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Displayed below are some selected recent viaLibri matches for books published in 1893

        Jeanne Avril - Le Café Concert

      - L'Estampe originale, Paris 1893, 31,5x43cm, en feuilles. - Stampa originale di Henri de Toulouse, dalla serie The Cafe Concerto a cura dei Stampe pubblicazioni originali. parte molto rara e bella di litografia a 500 stampe originali realizzate su pergamena dalla stampa di Edward Ancourt.   - [FRENCH VERSION FOLLOWS] Estampe originale d'Henri de Toulouse-Lautrec, de la série Le Café-Concert éditée par les Publications de l'Estampe Originale. Très rare et belle lithographie faisant partie des 500 épreuves originales tirées sur vélin par l'imprimerie d'Edouard Ancourt. Portrait de Jeanne Avril, chanteuse de cabaret et proche amie de Toulouse-Lautrec. Georges Montorgueil, dans la préface de cette série de lithographies, la décrit en ces termes : « Jeanne Avril, au sourire futé si menu, printannier comme son nom de guerre, liante et serpentine, dessineuse d'arabesques avec le bout de sa petite mule barbottant dans les mousses de son jupon ». Véritable ode au café-concert, cette série réalisée par Toulouse-Lautrec et Henri-Gabriel Ibels capture l'essence de la vie parisienne et le dynamisme de ses nuits. Les planches étaient accompagnées d'un pamphlet de l'écrivain Georges Montorgueil chantant les louanges de ces établissements injustement méprisés, qu'il qualifie de « toniques pour la vie moderne ». Bien loin de l'atmosphère empesée des salles de théâtre ou de concert, ces lieux du « sans-gêne » prennent un essor considérable à la Belle Epoque et lancent des artistes d'une remarquable modernité. Les deux peintres dressent ici le portrait des vedettes de cabaret les plus célèbres de l'époque, dans le mouvement de leur « chorégraphie épileptique » ou la grâce de leurs poses. Les grands noms des cafés-concerts, dont Jane Avril, Yvette Guilbert - devenue muse de Toulouse-Lautrec - ou Aristide Bruant apparaissent sous des traits francs et assurés, inspirés des gravures sur bois japonaises. En filigrane, l'influence de l'impressionnisme est également palpable -  le style prenant un élan à la fin du siècle. Toulouse-Lautrec figure d'ailleurs régulièrement au salon des Indépendants depuis 1889 et y livre sa vision du Tout-Paris, allant des salons de la haute société aux bordels de la capitale en passant par les cabarets dont le Moulin Rouge, pour qui il réalise une affiche restée célèbre. Autre maître de l'affiche et du dessin, Ibels aura plusieurs collaborations avec les éditions de l'Estampe Originale, dont une série de dessins sur le cirque et réalise en parallèle de nombreuses illustrations pour des journaux populaires, dans un style vigoureux et incisif. Rare estampe en parfait état de conservation, qui renvoie aux fastes du "Paris by night fin de siècle".    

      [Bookseller: Librairie Feu Follet]
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        Répétition d'Émilienne d'Alençon aux Folies-Bergère - Le Café Concert

      - L'Estampe originale, Paris 1893, 31,5x43cm, en feuilles. - Stampa originale Henri-Gabriel Ibels, dalla serie The Cafe Concerto a cura dei Stampe pubblicazioni originali. parte molto rara e bella di litografia a 500 stampe originali realizzate su pergamena dalla stampa di Edward Ancourt.   - [FRENCH VERSION FOLLOWS] Estampe originale d'Henri-Gabriel Ibels, de la série Le Café-Concert éditée par les Publications de l'Estampe Originale. Très rare et belle lithographie faisant partie des 500 épreuves originales tirées sur vélin par l'imprimerie d'Edouard Ancourt. Portrait par Ibels de la célèbre Emilienne d'Alençon durant une répétition aux Folies-Bergère. Danseuse à ses débuts puis devenue demi-mondaine courtisée de toutes parts, Montorgueil lui consacre quelques lignes dans sa préface à cette série de lithographies : « Emilienne d'Alençon - ou plutôt simplement Emilienne, car elle partage [...] l'orgueil d'être populaire rien qu'en prénom. [...] Elle parut dans maintes revues, se reprit au jeux de l'amour et du hasard, pourchassant la veine, flirtant avec la mode ». Véritable ode au café-concert, cette série réalisée par Toulouse-Lautrec et Henri-Gabriel Ibels capture l'essence de la vie parisienne et le dynamisme de ses nuits. Les planches étaient accompagnées d'un pamphlet de l'écrivain Georges Montorgueil chantant les louanges de ces établissements injustement méprisés, qu'il qualifie de « toniques pour la vie moderne ». Bien loin de l'atmosphère empesée des salles de théâtre ou de concert, ces lieux du « sans-gêne » prennent un essor considérable à la Belle Epoque et lancent des artistes d'une remarquable modernité. Les deux peintres dressent ici le portrait des vedettes de cabaret les plus célèbres de l'époque, dans le mouvement de leur « chorégraphie épileptique » ou la grâce de leurs poses. Les grands noms des cafés-concerts, dont Jane Avril, Yvette Guilbert - devenue muse de Toulouse-Lautrec - ou Aristide Bruant apparaissent sous des traits francs et assurés, inspirés des gravures sur bois japonaises. En filigrane, l'influence de l'impressionnisme est également palpable -  le style prenant un élan à la fin du siècle. Toulouse-Lautrec figure d'ailleurs régulièrement au salon des Indépendants depuis 1889 et y livre sa vision du Tout-Paris, allant des salons de la haute société aux bordels de la capitale en passant par les cabarets dont le Moulin Rouge, pour qui il réalise une affiche restée célèbre. Autre maître de l'affiche et du dessin, Ibels aura plusieurs collaborations avec les éditions de l'Estampe Originale, dont une série de dessins sur le cirque et réalise en parallèle de nombreuses illustrations pour des journaux populaires, dans un style vigoureux et incisif. Rare estampe en parfait état de conservation, qui renvoie aux fastes du "Paris by night fin de siècle".  

      [Bookseller: Librairie Feu Follet]
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        Mme Abdala - Le Café Concert

      L'Estampe originale, Paris 1893, 31,5x43cm, en feuilles. L'Estampe originale, Paris 1893, 31,5x43cm, en feuilles. - Original print by Henri de Toulouse, from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.   - [FRENCH VERSION FOLLOWS] Estampe originale d'Henri de Toulouse-Lautrec, de la série Le Café-Concert éditée par les Publications de l'Estampe Originale. Très rare et belle lithographie faisant partie des 500 épreuves originales tirées sur vélin par l'imprimerie d'Edouard Ancourt. Portrait signé Toulouse-Lautrec de Mme Abdala, grande figure du comique burlesque et artiste d'une grande modernité. Montorgueil la qualifie dans sa préface à cette série d'estampes d'« étoile de première grandeur ».  Il la décrit en ces termes : « elle s'est exercée à la folie dès qu'elle a eu l'âge de raison. Tout ce que rêvent les petites filles qui tirent la langue, louchent, se fendent la bouche, s'agrandissent les paupières, elle les a faites.  Elle a pris le contrepied de l'art féminin : elle met son charme à s'enlaidir ». Véritable ode au café-concert, cette série réalisée par Toulouse-Lautrec et Henri-Gabriel Ibels capture l'essence de la vie parisienne et le dynamisme de ses nuits. Les planches étaient accompagnées d'un pamphlet de l'écrivain Georges Montorgueil chantant les louanges de ces établissements injustement méprisés, qu'il qualifie de « toniques pour la vie moderne ». Bien loin de l'atmosphère empesée des salles de théâtre ou de concert, ces lieux du « sans-gêne » prennent un essor considérable à la Belle Epoque et lancent des artistes d'une remarquable modernité. Les deux peintres dressent ici le portrait des vedettes de cabaret les plus célèbres de l'époque, dans le mouvement de leur « chorégraphie épileptique » ou la grâce de leurs poses. Les grands noms des cafés-concerts, dont Jane Avril, Yvette Guilbert - devenue muse de Toulouse-Lautrec - ou Aristide Bruant apparaissent sous des traits francs et assurés, inspirés des gravures sur bois japonaises. En filigrane, l'influence de l'impressionnisme est également palpable -  le style prenant un élan à la fin du siècle. Toulouse-Lautrec figure d'ailleurs régulièrement au salon des Indépendants depuis 1889 et y livre sa vision du Tout-Paris, allant des salons de la haute société aux bordels de la capitale en passant par les cabarets dont le Moulin Rouge, pour qui il réalise une affiche restée célèbre. Autre maître de l'affiche et du dessin, Ibels aura plusieurs collaborations avec les éditions de l'Estampe Originale, dont une série de dessins sur le cirque et réalise en parallèle de nombreuses illustrations pour des journaux populaires, dans un style vigoureux et incisif. Rare estampe en parfait état de conservation, qui renvoie aux fastes du "Paris by night fin de siècle".   en feuilles

