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

        Exotic Ornithologyâ

      Bernard Quaritch 1866-69, London - Folio, modern boards, 98 (of 100) hand colored lithographed plates. Lacking the preliminaries and text, this volume is plates only. Missing plates 41 & 42. Some minor toning, but plates a bright and clean and very attractive. Some wear to binding. Sclater (1829-1913) was a highly prolific naturalist who produced over 1,400 publications. He was appointed Secretary of the Zoological Society in London in 1859, and was a world famous expert on tropical species. Osbert Slavin helped Sclater with the text in Exotic Ornithology, but the plates were done by Joseph Smit. While the work originally was to include new bird species from around the world, the project was scaled back to focus on birds in the southern portion of the United States. The book was issued in thirteen parts between1866-1869. Exotic Ornithology included 104 species belong to 51 genera. There is typically one bird per plate, and in a complete edition each page would be followed by a page of text. [Attributes: Hard Cover]

      [Bookseller: Nicholas D. Riccio Rare Books, ABAA]
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        Tonbridge Legends, Etc.

      London: Kent and Co, Tonbridge: Richard Ware, n.d. [1866]. FIRST EDITION. Octavo, pp.232. With seven engraved plates. Green cloth with ornate gilt margins to boards, gilt titles and decoration to spine and upper board. All edges gilt. Spine has at some point been professionally rebacked. Bookbinders label of Hanbury and Simpson to front pastedown, Somerhill Library bookplate to front free endpaper. Tissue guard to frontispiece plate heavily browned and torn, no tissue guards to other plates, if issued. Some thumbing and pencil marks and indentations, in a juvenile hand, interspersed throughout the textblock. Some light spotting throughout. Trace of old tape residue to gutter next to the first page of the preface. Cloth worn to extremities with loss to the corners, generally bright. Some small closed tears to some pages, some old tape reinforcement to some of the prelims. Aside from these faults a very good copy of a damned scarce title. A rare book, only three other copies listed on COPAC, at Oxford, Cambridge, and the British Library. A curious volume containing a collection of short essays etc. on Tonbridge, Sevenoaks, and Tunbridge Wells. Chapters include a poem entitled "The Death of the Tonbridge Soldier on the Heights of Sebaststopol", "an Adventure in Knole Park", and "The Subterranean Passages of Tonbridge Castle"

      [Bookseller: Adrian Harrington]
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        The final four sides of a superb Autograph Letter Signed to the Rev. Edwin SIDNEY (David, 1813-1873, Scottish Missionary & Explorer)

      1866 - (1798-1872), "But after all it is not the false or even true philosophers whose sympathies well up to all this world of woe. It is the men in whose hearts the love of Christ is the controlling motive that feel for all the lost . of our race whether at home and abroad .", he continues about his plans to "experiment with the tame buffaloes of India - they are so like the wild ones of Africa which are not killed by the poison of the Tsetse that I have sent over 14 which I propose to use as beasts of burden - and if they withstand the evil effects of the bite of this insect we shall confer a greater boon on Africa than you will on England by . At present no beast of burden exists there. I have also nine Africans who were recaptured and educated at a Government school near Bombay. They are all young, have acquired a knowledge of some trade & are Christians. They understand that hard work is meant . I regret that I neglected to send you a copy of my last work ." but he will find it in the Library, "My present attempt is to the North . away from all Portuguese .", 4 sides 8vo., no place, no date Apparently Unpublished. Livingstone left London on 13th Aug. 1865 and arrived in Bombay on 11th September. Here he sold his boat the Lady Nyassa and invested the money in shares in an Indian bank which failed a year or two afterwards. He stayed in India until January 1866. Sir Bartle Frere, governor of Bombay, gave him a passage to Zanzibar in the Thule, a government vessel, which was to be presented to the sultan of Zanzibar as a gift from the Bombay government. He had brought with him from India some boys from the Nassick Mission, and thirteen sepoys, as a nucleus for his expedition. At Zanzibar he engaged ten Johanna men and four natives of Nyasaland, and bought camels, buffaloes, mules, and donkeys to experiment on their resistance to the effect of the tsetse fly. He arrived off the Rovuma in H.M.S. Penguin on 22nd March, but owing to difficulties of entering, landed in Mikindani Bay on 4th April. The animals were overloaded and maltreated by the sepoys, and bitten by the tsetse fly.

      [Bookseller: Sophie Dupre ABA ILAB PADA]
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        Frülingsgesang [Song of Spring] for two Violins, Piano and Harmonium ad lib. [WoO]. [Score and parts]. Autograph working musical manuscript signed, dated April 3, 1920 at conclusion.

      Folio. Unbound. Notated in ink on printed 12-stave music paper, ca. 300 x 250 mm. Autograph titling and inscription to recto of outer bifolium. Score: Title + 16 pp. Violin I: Title + 4 pp. Violinn II: Title + 5 pp. Harmonium: Title + 7 pp. With some corrections, additions, and cancellations within score. Overpaste amendations to lower half of one leaf within score, comprising a 3-measure passage for all instruments. Some corrections to harmonium part including notational overpaste replacing final page. With performance markings, fingerings, etc., in lead and blue pencil to parts. Inscribed to Frau Hollmann, wife of the distinguished physician Dr. Otto Hollman (1866-1940) of Berlin, by Bruch in 1920 on the occasion of her birthday: "Dem lieben Frühlingskinde, Frau Sanitätsrat Dr. Hollmann, zum Geburtstag 1920 Freundschaftlichst Max Bruch" ("To the child of Spring, the wife of [the distinguished physician] Dr. Hollmann, on her birthday 1920 Most amicably, Max Bruch" ). Slightly trimmed at upper and lower margins just affecting manuscript dynamics to several pages but with no loss of notation; lower edges of several leaves with burn marks; occasional minor dampstaining; occasional tears. In quite good condition overall. One of Bruch's last compositions, Frülingsgesang was written for the American journalist Arthur Abell, Berlin correspondent of The Musical Courier and a champion of Bruch's violin works in America. It is based on part of Bruch's oratorio "Gustav Adolf," op. 73 (1897-98). Fifield: Max Bruch His Life and Works, pp. 321 and 339. Not in the Grove or MGG works list. "The E major violin duet was written in the early months of 1920, but was published posthumously in 1922 by Carl Fischer of New York under the spurious title of Song of Spring (the title was probably Abell's). The work was based on a passage in Gustav Adolf which was a particular favourite of the composer... The Song of Spring is... in ternary form, but the middle section of the later work is new material not to be found in Gustav Adolf. The piece is inconsequential, with a simplicity of harmony, somewhat crude modulation using the diminished sevenh to and from the middle section, and an accompaniment based on the left hand of the piano part of the vocal score of Gustav Adolf for the outer sections. An unimaginative middle section is dominated by parallel thirds mirrored in both hands. There are also attempts at orchestral tremolandi more suited to the piano score of the original vocal version. Interest in Song of Spring is centred entirely on its melodic invention. Bruch himself admitted to a lack of inspiration 'in my old age' in finding new material, when he wrote to Simrock's asking permission to quote from Gustav Adolf..." Fifield p. 321. "J.A. Fuller Maitland was an admirer of Bruch, and sought to compare him with Brahms to ascertain their relative positions in music. His conclusion (which he described in his Masters of German Music) was to place him midway between Brahms and other German contemporary composers. The best of Bruch's works were in Maitland's opinion: ... distinguished by great and easily intelligible beauty, and by the rare quality of distinction... Both the music and the man belong to the Lower Rhine country... The broadly flowing melodies of his invention suggest the course of such a river as that of his native country... He is one of those who uphold most worthily the dignity of the art, and if he has not attained to the position of one whose every publication is received by musicians with a reverence due to a new revelation, he has won the hearts of many thousands of hearers by his beautiful creations in certain branches of music - viz., choral works of large design with orchestral accompaniment, and works for violin or violoncello." op. cit. p. 327. One of the last German Romantic composers, "Max Bruch's precocious gifts remained largely unfulfilled for two reasons. He was an exact contemporary of Brahms and was forced to exist in the shadow of his greater colleague even beyond the latter's death over 20 years before his own, and the stubborn resistance he maintained to musical developments largely instigated by Wagner stifled any of his own originality. Nevertheless his name will endure, if only thanks to one superb violin concerto." Christopher Fifield in Grove Music Online. Autograph manuscripts of complete works by Bruch are rare to the market.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        New York Map-Guide: Picture Map in Full Color. Street Map - Subway Map

