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

        Moko; or Maori Tattooing

      London: Chapman & Hall, 1896. Quarto, frontispiece and 180 illustrations; Tate Library bookplate to front pastedown and single stamp to reverse of title-page; boards a little marked, yet an attractive and partially unopened copy in original publisher's gilt decorated cloth. One of the great antiquarian books on tattooing, devoted to the Maori practice of facial decoration or 'Moko'.Horatio Gordon Robley (1840-1930) was a professional soldier who served in the Maori land wars of 1864-1866. While in New Zealand, Robley gleaned sufficient Maori language skill to pursue his long-standing interest in tattooing and began collecting embalmed heads; indeed the author's precise sketches form the majority of the 180 illustrations in this book. Chapters in the first section describe the legend and folklore of tattooing, early European contact, elements of design, and gendered practices and traditions. Of special interest is an entire chapter on Europeans with facial tattooing, with good biographical detail on John Rutherford, who escaped in 1826 after ten years captivity and exhibited his tattoos in London. Another remarkable story is that of James Caddell, a lad who landed in 1807 on the South Island with a sealing party. Eventually the sealers were massacred and Caddell was adopted, Robley reports he was 'transformed from the English sailor boy to the terrifying New Zealand chief; he was tattooed and became a noble'. Caddell visited Sydney with his Maori wife in 1823 but staunchly maintained his traditional way of life.The second section is devoted to the tradition of desiccated tattooed Maori heads or Mokomokai. Here Robley draws upon his long experience as a collector and provides disturbing first-hand testimony of this vigorous nineteenth century trade; indeed the majority of the 48 illustrations in the second section are examples from the author's own collection. Robley describes the traditional art form of preserving heads and the trade that grew in the first decades of the nineteenth century when whalers and traders began to frequent New Zealand waters. It was not uncommon for whalers to obtain Mokomokai in New Zealand and resell them in European or North American ports (Herman Melville's harpooner Queequeg peddling his heads on a frosty New Bedford evening being the most famous literary example of this practice). Robley narrates how supply quickly ran short and embalmed heads were produced for trading with Europeans, a gruesome trade fuelled by internecine tribal warfare. Colonial authorities became justifiably concerned, and this book reprints the edict of 1831 issued by Colonial Secretary Alexander McLeay and published in Sydney, wherein the trade is condemned for bringing 'scandal and prejudice' to British traders in the Pacific.In 1908 Robley offered his collection en-bloc to the government of New Zealand, who declined the proposal. The Mokomokai were eventually sold to the American Museum of Natural History, and were repatriated to their respective traditional peoples in 1998. Other examples illustrated in this book are from museums in Florence, Oxford, Halifax, the Royal College of Surgeons in London and the ethnological collection of Baron von Hügel at Cambridge. Bagnall, R856; Hocken, p. 436.

      [Bookseller: Hordern House Rare Books]
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        PANORAMA DER BERLINER GEWERBE AUSSTELLUNG [PANORAMA OF THE BERLIN TRAD

      PEEPSHOW. PANORAMA DER BERLINER GEWERBE AUSSTELLUNG [PANORAMA OF THE BERLIN TRADE EXHIBITION]. Berlin: Oscar Michaelis 1896. 4 7/8" wide x 6 1/8" opening to 16". Fine condition in pictorial slip case (one flap neatly and unobtrusively strengthened). When extended, the 6 color lighographed scenes offer a detailed three dimensional view of the main hall of the Exhibition. The final scene has a carved medallion that is visible even when the peepshow is closed. The slip case has a beautiful color lithograph on one side and a colored plan of the Expo on the other. Although not called a "World's Fair", this was a technicality. When completed it was larger than any previous fair had been (more than 1 million square yards), featuring nearly 4000 participants and attracting 7 million visitors.

      [Bookseller: Aleph-Bet Books, Inc.]
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        Arabesk blomst. Akvareltegning i farver.

      Indsat med blændramme i ramme. Rammemål: 35 x 40 cm.. Signeret Jens Lund. Skodsborg 11 August 1896.Pænt og rent ex. Jens Lund (1871-1923) spredte sig med sine arbejder i overensstemmelse med tidens ideal over flere områder, der både berørte billedkunsten, litteraturen og kunsthåndværket. I sine tre bogværker »Forvandlede Blomster« (1899), »Livets Skove« (1901) samt »Drømmerens Bog« (1915) supplerede han tegningerne med korte vers eller hele tekststykker, så værkerne ideelt udgør af helheder af billeder og ord, der igennem syntesen udsletter grænsen mellem kunsten og lyrikken. Denne sammentænkning af kunst og litteratur var ganske typisk for 1890'erne, og særligt indenfor de symbolistiske kredse. Jens Lund startede sit arbejde med illustrationer til litterære værker allerede i 1896, hvor han udførte tegningerne til Georg Brandes' Shakespeare-monografi. Fra samme år er omslagsillustrationen til Henrik Ibsens »Brand« (dateret 1896 men øjensynligt aldrig trykt). Alle fire værker lod han indgå i »Forvandlede Blomster«. Til Shakespeare-monografien komponerede Jens Lund tre kapitelomslag, som med deres suggestive virkninger karakteriserede Shakespeares tre livsstadier. Rammen med skade på nederste hjørne. Akvarellen er helt fin og ren

      [Bookseller: Bøger & Kuriosa]
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        [Op. 6]. 4 pièces à deux pianos (Le 1er piano pouvant aussi être joué seul). Autograph musical manuscript signed "Ch. KÂœchlin"

