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Displayed below are some selected recent viaLibri matches for books published in 1875

        Grand'ther Baldwin's Thanksgiving with Other Ballads and Poems

      Boston: Loring, Publisher Corner Bromfield and Washington Streets. Printers Rockwell & Churchill, [1875] - Inscribed by the author on flyleaf, "Mrs. Maria Brown/ from the author/ Dec. 25, 1875" First edition of the author's first book of verse. 8vo. 125 pp. Original green cloth, spine titled in gilt. Some rubbing, foxing throughout, else fine. Gardner 76 [Attributes: First Edition; Hard Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
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        ETCHINGS ON THE LOIRE AND IN THE SOUTH OF FRANCE

      John Murray, London 1875 - Folio (14 3/4"). Twenty full-page mounted etchings, each with a page of descriptive letterpress. Bound in original terra-cotta cloth over beveled boards with vertical spine titles in gilt, the upper cover with large gilt-ruled frames and titles, design repeated in blind on lower cover. Bookplate reading "This book belongs to E. M. Forster" and with inscription "E. M. Forster from A Colvin Jan 5th 1876, 18 Dulce Street". The novelist E. M. Forster was born in 1876, so the inscription definitely does not relate to him, but perhaps to his father, Edward Morgan Llewellyn Forster, an architect. The bookplate could be the novelists as it is quite simple and in modern type. Rebacked retaining original spine cloth, covers with wear and soil with corners rubbed through, plates fine [Attributes: Hard Cover]

      [Bookseller: First Folio A.B.A.A.]
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        Encyclopaedia Britannica. Ninth & Tenth edition combined. 35 volume set. [Encyclopaedia; Encyclopedia]

      Edinburgh Adam & Charles Black Ltd 1875. Worn condition. Covers rubbed and scuffed. Several boards detached. Content and plates in good condition 9th & 10th Edition Green/gilt hardback cloth cover 290mm x 240mm (11" x 9"). 35, 000pp. Hundreds of b/w plates, vignettes, and colour maps. N.B.: Heavy set - shipping supplement applies - please ask for shipping quote stating country of destination.

      [Bookseller: Barter Books]
 3.   Check availability:     TomFolio     Link/Print  


        Actes et paroles - Avant l'exil 1841-1851

      Michel Lévy frères 1875 - - Michel Lévy frères, Paris 1875, 19x25cm, relié. - Edition originale. Reliure en demi chagrin rouge, dos à cinq nerfs orné de fleurons dorés, date et lieu en queue, plats de papier à la cuve, contreplats et gardes doublés de papier peigné, couvertures conservées. Envoi autographe signé de l'auteur sur la page de faux-titre. Quelques rousseurs Ex-libris armorié et couronné Ad. Lefrancq gravé sur un feuillet relié en tête de l'ouvrage. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Circus Cyaneus, Meyer (Hen Harrier)

      London 1875 - John Gould (1804-1881) was an English ornithologist, self-taught artist and naturalist. Gould first worked as a gardener under his father in the Royal Gardens of Windsor from 1818-1824, where he began his illustrations. He became an expert taxidermist, opening his own practice in London in 1824 and in 1827 he became the first Curator and Preserver at the museum of the Zoological Society of London. Through his work he was able to meet with the country’s leading naturalists and view new collections of birds given to the Zoological Society. His interest in birds was continually developing and in 1830 he published his first volume on birds, “A Century of Birds From the Himalaya Mountains.” For the next fifty years, Gould, his wife and artists working with them traveled around Asia, the East Indies and Australia. His wife Elizabeth and other artists were able to transfer his sketches to stone; hand print and hand-color them. One of the most accomplished and engaging natural history works of the 19th century, “The Birds of Europe” was also the first of Gould's works to feature plates by Edward Lear. A total of sixty-eight images bear Lear's name, and they are among the most remarkable bird drawings ever made. Lear endowed his illustrations with some measure of his own whimsy and intelligence, and his style is at once fluidly spontaneous and realistically precise. In this way, the images of “The Birds of Europe” are amazingly distinctive, while also highly realistic. Gould undertook this work partly in an effort to redress the imbalance between the study of local and foreign ornithology. Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. This hand-colored lithograph, Circus Cyaneus, measures 14.75” x 21.5” and is in excellent condition with light foxing throughout. Commonly called the Hen Harrier or Northern Harrier, this bird is expertly hand-colored and extremely well detailed. Shown in the foreground among vibrant flora, this Hen Harrier is colored in shades of gray with white and black feathers. The precise lines detail each feather from head to tail, defining and giving dimension to its plumage.

      [Bookseller: Arader Galleries San Francisco]
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        12 eigenh. Briefe m. Unterschrift.,

