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Displayed below are some selected recent viaLibri matches for books published in 1879

        Les rois en exil EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: E. Dentu, 1879. Fine. E. Dentu, Paris 1879, 12x18cm, relié. - first edition on the current paper it is printed in Holland paper a few leading copies. Binding to bradel half percaline green, smooth back with a gold floral motif, double net gilded tail, as a piece of modern burgundy shagreen, marbled paper plates, two corners lightly used, contemporary binding. Precious autograph signed by Alphonse Daudet: ". The novelist JB d'Aurevilly his admirer and friend Alphonse Daudet" Some minor foxing.   - [FRENCH VERSION FOLLOWS] Edition originale sur papier courant, il n'a été tiré que quelques Hollande en grands papiers. Reliure à la bradel en demi percaline verte, dos lisse orné d'un motif floral doré, double filet doré en queue, pièce de titre de chagrin bordeaux moderne, plats de papier marbré, deux coins légèrement émoussés, reliure de l'époque. Précieux envoi autographe signé d'Alphonse Daudet : " au romancier J.B. d'Aurevilly son admirateur et ami Alphonse Daudet." Quelques petites rousseurs. Les deux écrivains se sont rencontrés à la suite de la critique bienveillante de Barbey sur les lettres de mon moulin dans Le Constitutionnel. Entre le virulent cotentinais et le doux provencal, nait alors une amitié à laquelle ils resteront fidèles leur vie durant, en dépit des cercles littéraires incompatibles auxquels appartiennent passionément les deux écrivains. En 1876, à la parution de Jack dédié à Flaubert, Barbey rédige une critique où l'admiration se mêle au ressentiment contre l'allégeance de Daudet à Flaubert: "Je voudrais que le 'moi' de Daudet, son 'moi' sensible et réfléchi, tînt plus de place dans son oeuvre actuelle. Lui qui (je m'en souviens) s'est moqué autrefois si joliment des Impassibles, ne peut pas sans inconséquence et perversion de sa nature, en devenir un. Il ne peut pas l'être comme cette forte mécanique de Flaubert, qui, en un roman, fait ce que Taine fait en histoire, c'est à dire montre l'objet et s'en va. (...) Alphonse Daudet est du très petit nombre d'écrivains qui ont à eux une manière qui ne ressemble à celle de personne, et c'est même la raison pour laquelle il échappe souvent à l'esprit de système et à des admirations dangereuses. C'est pour cela que ce talent charmant tremble si joliment dans le manche grossier du réalisme. C'est un conteur d'une grace émue et légère, qu'aucun romancier contemporain n'a au même degré que lui (...). Il a cet avantage des esprits infiniment poétiques, que la poésie suit, comme une lueur où qu'ils aillent et qui font tomber des ciels d'or sur la teigne des pouilleux, comme le faisait Murillo..."

      [Bookseller: Librairie Le Feu Follet]
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        The Land Of Midian (Revisited)

      London: C.Kegan Paul & Co., 1879., 1879. 2 Volumes. 8vo. pp. xxviii, 338; vii, 319 + 32(ads). 6 hand-finished tinted lithographed plates, 4 plates of hieroglyphics, 5 other plates, & folding coloured lithographed map. wood engravings in the text. original decorative cloth (cloth bit soiled, extremities bit rubbed, spines dull, hinges tender, some minor foxing). First Edition of this sequel to Burton?'s The Gold Mines Of Midian (1878), describing Burton?'s second expedition through Midian in northwest Arabia. Midian became known as a highly rich source for gold, especially in the areas where ancient artifacts were located. Although Burton failed to find the vast amounts of gold he believed were in the region, he and his team succeeded in exploring and mapping a 600-mile territory and detailing eighteen ruined cities in the North and thirteen in the South. The expedition was sponsored by the Egyptian Khedive Isma?'il I, for whom Burton brought back twenty-five tons of minerals to be assayed. Only 1000 copies of the book were printed. Penzer pp. 96-7.. 1st Edition. Hardcover.

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Martin Luther. A Tragedy in Five Acts

      London: Remington & Co, 1879. Hardcover. Very Good. Hardcover. First Edition. This was Moore's second publication, and apart from a broadside of which only one copy is known, this is by far the rarest of his books. No copy has appeared for sale in the past decade. George Moore (1852-1933) was an Irish novelist, poet, critic, and dramatist who is often regarded as the first great modern Irish novelist. This play was done in collaboration with French dramatist Bernard Lopez, who had ignited Moore's interest in drama when they were fellow residents at the Hotel de Russie in Paris. Moore made the suggestion to collaborate after the failure of his first work, Flowers of Passion. The result was this, a five act verse tragedy that was never produced. It was considered at the time almost unreadable because of its poor verse and wooden characters. In later years Moore had very little regard for this early effort and never considered its reissue in any of the collected editions of his work. Bound in original blindstamped black cloth with gilt title and authors to front cover and title to spine. In Edwin Gilcher's bibliography of Moore he describes this as the "Theater (?) impression, slightly larger in size, repaged and without prefatory matter presumably...issued to send to theater managers in an effort to secure a production." Corners lightly bumped and small piece missing from top on spine. Interior pages are very nice. Ownership signature of Henry Knight on title page and bookplate of Rosita de Texada. In very good condition. Housed in a green silk folding case. 139 pages. DRA/080315.

      [Bookseller: The Kelmscott Bookshop ]
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        Collection of autograph and copyists' manuscripts

      1850s-1870s. AUTOGRAPH MANUSCRIPTS Tarantella for 'Cello & Piano Contemporary wrappers with autograph titling in English. Folio (346 x 267 mm.). Signature of two bifolia. [i] (blank), 2-7, [i] (blank) pp. Notated in black ink to 12- stave printed music paper with the circular blindstamp of Litolff, Braunschweig. With "by A Suck" to upper right corner of first page of music and "Dec[ember] 31. 1879" to lower right corner of p. 7. Final 12 measures notated on small leaf tipped in to lower right corner of p. 7 to be unfolded for performance. Alternate, extended version of mm. 60-79 sketched on separate bifolium in smaller format, in blueish ink; piano staves blank. Browned. All leaves creased at upper outer corner. [6] Capricen [and other works] für Violoncell Solo Contemporary wrappers with autograph titling in German. sewn except for final bifolium, which is unbound. Folio (slightly varying formats, ca. 345 x 270 mm.). Eight leaves, not paginated unless otherwise noted. Notated in black ink on various types of music paper. Fol. 1r: Caprice [unnumbered; A major]. Unsigned. With "Fine. componirt den 14. Janr. 1863, Göteborg" to lower right corner. Fol. 1v: Preludio [G major]. With "comp. v. A Suck" to upper right corner. Fol. 2r: Capricen für Violoncell No. 1 [G major]. With "von A Suck" to upper right corner. Fol. 2v-3r: Etüde No. 3. [G minor.] With "comp. von A Suck" to upper right corner of first page and "Anfang 31/12/1864 Ende 6/1/1865 Stockholm 1868[?]" to lower right corner of second page. One measure of first page and final three staves notated to overpastes. Fol. 3v: Capricen für Violoncell No. 2. [A major.] With "v. A Suck." to upper right corner and "14/1/1863" to lower right corner. Fol. 4r-4v: Caprice No. 4. [D minor-major.] Second page paginated "2." With "v. A Suck" to upper right corner of first page and "15/3 1875" to end of music on second page. Final two staves blank. Fol. 5r: blank Fol. 5v-6r: Etude für Violoncell No. 5. [D minor-major.] With "A Suck" to upper right corner of first page and "Juni 10. 1875. Boston" to lower right corner of second page, Five stave of second page notated to overpaste. Fol. 6v-7r: blank Fol. 7v-8r: No. 6 Caprice pour 'Cello. [G major.] With "A Suck" to upper right corner of first page and "Febr[uary] 4, 1876" to lower right corner of second page. Fol. 8v: blank The two etudes may be tentatively identified with the otherwise lacking caprices of the same numbers. The unnumbered first caprice and the "preludio" seem to belong to an earlier period. Nocturno [G major] and Andante [D major] for two violoncello. [Parts]. Folio (342 x 270 mm.). Notated in black ink on 12-stave printed music paper. Cello 1mo: one bifolium, unpaginated; Nocturno notated to inner pages, Andante to outer pages of bifolium. Cello 2ndo: one bifolium, unpaginated; Nocturno notated to inner pages, Andante to outer pages of bifolium; major autograph corrections to Andante including new ending. With "A Suck" to upper right corner of first page of Nocturno in both parts and "comp. v. A Suck" to upper right corner of first page of Andante in Cello 1mo, "comp. A Suck" in Cello 2do. Autograph date to original ending of Andante in Cello 2 part: "4/2 1868." Bifolium of Cello 2do detached. Nocturno [F major] [for Piano; fragment] Folio (346 x 268 mm). One bifolium, folded inside out. [i] (blank), [2]-4 pp. Notated in black ink to 12-stave printed music paper. Music breaks off in the middle of page 4; clefs and key signatures through end of page. No date. An einen Boten. [Lied for voice and piano] Small folio (306 x 235 mm.). One bifolium. Unpaginated. Notated in black ink to 12-stave paper. Music extends over first half of first page only (two systems of three staves). The German text (incipit: "Wenn du zu meim Schätzel kommst") is from Des Knaben Wunderhorn. Both stanzas are written as underlay. With corrections in pencil. Various sketches and fragments, possibly including composition exercises, to remaining staves of first page and to other pages, partially in ink, partially in pencil. The content of the sketches, signs of immaturity in the musical notation, and the use of paper without pre- printed staff lines suggest that the present bifolium dates from Suck's earlier years (ca. 1850). Unevenly trimmed. Frayed at edges. Wax drop and small stains to first page; ink stains to third page. Together with: [ROMBERG, Bernhard]. [Op. 46 (arr.)]. Divertimento über Oesterreichische Volkslieder für das Violoncello mit Begleitung des Pianoforte. [Score] Folio (348 x 271 mm.); signature of four bifolia. [i] (title), 2-14, [ii] (blank) pp. Notated in black ink on printed 12-stave music paper. No place, no date. Manuscript copy, probably in the hand of August Suck. Name "August Sack [!Suck]" in a different hand to upper right corner of title. The composition is in G major. The piano part, very basic and consisting primarily of simple chords, seems to be derived from the version for violoncello and guitar (Vienna: Tobias Haslinger, [1829], PNs 5210 and 5212). In the few instances where the piano has thematic material, the melodic line follows that of the guitar part, which is distinct from the one in the original piano accompaniment. The cello part is virtually identical with Haslinger's 1829 edition; it also mirrors its characteristic clef changes. The arrangement may or may not be Suck's work. First leaf partly detached. COPYISTS' MANUSCRIPTS [Untitled] Introduction, theme with two variations, and rondo for violoncello and orchestra. Full score. A minor-major. Folio (340 x 272 mm.). Sewn. 1-[50], [ii] (blank) pp. Notated in black ink on 14-stave music paper. Most probably in a copyist's hand; the shape of the C clef is quite different from those in Suck's autographs. Credits to upper right corner of p. 1, "von A. Suck," possibly autograph. Binding fragile; many bifolia entirely or partly detached. Paper browned and brittle; edges frayed; small holes to upper outer corner of final leaves. Concerto [D minor] für Violoncell. [Piano reduction] Gray wrappers with label to upper titled "Concert en ré mineur pour violoncelle, avec piano" using words cut from a newspaper. Folio (344 x 265 mm.). Signature of three bifolia. 12 pp. Notated in black ink on printed 16-stave music paper. No place, no date. Most probably in a copyist's hand; the shape of the C clef is quite different from those in Suck's autographs. Credits to upper right corner of p. 1, "von A. Suck," possibly autograph. The first movement is in D minor, the second in A major, the third in D minor-major. Some literals (tempi, dynamics, expressive marks) added in pencil. Wrappers partially detached, creased, and frayed at edges. . Little is known about cellist and composer August Suck. Born in the German-speaking lands (which then would include Bohemia), as the German titles and other literals in his manuscripts suggest, he moved to the United States in the early 1850s, making Boston his home. He played in the orchestra of the Boston Theatre from its inauguration in September 1854. From 1861, Suck was in Gothenburg, Sweden, where a new orchestra had been founded by German and Bohemian musicians, conducted by his friend Adalbert (properly, Vojt ch) H ímalý (1842-1908). He was, however, back in Boston by 1867; see the account of a quartet evening in Dwight's Journal of Music, February 27, 1867, p. 407 (the later concertmaster of the Boston Symphony, Bernhard Listemann, played the first violin). Dwight's Journal of Music of March 30, 1867, p. 7, includes a "Testimonial to Camilla Urso" signed by a large number of musicians, Suck, John Knowles Paine, and Otto Dresel among them; the "testimonial" was reprinted in the American Art Journal of April 13, 1867, p. 396. In 1881 Suck became one of the founding members of the Boston Symphony Orchestra. In tandem with his colleague Wulf Fries (1829-1902), Suck published a tutor, Practical Violoncello Instruction Book (Boston: Ditson & Co., 1879; 2nd edition 1901). He was noted for teaching the violoncello to girls, still frowned upon at the time; see the articles "A Cambridge Girl," Cambridge Chronicle, December 24, 1898, and "The Girl Cellist," The Etude 25, no. 9 (September 1907), p. 613. Josephine A. Spalding, from 1903 professor of violoncello at the University of Denver, was another student of his. Suck spent the summer of 1900 playing in a trio at the Algonquin hotel in St. Andrews, New Brunswick, as noted by the local paper, St. Andrews Beacon, on July 12, 1900. Apparently this assignment became an annual routine because the same paper still listed him on the hotel's roster on July 20, 1912, which is the last known record of his activity. Two photographic portraits, dated September 11, 1854, and "50 years later," are reproduced in Eugene Tompkins, The History of the Boston Theatre, 1854-1901 (Boston-New York: Houghton Mifflin, 1908), p. 19. The former shows Suck presumably in his early twenties, the latter in his seventies, when he participated in the anniversary performance.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Nina Balatka. The story of a maiden of Prague. Two volumes in one. (FIRST EDITION.)

