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Displayed below are some selected recent viaLibri matches for books published in 1866

        History and General Description Of New France

      New York: John Gilmary Shea, 1866. 1st Edition. Hard Cover. Very Good+. 7 1/4" x 10 3/4"" (18cm x 27.5cm) - 6 volumes. Limited to 250 copies in Octavo (iv) 286, (iv) 284, (v) 312, (vii) 308, (ix) 311, (ix) 256pp. Three-quarter crimson leather over marbled boards, 5 raised bands, gilt spine fleurs-de-lys device, gilt spine rules, modest edge wear, mild color off-setting to leather spine crown VI. Marbled endpapers, teg. Volume 1 trimmed, balance untrimmed. Volume IV has 3" tear tape repaired and 2" tear on fold. Also a 2" tape repair on page 155 in border not effecting text. Wide, full margins, internally crisp unfoxed. The Menendez port. in Vol. 1 absent. Prev. own's bkplate. A Very good + set. , Translated with notes by John Gilmary Shea. 18 maps, 15 plates, 4 facsimiles - tissue guarded. Howes C 307. Almost as scarce as the original French edition of 1744. The translation is more valuable for many purposes of research than the original work."---Larned. TPL 189, Sabin 12137

      [Bookseller: Lord Durham Rare Books Inc. (IOBA)]
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        History and General Description of New France.... Translated, with notes, by John Gilmary Shea [Six Volumes]

      New York: John Gilmary Shea, 1866-1872. First edition. Three quarter morocco over marbled boards, five raised bands, gilt rules, gilt titles in two compartments, rosettes in four, marbled endpapers. Very good or better exceptionally clean and wide-margined copies, minor rubbing, closed tears to two maps, owner's bookplates on front paste downs. Imperial 8vo. (11.25 x 8 inches). Illus. with 18 maps, 15 plates, and 4 facsimiles. The first translation into English of this "celebrated and important work" (Sabin) of Charlevoix, who "had command of invaluable sources and shows undoubted cleverness," (Larned p. 413). Sabin 12137. Field 285. Howes C307. Larned 3617. TPL 189.

      [Bookseller: Kaaterskill Books, ABAA/ILAB]
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        History and General Description Of New France

      New York: John Gilmary Shea, 1866. 1st Edition. Hard Cover. Very Good+. 7 1/4" x 10 3/4"" (18cm x 27.5cm) - 6 volumes. Limited to 250 copies in Octavo (iv) 286, (iv) 284, (v) 312, (vii) 308, (ix) 311, (ix) 256pp. Three-quarter crimson leather over marbled boards, 5 raised bands, gilt spine fleurs-de-lys device, gilt spine rules, modest edge wear, mild color off-setting to leather spine crown VI. Marbled endpapers, teg. Volume 1 trimmed, balance untrimmed. Volume IV has 3" tear tape repaired and 2" tear on fold. Also a 2" tape repair on page 155 in border not effecting text. Wide, full margins, internally crisp unfoxed. The Menendez port. in Vol. 1 absent. Prev. own's bkplate. A Very good + set. , Translated with notes by John Gilmary Shea. 18 maps, 15 plates, 4 facsimiles - tissue guarded. Howes C 307. Almost as scarce as the original French edition of 1744. & The translation is more valuable for many purposes of research than the original work."---Larned.& TPL 189, Sabin 12137

      [Bookseller: Lord Durham Rare Books Inc. (IOBA)]
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        C. 1866 - 1868 Album Formed By American Musical Composer John H. Cornell While Visiting Europe Including Autographs and Photographs of His Musical Associates, Related Ephemeral Material & Travel Photos

