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Displayed below are some selected recent viaLibri matches for books published in 1896

        Vingt mille lieues sous les mers

      Hetzel, 1896. - Hetzel, Paris 1896, Grd. in-8 (18x27,5cm), relié. - Nuova edizione, illustrata con 111 disegni di Neuville e Riou e 6 chromolithographies e una carta su una doppia pagina. editor di cartone Golden Globe. piastra superiore firmato Blancheland, Engel rilegatore di libri. Bel piatto sopra ori ben vivo. editor di cartone Hetzel "globo d'oro" in piena calico rosso firmato Engel, prima firmato Blancheland piatto policromo, secondo tipo di piatto "h", come indicato da JAUZAC, blu risguardi sfondi, tutti i bordi dorato. - [FRENCH VERSION FOLLOWS] Nouvelle édition, illustrée de 111 dessins de Neuville et Riou et 6 chromolithographies, ainsi que d'une carte sur double page.  Cartonnage d'éditeur au globe doré. Plaque supérieure signée Blancheland, Engel relieur. Belle plaque supérieur aux ors bien vifs.  Cartonnage éditeur Hetzel "au globe doré" en pleine percaline rouge signé Engel, premier plat polychrome signé Blancheland, second plat de type "h" comme indiqué par Jauzac, pages de garde bleues d'origines, toutes tranches dorées. Dos un peu passé, coiffes frottées, gardes bleues un peu insolées en marge.

      [Bookseller: Librairie Le Feu Follet]
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        KNICKERBOCKER'S HISTORY OF NEW YORK: 2 VOLUMES Stuyvesant Edition

      G. P. Putnam & Sons 1896 - Peter Stuyvesant Edition. Numbered set of only 281 copies this being copy 186. Each copy was done by a year from 1614 to 1894, this was for the year 1800. Publisher's faun calf, decorated in gilt, gilt labels, Plates, illustrations by E.W. Kemble. Pictorial margin embellishments. Both books in good condition with some scratches and scrapes to leather covers and spine. Interior pages in very good condition with bright and clean pages, no marks or writings, bindings sound. More images upon request. [Attributes: Hard Cover]

      [Bookseller: Prestonshire Books]
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        DALIL AL-HAJJ LI AL WARID ILA MAKKA WA AL MEDINA MIN KULLI FAJJ ( GUIDE OF THE PILGRIMAGE THROUGH THE ALL ROUTES TO MECCA AND MEDINA )

      Cairo: The government press, Bulaq, 1896 Book. Illus. by MUHAMMED SADIQ BEY. Very Good. Hardcover. First Edition. 8vo - over 7¾ - 9¾" tall. 152PP OF ARABIC TEXT. ENGRAVING PLATE SHOWING THE EGYPTIAN MAHMAL, FRONTIS OF THE AUTHOR, 9 PLATES WHICH 8 OF THEM ARE PHOTOGRAPHIC PLATES BY THE AUTHOR ABOUT THE MAHMAL, THE HOLY MOSQUES, AND GENERAL VEWS OF MECCA, MEDINA, AND THE HOLY SITES (THREE PHOTOGRAPHIC PLATES ARE FOLDINGS), 2 FOLDING PLANS OF THE TOW HOLY MOSQUES IN MECCA AND MEDINA, BY THE AUTHOR, THE BOOK INCLUDES THE FOLDING MAP BY SADIQ BEY ABOUT THE ROUTS OF THE HAJJ FROM THE CITADEL OF AL WAJH AND JEDDAH TO MECCA AND MEDINA IN 1886 (1303 AH). FRONTIS IS PARTLY REPAIRED FROM THE OUTER MARGINS OF THE PLATE (DID NOT AFFECT THE IMAGE AT ALL), VERY LIGHT REMAINS OF REMOVED ANCIENT STAMPS OR NOTATIONS ON TITLE PAGE AND OTHER 3 MARGINAL PLACES. VERY CLEAN TEXT AND PLATES, AND THE BOOK IS IN VERY GOOD CONDITION. MODERN FINE BINDING. SCARCE WITH ALL PLATES, PLANS AND THE MAP..

      [Bookseller: Archive]
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        Cabourg a 5 Heures de Paris.

      Belgian poster for the Casino of Cabourg. Asnières: Leménil 1896. Published in "Les Maitres de l'Affiche", 1897. Plate no. 88. Indrammet på syrefrit karton i lys eg med anti-reflektivt glas med en UV beskyttelse på 70 %, 1895. Les Maîtres de l'Affiche (The Masters of the Poster) refers to 256 colour lithographic plates used to create a very significant art publication during the Belle Époque in Paris, France. The collection, reproduced from the original works of ninety-seven artists in a smaller format, was put together by Jules Chéret, the father of poster art. By the 1890's the streets of French cities were enlivened by large, colourful posters. The poster had not only caught the fancy of the public, but its best examples were already being regarded as true works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reproduced in a more manageable form. In the last five years of the 19th century, Imprimerie Chaix was to play a great part in codifying, hallowing and perpetuating the ebullient spirit of the Belle Epoque. The renowned set of 256 prints were created by Imprimerie Chaix, forever to be known as a set as Les Maîtres de l'Affiche. Each print was rendered as a separate sheet measuring 11 x 15 inches. [27.9 x 38.1 cm]. The set was compiled in a unique way: Every month for 60 months - from December 1895 through November 1900 - subscribers received a wrapper containing four consecutively numbered prints. On 16 occasions (each of the five Decembers, each of the Junes, and the March and September of the final three years) the monthly wrapper also contained a bonus plate, not a poster reproduction but a specially created lithograph. The compilation of this set of original prints makes up the complete suite known as Les Maîtres de l'Affiche.

      [Bookseller: Peter Grosells Antikvariat]
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        Chansons de Femmes: Poésies de Henry Bernard, Th. Botrel, Maurice Boukay, Louis Forest, Jules Méry, J.Madeleine, H.Maigrot, Bertr. Millanvoye, Léon Suéz. Lithographies de Steinlen. Paris, Enoch et Ollendorff, 1896

      Enoch, 1896. in - 8 gr., pp. (4), IV, 155, conservata la bella copertina figurata da Steinlen, anteriore e posteriore, su cartoncino, in litografia a colori. Legatura del tempo in pieno marocchino crème, riquadri di filetti oro sui piatti, dorso a nervi con tit. e filetti oro, taglio sup. dor., dent., int. (difetti alle cerniere e al dorso). Edizione originale di 15 canzoni, testo e musica, di poeti di fine XIX sec. dedicate alla donna. Illustrate da altrettante magnifiche litografie a piena pagina di Théophile Alex. Steinlen (Losanna - Parigi 1859 - 1923, artista poliedrico e famoso). Paul Delmet (Parigi 1862 - 1904), poeta e chansonnier (1862 - 1904, autore di artistiche composizioni popolari, allievo di Massenet, attore nei cabaret di Parigi. Delizioso volume impresso in soli 50 esemplari su papier du Japon (n.33, con firma autografa dello stampatore). Di gran pregio e molto raro, poco visto a motivo della limitatissima tiratura (manca alle bibliografie ed ai cataloghi specialistici consultati).

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Die Liparischen Inseln. Sechstes Heft: Alicuri.

      Mercy, 1896. Cm. 41, pp. viii, 29 (1). Con figure nel testo, 4 tavole a piena pagina ed una carta topografica a colori dell'Isola f.t. Leg. edit. in mezza tela rossa con punte con titoli a dorso e piatto. Segni a matita ad una carta bianca. Ottimo stato di conservazione. Celebre ed importante monografia dedicata all'isola di Alicuri. Le illustrazioni incise sono vedute e scorci dell'isola.