      Poitiers, 1858-1875. - „Er besuchte das Priesterseminar der Diözese Chartres und war auf dem Priesterseminar St. Sulpice in Paris eingeschrieben. Am 25. Mai 1839 wurde er zum Diözesanpriester der Diözese Chartres geweiht. Danach war er als Vikar in der Kathedrale von Chartres tätig und wurde 1844 zum Generalvikar ernannt. Seine Wahl zum Bischof von Poitiers erfolgte am 29. Mai 1849, die am 28. September 1849 bestätigt wurde. Der Bischof von Chartres Claude-Hippolyte Clausel de Montals und die Mitkonsekratoren Bischof Pierre-Louis Parisis von Langres und Jean-Nicaise Gros von Versailles weihten ihn am 25. November 1849 zum Bischof. Bischof Pie war anfangs kein Befürworter des Dogmas zur Unfehlbarkeit des Papstes (vergleiche auch: Pastor Aeternus von 1870), seine Meinung änderte er nach der Teilnahme am Ersten Vatikanischen Konzil (1869-1870) und wurde ein starker Verfechter dieses Dogmas. Am 12. Mai 1879, dem ersten Konsistorium des Jahres 1879, wurde er von Papst Leo XIII. (1878-1903) zum Kardinal erhoben, am 22. September 1879 erhielt er das rote Birett, gleichzeitig wurde ihm als Kardinalpriester die Kirche Santa Maria della Vittoria in Rom übertragen. Er starb am 17. Mai 1880 und wurde in der Kathedrale von Poitiers beigesetzt" (Wikipedia). - Der Empfänger der auf Französisch abgefassten Briefe ist Jacques (Jacob) Mislin (1807-1878). Der aus ärmlichen Verhältnissen stammende Mislin konnte dank seines Onkels an der berühmten Lehranstalt von Porrentruy im Schweizer Kanton Bern studieren, wo er nicht viel später auch selbst unterrichten sollte. Der 1830 zum Priester geweihte kath. Theologe wurde 1836 auf Vermittlung des Grafen von Bombelle an den Wiener Hof berufen, wo er einer der Lehrer der Söhne von Erzherzog Franz Karl und Erzherzogin Sophie wurde und damit sowohl den zukünftigen Kaiser Franz Joseph wie auch Erzherzog Ferdinand Maximilian (später Kaiser Max von Mexiko) unterrichtete (u.a. auch in Erdkunde). Vor der Revolution von 1848 unternahm Mislin eine Pilgerreise von Wien über Budapest und Konstantinopel nach Jersusalem. Der danach erschienene Reisebericht wurde in mehrere Sprachen übersetzt und mehrfach nachgedruckt. In den folgenden Jahren leitete er die Bibliothek am Hof der Herzogin von Parma, Erzherzogin Marie Louise, wurde zum Abt von St. Maria von Deg (Ungarn), geheimer Kämmerer u. Hausprälat Papst Pius' XI., Apostolischer Pronotar, Kanoniker der Kathedrale von Großwardein, Träger zahlr. Orden (u.a. von Spanien, Parma u. des Ritterordens vom Heiligen Grab zu Jerusalem) sowie Mitglied zahlr. Akademien. Der Verfasser zahlr. Publikationen und Vertraute des belgischen Königs und des Grafen von Chambord blieb nach der Rückkehr von seiner Pilgerreise in Wien, wo er weiterhin in persönlichem Kontakt mit dem Kaiserhaus stand. - In einem numerierten, von Mislin eigenh. beschrifteten Papierumschlag. - Sprache: fr Gewicht in Gramm: 500 [Attributes: Signed Copy]

      [Bookseller: Antiquariat Wolfgang Friebes]
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        System der synthetischen Philosophie. Autorisierte Übersetzung aus dem Englischen von B. Vetter und J. V. Carus.

      Stuttgart, E. Schweizerbart'sche Verlagshandlung (E. Koch), 1875-97.. 11 Bde. 8vo. Neue Halbleinenbände. (tlw. St.a.T.).. Erste deutsche Ausgabe. - Spencer (1820-1903) war - neben Marx und Comte - der überragende Sozialphilosoph des 19. Jahrhunderts, der mit seinem Forschungsmodell und seinen Thesen die englische und amerikanische Soziologie stark beeinflusste. Die komplette Riege englischer und amerikanischer "Gründungsväter" der Soziologie (Tylor, Sumner, Ward, Small, Giddings) haben sich zu Spencer als ihrem Lehrer und Anreger bekannt. Herbert Spencer war Privatgelehrter, las als Autodidakt vor allem naturwissenschaftliche Werke (Lamarck, Carpenter) und wandte die gewonnenen Erkenntnisse auf die Gesellschaft an. Er war der erste, der aufgrund eines biologischen Analogismus ein umfassendes Werk schuf und mit seinem Paradigma des Evolutionismus die sozialwissenschaftliche Fachwelt tief beeindruckte. Leopold von Wiese formulierte, "Spencer galt einer älteren Generation schlechthin als der Soziologe, und es schien gegen Ende des 19. Jahrhunderts, als ob es kaum eine andere Gesellschaftslehre als eine Spencersche geben könnte". In dem bereits 1850 veröffentlichten Werk "Social Statistics" beschreibt er die Gesellschaft als einen Organismus mit Organen, die den Lamarckschen Gesetzen von Wachstum und Niedergang folgen. Er bemüht sich, die Umweltfaktoren zu benennen, die die Evolution des Sozialorganismus bestimmen. 10 Jahre später startete Spencer die Publikation seines Lebenswerkes, des 10 Bände umfassenden "A System of Synthetic Philosophy". Die Publikation zog sich über 30 Jahre hin, einige Bände wurden in überarbeitenden Fassungen veröffentlicht, zuletzt 1900 eine überarbeitete Fassung der "First Principles". Er geht hier den Prinzipien der Evolution in den Teilbereichen Biologie, Psychologie, Soziologie und Ethik nach. In den als Band 1 erschienenen "First Principles" formuliert er das "Erste Gesetz der Evolution", das er in den folgenden Bänden zu verifizieren versucht: "Entwicklung ist definierbar als ein Wandel von unzusammenhängender Gleichartigkeit zu zusammenhängender Verschiedenartigkeit, der die Zerstreuung der Bewegung und die Integration der Materie begleitet". Die Beschreibung der Vergesellschaftung als sich selbst organisierender beständiger Differenzierungsprozess von einfachen zu komplexen sozialen Systemen war zu seiner Zeit revolutionär. So wurde William Graham Sumner im Jahre 1874 vom Rektor der Yale University gekündigt, weil er die "Study of Sociology" des Atheisten Spencer in seiner Vorlesung als Lehrbuch einsetzte. Solidaritätsbekundungen seitens der Fakultätsmitglieder führten zur Rücknahme der Relegation und zur Erhaltung des Lehrstuhls. Leopold von Wiese bezeichnete die Schrift "Study of Sociology" als das Beste, was Spencer hinterlassen hat. Er fasse hier seine Soziolgie verständlich und griffig für das studentische Publikum zusammen. I. Grundlagen der Philosophie. Autorisierte deutsche Ausgabe, nach der vierten englischen Aufl. übersetzt. Stuttgart 1875. XII, 568 S. II.-III. Die Principien der Biologie. Autorisierte deutsche Ausgabe, nach der zweiten englischen Aufl. übersetzt. 2 Bde. Stuttgart 1876-77. 544; VIII, 645 S. Mit zahlreichen Holzschnitten im Text. IV.-V. Die Principien der Psychologie. Autorisierte deutsche Ausgabe, nach der dritten englischen Aufl. übersetzt. 2 Bde. Stuttgart 1882-86. XIV, 674; VIII, 730 S. VI.-IX. Die Principien der Sociologie. Autorisierte deutsche Ausgabe. 4 Bde. Stuttgart 1877-97. VIII, 570; X, 516; X, 820; VIII, 722 S. X.-XI. Die Principien der Ethik. Autorisierte deutsche Ausgabe. 2 Bde. Stuttgart 1894. 508; 594 S.

