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

        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. ABAA]
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        Les champignons de la France. Histoire ? Description ? Culture ? Usages des espèces comstibles vénéneuses, suspectes, employées dans les arts, l?industrie, l?économie domestique et la médecine. Orné de vignettes et de 60 chromolithographies.

      - Paris, J. Rothschild, 1870. Large 8vo. XII,+ 231,+ (blank),+ 1-274 pp.+ 60 chromolith. plates. Stains on pp. 55-59, 103-07, 161-69 and 217-18. Some pencil notations. Contemporary slightly worn green morocco, gilt spine and raised bands, sprinkled edges. First gathering partly loose. With the owner?s label of ?M. de Coincy?, library notations on the fly leaf, and with the bookplate of Nils Fries and his purchase notation in pencil on the last page. Volbracht 427. Stafleu 1229. Uellner 284. Nissen 404. The book is actually a very much expanded, later edition of the author?s ?Guide de l?amateur de champignons? from 34 years earlier. The illustrations are drawn from nature by A. D. Cordier. François Simon Cordier (1797-1874) was a French physician and botanist, a founding member and later president of the Société botanique de France. [Attributes: Hard Cover]

      [Bookseller: Centralantikvariatet]
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        Gesamtansicht

      - Lithographie m. Tonplatte v. Frank n. C. Frühsorge, um 1870, 29,5 x 57 Dek. Panoramaansicht von Schwerin. Blick über den Schweriner See zur Stadt, rechts das Schloß. - Restauriert.

      [Bookseller: Antiquariat Nikolaus Struck]
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        (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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        THE MYSTERY OF EDWIN DROOD

      Chapman & Hall 1870 - First edition. Finely bound by Bayntun in recent full red morocco, with raised bands, gilt borders to covers and titles to spine. Gilt cartouche depicting Dickens in an oval frame to the upper cover and his signature embossed in gilt to the lower cover. All edges gilt. A fine, clean copy in a handsome binding. Thirteen full page illustrations by S.L. Fildes. Dickens began the writing of what would be his final novel in the summer of 1869. It would appear that the work gave the author more trouble than any of his former novels and he revised and corrected his work continually, sometimes entirely remodelling sections. The first monthly part was issued in April 1870, but at the time Dickens was suffering periodically from a local haemorrhage and trouble in his foot in between bouts of comparative good health. On 8 June 1870 Dickens's final and fatal seizure came and he passed away peacefully on the following day. Longfellow, on hearing of Dickens's death wrote to Forster expressing a hope that Drood was finished, "It is certainly one of his most beautiful works, if not the most beautiful of all, It would be too sad to think the pen had fallen from his hand, and left it incomplete!" [Attributes: First Edition; Hard Cover]

      [Bookseller: Jonkers Rare Books]
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        FIVE WEEKS IN A BALLOON . A Voyage of Exploration and Discovery in Central Africa (from the French of Jules Verne) CHAPMAN AND HALL 1870

      Chapman and Hall 193 Piccadilly, London 1870 - Published in London by Chapman and Hall in 1870, this is the excessively Rare First British Edition, First Printing of the author's first book, this was the first Jules Verne book to be printed in England, and the only Verne title to be published by Chapman and Hall. An early ballooning adventure novel set in Africa, internally illustrated with the sixty four drawings by Riou as used in the later Sampson Low printings, The book is bound in the original cloth boards with blind impressed patterning to boards and gilt illustration to spine, and has been re-cased, not brilliantly, but preserving most of the original cloth with some loss and damage to bottom around the publishers imprint, the boards have some mild marking with a small area of damp marking to cloth at lower corner of upper board, fitted with new endpapers, old blurred ownership ink stamps to half title page (pictured) some noticeable brown spotting and occasional handling marks to a few pages, , mild edge wear damage to a couple of page edges, else overall contents in good general condition, a good acceptable example in the original cloth binding of what is quite probably the ultimate British Jules Verne Rarity, only two copies listed on Copac, one in the British Library and the other in the V&A Library, Size: 12mo - over 6¾" - 7¾" tall [Attributes: First Edition; Soft Cover]

