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

        Le coffret de santal

      Alphonse Lemerre|& J. Gay & fils, 1873. - Alphonse Lemerre & J. Gay & fils, Paris 1873, 10,5x17,5cm, relié. - Edizione originale di 500 copie stampato su vergata. Bound in mezzo zigrino marrone, torna con cinque nervi decorate con oro con doppie reti tratteggiate nere, piatti di carta marmorizzata, guardie e contreplats di carta fatta a mano, angoli leggermente urtato, ex libris firmato da Eugène Le Senne incollato Vanteyne un contreplat. Autografo raro e prezioso firmato da Charles Cros Charles Le Senne diventerà il Avoca t artisti, scrittori ed editori, specializzato in proprietà letteraria e artistica. Sotto la dedica si copia a matita la poesia di Charles Cros aveva adornato la copia offerto Nina Villard, dedicatario dell'opera. - [FRENCH VERSION FOLLOWS] Edition originale imprimée à 500 exemplaires sur vergé. Reliure en demi chagrin marron, dos à cinq nerfs sertis de pointillés dorés orné de doubles filets noirs, plats de papier marbré, gardes et contreplats de papier à la cuve, coins légèrement émoussés, ex - libris d'Eugène Le Senne signé par Vanteyne encollé sur un contreplat. Rare et précieux envoi autographe signé de Charles Cros à Charles Le Senne qui deviendra l'avocat des artistes, écrivains et éditeurs, spécialisé en propriété littéraire et artistique. Sous la dédicace est recopié au crayon le poème dont Charles Cros avait orné l'exemplaire offert à Nina de Villard, la dédicataire de l'oeuvre.  

      [Bookseller: Librairie Le Feu Follet]
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        Le tombeau de Théophile Gautier

      Alphonse Lemerre, 1873. - Alphonse Lemerre, Paris 1873, 19,5x27cm, relié. - Prima edizione, uno dei 10 esemplari numerati su Whatman e siglato dall'editore, testina di stampa. Bound in mezzo marocco monete di cioccolato torna con cinque nervi, quando coda d'oro, marmo piatto, risguardi e contreplats di carta fatta a mano, fragile pergamena copertine conservati (inclusi restauri discreti e abili), testa dorata, vincolante firmato Goy & Vilaine. Contributi di Victor Hugo, Stéphane Mallarmé, Charles Cros, Frédéric Mistral, Paolo Arena, Théodore de Banville, Léon Cladel Jules Claretie Francois Coppe, Leon Dierx, Anatole France, Albert Glatigny, José - Maria de Heredia, Arsène Houssaye, Jules Janin Sébastien Charles Leconte de Lisle, Catullo Mendes, Albert Merat, Sully Prudhomme ... Libri illustrati frontespizio, un ritratto di Théophile Gautier Bracquemond. Ultima custodia parzialmente sgualcito. Molto bella copia, con tutti i margini, ben stabilita. - [FRENCH VERSION FOLLOWS] Edition originale, un des 10 exemplaires numérotés sur Whatman et paraphés par l'éditeur, tirage de tête. Reliure en demi maroquin chocolat à coins, dos à cinq nerfs, date dorée en queue, plats de papier marbré, gardes et contreplats de papier à la cuve, fragiles couvertures parcheminées conservées (comportant de discrètes et habiles restaurations), tête dorée, reliure signée de Goy & Vilaine.Contributions de Victor Hugo, Stéphane Mallarmé, Charles Cros, Frédéric Mistral, Paul Arène, Théodore de Banville, Léon Cladel, Jules Claretie, François Coppée, Léon Dierx, Anatole France, Albert Glatigny, José - Maria de Heredia, Arsène Houssaye, Jules Janin, Sébastien - Charles Leconte de Lisle, Catulle Mendès, Albert Mérat, Sully Prudhomme... Ouvrage illustré, en frontispice, d'un portrait de Théophile Gautier par Bracquemond. Dernière garde partiellement froissée. Très bel exemplaire, à toutes marges, parfaitement établi.

      [Bookseller: Librairie Le Feu Follet]
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        Les Avantures de Télémaque suivies des Aventures d'Aristonous...

      Mame, 1873. Cm. 28,5, pp. (4) xiii (1) 401 (3). Con antiporta e 13 incisioni all'acquaforte di V. Foulquier (ciascuna protetta da velina). All'inizio sono stati inoltre aggiunti due bei ritratti incisi dell'autore. Bella legatura coeva in pieno marocchino blu mare, dorso a nervi con titoli e ricchi fregi, piatti decorati da triplice filetto in oro e cornici concentriche centrali. Dentelles interne, sguardie marmorizzate e tagli dorati. Legatura firmata R. Petit. Eccellente stato di conservazione. Ex libris di Marcel Bertrand. Esemplare appartenente alla tiratura di testa di 300 esemplari stamparti su "vergé". Cfr. Vicaire III, 657.

      [Bookseller: Studio Bibliografico Benacense]
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        Green-Sleeves Leads The Way and Here They Come (Pair).

      London: G P McQueen.. Hand coloured engraving, later impression. Size to plate mark: 56.5 x 85 cm each. Very good Condion. Pair of horse racing prints engraved by Charles Hunt and Son. First published April, 1873.

      [Bookseller: Peter Harrington]
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        The Stones of Venice.

      London: Smith, Elder and Co.,, 1873. New Edition. 3 volumes, large octavo. Original brown cloth, spines and covers lettered and decorated in gilt and blind, top edges gilt, terracotta-coloured endpapers. Numerous plates by Thomas Lupton, J. C. Armytage, R. P. Cuff and others after Ruskin, illustrations in the text. A few inner joints cracked but sound, the odd tape mark to endpapers, scattered light foxing. A remarkably good set, fresh and bright. Signed limited edition, one of 1,500 copies signed by the author at the end of the preface. Ruskin's magnum opus, one of the key texts of the aesthetic movement, was first published 1851?53. Ruskin's The Stones of Venice and The Seven Lamps of Architecture "with their obsession with the function and aesthetics of architecture, over and beyond its history and practice? proved a revolutionary success" (PMM). "The importance of The Stones of Venice lies ? in its celebration of the Byzantine and the Gothic, which had an immediate effect on Victorian architects, who began to introduce Romanesque forms and Venetian and Veronese colour and sculptural features into their designs" (ODNB). In the most famous chapter, "The nature of Gothic", which was twice reprinted in his lifetime (first for the inauguration of the London Working Men's College in 1854, and second by William Morris in 1892), "Ruskin argued that under conditions of industrialization and the division of labour, social disharmony and industrial unrest were bound to occur, because the previously expressive craftsman - Ruskin's ideal working man - had been reduced to the condition of a machine" (op. cit.) With an appealing provenance, inscribed on the front free endpaper of volume I: "G. Scowcroft Fletcher, University College, London, January 1948". Geoffrey Fletcher (1923-2004) was a British artist and art critic, best known for his book The London Nobody Knows (1962) and a series of similar books popular during the 60s and 70s. His detailed and delicate paintings and drawings of London landscapes (often of unfashionable, neglected, or dilapidated subjects) owe a debt to Ruskin's own penetrating eye.

      [Bookseller: Peter Harrington]
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        Around the World in Eighty Days

      Sampson Low, Marston, Low, & Searle, London 1873 - "Around the World in Eighty Days" by Jules Verne. True first edition, first printing. Rare indeed, with "1873" on the title page, the vast majority having the year "1874" on the title page. Published by Sampson Low, Marston, Low, & Searle, London, 1873. The book measures 5.25" x 7.5", 315 pages. Illustrated with black-and-white plates throughout. Bound in beautiful green smooth goat leather, with gilt titling and raised bands to the spine. Lacks the frontispiece and the rear advertisements. The book is in very good condition. Soiling to the covers with scuffed edges and bumped corners. Foxing to the fore-edges of the textblock with scattered foxing throughout. Two spots of rubbing to the fore-edge of the textblock. A truly rare copy of this adventure classic. Please view the many other rare titles available for purchase at our store. We are always interested in purchasing individual or collections of fine books. Inventory #(F3-30) [Attributes: First Edition; Hard Cover]

      [Bookseller: Ernestoic Books and Bindery]
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        Liebig-Bilder-Serie: ( Véritable Extrait de Viande Liebig ): Sanguinetti-Nummer 040: Papillons et fleurs.

