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

        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. .

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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.]
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        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]
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        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]
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        Ensayo sobre las variedades de la vid común que vegetan en Andalucía por. Edición ilustrada hecha de Real Orden, en honra del autor y en memoria de la primera exposición vinícola nacional celebrada en España, siendo Ministro de Fomento el Excmo. Sr. Conde de Toreno.

      Madrid, Imprenta Estereotipia Perojo 1879 - Gran fol. (50,2 x 34,1 cm.) XXV-IX p. inc. port., 149 p. 44 láminas en cromolitografía. Holandesa puntas del siglo XX. Ejemplar en buen estado. Algún desgarro restaurado al pie de dos láminas. Segunda edición, revisada y muy ampliada con respecto de la primera que tan sólo lleva dos láminas. Extensa obra dividida en tres partes en la que su autor analiza las variedades de vid común existentes en Andalucía. Para ello, en la primera parte, estudia sus características generales y en las otras dos secciones ofrece un exhaustivo listado de todas las clases de vides presentes en Andalucía, con los nombres más comunes recibidos en diferentes zonas y sus rasgos más destacados. Tras la tercera parte se añade una Memoria sobre el cultivo de la Vid dividida en XIII capítulos en los que se ofrecen todos los aspectos relacionados con la viticultura, preparación del terreno, cultivo, cuidado de las cepas, poda, enfermedades. Simón de Rojas (1777-1827) era “bibliotecario del Real Jardín Botánico de Madrid, individuo de las Reales Sociedades Económicas de Granada y Sanlúcar de Barrameda. Palau, 275997; Colmeiro, La botánica y los botánicos, p. 195. [Attributes: Hard Cover]

      [Bookseller: Delirium Books · Susana Bardón]
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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").

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        The Illustrated London News (July-December 1879)

      London.: George C. Leighton.. 1879.. Hard cover volume, 16 x 12 inches; 612 pp; index at front of volume. Tipped-in centerfold illustrations. A number of newspapers have the term "Foreign Postage" printed beside the masthead on the front page. Missing page 92/93. Also, a number of issues have a circular stamp about one inch in diameter identifying US library ownership and a date of acquisition. The half-year volume is 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 two British military campaigns, 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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        Eigenh. Musikzitat mit U.

      München, 18. X. 1879. - 1 S. 65 x 220 mm. 2 Notenzeilen. - Lachner lebte als Musiker, Organist und Musiklehrer in München und seit 1823 in Wien, wo er mit Franz Schubert und Moritz von Schwind Freundschaft schloß. 1827 wurde Lachner Vizekapellmeister, 1828 Erster Kapellmeister am Kärtnertortheater. Von 1836 bis 1865 war er Hofkapellmeister an der Hofoper und Leiter der Musikalischen Akademie.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        OEUVRES COMPLÈTES

      - Paris, Calmann Lévy (ancienne maison Michel Lévy), 1879-1884, 11x16cm. Ouvrage en 53 volumes. Reliures en demi chagrin rouge. Dos à 4 nerfs, joliment orné. Titre et auteur en lettres dorées. Clouzot ne cite de Lévy que l'édition in-8 en 24 volumes. Exemplaire relié au nom de Henry Jacquin. Très bel ensemble, peu courant. Envoi de photographies sur demande. [Attributes: Hard Cover]

      [Bookseller: Librairie de l'Univers]
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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." "HegerÂ’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 StraussÂ’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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        Brief mit eigenh. U.