      Edinburgh & London: William Blackwood & Sons. Edinburgh & London: William Blackwood & Sons. 1879 [1867] Ad. preceding half title. 2 vols in 1 as issued in orig. brick-red publisher's remainder cloth, spine lettered in gilt; at some point expertly recased, spine sl. dulled.Trollope Society Catalogue 28; Sadleir 25. Issued in 1879, utilising the unsold sheets from the original first edition print run. A new titlepage was printed for this secondary publication, and the prelims in vol. II removed. The spine lettering on this copy differs from Sadleir 25, with 'Wm. Blackwood & Sons / Edinburgh & London' at base of spine. Although this edition is in a rather plain remainder binding, the spine bears the initials 'J.L.' within a flourish device, and might possibly be the work of the binder John Leighton.

      [Bookseller: Jarndyce Rare Books]
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        Atlas.

      Paris, Monrocq & Geisendörfer for Auguste Logerot, ca. 1879. - 8 jigsaw puzzles, 302 x 228 mm each: lithographs in original hand colour, laid down to wood panels. Relief shown by hachures. Stored in decorative box (320 x 250 x 55 mm). Charming hand-coloured geographical puzzle set, manufactured by Logerot in Paris, rarely encountered complete and with eight maps: World, North America, South America, Europe, Asia, Africa, Oceania, and France. Puzzles of this type were first produced in London by John Spilsbury in the 1760s, but the style passed to the continent and became a popular educational tool in France and Germany in the early to mid 19th century. Logerot issued his puzzles from the 1850s onwards; the European borders of this set point to a production date between 1878 and 1880. The puzzle maps are stored in the box fully assembled, each resting on a paper mat with cloth tabs for easy retrieval. - In excellent condition. Cf. OCLC 56131950. Tooley III, p. 148 ("99 jugsaw puzzles, c. 1850"). [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Les grands navigateurs du XVIIIe siècle

      Paris: Hetzel, 1879. Fine. Hetzel, Paris 1879, Grd. in 8 (18x28cm), relié. - First illustrated edition of 118 prints by Philippoteaux, engraved by Hildibrand, 4 cards in-text, and 13 full-page maps, and a double page. Catalog AB ultimately for the year 1880. The first release for this cardboard is from 1879, we have done here that adding a catalog of the following year. Cartonage editor says "At the Ptolemaic sphere" brown brown, tan or called caramel. Beautiful first plate with well-marked gold. Narrow slot at the top 1cm headdress bit. Rubbed Caps back but with beautiful color. Percaline split and open 4 cm tail of the second dish. Second course pretty well, with small traces of friction in a short area. Corners rubbed. - [FRENCH VERSION FOLLOWS] Première édition illustrée de 118 gravures par Philippoteaux et gravés par Hildibrand, dont 4 cartes in-texte, et 13 cartes pleine page, et une en double page. Catalogue AB in fine pour l'année 1880. La première sortie pour ce cartonnage est bien de 1879, on n'a fait ici que rajouter un catalogue de l'année suivante. Cartonage d'éditeur dit "A la sphère ptolémaïque" brun marron, appelé havane ou caramel.  Belle première plaque aux ors bien marqués. Etroite fente sur 1cm au mors supérieur en coiffe. Coiffes frottées mais dos avec belle couleur. Percaline fendue et ouverte sur 4 cm en queue du second plat. Second plat assez bien, avec petites traces de frottements sur une courte zone. Coins frottés. 

      [Bookseller: Librairie Le Feu Follet]
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        The Native Tribes of South Australia.

      E.S. Wigg & Son,, Adelaide: 1879 - This work includes the following separate works by George Taplin, The Narrinyeri; Dr. Wyatt, The Adelaide Tribe; A Meyer, The Encounter Bay Tribe; C.W. Schurmann, The Port Lincoln Tribe; S. Gason, The Dieyerie Tribe; Ogilvie Bennett, Vocabulary of Woolner District Dialect (Northern Territory). The text has a number of annotations and marginalia (pencil underlining) by Prof. Dr. Absolon, the great Czechoslovakian ethnologist and naturalist. An early & important examination of the Aus. aborigines by a variety of authors. (xlii) 316pp, 8 sepia-toned lithographs. Period brown half calf & buckrum boards, raised bands, gilt title piece on spine, all edges marbled and marbled endpapers. Corners rubbed, buckram a litle marked, a very pleasant copy overall. F13095. Greenway 10162. [Attributes: Hard Cover]

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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        History of Afghanistan, from the Earliest Period to the Outbreak of the War of 1878.

      London, W.H.Allen & Co., 1879.. Second Edition. 8°. XXVIII, 456 pages including also the folded map and the errata leaf. Original Hardcover (dark green cloth with gilt lettering on spine). Very good+ condition with only minor signs of external wear. Bookplate of Henry Crossley Irwin to front pastedown. The large fold-out Map of Afghanistan with a 6 cm tear but otherwise in excellent condition. Tiny red inkstain to edge. Extremely scarce work now !. Chapter I - Description of Afghanistan of Dost Muhammad / Rough description of the Mountains / Rough description of the Rivers / Rough description of the city of Kabul / Rough description of the country about Kabul / Rough description of the road from Kabul to Jalalabad / Rough description of the road from Jalalabad to Peshawar / Rough description of Ghazni / Rough description of road from Ghazni to Kabul / Rough description of road from Ghazni to Kandahar / Rough description of the town of Kandahar / Rough description of Girishk, Farrah and Sabzwar / Rough description of Herat / Rough description of road from Kandahar to Quetta / Rough description of Istalif and Charikar / Rough description of the Khaibar pass / Rough description of other passes / Rough description of the tribes and people / Character of the tribes by Dr. Bellew / etc. / Chapter II - The Ghaznivide Period / The Afghans converted to Muhammadanism at the end of the 9th century / Afghanistan then an annexe of Bokhara / The House of the Samani / etc. etc. / Chapter III - The House of Ghor / Chapter IV - Transition to the Moghol / Chapter V - Humayun and Kamran / Chapter VI - From Moghol to Afghan / Chapter VII - The Ghilzai Rule / Chapter VIII - The Durani Rule / Chapter IX - The Barukzye Period / Chapter X - The British Invasion / Chapter XI - Afghanistan from 1842 to 1860 / Chapter XII - Russian and English Policy in Central Asia / Real origin of the Afghan War etc. etc.