      Liebig 1873 ( Liebig-Bilder-Serie in Chromolithographie gedruckt, teils unter Verwendung von Gold und Silber. Bildgröße 10 x 7 cm: Katalognummer und Erscheinungsjahr nach dem Katalog von Sanguinetti ermittelt: Serie in französischer Sprache ): Hier die Serie Nummer 40: \" Papillons et fleurs \" aus dem Jahrgang 1873-1878. ( Diese Serie ist nur in Frankreich erschienen / italienischer Titel: \" Farfalle e fiori \" ). Gezeigt werden: \" Ein großer mehrfarbiger und ein blauer Schmetterling auf rosa und lila Blüten / Ein großer blauer und ein kleiner roter Schmetterling auf weißen Blüten / Ein großer roter und ein kleiner blauer Schmetterling auf weißen Blüten / Ein großer mehrfarbiger und ein roter Schmetterling auf roten Blüten / Ein großer roter, ein kleiner blauer und ein kleiner rosa Schmetterling auf blauen Blüten / Ein rosa und ein großer rosa-blauer Schmetterling auf rosa Blüten \". Zusammen 6 Bilder. Mit teils starken Gebrauchsspuren: 4 Bilder am weißen Rand beschnitten, etwas fleckig und berieben, Rückseiten beschädigt und fleckig. - von hoher Seltenheit - ( Pic erhältlich / webimage available ) Versandkostenfreie Lieferung Liebig, Bilder, Liebigbilder, Extract, Fleischextrakt, Extrait, Veritable, Viande, Schmetterling, Papillon, Blüten, Blumen, Google

      [Bookseller: Antiquariat Friederichsen]
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        THE MERCHANTS AND MANUFACTURERS OF CHICAGO. BEING A COMPLETE HISTORY OF OUR MERCANTILE AND MANUFACTURING INTERESTS, AND THEIR PROGRESS SINCE THE FIRE

      Chicago: J.M. Wing, 1873. [5],9-245pp. plus one leaf of chromolithographic printing ads. Hundreds of woodcuts in text. Large folio. Original gilt pictorial publisher's cloth, neatly rebacked, with original spine laid down. Corners lightly worn, cloth lightly faded and soiled. Several leaves with mild to moderate edge tears. Still a very good copy of a scarce book. A large-scale illustrated production showcasing the rebuilding of Chicago after the Great Chicago Fire of 1871. Filled with advertisements, the book features large woodcuts - single and double-page - highlighting the premier businesses of the city. Among those featured is the Palmer House; Carson, Pirie, Scott & Co.; Lakeside Publishing; the Grand Pacific Hotel; Coan & Ten Broeke Carriage Manufacturing; the suburbs of Evanston and Hinsdale; McVicker's Theater; and many more. Lists of the illustrations and advertisers are also included. The lavish production is a testament to the resilience and determination of the Windy City to bounce back after disaster and claim its place as the heart of the Midwest. Scarce, with only one copy appearing in auction records for the last forty years, and that substantially incomplete.

      [Bookseller: William Reese Company - Americana]
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        Slave-catching in the Indian Ocean. A record of naval experiences.

      London, Longmans, Green & Co. (colophon: printed by Spottiswoode & Co.), 1873. - 8vo. VIII, (4), 503, (1) pp. With 8 steel-engraved plates including the frontispiece (the 5 signed ones engraved by Pearson) and a folding map of the Indian Ocean, Red Sea and the Gulf, hand-coloured in outline (lithographed by Edward Weller). Red cloth. First edition (only edition until a 1968 facsimile) of a very detailed and well-illustrated account of a British naval campaign to suppress the East African slave trade in the years 1868 to 1870, published only eight years after the end of the United States' Civil War and the abolition of slavery there. Slavery was not outlawed in the Ottoman Empire (which at the time of publication included Egypt and what is now Iraq) until 1882, and in Iran and most of the Gulf States not until the 20th century. The author, Captain Philip Howard Colomb (1831-99), was Commander of the HMS Dryad from 1868 to 1870 and led the campaign. He operated primarily in and around the Gulf, Oman and Zanzibar and captured seven slave ships during those two years. The illustrations show the Dryad and some of the slave ships, individual and group portraits of slaves encountered during the campaign, and views of ports where slave trading occurred. One of the group portraits was engraved after a photograph made by one of the Dryad's officers and other illustrations after drawings by other officers. The map ("The slave trading waters of the Indian Ocean") shows the Indian Ocean, Arabian Sea, Red Sea and the Gulf, including Madagascar and the other islands. The first chapter relates Colomb's voyage to Aden, where he took command of the Dryad, and the next two chapters provide extensive background information to place the account of the campaign in context. Colomb's account of his own campaign includes chapters on individual regions (Bombay, Muscat and Oman, the Gulf, Madagascar, Zanzibar, etc.) and on various topics (slaves on board ship, the slave market, etc.). Colomb was promoted to Admiral after his retirement from active duty. The book is sometimes mistakenly ascribed to his younger brother, John Charles Ready Colomb. - Bookplate "HW". Spine sunned; insignificant foxing in the folding map, but otherwise in fine condition. Garrick, "Indian Ocean, post-exploration", in: Speake, Literature of travel and exploration (2003), pp. 608-610. WorldCat (4 copies). Zeitschrift für Ethnologie 5 (1873), p. 117. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        The Birds of Great Britain.

      London: Taylor and Francis for the author, [1862]-1873. - 5 volumes. Folio (21 4/8 x 14 4/8 inches). 367 hand-colored lithographs after John Gould, Josef Wolf, and H.C. Richter (4 plates at end of volume IV with some spotting). Contemporary green morocco gilt, all edges gilt, by Bickers and Son. Provenance: 19th-century engraved bookplate of the Barons Egerton of Tatton on the front paste-down of each volume; 20th-century bookplate of C.J. Coldeway on the front paste-down of each volume. "The most popular of all his works is always likely to be Birds of Great Britain" ("Fine Bird Books") First edition. Often referred to as the most sumptuous and costly of all British bird books, the plates depict scenes with more sophisticated subjects than Gould's previous works, including nests, chicks and eggs: "I also felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera - a thing hitherto almost entirely neglected by author's, and I feel assured that this infantile age of birdlife will be of much interest for science." (Gould "Preface" to "Introduction", 1873). Initially employed as a taxidermist [he was known as the 'bird-stuffer'] by the Zoological Society, Gould's fascination with birds began in the "late 1820s [when] a collection of birds from the Himalayan mountains arrived at the Society's museum and Gould conceived the idea of publishing a volume of imperial folio sized hand-coloured lithographs of the eighty species, with figures of a hundred birds (A Century of Birds Hitherto Unfigured from the Himalaya Mountains, 1830-32). Gould's friend and mentor N. A. Vigors supplied the text. Elizabeth Gould made the drawings and transferred them to the large lithographic stones. Having failed to find a publisher, Gould undertook to publish the work himself; it appeared in twenty monthly parts, four plates to a part, and was completed ahead of schedule. "With this volume Gould initiated a format of publishing that he was to continue for the next fifty years, although for future works he was to write his own text. Eventually fifty imperial folio volumes were published on the birds of the world, except Africa, and on the mammals of Australia-he always had a number of works in progress at the same time. Several smaller volumes, the majority not illustrated, were published, and he also presented more than 300 scientific papers. "His hand-coloured lithographic plates, more than 3300 in total, are called 'Gould plates'. Although he did not paint the final illustrations, this description is largely correct: he was the collector (especially in Australia) or purchaser of the specimens, the taxonomist, the publisher, the agent, and the distributor of the parts or volumes. He never claimed he was the artist for these plates, but repeatedly wrote of the 'rough sketches' he made from which, with reference to the specimens, his artists painted the finished drawings. The design and natural arrangement of the birds on the plates was due to the genius of John Gould, and a Gould plate has a distinctive beauty and quality. His wife was his first artist. She was followed by Edward Lear, Henry Constantine Richter, William Matthew Hart, and Joseph Wolf" (Gordon C. Sauer for DNB). Anker p. 60; "Fine Bird Books"; Nissen 372; Sauer 23; Tree "The Ruling Passion of John Gould", p. 207; Wood p. 365; Zimmer p. 261. Catalogued by Kate Hunter [Attributes: First Edition; Hard Cover]

      [Bookseller: Arader Galleries - Aradernyc]
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        Die Urkunden des Stiftes Zurzach.

