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Displayed below are some selected recent viaLibri matches for books published in 1877

        SLOVENLY PETER'S STORY BOOK

      - [HOFFMANN,HEINRICH]. SLOVENLY PETER'S STORY BOOK. NY: McLoughlin Bros. no date inscribed 1877. 12mo, cloth stamped in black and gold, pictorial paste-on, few minor mends, paper worn on one page and finger soil throughout, tight and overall VG. Containing: Dirty Child, Little Glutton, Tom the Thief, Little Jacob, Sammy Tickletooth, Untidy Tom, Little Suck-a-Thumb, Johnny Sliderlegs, Carrie and the Candle and Rocking Philip. Illustrated with 48 chromolithographs. [Attributes: Hard Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        Catalogue des livres de beaux-arts, de littérature et d'histoire la plupart ornés de figures et très-bien conditionnés composant la bibliothèque de feu M. Phélippon

      Paris: Adolph Labitte, 1877. First Edition. Hardcover. Very good antiquarian condition. 8vo. 164 pp. 1243 lots, all with prices and buyers' names in manuscript. Contemporary French broad half red morocco over marbled boards (trifle rubbed at extremities), marbled edges and endpapers, original wrappers bound in. Scarce; no copy in the Grolier Club, and indeed combined searches in OCLC Worldcat and CCFR (Catalogue collectif de France) produce just one copy worldwide: BnF. Our copy has prices and buyers' names throughout in a fine calligraphic hand. Characteristic of contemporary taste are high prices realized for "livres a figures" such as Dorat's "Les Baisers" (1770) illustrated by Eisen, the Phelippon copy bound in blue morocco by Bozerian (lot 449) for 905 FF (to Rouquette). Compare this Phelippon's copy of Senault's "Heures nouvelles" (ca. 1680) in contemporary green morocco elaborately gilt "aux dentelles" (lot 20) which sold for 73 FF (to Labitte). Another comparable: a 1514 Basle Bible in contemporary calf over wooden boards (lot 1) for just 7.50 FF (to Ritti) which is a fraction of the price paid for Dorat's "Les Baisers." A complete set of Bernard Picart's "Ceremonies et coutumes" (7 vols., 1741) in contemporary mottled calf (lot 54) sold for 106 FF. Gustav Brunet discusses the Phelippon sale in his "Livres payés en vente publique 1,000 fr. et au dessus depuis 1866" (Paris, 1877), reference to the Phelippon copy of "Les Baisers" and also the Oudry Fables de La Fontaine (1755-59, 4 vols.) printed on Papier de Hollande (lot 553) which realized 1,100 FF (to Morgand). Whereas the Phelippon sale occurred immediately prior to the bespoke Brunet publication, additional biographical information about this enigmatic collector has not been forthcoming, thus inviting further research. The name of Adolph Labitte, one of the two Commisseur-Priseurs, and publisher of the catalogue, appears as a buyer on almost every page. Blogie col. 144, lists the copy at the Bibliotheque royale Albert I, Brussels. From the library of Georges Heilbrun, with his bookplate.

      [Bookseller: Michael Laird Rare Books LLC]
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        Método racional de lectura para enseñar a los ciegos, precedido de tres ejercicios encaminados a facilitar el del tacto .

      1877. . 1877 - Imp. del Colegio Nacional de Sordo-mudos y de Ciegos, S. Mateo. Madrid. . 1 Vol. . 40 folios. Octavo apaisado. Tela y Papel. Enseñanza / Educación/ Urbanidad / Escolar / Infantil / Caligrafía , Siglo XIX . Interesante ejemplar de libro destinado a la lectura táctil para la enseñanza de los ciegos. Por su temprana fecha, es un de las primeras obras de su género editadas en España. El texto se halla en relieve en grafía latina y no en el sistema "braile". Auténtica joya para la historia de la enseñanza de los invidentes en España. Buen estado. .

      [Bookseller: Librería Anticuaria Astarloa]
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        L'assommoir EDITION ORIGINALE Tirage de tête

      Paris: Charpentier, 1877. Fine. Charpentier, Paris 1877, 12x19,5cm, relié. - Original, one of 75 numbered copies on Holland paper only major paper edition. Bound in full red morocco, spine tooled raised five triple gilded boxes, when golden tail, triple gilt frames on the boards, and guards contreplats of handmade paper, blankets (small stain on the front cover) and back and irradiated with two small gaps in the foot preserved golden head; lined morocco case the same, flat coated paper bowl, inside gray felt, elegant set signed P. Goy & C. Vilaine. Some light bites without gravity. Beautiful copy of a well established masterpieces of the author. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 75 exemplaires numérotés sur Hollande, seuls grands papiers. Reliure en plein maroquin rouge, dos à cinq nerfs orné de triples caissons dorés, date dorée en queue, triples encadrements de filets dorés sur les plats, gardes et contreplats de papier à la cuve, couvertures (une petite tache sur le premier plat) et dos insolé et comportant deux petits manques en pied conservés, tête dorée; étui bordé du même maroquin, plats recouverts de papier à la cuve, intérieur de feutrine grise, élégant ensemble signé de P. Goy & C. Vilaine. Quelques légères piqûres sans gravité. Bel exemplaire parfaitement établi de l'un des chefs-d'oeuvre de l'auteur.

      [Bookseller: Librairie Le Feu Follet]
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        The Moonstone: A Dramatic Story, in Three Acts Altered from the Novel for Performance on the Stage

      [London]: Charles Dickens [Jr.] & Evans, 1877. First edition. "This play is not published. It is privately printed for the convenience of the author.". 88 leaves, printed on rectos only. 1 vols. 8vo. Full blue polished calf, gilt spine, with red morocco title labels, t.e.g., by Riviere & Son. Near fine, with original plain blue wrappers bound-in at rear. First edition. "This play is not published. It is privately printed for the convenience of the author.". 88 leaves, printed on rectos only. 1 vols. 8vo. The Rare Stage Adaptation. Extremely scarce stage adaptation of his novel - no copy has appeared at auction for over twenty years. According to Nuel Pharr David (THE LIFE OF WILKIE COLLINS, p. 284), "Partly out of kindness he contributed a weak short story to the July 2 All the Year Round, which Charles Dickens, Jr., was vainly attempting to keep from foundering. During this time [1877] he composed nothing else except a dramatic version of THE MOONSTONE ... It opened at the Olympic on September 7. Despite good acting and a tight script, THE MOONSTONE had only an indifferent run to partly filled houses.". Parrish & Miller, pp. 75-6; Wolff 1368b; OCLC: 21243438

      [Bookseller: James Cummins Bookseller]
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        A Series of Original Portraits and Caricature Etchings by the Late John Kay with Biographical Sketches and Illustrative Anecdotes. 2 Volume set

      Edinburgh: Adam & Charles Black Ltd. G+ : in Good condition plus with marbled eps. Cover lightly rubbed. Some light scattered browning. Contents firm. Teg. 1877. New Edition. Contemporary green quarter Moroccco gilt. 290mm x 220mm (11" x 9"). viii, 445pp; viii, 504pp. 361 b/w hand-pressed plates. 361 etchings providing an invaluable record of Edinburgh in the late 1700s / early 1800s. .

      [Bookseller: Barter Books Ltd]
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        Oeuvres complètes

      Paris: Charpentier., 1877. Fine. Charpentier., Paris 1877, 11 T. en 11 vol grd in 8 (14x21cm), relié. - New edition. Bida illustrated by 28 etchings and a portrait by Flameng. Were added as a result of 9 T forming the complete works for a Tome posthumous works, and Tome de Musset for biography by his brother Paul de Musset. 1) Poems 1828-1833, 2) Poems 1833-1852, 3) Comedies and Proverbs I, 4) Comedies and Proverbs II, 5) Comedies and Proverbs III, 6) The Confession of a Child of the Century, 7) News, 8) Tales and new, 9) Mixtures of literature & criticism, 10) Posthumous Works, 11) Biography of Alfred de Musset by Paul de Musset. Demi shagreen burgundy wedge. Back to 5 nerves decorated with blind fillets and three small gold chains. Good series. Binding slightly later. Wrappers preserved, backs are uniformly thinned. Very slight traces of foxing tail three back. Perfectly white paper, however, pale foxing to the place of serpentes that were removed. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Nouvelle édition. Illustrée par Bida de 28 eaux-fortes et d'un portrait par Flameng. Ont été ajoutés à la suite des 9 T formant les oeuvres complètes un Tome pour les oeuvres posthumes, et un Tome pour la biographie de Musset par son frère Paul de Musset. 1) Poésies 1828-1833, 2) Poésies 1833-1852, 3) Comédies et proverbes I, 4) Comédies et proverbes II, 5) Comédies et proverbes III, 6) La Confession d'un enfant du siècle, 7) Nouvelles, 8) Contes et nouvelles, 9) Mélanges de littérature & de critique, 10) Oeuvres posthumes, 11) Biographie d'Alfred de Musset par Paul de Musset. Demi chagrin lie de vin à coins. Dos à 5 nerfs orné de filets à froid et dorés de trois petits fers. Bonne série. Reliure légèrement postérieure. Couvertures conservées, les dos sont uniformément éclaircis. Très légères traces de mouillures en queue de trois dos. Parfaite blancheur du papier, cependant rousseurs pâles à l'endroit des serpentes qui ont été retirées.