      [Bookseller: The Time Traveller's Bookshop Ltd.]
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        Martin Luther. A Tragedy in Five Acts

      London: Remington & Co, 1879. Hardcover. Very Good. Hardcover. First Edition. This was Moore's second publication, and apart from a broadside of which only one copy is known, this is by far the rarest of his books. No copy has appeared for sale in the past decade. George Moore (1852-1933) was an Irish novelist, poet, critic, and dramatist who is often regarded as the first great modern Irish novelist. This play was done in collaboration with French dramatist Bernard Lopez, who had ignited Moore's interest in drama when they were fellow residents at the Hotel de Russie in Paris. Moore made the suggestion to collaborate after the failure of his first work, Flowers of Passion. The result was this, a five act verse tragedy that was never produced. It was considered at the time almost unreadable because of its poor verse and wooden characters. In later years Moore had very little regard for this early effort and never considered its reissue in any of the collected editions of his work. Bound in original blindstamped black cloth with gilt title and authors to front cover and title to spine. In Edwin Gilcher's bibliography of Moore he describes this as the "Theater (?) impression, slightly larger in size, repaged and without prefatory matter presumably...issued to send to theater managers in an effort to secure a production." Corners lightly bumped and small piece missing from top on spine. Interior pages are very nice. Ownership signature of Henry Knight on title page and bookplate of Rosita de Texada. In very good condition. Housed in a green silk folding case. 139 pages. DRA/080315.

      [Bookseller: The Kelmscott Bookshop]
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        Inter-Collegiate Cricket, 1910. PAC 118 and 209 v SPSC 368 and 191'. An original gelatin silver photograph of the St Peter's College team, victorious to the tune of 232 runs

      - The photograph (218 x 294 mm) is laid down as issued on the original printed mount; the photographer is E. Ziegler, 40 Elizabeth St, Norwood (Ernest Charles Victor Ziegler, active 1879-1925). The photograph and mount are in superb condition, behind glass in the original frame. 'The Advertiser' (11 December 1931) sets the scene for these Inter-Collegiate matches: 'Today the annual cricket match between St Peter's and Prince Alfred Colleges will begin at the Adelaide Oval. Last year the game was played at Prince Alfred College, the first time in the history of the matches [first played in 1878] that the Adelaide Oval was not available. The match is one of the most important cricket events outside first-class matches in South Australia, although in recent years it has failed to [sic] the importance and drawing power of inter-collegiate matches played before the war. Many famous cricketers have graduated from the college teams'. The 1910 SPSC team was no exception; sitting next to each other are C.E. Pellew and Vice-Captain A.G. Moyes. 'Nip' Pellew played for South Australia (1913-14 to 1928-29), the AIF Touring XI (1919 to 1919-20) and Australia (ten Tests in 1920-21). Johnny Moyes, a 'promising young cricketer . had represented (1912-15) South Australia (making a century on debut), been chosen (1914) for Australia in a tour (cancelled due to World War I) against South Africa, and played for Victoria in 1920. In Sydney, he achieved one of the highest individual scores in grade cricket when he made 218 runs in 83 minutes for the Gordon District Cricket Club in 1922. he served as a New South Wales selector (1926-27) and wanted (Sir) Donald Bradman to play for the State' (Australian Dictionary of Biography). For many years, he worked as a journalist (including fifteen years as sporting editor of 'The Sun'), and he published thirteen books on cricket. In 1949 he began 'broadcasting sporting sessions for the Australian Broadcasting Commission. In 1950-51 he covered his first Test series, against England. In 1955 he received a full-time contract. As a cricket broadcaster, he became a household name in Australia and New Zealand in the 1950s and early 1960s' (ADB). Use [Ask Bookseller a Question] option below to confirm availability.

      [Bookseller: Michael Treloar Antiquarian ANZAAB/ILAB]
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        Donau-Bulgarien und der Balkan (3 Bände).

      Leipzig, Fries, 2. Auflage 1879/80. - Historisch-geographische-ethnographische Reisestudien aus den Jahren 1860-1879. Mit 2 gefalteten lithographischen Karten und 30 Holzstich-Tafeln, XV, 269 Seiten; XIII, 304 Seiten; XVII, 386 Seiten, Halbleinenbände der Zeit, 28 x 20,5 cm, Einbände etwas berieben, Vorderdeckel von Band 3 mit kleineren Bezugsfehlstellen, innen sauber.

      [Bookseller: Antiquariat H. Carlsen]
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        The Light of Asia or the Great Renunciation (Mahabhinishkramana) being the Life and Teachings of Gautama Prince of India and Founder of Buddhism (as told in Verse by an Indian Buddhist)

      Small 8vo. London: Trubner, 1879. Small 8vo, xiii, 238 pp. Original yellow cloth, a little soiled. Later quarter brown morocco slipcase. First edition of surely the most popular book on Buddhism ever published in the West. Presentation copy inscribed by Arnold: ?To Dr. Birdwood CSI with the author?s sincerest regards July 15 1879?. With 2 ALS loosely inserted (one to Birdwood and another to a Mrs. Hall). Arnold's verse history of the life of the Buddha is credited with popularizing Buddhism in the West, going into more than sixty editions and selling an estimated 500,000 to one million copies in its day. Sir George Birdwood [1832-1917] is thanked in the publisher's preface of the first illustrated edition of 1885, for having lent the photographs upon which many of the illustrations were based. An excellent association copy, very rarely found let alone inscribed.

      [Bookseller: John Windle Antiquarian Bookseller]
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        The Fallen Leaves

      London: Chatto and Windus, 1879. First edition, with half-titles. [viii], 275, [1]; [iv], 269, [3], 40 (catalogue dated May 1879); [iv], 295, [1] pp. 3 vols. 8vo. Full blue polished calf, gilt spine, with red morocco title labels, t.e.g., by Riviere & Son. Light wear to spines with some loss to head of vol. I. First edition, with half-titles. [viii], 275, [1]; [iv], 269, [3], 40 (catalogue dated May 1879); [iv], 295, [1] pp. 3 vols. 8vo. Very scarce. Parrish & Miller pp. 110-1; Wolff 1351; not in Sadleir

      [Bookseller: James Cummins Bookseller ]
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        Dame am Ufer sitzend. Federzeichnung.

      . Signiert "H Somm". 21 x 11 cm.. Blattfüllende Skizze mit einer Frau, die ein ihr geöffnetes Buch auf dem Schloß liegen hat. Sommier fängt mit wenigen flink gezeichneten Strichen eine leicht melancholische Paris Stimmung ein. - Sommier war als Illustrator, Karikaturist, Radierer, Aquarellmaler und Scherenschnittkünstler tätig. Er arbeitete unter dem Künstlernamen Henry Somme als Illustrator für Bücher und die Zeitschriften "Charge", "Cravache", "L'Inutile", "Gazette parisienne", und den "Courier Francais". Sommier, der in Montmarte lebte, war eng mit Henri de Toulouse-Lautrec und Edgar Degas befreundet. Letzterer verhalf ihm 1879 zur Teilnahme an der vierten Impressionistenausstellung in der Galerie Durand-Ruel neben Felix Bracquemond, Mary Cassatt and Camille Pissarro. Ab den achtziger Jahren arbeitete Sommier wieder vorwiegend als Grafiker und Illustrator von Zeitschriften und Büchern. - Am Außenrand Monterierungsreste von verso durchschlagend. Obere linke Ecke fachmännisch restauriert.

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        Zululand and the Zulus

      KERBY & ENDEAN, LONDON 1879 - first paragraph of preface is as follows: The object of the following pages is to give a short account of the curious customs and beliefs attributed to the Zulus; to trace historically the changes in our relations with the country and the people from the time of the first settlement in Natal and also to supply some description of the military and home life of the natives. Gold gilt lettered spine, 4/3 leather spine and corners over marlbed boards front cover has a 1/4 inch nick at bottom coerns are bumped along spine and all edges have some rubbing, contents are clean and tight DATE PUBLISHED: 1879 EDITION: THIRD ED 151 [Attributes: Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
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        Roland furieux

      Paris: Librairie Hachette et Cie, 1879. Fine. Librairie Hachette et Cie, Paris 1879, 33,5x48cm, relié. - First printing illustrations of Gustave Doré, one of the 50 copies on Whatman. - [FRENCH VERSION FOLLOWS] Premier tirage des gravures de Gustave Doré, un des 50 exemplaires sur Whatman, illustré d'un frontispice et de 81 planches hors-texte. Reliure de l'époque en plein chagrin rouge, dos à cinq faux nerfs orné de caissons dorés, plats richement décorés de multiples encadrements (filets, large dentelle) dorés, large dentelle dorée en encadrement des contreplats de papier à la cuve, toutes tranches dorées. Quelques très infimes frottements sur le bord des nerfs. Dernier livre illustré de Gustave Doré, Roland furieux a nécessité un long travail de préparation et peut être appréhendé comme une synthèse de tous les thèmes chers à l'artiste : cadres médiévaux, forêts, scènes de batailles, héroïnes à la beauté sublimée, ambiance fantastique...L'illustration de cet ouvrage était déjà évoquée en 1855 dans sa fameuse liste de jeunesse des grands classiques de la littérature mondiale qu'il souhaitait illustrer. Très bel exemplaire à toutes marges, très élégamment relié et exempt de toutes rousseurs.

      [Bookseller: Librairie Le Feu Follet]
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        History of Afghanistan, from the Earliest Period to the Outbreak of the War of 1878.

      Second Edition. London, W.H.Allen & Co., 1879. 8°. XXVIII, 456 pages including also the folded map and the errata leaf. Original Hardcover (dark green cloth with gilt lettering on spine). Very good+ condition with only minor signs of external wear. Bookplate of Henry Crossley Iwrin to front pastedown. The large fold-out Map of Afghanistan with a 6 cm tear but otherwise in excellent condition. Tiny red inkstain to edge. Extremely scarce work now !

