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

        (Advertisment broadside for the Indian Vampire Bat or Flying Fox.) Nie gesehenes Wunderthier! Der fliegende Hund aus Ostindien, der erste und einzig lebende in ganz Europa, ausgestellt in Schröder's zoologischem Garten. ENGLISH TRANSLATION OF CAPTIONS: A never seen wondrous anmial! The flying fox from East India, the first and only alive in Europe, exhibited in Schröder's Zoological Garden.

      Printed by Kramer & Baum, Krefeld, around 1870.. Typographical hand bill. Size: 9.5 x 7 inches. In fine condition. A very rare and unusual hand bill from the travelling menagerie of Johannes Schröder, who himself already called his menagerie a Zoological Garden, avoiding the term ‘menagerie'. It exclusively advertises one new mammal species to be shown to the audience: The Flying Fox or Fruit Bat, commonly referred to as the Vampire. Little to nothing is known about this travelling menagerie, but indications on where exactly Schröder travelled in Germany are given by two eyewitness reviews added below the main text. The first, adressed from Dresden in Saxony, is a statement by the King and the Queen of Saxony, the other is an approval of the animal as an uncommon species from India by one of the most influential German natural historians of his time : Christian Gottfried Ehrenberg, adressed from Berlin. While the hand bill was printed in Krefeld, a small town in the very west of Germany, it so seems that Schröder travelled westover after having visited Prussia and Saxony. Most interesting though is, that Schröder‘s Travelling Zoo was accompagnied by a classical Wunderkammer on which information can be drawn from an extremely rare handout pamphlet, traceable in only one copy worldwide, held by the Bavarian State Library: “Führer in dem wandernden zoologischen Garten und der Sammlung von Kunst, Alterthums- & Naturseltenheiten, Münzen etc.” (Johannes Schröder, Dresden, 1869). A link to their pdf is available through Worldcat. A second, changed edition appeared in Speyer in 1872, also held by only one library worldwide. In these two publications Schröder talks of his collections as a ‘museum' rather than a as ‘natural cabinet' or ‘kunstkammer' – a change as notable as his previously mentioned turn from ‘menagerie' to ‘zoological garden'.

      [Bookseller: Antiquariat Stefan Wulf]
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        Codigo de Enjuiciamientos en Materia Civil con Notas

      1870. Authoritative Study of Peru's 1852 Civil Code Lama, Miguel Antonio de la, Editor. Codigo de Enjuiciamientos en Materia Civil con Notas y Concordancias. Lima: Imprenta del Estado, 1870. 476 pp. Octavo (8" x 5-1/2"). Printed wrappers bound into recent cloth, printed paper title label to spine, endpapers renewed. Light browning to text, internally clean. Ex-library. Small inkstamp to title page. * First edition. Lama was an authority of Peruvian law. This annotated text of the 1852 civil code was standard work. Clagett, A Guide to the Law and Legal Literature of Peru 30.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        Altkolorierte Original-Lithographie: *Das Millernthor in Hamburg* ( um 1870 gedruckt )

      Bildmaß der Darstellung: 23 x 33,5 cm ( Höhe x Breite ). Die Bildlegende nur mit Bezeichnung Das Millernthor in Hamburg ohne nähere Angaben zum Zeichner und Stecher. ( Laut untenstehendem montierten bibliographischen Zettel des ehemaligen Bücherkabinetts Hamburg von A. Sohnemann um 1870 ausgeführt ). Alt unter Passepartout und Glas gerahmt ( Rahmenmaß: 40,5 x 52 cm ). Das Blatt im Abendlicht + Mondlicht mit Personen-und Kutschenstaffage. Hinter den beleuchteteten Pfeilern und Gittern des Millerntores ragt der Turm des Michels empor. Das Blatt gebräunt, ansonsten von guter Erhaltung. ( Hier vorzugsweise Selbstabholung wegen Bruchgefahr ). Verso mit altem Klebeetikett *Hamburgensien-Meyer, Poststr. 9* sowie verso untenstehendem montierten Zettel mit näheren Angaben zu dem Blatt. ( Pic erhältlich // webimage available )

      [Bookseller: Antiquariat Friederichsen]
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        BY ORDER OF THE KING. The Authorised English Translation Of L’Homme Qui Rit.

      London: Bradbury and Evans. 1870 - First complete English edition. Three volumes. Publisher’s original green cloth with gilt titles to the upper boards and spine, illustration in black to the upper boards. A very good set, the bindings with uniform rubbing and bumping to the spine tips and with a little rippling of the cloth, but clean and bright. The contents are slightly shaken, all three volumes retain the original half titles and are illustrated throughout with an engraved frontispiece and vignette title in each volume, 6 plates in volume I, 5 plates in volume II, and 3 plates in volume III. There is the occasional foxing spot to the margins of some pages and faint evidence of a bookplate having been removed from the endpapers otherwise clean throughout. An attractive example in original condition. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. [Attributes: Hard Cover]

      [Bookseller: LUCIUS BOOKS (ABA, ILAB, PBFA)]
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        Bad Pyrmont'.

      - Farblithographie b. Paul Geissler in Berlin, um 1870, 56 x 75,5 Souvenirblatt mit 68 Ansichten. - Mittig Gesamtansicht von Pyrmont umgeben von Arztvillen, Salzbadehaus, Hauptallee, Stahlbadehaus, Schloß, Erdbeer Tempel, Klester Allee, Friedensthal, Königsberg, Helenquelle, Erdfälle, Dunsthöhle, Spielplätze, Goldfischteich u.a.

      [Bookseller: Antiquariat Norbert Haas]
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        (A Travelling Waxworks Wunderkammer including the ‘Siamese TwinsÂ’ Chang & Eng Bunker, mummies, and the ‘apewomanÂ’ Julia Pastrana and her baby.) Musée francais. Zum Erstenmale in dieser Stadt ausgestellt: Die zusammengewachsenen Siamesischen Zwillinge. Das größte Naturwunder des 19. Jahrhunderts. ENGLISH TRANSLATION OF CAPTIONS: Musée francais. For the first time exhibited in this town: The conjoined Siamese Twins. The greatest Natural Wonder of the 19th century.

