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Displayed below are some selected recent viaLibri matches for books published in 1889

        Abhandlungen über die Algebraische Auflösung der Gleichungen. Deutsch herausgegeben von H. Maser.

      Berlin, Springer, 1889. - VII, 155 Seiten, gr. 8vo (ca. 24x16,5 cm), blindgeprägter Original-Ganzleinenband mit goldgeprägtem Rücken. Die Ecken leichter gestaucht, innen etwas gebräunt, sonst sehr gut erhaltenes Exemplar. Originalausgabe, kein Reprint! [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Mertens]
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        A London Plane-Tree, and other Verse

      T. Fisher Unwin, Cameo Series, London 1889 - First edition. Octavo. Parchment boards decorated and lettered in gilt. Frontispiece. Vellum leaves. Boards slightly foxed and toned, else a nice near fine copy. Copy number 1 of 30 copies on vellum, specially bound, and numbered and Signed by the publisher, whose copy this was.Amy Levy was a remarkably precocious feminist. One of her childhood drawings shows a woman standing on a soap box with a banner reading: "Women's Suffrage! Man is a Cruel Oppressor!" Reviewing Elizabeth Barrett Browning's Aurora Leigh for a children's magazine at the age of 13, she criticized the author for including "too many learned allusions" but suggested that "it is only natural that she should wish to display what public opinion denies her sex -- a classical education." Four years later, she contributed an article, "Jewish Women and Women's Rights" to *The Jewish Chronicle*, and became the second Jewish woman to go to Cambridge. Amongst her later friends were Eleanor Marx, Olive Schreiner, and Vernon Lee, to whom she was particularly drawn. Through her friendship with Lee, she was able to join a circle of female friends amongst whom she could express her sapphic orientation with greater openness.Much of Levy's symbolist-inflected verse tends towards melancholy, as did its author. "She was indeed frequently gay and animated," wrote Richard Garnett in the DNB, "but her cheerfulness was but a passing mood that merely gilded her habitual melancholy, without diminishing it by a particle, while sadness grew upon her steadily, in spite of flattering success and the sympathy of affectionate friends." Aside from the habit of despair, she suffered increasingly from deafness and feared that, like her brother, she might go mad. The controversy following publication of her second novel, *Reuben Sachs*, and above all a critical reference to it in *The Jewish Chronicle*, may have exacerbated Levy's final depression. The paper mentioned it in its review of a pseudonymous novel, published by Fisher Unwin, entitled *Isaac Eller's Money*: *Isaac Eller's *Money* . is a clever performance in the style of *Reuben Sachs*, but less intentionally offensive. The clever ill-natured fiction of Jewish life has now reached a high level of development." On September 10th 1889, two months short of her 28th birthday, Levy committed suicide. Writing in the *Boston Herald* earlier that year, Louise Chandler Moulton recalled that she had first heard of Amy Levy in the autumn of 1887: "Oscar Wilde had assumed editorship of *The Woman's World*, and was telling me his plans for the new number, which was to be issued in December of '87. 'The most wonderful thing in the number,' he said, 'will be a story, one page long, by Amy Levy . a mere girl, but a girl of genius.'" In his later obituary of her, Wilde wrote: "Miss Levy's novels *The Romance of a Shop* and *Reuben Sachs* were both published last year. The first is a bright and clever story, full of sparkling touches; the second is a novel that probably no other writer could have produced. Its directness, its uncompromising truths, its depth of feeling, and above all, its absence of any single superfluous word make it, in some sort, a classic. To write thus at six-and-twenty is given to very few." Amy Levy then fell off the literary map for almost a century.On September 10th 1889, two months short of her 28th birthday, Levy committed suicide. Her death certificate recorded the cause of death as "asphyxia from the inhalation of Carbonic Oxide Gas from the burning of charcoal." In an article for *The Boston Pilot* Yeats comment: "Literary London was deeply moved by the suicide of the young Jewish novelist and verse writer, Miss Amy Levy. Many will take up with sad interest the posthumous volume, *A London Plane-Tree*, now in the press. I saw her no long while before her death. She was talkative, good-looking in a way and full of the restlessness of the unhappy. Had she cared to live, a future of some note awaited her." Rare. [Attributes: First Edition; Hard Cover]

      [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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        Chart of West Coast of North America from Mt. St. Elias to Columbia River.

      [Concord, NH or Dorchester, MA?] 1889 - A unique, accomplished, and mammoth manuscript of the American West Coast Ink and watercolor wash on laid paper, backed with canvas and mounted on rollers, with bright colors and surface almost entirely intact but for a bit of creasing and some minor chipping along rollers. This manuscript by New Hampshire native John Tilton McClintock depicts the northwest coast from the Alaska panhandle to Tillamook County, Oregon. The son of an expert surveyor and himself a future architect, McClintock—in his late teens at the time—was already an accomplished draftsman. His map shows the complex coastal outline and the region's many islands, employs shading to indicate in a general way the many mountains and mountain ranges, names major geographical features and towns, and outlines county boundaries in Oregon and Washington. This data is superimposed on a carefully-drawn coordinate grid. The intent of the map appears to have been to illustrate or memorialize a round-trip journey from Puget Sound to Glacier Bay for the benefit of friends or family back home. The voyage track is shown in red ink, with a few July dates indicated in Alaska, apparently the dates of landfall at different ports of call. Just east of Queen Charlotte Sound McClintock provides an outline map of New Hampshire to convey a sense of the region's massive scale. John Tilton McClintock (1872-1929) McClintock was born April 23, 1872 in Concord, New Hampshire and died at Wollaston, Massachusetts on Dec. 20, 1929. His father John Norris McClintock (1846-1914) was an accomplished surveyor and civil engineer whose career included an eight-year stint with the U.S. Coast Survey, during which time he was involved in geodetic and topographical surveys as far afield as Texas and Lake Champlain. The elder McClintock later settled in New Hampshire and then in Dorchester, Massachusetts and received a number of patents related to sewage treatment and sewer construction. In 1898 or 1899 he founded the American Sewage Disposal Company of Boston. John Tilton McClintock was at Harvard from 1894-97, though the first Report of the Class of 1898 (published that same year) describes him as a "temporary member." The Report indicates that he was living on Beacon Street in Boston, practicing as an architect, and Secretary of the Board of the American Sewage Disposal Company. Apparently both the Sewage Disposal Company and his architecture practice operated from the same office at 89 State Street. Also in 1898 he married Grace Lang Coffin in Boston, from whom he was divorced ten years later and remarried to one Gertrude Elizabeth Rogers Sears. McClintock's name shows up in OCLC associated with three maps and views of southeastern Massachusetts localities, all published in the 1890s and two of which were published by Boston lithographer Geo. H. Walker & Co. At the time this description is being written our firm also has a promotional plan for the town of Niagara, North Carolina, drawn by McClintock and published by Walker. Unfortunately, McClintock's manuscript map of the Northwest leaves it unclear whether he is recording his own travels or those of another. The limited biographical information located for him provides no indication he made such a voyage. One possibility is that the map is based on a draft or notes produced during a trip made by his father, though for now this remains a hypothesis.