      [Bookseller: Andrew Cox PBFA]
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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]
 17.   Check availability:     booklooker.de     Link/Print  


        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]
 19.   Check availability:     AbeBooks     Link/Print  


        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]
 21.   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]
 22.   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]
 23.   Check availability:     Biblio     Link/Print  


        Christian Counsel on Divers Matters Pertaining to the Inner Life, and Spiritual Letters

      M.W. Dodd | Dodd & Mead, New York 1870 - First Edition. 18mo. Bound in the publishers original cloth covered boards with blind stamped and gold gilt designs of the front board and spine. Fore-edges are blood red. Very Good. Shows a cursive inscription dated 1872 on the front free endpaper, some edge and corner wear especially at the topmost and bottommost of the spine, pulled ever so slightly at the endpapers, otherwise the binding is strong, the text is clean and unmarked, and the boards remain bright and colorful. The rare First North American Edition of Fenelons great spiritual work. As pictured. [Attributes: First Edition; Hard Cover]

      [Bookseller: North Books]
 24.   Check availability:     AbeBooks     Link/Print  


        Sechs Gedichte. Illustrirt durch Mathilde Herzogin Eugen E. von Württemberg. Zum Besten der Klein-Kinder-Schule zu Carlsruh in Schlesien

      Frankfurt / Oder, Harnecker 1870 - Seltenes Ansichtenwerk mit schöner floraler Verzierung und in prachtvoller Farblithografie. Jede der Ansichten mit mehrzeiligen Versen des Herzogs Eugen Erdmann von Württemberg (1820-1875), die Illustrationen und florale Verzierung von seiner Gemahlin Mathilde, geborene Prinzessin zu Schaumburg-Lippe (1818-1891). Die Ansichten zeigen den Lago Maggiore, den Piz Ott im Engadin, eine Rheinlandschaft, eine winternächtliche Landschaft, sowie Blumenblüten (Rosen und Lilien). - Mit der Buchmarke von P. O. von Württemberg. - In tadelloser Erhaltung Getönt. lithogr. Orig.-Umschlag mit floral. Bordüre, 6 farblithogr. Tafeln, 6 Textblätter Rote Original-Leinen-Mappe mit Goldprägung, Gr.Folio [Attributes: Hard Cover]

      [Bookseller: Buch & Kunst Antiquariat Flotow GmbH]
 25.   Check availability:     AbeBooks     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]
 26.   Check availability:     Direct From Seller     Link/Print  


        LES CHATS

      J. Rothschild, Paris 1870 - 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. 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 Rare Books (ABAA)]
 27.   Check availability:     AbeBooks     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]
 28.   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]
 29.   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)]
 30.   Check availability:     AbeBooks     Link/Print  


        MOTHER GOOSE'S MELODIES

      1870. MOTHER GOOSE. MOTHER GOOSE'S MELODIES ("Mother Goose in a New Dress" on cover). Philadelphia: Porter & Coates, no date, circa 1870. 4to (9 1/2 x 10 1/2"), green gilt cloth, beveled edges, very light rubbing and shelf wear, VG++. Printed on rectos only, each page is individually hinged into the book. Mother Goose rhymes are presented in English, with a few in French and German. Illustrated with beautiful chromolithographs on every page. The precision of the printing is impeccable and the colors almost appear hand colored. The preface notes that these drawings "were not designed for the public eye, but as a birthday gift from a loving daughter to her father who occupies one of the highest positions in the United States Government." The original copy was given to Supreme Court Justice Salmon P. Chase by his daughters on his 62nd birthday. His daughter Janette did the illustrations and was encouraged by the publisher to have it published. This is an excellent copy and a lovely book.

      [Bookseller: Aleph-Bet Books, Inc. ]
 31.   Check availability:     ABAA     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]
 32.   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]
 33.   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]
 34.   Check availability:     ZVAB     Link/Print  

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