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

        Nymphidia and the Muses Elizium

      Hacon & Ricketts, London 1896 - Original paper covered boards with repeating design of mice with sprigs in green on both covers, white paper spine, paper label on spine. Exquisite double-spread illustrated title page, decorated throughout by Charles Ricketts. With original order form. Fine. Attractive cloth folding case with green cloth label. A scarce Vale Press title. Fine. [Attributes: First Edition]

      [Bookseller: Nudelman Rare Books]
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        Spiritual Poems

      Hacon & Ricketts, London 1896 - Original paper covered boards with printed paper labels on cover and spine. Frontispiece, title-page and small flower device throughout by Charles Ricketts, ONE OF 210 copies. A fine copy, scarce. Housed in folding marbled paper covered box, cloth spine with morocco label. [Attributes: First Edition]

      [Bookseller: Nudelman Rare Books]
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        The Pageant

      London: Henry & Co.,, 1896?-7. 2 volumes, large quarto. Original pink cloth, titles gilt to spines, titles and dove vignettes by Charles Ricketts to front boards gilt, fore- and bottom edges untrimmed, patterned endpapers designed by Lucian Pissarro. Woodcut title page to volume I by Selwyn Image, both volumes profusely illustrated with half-tone and colour plates and vignettes, some tinted blue or brown, woodcut figurative initials throughout. Extremities lightly bumped and rubbed, cloth a touch faded mainly on spines, edges toned, sporadic and very faint foxing to vol. II. An excellent set. First editions, first impressions. All published of a typically unfeasible 1890s venture, an artistic and literary collaboration between the "Rhymers' Club" decadents and the pre-Raphaelite aesthetes, and others, including work by Max Beerbohm, Robert Bridges, Edward Burne Jones, Charles Conder, Walter Crane, Austin Dobson, Ernest Dowson, Richard Garnett, Maeterlinck, John Everett Millais, T. Sturge Moore, Gustave Moreau, D. G. Rossetti, Swinburne, Verlaine, James Whistler, W. B. Yeats and many more. Gleeson White, the literary editor of the piece, was an English writer on art best remembered as the first editor of The Studio. Shannon, the art editor, was a painter and lithographer from Lincolnshire. He and Ricketts enjoyed "a lifelong friendship, which was strengthened by their uncommon artistic idealism and their interests in literature, the Pre-Raphaelites, and French symbolism … William Rothenstein remembered that the artists' partnership in the nineties 'seemed perfect; each set off the other in looks as in mind' … They were believed by some to have been lovers, but there is no conclusive evidence about this" (ODNB).

      [Bookseller: Peter Harrington]
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        Der Volksfreund".

      - Tuschfederzeichnung, Aquarellfarben, auf Pergamin. 23,5:23 cm. Literatur: Dreitausend Kunstblätter der Münchner „Jugend". Ausgewählt aus den Jahrgängen 1896-1909, hrsg. v. G. Hirth, neue vermehrte Ausgabe, München, 1909, SS. XII, 321. Zeichner, Mitarbeiter „Jugend".

      [Bookseller: Galerie Joseph Fach GmbH]
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        Eine besondere Schuhwichse.

      - Tuschfeder- und Tuschpinselzeichnung, Kohle, Rötel, Aquarellfarbe. Monogrammiert. 40,2:30,4 cm. Literatur: Dreitausend Kunstblätter der Münchner „Jugend". Ausgewählt aus den Jahrgängen 1896-1909, hrsg. V. G. Hirth, neue vermehrte Ausgabe, München, 1909, SS. VIII, 31-45; Goldstein, S. 387; Flemig, S. 52. Maler, Zeichner, Karikaturist, ständiger Mitarbeiter „Jugend" seit Beginn 1896.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Les Ballades. [Limited Edition with Extra Suite of Plates ]

      Edouard Pelletan, Editeur, Paris 1896 - Limited edition of 350 numbered copies. This copy is number 119 of 100 copies numbered 106 to 205, printed on vellum paper from the Marsh Mills, watermarked "KTHMA EIE AEL" illustrations by A. Gerardin, with an extra suite of 70 gravures on hand-made Japon or Chine paper engraved by Julien Tinayre bound in at rear. Handsomely bound by V. Champs in ¾ tan morocco over marbled paper covered boards, spine decorated in blind, lettering and top edge gilt, very tiny chip to head, one corner worn through, two small spots to spine. A very nice copy.