      [Bookseller: Antiquariat + Verlag Klaus Breinlich]
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        Science and health

      Christian Scientist Publishing Company, Boston 1875 - First edition, only 1,000 were printed; 8vo, pp. 456, [2] errata; original brown cloth, gilt-lettered spine; neatly rebacked with old spine laid down. In a new, brown cloth clamshell box, leather label on spine.Grolier, American 100, 78; Printing and the Mind of Man 363: "As the numerous studies of her life, her writings, and the movement which she founded testify, she has proved a dfiffcult figure to view with objectivity, and she remains among the most controversial in this volume [i.e. PMM] . The essence of Mary Baker Eddy's philosophy is that the Eternal Mind is the source of all being, that the duality of mind and matter is an error. There is no matter and, hence, disease is caused by the mind alone. Science is the wisdom of the Eternal Mind as revealed through Jesus Christ: hence 'Christian Science'.In spite of the mechanical faults of her book and the controversial nature of many of her teachings, Mary Baker Eddy was far ahead of her time in the emphasis she placed upon positive thinking, a force which modern psychology was belated in recognizing." [Attributes: First Edition; Hard Cover]

      [Bookseller: Rulon-Miller Books (ABAA / ILAB)]
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        Les ruines de Paris en 4875

      Paris, Willem & Daffis, 1875. In / 12 reliure postérieure pleine basane bordeaux, dos à nerfs à titre doré et fleurons à froid, couvertures conservées, 92 p., frontispice : gravure de Tavernier. Quelques feuillets tachés en bordure. Tampon de bibliothèque en page de garde et verso du frontispice. Ouvrage tiré à seulement 250 exemplaires, celui - ci sur papier de Hollande. Littérature conjecturale. Un siècle plus tard que Mercier, un érudit, Alfred Louis Auguste Franklin, bibliothécaire à la Mazarine, fera de Paris table rase dans ce livre. ?Dans cet ouvrage, Nouméa est devenue le nouveau centre de la civilisation mondiale. C?est de là que des hommes de la fin du Ve millénaire viennent explorer les vestiges d?un Paris disparu. Leur correspondance relate le résultat des fouilles entreprises sur le site où, croient - ils, s?était jadis élevé la Ville - lumière. Leurs observations sont contraires à toutes les certitudes établies jusqu?alors. Mais l?essentiel est là : de Paris il ne reste qu?un champ de fouilles on ne peut plus malaisé à déchiffrer.? (H. Carrère d?Encausse: Discours académique de la SÉANCE PUBLIQUE ANNUELLE - 30 novembre 2000 : Les explorateurs des millénaires futurs). P. Versins cite cet ouvrage p. 350. relié Bon état

      [Bookseller: Livres Anciens Lucas Philippe]
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        WATSON'S NEW COUNTY RAILROAD MAP Of The PACIFIC STATES.

      Published by D. Needham,, Oakland, California: 1875 - Map includes: California, Oregon, Washington, Nevada, Idaho, most of Utah & Arizona, partials of Montana & Wyoming. The Channel Islands off the coast of Southern California listed as the "Santa Barbara Islands." Depicts railroads, county boundaries, county seats, drainage, etc. Relief shown by hachures & spot heights. Woodcut vignette of Sacramento capitol building in lower right. Rare railroad & county map of the Pacific States with only one auction record found listed for the past 30+ years [2005]. OCLC shows 4 institutional holdings: Huntington, UC Berkeley, Penn State & CSL. Map fragile, with some unobtrusive professional restoration along folds. Slight bit of paper loss in lower right of Idaho & top portion of Utah. Map now hinge mounted to backing board. Accompanied by original publisher's brown cloth portfolio binding, with title stamped in gilt to front board. Map: 37-5/8" x 24-3/8". Portfolio: 7" x 4-5/8". 1st edition. Graff 3360; Streeter Sale 3100; Wagner-Camp 115n; Wheat TRANSMISSISSIPPI 523. Single sheet, folded, printed recto only. Hand-colored. [Attributes: First Edition; Hard Cover]

      [Bookseller: Tavistock Books, ABAA]
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        The Great Fall of Niagara black & white (proof) engraving

