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Displayed below are some selected recent viaLibri matches for books published in 1873

        The Gilded Age, A Tale Of Today

      American Publishing Company Hartford, CT: American Publishing Company. Near Fine. 1873. First Edition. Hardcover. A beautiful first edition with all elements from the earliest printing present (except the corrected state on pages 351 and 353 as requested in BAL 3357). Genuine title-page listing White as illustrator and imprinting of the electrotyper Wm. H. Lockwood on verso. Also, on p. < vii> use of name Eschol Sellers; on P. < xvi> final illustration is numbered 211; p. 246 the word hallelujah has no comma following it; p. 280, line 18 there is a period after Dr. Jackson; p. 403 no illustration as requested by BAL for earliest printings. Rebacked, Near Fine condition with very little browning of pages or foxing, bright spine. , top edges gilt; Twain's first novel which gave an entire era its name, though fictional, is a critical examination of politics and corruption in the United States during the nineteenth century .

      [Bookseller: Books Tell You Why ]
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        Phrenological Illustrations, or an Artist's View of the Craniological System of Doctors Called Gall and Spurzheim

      London: Republished for the Artist by Frederick Arnold 86 Fleet Street E.C 1873 London: Republished for the Artist by Frederick Arnold, 86, Fleet Street, E.C, 1873. Later edition (7 shillings 6 pence , coloured). Oblong folio (280 x 380 mm.). Vignette title page, Verso "Re-Issue of 'Phrenological Illustrations' " , and one other leaf of letterpress. With 6 engraved hand- colored plates illustrating 34 figures. Bound in original brown cloth spine and printed paper over boards, with newspaper clipping of letter from Gilbert Dalziel tipped-in at ffep. Laid into a crimson cloth drop box. Cohn 178 (First edition) . Inscribed at the top of the title page "To George Dalziel with the best regards of Geo. Cruikshank / Janry. 1874." George Dalziel (1815-1902) and his brother Edward (1817-1905) founded Dalziel Brothers engravers in 1839 and were the most famous in their trade until photo-mechanical processes superseded the need for engravers. A fine association

      [Bookseller: James Cummins Bookseller ]
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      albumen print, sepia, 102mm x 141mm mounted on card 108mm x 163mm with Carroll's own identification number 2132 in his manuscript in purple ink on verso. A very good example, c.1873. * See CARROLL'S JOURNAL ENTRY: "Photographed Xie in winter dress (Danish), in red petticoat, and in Greek dress." May 14, 1873. See LETTER: from Carroll to Mrs Kitchin: "[Christ Church, Oxford] Saturday [? May 17, 1873] / Dear Mrs Kitchin, / Here are prints of the Danish dress and the red petticoat. I am taking the negatives with me, and will get a light print done of the Dane for you to get tinted for the Princess. Oh that it would only suggest to her the idea of sitting herself! That has been for years my great ambition in life, which, once accomplished, I should thence-forward look with scorn on Xie and all un-royal subjects for the camera! / Gratefully yours, / C.L. Dodgson". * Lewis Carroll was not simply the author of the world's most famous books for children and an important mathematician whose work was well ahead of its time, but he was also an important pioneer photographer of considerable accomplishment.His photographs, particularly of children, show Carroll at his most sentimental; even, for some of his modern audience, in a interesting erotic light. Carroll abandoned photography in 1880.

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
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        The Origin of Species, By means of natural selection, or the preservation of favoured races in the struggle for life.

      London: John Murray, 1873.. Sixth edition, 13th thousand, 8vo, (xxii), 458 pp. Folding plate, label removed from the paste down, old repair to the hinges. Original gilt titled green cloth, spine ends rubbed, light damp staining to the bottom edge of the covers. Freeman 396.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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        Unzeitgemässe Betrachtungen. Erstes Stück: David Strauss. Der Bekenner und der Schriftsteller. + Zweites Stück: Vom Nutzen und Nachteil. Der Historie für das Leben.