      [1896]. Folio (335 x 270 mm. with several leaves in slightly smaller format). Unbound. 1f. (title), 1-7 (no. I), [8] (blank), 9-13 (no. II), [14] (blank), 15-23 (no. III), [24] (blank), 25-[34] (no. IV), [ii] (blank) pp. Notated in black ink on printed 20-staff music paper with blindstamp of Y. Lard-Esnault / E. Bellamy, Paris. No date. With extensive autograph annotations and corrections. Dedications to upper right corner of the first page of each piece: "à madame L. Salomon" (no. I); "à monsieur J. Berry" (no. II); "à monsieur Jean Huré" (no. III); à mademoiselle Juliette Toutain" (no. IV). Directives and cue-size notes for performance on one piano only, all crossed out in pencil. Various layers of further corrections and annotations (including pagination) in graphite and colored pencil (green, blue, and red), in different hands, most probably including the composer's. Autograph note in ink to right of title page: "à arranger pour Piano Flute Hautbois Clarinette Cor Basson." Some soiling and browning; outer bifolium torn at spine and lower edge; lower end of final leaf (ca. 70 mm.) trimmed; remnants of adhesive labels to foot of p. 1; final leaves slightly creased and with small tears. . Koechlin's earliest known work for piano. Orledge p. 329 (where this particular manuscript is not recorded; another manuscript of the score and sketches is, however, recorded as being held in the Yves Koechlin archive). "[Koechlin's] unworldly and uncompromising nature undoubtedly contributed to his neglect as a composer during his lifetime, and he attached great importance to the high opinions of his music expressed by Milhaud, Roussel, Falla, Fauré and other composers whom he, in turn, admired. In retrospect these opinions have been vindicated, and KoechlinÂ’s originality, visionary breadth and profundity place him well above the rank of petit maître. Rather, as Wilfrid Mellers concluded as early as 1942, he ‘is among the very select number of contemporary composers who really matterÂ’." Robert Orledge in Grove Music Online. The present manuscript was used by the engraver of Alphone Leduc, Paris, for the first (and only) edition of the work, published in 1899, plate number 10186. As one would expect from the deletions in the present manuscript, the printed edition lacks the directives and cue-size notes for performance on one piano only. According to Orledge, the suite "is an arrangement of a solo piano work... The most attractive movement... is the third, slightly reminiscent of Debussy's 'En bateau' from the Petite Suite of 1888-9." (op. cit., p. 72-73). The present manuscript would allow for the reconstruction of the original solo piano version. The arrangement for piano and wind quintet hinted at on the title page apparently never materialized.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        La société nouvelle Tome I de la douzième année EDITION ORIGINALE

      Paris|-Bruxelles: La société nouvelle, 1896. Fine. La société nouvelle, Paris -Bruxelles 1896, 16,5x25cm, relié. - First Edition. Amazing and rare international journal of sociology, arts, sciences and humanities at the crossroads of symbolist and anarchist currents. Binding to Bradelle half black calico corner, smooth back with a gold finial. covers of fassicules retained. second half contributions of H. Van de Velde, Gustave Kahn, Peter Kropotkin, George Eekhoud Bakunin, Yvan Turgenev, Emile Verhaeren, Elie recluse, CH Hirsch ... --- 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. Etonnante et rare revue internationale de sociologie, arts, sciences et lettres à la croisée des courants symbolistes et anarchistes. reliure à la bradelle en demi percaline à coin noire, dos lisse orné d'un fleuron doré. couvertures des fassicules conservées. second semestre, contributions de H. Van de velde, Gustave Kahn, Pierre kropotkine, Georges Eekhoud, Bakounine, Yvan tourgueneff, Emile Verhaeren, Elie reclus, C. H. Hirsch...

      [Bookseller: Librairie Le Feu Follet]
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        The Fiddler Of Carne: A North Sea Winter's Tale

      Edinburgh: Patrick Geddes & Colleagues. Near Fine in Very Good+ dust jacket. 1896. First Edition. Cloth. Original green cloth, titles stamped in black on upper board, in gilt with decoration on spine, brown top-stain, decorative endpapers, in the publisher's printed paper dust-wrapper; pp. [8], 354, 355-375 (ads), [1] (colophon). Spine tips rubbed and faded, else fine; jacket spine age-toned, with a teensy bit of chipping at the spine ends, one tiny round waterspot, but generally extremely well-preserved .

      [Bookseller: Books Tell You Why]
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        Op. 6]. 4 pièces à deux pianos (Le 1er piano pouvant aussi être joué seul). Autograph musical manuscript signed "Ch. Kœchlin"

      [1896] 1896 - Koechlin's earliest known work for piano. Orledge p. 329 (where this particular manuscript is not recorded; another manuscript of the score and sketches is, however, recorded as being held in the Yves Koechlin archive). "[Koechlin's] unworldly and uncompromising nature undoubtedly contributed to his neglect as a composer during his lifetime, and he attached great importance to the high opinions of his music expressed by Milhaud, Roussel, Falla, Fauré and other composers whom he, in turn, admired. In retrospect these opinions have been vindicated, and Koechlin’s originality, visionary breadth and profundity place him well above the rank of petit maître. Rather, as Wilfrid Mellers concluded as early as 1942, he ‘is among the very select number of contemporary composers who really matter’." Robert Orledge in Grove Music Online.The present manuscript was used by the engraver of Alphone Leduc, Paris, for the first (and only) edition of the work, published in 1899, plate number 10186. As one would expect from the deletions in the present manuscript, the printed edition lacks the directives and cue-size notes for performance on one piano only. According to Orledge, the suite "is an arrangement of a solo piano work. The most attractive movement. is the third, slightly reminiscent of Debussy's 'En bateau' from the Petite Suite of 1888-9." (op. cit., p. 72-73). The present manuscript would allow for the reconstruction of the original solo piano version.The arrangement for piano and wind quintet hinted at on the title page apparently never materialized. Folio (335 x 270 mm. with several leaves in slightly smaller format). Unbound. 1f. (title), 1-7 (no. I), [8] (blank), 9-13 (no. II), [14] (blank), 15-23 (no. III), [24] (blank), 25-[34] (no. IV), [ii] (blank) pp. Notated in black ink on printed 20-staff music paper with blindstamp of Y. Lard-Esnault / E. Bellamy, Paris. No date. With extensive autograph annotations and corrections. Dedications to upper right corner of the first page of each piece: "à madame L. Salomon" (no. I); "à monsieur J. Berry" (no. II); "à monsieur Jean Huré" (no. III); à mademoiselle Juliette Toutain" (no. IV). Directives and cue-size notes for performance on one piano only, all crossed out in pencil. Various layers of further corrections and annotations (including pagination) in graphite and colored pencil (green, blue, and red), in different hands, most probably including the composer's. Autograph note in ink to right of title page: "à arranger pour Piano Flute Hautbois Clarinette Cor Basson."Some soiling and browning; outer bifolium torn at spine and lower edge; lower end of final leaf (ca. 70 mm.) trimmed; remnants of adhesive labels to foot of p. 1; final leaves slightly creased and with small tears.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS LLC]
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        Eastman Johnson : signature, letter closing and date, Dec. 29, 1896