      Knoedler & Company, Fifth Avenue, New York 1875 - Original Black & White Engraving by William Forrest designed by Frederic Edwin Church. Date: 1875 First Edition B&W proof Medium: Original Chine-colle black & white (proof) engraving engraving. Publisher: Knoedler & Company, Fifth Avenue, New YorkPaper size: W: 31-1/4 x H: 23-1/4 inches Chine size: W: 27 x H: 17 inchesImage size: W: 21-1/2 x H: 10-1/8 inchesTitle: "THE GREAT FALL NIAGARA" printed under the image in the centreAdditional Info: Engraved "proof" printed on bottom left corner as well as "Painted by Frederic E. Church" on bottom left just under image and "Engraved by W. Forrest" printed on bottom right just below image.Other: "Entered according to act of Congress in the year 1875 by M. Knoedler & Co. in the office of the Librarian at Washington." printed in centre just under the image. "Published by M. Knoedler & Co. New York" printed at bottom centre below title. Condition: Very good condition, save for some soiling and spotting in margins minor . A very striking and detailed image of Niagara Falls with wide margins.View of Niagara Falls with a faint rainbow seen at top left. A lighthouse and houses can be seen on the shore in the background. Dark clouds are in the sky to the right.Engraver: Forrest, William (805-1899) Artist Church, Frederic Edwin (1826-1900) William Forrest's, "The Great Fall - Niagara" is an original 19th century engraving based upon the famous landscape painting depicting Niagara Falls created by the American artist, Frederic Edwin Church in 1857. The Great Fall - Niagara" is an important, original engraved example of the large Victorian landscape engraving by the Scottish artist, William Forrest.When the major New York publisher, Knoedler & Company acquired the engraving rights to The Great Fall, Niagara, he turned to the Scottish engraver, William Forrest. From 1845, Forrest worked in both London and Edinburgh and had created a strong reputation for both his landscape and genre engravings. The Great Fall, Niagara was William Forrest's largest and most important work of original engraved art.Frederic Church's, The Great Fall, Niagara, may possibly be the most famous painting in the history of nineteenth century American art. Originally, this painting of Niagara Falls was purchased by John Taylor Johnstone, it was sold in 1876 to the Corcoran Gallery in Washington for the price of 5,000 Pounds. For many years thereafter this was a record price paid for an American painting.Frederic Edwin Church was an American nineteenth century landscape painting reached its finest expression under the movement known as the Hudson River School. Among its many great painters the names of Bierstadt, Asher Brown Durand, Thomas Cole and Frederick Church assume the highest position. Frederick Edwin Church studied under Thomas Cole in Catskill, New York (1844-46). In 1845, he exhibited his first paintings with the National Academy of Design and opened his studio in New York two years later. Frederick Church became a full member of the prestigious National Academy in 1849.Frederic Edwin Church's large and monumental landscape paintings always created the greatest admiration at national expositions. In 1853 and 1857 he traveled in South America and created one of his finest canvases, The Heart of the Andes, which was exhibited in 1859. He then visited Labrador, and his painting, Icebergs, was exhibited in both New York and London in 1863. Three years later, Frederic Edwin Church went to the West Indies and in 1868 made his first trip through Europe, including important visits to Greece and Palestine. As one writer at the time enthusiastically noted, "this is Niagara, with the roar left out!" Niagara's tremendous success secured Church's reputation as the most famous painter in America and brought him international recognition. [Attributes: First Edition]

      [Bookseller: Lord Durham Rare Books (IOBA)]
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        Bueto Vulgaris, Bechst (Common Buzzard)

      London 1875 - John Gould (1804-1881) was an English ornithologist, self-taught artist and naturalist. Gould first worked as a gardener under his father in the Royal Gardens of Windsor from 1818-1824, where he began his illustrations. He became an expert taxidermist, opening his own practice in London in 1824 and in 1827 he became the first Curator and Preserver at the museum of the Zoological Society of London. Through his work he was able to meet with the country’s leading naturalists and view new collections of birds given to the Zoological Society. His interest in birds was continually developing and in 1830 he published his first volume on birds, “A Century of Birds From the Himalaya Mountains.” For the next fifty years, Gould, his wife and artists working with them traveled around Asia, the East Indies and Australia. His wife Elizabeth and other artists were able to transfer his sketches to stone; hand print and hand-color them. One of the most accomplished and engaging natural history works of the 19th century, “The Birds of Europe” was also the first of Gould's works to feature plates by Edward Lear. A total of sixty-eight images bear Lear's name, and they are among the most remarkable bird drawings ever made. Lear endowed his illustrations with some measure of his own whimsy and intelligence, and his style is at once fluidly spontaneous and realistically precise. In this way, the images of “The Birds of Europe” are amazingly distinctive, while also highly realistic. Gould undertook this work partly in an effort to redress the imbalance between the study of local and foreign ornithology. Gould portrayed birds native to Europe in a manner that had only been thought appropriate for the colorful species of distant places. In this way he managed to draw much popular interest back to native birds, which were suddenly considered equally beautiful to exotic species. This hand-colored lithograph, Bueto Vulgaris, measures 21.5” x 14.75” and is in excellent condition with faint foxing throughout. This bird of prey, called the Common Buzzard, is expertly hand-colored in rich shades of brown and white. The precise lines define each feather from head to tail. The intricate patterns of the plumage are also well detailed as they change from the underbelly to the wings. The Common Buzzard is perched on a branch, centered as the focal point of this impressive lithograph.

      [Bookseller: Arader Galleries San Francisco]
 12.   Check availability:     IberLibro     Link/Print  


        LA SEMAINE MILITAIRE, JOURNAL DES SOUS-OFFICIERS, 4e ANNEE, 1875, 45 NUMEROS (1 VOLUME)

      Alphonse Le Roy Fils, Rennes 1875 - RO40158128: 588 pages. Illustré de plans et schémas en noir et blanc (et en couleur), sur planches dépliables hors texte (quelques unes étant déchirées). Titre, date et filets dorés sur le dos. Texte sur 2 colonnes. Plats et bords des plats frottés. 4e année (4e-5e séries), du n° 118, 9 janvier 1875 au n° 163, 20 novembre 1875. N° 120, Planche 51: Signes conventionnels. N° 121, Planche 52: Comptabilité et inventaire. N° 122, Planche 53: Le relief (cartographie). N° 125, Planche 54: Terrain, courbes de niveau. N° 126, Planche 55: Terrain, courbes de niveau. N° 133, Planche 56: Topographie, levé à vue, méthode par cheminement. N° 134, Planche 57: Topographie. N° 133, Planche 56 bis: Levé à vue. N° 136, Planche: Tarif des indemnités. N° 145, Planche: Tarif de la Masse individuelle (oct. 1874). N° 147, Planche: Art militaite: Le Service de Sûreté dans l'armée allemande. N° 153, Planche: Tactique de l'Infanterie allemande. N° 154, Planche (couleur): Manoeuvres d'automne du 13e Corps d'Armée, 1875 (Varennes). In-8 Relié demi-cuir. Etat d'usage. Couv. légèrement passée. Dos frotté. Intérieur acceptable Classification Dewey : 355.021-Militaria [Attributes: Hard Cover]

      [Bookseller: le-livre]
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        Geoffgrovius Heteroclitus [Yellow Headed Parrot].

      Walter -88 1875 - Lithograph with fine later handcolour, finished in gum arabic. Dimensions: 560 by 385mm. (22 by 15.25 inches). From Gould's 'Birds of New Guinea'.