      [Bookseller: Alcuin Books, ABAA]
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        Familienausflug". Familie im Strandhotel.

      - Tuschfeder- und Tuschpinselzeichnung, Aquarellfarben. Signiert. 35,4:26,6 cm. Text: Zum Schluß doch wieder das kleine Menu. Literatur: Dreitausend Kunstblätter der Münchner „Jugend". Ausgewählt aus den Jahrgängen 1896-1909, hrsg. v. G. Hirth, neue vermehrte Ausgabe, München, 1909, SS. XIII, 370-379; Goldstein, S. 770; Flemig, SS. 314/15. Zeichner und Karikaturist, Bruder von Rudolf und Hermann Wilke, Mitarbeiter „Jugend", gelegentlicher Mitarbeiter „Simplicissimus" und „Auster".

      [Bookseller: Galerie Joseph Fach GmbH]
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        Original Pencil and Watercolor Drawing of Two Nude Figures on a Beach

      [1896]. Fine. A charming drawing with a quite interesting history. From the collection of James Tregaskis, the English bookseller. Manuscript note on label attached to the back of the frame: "Received from Mrs Hacon (Robichaud), as a gift in Dornoch, Sutherland." Charles Conder (1868-1909) was an English painter, lithographer, and designer who emigrated to Australia at an early age.He returned to England in 1890. "The picture was drawn by Conder on Dornoch sands, during a visit he paid to the Hacons." They were Edith and Llewellen Hacon. Mrs. Hacon, later Mrs. Robichaud, was born Edith Catherine Broadbent, though she later adopted "Muriel" and then "Amaryllis," or simply "Ryllis," as her forename. No record of her birth has been found but her 1895 marriage certificate gives her age as 21 so she can have been no older than 19 when, in January 1893, having just embarked upon a career as a prostitute, she was discovered outside the Alhambra Theatre by the poet, Arthur Symons. Symons later recalled their first meeting in a memoir: "She was one of the youngest and one of the most beautiful girls I have ever met. Her youth her rare beauty, her amazing and absolute innocence, her delicious sense of surprise because I had both pleased and surprised her... and that joy of life which was part of the freshness and the fairness of her youth: all that, which was not exactly new to me, instilled into my very blood a sense of pity." Though she became the lover of Herbert Horne, Symons continued to see her "fairly often, for several years." She is the subject of at least two poems published in London Nights, "Dawn" and "To Muriel: at the Opera"; several other sexually charged poems in the book probably also relate to her. Her account of her life formed the basis of two stories by Symons that appeared in the Savoy. Through Horne, Ryllis met Charles Ricketts and Charles Shannon, becoming a favourite model She also sat for William Rothenstein, whose pastel portrait caught the eye of W.L. Hacon, a clubby widower, keen on yachting and golf, who would shortly become Ricketts' partner in the Vale Press. Rothenstein arranged for Hacon to meet his model, Hacon fell in love, and the couple were married on Valentine's Day 1895. After their marriage, the Hacons took over the house in Chelsea which Ricketts and Shannon had left, and kept open house to a wide literary and artistic circle. For two years, Charles Conder had a room permanently reserved for him. He also stayed with the Hacons at their apartment in Dieppe and spent July and August 1896 with them at their lodge in Do noch, in the Scottish Highlands. There Conder painted Ryllis against the background of the Sutherland coast, most notably in The Beach at Dornoch and The Ord of Caithness. As Conder never returned to Dornoch, there can be little doubt that this beach study belongs to that period. After her husband's death in 1910, Ryllis involved herself in the suffrage campaign and various good works, before becoming a nurse and marrying a French-Canadian timber merchant. The drawing is in pencil with blue watercolor added to the water, sky, and beach. Nicely matted and framed. Drawing is 5 x 6 inches. Frame is 10 x 12 inches. In fine condition.