      Aarau, Christen 1873 - 22 x 13,5 cm, Front., VIII, 456 S., grün marmorierter Einband, Ecken berieben, das Frontispiz stellt die Stiftskirche dar, vorgebunden ist ein Blatt mit der Widmung des Autors,

      [Bookseller: Antiquariat A. Wempe]
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        A collection of 7 autograph letters from the famed baritone (and later tenor) to the noted tenor Leo Slezak (1873-1946)

      - - August 6, 19082 pp. Oblong octavo. In black ink. On a card with the address "53 Rue de la Faisanderie" embossed at head. With autograph envelope postmarked Deauville, [August] 7l [1908] and Kramsach-Ache[n]rain [?]August, [19]08. In French (with translation). De Reszke has sent two scores to Slezak, in which he has marked the breaks "according to the traditions of the [?Paris] Opera." He (rightly) predicts that his pupil and successor will have a great international career. "I think a lot about your beautiful voice and your very artistic temperament - and I am certain that you will have a great success in your international career." Printed address crossed out and replaced with "Deauville - Villa Eole" in de Reszke's autograph.- April 4, 19092 pp. Oblong octavo. In black ink. On a card with "53 Rue de la Faisanderie" embossed at head. With autograph envelope postmarked [?]Paris, April 5, [19]09 and Vienna, April 7, [19]09. In Italian (with translation). De Reszke congratulations Slezak on his much deserved triumphs. He will write administrator Henry Higgins (1855-1928) in order to secure the role of Otello for Slezak in an upcoming production at Covent Garden. He also mentions Marcella Sembrich (1858-1935), a noted Polish soprano, and the composer Baron Frédéric d'Erlanger (1868-1943). "You can't imagine how happy and proud I am of your triumphs. all that has come [in your career] you merit by the sacrifice you have imposed upon yourself, and the true and hard work that you undertook with so much courage. Sembrich was also very kind to me. I will write immediately to Higgins for the debut in Otello. I'm afraid that d'Erlanger would like you to sing his opera first, but I will explain to Higgins that this would be a mistake on the Direction's part." - February 5, 19112 pp. Oblong octavo. In black ink. On card with "53 Rue de la Faisanderie" embossed at head. In Italian (with translation). De Reszke worries about Slezak's relationship with certain members of the Metropolitan Opera Company, including general manager, Giulio Gatti-Casazza (1869-1940), and star tenor Enrico Caruso (1873-1921). De Reszke notes the successes of some of his other students, including the American soprano, Lucille Marcel (1877-1921), whom he notes "is always with W." Marcel had just married the Viennese conductor Felix Weingartner (1863-1942) in 1910, and it is to him that De Reszke probably refers here. "You are always in my thoughts and I was often telling myself 'who knows if [Giulio] Gatti-Casazza and this whole Italian group will try to harm you?' I see that I was not wrong. I didn't believe that Caruso could scheme at this point. I hope that you will not cause too much bad blood for yourself because it's not worth the pain and [your] health and the first thing. [Lucille] Marcel is always with W. She sang [.?] in Rome with sensational public success."- April 4, 19112 pp. Oblong octavo. In black ink. On card with "53 Rue de la Faisanderie" embossed at head. In Italian (with translation). De Reszke looks forward to seeing Slezak again after the latter's season has ended. He then passes judgment on two of the most prominent tenors of the day, his student Johannes Sembach (1881-1944) and Enrico Caruso (1873-1921). "It seems that Caruso has been very ill in the throat and remained for some weeks without singing; it was a punishment for the intrigues. Now I have the tenor [Johannes] Sembach from Dresden, whom the direction sent me for a year; his voice is good, pleasant, be he had no idea how to place the high notes, [and] for that reason he forced in a terrible way." According to the April 10, 1911 issue of Opera News, laryngitis and an "attack of the grip" forced Caruso to cancel engagements at the Metropolitan Opera and in Rome. - [?]June 29, 1911 1 page. On a postal card. Postmarked Deauville Calvados. In black ink. With photograph of the villa "Mon Rêve" in Bénerville to verso. In Italian (with translation). De Reszke will try to secure performanc [Attributes: Hard Cover]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        Around the World in Eighty Days.

      London: Sampson Low, Marston, Low, & Searle,, 1873. Translated by Geo. M. Towle. Octavo. Original blue cloth, spine and front cover blocked in black and gold, bevelled boards, buff endpapers, gilt edges. Frontispiece and 54 plates. 48pp publisher's catalogue at end, dated October 1873. Contemporary gift inscription from the British antiquary and poet Thomas Francis Dillon Croker FSA FRGS (1831?1912), "With affectionate regards from T. F. Dillon Croker to Josephine Emily Bolton, Christmas 1873" on the front free endpaper verso. Spine slightly darkened, extremities rubbed, two short nicks at head of spine, a little scattered foxing, but an excellent copy. First UK and first illustrated edition in English, rare with the title page dated 1873. This Sampson Low edition was published in November 1873, but the overwhelming majority of copies have the title dated 1874, in line with usual contemporary practise for books published for the Christmas market. The binding was issued in a number of variant colours: blue, green, red, and purple. The novel was first published in French in 1873 as Le Tour du monde en quatre-vingt jour, from which James R. Osgood of Boston published an unillustrated translation in July 1873, under the title The Tour of the World in Eighty Days. The translator George Makepeace Towle (1841?1893) was an American lawyer and politician. "In an unusual twist, this American translation crossed the Atlantic for use by Sampson Low in England" (Taves and Michaluk).

      [Bookseller: Peter Harrington]
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        L'ensorcelée

      New edition.Binding half morocco Brodeaux back with five nerves, gilded tail date marbled paper plates, guards and contreplats of handmade paper, preserved covers, gilded head, signed binding Goy P. & C. Vilaine.Signed autograph of Jules Barbey d'Aurevilly "To my dear friend Azambre friend living in the memory of a dead friend (1) / Jules Barbey d'Aurevilly / (1) Armand Dutocq".Illustrated book, frontispiece, a portrait of the author.Some foxing on the cover it appears the shipment. Alphonse Lemerre Paris 1873 9x15,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Exceptionnel ensemble de plans, croquis, dessins de locomotives et matériel férroviaire