      [Bookseller: Shapero Rare Books]
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        The Great Fall of Niagara black & white (proof) engraving

      New York: Knoedler & Company, Fifth Avenue, 1875. 1st Edition. No binding. Very Good. Original Black & White Engraving by William Forrest designed by Frederic Edwin Church. Date: 1875 First Edition B&W proof Medium: Original Chine-colle black & white (proof) engraving engraving. Publisher: Knoedler & Company, Fifth Avenue, New YorkPaper size: W: 31-1/4 x H: 23-1/4 inches Chine size: W: 27 x H: 17 inchesImage size: W: 21-1/2 x H: 10-1/8 inchesTitle: "THE GREAT FALL NIAGARA" printed under the image in the centreAdditional Info: Engraved "proof" printed on bottom left corner as well as "Painted by Frederic E. Church" on bottom left just under image and "Engraved by W. Forrest" printed on bottom right just below image.Other: "Entered according to act of Congress in the year 1875 by M. Knoedler & Co. in the office of the Librarian at Washington." printed in centre just under the image. "Published by M. Knoedler & Co. New York" printed at bottom centre below title. Condition: Very good condition, save for some soiling and spotting in margins minor . A very striking and detailed image of Niagara Falls with wide margins.View of Niagara Falls with a faint rainbow seen at top left. A lighthouse and houses can be seen on the shore in the background. Dark clouds are in the sky to the right.Engraver: Forrest, William (805-1899) Artist Church, Frederic Edwin (1826-1900) William Forrest's, "The Great Fall - Niagara" is an original 19th century engraving based upon the famous landscape painting depicting Niagara Falls created by the American artist, Frederic Edwin Church in 1857. The Great Fall - Niagara" is an important, original engraved example of the large Victorian landscape engraving by the Scottish artist, William Forrest.When the major New York publisher, Knoedler & Company acquired the engraving rights to The Great Fall, Niagara, he turned to the Scottish engraver, William Forrest. From 1845, Forrest worked in both London and Edinburgh and had created a strong reputation for both his landscape and genre engravings. The Great Fall, Niagara was William Forrest's largest and most important work of original engraved art.Frederic Church's, The Great Fall, Niagara, may possibly be the most famous painting in the history of nineteenth century American art. Originally, this painting of Niagara Falls was purchased by John Taylor Johnstone, it was sold in 1876 to the Corcoran Gallery in Washington for the price of 5,000 Pounds. For many years thereafter this was a record price paid for an American painting.Frederic Edwin Church was an American nineteenth century landscape painting reached its finest expression under the movement known as the Hudson River School. Among its many great painters the names of Bierstadt, Asher Brown Durand, Thomas Cole and Frederick Church assume the highest position. Frederick Edwin Church studied under Thomas Cole in Catskill, New York (1844-46). In 1845, he exhibited his first paintings with the National Academy of Design and opened his studio in New York two years later. Frederick Church became a full member of the prestigious National Academy in 1849.Frederic Edwin Church's large and monumental landscape paintings always created the greatest admiration at national expositions. In 1853 and 1857 he traveled in South America and created one of his finest canvases, The Heart of the Andes, which was exhibited in 1859. He then visited Labrador, and his painting, Icebergs, was exhibited in both New York and London in 1863. Three years later, Frederic Edwin Church went to the West Indies and in 1868 made his first trip through Europe, including important visits to Greece and Palestine. As one writer at the time enthusiastically noted, "this is Niagara, with the roar left out!" Niagara's tremendous success secured Church's reputation as the most famous painter in America and brought him international recognition.

      [Bookseller: Lord Durham Rare Books (IOBA)]
 15.   Check availability:     IOBABooks     Link/Print  


        [The Great Fall of Niagara] (Proof Impression Before Letters) hand-coloured engraving

      New York: Knoedler & Company, Fifth Avenue, 1875. 1st Edition. No binding. Near Fine. Original coloured edition wngraving by William Forrest (Edinburgh, 1805-1899) after the painting by Frederic Edwin Church (Hartford, CT, 1826-1900). First edition colour proof.Paper size: W:69cms x H: 43cms (W: 27" x H:17")Image Size: W:55cms x H: 25.5cms (W: 21 3/4" x H:10")Untitled but it is "The Great Fall of Niagara". Circa 1875.Original Engraving (Proof Impression Before Letters - PIBL) This particular impression is considered a 'Proof before Letters'. This PIBL means it was one of the first impressions to be pulled from the plates before the regular edition was published with the title "The Great Fall of Niagara" appearing on the print. A proof impression thus contains all the fine lines and subtle shades that would wear down during the printing of the regular edition. As well, proofs were usually printed on superior papers. This impression of Niagara Falls is printed on fine china paper and pressed onto a larger sheet of wove papers (chine process). The Great Fall, Niagara is a most important, original example of the large Victorian engraving and of nineteenth century American landscape art.Medium: Original Hand-coloured Chine-colle EngravingPublisher: Knoedler & Company, Fifth Avenue, New York Condition: 1.4 inch browning around the perimeter on the very large white paper border otherwise, near fine condition.Legend Reads: "Entered according to act of Congress in the year 1875 by M. Knoedler & Co. in the office of the Librarian at Washington" Blind embossed certification or document of authenticity DOA and seal with PRINT SELLERS ASSOCIATION stamped on it at bottom left under image. Active with this name; Publications approved by the Printsellers Association 1847-1920. View of Niagara Falls with a faint rainbow seen at left. A lighthouse and houses can be seen on the shore in the background. Dark clouds are in the sky to the right. A beautiful image of Niagara Falls and spectacular with the very generous white border drawing maximum attention to it.William Forrest's, "The Great Fall - Niagara" is an original 19th century engraving based upon the famous landscape painting depicting Niagara Falls created by the American artist, Frederic Edwin Church in 1857. The Great Fall - Niagara" is an important, original engraved example of the large Victorian landscape engraving by the Scottish artist, William Forrest.When the major New York publisher, Knoedler & Company acquired the engraving rights to The Great Fall, Niagara, he turned to the Scottish engraver, William Forrest. From 1845, Forrest worked in both London and Edinburgh and had created a strong reputation for both his landscape and genre engravings. The Great Fall, Niagara was William Forrest's largest and most important work of original engraved art.Frederic Church's, The Great Fall, Niagara, may possibly be the most famous painting in the history of nineteenth century American art. Originally, this painting of Niagara Falls was purchased by John Taylor Johnstone, it was sold in 1876 to the Corcoran Gallery in Washington for the price of 5,000 Pounds. For many years thereafter this was a record price paid for an American painting. As one writer at the time enthusiastically noted, "this is Niagara, with the roar left out!" Niagara's tremendous success secured Church's reputation as the most famous painter in America and brought him international recognition.

