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

        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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        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 foxing here & there throughout; spine repaired and a little cocked; else a very good copy. There are three ownership inscriptions on the front free endpaper, the first of which is, 'Ellen Gertrude Brewer 1865.' 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. With forty-two illustrations by John Tenniel.

      Second (First Published) Edition. Recently rebound by Bayntun-Riviere in full red morocco with gilt decoration to match the original cloth binding. All edges gilt. With cloth slipcase. Some very slightly dusty to edges; occasional light foxing; else an unusually clean, fresh copy.The first ('withdrawn') edition and the second edition are taller than later printings. Quite often, when rebound, they are found trimmed and re-gilded. This copy has the original gilt edges and has not been trimmed. 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.

      [Bookseller: David Miles]
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        Two paired broadsides titled "Gordon and Eyre" denouncing former Jamaican governor John Edward Eyre.

      Birmingham: E.C. Osborne, printer, undated, yet 1866. Two sheets measuring 690 x 1080 mm. each; neatly folded. Two spectacular broadsides denouncing the conduct of former Australian explorer John Edward Eyre, in his role as governor of Jamaica during the civil unrest of 1865. Eyre is remembered as an intrepid explorer of the Australian interior, revealing vast grazing lands in New South Wales and overlanding parched country in the new colony of South Australia. Eyre departed Australia in 1844, and after a period as Lieutenant Governor of New Zealand he accepted the position of Governor of Jamaica in 1861.Eyre took up the position at a time of significant unrest. The 1838 emancipation decree had had the unwanted effect of causing widespread social displacement and acute poverty amongst the former slave population of Jamaica, and in October 1865 there was a serious riot at Morant Bay. Eyre interpreted the events as a precursor to outright rebellion and declared martial law. Brutal reprisals against the former slave population followed - with floggings, wholesale destruction of dwellings and over 600 executions.Prior to the riots Eyre had clashed with the George William Gordon, a member of the legislature of African descent. In the aftermath Eyre charged Gordon with instigating civil unrest and had him summarily tried and executed. Gordon was widely respected in Jamaica, and his execution sparked acrimonious public controversy in England: "Eyre was relieved of his governorship and recalled to England, where he became the centre of intellectual warfare between the Jamaica Committee supported by J. S. Mill, Thomas Huxley, Thomas Hughes, Herbert Spencer and others and the Eyre Defence Committee supported by Carlyle, Charles Kingsley, Tennyson, Ruskin and others. Proceedings were brought against Eyre three times, but each time dismissed; Eyre's interpretation of martial law has become a celebrated case in legal history" (ADB).This broadside, so large it had to be printed on two sheets, denounced Eyre for his defamation of Gordon following the execution, and staunchly defends the deceased man's moral integrity. Gordon's reputation was supported by prominent Jamaican citizens including missionaries, ministers, lawyers and politicians, the more important of whom have added their names.The scale and intensity of the controversy reflect the groundswell in changing attitudes to race and colonial government in English middle-class society. Ironically, Eyre was appointed protector of the Aborigines while stationed at Moorundie on the River Murray, and enjoyed a reputation for moderation during this time. Furthermore, when Eyre departed returned to England from Australia in 1844, he took two Aboriginal boys under his care to be educated at his own expense. Both sheets well preserved, unmarked and quite fine.

      [Bookseller: Hordern House]
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        One Hundred Books Famous In Children's Literature. Edited by Jill Shefrin. With Contributions By Brian Alderson, Nick Clark, Rachel Eley, Andrea Immel, Justin G. Schiller, Jill Shefrin And John Windle. Exhibition: New York. The Grolier Club, December 10, 2014 - February 7, 2015.