      Sans lieu, datés de 1873 à 1900. Ensemble de 65 plans, dont 18 sont entoilés et 47 sur papier fort (sauf 2 sur papier fin). Chemins de fer du nord : Locomotives. Tenders à 8 roues couplées n°49. Entoilé 107x71cm. 1874. Chemins de fers de l'ouest : Machines à 4 roues accouplées. Ensemble. Elévation extérieure. Echelle au 1/10°. Entoilé 104 x 75 cm. 1877. Chemins de fer du nord : Locomotives. Tenders à 8 roues couplées. N°49. Echelles au 1/10°. entoilé, colorié. 108x71cm. Est Algérien : Locomotive Tenders à 6 roues couplées. Ensemble. UG type 32°; Echelle a 1/10°. Plan entoilé en couleurs. 100x71 cm. CH (Suisse ?) : Daté septembre 1873. Plan entoilé en couleurs 122 x 73. Matériel non identifié. Echelle 1/10°. Houillères de Lens 6° et 7° machine. VIGOIGNE. Plan entoilé en couleurs 126 x 73 cm. Daté juillet 1874. Scb Locomotives à marchandises. type 8 SACM. Plan entoilé en couleurs. 130 x 87 cm. Echelle 1/10°. Type 115 SACM. 1893. Coupe longitudinale. Locomotive pour chemin de fer à crémaillère. Plan entoilé 128 x 83 cm. André KOECHLIN et Cie, Constructeurs a Mulhouse : Tender AL 2° lot. Ensemble du Tender échelle 1/10°. Daté et signé à Strasbourg le 30 mai 1872. Plan entoilé en couleurs 120 x 77 cm. Société Alsacienne de Constructions Mécaniques, Anciens Etablissements André KOECHLIN et Cie, Mulhouse : AL 2 Lot. Locomotive mixte à 2 essieux couplés. Type 3 SACM 1873. Echelle 1/10°. Plan entoilé 120 x 70 cm. Compagnie des chemins de fer de l'Ouest : Machines à 4 roues accouplées. N° 707 a 743. Frein à air comprimé agissant sur les essieux du milieu et d'arrière. Disposition générale. Type 60 UG. Plan entoilé 110 x 71 cm. Société Alsacienne de Constructions Mécaniques, Anciens Etablissements André KOECHLIN et Cie, Mulhouse : AL 2° Lot. Locomotive mixte.Type 3 SACM. 1873. Echelle 1/10° . Plan entoilé en couleurs. 124 x 74 cm. Scb Locomotives à marchandises. Type 8 SACM = 56 Arc. Plan entoilé 122 x 75 cm. Est Algérien : Locomotives Tenders à 6 roues couplées. Type 32 ug. Echelle 1/10°. Plan entoilé en couleurs 100 x 71 cm. Chemins de fer du nord : Locomotives Tenders à 8 roues couplées. Echelle 1/10°. Plan entoilé en couleurs 112 x 73 cm. CH (Suisse ?) Locomotives mixtes. Type 44 UG. Echelle 1/10°. Plan entoilé 124 x 66 cm. Type 2 Sacm Ug 45. 1872. Echelle 1/10°. Plan entoilé en couleurs 122 x 72 cm. CH (Suisse ?) Locomotives mixtes. Echellelle 1/10°. Plan entoilé en couleurs 124 x 77 cm. Chemin de fer de l'Est : Locomotives à 8 roues couplées. N° 0,564 a 0, 595. Type 70 UG. 1881. Plan en couleurs. Echelle 1/10°. 144 x 72 cm. Badois Compoud Mallet. Type 100 Ug. Plan - croquis. 106 x 75 cm. Andalous Tenders. Daté 1900. 104 x 76 cm. Compagnie des chemins de fer de l'Ouest : Machines à 4 roues accouplées. Ensemble. Plan et coupe horizontale. Matériel et traction UG Type 60. Echelle 1/10°. 104 x 75 cm. Chemin de fer de ceinture type 61 Akc. 100 x 64 cm. Est Algérien : Locomotive Tender à avant - train mobile. N° 4630 - 4632. Type 118 SACM 1895. Echelle 1/10°. 104 x 75 cm. Locomotive Tender à 6 roues couplées à avant - train mobile. Echelle 1/10°. 104 x 75 cm. Locomotive Compound à 8 roues couplées et à avant - train Bissel. MOSCOU - WINDAU - RYBINSK. Echelle 1/10°. Type UG 119. 1899 - 1900. 112 x 75 cm. Tender MOSCOU - WINDAU - RYBINSK. Type UG 119. 1899 - 1900. 108 x 76 cm. M.V.R. (Moscou Windau Rybinsk) UG 119. 1899 - 1900. 104 x 75 cm. Schwartzland Type UG 103. 110 x 75 cm. Chemins de fer de l'Est : Locomotives à 8 roues couplées N° 0, 564 a 0, 595. Echelle 1/10°. 106 x 74 cm. Compagnie des chemins de fer de l'ouest. Machines à 4 roues accouplées. Ensemble. Coupe longitudinales. Matériel et traction. UG Type 60. Echelle 1/10°. 104 x 75 cm. Schwartzland janvier 1895 : Locomotive à grande vitesse, 6 roues couplées 4 cylindres. 106 x 75 cm. Schwartzland janvier 1895. Matériel non identifié. 75 x 52 cm. Schwartzland. Matériel non identifié. 104 x 75 cm. Schwartzland. Type UG 103. Daté janvier 1895. 108 x 75 cm. Schwartzland. Type 103 UG. 110 x 75 cm. Schwartzland UG 103. Daté 1895. 110 x 75 cm. Andalous. UG 126. 6 roues 4 cylindres Compound. Daté 1901 - 1902. Feuille double, soit 2 fois 104 x 75. Badois Compound Mallet. UG Type 100. 108 x 76 cm. Badois Compound (croquis). Type 100. 104 x 75 cm. Cologne : Loco. Compound à 4 cylindres articulés. Systéme MALLET. Type 100. 104 x 75 cm. Chemins de fer de l'Est : Locomotives à 8 roues couplées. Type 70 UG. 1881. Echelle 1/10°. 104 x 74 cm. Badois Compound Mallet Type 100. 108 x 75 cm. Badois Compound Mallet. UG Type 100. 108 x 75 cm. Yverdon Sainte Croix. Type 99 UG. 106 x 75 cm. En couleurs. MOSCOU - WINDAU - RYBINSK. UG 119. 1899 - 1900. 104 x 75 cm. En couleurs. Badois Grande vitesse. UG 97. Daté 1892. 185 x 102 cm. + 11 plans de ce même matériel sous différentes coupes 102 x 75 cm. Chemins de fer Portugais : Locomotives à 8 roues couplées N° 201 à 208. Echelle 1/10°. Plan d'ensemble sur papier bleu. Chemins de fer Roumains : Locomotive Tenders à 6 roues couplées. Echelle 1/10° sur papier bleu (manque angulaire de papier). Chemins de fer Roumains : Locomotive Tenders à 6 roues couplées. Echelle 1/10° sur papier bleu . 100 x 60 cm. Chemins de fer Portugais : Locomotive à 8 roues couplées. N° 201 a 208. Plan d'ensemble. Echelle 1/10°. 100 x 60 cm. Chemins de fer Portugais : Locomotives à 8 roues couplées. N°201 a 208. Bords un peu abimés sans atteinte majeure. 100 x 60 cm. Locomotives Tenders à 4 roues accouplées. Cylindres et distribution extérieurs au chassis. UG 55. Echelle 1/20°. 60 x 40 cm. Sur papier fin, bords un peu abimés. Locomotive Tenders à 6 roues accouplées. UG 56. Echelle 1/20°. Sur papier fin, bords un peu abimés sans manque. En résumé, l'ensemble est en bel état, tous les plans comportent notes, cotes, légendes, mesures, calculs etc... Photos sur demande.