      [Bookseller: Studio Bibliografico Benacense]
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        5Ces Le Journal publie Le Coupable. Roman inédit de Francois Coppéé.

      Poster for Francois Coppéé's novel "Le Coupable", published in the newspaper "Le Journal". Paris: Verneau 1896. Published in "Les Maitres de l'Affiche", 1898. Plate no. 134, 1895. Les Maîtres de l'Affiche (The Masters of the Poster) refers to 256 colour lithographic plates used to create a very significant art publication during the Belle Époque in Paris, France. The collection, reproduced from the original works of ninety-seven artists in a smaller format, was put together by Jules Chéret, the father of poster art. By the 1890's the streets of French cities were enlivened by large, colourful posters. The poster had not only caught the fancy of the public, but its best examples were already being regarded as true works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reproduced in a more manageable form. In the last five years of the 19th century, Imprimerie Chaix was to play a great part in codifying, hallowing and perpetuating the ebullient spirit of the Belle Epoque. The renowned set of 256 prints were created by Imprimerie Chaix, forever to be known as a set as Les Maîtres de l'Affiche. Each print was rendered as a separate sheet measuring 11 x 15 inches. [27.9 x 38.1 cm]. The set was compiled in a unique way: Every month for 60 months - from December 1895 through November 1900 - subscribers received a wrapper containing four consecutively numbered prints. On 16 occasions (each of the five Decembers, each of the Junes, and the March and September of the final three years) the monthly wrapper also contained a bonus plate, not a poster reproduction but a specially created lithograph. The compilation of this set of original prints makes up the complete suite known as Les Maîtres de l'Affiche.

      [Bookseller: Peter Grosells Antikvariat]
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        L'Ermitage - Revue artistique et littéraire. Année complète 1896

      Bureaux de la Revue, 1896. Bureaux de la Revue, Paris 1896, 15x24,5cm. Bureaux de la Revue, Paris 1896, 15x24,5cm. - Originale.binding editor to bradel half calico salmon, smooth back, as part of black morocco, gilt small iron and double gold in net queue.Onze numbers from January to November 1896. Covers conservées.Contributions literary Edit André Gide ("Menalcas"), Maurice Barres, Octave Uzanne, Francis Jammes, Pierre Louys, Henri Ghéon, etc.The February issue pays tribute to Paul Verlaine, who disappeared a month ago. A beautiful portrait of the poet on his death bed after a drawing of Noah Legrand.Publication founded in 1890 by Henri Mazel, the Hermitage is a monthly magazine owned by the first wave of small magazines Symbolists. In 1895, the magazine between declining and its new director, Edouard Ducoté, uses André Gide. The editorial team is reduced to twelve regular contributors, friends Gide. After many difficulties and attempts to overhaul the editorial team (Remy de Gourmont to make a pass and will also contribute financially in 1905), the Hermitage breathed his last in 1906. The Hermitage manages to detach other important magazines of the time as the Mercure de France or La Revue blanche because it boasts eclectic and apolitical; on its cover, you can also read that it is "the only journal that deals with politics or sociology [but] which deals only with literature and art." His illustrations are small art nouveau, and, true to his state of mind symbolist, employees are more interested in poetry than novel. Tiphaine Samoyault, French literary critic, says that the Hermitage expresses a transition straddles the fin de siècle aestheticism and poetry avant - garde of the 1910s. - - - Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale. Reliure de l'éditeur à la bradel en demi percaline saumon, dos lisse, pièce de titre de maroquin noir, petit fer doré et double filet doré en queue. Onze numéros de janvier à novembre 1896. Couvertures conservées. Contributions littéraires de André Gide ("Ménalque"), Maurice Barrès, Octave Uzanne, Francis Jammes, Pierre Louÿs, Henri Ghéon, etc. Le numéro de février rend hommage à Paul Verlaine, disparu un mois auparavant. Un beau portrait du poète sur son lit de mort d'après un dessin de Noé Legrand. Publication fondée en 1890 par Henri Mazel, l'Ermitage est une revue mensuelle appartenant à la première vague des petites revues symbolistes. Dans les années 1895, la revue entre en déclin, et son nouveau directeur, Edouard Ducoté, fait appel à André Gide. L'équipe de rédaction est alors réduite à douze collaborateurs réguliers, amis de Gide. Après de multiples difficultés et tentatives de remaniement de l'équipe rédactionnelle (Remy de Gourmont y fera un passage et y contribuera également financièrement en 1905), l'Ermitage rend son dernier soupir en 1906. L'Ermitage parvient à se détacher d'autres revues importantes de l'époque comme le Mercure de France ou la Revue blanche car elle se revendique éclectique et apolitique ; sur sa couverture, on peut d'ailleurs lire que c'est "la seule Revue qui ne s'occupe ni de politique ni de sociologie [mais] qui traite uniquement de littérature et d'art." Ses petites illustrations sont de style art nouveau, et, fidèle à son état d'esprit symboliste, ses collaborateurs s'intéressent davantage à la poésie qu'au roman. Tiphaine Samoyault, critique littéraire française, estime que l'Ermitage exprime une transition à cheval sur l'esthétisme fin de siècle et la poésie d'avant - garde des années 1910.

      [Bookseller: Librairie Le Feu Follet]
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        THE GOLLIWOGG'S BICYCLE CLUB. Verses by Bertha Upton.

      64 pages. Illustrated throughout in colour. Original cloth-backed pictorial boards. Oblong quarto. First edition. Some light wear to corners and edges. Altogether, an unusually good copy.

      [Bookseller: David Miles]
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        Lectures on Justice, Police, Revenue and Arms.

      Oxford: Clarendon Press,, 1896. Delivered in the University of Glasgow. Reported by a student in 1763. Edited with an introduction and notes by Edwin Cannan. Octavo. Original brown cloth, spine lettered gilt. First edition of this collection of notes taken from Adam Smith's early lectures. It contains the formative ideas behind the The Wealth of Nations. "Based on a set of student notes from Smith's lectures, probably delivered during the session 1763-4, that came into Cannan's hands in the spring of 1895" (Tribe).

      [Bookseller: Peter Harrington]
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        Gog.

      - Paris, Bibliothèque-Charpentier, 1896. 2 volumes in-8, demi-chagrin rouge de l'époque, dos à 5 nerfs filetés or ornés de fleurons et de filets pointillés, (4), 347 p. et (2) p., (2) f., 346 p. Édition originale et unique, rare, de ce roman jamais réédité, d’abord publié en feuilleton dans ‘Le Journal’ en 1895. Un des fondateurs du Parnasse, Catulle Mendès est l’une des figures centrales de la littérature fin de siècle. Conforme à la réputation de "nouvelliste cruel de la décadence" de son auteur, ce roman a pour thème le déclin des dynasties royales à travers le personnage d’un roi exilé, figure arthurienne et image du désenchantement du monde occidental. Tout au long du roman, le "magisme" se mêle au burlesque : médiums, fluide astral, "puissance odique", résurrection du roi Henri XIV (sic), etc. Alfred Jarry, qui admirait ce roman, le classa au nombre des 27 "livres pairs" de la bibliothèque idéale recensée dans ses Gestes et opinions du Dr Faustroll, pataphysicien. Catulle Mendès fut également admiré par Nietzsche qui lui a dédié ses ‘Dithyrambes pour Dionysos’ et par Verlaine. Sur papier d’édition uniformément bruni (il n’y a pas eu de grand papier). Très bon exemplaire, bien relié à l’époque. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie HATCHUEL]
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        Faune 1