      Weimar, 24. XI. 1879.. 1 S. 4to.. An den Verleger Wilhelm Ritter von Braumüller (1807-1884): "Mein lieber Herr von Braumüller, längst gewöhnt bei jeder wichtigen Veröffentlichung Ihres berühmten Verlages den Beweis Ihrer treuen Anhänglichkeit an die thüringische Heimath durch Ihre werthvollen Mittheilungen zu erhalten, macht es Mir eine besondere Freude nun auch die Denkwürdigkeiten Metternichs' aus Ihren Händen zu empfangen. Seien Sie überzeugt, dass es Mir aufrichtige Befriedigung gewährt zu sehen wie einer Meiner treuen Zillbacher' im fernen Wien eine so angesehene Vertrauensstelle sich errungen hat [ ]". - Befreundet mit Fanny Lewald und Hans Christian Andersen, war der Sohn Hzg. Carl Friedrichs und der Zarentochter Maria Pawlowna ein kunstsinniger Mäzen, der die Wartburg erneuern ließ, Franz Liszt und Richard Wagner förderte und das Erscheinungsbild der Weimarer Altstadt maßgeblich mit der Errichtung der Denkmäler Herders, Wielands und des Doppeldenkmals von Goethe und Schiller prägte. Auch stiftete er die Kunstschule in Weimar (mit Arnold Böcklin, Franz von Lenbach und dem Plastiker Reinhold Begas); seine mit dem Weimarer Kongreß des Goethe-Bundes (Lex Heinze) im November 1900 ausgeklungene Regierungszeit wird als "Silbernes Zeitalter" Weimars bezeichnet.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Les rois en exil.

      first edition on the current paper it is printed in Holland paper a few large papers.Binding to bradel half percaline green, smooth back with a gold floral design, double net gilded tail, as part of modern burgundy shagreen, marbled paper plates, two corners lightly used, contemporary binding.Precious autograph signed by the author, "the novelist JB d'Aurevilly his admirer and friend Alphonse Daudet."Some minor foxing.  E. Dentu Paris 1879 12x18cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Chronica von dem Geschloße und der Vesten ze Lebenberg. Geschrieben und mit Bildern gezieret. Durchgesehen von den Professoren Fr. Defregger und Dr. J.V. Zingerle, herausgegeben von Fridolin Plant.

      Plant,, Meran, 1879 - 37 x 23,5 cm. 63 Bl. Mit zahlr. altkolorierten Tafeln und Textabbildungen von J.F. Lentner. Lentner 11670; Rümann 1191; ADB Bd. XVII, S. 266. - Erste, posthum erschienene Ausgabe. - Joseph Friedrich Lentner (1814 - 1852) arbeitete in Meran "auch in stiller Einsamkeit auf der Burg Lebenberg, deren 'baierisches Stüblein' er mit Freskenbildern schmückte, und schrieb daselbst die 'Chronik' dieses Schlosses, welche mit dem ganzen Schmucke seiner stilgerecht dazu gemalten Aquarellminiaturen in genauester Reproduktion durch colorierten Zinndruck herausgegeben wurde ." (ADB). Enthält auch Erzählungen und Sprüche sowie ein Kapitel über den "Weinspiegel oder des Steh-Weins-Landbrauch". - Sehr hübscher Einband, kaum fleckig. OHLwd. mit reicher Gold-, Schwarz- und Rotprägung von R. Gerhold, Leipzig. [Attributes: Hard Cover]

      [Bookseller: Peter Bierl Buch- & Kunstantiquariat]
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        CAJA DE AHORROS Y MONTE DE PIEDAD DE VALENCIA. Memoria(s) relativa(s) al ejercicio de 1878 a 1918.

      - 5 vols. Imp. Ferrer de Orga. 1879/1919. 26 x 19 cm. Enc. plena piel. [Attributes: Hard Cover]

      [Bookseller: Asilo del libro]
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        "Jubiläumstag (des Veteranen)" originale Radierung ca.41x54cm (Darstellung/Image size) auf Bütten-Karton (58x77cm) von Ernst Mohn (1835 Dresden-Pieschen - 1912 Leipzig) nach einem Gemälde von Oehmichen; in der Platte signiert und datiert 1878;

      . unterhalb der Darstellung typographisch betitelt und bezeichnet "Der Sächsische Kunstverein seinen Mitgliedern auf das Jahr 1879" [Das großformatige und stimmungsvolle Blatt in guter Erhaltung, lediglich die Ränder leicht angestaubt.].

      [Bookseller: Antiquariat Niederbayern]
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        Ein Verschlossenes Land. Reisen nach Corea. Nebst Darstellung der Geographie, Geschichte, Producte und Handelsverhältnisse des Landes, der Sprache und Sitten seiner Bewohner. Deutsche Originalausgabe. Leipzig, F. A. Brockhaus 1880. 8°. XX, 313 S., 1 Bl. mit 31 Textolzst., 7 Holzst.-Tafeln u. 2 (mehrf. gef.) lithogr. Karten, illustr., gold- u. schwarzgepr. OLwd.