      [Bookseller: Librairie Artgil]
 15.   Check availability:     maremagnum.com     Link/Print  


        The parochial and family history of the deanery of Trigg Minor,: In the county of Cornwall (3 volume set)

      Nichols & Son 1873 - **Used: Good*** 3 volume set. 30 cm. Folios. Publishers red cloth. Gilt spine. Bindings good. Hinges cracked to Volumes I and III, with rear board of Vol. III detached. Library booksplates to pastedowns removed, stamp to verso of title pages. Volumes pages uncut. Title page of Vol. I torn along gutter. Clean, unmarked pages. Color plates, maps, genealogy, coats of arms. Fold out map of the Deanery of Cornwall in vol. III. Pg. 86 torn. This is an oversized or heavy book that requires additional postage for international delivery outside of Canada and the US. [Attributes: Hard Cover]

      [Bookseller: Sequitur Books]
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        Sammtliche Werke

      Leipzig: F. V. Brodhaus, 1873. First Edition. Leather Bound. Used: Very Good. Very Good First Edition (1873-1874) of all 6 volumes of Schopenhauer's complete works, edited by Schopenhauer's executor Julius Frauenstadt, this set was formerly owned by Elizabeth Von Arnim Schlagenthin of Elizabeth and Her German Garden fame, each volume features her bookplate on inside front board stating "This book belings to Elizabeth, Chanterai Ma Chanson" with stamp of Von Arnim Schlagenthin on ffep, each volume is half leather, hinge is rubbed on Volume One, Volumes Two and Three are lightly rubbed, Volume Four has 3/4 inch chip and hinge is worn but sound, Volume Five outer hinge is starting, Volume Six has some apparent successful repair and chipping at head and hinge

      [Bookseller: The Book House in Dinkytown]
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        Les plantes alpines. Choix des plus belles espèces. Description. Station. Excursions. Culture. Emploi

      1873 - grand , (8), 320pp., 50 Paris, J. Rothschild, 1873, in-8, grand , (8), 320pp, 50 planches en couleurs, percaline sapin de l'époque, plats avec filets à froid d'encadrement, dos à 4 nerfs orné, tranches dorées (plats, Seconde édition (la première parait la même année, et présente la même collation). L'ouvrage s'ouvre sur un beau frontispice gravé sur bois au dos du faux-titre. Il est illustré de 78 figures sur bois dans le texte ou à pleine page, et en fin de volume, de 50 planches chromotypographiées accompagnées de leur commentaire. Ces figures représentent des végétaux et le matériel de l'excursionniste, chercheur de spécimens de plantes pouvant être replantés. Agréable monographie de botanique régionale dans un bon exemplaire en dépit de quelques rousseurs et de la planche VI qui se détache [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        L'ensorcelée

      Alphonse Lemerre 1873 - - Alphonse Lemerre, Paris 1873, 9x15,5cm, relié. - Nouvelle édition. Reliure en demi maroquin brodeaux, dos à cinq nerfs, date dorée en queue, plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures conservées, tête dorée, reliure signée de P. Goy & C. Vilaine. Envoi autographe signé de Jules Barbey d'Aurevilly "A mon cher ami Azambre, ami vivant dans le souvenir d'un ami mort (1) / Jules Barbey d'Aurevilly / (1) Armand Dutocq". Ouvrage illustré, en frontispice, d'un portrait de l'auteur. Quelques rousseurs sur la garde où figure l'envoi. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] New edition. Binding half morocco Brodeaux back with five nerves, gilded tail date marbled paper plates, guards and contreplats of handmade paper, preserved covers, gilded head, signed binding Goy P. & C. Vilaine. Signed autograph of Jules Barbey d'Aurevilly "To my dear friend Azambre friend living in the memory of a dead friend (1) / Jules Barbey d'Aurevilly / (1) Armand Dutocq". Illustrated book, frontispiece, a portrait of the author. Some foxing on the cover it appears the shipment. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Twenty Thousand Leagues Under the Seas

      James R. Osgood and Company, Boston 1873 - First American Edition of Jules Verne's best known work about Captain Nemo and his submarine the Nautilus. This is the scarce edition published by James R. Osgood, not the more common edition produced by George M. Smith. It is speculated that most of the Osgood copies may have perished in the Great Boston Fire of November 9, 1872. In any event, it is estimated that between 50 and 100 copies may exist. Thick 8vo, original green cloth decorated in black and gilt with the jellyfish as the front cover vignette (Smith's edition has Captain Nemo using a sextant. Very good condition without a dust jacket as issued. Spine has been professionally rebacked retaining all of the original cloth. End papers have some minor fraying at the front edges, and there is an ink signature with "Christmas 1872" on the page preceding the half title. Very scarce. [Attributes: First Edition; Hard Cover]

      [Bookseller: Yesterday's Gallery, ABAA]
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        Arthur Atkins Photo Prints

      Very Good. Prints. A very rare collection of 53 silver plates of the work of San Francisco painter Arthur Atkins (1873-1899). Housed in a grey cloth four-fold folder with heavy soil on the exterior. No date, but probably published in the decade after Atkins' death. Born in England, William Arthur Atkins immigrated to San Francisco and became known for his tonalist landscape paintings, influenced by his studies in Paris in 1897 and 1898 and by the artists Edouard Manet and James McNeil Whistler. His works were exhibited in the San Francisco gallery of Vickery, Atkins & Torrey, where Atkins' uncle William Kingston Vickery and brother Henry Atkins were owners. Most of his original works were destroyed by the 1906 San Francisco Earthquake fires. The plates are black and white reproductions of Atkins' oil paintings, with grey borders that vary in tone from plate to plate and have some silvering on edges. Captions contain the name, date, and size of the original painting along with the owner of the painting. Almost all are in very good condition with some rubbing on one and light wear on edges. Modern research notes including a detailed biography of Atkins accompany the plates. No records found of this portfolio or other collections of plates. The only OCLC record related to any reproductions and dating from the period is a copy of the 1908 book Arthur Atkins: Extracts from the Letters With Notes on Painting and Landscape, by Bruce Porter, which contains several plates, and several of the plates here list Porter as the owner of the paintings depicted. ; B&W Photographs; 9 1/2" x 11 1/2"; 53 pp .

      [Bookseller: Back of Beyond Books, ABAA]
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        Quellen zu Confucius und dem Confucianismus, als Einleitung zum Lehrbegriff des Confucius / Lehrbegriff des Confucius. 2 Teile in 1 Band.

      Hongkong, Eitel, [u.a.], 1873; Hongkong, Gaupp [u.a.], 1872. - Gebunden in schmucklosen Pappband der Zeit, 8°, 27 und 74 Seiten. Einband berieben, Stempel Seminar-Bibliothek Rhein. Mission auf Titel, insgesamt ein gutes, sauberes Exemplar. Enthält chinesische Schriftzeichen. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Welwitschia Dr. Andreas Eckl]
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        Vignettes pour les dernières chansons de Béranger.

      Paris, chez T. Fabré, 1873, - in-8, leg. d'amatore m. pelle, tit. oro e fregi al dorso, broch. edit. cons. Album contenente 26 figure su altrettante tavole dis. da H. Monnier e litografate da Gérard Joinville, colorate a mano, (come da elenco riportato sul quarto di copertina), 1 nota ms. (al verso della brochure anter.), 1 lettera a.f. di Monnier e 5 incisioni (in litografia o acciaio, di varia mano e provenienza) aggiunte in fine raffiguranti P.J. De Béranger, il celebre poeta parigino, 1780-1857, che influenzò in parte il nostro Giuseppe Giusti. Henri Monnier (1799-1877) fu illustratore e scrittore francese. Come si apprende dalla nota ms. applicata al verso della prima di copertina, "En 1873, un marchand d'estampes a fait dessiner par Henry Monnier, pour les dernières chansons de Béranger, une suite de 26 sujets lithographiés et coloriés, dans le genre des 40 de 1828". Acclusa lettera autografa di Monnier a Ferdinand Denis. In ottimo stato. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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        The Arctic Regions.

