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

        La Toscane au moyen age. Architecture civile et militaire. Band 1 und 2. (Vollständig, 140 Tafeln.) ( Band 1: 52 S, 70 paginierte Blätter mit 70 detailreichen, gestochenen Litho-Tafeln. // Band 2: 17 S., 71 paginierte Blätter mit 70 detailreichen, gestochenen Litho-Tafeln.)

      Paris, Morel, 1873 (M DCCC LXXIII). Erste /1./ Ausgabe (52 S, 17 S.) Fachgerecht unter Verwendung der zeitgenössischen Mappen restauriert. Rote Rückenschildchen mit Goldschrift. 33x47 cm. (Restauré sous l\'utilisation du portefeuille originale.) Thieme/B.XXVIII,520. Vollständiges Exemplar!! Exemplaire complet!! Seltenes Werk zur profanen mittelalterlichen Baukunst von Militär- und Zivilgebäuden. Aus dem Vorwort: \"Trotz der Vorurteile, die einige gegenüber dem Mittelalter pflegen, ist es unmöglich, die glorreichen Erinnerungen aus der Toscana des XII und XIV Jahrhunderts zu verkennen.\" \"Religiöse Bauten haben keinen Platz in unserer Arbeit gefunden, da die Häuser Gottes, aus der Sicht der Geschichte, kein archäologisches Interesse wecken. Sie alle scheinen einer gewissen Unveränderlichkeit zu unterliegen. Um die Unterschiede in der Kunst, der Industrie und den Bräuchen herauszufinden, die das XIII vom XIV Jahrhundert trennt, muss man die Militär- und Zivilgebäude betrachten.\" (Aus dem Frz.). Dargestellt sind aus unterschiedlichen Perspektiven (d.h. Grundrisszeichnungen, Pläne, Detailzeichnungen, Gesamtbetrachtungen) u.a. \"Palais (et Loge) de la Seigneurie a Florence\", \"Palais du Podestat a Florence\", \"Table des Planches\", \"Marché aux Grains a Florence\" und viele weitere. Außerdem noch Gebäude aus Pistoia, Pise, Lucques, Sienne, San Gimignano, Volterra, Prato, Vico Pisano u.w. Alle \"Kapitel\" werden mit einem kurzen Text eingeleitet. Die wunderschönen Lithographien sind in einem guten Zustand, durch die Lagerung ist der Rand z.T. 1-10mm weit angebräunt oder leicht gedrückt. Die vorangestellten Seiten sind etwas angebräunt. Mit 2 kleinen Stempeln auf dem Titelblatt. Insgesamt nur mit wenigen und sehr blassen Stockflecken. Beide Bände sind vollständig, jedoch ohne die später, 1874 erschienenen zwei Textbände. Versand D: 6,00 EUR

      [Bookseller: Antiquariat Karel Marel]
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        Archibuteo lagopus.

      (London, c. 1873). - Hand-coloured lithograph. 380 x 555 mm. Fine image of a Rough-Legged Buzzard, from John Gould's monumental "Birds of Great Britain" (London, 1862-1873, 5 vols.). Joseph Wolf (1820-99) "was the first bird artist to understand and use the new freedom of style that lithography allowed [.] He introduced natural settings and a feeling of motion into his paintings. Early training in lithography and art [.] opened the door to Wolf's development into one of the first and finest true bird artists. He breathed life into the stiff 'bird on a perch' portrayals so characteristic of bird art of the day. Wolf liked especially to paint birds of prey and game birds, with their subtle browns and grays" (Cornell University Library). Fine Bird Books 102. Nissen IVB 372. Sauer 23. Wood 365. Zimmer 261.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Recueil de Poésies pour les jeunes filles

      Hachette, 1873. Hardcover. Used; Good. Hardcover; French language; No jacket; 12mo - over 6.75" - 7.75" tall; good condition; 1880 printing - brown embossed boards, 4 banded spine with ornate gilt decor and titles, marbled endpapers 318 pages with some foxing otherwise a good clean copy. Your book will be securely packed and promptly dispatched from our UK warehouse. All international orders are sent Royal Mail airmail.

      [Bookseller: Sunrise Books Ltd]
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        Lombard Street:

      New York: Scribner, Armstrong & Co.,, 1873. A Description of the Money Market. Octavo. Original brick red net-grain cloth, titles to spine and front board gilt, abstract decorations in black, pale yellow endpapers. Ownership inscription of the monetary expert John Parke Young to front free endpaper, with his occasional pencil side-rulings. Spine ends lightly frayed, covers a little faded; a tight, clean copy. First US edition, published the same year as the first UK edition and bound to the same design except for the publisher's name in gilt at the foot of the spine. Described by J. M. Keynes as "an undying classic", Lombard Street analyses the operation of the British financial system, focusing on the economic role of the Bank of England. Bagehot's recommendation that the Bank alter gold reserves based on economic cycles was highly influential, and the book was considered authoritative into the 20th century. "The wonderful clearness of Bagehot's power of statement, his exact knowledge of the subject treated on, together with his firm grasp of economic theory, have caused this volume to exert an influence which few books on a subject naturally so dry have possessed" (Palgrave I, p. 81). From the library of John Parke Young (1895-1988), an authority on the international monetary system and long-time advocate of a single world currency. Former chief of the State Department's division of international finance, Young helped draft the original charters for the International Monetary Fund and the World Bank. Chief of the Division of International Finance, U. S. Dept. of State, 1943-65, and a member of official delegations to several international conferences, Young met Keynes as early as 1929 and also attended the inaugural meeting of the International Bank for Reconstruction and Development and the International Monetary Fund in Savannah, Georgia, (1946).

      [Bookseller: Peter Harrington]
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        Eigenh. musikalisches Albumblatt mit U. („Fr. von Flotow").

      Rost[ock], 14. Juli 1873. - 1 S. Qu.-4to. Fünf Takte mit unterlegtem Text aus dem zweiten Akt der 1852 entstandenen und an der Wiener Hofoper uraufgeführten Oper „Indra". – Mit kleinen Randläsuren.

      [Bookseller: Kotte Autographs GmbH]
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        Joseph KÖPF (1873 Wien 1953), Straßenkampf Venedig, nach August von Pettenkofen

      - Joseph KÖPF (1873 Wien 1953), Straßenkampf Venedig, nach August von Pettenkofen -- Technik: -- Feder in Schwarz auf Papier, unten rechts mit einem Stempel versehen. -- Maße: -- 37,2 x 27,1 cm -- Zustand: -- Nahezu perfekter Zustand. -- Beschreibung: -- Zwei Jahre vor seinem Tode widmete sich August von Pettenkofen nochmals einem Thema, das ihn sein Leben lang begleitete: dem Duell. (Arpad Weixlgärtner, August Pettenkofen, 2 Bände, Wien 1916, Bd. 1, S. 222. ) Hatte er es allerdings bis dahin entweder humoristisch verarbeitet oder im historisierenden Kostüm genrehaft umgeformt, so tritt in seinem 1887 gemalten, aber nicht vollendeten Gemälde "Straßenkampf in einem venezianischen Gässchen" (Ebd. , Bd. 2, Nr. 836. ) die bedrückende Gefahr des Kampfes in den Vordergrund. Obwohl die Kleidung der Personen aus früheren Zeiten stammt, haftet der Szene nicht die Würde der Historie an. Auch die humoreske Verbrämung fehlt, so dass sich um die ernste Sache nicht herumkommen lässt. Pettenkofen rückt die eigentliche Handlung in den Hintergrund und lässt die Figuren gleichsam mit der Umgebung verschmelzen. Lediglich schemenhaft zeichnen sie sich vor der bedrückenden Architektur ab. Die eigentliche Tat zu sehen bleibt dem Betrachter verwehrt. Das Opfer wird gänzlich von den Personen überwölbt und bedrängt. Hiermit korrespondiert die Architektur, die die ganze Szenerie ausweglos umschließt. Vom Elend des Überfallenen zeugt nur der verlorene Mantel, der ebenso hilflos am Boden liegt, wie der aus dem Türrahmen sich lehnende Mann tatenlos zusieht. Der Degen dient mehr dem Selbstschutz. Er riskiert einen Blick, mehr aber auch nicht. So entzaubert diese Darstellung nicht nur die heroisierende Vorstellung eines Duells, sondern auch das menschliche Verhalten an sich. Nicht die Kleidung der Personen ist das Kostüm, sondern das Bild selbst. Denn unter dem Mantel des Genres vermittelt sich gleichzeitig ein Psychogramm des menschlichen Wesens, das Pettenkofen zu jener Zeit beschäftigt haben mag. So scheint es nicht abwegig, in diesem letzten großen Bild eine Spiegelung des eigenen Seelenzustandes zu vermuten. Ohne festen Wohnsitz, unstet, wurzellos und unentschlossen, scheint es für den Nomaden Pettenkofen zu jener Zeit keinen sicheren Zufluchtsort zu geben (Katalog des Künstlerischen Nachlasses August Ritter von Pettenkofen"s, Versteigerungskatalog, hrsg. von H. O. Miethke, Wien 1889, S. X. ) und so wird selbst das Venedig, in das er immer wieder zurückkehrte, zum klaustrophobischen und angstbesetzten Ort, in dem das Verlassen-Sein dominiert. Unsere Federzeichnung gibt das Gemälde in nahezu allen Details wieder und darf als kongeniale Übertragung in das graphische Medium angesehen werden. (Die Autotypie nach unserer Federzeichnung ist abgebildet bei: Albert Ilg (Hrsg. ), Kunstgeschichtliche Charakterbilder aus Österreich-Ungarn, Prag u. a. 1893, Abb. 92, vor S. 387. ) Erstaunlich und dabei von herausragender Anmutung ist die Ausführung der Zeichnung. In einem dichten Netz aus Kreuzschraffuren kristallisiert sich die Darstellung nicht durch Konturen oder Flächen heraus, sondern wie eine pulsierende Oberfläche strukturiert das dichte Liniennetz den Bildinhalt durch ein An- und Abschwellen der Intensität der Schraffuren. So wird die Darstellung zu einer homogenen Einheit, die durch die vielfältigen Abstufungen von Hell und Dunkel lebendig wird. Gleichzeitig transportiert die Art der Zeichnungen durch ihren kalkulierten Furor des Liniendickichts etwas von dem nebulösen Unbehagen, das das Bildmotiv durchweht. Die Linie ist hier nicht nur Mittel zum Zweck, sondern wird zum maßgeblichen Träger einer Stimmung, die das Bildgeschehen erweitert. --

      [Bookseller: H. W. Fichter Kunsthandel e.K.]
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        Der wunderbare Ring". Eigenh. Manuskript mit U.