      4to., original blue morocco backed boards, lettered in gilt on spine in slipcase. Ilustrated throughout. New. First edition, deluxe issue, limited to 50 copies, this copy unnumbered.. With a signed note from Chris Loker loosely inserted. This special issue has an original leaf from the true first edition of Lewis Carroll's Alice's Adventures in Wonderland tipped in at the rear and in addition to the leaf from Alice, has an extra essay by John Windle on the history of leaf books, and an essay by Bennett on Dutch paper bindings. The Alice leaf in this copy is p51/52 with Tenniel's illustration of Lizard Bill shooting out the chimney. Originally prepared for the Macmillan first edition of Alice, these sheets were rejected by Lewis Carroll and John Tenniel with the entire edition surpressed. The unused sheets from England were sent to D. Appleton & Company in New York to be used for the first American edition of 1866. Thus this leaf from the Appleton issue represents the earliest printing of Alice's Adventures in Wonderland. From the Grolier Club website: "Selected by the curator, children's book authority Chris Loker, with advice from an international team of children's book scholars and experts, the books are those deemed famous because they were widely known at the time of their creation, and admired over following generations ~ in the process demonstrating literary merit and unparalleled popularity. They are displayed according to key themes in children's literature: Fairy Tales & Fables, Nursery Rhymes, Faith, Learning, Poetry, Girls & Boys, Animals, Fantasy, Adventure, Novelties, and Toys. This thematic arrangement allows viewers to see genres of literature for children from early forms of instructional and devotional primers to exuberant expressions of rhymes, tales, stories, novels and picture books. First or early editions are displayed wherever possible, some of them extremely rare. Shown with the 100 books are over 50 historic artifacts that demonstrate the interrelationships between the famous books and the culture of their era. Artifacts include original book art and illustration, autograph letters, manuscript drafts, antique toys, early dolls and games, antique horn books and ivory alphabet discs, and other children's objects, all of great interest in their own right. One Hundred Books Famous in Children's Literature is the sixth in a notable series of "Grolier Hundred" exhibitions. The Grolier Club previously has organized only five such exhibitions in its 130-year history, focusing on English literature (1902), American literature (1946), science (1958), medicine (1994) and fine printed books (1999). These admired exhibitions have set the standard for book collecting and reading enjoyment in their fields, and the organizers expect no less from this new addition to the Grolier Hundred canon."

      [Bookseller: Henry Sotheran Ltd.]
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        Les épaves

      first edition in large part, one of 250 numbered copies on Holland paper, one draw with 10 China.Bound in full black morocco, spine with five nerves adorned with triple boxes stamped cold day golden tail, golden wheels on the caps, framing a set of nets quintuple cold stamped on covers, gilt fillet on turns, wide gold lace and gilt double in coaching contreplats, guards handmade paper, rare covers and backs kept silent, all gilded, elegant binding signed by Devauchelle.Our copy is full of his beautiful frontispiece by Felicien Rops shot China.This collection, a rare and highly sought (see Clouzot), includes 6 pieces convicted of "Flowers of Evil" along with 17 new poems.Superb copy set in a perfect binding of the twentieth century Jansenist. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! (Poulet-Malassis) Amsterdam (Paris) 1866 12,5x19cm relié

      [Bookseller: Librairie Le Feu Follet]
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        LAUINGEN. - Mayer, B. Geschichte der Stadt Lauingen.

      Dillingen, C. Kränzle 1866 - 19 x 12 cm. Titel, VIII, 467 S. Mit gefalt. lithogr. Frontispiz, 3 gefalt. Kupfertafeln und 3 gefalt. Tabellen. Pp. d. Zt. Pfister I, 4021; Lentner 8745: "Nicht im Handel u. sehr selten". - Erste Ausgabe. - Das Frontispiz mit einer hübschen Gesamtansicht von M. Schmid. Die Tafeln zeigen das Schloß und die Pfarrkirche, sowie eine Gesamtansicht aus der Vogelschau von 1617 nach Christoph Senft. Diese dritte Tafel ist ausgesprochen selten und bisher nirgends erwähnt. - Titel mit Besitzmarke, vorwiegend der Text leicht fleckig. [Attributes: First Edition]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        SANS MERCI; or, Kestrels and Falcons. In Three Volumes.

      London: Tinsley Brothers, 1866. [Lawrence, George Alfred]. SANS MERCI [without mercy] or, Kestrels and Falcons. In Three Volumes. London: Tinsley Brothers, 1866. First Edition. A Near Fine copy in original publisher's blue ripple-grain cloth, gilt, showing only the most minor abrasion to the boards; we doubt many first editions of this title still exist much less an example in this condition. OCLC notes only four copies worldwide in institutional collections. George Alfred Lawrence (1827-1876) was a sensation novelist of a different ilk than Wilkie Collins or M. E. Braddon. His protagonists were often, if not always, men who were equally skilled at fighting, riding, hunting, killing, truth-seeking, and wooing. Not one to shirk a challenge himself, Lawrence sailed to America to fight for the Confederate Army (he was captured and shipped back to England). Lawrence is little read today but he created the original inspiration for the "Beau Geste" character, that self-sacrificing, dashing, honorable crusader who often fought for lost causes usually on behalf of some wronged maiden. In short, Lawrence may be credited with creating today's iconic literary "action hero." This novel takes place in the hazardous English countryside; the title of this book (which suggests birds of prey flying mercilessly at each other talons at the ready) is a metaphor for the evil lawyers and other such villains who are trying to destroy our heroic protagonist's honor and livelihood and romantic prospects with fair maiden. Horse racing, gambling, and several violent fighting scenes also keep things lively. The publisher, Tinsley, is particularly known for the low survival rate of their three-decker first editions.. First Edition. Decorative Cloth. Fine.