      [Bookseller: Daniel Crouch Rare Books NY LLC]
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        Essays and Pen-Pictures -- bound with Pensées et Essais

      Paris: I: Printed by T. Symonds -- II: Librairie Documentaire. Very Good+. 1889. First Edition; First Printing. Hardcover. 149 & [1, index]; 120 pages; Two 1889 volumes issued by separate publishers and in different languages, bound together: 'Essays and Pen-Pictures' Paris: Printed by T. Symonds, 1889 -- and 'Pensées et Essais' Paris: Librairie Documentaire, 1889. Contemporary fine French binding of three-quarter brown crushed levant morocco over marbled boards with marbled endpapers and uncut fore- and bottom edges -- signed "Laureaux" in tiny letters on the top corner of the verso of the front free endpaper. Nicely preserved, with just a touch of light rubbing to the marbled paper on the covers and the tips of the corners. Inscribed by the author in ink on the half title of 'Essays and Pen-Pictures' -- "A Monsieur [name erased] / Hommage de l'Auteur / Jesse Francis Shepard / Paris Oct, 1890." (This unfortunate eradication of the name of the recipient was done before we owned this volume, and has left a thin spot in the paper). Even for connoisseurs of the unusual, the books and life of the author, Jesse Shepard [1848-1927] offer some stark contrasts. His first two books, bound together here -- one in French and one in English, received attention and praise from Stéphane Mallarmé and Paul Verlaine. Mallarmé, essentially, wrote that Jesse Shepard achieved "with musical combinations and melodies" what Poe had done with the rhythm of words. Maurice Maeterlinck pronounced Jesse Shepard to be “the supreme essayist of our age.” Twenty years later, the author would publish another book (under an entirely different name) which received lengthy and admiring attention from Edmund Wilson in 'Patriotic Gore.' While Wilson, a brilliant and prolific critic, knew the literature of French symbolism well, his masterful 'Patriotic Gore' is devoted to an entirely different category of writing -- the writings surrounding the American Civil War. The author had been born Benjamin Henry Jesse Francis Shepard, September 18, 1848 in Birkenhead, near Liverpool, in England. His parents moved with their infant to the American midwest, so Jesse Shepard spent his early youth in a log cabin in Sangamon County, Illinois. He was an eyewitness to the final debate between Abraham Lincoln and Stephen Douglas, in Alton, Illinois, where his parents next moved. From 1859 to 1862 he lived in St. Louis and served as a page for General John C. Fremont. But, having discovered an affinity for playing the piano (during a brief family residence in Niagra Falls), Jesse Shepard, who had very little formal musical training, played (and sang) across the world, often to Kings, Princes, and the elite of high society. It probably did not hurt his prospects for success that he was tall and strikingly handsome. During an early trip to Europe, the young Shepard profoundly impressed 80-year-old Daniel Auber, composer and director of the Paris Conservatoire -- (but Auber urged the young Shepard not to study music formally, fearing that his remarkable gift might be eroded by the traditional sort of training). Shepard was convinced that his extraordinary improvisations, both vocal and at the keyboard, were inspired by the spirits of several great composers. There are descriptions of his playing, the beauty of his voice (reputed to have a range of four octaves) and the shifting sources and nature of his improvisations, but, alas, no recordings seem ever to have been made. Two wealthy spiritualist admirers talked him into moving to San Diego California, where these brothers had a sumptuous house built for Shepard. While the house is now considered one of the masterpieces of California Victorian architecture, the real estate bubble in San Diego deflated somewhat in the late 1880's, and Jesse Shepard moved on after a couple of years -- initially to Europe, where the two books offered here were published. He also made efforts to distance himself from what he thought of as "phenominal" spiritualism -- the sort practised by mediums who presented themselves as channeling apparitions from the spirit world, while maintaining his interest in the more philosophical aspects of the spiritualism. Shepard also is said by at least one source to have converted to Roman Catholicism, having been baptised at Saint Vibiana's Cathedral in Los Angeles on May 15, 1888. The rest of his dozen books were published under an adopted name: Francis Grierson (using his mother's maiden name). He died in poverty nearly forty years later, nearly forgotten, in Los Angeles -- still seated at the piano, momemts after finishing a performance for friends, among whom his companion of forty years had intended to pass the hat. Along the way, a newspaper account of his unusual life and abilities appeared in the feature section of the Washington [DC] 'Herald' under the headline: "The Strangest Man In The World" -- [Feb 21, 1915]. Both these Paris-published books appear under more than one OCLC number, but the half-dozen copies listed of each title are scattered among the British Library, Bibliotheque Nationale, and a few other European libraries. OCLC locates no copies of either in the United States. [see OCLC 504060646 and 909358720]. As evidence, in part, of the scarcity of Shepard's 'Pensées et Essais' -- several sources, including the usually meticulous Edmund Wilson, mistakenly cite the title of one of the essays within: "La révolte idéaliste" as the title of Shepard's first book. Wilson asserts that Shepard's book had been privately printed. It seems most likely that despite his wide reading in the French literature of the Symbolist period, Edmund Wilson failed to find a copy to examine as he was preparing his long section in 'Patriotic Gore.' (To avoid confusion, we should point out that Wilson's consideration of Jesse Shepard in 'Patriotic Gore' was inspired by the 1909 volume: 'The Valley of Shadows' -- published under Shepard's adopted name, Francis Grierson). [An extended description is available on request, including quotes from contemporary notices of both Shepard's 1889 Paris publications in 'Le Feu follet : Revue littéraire': (X* Année. 9* Livraison. 38, pp. 401-404)].; Signed by Author .

      [Bookseller: Antiquarian Book Shop]
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        L'hypnotisme et les états analogues au point de vue médico-légal... Préface par M. le Dr P. Brouardel. Deuxième édition, revue et augmentée

      Paris, E. Plon, Nourrit, 1889, in-8, [8]-XV-[1]-583 pp, demi-basane bleu nuit à la bradel, couvertures conservées, Seconde édition, revue et augmentée, de ce traité sur l'hypnotisme initialement publié en 1887. Élève de Charcot, Georges Gilles de la Tourette (1857-1904), démontre que les rapports entre l'hystérie et l'hypnotisme sont très étroits : pour s'inscrire dans la pensée de son maître, il introduit ici les termes de "grand" et "petit hypnotisme", en pendant à la grande et à la petite hystérie de Charcot. Outre l'hypnose, l'ouvrage traite de plusieurs phénomènes tels que le magnétisme et le somnambulisme. Il aborde également les thèmes des suggestions criminelles, des cabinets de somnambules et des sociétés de magnétisme de spiritisme. Gilles de la Tourette suit la ligne initiée par les travaux de Charcot pour qui "un individu hypnotisable est souvent un hystérique, soit actuel, soit en puissance, et toujours un névropathe, c'est-à-dire un sujet à antécédents nerveux héréditaires susceptibles d'être développés fréquemment dans le sens de l'hystérie par les manoeuvres de l'hypnotisation", comme le rapportent Gilles de La Tourette lui-même, et Paul Richer dans l'article "Hypnotisme " (Dictionnaire encyclopédique des sciences médicales de 1887). Les 7 pages de la table des matières (pp. 577-583) ont été reliées en tête d'ouvrage, à la suite de la préface. Cachet ex-libris du Dr Carrier de Lyon. Feuillets jaunis ; néanmoins, bel exemplaire. Following Charcot, p. 139 et suiv. Caillet II, 6188.

      [Bookseller: Librairie Alain Brieux]
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        LIVRE D'OR DE L'EXPOSITION DE 1889 EN 2 TOMES (1+2).

      L. BOULANGER 1889 - ROD0100299: 2 TOMES : 1+2 : 404 pages + paginé de 401 à 796, richement illustrées de gravures en noir et blanc, dans et hors texte. Lettrines illustrées. Reliure signée "J.J". Fleurons, auteur, n° et titre en dorés. Texte sur deux colonnes. Intérieur se détachant. Coins et bords et coiffes frottés. Tâches sur le dos. Dos à 5 nerfs. Quelques épidermures. 5 PHOTOS DISPONIBLES. In-4 Relié demi-cuir. Etat d'usage. Couv. défraîchie. Dos à nerfs. Quelques rousseurs Classification Dewey : 940-Histoire générale de l'Europe [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Le-Livre]
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        14 alte Original-Fotos von Schloss Rosenburg und Ort Rosenburg im Kamptal

      Original Fotos im Format ca. 12,8 x 16,7 cm, nach 1889, aber vor 1900 - Fotos von Photograph Alfred Lorenz (eingeheiratet in die Familie Springer, Gars, Mühlenbesitzer, später höherer k.k. Beamter in Wien, sehr umtriebiger "Hobby"-Fotograf, hat teilweise regional kleine Bücher und Postkarten veröffentlicht u.a. bei Julius Kiennast Gars am Kamp, hat sich auch als Schriftsteller versucht usw.). Fotos aufgezogen auf Fotokarton 24,8 x 22 cm. Ein Foto leicht stockig, ansonsten aber gute Erhaltung. - Stammt aus dem Vorlass eines Botschafters i. R., ein Nachfahre und weitläufig Verwandter des Fotografen. - Bankverbindungen in Österreich und Deutschland.