      - Henze III, 653.- Erste deutsche Ausgabe (erstmals London 1879).- E. Oppert (1832-?) unternahm drei Reisen nach Korea, mit der Absicht, das damals noch gesperrte Land dem Handel zu öffnen. Die ersten beiden im Jahr 1866 unternommenen Reisen dienten der Auffindung u. Befahrung des Han-gang oder Söul-Flusses. Die dritte Fahrt, dreieinhalb Jahre später ?trägt den Stempel der Anrüchigkeit. Der franz. Klerikus Feron, ehemaliger Provikar der koreanischen Mission, hatte den argen Streich ausgeheckt, Reliquien des koreanischen Regenten aus einem Grabe nahe dem Prince-Gerome-Golf an sich zu bringen, um dadurch die Aufschließung des Landes zu erzwingen. Er hatte es nicht schwer gehabt, Oppert als Komplizen zu gewinnen. Doch der Streich mißlang, erregte viel Ärgernis, und führte zur wissenschaftlichen Ächtung des Reisenden, dem letztlich aber ein Plätzlein in den entdeckungsgeschichtlichen Annalen nicht vorenthalten werden kann." (Henze).- Mit einer Karrte ?westliche oder Hauptmündung des Flusses Kan-Kiang von Tsiatong bis Kan-Wha-Foo? und ?Karte der südwestlichen Zugänge des Saoul-Flusses?.- Ebd. gering fleckig, sonst schönes Exemplar.# First German edition.- Orig. cloth.- binding; complete with 2 (folded) lithogr. maps.- Binding slightly spotted otherwise fine copy. E. Oppert undertook three trips to Korea, with the intention to open the still locked country for the trade.The first two trips in 1866 were finding the Han-gang or Seoul River. The third trip, three and a half years later, "bears the stamp of ominousness. The french priest Feron a former Pro-Vicar of the Korean Mission had concocted the prank of incorporating the relics of the Korean rulers from a grave near the Prince-Gerome golf himself, to force the development of the country. Oppert was his accomplice. The prank failed, aroused much scandal, and led to the scientific ostracism of the traveler. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Müller]
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        British Fresh-Water Fishes. Illustrated with a coloured figure of each species drawn from nature by A. F. Lydon and numerous en- gravings.

      London [1879].. Folio. 20 + 21 chromolithogr. colour plates. [complete]. Orig. dec. full cloth gilt. N. on title pg. Outside hinges somewhat worn, especially on vol. I. Ends of spines broken. Minor foxing on plates' protective tissue papers. Text block otherwise clean

      [Bookseller: Norlis Antikvariat]
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      Galena, Illinois, November 30, 1879. 4.75" x 6.5". "Autograph Letter Signed, ""U.S. Grant,"" 4 pages, front and verso, 4.75"" x 6.5"", Galena, Illinois, November 30, 1879 to ""Mrs. Hagen."" concerning his upcoming visit to Cincinnati. Folds and creases with some mild soiling to final leaf, else fine.""Mrs. Grant wants me to answer your letter and apologize for not having attended to it sooner. The letter reached her about a week after our return from Chicago. Her eyes effect her so that she scarcely ever writes herself, and I have so much of my own to do that she neglected to ask me to attend to it until the receipt of your fathers telegram. Our stay in Cincinnati will be but for a single day. Mrs. Grant says that if the programme arranged by the Citizens does not encumber[?] her she will accept with pleasure the invitation of Mrs. McLean. She is not well however and would like to spend within the afternoon, or the evening, quietly as her Dr says she must not fatigue herself. She will have to go to the hotel for the night as we will probably leave Cincinnati early Friday morning. I am glad to hear that your Ma has held out in her Republican faith so well. After our experience of over two-and-a-half years I have no doubt but that the conversion is sincere. With kindest regards of Mrs. Grant & myself to your father, mother, sister & brother, and for yourself the assurances of our highest esteem, I am...""Returning from a world tour that included stops in England, Belgium, Germany, Switzerland, Italy, Greece, the Levant, Egypt, India, Burma, Siam, China and Japan, Grant was warmly greeted by enormous crowds upon his arrival in San Francisco in September 1879. Grant's renewed popularity in the United States spurred Roscoe Conkling to orchestrate a third-term bid for the retired general. Whether Grant was actively contemplating a run at this point is not known, but he did little to dissuade his allies from promoting his nomination. When the Republican National Convention convened in Chicago in June 1880, Grant led the delegate count, but did not enjoy a majority to clinch the nomination. After 36 ballots, Grant's candidacy faded, with James A. Garfield emerging as the compromise nominee."