      [Bookseller: Librairie Feu Follet]
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        Rules, Orders and Forms of Proceeding of the Legislative Assembly of British Columbia Adopted 19th April, 1892, and as Amended Up to 1893

      Queen's Printer, Victoria, BC 1893 - 224 pages including index and the Terms of Union under which the Colony of British Columbia entered into union with the Dominion of Canada. Prior owner's details (Oscar Bass, Law Clerk 1904) written atop page 3. Occasional markings to contents. Lovely navy blue leather covers feature bright gilt lettering. Nice copy [Attributes: First Edition; Soft Cover]

      [Bookseller: RareNonFiction, IOBA]
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        Wanderungen in den Ampezzaner Dolomiten. Hrsg. von der Sektion Berlin des Deutschen und Oesterreichischen Alpenvereins.

      Berlin, Verlag von Raimund Mitscher, o.J., (1893), - in-4to, 4 Bl. (Titel - Widmung - Vorrede ?Sektion Berlin? - Inhalts-Verzeichnis) + 136 S. + 37 Tafeln + 1 gef. kol. Karte ?Skizze der Ampezzaner Dolomiten?, Original grauer Leinenband mit Farbabbildung einer weiblichen Kletterin (seine Ehefrau: Maud Walters), Gold- und Schwarzdruck auf Rücken und Buchdeckel vorne. Original-Umschlag (Einband restauriert). Seltene Erstausgabe. Theodor Wundt unternahm ab 1885 ausgedehnte Touren in den winterlichen Ostalpen (Rätikon, Silvretta und Dolomiten), häufig mit dem Tiroler Bergführer Michael Innerkofler. In den Westalpen wurde das Matterhorn - angeregt durch die Lektüre von Whympers "Berg- und Gletscherfahrten" - zu Wundts Lieblingsberg, den er 1894 zum Ziel seiner Hochzeitsreise, mit der Engländerin Maud Walters, ebenso einer begeisterten Bergsteigerin, auswählte. Wundts Bedeutung liegt vor allem in seiner Eigenschaft als Photograph der Landschaft des Hochgebirges, wovon einige seiner prachtvoll gestalteten Publikationen zeugen. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Perret 4708 (mentionne par erreur ?avec trente-huit planches?). [Attributes: First Edition; Hard Cover]

      [Bookseller: Harteveld Rare Books Ltd.]
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        Notes et croquis sur les uniformes de l'armée espagnole en 1878.

      S.l. [Paris], s.d., (1893), - in-folio carré, [4] ff. de texte (faux-titre, titre, introduction, table), et 38 planches d'uniformes finement dessinées et aquarellées à la main, sur papier à dessin (30,5 x 23 cm), contrecollées sur papier fort monté sur onglets, et légendées chacune d'un feuillet manuscrit en regard, le tout d'une écriture ample et très lisible, demi-maroquin brun à coins, dos à nerfs à caissons fleuronnés, pièces mosaïquées portant les couleurs de l'Espagne et formant drapeau en tête du dos, double filet doré sur les plats, tête dorée (reliure de l'époque). Très bel exemplaire. Superbe et exceptionnel album d'uniformes, dont on peut ainsi reconstituer l'histoire : 1. Au départ, profitant de la participation de l'Espagne à l'Exposition universelle de 1878, le 2e Bureau de l'Etat-Major français, alors dirigé par le colonel Vanson, voulut, avec le consentement des intéressés, prendre copie des uniformes des corps présents dans le détachement militaire inter-armes qui accompagna le pavillon espagnol à Paris. Ce travail fut confié au chef d'escadron Lahalle, qui a signé l'introduction du recueil (en date du 18 novembre 1879). C'est lui qui a pris les croquis d'après nature et rédigé les légendes, en partie d'après la documentation réglementaire conservée à l'Etat-Major. Le résultat fut un exemplaire unique, conservé au 2e Bureau de l'Etat-Major. Il reproduit 38 uniformes, répartis comme suit : Maison du Roi (8 planches). - Infanterie (9 planches). - Cavalerie (11 planches). - Artillerie (2 planches). - Génie (4 planches). - Corps auxiliaires (Guardia civil et Carabinieros, 4 planches). 2. Ensuite, en 1893, fut exécutée une copie apparemment unique, faite à la demande du capitaine Charles-Marie-Jacques-Octave Exelmans (1854-1935), petit-fils du maréchal, pour son oncle, le célèbre collectionneur Auguste Balsan (1836-1896). C'est cet exemplaire que nous présentons, muni de la vignette ex-libris de Balsan (numéro 478), gravée par Stern. Industriel et homme politique, Auguste Balsan s'était attiré cette notice peu amène de Jules Clère dans sa Biographie des députés (1875) : "Son élection a été son début dans la vie politique, début peu brillant du reste, car M. Balsan semble n'avoir eu jusqu'ici qu'un but, qu'il a du reste complètement atteint, celui de faire ignorer son existence". 3. Présenté, avec le reste de la collection Balsan, à la vente publique de 1910, l'album fut retenu alors par les héritiers pour être offert au colonel Exelmans, ancien attaché militaire en Espagne et au Portugal de 1892 à 1898, le même qui avait permis le travail de copie, comme l'atteste une notice manuscrite contrecollée sur les premières gardes, et datée du Grand-Broutay (résidence familiale des Exelmans) le 4 août 1910. [Attributes: Signed Copy]

      [Bookseller: Librairie Historique F. Teissèdre]
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        Ocean Telephony

      London: Printed by George Tucker, 1,2 and 3, Salisbury Court, Fleet Street, E.C., 1893. First Edition. Wraps. Fair. 8vo. 18pp. Text diagrams. Plain tan stapled paper wraps. Front and rear wraps detached. Light edge chips to wraps. Scattered light brown damp-stains to rear wrap and pages. Inscribed on front cover by author. Later pencil inscription, Presentation Copy Seminal Work on the Atlantic Cable." Scarce.

      [Bookseller: Americana Books ABAA]
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        Portraitphotographie mit eigenh. Widmung und U.

      O. O., 1893. - 165 x 107 mm. Bruststück des Schauspielers im Profil. Mit Unterschrift und Widmung "with all good wishes" auf der Bildseite. - Henry Irving war der wichtigste Theatermacher und Shakespeare-Darsteller der viktorianischen Zeit. Sein Bühnendebüt gab er am Lyceum Theatre in Sunderland. Nach Spielzeiten in London, Edinburgh, Liverpool, Dublin und Manchester ließ er sich 1866 in London nieder.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Unter dem Stern. Tusche und Deckweiß auf Transparentpapier. Unten rechts signiert. Auf Pappe montiert und gerahmt.

      Der ungarische Künstler Sándor Bortnyik (1893 - 1976) war einer der bekanntesten Vertreter der Künstlergruppe ?MA?. In seinen vom deutschen Expressionismus und französischen Kubismus geprägten Arbeiten unterstützte der Avantgarde-Künstler auch die Kommunistische Partei (Kommunisták Magyarországi Pártja). Nach der Niederschlagung der ungarischen Räterepublik im August 1919 emigrierte Bortnyik mit Kassák und anderen ?MA?-Künstlern nach Wien. Anfang der 20er Jahre stellte Bortnyik in der Berliner Galerie ?Der Sturm? aus und wohnte einige Jahre in Weimar, wo er enge Verbindungen zum Bauhaus hat. 1928 gründet der inzwischen nach Budapest zurückgekehrte Bortnyik die Schule für Werbegrafik ?Mühely?, auch ?Das kleine Bauhaus? genannt. Guter Zustand.