      No Publisher, 1896, Paperback, Book Condition: Very Good, First Edition. Fine copy. Remains particularly and surprisingly well-preserved.; 8vo 8" - 9" tall; 1 pages; Portion of a letter SIGNED and dated by Eastman Johnson, American painter and co-founder of the Metropolitan Museum of Art, New York City. Subjects: American art and artists -- Art -- Signatures -- Letters and correspondence. Dimensions: 11 x 6cm.

      [Bookseller: MW Books Ltd.]
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        Report on the Work of the Horn Scientific Expedition to Central Australia. [Volume 1: Introduction, Narrative, Summary of Results, Supplement to Zoological Report, Map. Volume 2: Zoology. Volume 3: Geology and Botany. Volume 4: Anthropology]

      London, Dulau, 1896 - Quarto, four volumes, [ii], xviii, 220 pages with illustrations and a map plus 11 pages of plates and a large folding map (650 x 615 mm); [ii], iv, 432 pages with illustrations plus 28 pages of plates (1 folding, 11 in colour) and a corrigenda slip at page 1; [vi], 204 pages with illustrations plus 9 pages of plates (2 folding); and [vi], 200 pages with illustrations plus 20 pages of plates (6 folding, 4 of them in colour). Original cloth, all edges uncut; cloth slightly rubbed, bumped and flecked; small cancelled library stamp and a six-digit reference number in ink on each title page (but see below); some foxing (confined mainly to the endpapers and adjacent leaves); trifling chips to some uncut edges, and the very occasional fingermark to the odd page; overall an excellent set throughout. The set was withdrawn from the Public Library of New South Wales; the cancelled stamps are signed by Ida Emily Leeson (1885-1964), the second Mitchell Librarian (from 1932 until [officially] 1946). A pencilled note in each volume indicates the set entered the library on 16 March 1909. It subsequently entered the collection of Professor Andrew Arthur Abbie (1905-1976), anatomist and anthropologist, whose bookplate is on each front pastedown, with the date 'c.1938' written below it. Professor Abbie's annotations in pencil are to be found on nine pages of the fourth volume ('Anthropology'); the most significant of these are the 60 words written in the margins of several pages discussing diseases (pages 127-129). Interesting though this provenance is, let us not forget the books! The purpose of this scientific expedition, sponsored by mining magnate and philanthropist William Austin Horn, and with Charles Winnecke as commander and surveyor, was to examine the MacDonnell Ranges on the not unreasonable premise that 'when the rest of the Continent was submerged the elevated portions of the McDonnell [sic] Range existed as an island, and that consequently older forms of life might be found in the more inaccessible parts'. This in fact proved not to be the case, but the expedition (of some fourteen weeks and 2000 camel miles undertaken between May and August 1894) was an outstanding success. 'It was not the intention . to explore a new region . But in the pursuit of natural history the expedition split into independent groups and explored undiscovered areas, thus filling in more of the blank spaces in this vast region' (Feeken, Feeken and Spate: The Discovery and Exploration of Australia, [1991]). 'These volumes constitute one of the most substantial contributions in nineteenth-century Australian exploration [but perhaps more importantly, the expedition is] a landmark in anthropological history because it resulted in [Baldwin] Spencer meeting Frank Gillen' (Mulvaney). Use [Ask Bookseller a Question] option below to confirm availability.

      [Bookseller: Michael Treloar Antiquarian ANZAAB/ILAB]
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        L'IMAGE. Revue Litteraire et Artistique

      - Paris, H. Floury, 1896-97 4°, 1/2 pelle rossa coeva Rara raccolta, completa di tutti i 12 numeri usciti, di questa rivista pubblicata con grande cura artigianale e su carta velin dalla Corporation Francaise des graveurs sur bois, in polemica con i procedimenti di riproduzione industriale che si stavano diffondendo. Sono conservate le 12 copertine originali (disegnate tra gli altri da Toulouse-Lautrec e Mucha) e il volume è illustrato da 48 silografie a piena pagina e centinaia nel testo ad opera dei migliori illustratori dell'epoca. [Attributes: Hard Cover]

      [Bookseller: Libreria Bozzi]
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        Faune 5 EDITION ORIGINALE ENVOI AUTOGRAPHE

      Crayon sur papier, 1896. Fine. 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.

      [Bookseller: Librairie Le Feu Follet]
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        Uniformen des 1ten Brandenburgischen Dragoner-Regiments No. 2.