      O. O. u. D. - 4 SS. auf Doppelblatt. Gr.-8vo. "Kaiser Friedrich Barbarossa hatte zu Kaiserslautern bei seiner Burg einen Teich, in welchem er einen Lieblingsfisch hegte. Damit derselbe ihm nun bei seiner häufigen Abwesenheit, indem er des Reiches waltete und Heldenfahrten machte, nicht vertauscht werde, legte er dem Fische einen künstlich gearbeiteten Ring an, der die Eigenschaft hatte, mit dem Wachsthum des Trägers sich auszudehnen und so stets genau zu passen. Da wuchs der Fisch heran zu einem Riesenleibe, der in seiner Art seines Gleichen nicht hatte, und der Ring saß immer noch bequem und war ihm zugleich ein herrlicher Schmuck geworden. Als Wahrzeichen dieser Sage hat die Stadt Kaiserslautern in der Pfalz den Riesenfisch mit dem Ringe in ihrer prächtigen Fruchthaushalle bildlich dargestellt. Der Fremde sieht's, fragt nach der Bedeutung, und vernimmt die Sage. - Die Kirche Gottes auf Erden wird genannt der Leib Jesu Christi, den die alten Christen mit dem griechischen Namen Ichthys, welches Wort 'Fisch' bedeutet, sinnbildlich bezeichneten, weil sie die einzelnen Buchstaben als Anfangsbuchstaben für ebenso viele Wörter in der griechischen Sprache einen Satz bilden ließen, dessen Sinn war: 'Jesus Christus, Gottes Sohn, Erlöser". Möge es gestattet sein, jene schöne Sage auf die Kirche anzuwenden [.]". - Der streitbare, aller geistlichen und universitären Ämter enthobene und später auch exkommunizierte Theologe war maßgeblich am Aufbau der altkatholischen Kirche beteiligt und wurde 1873 in Köln zum ersten altkatholischen Bischof Deutschlands gewählt. Vgl. BBKL VII (1994), s.v.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Accipiter nisis.

      (London, c. 1873). - Hand-coloured lithograph. 380 x 555 mm. Fine image of a Sparrowhawk, from John Gould's monumental "Birds of Great Britain" (London, 1862-1873, 5 vols.). Joseph Wolf (1820-99) "was the first bird artist to understand and use the new freedom of style that lithography allowed [.] He introduced natural settings and a feeling of motion into his paintings. Early training in lithography and art [.] opened the door to Wolf's development into one of the first and finest true bird artists. He breathed life into the stiff 'bird on a perch' portrayals so characteristic of bird art of the day. Wolf liked especially to paint birds of prey and game birds, with their subtle browns and grays" (Cornell University Library). Fine Bird Books 102. Nissen IVB 372. Sauer 23. Wood 365. Zimmer 261.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Unbekannter Künstler. Ansicht von Olevano. Bleistift auf Papier2

      - Unbekannter Künstler. Ansicht von Olevano. 1873 . Bleistift auf Papier. -- Beschreibung: -- Bleistift auf Papier. am unteren Rand in Feder bezeichnet und datiert: "Olevano, von Sign. Murphys Casino aus gesehen. d. 29. Mai 73.". -- Größe/Size: -- 14,1 x 22,8 cm. -- Zustand: -- Sehr guter, altersgerechter Zustand mit leichten Altersspuren. -- Weitere Beschreibung: -- Das gesamte 19. Jahrhundert hindurch war das beschauliche Felsendorf Olevano, Pilgerziel so vieler Künstler und wurde für nicht wenige zur zweiten Heimat. Zu diesen neuen Siedlern gehörte auch der dänische Diplomat und Maler Edward Falkner Murphy (1813-1895). Die Liebe zu Olevano bewogen seine Frau und ihn zur Errichtung eines Hauses, das 1864 fertiggestellt wurde und fortan als "Villa Murphy" zu einem beliebten Anlaufpunkt der Olevano-Reisenden wurde. Näherte man sich von Rom aus dem Bergdorf, so kam man auf der Viale Vittorio Veneto an der ebenfalls beliebten Unterkunft "Albergo Roma" vorbei. Auf gleicher Höhe, ein wenig weiter östlich gelegen, liegt die "Villa Murphy". Dass der malerische Ausblick auf Olevano auch mit ganz realen Gefahren einhergehen konnte, musste Murphy am 7. November 1867 am eigenen Leib erfahren, als er von Briganten überfallen wurde. Das "Brigantaggio" erlebte im Zuge des Risorgimento durch arme Bauern und Tagelöhner großen Aufschwung, deren Lage sich auch unter Vittorio Emanuele II. nicht gebessert hatte und die sich um die Aussicht auf eine Landreform und größere Demokratisierung betrogen sahen. In den Wäldern Unterschlupf suchend, lauerten sie dort immer wieder besonders Adeligen und Großgrundbesitzern auf. So auch dem Dänen Murphy, der sich allerdings zu helfen wusste und die Briganten unter dem Vorwand, er würde Ihnen Geld geben, in sein Haus lockte, sich flink in seinem Schlafzimmer verschanzte und die Räuber mit seinem Gewehr beschoss, die darauf hin die Flucht ergriffen. Doch nicht erst seit dem Risorgimento sah sich die Gegend von Räubern geplagt. Auch in der Casa Baldi, dem zweiten Anlaufpunkt für Künstler, ereignete sich 1819 ein Überfall, bei dem neben Carl Friedrich von Rumohr auch Friedrich Salathe zugegen war. Dieser wurde sogar von den Räubern gefangen genommen, konnte sich aber im Laufe seiner Entführung mit ihnen anfreunden und so seine Freiheit wiedererlangen. Unsere Zeichnung von 1873 zeigt den Blick auf Olevano sowohl von der nahe gelegenen Casa Baldi als auch von der Villa Murphy. Detailgenau hat der unbekannte Künstler im Blatt die kubischen Verschachtelungen des Dorfes im Kontrast zu den weichen, fließenden Berghängen der Umgebung dargestellt. Die Fenster, die der Künstler durch markante und genau gesetzte Punkte darstellt, verleihen dem Blatt eine dynamische Erscheinung, die die Lebendigkeit der vielschichtigen Bauten eindrücklich erfasst.

      [Bookseller: H. W. Fichter Kunsthandel e.K.]
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        Die preussische Expedition nach Ost-Asien. Nach amtlichen Quellen.

      Verlag der königleichen geheimen Ober-Hofbuchdruckerei (R.v. Decker), Berlin 1864-1873. - 350 - 450 S. je Band mit zusammen 48 Photolithograpien und 4 gefalteten farbig lith. Karten, Henze II, 185. Band 2 mit 12 Tafeln erschien als Faksimile im Zeller Verlag, Osnabrück. Sprache: Deutsch Gewicht in Gramm: 4800 4°, Original-Leinen vergoldetem Rückentitel (Band 1), Original-Broschur (Bände 3+4), Band 2 als broschiertes Faksimile, Außendeckel von Band 4 mit 11 Zentimeter langem Einriss, Bände 3+4 unaufgeschnitten, innen nur vereinzelt gering braunfleckig, insgesamt gutes und sauberes Exemplar,

      [Bookseller: Antiquariat Silvanus]
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        BANCROFT'S MAP OF CALIFORNIA, NEVADA, UTAH AND ARIZONA

      San Francisco, 1873. folding into original stamped brown cloth covers. Covers repaired along spine, corners lightly worn. Advertisement for Bancroft laid down on inside front cover. Expert tissue repairs to splits along folds and cross-folds. Five-inch tear along Utah-Nevada border repaired with tissue, with minor loss of paper. Good. This is the third, revised edition of what Streeter calls an "important large scale map." The map shows California and Nevada, plus western Utah and Arizona on the impressive scale of twenty-four miles to the inch. Bancroft shows these western areas with the most accurate detail possible, with completed railroads, proposed railroads, and wagon roads carefully laid down. Also identified are important natural features such as wells, salt springs, buttes, etc. Counties are individually shaded, and the states are outlined in color. The Bancroft publishing house first issued this map in 1864, and there are also editions dated 1871 and (apparently) 1872. Wheat notes that Bancroft's original map was published in 1863 with the title, BANCROFT'S MAP OF THE PACIFIC STATES. Compiled by William H. Knight, it "was probably the most important map yet produced by a publisher of the Pacific coast." Knight's map is significant for many reasons, not least of which for changing the name of Lake Bigler to Lake Tahoe. Wheat describes the several iterations of the map in detail, and its augmentation over the years, asserting: "The great MAP OF THE PACIFIC STATES, originated in 1863 by William H. Knight, proliferated in 1864 into a whole family of notable maps, automatically establishing the rising H.H. Bancroft house as the greatest map publisher of the Pacific Coast. So large in size are these maps and so overflowing with detail, it is utterly impossible to describe their minutiae." In 1864 Bancroft divided his large map along the 42nd parallel, and this MAP OF CALIFORNIA, NEVADA, UTAH AND ARIZONA is known in editions of 1864 and 1871, before the present 1873 edition. Streeter had a copy with an 1872 date (see lot 3934 in his sale), the only such example that we have been able to locate. The Rumsey collection has a copy of this 1873 edition in a wall map format, as opposed to the present pocket map format. A scarce and important western map.