      1866. Brossura buono Inglese unico "About the technique and the artist. This picture map, or bird's-eye-view, of New York is the first such map to be drawn of the city since 1866. Althougt little reference information is available, it is believed the technique was used in Europe as early as the 15th Century; and it is further believed that this type of cartography was fully developed as an art form, called Vogelschaukarten, by German artists of the middle and late 19th Century. / Obviously the problems faced by these earlier artist cannot be compared with the sifficulties encountered in creating this map of New York City. the artist, logically enough, is Hermann Bollmann of Braunschweig, Germany. Before World War II he was a well known woodcarver and an engraver. Since 1948 he has drawn thirty-nine similar maps of European cities. / For this map of New York his staff has designed and built special cameras. They have taken 67,000 individual photographs of the City, 17,000 of these from the air. To solve the problem of skyscrapers and concentration of building, Bolmann has used several unique devices, which remain his secret. Further he has achieved a perspective which gives full effect to the soaring beauty of the City. The map is drawn with eact accuaracy to the smallest detail. And in this age of automation, Bollmann's cameras are his only compromise with the present. All the actual drawing is done by hand" (dal secondo piatto della copertina). I ed.. Testi in inglese/francese/tedesco/spagnolo/italiano/giapponese. "Locate instantly Art Galleries, Museums, Restaurants, Theatres, Hotels and Retail Shops, and all other major points o interest in New York" (dal primo piatto della copertina). VIII, 48, brossura con risvolto all'ultimo piatto e con piatti illustrati a colori da un particolare della mappa di Hermann Bollmann, custodia editoriale in vinile. Allegata la mappa a volo d'uccello a colori ripiegata. Con illustrazioni in b/n. Stato buono (brunitura della copertina, delle pagine e della mappa). Index: About New York (in French, German, Italian, Spanish, Japanese) - Airlines - Auditoriums & Concert Halls - Botanical Gardens - Castello Map of 1660 - Children's Activities - Churches - Colleges & Universities - Consulates - Convention Halls - Famous American Compaanies (Banks - Chemicals - Communications - Electronics - Financial - Photographic Film & Cameras - Real Estate - Textiles9 - Historic Houses - Hotels - Important places of Interest - Librairies - Picture Map of City (Inside Back Flap) - Museums (Art - Historical - Science) - Restaurants - Retail Shops (Art Galleries - Beauty Salons - Department Stores - Men's Stores - Women's & Girl's) - Rockefeller Center - Skyscrapers (Famous Buildings) - Steamship Companies - Street Map of All Boroughs - Street Numbers, key to - Subway & Bus Information - Subway Systems Map - Television & Radio - Theatres.

      [Bookseller: Studio Bibliografico De Carlo]
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        Aldine Edition of the British Poets

      London: Bell and Daldy,, 1866-71. 54 volumes, octavo (188 x 125 mm). Finely bound by Maclehose in half morocco in various colours, titles to spines gilt, raised bands, marbled boards and endpapers, top edges gilt, others untrimmed. With frontispieces and vignette titles. Bookplate to pastedown of volume 1, some minor spotting to a few leaves, spines ever so slightly rubbed and faded, an excellent set. First Bell and Daldy edition. The celebrated Aldine Edition of the British Poets was begun by William Pickering (1796?1854) in 1830, with the reputable scholars Alexander Dyce, Nicholas Harris Nicolas, and John Mitford as editors. Bell bought most of Pickering's publications, including the Aldine series of poets, which he subsequently revised and expanded. This set includes two supplementary volumes of Thomas Chatterton's poems published in 1871.

      [Bookseller: Peter Harrington]
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        Naturhistorisk Bilder-Bok pa tre sprak.

      Stockholm: Oscar L. Lamm, 1866. Oblong octavo, 11 pp. of handcoloured plates; new endpapers. Rare Swedish natural history primer for children with captions in Swedish, French and English. Included are the kangaroo and cockatoo, the unfamiliarity of the latter being demonstrated by its depiction with a red, rather than the sulphur-coloured, crest.No copies of this book are retained in Australian collections. Rebacked, very good.

      [Bookseller: Hordern House]
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        Urkundenbuch für die Geschichte des graeflichen und freiherrlichen Hauses der Voegte von Hunolstein.

      Nürnberg, in Commission bei Jacob Zeiser -72 1866 - 3 Bände. 28 x 22 cm. 1 Bl., IV, 376 S.; 500 S.; 1 Bl., 319 S. Mit 3 lithographierten Titeln, 6 getönten bzw. farb. lithogr. Tafeln, 1 Holzstichtafel und mehreren Textholzstichen. Zeitgenössisches Halbleinen mit goldgeprägtem Rückentitel. Einbände berieben und bestossen. Eine Lage in Band 2 verbunden. Teilweise stockfleckig und gebräunt. Handschriftliche Dotationsvermerke. Mit Ansichten von Hunolstein und Merxheim. Alle drei Bände mit handschriftlichen Geschenkvermerken des Lehrers J. Biehl, am ausführlichsten im ersten Band "Als Geschenk empfangen von den Hohen Herrn Freiherr Jos. Graf u. Vogt zu Hunolstein".

      [Bookseller: Antiquariat Peter Fritzen]
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        Fine Document Signed to the President of Peru, (1819-1901, Queen of Great Britain)

      1866 - Mariano Ignacio PRADO, (1826-1901, President, 1865-1868 & 1876-1879), in English, signed also by the Earl of Clarendon, (1800-1870), as foreign secretary, saying that the Queen "Sendeth greeting!" to "Our Good Friend!", announcing "the marriage between Our dear Cousin . The Princess Mary Adelaide Wilhelmina Elizabeth", (1833-1897, mother of Queen Mary), youngest daughter of the late Duke of Cambridge, "and His Serene Highness Francis Paul Charles Louis Alexander, Prince of Teck . at Kew on the 12th instant", adding that "The interest which You have kindly manifested on other occasions affecting the Happiness of Our Family, will not permit Us to doubt that You will learn this auspicious event with satisfaction", and recommending the President to "the Protection of the Almighty", 2 sides folio, Windsor Castle, 28th June [Attributes: Signed Copy]

      [Bookseller: Sophie Dupre ABA ILAB PADA]
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        Alice's Adventures in Wonderland. With 42 illustrations by John Tenniel.

      London: Macmillan and Co., 1866. Octavo, pp.[xii]; 192. Elegantly hand-bound by Trevor Lloyd in red full morocco with raised bands, gilt to spine, exquisite tooled rabbit design to upper cover with coloured leather onlays, inner gilt dentelles, marbled endpapers, all edges gilt, with the original cloth covers preserved at rear. Occasional marks within, a few leaves with some expert paper conservation, neat repaired tear to p.30. Overall a very good copy in a beautifully executed binding. FIRST PUBLISHED EDITION of 'Alice in Wonderland.' Lewis Carroll disliked the edition published in 1865 so much that he had them all recalled and sent to the U.S.A. where the title pages were removed and new American ones inserted. Carroll's annoyance was with the typography and general look of the book. The illustrator, Tenniel, also complained that his illustrations were not being done justice. It is estimated that no more than 20 of the 1865 issues escaped. They are mostly now held in institutional collections. The new sheets were issued in the UK the following year. It is uncertain whether the edition comprised two thousand or four thousand copies; the book remains scarce and desirable. Williams, Madan, Green [46].

      [Bookseller: Adrian Harrington]
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        A History of British Birds.

      London, Groombridge and Sons 1866 - 6 Bde. Gr.-8°. Mit insg. 356 altkol. Holzstichtafeln mit Tonplatte. HLdr.d.Zt., m. RVerg., Kopfgoldschnitt, (2 Rücken etw. restauriert, leicht ber.). Nissen 645. - Text stellenweise leicht stockfl. bzw. einige leicht wasserrandig, die Tafeln meist sauber und in besonders schönem Kolorit. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Tresor am Roemer]
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        Études sur le vin. Ses maladies causes qui les provoquent. Procédés nouveau pour le conserver et pour le vieillir.

      1866. Imprimerie Impériale, Paris, 1866 (prima edizione). In 8vo, pp. VIII, 264 con la "Table des Matières", con 40 figure incise in b/n n. t. e con 39 figure in litografia in colore f. t. raffiguranti strumenti e analisi al microscopio, bross. edit. in carta. Importante e basilare opera in prima edizione di stampa, nella quale Pasteur dimostra, attraverso tutta una serie di indagini al microscopio, che le alterazioni del vino dipendono dalla presenza e dalla riproduzione di microrganismi. Intorno al 1863, le malattie gravavano, ormai già da diversi anni, sul commercio dei vini francesi. Napoleone III chiese a Pasteur, che già aveva all'attivo avanzate sperimentazioni sulla fermentazione e sulla putrefazione, di cercare un rimedio: dopo anni di studi nel suo laboratorio di Arbois, Pasteur pubblicherà le sue conclusioni in quest'opera, proponendo di riscaldare il vino alla temperatura di 57°centigradi, per uccidere i germi. Era così aperta la strada alla soluzione del problema della conservazione e del trasporto, che prenderà il nome di "pastorizzazione". La scoperta della pastorizzazione offrirà a Pasteur le "Mérite Agricole" e il "Gran Premio del Salone Mondiale" nel 1867. Uniforme ingiallimento della con un piccolo strappo al margine superiore, fioriture al dorso e ai tagli, e sporadiche fioriture ai fogli, buono tutto l'interno con le tavole.