      [Bookseller: Rotes Antiquariat]
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        Panorama vom Bodensee. Gestochen von Theoph. Beck. Nach der Natur gezeichnet von H. C. Obach. Einbandtitel Panorama des Bodensee?s und der Alpenkette.

      - Konstanz, Wilh. Meck (1893). Bild 16,4 x 151 cm. (Blatt 23 x 158 cm). Aquatinta, gefaltet. Im unteren und oberen Rand mit Legende. Panorama lose in Original Halbleinen.-Mappe. Etwas stockfleckig. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Fatzer ILAB]
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        Hideyoshi

      Original print in color. Hideyoshi down from his horse during his fight against a warrior Akechi.Triptique three prints. A strip of paper laminated to the back connecting them both. Hole or tear in the four extremities. 2 small dot in the first print. A tear down, under the horse. Pliures.Toyotomi Hideyoshi was one of three unifying shogun of Japan. Akeshi was one of his vassals who turned against him. Toshihide was a pupil of Yoshitoshi, his prints are characterized by a mixture of Western and Traditional. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Matsunaga Sakujiro 1893 37x73cm (Oban triptyque) en feuilles

      [Bookseller: Librairie Le Feu Follet]
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        Mysore 1893

      Mysore/Scotland: privately assembled, 1893. First Edition. Hardcover. Near Fine. An elaborate carved wooden box. 10.75 inches high, 15 inches wide, 3 inches deep. Five sides elaborately carved and the initials S.H.P and Mysore 1893 are also carved into the wood. (Locking key missing). Inside are 19 mounted photos (8.5 x 11.5 inches) mounted on boards (11.75 x 17 inches) and lined. The box is lined in (now worn) green velvet). All photos depict what must have been an adventurous tiger hunt on elephant. There is a photo of all the men involved, the elaborate tent camp setup and then of course the hunt and finally, the tiger, a very large one indeed. All pictures appear to be professional and are still in fine condition. No writing or indication of participants or photographer. There are two other smaller, unrelated photos. One is Holyrood Castle Edinburgh and another showing a large estate home with a man, woman and child in front. The latter is printed Thos. Fall by Royal Warrant Photographer to the Queen. The striking and sharp images tell a good story in pictures of a time gone by. And the surely custom, elaborate carving shows that someone wanted to retain the great memories. The photos are fine and, except for some very slight wear of wood on corners and lack of a key, so is the box. This is a very heavy item so additional postage will be required. $ 1,250.00.

      [Bookseller: Trophy Room Books]
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        Author's presentation copy: A Selection of Photographs of Stars, Star-Clusters and Nebulae. Together with methods employed in the pursuit of Celestial Photography.

      London: Universal Press & "Knowledge" Office, 1893. 1st Edition. Hardcover. Folio - over 12 - 15" tall. Two volumes. [1893-1899]. Folio (307 x 236 mm). Vol. I, 134 pp. and 53 collotype photographic plates. Vol. II, 178 pp., errata slip, and 28 collotype photographic plates. Bound in original blind-stamped publisher's cloth, gilt-lettered spines and upper boards (extremities rubbed, spine ends frayed and little chipped, corners worn, spines little tanned, remnant of shelf label to spine of vol. II). Text and plates littl age-toned only, otherwise crisp and clean. Provenance: Royal College of Science, London and Solar Physics Observatory, South Kensington (ink stamps to title-pages). Presentation copy, inscribed by the author on inserted paper slip, Crowborough Hill, Sussex, dated January 1900. A fine, untouched copy. ----FIRST EDITION AND A FINE ASSOCIATION COPY of Isaac Robert's first publication of his celebrated astronomical photographs, presented to the Royal College of Science. Roberts (1829-1904) was a Welsh engineer and business man best known for his work as an amateur astronomer, pioneering the field of astrophotography of nebulae. He was a member of the Liverpool Astronomical Society in England and was a fellow of the Royal Geological Society. Roberts was also awarded the Gold Medal of the Royal Astronomical Society in 1895. In 1878, Roberts had a 7-inch refractor at his home in Rock Ferry, Birkenhead. Although at the time he used this for visual observation, he began to explore stellar photography, his forte, a few years later. In 1883, Roberts began experimenting with astrophotography. In 1886 Roberts displayed his first photographs at the Royal Astronomical Society at Liverpool, of which he was president. These images showed, for the first time, "the vast extensions of nebulosity in the Pleiades and Orion." Most consider Roberts' magnum opus to be a photograph showing the structure of M31, the Great Nebula in Andromeda (now known as the Andromeda Galaxy) taken on 29 December 1888, shown in the present work on plate 10 of vol. I and plate 3 of vol. II, respectively. - Visit our website for additional images and information. Very Good.

      [Bookseller: Milestones of Science Books]
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        The British Almanac And Companion, For The Year Of Our Lord 1893, Containing Calendar, Monthly Notices, Principal Fairs, Sunday Lessons; Astronomical Facts And Phenomena; And With Full Information Connected With The Royal Households, The Ministry And Public Officers, Houses Of Parliament, Universities And Colleges, The Church, The Army And Navy, Law And Justice, A Copious Postal Guide, And Numerous Useful Tables, Etc.; Acts Of Parliament Passed In The Last Session With Abstracts Of The More Important Ones,State Pensions; Copious Information Connected With Government, Education, Administration Of Justice In The British Colonies And Foreign Countries, Etc. [Fore-Edge Painting]

      The Stationers' Company 1892 / 1893, London - Vii, 8-384 Pp. Royal Binding Of Full Red Crushed Morocco, Five Bands, Large "Vr" And Crown In Gilt At Center Of Both Covers (Insignia Of Queen Victoria), Six Gilt Rules At Edges With Floral Design Between Third And Fourth Set Of Rules, Spine Lettered And Extensively Lettered In Gilt, 1/4" Gilt Turns With Intricate Design; All Gilt Using Same Stamps As Seen In Other Bindings Of The Late Victorian Period Also Made For The Royal Family By Harrison Of Pall Mall, This Example Without His Stamps But Essentially The Same Binding As Another Example With Harriaon's Stamp And Also With A Foredge Painting. This Example With A Foredge Painting Of The Clipper Ship "Macquarrie". "One Of The Great Ocean Sights In The Days Of Sail Was The Macquarie (Ex-Melbourne), An Iron Sailing Ship Of 1857 Tons, Nearly 270 Ft. Long And 40 Ft. Beam Which For 20 Years Sailed Between England And Australia. Launched At Blackwall Yard In London In 1875, She Was The Last Sailing Ship Built On The Thames. Her Name Was Changed To Macquarie In 1888 When She Changed Owners And Transferred From The Melbourne To The Sydney Run: An Average Outward Passage Lasted 82 Days And Her First Arrival In Port Jackson Was 94 Days Out From London. After Six Years As A Cadet Ship Under Captain Corner She Was Sold To The Norwegians In 1903, Renamed Fortuna And Ended Her Days As A Coal Hulk In Sydney Harbour Until Finally Sold For Breaking Up In 1953. She Is Still Widely Remembered From Her Great Days As The Macquarie Through Corner's Magnificent Photographs Of Her Under Sail." This Example Very Well Preserved, All Gilt Brilliant, Light Rubbing At Corners, Covers Immaculate, Original Yellow Endpapers Clean And Entirely Intact, Hinges Tight, No Names Or Marks, Bookplate Of Late 20Th Century Owner On Front Free Endpaper. An Interesting Book Of Some Probable Daily Use For A Member Of The Royal Family. [See Heritage Auctions, Lot 36065, Oct 17, 2013, For A Worn Copy Of The 1878 Debrett's In A Very Similar Binding With Mostly Same Gilt Stamping And Bookplate Of Prince Leopold, The Duke Of Albany, Son Of Queen Victoria, Also With A Fore-Edge Painting]. [Attributes: First Edition; Hard Cover]

      [Bookseller: Arroyo Seco Books, Pasadena, Member IOBA]
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        Journal of the Elder Scientific Exploring Expedition, 1891-92. Under Command of D. Lindsay. Equipped solely at the Cost of Sir Thomas Elder GCMG for the Purpose of completing the Exploration of Australia ..

