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Displayed below are some selected recent viaLibri matches for books published in 1870

        HISTOIRE DE LA REVOLUTION FRANCAISE (10 VOLUMES COMPLETE) Treizieme Edition (13th edition)

      Paris: Librairie Furne, 1870- 1872. Hardcover. Good +. Each volume with aprox. 400 p. + several engravings. 5 3/4 x 8 1/2 in. . Brown half calf binding red textured cloth boards, gold lettering on spines, 5 raised bands, edges of text block marbled, end papers marbled. Condition of the book is GOOD+: light wear to covers- heavier at corners and spine edges, spine more worn- esp. spine ends, top edges of text block darkened, each volume with remnants of small book plate and book plate of David B. Ogden on inside of front cover, light foxig to ffep. & rfep., pages very white and clean, bindings very tight. Vols. 1,3- spine partially detached at both ends, leather labels missing. Vols. 2,6,7- spine partially detached at both ends. Vols. 3,5,6,9- part of lower spine end also missing. Vols. 4,10- parts of both upper and lower spine ends missing. Vols. 7,8- part of upper spine end missing. Vol. 8,9- also missing label.

      [Bookseller: Andre Strong Bookseller]
 1.   Check availability:     Biblio     Link/Print  

        (Book of Nonsense Imitation)

      (N.p., c. 1870). Oblong small quarto. 14ff. manuscript album of fifteen illustrated, nonsensical limericks after Edward Lear, featuring comical characters, like the Old Man from the Cape and his Barbary ape. The illustrations are just as diverting as the verse, populated with wide-eyed creatures and caricatures of monstrous men. The images and text have been copied almost exactly from Edward Lear’s Book of Nonsense, hand-drawn and written in black ink on one side of the page only. Lear is credited with popularizing this humorous poetic form. In nondescript gray wrappers. Spine is rubbed and slightly split, else fine.

      [Bookseller: Bromer Booksellers]
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        An Essay on the Genius of George Cruikshank:Illustrated with One Hundred & Sixty Etchings & Wood-engravings Selected from his Works from 1810 to 1870. (Extra-Illustrated Edition)

      [London?], 1870. EXTRA-ILLUSTRATED Edition. Signed binding by J.Larkins. Full red straight grained morocco leather with raised bands, compartmented and gilt tooled designs on spine. Covers have triple ruled border with tooled flower design in corners. Edges of covers have double gilt lines. Top edge gilt. Binding is worn with the front cover professionally rehinged. White cloth at gutter behind cover. Elaborate gilt inner dentelling. Armorial bookplate of Hanry William Poor, famed early 20th century collector of fine Club bindings. Engraved frontispiece showing Cruikshank. Title continues "...Illustrated with One Hundred & Sixty Etchings & Wood-engravings Selected from his Works from 1810 to 1870." The title page is hand written in black, red and green inks. This book only includes items up to 1871 and appears to be a preliminary version of the later 1884 Cruickshank extra-illustrated work by the same title. 60pp. There are marginal notes in pencil below the illustrations giving date of appearance of the illustrations. Some are noted as "not in Reid". This would mean that some engravings found here are not in George William Reid's _A Descriptive Catalogue of the Works of George Cruikshank_ (London, 1871). A total of 41 hand colored engravings. Most plates were separately printed and "inset" into the pages of the book. Description of the quality & quanity does not give one a proper feel for this book. It has to be seen to be appreciated. Photos available upon request. George Cruikshank (September 27, 1792—February 1, 1878), caricaturist and book illustrator. Born in London, England, he was a member of the Cruikshank family of caricaturists and artists, the son of Scottish painter and caricaturist Isaac Cruikshank. Cruikshank's early career was renowned for his social caricatures of British life for popular publications such as The Comic Almanack (1835-1853) and Omnibus (1842) but later in his career, his book illustrations for Charles Dickens and many other authors reached an international audience. He created folios of prints with moralistic themes inspired by the temperance movement. The best known of these are The Bottle, 8 plates (1847), with its sequel, The Drunkard's Children, 8 plates (1848), with the ambitious work, The Worship of Bacchus, published by subscription after the artist's oil painting, now in the National Gallery, London. For Charles Dickens, Cruikshank illustrated Sketches by Boz (1836) and Oliver Twist (1838). On December 30, 1871 Cruikshank published a letter in The Times which claimed credit for much of the plot of Oliver Twist. The letter launched a fierce controversy around who created the work. While Dickens was the author, Cruikshank developed many ideas like those that appeared in the book and it is difficult -- if not impossible -- to distinguish his concepts from those of Dickens, which were developed at the same time. Cruikshank’s 60-year career began with political prints that attacked the royal family and leading politicians (in 1820 he received a royal bribe of £100 for a pledge "not to caricature His Majesty in any immoral situation"). His work included a personification of England named John Bull who was developed from about 1790 in conjunction with other British satirical artists such as James Gillray, and Thomas Rowlandson. Cruikshank replaced one of his major influences, James Gillray, as England's most popular satirist. For a generation he delineated Tories, Whigs and Radicals impartially. Satirical material came to him from every public event wars abroad, the enemies of Britain (he was highly patriotic), the frolic, among other qualities, such as the weird and terrible, in which he excelled.. Signed by Binder. Extra-illustrated Edition. Full Morocco Leather. Very Good. Illus. by George Cruikshank. Folio - over 12" - 15" tall. Hardcover.