      [Bookseller: Studio Bibliografico Botteghina D'arte G]
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        New York Map-Guide: Picture Map in Full Color. Street Map - Subway Map

      U.S.A. - "About the technique and the artist. This picture map, or bird's-eye-view, of New York is the first such map to be drawn of the city since 1866. Althougt little reference information is available, it is believed the technique was used in Europe as early as the 15th Century; and it is further believed that this type of cartography was fully developed as an art form, called Vogelschaukarten, by German artists of the middle and late 19th Century. / Obviously the problems faced by these earlier artist cannot be compared with the sifficulties encountered in creating this map of New York City. the artist, logically enough, is Hermann Bollmann of Braunschweig, Germany. Before World War II he was a well known woodcarver and an engraver. Since 1948 he has drawn thirty-nine similar maps of European cities. / For this map of New York his staff has designed and built special cameras. They have taken 67,000 individual photographs of the City, 17,000 of these from the air. To solve the problem of skyscrapers and concentration of building, Bolmann has used several unique devices, which remain his secret. Further he has achieved a perspective which gives full effect to the soaring beauty of the City. The map is drawn with eact accuaracy to the smallest detail. And in this age of automation, Bollmann's cameras are his only compromise with the present. All the actual drawing is done by hand" (dal secondo piatto della copertina). I ed. Testi in inglese/francese/tedesco/spagnolo/italiano/giapponese. "Locate instantly Art Galleries, Museums, Restaurants, Theatres, Hotels and Retail Shops, and all other major points o interest in New York" (dal primo piatto della copertina). VIII, 48, brossura con risvolto all'ultimo piatto e con piatti illustrati a colori da un particolare della mappa di Hermann Bollmann, custodia editoriale in vinile. Allegata la mappa a volo d'uccello a colori ripiegata. Con illustrazioni in b/n. Stato buono (brunitura della copertina, delle pagine e della mappa). Index: About New York (in French, German, Italian, Spanish, Japanese) - Airlines - Auditoriums & Concert Halls - Botanical Gardens - Castello Map of 1660 - Children's Activities - Churches - Colleges & Universities - Consulates - Convention Halls - Famous American Compaanies (Banks - Chemicals - Communications - Electronics - Financial - Photographic Film & Cameras - Real Estate - Textiles9 - Historic Houses - Hotels - Important places of Interest - Librairies - Picture Map of City (Inside Back Flap) - Museums (Art - Historical - Science) - Restaurants - Retail Shops (Art Galleries - Beauty Salons - Department Stores - Men's Stores - Women's & Girl's) - Rockefeller Center - Skyscrapers (Famous Buildings) - Steamship Companies - Street Map of All Boroughs - Street Numbers, key to - Subway & Bus Information - Subway Systems Map - Television & Radio - Theatres. [Attributes: First Edition; Soft Cover]

      [Bookseller: De Carlo]
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        The Rural Annual and Horticultural Directory

      Rochester, NY and later New York, New York: James Vicks, Jr., 1866. First edition. Illustrated with Engravings. 12mo. The first 6 years in 2 matching volumes, with the last 2 years in printed wrappers. First edition. Illustrated with Engravings. 12mo. Volumes 1-8 and Volumes 9 and 11.

      [Bookseller: James Cummins Bookseller]
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        La Pipe cassée poëme épitragipoissardihéroïcomique.

      Paris, Leclère, 1866, in 8°, de ill. de 4 bandeaux in t. d'après Eisen gravés sur cuivre par Aveline, et de 5 fleurons sur cuivre, certains d'après Eisen in t., pl. maroquin rouge époque, dos orné, triple filet dorés sur les plats, dentelle int., tr. dorées, (L. Smeers). Bel exemplaire finement relié. Belle édition tirée seulement à 200 exemplaires sur papier vergé fort, et réservée aux souscripteurs. L'ouvrage contient 4 pièces de style poissard, qui mêle le burlesque au tragique et à l'épique tant qu'au grivois, s'inspirant du langage des faubourgs. La Pipe Cassée est le chef d'oeuvre du genre poissard, dont Vadé est reconnu pour être le créateur. ¶ Gay Amour, femmes III. p.749 "... avec 9 vignettes, tiré à 200 exemplaires" - Yve-Plessis argot n°109 "...précieux pour l'étude du bas langage parisien au XVIIIe siècle." - cat. CCFR 1 seul ex. (BNF)

      [Bookseller: L'intersigne Livres anciens]
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        Les épaves

      - (Poulet-Malassis), Amsterdam (Paris) 1866, 12,5x19cm, relié. - Edizione originale in gran parte, una delle 250 copie numerate in Olanda, un pareggio con 10 Cina. Bound in pieno marocchino nero, dorso con cinque nervi ornati con finestre triple timbrato giornata fredda coda dorata, ruote d'oro sui tappi, inquadrando un insieme di reti quintuple freddo impresso sulla cover, filetto dorato su turni, pizzo oro largo e dorato doppio in contreplats di coaching, custodisce carta fatta a mano, copertine rare e schienali tacevano, tutto dorato, elegante vincolante sottoscritto da Devauchelle. La nostra copia è piena della sua bella frontespizio da Felicien Rops sparato Cina. Questa collezione, raro e molto ricercato (vedi Clouzot), comprende 6 pezzi condannati per "Fiori del male" insieme a 17 nuove poesie. Superbo esemplare immersi in un perfetto vincolante del ventesimo secolo giansenista. - [FRENCH VERSION FOLLOWS] Edition en très grande partie originale, un des 250 exemplaires numérotés sur Hollande, seul tirage avec 10 Chine. Reliure en plein maroquin noir, dos à cinq nerfs ornés de triples caissons estampés à froid, date dorée en queue, roulettes dorées sur les coiffes, encadrement d'un jeu de quintuples filets estampés à froid sur les plats, filet doré sur les coupes, large dentelle dorée et doubles filets dorés en encadrement des contreplats, gardes de papier à la cuve, rarissimes couvertures muettes et dos conservés, toutes tranches dorées, très élégante reliure signée de Devauchelle. Notre exemplaire est bien complet de son magnifique frontispice de Félicien Rops tiré sur Chine. Ce recueil, rare et très recherché (cf Clouzot), comprend les 6 pièces condamnées des "Fleurs du mal" ainsi que 17 poèmes nouveaux.  Superbe exemplaire établi dans une parfaite reliure janséniste du XXeme siècle. Merci de nous contacter 24 heures à l'avance si vous souhaitez voir cet ouvrage à la librairie.  

      [Bookseller: Librairie Le Feu Follet]
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        Cansons de la Terra. Cants populars catalans col.leccionats per Francesch Pelay Briz y Candi Candi. 5 volums enquadernats en 2

      - Barcelona, llibreteria de E. Ferrando Roca 1866. Enquadernats en mija pell amb nervis. 271+143, 8 fulls+255+262+303 páginas. La página 87 del primer volumen está falta de un trozo afectando al texto. Manchas de humedad. Adornada con notas musicales. 18x12 cm. Ref: 8997 [LS/014825-8997]

      [Bookseller: Libreria Sanchez]
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        Lincoln and His Family]

      Bradley & Co., Philadelphia 1866 - This is a lovely 1866 portrait of Lincoln and his family. From a painting by S. B. Waugh, the portrait features Abraham Lincoln and his wife Mary Todd with their two surviving sons Robert and Tad. A portrait of the third son, who died in 1862, is seen hanging on the wall behind. This print, a proof before letters, was engraved by William Sartain and published by Bradley & Co. The print title would eventually read 'Lincoln and his Family'.In good condition with minor toning and foxing. Some edge wear, not affecting printed image. A popular portrait of Lincoln and Family. Proof before letters. Mezzotint. Image measures 17.75" x 25".

      [Bookseller: Argosy Book Store, ABAA, ILAB]
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        The Argosy. A magazine of tales, travels, essays, and poems. Vols I to XVI.