      Crayon sur papier, 1896. Crayon sur papier Circa 1896, 17,5 x 12,5 cm. Crayon sur papier Circa 1896, 17,5 x 12,5 cm. - Original pencil drawing. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the workshop at the back. A trace of center fold, otherwise very good condition. Provenance: the artist's studio, referenced to catalog Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, Étrépagny born in 1861 and died in Paris in 1932, is an important French painter. He began his career with avant - garde artists such as Vincent van Gogh and Henri de Toulouse - Lautrec. With Émile Bernard, he is the inventor of Cloisonnisme. From 1884 to 1893, Louis Anquetin continues to explore new opportunities introduced by the release of Impressionism in French painting. From 1893, after a long confrontation with the "old masters", he adopts a bias pictorial that will line the general art movement, and take away from his friends. Dazzled by the baroque art and its creative force, so he thinks his childhood friends were involved in a pathway leading to the death of painting. He believes in a "perfect painting" which is embodied in the re - remember the lessons of Michelangelo and Rubens among others. His work becomes more conventional, he advocated a return to business by offering to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practiced by the masters the sixteenth and seventeenth century. Leaving only a few works that can be described as monumental, Anquetin turns prolific with its many studies and sketches, who considered that the design was "a very powerful means of expression" compulsory foundation of all arts plastics. Working voluntarily countdown of his time, Louis Anquetin made possible the existence of an original modern figuration. By his obstinacy and his passion for painting, he has indeed prevented is completely closed the way to the great Western tradition. You can admire his works in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris, San Francisco and Detroit, the Hermitage Museum in St. Petersburg, the National Gallery and the Tate London, etc.. - - - Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Dessin original au crayon. Signature du cachet de la signature de l'artiste dans l'angle inférieur droit de l'œuvre, et signature du cachet de l'atelier au verso. Une trace de pliure centrale, sinon très bel état de conservation. Provenance : atelier de l'artiste, référencée au catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, né à Étrépagny en 1861 et mort à Paris en 1932, est un important peintre français. Il commence sa carrière aux côtés de peintres d'avant - garde tels que Vincent Van Gogh ou Henri de Toulouse - Lautrec. Avec Émile Bernard, il est l'inventeur du Cloisonnisme. De 1884 à 1893, Louis Anquetin ne cesse d'explorer les possibilités nouvelles offertes par la libération introduite par l'Impressionnisme dans la peinture française. A partir de 1893, à la suite d'une longue confrontation avec les « maîtres d'autrefois », il adopte un parti - pris pictural qui le mettra en marge du mouvement général de l'art, et l'éloignera de ses amis. Ébloui par l'art baroque et sa vigueur créatrice, il pense alors que ses amis de jeunesse se sont engagées dans une voie qui mènera à la mort de la peinture. Il croit en une « peinture parfaite » qui s'incarne dans le re - souvenir des leçons de Michel - Ange et de Rubens notamment. Son travail devient donc plus classique, il prône le retour au métier, en proposant de réfléchir sur les conditions a priori de toute forme d'art possible dans le respect des règles de la perspective et de l'anatomie, telles que pratiquées par les maîtres du XVIème et XVIIème siècle. Ne laissant que quelques œuvres que l'on peut qualifier de monumentales, Anquetin s'avère prolifique par ses nombreuses études et esquisses, lui qui considérait que le dessin était « un moyen d'expression tout puissant », le fondement obligatoire de tous les arts plastiques. En travaillant volontairement à rebours de son époque, Louis Anquetin a rendu possible l'existence d'une figuration moderne originale. Par son obstination et sa passion de la peinture, il a en effet évité que ne soit totalement obturé le chemin de la grande tradition occidentale. On peut admirer ses œuvres dans de nombreux et prestigieux musées comme le Musée d'Orsay ou Le Louvre à Paris, à San Francisco ou à Detroit, au Musée de l'Hermitage de Saint - Petersbourg, à la National Gallery et à la Tate de Londres, etc. une feuille

      [Bookseller: Librairie Le Feu Follet]
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        Recueil de deux catalogues de la Compagnie Parisienne de chauffage et d'éclairage par le gaz

      Compagnie du Gaz 1896 - In-4° relié, 46 et 56 pages, plats conservés. Très nombreuses planches hors-texte - souvent sur double pages - certaines en couleurs. Ces catalogues en pleine toile chagrinée portent sur le premier plat l'inscription en lettre dorée : Compagnie Parisienne du Gaz - Service des travaux mécaniques - appareil à gaz, machines à gaz, Mr CAMUS administrateur délégué en 1896 (AC) [Attributes: First Edition; Hard Cover]

      [Bookseller: PRISCA]
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        Publication mensuelle contenant la reproduction des plus belles Affiches Illustrées des grands artistes, français et étrangers. Prèface de Roger - Marx. Paris, Imprimerie Chaix, 1896 - 1900

      Chaix, 1896. 5 volumi in - folio (400x307 mm), uniformi legature editoriali in piena percallina verde e crème figurata con fogliame e busti femminili, titoli sui piatti e al dorso, tagli superiori dorati (firmata Paul Berthon). Serie completa di 256 magnifiche litografie a colori, accompagnate da saggi introduttivi, indici degli artisti, lista delle tavole. L'opera venne compilata e curata da Jules Chèret e Roger Marx. Il presente esemplare comprende le 240 planches della serie e pure le 16 rare affiches offerte in premio ai sottoscrittori dell'opera. Le 256 tavole, impresse con grande maestria su cartoncino giappone, formano una straordinaria raccolta di altrettante affiches fin - de - siècle a colori, opere dei più noti artisti che nell'ultimo decennio del secolo produssero artistici manifesti pubblicitari: J.Chèret, M.Denis, de Feure, Berthon, Grasset, Guillaume, Mucha, J.Prise, Steinlen, T.Lautrec, Rassenfosse, Willette, Mataloni, Boano e vari altri noti nomi. Splendido e raro esemplare completo, a pieni margini, freschissimo. Straordinaria galleria che riunisce i capolavori in cromolitografia de l' "art nouveau" muraria.

      [Bookseller: Libreria Antiquaria Pregliasco]
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        La Légende Dorée

      Librairie Artistique, G. Boudet, 1896. Traduction française de H. Piazza, dessins et lithographies de A. Lunois, un des 25 exemplaires (numérotés de 36 à 60), sur papier de chine, avec un double état en noir de toutes les planches, bois et lithographies (exemplaire n°48 signé par les auteurs, un des exemplaires imprimés spécialement pour L. Conquet), 1 vol. in - 4 reliure plein maroquin mosaïqué sous étui bordé, plat sup. orné d'un beau décor floral mosaïqué (palme du martyre, rameaux d'olivier, couronne d'épines), dos à 5 nerfs, non rogné, toutes tranches dorées, chasses ornées, gardes doublées de soie, couvertures et dos conservés, reliure signé Canape R. D. et datée de 1903, Librairie Artistique, G. Boudet, 1896, 156 pp., avec 76 lithographies en couleurs et 77 encadrements gravés sur bois Magnifique reliure mosaïquée signée de Georges Canape et datée de 1903, établie pour un des 25 exemplaires du tirage sur chine comportant un double état en noir de toutes les planches, bois et lithographies (des rouss., très lég. frott. aux nerfs). Successeur de son père et héritier du matériel de Belz - Niedrée, Georges Canape s'appliqua à la dorure dès 1899, d'où la signature Canape R.D. (Relieur - Doreur). Français

      [Bookseller: Librairie Du Cardinal]
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        The Poetical Works of Robert Browning.