      [Bookseller: William Reese Company - Americana]
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        WORKS OF SHAKESPEARE - LONDON IMPERIAL EDITION 3 VOLUMES; Edited by Charles KNIGHT. Complete 2-volume set with 46 fine steel-engraved plates including 2 frontispieces and 2 added title-pages, from designs by C.W. Cope, W.P. Frith, D. Maclise and others on heavy stock paper. All prints with their orig. plain paper guards and 1-vol. of the Biography of W. Shakespeare by Chr. Knight (carefully revised). 36.7 x 28 cm. (14½x10¼), 810pp; 778pp; 188pp; original full red morocco elaborately tooled in gilt on covers and spines, raised bands; massive bindings; large thick folio. All edges gilt. A bit of wear to leather edges, but overall a superbly tight, clean and handsome set in original unrestored condition. Printed in double-column. A magisterial set of the splendid Victorian Imperial Edition.

      London, J. S. Virtue & Co. Ltd. 1873-1876.,, Fol. (36,7 x 28 cm), 3 Bänden: 3 Bl., 810; 3 Bl., 778; 4 Bl., 188 Seiten. Mit 2 gest. Titeln m. Vign., 2 gest. Frontisp. u. 42 Stahlst.-Taf. Roter Ganzledereinband der Zeit mit Goldpräg auf Einband u. Buchrücken u. dreiseitigem Goldschnitt. Zusammen ca. 10 Kg. schwer! Zustand: Einband etw. berieb. u. best., Innen teilweise leicht fleckig bzw gebräunt, ingesamt jedoch gut erhaltenes Exemplar. Versand D: 5,00 EUR Englische Literatur, Englische Meistereinbände

      [Bookseller: Antiquariat an der Uni München]
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        LA ORQUESTA

      Mexico, 1873. Folio. Contemporary half tan Mexican sheep over mottled boards, spine gilt. Some overall shelf wear, joints rubbed, text block of final volume loose in binding. Plate twelve in volume 1878 has dime-size hole caused by paper flaw; 1869 volume lacks plate 118 but has added lithographed titlepage; volume 1878 lacks No. 8, its plate, and plate 96, but has hors-series plate; 1871 volume lacks No. 5 and its plate. Instances of dampstaining, light foxing, a few plates wrinkled, contemporary ownership signatures on front free endpapers of first two volumes. Overall, a very good set. A wonderful and extensive run of this 19th-century Mexican periodical, of great interest for its vast number of lithographic political cartoons. The lithographic plates, numbering over 500, in this run of LA ORQUESTA, all of which belong to the third series and most of which were executed by master draftsmen Constantino Escalante, Vicente Riva Palacio, and Hesiquio Iriarte, represent some of the most exquisite early specimens of Mexico's nationalistic print-making art, a tradition that began with illustrations in a handful of liberal periodicals such as LA ORQUESTA, and later blossomed to influence and encompass such prolific talents as Jose Guadalupe Posada and Jose Clemente Orozco. Popular lithography in 19th-century Mexico reached its zenith with the CARICATURAS, or political caricatures, such as those contained in LA ORQUESTA. The narrative style of the cartoons combined with biting political satire and the use of decidedly Mexican emblematic metaphors evoke the peculiar Mexican CARICATURA style. Although the lithographs reveal hints of French influence in matters of decorations, they reflect more the genesis of Mexico's own satiric genre in lithography. This view is supported by Joyce Waddell Bailey, an authority on Mexican graphic art: "Outside of [a few] circumstantial affinities to the tradition of French magazines of caricature, we find little influence of a specific nature in the prints. Rather, the Mexican lithographs show highly original themes, and styles vary from artist to artist and journal to journal. To a certain extent we can see here traces of how highly creative artists work. A new idea or image may act as a stimulus, but it is combined in the artist's own work with such agility and acuity that it becomes impossible to accurately delineate specific sources of influence" - Tyler (p.96). Indeed, Escalante and the staff of LA ORQUESTA attained an international reputation, and even attracted Europeans hoping to learn the art of satirical lithography in their Mexico City shop. Sabin called LA ORQUESTA the Mexican PUNCH, but the themes depicted remain fully Mexican. Each issue consists of four pages plus a single full-sheet lithographic plate, with a printed caption. Besides standing as influential examples of Mexican lithography, the plates are of much interest as documents of the French intervention period in Mexico, the reign of Emperor Maximilian, and the political turmoil of the period. "LA ORQUESTA, a periodical of political satire, established lithographic caricature as a field of its own through the excellent work of Constantino Escalante, virtual pillar of the publication until his untimely death in a railroad accident at Tlalpan in 1868" - Mathes. Manuel Toussaint, in his study of 19th-century Mexican lithography, describes the political caricatures in LA ORQUESTA as "a terrible weapon at the command of caustic satire. Two colossal humorists debut here: Vicente Riva Palacio and Constantino Escalante. They did more with their pen and pencil than many a general has with an entire army. LA ORQUESTA reveals, nay lays bare, an entire era in Mexican history." This run also contains the very last image produced by Escalante before his death in 1868 (Vol. II, No. 30) with the following issue devoted almost entirely to him. LA ORQUESTA commenced publication in 1861 and was issued weekly through four series or EPOCAS before ceasing publication sometime in 1877. The UNION LIST OF SERIALS locates partial sets at twelve North American libraries. The style and content of LA ORQUESTA is a foundation for much of later Mexican art. Such influential graphic artists as Posada and Orozco drew directly on the images which appear here in shaping their styles, and thus LA ORQUESTA is seminal to modern Latin American art. A gold mine of Mexican lithographic art and caricature.

      [Bookseller: William Reese Company - Americana]
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        Opernhaus

      Wien Ed Hölzel 1873 - Chromolithografie nach Franz Alt. Bildausschnitt 25 x 38 cm, Blattgr. 41 x 53 cm Nebehay-Wagner 36/1, Paulusch, Ikonographie Österreichs, W 1524. Wie immer bis an den Bildrand beschnitten und auf einen Trägerkarton montiert, auf der Rückseite gedruckter Titel, leicht wellig, Trägerkarton bestossen und fleckig

      [Bookseller: Antiquariat Clemens Paulusch GmbH]
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        LE LIVRE DE PATISSERIE.

      Hachette 1873 In - 8 gr. (mm. 263 x 167), mz. pelle coeva, dorso a cordoni con decoraz. e tit. oro, pp. (6),VII,506, con un ritratto xilografato di Gouffé (Officier de bouche du Jockey - Club de Paris), molto ben illustrato nel t. da 137 figure, anche a p. pag., inc. su legno e da 10 bellissime tavole f.t. in cromolitografia ?d?après les peintures à l?huile et les dessins de E. Ronjat? e che rappresentano ?des croustades, des petits gateaux variés, des timbales, des pièces montées, ecc.?. "Prima edizione" Cfr. Vicaire, p. 418: ?"Le livre de patisserie" est divisé en deux parties: la première traite des préparations, la seconde des grosses pièces et entremets détachés. Ces deux parties sont précédées de considérations préliminaires où l?auteur donne des conseils aux jeunes patissiers, indique les termes de patisserie et parle du four et de la cuisson. Le livre de patisserie porte la date de 1873 mais a paru à la fin de l?année 1872? - Bitting, p. 195. Esemplare ben conservato.

      [Bookseller: Libreria Antiquaria Malavasi]
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        African Lepidoptera, being descriptions of new species.

      - London, Longmans, Green & Co. (1873-1875 ?). 3 parts. 4to (295 x 230mm). pp. 16, with 18 (12 hand-coloured) plates. Unbound in original printed wrappers. Junk describes the work in his JUNK RARA II pp. 136 as follows: "Part 1 (February 1873). Coloured plates 1-6 (37 figures) with letterpress, pages 1-8. Contents: Papilio constantinus, evombar. Pieris manahari, antsianaka, cebron, capricornus, rhodanus. Eronia vohemara, verulanus. Amauris nossima. Salamis anteva. Junoniakowara. Acraea satis, pentapolis, peneleos, polydestes, pharsalus. Part 2 (Sept. 1874). Coloured plates 7-12 (41 figures) with letterpress, page 9-16. Contents: Acraea manadaza, masamba, masonala, hova. Godartia crossleyi, trajanus, Neptis biafra. Euryphene camarensis, ribensis, comus, nivaria, porphirion. Harma capella, cyclades, ciceronis. Mycalesis vola, ankova, iboina, antahala. Part 3 (1875 ?). Black plates 13-18 (35 figures) without letterpress. Contents: Papilio colonna, philonoë, andronicus, Acraea cydonis, sambavae, rabbaiea, satis. Godartia wakefieldii. Diadema usambara. Charaxes hadnanus, andara, andriba, analeva, andranadorus. Mycalesis avelona, Erebia rakoto, ankaratra, passandava, n.sp.? Part 1 and 2 contain figures and descriptions of new species chiefly from Madagascar, then from the Camaroons, Old Calabar and Ribé (East Africa). The descriptions are copied (literally) from Ward's 2 papers (published in 'Entomologist's Monthly Magazine' volumes 6-9 and 8-9): 'Descriptions of new species of Diurnal Lepidopt. From Madagascar'. and 'Descriptions of new species of African Diurnal Lepidoptera'. The second paper is continued also through volume 10 of the 'E.E.M.' and I have no doubt that the species described in the continuation are those figured there in the 3rd part, which has no letterpress. This very beautiful work is highly important for the knowledge of the East African Fauna, as it contains 55 new species. Ward has not written any other work and also the "A.L." were - perhaps owing to the death of the author - soon interrupted. The book may be considered as the rarest of all modern works on Butterflies. My copy is the first I have ever seen, though I have searched for the book for more than 20 years. But, what is the chief thing: my copy is an unicum as it includes a third part quite unknown till today, which, as it seems, had never been in the trade; for neither are the plates coloured nor has it a letterpress, and the numbers of the plates as well as the name of the butterflies are not printed but only neatly written by pencil". We presume that Junk was wrong when he thought his copy to be an unicum, as we have sold a few copies in recent years. [Attributes: Soft Cover]

      [Bookseller: Antiquariaat Junk]
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        President Ulysses S. Grant appoints an officer in the Fourth Regiment of Artillery. Mint condition.

