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Show 133 that Bodmer prints painted later by dealers or collectors might be identified by observing the color and texture of the paper. The University of Utah's collection of Bodmer prints contains several examples of handcolored prints on royal paper (Tableaus 16, 18, 32, and 35) that may not have been originally painted. However, the evidence is by no means conclusive. While the coloring of these prints in some respects seems atypical, they are not inconsistent enough with the style and technique of the remaining prints to judge their authenticity with any degree of certainty. The alternative, that Bodmer was occasionally inconsistent with the use of the paper for the handcolored prints, must also be considered. It is also possible that Bertrand sent some of the black and white aquatints, printed on royal paper, produced for the French edition of Travels to Ackermann, in order to reduce his own losses. 32. The degree of "whiteness" of this royal paper seems to vary widely. While many of the aquatints printed on this paper are bright white, today many of the prints are gray-toned. Some, if not all, of this may be attributed to natural ageing, compounded by soiling. However, there are additional prints that could be better described as beige, either with overtones of gray or grayish-pink. 33. Reise nach Brasilien in den Jahren 1815 bis 1817. Brazil's subscription list had totalled 881 subscribers, 221 of which had purchased the deluxe edition on imperial vellum paper. 34. See Appendix A, Vignettes & Tableaus, for the nineteenth-century books and periodicals in which Travels' illustrations were reproduced. 35. This proof impression of Tableau 37 is located at the University of Utah's Marriott Library. It has no inscriptions and is signed in pencil by Bodmer in the lower left margin. 36. Birds, not present in the original watercolors, were inserted into the sky of several of Travels' landscape prints. This was probably one of the minor conventions common for landscape illustration during this time. 37. William H. Goetzmann, in his introduction to Karl Bodmer's America, p. 23, notes Bodmer's skillful use of light, another convention of the traditional landscape: |