      London: Sampson Low, Marston, Low and Searle,, 1873. Illustrated with Photographs Taken on an Art Expedition to Greenland Â… with Descriptive Narrative by the Artist. Large folio (618 x 498 mm). Original brown morocco elaborately gilt, marbled endpapers. Housed in an oatmeal cloth folding case. Title page in red and black and with mounted albumen print, 140 further mounted albumen photographs, 115 of them mounted in the text and 25 as inserted plates within printed borders on card mounts with letterpress captioning, including one double-page plate, mounted on linen guards throughout. Skilfully rebound with the elaborately stamped leather from the original binding mounted on the front board and spine, somewhat rubbed, occasional marginal dampstaining and finger-soiling, title leaf with paper repair at head not affecting text, one leaf loose from its stub, some fading to the mounted photographs, but the majority still fairly strong, overall a good copy of this magnificent though somewhat fragile production. First and only edition of this highly uncommon and highly desirable Arctic record, one of perhaps as few as 300 copies. The book forms a record of the last of seven voyages to Labrador and Greenland that Bradford sponsored or participated in during the 1860s: "all early examples of what one might call 'eco-art tourism'"(Books on Ice). Bradford was born in Fairhaven, Massachusetts in 1823, and established himself as a painter of ship portraits in Lynn and other local harbours, his work being characterised by its "correctness Â… and carefulness" (DAB). From this he progressed to coastal studies, gradually moving northwards up the New England and Canadian coasts, and thence, inspired by the recently published accounts of the Franklin search expeditions, to the Arctic. "I was seized with a desire, which had become uncontrollable, to visit the scenes they had described and study Nature under the terrible aspects of the Frigid Zone" (quoted in the Dictionary of Canadian Biography). Between 1861 and 1867 he carried out a series of annual expeditions "along the coasts of Nova Scotia and Labrador for the purpose of painting northern scenery and icebergs", and in 1869 he obtained the support of broker and railroad baron Le Grand Lockwood to fit out the Scottish steamship Panther for his most ambitious voyage yet. His party of forty included John Bartlett, the son of the owner of the ship, who later captained for Peary, Dr Isaac Hayes, who had served under Kane, and two photographers, John B. Dunmore and George B. Critcherson, from the leading Boston photographic studio of James William Black. Departing from St John's on 3 July, the party sailed as far north as Baffin Island and Melville Bay, Greenland, and Bradford "returned with a collection of photographs and a vast number of sketches of the rugged landscape and the details of Inuit life". He was later to say that this vast archive of photographs had saved him "eight or ten voyages to the Arctic regions, now I gather my inspirations from my photographic subjects just as an author gains food from his library. I could not paint without them" (quoted by Horch). In the early 1870s Bradford settled in London, setting up a studio which attracted considerable aristocratic patronage (his most important commission came from Queen Victoria, the painting entitled "The Panther off the Coast of Greenland under the Midnight Sun" which was hung in the library of Windsor Castle), enjoying a second career as a lecturer on the Arctic, and in 1873 publishing the present volume; "no doubt Â… one of the most sumptuous of the century Â… one of the nineteenth century's most spectacular photographically illustrated travel books" (Parr & Badger). The technical problems that attended the handling of wet-plate negatives under extreme conditions makes the quality of Dunmore and Critcherson's images all the more remarkable, being "counted not only amongst the earliest, but also the best polar photographs".

      [Bookseller: Peter Harrington]
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        Around the World in Eighty Days.

      James R. Osgood,, Boston: 1873 - Lacks one plate. Scarce 1873 first fully illustrated US edition of Jules Verne's most popular work; this work was first issued in English in the US as an unillustrated edition, entitled 'The Tour of the World in Eighty Days' (1873). Translated by Geo. M. Towle, with an introduction by Adrien Marx. With fifty three plates, including a sketch by Jules Verne titled 'Burset Malais', The "Saint Michael", of a sailing ship. Lacks one plate at p 266 ('The cold, increased by the tremendous speed, deprived them of the power of speech'). Arthur B. Edwards notes in "Firsts" (July/August 1996) that "there is a fully illustrated Osgood octavo edition, published at the end of November, 1873, taken from the British sheets. This is titled 'Around the World in Eighty Days', and is very scarce. It seems to have had production problems that caused the spine to crack and chip when the book was read; consequently no 1873 copies have been seen in better than good condition (p. 42)." 8vo, xvi, 315pp, dark brown end papers. Gilt and black stamped salmon cloth, beveled edges. Extremities a bit rubbed; spine slightly sunned, little rubbed at edges. Internally, hinges tender but holding; the text bright and clean. We would disagree with the article in "Firsts" and suggest that this a better than good copy, even if lacking a plate. Gallagher, Mistichelli and Van Eerde A30. Taves and Michaluk V011. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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        Bibliographie des Ouvrages Realativs l Amour ,aux Femmes , au Mariage et des Livres facetieux ,Pantagrueliques Scatologiques Satyriques

      Bernhard Quaritch Turin 1871 - 1873 - 3.ed. sechs Bde, Hlwd. Kl-8° franz. sprachige Ausgabe 2000 gr. [Attributes: Hard Cover]

      [Bookseller: Grüne´s Versandantiquariat]
 26.   Check availability:     ZVAB     Link/Print  


        Itinerario de Roma a Jerusalén escrito el año de 1862. Segunda edición corregida y aumentada por el autor, y enriquecida con notas, poesías y vistas litográficas.

      - Guadalajara (México), Dionisio Rodríguez, 1873, 32 x 22 cm., holandesa piel de época deteriorada por el lomo, 240 págs. + 2 h. + 14 láminas y planos. (El autor fue Obispo de Querétaro entre 1885 y 1908. Obra muy rara no citada por Palau y que no hemos localizado en ninguna biblioteca pública española ni en los fondos de la Biblioteca Nacional de Madrid).

      [Bookseller: Librería Anticuaria Antonio Mateos]
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        Isaac Newton]. [James Watt]. - [Sekai Fuzoku Orai - gai hen]

      Kobundo 1873 (Meiji 6), Tokyo - Large 8vo (230 x 155mm), original "Fukuro toji" publisher's binding, stitched as issued, upper wrapper with title label. 53 double-leaves, including 2 full-page colour woodblock prints by Kyosai, the first of James Watt, the second of Isaac Newton. Some worming of the first five leaves, not terribly objectionable. Accompanied by the original printed outer wrapper. Preserved in a fitted cloth case. Highly curious Japanese work on World Customs which features two extraordinary color woodcuts of English and Scottish scientists, namely James Watt and Isaac Newton. The date of publication is important as it marks an intense period of "westernisation" in Japan; a presumed motive behind the publication of the present work was to encourage young Japanese to take up the mantle of Western luminaries. The first woodcut depicts a youthful looking James Watt in front of boiling tea kettle, overseen by his very wrinkly old aunt who rebukes him for his nonsense. According to the myth, Watt measured water drop by drop as it condensed from steam coming out of the spout of the kettle, supposedly in an attempt to produce steam-powered locomotion. D.P. Miller, in "Myths: James Watt's Kettle, His Condenser, and His Chemistry" (History of Science vol. 42, p. 336) reproduces a coeval Japanese woodcut of a much more mature James Watt with his younger-looking aunt, published by the Japanese Ministry of Education, likewise in the early Meiji period. "This was a time when Japan was opened up to Western science and technology, and evidently to its mythologies also." Miller cites the writings of Keiko Suzuki, who explains that the message of such "enlightenment pictures" (kaika-e) was also about persistence, and of difficulties overcome, and in doing so presented symbols of Western culture. Such is true with the second color woodcut, which depicts a very distinguished, almost regal-looking Isaac Newton as he stares intensely at a fallen apple. The portrait is rather anachronistic: as is well known, the so-called "apple incident" occurred in 1666 when Newton was but 24 at the time; the wise scholar that appears in the present woodcut seems to have been well in his fifties or even sixties. The present woodcuts appear to belong to a unique iconographic lineage; in other words, if our artist knew of other portraits of Newton and/or Watt, he certainly ignored them; and we have never seen them reproduced elsewhere. OCLC locates only the Diet Library copy, but we observe that there is a sadly chewed copy at Waseda University. There is a complementary 1872 work with much the same title introducing the West, but each is complete in itself. LITERATURE: See Keiko Suzuki, "Yokohama-e and Kaika-e prints: Japanese Interpretations of Self and Other from 1860 through the 1880s" in: New Directions in the Study of Meiji Japan, ed. H. Hardacre and A. Kern, 1997, p. 683 and fig. 44. See also B. Marsden, Watt's Perfect Engine: Steam and the Age of Invention, 2002, p. 188). See also D.P. Miller, "James Watt, Chemist: Understanding the Origins of the Steam Age" 2016 (sic), p. 19. That our copy is complete with the original printed dust-wrapper is noteworthy; its presence must surely account for the particularly fresh condition. Very good antiquarian condition [Attributes: First Edition; Hard Cover]