      Washington, D.C., December 29, 1873. 15.5" x 19". "Partly Printed Document Signed ""U.S. Grant"" as President, 1 page, 15.5"" x 19"". On parchment, folds. Washington, D.C., December 29, 1873. Completed in manuscript. Countersigned ""Wm. W. Belknap"" as Secretary of War. Patriotic military vignettes at top center and across bottom.Official blind embossed 2.25"" diameter blue War Department seal with serrated edges affixed at upper left. Fine condition.In part, ""Know Ye, That reposing special trust and confidence in the patriotism, valor, fidelity, and abilities of Albert S. Cummins I have nominated, and by and with the advice and consent of the Senate do appoint him Second Lieutenant in the Fourth Regiment of Artillery ...""From the U.S. Senate History web page: ""On March 2, 1876, just minutes before the House of Representatives was scheduled to vote on articles of impeachment, [Secretary of War] Belknap raced to the White House, handed Grant his resignation, and burst into tears. This failed to stop the House. Later that day, members voted unanimously to send the Senate five articles of impeachment, charging Belknap with ?criminally disregarding his duty as Secretary of War and basely prostituting his high office to his lust for private gain."" ... On August 1, 1876, the Senate rendered a majority vote against Belknap on all five articles. As each vote fell short of the necessary two thirds, however, he won acquittal."""

      [Bookseller: University Archives]
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        Mnemosyne. Bibliotheca Philologica Batavia.

      Leiden u. Leipzig, Brill und Harassowitz, 1873-1993. - ISSN: 0026-7074. Titel rückseitig gestempelt. Buchrücken mit Bibliotheksrückenschild. Die frühen Jahrgänge teils etwas stockfleckig, ansonsten sehr gut erhaltenes Exemplar in festen Einbänden. Sprache: Deutsch Gewicht in Gramm: 90000 8°. Halbleinen- und Leineneinbände Nova Series Bände 1 (1873) - 60 (1932/33) (ohne die Bände 2,19,20 und 42; 3.Serie. 1 (1933/34) - 13 (1947); 4.Serie 1 (1948) - 46 (1993) in 111 Bänden.

      [Bookseller: Antiquariat Trageser]
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        [ARCHIVE OF CIVIL WAR LETTERS WRITTEN BY LIEUT. SHELDON C. TREAT OF THE 4th IOWA INFANTRY]

      [Various locations, including Missouri, Iowa, and Arkansas], 1873. Quarto and octavo sheets. Old folds. Some light wear and soiling. Very good. Born in West Haven, Connecticut, Sheldon Treat emigrated to Missouri in 1859 to find work as a carpenter. Along with gainful employment, Treat soon found himself on the front lines of what would become the Civil War. This fine collection documents the transformation of a young easterner looking for work into a Civil War soldier. His service included marching with General Sherman from Atlanta to the sea. The archive is comprised of four letters written before Treat's enlistment; fifteen letters from the war, including one from Treat's commanding officer; three letters written in the years after the war; and a brief autobiographical sketch. In some ways the three pre-war letters are the most interesting of the lot. Written from Forest City, Missouri, a troubled outpost near the Kansas border, the letters provide a glimpse into the drama as war fever rose in an area already engulfed by violence. On Jan. 24, 1861, Treat described an incident with border ruffians: "You tell me to be careful about [getting] into scrapes like the one we had about the boat, no law of this state could molest them fellows at all for they had got my on the Kansas side and the onely way [to] get it was by force. A fellow from Ohio was with me on the river at the time of the fuss. There was 6 of them they all drawed their knives and one his revolver, we had no arms but one knife to defend ourself with but we got the boat and got back safe. When we got up town 30 men was redy to go after them. Had we had our revolvers there would have been some shooting done." He briefly toys with the idea of joining a wagon train headed up the Oregon Trail: "There is not much going on here at the present, I think of going across the plains this spring, to Oregon with a company of 50 families from Ioway to form a colony on Trinity Bay, we [shall] send one of our numbers up this week or next to make the arrangement for the trip...." Whatever the case, Treat was not headed back to the staid life of New England. "As for me coming back to the New England states there is no such thing in the book. I like this country to well for that, if I go anywhere from hear this summer it will be fa[r]ther west or up into Iowa. I have got a job there if I wish to go, if the Union stands there will be plenty of work here for all. The yong men of this place are having their hair cut short for the spring fights, they commenced election day to fight and have been at it ever scince [sic]." He moved on to Des Moines some months later, enlisting and enjoying the benefit of a steady paycheck. There, he wasted little time before enlisting in the 4th Iowa Infantry, where he proved himself a capable soldier, earning promotion to second lieutenant by October 1862 and to first lieutenant in January 1863. Serving mostly in the western theatre, Treat saw action in seventeen battles and took part in Sherman's March to the Sea, reenlisting after a furlough for the duration. His letters reveal a strong pro-unionist as he became accustomed to military life in Missouri, culminating in his first major battle, at Pea Ridge. On Aug. 18, 1862 he writes home to describe the devastation he experienced during one of the year's most decisive battles, and the way in which his commitment to the cause was growing stronger as he grew from new recruit into a veteran: "Martha says it almost makes her sick to see them poor fellows in the hospital at New Haven. She ought to go over one battle field and see the sights it would make her sick for certain. I should liked to had you seen the field at Pea Ridg for I know it would not made you sick but you would not have forgotten it very soon. Man is a curious thing in a fight. People will say fight for honor and glory but I tell you that they fight because they are mad and because they love to fight. You put a company into action and watch them the first 2 or 3 rounds they take it very cool but soon they begin to fall and this one looses a brother and that one a messmate and blood runs freely then jest listen and hear the deep curses of revenge and then see if they fight becaus they love it. Yes every shot is dearer than life to them, they don't think of honors then and how different is it with them the next time they come into action they go at it like a days work...." Interestingly, Treat's support for the war seems not to have been shared by his father, and he writes a passionate letter complaining that his father seems to offer nothing in his letters but sarcastic and discouraging comments (Aug. 28, 1862): "I have here some 80 men to associate with and all are getting letters from home cheering them on the good worck and although I have proved myself as brave as the bravest yet I get no encouragement from father...." Posted at Helena in the latter half of 1862, the 4th Iowa took part in the early maneuvers of the Vicksburg Campaign, and the archive includes a fine description of the fall of Fort Hindman, Jan. 18, 1863: "Our loss is 500 killed and wounded, Our Regiment lost but 4 men in all. The Battle lasted 3 hours when they surrendered the fort to us. They had 1 gun of 100 lbs and 3 of 68 lbs all casemated with Railroad iron and 6 feet of oak timber....we got 2 field Batteries and 2 splendid parrott guns and 4000 stand of Endfield Rifles some muskets plenty of shot guns revolvers and pistols of all sorts...." There are also two excellent letters from later in the Vicksburg Campaign, written after the regiment had been circled behind Vicksburg, to cut off any possible escape to the east, though at heavy cost to their own ranks. On May 24, 1863 he writes: "We have taken 8000 prisoners and 75 pieces of artillery. Our loss is hevy. My Reg has lost about 50 men. The 9 Iowa lost all but 130. Some Reg have lost all their field officers and some most all their line officers. Jackson the capital of this state is burned down. I am in camp on Walnut Hills 2 miles back of the town in front is a big Fort still in the hands of the rebels....We have got Warenton and Haines Bluffs both with all their guns and have got the rebels whare we can tend to them jest when it suits us...." Running through Treat's letters is his squabble with his father, and Treat takes every opportunity to lambaste the Copperheads. After the draft riots of 1863, he taunted his father: "How much has the Copperheads made by their riots in New York city. I think they will get their fill before long. I rather guess bullets will stop them, it was a pity they used blank cartridges as they had such a nice range for canister in the streets. I guess that Father Abraham who live in Washington is able to stop such proceedings and if necessary stop some of their winds...." An interesting record from the Western front.