      [Bookseller: The Kelmscott Bookshop]
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        Original Bas-Relief Portrait Photograph of William McKinley as President, Signed on Mount By McKinley as President

      F. A. Taber, New York - Unusual Bas-Relief Patented Photograph by F. A. Taber of New York, of William McKinley as President, while the stamped date at rear is difficult to read, either 1896 or 1898, we would assume 1896. 12 x 10 inches overall, signed on the photography studios heavily bevelled mount by William McKinley as President, back of mount has photographer's printed and ink-stamped credit, and dated inscription by prior owner of November 14, 1900. William McKinley (1843-1901), 24th President of the United States, was to be tragically assassinated while in office the very next year, to be succeeded by his Vice President, Theodore Roosevelt. This bas- relief (which means the image is in effect 3D) portrait is extremely unusual, and shows slight wear; the mount is browned, with some white (glue?) stains at left; the verso has some chipping and stains. Taber's bas-relief photography process was first used in 1896, and was proprietary to the company. "The relief is secured in The following way. A print of the subject is made from the negative in the usual way and fastened or mounted upon a flat block of wood very similar to the wooden base of a photo mechanical block Following the features of the mounted print the highlights and prominent features of the subject are then carved out of the wooden block a wooden mould being thus produced the depressions in which correspond to the lights and outlines of the picture The mould is then roughly dressed off so that no sharp edges are left. The prints which are to be embossed or rendered in bas relief taken from the negative made by the photographer in the ordinary manner should preferably be made upon platinotype paper Plain Saxe paper or print out paper such as platino also answers the purpose1 These prints are first mounted cards of medium thickness thoroughly placed on the mould so that they register exactly with the print first to the block when the mould was and left under heavy pressure until dry when the relief obtained by the prints into the depressions the mould will permanently keep its The new pictures so like an ordinary and yet so different are practically a combination of the photograph cameo and must be seen to be appreciated." (Wilson's photographic magazine, Volume 33). Size: 4to - over 9¾" - 12" tall

      [Bookseller: Arundel Books]
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        Maggie A Child of the Streets

      William Heinemann, London 1896 - First British edition. Original navy blue cloth over flexible card. Gilt titles minimally rubbed. Gilt topstain largely untarnished. PO blindstamp to ffep. Small indentation to bottom text block edge. Unmarked. A very nice copy overall. ; 16mo 6" - 7" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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        LE SALON DE 1896 - 1898 3 VOLUMES

      Goupil & Cie / Jean Bousaod, Manzi, Joyant & Cie,: Virtue & Co 1896-1898 - Color and b/w; Uniform decorated red cloth. 1897 volume has some patterned fading . Front covers with artist's palette on colors and gilt. 1896 was published by Virtue and assembled by Thiebault - Sisson. 1897-8 was published by Goupil and assempled by Proust. Some of the chromos are quite striking. A tour-de-force of the art world at that time. Volumes are very good and show only minor shelf wear. Binding is striaght, sound and tight. Text block is clean and VG. 21lbs, 9.5" x 13". ; 21 [Attributes: First Edition; Hard Cover]

      [Bookseller: poor man's books (mrbooks)]
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        Michel Strogoff suivi de Un drame au Mexique

      1896. Fine. 1896, Grd. in 8 (18x28cm), relié. - Edition illustrated with 41 drawings in black Benett and 12 chromotypographies colors. 2 cards. Cardboard called "golden globe" type 1 black headband (1896) signed Blancheland and connected by Engel. JAUZAC retains 4 types until 1903. Back to the lighthouse. Beautiful top plate, the brilliant golds, well back in the net with the sticker off-lighthouse, second course carrying some pale spots in the upper parts. Book slightly warped with some notebooks projections externally slice but not visible in the upper groove. Copy free of foxing, clean. Nice copy overall. - [FRENCH VERSION FOLLOWS] Edition illustrée de 41 dessins en noir de Benett et de 12 chromotypographies en couleurs. 2 cartes. Cartonnage dit "au globe doré" type 1 au bandeau noir (1896) signé Blancheland et relié par Engel. Jauzac en retient 4 types jusqu'en 1903. Dos au phare. Belle plaque supérieure, aux ors éclatants, dos bien net avec la vignette au phare légèrement sale, second plat portant quelques pâles tâches dans la parties supérieure. Ouvrage légèrement gauchi avec quelques ressauts de cahiers en tranche externe, mais non visible sur la gouttière supérieure. Exemplaire exempt de rousseurs, bien propre. Bel exemplaire dans l'ensemble.

      [Bookseller: Librairie Le Feu Follet]
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        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]
 28.   Check availability:     Biblio     Link/Print  


        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]
 38.   Check availability:     Biblio     Link/Print  


        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]
 39.   Check availability:     Biblio     Link/Print  


        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.]
 40.   Check availability:     ZVAB     Link/Print  


        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]
 41.   Check availability:     AbeBooks     Link/Print  


        [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]
 42.   Check availability:     Biblio     Link/Print  


        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]
 43.   Check availability:     Bookzangle     Link/Print  

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