      [Bookseller: Librairie Le Feu Follet]
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        5 offprints Charles Sedgwick Minot One inscribed

      Cambridge, Printed at the Riverside Press 1877 - Group of 5 rare offprints by Charles Sedgwick Minot. First separate editions. Included are: The Sledge Microtome (1877) reprinted from The American Naturalist, April, 1877 Inscribed presentation copy from the author. Fold marks, chipping to edges; The Concrescence Theory of the Vertebrate Embryo from The American Naturalist July, 1890; The Concrescence Theory of the Vertebrate Embryo, from the American Naturalist, August, 1890; Ueber die Vererbung und Verjungung, Leipzig, Eduard Besold, 1895, ring-stain front cover; The Number Habit from the Proceedings of the American Society for Physchical Research Vol. 1 Part II, June, 1886 (front cover perished, back cover torn and badly chipped.First separate editions. Offprints. Good to very good condition. Rare books make Fine Gifts. Quality, Value, Experience.

      [Bookseller: Robinson Street Books, IOBA]
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        Across Africa.

      London: Daldy, Isbister & Co., 1877 - 2 volumes, octavo (215 × 137 mm). Recent dark blue morocco, titles and decoration to spines gilt, raised bands, single rule to boards, marbled endpapers, top edges gilt, others untrimmed. Ownership inscription to half-title, some occasional light foxing, an excellent copy. Frontispiece to each, 31 plates and 123 woodcuts in all, one engraved folding map coloured in outline in end-pocket of Volume I. First editions. Cameron (1844-94), a naval officer and traveler, volunteered to lead the Royal Geographic Society expedition to find and assist David Livingstone in the African interior. The expedition suffered from the usual difficulties, including desertion, illness, and conflict with local chiefs, before it arrived in Unyanyembe in August 1873. Here, word reached Cameron of Livingstone's death; the missionary's body was brought in some time later. "This left Cameron in a quandary. His instructions from the Royal Geographical Society made it clear that he should go no further than find Livingstone and put himself at his disposal. Moreover, he had been warned that money was short" (Ewans, European Atrocity, African Catastrophe, p.34). Under the pretext of collecting some of Livingstone's belongings, Cameron set out for Ujiji and Lake Tanganyika, where he decided to continue Livingstone's exploration of the southern part of the lake. This decision lead to Cameron following the Lukuga River onwards east to the Lualaba and from thence onwards. In November 1875, after more than two years' travel in Central Africa, Cameron arrived in Benguela, thus becoming the first European to transverse the African continent from east to west. Published two years later, Across Africa, the account of his travels, "contained valuable suggestions for the opening up of the continent, including the utilization of the great lakes as a Cape-to-Cairo connection" (Howgego). Embacher, p. 68; Howgego IV C5.

      [Bookseller: Peter Harrington. ABA member]
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        Tiyo Soga: A Page of South African Mission Work

      Edinburgh, London, Glasgow, Grahamstown, Cape Colony: Andrew Eliot, Hodder & Stoughton, David Bryce & Son, James Kay. 1877. First. First edition. Thick octavo. 488pp. Albumen photographic frontispiece portrait of Tiyo Soga. Brown cloth decorated in black and stamped in gilt. Attractive and small contemporary gift inscription on the half-title, binding a little cocked, modest wear on the boards, slight foxing on first few pages, but overall a nice, very good or better copy. Biography of Tiyo Soga, who died in 1871, and was the first black South African to be ordained. He studied in Scotland and later worked translating the Bible and John Bunyan's Pilgrim's Progress into Khosa. Uncommon. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Dos a Uno, Meten La Paja en el Culo] or [Disparate Conocido]. If two to one, stuff your arse with straw. Well-known folly.

      Paris printed by Francois Lienard 240 x 350mm. Very good clean impression. HARRIS. 266.III - Etching and aquatint, from L'Art, on laid paper, This is one of the additional plates for 'The Proverbios' series. This edition impression was published in 1877 in volume 2 of L'Art with the title Que Guerero (Quel Guerrier). The man running in mock terror from the scarecrow figures slaps his backside to entertain the crowd.

      [Bookseller: R.G. Watkins Books and Prints]
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        Yochi Shiryaku

      1877. UCHIDA, Masao. Yochi Shiryaku [Outlines of World Geography or Short Description of the World]. 216 pp. Printed on double-leaves of rice paper. Illustrated with 37 wood-engravings or lithographs plus 4 maps of the Americas, United States and Mexico (2 folding). 4to., 253 x 167 mm, bound Japanese style in original dark blue paper wrappers, paper title-label on cover. Laid into black cloth box. [Tokyo, Japan]: Uchida Masayoshi zoban, Meiji 10, 1877. |~||~||~||~| First Edition (?) of this fascinating Japanese geo-encyclopedia of the United States and Mexico. This volume represents the North America section of a 13-volume Japanese series covering the entire world. Of particular interest here are the many illustrations, primarily woodcuts (there are two beautiful lithographs as well), depicting such typically American subjects as big trees in California, steamboats on the Mississippi, Native Americans in the Southwest, gold mining in California, a buffalo hunt, railroads, Niagara Falls, scenes in New York City, Washington (view of the Capitol before the addition of the dome, Congress in session and the White House, views of Boston, St. Louis, Philadelphia, and other American cities. Natural history illustrations include an American bald eagle, a cotton plant and a black bear. Uchida Masao (1838-1876), a graduate of the Nagasaki naval school and one of the earliest Japanese travelers in America. Uchida was dispatched to Europe by the Tokugawa shogunate, where learned Western culture and technology in Holland for five years beginning in 1862. Uchida was part of a Bakufu "student" group that visited America on his way back from Europe. He then returned to Japan with oil paintings, photographic albums, and hundreds of pictorial natural history images. Based upon the sources he collected on his travels, "Uchida began to compile the Yochi Shiryaku in 1870, a thirteen-volume of encyclopedia of world geography. Its success was primarily due to the huge number of illustrations that Uchida called "shashin (photography)," the images copied from the Western photographic albums and traveling magazines." (Paper delivered to the "Association of Asian Studies," Chicago, March 26-29, 2009). The Mexican views include the Cathedral in Mexico City, views of other Mexican towns such as Guanajuato, view of the volcano Popocatepetl, a pair of Mexican women in traditional dress, and a Mexican farmer harvesting maguey juice. Holdings of the complete 13 volume series are held by Harvard, University of Michigan and UC Berkeley, but individual volumes are more commonly found since the work was issued over a period of years. Very minor wear to wrappers, one binding thread broken, cover label with small chip to one corner, occasional worm tracing, very minor, and not affecting text. Beasley, W.G. Japan Encounters the Barbarian (1995), p. 121 and passim.

      [Bookseller: Ursus Rare Books]
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        Black Beauty: his grooms and companions. The autobiography of a horse

      London: Jarrold and Sons,, [1877]. Translated from the original equine. Octavo. Original green cloth, spine and front board lettered and decorated in black and gilt, rear board blocked in blind, brown endpapers (Carter's B binding), edges trimmed. Frontispiece, 8pp. undated publisher's adverts at end. Skilful restoration to cloth at foot of spine and to inner hinges, an excellent copy. First edition, presentation copy inscribed by the author's mother Mary on the front endpaper, "The Revd J Drake, from his sincere friend, Mary Sewell"; in one of two primary bindings (Carter B). This Victorian classic was the only book of its bedridden author, who died shortly after its publication, much too soon to appreciate its slowly accumulated worldwide success. Presentation or inscribed copies are understandably rare and the majority are not inscribed by the author herself, but by her mother. Anna's mother Mary was a Quaker (though she experienced a spiritual crisis in her late thirties that resulted in her leaving the Quakers and being baptized) and a children's writer in her own right. Anna and her mother were extremely close and mother helped daughter substantially during the composition of the novel. In 1938 Carter distinguished three states of the binding: A with the same blocking as this, but all in gilt; B, as here, with the horse's head, titling, and the rustic portions of the decoration in black (Carter mistakenly describes the titling as gilt, which invariably leads to the B binding being described as a variant), the other parts being gilt; and C, blocked in black and gilt, with a much smaller horse's head gilt in a medallion, facing left, the same design as used for the later editions. Carter A and B are primary, and the earliest dated inscribed copies are Christmas 1877. Publication date was 24 November 1877.

      [Bookseller: Peter Harrington]
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        Emma: a Novel

      London: George Routledge and Sons,, [1877]. Octavo (162 × 100 mm). Contemporary pale brown half sheepskin, gilt tooled on the raised bands, blind centre tooled spine, brown cloth sides, marbled edges. Ownership inscription on front free endpaper: "Miss Cassels, Wheatlandside, Lanark [Scotland], 1877"; a very nice copy. A decidedly scarce mid-Victorian edition: Copac appears to locate only two copies (Exeter, Cambridge); as the edition is undated it is difficult to trace accurately the number of copies in OCLC but it would appear to be no more than a handful. The only copy that Gilson had seen was in Boston Public Library, and he comments that the edition was "presumably" issued in Routledge's Ruby Series. Emma was first published in 1816.