      [Bookseller: Antiquariat Birgit Gerl]
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        A Doll's House - Mrs Henderson's Personal Copy

      T Fisher Unwin, 1889. Hardcover. Very Good. Published by T. Fisher Unwin, 1889, Limited Edition. Laura Henderson's copy with her bookplate and signature. Limited Edition of only 115 numbered copies, signed by publisher T. Fisher Unwin. This is copy number 48 and the first edition of Archer's translation, with a mounted photographic frontispiece of Ibsen and six studio photographs of the actors. Laura Henderson (1864 - 1944) rose to prominence in the 1930s when, as a wealthy and eccentric widow, she founded the Windmill Theatre in London's Great Windmill Street in partnership with Vivian van Damm, and they went on to turn it into a British institution, famed for its pioneering tableaux vivants of motionless female nudity and for having never closed during the Blitz. On her death in 1944, Laura Henderson bequeathed The Windmill to My Dear Bop, Vivian Van Damm. In his 1952 autobiography he described her as a great strain on one's nerves, patience and tact. She was portrayed by Dame Judi Dench in the 2005 film Mrs Henderson Presents. Lovely association. Sightly grubby boards and browned endpapers but contents present very well indeed.

      [Bookseller: John Atkinson Books]
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      Philadelphia: Gebbie & Co., Publishers, 1889.. Large octavo, pp. [1-4] 5-8 1-304 + 16-page publisher's catalogue dated "July, 1889" inserted at rear, flyleaves at front and rear, inserted frontispiece (colored map), numerous illustrations by A. Montader in text, original pictorial slate-green cloth, front and spine panels stamped in light blue, black, and gold, t.e.g., other edges untrimmed, olive-green patterned endpapers. First edition in English. Published in Paris as LA BABYLONE ELECTRIQUE (1888). Vernean science fiction novel that tells of the technological transformation of Mesopotamia, hindered by natives and unsatisfied workers. "An extraordinary fantasy of the attempt to make Mesopotamia a center of civilization." - Clarke, Tale of the Future (1978), p. 15. "All in all, equal to the work of Verne." - Bleiler, Science-Fiction: The Early Years 228. Clareson, Science Fiction in America, 1870s-1930s 081. Locke, A Spectrum of Fantasy, p. 36 (describing the later British edition). Suvin, Victorian Science Fiction in the UK, p. 37. Bleiler (1978), p. 26. Reginald 01479. Bookplate on front paste-down, touch of rubbing to cloth at head and tail of spine panel, a near fine, bright copy. A superior copy of a handsome book. Scarce. (#10346)

      [Bookseller: L. W. Currey, Inc. ]
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        Bilder aus Mekka.

      Leiden, E. J. Brill, 1889. - Folio (282 x 372 mm). 20 collotype prints mounted on 18 sheets loose in red gilt cloth portfolio as issued, complete with the oft-lacking half-title, list of plates, title and preface. One of the earliest photographic documents of Mecca and the Hajj, preceded only by the photographs of Muhammed Sadiq Bey published in 1881 (Sotheby's, 4 June 1998: £1,250,000). Much rarer than the author's similarly titled "Bilder-Atlas zu Mekka", a portfolio of lithographs to accompany the "Mekka" books which Snouck had published after his return from the Arabian Peninsula. "Following the publication of 'Bilder-Atlas zu Mekka', Hurgronje received a letter from his doctor in Makkah, whom he had taught the art of photography. The letter contained new photographs of the hajj which were of such great interest that he decided in 1889 to publish his 'Bilder aus Mekka' [.] The photographs provide an insight into the world of Makkah's inhabitants, pilgrims from all over the Islamic world, in addition to the sharif of Makkah, the Turkish governor, and various religious and secular figures" (Badr el-Hage, p. 46f.). "In 1981 F. H. S. Allen and C. Gavin first identified the earliest Arabian photographer by deciphering his elaborately calligraphed signatures, which without exception had been erased from the plates reproduced by Snouck Hurgronje: 'Futugrafiyat al-Sayyid 'Abd al-Ghaffar, tabib Makka' (The Photography of the Sayyid Abd al-Ghaffar, physican of Mecca). This princely eye surgeon had been host to the young Snouck in Mecca immediately after the Dutchman's conversion to Islam. Snouck claimed to have taught his host how to use a camera and attributes to him (without ever mentioning his name) the pictures reproduced in 'Bilder aus Mekka'". - Some chipping to edges and corners of title and mounts professionally repaired. Prints in excellent condition, only very slightly toned. Cloth portfolio a little faded; spine repaired, with 1914 De Belder bookplate on pastedown. Very rare: only two copies at auctions internationally during the past decades (the last, at Sotheby's in 2006, was incomplete, lacking all the text leaves). Macro 1233. Badr el-Hage. Saudi Arabia Caught in Time. Reading, 1997. F. E. Peters. The Muslim Pilgrimage to Mecca and the Holy Place. Princeton University Press 1996. [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Slave Trade. No. 1 (1889). Correspondence relative to the Slave Trade: 1888-89. Presented to both Houses of Parliament by command of Her Majesty. August 1889. [C.-5821].

      London, Printed for Her Majesty's Stationery Office, by Harrison and Sons, 1889. - Folio. IV, 103, (1) pp. Top edge gilt. Sewn, with remains of former spine. Rare British parliamentary papers and correspondence with local agents and officers on the slave trade, including British Navy operations off the coast of Zanzibar and the eastern coast of the Red Sea. With a account of the horrors of the slave transports and the slavers' brutality, and reference to the Persian Gulf Division, operating from Bandar-e-Jask, their ships "proceeding to Bushire, calling along the Pirate Coast and Bahrein" (p. 38). The relevant sections are "Africa (East Coast) and Arabia" (pp. 4-55); "Egypt" (pp. 63-77), "Italy" (pp. 78-81), and "Turkey" (pp. 82-103), which include information on the slave trade in the Red Sea area. - A good copy. [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Excursions chez les peuples étranges : causeries ethnographiques

      / avec une préface de A.Quatrefages, membre de l'institut-professeur au muséum d'histoire naturelle; illustrations en couleur par H.Leutemann. Paris : Librairie de Théodore Lefèvre et Cie., Emile Guérin, éditeur, [1889]. First edition. Quarto, original cloth backed pictorial papered boards (lightly rubbed, corners bumped), pp vi, 71, [1 table of contents], with 12 double-leaf chromolithographic illustrations bound in hors texte, the subjects being: les hindous; les chinois; les japonais; les arabes; les nubiens; les nègres; les hottentots et les bochimans; les esquimaux; les guaranis et les patagons; les papous; les polynésiens; les australiens; contents clean and bright, a fine copy. Text in French. A beautifully produced late nineteenth century children's ethnography. German illustrator Henrik Leutemann's superb chromolithographs depicting a total of fourteen different ethnic groups are each accompanied by six pages of text describing the material culture and traditional way of life of a particular people. A key beneath each illustration draws the young reader's attention to details within the picture. The illustration of Australian Aborigines, for example, includes a bark shelter; a boomerang; spears; a shield; a kangaroo; a platypus; dingos, and a brushturkey. Rare. Only three copies located in OCLC (University of Melbourne; University of Cambridge; Koninklijke Bibliotheek, Den Haag).