      Munich, Deschler, s.d., but 1870.. Huge wall bill with a small wood cut vignette, showing Chang & Eng Bunker. Printed on very thin, yellow paper. Size: 25.5 x 8.5 inches. Somewhat narrow left margin, but in fine condition. Scarce wall bill advertising the Travelling Museum of Alexander Hartkopff. His name is not stated anywhere on the bill, but the exhibition can be identified as the ‘Museum HartkopffÂ’ with absolute certainty. Hartkopff was primarily based in Paris and this may explain why he could chose the title ‘Musée francaisÂ’, but I did not find a reasonable explanation, why his collection here became advertised as being a french museum and that exactly in the year the French-German war broke out – especially as Hartkopff had advertised under his name all the years before as contemporary periodicals or the previous wall bill in this catalog show. The bill starts with an announcement of what would have been the only visit of the conjoined twins Charles and Eng Bunker (1811-1874) to Munich. But it is higly unlikely, that the ‘Musée francaisÂ’ was indeed displaying the twins and not rather a waxwork model of them : Discovered in Thailand in 1829, but actually of chinese origin, the twins were brought to the US in 1839 and gained considerable popularity as main attraction in circusses, funfairs and freak shows. It was their origin that coined the term ‘Siamese twinsÂ’ for their kind of physical malformation, a phrase much in use until just recently. Although the twins mostly toured America they were well known all over the globe and later in their lives also visited Europe. In 1870, when the offered wall bill was printed, they did in fact visit Germany to present themselves to Rudolf Virchow in Berlin, the leading authority in the field of pathology in Germany at that time, to find out, whether there were any chances for surgically disjoining them. Virchow found it possible, but the twins finally decided against any change of their current condition and returned to the US. On the way home, Chang suffered a stroke and from then on depended totally on the help of his brother for the rest of his life. Although the information about the Bunker Twins given in the text of the bill basically is correct (their current age, their arrival from the States via England, their intention of possible surgical treatment), it is a well known fact that during their stay in Germany they were exclusively engaged by the company of Ernst Renz. Moreover, when staying in Berlin to meet Virchow, they insulated themselves from the public for most of the time, and to fullfill the contract with Renz they surely had to do so wherever in Germany they went to. They were clever and successful businessmen and one can doubt that they would have joined another exhibition taking the risk of contract penalties. But as mentioned in the description of the foregoing wall bill, the distinction between ‘the naturalÂ’ and ‘the artificialÂ’ may have been of much lesser importance in the 1860/70s as it is today. For the contemporary audience it may well have been almost the same to get the chance of attending an exhibition of life-like wax models as to meet the originals. But the ‘Musée francaisÂ’ included much more than the Bunker Twins. It contained a huge Wunderkammer with items from “geology, ethnology, natural history, physiology and anthropology”. This collection is described in much detail in the lower half of the bill and is stated to count for more than 2000 items spread over seperate sections (compared to only 725 on the previous wall bill from only a few years before). Many, though not all of these items again appear to be waxwork models, sculptures or half-artificial preparats. As a first highlight, the description of the cabinet so starts with a giant octopus (“sepia octopedia”), which eight tentacles were claimed to measure 11 feet long in lenght, and being as thick as 11 inches. The second section then is devoted to palaeontology, roaming a selection of fossils and models of prehistoric animals, among which we find the Ohio-animal – an american mammoth, the Dinotherium and Megasaurus : “some kind of crocodile of 20 feet in lenght”. All of those appear to be life like sculptures, not excavated skelletons. The third section is made up by a collection of ethnological models, including several mummified and tattooed heads from Australia and America. Next is a huge collection of anatomical waxworks, all of which from the hand of the German-Danish artist P. Styrman Daniel from Schleswig, graduate of the Royal Copenhagen Academy of Fine Arts and medalled there for three times (and again at the Exposition Universelle of Paris in 1867 for his waxworks!). These two last mentioned sections on human ethnography, physiology and anatomy comprised waxworks and natural preparats of basically all parts of the human body, the nervous system, the blood vessels, healthy and diseased organs as well as scenes from surgical treatments, like lithotomy – IÂ’ll be returning to this section shortly. The fifth section then showed wax molds taken from original facial (death) masks of historical persons from the 18th century onwards that formed the Swedish phrenologist Gustaf Magnus SchwartzÂ’ (1783-1858) collection. The final and somewhat heterogenous section then is again devoted to natural history and medicine, it contained a Gorilla or “man from the woods” from Gaboun, a smaller collection of pathologic specimens, mainly made up from nephrolits and comparable minerals, and another small collection of 20 specimens, representing human and animal vermin. LetÂ’s now return to the section of ethnographica and anatomical waxworks from the hands of P. S. Daniel. There, following the enumeration of several mummified heads, we find the short notation of an ‘objectÂ’ entitled “Julie Pastrana und ihr Kind” (i.e. Julie Pastrana and her child) accompagnied by a short biographical sketch: Pastrana was a Mexican born woman suffering from hypertrichosis, a malformation of the body that usually comes together with excessive growth of hair, and was she therefore oftenly referred to as the ‘ape or bear womanÂ’. While most of the items in the section of the wall bill that mentions “Julia Pastrana and her child”, appear to have been waxworks, it would seem likely, that also she and her child would only have become represented as waxwork sculptures, just like in the before discussed, obvious case of the Bunker Twins. But that appears not to be true and the history of the whereabout of HartkopffÂ’s museum reveals, that these two ‘itemsÂ’ indeed were the real mummies of Julia Pastrana and her child! Just like Chang and Eng Bunker, Julia Pastrana travelled the world engaged for freakshows, that agglomerated all kinds of deviancies from nature and oftenly were the only opportunity for individuals like her to make a living. Pastrana was said to have been married to her ‘managerÂ’ Theodore Lent, a term in her case probably meaning ‘ownerÂ’ – Lent bought her from a Sinaloa woman who claimed to be her mother. When touring Europe in 1860, Lent and Pastrana, who then was pregnant from her husband, also visited Russia. During their stay in Moscow, Julia gave birth to a son who suffered from the same malformations as herself. While still in childbed, both she and her new born died. Her husband, bereft his source of earnings, did not remain in mourning for a long time and sold their bodies to the Moscow University, where they got embalmed by a professor Sukolov. When Lent saw the excellent result of SukolovÂ’s work, he bought back the bodies and continued touring Europe, displaying his wifeÂ’s and his son‘s mummies. They were said to be usually displayed in a glass cage, with Pastrana wearing costumes she appeared on stage with before, having her shown aside her, mounted to a wooden stand like if he was a parrot or monkey. Lent continued in that way until after a few years he met another woman, who suffered from the same desease as Julia Pastrana and whose look resembled her so much, that he claimed her to be the sister of Julia. From then on, the mummies of Julia Pastrana and her child were no longer of the same use for him and they appear to have been sold ending up in HartkopffÂ’s museum. When also Hartkopf died in 1877, his museum was sold several times, finally being bought by the danish travelling compagnie of Nils Nilsen, who toured Scandinavia and especially Norway. Somewhen after 1907 we loose sight of the mummies in regards of public advertisments of HartkopfÂ’s museum (which although now owned by someone else, continued to be shown under the name of Hartkopf). But in 1921, the mummies of Pastrana and her son were rediscovered by the Norwegian Haakon Lund, in his country known as “tivoli kongen” (king of the funfairs). He and his son, who in 1954 inherited the collections of his father, presented the mummies on their tours throughout Scandinavia, but the public interest for that kind of curiosity was much lesser then as before. Upon a planned tour through the United States leading to an offer from an american collector to buy the mummies at the price of 150.000 crowns, a public outcry arose in Scandinavia and the mummies were withdrawn from the public. They were then kept in a storage facility, which vandals broke into, mutilating the mummy of PastranaÂ’s son, in 1976. The mummy of Julia Pastrana herself was stolen in 1979, but then later reported to the police as an ‘unidentified bodyÂ’, who then stored it at the Oslo Forensic Insitute. In 1990 the body was identified as being the mummy of Julia Pastrana and was from then on kept in a sealed coffin, only accessible to scientist upon special permit. Although the Norwegian government already in 1994 recommended the burial of Julia PastranaÂ’s remains, it was not until february, 12th, 2013, that she was turned over to mexican authorities and burried nearby her birthplace. The story of Julia Pastrana and her son does in many aspects resemble that of the ‘Hottentot womanÂ’, Sarah Baartman (1790-1815), whose skelleton as well as preparats of internal organs were on public display in the Paris Musée de lÂ’homme until 1974. Just like Julia Pastrana she became buried in her homeland first after the millenium, in 2002.