      [Bookseller: Lord Durham Rare Books Inc. (IOBA)]
 16.   Check availability:     IOBABooks     Link/Print  


        Die Handfeuerwaffen ihre Entstehung und technisch-historische Entwicklung bis zur Gegenwart. Mit einem Atlas, 56 Tafeln mit uber 400 Zeichnungen in Farbendruck enthaltend

      Basel: B. Schwabe, Verlagsbuchhandlung, 1875.. The supplement of 1878 is not present. 1/2 leather and boards. Fine. 4to. 157 pp. plus 56 full page color lithographs having 360 color illustrations of arms.

      [Bookseller: Richard L. Press, Fine and Scholarly Boo]
 17.   Check availability:     Biblio     Link/Print  


        Le Soleil: Deuxième Édition, Revue et Augmentée (2 volumes)

      Paris: Gauthier-Villars, 1875. Hardcover (Full Leather). Near Fine. 2 volumes, the Atlas is not present. 13 color plates, many in text illustrations. Full red calf, light rubbing at hinges and spines, light discoloration to leather in spots, marbled endpapers, top edges gilt. A lovely pair with remarkable color depictions of the sun, solar storms, flares, etc. Size: Octavo (8vo). Text is clean and unmarked. Quantity Available: 1. Shipped Weight: 2 lbs 0 oz. Category: Science & Technology; Inventory No: 037474.

      [Bookseller: Pazzo Books]
 18.   Check availability:     Biblio     Link/Print  


        Far East Album].

      c. 1875 - Oblong 4to (280 by 390mm) , forty two albumen prints, mostly hand coloured (Japan), all approximately 210 by 280mm, majority in good condition and mounted on clean card, red half calf over red boards, slightly scuffed. Views are mostly topographical in nature of Nikko and Koyoto. There are four silver gelatin prints at the end of Vancouver. [Attributes: Hard Cover]

      [Bookseller: Shapero Rare Books]
 19.   Check availability:     AbeBooks     Link/Print  


        In Fairyland: A Series of Pictures from the Elf-World

      Lndon: Longmans Green,1875 - Second Edition. Folio (27.5 x 38 cm); sixteen chromolithograph plates from illustrations by Doyle; all edges gilt. Repairs to cloth; marginal spotting to some plates; one plate with small stain to image; tight copy; gilt bright; but fair condition only in original gilt-stamped and decorated green cloth. Collection of 36 fairy and elf illustrations on sixteen plates by Doyle with poem by William Allingham. Originally published in 1870.

      [Bookseller: Trevian Books, ABAA]
 20.   Check availability:     AbeBooks     Link/Print  


        PANORAMA DELLA STRADA FERRATA DELLE ALPI COZIE (MONCENISIO)

      Firenze, Pineider e Smorti, s.d. (1875 ca.) In-8 gr. (cm. 25,4x16), album in mz. tela edit. (piatti figur. a colori) contenente 29 magnifiche sezioni in sequenza, a formare un pannello di cm. 25,4x453, litografato a colori, che riporta il tracciato della ferrovia Vittorio Emanuele - la nuova ferrovia del traforo - da Torino a Modane. Il presente Panorama si occupa principalmente del tronco ferroviario da Bussoleno a Bardonnèche, riporta il considerevole numero di Gallerie attraversate, ed illustra con piccole vedute a colori (poste sul fianco sinistro del Panorama) i ponti, i viadotti e le località più importanti. Torino, Susa e Modane sono raffigur. da una veduta (cm. 13,5x19,8). Unito: un breve testo, pp. 7, con i ritratti dei principali direttori dei lavori italiani. Esemplare ben conservato.

      [Bookseller: Libreria Malavasi sas]
 21.   Check availability:     Biblio     Link/Print  


        Beautiful, clear signature of Samuel Clemens on his personal check

      "Document signed ""Sam'l L. Clemens"", dated July 27, 1875, 7.875"" x 2.75"", [Hartford, Connecticut], a check drawn on the First National Bank of Hartford in the amount of $100, engrossed by Clemens. The check is made payable to Patrick McAleer, his coachman and faithful servant. Mild toning and a small cancellation hole to center, not affecting any writing. The notation ""House money"" also in Clemens' hand, appears on the left side. During this period, Clemens was busily writing for ""The Atlantic Monthly"" and working on his novel ""The Adventures of Tom Sawyer"", which was published the following year."

      [Bookseller: University Archives]
 22.   Check availability:     Biblio     Link/Print  


        Mark Twain Signed Check [Made out to Western Union Telegraph Co.] [Matted and Framed]

      Hartford, Connecticut: First National Bank of Hartford, 1875. 1st Edition. Other Other. Very Good. (Autographed Documents & Letters, Literature) Original Mark Twain / Samuel L. Clemens signed check matted in a lovely frame. Check is paired with a 6 x 4 inch portrait and a 2.5 x 4 information plate. Frame measures 10.75 x 17.5 inches. Some minor wear to frame with a closed tear to backing paper. Check has a couple of tiny smudges to ink but otherwise appears to be in Very Good condition. Beautiful piece overall! Transcription of information plate: Mark Twain (1835-1910) Pseudonym of Samuel L. Clemens, America’s most popular author. Check completed entirely in his hand to Western Union in 1875. One year before publication of his classic “The Adventures of Tom Sawyer.”