      [Bookseller: Douglas Stewart Fine Books]
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      London: Digby and Long, Publishers, n.d. [1889?].. Octavo, pp. [1-6] [1] 2-322, nineteenth-century three-quarter black leather and gray cloth, brown leather title label affixed to spine panel. First edition. There are two printings (issues?) of this Digby Long edition, this one with "[Now first published]" above the title (as here), the other with the subtitle, "A Story of Russia and Nihilism." A U.S. edition issued April 1, 1890 as volume 1, number 16 of Collier's "Once-a-Week Library," a subscription series, which may have appeared in between the two Digby Long printings. This is one of two books written by Eastwood. This is a presentation copy with an inscription by Eastwood at the upper right corner of the half title page: "To George Edmunds / with the kind regards / of the author / Nov 5th / 89." If the date of the inscription is correct, then it preceded Collier's edition, although the British Library assigns a date of 1891 to this edition (which is not dated by the publisher). This copy in three-quarter contemporary leather may be a presentation binding. A small broadside advertisement headed "'Within an Ace' / by Mark Eastwood / Opinions of the Press / ..." is tipped in on the blank leaf preceding the rear free endpaper and a short contemporary newspaper review is pasted on to the rear pastedown, praising the book's narrative power and vivid sensationalism: the story begins with a hanging -- of the story's narrator and hero! -- and his revival some hours later in a surgeon's office. The story is told in the present tense. It's unknown whether the author was American or British. An additional gift inscription from a relative of the original recipient is present below the original inscription. Leather rubbed at spine ends and covers, but a very good, attractive copy overall. OCLC reports two copies of this book, only one in America (Ohio State). (#148229)

      [Bookseller: L. W. Currey, Inc.]
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        Liegender alter Mann. Bleistiftzeichnung um 1970..

      Blattmaß 32,5 X 43,5cm,, Signatur mit Bleistift unten rechts, Wilhelm Rudolph (geb. 22. Februar 1889 in Chemnitz, gest. 30. September 1982 in Dresden). Am äußeren Rand etwas fleckig, Ecken mit je einem Loch (frühere Fixierung)

      [Bookseller: Graphikantiquariat Koenitz]
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        Histoire de la bête du Gévaudan, véritable fléau de Dieu, d'après les documents inédits et authentiques

      Saint Martin de Boubeaux, chez l'auteur, 1889. Très fort volume In-12 broché de 1040 pages, sous double étui. L'auteur, l'Abbé Pourcher, curé de Saint Martin de Boubaux, érudit local, imprimait lui même ses ouvrages. Son Histoire de la bête du Gévaudan, fruit d'inlassables recherches dans les fonds d'archives et l'écoute de la mémoire collective est l'ouvrage le plus fiable et le plus recherché sur ce mystère encore inexpliqué qui fit couler beaucoup d'encre. Petit scotch en dos, Ex-libris. Edition originale de toute rareté, bel exemplaire.

      [Bookseller: Librairie Artgil]
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      New York: "Edition de Luxe" limited to 1500 copies, this no. 12. Prepared and Executed by the Quartermaster General of The United States, Under the Authority of The Secretary of War, 1889. The plates all fine and bright, the wrappers VG+. Folio. Text and 44 brilliant chromolithograph plates executed by G.H. Buek & Co., after the watercolors by Ogden (plates measure 17 3/8" x 15 1/8"). The images cover uniforms from 1774-1888. Issued in ten parts with text and plates in the wrappers all laid in loose, as issued, in a new custom solander box of navy blue cloth with a facsimile title mounted to the upper cover. Howes O36 aa.

      [Bookseller: First Folio]
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        Les champignons supérieur du Tarn. Ouvrage couronné par l'Académie des Sciences de Toulouse (Medaillon d'or).

      - Paris, J. B. Baillière et fils, 1889. 8vo (21.5 x 14.5 cm). 198 [i] pp., 32 chromolithographed plates. Later half cloth over marbled boards. Gilt title on the spine. Marbled endpapers.l A fine example of a very well-illustrated regional mycological work, in this case of the Tarn region east of Toulouse in southern France which is characterized by diverse micro-climates and a huge variety of fungi of Mediterranean, mountain and western European origin. Signed by the author on the half-title. According to Volbracht "selten". Neither in Nissen, BBI, nor in Stafleu & Cowan. Volbracht, 117. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Antiquariaat Schierenberg]
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        Catalogue de l'Exposition de Peintures du Groupe Impressionniste et Synthétiste faite dans le local de M. Volpini au Champ-de-Mars 1889

      Watelet imprimeur. brochée. Couverture en deux couleurs. Belle chemise boite ajourée en maroquin noir d'Alidor Goy Première édition et premier tirage des 8 gravures. C'est à Paris que se tient l'Exposition universelle de 1889. Au pied de la Tour Eiffel, érigée pour l'occasion, est installé le Pavillon des Beaux-Arts. Outre une décennale internationale, le Pavillon offre une vaste rétrospective de l'art français depuis 1789. Pour la première fois au cours d'une manifestation officielle, quelques tableaux pré-impressionnistes ou impressionnistes côtoient la multitude académique. Grâce à son ami Antonin Proust, commissaire de la Centennale de peinture, Manet, mort depuis six ans, est représenté par une quinzaine de toiles. Si Renoir et Degas ont décliné l'invitation, Cézanne, Desboutin, Monet, Pissarro ou Raffaëlli ont seulement une, voire deux toiles accrochées. De son côté - plus irrecevable que jamais - Gauguin s'efforce quand même de trouver le moyen d'exposer. Se souvenant de l'exposition que Vincent van Gogh avait montée dans un restaurant populaire de l'avenue de Clichy, il a l'idée de refaire la même chose à proximité de l'Exposition universelle - ainsi fut peut-être pressenti le Café des Arts du sieur Volpini, aire de restauration éphémère aménagée pour la durée de l'Exposition dans la galerie attenante du Palais des Beaux-arts. Gauguin chargea Schuffenecker des tractations auprès du cafetier et Volpini (qui ne voyait toujours pas ses miroirs décoratifs arriver) se laissa convaincre de prêter gracieusement ses palissades. Aux premiers jours de juin, Gauguin pouvait écrire à son ami : Mon cher Schuffenecker Bravo ! Vous avez réussi - Voyez Van Gogh et arrangez cela jusqu'à la fin - Seulement rappelez-vous bien que ce n'est pas une exposition pour les autres - En conséquence arrangeons-nous pour un petit groupe de copains et à ce point de vue je désire y être représenté le plus possible (...) Songez que c'est nous qui invitons par conséquent : Schuffenecker 10 toiles / Guillaumin 10 toiles / Gauguin 10 toiles / Bernard 10 toiles / Roy 2 toiles / l'homme de Nancy 2 toiles / Vincent 6 toiles. Avec cela c'est suffisant - Moi je refuse d'exposer avec les autres Pissarro, Seurat, etc. C'est notre groupe ! Je voulais exposer peu mais Laval me dit que c'est mon tour et que j'aurais tort de travailler pour les autres (lettre publiée et présentée par Victor Merlhès in Paul Gauguin - Pages inédites, éditions Avant et Après, 1995). Las, trop content de son succès, Schuffenecker joua les casseurs d'assiette - la manifestation devait même enfoncer tous les autres peintres - ce qui ne fut pas du goût de Théo van Gogh qui déclina l'invitation faite à son frère. Guillaumin se récusant aussi, on pallia aux défections à l'aide de quelques jeunes, quelques doublures dira Gauguin, recrutés parmi les amis de Bernard ou de Schuffenecker : Louis Anquetin, Léon Fauché - l'homme de Nancy -, Louis Roy et Georges-Daniel de Monfreid. Aucun tableau ne se vendit, mais pour la première fois, l'Ecole de Pont-Aven, comme on l'appellera ensuite, se montrait au public. Dans le landerneau pictural, la sécession Volpini fit un petit bruit considérable et marqua l'histoire de l'art d'un tournant décisif. Le synthétisme - mélange de japonisme et de stylisation simplificatrice du dessin et de la couleur - qui s'oppose directement à la technique des néo-impressionnistes, devait d'ailleurs, toujours dans le baraquement de Monsieur Volpini, décider de l'avènement des Nabis et de bien d'autres courants du siècle à venir ; n'est-il pas considéré comme la première étape de la naissance de l'art moderne ? Un autre amateur de caféine, Edvard Munch, qui avait alors un tableau à la décennale internationale et venait de rejoindre Paris, en subit aussi l'influence. Ce précieux et emblématique petit catalogue - bien évidemment d'une grande rareté - se serait vendu 50 centimes. Il est illustré de 8 gravures - ce sont bien des gravures comme l'indique le foulage du papier, des zincogravures plus exactement - d'après des dessins de Paul Gauguin (2), Daniel de Monfreid (1), Émile Bernard (2) - qui scinde sa contribution en deux, utilisant le pseudonyme de Ludovic Nemo pour présenter des œuvres de 1887 -, Louis Roy (1), Léon Fauché (1) et Claude-Émile Schuffenecker (1). Le catalogue ne reproduit aucun dessin de Charles Laval et Louis Anquetin. Les 96 œuvres exposées sont toutes énumérées. Le tirage du catalogue n'est pas connu, mais vues les finances anémiques de ces messieurs... Le dessin de Gauguin qui ouvre le catalogue, Aux Roches noires, réalise une fusion de deux toiles peintes au Pouldu en 1889. Plus tard, Gauguin découpa cette gravure pour la coller, après l'avoir colorée d'aquarelle, sur le plat du portefeuille intitulé Document / Tahiti / 1891-1893. Le second dessin de Gauguin reprend exactement le thème et les personnages de sa toile Les Faneuses. Ce dessin fut envoyé de Pont-Aven à Schuffenecker peu avant l'impression du catalogue. Bel exemplaire.