      [Bookseller: University Archives]
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        El Ingenioso Hidalgo Don Quixote de la Mancha .

      1871-1879. Ed. Asociación Propagadora. - Francisco López Fabra/Fototipografía. Madrid. . 3 Vol. . Vol.I: 14 H.+316 fol. Vol.II: 10 H.+280 fol. Vol.III: 2 H.+101 lám.+VIII+202 pp. Folio. Pergamino. Bibliografía / Bibliofilia (Facsímil), Literatura Hispánica (Cervantina), Siglo XIX . Facsímil de la primera edición de Don Quijote de la Mancha, y primera obra reproducida en el mundo por la foto-tipografía, publicada por su inventor el coronel don Francisco López Fabra en Barcelona, bajo los auspicios de la Asociación Propagadora presidida por J.E. Hartzenbusch. La obra está enriquecida con dos tomos que recogen la iconografía del Quijote a través de 101 láminas publicadas en las 60 ediciones anteriores a ésta y la obra de Eugenio Hartzenbusch con 1.633 notas aclaratorias que enriquecen la lectura. Rara y apreciada edición foto-tipográfica del Quijote que supuso un hito tecnológico en su tiempo. Joya de la bibliografía cervantina. Tres volúmenes encuadenrados en pergamino con nervios y tejuelo en lomera. Buen estado. .

      [Bookseller: Librería Anticuaria Astarloa]
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        BRITISH CYPRUS

      London: Chapman & Hall, 1879. First Edition. Morocco & Boards. Very Good. pp: x, 368; colored frontispiece view. Half morocco and marbled boards, gilt-ruled spine with devices; old unicorn bookplate of William C. Stuart. Binding and text are clean. 8.5" x 5.25"

      [Bookseller: R & A Petrilla]
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        Samuel Clemens writes to his wife describing Chicago's preparations for its reception for Ulysses Grant, for whom the author offered his famous "Babies" toast two nights later

      Palmer House" [Chicago], November 11, [1879]. 5" x 8". "Autograph Letter Signed, ""Saml."" 2 pages, 5"" x 8"", ""Palmer House,"" [Chicago], November 11, [1879], in pencil addressed in his hand on the accompanying transmittal envelope to his wife, ""Mrs. S. L. Clemens Hartford, Conn."" describing his trip to Chicago and the preparations for Grant's reception in that city, and describing seeing Gilbert and Sullivan's H.M.S. Pinafore performed by a company of children. Light folds, else fine condition. Clemens writes in full: ""Livy Darling, George & I walked over 76 miles yesterday, round about the town, inspecting the outsides of beautiful & costly dwellings, the water-works machinery, the street decorations for the [Ulysses S.] Grant reception & so forth, had a good time. He [George] went west & I went to three theatres with a lot of newspaper men; staid [sic] but a few minutes at two of them, but saw a whole act at the third. It was the first act of Pinafore, admirably done by children?"little children, like ours. The characters were most excellently taken?"It was a marvel to see it. The singing was often delightful. I was home & in bed at 10 o'clock. Drank 11 gallons of Appalinaris water & 1 glass of lager during the evening; drank one Scotch whiskey in bed, read 2 hours & went to sleep without needing the other punch. I love you darling..."" Two nights later, Clemens took the podium at the Palmer House, before a grand banquet of more than 500 Union veterans concluding a grand reunion the Army of the Tennessee as a featured speaker at which Grant was the guest of honor. Clemens, who was among the final impromptu speakers that evening, responded to another speaker's toast ""to Woman,"" by offering a toast ""to Babies."" To the bemused crowd, Clemens explained, ""We have not all had the good fortune to be ladies. We have not all been generals or poets, or statesmen, but when the toast works down to the babies, we stand on common ground."" The audience roared when Clemens noted that even a general was duty-bound to bow before the infant in his home. To Grant, he said, ""You could face down the death-storm at Donelson and Vicksburg, and give back a blow for blow, but when he clawed your whiskers and pulled your hair and twisted your nose, you had to take it."" Apparently unaware of the reverence in which the assembled crowd held Grant, Clemens described the future commander of the Union Army and President of the United States ""trying to find some way to get his big toe into his mouth,"" a goal that ""the illustrious guest of this evening turned his entire attention to some fifty-six years ago."" The audience's subsequent silence worried Clemens, who wondered if he had taken the analogy too far. After an awkward silence, he continued: ""And if the child is but a prophecy of the man, there are mighty few who will doubt that he succeeded."" Relating the incident to Livy, Clemens wrote that then,"" the house came down with a crash... And do you know, General Grant sat through fourteen speeches like a graven image, but I fetched him! I broke him up utterly! He told me he laughed till the tears came and every bone in his body ached."" (as quoted in H.W. Brands, The Man Who Saved the Union: Ulysses Grant in War and Peace, 2013, p. 599 & William S. McFeely, Grant: A Biography, 2002, p. 480). The Gilbert and Sullivan operetta, H.M.S. Pinafore, was presented by none other than the Juvenile Pinafore Company. Not only were Messrs. Gilbert and Sullivan one of the fads of the 1870s; so were opera companies staffed entirely by children! "