      European Origin: Not Published, 1866. Album of materials gathered by John Henry Cornell (1828-1894) American musical author, organist and composer, "...a solidly trained composer of church-music, part-songs and songs...an erudite and methodical student of theory, and an able author and translator..." (Grove); educated in New York, England and Germany, in 1866 he traveled once again to Europe, visiting historic sites and his musical peers, collecting photographs, autographic materials and ephemera along the way, that are preserved here; Approximately 100 pages, with items usually tipped-on to one side only; including photographs of composers, usually standard carte-de-visite size, of fellow musicians & others including: 3 Photos (on the same page) of musicians Carl Reinecke (1824 - 1910), Danish composer; Ferdinand David (1810-1873) German virtuoso violinist and composer; Alexander Dreyschock (1818-1869) Czech pianist and composer; trombone virtuoso Moritz Nabich (2, one with his instrument) and others of Madame and Fraulein Nabich; King John of Saxony; Fraulein Suvanny, Soubrette at the Leipzig Theatre; German actress Hedwig Raabe (1844-1905) with a clipped signature - and on the same page, a photo of Franz Buchner, Orchestral Director with a small inscribed card; German painter Peter von Cornelius (1784-1867); a cdv-size photo of A.J. Boekelman musical director from Utrecht with inscribed card; photo of Hungarian composer, pianist, conductor and arranger Károly (Carl) Thern (1817- 1886) with clipped signature; U.S. Consul Dickinson of Indiana (see below, in printed ephemera, for a bit more on this man); photo of Father Skelly, O.S.B. (Kilkenny, Ireland) - and almost 20 additional portrait photographs of (presumed) musical peers and their families, some of these with signed inscriptions (that have so far eluded identification); Also including and laid-into the album loosely or on pages trimmed from the album: Moritz Hauptmann (1792-1868) a small photo and two small clipped notes signed, a few inches square, one tipped-on below the image, another note on a tipped-on card 2" x 3", loose; below the image of Hauptmann is a photo of (Isaac) Ignaz Moscheles (1794-1870); on another sheet, Franz Wilhelm Abt (1819-1885) autograph 7-line note signed, with cdv-size photo with a clipped greeting on card tipped in below the image - another unidentified musician's image above, also with a signed photo & card and on the back of the sheet with the letter, another two images, one with signed card; Johannes Gijsbertus Bastiaans (1812-1875) and a photo of his wife, both inscribed; on a loose sheet, the obituary of Cornell, noting his musical career, marriage, education and travels and that he at one time had taken Roman Catholic religious orders in Baltimore and had died within the Episcopal Church, with selections of his compositions played at the funeral service held at Trinity Chapel in New York City - here are a signed card of W(illiam) R(eed) Huntington of Grace Church (1838-1900) and an autograph of Morgan Dix (1827-1908), both men prominent leaders of the Episcopal Church of the U.S. in the 19th century - Dix was one of the officiants at Cornell's funeral - on the back of this loose sheet is a cabinet card photograph of an image of W.A. Mozart; Printed ephemera including: A 3" x 5" card printed black on pink with humorous musical-themed imagery announcing "Klapperkasten Moscheles-Abend Leipzig d. 12 May 1866 im Schutzenhaus" with a small circular albumen photo image of the composer, at the side a younger cdv-size image of Moscheles and above another printed note accomplished in hand to John Cornell regarding Klapperkasten; a card printed black on blue stock "Soiree musicale von Nabich Posaunen-Virtuos," 2 1/2" x 3 1/2" - old fold line, good cond. (loose) and a "Groot Concert te geven door den heer Moritz Nabich...B. Van der Eijken...J. Hrimaly.." with the program below, in which 2 pieces are by Cornell - approx. 8" x 4", Joh. Enschede en Zonen Haarlem imprint below - on the back of this (loose) sheet are two photographs of architecture, one identified as the "House of W. Vorschuur", and three cdv-size photos: one of Dutch painter W(outerus) Verschuur (1812 -1874) and his son W. Verschuur Jr., also a painter - both signed directly below their portraits on the photos, and one of the performers on the concert program, Czech violinist Jan Hrimaly (1844-1915); a broadside announcement for a "Musikalische Soiree" Im Saale des Hotel de Prusse, with the program printed by Julius Krampe, with 2 Cornell pieces played, 8 1/2" x 5" (one edge with some creasing, wrinkling, still very good); a Soiree Musicale with Moritz Nabich and Mejufvrouw Boekelman and list of works, printed by Van Munster & Zoon, 8" x 5" and with 2 Cornell works played too, with a couple closed edge-tears and creases, good; another loose piece of ephemera 4 1/2" x 3 1/4" a menu-card, dinner-choice text handwritten and the rest printed by Friedrich Daehne and noted below by Cornell as "Bill of fare of our 4th of July Dinner..." - on back is noted "...with U.S. Consul T. Y. Dickinson, Jas. Wilson of Newport, R. I. and others Leipzig"; an announcement of a concert 10" x 7 1/2" "Jena. Montag, den 19. Februar 1866 im Rosensaale Concert des Academ. Gesangvereins..." with the program of music, tipped-on is most of a map published by C.H. Wogan, "The Strangers Guide to Dublin" approx. 6" x 8", one side trimmed close with loss to two of the corner vignettes; also a folding 12" x 15" map of Berlin by Baldwin & Cradock, trimmed close to the neat line all around; a curious advert for a moisturizing, rejuvenating apparatus (not illustrated) clipped from a periodical, for "Regenerators" of Leo Bohlius, a hairdresser in Germany; with some additional newspaper clippings of the time and a few later, also tipped-in or loose; with approximately 150 additional architectural, scenery & art photos from the time, averaging 3" x 3" size, with a few larger images; the photos are of locales in Kilkenny, Quenstown, Ireland; various places in Wales & England; Altenburg, Leipzig, Dresden, Hanover Germany; Brussels Belgium and other places; including a small photo of the Kristallnacht-destroyed synagogue of Leipzig; and another noted as the "Old Opera-House (in Dresden) as I saw it. Burnt down..."; among these are about 10 ethnic European costume photos, in cdv size also; the album approx. 13" x 11" size; the sheets only, no covers; still loosely bound; many pages edge-chipped and the paper quality good; the first page with old discoloration and the "Ireland" scenery photos on that page chipped, torn and worn; as noted above, there are many loose and cut-out pieces - the evidence is within the album of where some of these may originally have been located - all this seems to be done by a very unskilled hand, perhaps a childish effort; some leaves obviously and crudely excised at some time; by and large, the photographs & ephemeral items in good condition; good also to have included here the final materials recording his obituary & death; a very interesting compendium of visual and textual information, especially regarding the Romantic composers of Europe and their association with their American counterpart; we note that one of the loose albume pages contains a group of material regarding the wife of Martin Luther; including a photographic reproduction of an engraving depicting the ruins of the Kloster Nimbschen, by Selbstverlag V. Peters Leipz., approx. 3" x 4" in black and white, identified below as "Ruins of Nimbshcen Convent, of which Katharine Bora was a member."; with an unknown gentleman's carte-de-visite-sized photo-portrait, circa 1860s; with an albumen photograph, also carte size, approx. 2 1/4" x 3" of a portrait identified below, of Katharina von Bora Luther (1499-1552) wife of Martin Luther, the German leader of the Protestant Reformation; and tipped-on is a 1" x 1 3/4" thin beige leather fragment, having evidence of tiny stitching and some threading around 3 edges, of a "Piece of Katharine Bora's slipper" identified in the same handwriting as the above items; "...According to Dr. Stefan Rhein, Director of Luther monuments in the state of Sachsen-Anhalt...Katharine von Bora was Luther's companion and equal partner…the picture of a self-assured, self-confident, liberated woman at the side of her husband. But this most important woman of the Reformation period of the 16th century is relatively unknown, for she lived in the shadow of her powerful husband..." (Erwin Weber, Lutheran Journal 1999); for the future of the Protestant Christian faith, Luther's marriage established the validity of marriage within the clergy as well as focusing attention on the importance of inspirational, strong women in early Protestantism; the items with some ageing, darkening; the old backer paper with some tears, cutouts from paper, probably from a larger sheet; list of items on the page written in a later hand in top left corner; the items in very good condition and an interesting fragment of the life of this important Lutheran woman.. Manuscript. No Covers. Good.

      [Bookseller: Certain Books, ABAA]
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        THE BOOK OF NONSENSE

      London, Frederick Warne and Co., New York, Scribner & Co., circa 1866.. 17th edition circa 1866 (date on dedication page and no later titles on lower cover) small oblong 4to, 135 x 208 mm (page size), 5 5/16 x 8¼ inches, red pebbled cloth spine (unlettered), yellow boards with red ruled border, title and author on upper cover black on red banner, colour printed illustration repeating title showing a jolly man presenting the Book of Nonsense to 7 excited children, publisher's adverts to lower cover, pages: (2), 1-111, (2). Reprint of the enlarged 3rd edition (1861 with 43 additional drawings) published by Routledge, Warne and Routledge engraved by the Dalziel brothers and printed at the Camden Press. HAND COLOURED TITLE PAGE AND 112 HAND COLOURED ILLUSTRATIONS with limerick beneath. Expertly recased retaining original spine and endpapers, spine slightly worn and rubbed, neatly strengthened at head and tail, corners and board edges slightly worn, a few light scratches and tiny scrapes to covers, 5 handwritten limericks and a couple of small drawings in ink on front pastedown and front endpaper with a couple of ink smudges, looks 19th century, 3 word inscriptioin in pale ink on Dedication page, small repair on reverse of title page to lower inner margin, a couple of tiny smudges on page 22, pinhole to lower margin of 2 pages, tiny tip of 1 lower corner missing (margin only), 1 plate has slight loss to inner margin and is reinserted on a tab, 1 tiny chip to lower inner edge of page 106, very occasional pale fingermark and a few tiny pale spots. Generally very clean and bright. A very good copy of a scarce HAND COLOURED copy. Hand coloured copies are exceptionally scarce. Routledge, Warne and Routledge published the 16th edition circa 1865 of which some copies were certainly hand coloured. Warne set up on his own on 1st of July 1865 and this 17th edition (stated on title page) must have been one of the earliest editions published by him. The edition is not stated on the cover but the price is: '3/6 or with the Plates fully Coloured Price 6s.". Osborne I,69-70; Vivien Noakes page 169, No. 76. MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        CHARLES DICKENS' WORKS. Leather Set. LIBRARY EDITION. Printed 1866. FIRST COLLECTED EDITION Complete in 26 volumes