      [Bookseller: Yeomans in the Fork]
 23.   Check availability:     Biblio     Link/Print  


        Pitta Novae-Guineae (New Guinea Pitta)

      London 1875 - John Gould (1804-1881) was an English ornithologist, self-taught artist and naturalist. Gould first worked as a gardener under his father in the Royal Gardens of Windsor, from 1818-1824, where he began his illustrations. He became and expert taxidermist, opening his own practice in London in 1824 and in 1827 he became the first Curator and Preserver at the museum of the Zoological Society of London. Through his work he was able to meet with the country’s leading naturalists and view new collections of birds given to the Zoological Society. His interest in birds was continually developing and in 1830 he published his first volume on birds, “A Century of Birds From the Himalaya Mountains.” For the next fifty years, Gould, his wife and artists working with them traveled around Asia, the East Indies and Australia. While in Papua New Guinea, he decided to embark on a final folio as a complement to his unprecedented “Birds of Asia”. “The Birds of New Guinea” was Gould's last full-scale work, left incomplete on his death in 1881. Gould completed twelve of the twenty-five parts, and the task of finishing the project fell to Richard Bowdler Sharpe, a superbly qualified successor, who had been Gould's colleague, assistant and friend. One of Gould's most exotic works, the five magnificent volumes of the Birds of New Guinea contain an extensive series of beautiful images of birds of paradise, bower birds, parrots, parakeets, cockatoos, kingfishers and hawk-owls. All of the 320 images are extraordinary for their color and artistry, interesting backdrops and animated compositions. Gould and Sharpe created some of their most engaging and active scenes of bird life in the “The Birds of New Guinea”, and the great popular reception of the work was such that it was one of their only productions that led to a sequel, Sharp's “Birds of Paradise” (1891-98). Missing from that later production, however, was the almost overwhelming variety of species of the “The Birds of New Guinea”, which, like the “Birds of Asia”, was the most comprehensive chronicle of the island's ornithology ever issued. This folio size, hand-colored lithograph, Pitta Novae-Guineae, measures 21.5" x 14.75" and is in excellent condition. These birds, commonly called New Guinea Pitta, are expertly hand-colored in vibrant shades of green, blue, white and red with black heads and yellow collars. The New Guinea Pitta in this lithograph are shown in a rocky habitat, one picking at a shell with its beak. The precise lines detail and define their feathers and plumage and give them dimension.

      [Bookseller: Arader Galleries San Francisco]
 24.   Check availability:     IberLibro     Link/Print  


        Catilina. Drama i tre Akter. 2. og gennemarbejdet Udgave.

      . Kbhvn. 1875. 140 s. Samtidigt, lidt nusset halvlaeder. Nogle sider svagt gulplettet..

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
 25.   Check availability:     ZVAB     Link/Print  


        The Narcissus: Its History and Culture

      London: L. Reeve & Co., , 1875. First edition. Original Cloth. Very Good. 8vo (24.5 x 16.5 cm) Original cloth boards with gilt title and author on spine and Narcissus on cover, spine slightly sunned. Marble end papers. Collation: [ix]-xvi [1]-95pp + 48 hand-colored, lithographic plates. Excellent study on the genus Narcissus with beautifully executed lithographic plates by Burbidge with contemporary hand coloring. This is a very good copy in original cloth. “Burbidge, Frederick William Thomas (1847–1905), horticultural writer and explorer, was born at Wymeswold, Leicestershire, on 21 March 1847, the son of Thomas Burbidge, farmer and fruit grower, and his wife, Mary Spencer. He was educated at village schools and entered the gardens of the Royal Horticultural Society at Cheswick as a student in 1868, proceeding in the same year to the Royal Gardens, Kew. Here he showed skill as a draughtsman and was partly employed in making drawings of plants in the herbarium. Leaving Kew in 1870 he joined the staff of Garden magazine where he stayed until 1877, writing under the pseudonym Veronica. He also wrote for The Floral Magazine. During this period he published a number of works including Cool Orchids and How to Grow Them (1874), [Narcissus: Its History and Culture(1875)]and Cultivated Plants, their Propagation and Improvement (1877). These works drew much appreciation from contemporaries including Gladstone. Many of the plates included were drawn by Burbidge himself.In 1877 he was sent by the nursery firm James Veitch & Sons as a collector to Borneo. He was absent for two years, during which time he also visited Johore, Brunei, and the Sulu Islands. He brought back many remarkable plants, especially: pitcher plants, such as Nepenthes rajah and N. bicalcarata; orchids, such as Cypripedium laurenceanum, Dendrobium burbidgei, andAërides burbidgei; and ferns, such as Alsophila burbidgei and Polypodium burbidgei. The chronicle of his journey was published in 1880 as The Gardens of the Sun, or, A Naturalist's Journal on the Mountains and in the Forests and Swamps of Borneo and the Sulu Archipelago. The first set of the dried specimens brought back by him numbered nearly a thousand species, and was presented by Veitch to the Kew herbarium. Sir Joseph Hooker named the scitamineous Burbidgea nitida ‘in recognition of Burbidge's eminent services to horticulture, whether as a collector in Borneo, or as author of Cultivated Plants, their Propagation and Improvement, a work which should be in every gardener's library’ (Botanical Magazine, 1879, tab 6403). Though of only moderate ability as a cultivator, Burbidge was noted for his horticultural writings and expert draughtsmanship.” ( G. S. Boulger, rev. Alexander Goldbloom- ODNB)

      [Bookseller: Antiquariat Botanicum ]
 26.   Check availability:     ABAA     Link/Print  


        REVUE D'AQUITAINE - SCIENTIFIQUE ET LITTERAIRE - N°13 AU N°24

      IMP. GENERALE DE L'OUEST 1875 - RO30047603: 584 pages. Bandeaux, lettrines, culs-de-lampe en noir et blanc. Sommaire : Le Saintonge et l'aunis à l'académie française . Controverses religieuses des 16° et 17° siècle . entre touristes . Missions apostoliques dans l'Aquitaine . Notules d'un chercheur . Le frère de madame de Maintenon, chalres d'Aubigné . La chèvre aux ailes d'or. Causeries géoloiques . M. des Francs et le Canada . Invitation à la souffrance . Lettres à M. de Longuemar . Un bienfaiteur inconnu . La Saintonge et l'Aunis à l'Académie française . Controverses religieuses des 16° et 17° siècle. Mon dernier mot au sujet des deux Mamoris . Recherches sur le sceptisisme contemporain . Saint Victoria autrement dit saint Nectaire . Lettre de M. Edouard . La seigneurie de l'Isle de Rhé . Notules d'un chercheur. In-8 Broché. Bon état. Couv. convenable. Dos satisfaisant. Quelques rousseurs Classification Dewey : 908.447-Régionalisme : Aquitaine [Attributes: Soft Cover]