      [Bookseller: The Time Traveller's Bookshop ]
 18.   Check availability:     Direct From Bookseller     Link/Print  


        Examen critique d'un écrit de Claude Bernard sur la fermentation EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Gauthier-Villars, 1879. Fine. Gauthier-Villars, Paris 1879, 14x22,5cm, broché. - First Edition. Rare and valuable autograph dedication signed by the author to the poet and academician Auguste Barbier. A slight lack marginal topped the page showing the dedication without affecting it, two very slight minor snag on the back. Our copy is full of his 2 boards inset. --- 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. Rare et précieux envoi autographe signé de Louis Pasteur au poète et académicien Auguste Barbier. Un léger manque marginal en tête de la page où figure la dédicace sans l'affecter, deux très légers accrocs sans gravité sur le dos. Notre exemplaire est bien complet de ses 2 planches hors-texte.  

      [Bookseller: Librairie Le Feu Follet]
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        Das deutsche Gerichtsverfahren im Mittelalter. Nach dem Sachsenspiegel und den verwandten Rechtsquellen.

      C. A. Schwetschke und Sohn,, Braunschweig, 1879 - 2 Bde. Braunschweig, C. A. Schwetschke und Sohn, 1879. 8vo. (1:) X, 855; (2:) IV, 424 S. Zeitgenössische grüne Halbleinenbände mit Buntpapierbezug und Leinenecken. (alte St.a.T.). Äußerst seltene Arbeit Plancks (1817-1900). - Planck, Vater des berühmten Physikers, bekleidete Lehrstühle in Basel (1842-1845), Greifswald (1845-1850), Kiel (1850-1867) und München (seit 1867). Er war Mitverfasser des Bürgerlichen Gesetzbuchs und zählt zu den führenden Prozessrechtlern des 19. Jahrhunderts. Planck, dessen Leben und Werk bisher ein Forschungsdesiderat war, erfährt eine neue Aufmerksamkeit durch die aktuelle Veröffentlichung von Tanja Claussen "Johann Julius Wilhelm Planck 1817-1900. Leben und Werk", 2015 erschienen beim Peter Lang Verlag in Frankfurt am Main. Zeitgenössische grüne Halbleinenbände mit Buntpapierbezug und Leinenecken.

      [Bookseller: Antiquariat + Verlag Klaus Breinlich]
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        Bulletin Mensuel de la Librairie Morgand et Fatout : 1876-1895 [36 issues bound in 6 volumes]

      Paris : Damascene Morgand et Charles Fatout, 1879, Hardback, Book Condition: Very Good, First Edition Very good copies bound in contemporary cloth-backed, marbled boards. Gilt-blocked leather labels to spines. Some wear as expected with use and age. Spine bands and panel edges somewhat dulled and rubbed. Bumped corners. Slight lean to some of the spines. Some marginal dust-toning evident internally. Remains quite well-preserved overall. Further scans, images etc. and additional bibliographical material available on request.; 8vo 8" - 9" tall; 868 pages; A rare, complete collection of 36 monthy bulletins from Librairie Morgand et Fatout, 1876-1895 bound in 6 volumes. Contents: 1876-78 [nos. 1-8] -- 1879-81 [9-13] -- 1883-86 [14-19] -- 1887-89 [20-24] -- 1889-92 [25-30] -- 1892-95 [31-36]. Subjects: Rare books -- Catalogs -- Periodicals. Librairie Morgand et Fatout -- Catalogs -- Periodicals. Books -- Prices -- Periodicals. Bibliography -- Reference. 6v.: 868p., illus., plates (some colour); 23cm. Includes some colour fold-out plates. Bound with original cover wrappers. Language: French.

      [Bookseller: MW Books Ltd.]
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        SCENES DE LA BOHEME

      1879. Fine. MURGER, Henry. SCENES DE LA BOHEME. (RUBAN binding). Paris: D. Jouaust pour les Amis des Livres, 1879. 8vo. 442 pp. With 13 etchings by Adolphe Bichard, each in two states. Number 81 (this one for M. Bernard) out of an edition of 118, of the 100 numbered for subscribers. Preface by Murger, dated Mai, 1850. Carteret calls this an "edition recherchee" ("sought- after edition") (Carteret 1946: p. 281.) Beautifully bound by Petrus Ruban (1851-1929) in tan levant, gilt, with onlays of forest green leather. Gilt- stamped artist palettes with onlaid colors fill the corners and spine compartments. With lovely doublures printed with exotic birds and flowers in color, gilt inner dentelles and marbled endpapers. All edges gilt. Fine.

      [Bookseller: Boston Book Company]
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        The Haunted Hotel. A Mystery of Modern Venice

      London: Chatto & Windus, 1879. First edition. With 6 illustrations by Arthur Hopkins. viii, [ii], 230, [2], 40 (catalogue dated October 1878); [vi], 259, [1] pp. 2 vols. 8vo. Full blue polished calf, gilt spine, with red morocco title labels, t.e.g., by Riviere & Son. Repair to two spine labels, light shelfwear. Hopkins, Arthur. First edition. With 6 illustrations by Arthur Hopkins. viii, [ii], 230, [2], 40 (catalogue dated October 1878); [vi], 259, [1] pp. 2 vols. 8vo. Parrish & Miller, pp. 106-8; Wolff 1355; Bleiler, p. 47

      [Bookseller: James Cummins Bookseller]
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        British Fresh-Water Fishes

      London: William Mackenzie, 69, Ludgate Hill, 1879. First Edition. With 41 color-printed wood-engraved plates by A.F. Lydon, numerous wood engravings in text. Pp. [i]-xxvi, [1]-92; [2], [93]-204. 2 vols. Folio. Original brick textured cloth over bevelled boards, stamped in black and gilt and in blind, piscatorial vignettes and motifs on boards, a.e.g. Corners slightly bumped, some foxing. First Edition. With 41 color-printed wood-engraved plates by A.F. Lydon, numerous wood engravings in text. Pp. [i]-xxvi, [1]-92; [2], [93]-204. 2 vols. Folio. Litchfield 52; Nissen, ZBI 2009; Westwood & Satchell (supplement) 247; Thacher p. 269

      [Bookseller: James Cummins Bookseller]
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        The Native Tribes of South Australia

      Adelaide:: E.S. Wigg & Son,. 1879.. Hardcover. This work includes the following separate works by George Taplin, The Narrinyeri; Dr. Wyatt, The Adelaide Tribe; A Meyer, The Encounter Bay Tribe; C.W. Schurmann, The Port Lincoln Tribe; S. Gason, The Dieyerie Tribe; Ogilvie Bennett, Vocabulary of Woolner District Dialect (Northern Territory). The text has a number of annotations and marginalia (pencil underlining) by Prof. Dr. Absolon, the great Czechoslovakian ethnologist and naturalist. An early & important examination of the Aus. aborigines by a variety of authors. (xlii) 316pp, 8 sepia-toned lithographs. Period brown half calf & buckrum boards, raised bands, gilt title piece on spine, all edges marbled and marbled endpapers. Corners rubbed, buckram a litle marked, a very pleasant copy overall. F13095. Greenway 10162.

      [Bookseller: Antipodean Books, Maps & Prints]
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        Tristan und Isolde... Vollständiger Klavierauszug von Hans von Bülow. [Piano-vocal score, with manuscript annotations by Robert Heger]

      Leipzig: Breitkopf & Härtel [PN V.A. 31]. [1879]. Large octavo. Half black cloth with paper boards with manuscript title label to upper. [i] (title), [i] (cast list and contents), 3-260 pp. Printer's note to lower left corner of p. 3: "Stich und Druck von Breitkopf & Härtel in Leipzig." Signed by the conductor Robert Heger in pencil at upper right corner of front endpaper. Extensively marked up for performance in pencil and red crayon, occasionally also in blue pencil, mostly (possibly entirely) in Heger's hand. With further annotations by Heger to upper and lower pastedown, front endpaper, and two small loose leaves; one, titled "Tristan und Isolde Änderungen aus der Karlsruher Partitur" and written in blue ink, lists variants from an unknown full score (?annotated copy of the first edition) in Karlsruhe. Binding considerably worn; spine torn and partially detached. . Unique Handexemplar of a major Wagnerian conductor. Later edition. WWV p. 441. Hofmeister Verzeichnis 1879, p. 300. Robert Heger (1886-1978), a noted German composer and conductor, recorded Tristan und Isolde in 1943 for radio. Hans von Bülow (1830-1894) conducted the world premiere of the opera in Munich in 1865. "In 1913 [Heger] conducted in Nuremberg before moving to the Munich Opera (1920?-25) and the Vienna Staatsoper (1925?-33), where he also served as director of the Gesellschaft der Musikfreunde. In 1933 he moved to Berlin as conductor at the Staatsoper and also served as music director in Kassel and at the Waldoper, Zoppot (now Sopot, Poland). After the war he remained in Berlin at the Städtische Oper before returning to Munich in 1950 where he conducted at the Staatsoper. From 1950 to 1954 he was president of the Hochschule für Musik in Munich." "Heger?'s reputation as a conductor, enhanced by his numerous appearances at Covent Garden (between 1925 and 1935, and in 1953 for the Bavarian première of Strauss?'s Capriccio with the Staatsoper) and by his famous abridged commercial recording of Der Rosenkavalier with Lotte Lehmann and Elisabeth Schumann, has tended to overshadow his achievements as a composer." Erik Levi in Grove online

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Les tribulations d'un chinois en Chine Les cinq cents millions de la Begum EDITION ORIGINALE

      Paris: Hetzel, 1879. Fine. Hetzel, Paris 1879, relié. - First collective edition illustrated. Editor cardboard to both types of elephants Lenègre 1. Second Lenègre type b flat with its octagonal badge cold. The copy wearing bright green guards while most copies have the usual gray guards, this element would sign the aging of these copies. Beautiful top plate. Back insolated. Second flat. Corners slightly rubbed. --- 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] Première édition collective illustrée par Benett de nombreuses gravures en noir. Catalogue AB pour 1879 in fine. Cartonnage d'éditeur aux deux éléphants de type Lenègre 1. Second plat de type Lenègre b avec son macaron octogonal à froid. L'exemplaire porte des gardes vert clair alors que la plupart des exemplaires ont les gardes grises habituelles, cet élément signerait l'antériorité de ces exemplaires.  Belle plaque supérieure. Dos insolé. Second plat bien. Coins légèrement frottés. Papier bien frais, exempt de rousseurs. Coiffes froissées. Malgré un dos éclairci, bon exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        SHINSEN CHU CHIRI SHO: NEW SELECTION MEDIUM ATLAS: A WORLD ATLAS & ASTRONOMY.