      [Bookseller: Antiquariat Stefan Wulf]
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        The Story of a Bad Boy

      Fields, Osgood & Co, Boston 1870 - First edition, First state. Frontispiece and illustrations throughout, attributed to Sol Eytinge Jr. and Harry Fenn; iv 261, [3] pp. + 23 pp. of Publisher's advertisements at the back, some dated 1870. 1 vols. 8vo. BAL 269; Peter Parley p.35 Original red cloth, spine gilt, brown endpapers; extremities frayed and some staining to covers; contemporary gift inscription on flyleaf, laid in cloth-backed drop box. Provenance: bookplate of Barton Currie (his sale Lot 5, 1963 Parke-Bernet Galleries) Frontispiece and illustrations throughout, attributed to Sol Eytinge Jr. and Harry Fenn; iv 261, [3] pp. + 23 pp. of Publisher's advertisements at the back, some dated 1870. 1 vols. 8vo [Attributes: First Edition]

      [Bookseller: James Cummins Bookseller, ABAA]
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        Röntgenologische Differentialdiagnostik von Francis A. Burgener (Autor), Martti Kormano

      Thieme Georg Verlag, 1870. Endlich einmal ein radiologisches Nachschlagewerk, das nicht von der fertigen Diagnose ausgeht, sondern vom Befund! Auf diese Weise lernt man tatsächlich Röntgenaufnahmen zu interpretieren." Fortschr. Med. " ein hervorragendes Nachschlagewerk." Strahlentherapie und Onkologie "Es erübrigt sich eigentlich zu betonen, daß Inhalt, Form, Text, Gestaltung, die drucktechnische Ausführung der hervorragenden ausgewählten und aufgenommenen Röntgenabbildungen, der Tabellen,Zeichnungen und nicht zuletzt die hervorragende Fachübersetzung allerhöchsten Ansprüchen Rechnung trägt." Zentralorgan Chirurgie Ihr Bildarchiv zur Röntgenologischen Differentialdiagnose! Sie suchen die Diagnose, die sich hinter Ihrem Bildbefund verbirgt? Sie bevorzugen das systematische Herangehen an Ihr differentialdiagnostisches Problem? Sie sichern Ihre Diagnose gerne anhand typischer Referenzbefunde ab? Dann ist dieses Buch exakt für Sie konzipiert! Es garantiert den spielerisch leichten Zugang zur Komplexität der Röntgenologischen Differentialdiagnostik Vollständig Gegliedert in die Themenbereiche Knochen, Thorax und Abdomen werden alle Bereiche der konventionellen Röntgendiagnostik sowie die gängigen Kontrastmitteluntersuchungen dargestellt. Schnell Ausgehend von der Bildmorphologie sind alle differentialdiagnostisch relevanten Krankheitsbilder in 137 tabellarischen Darstellungen aufgelistet. Krankheit, radiographischer Befund, klinischer Kommentar und die zugehörige Abbildung bilden eine Einheit, die die rasche Orientierung ermöglicht. Beispielhaft Typische Befunde dienen als Referenz und führen Sie zur korrekten Diagnose. In 1870 Abbildungen und Schemazeichnungen wird die Röntgenologische Differentialdiagnostik visualisiert und erlebbar. Der kompetente Begleiter in der Weiter- und Fortbildung und wertvolles Hilfsmittel während der fachärztlichen Tätigkeit. Nicht nur ein Buch für Radiologen - auch Internisten, Chirurgen und Orthopäden werden von diesem Werk profitieren."Endlich einmal ein radiologisches Nachschlagewerk, das nicht von der fertigen Diagnose ausgeht, sondern vom Befund! Auf diese Weise lernt man tatsächlich Röntgenaufnahmen zu interpretieren." Fortschr. Med. " ein hervorragendes Nachschlagewerk." Strahlentherapie und Onkologie "Es erübrigt sich eigentlich zu betonen, daß Inhalt, Form, Text, Gestaltung, die drucktechnische Ausführung der hervorragenden ausgewählten und aufgenommenen Röntgenabbildungen, der Tabellen,Zeichnungen und nicht zuletzt die hervorragende Fachübersetzung allerhöchsten Ansprüchen Rechnung trägt." Zentralorgan Chirurgie Röntgenologische Differentialdiagnostik (Broschiert) von Francis A. Burgener (Autor), Martti Kormano

      [Bookseller: LLU-Bookservice]
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        [Two Lincoln Union Ladies' Tickets to the Lincoln Union Ball:] January 5th, 1870 [and] January 26th, 1871

      (New York). (1870-1871). Two printed tickets each with a mounted albumen photograph in cabinet card format (4.25 x 6.25 inches). The back side of each ticket has a faint printed design on white glazed paper. Both tickets are neatly trimmed along the right edge, near fine with a few tiny perimeter tears and light toning. The first ticket from 1870 has a mounted albumen photograph of a painting by A.H. Ritchie, of Lincoln with his cabinet reading the Emancipation Proclamation. The second ticket from 1871 has a mounted albumen photograph of a statue of Lincoln reading a newspaper with Grant and whom we believe is Gideon Wells. The Lincoln Union Social Club, a pro-Republican party function, held its first ball in New York City in 1870. These two ephemeral items, tickets for the first and second balls, are not to be confused with the invitations that preceded them. Of the two, the tickets may be a rarer survival. We know of only one other copy of the 1870 ticket at the Library of Congress. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        NATIONAL LIVESTOCK JOURNAL, VOLUME 1, NUMBER 1

      Chicago: Stock Journal Co., Publishers & Proprietors, 1870., 1870. First edition. First edition, first issue. Quarto. Original 12 3/8" x 10" pictorial wrappers, 40 pp. (including covers and advertisements), triple column, illustrated, advertisements. Inked gift inscription from John P. Reynolds, Editor, at top of front cover with the "Compliments of J. P. R." This first issue was published in Chicago in September of 1870. This introductory issue points out the need for livestock information due to the fact that many areas are not keeping pace with the increasing demand for their products. At the same time livestock producers need to continually upgrade their products in order that the best soon becomes bad enough under neglect and lack of information. Detailed attention is paid to horses, cattle, calves, dairy farming, swine, sheep and wool, the apiary, poultry, and by-products of each category. A full-page list of State and County Fairs for 1870 is provided. Many advertisements are provided that pertain directly to ranching, farming, etc. Many of the advertisements are for companies with Chicago and Illinois as their headquarters. A list of Special Correspondents for the magazine is provided. Minor wear and chipping to the cover edges and lightly soiled, else a very good copy of an elusive title.