      [Bookseller: Ziern-Hanon Galleries]
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        The Complete Correspondence and Works of Charles Lamb; Aided By the Recollections of the Author's Adopted Daughter - 4 Volumes

      London: E. Moxon, Son & Co., 1870. IN VERY GOOD CONDITION. Uniformly bound in 3/4 leather and marbled paper, slightly raised bands on gilt decorated spines, red and brown leather spine labels, all edges marbled, marbled endpapers. Half title in each volume, with tissue-guarded frontis in volume I, all bindings and hinges tight. Occasional light foxing, mostly showing on preliminary pages. Covers show corner wear, light edge wear, one eighth inch upper edge chip to backstrip on vol. IV, backstrips crackled, with some chipping to red spine labels. ALL PROTECTED IN MYLAR JACKETS. . Hard Cover. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: Monroe Bridge Books, MARIAB Member]
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        Polyplectron Germaini [Germain's Peacock Pheasant]

      New York: Published for the Author, Daniel Giraud Elliot, [1870]-1872. Hand-coloured lithograph after Joseph Wolf by J. Smit, printed by P.W.M. Trap. Very good condition. 15 1/4 x 20 7/8 inches. 18 x 23 1/4 inches. A beautiful image from the most splendid of Elliot's great monographs, 'A Monograph of the Phasianidae or Family of the Pheasants'. The magnificent size and beautiful colouring of the plates after Joseph Wolf's charcoal drawings reflect the importance which Elliot attached to the Phasianidae. Of all the families in the ornithological system, he regarded it as the one most vital to the human race, "containing within it the species that afford food for thousands of mankind, and also those which are the original source of all the domestic poultry met with throughout the civilized world." Cf. Anker 130; Fine Birds Books (1990), p. 95; Nissen IVB 295; Wood p. 331; Zimmer p. 206

      [Bookseller: Donald Heald Rare Books]
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      London: F.S.Ellis, 1870. Cloth Boards. 8vo. A fine association copy inscribed to Arthur Hughes from Rossetti. The inscription reads: "To Arthur Hughes, from his friend, Dante Gabriel Rossetti, April 1870." These men were two of the most important artists of the Pre-Raphaelite movement. This is one of only a few copies personally inscribed to Rossetti's close friends (see D.G.R. Letters to Publishers). Dark green cloth boards with gilt title to spine. Attractive gilt floral decoration to spine and boards. Minor wear to edges and slight discoloration to boards. Clean, bright interior with decorative end pages and a tight binding. Housed in a black cloth covered clamshell box with gilt label to spine. 282 pages plus 4 pages of ads. PRERAPH/102006. Very Good.