      AN EXCELLENT TEXTBOOK FOR YOUNG JAPANESE STUDENTS Tokyo 1879, - Fukui. Yellow stitched wrs., very good, 4 vol.set, no title slip for vol. 3, else clean, bright copies,hand-printed by woodblocks on hand-made mulberry paper,quitebright, white paper, bit of old minor worming, but mended, Color scans available for this book on request. Description content 2015Copyright Rare Oriental Books Co.

      [Bookseller: RARE ORIENTAL BOOK CO., ABAA, ILAB]
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        Der Internationale Schachkongress zu Paris im Jahre 1878

      Leipzig: Verlag von Veit & Co, 1879 [8 ad]+vi+175+[1 ad] pages with tables and diagrams. Octavo (8 1/4" x 5 1/2") bound in brown and green cloth with labels on front and spine. (Bibliotheca Van der Linde-Niemeijeriana:5208) First edition.The revival of France after the Franco-Prussian War was demonstrated by a world exhibition. Paris was a city of light for the first time. A great chess tournament took place in the exhibition hall from 17 June to 31 July 1878. The participation of George Henry Mackenzie and James Mason made it the first intercontinental tournament in Europe. Eleven double rounds were played. Wilhelm Steinitz was present as reporter for The Field.The event was won by Szymon Winawer and Johannes Hermann Zukertort, who decided to share the first prize after they each won a play-off game. They drew twice, so another play-off was necessary. Zukertort won both games and gained the first prize. Mackenzie defeated Henry Edward Bird twice in the struggle for the fourth place.Winners of the prizes were: Zukertort (1000 Frans + two Sèvres vases), Winawer (500 F + one vase), Joseph Henry Blackburne (1500 F), Mackenzie (1000 F), Bird (500 F), and the ill Adolf Anderssen (200 F). Zukertort?s vases were priced at 5800 Francs. He needed cash, and it took three days until he could sell them much below the estimated value. Other participants in the tournament in finishing order were Englisch, Rosenthal, Clerc, Gifford and Karl Pitschel.Condition:Rebound, loose in binding in need of rebinding else a good copy.

      [Bookseller: The Book Collector]
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        Sahara und Sudan. Ergebnisse sechsjähriger Reisen in Afrika.

      Berlin, Weidmannsche Buchhandlung / Wiegandt, Hempel & Parey 1879-1889.. 3 Bände. XXII, 748 S., 10 Bl.; XXIV, 790 S., 1 Bl., XXII S., 1 Bl., 548 S., 2 Bl. Mit 95 Holzstichillustrationen auf 23 Tafeln und im Text, 6 Schrift-Tafeln, 1 Fotoporträt und 7 zum Teil mehrfach gefalteten Karten. Braune Originalleinwandbände mit Gold- und Blindprägung.. Kainbacher 98. - Erste Ausgabe, komplett mit dem oft fehlenden 3. Band, der erst 1889 nach dem Tode von Gustav Nachtigal (1834-1885) von E. Groddeck herausgegeben wurde. - 1: Tripolis, Fezzan, Tibesti und Bornu. - 2. Borku, Kanem, Bornu und Bagirmi . - 3. Wadai und Dar-For. - Kanten etwas berieben, Ecken etwas bestossen. Band 2 im Gelenk gebrochen. - Innen nur sehr wenige schwache Flecken.

      [Bookseller: Antiquariat Daniel Thierstein]
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        La pitié suprême EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Calmann Lévy, 1879. Fine. Calmann Lévy, Paris 1879, 15x24cm, relié. - Original edition. Binding half sorrow midnight blue with corners, back with four nerves set with gold dotted boxes decorated with double gold embellished with arabesques and side with golden stars, date and "ex. J. Drouet "golden Length, marbled paper plates, paper contreplats guards and the tank cover and spine preserved (marginal restorations dishes), gilded head, bookplates Pierre Duchy pasted on a guard, elegant binding signed René Aussourd. Exceptional autograph signed by the author Juliette Drouet, the great love of his life: « Premier exemplaire à vous, ma dame. V. » Composed in 1857, this long philosophical poem about the Revolution was originally intended to complete the Legend of the Centuries. Victor Hugo finally published in 1879 to mark its position in favor of the Communards. Plea for the abolition of the death penalty, the Supreme Pity illustrates one of the first and most fervent political struggles of Hugo, he still leads to the dawn of its 80 years, "if my name means something these fatal years where we are, it means Amnesty "(letter to the citizens of Lyon, 1873). Confronting Hugo and Machiavelli, JC Fizaine emphasizes intellectual rigor of the poet in the service of humanity erected universal principle: "Machiavelli is for those who want to become princes. Hugo is intended to begin the peoples that have suffered tyranny: it is the Supreme Pity, that defines what should remain immutably sacred, human life without hatred, resentment, the memory of past suffering to allow violate this prohibition, under pain of not being able to create any political regime and falling back on this side of civilization. "(Victor Hugo thinker of secularism - the cleric, priest and citizen) It is with Juliette Drouet he leads this last fight. Published in February 1879, shortly after installing Avenue d'Eylau, The Supreme Pity seems a political echo the new legitimacy conquered by the two old lovers after fifty years of guilty love. The ultimate battle Hugo in favor of amnesty and forgiveness resonates in his emotional life like the poem he composed on the death of Juliette in 1883: "On my grave, you will like great glory, The deep memory, loved, fought, Of a love that was foul and became under ... " Very nice copy well established and extraordinary provenance, more desirable than one might wish. - [FRENCH VERSION FOLLOWS] Édition originale. Reliure en demi chagrin bleu nuit à coins, dos à quatre nerfs sertis de pointillés dorés orné de doubles caissons dorés agrémentés d'arabesques latérales et d'étoiles dorées, date et mention « ex. de J. Drouet » dorées en pied, plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures et dos conservés (restaurations marginales sur les plats), tête dorée, ex-libris Pierre Duché encollé sur une garde, élégante reliure signée de René Aussourd. Exceptionnel envoi autographe signé de Victor Hugo à Juliette Drouet, le grand amour de sa vie : « Premier exemplaire à vous, ma dame. V. » Composé en 1857, ce long poème philosophique sur la Révolution était originellement destiné à conclure la Légende des Siècles. Victor Hugo le publie finalement en 1879 à l'occasion de sa prise de position en faveur des communards. Plaidoyer pour l'abolition de la peine de mort, La Pitié suprême illustre l'une des premières et plus ferventes luttes politiques de Hugo, qu'il mène encore à l'aube de ses 80 ans : « si mon nom signifie quelque chose en ces années fatales où nous sommes, il signifie Amnistie » (lettre aux citoyens de Lyon, 1873). Confrontant Hugo et Machiavel, J. C. Fizaine souligne la rigueur intellectuelle du poète au service d'un humanisme érigé en principe universel : « Machiavel s'adresse à ceux qui veulent devenir princes. Hugo s'adresse pour commencer aux peuples, qui ont subi la tyrannie : c'est La Pitié suprême, qui définit ce qui doit rester immuablement sacré, la vie humaine, sans que la haine, le ressentiment, le souvenir des souffrances passées autorisent à transgresser cet interdit, sous peine de ne pouvoir fonder aucun régime politique et de retomber en-deçà de la civilisation. » (Victor Hugo penseur de la laïcité - Le clerc, le prêtre et le citoyen) C'est auprès de Juliette Drouet qu'il mène ce dernier combat. Publié en février 1879, peu après leur installation avenue d'Eylau, La Pitié suprême semble un écho politique à la nouvelle légitimité conquise par les deux vieux amants après cinquante ans d'amours coupables. L'ultime combat de Hugo en faveur de l'amnistie et le pardon résonne dans sa vie affective à l'instar du poème qu'il composera à la mort de Juliette en 1883 : « Sur ma tombe, on mettra, comme une grande gloire, Le souvenir profond, adoré, combattu, D'un amour qui fut faute et qui devint vertu... » Très bel exemplaire parfaitement établi et d'une extraordinaire provenance, la plus désirable que l'on puisse souhaiter.

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


        Le coffret de santal EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Tresse, 1879. Fine. Tresse, Paris 1879, 12x19cm, broché. - Second edition partly original because 46 pieces appear there for the first time. Rare autograph dedication signed by the author Gustave Ollendorff. A small loss in head back, spots on boards, some small marginal foxing. --- 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] Deuxième édition en partie originale, car 46 pièces y paraissent pour la première fois. Rare envoi autographe signé de Charles Cros à Gustave Ollendorff. Un petit manque en tête du dos, piqûres sur les plats, quelques petites rousseurs marginales.

      [Bookseller: Librairie Le Feu Follet]
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        TALES OF ANCIENT GREECE

      C. Kegan Paul, London 1879 - Small 8vo. xliv, 372p. Illustrated with a lovely double fore-edge painting, depicting Achilles and Phaethon. Bound in purple pebbled leather with marbled endpapers, a.e.g., [Attributes: Hard Cover]

      [Bookseller: First Folio A.B.A.A.]
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        SCENES DE LA BOHEME

      1879 - MURGER, Henry. SCENES DE LA BOHEME. (RUBAN binding). Paris: D. Jouaust pour les Amis des Livres, 1879. 8vo. 442 pp. With 13 etchings by Adolphe Bichard, each in two states. Number 81 (this one for M. Bernard) out of an edition of 118, of the 100 numbered for subscribers. Preface by Murger, dated Mai, 1850. Carteret calls this an "edition recherchee" ("sought- after edition") (Carteret 1946: p. 281.) Beautifully bound by Petrus Ruban (1851-1929) in tan levant, gilt, with onlays of forest green leather. Gilt- stamped artist palettes with onlaid colors fill the corners and spine compartments. With lovely doublures printed with exotic birds and flowers in color, gilt inner dentelles and marbled endpapers. All edges gilt. Fine.