      [Bookseller: Peter Harrington]
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        The Rise and Fall of the Mustache and Other "Hawk-Eyetems"

      A. Roman and Company, San Francisco 1877 - First edition, San Francisco issue. Illustrated by R.W. Wallis. 328pp. Decorated brown cloth stamped in black and gilt. Penciled ownership signature dated in 1877 (see below for possible significance), slight tears in the cloth at the spine ends, and a little light rubbing, else a nice, tight, near fine copy. Author's first book. *BAL* 1954 notes this San Francisco variant, but specifies the date of 1878 on the title page, *Wright III* 790 conforms to *BAL*. *OCLC* seems to locate no copies with this 1877 San Francisco imprint. [Attributes: First Edition; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Michael Strogoff, the Courier of the Czar.

      Scribner, Armstrong & Company, New York 1877 - xi, 377pp + 6pp of publisher's advertisement. Original brown decorated cloth stamped in black and gold on the front panel and the spine panel. With ninety full-page illustrations. Revised by Julius Chambers. Translated by W. H. G. Kingston. Lower front corner tip worn, mild wear to extremities. Name on the half-title page, short closed tear to one of the leaves. A bright, near fine copy. Taves and Michaluk V015.; Octavo [Attributes: First Edition; Hard Cover]

      [Bookseller: Parigi Books, ABAA/ILAB]
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        SHIPMASTER'S ARCHIVE, COMPRISING HIS SCHOONER LEDGER, BRIEF DIARY, AND SOME 100 OTHER PRINTED AND HANDWRITTEN ITEMS THAT BELONGED TO BURGESS

      1877. Original manuscripts. Leather-backed boards. Very Good. LEDGER, worn leather and marbled boards, 13" x 8", containing 153 pages of handwritten entries in ink on blue paper, dating from 1861 to 1867. Most of the book is made up of ledgers of expenses for three different schooners owned by Burgess: "Elizabeth B"; "Typhoon"; and "Aurelia P. Howe". DIARY, 3-1/2 closely written pages of the ledger in which Capt. Burgess describes not only a thrilling hurricane, but also the attempted seizure of his vessel in early 1861 by the Confederacy, and his subsequent escape. (Accompanied by a 9-page modern transcription of the diary portion, written in pencil by an earlier owner of this book.) ARCHIVE documenting the construction and early voyages of the Bark "John Sheppard"--Freeman Burgess, Owner and Master, 1874-1879. (Archive housed in a 3-ring binder of archival document sleeves.). The first page of the ledger contains a list of the "gross stock" costs for 15 voyages of the "Elizabeth B." to destinations in 1863--New York, Boston, Gloucester, New Bedford, Providence and Bangor. This vessel next appears on page 10 with a list of "charges" for "kerosine and fluid", lamp, "hired help", stamps on the bill of lading, etc. Pages 16-17 list provisions and their costs: cod fish, butter and lard, etc., and Freeman E. Burgess, as well as Lovell Burgess (one of them appearing as "Ensign Burgess") are listed as being charged $10 for passage to NY. Pages 18-19 list "Port Charges", 1865, and include a list of people's names and what they were paid, including both Burgesses. More "wages and provisions prices are on pp. 20-21, then 28-29, dated 1863, contain figures for various bills for caulking, painting, lumber and nails, customs house, sail work, etc., while p. 30 lists "Port Charges", a long list: wharfage, pilotage, stamps, kerosene, harbour master, etc. The Provisions and Wages Paid list on p. 32 includes "Ensign Burgess", who is again listed on p. 34 (1863) along with his "share of the voyage". Later pages contain more of the same, including charges for 1864-65 voyages, with the final appearance of this schooner on p. 164, which notes that Freeman E. Burgess, Capt. of the Schooner Elizabeth B., received $3.50 "in full for 8 days service on Bord...Providence to New York" since he is paid $13/month. ~~ The second vessel named is the "Typhoon", carrying freight to Brashear (City), Louisiana (renamed Morgan City in 1876), and the entries include expenses at Brashear (wages paid to seamen, as well as several names including Burgess's). The next voyage mentioned is to Havana (pp 4-5), and expenses include an interpreter, translation of the manifest, "American Consul bill", ship chandler's bill, etc. She next (p. 6) goes to Frontera (Mexico), where expenses include "certificate of death and desertion of Cook and One". On p. 60, the "Manifest of Cargo On Board" lists Freeman E. Burgess as Master, and she is bound from Brashear City to Boston. ~~ It is as Captain of the Typhoon that Captain Burgess has his adventure with the Confederates in 1861, an episode he describes in detail in his 3 ½-page journal, written in the middle of the volume. The voyage starts on February 9, 1861, when the Typhoon sails out of Boston, headed for Brashear City, Louisiana. There is immediately a dramatic storm: "Gave all the chain we had and stood by the anchors all night until myself and mate were froze so bad it was impossible to stand it any longer...our water caske froze and burst and we were so covered with ice we could do nothing...." After they "laid three days" they set sail again and arrive in Brashear twenty days later. He walks around town as unloading begins, then returns and hears a steamer whistle. "I was most surprised when I saw the people that was on her on the top of her Paddle Boxes...25 men, some with a bottle and some with...whiskey giving 3 cheers for the Southern Confederacy. They came alongside and came on board, told me they should take charge of the schooner and cargo and had no authority but what they took upon themselves." The revelers finally leave "drunker than ever." ~~ Burgess goes to town next day and sees the cutters crew hauling the Schooner Mary on to the wharf: "I began to think they were in earnest and after reaching town I learned that orders had just come from Montgomery to stop all vessels loaded with Live Oak and Naval Stores." He is told that they will "put an officer aboard" his vessel if he doesn't give his word not to sail off. He replies that he has enough officers on board already and is told that they've written Montgomery about his giving the Live Oak, etc. Burgess waits 14 days, then receives orders that he could "discharge my Live Oak". After two days of unloading, contradictory orders come, saying he is not to unload and that schooner and cargo will be taken to New Orleans. He has no money or provisions, so "discharged all my crew except my mate and got just money enuf to get them out of the place...." He takes the "chronometer and all the valuable things out of the vessel" and next sees "Capt. Hampson and crew getting into the Cars to go home, likewise my own [crew]..." He registers a protest and notes that "myself and mate were the only Northerners" there. He goes to see "Mr. McMullin, chief collector" and tells him he'd like to see any official "authority for stopping the vessel." He is told that orders came the day before "that all American vessels would have 30 days to get [to] their respective homes..." The Collector sent a letter saying to "retain the Live Oak but give the vessel a clearance within 30 days" and adds that Burgess should let him know if anyone "bothered or molested" him. &c., &c. ~~ The third schooner in the ledger is the Aurelia P. Howe, and thirty pages are devoted to wages and provision, bills paid, settlement of voyages, gross stock lists, port charges, etc. Virtually all are from 1867. In addition to Burgess, another captain mentioned in connection with the vessel is Lewis B. Doane, whose name appears when Capt. Burgess pays him $100 in January, 1868; in a settlement of Jan-Sept. 1867; in accounts dated July-Sept, 1866; as receiving cash for 1/128 of Schooner A.P. Howe; as receiving credit on his wages, etc. Burgess's name is included in a list of owners (pp 152-3) and is mentioned also in lists of the schooner's earnings for various periods. The Aurelia P. Howe's destinations include Savannah (1866 or '67), Tampico, Chiltepec, Boston to Harwich, Philadelphia to Boston, Mobile, Galveston, Charleston, NY, etc. ~~ A fourth schooner, the Edward Kidder, is mentioned on pp 98-99, 101 and 103, with the usual listings for expenses (Newport to Savannah), port charges, wages, etc. No mention of Burgess. ~~ The archive accompanying this ledger is a collection of about 100 items, including the contract for building the bark "John Sheppard" between Freeman Burgess of Harwich, and George Currier, master ship builder of Newburyport, and all manner of carpenters, purveyors, chandlers, surveyors, customs people, merchants, consignors and port officials. Her maiden voyage saw her sail to South America (several receipts from the Panama Railroad Company) to Mexico, to Queenstown, Ireland, to Liverpool, and back to Boston. This is a rich assortment of 19th century billheads, invoices accounts, and other printed material creating the biography of an American merchant sailing ship, and now housed in archival sleeves and a binder.

