LITHOGRAPHY. [RAUCOURT DE CHARLEVILLE (Antoine)]. A Manual of Lithography, Clearly Explaining the Whole Art, and the accidents that may happen in Printing, with different methods of avoiding them. To which is added, (now for the first time printed) selections from the work of M. Brégeaut; forming a sequel to the manual, and bringing down the improvements in the art of the present time. Translated from the French, by C. Hullmandel.1832

Longman, Rees, Orme, Brown, Green, and Longman. Third Edition, corrected, xix,117,[3]pp., 2 fold-out lithographed plates, the first containing twelve figures of tools and implements, the second nine figures of printing presses and parts, both plates are lightly water-marked affecting the image, & with 1" marginal tear to vertical fold of each, final leaf includes publisher's advertisements for two additional titles by Hullmandel; front & back endpapers soiled, with early owner's signature (L. Stilson) & date on front pastedown, final two blank leaves bit stained, half calf with early marbled paper over boards, red leather label (3x2") with gilt border & title, "A Manual of Lithography", & the name "L. Stilson" added to front board; spine worn & rubbed with 1-1/4" piece missing at head & small label with black "C" at foot; 3" split in front joint; corners, edges & joints worn, paper boards chipped, edges of cover label chipped. Hullmandel's best know work and most influential publication is his book 'The art of drawing on stone' which was first published in 1824. But in terms of establishing lithography in Britain, his translation from the French of this treatise by Raucourt de Charleville was probably just as important. This third and final edition contains some important new additions. Colonel Antoine Raucourt was chief engineer at the Ecole des Ponts et Chaussées in Paris and ran its in-plant lithographic press. His book was originally published in Toulon in 1819. Hullmandel thought highly of Raucourt's treatise and wrote in the preface: "The books which have hitherto been published on lithography are very imperfect, and are much more adapted to persons who already understand the art than those who wish to learn it... I have repeatedly wished for a guide to explain the new accidents which occur every instant, and which... appear each time so new and intricate, that the beginner is consequently tempted to give up all hopes of ever succeeding. I am consequently better enabled to appreciate the value of this excellent treatise on lithography, and hesitate not an instant to pronounce it the best work which has ever been published on the art." Bigmore & Wyman II, p.240; Twyman, pp.110-14.