      1896 - O.O. (Leipzig), Meisenbach, Riffarth & Co., o.J. (um 1896). 20 farbige, phototlithographische Blätter, lose in Original-HLwd.-Flügelmappe mit schwarzgepr. Tit. und Wappen. Folio (50 x 40 cm). Mappentitel: "Dragoner Bilder von G. Wühlisch".- Enthält ein Titelblatt, ein Widmungsblatt ("Seiner Königlichen Hoheit dem General Feldmarschall Prinzen Albrecht von Preussen, Regenten des Herzogthums Braunschweig, dem hohen Chef des Dragoner Regiments 2 in tiefster Ehrfurcht gewidmet von G. Wühlisch, Rittmeister d. Pr. Drag.Rgts. 2"), sowie 18 Tafeln mit Darstellungen der Uniformen des Regiments zwischen 1689 und 1895.- Vollständige Mappe in guter Erhaltung. Widmungsblatt mit hinterlegtem kleinen Einriss. Tafeln papierbedingt schwach gebräunt und verso mit kleinem Namensstempel. Vereinzelte, sehr leichte Knickspuren im breiten weißen Außensteg. Die Mappe berieben, etwas bis stärker fleckig und mit kleinen Kratzspuren. Innen zwei Namensstempel und kleine Buchbindermarke: "Hübel & Denck, Leipzig".

      [Bookseller: Antiquariat Diderot]
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        Reise in Kleinasien Sommer 1895 Forschungen zur Seldjukischen Kunst und Geographie des Landes. Mit 76 Lichtdruck-Tafeln, zahlreichen von GEERKE und REHLENDER gezeichneten Text-Illustrationen nach den original-Photographien und mit einer Karte vom KIEPERT nach den Routen-Aufnahmen

      Geographische Verlagshandlung Dietrich Reimer (Ernst Vohsen), Berlin 1896 - gr.8°HLn. Privater Halbleineneinband durch Buchbinder, Leinenecken. Rückenbeschriftung in Gold. Hier eine sehr saubere und schöne Ausgabe mit den 76 Tafeln und der vielfach gefalteten Karte (diese an einem Falz mit Papier unterlegt und so geklebt). 209 S.

      [Bookseller: Buchhandlung W. Neugebauer GmbH & Co.KG]
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        The World Awheel

      London and NY: Stokes. 1896. First edition. Hardcover. Near Fine. 1896, First Edition. Hardcover, 4to., original 3/4 cloth with decorative cloth, gilt title. Illustrated with 11 (of 12) color chromolithographic plates after watercolors by Grivaz -- this copy lacks the 'Newport' plate which was been neatly excised. Otherwise Near Fine. 78 pp. Minor edgewear. Fine contents, including the 12 plates which show women from all over the world on bicycles. Acknowledgment sheet laid-in. Beautiful illustrations, including scenes from New York City, Switzerland, Holland, Paris, Russia, Germany, Scotland, The Riviera, Egypt and Pompeii, joined by poetry celebrating the bicycle. Rare on the marketplace and in institutions.

      [Bookseller: Caliban Books ABAA-ILAB]
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        GOLLIWOGG'S BICYCLE CLUB

      - UPTON,FLORENCE. THE GOLLIWOGG'S BICYCLE CLUB. London: Longmans Green 1896. Oblong 4to, cloth backed pictorial boards, corner bumped, edges rubbed and usual cover rubbing, tight and VG. 1st edition of the second Golliwogg title. Wonderfully illustrated in color. [Attributes: First Edition; Hard Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        Faune 2 : projet de statue EDITION ORIGINALE ENVOI AUTOGRAPHE

      Crayon sur papier, 1896. Fine. Crayon sur papier Circa 1896, 13,5 x 21 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.

      [Bookseller: Librairie Le Feu Follet]
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        L'enterrement d'une étoile EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Lib. Borel, 1896. Fine. Lib. Borel, Paris 1896, 7,5x14,5cm, relié. - First edition on current paper. Bound in half chocolate canvas, smooth spine, marbled paper plates, guards and contreplats mustard paper wrappers preserved, gilded head. Precious and touching handwritten dedication signed by the author to his stepmother Leonid. Our copy is enriched with an autograph ticket of two pages of François Daudet retracing the route of this work within the family Daudet. Book adorned with illustrations by Luigi Rossi. Pleasant copy. --- 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 sur papier courant. Reliure en demi toile chocolat, dos lisse, plats de papier marbré, gardes et contreplats de papier moutarde, couvertures conservées, tête dorée. Précieux et émouvant envoi autographe signé de Alphonse Daudet à sa belle mère Léonide. Notre exemplaire est enrichi d'un billet autographe de deux pages de François Daudet qui retrace l'itinéraire de cet ouvrage au sein de la famille Daudet. Ouvrage orné d'illustrations de Luigi Rossi. Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        L'Ermitage - Revue artistique et littéraire Année complète 1896 EDITION ORIGINALE

      Paris: Bureaux de la Revue, 1896. Fine. 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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        Aphrodite EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Mercure de France, 1896. Fine. Mercure de France, Paris 1896, 18x26,5cm, relié. - Original, one of 40 numbered copies on Holland paper Edition, only leading copies after 9 and 10 Whatman Japan. Bound in half navy morocco, flat spine decorated with black cartridges, marbled paper plates, guards and contreplats blue paper covers and spine preserved, gilt-head witnesses, elegant binding signed P. Goy & C. Vilaine. Precious autograph dedication signed by the author Gaston Doumergue then Minister of Public Instruction. Nice copy with all margins nicely established. --- 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, un des 40 exemplaires numérotés sur Hollande, seuls grands papiers après 9 Japon et 10 Whatman. Reliure en demi maroquin marine, dos lisse orné de cartouches noirs, plats de papier marbré, gardes et contreplats de papier bleu, couvertures et dos conservés, tête dorée sur témoins, élégante reliure signée de P. Goy & C. Vilaine. Précieux envoi autographe signé de Pierre Louys à Gaston Doumergue alors ministre de l'Instruction Publique. Bel exemplaire à toutes marges agréablement établi.