      Leipzig, Fritzsch, 1873 + 1874. 8vo. Both works bound together in a nice contemporary brown half calf with gilding to spine. Binding very nice, clean, and tight. Internally quite a bit of brownspotting to first and last leaves of each work. (2), 101, (1) pp. + 111, (1) pp.. First editions, first issues of these two separate works that make up the first two parts of the "Untimely Observations", which was originally intended by Nietzsche to be a series of thirteen separate works gathered together under this common title. The ambitious project didn't come about as intended, and only four works appered in the series. "Nietzsche actually produced four of these compositions before abandoning the plan, although it is evident that his heart was no longer in the series after the publication of the third essay." (Schaberg, p. 32). Of each of the two works, 1.000 copies were printed. Of the first 483 remained unsold, and this is this one of 517 copies. Of the second, 778 remained unsold, and this is thus one of merely 222 copies. The "Observations" were to deal with aspects of contemporary European culture, with a focus on German culture. The first works of the series combine the Nietzsche that we know from e.g. "The Birth of Tragedy" with an early polemical style that properly comes to live in his later works. Especially the first of the "Observations", the fierce attack on "David Strauss, the Confessor and Writer" is considered one of Nietzsche's most humorous works and a prime example of his early polemical style. He attacks Strauss, accusing him of being a philistine of pseudo-culture, and his latest work "The Old and the New Faith: A Confession" from 1871, taking it to be an example of the German thought of the time, and accuses it of being a vulgar reading of history in the service of a degenerate culture.In the second of the "Observations", "On the Use and Abuse of History for Life", Nietsche introduces his attack on classic humanism and presents his own alternative way of interpreting history. With his attacks on the historicism of man and his view of history as such, this constitutes one of Nietzsche's most interesting works and the one that best captures his concept of "untimeliness". Schaberg 23a. + 25a

      [Bookseller: Lynge & Søn A/S]
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        Stockholm[: aqvarelle-lithografier och tontryck ]

      Tryckt hos Slachter & Seedorf, Stockholm. [1873] Oblong folio. 39 x 55 cm. Title page (in manuscript) + 14 colour printed lithographs. All. Beautiful contemporary blind pressed boards in brown cloth. Calf spine. Elaborate gilt ornamentations and title in gilt at the front board and the spine. Gilt edges. Some wear and scratches to the binding. More to the board edges. Spine ends slightly damaged. Bumped corners. Some creases, tears and a couple of losses to the guard papers. Some browning to the end papers. Last plate with slight offsetting to the margins. Two plates with a small spot or two to the margins. Images in fine condition. A very nice and clean copy.. Fine views of Stockholm in the 1870s. Lively images depicts the city from classic vantage points. Beautiful vistas, "Down-town" areas and important buildings are shown, teeming with people, carriages, steam boats etc. Among the depicted buildings you can find the newly erected Grand Hotel and the Royal Library. The album gives an interesting insight on how life was in Stockholm in the 1870s. Otto August Mankell was an architecht, illustrator and lithographer. He executed several fine panoramas. His most famous is a bird´s eye panorama of Stockholm from the west, which was internationally recognized. He made two fine plate books with city views. The present one of Stockholm and another one on Gothenburg in 1884, containing 20 plates

      [Bookseller: Hammarlunds Antikvariat]
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        Voyage d'exploration en Indo-Chine effectué pendant les années 1866, 1867 et 1868

      Paris: Librarie Hachette, 1873. 4 volumes (text: 2 vols., large 4to [13 1/4 x 9 3/4 inches]; atlas: 2 volumes, folio [19 1/2 x 15 inches]). Text: titles in red and black, half-titles. Portrait frontispiece, 1 plate of medals, 12 maps and charts (4 coloured, 6 tinted), numerous illustrations (39 full-page); atlas: 12 maps, (2 double-page); 9 plans (2 double-page); 1 tinted lithographic aerial view; 48 plates on 40 sheets (6 double page, 2 engraved, 10 hand-coloured lithographs, 1 chromolithograph, 27 tinted lithographs). Text: contemporary French dark blue morocco-backed marbled paper-covered boards, spines gilt in six compartments with raised bands, lettered in the second, numbered in the third, previous owner's name 'Philastre' tooled in gilt at foot of each spine; atlas: original dark blue cloth-backed pale blue paper-covered boards, letterpress titling to upper covers, longitudinal gilt lettering to the flat spines. Rare complete set of the first edition of the official printed record of the most important 19th-century exploratory expedition into Indochina: this copy with an intriguing provenance. This first edition was limited to 800 copies. The maps are after Garnier himself, whilst the views are taken from sketches by the expedition artist Louis Delaporte. These views, in conjunction with the fine illustrations in the text volumes, form a valuable and remarkably wide-ranging visual record of Indochina as a whole, with the depictions of the ancient capital of Laos at Viet Chan and Angkor in Cambodia being particularly impressive.Garnier was part of the French expedition under Captain Ernest Doudard de Lagrée which set out from Saigon in 1866 to explore the valley of the Mekong River in the hopes of finding a navigable route into south-western China. Garnier took command of the mission when de Lagrée died and he safely led the expedition to the Chinese coast via the Yangtze River. The expedition traversed almost 5,400 miles travelling through Vietnam, Cambodia, and Laos, mapping over 3,600 miles of terrain previously unknown to Europeans, and becoming the first westerners to enter Yunnan by a southern route. Subsequently, Garnier returned to France a hero, fought in the Franco- Prussian war, and finished the present account of the expedition before eventually returning to Indo-China to establish a colony in Tonkin. The name at the foot of the spines of the text volumes offers the intriguing possibility that the original owner of this set was Paul-Louis-Felix Philastre: naval officer, diplomat and French expert on the Far East. He first arrived in Cochinchina in 1861, and, after the death of Francis Garnier, it was he who, in 1861, negotiated a treaty with the emperor Tu Duc recognising the sovereignty of the Annam empire over Tonkin. Later, Philastre served as French ambassador to Cambodia, and he was also responsible for the first French translation of the Yi king. Cordier, BS, 329 ; Cordier, BI, 1012-1013.