      [Bookseller: William Reese Company - Americana]
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        [ORIGINAL MANUSCRIPT SKETCHBOOK OF THE H.M.S. CHALLENGER EXPEDITION, 1872 - 1874]

      [H.M.S. Challenger, 1873. Oblong quarto sketchbook, 9 1/2 x 12 1/2 inches. Original printed wrappers, backed in later tape. Inscribed on front wrapper verso: "William Gurling. H.M.S. Challenger. Sydney. Australia." Covers worn. Some minor soiling internally, but overall clean, bright, and in very good condition, with most tissue guards remaining. In a cloth clamshell case, leather label. The remarkable original watercolor sketchbook of Benjamin Shephard from the historic scientific voyage of the H.M.S. Challenger. In 1968, J. Welles Henderson, collector, historian, and founder of the Philadelphia Maritime Museum, discovered the sketchbook in an antique shop in Boston. He purchased the volume and soon showed it to Harris B. Stewart, an oceanographer and member of the Maritime Museum's Underwater Advisory Board, who agreed that the drawings added "a delightful artistic postscript to the volumes already written about what is still considered the greatest of all oceanographic expeditions" (Stewart and Henderson, p.[3]). In 1972, on the centennial of the Challenger's launch, the Philadelphia Maritime Museum published a facsimile volume of the sketchbook, with an introduction and detailed commentary by Stewart and Henderson accompanying each plate. During their research on the sketchbook, Henderson and Stewart discovered that Benjamin Shephard was a cooper who served during the entire voyage of the H.M.S. Challenger, from November 1872 to May 1876. Shephard was born at Brixton in Surrey in 1841, entered the navy in 1862, and died in Australia from tuberculosis in 1887 at the age of forty-five. "Evidently," Henderson and Stewart write, "he found work not particularly to his liking, as he was promoted and demoted several times during his 25-year career." He paid significant attention to his Challenger sketchbook, however, creating this series of splendid watercolors that show the work of a skilled and observant amateur. The sketches are all approximately 6 by 9 3/4 inches, each featuring a view of the ship and framed with a caption- bearing garter. Following the attractive pictorial titlepage, they begin with a fanciful scene of the Challenger dredging the sea floor, with mermaids guiding the net below and bestowing it with shells and an old anchor. Stewart and Henderson note that like the sailors on most oceanographic expeditions, "those aboard the H.M.S. Challenger, although intrigued by the work of the scientists, were more interested in the ports which punctuated the long periods of observations at sea. Thus Shephard, with few exceptions, concentrated on painting not the scientific work at sea but rather the Challenger at her various ports of call." Twenty-five of the watercolors are port or other coastal views, covering Madeira, St. Thomas, Bermuda, Halifax, St. Michael's, St. Vincent, St. Paul's Rocks, Fernando Noronha, Tristan de Cunha, Capetown, Prince Edward Island, Crozet Island, Kerguelen Island, and McDonald Island. Many of these depict other ships and boats, with forts, towns, and the occasional lighthouse in the background. Non-coastal scenes include one of a violent storm in the Gulf of Florida, a particularly attractive view of the ship at full sail "on her way to St. Paul's Rocks," and six sketches of the Challenger sailing, firing, and dredging among the Antarctic icebergs. A beautiful and important visual record of what Howgego has called "the most detailed and extensive examination of the world's oceans in the history of exploration.

      [Bookseller: William Reese Company - Americana]
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        Eigenh. Brief mit U.

      O. O. u. D. - 1 S. 8vo. An einen namentlich nicht genannten Adressaten, d. i. der frz. Politiker, Theaterkritiker und Dichter Georges Pioch (1873-1953), mit der Frage, wann und wo er das Manuskript, das er ihm für ein Musikalbum versprochen habe, zurückgeben solle. – Auf Briefpapier mit gepr. Adresse und schwarzem Trauerrand; mit kleineren Randläsuren und einem größerem Einriß in der oberen Blatthälfte.

      [Bookseller: Kotte Autographs GmbH]
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        Vazeeri Rupi

      London: E&FN Spon, 1873. First. Hardcover. VG+. The silver country and Vazeers in KULU. Its beauties, antiquities and silver mines. including a trip over the lower Himalayah (sic) range and glaciers, with numerous illustrations. 102 pp, text ill and lovely lithographed plates. The work originally appeared as a series of magazine articles and met such popular response that the author obtained these wonderful ill and published the work about everything interested he had seen in Kulu and his travels in that part of Central Asia. A VG+ copy in original highly decorated and gilt stamped and blindstamped binding. Rare.

      [Bookseller: Trophy Room Books]
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        The Gallery of Pigeons and Other Poems. [Presentation copy from the author with additional manuscript stanza].

      London: Henry S. King, 1873. First edition. Hardcover. Good. London: Henry S. King, 1873. First edition. viii,198pp.,(+32pp. publisher's catalogue). §Krishnamurti (Supplement) 21. The author's sole publshed volume of verse. As a poet, Marzials was poised between the Pre-Raphaelites and the Fin de Siècle (John Betjeman's interest in him - he gave a radio talk on Marzials in 1950, and lent his own copy of 'The Gallery of Pigeons' to the Krishnamurti exhibition - reflecting the latter, in particular). Original dark green cloth, gilt lettering and decoration. Lower fore-edge corners bumped. Discreet repair to head of spine, some general surface marking to covers (spine unaffected). A good copy with the author's ink presentation inscription to the writer Edward Plater to title-page. Later ink ownership name, c.1920, of one Charles Davies facing title. Page 149 bears an additional (third) stanza to an untitled bagatelle (first line: 'The wanton bee that suck'd the rose') in an early pencilled hand that could well be that of the author; certainly the lines are in keeping and of suitable authenticity. The poem is reprinted as originally published in the sole modern edition of Marzials, 'Selected Poems' edited by John M. Munro. Whether in the author's hand or not, the manuscript stanza is almost certainly genuine, and probably previously unrecorded.

      [Bookseller: JAMES HAWKES]
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        Notizie dei Professori del disegno in Liguria dalle origini al secolo XVI, in 6 voll.

      Tip. di Luigi Sambolino 1873/80 in 4°, pp. XLIV, 455; XX, 563, 1 b.; 538; 391; 398; 426; leg. recente in stile ottocentesco m / pelle antichizzata con ampi angoli, ds. a nervi con tit. e fregi in oro, piatti in carta marmor., conservate le bross. originali. Opera vastissima e approfondita, la migliore sull?argomento, con vite, opere, committenze, fatti e luoghi dei maestri liguri o che hanno operato in Liguria, sia nel campo della pittura e della scultura che della miniatura, oreficeria, argenteria, monete, vetreria e intarsio, con Indice delle materie, Indice alfabetico dei Professori..., Repertorio delle cose più notabili, Prospetto cronologico de? documenti, Appendice. Opera molto rara ed in ottimo stato, quasi completamente intonsa, in barbe e con ampi margini; solo lievi e rare fior. 151 / 29 150

      [Bookseller: Libreria Antiquaria La Fenice]
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        Meyers Konversations-Lexikon 2.Auflage, 17 Bände, 1871-1873 (II)

      - Meyers Neues Konversations-Lexikon. Ein Wörterbuch des allgemeinen Wissens. Neuer Stereotyp-Abdruck der Zweiten gänzlich umgearbeiteten Auflage (beendigt 1867). 17 Bände (Grundlexikon A-Z, Registerband & der häufig fehlende Special-Supplement). Hildburghausen, Bibliographisches Institut, 1871-1873. Exemplar mit in den Bänden eingebundenen, über 200 (teils farbigen, teilweise doppelseitigen) Illustrationen. Original-Leineneinbände der Zeit mit Goldprägungen. Deckel vorn & hinten floral geprägt. Wie auch den ersten 9 Originalbildern zu entnehmen, Deckel & Buchschnitt sind noch schön erhalten. Kanten etwas berieben, Ecken stark bestoßen. Das Leinen zeigt an manchen der unteren (auf den Bildern gut sichtbar) & bei sechs Bänden der seitlichen Buchrückenkante Einrisse, bei einem Band einen sehr starken. Innen sauber, kein unangenehmer Geruch. Seiten gebräunt; vorn, hinten & auf manchen Abbildungs-Rändern leicht fleckig. Alles fest eingebunden, keine fehlenden Seiten, lediglich eine Seite lose beiliegend. Bei einem Band ist der Buchblock etwas gelockert. Aufgrund der Vollständigkeit - alle erschienen 17 Lexikon-Bände & mit allen Illustrationen - interessantes Exemplar mit einigen äußerlichen - im Preis entsprechend berücksichtigten - Spuren der Zeit. 35000 Gramm. [Attributes: Hard Cover]

      [Bookseller: Lexikon und Enzyklopädie]
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        Flowes of Loveliness. Forty Groups of Female Figures, Emblematic of Flowers, Designed by the First Artists, expressly for this Work; with Poetical Illustrations by Letitia E. Landon, The Countess of Blessington, and Thomas Haynes Bayley

      London: John Tallis, (1873). Folio. (14.5 x 11 inches). Unpaginated. Engraved illusts. Original dark green morocco, elaborately blocked in gilt to both front and lower covers, with raised bands to spine. Edges of cloth banded in gilt. Gilt dentelles. A.e.g. Yellow art paper endpapers. Ornate floral design, hand-painted (including gilt), with gothick lettering To Clara Rousby from Her Mother, October 13, 1873, bound in. A handsome volume with a gift manuscript page. Clara Rousby. We reduce the default shipping charge for lighter books or use it for a tracked service if books are expensive or uncommon. We pack books securely in boxes, or corrugated card or cardboard, and protect corners with bubble-wrap.

      [Bookseller: John Taylor Books P.B.F.A.]
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        THROUGH THE AIR: A NARRATIVE OF FORTY YEARS' EXPERIENCE AS AN AËRONAUT. COMPRISING A HISTORY OF THE VARIOUS ATTEMPTS IN THE ART OF FLYING BY ARTIFICIAL MEANS FROM THE EARLIEST PERIOD DOWN TO THE PRESENT TIME.