      London: Smith, Elder and Co., 1896. - 2 Vols. Octavo. Bound in publisher's green cloth, with gilt motif to front board and gilt titles to spine; top edge gilt. Portrait frontispieces to both volumes. Accompanied by Robert Browning's dried buttonhole decoration from June '86, preserved in a contemporary envelope, with two related typed letters from the poet, unsigned. A somewhat used copy; bindings are rubbed, frayed at head of spine with a chip, boards scratched, with bumping to extremities, joints starting; volume one front free endpaper, half-title and frontispiece detached, binding loosened due to the preserved buttonhole and letters; volume two last page of catalogue and rear three endpapers detached. Volume one largely clean, volume two shows some staining. Bookseller's ticket on paste down of volume one, "R Waugh, Bookseller, Newcastle-Upon-Tyne". Unsophisticated copy, attractive for the romance of the buttonhole, remarkably apt for Browning. [Attributes: Hard Cover]

      [Bookseller: Adrian Harrington Ltd, PBFA, ABA, ILAB]
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        French wood carvings from the national museums : printed in collotype from photographs specially taken from the carvings direct - Complete in 3 Volumes

      London : Batsford, 1896, Hardback, Book Condition: Very Good, First Edition. Each in good condition with the original ties intact. Dust-dulling with some minor wear to the spine bands and panel edges. Remains an uncommonly good example; scans etc. ono request. ; 8vo 8" - 9" tall; Physical description; 3 v. ([8], 8; [6], 8; [6], 10 p., LIV leaves of plates) : ill. ; 47 cm. In portfolios. At head of title: With the sanction of the Science and art department of the Committee of Council on education. Series 1 and 3 include bibliographies. Collotypes incl. sectional drawings by F.A. Crallan. Contents; 1st ser. Late fifteenth and early sixteenth centuries.--2d ser. Sixteenth century.--3d ser. Seventeenth and eighteenth centuries. Subjects; Wood-carving, Medieval - France. Wood-carving, Renaissance - France. Wood-carving, Baroque - France. Inventory No: 224380. First Edition

      [Bookseller: MW Books Ltd.]
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        Life Of Napoleon Bonaparte.

      New York, NY: The Century Co., 1896.. 4 volumes. Quarto. Profusely illustrated with portraits and plates including several in colour. Elegantly bound in half burgundy oasis morocco over cloth sides, gilt titles and Napoleonic insignia to spine, top edge gilt, others untrimmed. Internally very clean. A near fine set in a handsome recent leather binding. The Princeton historian's monumental biography of the French Emperor.

      [Bookseller: Adrian Harrington Rare Books]
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        Faune 5

      Crayon sur papier, 1896. Crayon sur papier Circa 1896, 23 x 35 cm. Crayon sur papier Circa 1896, 23 x 35 cm. - Original pencil drawing. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the workshop at the back. Very nice condition. Provenance: the artist's studio, referenced to catalog Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, Étrépagny born in 1861 and died in Paris in 1932, is an important French painter. He began his career with avant - garde artists such as Vincent van Gogh and Henri de Toulouse - Lautrec. With Émile Bernard, he is the inventor of Cloisonnisme. From 1884 to 1893, Louis Anquetin continues to explore new opportunities introduced by the release of Impressionism in French painting. From 1893, after a long confrontation with the "old masters", he adopts a bias pictorial that will line the general art movement, and take away from his friends. Dazzled by the baroque art and its creative force, so he thinks his childhood friends were involved in a pathway leading to the death of painting. He believes in a "perfect painting" which is embodied in the re - remember the lessons of Michelangelo and Rubens among others. His work becomes more conventional, he advocated a return to business by offering to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practiced by the masters the sixteenth and seventeenth century. Leaving only a few works that can be described as monumental, Anquetin turns prolific with its many studies and sketches, who considered that the design was "a very powerful means of expression" compulsory foundation of all arts plastics. Working voluntarily countdown of his time, Louis Anquetin made possible the existence of an original modern figuration. By his obstinacy and his passion for painting, he has indeed prevented is completely closed the way to the great Western tradition. You can admire his works in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris, San Francisco and Detroit, the Hermitage Museum in St. Petersburg, the National Gallery and the Tate London, etc.. - - - Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Dessin original au crayon. Signature du cachet de la signature de l'artiste dans l'angle inférieur droit de l'œuvre, et signature du cachet de l'atelier au verso. Très bel état de conservation. Provenance : atelier de l'artiste, référencée au catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, né à Étrépagny en 1861 et mort à Paris en 1932, est un important peintre français. Il commence sa carrière aux côtés de peintres d'avant - garde tels que Vincent Van Gogh ou Henri de Toulouse - Lautrec. Avec Émile Bernard, il est l'inventeur du Cloisonnisme. De 1884 à 1893, Louis Anquetin ne cesse d'explorer les possibilités nouvelles offertes par la libération introduite par l'Impressionnisme dans la peinture française. A partir de 1893, à la suite d'une longue confrontation avec les « maîtres d'autrefois », il adopte un parti - pris pictural qui le mettra en marge du mouvement général de l'art, et l'éloignera de ses amis. Ébloui par l'art baroque et sa vigueur créatrice, il pense alors que ses amis de jeunesse se sont engagées dans une voie qui mènera à la mort de la peinture. Il croit en une « peinture parfaite » qui s'incarne dans le re - souvenir des leçons de Michel - Ange et de Rubens notamment. Son travail devient donc plus classique, il prône le retour au métier, en proposant de réfléchir sur les conditions a priori de toute forme d'art possible dans le respect des règles de la perspective et de l'anatomie, telles que pratiquées par les maîtres du XVIème et XVIIème siècle. Ne laissant que quelques œuvres que l'on peut qualifier de monumentales, Anquetin s'avère prolifique par ses nombreuses études et esquisses, lui qui considérait que le dessin était « un moyen d'expression tout puissant », le fondement obligatoire de tous les arts plastiques. En travaillant volontairement à rebours de son époque, Louis Anquetin a rendu possible l'existence d'une figuration moderne originale. Par son obstination et sa passion de la peinture, il a en effet évité que ne soit totalement obturé le chemin de la grande tradition occidentale. On peut admirer ses œuvres dans de nombreux et prestigieux musées comme le Musée d'Orsay ou Le Louvre à Paris, à San Francisco ou à Detroit, au Musée de l'Hermitage de Saint - Petersbourg, à la National Gallery et à la Tate de Londres, etc. une feuille

      [Bookseller: Librairie Le Feu Follet]
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        Santa Clara County and its Resources, Historical, Descriptive, Statistical: A Souvenir of the San Jose Mercury

      San Jose, CA: San Jose Mercury Publishing and Printing Co, 1896. 2nd. Original wrappers. Second Edition. Oblong 8vo. 322, [5] pp. Index. Profusely illustrated with photographic reproductions of public buildings, homes, farms, agriculture, portraits of citizens, and much more ; full page map. Introduction by Chas. M. Shortridge, editor San Jose Daily and Weekly Mercury. Original color pictorial cardstock wrappers. Professionally restored with rose colored linen spine; lower front corner repaired; chipping to lower front corner of ffep; minor general wear and soiling; else a near fine copy of an early and uncommon California county souvenir histories. With cover title: Sunshine, fruit and flowers, Santa Clara County, California. One of the more extensive county histories promoting the beauty and opportunities in Santa Clara Valley. The first edition was sold out in less than thirty days thus prompting the publication of this edition in which errors were corrected and with the addition of new pictures and new facts. Not in Rocq.