      [Bookseller: R & A Petrilla]
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        Satsu-shu Kagoshima Senki (Record of the Battle of Kagoshima in Satsu-shu)

      Funatsu Chujiro, 1877, Book Condition: Near Fine, First Edition, Signed by Illustrator, Illustrated By: YoshitoshiSize: Folio - over 12" - 15" tall, Artist: Taiso (great resurrection) Yoshitoshi. Title: Satsu-shu [Sasshu] Kagoshima Senki (Record of the Battle of Kagoshima in Satsu-shu) From the Satsuma Rebellion. Publ.: Funatsu Chujiro. Date: Meiji 10 (1877). The print is contemporaneous with the battle memorialized. Size: (HxW) 13.75" x 9.5" (each of 3 pieces) of triptych. Oban tate-e. Signature: oju Taiso Yoshitoshi. Condition: Near Fine impression and state. No creasing observed. Immensely clean, front and back. Sharp, unbroken key block lines and with well-registered colors. Vibrant aniline dye colors, slight color transfer. Very good color choices, with black, olive, purple, red and mustard yellow dominating. Deft bokashi evident in the purple and elsewhere. Note that upright sword of central character on middle triptych almost certainly used gin (tin) or akegane (copper) to imitate silver, probably using starch-printing (nori-zuri) technique, and the metal-color has moderately transferred or off-set to part of the center of the left-hand triptych, but is scarcely noticeable except across a white sleeve. Fully trimmed; no outer margins. Comments: Right-side triptych includes addresses of artist and publisher, as required by law. Original price printed as 7 sen. The portrait of Saigo (general) Takamori [?] drawn byTsukioka Yonejiro. The Battle of Kagoshima in Satsu-shu is more commonly know as the Battle of Tabaruzaka. On March 4, 1877, Imperial Army General Yamagata ordered a frontal assault from Tabaruzaka, guarding the approaches to Kumamoto, which developed into an eight-day long battle. This ukiyo-e print states: "Very brave disenfranchised samurai got together and decided upon a military order for sending their soldiers to fight around a very important road going into Kumamoto." The samurai, in addition to swords, were armed with Enfield and Model 1857 Six Line (Russian) muzzle loading rifles and could fire approximately one round per minute.

      [Bookseller: The Book Carrel]
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        Reise in Nordost-Afrika. Schilderungen aus dem Gebiete des Beni Amer und Habab nebst zoologischen Skizzen und einem Fhrer fr Jagdreisende. 2 B„nde in 1.

      Braunschweig Westermann ; 1877 - EA; ca 24x17 cm; (16) 285 (1), (8) 304 Seiten mit 10 Holzstichtafeln, 3 kolorierte lith. Tafeln und 1 mehrfach gef. Karte; Originalhalbleinwandeinband mit Rckentitel (Rcken etwas sp„ter erneuert mit aufgezogenem Originalrcken, Einband leicht berieben, Vorsatz mit einigen Zahlen beschrieben, Stempel auf Titelrckseite, der erste Band teils gering stockfleckig; insgesamt gutes Exemplar) Heuglins letzte Expeditionsreise, selten! "Man verdankt [dem Buch] genauere Angaben ber den oberen Atbara und seine Zuflsse sowie Nachrichten ber die Schimfa und den Dinder" (Henze). 0,000 gr. [Attributes: First Edition]

      [Bookseller: Antiquariat Hilbert Kadgien]
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        Thousand Miles Up The Nile [FIRST EDITION DATED 1877]

      Longmans, Green, & Co, London, 1877. First Edition. Hardcover. Good Condition/No Dust Jacket. Amelia Edwards 1831 - 15 April 1892, English novelist, journalist, traveller and Egyptologist. In 1877, Edwards proceeded to write a vivid description of her Nile voyage, under the title of A Thousand Miles up the Nile. Enhanced with her own hand-drawn illustrations, the travelogue became an immediate best-seller. Chapter Headings: I. Cairo and the Great Pyramid II. Cairo and the Mecca Pilgrimage III. Cairo to Bedreshayn IV. Sakkarah and Memphis V. Bedreshayn to Minieh VI. Minieh to Siout VII. Siout to Denderah VIII. Thebes and Karnak IX. Thebes to Assouan X. Assouan and Elephantine XI. The Cataract and the Desert XII. Philae XIII. Philae to Korosko XIV. Korosko to Aboo Simbel XV. Rameses the Great XVI. Aboo Simbel XVII. The Second Cataract XVIII. Discoveries at Aboo Simbel XIX. Back Through Nubia XX. Silsilis and Edfoo XXI. Thebes XXII. Abydus and Cairo. Appendix. Book - in Good original black and gilt decorated cloth covered boards with gilt and red lettering & all edges gilt - some darkening to the boards with some slight bumping and wearing to the extreme corners and rubbing and wearing to the extreme edges, gilt lettered, cloth covered spine is not original. Contents, new but sympathetic coloured endpapers, some browning to the introductory and title pages, also SEE SCANS inexplicably to pages 506/7 and to the plate in between, otherwise only the expected very occasional slight spotting/browning mar what is a clean, bright and tightly bound first edition copy of this remarkable record of a Victorian Lady's journey up the River Nile. Size: 10.5 inches tall by 7.5 inches. xxv, 721 pages. Iillustrated frontispiece & 16 full page wood engraved plates, 62 vignettes & 2 colored folding maps.Wood engravings by G. Pearson after drawings by the author.. Quantity Available: 1. Shipped Weight: 2-3 kilos. Category: Travel & Places; Biography & Autobiography. Pictures of this item not already displayed here available upon request. Inventory No: 8799.. THIS BOOK IS HEAVIER THAN THE AVERAGE UPON WHICH CHARGES ARE BASED AND SO WILL INCUR AN ADDITIONAL CHARGE FOR SHIPPING TO ADDRESSES OUTSIDE THE U.K..

      [Bookseller: John T. & Pearl Lewis]
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        Spinal Disease and Spinal Curvature, their treatment by suspension and the use of the plaster of Paris bandage

      Smith, Elder & Co, 1877. Hardcover. Fair/No Dustjacket. 1877. 121 pages. No dust jacket. Burgundy cloth boards. The front hinge is cracked with the binding netting exposed, pages are lightly tanned with foxing throughout. Some of the plates have come detached but are present, with the text block loosely bound towards the back of the text block, but all pages attached. Few fingerprint marks to back of plates and page edges with light creasing or chipping to the edges of some of the plates, but most are intact. Moderately stained and blemished boards with rubbing, scuffing and surface wear. Moderate edge rubbing, scuffing and wear with light corner bumping.

      [Bookseller: The World of Rare Books]
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        Broadside: Western Wilds and the men who redeem them. An Authentic Narrative

      Jones Brothers, Philadelphia 1877 - With text in center and 14 wood engravings surrounding it. 29 3/4 x 21 3/4 inches. An advertisement for Beadle's upcoming book. With text in center and 14 wood engravings surrounding it. 29 3/4 x 21 3/4 inches

      [Bookseller: James Cummins Bookseller, ABAA]
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        Eigenh. Brief mit U.

      An Bord der "Nixe", Palma de Mallorca, 30. III. 1877. - 2 ½ SS. 8vo. auf Doppelblatt. An den Diplomaten und Forschungsreisenden Karl von Scherzer (1821-1903): "Herzlichen Dank für Ihre Sendung Ihres Werkes über Nordamerika welche ich vor ein paar Tagen erhielt. Ich werde die Bändchen mit doppeltem Interesse lesen einerseits als das Resultat eines scharfsinnigen Beobachtens über eine theilweise mir bekannte Gegend, andererseits als ein Werk des theueren unvergesslichen Bekannten [ ]". - Der umtriebige Sohn des vertriebenen Großherzogs Leopold II. von Toskana war u. a. Reiseschriftsteller, Ehrenmitglied der Österreichischen Akademie der Wissenschaften und Vater einiger illegitimer Kinder. In der Familie Habsburg-Lothringen als der "gelehrte Erzherzog" geltend, "unternahm [er] mit seiner Jacht Expeditionen im Mittelmeer und schrieb darüber viele Bücher. Bei Besuchen am Hof in Wien fiel er durch nachlässige Kleidung und unhöfisches Benehmen auf" (Öst. Lex. I, 729).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        [Broadside circular:] Testimonial to Thomas Nast [with:] Four related handwritten letters regarding Thomas Nast

      [Ft. Sander, Wyoming Territory: s.n.], 1877. Broadside circular, 8-1/4 x 5-1/4 in, with 4 8vo letters, 4 pp. total. Formerly folded, short edge-tear, mild wear, very good. A broadside circular from the "Cavalry" of Ft. Sanders, Wyoming Territory, addressed to William Conant Church, editor of the Army and Navy Journal, regarding the raising of funds by subscription to present a testimonial to Thomas Nast. Reading, in part, "The Army feel that Mr. Thomas Nast, of Harper's Weekly, has, by his vivid caricatures, in said paper, exhibited to the country how the Army has been and is being treated, and by such action on his part he is entitled to the gratitude of both officers and soldiers ?" A subscription, at 25 cents a share for enlisted Army and Navy men, is to be created; the money collected for "a suitable testimonial" to Nast.William Conant Church's personal copy. Annotated in pen at the conclusion, "One sent to every Post in the Army. Guy V. Henry." According to Albert Bigelow Paine, Henry was one of the "? 'bravest of the brave,' [Henry] then at Fort Sanders trying to get well of injuries received in the campaign agaist Crazy Horse, under General Crook" (p. 372).Included are four autograph letters from 1878 that pertain to the "suitable testimonial" of the broadside - a vase to be created by Tiffany in Nast's honor. One letter is from Tiffany Company to Church discussing the vase. The other three letters are from Nast (but not signed, and not in his hand) to Church describing the former's drawings and ideas for the vase. Not in OCLC. Paine, Thomas Nast: His Period and his Pictures (1904), pp. 372-4 (illustrated)

      [Bookseller: James Cummins Bookseller ]
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        Faust 1. Theil,

      München, Bruckmann, (1877). - 143 Seiten mit 14 Tafeln und zahlreichen Textholzstichen von A. v. Kreling Einband gering berieben, auf hinterem Deckel mit minimalen Flecken, sehr schön erhaltener, seltener Prachtband Sprache: de Gewicht in Gramm: 8000 Groß-Folio, Ledereinband mit Metallbeschlägen und -portraits, Goldprägung auf Deckel und Rücken, dreiseitiger Goldschnitt [Attributes: First Edition]

      [Bookseller: Antiquariat Gisa Hinrichsen]
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        Album of Ten Original Watercolour Views of Saigon and Environs].