      [Bookseller: BUCKINGHAM BOOKS]
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        R. E. Lee

      New York: Blelock & Co, 1870. Steel-faced copper plate: 10 x 7 inches; image: 5 x 3 inches. Title in facsimile signature. Three-quarter length portrait of General Lee in full dress uniform with sword Robert E. Lee (1807-1870) is probably the most revered soldier in American history, and he epitomised many soldierly virtues. The calm dignity of his bearing, which comes through clearly in all the images of him, is especially well communicated in this photogravure by an unknown photographer, taken in 1863.

      [Bookseller: Donald Heald Rare Books]
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        Ludwig van Beethoven (1770 - 1827).

      Original 19th century Gouache after an 1870 painting by C. Jäger. 48 x 34,5 cm. Outer margins slightly frayed only. Extraordinary work with fresh impression of the signature face of this timeless composer. Gouache, also spelled guache, is a type of paint consisting of pigment, a binding agent (usually gum arabic), and sometimes added inert material, designed to be used in an opaque method. It also refers to paintings that use this opaque method. The name derives from the Italian guazzo. Gouache differs from watercolor in that the particles are larger, the ratio of pigment to water is much higher, and an additional, inert, white pigment such as chalk is also present. This makes gouache heavier and more opaque, with greater reflective qualities. (Wikipedia). Ludwig van Beethoven (baptised 17 December 1770 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose many of his most admired works come from this period. (Wikipedia)

      [Bookseller: The Time Traveller's Bookshop]
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        Die wichtigsten Seehäfen der Erde, nach ihren hydrographischen, nautischen und commerciellen Beziehungen. 3 Bände und Supplement-Band in 3 Bänden.

      Oldenburg Schulze -78 1870 - 8°. XX, 717 (2) 123 S./ XVI, 640 S./ XI, 388 S. Mit 6 mehrfach gefalteten lithographierten Tafeln, 1 gefalteten Tabelle und 1 mehrfach gefalteten lithographierten Karte. Halblederbände der Zeit. Sehr ausführliches und detailreiches Werk für alle Schifffahrtstreibenden. Die Tafeln zeigen Ansichten von Küsten. - Gestempelt. Stellenweise papierbedingt leicht gebräunt. Einbände etwas bestoßen. 2 Rücken nachgebunden [Attributes: Hard Cover]

      [Bookseller: Antiquariat Gerhard Gruber]
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        The Story of a Bad Boy

      1870 - Boston: Fields Osgood & Co, 1870 [1870]. 8vo, 261 p., 23 p ads bound in at rear. Publisher's original red cloth with boards ruled in blind and spine stamped in gilt, with chocolate brown clay endpapers. First edition of Aldrich's popular semi autobiographical novel of life in New Hampshire, in the first state, with 'scattered' on p 14 line 20 and the Uncle Sam Series on the first page of ads at rear. Illustrated throughout with full page and in text engravings. A few minor worm holes to lower front spine joint, some minor fraying to spine tips, spine gilt a tad dulled, some minor rubbing to boards, occasional light foxing throughout, with a small dark stain to the last few pages of ads at rear, but a much nicer than usual copy of this title, with none of the heavy soiling and wear that plagues most copies. H BRADLEY MARTIN¿S COPY, with his book plate to fpep, and housed in a custom made 1/4 red morocco clamshell folding box, with some light rubbing to spine joints otherwise Fine. An excellent copy of a highspot of 19th century American juvenalia with an outstanding provenance. BAL 269, Parley to Penrod 35. [Attributes: First Edition; Hard Cover]

      [Bookseller: Marc J Bartolucci]
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        Italia, Costumi _ Naya, Chioggia

      1870 - Photographie,vintage albumen print // Circa 1870 // Tirage albuminé // Format (cm): 18x24

      [Bookseller: photovintagefrance]
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        The Bench and Bar of New-York [sic].

      New York: Diossy & Company,, 1870. Containing biographical sketches of eminent judges, and lawyers of the New-York bar, incidents of the important trials in which they were engaged, and anecdotes connected with their professional, political and judicial career. Octavo (221 x 135 mm). Contemporary half calf, richly gilt spine, pale brown and green morocco twin labels, marbled sides, edges and endpapers. Engraved portrait frontispiece of James T. Brady, portrait of Alvan Stewart. Binding a little rubbed, a few scrapes. An excellent copy. First edition, handsomely bound. Lucien Brock Proctor (1823-1900) "gained a more enduring reputation [than practice at the bar] in his writings on legal history and on New York state biography... The Bench and the Bar of New York was made up of biographical sketches dedicated to the junior bar of New York in the hope that it would serve as an inspiration to young men in the profession" (Dictionary of American Biography).

      [Bookseller: Peter Harrington]
 16.   Check availability:     Biblio     Link/Print  


        Études sur la maladie des vers à soie

      1870 - 2 volumes in 8 de I. Paris, Jean-Albert Gauthier-Villars, 1870, , 2 volumes in 8 de I. frontispice, XII, 322 pages et 36 planches hors-texte ; et de II. (6), 327 pages et 1 planche, demi-basane verte de l'époque, dos lisse orné (coins, coiffes et coupes frottés), Première édition. Durant trente ans, la France connut une baisse très importante dans sa production de tissus de soie, due à une maladie inconnue touchant la chenille du bombyx du mûrier. En 1865, le Ministre de l'agriculture chargea Louis Pasteur d'étudier ce phénomène. Celui-ce se rendit dans le sud de la France, lieu d'élevage des vers, et effectua des recherches sur la maladie pendant 5 ans. Dans cet ouvrage, Pasteur fait un compte-rendu des différentes recherches et expériences menées sur les maladies des vers à soie. Il explique que la mort des spécimens est due à deux maladies différentes qu'il appelle pébrine et flacherie. L'une est causée par un parasite et l'autre est due à l'environnement. Les deux affections sont héréditaires et contagieuses. Il indique enfin les moyens pour éradiquer la maladie notamment en enlevant les oeufs et les larves contaminées et en faisant attention aux conditions environnementales dans lesquelles sont placées les spécimens. C'est au travers de cette étude et de celle du charbon que Pasteur démontre le premier qu'une maladie est liée à un agent pathogène déterminé. Norman 1657 ; En français dans le texte, 272 ; et Garrisson & Morton, 2481. [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
 17.   Check availability:     AbeBooks     Link/Print  


        SELECT WORKS, Including IDYLLS Of The KING, The HOLY GRAIL & Other Poems, The PRINCESS, ENOCH ARDEN Etc , MAUD Etc & In MEMORIAM

      London: Strahan and Co, 1870. Full vellum bindings with green morocco title labels to spine. Gilt dentelles. Red edgestain. Marbled eps. Average wear & soiling to bindings. Bookplate to front pastedown(s). Occasional light foxing. Maud with small rub to title label. Idylls with a few accomplished po pen drawings to margins. A handsome VG - VG+ set.. 6 volumes. 6-3/4" x 4-1/8"

      [Bookseller: Tavistock Books, ABAA]
 18.   Check availability:     Biblio     Link/Print  


        Reynard the Fox

      NY: Stroefer, 1870. Hardcover. [vi], 236pp. 36 full page engravings plus the engraved title page. Three quarter red Morocco over boards. Boards scuffed and darkened, scattered foxing to the plates .A good copy. mb. Good.