      [Bookseller: Carpe Diem Fine Books]
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        Queen Elizabeth

      1896. Seldom did Personal Characteristics Play a Greater Part than in the Elizabethan Age" Finely Bound by Roger de Coverly - Thomas James Cobden-Sanderson's TeacherCREIGHTON, The Right Rev. Mandell. (Lord Bishop of Peterborough). Queen Elizabeth. London, Paris & Edinburgh: Boussod, Valadon & Cie., 1896. Folio (12 3/8 x 9 1/2 inches; 314 x 241 mm.). Folio (12 3/8 x 9 1/2 inches; 314 x 241 mm.). [vi], 199, [1, blank], [2], [201]-202, [1, colophon], [3, blank] pp. Frontispiece (printed in gold and colors) and thirty-nine illustrations of which twenty-three are full-page inserted plates, including one double-page (between pp. 40/41) and one facsimile letter printed on both sides (between pp. 196/197). Title page and colophon printed in red and black. Original printed wrappers bound in. Some light scattered marginal foxing, otherwise fine.Finely bound by Roger De Coverly ca. 1896 (stamp-signed "Roger De Coverly" on front turn-in). Full maroon straight-grain morocco, covers ruled in gilt with elaborately decorated gilt 'pointille' floral corner-pieces. Spine with five raised bands, elaborately tooled and lettered in gilt in compartments, gilt ruled board edges, gilt ruled turn-ins with elaborate gilt corner decoration, marbled end-papers, all edges gilt. A little very light rubbing to spine, otherwise fine. A superb example of the binders art."The chief merit of this volume, however, lies in the attempt to bring together the most remarkable portraits of Elizabeth and her contemporaries, and to put before the readers careful reproductions of artistic sources of information which have hitherto been little known. It is hoped that such an attempt will give increased reality to the history of the time and will appeal to that power of imaginative reproduction of persons and events without which the study of history is cold and abstract. We cannot afford to overlook the personal element in human affairs; no changes in mechanism of government can eliminate it; and seldom did personal characteristics play a greater part than in the Elizabethan age." (Preface).Roger de Coverly was born in 1831, and at the age of 14 was apprenticed to Zaehnsdorf. From ca. 1852 until 1863 he worked for J. & J. Leighton, and then set up his own workshop near Leicester Square. In 1870 he moved to 6 St. Martin's Court, and began taking in work from the publisher Ellis. This led to orders from William Morris and Thomas James Cobden-Sanderson, who served a year's apprenticeship with de Coverly in 1883-84. At this time the staff consisted of de Coverly's two sons and two male assistants, and their declared aim was "to work excellently rather than cheaply". De Coverly was profiled in the British Bookmaker, vol. V, no. 56, February 1892, pp.179-80. Roger de Coverly died in 1914.Mandell Creighton (1843-1901), was a British historian and a bishop of the Church of England. A scholar of the Renaissance papacy, Creighton was the first occupant of the Dixie Chair of Ecclesiastical History at the University of Cambridge, a professorship established around the time that history was emerging as an independent academic discipline. He was also the first editor of the English Historical Review, the oldest English language academic journal in the field of history. Creighton had a second career as a cleric in the Church of England. He served as a parish priest in Embleton, Northumberland and later, successively, as the Bishop of Peterborough and the Bishop of London. His moderation and worldliness drew praise from Queen Victoria and won notice from politicians. It was widely thought at the time that Creighton would have become the Archbishop of Canterbury had his early death, at age 57, not supervened.

      [Bookseller: David Brass Rare Books, Inc.]
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        [Op. 30]. Scenes from the Saga of King Olaf by H.W. Longfellow and H.A. Acworth, C.I.E. Set to Music for Soprano, Tenor, and Bass Soli, Chorus, and Orchestra... Price Three Shillings... Composed for the North Staffordshire Musical Festival, October, 1896... Novello's Original Octavo Edition. [Piano-vocal score]

      London: Novello and Company [PN 8247], 1896. First Edition. OCLC no. 386518. Scenes from the Saga of King Olaf was first performed at the North Staffordshire Music Festival on October 30, 1896. "The work contains some of Elgar's most engaging melodies and is regarded by many as his best pre-Enigma composition, foreshadowing the great oratorios that were to follow." elgar.org. '[Elgar's] abundant invention, largeness of vision, and strength and singularity of musical character place him high among European Romantic artists and at the peak of British music of his time." Diana McVeagh in Grove Music Online. "Young (1912-2004) was an exceptionally fluent and prolific writer. His books include short popular biographies and several volumes for younger readers. Many of his more substantial writings are based on a lively, fresh and industrious, if not always highly discriminating, examination of source material; these include original research on Elgar and useful surveys of the British choral tradition and British music generally. As a composer Young was equally prolific... " David Scott in Grove Music Online.. Octavo. Full original publisher's dark red cloth with decorative blindtooling and titling gilt to spine and upper, all edges gilt. 1f. (title with printer's note to verso), 5ff. (libretto, synopsis, and table of contents), 173, [i] (publisher's device) pp. + 1f. (publisher's catalog). With an autograph inscription signed in full in black ink "to the Rev. C.S. Scott with kind regards and many pleasant memories of Lincoln Festival 1910 from Edward Elgar" to blank page facing title. Binding slightly worn and soiled; front free endpaper browned. Occasional light foxing and soiling, somewhat heavier to preliminary leaves; margins of title browned; occasional minor annotations and breath marks in pencil and blue crayon. A very nice copy overall. Together with an autograph note, dated August 5, [19]56 (?), from the distinguished English writer on music, Percy Young, to a Patrick O'Shaughnessy thanking him for his note. He explains that there was an Elgar Festival in Lincoln, "and I take it that Rev. Scott was one of the cathedral clergy. I will refer to the diaries in due course to find out." In blue ink on a postal card. Slightly browned and soiled.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Margaret Ogilvy; By Her Son J. M. Barrie

      London: Hodder & Stoughton, 1896 - First English Edition, preceded by the American edition, published a month earlier. Original publisher's cloth; very good. An important association copy, inscribed by the author in the month of publication, "To Ellen Terry from her friend J. M. Barrie, Dec., 1886." Additionally presented by Terry in 1925. Terry was one of the most prominent English actresses of her time, and something of a mother figure to both Barrie and George Bernard Shaw. Barrie later wrote Alice-Sit-By-The-Fire as a vehicle for her (she was cast as a mother), and Shaw did the same in Captain Brassbound's Conversion. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Peter L. Stern & Co., Inc., A.B.A.A.]
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        Orchids.

      London: Leonard Smithers,, 1896. Poems. Small octavo. Original cream cloth, titles to front board gilt, edges untrimmed and partially unopened. Slight tanning to free endpapers. An excellent copy. First and limited edition. One of 250 copies on small paper. Another 10 copies were printed on Japanese vellum.