      1877 - 1877-1878. Watercolour and ink on paper; six larger sketches, ca. 13x21 cm (5x8 in), and four smaller ones, ca. 10,5x14 cm (4 x 5 ½ in). All captioned and dated in ink in the lower margins of the images, with additional pencil captions or notes on the mounts. Period style maroon gilt tooled half morocco with cloth sides. Watercolours mounted laid paper leaves. Album overall in very good condition. Beautiful sketches taken from life by a skilful amateur artist, a French colonial engineer, while serving in Indochina. The collection includes several interesting views of Saigon showing the La Sainte Enfance School, St. Joseph Seminary ('Seminaire annamite'), the house of the director of the French arsenal, a horse-driven carriage or 'Malabar' et al. The watercolours include some nice portraits of the locals, including a sketch of a Chinese merchant followed by a servant carrying his goods, portraits of Vietnamese women with children, people driving oxen carts, villagers et al. There is also a great view of Dong Nai River near Bien Hoa city (32 km east from Saigon) - a peaceful picture of a river with two people paddling in a boat and several village houses amidst lush tropical greenery on shore. The earliest watercolour in the collection, dated 1877, is a view of Bangkok. One sketch shows local plants - mango tree, bamboo and an Erythrina tree covered with bright red flowers. Chrétien Édouard Caspari was a French hydrographer and astronomer. He graduated from École polytechnique in 1860, and in 1862-1902 he worked as a hydrographer and engineer in France, the Caribbean and French Indochina (the Gulf of Siam, Annam and Tonkin). Caspari was the author of an astronomy textbook for the Service Hydrographique de la Marine, and of numerous scientific papers, some relating to Indochina. He was awarded with the Prix Montijon of the French Academy of Sciences (1878), and in 1905 he became President of the Astronomical Society of France. [Attributes: Hard Cover]

      [Bookseller: The Wayfarer's Bookshop, ABAC/ILAB/PBFA]
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        GROUP OF NINETEEN STEREOCARDS SHOWING SCENES IN DENVER, GLENWOOD SPRINGS, CANYON CITY, PUEBLO, ASPEN, AND OTHER COLORADO SIGHTS].

      Littleton, N.H.: B.W. Kilburn, /90. 1877 - Seventeen cards measure 3 1/2 x 7 inches; the final two cards listed measure 4 1/4 x 7 inches. Penultimate card on the list cropped at top upper edge (dimensions listed below), else the group is unblemished. Some of the images are slightly faded. Very good. A fine group of rare stereocards showing scenes in Colorado towns and forests, including several photographs of Denver and Glenwood Springs, early pictures of Pueblo and Aspen, and several views of the Rocky Mountains. They offer interesting views of street scenes and cityscapes of growing Colorado towns, as well as scenic views of the Rocky Mountains. Two are especially noteworthy for showing the interiors of churches, one a Methodist Episcopal church featuring a huge pipe organ, the other the more modest interior of a Catholic church. The cards were produced by the B.W. Kilburn company of Littleton, New Hampshire, a prominent stereocard producer in the later 19th century. Edward and Benjamin West Kilburn began operation in the 1860s as suppliers of views of New Hampshire scenes, especially the White Mountains. Their business expanded, and in the late 1870s they began offering views of natural wonders in the West, including the Colorado Rockies and Yellowstone. Such 19th-century stereocards of scenes in Colorado towns and the Rocky Mountains are quite rare. The web site of the photographic collection at the Denver Public Library lists thirty-six stereocards of Colorado by the Kilburn Company, five of which match the images in the present group. OCLC records only one listing for Colorado stereo views by the Kilburn Company, a group of five views dated 1890, located at the Bancroft Library at the University of California. A comparison with those views, however, shows that they are different than any of the cards in the present group. The final two cards in the group bear copyright dates of 1877 and are early photographs of Pike's Peak and the "Garden of the Gods." Nine of the cards are dated 1890, and the other nine cards, similar in format and numbering pattern, were also likely produced around 1890. Each card is numbered beside the caption, and that number is recorded in parentheses in each listing below. Two of the cards are duplicates (items 1 and 2 below). 1) "Court House, Denver, Col. U.S.A." (5645) A nice view of the massive courthouse in downtown Denver. A man stands in profile in front of the building, and a telegraph pole is also visible. 2) "Court House, Denver, Col. U.S.A." (5645) A duplicate of the previous card. 3) "Interior of the Trinity M.E. Church, Showing the Great Organ, Denver Col." (5650) The church's huge pipe organ is clearly depicted. 4) "Interior of Catholic Chapel, Denver, Col. U.S.A." (5651) 5) "Bird's-eye view of Denver, Col., U.S.A." (5654) A nice view of downtown Denver, showing many multi-story buildings and a few steeples. 6) "Bird's- eye view of Denver, Col., U.S.A." (5655) Another view of downtown Denver, from a different perspective, showing a sizeable church with a steeple and large rose window, as well as many large homes and other buildings. 7) "Denver, from the Tower of the North Denver High School. Col. U.S.A." (5662) Taken from the outskirts of the city, looking toward downtown. 8) "The Boys Day, Glenwood Springs, Col. U.S.A." (5623) Shows a group of boys playing in a large pool, with a huge fountain in the center of it. 9) "D. & R. G. R. R., Tunnel, Glenwood Springs, Col. U.S.A." (5626) A view of a Denver & Rio Grande Railroad tunnel cut into the side of a large mountain. 10) "Our little picnic at Glenwood Springs, Col. U.S.A." (5628) Shows a man and a woman, their son, daughter, and family dog, with mountains in the distance. The young daughter sits on a horse. 11) "Canyon City, from the Cliffs, Col. U.S.A." (5603) Depicts a group of day- trippers on the side of a hill with Canyon City down below. 12) "The Pride of Pueblo from the Bridge, Col. U.S.A." (5599) Shows a bustling main street in downtown Pueblo, with many buildings, peop

      [Bookseller: William Reese Company - Americana]
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        [GROUP OF NINETEEN STEREOCARDS SHOWING SCENES IN DENVER, GLENWOOD SPRINGS, CANYON CITY, PUEBLO, ASPEN, AND OTHER COLORADO SIGHTS]