      Strahan & Co. 1866-1873 Front. in vols I, IV, vignette title in vol. I, plates; occasional foxing, heavy in places but largely good & clean. Uniformly bound in half calf, raised bands, compartments in gilt, black morocco labels; sl. rubbed but overall a handsome set.The Argosy was established by Alexander Strahan with Isa Craig as its first editor. Launched with the serialisation of Charle's Reade's Griffith Gaunt, Strahan reacted to the public outcry caused by this tale of bigamy by selling The Argosy to Mrs Henry Wood who assumed the role of editor. Wood used the magazine, published monthly, to publish her own works including the Johnny Ludlow stories and her novels Anne Hereford, Roland Yorke and others. There were also contributions from other notable authors including George MacDonald, Anthony Trollope and James Grant. The Argosy continued after Wood's death in 1887 and finally ceased publication in 1901 having been purchased by Macmillan.

      [Bookseller: Jarndyce Rare Books]
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        FELIX HOLT. The Radical

      1866 - In Three Volumes. Edinburgh and London: William Blackwood and Sons, 1866. 4 pp undated Vol III ads. Original reddish-brown cloth decorated in gilt. First Edition of what must certainly be considered the author's least memorable novel. In a small town in 1832 (just after the passage of the Reform Bill), Felix Holt has lost faith in the political system because it seems that no elected officials truly care about the interests of the working class: imagine! Harold Transome is the son of a wealthy landowner. Both become radicals, and both vie for the hand of the same woman.~George Eliot's husband first approached Smith, Elder, who had just published ROMOLA, but they refused it; he then contacted her old publisher Blackwood (not mentioning Smith, Elder's refusal), who, delighted to get her back, offered 5,000 pounds for the copyright for five years. Blackwood's magnanimous offer, and his need to recoup it, caused FELIX HOLT to be overproduced, and to this day it is not a scarce book. It was issued in five different bindings, labeled "A" through "E" by Carter. Carter asserted that "A" through "C" were simultaneous primary bindings, that "D" (the easiest one to find in fine condition today) was a later binding, and that the blue "E" was a still later (though uncommon) one:~. it is difficult to believe that the variations in A, B and C have any significance. Probably several machines were working on the job at the bindery, and the differences in the ornaments and lettering would be accounted for by a shortage of any one particular set of brasses.~This set is in binding "B". It is a handsome set, fine except that there is some discreet cracking (and re-gluing) of three endpaper gutters; there are also two bookplates. We seldom see any of the three primary bindings in any better condition. Sadleir 814 (bindings "B" & "E"); Wolff 2058 (binding ["D"]); Carter BV pp 111-2 (& plate VIII). Housed in an open-back slipcase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Sumner & Stillman [ABAA]]
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        Le poëme de Saint-François

      First edition.Half red morocco (unsigned, but attributed to Canape) spine in six compartments, date at foot, original wrappers preserved with a few very minor repairs, top edge gilt.Inscribed by Liszt to "Madame la Comtesse de Fleury - respectueux hommage d'un pauvre franciscain de tiers ordre [To the Countess de Fleury - in humble homage from a Poor Franciscan tertiary]."A very good copy, nicely bound.Provenance : from the library of the poet Armand Godoy.This pious inscription on the work of another man combines, despite its apparent Franciscan humility, the three essential components of Liszt's Romantic spirit: mysticism, art, and above all, love. A founding figure of the idea of the osmosis between man and nature, St Francis of Assisi very quickly won over the Romantics, in search of medieval heroes.  Chateaubriand devoted some very fine passages to him in the second volume of Memoirs from Beyond the Grave, and he was an inspiration to Hugo, Lamartine, Vigny as well as Liszt, who joined the Franciscan order in 1865 and composed several works dedicated to him, among them the Cantico del sol di Francesco d'Assisi and Saint Francis Preaching to the Birds (both executed at the same time as the work by Anatole de Ségur that Liszt presented to the Countess de Fleury).The Poem of St Francis is, in fact, one of the first works dedicated to the "Poverello", who experienced several centuries of neglect before this Romantic renaissance. Liszt, a keen observer of studies of, and artistic representations of, St Francis, had in his library several important works on the Franciscans, including a copy of this life of the Saint inscribed by Ségur to "the abbé Liszt", in "an homage of respectful admiration" (the work was catalogued as part of his library after Liszt's death).Uniting spirituality and poetry, this verse hagiography could hardly fail to win over the composer of the Poetic and Religious Harmonies, freshly ordained a Franciscan tertiary.  Nonetheless this pious ex dono from a "poor Franciscan" to a devout Countess herself withdrawn from the world, relit a more ancient and more sulphurous fire which had consumed the youth of the author of the Reminiscences of Robert the Devil and the Mephisto Waltzes.The "Countess of Fleury" was in reality the "Duchess" de Fleury but Liszt had known her above all with the former title since, when he met her in 1831 in a Parisian salon, Adèle-Joséphine Quarré de Chelers was the Countess Adèle de La Prunarède.After a significant mystical crisis, Liszt - then aged 19 - felt his first romantic stirrings. If "we know little about these various sentimental adventures...one name always stands out from this succession of crushes: that of the Countess Adèle de la Prunarède" (cf. Serge Gut, in Correspondance Franz Liszt et Marie d'Agoult).The young composer's first real affair was to be with this "intoxicating woman", fifteen years his senior. "Barely six months after coming out of his contemplative lethargy, Liszt plunged himself into the delights and torments of a sensual and feverish passion" (op. cit.) which was to be interrupted only in 1832, when he met Marie d'Agoult.Though Liszt had spent several months with Adèle in the Château de Marlioz in Haute-Savoie, this affair remains not very well known to biographers and historians.Nonetheless, the importance of this lover is proved by the lively jealousy she inspired in Marie d'Agoult throughout her relationship with Liszt, as her correspondence and diaries show.From the first years on, the letters of Liszt and Marie d'Agoult are pervaded by this menacing ghost.The fears of Marie d'Agoult, who was tormented by Liszt's adventurous past, were particularly focused on Adèle (the only one to be referred to exclusively by her Christian name). Despite the care she took not to let her emotions show, Liszt's replies are explicit: "Miss Boscary is marrying Miramon, and I am pleased. Adèle in Geneva is devastated. That, too, is good."Marie d'Agoult's reply is entirely mutilated at the passage concerning Adèle: "Talk to me of Adèle. What more can she suffer still? You know that I love her" (the rest has been cut out, as is common with very sensitive passages).In the couple's letters between 1833 and 1834, references to this Adèle  are as frequent as they are enigmatic: "You have it in your power to do me a great service; my poor and miserable fate is in your hands...it is neither you nor me I refer to, but Adèle" (Liszt to Marie, August 1833).In May 1834, responding to an explicit request: "tell me what you wrote to Adèle,", Liszt confirms to Marie d'Agoult her fears of the affection he bears for Adèle: "I thought it better not to reply to her for the moment...The need to see her, to speak to her from the depths of my soul torments me sometimes...but rarely."Not much later, following a new outbreak of jealousy on the part of Marie, Liszt was forced to go back over his painful break with Adèle:"It was a time of struggle, anguish, and lonely torment - a time where I broke, destroyed, violently annihilated the love of Adèle. It was then that I wrote: I am and I would rather not be - I must suffer, and suffer alone..."In letter after letter, he confides in Marie his guilty remorse: "I was nothing but a coward and a miserable poltroon [Liszt underlined these two words] for Adèle." Then he once more turns cruel: "What have I to say to her?...and what I have to say to her, would she understand?", or sarcastic: "Wolf told me a scandalous little story about Mr Ginestous and Adèle. The punchline was a few strokes with a riding crop, humbly borne by Adèle...That made me smile." Some of his letters even seem cynical, like in the following passage about another conquest thrown aside: "I heard her cry from her very innards: "Love me, save me!", like Adèle, before."Adèle seems to disappear for a time from the lives of Liszt and d'Agoult, but when they settled in Italy in 1837, her presence in that country immediately began to worry Marie (she had already noted in her diary "Adèle's pilgrimage to Rome" the year before)."Would Mme Pictet happen to know in which Italian town...Mme de la Prunarède is currently to be found...?" (letter to A. Pictet, October 1837).From then on and until their separation in 1839, the proximity of this rival remained a constant threat to the couple:"Mme de la Prunarède is here with the Cadores. She is separated from her husband and divides herself between her lovers and her confessors" (letter to Louis de Ronchaux, Rome, 18 March 1839). During their mutual stay in Italy, Marie avoided meeting Adèle, but her correspondence bears witness to the fact that Liszt, much to her annoyance, saw her all the more assiduously. Hence this bitter missive to Adèle from July 1839:"Like you said yesterday to Franz, you are held in very high regard in the world. The same world that holds you in high regard holds me in no regard at all, and the worst of it is that I care not a whit...The regard you have acquired is the fruit of a certain prudence that must never be compromised by meeting my insolent sincerity head on. Truthfully! They say also that you convert fishermen, that you walk victorious on the paths of salvation, dragging with you your subjugated souls. Will I, too, give in like the others, to the irresistible eloquence of your pretty blue eyes? But I fear not." Not much later, her diary tells us clearly of the fear that this first love of Liszt's still provokes in Marie:"Adèle came...I received her in my room. My heart beat dreadfully. I recover when i see her. She has changed terribly. She is all out of shape, her eyes are shady, her lines grown dumpy, her color muddy. She has an air of excessive falseness...Franz thinks she's fat" (Diary, July 1839, in Marie D'Agoult, Correspondance Générale Volume II).But what frightened Marie even more than the beauty of Adèle was her mysticism. In fact, Liszt's former mistress was on the same path as the lover of her youth; and having known, like him, "rather a tumultuous emotional life, she spent her final years in profound piety" (op. cit., p. 562)Does Liszt's inscription therefore reveal a profound complicity with this woman whose sensuality bore her away from religion and with whom he reconnected once more after thirty-five years in their shared faith?In 1877, Liszt summed up his life thus: "Having denied myself painfully for thirty years, from 1830 to 1860, of the sacrament of penitence, it was with absolute conviction that, coming back to it again, I could tell my confessor...'My life was nothing but a long distraction from the feeling of love.' I should add: above all by music - the art both divine and satanic at the same time which, more than any other, induces in us temptation."  A superb and very rare inscription combining the three great passions that consumed the heart of the Romantic composer - music, spirituality, and love.   Librairie Poussielgue et fils Paris 1866 12x19cm relié