      [Bookseller: The Kelmscott Bookshop]
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      London: F.S. Ellis, 1870.. Dark blue-green cloth, elaborately decorated in gilt, decorated endsheets, edges untrimmed. Binding lightly rubbed, clean 4.5cm tear to gutter of half-title at top, old bookseller's description tipped to first leaf of terminal ads, otherwise a very good, bright copy. Half morocco slipcase. First edition of Rossetti's first published collection of original poems, preceded by two private printings in 1869 and 1870. Early binding state, before the spine block was recut, with an unsigned signature of 8 blank leaves at the back, after two leaves of publisher's adverts. The floral endsheets are printed on cream paper. Inscribed by the author on the half- title page: "To Theodore Martin Esq with DG Rossetti's friendly regards April 1870." Theodore Martin (1816- 1909), English poet, biographer, translator of Dante, and the husband of the actress, Helen Faucit, was among those in the list Rossetti sent to his publisher to receive presentation copies of this book. Stetz and Lasner, in ENGLAND IN THE 1880s, note: "This book, by the circumstances of its publication, by its contents, and by its design, secured Rossetti's reputation. When his wife, Elizabeth Sidal Rossetti, died in February 1862, Rossetti placed the original manuscripts of his poems in her coffin. In 1869 these were exhumed secretly from her grave and published in this volume in 1870 with other, more recent work. The book opens with 'The Blessed Damozel,' Rossetti's most famous poem, which had first appeared in the Pre- Raphaelite magazine, THE GERM, in 1850; among the other contents are the sonnet sequence called 'The House of Life' and a group of poems about paintings that show Rossetti's abiding interest in unifying the sister arts ...POEMS (1870) was perhaps most remarkable for being one of the first books to be designed throughout by an author. Over a period of nine months, Rossetti supervised the printing of the proofs while painstakingly designing the covers and endsheets. The result had a great influence upon writers and designers of the 1880s. Oscar Wilde's POEMS (1881) and several of Walter Pater's books clearly were modeled upon Rossetti's unique volume." STETZ & LASNER 52. HAYWARD 283. NCBEL III:491.

      [Bookseller: William Reese Company - Literature ABAA-]
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      F.S. Ellis London: F.S. Ellis. 1870. First. First edition. Bound in full vellum with morocco shield-type spine label, titled and decorated in gilt. Bookplate of W.C. Bennett, ownership signature on the title page, another owner's stamp on the verso of the marbled front endpaper, and an old bookseller's note that the binding is by Zaehnsdorf. Boards a little splayed and a tiny tear on the first blank leaf else a very handsome, near fine copy. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Go and See Hardy Gillard's Great American Panorama, Illustrating the Pacific Railway from New York to San Francisco

      “Go and See Hardy Gillard's Great American Panorama, Illustrating the Pacific Railway from New York to San Francisco”London: c. 1870 - 1880Chromolithograph19 ½" x 39 ¼"Panoramas were a popular form of entertainment in the late 19th century. Panoramas were sometimes in wagons, and moved from town to town; or large enough to be mounted in a theater, with the audience moving around the panorama scene. Popular panoramas of the time were made of the palaces of Versailles (currently in the collection of the Metropolitan Museum of Art) and Civil Ware battlefields. Hardy Gillard was famous at the time for his traveling panoramas and his accompanying exuberant lectures. This flier was for Hardy Gillards 40 x 8 foot Panorama Illustrating the Pacific Railway from New York to San Francisco, the Grand Pacific Railway that was completed in 1869. A key is offered to the 38 numbered items in the large sized display, including the steamship Oceanie, farming in Nebraska, Great Salt Lake, Big Trees of California, Gold Mining in California and San Francisco.