      [Bookseller: Librairie Le Feu Follet]
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        THE WORKS OF MAX BEERBOHM (First Edition in DUSTJACKET)

      New York: Charles Scribner's Sons. Fine in Very Good dust jacket. 1896. CLOTHBOUND. A fine copy in the original decorated brown cloth; top edges gilt. Deckle edges. Spectacular enamelled & gilt art nouveau butterfly design by Margaret Armstrong is as bright as when published. Some pages are unopened. Some minor spotting on end papers. Has the very rare original glassine dustjacket! Upper and lower edges of the jacket are slightly chipped. Description : 4 pl. , 3-165 [1] p. 17.4 cm. Notes : 1st edition which preceded the London edition. Gallatin & Oliver 1. Gullan & Espey, 22. 1000 copies printed. 599 copies extant. Essays first published in various periodicals; the first has been revised and enlarged. Contents: Dandies and dandies. --A good prince. --1880.--King George the Fourth. --The pervasion of rouge. --Poor Romeo! --Diminuendo. ; 12mo 7" - 7½" tall; 4,165 pages .

      [Bookseller: Elliot's Books, Since 1957]
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        HORN-BOOK JINGLES

      GASKIN, MRS. ARTHUR. GASKIN,MRS. ARTHUR. HORN-BOOK JINGLES. London: Leadenhall Press / Simpkin Marshall 1896-7. Narrow 8vo (4 3/4 x 8 3/4"), green pictorial cloth, top edge gilt, spine creased else VG+. First and probably only edition. Printed on only one side of the paper, there are 70 full page illustrations with simple calligraphic text integrated into the pictures. Each page shows a different child with his or her horn book. Georgie Gaskin illustrated several charming children's books identifying herself as the wife of the illustrator Arthur Gaskin. Illustrations from this book are used throughout Andrew Tuer's reference book The History of the Horn Book. This is a unique treatment of an historical educational tool and quite lovely.

      [Bookseller: Aleph-Bet Books, Inc.]
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        The Works of E.A. Poe. With an Introductionand a Memoir by Richard Henry Stoddart. [set of writings/poems/tales including Murders in the Rue Morgue, the Mystery of Marie Roget, The Raven, The Bells, A Descent into the Maelstrom, The Purloined Letter, &c.]

      London: George Routledge and Sons, 1896., 1896. 6 volumes, octavo. Includes several decorations and plates, some of which are folding. Elegantly hand-bound in period-style half tan calf with twin red and green labels to spine, marbled sides, top edge untrimmed. Some minor toning to edges of text block, a couple of leaves poorly opened at margin. Near fine.

      [Bookseller: Adrian Harrington Rare Books]
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        Alice';s Adventures Under Ground; being a facsimile of the original ms. Book afterwards developed into "Alice';s adventures in wonderland"

      London: Macmillan & Co, 1896. First Edition. Octavo. first printing, price four shillings. 95(1)pp., (2)pp. ads at rear, with 36 illustrations by the author, bound in rd cloth lettered and triple rued in gilt, spine and all edges gilt, black endpapers some chipping to spine ends, some soiling to covers, wear to one corner, rear inner hinge cracked, closed tear to engraved pictorial title (i.e. xiii), contemporary owner's inscription dated [18]86.

      [Bookseller: Alcuin Books, ABAA-ILAB]
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        EINE NEUE ART VON STRAHLEN

      Stahel'schen K. Hof- und Universitats- Buch- und Kunsthandlung, Würtzburg 1896 - 12 and 9, (3) pp. Two offprint issues of the first (4th edition) and second (1st edition) announcement of the discovery of X-rays. Original brown [1st] and orange [2nd] wrappers, printed in black. Wrappers with some expertly repaired edgewear. Pages mildly browned. In new protective blue quartercloth folder with grey boards. Röntgen was a professor of physics, not a physician , but his discovery of x-rays was of such immediate value to medicine, that those small pamphlets also must be counted as one of the classics of medicine. Röntgen received the Nobel Prize in Physics in 1901. The 1st announcement was published in December 1895, other editions followed in 1896, the 5th being offered in the publisher ads in the 2nd announcement. The 4th edition included in this set thus is quite vintage, as the closing date at the end of the II. Mittheilung is March 9th, 1896. The set and the publisher ads make this an interesting copy from a bibliographical point of view. Dibner, Heralds of Science 162; Garrison-Morton 2683; Grolier/Horblit 90; Grolier Medicine 83A-B; PMM 380 (the last three references are to the periodical issue); Norman 1841-1842. (2)

      [Bookseller: THE STOA COLLECTION]
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        An Outcast of the Islands

      London: T. Fisher Unwin,, 1896. Octavo. Original green cloth, titles to spine and top edge gilt. Embossed ownership stamp to front free endpaper, contents browned but an excellent copy. First edition, first impression.

      [Bookseller: Peter Harrington]
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        A Tale Of Two Cities In Three Books, Arundel Series

      New York: WM. L Allison Company , 1896 BOOK THE FIRST- RECALLED TO LIFE; BOOK THE SECOND. - THE GOLDEN THREAD.; BOOK THE THIRD. - THE TRACK OF A STORM. pg357 Brown w/ DE HIRUNDINE on front cover, Tale of Two Cities on Binder in Gold, Binder & Cover a little warn and frayed on edges.