      [Bookseller: Donald Heald Rare Books ]
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        Madame de Sévigné, Her Correspondents and Contemporaries

      1873. A Special Extra-Illustrated Copy,in a Fine Early Cosway-Style Binding by Bayntun of Bathwith Miniature Portraits on Ivory of Madame de Sévigné and Her Daughter, Madame Grignan[COSWAY-STYLE BINDING]. [SÉVIGNÉ, Marie de Rabutin-Chantal, marquise de]. PULIGA, Henrietta Consuelo de, Comtesse. Madame de Sévigné, Her Correspondents and Contemporaries. By the Comtesse de Puliga. Special Copy&#151;Extra Illustrated. In Two Volumes. London: Tinsley Brothers, 1873.First edition. Two octavo volumes (8 3/8 x 5 3/16 inches; 213 x 131 mm). xvi, 400; xii, 373, [1] pp. The original title-pages have been replaced with specially printed title-pages. Extra-illustrated with sixty-six plates (twenty-two of which are hand-colored), some inlaid to size.In a fine Cosway-style binding (ca. 1920) by Bayntun of Bath (stamp-signed in gilt on the front turn-in) of full dark blue crushed levant morocco over bevelled boards. Covers decoratively panelled in gilt in an Art Nouveau design within an outer gilt single fillet border, spines in six compartments with five raised bands, lettered in gilt in two compartments, decoratively panelled in gilt in the remaining four compartments, with &#147;Extra Illustrated 1873&#148; in gilt at the foot, board edges with gilt-dotted rule, turn-ins ruled in gilt with gilt floral corner ornaments, dark red morocco doublures within an onlaid dark maroon morocco frame within single gilt fillets, dark red morocco liners, all edges gilt. The front doublure of each volume is set with a very fine oval portrait miniature on ivory under glass (each measuring 3 3/16 x 2 1/2 inches; 80 x 63 mm.), in Volume I of Madame de Sévigné (signed Penin) and in Volume II of her daughter, Madame Grignan (signed Lié). The miniatures are set within a frame of onlaid dark maroon morocco within an inner single gilt fillet and an outer double gilt fillet. A superb example.Marie de Rabutin-Chantal, marquise de Sévigné (1626-1696), &#147;French writer noted for some 1,700 letters written to her daughter. The natural, spontaneous tone of the letters broke established rules for the genre and served as a new model. Of old Burgundian nobility, she was introduced into court society in Paris after her marriage in 1644 to Henri de Sévigné, a Breton gentleman of nobility who squandered most of her money before being killed in a duel in 1651. Mme de Sévigné was left with two children, Françoise Marguerite (b. 1646) and Charles (b. 1648). For some years she continued to frequent the fashionable social circles of Paris while also devoting herself to her children. In 1669 her daughter married Count de Grignan and then moved to Provence with him. The separation from her daughter provoked acute loneliness in Sévigné; it also prompted her to write the letters on which her reputation is based. Most of the letters, written without literary intention or ambition, were composed in the first seven years of their separation in 1671. The letters recount current news and events in fashionable society, describe prominent persons, comment on contemporary topics, and provide details of her life from day to day&#151;her household, her acquaintances, her visits, and her taste in reading. Sévigné&#146;s conversational manner makes her stories of current events and gossip unforgettable&#148; (Merriam-Webster&#146;s Encyclopedia of Literature).&#147;The correspondence of Madame de Sévigné, covering almost fifty years of a rich and turbulent period in French history and culture (1648-1696), has been the favorite reading of great writers from Voltaire to Virginia Woolf. From the time of their first publication in 1726, Sévigné&#146;s letters have provided a standard against which other important letter collections can be measured&#133;As a writer, Sévigné occupies a special position in the history of French literature. She wrote nothing but letters, thousands of them, letters that constitute a treasure of information for historians and that have been admired as masterpieces of style. Sévigné&#146;s body of work, though, has not been stable&#151;it has changed its shape at least once every few decades since the end of the seventeenth century. Since the letters were first written, they have been edited, corrected, copied, recopied, and even willfully destroyed by a long line of readers with a variety of motives. During Sévigné&#146;s lifetime the letters were published only once, when her cousin Roger de Bussy-Rabutin included a few of them in a volume of his memoirs, which he presented to Louis XIV. After her death on 17 April 1696, a larger number of letters was included in the published correspondence of Bussy-Rabutin, generating enough public interest to persuade Sévigné&#146;s granddaughter Pauline de Simiane to undertake the task of preparing her grandmother&#146;s letters for publication. This project resulted in the intermittent release of selected letters at intervals over the next hundred years and spawned enough family quarreling and tension between the copyists and de Simiane's descendants that in 1784 her son-in-law burned all of the several hundred letters she had left in his possession. When the literary scholar L.J.N. Monmerqué undertook the first critical edition of Sévigné&#146;s letters in 1818, there were already few original autographs left. He had to verify his material by comparing the many published editions of selected letters and the copies of letters that had been compiled by editors and never published. Since the first &#145;complete&#146; edition of the letters was published from 1862 to 1868 (Monmerqué having spent more than thirty years on the project), there has been one major discovery of a 1720 manuscript copy of some of the letters and two new critical editions, the definitive one being Roger Duchêne&#146;s edition of the correspondence published in three volumes from 1972 to 1978. Duchêne&#146;s edition includes more than 1,500 letters by Sévigné and more than 1,000 letters addressed to her, and it draws on all of the available copies of the letters as well as the relatively few autographs that remain in museums and archives across France&#148; (Elizabeth C. Goldsmith, &#147;Marie de Rabutin Chantal, Madame de Sévigné (1626-1696),&#148; in Dictionary of Literary Biography, Volume 268: 17th Century French Writers (2002), pp. 351-359).