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


        Op. 30]. Scenes from the Saga of King Olaf by H.W. Longfellow and H.A. Acworth, C.I.E. Set to Music for Soprano, Tenor, and Bass Soli, Chorus, and Orchestra. Price Three Shillings. Composed for the North Staffordshire Musical Festival, October, 1896. Novello's Original Octavo Edition. [Piano-vocal score]

      Novello and Company [PN 8247], London 1896 - Octavo. Full original publisher's dark red cloth with decorative blindtooling and titling gilt to spine and upper, all edges gilt. 1f. (title with printer's note to verso), 5ff. (libretto, synopsis, and table of contents), 173, [i] (publisher's device) pp. + 1f. (publisher's catalog). With an autograph inscription signed in full in black ink "to the Rev. C.S. Scott with kind regards and many pleasant memories of Lincoln Festival 1910 from Edward Elgar" to blank page facing title. Binding slightly worn and soiled; front free endpaper browned. Occasional light foxing and soiling, somewhat heavier to preliminary leaves; margins of title browned; occasional minor annotations and breath marks in pencil and blue crayon. A very nice copy overall. Together with an autograph note, dated August 5, [19]56 (?), from the distinguished English writer on music, Percy Young, to a Patrick O'Shaughnessy thanking him for his note. He explains that there was an Elgar Festival in Lincoln, "and I take it that Rev. Scott was one of the cathedral clergy. I will refer to the diaries in due course to find out." In blue ink on a postal card. Slightly browned and soiled. First Edition. OCLC no. 386518.Scenes from the Saga of King Olaf was first performed at the North Staffordshire Music Festival on October 30, 1896. "The work contains some of Elgar's most engaging melodies and is regarded by many as his best pre-Enigma composition, foreshadowing the great oratorios that were to follow." elgar.org.'[Elgar's] abundant invention, largeness of vision, and strength and singularity of musical character place him high among European Romantic artists and at the peak of British music of his time." Diana McVeagh in Grove Music Online."Young (1912-2004) was an exceptionally fluent and prolific writer. His books include short popular biographies and several volumes for younger readers. Many of his more substantial writings are based on a lively, fresh and industrious, if not always highly discriminating, examination of source material; these include original research on Elgar and useful surveys of the British choral tradition and British music generally. As a composer Young was equally prolific. " David Scott in Grove Music Online. [Attributes: Signed Copy; Hard Cover]

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


        A child's garden of verses

      London New York : John Lane, The Bodley Head ; Charles Scribner's Sons, 1896. First Edition. Provenance; Francis Graham Brown's copy with his name printed to the front paste-down. Damp stain extending to 3 sq. cms to the lower outer edge of the back board. Very good copy overall in the original gilt-blocked, decorated cloth. Spine bands and panel edges slightly rubbed and dust-toned only, as with age. Remains quite well-preserved overall; tight, bright, clean and strong. Publisher's ads to the rear.Related item; Referenced by: Gumuchian 5441. Subjects; Children's poetry, Scottish. Children's poetry, English. Children's Poetry.. Genre; Children's books - England - 1896. Illustrated.

      [Bookseller: MW Books Ltd.]
 26.   Check availability:     Biblio     Link/Print  


        Queen Elizabeth

      London, Paris & Edinburgh: Boussod, Valadon & Cie., 1896. - "Seldom did Personal Characteristics Play a Greater Part than in the Elizabethan Age" Finely Bound by Roger de Coverly - Thomas James Cobden-Sanderson's TeacherCREIGHTON, The Right Rev. Mandell. (Lord Bishop of Peterborough). Queen Elizabeth. London, Paris & Edinburgh: Boussod, Valadon & Cie., 1896. Folio (12 3/8 x 9 1/2 inches; 314 x 241 mm.). Folio (12 3/8 x 9 1/2 inches; 314 x 241 mm.). [vi], 199, [1, blank], [2], [201]-202, [1, colophon], [3, blank] pp. Frontispiece (printed in gold and colors) and thirty-nine illustrations of which twenty-three are full-page inserted plates, including one double-page (between pp. 40/41) and one facsimile letter printed on both sides (between pp. 196/197). Title page and colophon printed in red and black. Original printed wrappers bound in. Some light scattered marginal foxing, otherwise fine.Finely bound by Roger De Coverly ca. 1896 (stamp-signed "Roger De Coverly" on front turn-in). Full maroon straight-grain morocco, covers ruled in gilt with elaborately decorated gilt 'pointille' floral corner-pieces. Spine with five raised bands, elaborately tooled and lettered in gilt in compartments, gilt ruled board edges, gilt ruled turn-ins with elaborate gilt corner decoration, marbled end-papers, all edges gilt. A little very light rubbing to spine, otherwise fine. A superb example of the binders art."The chief merit of this volume, however, lies in the attempt to bring together the most remarkable portraits of Elizabeth and her contemporaries, and to put before the readers careful reproductions of artistic sources of information which have hitherto been little known. It is hoped that such an attempt will give increased reality to the history of the time and will appeal to that power of imaginative reproduction of persons and events without which the study of history is cold and abstract. We cannot afford to overlook the personal element in human affairs; no changes in mechanism of government can eliminate it; and seldom did personal characteristics play a greater part than in the Elizabethan age." (Preface).Roger de Coverly was born in 1831, and at the age of 14 was apprenticed to Zaehnsdorf. From ca. 1852 until 1863 he worked for J. & J. Leighton, and then set up his own workshop near Leicester Square. In 1870 he moved to 6 St. Martin's Court, and began taking in work from the publisher Ellis. This led to orders from William Morris and Thomas James Cobden-Sanderson, who served a year's apprenticeship with de Coverly in 1883-84. At this time the staff consisted of de Coverly's two sons and two male assistants, and their declared aim was "to work excellently rather than cheaply". De Coverly was profiled in the British Bookmaker, vol. V, no. 56, February 1892, pp.179-80. Roger de Coverly died in 1914.Mandell Creighton (1843-1901), was a British historian and a bishop of the Church of England. A scholar of the Renaissance papacy, Creighton was the first occupant of the Dixie Chair of Ecclesiastical History at the University of Cambridge, a professorship established around the time that history was emerging as an independent academic discipline. He was also the first editor of the English Historical Review, the oldest English language academic journal in the field of history. Creighton had a second career as a cleric in the Church of England. He served as a parish priest in Embleton, Northumberland and later, successively, as the Bishop of Peterborough and the Bishop of London. His moderation and worldliness drew praise from Queen Victoria and won notice from politicians. It was widely thought at the time that Creighton would have become the Archbishop of Canterbury had his early death, at age 57, not supervened.

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


        The Zankiwank & the Bletherwitch

      1896. first edition. The First Good Rackham"[RACKHAM, Arthur, illustrator]. FITZGERALD, S.J. Adair. The Zankiwank & the Bletherwitch. With Pictures by Arthur Rackham. London: J.M. Dent & Co., 1896. First edition. Small octavo (7 9/16 x 5 1/2 in; 193 x 140 mm). xii, 188 pp. Seventeen full-page and twenty-four black and white text illustrations. Original dark green cloth pictorially stamped and lettered in gilt. Top edge gilt, others untrimmed. Engraved bookplate on front paste-down (which has caused light offsetting to the facing endpaper). Neat ink presentation and small "Merry Christmas" postage stamp on front free endpaper. Some very light rubbing to extremities, some light foxing or toning throughout but still an excellent copy of Rackham?s first book featuring ?fantastic? creatures. "It is... with the illustrations for The Zankiwank and the Bletherwitch that the true Rackham fantasy begins to emerge consistently, and this might well be called the first good Rackham. Even the subtitle [on the half-title only] of this book augurs well for Rackham, as it is described as 'An Original Fantastic Fairy Extravaganza,' and as the titlepage demonstrates, there is almost no limit to how extravagant the illustrator might be. There is no color in this book, but its forty [one] line illustrations reveal a new Rackham to the world..." (Gettings, p. 100)."Here, in the imaginative silhouettes of the attenuated, weirdly double-jointed ostrich-like figure of the Zankiwank, Arthur is finding a commercial, even a career outlet, for the 'fantastic and the imaginative' which had preoccupied him from an early age" (Hamilton, p. 40).Latimore and Haskell, p. 8. Riall, p. 15. Hudson, p. 166. Gettings, p. 173.