      To-Day Printing and Publishing Company, Philadelphia, New York, Boston, Chicago 1873 - Continuation of the extended title reads; "With an Account of The Author's Most Important Air-Voyages and his Many Thrilling Adventures and Hairbreadth Escapes. Also, An Appendix, In Which Are Given Full Instructions for the Manufacture and Management of Balloons." An expanded edition of "System of Aeronautics," first published in 1850. Wise was a pioneer in the field of ballooning making over 400 flights during his lifetime and was responsible for several innovations in balloon design. 650 pages with numerous full-page woodcut engravings of balloons in flight and of balloon types. Bound in brown cloth with lettering, border and illustration on the front cover and spine in black and gilt. The same illustration, border and lettering are stamped in blind on the rear cover. Tissue guard over the frontis shows a few spots of foxing. A very good copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Robert Gavora, Fine & Rare Books, ABAA]
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        HOOKA JIM

      [Fort Jones, Ca, 1873. Photograph and card with old stains. In good condition. A rare photograph of one of the Modoc Indians captured during the Modoc War of 1873 in northern California. Palmquist and Kailbourn call Louis Heller "the indefatigable photographer of the Modoc War," and this image is one of twenty-four portraits that Heller made of Modoc prisoners. Born in Germany, Heller emigrated to the United States in the mid-1850s, and was an assistant to lithographer Julius Bien in the production of the Bien edition of Audubon's THE BIRDS OF AMERICA. In the early 1860s, Heller went to California and established himself as a photographer in Yreka in 1863. He moved to Fort Jones in 1869 and worked there for the rest of the century. When the Modoc War broke out in 1872, Heller became one of its primary photographic chroniclers, and was in direct competition with Eadweard Muybridge. The main Modoc grievance was over forced resettlement on reservations, and hostilities lasted into 1873. Heller made stereoscopic views of significant sights in the conflict, and produced a series of twenty-four portraits of Modoc protagonists, which he published under his own imprint in May 1873. Muybridge, however, did a better job of marketing his photographs nationally, so Heller turned to Carleton Watkins to market his own photographs. When Heller's images were published in July, 1873 in FRANK LESLIE'S ILLUSTRATED NEWSPAPER, they were attributed to Watkins, thus obscuring Heller's contribution. Heller eventually sold his negatives to Watkins, and the mount on this copy advertises the "Watkins' Yosemite Art Gallery," from which may be had "the only genuine photographs of Captain Jack, and the Modoc Indians," as well as "interesting points of the Modoc War." The copyright notice on the recto of the mount is for Heller, however. "Hooka Jim" (better known as "Hooker Jim") was considered one of the most aggressive of the Modocs, who were led by Captain Jack. He eventually surrendered to the Army, testified against Captain Jack in return for amnesty, and was exiled to Indian Territory. The printed attestation under the portrait of Hooka Jim on the recto of the mount reads: "I certify that L. Heleer [sic] has this day taken the Photographs of the above Modoc Indian, prisoner under my charge. Capt. C.B. Throckmorton, 4th U.S. Artillery, Officer of the Day. I am cognizant of the above fact. Gen. Jeff C. Davis, U.S.A.

      [Bookseller: William Reese Company - Americana]
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        Lehrbuch der schönen Gartenkunst. Mit besonderer Rücksicht auf die praktische Ausführung von Gärten und Parkanlagen.

      Ernst & Korn,, Berlin, 1873 - 2. verm. u. verb. Aufl. Berlin, Ernst & Korn, 1873. 39 cm. VIII, 252 Spalten auf 117 S. mit 96 Figuren im Text, 1 S., 23 lithogr. Tafeln, davon 14 farbig und 2 doppelseitig (numeriert von I bis XXV, so komplett). Original Halbleder (Hardcover). Franzband, marm. Vorsätze ggpr. Rücken. Gut. Einband etwas bestoßen u. beschabt, Rücken an Kopf und Fuß m. kl. Fehlteil u. einseitig am Gelenk geplatzt. Seiten teils braunfleckig, Tafeln durchgängig m. Braunflecken. Stempel a. flieg. Vorsätzen u. vs. hinterer Vorsatz. Meyer, Johann Heinrich Gustav (*14. Januar 1816 in Frauendorf in Pommern, heute Ortsteil Golecino von Stettin, † 27. Mai 1877 in Berlin) war Landschaftsgestalter, Städtischer Gartendirector zu Berlin und schuf als erster Parks, die als Erholungsstätten für die einfachen Bürger der Stadt gedacht waren. Bekannte und heute zum Teil noch erhaltene Planungen von Gustav Meyer in Berlin sind der Treptower Park, der Friedrichshain, der Humboldthain, der kleine Tiergarten und mehrere Promenaden. Auch entwarf er den Straßen- und Bebauungsplan der Villenkolonie Alsen im heutigen Berliner Ortsteil Wannsee. Seine Ausbildung zum Gärtner absolvierte er im Botanischen Garten in Schöneberg. Von 1832 bis 1836 lernte Meyer an der Königlichen Gärtnerlehranstalt Sanssouci, unter anderem bei Peter Josef Lenné, für den er in der Folge weiter arbeitete. Lenné betraute ihn dann 1843 komplett mit der Leitung technischer Belange in seinem Büro. Meyer übernahm auch Lehrtätigkeiten im Plan- und Landschaftszeichnen, für Projektionslehre und Perspektive. Meyer und Lenné setzten die Wünsche Friedrich Wilhelms IV. um und verschönerten die Grünanlagen um Potsdam, bzw. legten sie neu an. Meyer erhielt dann neben seiner Lehrtätigkeit auch die Stellung des Garten-Kondukteurs. Durch eine gewonnene Ausschreibung für die Gestaltung des Friedrichshains wurde dieser von 1846 bis 1848 nach seinen Entwürfen angelegt. 1859 wurde er zum Hofgärtner ernannt. Nach Lennés Tod durfte Meyer jedoch nicht dessen Nachfolger werden. Als in Berlin 1870 eine Deputation für städtische Park- und Gartenanlagen (Berliner Gartenbauamt) gebildet wurde, übernahm er deren Leitung als Städtischer Gartendirector zu Berlin. Ab 1876 wurden die von Meyer schon vorher gemachten Planungen zum Treptower Park als Volksgarten umgesetzt. Meyer gehörte als Schüler und rechte Hand Lennés zu den Vertretern der Gärtnerei als künstlerische und akademische Aufgabe ("Garteningenieure") und trat wie sein Lehrer für eine Verwissenschaftlichung der Gärtnerausbildung ein (Im Gegensatz zu seinem Kontrahenten Jühlke, der die Ausbildung mehr unter praktisch-betrieblichen Aspekten sah). Das vorliegende Buch ist die Realisierung eines von Lenné geplanten Buches über die Gartenkunst, das dieser aber nicht mehr selbst verfassen konnte. "In seiner Bedeutung als Quellenwerk nur den Büchern Reptons oder Pücklers an die Seite zu stellen, überliefert es, was der nimmermüde Lenné uns nun doch vorenthalten hat, die Quintessenz seiner Erfahrung." (Ohff) Dochnahl 102. Sprache: deu Gut. Einband etwas bestoßen u. beschabt, Rücken an Kopf und Fuß m. kl. Fehlteil u. einseitig am Gelenk geplatzt. Seiten teils braunfleckig, Tafeln durchgängig m. Braunflecken. Stempel a. flieg. Vorsätzen u. vs. hinterer Vorsatz. Original Halbleder (Hardcover). Franzband, marm. Vorsätze ggpr. Rücken. [Attributes: Hard Cover]

      [Bookseller: Bibliotheca Botanica]
 29.   Check availability:     ZVAB     Link/Print  


        Livre d'heures].

      No place, 1873. - 8vo. French ms. on vellum, calligraphed and illuminated by Léonie T(h)iersonnier. 88 pp. Contemporary calf on 5 raised bands with metal applications to front cover (allied coat of arms: Jacobe de Haut de Sigy and Thiersonnier). Leading edges gilt; inner dentelle richly gilt. All edges gilt, silk moirée endpapers. 2 metal clasps (slight defect to upper clasp). The present manuscript, painstakingly executed in the style of the late-mediaeval French Books of Hours, was a gift from Léonie Tiersonnier (née Ruffin) to her daughter Jeanne Clémence Guillemine Thiersonnier (1849-1936) on the occasion of her marriage to (Marie Auguste) Ambroise Jacobe de Haut de Sigy (1842-86) in the Paris church of St. Pierre de Chaillot on 6 August 1873. They were married by Théodore-Augustin Forcade (1816-85), the newly-installed Archbishop of Aix-en-Proivence. A 26-page Saints' calendar (captioned "Souvenirs") is followed by an elaborately designed 56-page missal, decorated throughout by initials (some raised in gilt), line infillings, and ornamental borders. [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 30.   Check availability:     ZVAB     Link/Print  


        Le coffret de santal EDITION ORIGINALE Tirage de tête ENVOI AUTOGRAPHE

      Paris: Alphonse Lemerre|& J. Gay & fils, 1873. Fine. Alphonse Lemerre & J. Gay & fils, Paris 1873, 10,5x17,5cm, relié. - first edition of 500 copies printed on laid. Bound in brown half shagreen, back with five nerves decorated with gold set with double dotted black nets, marbled paper plates, guards and contreplats of handmade paper, bookplate pasted on a contreplats. Rare and valuable autograph signed by Charles Cros Charles Le Senne, who was a lawyer specializing in particular issues relating to literary and artistic property. - [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 contreplats. 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]
 31.   Check availability:     Biblio     Link/Print  


        THE STONES OF VENICE. SIGNED BY RUSKIN.