      [Bookseller: Treasure Book Memories]
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        The Thunder Storm. Thoughts suggested at the performance of the 4th Movement L. van Beethoven's Pastoral Symphony Op. 68

      Ballarat: James Curtis, Printer, no date but, 1896. Slim octavo pamphlet, 8 pp., embrowned; an excellent copy in the original decorated paper wrappers. Very rare late nineteenth-century Australian poem by William Little of Ballarat, unrecorded by Ferguson and Morris Miller. Little here takes as his muse a performance of Beethoven's Pastoral Symphony, which evidently moved him to great emotion.William Little (1839-1916) was the first of fourteen children, most of whom died in infancy. His father, John Little, was a storekeeper and successful gold miner in Geelong and later Ballarat. Little married the accomplished concert pianist Catherine Cazaly in 1862 and established a successful brokerage and finance company in 1880. Little was an energetic man who served as councillor and mayor of Ballarat, a Justice of the Peace and community leader. He was also an early Australian environmentalist who motivated the citizens of Ballarat to plant 1,250 trees on Arbour Day in 1890. Interestingly, Mark Twain quoted William Little speaking about the Australian language in his 1897 travel classic Following the Equator.Little was an industrious writer, author of two local histories and numerous poems including The Thunder Storm, being meditations inspired by a powerful storm and the music of Beethoven. A collection of his poems, edited by great grandson Frederick Shade was privately published in 1999. The Thunder Storm is not listed in the Eleanora Cuthbert's comprehensive Index of Australian and New Zealand Poetry (New York 1963).

      [Bookseller: Hordern House Rare Books]
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        Die Schweizer-Trachten vom XVII-XIX Jahrhundert nach Originalen. Dargestellt unter der Leitung von Frau Jul. Heierli und auf photomechanischem Wege in Farbe ausgeführt.

      Druck und Verlag: Polygraphisches Institut Zürich. 1896,. gr. Folio (Blatt 57.5x42.5 cm), 12 Blatt Text + 36 Farbtafeln, Original Halb-Leinen-Mapppe mit Goldaufdruck.. Exemplar ohne die 2 ersten Textseiten. Tafeln komplett. Die Originalaufnahmen stammen vom Schweizertrachtenfest des Lesezirkels Hottingen in Zürich, 14. März 1896. Photogr Aufnahme von R. Ganz, Zürich.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Mistura Curiosa.

      Edinburgh. Maclachlan and Stewart. 1896 - First edition. 4to. Bound in publisher's dark green cloth covered bevelled boards, titled and decorated in gilt to spine and front board. Light edgewear, some slight frayiong to head of spine; bright, clean and handsome. All edges gilt. Internally clean. A bizarre and unusual collection of verses, riddles, songs and fables, some of which it has to be said are markedly racist by today's standards (if not actually intended to be at the time because apparently being a weapons-grade muppet to people who weren't exactly like you in every respect was just good, clean fun), but which were probably the height of comic subtlety in 1896, which leads me to believe I'd sooner chew my own leg off than attend a recital of such gibberish. Subjects other than the fact that black people were vastly amusing to late Victorians covered by this volume include comic Scottish verses, rhymes about golf (the only redeeming feature of said pastime being that the practitioners of it are frequently struck by lightning), curling and the unforgiving and somewhat provocative behaviour of Sweet Nell the Grocer's Daughter. Illustrated throughout with varying degrees of artistic beauty and horrifying crassness by Charles Altamont Doyle. This is a most curious item and in fact criticism of it (not that I'll stop, obviously) is like someone one hundred years in the future finding a Viz annual and a Conservative Party internal memo and deciding therefore that we were all sexually perverse bigoted stereotypes with the charm and appeal of a really bad escalator accident; what they'll think when they get round to reading the Viz annual is anybody's guess. A snapshot of an era, albeit one of those snapshots you wouldn't run back inside a burning building to retrieve. [Attributes: First Edition; Hard Cover]

      [Bookseller: Adrian Harrington Ltd, ABA, ILAB]
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        [Manuscript] The Sporting Adventures of Mr. Popple [together with] a first edition copy of the book

      London: Later published by John Lane, The Bodley Head, 1896. Half Morocco, Cloth Boards. Near Fine. Oblong, 26 by 40 cm. (This is slightly larger than the later book.) Title, 20 pp. 10 pages are devoted to the original full-page watercolors, and the title is also largely watercolored. The other pages have pen-and-ink vignettes aplenty as well as the original beautifully hand-written text, which was reproduced in the later printing. In printed form, the illustrations are fun, evocative and full of verve, yet the original artwork is truly a revelation. The colors are richer, as one might expect, but the action, and the illustrations team with movement, comes off so much more immediate and intense in this quintessential foxhunting tale of a nouveau riche newbie and all the mishaps that occur to him as he navigates the "Sport of Kings". Pencilled on the backs and/or the margins are the name Edmund Evans, the printer, and shorthand instructions for the printing. Bookplate on FEP of the Duke of Gloucester. The first edition copy comes with a paper slip insert stating that the original drawings were available for purchase from Edmund Evans, and so one can infer that this printed copy and the manuscript have been united for most of the life of the book. A few scuffs of the leather and light wear beside.

      [Bookseller: White Fox Rare Books and Antiques]
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        The Diary of Samuel Pepys, M.A., F.R.S., Clerk of the Acts and Secretary to the Admiralty

      George Bell and Sons, 1896, Full-Leather, Book Condition: Very Good, ReprintSize: 12mo - over 6¾" - 7¾" tall, With Lord Braybrooke's notes. Edited and with additions by Henry B. Wheatley, F.S.A. Complete in nine volumes, including the Index volume of 1899. Copyright 1892 by Macmillan and Co. Set up and electrotyped March 1893. A few of the volumes reprinted April 1896, with other volumes being somewhat later reprints. Printed at the Norwood Press by J. S. Cushing & Co., and Berwick & Smith, Norwood, MA, USA. Contemporary full-leather bindings in cherry red morocco, with fairly crisp gilt-stamped rules and flourishes to the boards and the same plus lettering to the hubbed spines. Generally unbumped spine heads and tails. Fairly sharp corners with a touch of rubbing. Almost no observable scuffing and on the whole very clean and presentable bindings. Hinges strong. Text blocks firmly bound in. 7 x 5 inches. T.E.G. With handsome marbled paper pastedowns and FEPs. Text pages with copious footnotes and Vol. IX with appendixes and a very full index. Each volume with lithograph frontispiece and at least one additional illustration. Vol. VI with interesting fold-out map of John Evelyn's Plan of the Dutch Fleet in the Medway, June 1667 [ a Dutch victory near the mouth of the Thames River]. Vol. IX is especially noteworthy for its abundance of illustrations, including plates, pedigrees and a fold-out map of London in the time of Pepys. Parti-colored ribbon page markers. As to most volumes, preliminaries substantially foxed, and elsewhere with light intermittent foxing. To a rear FEP in each volume, tiny sticker of previous bookseller. Else very clean. Very Good copies. An exceptionally handsome set of bindings, and a pleasure to hold in hand.