      [Bookseller: Librairie Pierre Saunier]
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        Zürich. Acht Lithographien von Otto Baumberger.

      Folio. (4) S. u 8. s/w Orig.-Lithographien (49 x 65 cm) unter Passepartout, HLwd. mit losen Blättern, Mappe etwas gebräunt, fleckig, Im Gelenk etwas eingerissen. Blätter tadell. Laut dem Autor des Werkververzeichnisses, Herrn Arnold Erni, wird die Auflage kaum über insgesamt 300 Exemplaren hinaus gegangen sein, davon vermutlich 150 signiert.Mappenwerk des künstlerisch auserordentlich vielseitigen und politisch sehr biegsamen Schweiz. Grafikers, Bühnenbildners, Malers, Zeichners u. Illustratoren Otto Baumberger (1889-1961). Nach seiner Ausbildung u. anschliessenden Auseinandersetzung mit dem Expressionismus u. Kubismus war der Künstler als Bühnenbildner tätig. Grosse Wertschätzung erhielt er vor allem als Plakatgestalter. Die vorliegenden Arbeiten dokumentieren die Industrialisierung Zürichs. "Zu Beginn seiner künstlerischen Arbeit ist Baumberger in erster Linie dem Expressionismus verpflichtet. In den grafischen Blättern mit gesellschaftskritischen Themen nähert er sich inhaltlich wie stilistisch George Grosz und Otto Dix an. Zusammen mit Fritz Pauli, Otto Morach, Hermann Huber und Ignaz Epper gehört Baumberger zu den wichtigsten Vertretern des Expressionismus in der Schweiz" (SIKART). [Starke, expressive Darstellungen der Stadt Zürich.]

      [Bookseller: antiquariat peter petrej]
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        Album du vieux Strasbourg. 16 vues dessinees et lithog. d'apres nature 1838-40

      29,5 x 23 cm. 4 ff., 16 planches lithographiques. Dans brochure originale. *Reedition de 1889 des 16 vues lithographiques, qui etait parus premier foi 1838-1840. - Tres bonne etat, la brochure avec quelques rousseurs a dos.

      [Bookseller: Antiquariat Bernd Braun]
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        Knights Templar Cards from the Triennial at Washington, D. C. [cover title]

      [Washington, D.C. 1889 - Over 1,000 mounted printed calling cards of Knights Templar members attending the 1889 Triennial Grand Conclave. Many signed by the members. Contemporary half brown morocco and pebbled cloth covered boards, upper cover and spine lettered in gilt, marbled endpapers Provenance: C. G. Young (name in gilt on upper cover) An impressive collection of Knights Templar calling cards. The twenty-fourth Triennial Grand Conclave of the Knights Templar was held October 8th to 10th in Washington D.C. The calling cards, beautifully printed in gold and colors and including an intricate array of Masonic symbols, were actively collected and traded by members. At the time of this conclave, Carlos G. Young, the compilor of the present album who attended the conclave, served as the Generalissimo of the Golden Gate Commandery, No. 16, K.T. In the rear of this album is a souvenir pamphlet (printed recto only, and disbound and mounted within the album) titled Pilgrimage of Golden Gate Commandery No. 16 Knights Templar . to Washington, D.C. which details day-by-day the San Francisco commandery's trip to the Conclave. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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      - 1889, Paris, en vente à la Librairie illustrée. 2 volumes in folio reliés demi-chagrin rouge, dos lisse titré à l'or filets et tomaison dorés. tome 1 : (premier et deuxième volume) et tome 2 (troisième et quatrième volume) : 324 pages. dessins in et HT en noir, HT en sepia. Ensemble bien complet des 80 numéros hedomadaires parus pendant la durée de l'exposition. Ouvrage le plus complet de 1889 à Paris. Bel exemplaire. [Attributes: Hard Cover]

 22.   Check availability:     AbeBooks     Link/Print  


      1889 - New York: Charles L. Webster & Company, 1889. 2 pp undated ads. Original olive green cloth decorated in gilt, black and grey. First Edition of Twain's satirical time-traveling fantasy -- probably preceding the English edition titled A YANKEE AT THE COURT OF KING ARTHUR (both editions were issued in early December, precedence unknown). Hank Morgan, knocked out during a fight, comes to in Camelot in the year 528, where he avoids execution by successfully predicting an eclipse, uses 19th century weapons to help repel an attack, marries, and has a child -- only to be put into a deep sleep by Merlin, to reawaken in his proper era.~On all copies the title word "Connecticut" was curiously omitted from the binding. This copy has the p. 59 plate in the second state, lacking the odd S-shaped ornament between the words "The" and "King"; the ornament was apparently routed from the plate mid-run, as it was seemingly spelling "The Sking." In this copy p. [i] is blank, and there are olive green-on-pale grey floral-patterned endpapers (no precedence established for these latter points). It is in bright, just-about-fine condition (the slightest of rubbing at the corners, small ownership ink-stamp on the front paste-down). McBride p. 125; Blanck 3429. [Attributes: First Edition; Hard Cover]

      [Bookseller: Sumner & Stillman [ABAA]]
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      Chicago: Goodspeed Publishing Co. Very Good-. 1889. First Edition. Hardcover. This scarce title has been handsomely rebound in full brown leather incorporating the gilt title from the original binding set into the front cover. Marbled endpaper. Engraved illustrations. This original 1889 text is tight, clean. Paper is fragile, several pages at front & rear of text are age toned & edge chipped. Condition VG-. Biographical & Historical Memoirs (Northeast Arkansas) ; Engraved Illustrations; Large 8vo 9" - 10" tall; 1382 pages .

      [Bookseller: Nick Bikoff, Bookseller]
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        Dictionnaire des finances. Tome I: A-D; Tome II: E-Z. [TWO VOLUMES].

      Paris, Berger Levrault, 1889-94.. Two volumes. Thick crown quarto. Pp. xix, 1562; 1571. Text in double columns. Hardcover, uniformly bound in contemporary quarter sheep and marbled boards, vellum corners, spines with raised bands, 2 gilt labels to each spine, new endpapers. Handsome set in overall very good condition. ~ Léon Say (1826-1896), French statesman and economist, grandson of Jean-Baptiste Say.