      London: Chapman & Hall, 1866. FIRST COLLECTED EDITION OF DICKENS' WORKS. LIBRARY EDITION.. Bound in polished calf leather bindings. Red leather. Gilded spines with raised hubs. Marbled edges and end papers. Heavily illustrated with full page engraved plates. Printed on quality paper. 7 5/8 inches tall. These take up a little over 26 inches of shelf space. Very good condition. The leather is supple and fresh. All hinges are 100% fully attached. No writing. Printed on quality paper, near free of any foxing, but with some foxing on some of the plates. There is general usage wear/rubs, signs of usage. This is a gorgeous set and displays beautifully. Includes all of Dickens' major novels except for The Mystery of Edwin Drood which was uncompleted and published posthumously in 1870. This is the First Collected Edition of Dickens' Complete Works (less the unfinished Edwin Drood) and is difficult to obtain. Chapman and Hall were the publisher's of Dickens' First Editions. This is an important set.

      [Bookseller: Merchants Rare Books, LLC]
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        THE PRINCE'S PROGRESS and Other Poems. With Two Designs by D.G. Rossetti

      London: Macmillan, 1866. 17 cm x 10.5 cm, pp. viii, 216, frontispiece and extra illustrated title-page engraved by W.J. Linton after D.G. Rossetti, with tissue guard. Original green cloth, with elegant gilt design to covers and spine also by Rossetti, brown coated endpapers. Binder's ticket "Burn" inside rear cover; hinge paper only starting to split, very tiny (1 mm) burn hole in white space near gutter of title-page, with adjacent singe mark only to verso of engraved title-page, edges slightly dust soiled, tips slightly bruised, otherwise an attractive, collectible copy, very clean and bright. Rossetti's second book and longest poem being an allegory on Sleeping Beauty.. First Edition. Hard Cover. Small 8vo..

      [Bookseller: Hugh Anson-Cartwright Fine Books, ABAC/I]
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        POEMS OF THE INNER LIFE SELECTED CHIEFLY FROM MODERN AUTHORS

      London: Sampson Low Son & Marston, 1866.  First edition, 19.5 x 12.5cm (16mo), in publisher's violet sand-grain cloth w/gilt borders & title to fr. cover (blind to rear) & spine, bevelled edges, a.e. untrimmed, chocolate ep.s w/binder's ticket (Burn) to rear pastedown, 288 (viii) pp. w/numerous wood-engraved floral head & tail-pieces, +16pp. publ. cat. to rear.  Printed in London at the Victoria Press by Emily Faithfull, Printer In Ordinary To Her Majesty.  Inscribed to half-title: "K. MacKenzie from W.C.I.[?], 6 January 1866"; also from the collection of Gwin J. Kolb (U. of Chicago) w/his bookplate loosely inserted.  Includes 5 poems by Christina Rossetti ("A Summer Wish," "Symbols," "Advent," "Up-Hill," & "Sweet Death") & 1 by D.G. Rossetti ("Lost Days").  Binding Very Good (stain to upper edge of fr. cover, & extremities sl. bumped & rubbed); contents Near-Fine.

      [Bookseller: Leonard Roberts, Bookseller]
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        Felix Holt the Radical

      Edinburgh and London: William Blackwood and Sons Edinburgh and London: William Blackwood and Sons, 1866. First edition, Carter's "A" binding. Three volumes. Half titles, 24 (4 + 20) pages of publisher advertisements at rear of volume III (not mentioned in Sadleir). Original publisher's cinnamon cloth, spines lettered and decorated in gilt, covers in blind. An excellent set, spines lightly rubbed with minor wear, corners bumped, front hinge of volume I slightly cracked and secure. A very bright and completely unsophisticated set in the earliest publisher binding. Carter, Binding Variants pp 111-112; Parrish pp 20-21; Sadleir 814.. First Edition. Hard Cover. Near Fine.

      [Bookseller: B & B Rare Books, Ltd., ABAA ]
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        Nye Eventyr og Historier. Anden Række. Fjerde Samling. [New Fairy Tales and Stories. Second Series. Fourth Collection].