      [Bookseller: Michael Laird Rare Books LLC]
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        Autograph letter signed "G Puccini" to the soprano Zorah Dorly in Brussels

      Zorah Dorly (born 1873) was an operatic soprano at the Théâtre de la Monnaie in Brussels who was known for her interpretations of Madame Butterfly and Manon Lescaut. She and Puccini had been in contact since at least 1897, when she sent him an autograph postcard photograph of herself; indeed, several postcard photographs of her in the role of Butterfly survive, and it is undoubtedly to one or more of these that Puccini refers in this letter.. 1 page. Octavo. Dated Milan, January 29, [19]10. In black ink. On stationery with "Via Verdi, 4, Milano." embossed at head. Blind stamp "The Letterette, Patent Rivoli J.W. & Co. Ltd. London" to lower margin. With integral address panel to verso. In Italian (with translation). Puccini mentions some picture postcards of Madame Butterfly, which Dorly has presumably sent to him. He wishes her continued success in her singing career. "I kept the pretty postcards of Butterfly - what nice things... I wish you a world of wonderful things and continued success." Slightly worn, foxed, and stained; creased at folds with some small tears; minor chip to blank left margin; minor annotations in pencil and red pen; tape repair to central fold on verso.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
 29.   Check availability:     Biblio     Link/Print  


        [Isaac Newton]. [James Watt]. - [Sekai Fuzoku Orai - gai hen]

      Tokyo: Kobundo, 1873 (Meiji 6). First Edition. Softcover. Very good antiquarian condition/Very good. Large 8vo (230 x 155mm), original "Fukuro toji" publisher's binding, stitched as issued, upper wrapper with title label. 53 double-leaves, including 2 full-page colour woodblock prints by Kyosai, the first of James Watt, the second of Isaac Newton. Some worming of the first five leaves, not terribly objectionable. Accompanied by the original printed outer wrapper. Preserved in a fitted cloth case. Highly curious Japanese work on World Customs which features two extraordinary color woodcuts of English and Scottish scientists, namely James Watt and Isaac Newton. The date of publication is important as it marks an intense period of "westernisation" in Japan; a presumed motive behind the publication of the present work was to encourage young Japanese to take up the mantle of Western luminaries. The first woodcut depicts a youthful looking James Watt in front of boiling tea kettle, overseen by his very wrinkly old aunt who rebukes him for his nonsense. According to the myth, Watt measured water drop by drop as it condensed from steam coming out of the spout of the kettle, supposedly in an attempt to produce steam-powered locomotion. D.P. Miller, in "Myths: James Watt's Kettle, His Condenser, and His Chemistry" (History of Science vol. 42, p. 336) reproduces a coeval Japanese woodcut of a much more mature James Watt with his younger-looking aunt, published by the Japanese Ministry of Education, likewise in the early Meiji period. "This was a time when Japan was opened up to Western science and technology, and evidently to its mythologies also." Miller cites the writings of Keiko Suzuki, who explains that the message of such "enlightenment pictures" (kaika-e) was also about persistence, and of difficulties overcome, and in doing so presented symbols of Western culture. Such is true with the second color woodcut, which depicts a very distinguished, almost regal-looking Isaac Newton as he stares intensely at a fallen apple. The portrait is rather anachronistic: as is well known, the so-called "apple incident" occurred in 1666 when Newton was but 24 at the time; the wise scholar that appears in the present woodcut seems to have been well in his fifties or even sixties. The present woodcuts appear to belong to a unique iconographic lineage; in other words, if our artist knew of other portraits of Newton and/or Watt, he certainly ignored them; and we have never seen them reproduced elsewhere. OCLC locates only the Diet Library copy, but we observe that there is a sadly chewed copy at Waseda University. There is a complementary 1872 work with much the same title introducing the West, but each is complete in itself. LITERATURE: See Keiko Suzuki, "Yokohama-e and Kaika-e prints: Japanese Interpretations of Self and Other from 1860 through the 1880s" in: New Directions in the Study of Meiji Japan, ed. H. Hardacre and A. Kern, 1997, p. 683 and fig. 44. See also B. Marsden, Watt's Perfect Engine: Steam and the Age of Invention, 2002, p. 188). See also D.P. Miller, "James Watt, Chemist: Understanding the Origins of the Steam Age" 2016 (sic), p. 19. That our copy is complete with the original printed dust-wrapper is noteworthy; its presence must surely account for the particularly fresh condition.

      [Bookseller: Michael Laird Rare Books LLC]
 30.   Check availability:     Biblio     Link/Print  


        Around the World in Eighty Days.

      Boston:: James R. Osgood,. 1873.. First fully illustrated US edition. Hardcover. Better than good overall. Lacks one plate. Scarce 1873 first fully illustrated US edition of Jules Verne's most popular work; this work was first issued in English in the US as an unillustrated edition, entitled 'The Tour of the World in Eighty Days' (1873). Translated by Geo. M. Towle, with an introduction by Adrien Marx.With fifty three plates, including a sketch by Jules Verne titled 'Burset Malais', The "Saint Michael", of a sailing ship. Lacks one plate at p 266 ('The cold, increased by the tremendous speed, deprived them of the power of speech'). Arthur B. Edwards notes in "Firsts" (July/August 1996) that "there is a fully illustrated Osgood octavo edition, published at the end of November, 1873, taken from the British sheets. This is titled 'Around the World in Eighty Days', and is very scarce. It seems to have had production problems that caused the spine to crack and chip when the book was read; consequently no 1873 copies have been seen in better than good condition (p. 42)." 8vo, xvi, 315pp, dark brown end papers. Gilt and black stamped salmon cloth, beveled edges. Extremities a bit rubbed; spine slightly sunned, little rubbed at edges. Internally, hinges tender but holding; the text bright and clean. We would disagree with the article in "Firsts" and suggest that this a better than good copy, even if lacking a plate. Gallagher, Mistichelli and Van Eerde A30. Taves and Michaluk V011.

      [Bookseller: Antipodean Books, Maps & Prints ]
 31.   Check availability:     ABAA     Link/Print  


        The Fiend's Delight. By Dod Grile [pseud]

      London: John Camden Hotten, [1873], 1873. First edition. BAL 1096; Starrett 1. Edges a little rubbed; hinges just starting, but sound; some light foxing to the prelims; very good copy.. 8vo, original purple-brown cloth, gilt decorations and lettering. Vignette title-page and tailpiece. Bierce's first book, a collection of his San Francisco journalism published by agreement - an agreement he would soon regret - with the infamous London publisher John Camden Hotten.

      [Bookseller: The Brick Row Book Shop]
 32.   Check availability:     Biblio     Link/Print  


        Della stirpe che ha popolata l'antica necropoli alla Certosa di Bologna e delle genti affini. Discorso storico - antropologico.

      Bologna, Gamberini e Parmeggiani, 1873, folio cartonato editoriale originale, copertina con cornice tipografica, pp. 169 con XVII tavole litografiche. Edizione di 62 copie numerate (n? 7 la nostra).