      [Bookseller: Boston Book Company, Inc. ABAA]
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        La pitié suprême EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Michel Lévy, 1879. Fine. Michel Lévy, Paris 1879, 15,5x23,5cm, relié. - Original edition. Binding half old red grief with some discreet restorations, back with five nerves, when tail, paper plates to the tank, and contreplats combed guards lined paper, preserved covers, red head, contemporary binding. Precious autograph signed by Victor Hugo Alphonse Daudet. Buffer library of Madame Daudet on the first guard. Victor Hugo is for Alphonse Daudet, like other writers of his generation, the undisputed master of arts Hall of Fame. His father figure sprinkles the works of Daudet, commonly called alongside those of Rousseau, Byron, Sand and Delacroix. If during childhood and youth Daudet, Hugo, exiled giant on his island of Guernsey, remains an unattainable ideal, "almost beyond humanity," Back in France allows him to meet him someday. Around 1875, shortly after the publication of his first works, Alphonse Daudet and Julia are well received in Hugo who now lives with Juliette Drouet. They therefore become intimate of the house until the poet's death. Victor Hugo is involved in the education of the young Léon Daudet, best friend grand-son of Hugo, George and later husband of Jeanne ephemeral. In his Memories of a literary circle, Julia Daudet evokes friendship of ten years with the "idol of all France poetic" "I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with power ferocity; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. [...] During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. » The friendship between the last great romantic writer and one of the masters of the early naturalist school reflects the sharpness of Victor Hugo who, at the height of his fame, and retains a special kind attention for the remote yet modern literature Hugo's lyricism. This dedication Hugo Daudet on a skilled, with The Pope and Religions and Religion, of "philosophical testament" by Henri Guillemin, symbolically resonates as a legacy by a devout follower of the political and moral responsibility of the writer. Provenance: Alphonse Daudet, sales Sickles (1990, IV, No. 1200) and Philippe Zoummeroff sale (2 April 2001). Gift extract of a literary circle by Julia Daudet: "How can we forget that first visit home, rue de Clichy, in the modest apartment so disproportionate to his glory, the idea we had of the glory that had filled palaces: He gets up the seat he occupied the fire in front of Madame Drouet, his old friend, (...) I am amazed at its size, but soon, when it will meet me and talk to me, I would find it very big, very intimidating. And this I felt so shy, I always try them in front of Victor Hugo, the result of this great admiration, respect it as an absent god, my parents instilled in me the genius of a poet. I will overcome never that trembling voice every time I answer his kind words, and I say astonish for nearly years to hear women, admitted to him, maintain their inner and their usual trivia. That night, when he had made me quite confused, Mrs Drouet, she said with a charming good grace - Here is the corner of the old and you are too young for us. But Victor Hugo will introduce you to his daughter, Mrs. Lockroy; alone has standing to that. And I was driving on the other side of the room, moderately large, though, but that was as divided in two by a table topped with a bronze elephant, very majestic, Japanese or Chinese, I think. It was enough to make two very distinct small groups that communicate easily, but without merging. At the time of his return, Victor Hugo was dazzling wit, many memories and told with an inexhaustible verve when the policy is not too invading his hospitable table. And grace in the home, what noble ways, what a beautiful smile grandfather in her hair I have gradually seen to blanch the snow eighty years I poets, all the poets attending this salon on Rue de Clichy, later the hotel Avenue d'Eylau. But here it was the change of place? There was like a step down in health, and in the spirit of good old man. Yet he always loved to entertain his friends, and the hospitality of this open house was not one of his charms least because, around the table, embellished with a piece by the two grandchildren of the Master, the guests were seeking their watchword in the eyes of the host, and he sometimes found a vein of memories so vivid, so picturesquely expressed, which remained blinded entire evening. M mo Drouet slowly growing old with him, sheltered under two snow bands, a somewhat theatrical elegance and quaint, until a ruthless evil dug his face so thin, made painful effigy has painted Bastien Lepage, who was to die prey to the same torture. In the recent times, the Master looked painfully, intimate dinners, that empty plate, that noble ravaged face. - Mrs Drouet, you do not eat, you must eat, have courage. Eat! She was dying. Did he know? Was he trying to delude himself the fine old so tough and strong, and who saw this companion from fifty years! In the large room where looks beautiful portrait of Bonnat, the paternal gesture, where the bust by David presides immensely; in the lounge, decorated with these striped multicolored tapestry that seemed strained to Dona Sol; in the garden come to the verandah by a flight of stairs two reappear Leconte de Lisle, Meurice and Vacquerie, Paul de Saint-Victor, smiling Banville, Flaubert and Goncourt conversing together, Mallarmé, Leon Cladel, Francois Coppe, Catullus Mendes, Clovis Hugues, shadows in a faded Eden; and Leon Glaize, Gustave Rivet, Pierre Elzéar, the tiny pink Ms Michelet offering a festive evening, and ambassadors, diplomats, Emperor of Brazil; painters, sculptors, and many politicians that I do not remember the names! Here the immediate impression that I drew one of those evenings when we visited, Alphonse Daudet and me, a snowy evening, where during the ride our horse fell three times across the Esplanade des Invalides: I see the great Victor Hugo end of his table; the old master, a bit isolated, a little deaf, sits with God silences, absences of a genius on the brink of immortality. The white hair, colored head, and this eye old lion that develops side with ferocity of power; he listens to my husband and Catullus Mendes between which is very lively discussion about youth and celebrity known men and their attractiveness to women. Alphonse claims that in a living room filled with all sorts of talents, of any age, a young man, the unknown author, the poet will ignored her female eyes beautiful it is. Catullus Mendes replied that he will initially unnoticed, and that all women will go to awareness: this seems true to me. Fortunately women do not have the eyes of their face, but those of the mind and heart. For the intellectual, the beauty of an artist, a poet does not count, it is the look of the thinker, the tormented face of the man who lives his feelings. They go to the talent, grief passes, they hardly thinking about physical beauty. Now one might reply that this is an ambitious sympathy they seek famous authors, but the other feeling, one that would attract to this tempting youth whose Alphonse speaks, seems less blameless. And I laugh to this claim of two charming conversationalists, generate, analyze us. But to say the woman is like saying the bird; there are so many species and genera, warbling and plumage are so different! During the debate we went to the salon, Victor Hugo dream by the fire, and famous, universal and demigod regret perhaps his youth, while Mrs Drouet sleeping quietly. His beautiful white hair shading his fine head like two wings of a dove, and knots of her bodice following her sweet breath, almost resigned, old woman asleep. It was soon after this event took place the great manifestation of scrolling Paris Avenue d'Eylau, before the windows of the small room that became mortuary in May 1885 filled with roses and simply furnished, such as accounts, museum Victor Hugo, a part taken in the former apartment of the poet, Place Royale. Although suggestive, the old home of the Marsh, "and when you think that there Victor Hugo wrote almost all his historical plays one imagines the poet, opening, the morning hours that were familiar to him, this high window on hotels all equal and same style, around the square, and remembering tournaments, duels, walks and agitations of several generations disappeared under the shadow of these ancient and solid arcades and not keeping track of the fugitive humanity. We still had dinner at Victor Hugo week before his death. He tells us by entering paler than usual, the inflected approach: - I will soon go, I feel it; and then relying on the shoulder of George: No 'that' a long time ago that I would be gone. I have never forgotten the focus rather solemn and as prophetic those words, I was imbued with sadness and foreboding; I felt the dispersion of this unique center and could not re ever! " - [FRENCH VERSION FOLLOWS] Edition originale. Reliure en demi chagrin vieux rouge comportant quelques discrètes restaurations, dos à cinq nerfs, date en queue, plats de papier à la cuve, contreplats et gardes doublés de papier peigné, couvertures conservées, tête rouge, reliure de l'époque. Très précieux envoi autographe signé de Victor Hugo à Alphonse Daudet. Tampon de la bibliothèque de Madame Daudet sur la première garde. Victor Hugo représente pour Alphonse Daudet, comme pour les autres écrivains de sa génération, le maître incontesté du Panthéon des arts. Sa figure tutélaire parsème les œuvres de Daudet, fréquemment convoquée aux côtés de celles de Rousseau, Byron, Sand et Delacroix. Si durant l'enfance et la jeunesse de Daudet, Hugo, géant exilé sur son île de Guernesey, demeure un idéal inaccessible, « presque en dehors de l'humanité », son retour en France lui permet de le rencontrer enfin. Aux alentours de 1875, peu après la parution de ses premiers ouvrages, Alphonse et Julia Daudet sont ainsi accueillis chez Hugo qui vit désormais avec Juliette Drouet. Ils deviendront dès lors des intimes de la maison jusqu'à la mort du poète. Victor Hugo participe à l'éducation du jeune Léon Daudet, meilleur ami du petit-fils de Hugo, Georges et, plus tard, époux éphémère de Jeanne. Dans ses Souvenirs d'un cercle littéraire, Julia Daudet évoque leur amitié de dix années avec l'« idole de toute la France poétique » : « Je vois Victor Hugo au grand bout de sa table ;  le maître vieilli, un peu isolé, un peu sourd, trône avec des silences de dieu, les absences d'un  génie au bord de l'immortalité. Les cheveux tout  blancs, la tête colorée, et cet œil de vieux lion qui  se développe de côté avec des férocités de puissance ; il écoute mon mari et Catulle Mendès entre qui la discussion est très animée à propos de la jeunesse et de la célébrité des hommes connus  et de leur séduction auprès des femmes. [...] Pendant le débat on est passé au salon, Victor Hugo songe au coin du feu, et célèbre, universel et demi-dieu, regrette peut-être sa jeunesse, tandis  que Mme Drouet sommeille doucement. » L'amitié entre le dernier grand écrivain romantique et l'un des maîtres de l'école naturaliste naissante témoigne de l'acuité de Victor Hugo qui, au faîte de sa gloire, conserve une attention particulière et bienveillante pour la  littérature moderne pourtant éloignée du lyrisme hugolien. Cette dédicace de Hugo à Daudet sur une œuvre qualifiée, avec Le Pape et Religions et Religion, de « testament philosophique » par Henri Guillemin, résonne symboliquement comme le legs à un fervent disciple de la responsabilité politique et morale de l'écrivain. Provenance: Alphonse Daudet, vente Sicklès (1990, IV, n°1200) puis vente Philippe Zoummeroff (2 Avril 2001). Extrait de Souvenirs d'un cercle littéraire par Julia Daudet : " Comment oublier cette première visite chez lui, rue de Clichy, dans le modeste appartement tellement disproportionné à sa gloire, à l'idée qu'on se faisait de cette gloire qui eût comblé des palais : Il se lève du siège qu'il occupait au coin du feu, en face de Mme Drouet, sa vieille amie, (...) je suis étonnée de sa petite taille, mais bientôt, quand il va m'accueillir et me parler, je le trouverais très grand, très intimidant. Et cette timidité que je ressentis alors, je l'éprouverai toujours en face d Victor Hugo, résultat de cette grande admiration, de ce respect, comme d'un dieu absent, que mes parents m'avaient inculqué pour le poète de génie. Je ne vaincrai jamais ce tremblement de la voix chaque fois que je répondrai à ses paroles obligeantes, et je m'étonnerai pendant près de dis ans d'entendre des femmes, admises auprès de lui, l'entretenir de leur intérieur et de leurs futilités habituelles. Ce soir-là, quand il m'eut présentée, toute confuse, à Mme Drouet, elle me dit  avec une charmante bonne grâce : — Ici, c'est le coin des vieux et vous êtes  trop jeune pour nous. Mais M. Victor Hugo  va vous présenter à sa bru, Mme Lockroy;  lui seul a qualité pour cela. Et je fus conduite à l'autre bout de la  pièce, médiocrement grande, pourtant, mais  qui était comme séparée en deux par une  table surmontée d'un éléphant de bronze,  très majestueux, japonais ou chinois, je  pense. Il suffisait à faire deux petits groupements très distincts qui communiquaient  facilement, mais sans se confondre. A ce moment de son retour, Victor Hugo  était éblouissant d'esprit, de souvenirs nombreux et racontés avec une verve inépuisable, quand la politique n'envahissait pas  trop sa table hospitalière. Et quelle grâce  dans l'accueil, quelles nobles façons, quel  beau sourire de grand-père sous ses cheveux que j'ai vus peu à peu blanchir  jusqu'à la neige des quatre-vingts ans I  Les poètes, tous les poètes fréquentaient  ce salon de la rue de Clichy, et plus tard  l'hôtel de l'avenue d'Eylau. Mais là, fut-ce  le changement de place? Il y eut comme  une marche descendue dans la santé, puis  dans l'esprit du beau vieillard. Et pourtant,  il aimait toujours à recevoir ses amis, et  l'hospitalité de cette maison ouverte n'était  pas un de ses moindres charmes, car, autour  de la table, embellie en un bout par les  deux petits-enfants du Maître, les convives  cherchaient encore leur mot d'ordre aux  yeux de l'hôte, et lui-même retrouvait parfois  une veine de souvenirs si vivants, si pittoresquement exprimés, qu'on en restait ébloui  toute une soirée. M mo Drouet vieillissait doucement auprès de lui, abritée sous deux  bandeaux de neige, d'une élégance un peu  théâtrale et surannée, jusqu'au jour où un  mal impitoyable creusa ses traits si fins, en  fit l'effigie douloureuse qu'a peinte Bastien Lepage, qui devait mourir en proie aux  mêmes tortures. Dans les derniers temps,  le Maître regardait douloureusement, aux  dîners intimes, cette assiette vide, cette  noble figure ravagée. — Madame Drouet, vous ne mangez pas,  il faut manger, avoir du courage. Manger! Elle se mourait. Le savait-il?  Essayait-il de se leurrer lui-même le beau  vieillard si résistant et si fort, et qui voyait  partir cette compagne de cinquante années! Dans le grand salon où se penche le beau  portrait de Bonnat, au geste paternel, où le  buste par David préside immensément ;  dans le petit salon, orné de ces tapisseries  rayées et multicolores qui semblaient tendues pour Dona Sol ; dans le jardin rejoint  à la vérandah par un perron de deux marches  réapparaissent Leconte de Lisle, Meurice  et Vacquerie, Paul de Saint-Victor, le souriant Banville, Flaubert et Goncourt conversant ensemble, Mallarmé, Léon Cladel, François Coppée, Catulle Mendès, Clovis  Hugues, ombres dans un Eden évanoui ;  puis Léon Glaize, Gustave Rivet, Pierre  Elzéar, la toute petite Mme Michelet offrant  des roses un soir de fête, puis des ambassadeurs, des diplomates, l'empereur du  Brésil; des peintres, des sculpteurs, et tant  d'hommes politiques que je n'en sais plus les noms ! Voici l'impression immédiate que je traçai de l'une de ces soirées où nous nous  étions rendus, Alphonse Daudet et moi, un  soir de neige, où pendant le trajet notre  cheval tomba trois fois en traversant l'esplanade des Invalides : Je vois Victor Hugo au grand bout de sa table;  le maître vieilli, un peu isolé, un peu sourd,  trône avec des silences de dieu, les absences d'un  génie au bord de l'immortalité. Les cheveux tout  blancs, la tête colorée, et cet œil de vieux lion qui  se développe de côté avec des férocités de puis-  sance ; il écoute mon mari et Catulle Mendès  entre qui la discussion est très animée à propos de la jeunesse et de la célébrité des hommes connus  et de leur séduction auprès des femmes. Alphonse  prétend que dans un salon rempli de talents de  toutes sortes, de tout âge, un tout jeune homme,  l'auteur inconnu, le poète ignoré aura pour lui les  regards féminins s'il est beau. Catulle Mendès lui  répond qu'il restera d'abord inaperçu, et que toute  les femmes iront à la notoriété : ceci me paraît  plus vrai. Les femmes heureusement n'ont point  que les yeux de leur visage, mais ceux de l'esprit  et du cœur. Pour les intellectuelles, la beauté d'un  artiste, d'un grand poète ne compte pas, c'est le  regard du penseur, la physionomie tourmentée de  l'homme qui vit de ses sensations. Elles vont au  talent, au chagrin qui passe, elles ne songent guère  à la beauté physique. Maintenant on pourrait  répondre que c'est par une sympathie ambitieuse  qu'elles recherchent les auteurs célèbres, mais  l'autre sentiment, celui qui les attirerait vers cette  jeunesse tentante dont parle Alphonse, me paraît  moins avouable. Et je ris de cette prétention des deux causeurs  charmants, de nous classer, de nous analyser. Mais  dire la femme, c'est comme si on disait l'oiseau ; il  y a tant d'espèces et de genres, les ramages et les  plumages sont tellement différents ! Pendant le débat on est passé au salon, Victor Hugo songe au coin du feu, et célèbre, universel et  demi-dieu, regrette peut-être sa jeunesse, tandis  que Mme Drouet sommeille doucement. Ses beaux  cheveux blancs ombrant sa fine tête comme deux  ailes de colombe, et les nœuds de son corsage  suivant sa respiration douce, presque résignée, de  vieille femme endormie.   Ce fut bientôt après cette soirée qu'eut  lieu la grande manifestation de Paris défilant, avenue d'Eylau, devant les fenêtres  de cette petite chambre qui devint mortuaire en mai 1885, remplie de roses et  simplement meublée, telle que la représente, au musée Victor Hugo, une pièce  prise dans l'ancien appartement du poète,  place Royale. Bien évocateur, ce vieux logis du Marais,"  et quand on pense que Victor Hugo y composa presque toutes ses pièces historiques  on se représente le poète, ouvrant, aux  heures matinales qui lui étaient familières,  cette haute fenêtre sur les hôtels tous égaux et du même style, qui entourent la  Place, et se remémorant les tournois, les  duels, les promenades et les agitations  de plusieurs générations disparues sous  l'ombre de ces arcades anciennes et solides  et ne gardant pas trace de la fugitive  humanité. Nous dînions encore chez Victor Hugo la  semaine qui précéda sa mort. Il nous dit en  entrant plus pâle qu'à l'ordinaire, la démarche fléchie : — Je vais bientôt m'en aller, je le sens ;  puis s'appuyant à l'épaule de Georges : Sans  'cela' il y a longtemps que je serais parti. Je n'ai jamais oublié l'accent un peu  solennel et comme prophétique de ces  paroles, j'en fus pénétrée de tristesse et de  pressentiment; j'y sentis la dispersion de ce centre unique au monde et qui ne put se  reformer jamais !"