      [Bookseller: University Archives]
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        La Divina Commedia; La Vita Nuova; Il Convito

      G. Barbera, Firenze 1879 - 3 vols. 8vo. Pp 723, cxxx; 451; 537. Portrait frontis to vol 1. Half morocco, by Zaehnsdorf. Marbled edges and endpapers. Bindings a little rubbed. Some light penciled underlining in Vol 1 - easily erasable. Armorial bookplates. [Attributes: Hard Cover]

      [Bookseller: Leakey's Bookshop Ltd.]
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        BRITISH CYPRUS

      London: Chapman & Hall, 1879. First Edition. Morocco & Boards. Very Good. pp: x, 368; colored frontispiece view. Half morocco and marbled boards, gilt-ruled spine with devices; old unicorn bookplate of William C. Stuart. Binding and text are clean. 8.5" x 5.25"

      [Bookseller: R & A Petrilla]
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        Der Internationale Schachkongress zu Paris im Jahre 1878

      Verlag von Veit & Co, Leipzig 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. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Book Collector, Inc.]
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        Die Alpen-Pflanzen: Deutschlands und der Schweiz. Vierte Auflage

      Munchen: Christian Kaiser. Fine in Good dust jacket. 1879. Cloth. 4 volumes, publisher's original elaborately gilt-and-black decorated cloth, clay-paper endpapers, in original light-blue printed jackets; pagination varies, but with a total of 400 vividly colored lithographic plates. Volumes 1 and 2 are dated 1879, volumes 3 and 4 are dated 1880; all four jackets bear the 1880 date, as well. Books are about fine, bright and sharp; dust jackets are a little soiled, and variously chipped and torn; Prefaces in volume one in German, French, and English, and each plant is named in Latin, French, German and English. A beautiful and comprehensive guide to Alpine plants, scarce in jacket. .

      [Bookseller: Books Tell You Why]
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        The SAN FRANCISCO CHRONICLE And ITS HISTORY. The Story of Its Foundation, The Struggles of Its Early Life, Its Well-Earned Success. The New Chronicle Building, The Edifice and Machinery Described, Comments of the Press.

      San Francisco, Cal.: 1879 - Frontispiece. 4 inserted chromolithographs. The Chronicle newspaper was founded in 1865 as The Daily Dramatic Chronicle by the two teenage brothers, Charles de Young and Michael H. de Young. Benefiting from the growth of San Francisco, by 1880, it had the largest circulation of all West Coast newspapers. This book tells the story of that founding & growth. Uncommon in the trade. Bright gilt. Minor wear. A pleasing Nr Fine copy. Original publisher's green cloth binding, with elaborate gilt stamping. 8vo. 8-7/8" x 5-3/4". 1st edition (Cowan II, p. 556). 60 pp. Text double column. [Attributes: First Edition; Hard Cover]

      [Bookseller: Tavistock Books, ABAA]
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        History of England. From the fall of Wolsey to the defeat of the Spanish Armada.