      [Bookseller: Lakin & Marley Rare Books ]
 33.   Check availability:     Biblio     Link/Print  


        La fleur des chansons amoureuses: ou sont comprins tous les airs de court recueillis aux cabinets des plus rares poetes de ce temps.

      Brüssel, Mertens 1866. - Kl. 8vo (ca. 16,5x10 cm), 509 S., 1 Bl. (Druckfehler in der Numerierung: endet mit 109 (S. 105-109) statt 509 (so vollständig). Mit einer gestochenen Textvignette. Halbledereinband der Zeit mit goldgerpägtem Rücken, Kopfgoldschnitt. Gay (Bibliographie des ouvrages relatifs à l'amour) Band III, S. 345. - Bibliophil gestaltete und seltene Neuausgabe der Originalausgabe von 1600. Das Originaltitelblatt wurde typographisch für diese Ausgabe mit den alten Impressumsangaben verändert vorgebunden und gibt als Druckort Rouen, Chez Adrian de Launay, 1600 an. Die französische Nationalbibliothek führt als einzige für uns nachweisbare Bibliothek via KVK diesen Originaltitel von 1600 und bildet dort das Original-Titelblatt ab. Das Impressum am Ende des Buches gibt die Auflagenhöhe mit 106 (Tiré à cent six exemplaires numérotés) an. Unser Exemplar mit der Nummer 62 auf Papier Hollande. Die falsche Paginierung resultiert aus dem zu dieser Ausgabe herausgebrachten Nachwort (dieses auf den Seiten 105-109): Notice sur la Fleur des Chansons Amoureuses, wohl von Paul Lacroix (vgl. Gay). Dieser beschreibt das Originalexemplar, das eine äußerste Rarität darstellt und in der Bibliothèque de l'Arsenal aufgefunden wurde und für das sich keine weiteren als die bei Gay aufgeführten bibliographischen Hinweise gefunden haben. Das oben erwähnte Exemplar der französischen Nationalbiobliothek wird wohl das im Nachwort zitierte Exemplar sein. Der Verfasser, oder ob es sich gar um mehrere Autoren handelt, ist nicht eruierbar. Eine Sammlung von Chansons (oft mit anstößigen aber deshalb um so populäreren Liedern) die in den Pariser Gassen des 16. Jahrhunderts gesungen wurden! - In einem dekorativen Halbleder-Einband der Zeit, mit ornamentalen und floralen Rückengoldprägungen, auf 5 Zierbünden. - Die Kanten leichter berieben, neueres Exlibris auf dem Vorsatzblatt, Innengelenk hinten etwas angebrochen, die Seiten seitlich unbeschnitten. - Auch als Neuauflage von 1866 sehr selten! [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Mertens]
 34.   Check availability:     ZVAB     Link/Print  


        GRIFFITH GAUNT; or, Jealousy. Three Volumes

      Chapman & Hall, London 1866 - Octavo. THREE VOLUMES. 302, 318 328pp. half-titles present in volumes one and two, bound in 3/4 brown morocco over marbled paper covered boards, raised bands, green morocco spine label within one compartment, spine decorated with a gilt vine motif, marbled endpapers top edges gilt. Quite a handsome triple decker and quite scarce; only two copies appear in the auction record since 1982. [Attributes: First Edition; Hard Cover]

      [Bookseller: Charles Parkhurst Rare Books, Inc. ABAA]
 35.   Check availability:     AbeBooks     Link/Print  


        A Journal of Hospital Life in the Confederate Army of Tennessee from the Battle of Shiloh to the End of the War

      Louisville, Kentucky: John P. Morton & Co., 156 West Main Street; New Orleans, La: William Evelyn, 90 Camp Street, 1866. First Edition. Hardcover. Very good. Tall octavo. [1], 200pp., [1]. Green cloth hardcover with blind stamped decorated borders and gilt lettered title on spine. Light spots and rubs to cloth. Text is printed in double columns. Previous owner name of Mary Daggett on the right front flyleaf. Kate Cumming is best known for her dedicated service to sick and wounded Confederate soldiers. She spent much of the latter half of the Civil War (1861-65) as a nurse in hospitals throughout Georgia.