      Kjøbenhavn [Copenhagen], 1866. Samtidigt helpergament. Med halvtitel og titelblad til Anden Række, Fjerde Samling, samt det generelle halvtitel- og titel-blad samt indholdsfortegnelse til hele Anden Række. Contemporary full vellum binding. Apart from the half-title and title-page for the Second Series, Fourth Collection, also bound with the general half-title and title-page as well as the contents list for the entire Second Series.. Splendid presentation-copy for "Digterein, Naturforskeren/ Wilhelm Bergsøe/ en hjertelig hilsen/ fra H.C.Andersen" [i.e. "The Poet, The Naturalist / Wilhelm Bergsøe/ a warm greeting/ from/ H.C. Andersen"] (presentation slightly shaved at the very end of Andersen's signature) of this fourth collection of the second series of Andersen's third fairy tale collection, which has four of the fairy tales in the first printing. The magnificent presentation-inscription gives reference to the last of the fairy tales, in which the Poet and the Naturalist carry out the central discussion about the toad. Vilhelm Bergsøe (1835 -1911) was one of the most well known cultural personas in Denmark at the second half of the 19th century. He was a famous author and zoologist (hence Andersen's "The Poet, The Naturalist/ Wilhelm Bergsøe"), who was equally admired within both professions. His main literary work "From Piazza del Popolo", which is one of the most beloved and widely read works of Danish literature of all times, appeared the same year as the present fairy tale collection, i.e. 1866. Bergsøe's most famous zoological work is the great "From Field and Woods. Portraits of the Life of the Insects", in two volumes, 1881, which is the first and best popular scientific entomological work in Danish. One of the volumes has the sub-title "About the Insects [including the toad!] in Relation to the Human Being and its Cultural Endeavours" - which seems particularly apt in the present connection.Among the six tales in the present collection, we find the first printing of Andersen's beloved fairy tale "The Toad", with the famous opening lines:"The well was deep, and therefore the rope was long; the wheel went around with difficulty when the waterfilled bucket had to be pulled up over the side of the well. The sun could never mirror itself down in the water, no matter how brightly it shone; but as far down as its rays penetrated, green weeds were growing from between the stones.There was a family of toads living down there. It was an immigrant family which, as a matter of fact, had come down there headlong in the person of the old toad mother, who was still living. The green frogs that swam in the water had made their homes there for a much longer time, but they acknowledged their cousins and called them "well guests." The latter, however, had no thoughts of ever leaving, they found it very comfortable here on the dry land, as they called the wet stones."The tale is about the ugly young toad who decides to discover the world and not just spend his entire life in the well. One day he jumps into the bucket that is lowered down to get up water, and is pulled up into the glorious world above. Although he succeeds in rising to the world above, he still strives to come up higher in the world, which becomes his nemesis. On the ground above he meets other frogs, a caterpillar, a hen, a stork, and most importantly, two students, "one was a POET, the other a NATURALIST. The one sang and wrote with gladness of all that God had created, as it was mirrored in his heart; he sang of it in short, clear, and rich, imposing verses. The other took hold of the creation itself, yes, and took it apart when it needed analyzing. He treated our Lord's work like a great piece of arithmetic; subtracted, multiplied, wanted to know it outside and inside, and to talk of it with intelligence, with complete understanding; and yet he talked of it with gladness and with wisdom. They were good, happy people, both of them."Why, there is a good specimen of a toad," said the Naturalist. "I must have it to preserve in alcohol!""You have two already," said the Poet. "Let it stay there in peace and enjoy itself.""But it's so beautifully ugly!" said the other."If we could find the jewel in its head," said the Poet, "then I myself would give you a hand at splitting it open.""The jewel!" said the other. "How well you know your natural history!""But isn't there something very splendid about the old folk legend that the toad, the ugliest of creatures, often has hidden in its head the most precious of jewels? Isn't it much the same with people? Wasn't there a jewel like that hidden in Aesop, and Socrates, too?"The Toad didn't hear any more, and hadn't understood half of what it had heard. The two friends went on, and it escaped being preserved in alcohol. [...]"In his diaries from the year 1866, Andersen mentions our Poet and Naturalist, Bergsøe, several times. Particularly interesting in this connection is his mention on the 29th of October (after on the 28th having read "Aunty" and "The Toad" loud at a dinner party - "the last of which gave great pleasure" see diary entry), where he's had dinner with Bergsøe and gone to the theatre. He writes "Bergsøe sagde at Naturforskerne kunde optage min Betegnelse om Skrubtudsen, som "Kravledyr" [i.e. "Bergsøe said that the Naturalists could assimilate my description of the toad, as a "crawler" - "crawler in Danish being "Kravledyr"] (Diary entry for Monday 29th of October 1866). Andersen is referring to the section of "The Toad" in which he says: "Then it moved along in leaps, as indeed such a creature can, until it reached the highway where humans lived." ["Og den tog Skridt, som saadant et Kravledyr kan, og saa var den paa Alfarvei, hvor Menneskene boede - The Danish: "saadant et Kravledyr" literally translated means "such a crawler/ crawling animal"]. On the 26th of November he furthermore writes: "The night before last night I read the beginning of Bergsøe's "From Piazza del Popolo"; it is written in a lively manner, but as strong wine, it began with Italian robbers, clairvoyants, and cholera." [i.e. I forgaars Aftes læste jeg Fra Pjazza del Populo; den er livlig skrevet men som stærk Viin, den begyndte med italienske Røvere, Clarvoyanter og Kolera."] (Diary entry for Monday the 26th of November 1866).On the 9th of December he writes: "Visited Bergsøe and read for him: "The Porter's Son" " ["Besøgt Bergsøeof læst for ham "Portnerens Søn". "] (Diary entry for Sunday the 9th of December 1866) - Also "The Porter's son" is present here in the first printing!On the 18th of December: "Read the rest of Bergsøe's "From Piazza del Popolo", it is connected to Dumas and Sue! but obviously a great talent of comprehension, but the book as it is can be continued for much longer." ["læst Bergsøes Bog fra Pjazza Tel Poplo ud, den er beslægtet med Dumas og Sue! men aabenbart et stort Opfatnings Talent, men Bogen kan som den er / endnu længe fortsættes."] (Diary entry Tuesday the 18th of December 1866). On the 2nd of January 1867: "Read in "Wintergreen" two poems by Bergsøe, in which the Poet and the Naturalist prevail in a successful manner" ["Læst i Vintergrønt to Digte af Bergsøe hvor Naturforskeren og Digteren heldigt Aabenbarer sig."]. (diary entry Wednesday the 2nd of January 1867).For Hans Christian Andersen's diary entries for this period see: "H.C. Andersens Dagbøger 1866-1867. Udgivet af Kirsten Weber", vol. VII. København, 1972. The present collection contains four fairy tales in first printings: "Gjemt er ikke glemt" (Kept Secret but not Forgotten), "Portnerens Søn" (The Porter's Son), "Moster" (Aunty), "Skrubtudsen" (The Toad)BFN 911, 912, 913, 914

      [Bookseller: Lynge & Søn A/S]
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        MAPA CIVIL Y MILITAR DE ESPANA Y PORTUGAL, CON LA NUEVA DIVISION EN DISTRITOS. Enriquecido de los planes particulares de 34 Ciudades y puertos principales. Compuesto de 6 Pliegos y una Hoja de suplemento que contiene los Planes... por Don Alejo Donnet, Ingeniero geògrafo empleado en el Catastro Real de Francia y de la Sociedad de geògrafia de Paris.

      Raccolta completa di 6 carte geografiche a colori, montate su tela, che compongono i territori della Spagna e Portogallo. Ogni foglio (cm. 61 x 87) è diviso in 18 riquadri. La raccolta, ben conservata, è contenuta in un astuccio coevo (cm. 21,3x15,7). .

      [Bookseller: Libreria Antiquaria Malavasi]
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        Fountain Savannah, Ga. [Pl. 51]

      [New York: 1866]. Albumen photograph from a negative taken in 1866, 10 x 13 inches, on original two-tone gilt-edged thin card mount, 16 1/8 x 20 inches, with plate title and photographer's credit. A fine copy of a stunning image from Barnard's 'Photographic Views of Sherman's Campaign', an album which is one of the two greatest photographic monuments to the Civil War and 'a landmark in the history of photography' (Keith F. Davis). A contemporary reviewer wrote of this image and its companions: 'These photographs... surpass any other photographic views which have been produced in this country - whether relating to the war or otherwise' ('Harper's Weekly', 8 December, 1866, p.771) This image comes from George N. Barnard's album titled Photographic Views of Sherman's Campaign, embracing scenes of the occupation of Nashville, the great battles around Chattanooga and Lookout Mountain, the campaign of Atlanta, March to the Sea, and the Great Raid through the Carolinas (1866). This album, togther with Alexander Gardner's Photographic Sketchbook of the Civil War (1866) are the two greatest photographic monuments of the Civil War. Between them, they contain some of the most famous images of the War. Though some of Barnard's photographs in this series offer poignant reminders of the trail of destruction left across the Confederacy by General William T. Sherman's army in 1864 to 1865, the photographs in Savannah record that beautiful city's avoidance of destruction. The Confederate Army evacuation and subsequent civilian surrender saved Savannah from the destruction of bombardment and the agony of siege. This splendid fountain (Forsyth Park Fountain, which is still standing) in a peaceful park, handsomely photographed by Barnard, evokes the blessings of peace and creativity rather than the viciousness of war. Two Federal soldiers can be seen enjoying the beauty of the scene in the background. Cf. De Renne p.1317; cf. Howes B150, "b."; cf. Sabin 3462; cf. Taft Photography and the American Scene pp.232 & 486. See also: George N. Barnard Photographic Views of Sherman's Campaign... with a new preface by Beaumont Newhall New York: 1977 Keith F. Davis. George N. Barnard Photographer of Sherman's Campaign Kansas City, Miss.: 1990

      [Bookseller: Donald Heald Rare Books ]
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        Elster's Folly. A novel. 2nd edn. 3 vols.