      [Bookseller: David Brass Rare Books, Inc.]
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        I sonetti romaneschi pubblicati dal nipote Giacomo a cura di Luigi Morandi. Volume primo (Volume sesto)

      S.Lapi 1896 8vo (cm. 18), 6 Voll., 3 cc.nn. (tra cui il ritratto del Belli protetto da velina in antiporta), CCXCIX - 256 pp.; 2 cc.nn., 432 pp.; 2 cc.nn., 448 pp.; 2 cc.nn., 448 pp.; 2 cc.nn., 461 pp.; 2 cc.nn., 384 pp. Belle legature coeve in mz. pergamena con titolo e numerazione dei voll. impressi in oro su doppio tassello al ds. Esemplare in ottimo stato di conservazione. Raro.

      [Bookseller: Libreria Antiquaria Ex Libris s.r.l.]
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        CRIPPLE CREEK AND COLORADO SPRINGS, COLORADO, Illustrated, 1896

      Warren & Stride; Carson Harper Co., Colorado Springs, Colorado 1896 - Original gold-printed gray stiff covers; 104 pages. A Review and Panorama of an Unique Gold Field, with Geological Features and Achievements of Five Eventful Years, including Outlines of Numerous Companies. Profusely illustrated with drawings and photographs; most the photographs taken by Andrew James Harlan. Large format; enamel-coated pages. Three (3) maps; two folding: 1) Mine Location map, Cripple Creek Gold Fields, by Henry L. J. Warren, showing mines, roads, topography, railroads, towns and camps; 2) Economic Geologic Map of Cripple Creek by Henry J. L. Warren and Edward S. Snell; plus, full-page Map showing Railroads and Wagon roads to and in the Cripple Creek District. Contents include: Prologue; Historic Review; Geological Features; General Geology by Whitman Cross; Economic Geology by Prof. R.A.F. Penrose, Jr.; Economic Geology of the Cripple Creek District; Colorado Scientific Society; Bull Hill and the Western District by Francis T. Freeland; Cripple Creek Mining District by Charles J. Moore; Chlorination of Cripple Creek Tellurides by J. D. Hawkins; Cyanide by Philip Argall; Views of a Conservative by Richard Pearce; The Prospector - Prospects and Mines by Harry A. Lee; Achievements of the Mines; Ooutlines of Companies; Pueblo - The Bullion City; Colorado Springs Resorts; Bound with Steel Bands - Railroads. Foldout of Colorado Springs views near back. Strong binding. No chips to covers. Pages clean and bright. An excellent, and early, Cripple Creek Gold Mining District promotional. Highly detailed. 104 pages. [Attributes: First Edition; Soft Cover]

      [Bookseller: Colorado Artifactual]
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        Les Mois. Douze compositions d'Eugène Grasset gravées sur bois et imprimées en chromotypographie.

      [P., G. de Malherbe, éditeur, s.d. [1895-1896]], 12 planches montées sous passe-partout (300 x 240). Rares rousseurs, très bel ensemble. - Douze planches dans un pur style Art Nouveau, ici avant la lettre sur Japon fin, représentant les 12 mois de l'année vus par Eugène Grasset, pour le calendrier de La Belle Jardinière de 1896. Elles sont reproduites en couleurs par chromotypographie (Guillotage). Ce tirage de luxe a été édité par de Malherbe en même temps que le calendrier proposé aux bons clients des établissements La Belle Jardinière. Splendide !!! Réf. biblio. : Lepdor, Eugène Grasset, l'Art et l'Ornement, Musée Cantonal des Beaux-Arts de Lausanne, 2011, p. 219 et fig. 111-117, 142, 148.

      [Bookseller: Bouquinerie Aurore (SLAM-ILAB)]
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        Nash Balet (1673-1896).

      St. Petersburg, A. Benke, 1896. 3 Bll., 391 S. 1 Bl. Mit kolorirte Titelvignette und zahlreichen, teils handkolorirten buw. beikolorierten photogr. Abbildungen und Holzstickillustrationen im Text. 4°, Späterer HLederband mit goldgepr. RTitel. Die Original-Broschur mit handkolorierter Illustration von N. Bogdanov ist miteingebunden. - Erste ausgabe. - Seltenes Standardwerk; Pleshcheev (1858-1944) war Kritiker, Ballett-Historiker und Freund des französisch-russischen Tänzers und Choreographen Marius Petipa (1818-1910), der als Schöpfer des klassischer Balletts gilt, indem er französische und italienische Einflüsse mit dem russischen Ballett kombinierte. Das Wrk erschien zu Pepitas 50-jährigem Bühnenjubiläum und gilt als Hommage an ihn. Das reich illustrierte Werk behandelt die Geschichte des russischen Balletts von 1673 bis 1896. - Ein Bl. mit Einriss, stellenweise etwas gebräunt und fleckig. Versandkostenfreie Lieferung

      [Bookseller: Antiquariat Galerie Joy]
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        In Haunts of Wild Game A Hunter-Naturalist's Wanderings from Kahlamba to Libombo

      Edinburgh and London, William Blackwood and Sons 1896.. gr.-8°. XVI, 576 S. Mit Titelportr., 15 Taf. u. 24 Abb. im Text v. C. Whymper u. 1 mehrf. gefalt. farb. Karte von Kahlamba und Libombo. OLn. Mit Einbandillustr. Einbd. staubfl. Karte m. Einriß im w. Rd. EA. des Erstlingswerkes. One of the classics of African sport, this book describes the author's hunting experiences in Portuguese East Africa and the eastern Transvaal [...] excellent illustrations by Charles Whymper." (Czech 89)

      [Bookseller: Antiquariat Burgverlag]
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        Navires de guerre de la marine imperiale russe.

      Algiers: Jean Geiser,, 1896. Photogravure Jean Geiser, Alger. Photographe de S.M. l'Impératrice de Russie Maria Fédorowna. Landscape folio (505 × 310 mm). Publisher's black morocco, title in gilt to the front board, edges stained red, marbled endpapers. Photogravure title page with vignetted illustrations, and 36 fine photogravure plates, all captioned in a clearly legible calligraphic hand, and the majority of them signed in pencil by the photographer. A little rubbed at the extremities, a few scrapes to the boards, occasional marginal staining, all tissue-guards renewed, a very good copy. First edition, no other copies traced. Superb collection of ship portraits of vessels of the Russian Imperial Navy, taken when in harbour in Algiers. The ships shown are: Rossia (1895); Svetlana (1896), sunk at Tsushima; two views, broadside and bow-on of Rurik (1892), sunk in the Battle of Ulsan with the loss of 202 lives; Sisso-Veliki (1896), sunk by a torpedo at Tsushima; Navarin (1896), lost with all hands at Tsushima; Imperator Alexandre II (1887); Catherine II (1889); Georges Victorieux [Georgiy Pobedonosets] (1892); Douze Apôtres [Dvenadsat Apostolov] (1892); Chesma (1886); Anakria (1889) and the steam cutter Sinop; Dimitri Domskoi (1883), scuttled after Tsushima; Wladimir Monomack (1882), struck by a torpedo and scuttled at Tsushima; Rossia and Wladimir; Admiral Korniloff (1887); Djighit [Dzhigit ] (1876), four views broadside, three-quarters, and bow on, scuttled Port Arthur 1904; steam-screw clipper Razboynik (1877), side on and bow on, scuttled at Port Arthur; Duke of Edinburgh (1877), broadside and bow-on; steam frigate Vestnik (1880), two side-on views; Grosiasky; Posadnik (1892), served until 1951 in the Finnish navy as the Klas horn; torpedo-boats 120, 102 and 119; Wsadnik; Standar, two views; Etoile Polaire; Czarnitza; Zaria; Manoeuvre à bord du Djighit. Jean Geiser (1848-1923), was born in Switzerland, moving to Algiers with his parents as a child. In the late 1860s he set up a studio on rue Bab-Azoun, where he established an excellent business as a jobbing photographer, advertising here on the title page that undertakes portraiture, people and ships, and undertakes photogravure printing of menus, post-cards, stationery. He is probably best remembered now for his typically erotic ethnographic images, which were highly successfully issued as post-cards.