      [Bookseller: Americana Books ABAA]
 36.   Check availability:     IOBABooks     Link/Print  


        Leçons théoriques et cliniques sur la syphilis et les syphilides

      de XV, (1), 463, (1) pages et Paris, Adien Delahaye, 1866, in-8, de XV, (1), 463, (1) pages et 4 planches, demi-chagrin rouge, dos à 4 nerfs, plats de percaline rouge, Seconde édition de ces leçons recueillies, rédigées et publiées par le docteur Alfred Dubus. Bazin, élève de Cazenave, Biett et Alibert, se spécialisa très tôt en dermatologie. Il s'intéressa tout d'abord à la tique, à la variole, puis aux dartres et aux affections parasitaires. Avec le présent ouvrage, paru pour la première fois en 1861 (mais sans illustration), Bazin propose de claires délimitations cliniques et nosographiques "au champs des syphilides". Il développe ainsi, une subdivision complexe entre les différents types de syphilis. 4 planches finales en couleurs montrent quelques cas. Bon exemplaire.

      [Bookseller: Librairie Alain Brieux]
 37.   Check availability:     maremagnum.com     Link/Print  


        Terrific handwritten letter of Robert Todd Lincoln, along with a CDV of his father

      Chicago, Illinois, October 1, 1866. 9" x 6.5". "Autograph Letter Signed ""Robert T. Lincoln,"" October 1, 1866, 1 page, to Mrs. Wyckoff: ""I regret that I have entirely exhausted the stock of autographs of my father which I had - I have nothing left but private letters to myself and those I cannot part with. Yours truly, Robert T. Lincoln."" Includes an unsigned CDV of Abraham Lincoln."

      [Bookseller: University Archives]
 38.   Check availability:     Biblio     Link/Print  


        Asien

      Artist: ; issued in: Leipzig; date: 1866 - - technic: Steel engraving; colorit: original colored; condition: Very good; size in cm : 35,5 x 45,5 - description: Map shows total Asia with 10 views showing Flora and Fauna of Asia, its people,chinese wall, chinese tschunks and buildings,Caucasus and Sinai

      [Bookseller: Antique Sommer& Sapunaru KG]
 39.   Check availability:     ZVAB     Link/Print  


        Histoire des tremblements de terre ressentis en Alsace et dans le pays de Bâle, précédée de généralités sur le phénomène

      (4), 50, (2)pp. Paris, Leiber (impression Colmar, Camille Becker), 1866, in-8, (4), 50, (2)pp, exemplaire broché d'une couverture bleu pâle imprimée en noir (couverture salie), Petit fascicule de géologie régionale qui décrit les tremblements de terre qui eurent lieu dans une région délimitée entre l'est de la France et l'ouest de la Suisse, du 9e siècle jusqu'en 1855. Pour ce faire, il compile un grand nombre d'archives, de chroniques, d'histoires et de journaux anciens. Belle étude de synthèse

      [Bookseller: Librairie Alain Brieux]
 40.   Check availability:     maremagnum.com     Link/Print  


        The History of King Arthur

      ONT>, 1866 Book. Very Good. Hardcover. Sir Thomas Malory'sreworking of the tales of King Arthur. Known as Le Morte Darthur this work is the best known work of Arthurian literature. With a gift inscription from famous Victorian novelist and poet George Meredith to half title of volume I 'To Olive, George Meredith'. Meredith had a long stream of novels and poems as well as some critical works. The Olive Meredith refers to is possibly Olive Schreiner, a South African Anglophone novelist and feminist. Meredith helped Schreiner at the start of her career by recommending her to the publisher Chapman and Hall. Thisedition is based on the 1634 text and is edited, with notes and an introduction by Thomas Wright. Complete in three volumes. The second edition of this particular text. Malory interpreted existing French and English stories about the historical figures as well as adding original material. Condition: In original cloth bindings. Externally, generally smart with rubbing to the joints and extremities. Minor bumping to the head and tail of spines. Hinges to volume III are slightly strained but firm. Front hinge to volume I is tender and held at the head only. Signature of George Meredith to the half title page of volume I. Internally, all volumes are generally firmly bound. Pages are slightly age toned to edges with instances of light spots throughout. Overall: VERY GOOD..

      [Bookseller: Rooke Books]
 41.   Check availability:     Biblio     Link/Print  


        Brand : Et Dramatisk Digt

      Copenhagen: Forlagt af den Gyldendalske Boghandel (F. Hegel) 1866. 271 pp. Maroon half morocco over patterned paper-covered boards. Gilt decoration to spine with black leather title label. All edges gilt. Spine very slightly faded. Patterned endpapers. Bookplate to front pastedown and small ink name to first blank. Slight foxing. Binding firm. First edition in the original Danish. . Very Good. Half Morocco. First Edition. 1866. 8vo..

      [Bookseller: Fosters' Bookshop]
 42.   Check availability:     Biblio     Link/Print  

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