      [Bookseller: Kenneth Mallory, ABAA]
 19.   Check availability:     Direct From Seller     Link/Print  


        LES CHATS

      Paris: J. Rothschild, 1870. Fifth Edition. This is a deluxe edition of Champfleury's history of the beloved domestic pet, with illustrations by Manet, Delacroix, and Marie Champfleury, offered here in a striking and appropriately feline binding by Parisian artisan Michel Ritter (1853-98). Our binder had studied with and worked for Engel of Paris, and afterward, in his short-lived career in the late 1880s and early 1890s, produced work of very high quality that is now seldom seen. "Les Chats" chronicles the history of the cat from ancient times in China, Egypt, and Greece, through the witchcraft-obsessed Middle Ages, to its status as household iconoclast, with additional discussion of the cat's influence in the arts and culture. An important French novelist and art critic, Jules François Félix Husson, called Champfleury (1821-89), was a proponent and pioneer of French realism. He was also a serious collector of French art and a porcelain expert who curated the collection at the famed Sèvres porcelain factory. The pink doublures here, with row after row of posing cats, are especially appealing.. 223 x 155 mm. (8 3/4 x 6 1/8"). xiv, 332 pp. Fifth Edition. DELIGHTFUL GREEN CRUSHED MOROCCO, BEAUTIFULLY GILT AND INLAID, BY M. RITTER (stamp-signed on front doublure), covers with delicate gilt-tooled frame incorporating at corners red oval morocco onlays stamped with a gilt cat; raised bands, spine densely gilt in compartments featuring central red morocco oval with cat stamp, PINK MOROCCO DOUBLURES SEMÉ WITH ROWS OF GILT CATS, blue brocade free endleaves, marbled flyleaves, top edge gilt, other edges rough trimmed. With black and white illustrations in the text, 18 of them full-page, with eight plates, as called for, three in color (one of these double-page) and five etchings, one by Manet; EXTRA-ILLUSTRATED with 24 engraved plates depicting cats or famous cat lovers. With an autograph letter, signed, tipped in at front. A Large Paper Copy. Spine uniformly sunned to olive brown, a breath of rubbing to joints and extremities, occasional offsetting from plates, other trivial imperfections, but A LOVELY BOOK IN FINE CONDITION, clean and fresh internally, with vast margins, and in a lustrous binding with only negligible signs of wear. This is a deluxe edition of Champfleury's history of the beloved domestic pet, with illustrations by Manet, Delacroix, and Marie Champfleury, offered here in a striking and appropriately feline binding by Parisian artisan Michel Ritter (1853-98). Our binder had studied with and worked for Engel of Paris, and afterward, in his short-lived career in the late 1880s and early 1890s, produced work of very high quality that is now seldom seen. "Les Chats" chronicles the history of the cat from ancient times in China, Egypt, and Greece, through the witchcraft-obsessed Middle Ages, to its status as household iconoclast, with additional discussion of the cat's influence in the arts and culture. An important French novelist and art critic, Jules François Félix Husson, called Champfleury (1821-89), was a proponent and pioneer of French realism. He was also a serious collector of French art and a porcelain expert who curated the collection at the famed Sèvres porcelain factory. The pink doublures here, with row after row of posing cats, are especially appealing.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 20.   Check availability:     Biblio     Link/Print  


        HEURES ILLUSTREES

      Paris: [Printed in color by Lemercier et Cie. for] Laplace, Sanchez et Cie, ca. 1870. This is a very pretty chromolithographed prayer book designed by an authority on Medieval manuscript decoration, in a very attractive binding with the innovative design element of intricately gilt-tooled morocco frames applied to the silk endleaves. The binding is unsigned, but the style is reminiscent of Gruel, and it is certainly conceivable that our artisan had apprenticed at that great atelier. The materials here are very fine, the workmanship is first rate, and the gilder who did the intricate tooling on the dentelles and the endleaf frames was highly skilled. This prayer book is one of the popular 19th century chromolithographed productions that echoed the style of 15th century illuminated Books of Hours. In addition to morning and evening prayers, the text here includes prayers for Mass and Confession, Vespers and Compline, Communion Prayers, and the Nuptial Mass. Framed but otherwise blank leaves at the front of the volume provide a space for presentation inscriptions, and similar leaves at the end allow for recording genealogical information. These have not been filled in, and happily for us, the volume shows very few signs of any kind of use.. 155 x 125 mm. (6 1/4 x 5"). 4 p.l., 180 pp., [2] leaves, all mounted on stubs. Edited by Charles Mathieu. Charming contemporary chocolate brown crushed morocco, covers framed with gilt fillets and decorative floral rolls, raised bands, spine compartments framed by double gilt fillets, gilt titling ("Missel"), densely gilt inner dentelles, brown watered silk doublures, red watered SILK FREE ENDLEAVES WITH AN UNUSUAL AND EXCEPTIONALLY INTRICATE ONLAID BLUE AND RUSSET MOROCCO FRAME, ELABORATELY TOOLED IN GILT. Every page with chromolithograph frame based on the decorations in Medieval Books of Hours, eight full-page color miniatures depicting Saint Matthew, Jesus, the Crucifixion, Saint Gregory the Great, Saint Louis, the Pilgrims of Emmaüs, the Holy Trinity, and the Marriage of the Virgin. Flyleaves with offsetting from glue used on endpaper borders, occasional dark smudges to margins (from printing process?), otherwise a fine, clean copy with rich colors and a sparkling binding. This is a very pretty chromolithographed prayer book designed by an authority on Medieval manuscript decoration, in a very attractive binding with the innovative design element of intricately gilt-tooled morocco frames applied to the silk endleaves. The binding is unsigned, but the style is reminiscent of Gruel, and it is certainly conceivable that our artisan had apprenticed at that great atelier. The materials here are very fine, the workmanship is first rate, and the gilder who did the intricate tooling on the dentelles and the endleaf frames was highly skilled. This prayer book is one of the popular 19th century chromolithographed productions that echoed the style of 15th century illuminated Books of Hours. In addition to morning and evening prayers, the text here includes prayers for Mass and Confession, Vespers and Compline, Communion Prayers, and the Nuptial Mass. Framed but otherwise blank leaves at the front of the volume provide a space for presentation inscriptions, and similar leaves at the end allow for recording genealogical information. These have not been filled in, and happily for us, the volume shows very few signs of any kind of use.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 21.   Check availability:     Biblio     Link/Print  


        Our Modern Falstaff Reviewing His Army

      [New York]. [1870?]. Original electrotype plate (about 4" x 2.5"). Neatly removed from the wood block, about near fine. An electrotype plate of one of Thomas Nast's earliest cartoons attacking Tammany Hall. The sketch was first published in the November 5th, 1870 issue of Harper's Weekly, it depicts Boss Tweed as: "Our Modern Falstaff Reviewing His Army," of thugs, convicts, and fraudulent voters. Nast's inspiration came from a New-York Times editorial which compared the Tammany Ring's gang of repeat voters with Falstaff's rag-tag army. Though we cannot be certain, this plate most likely was part of the set of electrotypes made by Vincent Dill for Nast's Illustrated Almanac for 1871, the first of five annual almanacs showcasing Nast's work, published in late October, 1870 by McLoughlin Brothers in New York. A scarce survival. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 22.   Check availability:     Biblio     Link/Print  