      London, Longmans, Green, 1879.. 12 vols. 23 x 15 cm. Insgesamt über 6500 S. Rote Maroquinbände der Zeit mit 2 goldgeprägten Rückenschildern, reicher Rückenvergoldung, Deckelfileten, goldgeprägten Deckelvignetten sowie Steh- und Innenkantenvergoldung.. Exlibris. Einbände etwas fleckig und beschabt, Ecken telweise bestossen, die ersten und letzten Blätter teilweise etwas fleckig, sonst gut erhalten.

      [Bookseller: Antiquariat Manfred Nosbüsch]
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        Report of the Trial of the Directors of the City of Glasgow Bank

      Edinburgh, The Edinburgh Publishing Company; London, Simpkin Marshall, & Co.,, 1879. before the High Court of Justiciary, Edinburgh. On Monday, January 20, 1879, and Following Days. Octavo. Original white wrappers printed in brown. Double-page frontispiece, two double-page plates, and three illustrations within the text. Wrappers lightly rubbed and creased with some spotting, lower wrapper cleanly separated from the spine, which is tanned and worn at the ends, faint spotting to edges and occasionally to margins of contents. A very good copy. First edition, wrappered issue. Founded in 1839, the City of Glasgow Bank was a respected financial institution with 133 branches. It catered to small depositors and investors and paid high dividends. Problems began when risky lending practices and speculative investments increased the institution's liabilities far above its assets, and directors began falsifying the books to stay afloat. The British liquidity crisis of 1878 brought down the facade and, in the face of intense public interest in the case, all the directors were tried and convicted. This volume publishes a complete record of the trial, including testimonies, the concluding speeches, and portraits and brief biographies of the defendants.

      [Bookseller: Peter Harrington]
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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 premiere 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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        APPENDED EDITION. EPITOME OF THE ANCIENT HISTORY OF JAPAN, INCLUDING A GUIDE BOOK. With Illustrations of the Principal Historical Personages, Taken From Ancient Pictures.

      OBSCURE THEORY OF JAPAN & KOREA BEING THE LOST TRIBE OF JEWSNagasaki 1879, - Rising Sun. Geen limp cloth, 10.5 x 14.5 cm.,gold-stamped cover title:JAPAN AND THE LOST TRIBES OF ISRAELBY N. MCLEOD, 15 copper-etched illustrations, bit of minorwear to corners, else solid. FIRST AND ONLY RARE EDITION 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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        Las Hadas del Mar. Cuentos de Mágia. Tomo I and II (Volume I and II)

      Barcelona.: Celestino Verdaguer.. 1879.. TWO VOLUMES. 61 chromolithographic plates with tissue guards, all edges gilt, 480pp+478pp, index at rear of each volume, 11 1/4 x 8 inches, decorative embossed red cloth covered boards with decorative gilt spine (hardbound). Covers lightly soiled; some tissue guards badly torn, tissue adhering to some plates, foxing to first and last few pages of each volume and sporadically through the text, scattered foxing to plates (mainly outside image area of the plates) but the plates are rich and bright. Still overall in very good condition. Stories of sea fairies and tales of magic written by José Feliu y Codina with beautiful and richly colored chromolithographic illustrations by Mr. J. Simon. Feliú y Codina was a playwright known for naturalistic regional dramas as well as for authoring opera librettos. His early works were in Catalan but his reputation was made with dramas and other literary works written in Spanish. Text in Spanish. .

      [Bookseller: oldimprints.com]
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        Novels

      Richard Bentley & Sons, London 1879 - 1879, 1880, 1881. New edition (fourth). Octavo. Frontispieces (a portrait and five scenes). Later 3/4 brown calf over marbled boards. Very good. No signatures or bookplates. Six volumes. Three titles are dated 1879, two 1880 and one 1881. An attractive well bound sturdy set. [Attributes: Soft Cover]

      [Bookseller: Houle Rare Books/Autographs/ABAA/PADA]
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        British Fresh-Water Fishes

      William Mackenzie, 69, Ludgate Hill, London 1879 - Litchfield 52; Nissen, ZBI 2009; Westwood & Satchell (supplement) 247; Thacher p. 269 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 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 [Attributes: First Edition]