      Adelaide, Government Printer, 1893. Octavo, 207 pages plus the separately-issued very large folding map (680 x 1500 mm). Wrappers (with the full title page details repeated on the front cover) expertly stabilized around the edges, with minor infill; an excellent copy now loosely inserted in the rear pocket of a custom-made book-form cover, with the map (with short tears along a few folds expertly sealed) in the front pocket. The journal was originally published with two maps; they are basically identical, but one has added chromolithographic geological features, and a key. This second map is not offered here. McLaren 12614 (the dimensions for the maps are larger than those we have recorded here, because McLaren invariably - and frustratingly - measures the size of the sheet of paper, not the printed surface. See also McLaren 12616 for the foolscap folio edition, South Australian Parliamentary Paper Number 45 of 1893. The folio edition has a stated print run of 750 copies; apparently, only 500 copies of the octavo edition were printed. This copy has a small paper label mounted on the inside front wrapper: 'Publication No. 30. Permanent Record. 1938. Govt. Printer', with the signature in ink of Frank Trigg, the incumbent.) Lindsay's introduction hints at some of the personality problems that ultimately led to the abandonment of the expedition. This final report includes his own journal, 'also a copy of Mr. Wells' journal, kept during my absence from the party.... Mr. Streich's journal having been in my possession, I was enabled to place his geological descriptions on the map. Not having seen the journals or reports of Messrs. Leech, Elliot, and Helms, I cannot in any way refer to them. I regret that Mr. Leech should have seen fit not to hand in the pencil sketches made by him'.

      [Bookseller: Michael Treloar Antiquarian Booksellers]
 15.   Check availability:     Biblio     Link/Print  


        'MONGST MINES AND MINERS; or Underground Scenes by Flash-Light: A Series of Photographs, with Explanatory Letterpress, Illustrating Methods of Working in Cornish Mines.

      London and Camborne: Simpkin, Marshall, Hamilton, Kent & Co., Limited [and] Cambourne Printing and Stationery Co., Ld., 1893. An outstanding copy - in very good, original, condition, inscribed and signed by the author to the verso of the front free end paper 'To J. D. Geddes Esq. with J. C. Burrows compliments.' Pp. 32 (including half title and title pages). Complete with 26 b/w original mounted woodburytype photographs (mounted two per sheet with printed captions below) plus the large mounted frontispiece photograph of 'The Chief Mining District of Cornwall'; folding colour printed section of Dolcoath Main Lode, one illustration. Original textured red cloth with gilt lettering and decoration to the front board and spine. All edges gilt. Binding very good with light wear only, cloth slightly marked, lightly scuffed to the head/tail of the spine. Contents clean and tight, original yellow-coated endpapers, internal hinges with light wear, contents are fimly bound, minimal spotting to the odd page, several tissue guards to the plates creased, one with a tear to the fore-edge. An outstanding copy. [This title is nearly always found in worn and soiled condition - by far the best copy we have seen] Notes: The classic photographic record of Cornish Mining. J. C. Burrows (photographer to H.R.H. the Prince of Wales) had "long experience as a photographer in the most active mining district of Cornwall" and was encouraged to produce this work by William Thomas, Secretary of the Mining Association of Cornwall who provided the text. Includes views of Dolcoath Mine, Cook's Kitchen Mine, East Pool Mine and Blue Hill Mine, many of them depicting miners at work on the coal face. Burrows provides a vivid description on the difficulties of photographing underground "... the temperature there was 100 f. The miners work nearly naked. The camera was attached to the ladder and tilted at an angle of 45. Water dropped everywhere and came from the foot-wall in a steady stream...". Signed by Author. First Edition. Hardcover. Very Good. 4to (25 x 31 cm). Book.

      [Bookseller: Loe Books]
 16.   Check availability:     Biblio     Link/Print  


        Eigenh. Brief mit U.

      Hersfeld, 31. V. 1893. - 6 SS. auf 3 Bll. 8vo. Mit einer Beilage (s. u.). Ausführlicher und inhaltsreicher Brief an seine Schwester Hermine Weber über unerfreuliche Familien- und Geldangelegenheiten: "[.] Doch ich will kein Wort mehr sagen, obwohl mich die Erbitterung übermannt, wenn ich an die ganze Familie denke. Da Du aber sagst, Dir scheint immer noch nicht klar, wie wir zueinander stehn [sic], zumal da August Dir vorgelogen hat, es werde bei der Liquidation für ihn noch eine hübsche Summe herauskommen, so muß ich Dir wenigstens die Thatsachen mittheilen, auf die Gefahr hin, Dir schon zum Teil Bekanntes zu wiederholen [.]". Es folgt eine detaillierte Schilderung der auf fragwürdiger Finanzgebarung beruhenden Gründe für Dudens Zerwürfnis mit seinem Bruder August und abschließend die jüngste Nachricht von Dudens Sohn Eduard: "[.] Während ich dies schreibe, schwimmt mein lieber Eduard auf dem Ozean, bound for America! Er war einige Monate in London, wo er eine mäßig bezahlte Stelle hatte u. bekam dort die Anfrage, ob er eine Stelle in Chicago annehmen wolle. So schwer es uns ward, ihn ziehen zu lassen, so geben wir doch gern unsern Segen dazu, da wir seinen Wunsch, etwas von der Welt zu sehn [sic], als vollkommen berechtigt anerkennen müssen [.] Er bittet mich, Dir seine Adresse zu geben, für den Fall, daß etwa Dein Ed[uard] einmal nach Chicago käme, um The Worlds Fair zu sehen. Briefe treffen ihn unter der Adresse E. D. care of Schrader Broth[er]s Chicago 84 Washington Str. - Fürs erste ist wohl die Aussicht größer, daß Dein Ed. nach Chicago, als daß der unsrige nach Dexter Mo. kommt. [.]". - Von großer Seltenheit. - Beiliegend ein eh. adr. Kuvert Dudens an seiner Schwester mit Poststempel vom 2. XI. 1905.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 17.   Check availability:     ZVAB     Link/Print  


        The British Almanac And Companion, For The Year Of Our Lord 1893, Containing Calendar, Monthly Notices, Principal Fairs, Sunday Lessons; Astronomical Facts And Phenomena; And With Full Information Connected With The Royal Households, The Ministry And Public Officers, Houses Of Parliament, Universities And Colleges, The Church, The Army And Navy, Law And Justice, A Copious Postal Guide, And Numerous Useful Tables, Etc.; Acts Of Parliament Passed In The Last Session With Abstracts Of The More Important Ones,State Pensions; Copious Information Connected With Government, Education, Administration Of Justice In The British Colonies And Foreign Countries, Etc. [Fore-Edge Painting]

      London: The Stationers' Company 1892 / 1893, 1893. 1st Edition . Hardcover. Near Fine. Fore-Edge Painting Of Clipper Ship Macquarrie. Vii, 8-384 Pp. Royal Binding Of Full Red Crushed Morocco, Five Bands, Large "V R" And Crown In Gilt At Center Of Both Covers (Insignia Of Queen Victoria), Six Gilt Rules At Edges With Floral Design Between Third And Fourth Set Of Rules, Spine Lettered And Extensively Lettered In Gilt, 1/4" Gilt Turns With Intricate Design; All Gilt Using Same Stamps As Seen In Other Bindings Of The Late Victorian Period Also Made For The Royal Family By Harrison Of Pall Mall, This Example Without His Stamps But Essentially The Same Binding As Another Example With Harriaon's Stamp And Also With A Foredge Painting. This Example With A Foredge Painting Of The Clipper Ship "Macquarrie". "One Of The Great Ocean Sights In The Days Of Sail Was The Macquarie (Ex-Melbourne), An Iron Sailing Ship Of 1857 Tons, Nearly 270 Ft. Long And 40 Ft. Beam Which For 20 Years Sailed Between England And Australia. Launched At Blackwall Yard In London In 1875, She Was The Last Sailing Ship Built On The Thames. Her Name Was Changed To Macquarie In 1888 When She Changed Owners And Transferred From The Melbourne To The Sydney Run: An Average Outward Passage Lasted 82 Days And Her First Arrival In Port Jackson Was 94 Days Out From London. After Six Years As A Cadet Ship Under Captain Corner She Was Sold To The Norwegians In 1903, Renamed Fortuna And Ended Her Days As A Coal Hulk In Sydney Harbour Until Finally Sold For Breaking Up In 1953. She Is Still Widely Remembered From Her Great Days As The Macquarie Through Corner's Magnificent Photographs Of Her Under Sail." This Example Very Well Preserved, All Gilt Brilliant, Light Rubbing At Corners, Covers Immaculate, Original Yellow Endpapers Clean And Entirely Intact, Hinges Tight, No Names Or Marks, Bookplate Of Late 20Th Century Owner On Front Free Endpaper. An Interesting Book Of Some Probable Daily Use For A Member Of The Royal Family. [See Heritage Auctions, Lot 36065, Oct 17, 2013, For A Worn Copy Of The 1878 Debrett's In A Very Similar Binding With Mostly Same Gilt Stamping And Bookplate Of Prince Leopold, The Duke Of Albany, Son Of Queen Victoria, Also With A Fore-Edge Painting].