      Littleton, N.H.: B.W. Kilburn, 1877/90.. Seventeen cards measure 3 1/2 x 7 inches; the final two cards listed measure 4 1/4 x 7 inches. Penultimate card on the list cropped at top upper edge (dimensions listed below), else the group is unblemished. Some of the images are slightly faded. Very good. A fine group of rare stereocards showing scenes in Colorado towns and forests, including several photographs of Denver and Glenwood Springs, early pictures of Pueblo and Aspen, and several views of the Rocky Mountains. They offer interesting views of street scenes and cityscapes of growing Colorado towns, as well as scenic views of the Rocky Mountains. Two are especially noteworthy for showing the interiors of churches, one a Methodist Episcopal church featuring a huge pipe organ, the other the more modest interior of a Catholic church. The cards were produced by the B.W. Kilburn company of Littleton, New Hampshire, a prominent stereocard producer in the later 19th century. Edward and Benjamin West Kilburn began operation in the 1860s as suppliers of views of New Hampshire scenes, especially the White Mountains. Their business expanded, and in the late 1870s they began offering views of natural wonders in the West, including the Colorado Rockies and Yellowstone. Such 19th-century stereocards of scenes in Colorado towns and the Rocky Mountains are quite rare. The web site of the photographic collection at the Denver Public Library lists thirty-six stereocards of Colorado by the Kilburn Company, five of which match the images in the present group. OCLC records only one listing for Colorado stereo views by the Kilburn Company, a group of five views dated 1890, located at the Bancroft Library at the University of California. A comparison with those views, however, shows that they are different than any of the cards in the present group. The final two cards in the group bear copyright dates of 1877 and are early photographs of Pike's Peak and the "Garden of the Gods." Nine of the cards are dated 1890, and the other nine cards, similar in format and numbering pattern, were also likely produced around 1890. Each card is numbered beside the caption, and that number is recorded in parentheses in each listing below. Two of the cards are duplicates (items 1 and 2 below). 1) "Court House, Denver, Col. U.S.A." (5645) A nice view of the massive courthouse in downtown Denver. A man stands in profile in front of the building, and a telegraph pole is also visible. 2) "Court House, Denver, Col. U.S.A." (5645) A duplicate of the previous card. 3) "Interior of the Trinity M.E. Church, Showing the Great Organ, Denver Col." (5650) The church's huge pipe organ is clearly depicted. 4) "Interior of Catholic Chapel, Denver, Col. U.S.A." (5651) 5) "Bird's-eye view of Denver, Col., U.S.A." (5654) A nice view of downtown Denver, showing many multi-story buildings and a few steeples. 6) "Bird's- eye view of Denver, Col., U.S.A." (5655) Another view of downtown Denver, from a different perspective, showing a sizeable church with a steeple and large rose window, as well as many large homes and other buildings. 7) "Denver, from the Tower of the North Denver High School. Col. U.S.A." (5662) Taken from the outskirts of the city, looking toward downtown. 8) "The Boys Day, Glenwood Springs, Col. U.S.A." (5623) Shows a group of boys playing in a large pool, with a huge fountain in the center of it. 9) "D. & R. G. R. R., Tunnel, Glenwood Springs, Col. U.S.A." (5626) A view of a Denver & Rio Grande Railroad tunnel cut into the side of a large mountain. 10) "Our little picnic at Glenwood Springs, Col. U.S.A." (5628) Shows a man and a woman, their son, daughter, and family dog, with mountains in the distance. The young daughter sits on a horse. 11) "Canyon City, from the Cliffs, Col. U.S.A." (5603) Depicts a group of day- trippers on the side of a hill with Canyon City down below. 12) "The Pride of Pueblo from the Bridge, Col. U.S.A." (5599) Shows a bustling main street in downtown Pueblo, with many buildings, people, carriages, and telegraph lines. 13) "Don't be frightened, old Jenny is true Aspen, Col., U.S.A." (5577) Shows two young children sitting on a donkey perched on a perilous hillside. The future resort town of Aspen, quite large even in 1890, is clearly visible in the background. 14) "The Sentinel, Garden of the Gods, Manitou, Col., U.S.A." (5560) An interesting rock formation which appears to be precariously balanced. 15) "Father Abraham and Uncompahgre Canyon, Col., U.S.A." (5517) A mountain scene. 16) "Our Trip to the Mines, Ouray, Col." (5496) Shows two men on horseback. 17) "The storm, Canyon of the Rio De Las Animas, D. & R. G. R. R., U.S.A." (5611) 18) "Manitou and Pike's Peak, Colorado." (9) This card was originally 4 1/4 x 7 inches, but has had its upper edge trimmed off, and the dimensions are now 3 1/4 x 7 inches. Shows the small town of Manitou, nestled in the foothills of Pike's Peak. 19) "The Gateway, Garden of the Gods, Colorado." (6) A nice image showing three men in a carriage drawn by two horses passing through this distinctive rock formation. OCLC 34275783 (ref).

      [Bookseller: William Reese Company - Americana]
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        Thousand Miles Up The Nile [FIRST EDITION DATED 1877]

      Longmans, Green, & Co, 1877, Hardcover, Book Condition: Good Condition, Dust Jacket Condition: No Dust Jacket, First EditionAmelia Edwards 1831 - 15 April 1892, English novelist, journalist, traveller and Egyptologist. In 1877, Edwards proceeded to write a vivid description of her Nile voyage, under the title of A Thousand Miles up the Nile. Enhanced with her own hand-drawn illustrations, the travelogue became an immediate best-seller. Chapter Headings: I. Cairo and the Great Pyramid II. Cairo and the Mecca Pilgrimage III. Cairo to Bedreshayn IV. Sakkarah and Memphis V. Bedreshayn to Minieh VI. Minieh to Siout VII. Siout to Denderah VIII. Thebes and Karnak IX. Thebes to Assouan X. Assouan and Elephantine XI. The Cataract and the Desert XII. Philae XIII. Philae to Korosko XIV. Korosko to Aboo Simbel XV. Rameses the Great XVI. Aboo Simbel XVII. The Second Cataract XVIII. Discoveries at Aboo Simbel XIX. Back Through Nubia XX. Silsilis and Edfoo XXI. Thebes XXII. Abydus and Cairo. Appendix. Book - in Good original black and gilt decorated cloth covered boards with gilt and red lettering & all edges gilt - some darkening to the boards with some slight bumping and wearing to the extreme corners and rubbing and wearing to the extreme edges, gilt lettered, cloth covered spine is not original. Contents, new but sympathetic coloured endpapers, some browning to the introductory and title pages, also SEE SCANS inexplicably to pages 506/7 and to the plate in between, otherwise only the expected very occasional slight spotting/browning mar what is a clean, bright and tightly bound first edition copy of this remarkable record of a Victorian Lady's journey up the River Nile. Size: 10.5 inches tall by 7.5 inches. xxv, 721 pages. Iillustrated frontispiece & 16 full page wood engraved plates, 62 vignettes & 2 colored folding maps.Wood engravings by G. Pearson after drawings by the author.. Quantity Available: 1. Shipped Weight: 2-3 kilos. Category: Travel & Places; Biography & Autobiography. Pictures of this item not already displayed here available upon request. Inventory No: 8799.

      [Bookseller: John T. & Pearl Lewis Books by Post]
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        SHIPMASTER'S ARCHIVE, COMPRISING HIS SCHOONER LEDGER, BRIEF DIARY, AND SOME 100 OTHER PRINTED AND HANDWRITTEN ITEMS THAT BELONGED TO BURGESS

      1877. Original manuscripts. Leather-backed boards. Very Good. LEDGER, worn leather and marbled boards, 13" x 8", containing 153 pages of handwritten entries in ink on blue paper, dating from 1861 to 1867. Most of the book is made up of ledgers of expenses for three different schooners owned by Burgess: "Elizabeth B"; "Typhoon"; and "Aurelia P. Howe". DIARY, 3-1/2 closely written pages of the ledger in which Capt. Burgess describes not only a thrilling hurricane, but also the attempted seizure of his vessel in early 1861 by the Confederacy, and his subsequent escape. (Accompanied by a 9-page modern transcription of the diary portion, written in pencil by an earlier owner of this book.) ARCHIVE documenting the construction and early voyages of the Bark "John Sheppard"--Freeman Burgess, Owner and Master, 1874-1879. (Archive housed in a 3-ring binder of archival document sleeves.). The first page of the ledger contains a list of the "gross stock" costs for 15 voyages of the "Elizabeth B." to destinations in 1863--New York, Boston, Gloucester, New Bedford, Providence and Bangor. This vessel next appears on page 10 with a list of "charges" for "kerosine and fluid", lamp, "hired help", stamps on the bill of lading, etc. Pages 16-17 list provisions and their costs: cod fish, butter and lard, etc., and Freeman E. Burgess, as well as Lovell Burgess (one of them appearing as "Ensign Burgess") are listed as being charged $10 for passage to NY. Pages 18-19 list "Port Charges", 1865, and include a list of people's names and what they were paid, including both Burgesses. More "wages and provisions prices are on pp. 20-21, then 28-29, dated 1863, contain figures for various bills for caulking, painting, lumber and nails, customs house, sail work, etc., while p. 30 lists "Port Charges", a long list: wharfage, pilotage, stamps, kerosene, harbour master, etc. The Provisions and Wages Paid list on p. 32 includes "Ensign Burgess", who is again listed on p. 34 (1863) along with his "share of the voyage". Later pages contain more of the same, including charges for 1864-65 voyages, with the final appearance of this schooner on p. 164, which notes that Freeman E. Burgess, Capt. of the Schooner Elizabeth B., received $3.50 "in full for 8 days service on Bord…Providence to New York" since he is paid $13/month. ~~ The second vessel named is the "Typhoon", carrying freight to Brashear (City), Louisiana (renamed Morgan City in 1876), and the entries include expenses at Brashear (wages paid to seamen, as well as several names including Burgess's). The next voyage mentioned is to Havana (pp 4-5), and expenses include an interpreter, translation of the manifest, "American Consul bill", ship chandler's bill, etc. She next (p. 6) goes to Frontera (Mexico), where expenses include "certificate of death and desertion of Cook and One". On p. 60, the "Manifest of Cargo On Board" lists Freeman E. Burgess as Master, and she is bound from Brashear City to Boston. ~~ It is as Captain of the Typhoon that Captain Burgess has his adventure with the Confederates in 1861, an episode he describes in detail in his 3 ½-page journal, written in the middle of the volume. The voyage starts on February 9, 1861, when the Typhoon sails out of Boston, headed for Brashear City, Louisiana. There is immediately a dramatic storm: "Gave all the chain we had and stood by the anchors all night until myself and mate were froze so bad it was impossible to stand it any longer…our water caske froze and burst and we were so covered with ice we could do nothing…." After they "laid three days" they set sail again and arrive in Brashear twenty days later. He walks around town as unloading begins, then returns and hears a steamer whistle. "I was most surprised when I saw the people that was on her on the top of her Paddle Boxes…25 men, some with a bottle and some with…whiskey giving 3 cheers for the Southern Confederacy. They came alongside and came on board, told me they should take charge of the schooner and cargo and had no authority but what they took upon themselves." The revelers finally leave "drunker than ever." ~~ Burgess goes to town next day and sees the cutters crew hauling the Schooner Mary on to the wharf: "I began to think they were in earnest and after reaching town I learned that orders had just come from Montgomery to stop all vessels loaded with Live Oak and Naval Stores." He is told that they will "put an officer aboard" his vessel if he doesn't give his word not to sail off. He replies that he has enough officers on board already and is told that they've written Montgomery about his giving the Live Oak, etc. Burgess waits 14 days, then receives orders that he could "discharge my Live Oak". After two days of unloading, contradictory orders come, saying he is not to unload and that schooner and cargo will be taken to New Orleans. He has no money or provisions, so "discharged all my crew except my mate and got just money enuf to get them out of the place…." He takes the "chronometer and all the valuable things out of the vessel" and next sees "Capt. Hampson and crew getting into the Cars to go home, likewise my own [crew]…" He registers a protest and notes that "myself and mate were the only Northerners" there. He goes to see "Mr. McMullin, chief collector" and tells him he'd like to see any official "authority for stopping the vessel." He is told that orders came the day before "that all American vessels would have 30 days to get [to] their respective homes…" The Collector sent a letter saying to "retain the Live Oak but give the vessel a clearance within 30 days" and adds that Burgess should let him know if anyone "bothered or molested" him. &c., &c. ~~ The third schooner in the ledger is the Aurelia P. Howe, and thirty pages are devoted to wages and provision, bills paid, settlement of voyages, gross stock lists, port charges, etc. Virtually all are from 1867. In addition to Burgess, another captain mentioned in connection with the vessel is Lewis B. Doane, whose name appears when Capt. Burgess pays him $100 in January, 1868; in a settlement of Jan-Sept. 1867; in accounts dated July-Sept, 1866; as receiving cash for 1/128 of Schooner A.P. Howe; as receiving credit on his wages, etc. Burgess's name is included in a list of owners (pp 152-3) and is mentioned also in lists of the schooner's earnings for various periods. The Aurelia P. Howe's destinations include Savannah (1866 or '67), Tampico, Chiltepec, Boston to Harwich, Philadelphia to Boston, Mobile, Galveston, Charleston, NY, etc. ~~ A fourth schooner, the Edward Kidder, is mentioned on pp 98-99, 101 and 103, with the usual listings for expenses (Newport to Savannah), port charges, wages, etc. No mention of Burgess. ~~ The archive accompanying this ledger is a collection of about 100 items, including the contract for building the bark "John Sheppard" between Freeman Burgess of Harwich, and George Currier, master ship builder of Newburyport, and all manner of carpenters, purveyors, chandlers, surveyors, customs people, merchants, consignors and port officials. Her maiden voyage saw her sail to South America (several receipts from the Panama Railroad Company) to Mexico, to Queenstown, Ireland, to Liverpool, and back to Boston. This is a rich assortment of 19th century billheads, invoices accounts, and other printed material creating the biography of an American merchant sailing ship, and now housed in archival sleeves and a binder.