      [Bookseller: Librarium of The Hague]
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        Nuits à Paris

      first edition, one of the rare copies on the verge of Holland paper of which there is no mention.Illustrated book of 100 sketches by Adolphe Willette.Small marginal tears with no gravity on the boards and a tiny lack at the foot of the back. Dentu Paris 1889 12x17,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Chicago & Nashville: Goodspeed Publishing Co. Good+. 1889. First Edition. Hardcover. Dark brown embossed leather. Spine has raised bands, title and gilt decorated panels. Centered gilt decoration on front cover. All edges gilt. Portrait illustrations. Text's interior tight, clean & Intact. Endpaper has chipped edges. Lightly rubbed front corners. A small leather gouge on front cover. Arkansas condensed history; Biographies of distinguished citizens; Portrait illustrations; A brief history of each of the counties named herein. South, Northeast Arkansas ; Portrait Illustrations; 4to 11" - 13" tall; 981 pages .

      [Bookseller: Nick Bikoff, Bookseller]
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        Opium: Historical Note, or The Poppy in China

      Shanghai.: Inspector General of Customs at the Statistical Dept of the Inspectorate General of Customs.. 1889.. Black and white engraving in text "Pipe for smoking tobacco through water". iv + 50pp English text + [1] blank + xxvii pages in Chinese. Index, Original bright yellow original wrappers. Number 13 in China Imperial Maritime Customs II - Special Series. Upper paper cover chipped and torn with tape repairs. Presented in a very handsome quarter calf clamshell box, spine decorative gilt, raised bands, contrasting title labels lettered in gilt. 28 x 21.5cm. First edition of Joseph Edkins work later republished by the .

      [Bookseller: Asia Bookroom]
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        Walt Whitman ALS: "Am preparing an edition of Leaves Of Grass... getting along ... better + gayer heart than you might suppose" to Gabriel Sarrazin, French poet and translator

      Camden, NJ, May 4, 1889. 3" x 5". "ALS postcard, 5"" x 3"", includes three postmarks ""Paris / 16 Mai / 89"", ""Camden / May 4/ 89"" with the third being illegible. Signed by Walt Whitman as ""Walt Whitman"". Boldly scripted with strong contrast entirely in his own hand. Appears to have been forwarded as the card maintains a postmark from Paris, but was ultimately readdressed with an over- stamp to London, England. Front slight discoloration from being in an album, with verso maintaining a few small spots of smeared ink, else near fine.Whitman's letter reflects on his infamous poem, Leaves of Grass in addition to noting his severe deteriorating health which plagued Whitman his entire life. His letter is shown in full below:""Campden New Jersey US AmericaMay 4, '89The book ""Poesie Anglaise"" safely rec'd - thanks + thanks again. I am still laid up here lame and paralyzed - kept in for a year but getting along (as we call it) better + gayer heart than you might suppose. Am preparing an edn of Leaves of Grass to be put in pocket book binding with fuller text + shall send you one when ready. For this time I send loving wishes + an old fellow's benison. Walt Whitman""Called America's first ""poet of democracy"", a name for Whitman which reflected his ability to write in a singularly American character. Among the most influential US poets, often called the ""father of free verse"", his work was very controversial, particularly ""Leaves of Grass"" (1855) which was described as obscene for its overt sexuality. He worked as a government clerk and as a volunteer nurse during the Civil War. ""Leaves of Grass"", published with his own money, was an attempt to reach out to the common person with an American epic. He continued expanding and revising it until his death. There is a distinct contrast between Whitman's idealized notions of the human body as expressed in his literary work and the actual state of his health as it evolved over the course of his life. The many revisions of Leaves of Grass did not so much parallel his decline in health as much as reinforce his original conception of the natural human being as the divine reflection of the cosmos. Over time this idea as an essential theme of his work began to take precedence over others, serving as both his conception of America's unique characteristic as a people and the archetype of his own self-created myth for the model of healthy masculinity.As a consequence, the health-imbued persona of mythic proportions he projected in his work fused with new and various aspects of his self-created image as healer in each newly revised edition of the work. Harold Aspiz believes the first three editions of Leaves of Grass illustrate a merger of what he terms the ""fact and invention"" of Whitman's self-portrayal as the self-endowed symbol of his own magnificent body. His image as ""one of the roughs"" in the first edition transforms in the second into a magnetic ""folk-evangelist,"" in the third into a ""reincarnated Adam"" ready to bear healthy children, and in the fourth into the ""healer-camerado."" With each new edition, the body of the poet is used less and less as a metaphor for the physical vitality that was integral to his philosophy. By the time of this letter, Whitman was already partially paralyzed. Whitman spent his last years in Camden, New Jersey. As the end of 1891 approached, he prepared a final edition of ""Leaves of Grass"", the ""Deathbed Edition;"" hedied in 1892, about 3 years after he penned this postcard to Sarrazin.Sarrazin had just sent him a copy of his ""Whitman"" article, in January 1889, which Whitman promptly arranged to have William Sloane Kennedy translate. When Whitman read Kennedy s translation, he immediately recognized the importance of the Sarrazin piece. This postcard, dated May 1889, was written shortly after their mutual correspondence: ""I don't think anything nobler has been anywhere said about Leaves of Grass, he told Traubel'. To Whitman, Sarrazin seemed ""fundamentally to have entered into the ideals, methods, upon which, if upon anything, we have built, staked our fortunes. "" Whitman arranged to publish Sarrazins article. Although the article would be printed and distributed among Whitman's inner circle of friends, however, it was not until after his death that a translation of the article by Harrison Morris would be published in In Re Walt Whitman (1893).Themes of sex and sexuality have dominated Leaves of Grass from the very beginning and have shaped the course of the book's reception. The first edition in 1855 contained what were to be called ""Song of Myself,"" ""The Sleepers,"" and ""I Sing the Body Electric,"" which are ""about"" sexuality (though of course not exclusively) throughout. From the very beginning, Whitman wove together themes of ""manly love"" and ""sexual love,"" with great emphasis on intensely passionate attraction and interaction, as well as bodily contact (touch, embrace) in both. Simultaneously in sounding these themes, he equated the body with the soul, and defined sexual experience as essentially spiritual experience. He very early adopted two phrenological terms to discriminate between the two relationships: ""amativeness"" for man-woman love and ""adhesiveness"" for ""manly love."" Although Whitman did not in the 1855 Preface call direct attention to this element in his work, in one of his anonymous reviews of his book (""Walt Whitman and His Poems,"" 1855) he wrote of himself and the 1855 Leaves : ""The body, he teaches, is beautiful. Sex is also beautiful. . . . Sex will not be put aside; it is a great ordination of the universe. He works the muscle of the male and the teeming fibre of the female throughout his writings, as wholesome realities, impure only by deliberate intention and effort"" (Poetry and Prose 535). In subsequent editions of Leaves, Whitman revised and shifted his poems of amativeness and adhesiveness, but by and large his dominant themes became not the body but the soul, not youth but old age--and death. His experience in the Civil War hospitals seems to have provided a turning point for Whitman's focus. This incredible letter/postcard demonstrating Whitman's staunch perseverance to ignore the short comings of his long term health issues and clearly notes his phenomenal eternal positive energy he had for life. A fantastic piece."

      [Bookseller: University Archives]
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        West Portland Park.

