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

        Eigenh. Albumblatt mit U. ("Wilhelm Busch").

      O. O., [um/nach 1896 (Datum des Wasserzeichens)].. ½ S. auf Doppelblatt. 8vo.. "Halt dein Rößlein nur im Zügel, / Kommst ja doch nicht allzuweit; / Hinter jedem neuen Hügel / Dehnt sich die Unendlichkeit". - Erste Strophe aus Buschs beliebtem Sinngedicht "Beschränkt", erstmals 1904 in der Sammlung "Zu guter Letzt" erschienen. Die ähnlich bekannte zweite und letzte Strophe lautete: "Nenne niemand dumm und säumig, / Der das Nächste recht bedenkt. / Ach, die Welt ist so geräumig, / Und der Kopf ist so beschränkt!" - Beiliegend zwei Zeitschriftenportraits des Dichters. - Vgl. das abgebildete Blatt in Nebehay, Das Glück auf dieser Erde, S. 16 (datiert 1904).

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        THE WORKS

      Hammersmith: Kelmscott Press, 1896. ONE OF 425 COPIES ON PAPER (and 13 on vellum) n. Hardcover. A Very Well-Preserved Copy of one of the World's Greatest Illustrated Books. mm (). 4 p.l., 554 pp. Edited by F. S. Ellis. ONE OF 425 COPIES ON PAPER (and 13 on vellum). Original holland-backed blue paper boards, paper spine label, untrimmed edges. Housed in a very substantial fleece-lined pigskin-backed folding box. WITH 87 WONDERFUL LARGE WOODCUT ILLUSTRATIONS AFTER SIR EDWARD BURNE-JONES, redrawn by Robert Catterson-Smith and cut by W. H. Hooper, woodcut title-page, 14 variously repeated woodcut borders, 18 variously repeated woodcut frames around illustrations, 26 19-line woodcut opening words, numerous three-, six-, and 10-line woodcut initial letters, and woodcut printer's device, all designed by William Morris and cut by C. E. Keates, Hooper, and W. Spielmeyer. Printed in black and red with Chaucer type, the titles of longer poems printed in Troy type. "Artist and the Book, 1860-1960" 45; Ray 258; Peterson A-40; Sparling 40; Tomkinson, p. 117. A tiny tear in spine label (not affecting lettering), a hint of soil to covers, one very small, shallow dent in back board, one small area where an owner has lightened the paper color by erasure, two conjoint leaves with marginal foxing in one corner, two other conjoint leaves with very slight foxing of the same sort, but still A VERY FINE COPY, all of these imperfections quite minor, the always insubstantial binding with only negligible wear, THE LEAVES EXTRAORDINARILY BRIGHT, FRESH, AND CLEAN, AND THE TEXT AND WOODCUTS DEEPLY IMPRESSED. Increasingly difficult to find in pleasing condition, this is a very desirable copy in the original publisher's boards of a book universally acclaimed as one of the great achievements in printing history. The most important figure in the revival of printing in England at the end of the 19th century, William Morris (1834-96) had fallen in love with Chaucer's works when he and Burne-Jones were students at Oxford. With the founding of the Kelmscott Press (and, in effect, the launching of the modern private press movement) in 1891, Morris began plans almost immediately for the Chaucer. The press at 14 Upper Mall began producing the book in August of 1894, but it was not until June of 1896 that any completed copies became available. Morris was already a sick man, and Burne-Jones had privately worried that his friend might not live to see his dream realized. Morris died not long afterward. Like the Gutenberg Bible and Caxton's first printing of Chaucer in 1478, the present monumental folio is one of the world's printing masterpieces. In the words of "Artist & the Book, 1860-1960," the Kelmscott Chaucer, for which both Morris and Burne-Jones "worked in the neo-Medieval idiom bequeathed by the Pre-Raphaelites, . . . is perhaps the most famous book of the modern private press movement, and the culmination of William Morris' endeavor." Ray says that the book "is not only the most important of the Kelmscott Press' productions; it is also one of the great books of the world." The borders designed by Morris are incredibly rich and lush. The work would be extraordinary even without the designs by Burne-Jones, but these are certainly the book's most compelling feature. The original plan had been for 60 illustrations, but this grew to 87 before the work was done. While other illustrated Chaucers, beginning with Caxton's, had usually limited images largely to individual portraits of each Canterbury pilgrim, Burne-Jones chose instead to draw complex vignettes illustrating the pilgrims' tales (as well as Chaucer's other works). Part of the dramatic impression left by the book results from the cumulative power of the very large number of impressive bordered pages one encounters going through the text. The intricate woodcut frames are used a total of 118 times, and each one of them enlivens a page nearly 18 inches tall. The impression is especially memorable when the framed pages face each other: 36 of the Burne-Jones cuts with their borders are opposite one another in 18 particularly beautiful openings, and there are several other remarkable openings (including the first one) where a woodcut with its frame faces a bordered text. Even though there is some minor foxing here (confined to two gatherings), it is difficult to imagine that one could acquire in a reasonable time a significantly better copy than this of the Kelmscott Chaucer in its original holland-backed boards, which now, because of the book's size and the insubstantial materials of its binding, is so often found with obvious wear and/or restoration.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        THE WELL AT THE WORLD'S END: A TALE

