition, minimally fingerstained in the white outer margin, slightly creased, the white lower margin with marginal lesions (can be well covered by a passepartout). Overall good condition. ( Storage location Große Grafikmappe 4 / Küche )( Weitere Bilder auf Anfrage / further pics on request ). ( Please note: Here increased shipping costs, bulky goods ) # 24832.

Single Sheet. Zustand: Fine. Elizabeth Gould (illustrator). Original. Original antique print drawn and lithographed by Elizabeth Gould after a rough sketch by John Gould. Original hand coloring. Image is 14 3/4 inches by 9 inches on a sheet that is 21 inches by 14 1/2 inches. This print from Gould's magnum opus on European birds is unusual in that it displays the hanging pear-shaped nest that is the basis for the bird's common name. The print is in superb condition, clean and bright with no tanning or foxing. Accompanied by the original page of description of the bird. Size: Elephant Folio - over 15" - 23" tall. Fine Art Print.

Bildmaß der Darstellung ca. 27 x 19 cm, Blattmaß ca. 54,5 x 36,5 cm. Das großformatige Blatt in der Darstellung von guter Erhaltung, im weißen Außenrand gering finger- und stockfleckig, gering angeknickt. Die Außenränder mit kleinen Randläsionen vor allem am rechten weißen Außenrand, dieser teilweise verso hinterlegt. Insgesamt aber noch recht guter Zustand. ( Lagerort Große Grafikmappe 4 / Küche )( Weitere Bilder auf Anfrage / further pics on request ). ( Bitte beachten: Hier erhöhte Versandkosten, Sperrgut / increased shipping costs ) /// Image size of the depiction approx. 27 x 19 cm, sheet size approx. 54.5 x 36.5 cm. The large-format sheet in the image in good condition, slightly fingerstained and foxed in the white outer margin, slightly creased. The outer margins with small marginal lesions, especially in the right outer white margin, this partially backed on the verso. Overall, however, still in quite good condition. ( Lagerort Große Grafikmappe 4 / Küche )( Weitere Bilder auf Anfrage / further pics on request ). ( Please note: Here increased shipping costs, bulky goods ). # 24836.

unknown_binding. Zustand: Very Good. Hardcover. Dust jacket included and in good condition. Binding tight. Minor wear to page edges and corners. Name on front paste-down endpaper and the inner-margin of page 13. Full color images throughout.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: fine. Presumed first edition. Hardcover, illustrated. Brand new still in shrink wrap. Fine in fine dust jacket.

Hardcover. Zustand: Good. Photograph available on request.

LeatherBound. Zustand: New. LeatherBound edition. Condition: New. Reprinted from 1837 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 438 Volume 5 Language: English.

LeatherBound. Zustand: New. LeatherBound edition. Condition: New. Reprinted from 1837 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 440 Volume 4 Language: English.

LeatherBound. Zustand: New. LeatherBound edition. Condition: New. Reprinted from 1837 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 422 Volume 2 Language: English.

LeatherBound. Zustand: New. LeatherBound edition. Condition: New. Reprinted from 1837 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 397 Volume 3 Language: English.

2 VOLUMES. ILLUSTRATIONS BY JOHN GOULD.VERY GOOD COPIES IN VERY GOOD DUSTWRAPS BUT VOLUME 1 HAS A SMALL REPAIRED TEAR. EACH VOLUME HAS 80 COLOUR-PLATES FROM THE LITHOGRAPHS OF JOHN GOULD.

Zustand: New. pp. 379.

LeatherBound. Zustand: New. LeatherBound edition. Condition: New. Reprinted from 1837 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 239 Volume 1 Language: English.

HARDCOVER. Zustand: GOOD. 1966-01-01. Methuen. Hardback. ACCEPTABLE DJ acceptable, torn.

Zustand: New. pp. 379.

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Very Good Plus. Gould, John (illustrator). "First Published in Great Britain?1966". As new, unread and not remaindered. "D .700" stamped in a smaller blue font to the ffep and the occasional finger smudge, else the interior is clean and spotless. Red linen boards (hardcover) are clean; corners are sharp and square, bright gilt titles to spine. Unclipped dustjacket is lightly bumped to extremities, 3cm tear tape repaired from the interior to the foot of the spine, otherwise clean and bright. Now protected in archival brodart jacket. 160 gorgeous colour-plates from lithographs of John Gould (1804-1881). The plates are worth the price of admission alone. Quite an exquisite volume.

Cloth. Zustand: Very Good. Zustand des Schutzumschlags: Very Good-. DJ has a couple tiny tears/chips, edge wear, creases, minor scratches, rubbed corners/spine. Boards have edge wear, rubbed corners/spine. No writing.

Two volume set with 160 colour-plates from lithographs by John Gould. Small 4tos. Inscription to ffep. of both vols. Spotting to top of text blocks, o/w. contents fine. Old splash marking to rear board of vol. I. With good to vg. dws.

Hardcover. Zustand: Very Good.

Hardcover. Zustand: Very Good. Dust Jacket Included. Very Good/Very Good. Hardcover, red cloth over boards with gilt lettering on spine, 321 Pages. Clean, square, unmarked copy. Dust jacket protected in new mylar wrap.

Hardcover. Zustand: good. Arthur Singer (illustrator). 0070086044. 1966, with chipped & wear to dustjacket, contents clean & bright, light foxing to pageblock, no markings, Professional booksellers since 1981.

VERY GOOD COPY IN WORN DUSTWRAP. BEAUTIFULLY ILLUSTRATED BY JOHN GOULD. VOLUME ONE ONLY. TEXT BY RUTGERS.