        HEURES ILLUSTREES

      [Printed in color by Lemercier et Cie. for] Laplace, Sanchez et Cie ca. 1870, Paris - 155 x 125 mm. (6 1/4 x 5"). 4 p.l., 180 pp., [2] leaves, all mounted on stubs. Edited by Charles Mathieu. Charming contemporary chocolate brown crushed morocco, covers framed with gilt fillets and decorative floral rolls, raised bands, spine compartments framed by double gilt fillets, gilt titling ("Missel"), densely gilt inner dentelles, brown watered silk doublures, red watered SILK FREE ENDLEAVES WITH AN UNUSUAL AND EXCEPTIONALLY INTRICATE ONLAID BLUE AND RUSSET MOROCCO FRAME, ELABORATELY TOOLED IN GILT. Every page with chromolithograph frame based on the decorations in Medieval Books of Hours, eight full-page color miniatures depicting Saint Matthew, Jesus, the Crucifixion, Saint Gregory the Great, Saint Louis, the Pilgrims of Emmaüs, the Holy Trinity, and the Marriage of the Virgin. Flyleaves with offsetting from glue used on endpaper borders, occasional dark smudges to margins (from printing process?), otherwise a fine, clean copy with rich colors and a sparkling binding. This is a very pretty chromolithographed prayer book designed by an authority on Medieval manuscript decoration, in a very attractive binding with the innovative design element of intricately gilt-tooled morocco frames applied to the silk endleaves. The binding is unsigned, but the style is reminiscent of Gruel, and it is certainly conceivable that our artisan had apprenticed at that great atelier. The materials here are very fine, the workmanship is first rate, and the gilder who did the intricate tooling on the dentelles and the endleaf frames was highly skilled. This prayer book is one of the popular 19th century chromolithographed productions that echoed the style of 15th century illuminated Books of Hours. In addition to morning and evening prayers, the text here includes prayers for Mass and Confession, Vespers and Compline, Communion Prayers, and the Nuptial Mass. Framed but otherwise blank leaves at the front of the volume provide a space for presentation inscriptions, and similar leaves at the end allow for recording genealogical information. These have not been filled in, and happily for us, the volume shows very few signs of any kind of use. This is a very pretty chromolithographed prayer book designed by an authority on Medieval manuscript decoration, in a very attractive binding with the innovative design element of intricately gilt-tooled morocco frames applied to the silk endleaves. The binding is unsigned, but the style is reminiscent of Gruel, and it is certainly conceivable that our artisan had apprenticed at that great atelier. The materials here are very fine, the workmanship is first rate, and the gilder who did the intricate tooling on the dentelles and the endleaf frames was highly skilled. This prayer book is one of the popular 19th century chromolithographed productions that echoed the style of 15th century illuminated Books of Hours. In addition to morning and evening prayers, the text here includes prayers for Mass and Confession, Vespers and Compline, Communion Prayers, and the Nuptial Mass. Framed but otherwise blank leaves at the front of the volume provide a space for presentation inscriptions, and similar leaves at the end allow for recording genealogical information. These have not been filled in, and happily for us, the volume shows very few signs of any kind of use.

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
 23.   Check availability:     AbeBooks     Link/Print  


        Motifs Historiques d'Architecture et de Sculpture d'Ornement pour la Composition et la Decoration Exterieure des Edifices Publics et Prives--Choix de Fragments Empruntes a des Monuments Francais du Commencement de la Renaissance a la Fin de Louis XVI (Two volume set)

      Librairie Generale de l'Architecture & Des Travaux Publics, Paris 1870 - Two volume set, 1870, hardcovers with 1/4 leather boards, folio, 44pp. + 198 plates in b&w. Books ex-library with stickers, plates and pockets to endpapers, previous owner's signatures to half-title, texts show library stamps to first page of text (vol. I) and reverse side of full-title (vol. II), no other library marks; volume two missing bottom 3 inches of back strip, rubbing and wear to leather spines, bindings tight, texts have foxing. No DJs. Text in French. THIS LARGE, HEAVY SET WILL REQUIRE ADDITIONAL SHIPPING FEES. [Attributes: Hard Cover]

      [Bookseller: Caliban Books Pittsburgh PA, ABAA]
 24.   Check availability:     AbeBooks     Link/Print  


        Our Modern Falstaff Reviewing His Army

      [New York]. [1870?]. Original electrotype plate (about 4" x 2.5"). Neatly removed from the wood block, about near fine. An electrotype plate of one of Thomas Nast's earliest cartoons attacking Tammany Hall. The sketch was first published in the November 5th, 1870 issue of Harper's Weekly, it depicts Boss Tweed as: "Our Modern Falstaff Reviewing His Army," of thugs, convicts, and fraudulent voters. Nast's inspiration came from a New-York Times editorial which compared the Tammany Ring's gang of repeat voters with Falstaff's rag-tag army. Though we cannot be certain, this plate most likely was part of the set of electrotypes made by Vincent Dill for Nast's Illustrated Almanac for 1871, the first of five annual almanacs showcasing Nast's work, published in late October, 1870 by McLoughlin Brothers in New York. A scarce survival. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
 25.   Check availability:     IOBABooks     Link/Print  


        Gesamtansicht aus der halben Vogelschau ('Panorama von Wien - G. Veith del. - Würbel lith. - Druck v. Ed. Hölzel in Wien. - Verlag v. V.A. Heck in Wien.').

      - altkolorierte Lithographie v. Würbel n. G. Veith b. V.A. Heck in Wien (Druck von Eduard Hölzel in Wien), um 1870, 45,7 x 74 Zeigt Wien aus der halben Vogelschau. - Unter der Ansicht Bildunterschrift. - Dekorative detaillierte Vedute.

      [Bookseller: Antiquariat Norbert Haas]
 26.   Check availability:     ZVAB     Link/Print  


        HISTORY OF DON QUIXOTE. The Text Edited by J. W. Clark and A Biographical Notice of Cervantes, by T. Teignmouth Shore

      London: Cassell, Petter, and Galpin, [c. 1870]. A very early issue of this wonderfully illustrated Cervantes. With 118 spectacular illustrations by by Gustave Doré. Royal 4to (12 x 9 inches approx.), in a very fine, English binding of deluxe dark green morocco, the covers ornately framed in gilt featuring thick beautifully roll-tooled band-, frame- and panel-work surrounded by multi-ruled gilt lines with small rosette corners gilt, inner ruled in blind and gilt, the spine very richly gilt decorated in compartments between wide gilt-ruled raised bands, the compartments feature fine and elaborate gilt panel work incorporated multiple tools, one compartment lettered in gilt, board edges gilt tooled, fine marbled endpapers and a.e.g. xxviii, 737 pp. A very handsome and sturdy copy, internally fresh with only a bit of very occasional minor spotting, much less then typically found, the binding is very strong and well preserved, beautiful and of fine craftsmanship. AN UNUSUALLY HANDSOME COPY. VERY SCARCE IN SUCH WELL PRESERVED CONDITION. Gustave Doré was one of the greatest illustrators of his day. His grand and magnificent style is a perfect complement for Cervantes heroic tale. This massive tome is one of our favorite printings of the Spanish classic and, because of the weight of the text block, is usually found broken and loose. This copy is as sturdy as one could hope for and is very handsome as well. A great compliment to any fine library and a must for the collector of 19th century illustrated books.