      [Bookseller: Arader Galleries]
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        The Works of Shakspere (sic)

      New York. Virtue and Yorston. (n.d.) C .1870. Extravagantly bound in the High Victorian style in Publisher's original,decorative full crimson grain morocco. Intensely ornate gilt-tooled decorations and figurative motifs to front and rear covers. Gilt ruled spine compartments with intricate gilt-tooled fleural motifs. Gilt ruled raised bands. Gilt titles. Most luxurious and labyrinthine gilt-tooled inner-dentelles. Marbled endsheets. All edges gilded. Thick Folios. 11 x 15.5". The Imperial Edition. Illustrated throughout by superb, tissue-guarded full page engravings upon steel by C. W. Cope.; W. P. Frith.; C. R. Leslie.; D. Maclise.; E. M. Ward.; C. Clint.; H. S. Marks.; W. Q. Orchardson. et al. Collation: Vol. 1 - Frontis, Title Vignette,32 Plates ; Vol 2. - Frontis, Title Vignette, 21 Plates. Complete as issued. An flamboyant, imposing collection of Shakespeare in what is regarded as perhaps the supreme example of High Victorian Bookbinding. Various light rubbing to covers. Small strip of leather lacking to front cover of Vol. 1 with resultant loss of gilt decoration. Previous owners small bookplate to Front Pastedowns. Usual light, innocuous scattered foxing, mainly marginal to Plates and not effecting images which are of supreme depth and clarity. Generally, a Near Fine, gleaming, jaw-dropping set.

      [Bookseller: Heldfond Book Gallery, ABAA-ILAB]
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        Patterns of Maw & Co.'s Encaustic tile, geometrical mosaic and plain tile pavements, and majolica and enamelled wall tiles, white glazed tiles, architectural enrichments, etc. For entrance halls, corridors, passages, conservatories, churches...

      Broseley: Benthall Works, [c. 1870's].. Folio, 5, [1]pp., 37 chromolithographic plates printed by Leighton Brothers, showing over 400 tile and ceramic mosaic designs for pavements, decorative wall tiling, Dados, mouldings, fire surrounds, Majolica hearths, Majolica tiles in rich coloured glazes, printed & coloured tiles, small neat oval blind-stamp to lower blank corner, front-free endpaper with cont. ms. ownership name at head and library ink stamp on verso, orig. cloth, with printed label mounted on upper cover, worn, with spine missing and covers detached.

      [Bookseller: Forest Books]
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        La pêche au cormoran.

      Avec deux planches dessinés d`après nature par M. e. Bellier de Villiers. Paris, Bureau de la Revue Britannique 1870. Large 8:o. Tire à cent exemplaires. Printed in 100 copies. 67,(1) pp + 2 plates. Two extra leaves bound after the text. Neatly handwritten text "Notis et Pièces justificatives a le roy (Louis XIII)... One and a half page. Near contemporary green half morocco, spine with five raised band. Slightly rubbed. From the library of Gunnar Brusewitz with his signature and book-plate. 26 x 18 cm

      [Bookseller: Antiquaria]
 12.   Check availability:     Antikvariat     Link/Print  

        Journal of a Landscape Painter in Corsica.

      London: Robert John Bush 1870.. First edition, large 8vo, xvi, 272 pp. A map and 40 plates plus 40 vignettes in the text, some minor cracking to the hinges. Original gilt titled brown cloth, slight rubbing to the spine ends and corners, a very good copy.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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        On the Mechanical Performance of Logical Inference,