      [Bookseller: le-livre]
 27.   Check availability:     AbeBooks     Link/Print  


        Gezondheidsetablissement te Sindanglaja bij Tjiandjoer.

      ca. 1875, albumen print, 25,4 x 20,6 cm. Photograph uncut. KITLV 26664 KEYWORDS:indonesia / java / sindanglajal

      [Bookseller: Krul Antiquarian Books]
 28.   Check availability:     maremagnum.com     Link/Print  


        The Narcissus: Its History and Culture

      London: L. Reeve & Co., , 1875. First edition. Original Cloth. Very Good. 8vo (24.5 x 16.5 cm) Original cloth boards with gilt title and author on spine and Narcissus on cover, spine slightly sunned. Marble end papers. Collation: [ix]-xvi [1]-95pp + 48 hand-colored, lithographic plates. Excellent study on the genus Narcissus with beautifully executed lithographic plates by Burbidge with contemporary hand coloring. This is a very good copy in original cloth. ?"Burbidge, Frederick William Thomas (1847?-1905), horticultural writer and explorer, was born at Wymeswold, Leicestershire, on 21 March 1847, the son of Thomas Burbidge, farmer and fruit grower, and his wife, Mary Spencer. He was educated at village schools and entered the gardens of the Royal Horticultural Society at Cheswick as a student in 1868, proceeding in the same year to the Royal Gardens, Kew. Here he showed skill as a draughtsman and was partly employed in making drawings of plants in the herbarium. Leaving Kew in 1870 he joined the staff of Garden magazine where he stayed until 1877, writing under the pseudonym Veronica. He also wrote for The Floral Magazine. During this period he published a number of works including Cool Orchids and How to Grow Them (1874), [Narcissus: Its History and Culture(1875)]and Cultivated Plants, their Propagation and Improvement (1877). These works drew much appreciation from contemporaries including Gladstone. Many of the plates included were drawn by Burbidge himself. In 1877 he was sent by the nursery firm James Veitch & Sons as a collector to Borneo. He was absent for two years, during which time he also visited Johore, Brunei, and the Sulu Islands. He brought back many remarkable plants, especially: pitcher plants, such as Nepenthes rajah and N. bicalcarata; orchids, such as Cypripedium laurenceanum, Dendrobium burbidgei, andAërides burbidgei; and ferns, such as Alsophila burbidgei and Polypodium burbidgei. The chronicle of his journey was published in 1880 as The Gardens of the Sun, or, A Naturalist's Journal on the Mountains and in the Forests and Swamps of Borneo and the Sulu Archipelago. The first set of the dried specimens brought back by him numbered nearly a thousand species, and was presented by Veitch to the Kew herbarium. Sir Joseph Hooker named the scitamineous Burbidgea nitida ?'in recognition of Burbidge's eminent services to horticulture, whether as a collector in Borneo, or as author of Cultivated Plants, their Propagation and Improvement, a work which should be in every gardener's library?' (Botanical Magazine, 1879, tab 6403). Though of only moderate ability as a cultivator, Burbidge was noted for his horticultural writings and expert draughtsmanship.?" ( G. S. Boulger, rev. Alexander Goldbloom- ODNB)

      [Bookseller: Antiquariat Botanicum]
 29.   Check availability:     Biblio     Link/Print  


        Ambon en meer bepaaldelijk de Oeliasers, geographisch, ethnographisch, politisch en historisch geschetst.

      - Dordrecht, Blussé en Van Braam, 1875. Modern cloth, original printed frontwrapper mounted. With folding map, coloured in outline (repairs on fold). VIII,VIII,234 pp.* Original edition. - General description of Ambon, by a district officer of Ambon-Lease, with special attention being paid to the districts of Hila/Lariki and Saparua/Haruku. - Scarce.Tiele 489; Cat. KITLV p.33; Ruinen A64; Polman 116. [Attributes: Hard Cover]

      [Bookseller: Gert Jan Bestebreurtje]
 30.   Check availability:     AbeBooks     Link/Print  


        Allgemeine Maschinenlehre. Ein Leitfaden für Vorträge, sowie zum Selbststudium des heutigen Maschinenwesens, mit besonderer Berücksichtigung seiner Entwicklung. Für angehende Techniker, Cameralisten, Landwirthe und Gebildete jeden Standes. 4 Bände.,

      Braunschweig, Schwetschke und Sohn (Bd. 1-3) resp. Berlin Loewenthal, 1875-1902. - Zus. ca. 5000 Seiten mit ca. 2500 teils blattgroßen Textholzstichen und einigen Tafeln. *Umfangreiches systematisches Kompendium zum Maschinenbau im späten 19. Jahrhundert, eine reich illustrierte zeitgenössische Fundgrube über alle Sparten und Arten von Maschinen. Bände 1-4 erschienen bis 1888 von Rühlmann, ein fünfter Band wurde erst 1902 von Osw. Flamm beendet. - Band 1: Maschinen zum Messen und Zählen / Maschinen zur Aufnahme der Menschen- und Tierkräfte. Wasserräder, Windräder Dampfmaschinen, Luftmaschinen. - Band 2: Mühlen und landwirtschaftliche Maschinen (auch Locomobile und transportable Dampfmaschinen). - Band 3: Straßen- und Eisenbahnfuhrwerke, einschl. Lokomotiven, Dampf-Omnibusse, Maschinen und Apparate für pneumatischen Transport. - Band 4: Maschinen zur Ortsveränderung, Heb- und Senkmaschinen, Ramm-Maschinen, Bagger, Pumpen, Kompressoren, Transmission. - 5. Band: Geschichte der Ruder-, Segel- und Dampfschiffe. Practischer Schiffbau. Entwerfen von Schiffen. Theorie des Schiffes. Schiffskessel und Schiffsmaschinen. - Titelblätter rückseitig gestempelt, sonst durchweg sauber und gut erhalten. Sprache: de Gewicht in Gramm: 6000 Halbleinenbände der Zeit mit Rückentitel (Rücken leicht verblasst).

      [Bookseller: Antiquariat Braun]
 31.   Check availability:     AbeBooks     Link/Print  

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