      [Bookseller: Buddenbrooks, Inc.]
 27.   Check availability:     Biblio     Link/Print  


        Coutumes du Pays et Duché de Brabant. Quartier d'Anvers. (Texte et Traduction). "Recueil des Anciennes Coutumes de la Belgique, Coutumes de Brabant, Marquisat d'Anvers, Tome I - VIII

      Bruxelles, Fr. Gobbaerts, succ. d' Emm. Devroye, 1870-1879. 8 vols. complete. Large 4to (31x25,5 cm). 7 thick vols. uniformly bound in contemp. half cloth, lettering on spine (spines faded) and 1 vol. bound in contemporary half calf, with ribbons, gilt lettering on spine, marbled endpapers. Uncut. Nice set with wide margins, printed on handmade paper. Watermark: Dutch lion and date 1861. Very clean on the whole, only 11 leaves with spickled browning and 1 index-leaf clumsy repaired). - Middle Dutch and old Dutch texts with French translations by Ch. Stallaert printed opposite. I: Coutumes de la ville d'Anvers, Tome premier. (ii),740 pp."Coerboeck, Coutumes dites "Antiquissimae ", Het Gulde-Boeck, Coutumes dites "in antiquis"; II: Coutumes de la ville d'Anvers, Tome deuxième.(iv),840 pp. with large folding map. Coutumes dites "impressae"; III: Coutumes de la ville d'Anvers, tome troisième. (iv),612 pp. Coutumes dites "compilatae" (last 4 ll. spickled brown spots, last leaf rep.); IV: Coutumes de la ville d'Anvers, tome quatrième. (iv),862,(ii) pp. Coutumes dites "compilatae" suite. Contrats et obligations, procedure civile, causes criminels (2 ll. with spickled brown spots); V: Coutumes du Kiel, de Deurne et de Lierre (iv),712 pp. (5 ll. with spickled brown spots); VI: Coutumes de Santhoven, de Turnhout et de Rumpst. (iv),676 pp.; VII: Coutumes d'Herenthals, de Casterlé, de Moll, Balen et Desschel, de Gheel, de Hoogstraten, de Befferen et de Putte, et féodales du Pays de Malines. (iv),594 pp.; VIII: Costumen der stad Mechelen uitg. door G. de Longé, met vertaling in het Fransch door Karel Stallaert. (ii),208 pp.

      [Bookseller: Boekhandel - Antiquariaat Emile Kerssema]
 28.   Check availability:     Biblio     Link/Print  


        Weibliche Trachtenportraits (Brustbild) - Mappe mit 10 signierten und 5 unsignierten Orig.-Aquarelle.

      Originalaquarelle (14,5 x 11, 5 cm) a. Karton ( 32 x 24 cm)montiert, OLwd-Mappe (ca. 1870) m. lsoen Blättern, Mappe felckig, Blätter papierbedignt etwas gebräunt - sonst tadell. Die Signaturen Dinkel fec. meist in Tusche (ein Mal in Blei) am linken Bildrand unten. Aus der Sammlung einer Zürcher Grossbürgerfamilie. - Markus Dinkel wurde 1762 im damals noch zu Vorderösterreich gehörenden Eiken geboren. In den 1780er Jahren bewarb er sich in Zürich vergeblich um eine Ausbildung bei dem Landschaftsmaler Johann Heinrich Wüest. Erfolgreicher war Dinkel bei Johann Kaspar Lavater, der ihm einige Aufträge erteilte. Lavater, selbst mehrfach von Dinkel porträtiert, war mit den Leistungen und der Lebensführung von Dinkel nicht zufrieden. Unter einem Selbstporträt von Dinkel notierte er am 20. März 1790: "So vor dem Spiegel steht ein Gemisch von Talent / und von Leichtsinn".Ab 1793 siedelte Markus Dinkel dauerhaft nach Bern über. Zunächst kam er als Kolorist bei Gabriel Lory (1763-1840) unter. Als selbstständiger Künstler arbeitete er überwiegend als Porträtmaler für das lokale Patriziat und als Trachtenmaler für Reisende auf der Grand Tour, die sich von ihm mitunter in Schweizer Volkstrachten darstellen liessen. Bekannt ist ein Porträt der Joséphine de Beauharnais in Berner Bauerntracht, das während ihres Aufenthaltes in der Schweiz 1810 entstanden sein dürfte. Ein beträchlicher Teil von Dinkels Werk stellt freizügige und erotische Sujets dar.1810, 1818, 1824 und 1830 beteiligte sich Markus Dinkel an den Berner Kunst- und Industrieausstellungen mit Aquarellen (1810 nach Raphael, de la Haye und Boucher). Zusammen mit Johann Emanuel Locher gab Markus Dinkel ab 1820 einen Recueil des Portraits Suisses des 22 Cantons heraus. Aufgrund eines aufwändigen Lebensstils verarmte Dinkel. Der Verkauf von Nuditäten war seinem Ruf abträglich. Vor dem Bankrott stehend stürzte sich Dinkel am 5. Februar 1832 von der Berner Untertorbrücke in die Aare und ertrank. Das Konkursverfahren wurde nach seinem Tod im März eröffnet.

      [Bookseller: antiquariat peter petrej]
 29.   Check availability:     booklooker.de     Link/Print  


        Munich, Capital of Bavaria

      Artist: Anonymus ; date: 1870 - - technic: Wood engraving; colorit: colored; condition: Very good; size (in cm): 25 x 40 - description: Total view of Munich with 16 building views

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


        L'ÉCLIPSE JOURNAL HEBDOMADAIRE POLITIQUE, SATIRIQUE ET ILLUSTRE 1870 annata completa