      On the Mechanical Performance of Logical Inference, First Edition, extracted from Philosophical Transactions of the Royal Society, Vol. 160, Part II, pp. 497-518, with 3 engraved plates, quarto, a very fine copy bound with the titlepage to Vol. 160, fine gilt lettered green morocco backed watered cloth by Trevor Lloyd, an excellent copy, London: Taylor and Francis, [for Royal Society], 1870. * "On the Mechanical Performance of Logical Inference" was "Jevons first published description of his logic machine, often called a "logical piano" because of its resemblance to that instrument. [...] The "piano" was the first logic machine with enough power to solve complicated problems with superhuman speed". (Origins of Cyberspace 330). Today Jevons piano is regarded as one of the precursors of the computer. Jevons 'was able to devise a logic machine - a sort of motional form of the later diagrammatic scheme of John Venn. * "Jevons'' "logical piano"(as he eventually called it in preference to his earlier terms "abacus", "abecedarium" and "alphabet") was built for him by a Salford clockmaker. It resembled a small upright piano, with twenty-one;-keys for classes and operations in an equational logic. Four terms, A, B, C, and D, with their negations, in binary combinations, were displayed in slots in front and in back of the piano; and the mechanism allowed for classification, retention, or rejection, depending upon what the player fed in via the keyboard. The keyboard was arranged in an equational form, with all eight terms on both left and right and a "copula" key between them. The remaining four keys were, on the extreme left, "finis" (clearance) and the inclusive "or", and, on the extreme right, "full stop"(output) and the inclusive "or again", In all 216 (65,536) logical selections were possible. The machine earned much acclaim. . . . Although its principal value was as an aid to the teaching of the new logic of classes and propositions, it actually solved problems with superhuman speed and accuracy, and some of its features can be traced in modern computer designs' (D.S.B. VII: 105). This paper was Jevons's only contribution to the Philosophical Transactions of the Royal Society.

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
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        Le livre de cuisine... comprenant la cuisine de menage et la grande cuisine... deuxieme edition. paris, hachette, 1870.

      Cm. 27,5, pp. xi (1) 844. Con 161 figure incise nel testo e 25 splendide tavole fuori testo in cromolitografia. Solida ed elegante legatura editoriale in mezza pelle, dorso a nervi con titoli in oro. Appena percettibili tracce di velina alla superfice di una o due tavole, ma ottimo esemplare, ben conservato. Si tratta della seconda edizione che segue l'originale del 1867 ed è una delle edizioni che comportano il maggior numero di tavole a colori, altre infatti ne contano solo quattro. Cfr. Vicaire (417): ""Cet ouvrage culinaire est, avec ceux d'Urbain Dubois, une des plus complets et des plus serieusement traites qui existent; les recettes que l'on y trouve sont fort recherchees...""; Oberlé (226): ""Les exemplaires bien completes des 25 planches en couleurs sont rares...""; Bitting, 195.

      [Bookseller: Studio Bibliografico Benacense]
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      1870. Paperback. Very Good. DICKENS, Charles. THE MYSTERY OF EDWIN DROOD. With Twelve Illustrations by S. L. Fildes, and a Portrait. London: Chapman & Hall, [April - September] 1870. First edition. A total of 14 illustrations, including a portrait of Dickens and a vignette title-page. Octavo. [viii,1]-190,[2] pp. In the original six monthly parts, as issued, in blue paper wrappers. Housed in a green three-quarter leather pull-off case in a green cloth chemise. Wrappers show some general light wear but,some minor expert repair and are very good overall. The front wrap on Part 1 has a small ink spot near one edge and shows a bit more wear than the other wrappers. Almost all advertisements are present, including the rare cork ad in Part 2, lacking only four pages (nos. 7 - 10) of the "Edwin Drood Advertiser" in Part 3 and the eight-page Chapman & Hall catalog in Part 5. Another minor difference, the eight-page Chapman & Hall catalog in Part 1 is not completely unpaginated; pages 2 and 3 are marked as such. Part 6 has the "Eighteenpence" slip pasted over the original price on front wrap as found in the earliest issues. Some plates show mild light foxing. Text leaves are clean. This was Dickens' last work; it was left unfinished at his death in June, 1870. (Hatton & Cleaver, pp. 371-384).

      [Bookseller: Boston Book Company ]
 16.   Check availability:     ABAA     Link/Print  

        The Mystery of Edwin Drood

      London: Chapman and Hall 1870 London: Chapman and Hall, 1870. First edition. 8vo. Engraved portrait frontispiece by J.H. Baker; title vignette and 13 illustrations by Samuel Luke Fildes. [viii], 190, [2] pp + 32 pp. publisher's catalogue dated Aug., 31, 1870. Publisher's green cloth stamped in gilt and black, front cover with sawtooth border (first binding). Spine tips very slightly rubbed; slight occasional foxing, otherwise very attractive copy. Smith 16; Podeschi, Gimbel Collection A155 . Dickens' final, unfinished novel, interrupted by his death on the 9th of June,1870