      Tinsley Brothers. 1866 Half title vol. I only as issued. Orig. royal blue cloth, gilt spines. A v.g. bright copy.Sadleir 3335 is a mixed set presented to her daughter Ellen; not in Wolff. With presentation inscription from the author, 'For Harry. With Mamma's love'.

      [Bookseller: Jarndyce Rare Books]
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        Brand. Et dramatisk digt.

      Kjøbenhavn 1866. (Forlagt af Den Gyldendalske Boghandel (F. Hegel). Thieles Bogtrykkeri). 8vo. 271 s. Priv. håndbundet skinnbd. (O. A. Skaar, Dale i Sunnfjord.) To små innlimte papirbiter( Limt over navn) Noen brunpletter. Ex libris

      [Bookseller: Thorsens Antikvariat]
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        ALICE'S ADVENTURES IN WONDERLAND.

      Bound in full polished blue calf with triple gilt rules by Riviere with the original covers and spine bound in at the rear. The spine has raised bands in 6 compartments with a gold flower design, all edges gilt; gilt dentelles. First published edition, with 42 illustrations by John Tenniel. A Fine copy, unusually clean throughout. Tipped into this copy is a quirky two-sided letter by Carroll written using his characteristic purple ink, dated Feb. 8. 1888.It reads: 'Dear Steward, I am much obliged for the estimates for the electric bell, and shall be quite willing to bear my share of the expense, under any of the arrangements named, I should want a 'push' in each of my 2 bedrooms - Hadland thought that (as both rooms look out North) the best way to reach them would be to continue the roof cord, & bring it down outside and in at the windows: however, you can arrange it as you think best. Please not to charge further Quarterage, for C.R., to Mr. S. W. Worthington. Very Truly Yours, C. L. Dodgson. The publishing history of this title is now well known.Carroll, unhappy with the original first printing of Alice, recalled all copies to destroy them, the remaining sheets being to sent to America where they were issued with a new title-page by Appleton. The new printing, as above, was released in November of 1865 with the title-page dated 1866.

      [Bookseller: David Miles]
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        ALICE'S ADVENTURES IN WONDERLAND. With forty-two illustrations by John Tenniel.

      Original red pictorial cloth gilt. a.e.g. Light blue endpapers. Second (First Published) Edition. Some spotting here & there throughout; spine repaired and a little cocked; rub on rear endpaper where an old catalogue entry had been adhered; else a very good copy. There are some contemporary pencil annotations where the identity of certain characters is believed to have been identified (Mad Hatter etc.,). Contained in a folding, felt-lined, cloth gilt box.The first (Withdrawn) edition and the second edition are both taller than later printings. It remains uncertain how many copies of this edition were printed. The likelihood is that two thousand copies were printed, but it may have been as many as four thousand. The book was actually issued in November 1865, the same year as the first ('Withdrawn') edition. It is becoming increasingly rare to find copies of this printing in the original cloth, the vast majority of copies on the market having been rebound.

      [Bookseller: David Miles]
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        Alice's Adventures in Wonderland AND Through The Looking Glass

      Macmillan London: Macmillan, 1866. hardcover. fine. Tenniel, John. Illustrations by John Tenniel. 2 volumes. Beautifully bound by Bayntun in full red morocco with gilt vignette of the White Rabbit on the front covers and gilt vignettes on the spines, a.e.g., with marbled endpapers. London: Macmillan, 1866, 1872. First published editions. Fine. Alice" was first printed in 1865 in a small number of copies. The author & illustrator were unhappy about the poor quality of the printing and insisted that it be re-done, using a different printer. These 1866/1872 editions are the first published versions.

      [Bookseller: Argosy Book Store ]
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        Alice's Adventures in Wonderland

      D. Appleton and Co. New York: D. Appleton and Co., 1866. Octavo. (v)ff., 192pp. First edition, second issue. With forty-two illustrations by John Tenniel. Carroll’s enduring tale of a child’s dreamworld was first issued in 1865 by Macmillan and Company of London, but Carroll and Tenniel were unhappy with the print quality of the illustrations and canceled the issue, insisting that the book be reprinted. Few copies of that first issue were ever released; fewer still are known to exist today. Many of the sheets had yet to be bound when Carroll suppressed the edition, and a number of these unbound sheets had been sold to Carroll’s American publisher, Appleton, who added its own title page. Thus, the first American edition is comprised of the sheets from the suppressed London edition. Subsequently, Macmillan issued its second edition of Alice with re-set type and reprinted illustrations. Alice was an immediate sensation. Copies of the book were avidly read by their young owners and tend to show some wear as a result. This copy bound by Rivière in full red calf with triple gilt rules on both covers, gilt dentelles, and marbled endpapers. Spine richly gilt in six compartments, with leather labels in two compartments, lettered in gilt. Original endpapers and red cloth binding bound-in following the text. Rear board faintly scuffed, spine lightly rubbed in spots. Pages show occasional light finger smudges and a few professionally repaired marginal tears; very faint owner’s inscription. A.e.g.

      [Bookseller: Bromer Booksellers ]
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        "On the Dynamical Theory of Gases." Received May 16, - 1866.