      [Bookseller: Librairie Le Feu Follet]
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        ARMSMEAR: THE HOME, THE ARM, AND THE ARMORY OF SAMUEL COLT. A MEMORIAL

      New York, 1866. 399pp. Frontispiece, maps, and plates. Quarto. Contemporary gilt brown morocco presentation binding, with armorial crest gilt stamped on boards, a.e.g. Hinged cracked but holding, some moderate shelf wear. Presentation inscription on front endpaper. Some offsetting of frontispiece onto titlepage. Faint scattered foxing, and an occasional light dampstain. Very good. This elaborate memorial volume is a tribute to the famous gun designer and manufacturer, Samuel Colt, prepared after his death by his widow. Besides describing the grounds of the Colt estate in Hartford, it contains a great deal of information relating to Colt's career, the development of his business and of his famous revolver, which played such a central role in shaping the West. This work is usually found in a half calf binding, but the present copy is housed in a full morocco presentation binding, gilt stamped with the armorial crest of Samuel Colt. It was given by Colt's widow to Major General Thomas Sherman, and is inscribed by her on the front free endpaper recto, "Major General T. Sherman, with the regards of Mrs. Samuel Colt. Armsmear. September 16th 1867." General Sherman (no relation to the more famous general of that name) was an old regular army officer who known Samuel Colt well and was one of the Army group to whom the armsmaker sent weapons to test. Relatively old at the time of the Civil War, he served in the Gulf and was in command at New Orleans at the end of the war, with the rank of brevet major general. He was stationed at Newport, R.I. at the time Mrs. colt gave him this volume. HOWES C618, "b." SABIN 14763. GENERALS IN BLUE, pp. 440-441.

      [Bookseller: William Reese Company - Americana ]
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        Turning and mechanical manipulation : intended as a work of general reference and practical instruction, on the lathe, and the various mechanical pursuits followed by amateurs. Five Volume Set

      Holtzapffel & Co. 1866 - First edition, 5 volumes published 1866-1894; bound in blue cloth covered boards with leather backstrip (hardcovers), some wear and scuffs to spines and to bottom edge of volume 3, some age-toning to plates in volume 5 else a clean, tight, very good set. Photos available upon request.

      [Bookseller: Zubal-Books]
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        GUIDA DI MURANO E DELLE CELEBRI SUE FORNACI VETRARIE. Corredata di note storiche artistiche biografiche cronologiche con tavole prospettiche opera dell'Ab. Vincenzo Zanetti direttore del museo dell'isola socio di onore della r. accademia di belle arti

      1866. Venezia Antonelli 1866 8° Pagine XVI + 416 Brossura editoriale a stampa. Una bella veduta a volo d'uccello di Murano ripiegata in antiporta incisa da Marco Moro. Sempre di Marco Moro sono le 4 tavole fuori testo che raffigurano le vedute a piena pagina di Palazzo da Mula ora Barbini (p.90), del Palazzo vescovile oggi Municipio e Museo Civico (p.120), della Basilica di SS. Maria e Donato (p. 133), del Canal grande (di Murano) veduto dal Palazzo Cappello (p.160). Lievissime fioriture ma ottima copia. Prima edizione della famosa e rara guida di Murano. Cfr: Lozzi I p.453 N°2961 Soranzo 7448. Vincenzo Zanetti nacque a Murano nel 1824: figlio di un maestro di conterie, venne da giovane anch'egli avviato al lavoro del vetro; per vocazione o opportunità decise però di abbracciare la carriera ecclesiastica e venne fatto sacerdote nel 1850. Uomo di grande cultura riuscì attraverso i suoi studi a ridare la nobiltà perduta durante la dominazione austriaca all'isola di Murano ed alle sue industrie vetrarie; fondò nel 1861 il Museo civico vetrario, di cui fu direttore fino alla morte, e l'anno successivo istituì la Scuola di disegno applicato all'arte vetraria. Nel 1864 organizzò a Murano la prima Esposizione d'Arte vetraria. Morì nel 1883 lasciando al Museo tutta la sua raccolta di libri, documenti e vetri antichi.

      [Bookseller: Libreria antiquaria Segni nel Tempo]
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        Acts, Resolutions and Memorials, Adopted by the Second Legislative Assembly of the Territory of Arizona

      Prescott: Office of the Arizona Miner, 1866. xiv, [15]-98 pp. Half title present. 1 vols. 8vo. Contemporary three-quarter calf and marbled boards, spine gilt with leather label. Rubbed at extremities; corners worn, head of spine chipped. Very minor scattered foxing and soiling. Very good. xiv, [15]-98 pp. Half title present. 1 vols. 8vo. Arizona stated the exact rights of a woman in the Territory. During this session the legislature ratified an act outlining the rights of married women, consisting of thirty-three sections. Also passed during this session was the "Act To Incorporate the Mowry Silver Mine Road Company." Two other important acts passed during this session were "An Act To Provide Temporary Government for the Territory of Arizona" and the "Organic Act of New Mexico...An Act Proposing to the State of Texas The Establishment Of Her Northern and Western Boundaries...." AII (Arizona) 16; Alliot, p.140; Streeter Sale 512

      [Bookseller: James Cummins Bookseller]
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        A BOOK OF NONSENSE.

      [ii]+112 pages, printed on one side of paper. Illustrated with hand-coloured title and 112 hand-coloured illustrations with limericks beneath. Original red cloth stamped and lettered gilt on upper cover; blind-stamped ruling on lower cover. All edges gilt. Oblong 12mo. Twentieth edition, with many new pictures and verses. Re-cased and joints repaired; some slight wear to the edges of few pages; some light marking and occasionally spotting; else a very good copy of a rare printing. Rare.Not in Justin Schiller's 'Lear' catalogue The last hand-coloured copy sold at auction was in 1974. Routledge, Warne and Routledge published the 18th edition c.1865 of which some copies were hand-coloured. Warne set up his own business July 1 1865 and it is unclear who published the 19th edition and whether a deluxe hand-coloured edition was issued. The preface to this 20th edition is dated 1866 and must be one of the earliest Warne editions due to the following typographical errors: The title page has Fbederick for Frederick; and the dedication page has originaly for originally.

      [Bookseller: David Miles]
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        JEWS

      [New York], Unknown, 1866. First edition. Original beautifully illustrated broadside showing the hospital and with important names of hospital directors and committees. Mounted and framed in a wooden frame. Picture 11x16.5 cm, frame 22x28. Broadside page appears to be from an event related to the official re-naming of the Jews

      [Bookseller: Dan Wyman Books LLC]
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        Études sur le vin, ses maladies, causes qui les provoquent, procédés nouveaux pour le conserver et pour le vieillir.