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


        Falstaff Commedia lirica in tre atti di Arrigo Boito. Prima rappresentazione: Milano, Teatro alla Scala, 9 Febbraio 1893 Edizione da Bibliofili Riduzione per Canto e Pianoforte di Carlo Carignani. [Piano-vocal score]

      Tito di Gio. Ricordi e Francesco Lucca di G. Ricordi & C. [PN 96000], Milano 1893 - Folio. Publisher's original full mid-brown calf with decorative titling gilt to upper, publisher's device gilt to lower, raised bands on spine in decorative compartments gilt, titling gilt, patterned endpapers. 1f. (frontispiece with full-length portrait from an original photograph by Avv. U. Campanari and facsimile signature of the composer, verso blank), 1f. (recto decorative title printed in blue, red, and gold, verso limitation statement and printed name of the recipient, the Marchese Filippo Ferrajoli, within decorative red border), 1f. (recto title printed in red and black), verso publisher's device and copyright notice), 1f. (recto named cast list printed in red and black within decorative red border, verso blank), 1f. (recto table of contents printed in red and black within decorative red border, verso blank), 1f. (part-title and scene description of Act I), 474 pp. Uncut. With an unpaginated part-title with scene description preceding each act.With "Frans Lasson, Roma 17, Juni 1961" in ink to verso of front free endpaper.Binding slightly worn, rubbed, and warped. Leaves somewhat cockled; some minor foxing and dampstaining; some signatures splitting. An attractive copy overall. Deluxe Limited Edition of the first version of the opera, this no. 17 of 100. Very scarce. Hopkinson 64A(b).Falstaff, to a libretto by Arrigo Boito after William Shakespeare's plays The Merry Wives of Windsor and King Henry IV, was first performed in Milan at the Teatro alla Scala on February 9, 1893."Perhaps the most immediately obvious level of difference between Falstaff and all Verdi's previous operas lies in the music's tendency to respond in unprecedented detail to the verbal element of the drama. In much of the score, but especially in the great duets and monologues, the listener is bombarded by a stunning diversity of rhythms, orchestral textures, melodic motifs and harmonic devices. Passages that in earlier times would have furnished material for an entire number here crowd in on each other, shouldering themselves unceremoniously to the fore in bewildering succession. These new aspects, possible only through the medium of comedy, served to stimulate Verdi's creative imagination to new levels of fecundity. In the midst of an increasingly fragmented aesthetic world, he was able to follow the whim of the moment, to gaze back serenely on past achievements and, as he said so many times in letters to Boito, simply to enjoy himself. Few would deny how richly Verdi deserved this final triumph, or how heartening a message Falstaff offers. The opera leaves us with a musical image that exactly reflects those famous photographs of Verdi in his last years: an old man, in black hat, with eyes that have lived through a lifetime of struggle, smiling out wisely at the world." Roger Parker in Grove Music Online. [Attributes: Hard Cover]

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
 19.   Check availability:     ZVAB     Link/Print  


        Falstaff Commedia lirica in tre atti di Arrigo Boito... Prima rappresentazione: Milano, Teatro alla Scala, 9 Febbraio 1893 Edizione da Bibliofili Riduzione per Canto e Pianoforte di Carlo Carignani. [Piano-vocal score]

      Milano: Tito di Gio. Ricordi e Francesco Lucca di G. Ricordi & C. [PN 96000], 1893. Deluxe Limited Edition of the first version of the opera, this no. 17 of 100. Very scarce. Hopkinson 64A(b).Falstaff, to a libretto by Arrigo Boito after William Shakespeare's plays The Merry Wives of Windsor and King Henry IV, was first performed in Milan at the Teatro alla Scala on February 9, 1893."Perhaps the most immediately obvious level of difference between Falstaff and all Verdi's previous operas lies in the music's tendency to respond in unprecedented detail to the verbal element of the drama. In much of the score, but especially in the great duets and monologues, the listener is bombarded by a stunning diversity of rhythms, orchestral textures, melodic motifs and harmonic devices. Passages that in earlier times would have furnished material for an entire number here crowd in on each other, shouldering themselves unceremoniously to the fore in bewildering succession... These new aspects, possible only through the medium of comedy, served to stimulate Verdi's creative imagination to new levels of fecundity. In the midst of an increasingly fragmented aesthetic world, he was able to follow the whim of the moment, to gaze back serenely on past achievements and, as he said so many times in letters to Boito, simply to enjoy himself. Few would deny how richly Verdi deserved this final triumph, or how heartening a message Falstaff offers. The opera leaves us with a musical image that exactly reflects those famous photographs of Verdi in his last years: an old man, in black hat, with eyes that have lived through a lifetime of struggle, smiling out wisely at the world." Roger Parker in Grove Music Online.. Folio. Publisher's original full mid-brown calf with decorative titling gilt to upper, publisher's device gilt to lower, raised bands on spine in decorative compartments gilt, titling gilt, patterned endpapers. 1f. (frontispiece with full-length portrait from an original photograph by Avv. U. Campanari and facsimile signature of the composer, verso blank), 1f. (recto decorative title printed in blue, red, and gold, verso limitation statement and printed name of the recipient, the Marchese Filippo Ferrajoli, within decorative red border), 1f. (recto title printed in red and black), verso publisher's device and copyright notice), 1f. (recto named cast list printed in red and black within decorative red border, verso blank), 1f. (recto table of contents printed in red and black within decorative red border, verso blank), 1f. (part-title and scene description of Act I), 474 pp. Uncut. With an unpaginated part-title with scene description preceding each act.With "Frans Lasson, Roma 17, Juni 1961" in ink to verso of front free endpaper.Binding slightly worn, rubbed, and warped. Leaves somewhat cockled; some minor foxing and dampstaining; some signatures splitting. An attractive copy overall.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
 20.   Check availability:     ABAA     Link/Print  


        Tales from Shakespeare

      Frederick Warne and Co: London and New York, 1893. Hardcover. Used; Acceptable. Hardcover; English language; No jacket; 12mo - over 6.75" - 7.75" tall; a fair reading copy; undated but probably very late C19th; attractive dark green pictorial boards with silver and gold gilding; front endpapers missing. Your book will be securely packed and promptly dispatched from our UK warehouse. All international orders are sent airmail.

      [Bookseller: Sunrise Books Ltd]
 21.   Check availability:     Biblio     Link/Print  


        BUFFALO BILL'S WILD WEST AND CONGRESS OF ROUGH RIDERS OF THE WORLD

      Chicago: The Blakely Printing Company, 1893. 64pp. including numerous in-text illustrations. Original chromolithographic pictorial wrappers. Front wrapper detached and chipped at edges. Occasional light soiling. Else very good. An elaborate Wild West Show program, illustrated with numerous wood engravings and halftone photographic images. Among the "historical sketches" is an account of the Ghost Dance movement (condensed from an article in ILLUSTRATED AMERICANA), illustrated with several halftone portraits of Sitting Bull and other Sioux figures. Additional photographic illustrations include a full-page view of Buffalo Bill and army officers on horseback near the Pine Ridge Reservation in 1891, and a full-page view of Buffalo Bill and "the first American Indians that have visited Venice" seated in a gondola. The latter image accompanies a detailed account of the Wild West show's European tour of 1887-92. The front wrapper features a portrait of Buffalo Bill surrounded by vignettes of the Plains on horseback: Indian scouts, a speeding coach, and a pair of cowboys. The rear wrapper depicts "Sioux on the War-Path: Stronghold in the Bad Lands of the Hostile Indians...."