      (London, Taylor and Francis, 1866). No wrappers, as extracted from"Proceedings of the Royal Society of London.", Vol. XV. May 16, 1866. Pp 167-171.. First appearance of this seminal paper (in the abstract-version from "Proceedings"), representing the announcement of Maxwell's final "Theory of Gases" and introduces the "Maxwell Distribution" in its final form, a statistical means of describing aspects of the kinetic theory of gases, a theory, together with his electromagnetic theory, are considered to be some of the greatest advances in physics of all times. The paper offered, only 5 pages, is an abstract of a paper with the same title, which was printed in full in "Philosophical Transactions" in 1868. Everett considers this paper (1868) to be Maxwell's greatest single paper.The "abstract", which announces his discovery was printed the year before the larger paper. Maxwell's discoveries laid the foundations of special relativity and quantum mechanics.One of Maxwell's major investigations was on the kinetic theory of gases. Originating with Daniel Bernoulli, this theory was advanced by the successive labours of John Herapath, John James Waterston, James Joule, and particularly Rudolf Clausius, to such an extent as to put its general accuracy beyond a doubt; but it received enormous development from Maxwell, who in this field appeared as an experimenter (on the laws of gaseous friction) as well as a mathematician.In 1866, he formulated statistically, independently of Ludwig Boltzmann, the Maxwell-Boltzmann kinetic theory of gases. His formula, called the Maxwell distribution, gives the fraction of gas molecules moving at a specified velocity at any given temperature. In the kinetic theory, temperatures and heat involve only molecular movement. This approach generalized the previously established laws of thermodynamics and explained existing observations and experiments in a better way than had been achieved previously. Maxwell's work on thermodynamics led him to devise the Gedankenexperiment (thought experiment) that came to be known as Maxwell's demon

      [Bookseller: Lynge & Søn A/S]
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        De l'Origine des Espèces par Sélection naturelle ou des Lois de Transformation des Étres organisés. Traduit en Francais avec L'Autorisation de L'Auteur par Clémence Royer avec une Préface et des Notes de Traducteur. Deuxieme Edition augmentée d'apres des Notes de L'Auteur.

      Paris, Masson et Fils a. Guillaumin et Cie, 1866. Contemp. hcalf. Some scratches to spine. Gilt lettering. Marbled boards. (4),LIX,VIII(9-)613,(1) pp. and 1 lithographed plate. Including htitle and Errata (complete). Some scattered brownspots mainly at the beginning and at end.. Scarce second French edition of Darwin's masterpiece. with his notes to this edition. - Freeman No 656

      [Bookseller: Lynge & Søn A/S]
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        Zeichnungen über Wasser- und Strassen-Bau

      I. Curs zu den Vorträgen des Professors Baumeister an der polytechnischen Schule zu Carlsruhe. 60 doppelblattgr. lithogr. Tafeln. Karlsruhe, J. Veith, 1866. Folio (44,5 x 30,5 cm). 1 gefalt. Titel- u. Inhaltsblatt. Halbleinwandband d. Zt. Ein zweiter Cursus zu den Vorlesungen über Brückenbau von Hermann Sternberg erschien 1866/1867. - Das vorliegende Vorlagenwerk enthält zu den Bereichen Mauerwerk, Erdbau und Grundbau jeweils 20 Tafeln, die von Schülern R. Baumeisters in den Jahren 1864 u. 1865 nach anderen Werken, aber auch nach "Bauausführungen und Reisen" R. Baumeisters gezeichnet worden sind. Es finden sich u.a. Ziegel- u. Kalköfen, Lehr- u. Versetzgerüste, Kräne, (Dampf)-Bagger, Karren u. Wagen, Seilscheiben, Bollwerke, Tunnelausmauerungen, verschiedene Rammen, Schöpfmaschinen, Pumpen u. Zubehör zum Betonbau. - Unter den Originalzeichnungen besonders hervorzuheben sind Darstellungen vom Eisenbahnbau im Schwarzwald u. Nordbaden, (Lehrgerüste, Kräne, Wagen, Drehscheiben), ein Laufkrahn vom Bau der Westminster Bridge in London, ein Wellenbrecher bei Portland sowie vom Schleusenbau in Hamburg. - Baumeister (1833-1917) war seit Mitte der 50er Jahre wesentlich am Ausbau des Badischen Eisenbahnnetzes beteiligt, 1862 wurde er Professor für Ingenieurwesen in Karlsruhe. Hauptkat. Landesgewerbeverein Hessen 4909. - Vgl. Bad. Biographie NF IV, S. 11ff. - Rücken und Vorsätze erneuert. Rückendeckel mit Fehlstelle im Bezug. Etwas stockfleckig u. teilw. leicht gebräunt. Einrisse im Titel geschickt restauriert. Einige kleine Randeinrisse.

      [Bookseller: Antiquariat Meinhard Knigge]
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        Icones euphorbiarum. Ou figures de cent vingt-deux espèces du genre euphorbia, dessinées et gravées par Heyland. Avec des considérations sur la classification et la distribution géographique des plantes de ce genre.

      2°, 24 S. Text u. 122 lithogr. Taf., (Neuere) Priv.-HLwd., Bibliotheksbd.: priv. Rückenschildchen, Stempel a. Titelbl. u. erstem Textbl.; Taf. öfter stockfl. (tlw. grossflächig, aber schwächlich); ca. 12 Taf. unten knapp beschnitten (m. teilweisem Verlust der Legenden, dreimal ganzer Verlust) - erste ca. 60 Taf. tadellos. EA. Einführung franz. Beschreibungen latein. E. Boissier (1810 - 1885), zahlreiche Forschungsreisen, zuerst im Jura, in den Alpen und im Mittelmeerraum, dann im Orient und bis nach Indien. Er beschrieb ca. 6000 Arten neu, und legte ein riesiges Herbarium an. Die Lithographien entstanden nach Zeichnungen von Heyland.

      [Bookseller: Antiquariat Peter Petrej]
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        ORIGINAL ALBUMEN PHOTOGRAPH, from wet collodion negative of Ella Monier-Williams at the age of 8, in a nightdress posed as if sleeping, ONE OF THREE KNOWN COPIES, inscribed on the verso in pencil "Ella Monier-Williams, Oxford, "Dreaming of Alice"