      Paris: Imprimerie Impériale, 1866. 1st Edition. Hardcover. 8vo - over 7¾ - 9¾" tall. 8vo (220x150 mm). viii (i.e.vi), 264 pp., 32 colored lithogr. plates, wood-engr. text ills., later gilt lettered half cloth, Usual occasional foxing of text and plates. A few small imperfections in binding. ----Sparrow 160, PMM 336; Oberlé, Fastes 985; Simon, Bibl. Vinaria 22; Duveen p.260; Honeyman 2422/2423; Garrison/Morton 2479; Norman 1655; Bulloch, p.61. - First edition. "(...) further experiments (...) demonstrated beyond dispute that fermentation is caused by the action of minute living organisms and that if these are excluded or killed fermentation does not occur. This enabled him to explain to brewers and vintners the cause and prevention of sourness in their products. The heating process that he recommended was the earliest form of 'pasteurization'" (PMM 336). Very Good.

      [Bookseller: Milestones of Science Books]
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        Les réfractaires

      First edition.A rare and good copy, with almost no spotting, retaining the publisher's catalogue at the end. A. Faure Paris 1866 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Iliad and the Odyssey.

      London: Bell & Daldy 1865-, 1866. Two volumes bound as a matching set, octavo, very good; in full red crushed morocco, spine decorated in gilt with raised bands and ornate dontelles. The well known translation of Homer by Alexander Pope.Both volumes include John Flaxman's famous neoclassical outline illustrations. Known also as a sculptor and a designer and described by Goethe as "the idol of all dilettanti", Flaxman achieved most of his world recognition for his illustrations for Homer.A very good copy.

      [Bookseller: Hordern House]
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        Frülingsgesang [Song of Spring] for two Violins, Piano and Harmonium ad lib. [WoO]. [Score and parts]. Autograph working musical manuscript signed, dated April 3, 1920 at conclusion.

      Folio. Unbound. Notated in ink on printed 12-stave music paper, ca. 300 x 250 mm. Autograph titling and inscription to recto of outer bifolium. Score: Title + 16 pp. Violin I: Title + 4 pp. Violinn II: Title + 5 pp. Harmonium: Title + 7 pp. With some corrections, additions, and cancellations within score. Overpaste amendations to lower half of one leaf within score, comprising a 3-measure passage for all instruments. Some corrections to harmonium part including notational overpaste replacing final page. With performance markings, fingerings, etc., in lead and blue pencil to parts. Inscribed to Frau Hollmann, wife of the distinguished physician Dr. Otto Hollman (1866-1940) of Berlin, by Bruch in 1920 on the occasion of her birthday: "Dem lieben Frühlingskinde, Frau Sanitätsrat Dr. Hollmann, zum Geburtstag 1920 Freundschaftlichst Max Bruch" ("To the child of Spring, the wife of [the distinguished physician] Dr. Hollmann, on her birthday 1920 Most amicably, Max Bruch" ). Slightly trimmed at upper and lower margins just affecting manuscript dynamics to several pages but with no loss of notation; lower edges of several leaves with burn marks; occasional minor dampstaining; occasional tears. In quite good condition overall. One of Bruch's last compositions, Frülingsgesang was written for the American journalist Arthur Abell, Berlin correspondent of The Musical Courier and a champion of Bruch's violin works in America. It is based on part of Bruch's oratorio "Gustav Adolf," op. 73 (1897-98). Fifield: Max Bruch His Life and Works, pp. 321 and 339. Not in the Grove or MGG works list. "The E major violin duet was written in the early months of 1920, but was published posthumously in 1922 by Carl Fischer of New York under the spurious title of Song of Spring (the title was probably Abell's). The work was based on a passage in Gustav Adolf which was a particular favourite of the composer... The Song of Spring is... in ternary form, but the middle section of the later work is new material not to be found in Gustav Adolf. The piece is inconsequential, with a simplicity of harmony, somewhat crude modulation using the diminished sevenh to and from the middle section, and an accompaniment based on the left hand of the piano part of the vocal score of Gustav Adolf for the outer sections. An unimaginative middle section is dominated by parallel thirds mirrored in both hands. There are also attempts at orchestral tremolandi more suited to the piano score of the original vocal version. Interest in Song of Spring is centred entirely on its melodic invention. Bruch himself admitted to a lack of inspiration 'in my old age' in finding new material, when he wrote to Simrock's asking permission to quote from Gustav Adolf..." Fifield p. 321. "J.A. Fuller Maitland was an admirer of Bruch, and sought to compare him with Brahms to ascertain their relative positions in music. His conclusion (which he described in his Masters of German Music) was to place him midway between Brahms and other German contemporary composers. The best of Bruch's works were in Maitland's opinion: ... distinguished by great and easily intelligible beauty, and by the rare quality of distinction... Both the music and the man belong to the Lower Rhine country... The broadly flowing melodies of his invention suggest the course of such a river as that of his native country... He is one of those who uphold most worthily the dignity of the art, and if he has not attained to the position of one whose every publication is received by musicians with a reverence due to a new revelation, he has won the hearts of many thousands of hearers by his beautiful creations in certain branches of music - viz., choral works of large design with orchestral accompaniment, and works for violin or violoncello." op. cit. p. 327. One of the last German Romantic composers, "Max Bruch's precocious gifts remained largely unfulfilled for two reasons. He was an exact contemporary of Brahms and was forced to exist in the shadow of his greater colleague even beyond the latter's death over 20 years before his own, and the stubborn resistance he maintained to musical developments largely instigated by Wagner stifled any of his own originality. Nevertheless his name will endure, if only thanks to one superb violin concerto." Christopher Fifield in Grove Music Online. Autograph manuscripts of complete works by Bruch are rare to the market.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        Sport and Sportsmen: a Book of Recollections.

      London: Hurst and Blackett, 1866. Octavo, frontispiece and illustrated title- page; contemporary half calf and marbled boards. First edition of a scarce collection of sporting memoirs, mainly set in England, Wales and the Scottish Highlands. However Stretton had been to the Victorian diggings in the 1850s, and his long final chapter gives a wonderful 60-page reminiscence of a kangaroo hunting expedition outside Melbourne with "King Tom" of the Yarra Yarra tribe in 1852. "Two Days with a Native Chief" is in fact quite a remarkable memoir for its period, showing considerable understanding not only of the skills of the Aboriginal people, but also some knowledge of and sympathy for the hardships endured by them throughout the period of white settlement. It is also a ripping yarn of exotic hunting.This title is not recorded by Ferguson, though he does note the same author's Memoirs of a chequered life (London, 1862). A very good copy.

      [Bookseller: Hordern House]
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        Reminiscences of a Frontier Armed andamp Mounted Police Officer in South Africa

      

      [Bookseller: Maggs Bros. Ltd. ]
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        The Prince's Progress; and other poems. With two designs by D.G. Rossetti. FIRST EDITION.

      Macmillan. 1866 Half title, front., vignette title, additional printed title. Untrimmed in orig. green glazed cloth by Burn & Kirby's, decorated & lettered in gilt; one corner sl. knocked. Booklabel of Caleb Margerison, and small bookseller's ticket, G. Wakeling, Brighton. v.g.SCARCE.

      [Bookseller: Jarndyce Rare Books]
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        Les derniers marquis. Deux mois aux Pyrénées.

      Paris, Dentu, 1866. ____ Seule édition. Dans "Les derniers Marquis", Louise Colet raconte sa saison d'eaux passée, dans les Pyrénées, aux Eaux-Bonnes. C'est le théâtre d'une intrigue, relevant de fort petites passions parmi les curistes. Publié à la suite, "Deux mois aux Pyrénées" est un classique récit de voyage, passant par Dax, Pau, Eaux-Chaudes, Gabas, Laruns, Oléron, Bayonne, Biarritz, Saint-Jean-de-Luz, Fontarabie. Louise Colet (Aix-en-Provence, 1835- P., 1876) a publié des poèmes, des romans et des ouvrages autobiographiques, mais elle est restée surtout célèbre pour sa longue et orageuse liaison avec Gustave Flaubert, qui lui écrivit des centaines de lettres. Cet ouvrage, qui a probablement connu un échec commercial, est aujourd'hui très rare. Seuls trois exemplaires sont conservés dans les bibliothèques publiques: BNF, Toulouse, Institut de France. Cachet répété du club alpin suisse. Bon exemplaire. *****. In-12. Collation : (4), IV pp., 275 pp. Demi-basane rouge, dos orné. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
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        Ethics of the Dust Ten Lectures to Little Housewives on the Elements of Crystallisation