      [Bookseller: Libreria Piani gia' Naturalistica]
 33.   Check availability:     Direct From Bookseller     Link/Print  


        Records of the Past; English Translations of the Assyrian and Egyptian Monuments

      Samuels Bagster & Sons, London 1873 - 12mo. 12 volumes. Cloth, gilt cover design, very good set. (16906). [Attributes: First Edition; Hard Cover]

      [Bookseller: Bauer Rare Books]
 34.   Check availability:     AbeBooks     Link/Print  


        Armadale: a Novel

      New York and London: Harper & Brothers, 1873. Later printing. Boldly inscribed by the author, dated September 1873, on the blank page following the title page. This is a hand-writted inscription, not a facsimile: The ink from the author's pen has bled through to the other side of the page. Moderate shelfwear, with frayed spine ends. The spine is slanted. The bottom inch of the title page has been clipped (the publication date is inferred from the date of the author's inscription). A number is written on the front free endpaper. In a tight binding with hinges intact.. Signed by Author. Hard Cover. Very Good/No Jacket. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: Banjo Booksellers]
 35.   Check availability:     Biblio     Link/Print  


        A Manual of Dental Mechanics

      Lindsay and Blakiston Philadelphia 1873 - First Edition. Octavo, original green cloth, gilt lettering, with one hundred and forty illustrations, 283 pages plus ads. Chapters include Preparation of the Mouth for Artificial Teeth, Taking Impressions, Applying Heat, Casting in Plaster of Paris and Metal, Precious Metals, Making Gold Plates for Partial and Entire Dentures, The Vulcanite Base, etc.An extremely uncommon early dental title. No auction records or listings on WorldCat for this edition. Very Good, dust soiling to cloth, ownership signature at title page. [Attributes: First Edition; Hard Cover]

      [Bookseller: Babylon Revisited Rare Books]
 36.   Check availability:     AbeBooks     Link/Print  


        Photograph, Portrait; Inscribed; Signed; Autograph

      - Inscribed to Joe McGraw (John Joseph McGraw, 1873 - 1934, entered the Baseball Hall of Fame in 1937). 8" x 10" black and white inscribed thus: "To Joe McGraw / With the cordial greetings and good / wishes which a memorable Western / trip inspired. / Sincerely / Warren G. Harding"

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

      Rare first edition.Binding half shagreen chocolate brown, back with five nerves decorated with black jewels, marbled paper plates, guards and contreplats of handmade paper, contemporary binding.Some little foxing without gravity. Alphonse Lemerre Paris 1873 11x18cm relié

      [Bookseller: Librairie Le Feu Follet]
 38.   Check availability:     Direct From Bookseller     Link/Print  


        Hall's Vegetable Sicilian Hair Renewer…

      Nashua, N.H.: : R.P. Hall & Co., , 1873. Advertisement broadside, folio (15" x 21 1/2"), engraved illustration plus text on yellow background, border. Some minor staining, small hole in top center, another small hole in left margin, outside decorative boarder, fold creases, slight wear under one letter; overall very good. Attractive broadside that promises to restore gray hair to its natural color, which includes an Illustration of two women in before and after poses. Not surprisingly, somewhat exaggerated. This product also promises to remove dandruff, and cure all diseases of the scalp. Boasts to be the best hair dressing ever compounded. Men shouldn't feel left at as the broadside also promotes Buckingham's dye for whiskers.

      [Bookseller: Nicholas D. Riccio Rare Books & Prints]
 39.   Check availability:     Biblio     Link/Print  


        Autograph Letter Signed, 4to on lined notebook paper, n.p., n.d. but likely 1913-1917. "File" in written across top of page

      The phonograph record is the likely subject Edison writes about to his brother-in-law, John Vincent Miller (1873-1940), (Mina Edison's brother)   Edison refers to his brother-in-law by initials. "JVM - We have had much trouble with wax & phenol Resin since McWilliams had charge Now we are in a bad way with phenol resin We shall have to send Hoffman down to Straighten the Resin production out. Hereafter I shall demand & have made tests at Lab of everything used in making wax & resin - What about McWilliams, I understand he was formally a theatrical man if so he is probably passing the buck over to the foreman who probably has never been properly taught what to do, please investigate." Edison signs with a large, "E." Paper is sunned and brittle with chipping to right and lower margins, breaks at two horizontal margin folds. Our research into the inventions Edison worked on during the World War I years led us to conclude that the topic of our letter was the phonograph record. According to the Edison General File Series for 1915 [TAE Papers] regarding Chemicals, it is noted that Edison expanded his production of organic chemicals after World War I and caused other chemicals from being able to be imported from Europe. During this year he established a "new chemical plant at Silver Lake to convert benzol into phenol (carbolic acid)…." There are notes also stating opening a second phenol plant at Silver Lake to supply the U.S. military with chemicals needed for such things as explosives. A mention on the National Parks Service website (nps.org) notes that in 1915 Edison was asked to "head the Naval Consulting Board. With the United States inching closer towards the involvement in World War One, the Naval Consulting Board was an attempt to organize the talents of the leading scientists and inventors in the United States for the benefit of the American armed forces." He accepted. The Board ended up primarily serving as a "precedent for future successful cooperation between scientists, inventors and the United States military." Meanwhile, the correspondence in the TAE Papers regarding J.V. Miller at the Silver Lake plant includes many letters related to iron and nickel mixes used in alkaline storage batteries as well as letters on the Silver Lake plant producing phenol and also mention of the wax department. Phenol resin was mentioned as early as 1907 in a pocket notebook for February of that year [TAE Papers] and also mentioned in experiments for phonograph records in a May 1914 notebook used by an assistant in the chemical lab, probably W.B. Davis, relating to experiments to prevent wave formation on records while varnishing. Most of this work involved the use of phenolic resin. The Belfer Cylinder Collection at Syracuse University Libraries (library.syracuse.edu) notes, in the introduction, that Edison invented the phonograph in 1877, but the foil he used was not very useable. Shortly thereafter he developed wax cylinders for recording and reproducing sound which he marketed in 1880. But, in 1906, a more long lasting medium was developed, phenolic resin, an early relative of Bakelite. Based on the fact that the letter is to J.V. Miller, it is likely that Edison is referring to phenol resin used for the purpose of sound recording and is having difficulty with one of his suppliers, McWilliams. A note on Edison's reference to McWilliams. While no information has been found suggesting that Curtis Q. McWilliams was ever involved in the entertainment industry, his affiliation with Edison went back to 1883 when McWilliams was a director of the firm Kulp, McWilliams & Co. in Shamokin, PA. They were lumber dealers ("oak and white pine lumber, shingles, prop timber..," according to their letterhead). In 1883, according to TAE Papers, they worked together on the construction of a central station. The folder contains "correspondence and other documents relating to the installation and operation of the central station and electric light system in Sunbury" which became the first commercially installed three-wire system. There are letters in the file from June of 1883 stating that Kulp, McWilliams & Co. were delivering poles and letters from Edison to them stating that the poles were crooked and therefore useless to him. Still, Edison seems to have continued working with this company. The Kulp, McWilliams partnership was dissolved in 1886 and McWilliams and McConnell (a third partner) split off to run the ice and brick part of the business. It seems from this letter that Edison continued to have difficulties dealing with McWilliams, but information gleaned from other genealogical sources, McWilliams was involved in nearly all public enterprises in Shamokin throughout the rest of his life, so in one way or another, he would have had dealings with Edison. J.V. Miller was the manager of the Edison Chemical Works from 1913 until 1920, after which he became Edison's personal business secretary. Previous to his working at the Edison Chemical Works at Silver Lake, Miller had, in and around 1900, worked for Edison at the Ortiz Mine in Dolores, New Mexico where they were searching for a method to separate gold from base rock [see the Thomas Edison Papers at Rutgers University (Rutgers.edu), TAE Papers].

      [Bookseller: Schulson Autographs]
 40.   Check availability:     Biblio     Link/Print  


        The Origin of Species

      John Murray, 1873 The 6th edition, early 13th thousandth copy. Gorgeously rebound in leather. Fine condition. Housed in a custom-made slipcase.. 5th or later Edition. Hardcover. Fine.

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


        Animaux fossiles du Mont Léberon (Vaucluse). Etude sur les vertébrés par Albert Gaudry. Etude sur les invertébrés par P. Fisher et R. Tournouër

      Savy, Paris 1873 - ____ Première édition de cette belle étude paléontologique du Lubéron. Elle est illustrée de 21 planches hors-texte en lithographie. La première planche a été imprimée en ocre et noir. 6 planches représentent des coquillages; elles ont été dessinées par Arnoul. Première charnière ouverte sur plus de la moitié, coiffe supérieure rognée, coins usés. DSB 5, 295. ___. ______ Format : In-folio. [350 x 268 mm] Collation : 180 pp., XXI pl. Demi-chagrin brun, dos à nerfs orné, tranches marbrées. (Reliure de l'époque.).

      [Bookseller: Hugues de Latude]
 42.   Check availability:     AbeBooks     Link/Print  

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