      West Portland Park Association. Portland, OR. No date. Ca. 1889-1900. - Color lithographic plat map, 22 1/4 x 30 1/8 inches on sheet size 23 1/4 x 31 1/8 inches, archivally mended with linen backing. Creases and tears with some loss, now minimized by linen backing. An impressive plat map broadside of the proposed development of West Portland Park which was laid out to the southwest of Portland in 1889. The beautiful vignette title illustration, showing a view of the Willamette River and Mount Hood with a convenient train to whisk owners to and from the Metropolis of the Northwest, conjurs high expectations. The website of the Multnomah Historical Association states that "Thomas Alexander Wood formed the Portland City Real Estate Association to buy and develop land for sub-dividing. He purchased 538 acres in the southwest area that he named West Portland. He also purchased another 480 acres that would become the first addition to West Portland Park. As an incentive to get people to buy his lots, he stated that when he sold 600 lots he would bring a railroad out to West Portland to give his buyers easy access to Portland. Wood and partners laid out West Portland Park, and on April 4, 1889, filed articles of Incorporation for the railroad, the City and West Portland Park Motor Company, to connect the development with Portland. The plan was to clear the land of trees, selling the wood in Portland, and selling the cleared lots for residential development.The Oregonian’s handbook of the Pacific Northwest, published in 1894, describes the railroad. 'The City & West Portland Park Motor Company was incorporated in April, 1889, with a capital of $100,000. This company operates a motor line seven miles in length, running from Hamilton street, in South Portland, through the attractive additions of Bertha, Hillsdale and South Portland Park, to the beautiful tract of land known as West Portland Park. This lies on the uplands back of Oswego. This line is equipped with two steam-motors, two coaches and 11 freight cars. The total cost of construction and equipping this road was $150,000.'" An advertisement placed in the Omaha Bee (spreading a wide net) of 1890 by Shorey & Hall, the sales agents, lured buyers by stating: "You can double your money in six months by buying one of those choice lots in West Portland Park." The Multnomah Historical Association notes that "The railway operated sporadically, and shut down completely by 1900." The plat depicted on the promotional broadside poster runs from First Street at the west to Eleventh Street in the east, and from Montsylvania Avenue in the south to Dickinson Avenue in the north, all names that are no longer on the grid. Noted on the map is the surveyor, C. W. Brown, C.E. and the scale of 185 Feet to an Inch." West Portland Park is now a neighborhood in the southwest of Portland, lying between SW 53rd Avenue in the west and SW 35th Avenue in the east, with Interstate 5 to the north and and SW Stephenson Street to the south.

      [Bookseller: old imprints ABAA/ILAB]
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        Journal of H.M.S. Enterprise, on the Expedition in Search of sir John Franklin's Ships by Behring Strait. 1850-55. With a Memoir of his other Services. Edited by his Brother T.B. Collinson.

      London, Sampson Low, Marston, Searle, & Rivington, 1889. Orig. full cloth. Spine and frontcover gilt. Light chipping to spine ends. A small tear at upper front hinge. Stamps on title-page. Coloured frontispiece. XI,(1),531,(1) pp., + Publisher's Cat., 1 portrait and 6 folded maps. Internally clean and fine. First edition. The "Enterprise" and "Investigator", under the command of Collinson, sailed Jan. 1850, via Magellan Strait, to pursue the Franklin search from Bering Strait eastward through the Canadian arctic waters. The "Enterprise", delayed, finally reached and explored the waters around Banks Island, and wintered in Prince of Wales Strait, 1851-52; sailed through Dolphin and Union and Dease Strait to winter in Cambridge Bay and explore by sledge around the east of Victoria island, 1852-53; returned westward to winter in Camden Bay, Alaska, 1853-54, and thence home by the same route."(Arctic bibliography, 3351).

      [Bookseller: Lynge & Søn A/S]
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        Le tourbier (moeurs picardes)

      First Edition.Bound in half buckram embossed bronze, flat spine decorated with vegetal decoration cold boards marbled paper, contemporary binding signed Cabry.Illustrated book of a drawing by Pierre Puvis de Chavannes frontispiece.Some spots.Rare.  --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Albert Savine Paris 1889 11x18cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Flute players, Ambrym, New Hebrides, circa 1890

      Silver albumen print, cabinet card format, 105 x 165 mm, inscribed in the negative "No. 59 Ambrym, New Hebrides"; recto of mount embossed in gilt "Wishing you a Merry Christmas and a Happy New Year"; verso blank; the albumen print is in fine condition with excellent tonal range. A rare image capturing a performance by a group of Ambrym men playing traditional single bamboo flutes. The photograph was probably taken by German-born Australian photographer J.W. Lindt, who visited the New Hebrides in 1889 and 1890-91. For an illustrated essay on this type of musical instrument, see Kirk W. Huffman, Single bamboo flutes, in Joël Bonnemaison, Kirk Huffman, Christian Kaufmann, Darrell Tryon (eds.), Arts of Vanuatu, Honolulu : University of Hawaii Press, 1996,p. 150 ff.

      [Bookseller: Douglas Stewart Fine Books]
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        Les Parnassiens de la Faune Palearctique *32 colour plates*

      Leipzig: Ernst Heyne 1889 - First Edition. An attractive rebound/restored copy. Leather boards and original backstrip, marbled endpapers retained. Internally very good, with some foxing to the front and rear endpapers. Plates numbered 1-24 and 1-VIII. A rare and lovely book. 'We are established reputable First Edition sellers and understand collectors needs in terms of accurate grading and proper packaging' [Attributes: First Edition; Hard Cover]

      [Bookseller: Malden Books]
 34.   Check availability:     IberLibro     Link/Print  

        Photographs. New South Wales.

      Sydney : Charles Potter, Government Printer, 1889. Album of mounted [120] albumen silver print photographs. Oblong quarto, full red morocco blind stamped in gilt with coat of arms of New South Wales and lettering, silk lining papers, all edges gilt, title page with colophon, [120] albumen silver prints, each approximately 140 x 190 mm,mounted recto and verso of [60] leaves of thick card with printed blue borders and printed caption labels, the photographs in uniformly superb condition, the leaves with occasional and minimal foxing to the margins, an additional albumen print of a drawing of the planned Railway Institute (completed in 1891) with manuscript caption is laid in at the front of the album. An exceptional album of photographic views of Sydney and environs, commissioned and printed by the New South Wales Government, probably in very small numbers and for presentation to visiting dignitaries. The photographs, although without studio imprints, can be attributed to the highly successful Sydney commercial photographers John Paine and Charles Bayliss. Despite the fact that the album is dated 1889, it includes a photograph of the Garden Palace (the Sydney Exhibition Building), which was detroyed by fire in 1882, suggesting that the huge array of work in this album has a fairly broad range of dates, in fact from around 1879 to 1889. The album includes a beautiful, extended sequence of the Botanical Gardens (20); views of Sydney Harbour from the Gardens; Garden Island; the Domain; Watson's Bay; Circular Quay; St. James' Church; Oxford Street; Sydney's major civic buildings; the University colleges; Iron Cove Bridge; numerous scenes on the Nepean and Hawkesbury Rivers; the Blue Mountains, including Carrington Hotel, Wentworth Falls, Katoomba, Govett's Leap, Grose Valley and Zig- Zag Railway; George's River; Sutherland National Park; Fitzroy Falls at Moss Vale; Kangaroo Valley; Lake George; Gosford; Ourimbah; Lake Macquarie; Broken Bay; shale mine at Koadja Creek; coal mine in the vale of Clwydd, and the Jenolan Caves (3). While similar official presentation albums are held in Australian collections (see, for example, an album with 108 photographs dating from 1879-1892 and issued by the Government printer, held in the State Library of New South Wales,Call No. PXD 855), the present album appears to be unique in terms of its selection and number of images.

      [Bookseller: Douglas Stewart Fine Books]
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        [Complete set of the Fairy Books:]

      London: Longmans, Green & Co.,, 1889-1910. Blue; Red; Green; Yellow; Pink; Grey; Violet; Crimson; Brown; Orange; Olive; Lilac. 12 works, octavo. Original cloth in various colours, titles gilt to spines, decoration gilt to spines and front boards, all edges gilt, coloured or illustrated endpapers where called for. Illustrations by Henry J. Ford, G. P. Jacomb Hood and others, in colour and black and white, as plates and to the text. Contemporary ownership and gift inscriptions to 6 works; bookseller's ticket to front pastedown of 2. Printed clipping of a poem by Leonora Lang to front free endpaper verso of the Blue Fairy book; the poem was published in The Strange Story Book in 1913 where it was noted it "should have gone into the very first Fairy Book, but by some accident was left out". Spines gently rolled and a little faded, fading to covers of the Lilac Fairy book as is usual, occasional faint foxing to; an excellent set, the Yellow and Pink Fairy books with uncommonly bright covers. First editions, first impressions. The Blue Fairy book is a publisher's presentation copy. The recipient was journalist, literary critic and friend of Andrew Lang, Clement K. Shorter (1857–1926), with his bookplate to the front pastedown and the publisher's presentation stamp in blind to the title page. In his obituary of Lang in 1912 Shorter described him as "one of the most wonderful men in the modern world, if not the most wonderful ... The fairy tales that he wrote and the fairy tales that he edited are enough to give him a halo among the children" (The New York Times, 18 August 1912, p. 24). A complete set of Lang's much-loved and beautifully produced Fairy Book series in the original cloth. The Fairy Books, edited by Andrew Lang and written up by his wife, were unprecedented in the international scope of their sources, and highly influential in giving many tales their first appearance in English.