      228 x 140mm. Probably taken May-July 1866, Presented in wide margined acid-free mount. AN E MAIL IMAGE OF THIS PHOTOGRAPH CAN BE SENT TO YOU ON REQUEST. Carroll recorded in his diary on May 1st 1866 his first meeting with the Monier-Williams family and his wish to photograph Ella 'whom I had noticed before'. Mrs Monier-Williams brought her daughter to Carroll's rooms to be photographed on the 24th of that month. The diary records no less than twelve mentions of Ella and a number of photographic sessions; "Mrs Williams brought over the little Ella, of whom I took two excellent negatives" [24 May 1866]; "I have taken.. a good many of their little Ella, of whom I did several pictures with no other dress than a cloth tied round her, savage fashion.." [8 July 1866]. During that first week of July 1866 he also photographed her dressed with ethnographic items from New Zealand he borrowed from the Ashmolean Museum. Ella was one of the charmed circle of favourites to whom Carroll presented an inscribed copy of Alice. Numerous other of his books that were sent to her, along with letters from Carroll, appeared at auction at Phillips, London, in November 1994. Such a stream of presentation copies shows how lasting their friendship was. Ella later reminisced about Carroll: " As a child he gave one the sense of such perfect understanding, and this knowledge of child nature was the same whether the child was only seven years of age, or in her teens. A 'grown-up' child was his horror A visit to Mr Dodgson's rooms to be photographed was always full of surprises. Although he had quaint fancies in the way he dressed his little sitters, he could never bear a dressed-up child. A 'natural child' with ruffled untidy hair suited him far better, and he would place her in some ordinary position of daily life, such as sleeping, or reading, and so produce charming pictures... The last time I saw Mr Dodgson, not long before his death, was at the Indian Institute at Oxford, when, full of characteristic teasing, as usual, he tried to prove to me, the mother of six sons, how infinitely superior he considered girls to boys; and that was indeed a settled conviction he was always ready to defend. I little thought that it would be the last time I should meet the man of so gentle and kindly a nature, whose friendship enriched my childhood.." (Letters, ed. Cohen, p195-6). * LITERATURE: For Carroll's photographs of Ella see, Wakeling: Register of all Known [Lewis Carroll] Photographs, in: Taylor (Roger) and Wakeling (Edward), Lewis Carroll Photographer, The Princeton University Library Albums, image bracket: 1461-1483.The Illustrated London News for 14 April 1928 printed this photograph along with others as part of an article it published on the sale of the Alice manuscript: "Photographs by the Author of Alice, one of Lewis Carroll's 'Little Girls'... Since the announcement of the sale of the original MS of 'Alice's Adventures in Wonderland, " by Lewis Carroll, which fell to an American bidder for £15,400, several ladies who, as little girls, were freinds of the author, have recalled memories of him. These photographs, taken by him in his rooms at Christ Church, Oxford, all show Ella Monier-Williams (now Mrs Bickersteth of Canterbury), daughter of the late Sir M. Monier-Williams, Professor of Sanskrit at Oxford. In a recent letter to 'The Times' Mrs Bickersteth said: "It was over sixty years ago that he used to visit my father. Among my earliest recollections is being taken by my mother to his rooms in Tom Quad at Christ Church, again and again, to be photographed by him in some mood, costume, or attitude which caught his fancy, or in which his discerning eye saw the unconscious expression of childish pleasure, hope or awe. Of these photographs I have a bundle precious to me..." * PROVENANCE: This photograph was one of six that together formed item 536 in the Lewis Carroll Centenary in London Exhibition, which took place in London in 1932 where it is described by Falconer Madan, the editor, in the catalogue as: "Six photographs by Dodgson by Miss Ella C. F. Monier-Williams (daughter of Professor Monier-Williams) now Mrs Samuel Bickersteth: in a frame 21¼ x 25½ in. Taken in 1864-5." Lewis Carroll Centenary in London 1932, including a Catalogue of the Exhibition, with Notes; an Essay on Dodgson's Illustrators by Harold Hartley; and additional literary pieces (chiefly unpublished), London, Bumpus, 1932.This was one of two exhibitions held in the centenary year of 1932 (the other was at Columbia University) that were solely devoted to Lewis Carroll and they did a great deal to firmly establish his world-class importance and reputation, stimulating scholarly and biographical interest.

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
 23.   Check availability:     UKBookworld     Link/Print  


        ORIGINAL ALBUMEN PHOTOGRAPH from wet collodion negative of Ella Monier-Williams at the age of 8, probably taken May-July 1866, ONE OF TWO KNOWN COPIES, inscribed on the verso in pencil "Ready for a Walk with Mr Dodgson, Oxford",

      the subject full length, standing as a soldier, carrying a stick as a rifle, by studio window on Turkish rug. The image within dark circle caused by lens cap (this cropped out in the only other known copy which is at Princeton), 150mm x 185mm. Presented in a wide margined acid-free mount. Photograph available on request. * Carroll recorded in his diary on May 1st 1866 his first meeting with the Monier-Williams family and his wish to photograph Ella 'whom I had noticed before'. Mrs Monier-Williams brought her daughter to Carroll's rooms to be photographed on the 24th of that month. The diary records no less than twelve mentions of Ella and a number of photographic sessions; "Mrs Williams brought over the little Ella, of whom I took two excellent negatives" [24 May 1866]; "I have taken.. a good many of their little Ella, of whom I did several pictures with no other dress than a cloth tied round her, savage fashion.." [8 July 1866]. During that first week of July 1866 he also photographed her dressed with ethnographic items from New Zealand he borrowed from the Ashmolean Museum. Ella was one of the charmed circle of favourites to whom Carroll presented an inscribed copy of Alice. Numerous other of his books that were sent to her, along with letters from Carroll, appeared at auction at Phillips, London, in November 1994. Such a stream of presentation copies shows how lasting their friendship was. Ella later reminisced about Carroll: "As a child he gave one the sense of such perfect understanding, and this knowledge of child nature was the same whether the child was only seven years of age, or in her teens. A 'grown-up' child was his horror A visit to Mr Dodgson's rooms to be photographed was always full of surprises. Although he had quaint fancies in the way he dressed his little sitters, he could never bear a dressed-up child. A 'natural child' with ruffled untidy hair suited him far better, and he would place her in some ordinary position of daily life, such as sleeping, or reading, and so produce charming pictures... The last time I saw Mr Dodgson, not long before his death, was at the Indian Institute at Oxford, when, full of characteristic teasing, as usual, he tried to prove to me, the mother of six sons, how infinitely superior he considered girls to boys; and that was indeed a settled conviction he was always ready to defend. I little thought that it would be the last time I should meet the man of so gentle and kindly a nature, whose friendship enriched my childhood.." (Letters, ed. Cohen, p195-6). * LITERATURE: For Carroll's photographs of Ella see; Wakeling: Register of all Known [Lewis Carroll] Photographs, in: Taylor (Roger) and Wakeling (Edward), Lewis Carroll Photographer, The Princeton University Library Albums, image bracket: 1461-1483. Illustrated: Helmut Gernsheim, Lewis Carroll Photographer, (1949), pl. 59. and Cohen's Reflections in a Looking Glass, page 79 (this example with arch-shaped top - c.50% of the image cropped out in comparison with the present example). *The Illustrated London News for 14 April 1928 printed this photograph along with others as part of an article it published on the sale of the Alice manuscript: "Photographs by the Author of Alice, one of Lewis Carroll's 'Little Girls'... Since the announcement of the sale of the original MS of 'Alice's Adventures in Wonderland, " by Lewis Carroll, which fell to an American bidder for £15,400, several ladies who, as little girls, were friends of the author, have recalled memories of him. These photographs, taken by him in his rooms at Christ Church, Oxford, all show Ella Monier-Williams (now Mrs Bickersteth of Canterbury), daughter of the late Sir M. Monier-Williams, Professor of Sanskrit at Oxford. In a recent letter to 'The Times' Mrs Bickersteth said: "It was over sixty years ago that he used to visit my father. Among my earliest recollections is being taken by my mother to his rooms in Tom Quad at Christ Church, again and again, to be photographed by him in some mood, costume, or attitude which caught his fancy, or in which his discerning eye saw the unconscious expression of chilish pleasure, hope or awe. Of these photographs I have a bundle precious to me..." * PROVENANCE: This photograph was one of six that together formed item 536 in the Lewis Carroll Centenary in London Exhibition, which took place in London in 1932 where it is described by Falconer Madan, the editor, in the catalogue as: "Six photographs by Dodgson by Miss Ella C. F. Monier-Williams (daughter of Professor Monier-Williams) now Mrs Samuel Bickersteth: in a frame 21¼ x 25½ in. Taken in 1864-5." Lewis Carroll Centenary in London 1932, including a Catalogue of the Exhibition, with Notes; an Essay on Dodgson's Illustrators by Harold Hartley; and additional literary pieces (chiefly unpublished), London, Bumpus, 1932.This was one of two exhibitions held in the centenary year of 1932 (the other was at Columbia University) that were solely devoted to Lewis Carroll and they did a great deal to firmly establish his world-class importance and reputation, stimulating scholarly and biographical interest. PHOTOGRAPH CAN BE SENT TO YOU ON REQUEST.