      London: Longmans Green & Co., 1896.  Two volumes, first printing, first trade edition (printed in 1893 but delayed by the Kelmscott Press edition--see Colbeck), 22.5 x 13.5cm (tall 8vos), in publisher's holland backed boards w/paper title-labels to spines, a.e. untrimmed, [i-iv] v-vii [viii], 1-378 [379-84]; & [i-iv] v-vi, [1-2] 3-279 [280-84] pp.  Printed in London on watermarked "B A S" handmade paper at the Chiswick Press by Charles Whittingham & Co.  With the armorial bookplate of Joseph Lucas (see Wiki), & decorate bookplate of Harry Francis Cunningham (again, see Wiki), both to fr. pastedowns.  This remarkable fantasy was the inspiration for J.R.R. Tolkein's "The Lord of the Rings" as well as for works by C.S. Lewis, & shows Morris's imaginative powers to be as strong as when he wrote "The Defence of Guenevere" (1858).  Bindings Good (spines darkened w/labels thereon moderately chipped, some corners a bit bumped & worn, & hinges cracked); contents Very Good (a few brown streaks).  Forman 163, Scott 16, Colbeck 78, LeMire A-80.02.

      [Bookseller: Leonard Roberts, Bookseller]
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        La princesse sous verre EDITION ORIGINALE Tirage de tête

      Paris: Jules Tallandier, 1896. Fine. Jules Tallandier, Paris s.d. (1896), 25x32,5cm, relié. - Original, one of 50 numbered copies on Japan Edition, leading copy. "Bradel" binding covered with decorative paper, smooth back, part of title chocolate morocco, top edge gilt, modern pastiche signed binding of T. Boichot. Illustrated book of original compositions in color and Inserts André Cahard. Beautiful and rare 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, un des 50 exemplaires numérotés sur Japon, tirage de tête. Reliure à la bradel en plein cartonnage recouvert de papier à motifs décoratifs, dos lisse, pièce de titre de maroquin chocolat, tête dorée, reliure moderne pastiche signée de T. Boichot. Ouvrage illustré de compositions originales en couleurs in et hors-texte de André Cahard. Bel et rare exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Battle of Queenston Heights print