      [Bookseller: David Brass Rare Books, Inc. ]
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        [Great sickle-billed Bird of Paradise, Plume bird or Great promerops] Epimachus speciosus

      [London: 1873]. Lithograph by J. Smit after Joseph Wolf, hand-coloured by J.D. White, heightened with gum arabic. (1 1/2 inch repaired tear to left margin). 23 3/4 x 18 1/4 inches. A magnificent image of the largest and most remarkable of the thin-billed Birds of Paradise, painted by Joseph Wolf, who was 'without exception, the best all-round animal artist who ever lived' (Sir Edwin Landseer). From Elliot's great work on the 'Birds of Paradise', which includes some of the most highly praised bird illustrations ever produced. Ornithological illustration reached its height during the golden age of lithography, and this image is from that great era. Even today, with all of the excellent methods of colour reproduction available, the beauty of hand-colouring cannot be equalled. Joseph Wolf is pre-eminent amongst the ornithological artists of the day: he was the first bird artist to fully understand and use the new freedom of style that lithography allowed. The lithographic crayon suited Wolf's drawing style, transforming his soft expressive lines and subtle suggestions of movement into a printable image. His work set a new standard in life-like representations and Wolf's skill at capturing the essential character of his subjects also breathed life into the stiff "bird on a perch" portrayals so characteristic of bird art of the day. The plates in Elliot's Monograph of the... Birds of Paradise, 'almost as magnificent as the birds they portray, were the fruits of Elliot's considerable wealth, Wolf's great artistry and both men's profound knowledge and love of birds' (Dance). Elliot writes in the preface `The drawings of Mr. Wolf will, I am sure, receive the admiration of those who see them; for, like all that artist's productions, they cannot be surpassed, if equalled, at the present time. Mr. J. Smit has lithographed the drawings with his usual conscientious fidelity, and in his share of the work has left me nothing to desire... In the coloring of the plates Mr. J.D. White has faithfully followed the originals; and in the difficult portions where it was necessary to produce the metallic hues, he has been very successful'. Cf. Anker 131; cf. Dance, The Art of Natural History, 1978, p.132; cf. Fine Bird Books (1990) p. 95; cf. Nissen IVB 296; cf. Wood p. 331; cf. Zimmer p. 207

      [Bookseller: Donald Heald Rare Books ]
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