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Le poëme de Saint-François

      First edition.Half red morocco (unsigned, but attributed to Canape) spine in six compartments, date at foot, original wrappers preserved with a few very minor repairs, top edge gilt.Inscribed by Liszt to "Madame la Comtesse de Fleury - respectueux hommage d'un pauvre franciscain de tiers ordre [To the Countess de Fleury - in humble homage from a Poor Franciscan tertiary]."A very good copy, nicely bound.Provenance : from the library of the poet Armand Godoy.This pious inscription on the work of another man combines, despite its apparent Franciscan humility, the three essential components of Liszt's Romantic spirit: mysticism, art, and above all, love. A founding figure of the idea of the osmosis between man and nature, St Francis of Assisi very quickly won over the Romantics, in search of medieval heroes.  Chateaubriand devoted some very fine passages to him in the second volume of Memoirs from Beyond the Grave, and he was an inspiration to Hugo, Lamartine, Vigny as well as Liszt, who joined the Franciscan order in 1865 and composed several works dedicated to him, among them the Cantico del sol di Francesco d'Assisi and Saint Francis Preaching to the Birds (both executed at the same time as the work by Anatole de Ségur that Liszt presented to the Countess de Fleury).The Poem of St Francis is, in fact, one of the first works dedicated to the "Poverello", who experienced several centuries of neglect before this Romantic renaissance. Liszt, a keen observer of studies of, and artistic representations of, St Francis, had in his library several important works on the Franciscans, including a copy of this life of the Saint inscribed by Ségur to "the abbé Liszt", in "an homage of respectful admiration" (the work was catalogued as part of his library after Liszt's death).Uniting spirituality and poetry, this verse hagiography could hardly fail to win over the composer of the Poetic and Religious Harmonies, freshly ordained a Franciscan tertiary.  Nonetheless this pious ex dono from a "poor Franciscan" to a devout Countess herself withdrawn from the world, relit a more ancient and more sulphurous fire which had consumed the youth of the author of the Reminiscences of Robert the Devil and the Mephisto Waltzes.The "Countess of Fleury" was in reality the "Duchess" de Fleury but Liszt had known her above all with the former title since, when he met her in 1831 in a Parisian salon, Adèle-Joséphine Quarré de Chelers was the Countess Adèle de La Prunarède.After a significant mystical crisis, Liszt - then aged 19 - felt his first romantic stirrings. If "we know little about these various sentimental adventuresone name always stands out from this succession of crushes: that of the Countess Adèle de la Prunarède" (cf. Serge Gut, in Correspondance Franz Liszt et Marie d'Agoult).The young composer's first real affair was to be with this "intoxicating woman", fifteen years his senior. "Barely six months after coming out of his contemplative lethargy, Liszt plunged himself into the delights and torments of a sensual and feverish passion" (op. cit.) which was to be interrupted only in 1832, when he met Marie d'Agoult.Though Liszt had spent several months with Adèle in the Château de Marlioz in Haute-Savoie, this affair remains not very well known to biographers and historians.Nonetheless, the importance of this lover is proved by the lively jealousy she inspired in Marie d'Agoult throughout her relationship with Liszt, as her correspondence and diaries show.From the first years on, the letters of Liszt and Marie d'Agoult are pervaded by this menacing ghost.The fears of Marie d'Agoult, who was tormented by Liszt's adventurous past, were particularly focused on Adèle (the only one to be referred to exclusively by her Christian name). Despite the care she took not to let her emotions show, Liszt's replies are explicit: "Miss Boscary is marrying Miramon, and I am pleased. Adèle in Geneva is devastated. That, too, is good."Marie d'Agoult's reply is entirely mutilated at the passage concerning Adèle: "Talk to me of Adèle. What more can she suffer still? You know that I love her" (the rest has been cut out, as is common with very sensitive passages).In the couple's letters between 1833 and 1834, references to this Adèle  are as frequent as they are enigmatic: "You have it in your power to do me a great service; my poor and miserable fate is in your handsit is neither you nor me I refer to, but Adèle" (Liszt to Marie, August 1833).In May 1834, responding to an explicit request: "tell me what you wrote to Adèle,", Liszt confirms to Marie d'Agoult her fears of the affection he bears for Adèle: "I thought it better not to reply to her for the momentThe need to see her, to speak to her from the depths of my soul torments me sometimesbut rarely."Not much later, following a new outbreak of jealousy on the part of Marie, Liszt was forced to go back over his painful break with Adèle:"It was a time of struggle, anguish, and lonely torment - a time where I broke, destroyed, violently annihilated the love of Adèle. It was then that I wrote: I am and I would rather not be - I must suffer, and suffer alone"In letter after letter, he confides in Marie his guilty remorse: "I was nothing but a coward and a miserable poltroon [Liszt underlined these two words] for Adèle." Then he once more turns cruel: "What have I to say to her?...and what I have to say to her, would she understand?", or sarcastic: "Wolf told me a scandalous little story about Mr Ginestous and Adèle. The punchline was a few strokes with a riding crop, humbly borne by AdèleThat made me smile." Some of his letters even seem cynical, like in the following passage about another conquest thrown aside: "I heard her cry from her very innards: "Love me, save me!", like Adèle, before."Adèle seems to disappear for a time from the lives of Liszt and d'Agoult, but when they settled in Italy in 1837, her presence in that country immediately began to worry Marie (she had already noted in her diary "Adèle's pilgrimage to Rome" the year before)."Would Mme Pictet happen to know in which Italian townMme de la Prunarède is currently to be found?" (letter to A. Pictet, October 1837).From then on and until their separation in 1839, the proximity of this rival remained a constant threat to the couple:"Mme de la Prunarède is here with the Cadores. She is separated from her husband and divides herself between her lovers and her confessors" (letter to Louis de Ronchaux, Rome, 18 March 1839). During their mutual stay in Italy, Marie avoided meeting Adèle, but her correspondence bears witness to the fact that Liszt, much to her annoyance, saw her all the more assiduously. Hence this bitter missive to Adèle from July 1839:"Like you said yesterday to Franz, you are held in very high regard in the world. The same world that holds you in high regard holds me in no regard at all, and the worst of it is that I care not a whitThe regard you have acquired is the fruit of a certain prudence that must never be compromised by meeting my insolent sincerity head on. Truthfully! They say also that you convert fishermen, that you walk victorious on the paths of salvation, dragging with you your subjugated souls. Will I, too, give in like the others, to the irresistible eloquence of your pretty blue eyes? But I fear not." Not much later, her diary tells us clearly of the fear that this first love of Liszt's still provokes in Marie:"Adèle cameI received her in my room. My heart beat dreadfully. I recover when i see her. She has changed terribly. She is all out of shape, her eyes are shady, her lines grown dumpy, her color muddy. She has an air of excessive falsenessFranz thinks she's fat" (Diary, July 1839, in Marie D'Agoult, Correspondance Générale Volume II).But what frightened Marie even more than the beauty of Adèle was her mysticism. In fact, Liszt's former mistress was on the same path as the lover of her youth; and having known, like him, "rather a tumultuous emotional life, she spent her final years in profound piety" (op. cit., p. 562)Does Liszt's inscription therefore reveal a profound complicity with this woman whose sensuality bore her away from religion and with whom he reconnected once more after thirty-five years in their shared faith?In 1877, Liszt summed up his life thus: "Having denied myself painfully for thirty years, from 1830 to 1860, of the sacrament of penitence, it was with absolute conviction that, coming back to it again, I could tell my confessor'My life was nothing but a long distraction from the feeling of love.' I should add: above all by music - the art both divine and satanic at the same time which, more than any other, induces in us temptation."  A superb and very rare inscription combining the three great passions that consumed the heart of the Romantic composer - music, spirituality, and love.   Librairie Poussielgue et fils Paris 1866 12x19cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Alice's Adventures in Wonderland.

      London: (Richard Clay for) Macmillan and Co.,, 1866. Illustrated by John Tenniel. Octavo (183 × 123 mm). Bound by Bayntun (Riviere) in recent red crushed morocco, title to spine and motifs to compartments gilt, multicoloured morocco onlay of Alice and the Dodo to front cover, turn-ins and all edges gilt, pale purple silk doublures, original cloth bound in at rear. Frontispiece and 41 illustrations by John Tenniel. Odd spot of faint foxing to contents; an excellent copy, handsomely bound. Second (first published) edition, with the inverted "S" in the last line of the Contents page. The publication of the first Alice book set a pattern for many of Dodgson's succeeding publications. The book was originally printed in Oxford at the Clarendon Press in June 1865. On 19 July 1865, Dodgson heard that the book's illustrator John Tenniel was dissatisfied with the quality of the printing, so decided to suppress the whole edition of 2,000 copies. He recalled the few pre-publication copies he had sent out to his friends and donated them to hospitals, where most perished. Only 23 of those original "1865 Alices" are now extant, mostly in institutional holdings, thus creating one of the most famous black tulips of book collecting. The book was entirely reset by Richard Clay for this authorized Macmillan edition which, although dated 1866, was in fact ready by November 1865, in time for the Christmas market. The unused Oxford sheets were sold to Appleton's for use in their New York edition, published the following summer. The Macmillan edition was published in an edition of 4,000 copies.