      London, Smith, Elder and Co., 1873.NEW EDITION 1873, 3 volumes, complete set, LIMITED TO 1500 COPIES SIGNED BY RUSKIN AT THE END OF THE PREFACE, approximately 260 x 170 mm, 10¼ x 6¾, 53 plates by the author, a few in colour, some tinted, many text illustrations, pages: xxi, (1), 400; vi, (2), 394; (4), 362, bound in original publisher's full ribbed brown cloth, wide embossed foliar borders to covers, gilt peacocks vignette to centre of covers, spine with embossed foliar decoration, gilt lettering, and gilt Venetian lion vignette at head, top edges gilt, mid brown endpapers. Spines of Volumes I and II slightly worn with tiny nicks to cloth, light spotting to lower third of spine on Volume I, less on the other 2 volumes, upper cover of Volume II slightly faded at edges of upper cover, small nick to lower hinge of Volume II neatly stuck down, endpapers, some paper guards and one or 2 black and white plates slightly foxed in all volumes, front endpapers stained, prelims and early pages slightly foxed, occasional slight foxing throughout in Volume II, front inner paper hinge partly split, light foxing to prelims and very occasionally throughout, many pages unopened in Volume III. A very good clean tight set. Ruskin was the greatest British art critic and social commentator of the Victorian Age. His third great work of criticism, The Stones of Venice (1851 - 53), maintained that the Gothic architecture of Venice reflected national and domestic virtue, while Venetian Renaissance architecture mirrored corruption. He examines Venice's Byzantine, Gothic and Renaissance periods and provides a general history of the city combined with the detailed study of the architecture of those periods. 'there has never been more than one opinion about the noble eloquence and haunting beauty of the descriptive passages, or about the permanent value of his work among the earlier masters of Venetian painting and sculpture and the earlier school of Venetian architecture...' (DNB). In his preface Ruskin declares that this new edition has had to be limited to 1500 copies because of the state of the old plates and that he has signed every copy 'certifying it as containing the best states of the old plates now procurable'. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST. A heavy set which will require extra postage.

      [Bookseller: Roger Middleton P.B.F.A.]
 32.   Check availability:     maremagnum.com     Link/Print  


        THE STONES OF VENICE SIGNED BY RUSKIN

      London, Smith, Elder and Co., 1873.. NEW EDITION 1873, 3 volumes, complete set, LIMITED TO 1500 COPIES SIGNED BY RUSKIN AT THE END OF THE PREFACE, approximately 260 x 170 mm, 10¼ x 6¾, 53 plates by the author, a few in colour, some tinted, many text illustrations, pages: xxi, (1), 400; vi, (2), 394; (4), 362, bound in original publisher's full ribbed brown cloth, wide embossed foliar borders to covers, gilt peacocks vignette to centre of covers, spine with embossed foliar decoration, gilt lettering, and gilt Venetian lion vignette at head, top edges gilt, mid brown endpapers. Spines of Volumes I and II slightly worn with tiny nicks to cloth, light spotting to lower third of spine on Volume I, less on the other 2 volumes, upper cover of Volume II slightly faded at edges of upper cover, small nick to lower hinge of Volume II neatly stuck down, endpapers, some paper guards and one or 2 black and white plates slightly foxed in all volumes, front endpapers stained, prelims and early pages slightly foxed, occasional slight foxing throughout in Volume II, front inner paper hinge partly split, light foxing to prelims and very occasionally throughout, many pages unopened in Volume III. A very good clean tight set. Ruskin was the greatest British art critic and social commentator of the Victorian Age. His third great work of criticism, The Stones of Venice (1851-53), maintained that the Gothic architecture of Venice reflected national and domestic virtue, while Venetian Renaissance architecture mirrored corruption. He examines Venice's Byzantine, Gothic and Renaissance periods and provides a general history of the city combined with the detailed study of the architecture of those periods. 'there has never been more than one opinion about the noble eloquence and haunting beauty of the descriptive passages, or about the permanent value of his work among the earlier masters of Venetian painting and sculpture and the earlier school of Venetian architecture...' (DNB). In his preface Ruskin declares that this new edition has had to be limited to 1500 copies because of the state of the old plates and that he has signed every copy 'certifying it as containing the best states of the old plates now procurable'. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST. A heavy set which will require extra postage.

      [Bookseller: Roger Middleton]
 33.   Check availability:     Biblio     Link/Print  


        Ernennung von Ian Olteanu zum Bischof von Nagyvarad (Deutsch: Großwardein. Rumänisch: Oradea Mare). Ungarische Handschrift auf Pergament mit reicher Kalligraphie, teils in Gold, vier gouachierten Wappendarstellungen, Unterschrift von Franz Josef und Agoston Trefort sowie anhängendem Wachssiegel in Messingkapsel.

      Nagyvarad, 1873. - 2 Bll. Violetter Samt d. Zt. mit dezenter Linienvergoldung und Bindebändern. 36 x 26 cm. Oteanu (1839-1877), 1863 zum Priester geweiht, war seit 1870 Bischof von Lugoj, dann 1873 von Nagyvarad. Er starb mit nur 38 Jahren an Leberzirrhose und wurde in der St. Nikolaus-Kathedrale im heutigen Oradea begraben. Der ebenfalls unterschreibende Trefort war seit 1872 ungarischer Minister für Religion und Bildungswesen. - Innen wenig braunfleckig, Trennblätter etwas lädiert, sonst gut.

      [Bookseller: Antiquariat Uwe Turszynski]
 34.   Check availability:     ZVAB     Link/Print  


        Handbuch der Weißgerberei und der gesammten Weißleder-Färberei, mit besonderer Berücksichtigung der Fabrikation aller Arten von Handschuh-leder, dann der Sämisch und Pergamentgerberei, sowie der Erzeugung des ungarischen leders und der verwadten Sorten von Riemen- und Zugledernter Zugrundelegung der neuesten Erfahrungen und Fortschritte sowohl in theoretischer als praktischer Hinsicht bearbeitet. [Zugleich] zweite, völlig umgearbeitete und vermehrte Auflage von Chr. H. Schmidt's 'Handbuch der Weißgerberei'., (= Neuer Schauplatz der Künste und Handwerke, 217. Band).

      Bernhard Friedrich Voigt, Weimar 1873 - XV, 341 S. mit 4 gefalteten lithogr. Tafeln, Am Nachsatz angebunden: 2 Blatt "Berliner Berichte über Leder, rohe Häute, Felle, Rauchwaren, Wolle, Vieh und derg., gefaltet, stark gebräunt und teils mit Einrissen. Sprache: Deutsch Gewicht in Gramm: 320 8°, marmoriertes Haldleder der Zeit, Bibliotheks-Exemplar (Privatbibliothek) mit 2 kleinen Rückenschildern, Stempel auf Vorsatz und Titel, Einband in selbstklebende transparente Schutzfolie eingeschlagen, Ecken und Rücken berieben und bestoßen, Papier leicht gebräunt und vereinzelt braunfleckig, geringe Bleistiftanstreichungen und Marginalien, insgesamt gutes und innen sauberes Exemplar, [Attributes: Hard Cover]

      [Bookseller: Antiquariat Silvanus]
 35.   Check availability:     ZVAB     Link/Print  


        Ernennung von Ian Olteanu zum Bischof von Nagyvarad (Deutsch: Großwardein. Rumänisch: Oradea Mare). Ungarische Handschrift auf Pergament mit reicher Kalligraphie, teils in Gold, vier gouachierten Wappendarstellungen, Unterschrift von Franz Josef und Agoston Trefort sowie anhängendem Wachssiegel in Messingkapsel

      Nagyvarad, 1873.. 2 Bll. Violetter Samt d. Zt. mit dezenter Linienvergoldung und Bindebändern. 36 x 26 cm. Oteanu (1839-1877), 1863 zum Priester geweiht, war seit 1870 Bischof von Lugoj, dann 1873 von Nagyvarad. Er starb mit nur 38 Jahren an Leberzirrhose und wurde in der St. Nikolaus-Kathedrale im heutigen Oradea begraben. Der ebenfalls unterschreibende Trefort war seit 1872 ungarischer Minister für Religion und Bildungswesen. - Innen wenig braunfleckig, Trennblätter etwas lädiert, sonst gut.

      [Bookseller: Antiquariat Turszynski]
 36.   Check availability:     Biblio     Link/Print  


        Le coffret de santal

      first edition of 500 copies printed on laid.Bound in brown half shagreen, back with five nerves decorated with gold set with double dotted black nets, marbled paper plates, guards and contreplats of handmade paper, bookplate pasted on a contreplats.Rare and valuable autograph signed by Charles Cros Charles Le Senne, who was a lawyer specializing in particular issues relating to literary and artistic property. Alphonse Lemerre & J. Gay & fils Paris 1873 10,5x17,5cm relié

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


        Notes Upon the Treaties of the United States with Other Powers

      Washington: Government Printing Office 1873 - 4to., full red morocco stamped in blind and gilt; six spine compartments; gilt edges. First edition. From the library of Hamilton Fish, specially bound and gilt-lettered for the Secretary of State, “Hon. Hamilton Fish," on the front cover. The 245-page work, complete with analytical and synoptical indexes, contains a lengthy historical perspective on significant treaties between major countries (1789-1873), including Great Britain and its landmark 1871 Treaty of Washington, orchestrated largely by Hamilton Fish and Ulysses S. Grant. A significant work with an impeccable provenance. [Attributes: First Edition; Hard Cover]

      [Bookseller: North Star Rare Books & Manuscripts]
 38.   Check availability:     AbeBooks     Link/Print  