      [Bookseller: James Cummins Bookseller, ABAA]
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        Roland furieux

      First printing illustrations of Gustave Doré, one of the 50 copies on Whatman. Librairie Hachette et Cie Paris 1879 33,5x48cm relié

      [Bookseller: Librairie Le Feu Follet]
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        La pitié suprême

      Michel Lévy 1879 - - Michel Lévy, Paris 1879, 15,5x23,5cm, relié. - 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 oeuvres 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 oeil 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 oeuvre 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, [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Menschliches, Allzumenschliches, Anhang: Vermischte Meinungen und Sprüche (Human, All Too Human A Supplement: Mixed Opinions and Maxims)

      Chemnitz: Schmeitzner, 1879. First edition. Very Good +/none. The Second Aphoristic Work the Anhang to MenschlischesNIETZSCHE, Friedrich. Menschliches, Allzumenschliches, Anhang: Vermischte Meinungen und Sprüche (Human, All Too Human A Supplement: Mixed Opinions and Maxims). Schmeitzner, Chemnitz, 1879. TP + [3]-163. Octavo. First Edition (Schaberg 31).There were approximately 350 copies of the first edition in the first issue state.The present work was conceived as an addendum to the previous book and it continues Nietzsches incisive observations and evaluations on any number of topics, once again presented in the famous aphoristic style that characterizes these works of Nietzsches middle period, the works for free spirits. Nietzsche saw this book so integrally as a continuation of the first Menschliches Allzumenschliches that he suggested to his publisher that it simply continue the pagination where the previous book had left off, though Schmeitzner persuaded him against the idea. The philosophers presentation of his insights in what appears at first glance as a random assortment of loosely related fragments was a strategic decision. Even though he viewed his era as a decadent one, in which a unitary world-view was difficult if not impossible, and that the philosopher of his day could at best hope to illuminate a few spaces neglected in the great systems of the past, he was also writing in self-conscious defiance of the great systems, the works of Kant, Hegel and Spinoza, trying to retrieve the danger of real thought from the lethargy of thinking in which every question is already answered by reference to the system before it is even posed. CONDITION: Contemporary ½ morocco binding with gilt lettering to restored spine. Decorative endpapers. Very good. This is a tight, very clean & beautiful copy. Lacking the advertisements. PHOTOS AVAILABLE UPON REQUEST Contemporary ½ morocco binding with gilt lettering to srestored pine. Decorative endpapers. Very good. This is a tight, very clean & beautiful copy. Lacking the advertisements.

      [Bookseller: Eternal Return Antiquarian Bookshop]
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        The Works of George Eliot Include: Middlemarch, Adam Bede, Romola, Silas Marner, The Mill on the Floss, Felix Holt, Daniel Deronda, etc Together with: George Eliot's Life, as related in her Letters and Journals Arranged and Edited by her Husband, J W Cross

      Edinburgh: William Blackwood and Sons, 1879., 1879. The Cabinet Edition, complete in 24 volumes being 21 volumes of the Works and 3 volumes of her Life. 8vo. A superb set in a later binding of half maroon crushed morocco by Bayntun with gilt titles to spines, marbled boards with gilt rule, marbled end papers, top edges gilt.

      [Bookseller: Adrian Harrington Rare Books]
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        The SAN FRANCISCO CHRONICLE And ITS HISTORY. The Story of Its Foundation, The Struggles of Its Early Life, Its Well-Earned Success. The New Chronicle Building, The Edifice and Machinery Described, Comments of the Press

      San Francisco, Cal.:. 1879.. 8vo. 8-7/8" x 5-3/4". 1st edition (Cowan II, p. 556). 60 pp. Text double column.. Original publisher's green cloth binding, with elaborate gilt stamping.. Bright gilt. Minor wear. A pleasing Nr Fine copy.. The Chronicle newspaper was founded in 1865 as The Daily Dramatic Chronicle by the two teenage brothers, Charles de Young and Michael H. de Young. Benefiting from the growth of San Francisco, by 1880, it had the largest circulation of all West Coast newspapers. This book tells the story of that founding & growth. Uncommon in the trade. . Frontispiece. 4 inserted chromolithographs.

      [Bookseller: Tavistock Books, ABAA ]
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