      [Bookseller: Peter Harrington]
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        [Hoboken I:85-86, 88, 94-96, 99-104]. Symphonien in Partitur. [Full score]...

      Berlin u. Breslau: Ed. Bote & G. Bock [PNs 181-192], [1847-1866]. 12 volumes. Octavo. Uniformly bound in brown cloth-backed textured dark brown paper boards with initials "E.M." to lower right corner of upper, gilt titling and ornaments to spines. No. 1 (= Hoboken I:104): [1-2] (title), 3-118 pp. No. 2 (= Hoboken I:102): [1-2] (title), 3-106 pp. No. 3 (= Hoboken I:94): [1-2] (title), 3-108 pp. No. 4 (= Hoboken I:103): [1-2] (title), 3-116 pp. No. 5 (= Hoboken I:100): [1-2] (title), 3-122 pp. No. 6 (= Hoboken I:101): [1-2] (title), 3-132 pp. No. 7 (= Hoboken I:88): [1-2] (title), 3-94 pp. No. 8 (= Hoboken I:95): [1-2] (title), 3-91, [i] (blank) pp. No. 9 (= Hoboken I:99): [1-2] (title), 3-126 pp. No. 10 (= Hoboken I:96): [1-2] (title), 3-106 pp. No. 11 (= Hoboken I:85): [1-2] (title), 3-102 pp. No. 12 (= Hoboken I:86): [1-2] (title), 3-127, [i] (blank) pp. Engraved. Foreign agents listed in imprint: Brandus, Paris; Ewer & Comp., London; Scharfenberg & Luis, New York. Incipits of all 12 symphonies to title pages of vols. 2-3, 5, and 8-12, with subscription prices in Reichsthaler. On title pages of vols. 1, 4, 6, and 7, incipit staves from no. 8 left blank; filled staves and prices next to them are the same as in vols. 2-3, 5, and 8-12. Title pages are othersie identical. Publisher's blindstamp to title of vols. 1, 3, 4, 6-8, and 10. Caption title "Symphonie" without number through vol. 7; no. 8 with arabic numeral; nos. 9-12 with roman numerals. Caption credits to "J. Haydn" to nos. 8 and 10-12. Publisher's note "Ed. Bote & G. Bock, Berlin" printed at lower right corner of first page of music from vol. 9 on. Notational correction in pencil to p. 108 of no. 6. Bindings slightly worn, rubbed and bumped; spines of vols. 1, 3, and 12 lacking; small stains to vol. 6. A complete set, including first editions in full score, of Hoboken I: 88, 96, and 100, various issues. Hoboken Haydn catalogue III, pp. 17-18 ("Coll. Sy. 5"), with title conforming to the latest of the three given by Hoboken; the imprint allows for dating between 1847 (opening of the Breslau office) and 1866 (liquidation of Scharfenberg & Luis). Hoboken collection catalogue 6: 175 (vol. 11, with mispagination, dated "um 1853"), 234 (vol. 8, misdated "um 1839"), 238 (vol. 10, mislabeled "Erstdruck" and misdated "1839"), 279 (vol. 2, earlier issue with incipits for nos. 1-7 only misdated "1839"), 294 (vol. 1, later issue with incipits for all 12 numbers). The first issues were announced in 1839, and the plate numbers reserved at the same time. Publication, however, seems to have stretched over many years: the first six volumes are listed in Hofmeister 1852, vol. 7 in Hofmeister 1860, and the final five in Hofmeister 1868. The differences in printing quality suggests that vols. 7-12 are first (or early) issues and vols. 1-6 later issues; in vols. 2, 3, and 5, the later issue is confirmed by the presence of all twelve incipits on the title page. The monogram "E.M." cannot be identified, but it is possible that it stands for Eusebius Mandyczewski (1857-1929), the initiator of the first complete edition of Haydn's works. A well-preserved set. Together with: [Hoboken I:97] Symphonien von Joseph Haydn. Partitur... No. 7 C dur... Pr. 1 Thlr. 10 Ngr. [Full score]. Leipzig: Breitkopf & Härtel [PN 9055], [ca. 1855]. Octavo. Black cloth-backed gray boards with blank label to spine and upper. 1f. (title), 59, [i] (blank) pp. Engraved. Handstamp of "Karl Schwager Musikalienhandlung u. Antiquariat Wien" to title. Binding quite worn, rubbed and bumped with portions of cloth spine lacking; front endpaper detached. Somewhat browned; minor blue and graphite pencil markings to title; some pages guarded; pp. 5-16 lacking. First Edition, most probably first issue. Hoboken Haydn catalogue I, p. 196 and III, p. 19 (Coll.Sy.7b; there, date is given as "1855/58"). Hoboken collection catalogue 6, 243. Not in Hirsch or RISM. The list of symphonies on the title page includes nine numbers. The first six scores (Hoboken I: 93, 94, 99, 101, 203, 104) were published in Haydn's lifetime and reissued in 1854. The present number was the first of another six symphonies (Hoboken I: 86, 95, 98, 100, and 102), completed by 1858. The fact that the list on the title ends with "no. 9" and not with "no. 12" allows the dating of the present copy to the short time before the new set was complete....

      [Bookseller: J & J Lubrano Music Antiquarians]
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        Grand dictionnaire universel du XIXème siècle

      First edition.Contemporary half light brown speckled sheep over marbled paper boards, spines with triple gilt fillets, black sheep title and volume labels (error to numbering of volumes: the first volume of the supplement, volume 16, is marked 15 by mistake), traces of rubbing and repairs to some spines, a few headpieces rubbed, some with small lacks, a few joints cracked.A good set preserving its two volumes of supplements, practically no foxing. % Lib. classique Larousse et Boyer & Administration du Grand dictionnaire universel Paris 1866-1878 24x31cm 17 volumes reliés

      [Bookseller: Librairie Le Feu Follet]
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        Morgane

      Imp. & Lib. Francisque Guyon. First edition, hors commerce, printed in a small number of copies and of which there were no large paper copies. Autograph inscription signed by Auguste Comte de Villiers de l'Isle-Adam. Imitation spine skillfully remade to match covers, small angular tears and marginal restored lacks to covers, the occasional internal wormhole. Imp. & Lib. Francisque Guyon Saint-Brieuc 1866 16,5x25cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Les travailleurs de la mer

      First edition with false stetement of third edition.Contemporary half red shagreen,spine in six compartments with gilt fleurons and fillets.Occasional foxing.A good copy nicely bound. Librairie internationale Lacroix, Verboeckhoven & Cie Paris & Bruxelles 1866 3 tomes en 3 Vol. in-8 (13,5x23cm) relié

      [Bookseller: Librairie Le Feu Follet]
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        Adventures of Don Quixote de la Mancha. Translated from the Spanish by Charles Jarvis. With 100 Illustrations by A. B. Houghton, Engraved by the Brothers Dalziel.

      4to., in full red straight grain morooco, boards and spine richly gilt, all edges gilt. With 100 illustrations including a full-page frontispiece and 99 cuts in the text. A little spotting to first and last few leaves, otherwise a very good copy in a choice binding. First edition thus in what appears to be a publisher's deluxe binding. With a neat ink presentation inscription "Charles James Jessel May 1873. A present from Emile Merton". Charles Jessel was the son of the famous lawyer, Master of the Rolls, and MP Sir George Jessel. A scarce edition with Arthur Houghton's illustrations engraved by the Brothers Dalziel. The distinctive, angular signature of the Brothers Dalziel appended to wood-engraved illustrations from the 1840s onwards was readily recognised.. Indeed, so widespread were the Dalziels' work and influence during the two decades 1850 to 1870 that their name has become synonymous with Victorian engraving on wood, and one student of the period called the Sixties the 'Dalziel Era'. As engravers, art directors and publishers, the Dalziels -- George (1815-1902) and Edward (1817-1905) -worked with some of the nineteenth century's greatest talent in art and literature. The roll of the illustrators whose work they engraved is a distinguished one: George Cruikshank, Richard ('Dicky') Doyle, Birket Foster, John Gilbert, Charles Green, William Harvey, Arthur Boyd Houghton, Arthur Hughes and Charles Keene among them. The Dalziels became arbiters of taste, and during the 1850s and 1860s publishers turned to them for advice and guidance when venturing into illustrative literature.

      [Bookseller: Henry Sotheran Ltd.]
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