      [Bookseller: James Cummins Bookseller ]
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        Isografia ovvero raccolta di 2000 firme e monogrammi degli uomini più celebrati e rinomati che vissero nel corso di undici secoli dal 742 al 1870

      Isografia ovvero raccolta di 2000 firme e monogrammi degli uomini più celebrati e rinomati che vissero nel corso di undici secoli dal 742 al 1870 con cenni biografici sulla loro vita e sulle loro opere. Delle firme 1760 sono italiane e 240 straniere tratte dagli originali esistenti. Napoli, Nobile, 1870. In folio; pp.78, 2n.nn., 12, 2n.nn. e 44 tavole incise in rame a piena pagina che riproducono le firme suddivise nelle diverse categorie. Cart. editoriale. Esemplari a fogli sciolti, lievi fioriture a qualche tavola. Edizione pregevole ed importante per il riscontro e le consultazioni. Il Palermo raccolse e disegno' tutta l?opera e Giovanni Fusaro esegui' le incisioni. Bonacini, 1349.

      [Bookseller: Studio Bibliografico Casella]
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        HISTOIRE DU COSTUME MASCULIN FRANCAIS. De l'an 420 à l'an 1870.

      In-4 gr., cartella in mz. tela con legacci con applicata al piatto la bross. orig. a colori. La cartella contiene, a fogli sciolti, 10 fascicoli (ciascuno con bella bross. figur. a colori) che raccolgono complessive 80 pp. di testo e 100 bellissime tavv. in zincografia e colorate (10 per ogni fascicolo): ogni tav. rappresenta più figure, tutte descritte. Questa affascinante storia del costume è così suddivisa: ?Toges et Tuniques Gallo-Romaines - Tenue monacale et byzantine au Moyen Age - Capes et Collerettes Renaissance - Pourpoint et justaucorps Louis XIII et Louis XIV - Gout raffiné de l?habit à la française Louis XV - L?idéal masculin. Perruques et fracs Louis XVI - Supreme bon ton des Sans-Culottes révolutionnaires - Elegance officielle impériale napoléonienne - Dandys et ?beaux? romantiques. Restauration - Tournure des Gandins du Second Empire?. Cfr. Colas,I,1244. Esemplare molto ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
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        HISTOIRE DES FAÏENCES DE ROUEN. Pour servir de guide aux recherches des collectionneurs, ouvrage avec texte. Orné de 60 planches mises en couleur a la main, par Ris-Paquot, artiste peintre..

      Eugene Delaroque, Paris, 1870. In French. 45 pages with text + 60 coloured plates. Loose leaves in slip-case. Slightly rubbed on the edges. Spine/backstrip torn. Signed by hand by Ris-Paquot, No 239/500

      [Bookseller: Jones Antikvariat]
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        Harvard Class of 1870 Photographic Yearbook