      [Bookseller: Peter Harrington]
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        Dr. Wilh. Junkers Reisen in Afrika 1875 - 1886. 3 Bände (komplett). Erster Band: 1875-1878. Nach seinen Tagebüchern unter der Mitwirkung von Richard Buchta herausgegeben von dem Reisenden. Mit 38 Vollbildern, 125 Illustrationen im Text und 9 Karten. Zweiter Band: 1879-1882. Nach seinen Tagebüchern bearbeitet und herausgegeben von dem Reisenden. Mit 35 Vollbildern, 130 Illustrationen im Text und 6 Karten. Dritter Band: 1882-1886. Nach seinen Tagebüchern bearbeitet und herausgegeben von dem Reisenden. Mit 47 Vollbildern und 130 Illustrationen im Text von Fischer und Rheinfelder, 10 Karten und einem Carton von Hassenstein und mehreren Plänen.

      Wien und Olmütz, Eduard Hölzel, 1889-1891. Groß-8°. 23 cm. XVI, 585 (1) Seiten, 1 gefaltete Karte, XVI, 560 Seiten und XVI, 740 Seiten, 2 mehrfach gefaltete Tabellen und eine lose gefaltete Karte im Anhang. Grüne illustrierte Original-Leinenbände mit goldgeprägtem Rücken- und Deckeltitel. Erste Ausgabe. Kainbacher (2016) Seite 229. Exlibris auf Innendeckel. Besitzereintrag verso Vorsatz. Sehr gute, komplette und dekorative Exemplare. Versand D: 4,90 EUR Forschungsreisen / expedition; Reisebeschreibungen / travelogue

      [Bookseller: Antiquariat Lenzen GbR]
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        Noraskogs arkiv. Bergshistoriska samlingar och anteckningar. I-VI

      Bok. Stockholm, Ivar Haeggström, 1889-1928. x, 640 s., 4 planscher + iv, 495 s., 4 planscher, utv.-karta, utv.-brev + vii, 464 s., 4 utv.-kartor, utv.-brev, 4 planscher + 337 s. + (2), s. 339-441 + 363 s., en plansch. Femte bandets femte häfte saknas. 6 vol. halvfranska band, 4 upphöjda bind, medbundna häftesomslag, bra skick. 17x25 cm. Exlibris (Birger Nauckhoff). (Vol. 6 med avvikande utseende, har tidigare innehållit ett annat arbete).

      [Bookseller: Antikvariat Asken]
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        The Shorter Poems of John Milton With Twelve Illustrations

      Folio. London: Seeley, 1889. Folio, xx, 124 pages. With twelve full-page etchings after paintings by Palmer. Some foxing to borders of plates. Original gold-stamped vellum over boards, slight soiling to binding as usual with white vellum. Large-paper copy, limited to 135 copies (#40). Prepared by A.H. Palmer as a companion to the Virgil, this book used highly innovative photographic techniques to render paintings as etchings; these were achieved with the help of Dujardin and the printer Goulding. The large-paper edition is very scarce, and is vastly preferable to the regular issue. ?This stately volume contains twelve facsimiles of drawings by Palmer. They rank with his best work, and three notable etchings were inspired by them...? Ray, The Illustrator and the Book in England from 1790-1914, 223.

      [Bookseller: John Windle Antiquarian Bookseller]
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        Le tombeau de Rekhmara, Préfet de Thèbes sous la XVIIIe dynastie

      IFAO, Le Caire 1889 - Very rare. Mémoires publiés par les membres de la Mission Archéologique Française au Caire (IFAO) 05/1. IFAO, Le Caire, 1889. First edition. Folio, pages 1-195 pages, 44 plates. Recently bound in an elegant bordeaux half-leather, as new. [Attributes: First Edition; Hard Cover]

      [Bookseller: Meretseger Books]
 40.   Check availability:     AbeBooks     Link/Print  

        Le Passant, comédie en un acte, en vers [envoi à Henri Steckel]

      Paris: Alphonse Lemerre, 1889. Livre. Bon. Couverture souple. Signé par l'auteur. In-4. Paris, Alphonse Lemerre, 1889. 28 x 22 cm, in-4, 29 pp., broché, couverture crème rempliée et illustrée. Edition publiée à l'occasion de la reprise de la pièce à la Comédie française en 1888. Exemplaire du tirage ordinaire, sur fort papier vergé, enrichie d'un ENVOI de l'auteur à l'écrivain Henri Steckel. Mors fendillés, et couverture partiellement brunie, un bel exemplaire pour le reste..

      [Bookseller: Des livres autour (Julien Mannoni)]
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        THE LOST INCA: A TALE OF DISCOVERY IN THE VALE OF THE INTI-MAYU. By the Inca-Pancho-Ozollo ... [pseudonym]

      New York: Cassell & Company, Limited, [1889].. Octavo, pp. [1-4] [i-ii] iii-iv 1-287 [288-292: blank] [note: first and last two leaves are blanks], inserted double-page map, original decorated mustard cloth, front panel stamped in brown and black, spine panel stamped in black and gold, rear panel stamped in blind, white endpapers with floral pattern printed in gray-green. First edition. "Envisions and extrapolates the progress through the centuries of an underground Inca nation in the arts, sciences and government. Thoughtful and inventive as well as being a good adventure story." - Stuart A. Teitler, Kaleidoscope Books, Catalogue 51 (1984), 61. "Lost Incan society with advanced technology presented as a eutopia." - Sargent, British and American Utopian Literature, 1516-1985, p. 82. Teitler and Locke (2013) 953. Reginald 07698. Eaton Catalogue III, p. 182. Not in Bleiler (1948; 1978). Not in Wright. Some silverfish tracking on front cover, small abrasion on front paste-down where a small book label was removed, a tight, very good copy with no binding wear. A nice bright copy of a rare book. (#149756)

      [Bookseller: L. W. Currey, Inc.]
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        Memoirs of Count Grammont

      London: John C. Nimmo, 1889. First edition thus; large paper copy. Number 668 of 780 copies. Edited, with notes, by Sir Walter Scott. Portrait of the author and 33 etchings on India paper, laid down, after C. Delort. Extra illustrated with 80 portraits and views, and an autograph note by Walter Scott. 1 vols. Large 8vo. Full brown morocco gilt, panelled spine, inner dentelles gilt, by Riviere. Slight rubbing to a few spots, else fine. First edition thus; large paper copy. Number 668 of 780 copies. Edited, with notes, by Sir Walter Scott. Portrait of the author and 33 etchings on India paper, laid down, after C. Delort. Extra illustrated with 80 portraits and views, and an autograph note by Walter Scott. 1 vols. Large 8vo. Amorous Intrigues at the Court of Charles II, Extra Illustrated. A chronicle of the profligate court of Charles II, written with grace and vigor by a French noble expatriate. Extra illustrated with the insertion of 80 portraits and views of people and places mentioned in the text, along with an autograph note in the third person by Sir Walter Scott, the editor.

      [Bookseller: James Cummins Bookseller]
 43.   Check availability:     IOBABooks     Link/Print  


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