      [Bookseller: William Reese Company - Americana]
 22.   Check availability:     Biblio     Link/Print  


        Aristide Bruant - Le Café Concert

      - L'Estampe originale, Paris 1893, 31,5x43cm, en feuilles. - Stampa originale di Henri de Toulouse, dalla serie The Cafe Concerto a cura dei Stampe pubblicazioni originali. parte molto rara e bella di litografia a 500 stampe originali realizzate su pergamena dalla stampa di Edward Ancourt.   - [FRENCH VERSION FOLLOWS] Estampe originale d'Henri de Toulouse-Lautrec de la série Le Café-Concert, éditée par les Publications de l'Estampe Originale. Très rare et belle lithographie faisant partie des 500 épreuves originales tirées sur vélin par l'imprimerie d'Edouard Ancourt. Portrait par Toulouse-Lautrec d'Aristide Bruant, immense figure du music-hall de la Belle Epoque et proche ami de l'artiste, à qui il commanda des affiches de cabaret restées célèbres. Chansonnier, acteur et interprète, il acquiert sa renommée au Chat Noir avant de monter son propre cabaret, le Mirliton. Montorgueil dans sa préface à la présente série de lithographies, ne tarit pas d'éloges sur le maître incontesté de la chanson réaliste : « M. Bruant, doué d'une vigueur d'expression peu commune, et d'une originalité évidente, a pu condenser, en des chansons d'une belle allure populaire, l'âme complexe et louche des fauves. ». Lautrec croque ici Bruant dans son accoutrement et son expression typique : « Veste de velours ; gilet breton, foulard cramoisi et feutre à bords géants, dont tombaient ses cheveux plats. [...] les mains dans les poches et le regard durement dédaigneux ». Véritable ode au café-concert, cette série réalisée par Toulouse-Lautrec et Henri-Gabriel Ibels capture l'essence de la vie parisienne et le dynamisme de ses nuits. Les planches étaient accompagnées d'une préface de l'écrivain Georges Montorgueil chantant les louanges de ces établissements injustement méprisés, qu'il qualifie de « toniques pour la vie moderne ». Bien loin de l'atmosphère empesée des salles de théâtre ou de concert, ces lieux du « sans-gêne » prennent un essor considérable à la Belle Epoque et lancent des artistes d'une remarquable modernité. Les deux peintres dressent ici le portrait des vedettes de cabaret les plus célèbres de l'époque, dans le mouvement de leur « chorégraphie épileptique » ou la grâce de leurs poses. Les grands noms des cafés-concerts, dont Jane Avril, Yvette Guilbert - devenue muse de Toulouse-Lautrec - ou Aristide Bruant apparaissent sous des traits francs et assurés, inspirés des gravures sur bois japonaises. En filigrane, l'influence de l'impressionnisme est également palpable ; Toulouse-Lautrec figurant d'ailleurs régulièrement au salon des Indépendants depuis 1889. Il y livre sa vision du Tout-Paris, allant des salons de la haute société aux bordels de la capitale, en passant par les cabarets dont le Moulin Rouge, pour qui il réalise une affiche restée célèbre. Autre maître de l'affiche et du dessin, Ibels aura plusieurs collaborations avec les éditions de l'Estampe Originale, dont une série de dessins sur le cirque et réalise en parallèle de nombreuses illustrations pour des journaux populaires, dans un style vigoureux et incisif. Rare estampe en parfait état de conservation, qui renvoie aux fastes du "Paris by night fin de Siècle".  

      [Bookseller: Librairie Feu Follet]
 23.   Check availability:     maremagnum.com     Link/Print  


        Falstaff Commedia lirica in tre atti di Arrigo Boito... Prima rappresentazione: Milano, Teatro alla Scala, 9 Febbraio 1893 Edizione da Bibliofili Riduzione per Canto e Pianoforte di Carlo Carignani. [Piano-vocal score]

      Milano: Tito di Gio. Ricordi e Francesco Lucca di G. Ricordi & C. [PN 96000], 1893. Deluxe Limited Edition of the first version of the opera, this no. 17 of 100. Very scarce. Hopkinson 64A(b). Falstaff, to a libretto by Arrigo Boito after William Shakespeare's plays The Merry Wives of Windsor and King Henry IV, was first performed in Milan at the Teatro alla Scala on February 9, 1893. "Perhaps the most immediately obvious level of difference between Falstaff and all Verdi's previous operas lies in the music's tendency to respond in unprecedented detail to the verbal element of the drama. In much of the score, but especially in the great duets and monologues, the listener is bombarded by a stunning diversity of rhythms, orchestral textures, melodic motifs and harmonic devices. Passages that in earlier times would have furnished material for an entire number here crowd in on each other, shouldering themselves unceremoniously to the fore in bewildering succession... These new aspects, possible only through the medium of comedy, served to stimulate Verdi's creative imagination to new levels of fecundity. In the midst of an increasingly fragmented aesthetic world, he was able to follow the whim of the moment, to gaze back serenely on past achievements and, as he said so many times in letters to Boito, simply to enjoy himself. Few would deny how richly Verdi deserved this final triumph, or how heartening a message Falstaff offers. The opera leaves us with a musical image that exactly reflects those famous photographs of Verdi in his last years: an old man, in black hat, with eyes that have lived through a lifetime of struggle, smiling out wisely at the world." Roger Parker in Grove Music Online.. Folio. Publisher's original full mid-brown calf with decorative titling gilt to upper, publisher's device gilt to lower, raised bands on spine in decorative compartments gilt, titling gilt, patterned endpapers. 1f. (frontispiece with full-length portrait from an original photograph by Avv. U. Campanari and facsimile signature of the composer, verso blank), 1f. (recto decorative title printed in blue, red, and gold, verso limitation statement and printed name of the recipient, the Marchese Filippo Ferrajoli, within decorative red border), 1f. (recto title printed in red and black), verso publisher's device and copyright notice), 1f. (recto named cast list printed in red and black within decorative red border, verso blank), 1f. (recto table of contents printed in red and black within decorative red border, verso blank), 1f. (part-title and scene description of Act I), 474 pp. Uncut. With an unpaginated part-title with scene description preceding each act. With "Frans Lasson, Roma 17, Juni 1961" in ink to verso of front free endpaper. Binding slightly worn, rubbed, and warped. Leaves somewhat cockled; some minor foxing and dampstaining; some signatures splitting. An attractive copy overall.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
 24.   Check availability:     IOBABooks     Link/Print  


        The Sportsman's Manual in Quest of Game in Kullu, Lahoul, & Ladak, to the Tso Morari Lake, with notes on shooting in Spiti, Bara Bagahal, Chamb, & Kashmir, and a detailed description of Sport in more than 139 Nalas.

      Thacker, Spink and Co, Calcutta., 1893. First edition. Small octavo. pp viii, 128. Eight folding maps. Original mustard cloth lettered in black.Early (1905) ownership signature on front pastedown. Flecks of ink on page v. Covers slightly dusty and marked. Very good. Very scarce.

      [Bookseller: Peter Ellis bookseller]
 25.   Check availability:     Biblio     Link/Print  


        Le roman expérimental

      - Charpentier, Paris 1893, 12x18,5cm, relié. - Nuova edizione. Vincolante pecora metà marrone, dorso piatto decorato con filetti tripli dorati, piatti di carta marmorizzata, guardie e contreplats carte al serbatoio, angoli leggermente urtati, bordi cosparsi, vincolante contemporaneo. autografo Firmato Emile Zola Charles Buet "... dedicato il suo collega ..." Alcuni foxing minore. - [FRENCH VERSION FOLLOWS] Nouvelle édition. Reliure en demi basane marron, dos lisse orné de triples filets dorés, plats de papier marbré, gardes et contreplats de papiers à la cuve, coins légèrement émoussés, tranches mouchetées, reliure de l'époque. Envoi autographe signé d'Emile Zola à Charles Buet : "... son dévoué confrère... " Quelques petites rousseurs.