      Paris Imp. G. Towne 1870 - L'ÉCLIPSE JOURNAL HEBDOMADAIRE POLITIQUE, SATIRIQUE ET ILLUSTRE settimanale satirico francese Annata terza Grande volume in-folio (cm 50 x 34 ca.) Legatura muta in mezza pelle, piatti marmorizzati, tasselli, filetti e titoli in oro al dorso. Raccolta editoriale rilegata: dal n. 102 del 2 gennaio 1870 al n. 139 del 17 settembre 1870. L'Éclipse (L'Eclisse) era un famoso settimanale satirico francese del Diciannovesimo secolo, pubblicato a Parigi dal 1868 al 1876. Nel 1865 Francis Polo aveva fondato la rivista La Lune, illustrata dai feroci disegni satirici di André Gill (1840-1885), un caricaturista francese famoso per il suo stile particolare; disegnava teste sproporzionate su corpi rimpiccioliti, uno stile che fu spesso imitato in seguito. Nel dicembre del 1867, la rivista fu chiusa dalla censura per aver pubblicato una feroce caricatura di Napoleone III, disegnata appunto da André Gill. Dopo aver esclamato " la Luna dovrà subire un'eclisse", Francis Polo pubblicò, il 26 gennaio 1868, L'Éclipse, rivista che doveva prendere il seguito de La Lune: fino al giugno del 1876 vennero pubblicati 400 numeri, più 36 numeri bis e 5 supplementi nel 1870. L'Éclipse continuò ad essere soprattutto una vetrina per André Gill e le sue caricature dei più illustri personaggi suoi contemporanei: i suoi monumentali ritratti caricaturali hanno grandissimo vigore e, pur ritraendo politici e scrittori oggi per lo più dimenticati, ce ne rivelano le peculiarità caratteriali, gettando luce, per uno storico della politica francese, sul mondo e la vita dell'epoca. Poiché queste riviste satiriche continuavano a subire continui interventi della censura, André Gill inventò il personaggio di Anastasia, una donna arcigna armata di forbici che simboleggiava la Censura. Il presente volume contiene la terza annata della rivista (gennaio-settembre 1870). La pubblicazione de L'Éclipse venne sospesa nel mese di settembre 1870 a causa della guerra franco-prussiana (luglio 1870 - maggio 1871), per poi riprendere nel giugno del 1871. 1870: i numeri 102-139, di 4 pagine ciascuno, dal 2 gennaio 1870 al 17 settembre 1870. " + 10 numeri bis o sostitutivi dei numeri: 103-105-106-114-116-128-129-132-133-134 + un supplemento del n. 119-1 maggio 1870 + 5 tavole supplementari di Gill (poste a fine volume) + il testo illustrato di una canzone + il n. 100 di un'altra rivista satirica dello stesso editore, "Le monde pour rire" + un doppione (staccato) della tavola di copertina del n. 128-2 luglio 1870 + i doppioni dei numeri 109 e 135 I numeri bis, uscivano con la stessa data dei numeri regolari e sostituivano, qualche volta il numero della rivista la cui copertina caricaturale era stata soppressa dalla censura e che quindi non poteva essere pubblicato: tuttavia in questa raccolta i numeri censurati sono pubblicati dall'Editore, unicamente per gli acquirenti del volume dell'annata completa. Le prime due pagine contengono il frontespizio e l'indice delle tavole che costituiscono le copertine di ciascun numero della rivista. L'Éclipse conteneva, nelle 4 pagine di ogni numero,testi satirici e comici, vignette e disegni in nero: ma la caratteristica principale e più interessante della rivista è costituita dalle bellissime tavole, tutte a colori. Disegnate per la maggior parte da André Gill, ma anche da altri disegnatori quali: Pilotell, Pépin, Blaze, Rey, Mignon, Samuel, Lemot, Lorentz, Régamey, Hadot, Boquillon, Job, Rupp, Montbard ed altri, queste grandi ed efficaci tavole caricaturali a colori, raffigurano in modo divertente, ironico e grottesco scene animate, personaggi famosi dell'epoca, uomini politici, animali, figure allegoriche, ecc. Notevoli, tra le tavole contenute in questo volume: n. 102 - 2 gennaio 1870: l'anno 1870 siede con la padella e le uova rotte n. 103 bis - 9 gennaio 1870: un rosticciere davanti a un girarrosto n. 106 - 30 gennaio 1870: un uomo che esce da un pozzo pieno di sangue n. 108 — 13 febbraio 1870: una donna raffigurata come Lucrezia Borgia n. 111 - 6 ma [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Imprimatur]
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        Journal of a Landscape Painter in Corsica

      Robert John Bush, London 1870 - Large Octavo. Book. 40 b/w plates complete. xvi, 272 pp plus full-page map of Corsica. Good plus. Slightly cocked binding, small tear on lower spine tip (fabric intact), and other spine wear/tears without fabric being loose or lost. Light wear to waxed cloth binding otherwise. Chips to FFP. Foxing on non-text preliminary pages and last few pages of volume. Otherwise, text clean and binding tight. [Attributes: First Edition; Hard Cover]

      [Bookseller: White Fox Rare Books, ABAA/ILAB]
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        Alice's Adventures in Wonderland [together with] Through The Looking Glass With Forty-Two Illustrations by John Tenniel [and] With Fifty Illustrations by John Tenniel

      London MacMillan & Co. & 1872 1870 - 8vo., early editions, ('Twenty-Fifth Thousand' & 'Twenty-Eigth Thousand), illustrated with a total of ninety-two line illustrations by John Tenniel, faded contemporary ink ownership to half-title of second volume, dated 1872, modern full red morocco by Sangorski and Sutcliffe, double gilt panelled, gilt devices to spine panels and front covers, marbled endpapers and all edges gilt, even fading to spines, preserved in a cloth slip-case, a fine and handsome set. Early editions, the first title published four years following the first edition in 1866, the second title first published earlier the same year; with the original and distinctive Tenniel illustrations. [Attributes: First Edition; Hard Cover]

      [Bookseller: Shapero Rare Books]
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        HISTORY OF DON QUIXOTE. The Text Edited by J. W. Clark and A Biographical Notice of Cervantes, by T. Teignmouth Shore

      London Cassell, Petter, and Galpin [c. 1870] - A very early issue of this wonderfully illustrated Cervantes. With 118 spectacular illustrations by by Gustave Doré. Royal 4to (12.25 x 9.75 inches approx.), in deluxe three-quarter dark-brown polished calf over black textured boards, the spine with gilt tooled wide bands separating compartments featuring large central gilt tooled devices, one compartment gilt lettered, all edges gilt. xxviii ,737. A tight and clean copy, the binding with a bit of age wear, the back sometime skillfully restored to style with the original spinal panel laid down. A HANDSOMELY BOUND COPY. Gustave Doré was one of the greatest illustrators of his day. He was born in Strassburg in 1832. In 1848, he moved to Paris where "his facility as a draughtsman was extraordinary." He was a prolific worker and his subjects were usually religious or historical. He died in January of 1883. His grand and magnificent style is a perfect complement for Cervantes heroic tale. This massive tome is one of our favorite printings of the Spanish classic and, because of the weight of the text block, is usually found broken and loose. This copy is as sturdy as one could hope for and is very handsome too. A great compliment to any fine library and a must for the collector of 19th century illustrated books. [Attributes: Hard Cover]

      [Bookseller: Buddenbrooks, Inc. ABAA]
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        ON THE MECHANICAL PERFORMANCE OF LOGICAL INFERENCE

      Taylor & Francis, London 1870 - Quarto (9"X12"). Published in: Philosophical Transactions of the Royal Society, THE COMPLETE VOLUME; Vol. 160, part II, pages 497-518, original printed wrappers, partially unopened. A fine copy in a custom slipcase. FIRST EDITION of Jevons' "Logical piano" so called because of its resemblance to an upright piano. This was the first computing machine to solve complex problems faster than humans. Some of the features of this logical piano are integrated into modern computers. The present work describes Jevons' machine; 3 plates are bound in, which illustrate the internal structure of the machine. The logical piano is on display at the Oxford Museum of the History of Science. Lee, Computer Pioneers, pages 400-401. [Attributes: First Edition; Soft Cover]

      [Bookseller: Charles Parkhurst Rare Books, Inc. ABAA]
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