      [Bookseller: R & A Petrilla]
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        A Year's Housekeeping in South Africa

      Macmillan, 1877, Hardcover, Book Condition: Good, Dust Jacket Condition: No Jacket, 1st Editionthe original boards are very worn and marked. the book is complete with all illustrations., sporadic light foxing. light creasing internally and age related wear. the binding is strong. Quantity Available: 1. Inventory No: qd90.

      [Bookseller: Chapter 1 Books]
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        Panorama of San Francisco from California St. Hill

      San Francisco: Morse’s Gallery 1877 - This iconic, 7-foot long image of San Francisco is one of the landmarks of 19th-century American photography. “The photographs show the extraordinary extent of a city that had come into existence a mere thirty years before and which would be destroyed by earthquake and subsequent fires thirty years later” (Getty Museum Journal). Seamlessly combining a series of eleven photographs, Muybridge created a 360 degree view of the city, producing what Rebecca Solnit calls “an impossible sight, a vision of the city in all directions, a transformation of a circular space into a linear photograph.” Eadweard Muybridge was one of the greatest photographic innovators of the 19th century. He is famous for his views of San Francisco and the American West and for his images of people, horses, and other animals in motion. Muybridge emigrated from England to San Francisco in the 1850s, and he soon became one of the foremost practitioners of the new art of large-format photography. One of his greatest early achievements was this magnificent panoramic view of San Francisco in the late 1870s made from the top of California Street Hill. Muybridge took these photographs from the tower of the unfinished California Street Hill (now known as Nob Hill) residence of railroad magnate Mark Hopkins. The shadows indicate that the photographs were made in June or July 1877 over the course of about five hours. Despite the view’s vast scope, it presents minute details of city life such as hanging laundry, ships in the harbor, and shop signs. Alcatraz and Telegraph Hill are clearly visible, and the countless houses, hotels, and businesses include many buildings destroyed in the fire of 1906. This panoramic view is among the greatest of all San Francisco photographs and a high point in the photographic representation of the American West. 11 albumen prints (overall 7 ¼ x 84 inches), mounted on 11 panels, linen-backed and folding, original cloth boards gilt, rebacked. The center panel bears a printed title, photographer’s credit, and publisher information. Some staining. Fine custom half morocco case. The images in very good condition. [Attributes: Hard Cover]

      [Bookseller: 19th Century Rare Book & Photograph Shop]
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        THE TABLES TURNED. YOU SABE HIM? KEALNEY MUST GO!

      [San Francisco]: Published by I.N. Choynski, Antiquarian, [1877 or 1878].. Tinted lithograph, 10 3/4 x 14 inches. Slight wear at edges, a bit of light soiling. Very good. A rare print satirizing one of the leaders of the anti-Chinese movement in San Francisco. The image depicts Denis Kearney, president of the Workingmen's Party of California and a leader in the drive to ban Chinese immigrants, who were resented for taking jobs at lower pay than whites. Kearney is shown in jail behind bars, with a ball and chain attached to his leg, wearing a striped uniform, and below a sign that reads: "House of Correction 181." He is taunted by six Chinese men who hold socks and a washboard, fish and crabs, and cigars, signifying some of the jobs being taken by Chinese laborers. The skewered fish carries the words "Black Friday." Kearney often capped his incendiary addresses with the slogan "The Chinese must go," and this print satirizes that phrase in its title. Kearney was arrested in late 1877 or early 1878 for violating a gag law, and this undated lithograph was almost certainly produced at that time. It was published by I.N. Choynski, a San Francisco journalist and antiquarian bookseller. Choynski was the publisher of a muckraking journal called PUBLIC OPINION, which exposed anti-Semitism and political corruption. The Irish-born Kearney, an anti-immigrant rabble rouser, would have been a natural target for Choynski's barbs. From what we can find, this is the only such print published by Choynski. Not in Peters' CALIFORNIA ON STONE. OCLC locates only a single copy, at the Bancroft Library at the University of California. OCLC 37123000.

      [Bookseller: William Reese Company - Americana]
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        Eigenhändiges Notenzitat mit Unterschrift "Liszt Ferencz". Ohne Ort und Jahr (nach 1877).

      1 Seite (ca. 8,5 x 23,5 cm).. . Vier mit der Vortragsbezeichnung "Lento" überschriebene Takte aus der Komposition für Klavier Petöfi szellemenek (Dem Andenken Petöfis; Searle 195), vom Komponisten in der ungarischen Schreibweise seines Namens unterzeichnet. Auf einem Streifen Notenpapier in schwarzbrauner Tinte notiert. Das Autograph diente als Druckvorlage für das Faksimile unter dem lithographischen Brustporträt von Liszt (im Halbprofil mit Priesterrock und römischen Kragen; Darstellung ca. 13 x 10 cm; Blattformat ca. 35 x 27 cm). Auf dem gedruckten Blatt unterhalb des Faksimile montiert. Gebräunt.

      [Bookseller: Antiquariat Rainer Schlicht]
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        Herbst, 1895. Radierung und Aquatinta in Schwarzbraun auf Papier montiert, 13,8 x 22,8 cm (Blattgröße), rückzeitig eigenhändig signiert und bezeichnet "H. Zille: Holzsammler". Rosenbach, 11