      [Bookseller: Librairie Le Feu Follet]
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        Album of Original Pen-and-Ink Victorian Caricature and Cartoons

      England, 1879. Half Calf, pebbled cloth. Very Good. Circa 1879. One illustration near the end of the album is dated 1879, and so we assume they all come from that date, or a few years prior or after. Oblong, 15 by 24 cm. 25 pp. with fine, even brilliant, pen-and-ink caricatures and cartoons. The work is unquestionably of professional quality, but there are no signatures or other indicia of authorship. The style would have fit right in with "Punch", and one can see a kinship with Tenniel or DuMaurier, to name two of the best known contributors to that humor magazine. Here the heads are often oversized atop miniaturized bodies. The artist reveled in detail, with niceties of dress and appurtenances meticulously rendered. Emotion and expression are very skillfully etched onto the characters' faces. Caricatured are readily recognized types, as opposed to well-known politicians and celebrities. Whether dandies, socialities, domestics, swains, scalawags, hypocrites; whether haughty, high-strung, demure, straight or crooked, these are figures very specific to their time and place, yet one need not exercise too much imagination to extrapolate them to a more timeless, universal cast of characters. The artwork represented here can be divided into character studies, standalone funny cartoon, and finally, multi-cell or interconnected group of drawings, with a few of the pages fitting into more than one category. A number of the cartoons have captions, but these are almost superfluous -- the drawings tell their story effectively without words. The humor contained in the captions can now come off as obscure, even when one understands its point-of-reference. Some of the cartoons are unquestionably Rascist, showing black people as savages or preposterous grown children or imposters. On a more positive note, we can select from almost any of the drawings for a slightly in depth description, but we will single out one entitled "The Great International Ass Show at Kilburn". In this cartoon, we have six anthorpormorphic donkeys representing different types, such as the Imperialist Bully, the Fashion Noodle and the Strike Dolt. One might have to see the drawings to fully appreciate their quality; let it just be said that one would have to be humorless and thick-skulled not to be tickled and delighted by these variations on a theme. From the library of Ronald Searle, the great English 20th century cartoonist. Rebacked. Rubbed coerners, with a chip in lower rear. Clean within.