      [Bookseller: The Book Carrel]
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        A Child's Garden of Verses

      1896. One of 150 Large Paper Copies on Japon Vellum Influenced by Walter Crane[ROBINSON, Charles, illustrator]. STEVENSON, Robert Louis. A Child's Garden of Verses… London: John Lane, The Bodley Head, 1896. First Illustrated Edition. One of 150 large-paper copies printed on Japon vellum paper. Octavo (8 3/4 x 6 inches; 224 x 151 mm.). xiv, 136, [8] pp. Over 150 line drawings including many full-page.Publisher's original dark red cloth as issued with the green cloth covers of the trade edition as doublures, paper label to spine, top edge gilt, others uncut. Minimal rubbing to front edge of spine label (spare label at end) otherwise fine.This is the first illustrated edition of this classic work and a highpoint in any Charles Robinson collection. Robinson was entrusted with designing the layout and presentation. Proof of the care that went into the quality of the book production is that twenty-three of the larger illustrations (of 27) and eight of the smaller illustrations (of 148) are initialed by Carl Hentschel who was Aubrey Beardsley's favorite engraver.The binding has proved a mystery to some, but the answer is simple, this edition is bound in exactly the same format as the Edinburgh Edition or Collected Works of Robert Louis Stevenson announced in 1894 to be published in 20 volumes (but ultimately expanded to 28 volumes including the complimentary appendix). Volume one appeared in November 1894 - the last volume appeared in June 1898.Charles Robinson (1870-1937) was born into a family of illustrators - his younger brother was William Heath Robinson and his older brother was Thomas Heath Robinson - and rose to become one of the most fashionable book-illustrators of his era. At age twenty-five he illustrated his first full book, A Child's Garden of Verses, with over 100 images. These illustrations for Stevenson's most endearing and popular book bear the influence of the Art Nouveau style, of his brother, W. Heath Robinson, Aubrey Beardsley, and , particularly, Walter Crane.Walter "Crane's Cantor Lectures on Decorative Illustration, given before the Society of Arts in 1889, were first published in book form in 1896, although Robinson was familiar with Crane's ideas when he illustrated and designed a Child's Garden of Verses."The book was to be seen as an integrated whole and, as such, it was wrong to ignore the relationship of the binding material, cover design, end-papers, and other 'preliminary' elements to one another and the rest of the book, as it was thoughtless to arrange illustrations without considering the format of the book or the typeface with which they would be printed...Robinson...undoubtedly endorsed [Crane's] suggestions that, in any illustrated book, the preliminary material...should be suggestive of what was in store, secretive and a little playful, so that the reader was to pass on with bated breath until his initial excitement was complete with the splendour of a beautifully designed title-page" (de Freitas, Charles Robinson, p. 16).De Freitas, p. 83.

      [Bookseller: David Brass Rare Books, Inc.]
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        Pioneer work in the Alps of New Zealand : a record of the first exploration of the chief glaciers and ranges of the Southern Alps / by Arthur P. Harper

      London : T. Fisher Unwin 1896 - Physical description; xvi, 336 p., [40] leaves of plates : ill., folded map ; 23 cm. Includes index. Subjects; New Zealand - Description and travel.Southern Alps/Ka Tiritiri o te Moana (N.Z.) - Description and travel. Provenence; stamp of the Horfield Rectory, Bristol. Good copy in the original gilt-blocked, fine-ribbed cloth. Spine bands and panel edges somewhat rubbed and dust-toned as with age. Remains quite well-preserved overall; tight, bright, clean and strong. 1 Kg. 336 pp. [Attributes: First Edition; Hard Cover]

      [Bookseller: MW Books Ltd]
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        Letters and Documents relating to the Church and Vicarage at Brize Norton in West Oxfordshire, dated 1896-1897

      No Publisher, 1896, Paperback, Book Condition: Very Good, First EditionAll items are in a very good condition. Some minor fading and edge-dulling as with age. Remains particularly well-preserved overall. ; 8vo 8" - 9" tall; 10 pages; A small collection of letters and documents regarding the vicarage in the village of Brize Norton in West Oxfordshire, dated 1896-1897. Contents: 4 letters addressed to Mr. Butler, signed John W. Wynd [or Wynde] -- Letter addressed to Mr. Butler from a Mr. Whittick. -- 'Churchwarden's Account of Receipts and Payments, Easter 1896 to Easter 1897' in pencil -- 5 documents of related material. Subjects: Brize Norton, West Oxfordshire -- Local history -- Church history -- Churchwarden -- England -- Great Britain -- late 19th century.

      [Bookseller: MW Books Ltd.]
 34.   Check availability:     Bookzangle     Link/Print  


        The World Awheel. With Fac-similes of Water Color Paintings by Edited by Volney Streamer.