      [Bookseller: Librairie Feu Follet]
 26.   Check availability:     maremagnum.com     Link/Print  


        Liturgies Intimes.

      Paris, Léon Vanier, 1893. - In-12 de 54 pp. Intérieur frais. Broché, couverture imprimée. Bon état. Nouvelle édition en partie originale contenant 7 pièces nouvelles : 1- A Charles Baudelaire, 2- Vêpres rustiques, 3- Complies en Ville, 4- Prudence, 5- Pénitence, 6- Oportet haereses esse, 7- Finale. Carteret II, 430. [Attributes: Soft Cover]

      [Bookseller: Librairie BERTRAN]
 27.   Check availability:     AbeBooks     Link/Print  


        Edmée Lescot en danseuse espagnole - Le Café Concert

      - L'Estampe originale, Paris 1893, 31,5x43cm, en feuilles. - Stampa originale di Henri de Toulouse, dalla serie The Cafe Concerto a cura dei Stampe pubblicazioni originali. parte molto rara e bella di litografia a 500 stampe originali realizzate su pergamena dalla stampa di Edward Ancourt.   - [FRENCH VERSION FOLLOWS] Estampe originale d'Henri de Toulouse-Lautrec, de la série Le Café-Concert éditée par les Publications de l'Estampe Originale. Très rare et belle lithographie faisant partie des 500 épreuves originales tirées sur vélin par l'imprimerie d'Edouard Ancourt. Portrait d'Edmée Lescot, la « chanteuse cosmopolite », en costume de danseuse espagnole : jupon, boléro et chapeau. Lautrec privilégie à cette époque l'encre lithographique, et esquisse des lignes simples et pleines de mouvement, qui renvoient aux estampes japonaises ukiyo-e. Le monogramme de l'artiste, les lettres « HTL » réunies dans un cercle, a également été inspiré par les motifs des tsuba et des poignées d'épées japonaises. Véritable ode au café-concert, cette série réalisée par Toulouse-Lautrec et Henri-Gabriel Ibels capture l'essence de la vie parisienne et le dynamisme de ses nuits. Les planches étaient accompagnées d'un pamphlet de l'écrivain Georges Montorgueil chantant les louanges de ces établissements injustement méprisés, qu'il qualifie de « toniques pour la vie moderne ». Bien loin de l'atmosphère empesée des salles de théâtre ou de concert, ces lieux du « sans-gêne » prennent un essor considérable à la Belle Epoque et lancent des artistes d'une remarquable modernité. Les deux peintres dressent ici le portrait des vedettes de cabaret les plus célèbres de l'époque, dans le mouvement de leur « chorégraphie épileptique » ou la grâce de leurs poses. Les grands noms des cafés-concerts, dont Jane Avril, Yvette Guilbert - devenue muse de Toulouse-Lautrec - ou Aristide Bruant apparaissent sous des traits francs et assurés, inspirés des gravures sur bois japonaises. En filigrane, l'influence de l'impressionnisme est également palpable -  le style prenant un élan à la fin du siècle. Toulouse-Lautrec figure d'ailleurs régulièrement au salon des Indépendants depuis 1889 et y livre sa vision du Tout-Paris, allant des salons de la haute société aux bordels de la capitale en passant par les cabarets dont le Moulin Rouge, pour qui il réalise une affiche restée célèbre. Autre maître de l'affiche et du dessin, Ibels aura plusieurs collaborations avec les éditions de l'Estampe Originale, dont une série de dessins sur le cirque et réalise en parallèle de nombreuses illustrations pour des journaux populaires, dans un style vigoureux et incisif. Rare estampe en parfait état de conservation, qui renvoie aux fastes du "Paris by night fin de siècle".  

      [Bookseller: Librairie Feu Follet]
 28.   Check availability:     maremagnum.com     Link/Print  


        SAN FRANCISCO / OTTO VON BISMARCK / FINE MANUSCRIPTS: DER DEUTSCHE VEREIN IN SAN FRANCISCO, CALIFORNIEN, GIEBT SEINER VEREHRUNG UND DANKBARKEIT FÜR DEN SCHÖPFER DEUTSCHER GRÖSSE UND EINHEIT BESCHEIDENEN AUSDRUCK.

      Manuscript, single leaf folio (66 x 52 cm / 26 x 20.5 inches): pen and ink and watercolour, heightened in metallic hues, on light card (Very Good, resplendent colours, overall lovely, just some light toning, minor specks of discoloration and a very small closed tear lower-left). - San Francisco, August 15, 1893. A large and exceedingly well executed decorative manuscript commissioned by the Deutsch Verein (German Society) of San Francisco, California, presented to the ‘Iron Chancellor’ Otto von Bismarck, in honour of his role as the Unifier of the German people, drafted by Carl Eisenschimel, a skilled Austrian Jewish artist and the Bay Area’s foremost forensic handwriting expert; with provenance from the noble estate of the Bismarck family. - This unique and extremely well-executed, large format manuscript is a certificate made to honour Otto von Bismarck, the founder of the modern German state, especially commissioned by the Der Deutche Verein (The German Society) of San Francisco, California, and drafted by the Austrian Jewish calligraphic artist and renown forensic handwriting expert, Carl Eisenschimel. The certificate honours the retired German chancellor with its felicitations and confers upon him honourary membership in the Verein. At that time, Bismarck was by far and away the most internationally known and revered German figure, considered by many to be one the most successful political and military leader of the 19th Century. The sumptuous Victorian-style composition features a border that, upon close examination, reveals itself to be largely composed of free style penmanship, an astoundingly difficult artistic feat, revealing Eisenschimel’s rare mastery of the calligraphic arts. The borders are elaborately coloured and heightened with metallic pigments, featuring the graceful figure of a German lady amidst Cherry blossoms. Masterly calligraphic text dominates the centre of the composition, along with the Bismarck coat of arms. Carl Eisenschimel’s signature appears in the middle of the lower blank margin. The text of the manuscript reads: Der Deutsche Verein in San Francisco, Californien, giebt seiner Verehrung und Dankbarkeit für den Schöpfer deutscher Grösse und Einheit bescheidenen Ausdruck, in dem er gestattet Seine Durchlaucht den Fürsten Bismarck zu seinem Ehren Mitgliede zu erwählen. Translation: The German Society in San Francisco, California, expresses its reverence and gratitude to the Creator of German Greatness and Unity, in which it elects His Highness Prince Bismarck to be an honorary member. Below, the certificate is signed by the Verein’s president, Dr. C. M. Richter und its secretary, H. Daseking, and is dated August 15, 1893. The present manuscript was duly sent to Germany and presented to Bismarck, likely by way of the German diplomatic corps. It remained in the possession of the Bismarck family until the spring of 2017. SEE OUR WEB PAGE FOR A LONGER DESCIPTION.