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
 24.   Check availability:     UKBookworld     Link/Print  


        UNIQUE ORIGINAL ALBUMEN PHOTOGRAPH from wet collodion negative of Ella Monier-Williams at the age of 8, inscribed on the verso in pencil "Ella Monier-Williams, Oxford, "Please go On [Reading]""

      full length, seated on Carroll's chaise longue, leaning on cushion, feet drawn up with book at edge of image. UNIQUE IMAGE, probably taken May-July 1866, 105 x 155mm. Presented in a wide margined acid-free mount. Photograph available on request. * Carroll recorded in his diary on May 1st 1866 his first meeting with the Monier-Williams family and his wish to photograph Ella 'whom I had noticed before'. Mrs Monier-Williams brought her daughter to Carroll's rooms to be photographed on the 24th of that month. The diary records no less than twelve mentions of Ella and a number of photographic sessions; "Mrs Williams brought over the little Ella, of whom I took two excellent negatives" [24 May 1866]; "I have taken.. a good many of their little Ella, of whom I did several pictures with no other dress than a cloth tied round her, savage fashion.." [8 July 1866]. During that first week of July 1866 he also photographed her dressed with ethnographic items from New Zealand he borrowed from the Ashmolean Museum. The photograph here of her in costume is the one of those Carroll describes in his Diary for July 9th: "Did two large pictures of Ella with New Zealand Cloak etc." Ella was one of the charmed circle of favourites to whom Carroll presented an inscribed copy of Alice. Numerous other of his books that were sent to her, along with letters from Carroll, appeared at auction at Phillips, London, in November 1994. Such a stream of presentation copies shows how lasting their friendship was. Ella later reminisced about Carroll: " As a child he gave one the sense of such perfect understanding, and this knowledge of child nature was the same whether the child was only seven years of age, or in her teens. A 'grown-up' child was his horror A visit to Mr Dodgson's rooms to be photographed was always full of surprises. Although he had quaint fancies in the way he dressed his little sitters, he could never bear a dressed-up child. A 'natural child' with ruffled untidy hair suited him far better, and he would place her in some ordinary position of daily life, such as sleeping, or reading, and so produce charming pictures... The last time I saw Mr Dodgson, not long before his death, was at the Indian Institute at Oxford, when, full of characteristic teasing, as usual, he tried to prove to me, the mother of six sons, how infinitely superior he considered girls to boys; and that was indeed a settled conviction he was always ready to defend. I little thought that it would be the last time I should meet the man of so gentle and kindly a nature, whose friendship enriched my childhood.." (Letters, ed. Cohen, p195-6). *LITERATURE: For Carroll's photographs of Ella see, Wakeling: Register of all Known [Lewis Carroll] Photographs, in: Taylor (Roger) and Wakeling (Edward), Lewis Carroll Photographer, The Princeton University Library Albums, image bracket: 1461-1483. The Illustrated London News for 14 April 1928 printed this photograph along with others as part of an article it published on the sale of the Alice manuscript: "Photographs by the Author of Alice, one of Lewis Carroll's 'Little Girls'... Since the announcement of the sale of the original MS of 'Alice's Adventures in Wonderland, " by Lewis Carroll, which fell to an American bidder for £15,400, several ladies who, as little girls, were friends of the author, have recalled memories of him. These photographs, taken by him in his rooms at Christ Church, Oxford, all show Ella Monier-Williams (now Mrs Bickersteth of Canterbury), daughter of the late Sir M. Monier-Williams, Professor of Sanskrit at Oxford. In a recent letter to 'The Times' Mrs Bickersteth said: "It was over sixty years ago that he used to visit my father. Among my earliest recollections is being taken by my mother to his rooms in Tom Quad at Christ Church, again and again, to be photographed by him in some mood, costume, or attitude which caught his fancy, or in which his discerning eye saw the unconscious expression of childish pleasure, hope or awe. Of these photographs I have a bundle precious to me..." *PROVENANCE: This photograph was one of six that together formed item 536 in the Lewis Carroll Centenary in London Exhibition, which took place in London in 1932 where it is described by Falconer Madan, the editor, in the catalogue as: "Six photographs by Dodgson by Miss Ella C. F. Monier-Williams (daughter of Professor Monier-Williams) now Mrs Samuel Bickersteth: in a frame 21¼ x 25½ in. Taken in 1864-5." Lewis Carroll Centenary in London 1932, including a Catalogue of the Exhibition, with Notes; an Essay on Dodgson's Illustrators by Harold Hartley; and additional literary pieces (chiefly unpublished), London, Bumpus, 1932. This was one of two exhibitions held in the centenary year of 1932 (the other was at Columbia University) that were solely devoted to Lewis Carroll and they did a great deal to firmly establish his world-class importance and reputation, stimulating scholarly and biographical interest.

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
 25.   Check availability:     UKBookworld     Link/Print  


        [Industritställningen i Stockholm 1866 / Industrial exhibition in Stockholm 1866]

      [1866] Overzized albumen photo mounted on card board. Photo 43 x 34,5 cm. Card board 55,5 x 44 cm. A repaired tear in the lower left corner of the photo. Some dirt, foxing and creases to the card board. Some dirt to the verso. The photo with nice tonal range.. The photo shows the main hall of the exhibition with "Molins fontän", here still in plaster. It was later iron cast and placed roughly at the same spot in Kungsträdgården. The photo might have been published by the firm Eurenius & Quist who was the official photographers of the exhibition. The firm issued several very large photos of the event. It might also be by Johannes Jaeger who executed a famous photo of the opening ceremony. Often called Sweden´s first press photo, since a copy was delivered to the king within a couple of hours. Again it might be by someone else. You can see people sitting at the benches, some of them transparent since they were moving when the photo was exposed. Such a large photo required a long exposure time. Across the hall you can see a sign for the norwegian section of the exhibition. At the front is a sign with the company name "Bing & Gröndahl". A scarce photo in a very large format. The glass negative must have been quite a challenge to handle

      [Bookseller: Hammarlunds Antikvariat]
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