      New York: Frederick A. Stokes Company, 1896 - Quarto. Original green half cloth and diaper-textured silver paper floral printed boards, title gilt to the spine, and to the upper board with gilt bicycle device and decorative silver ribbon and wheel devices, top edge gilt. Somewhat rubbed and soiled, sensitively restored at the extremities, light browning throughout as usual, remains very good. 12 high-quality chromolithographic plates including the frontispiece, acknowledgements leaf loosely inserted. First and only edition. Extremely uncommon, just 8 copies listed on OCLC, all in North America, no copies traced at auction. Wonderful Gibson Girl-style illustrations on a cycling theme. The twelve images, originally published by the Frederick A. Stokes Company in their Cycling World Calendar, represent bicyclistes of different nationalities; "they are Frenchy in subject, but have much action and good colour, and are strongly drawn" (New York Times), two feature American subjects, both in New York locations, Riverside Drive and Central Park. The original artwork was offered for sale at the Keppel Gallery in 1898. The plates are accompanied by a selection of prose and poetry inspired by the cycling craze. An attractive and highly-presentable copy. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 35.   Check availability:     AbeBooks     Link/Print  


        Larenopfer.

      Prag, Dominicus (Th.Gruss), 1896.. Titelbl., III, 106 S., 2 S. Anz. Kl.8vo. OBroschur mit Deckelornamentik u.Titel in Blau (Entwurf: Valerie von David-Rhonfeld).. Mises 2. Ritzer E 27. WG 3.- Die seltene erste Ausgabe von Rilkes zweiter Veröffentlichung, die er als seine erste gültige Gedichtsammlung ansah: 79 Gedichte über seine Heimatstadt Prag. Exemplar mit 6-zeiliger Widmung des 20jährigen Dichters (unterhalb der Verlagsadresse) an seinen ersten namhaften Förderer, den Prager Germanisten August Sauer (mit dessen gleichaltriger Ehefrau Rilke eng befreundet war, vgl. ausführlich R.Freedman, Rilke, der junge Dichter, Insel-Verlag 2001, S.61 ff.).- Widmung ("Dem hochverdienten Litterarhistoriker..." usw.) mit minim. Klebespur an der Unterkante der Unterschrift ("Rene Maria Rilke"). - Rücken mit Fehlstelle oben, unbeschnitten, RDeckel etwas fleckig. Titelblatt mit leichter Abklatsch-Klebspur im Blattrand. Innendeckel mit ganzseit. Exlibris in Farblithographie ("August Sauer") in der Art von Mucha. Die Gestalterin der häufig abgebildeten Deckelillustration, Valerie von David-Rhonfeld, war Rilkes erste Liebe - Sehr selten.- (Keine paypal-Zahlung möglich).

      [Bookseller: Fontane-Antiquariat Dr.Henning Scheffers]
 36.   Check availability:     ZVAB     Link/Print  


        Laudes Beatae Mariae Virginis

      1896. The First Kelmscott Press Book Printed in Three Colors [KELMSCOTT PRESS]. Laudes Beatae Mariae Virginis. [Hammersmith: Sold by William Morris at the Kelmscott Press, 1896]. One of 250 paper copies. Large quarto (11 7/16 x 8 1/4 inches; 291 x 210 mm.). Printed in Troy type in black, red, and blue with numerous six- and eight-line initial letter and half-page borders. Quarto (. [2], 34 pp. “These poems are taken from a Psalter written by an English scribe, most likely in one of the Midland counties, early in the 13th century” (colophon). Original gray linen-backed boards, front cover lettered in black. Slight wear to corners and spine extremities, otherwise an excellent copy. Complete with the note by the Rev. E.S. Deswick loosely laid-in. Housed in a red cloth slipcase.“[A]fter the book was issued, the Rev. E.S. Dewick pointed out that the poems had already been printed at Tegernsee in 1579, in a 16mo volume in which they are ascribed to Stephen Langton. A note to this effect was printed in Chaucer type in December 1896 and distributed to the subscribers” (Tomkinson). This is the first of only two books printed at the Kelmscott Press in three colors. William Morris's printed illuminated transcription of an early thirteenth-century English Psalter, written as poems of praise to St. Mary the Virgin, includes four pages from Luke's Gospel and concludes with a Te Deum. Today the original Psalter, which Morris once owned, is known as the Reading Abbey Psalter and is in the Pierpont Morgan Library.Clark Library, Kelmscott and Doves, pp. 52-53. Peterson A42. Tomkinson, p. 118, no. 43.

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


        Olympia - Von Hellas bis Helsinki 1896-1952 -,

      Wiesbadener Kurier, - 206 S. Gut erhaltenes Exemplar. Seiten alterbedingt leicht gebräunt., Einband mit kleinen Mängeln K18655 Sprache: de Gewicht in Gramm: 182

      [Bookseller: Antiquariat Buchhandel Daniel Viertel]
 38.   Check availability:     AbeBooks     Link/Print  


        The Works of E A Poe With an Introductionand a Memoir by Richard Henry Stoddart [set of writings/poems/tales including Murders in the Rue Morgue, the Mystery of Marie Roget, The Raven, The Bells, A Descent into the Maelstrom, The Purloined Letter, &c ]

      London: George Routledge and Sons, 1896., 1896. 6 volumes, octavo. Includes several decorations and plates, some of which are folding. Elegantly hand-bound in period-style half tan calf with twin red and green labels to spine, marbled sides, top edge untrimmed. Some minor toning to edges of text block, a couple of leaves poorly opened at margin. Near fine.

      [Bookseller: Adrian Harrington Rare Books]
 39.   Check availability:     IOBABooks     Link/Print  


        The Island of Doctor Moreau

      London: William Heinemann, 1896. First Edition. Hardcover. Good. First Edition. First binding with publisher's monogram blind stamped at rear. 32-page catalog of adverts at rear, starting with "The Manxman". In Good condition. Lean to spine. Cloth shows soiling and foxing. Front inner hinge tender, previous owner details to front free end paper. Foxing to tissue-guard.

      [Bookseller: Burnside Rare Books]
 40.   Check availability:     IOBABooks     Link/Print  

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