      . . zum Werk Heinrich Zilles Herbstbild zeigt nicht das gewohnte "Berliner Milljöh" innerhalb der von Werner Hegemann beschriebenen "Steinernen Stadt", welches beim Gedanken an Zille sofort in den Sinn kommt, sondern eine im Umland situierte Szene: Schwerbeladene Holzsammler - offensichtlich eine Familie -, die über eine weite Wiese querfeldein heimwärts ziehen. Der Himmel über ihnen ist dunkel verhangen und die Bäume des Waldes, aus dem das Holz herbeigeholt worden ist, bilden eine spalierartige Silhouette. Die Gestalten sind von ihrer unförmig wirkendes Last gekrümmt und werden von einem starken Rückenwind angetrieben, der die bedrohlich wirkenden Wolken über den Himmel verbreitet. Aufgrund der dunklen Tonalität gliedern sich die Holzträger aber zugleich in die düstere Lebenswelt ein und werden zu einem Teil von ihr. Dies verleiht dem Bild eine eigene, von der Verteilung der Figuren unterstütze Harmonie, welche den Personen, trotz ihrer zehrenden körperlichen Tätigkeit, eine Würde verleiht. Durch diese Würde im Elend besteht eine Verwandtschaft des Bildes mit den Werken von Zilles langjähriger Freundin Käthe Kollwitz, während das Sujet zugleich an den frühen Vincent van Gogh und die Landschaftsdarstellung an Walter Leistikow gemahnen. Und dennoch lassen die Figurenauffassung, die Physiognomie und die Gewandfalten den typischen Duktus Zilles erkennen, der für seine späteren Werke richtungsweisend ist. ".es gibt noch einen dritten Zille, und dieser ist mir der liebste. Der ist weder Humorist für Witzblätter noch Satiriker. Er ist restlos Künstler. Ein paar Linien, ein paar Striche, ein wenig Farbe mitunter - und es sind Meisterwerke." Käthe Kollwitz zum Künstler Heinrich Zille wuchs in jenem "Milljöh" in Berlin Kreuzberg auf, das später zum zentralen Sujet seiner Kunst werden sollte. Bereits zu Schulzeiten nahm er Zeichenunterricht und ging anschließend bei dem Lithographen Fritz Hecht in die Lehre. Parallel dazu studierte Zille bei Theodor Hosemann an der Königlichen Kunstschule. Als Geselle arbeitetet er in Lithografieanstalt Winckelmann & Söhne, um dann, 1877, an die Photographischen Gesellschaft Berlin zu wechseln, wo er dreißig Jahre lang beschäftigt wurde, bis Zille 1907 aufgrund seiner Darstellungen des "Berliner Milljöhs" entlassen worden ist. Er begann als freischaffender Künstler zu arbeiten, stellte erste Zeichnungen aus und lieferte Beiträge für den Simplicissimus, die Jugend und die Lustigen Blätter. 1903 wurde der inzwischen als "Pinselheinrich" bekannte Zille in die Berliner Secession aufgenommen und zu einem guten Freund Max Liebermanns. In der Reihe Künstlerhefte erschienen 1908 in großer Auflage Zilles Kinder der Straße und Berliner Rangen. Zusammen mit den Mappen Mutter Erde (1905) und Zwölf Künstlerdrucke (1909) hatte sich Zille als einer der besten und originellsten deutschen Zeichner etabliert. 1910 wurde Zille zusammen mit Fritz Koch-Gotha der Menzelpreis der Berliner Illustrirten Zeitung für seine künstlerische Leistung verliehen. 1913 trat Zille mit rund 40 anderen Künstler aus der Berliner Secession aus und gründete unter der Ehrenpräsidentschaft Max Liebermanns die Freie Secession. 1914 brachte der den Bildband Mein Milljöh heraus. 1921 erwarb die Berliner Nationalgalerie eine größere Anzahl Zeichnungen, was von Zilles Reputation als anerkannter Künstler zeugt. Auf Liebermanns Vorschlag hin wurde Zille 1924 zum Professor ernennt und Mitglied der Preußischen Akademie der Künste. 1928 fand anlässlich seines 70. Geburtstags ein Retrospektive seines Werkes im Märkischen Museum statt. Zu seinem Begräbnis kamen rund 2000 Trauergäste, darunter ebenso Künstler wie einfache Leute aus dem Volk. Unter seinen Künstlerfreuden Ernst Barlach, August Gaul, Lyonel Feininger, Käthe Kollwitz, Max Liebermann, Otto Nagel oder August Kraus war Zille auch ein gefragter Porträtist. Auswahlbibliographie Otto Nagel: Heinrich Zille. Leben und Schaffen. Henschel, Berlin 1968.

      [Bookseller: Kunst- und Buchantiquariat Graphem]
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        Memorias de la comisión del mapa geológico de España. Descripción física, geológica y agrológica de la provincia de Valladolid.

      Imprenta de Manuel Tello, 1877, Madrid. - 27x18. Plena tela. 211 pgs. Numerosas láminas. Plano plegado. T2542 [Attributes: Hard Cover]

      [Bookseller: Librería y Editorial Renacimiento, S.A.]
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        Topographische Bemerkungen zur Karte der Umgebung und zu dem Plane von Teheran

      Zamarski, Wien 1877 - original green wraps, 8 pages of text, one large folding out map; colour of wraps fresh, light creasing to bottom (not affecting map); map in fine condition, overall at least vg; scarce, please inquire before ordering

      [Bookseller: CRIVELLI-BOOKS]
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        MUSÉE Pour TOUS

      Baschet, Paris 1877 - MUSÉE Pour TOUS album hebdomadaire de l'art contemporain Grand Album in folio (44 cm x 33 cm) cartonnage percaline rouge, titre doré, comportant les livraisons de l'année 1877 et début 1878 (chaque livraison est composée dans la majorité des cas de 4 pages de texte dans lesquelles sont insérées deux grandes photoglypties (15.5 cm x 24.5 cm) montées sur carton) 66 Photoglypties des oeuvres des artistes contemporains - MERLE - COESSIN de la FOSSE MADRAZO - DUBUFFE - SAINTIN - ANKER - CARAUD - VAUTIER - BRUN - PALLIERE - DETAILLE - CHAPLIN - BOUGEREAU Photoglypties par GOUPIL & Cie - éditeur Ludovic BASCHET bon état (couverture frottée et usagée, photoglypties en excellent état) [Attributes: Hard Cover]

      [Bookseller: Liseronsblancs]
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        Meeting the Sun: A Journey All Round the World, Through Egypt, China, Japan, and California, including an Account of the Marriage Ceremonies of the Emperor of China

      Estes & Lauriat, Boston 1877 - First American edition. 413pp. Tall octavo. Publisher's green cloth beveled boards stamped in black and gilt. Light rubbing, a nice, near fine copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        The Works of Ben Jonson With Notes, Critical and Explanatory, and a Biographical Memoir

      London - John Camden Hotten 1877 - A lovely3 volume set of Ben Jonson's works with critical notes by English critic William Gifford. The volumes feature the likes of 'Sejanus,His Fall' (1603),'The Masque of Blackness'(1605), and'The Golden Age Restored' (1616). Ben Jonson (1572 1637) was a playwright, poet, and literary critic of the seventeenth century, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularised the comedy of humours. He is best known for the satirical plays 'Every Man in His Humour' (1598), 'Volpone', or 'The Foxe' (1605), 'The Alchemist' (1610), and 'Bartholomew Fayre: A Comedy' (1614), and for his lyric poetry; he is generally regarded as the second most important English dramatist, after William Shakespeare, during the reign of James I. The literary artist Ben Jonson was a classically educated, well-read, and cultured man of the English Renaissance with an appetite for controversy (personal and political, artistic and intellectual) whose cultural influence was of unparalleled breadth upon the playwrights and the poets of the Jacobean era (16031625) and of the Caroline era (16251642). William Gifford (1756 1826) was an English critic, editor and poet, famous as a satirist and controversialist. Complete in three volumes. Condition: In a half-calf binding with marble boards. Externally very smart with minor shelfwear only. Internally firmly bound with bright and clean pages throughout, save for slight browning due to age, particularly to first and last few pages as usual. Off-setting from title page on all volumes. Identical ink inscription to front free-endpaper on all volumes. Overall: VERY GOOD INDEED. [Attributes: Hard Cover]

      [Bookseller: Rooke Books PBFA]
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        The Child of The Cavern. Or Strange Doings Underground

      London, Low, Marston, Searle and Rivington. 1877, 1877. First UK Edition. (Also published as 'The Black Indies' and 'The City Underground'). 8vo. Publisher's green cloth titled and decorated in black and gilt to spine and front board. Publisher's device to rear board. Minor edgewear and bumping, bright, tight and very clean. A splendid copy. Plain cream endpapers, skillful cosmetic repair to front inner hinge. Engraved frontis. Internally clean and fresh, illustrated throughout in typical Verneian style (ie: if it has too few engravings to wallpaper an average sized room with then it isn't really illustrated). Another rip-roaring Verne extravaganza set in a Scottish mine where, naturally all is not as it seems, for a start is has people living in it (in a cottage, which seems overdoing it somewhat) and a series of strange events occur, many of which seem to involve a giant, psychotic owl. And pirates...alright it doesn't have pirates, but it does have a giant owl, and strange doings.

      [Bookseller: Adrian Harrington Rare Books]
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        Michael Strogoff, the Courier of the Czar

      New York: Scribner, Armstrong & Company. 1877. First US Edition. Hardcover. xi, 377pp + 6pp of publisher's advertisement. Original brown decorated cloth stamped in black and gold on the front panel and the spine panel. With ninety full-page illustrations. Revised by Julius Chambers. Translated by W. H. G. Kingston. Lower front corner tip worn, mild wear to extremities. Name on the half-title page, short closed tear to one of the leaves. A bright, near fine copy. Taves and Michaluk V015.; Octavo .

      [Bookseller: Parigi Books, ABAA/ILAB]
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        The Story of the Jubilee Singers; with Their Songs

      London: Hodder and Stoughton, 1877. Seventh edition. Albumen print frontispiece; vi, [2], 248 pp. 1 vols. 8vo. Publisher's blue cloth, gilt; rubbed at head of spine, front hinge repaired with tape, remnants of sticker to front paste-down, cracked at title page; very good, with frontispiece photo exceptionally fine. Houdini's copy Harry Houdini's copy, with gift inscription to him on the front free endpaper, in pencil, dated 1923, from Edw. W.P. Colusa(?).

      [Bookseller: James Cummins Bookseller]
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