        Oeuvres de Rabelais

      Paris: Garnier Frères, 1873. Fine. Garnier Frères, Paris 1873, 31x43cm, 2 volumes reliés. - Second edition (the first was published by Bry in 1853), illustrated with a portrait of the author and 60 boards inset plate under curve, this copy is complete the portrait of the author. First printing of 60 illustrated boards inset and 614 headers, cul-de-lamp and thumbnail. 98 illustrations are taken from the edition of Bry and 7 other "Tales comical." Binders of the time full of red calico editor, smooth back of a large ornate golden character with the title and golden lace in the front and rear, boards adorned with a large golden plate representing different characters works framing the title, and several coaching cold, second board decorated with a large golden shield and even cold frame, cardboard signed Ch. Magnier. Some very tiny friction at the joint and light bites mainly at the beginning and end of volume. A rare and beautiful example of one of the most beautiful books illustrated by Gustave Doré established in his editor cardboard sign of the times, in superb condition. - [FRENCH VERSION FOLLOWS] Seconde édition (la première a paru chez Bry en 1853), illustrée d'un portrait de l'auteur et de 60 planches hors-texte sous serpentes, notre exemplaire est bien complet du portrait de l'auteur. Premier tirage illustré de 60 planches hors-texte et de 614 en-têtes, culs-de-lampe et vignette. 98 des illustrations sont reprises de l'édition Bry et 7 autres des « Contes drolatiques ». Reliures de l'époque en plein percaline rouge de l'éditeur, dos lisses richement ornés d'un grand personnage doré portant le titre et de dentelles dorées en tête et en queue, plats ornés d'une grande plaque dorée représentant les différents personnages des oeuvres encadrant le titre, ainsi que de plusieurs encadrement à froid, second plat orné d'un grand blason doré et du même encadrement à froid, cartonnages signés Ch. Magnier. Quelques très infimes frottements au niveau des mors et de légères piqûres principalement en début et fin de volume. Rare et bel exemplaire de l'un des plus beaux livres illustrés par Gustave Doré établi dans son cartonnage d'éditeur signé de l'époque, dans un superbe état de conservation.  

      [Bookseller: Librairie Le Feu Follet]
 39.   Check availability:     Biblio     Link/Print  


        OBRAS COMPLETAS DEL FLAXMAN, GRABADAS AL CONTORNO POR DON JOAQUIN PI Y MARGALL."

      1873 - Impreso en MADRID, Imprenta y Esterotipia de M. Ribadeneira, 1873. En folio, apaisado, soberbia encuadernación en piel valenciana, lomera cuajada, con nervios, dorados también en planos, cantos y contracantos. Corte de cabeza también dorado. Bajo esta portada se agrupan algunas tiradas de 1859 y 1862, de todas las obras de FLAXMAN: "iliada", 40 laminas. - "Odisea", 35 laminas. - "Tragedias de esquilo", 31 laminas. - "Los Dias y la Teogonia de Hsiodo", 37 laminas. - "Infierno de Dante", 38 laminas. - "Purgatorio", 38 laminas. - "Paraiso de Dante", 34 láminas. - "Padre Nuestro y Composiciones Varias", 13 laminas. [Attributes: Hard Cover]

      [Bookseller: C.M.Garrido]
 40.   Check availability:     IberLibro     Link/Print  


        Eigenh. Brief mit U.

      Paris, 24. IV. 1873. - 1½ SS: 8vo. Il a déjà écrit à Athènes « pour expliquer les circonstances qui avaient fait que le nom de M. le Dr. AULAGNIER ne fût pas compris dans la liste de ceux pour lesquels la déclaration du sauveur avait été réclamée par le gouvernement Français ». Il espère que ses renseignements permettront au Docteur d’obtenir ce qu’il est en droit d’attendre

      [Bookseller: Kotte Autographs GmbH]
 41.   Check availability:     AbeBooks     Link/Print  


        Fiend's Delight

      John Camden Hotten, London 1873 - 12vo. 197, [32] pp. Cloth, gilt decoration, very good. (31707). Published under the pseudonym Dod Grile. [Attributes: First Edition; Hard Cover]

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


        Oeuvres de Rabelais

      Second edition (the first was published by Bry in 1853), illustrated with a portrait of the author and 60 boards inset plate under curve, this copy is complete the portrait of the author.First printing of 60 illustrated boards inset and 614 headers, cul-de-lamp and thumbnail. 98 illustrations are taken from the edition of Bry and 7 other "Tales comical."Binders of the time full of red calico editor, smooth back of a large ornate golden character with the title and golden lace in the front and rear, boards adorned with a large golden plate representing different characters works framing the title, and several coaching cold, second board decorated with a large golden shield and even cold frame, cardboard signed Ch. Magnier.Some very tiny friction at the joint and light bites mainly at the beginning and end of volume.A rare and beautiful example of one of the most beautiful books illustrated by Gustave Doré established in his editor cardboard sign of the times, in superb condition. Garnier Frères Paris 1873 31x43cm 2 volumes reliés

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


        Sekai Shobai Orai

      1873. HASHIZUME, Kanichi. Sekai Shobai Orai. 26 ll. 8vo., 180 x 118 mm, bound in Japanese style original blue wrappers in a new blue cloth folding box. Tokyo: Seizando, 1873. |~||~||~||~| A handy bilingual vocabulary of world trade giving the English, with Japanese explanations, of a wide range of terms, place names, goods, and so on. Hashizume, who specialised in handbooks on trade and on foreign languages, produced several of these guides for merchants with similar titles.

      [Bookseller: Ursus Rare Books]
 44.   Check availability:     Biblio     Link/Print  


        La Toscane au Moyen Age Architecture civile et militaire par Georges Rohault de Fleury.

      Paris: Vve. A. Morel et Cie. 13 Rue Bonaparte 13 1873 - 2 vols. Folio. (44 x 31 cm). Red morocco spines over marbled boards, spines with raised bands, gilt rules and gilt titles, red marbled endpapers, top edges gilt. Engraved book plates to front paste downs. Binding scuffed in places, some toning and spotting to last few leaves of each volume, generally clean and fresh. 141 illustrations of the principal buildings and monuments of Tuscany. In volume 1 the double page plan of the Palazzo della Signoria (Palazzo Vecchio) in Florence is listed as two plates, plates 3 and 4. In volume 2 the double page view of the Palazzo Publico in Sienna is listed as two plates, plates 1 and 2 and the double page view of the Villa Guinigi is listed as two plates, plates 54 and 55. Plate 40 in volume 2 is incorrectly listed as plate 'lx' in the list of illustrations. [Attributes: Hard Cover]

      [Bookseller: Robert Frew Ltd. ABA ILAB]
 45.   Check availability:     AbeBooks     Link/Print  


        THE GOSPEL ACCORDING TO St.MATTHEW, St.MARK, St.LUKE, St.JOHN.

      Sampson Law, Marston, Low and SearleTesto inglese. Opera completa in quattro parti raccolte in due volumi. Prima edizione. Cm.43x31. Pg.264. Legatura del primo volume in tela e del secondo in mz.pelle e mz.tela, con abrasioni alle cerniere. Titoli e filetti in oro ai dorsi. Ogni parte consta di doppio frontespizio decorato, a due colori. Il Vangelo di Matteo consta di 40 tavole (una mancante), quello di Marco di 24, Luca di 39 (una mancante) e Giovanni di 27, per un totale di 130 belle tavole all'acquaforte da dipinti di Alexandre Bida. Ogni tavola conserva la carta di presentazione e la velina protettiva. Testo in cornicetta rossa a doppio filo. Il Catalogo dell'8 Novembre 1873 degli Editori Sampson Law, Marston, Low and Searle così presentava l'imponente opera: "The Drawings, Etchings and Engravings have been twelve years in preparation, and an idea of the importance of this splendid Work may be gathered from the fact that upwards of Fifty Thousand Pounds have been expended on its production". Le tavole dei Vangeli sono considerate la principale opera del pittore, disegnatore e litografo francese Alexandre Bida (Toulouse, 1823 ?" Bühl, 1895), allievo di Delacroix e seguace di Decamps e di Raffet.

      [Bookseller: Studio Bibliografico Pera]
 46.   Check availability:     maremagnum.com     Link/Print  


        Around the World in Eighty Days

      Fair+ with no dj. First edition, later issue. Osgood 1873. Decorative Victorian binding. Binding is intact but missing first front endpaper, next endpaper loose and last sheaf at rear almost loose, covers are clean, no marking inside, pages clean. The copyright page is dated 1873, with the title page dated 1874.

      [Bookseller: PinkyTheLee]
 47.   Check availability:     Biblio     Link/Print  


        Facsimiles of Ancient Charters in the British Museum

      London: British Museum, Published By Order of the Trustees, 1873. First edition.. Hardcover. Folio. (14.75 x 11 inches). pp.viii, (unpaginated therafter), 1 (contents), 18 (describing 17 charters). 17 charters illustrated in facsimile (photographs) over 27 unnumbered plates. Charters between A.D 679 to A.D 838. Original maroon cloth gilt, ruled in blind to both covers, a little mottled and faded. Armorial bookplate of Amery to front pastedown. Black/blue coated endpapers. Dealer's old pencil marks. Gutta percha glue binding perished, affecting contents page and first 7 charters with their plates, all present but detached. 3 pages of notes (unrelated to this book) loosely inserted, scribbled in ink to reverse of 3 blank application forms for Ashburton Science and Art Night Classes - of which J. S. Amery was President. O/w contents clean and bright. No foxing. A Very Good copy. Uncommon. Heavy book, requiring much extra postage overseas. The photograph shown here depicts the book in stock. We reduce the default shipping charge for lighter books or use it for a tracked service if books are expensive or uncommon. We pack books securely in boxes, or corrugated card or cardboard, and protect corners with bubble-wrap.

      [Bookseller: John Taylor Books P.B.F.A.]
 48.   Check availability:     IOBABooks     Link/Print  

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