      Cambridge: Harvard University 1870 [Cambridge: Harvard University, 1870]. (HARVARD UNIVERSITY) Folio. 109 albumen prints (some second generation), includes: 23 bust portraits (5-1/2 x 4 in.) of faculty; 6 landscapes (approx. 6-1/2 x 9 in.) of Harvard buildings and environs ; 73 bust portraits (5-1/2 x 4 in.) of the class of 1870, each SIGNED by the sitter beneath the image; and 7 group portraits (approx. 6 x 9 in.) of sporting, fraternity, and religious clubs, including 1 "Class of 1870" portrait. Full panelled brown morocco over bevelled boards, rubbed; spine titled in gilt, "Class Album. Harvard 1870" and on front cover, "Willard T. Perrin."; a.e.g. Very Good . Of particular interest is the portrait of Richard Theodore Greener, Harvard College's first black graduate and the first black graduate of a top-tier university (Slater, "The Blacks who First Entered the World of White Higher Education" p. 48-9). "Among the representative young men of color in the United States--and now, happily in the process of time, their name is legion--Richard Theodore Greener has undisputed standing" (George Washington Williams, HISTORY OF THE NEGRO RACE IN AMERICA FROM 1619 TO 1880, p. 438). Born in Philadelphia and raised in Boston, Greener (1844-1922) was light complected, having several European ancestors, though he never attempted to "pass" as white. His early schooling was erratic--after his father left for California to prospect for gold, Greener was forced to take various clerk and hotel jobs to help support his family. Employers noted Greener's intellectual gifts and encouraged him in a self-directed course of study. Greener also began attending political and abolitionist lectures and was eventually able to resume his formal education when a benevolent employer sponsored his enrollment at Oberlin. He then studied two years at Phillips Academy, Andover, and was accepted to Harvard in 1865. "He lived alone in the dorm and struggled through his freshman year, which he had to repeat. [...] Although he did not report hostilities, he found his classmates continually curious and confused by him. Rumors spread that he was an escaped slave, that he had no prior education, or that he had served in the Civil War" (Ardizzone, AN ILLUMINATED LIFE, p. 19). Greener graduated with high honors, and his many awards include first prize in Boylston Declamation, First Bodwoin for a Dissertation, and the Boylston Prize for Oratory (Williams, p. 439). Greener went on to a distinguished career in education, law, and civil rights: "Greener was a reflection of the professional elite, the "Talented Tenth" of the Negro race, whose accomplishments the leader W.E.B. Du Bois believed would both persuade white America to endorse social and political equality and actively help other members of the race to improve their educational, cultural, economic, and political standing. [...] Du Bois had specifically identified Greener as a member of this special group [...]" (Ardizzone, p. 15). Upon graduating, he held teaching positions in Philadelphia and Washington, D.C. before accepting a professorship at the University of South Carolina during its brief Reconstruction-era experiment in integration. While there, Greener became the school's first African-American librarian, earned his law degree, and worked tirelessly to advance African-American rights and education. He later served as Dean of the Howard University law school and continued to practice law for much of his life--most notably defending West Point cadet Johnson C. Whittaker. Greener also wrote and lectured on African-American topics, debating Frederick Douglass on the issue of black migration (cf. Woodson, NEGRO ORATORS, pp. 453-487). Greener's daughter, Belle da Costa Greene, "passed" as white, and would go on to a brilliant career as J.P. Morgan's librarian. An immensely important and rare item, a document from the tragically brief period of Reconstruction-era gains in civil rights for blacks. The yearbook includes one portrait of Greener SIGNED by him beneath the image; additionally, Greener appears in the Thayer Club ("Commons") group photo and the Class of 1870 group photo. The photographer, George Kendall Warren (1824-1884), was a distinguished northeastern landscape photographer and the most highly-regarded collegiate yearbook photographer to elite northeastern institutions: Dartmouth, Williams, Brown, Wesleyan, Yale, Princeton, Rutgers, West Point, Union, and Harvard

      [Bookseller: James Cummins Bookseller ]
 21.   Check availability:     ABAA     Link/Print  

        CANONBURY HOUSE; Or, The Queen's Prophecy.

      LONDON John Dicks 313 The Strand. 1870 First Edition. A very nice copy of the first edition in original blind stamped & gilt embossed publishers cloth 10"x7" 237pps. printed in double colums and bound from 30 weekly penny parts. Original yellow coated endpapers with no ownership marks 21 full page illustrations by by E.H.Corbould [1815-1905] Reynolds was an English novelist and Chartist leader ; Editor of the London Journal [1846] Reynold's Miscellany [1846] and Reynold's Weekly Newspaper (1850) Virtually forgotten now, his exposure of Victorian poverty & criminality predates Mayhew's better known accounts. In his lifetime he was more read than Dickens or Thackeray and in his obituary " The Bookseller " called him the most popular writer of our times. Scarce Copac records only the Bodleian Library copy.NB: Additional images of the book can be provided on request.

      [Bookseller: John L Capes]
 22.   Check availability:     UKBookworld     Link/Print  


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