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


        Rudolf Wilke: Das Wunderkind (Originalzeichnung)

      1896 - Tusche (Feder und Pinsel), Kohle und Deckweiß auf Papier. 38,5 x 50 cm. Veröffentlicht: Jugend. Jahrgang 1 (1896), Heft 39, Seite 628/629.

      [Bookseller: Kunkel Fine Art]
 35.   Check availability:     AbeBooks     Link/Print  


        IN THE EVENING OF HIS DAYS. A Study of Mr. Gladstone in Retirement.

      Westminster Gazette, London 1896 - Spine sunned, else very good. FIRST EDITION. This is Rackham’s seventh illustrated book. Very scarce. Size: 12mo - over 6¾" - 7¾" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Davidson's Fine Theological Books]
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        The Island of Doctor Moreau

      London: William Heinemann, 1896. First Edition. Hardcover. Very Good. First Edition. Publisher's monogram blind stamped at rear. 32-page catalog of adverts at rear, starting with "The Manxman". Very Good, with light staining to cloth, light lean to spine, previous owner bookplate to front paste down, lacking tissue-guard. First edition.

      [Bookseller: Burnside Rare Books]
 37.   Check availability:     Biblio     Link/Print  


        The Symposium: Vol I, nos. 1-3

      Northampton: G.W. Cable, 1896. First. hardcover. very good. Three issues bound together in yellow cloth, with leather spine labels, one reading "Topsy Turvy Literature. The pictorial covers with identical design in dark green & sienna by Will Bradley are present, as well as the back covers, with ads. Northampton, Mass., Oct. - Dec., 1896. First Editions. Inscribed by Cable on the fly-leaf: "The best about this volume is that it was printed in a whisper...N. Orleans (as it happens), 1916" It was indeed printed in a whisper, as copies of the periodical are practically unknown. Cable, a New Orleans writer moved to Northampton in 1885. Will Bradley lived nearby. The yellow cloth is dust-soiled, loss to margin of page 55 not affecting text, subtle crease down center of third issue, not very noticeable. Excepting margin tear, internally near fine. Preserved in a 1/4 blue morocco slipcase.

      [Bookseller: Argosy Book Store]
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        VERSES AND SONNETS

      London: Ward and Downey, 1896. Small octavo. Green cloth, lettered in gilt, t.e.g. Very slight tanning to endsheets, minor rubbing at corners, otherwise a very good, or better, bright copy. First edition of the author's first book, issued shortly after his matriculation from Baillol College, Oxford. Reportedly, Belloc gave away a few copies, and then the book was withdrawn from circulation. HAYWARD 308.

      [Bookseller: William Reese Company - Literature ABAA-]
 39.   Check availability:     Biblio     Link/Print  


        Memoirs of Barras Member of the Directorate

      Osgood, McIlvaine & Co. 1896 - This is the exceptional 1896 Osgood, McIlvaine & Co. 4 Volumes in 8 Extra Illustrated publication, with 233 extra plates, 70 of which are in color, of "Memoirs of Barras, Member of the Directorate", Edited, With a General Introduction, Prefaces and Appendices, by George Duruy, translated from french to english by Charles E. Roche. These volumes have been recovered by Bayntun, Bath, with their fine handwork on display - 8 crimson morocco covers (app. 6.25" x 8.625")with double banded gold frames, punctuated by three gold dots in each corner, 5 raised bands on straight spines, on which the lettering and decoration is gilt. Each of the 5 raised bands has a debossed faux hinge, with a 3 leaf end, extending into the front and back boards. There is slight end wear to a few spine ends, and surface scuffs to a few bands, but no significant tears, no color fade, no looseness at the hinges. The insides are in exceptional condition, with all art, black and white and full color, in fine condition, with no stains. The only stamps are the gilt impressions of Brentano, New York, and Bayntun, Bath, to the top and bottom borders of each inside cover spread. Other than a few end page pencil notations there is no writing. The inside cover spread, with the leather wrapped borders accented with gilt frames and corner decorations, and the red satin finish inside covers and front end pages, are uniformly clean and unfaded. There is no fade to any art or text. The bindings are secure, with no loose or missing pages. All the page edges, gilt all around, are clean, bright, and without tears or creases. Each successive pair is numbered as a single volume (Vol. I -II 202, 457 pp.: Vol. III-IV 321, 659 pp.: Vol. V-VI 310, 644 pp:: Vol. VII-VIII 294, 681pp). The accompanying photos are accurate reflections of the set conditions. More photos are available on request. Shipping within the US would be by priority express insured, with a shipping charge of $75. International shipping would be by priority express insured, with a shipping charge of $150.00. [Attributes: Hard Cover]

      [Bookseller: timelytales.com]
 40.   Check availability:     AbeBooks     Link/Print  


        Ã‰tudes d'économie sociale.

      Lausanne & Paris: F. Rouge, F. Pichon,, 1896. Theorie de la répartition de la richesse sociale. Octavo. Original green wrappers lettered in black, professionally rebacked preserving the original spine. Housed in a custom solander box, with green morocco label lettered in gilt. 3 diagrams, one folding. Leaf edges lightly toned; an excellent copy. First edition of one of Walras's major contributions to his economico-social doctrine, based on lectures which he held at the University of Lausanne during the years of 1870 through 1892. "As far as pure theory is concerned, Walras is in my opinion the greatest of all economists" (Schumpeter in: Blaug, Great economists before Keynes, p. 264). In this work, as well as in his Etudes d'Economie politique appliquée (1898), Walras's main interest in pure theory (which he had earlier presented in Eléments d'Economie politique pure, 1874-77), shifted to issues of applied economics and social economics which actually was a revival of the activity he began when he was young.

      [Bookseller: Peter Harrington]
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        Meisterwerke Schweizerischer Glasmalerei.

      (16) pp. introductory material incl. title, foreword, and substantial descriptions, by A. Hafner, of stained glass works in churches and other buildings throughout Switzerland, many from the late Gothic period, extensive scholarly notes including bibliographic material, 60 excellent plates including 14 in superb color. Some foxing on title and a few other pages, some minor foxing at edges of a few plates, a few small chips and nicks at edges of a few plates, otherwise in fine condition. Large folio. Orig. boards portfolio. Berlin (Bruno Hessling) 1896. Second edition.

      [Bookseller: F.A. Bernett Books]
 42.   Check availability:     Biblio     Link/Print  

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