      [Bookseller: Antiquariat Dasa Pahor]
 29.   Check availability:     ZVAB     Link/Print  


        Vikram and the Vampire or Tales of Hindu Devilry

      Tylston and Edwards, London 1893 - 8vo. 7 3/4" x 9 3/4". 243 pp. Bound in dark brown cloth with gold designs embossed on the boards and the spine. The front board's design shows a vampire flying and grinning evilly. Frontispiece and fifteen plates plus additional black and white illustrations by Ernest Griset. Edited and with a preface by Isabel Burton. Volume V of the Memorial Edition. Casada 93. Gilt is bright and unfaded, few hints of wear to the extremities. A very attractive copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Evening Star Books]
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        ALONE WITH THE HAIRY AINU Or 3,800 Miles on a Pack Saddle inYezo and a Cruise to

      - London 1893, Murray. Green pictorial cloth, very bright copy very good, 325p., appendix, map, 93 b.w. illustrations, with a log and list of artifacts found, 16 x 23 cm., small blind- stamp on title & first fly, bit of foxing. FIRST EDITION A primary source on the Ainu people of Yezo [Hokkaido] with careful observations of customs, superstitions, morals, language and physiology. * An important primary resource and ethnology, travel book covering the Ainu, their geographic position, features, festivals, the Koro-pok-kuru Pit Dwellers, horse station, Kurile Islands, Ishikari River, Ainu habits, storehouses, trophies, furniture, art, weapons, ornaments, graves and tattoos. * Their physiognomy, attitudes, movements, clothes, music, poetry, dancing, heredity, morals, laws & punishments. * The marital relations and appendix of the Ainu body, with important glossary of Ainu words & geographical names in Yezo and the Kurile Islands. *** A fascinating and keen reference source by a trained observer, useful for an early and unspoiled view of Ainu life and society. Valuable travel guide to Yezo as well. * Profusely illustrated with figures, sketches & drawings by the author. Superbly written in a lucid manner. R A R E *** REFERENCE: H. Cordier: BIBLIOGRAPHIE JAPONICA 621 ***

      [Bookseller: RARE ORIENTAL BOOK CO., ABAA, ILAB]
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        In the Key of Blue and Other Prose Essays

      Elkin Mathews and John Lane, London 1893 - First edition. 302, [2], [16, ads] pp. 1 vols. 8vo. In the Rare Blue Binding. Notes Nelson: Among his Bodley Head books Ricketts' cover for In the Key of Blue is his most bizarre excursion into the elaborate realm of art nouveau design. The extremely curvacious but graceful pattern of laurel and hyacinths was stamped in gold on a blue cloth in the trial issue, but the regular edition was bound in a rich cream color when the designer protested that critics would otherwise be tempted to refer to the binding as "Ricketts blue." Nelson, The Early Nineties, pp. 74-5; Stetz and Samuels Lasner, England in the 1890s: Literary Publishing at the Bodley Head, no. 25; Krishnamurti / The Eighteen-Nineties, a Literary Exhibition, no. 642; Paul van Capelleveen, A new checklist of Books Designed by Cha rl es Ricketts & Charles Shannon, no. B10a In the rare trial blue binding that the author disliked so much, stamped in gilt. Bookplate of Franklin and Helen Hadduck. Front hinge starting, flyleaf detached, fine otherwise 302, [2], [16, ads] pp. 1 vols. 8vo [Attributes: First Edition; Hard Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
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        La donna delinquente. La prostituta e la donna normale

      Turin-Rome: L. Roux, 1893. 8vo (242x154 mm). XI, [1], 640 pp. With the engraved portrait of Messalina on the title-page, 8 plates (4 folding) and several diagrams, photographs and statistical tables in text. Original (?) blue cloth, gilt title on spine (joints weakened). A good copy, only slightly browned, plate VI loose.RARE FIRST EDITION of this very influential work on criminal woman, considered as the first modern criminology text to exclusively focus on the subject.A first draft of the work, written in collaboration with Salvatore Ottolenghi, had appeared two years earlier in the "Giornale della R. Accademia di Medicina" (nos. 9-10). The final draft was written in collaboration with the author's son-in-law, the talented law student Guglielmo Ferrero."Lombroso's personal and domestic life was apparently tranquil. In 1869 when he was 34 years old he married a young 22 year-old Jewish girl from Alexandria who later presented him with two daughters, Paola and Gina. We are told that both because of their bringing into their father's orbit of relationships important socially conscious women, and because of their marriages to professionally related men (Gina to G. Ferrero and Paola to M. Carrara), they 'brought fresh worlds of ideas into contact with that of their father'. It was with Gina's husband that Lombroso spent many long hours in his laboratory examining the skulls of criminals and with whom he wrote The Female Offender. During Lombroso's later life and their maturity, his daughters performed many tasks for him in his Turin home-reading and answering much of his correspondence and literature in the growing field of criminal anthropology, translating and unofficially editing his writing and the Archivio di Psichiatria" (M.E. Wolfgang, Pioneers in Criminology: Cesare Lombroso (1825-1909), in: "The Journal of Criminal Law, Criminology, and Police Science", 1961, LII, 4, p. 364).In Criminal Woman, Lombroso applies to women the same theories expressed in his Uomo delinquente ('Criminal Man'), published in 1876, the work that marks the foundation of criminal anthropology. In the text, he outlines a comparative analysis of "normal women" opposed to "criminal women" such as "the prostitute". Special consideration is given to "pathological anomalies, investigations of female brains, anthropometry, facial and cephalic anomalies, atavistic origins, tattooing, the born criminal, occasional criminals, hysterical offenders, crimes of passion, suicides, criminal lunatics, epileptic delinquents and moral insanity. Although he asserts that female born criminals are fewer in number than male, he contends that the former are much more ferocious" (Wolfgang, op. cit., p. 373).Lombroso was convinced of the pathological nature of the born criminal (whom he distinguishes, medically and legally, from the casual offender who commits a crime driven by special circumstances or needs) and of the possibility of explaining and predicting moral degeneration from its physical abnormalities. According to Lombroso, there is a correlation between somatic and mental deformities with reference to specific factors as atavism, degeneration, and epilepsy. He believes that criminals are more often found to suffer from physical, nervous and mental abnormalities than non-criminals, and that these abnormalities are either inherited or the result of physical degeneration. Lombroso also deals with the legal implications of his theories, particularly in relation to the issue of "moral insanity", understood as a serious disturbance of social behavior. He thus initiated a branch of psychiatric research which has cast new light on the complex problem of criminal responsibility (cf. M. Gibson, Born to Crime. Cesare Lombroso and the Italian origins of Biological Criminology, Westport, 2002, passim).Catalogo unico, IT\ICCU\UFI\0294209; Garrison-Morton, Morton's Medical Bibliography. An annotated Check-list of Texts Illustrating the History of Medicine, Cambridge, 1991, no. 174; D.H. Hook & J.M. Norman, eds., The Haskell F. Norman Library of science & medicine, San Francisco, 1991, 1384.

      [Bookseller: Govi Rare Books LLC ]
 33.   Check availability:     ABAA     Link/Print  


        Über Wert, Kapital und Rente nach den neueren nationalökonomischen Theorien.

      Jena: Gustav Fischer,, 1893. Tall octavo (245 x 164 mm). Original orange wrappers printed in black, edges untrimmed. Ownership stamp of a Stockholm law library to the front cover, title-page (with its deaccession stamp), and two other pages. Wrappers, a little soiled, spine nicked at head and foot; a very good copy. First edition, presentation copy of Wicksell's first book, inscribed by him on the title: "Assessor C. O. Montan, vänskapsfullt från förf." An analysis of the theory of distribution, the first English translation, Value, Capital, and Rent, was published in 1954. "In Value, Capital, and Rent he performed a remarkable labour of synthesis. He adopted the marginal utility marginal productivity theory of value of Jevons, Menger and Marshall, added it to the Böhm Bawerk analysis of capital, and fused the result in a Walrasian comparative static general equilibrium framework. In this process he became a founder of the marginal productivity (product exhausting) theory of distribution shortly ahead of Wicksteed" (The New Palgrave).

      [Bookseller: Peter Harrington]
 34.   Check availability:     Biblio     Link/Print  


        Poems, Dramatic and Lyrical

      Elkin Mathews and John Lane: at the Sign of the Bodley Head, London 1893 - First Edition, one of 100 copies. With 6 engravings by Charles Ricketts. xi, [iii], 212, [1] pp. Printed on Japan Vellum. 1 vols. 8vo. One of 100. James Nelson, in "The Early Nineties", notes that Ricketts's repeated motif in this famous binding "suggests gilt rose petals parachuting to earth in a windless sky", and, like the design for "Silverpoints", is "a perfect example of the Renaissance book design with an Art Nouvea aura" (p. 74). Nelson #49 Original full vellum with a gilt rose-petal motif repeated in diagonal rows on upper and lower covers; at the upper right hand corners is a gilt angel within a heart; the petal motif is repeated on the spine, and the binding design is by Charles Ricketts. Coveres very slightly bowed, small horizontal split in the vellum across spine and into upper cover, otherwise a fine copy With 6 engravings by Charles Ricketts. xi, [iii], 212, [1] pp. Printed on Japan Vellum. 1 vols. 8vo [Attributes: First Edition; Hard Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
 35.   Check availability:     AbeBooks     Link/Print  

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