      [Bookseller: White Fox Rare Books and Antiques]
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        The Illustrated London News. January to December 1879

      London.: George C. Leighton.. 1879.. Two three-quarter leather bound volumes, 16 x 12 inches; January--June 620 pp; July--December 612 pp; index at front of each volume. Tipped-in centerfold illustrations. A number of newspapers have the term "Foreign Postage" printed beside the masthead on the front page. Also, a number of issues have a circular stamp about one inch in diameter identifying US library ownership and a date of acquisition. Volume One The January to June volume is tightly bound with contents in good condition, save for damage to two color plates. Of considerable interest in an ongoing illustrated series titled Rise and Progress of Illustrated Journalism, which documents origins in the early 1600s. There is extensive coverage of the Anglo-Zulu War (1879) and the concluding months of the Second Anglo-Afghan War (1878-1880). Also, coverage of events that anticipate the first Boer War (1880). There are many double-page illustrations associated with the Zulu and Afghan Wars by artists such R. C. Woodville and Overend; one a massive fold-out pertaining to the Afghan conflict on sheet size 22 1/4 x 30 inches (tear in margin enters image 1 1/2 inches). Other illustrations depict examples of the Electric Light; Her Majesty's trip to Italy; the University Boat Race; Chinese Fortune Teller; the Dutch Arctic Expedition; Pitcairn Island; and much more. An exceptional volume dealing extensively with British military engagements in far-flung regions of the world, enhanced with exceptionally fine illustrations. Volume overall in very good condition, with tears to some pages. Volume Two The July to December volume are tightly bound with contents in good condition, save for damage to a color plate in the Christmas Number ("The Darling's Better") by Miss Edwards and another color plate ("Views on the Rhine") in the August 23 Supplement. In very good condition is the double-page "Christmas at Little Peopleton Manor" by Kate Greenaway and two other single-page color plates. There is also a full-page black and white Greenaway, "The Juvenile Christmas Party," in very good condition, and a full-page black and white F. Bernard illustration of Dickens' "Mr. Pickwick." The six month collection of weekly issues and numerous supplements places great textual and pictorial emphasis on the Zulu war in Africa (1879) and the second Anglo-Afghan War in Afghanistan (1878-1880). Greatest emphasis is placed on reportage relating to the Zulu war, with numerous double-page illustrations recording the major battles between the British and the Zulu whose King, Cetewayo, was ultimately forced to surrender. One of the most impressive of these illustrations is the black and white "March to Ulundi," which unfolds to 13 1/4 x 41 inches. Afghan illustrations depict Cabul, Candahar, Afghan military, and various military engagements. Other illustrations include the "new steam-ship Orient," which operated on the UK-Australia route; yacht racing; two pages depicting the premises of the Illustrated London News in London; new machinery featured at the Royal Agricultural Society's International Exhibition; Coursing; Irish Sketches; Sketches of Gypsy Life; Torpedo Warfare; Eddystone Lighthouse; an illustration showing recent inventions which include Edison's telephone; and much more. .

      [Bookseller: oldimprints.com]
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        History of Leeds and Grenville Ontario, from 1749 to 1879, with Illustrations and Biographical Sketches of Some of its Prominent Men and Pioneers.

      - Brockville: Recorder Press, 1879. First edition, illustrated by E. A. Turner (pp. viii, 200). Large quarto (30 cm) in modern green publisher’s cloth, gilt titles, new endpapers. Illustrated with many fine lithographic plates by E. A. Turner depicting prominent people, residences, businesses, and public buildings, the text comprising an historical account of the settlement of the eastern Ontario region and a collection of biographies, reminiscences, and sketches of various families. Leavitt was at the time the editor of the (Brockville) Recorder and is apologetic for attending to the pressing events of the day while preparing this local history for publication. (That there may have been distractions is suggested by the editor’s reference to ‘a yolk of oxen’ and occasionally undependable type-setting.) This copy, re-bound in attractive green cloth with gilt titles, preserves several damaged pages, notably pp. 81/ 82 and 199/ 200, which have been mounted on separate sheets and inserted in place, perhaps during the re-bind. The damage is largely to the margins, but there is some minor loss (as of a syllable or two) to 199/ 200 in particular; the repairs are a bit clumsy and might benefit from the attention of a conservator. Several short, closed tears in the margins have been repaired with archival tape; there is an occasional blotch and spot. A very good copy of a scarce book. [Attributes: Hard Cover]

      [Bookseller: Trillium Antiquarian Books]
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        The Turner Gallery. Vol. 1-2.

      Descriptive text by W. Cosmo Monkhouse. Complete with Vignette title page and 120 steel engravings from the work of Turner. New York, Appleton and Company, no date (about 1879). Folio. Publisher's full brown morocco, slight edgewear to head and tail of spine, corners slightly bumbed, all edges gilt. No pagination.. Bright and clear copy with no stains

      [Bookseller: Mandøes Antikvariat]
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        The Lamplighter. A Farce

      London [Privately printed] 1879. VG : in very good condition without dust jacket. Later rebind with new eps. Heraldic bookplate (Lealholm Lodge) on pastedown Limited Edition 185 / 250 Quarter red leather hardback with green cloth boards 160mm x 110mm (6" x 4"). 45pp. First printed from a manuscript in the Forster Collection at the South Kensington Museum.

      [Bookseller: Barter Books]
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        George Cruikshank: The Artist, The Humorist, and the Man,

      1879. Extra-Illustrated with Some Remarkable Hand-Colored Caricatures by Cruikshank, Rowlandson and Others[CRUIKSHANK, George]. BATES, William. George Cruikshank: The Artist, The Humorist, and the Man, with some account of his brother Robert. A Critico-Bibliographical Essay. By William Bates… with numerous illustrations by G. Cruikshank including several from original drawings in the possession of the author. Second Edition, Revised; and Augmented by a copiously Annotated Bibliographical Appendix, and Additional Plates on India Paper. London and Birmingham: Houlston and Sons [and] Houghton and Hammond, 1879. Second (and best) edition. Large quarto 10 3/4 x 8 1/2 inches; 272 x 215 mm.). [iv], 94, [1, imprint, verso blank] pp. Frontispiece and fourteen plates.Bound ca. 1880 by Morrell of London (stamp-signed on front turn-in) in full red morocco, covers decoratively paneled and tooled in gilt, spine with five raised bands, decoratively tooled and lettered in gilt in compartments, gilt board edges and turn-ins, pink end-papers, top edge gilt, others uncut. A very fine example.Extra-illustrated by the insertion of ninety-five engravings including by twelve by George and or Robert Cruikshank (including one double-page, folding), twelve by Thomas Rowlandson (including three double-page, folding), seven by John Leech (including one double-page, folding), one double-page folding, by Samuel De Wilde and one double-page folding by William Heath.With a portion of a George Cruikshank als. to a Mrs. Sheridan yipped-in between the frontispiece and title-page.The 'Extra' Hand-Colored Plates include:CRUIKSHANK, George."Son's of Harmony" (facing p. 4)"Sons of Friendship" (facing p. 4)[A Three headed Monster] (between pp. 12/13)"Tom & Jerry, Sporting their bits of blood among the Pinks in Rotten Row" (facing p. 23)"Tom & Jerry, catching Kate & Sue on the Sly, having their Fortunes told" (facing p. 23)"Tom & Jerry "Masquerading it" among the Cadgers in the "Back Slums" (facing p. 36)"Mr. Punch" (facing p. 44)"Tom, Jerry and Logic "tasting" Wine in the Wood, at the London Docks" (facing p. 54)"Art of Self Defence. Tom and Jerry receiving Instructions from Mr. Jackson…" (facing p. 54)"A Game of Whist. Tom and Jerry among the Swell Broad Coves" (facing p. 62)CRUIKSHANK, Robert."The Gatherer" (facing p. 14)"Time & Tide wait for no man" (facing p. 28)ROWLANDSON, Thomas."After Sweet Meat Comes Sour Sauce" (between pp. 2/3)"Dr. Syntax with my Lord" (facing p. 11)"She Stoops to Conquer" (between pp. 22/23)"Doctor Syntax Mistakes a Gentleman's House for an Inn" (facing p. 40)"Doctor Syntax at a Review" (facing p. 40)"La Fille Mal Gardé, or Jack in the Box" 1802 (between pp. 52/53)"Doctor Syntax Pursued by a Bull" (facing p. 58)"Dr. Syntax at Covent Garden Theatre" (facing p. 61)"Dr. Syntax taking Possession of his Living" (facing p. 67)[Captain Careless Shot Flying by a Girl of Fifteen] 1810 (facing p. 94)"A Tailors Wedding" (facing p. 94)"Dying for Love" 1810 (facing p. 94)DE WILDE, Samuel."A New Drop Scene for D.L.T." (between pp. 12/13)LEECH, John."The Gift Horse" (facing p. 26)"Jack Rogers putting his nerves to rights" (facing p. 36)"This is a pretty present for a Master of Hounds to receive" (facing p. 36)"Appleton Hall" (facing p. 64)"A Social Sketch, or, Everything in Common" (between pp. 64/65)"The Royal Oak" (facing p. 70)"The Ladies" (facing p. 75)HEATH, William"Can't you look the other way now" (between pp. 94/95)

      [Bookseller: David Brass Rare Books, Inc.]
 41.   Check availability:     Biblio     Link/Print  


        La Province Chinoise du Yün-nan. Two volume set with all maps

      Paris: Ernest Leroux. Very Good. 1879,1880. First. Half morocco. Eight full-page sur blanc figures. Three folding maps including large, colored PLan de la Ville de Ta-Li-Fu & very large colored Carte du Yün-nan (the latter often missing). Uncut. Recently professionally bound in half navy goat with yellow wraps retained. A faultless set. Cordier 1362 (q.v.). ; Quarto 185x255 mm; xv,286,[i];291[i] pages .

      [Bookseller: Virginia Book Shop, Inc., ABAA, ILAB, FA]
 42.   Check availability:     Biblio     Link/Print  


        The Lamplighter. A Farce

      London: [Privately printed]. VG : in very good condition without dust jacket. Later rebind with new eps. Heraldic bookplate (Lealholm Lodge) on pastedown. 1879. Limited Edition 185 / 250. Quarter red leather hardback with green cloth boards. 160mm x 110mm (6" x 4"). 45pp. First printed from a manuscript in the Forster Collection at the South Kensington Museum. .

      [Bookseller: Barter Books Ltd]
 43.   Check availability:     Biblio     Link/Print  

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