      Toronto: Toronto Lithographing Co, 1896. 1st Edition. No binding. Very Good+. SCARCE PRINT OF THE DEATH OF GENERAL BROCKPaper Size: 25 x 33 inches.Image Size: 23-1/2 x 30-5/8 inches.An original chromolithograph of a painting that depicts a scene from the Battle of Queenston Heights.Nice bright colours for this print not always present with the print . Three small open white border tears away from image professionally repaired, now, in very good+ condition. A nice copy of this famous historical print. This lithograph of the Battle of Queenston Heights depicts Brock dying in the foreground among the York Volunteers and Indians. Centerd at the bottom of the painting inside the image, is the printed signature of "J. D. Kelly 1896", and the words "Push on York Volunteers! Brock's dying words". American troops are shown in the background.In the white border along bottom: - Entered According to Act of Parliament of Canada in the year 1896 in the Office of the Minister of Agriculture. Toronto Lithographing Co.The Battle of Queenston Heights was the first major battle in the War of 1812 and resulted in a British victory. It was fought between United States regulars and New York militia forces led by Major General Stephen Van Rensselaer, and British regulars, York volunteers and Mohawks led by Major General Isaac Brock, and Major General Roger Hale Sheaffe, who took command when Brock was killed. Brock was an aggressive commander, and his successful capture of Detroit had won him praise, the reputation as the "saviour of Upper Canada" and a knighthood, the news of which would only reach Upper Canada after his death.

      [Bookseller: Lord Durham Rare Books (IOBA)]
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        I sonetti romaneschi pubblicati dal nipote Giacomo a cura di Luigi Morandi. Volume primo (Volume sesto)

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

      [Bookseller: Libreria Ex Libris ALAI-ILAB/LILA member]
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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]. 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 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.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        SYRIA FROM THE SADDLE.

      Boston: Silver Burdett & Co. 1896 1st ed 1st printing. - First edition of the author's first book in fine condition. The future best-selling author wrote this account of his adventures in the deserts of Syria in the late 1890s. This copy is in green decorated cloth; the book is also found in red and yellow cloth with no priority of printing established. Neat bookplate on front inside cover else clean and unmarked. Tight binding with bright gilt. A very nice example of this work. Illustrated with b/w photographs and drawings. [Attributes: First Edition; Hard Cover]

      [Bookseller: Kubik Fine Books Ltd., ABAA]
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        James R. Randall declines to forward a copy of "My Maryland!": "I am too lazy to copy it and it has become a terror from frequent application," and explains the origin of his poem about Stonewall Jackson : "The Lone Sentry."

      Baltimore, Maryland, June 10, 1896. 8" x 10". "Autograph Letter Signed, ""JRR,"" 4 pages, 8"" x 10"" Baltimore, June 10, 1896 mentioning his anthem, ""My Maryland,"" and discussing the origin of his poem, ""The Lone Sentry."" Moderately toned with horizontal creases, some very minor marginal wear, page mounted to a larger sheet, overall very good. An interesting and amusing letter from Randall to an unnamed correspondent in which the poet declines to offer a fair copy of his patriotic anthem, ""My Maryland,"" but offers an explanation of his Civil War poem, ""The Lone Sentry"": ""I enclose two poems. Get 'My Maryland' out of The Century magazine for June 1887, I think or from Stedman's volumes. I am too lazy to copy it and it has become a terror from frequent application. I do not know Mr. Turning. It my be necessary to explain the Lone Sentry thus: 'At the beginning of Stonewall Jackson's career ?" before his mighty battles had been fought ?" he had made, with his army a forced march. When the men were halted for bivouac, they were worn out and went to sleep. An officer reported this to Jackson and asked him if he should awaken some of them to perform sentry duty. He answered: 'No, let them sleep. I will watch the camp tonight.' The poem was written fast after his death, and based upon this characteristic anecdote."" Randall then turns to his own personal fortunes, as well as his opposition to the election of William McKinley and his support of the free coinage of silver: ""I have made a persistent effort to get reappointed on the Senate roll, but, despite powerful influence, have failed. I apprehend that my goose is cooked in that direction. So, once more, in my old age, I am 'afflicted with poverty and acquainted with grief'; but my health is excellent and my spirit providentially sustained. As a veteran free coinage man I am delighted at the silver trial[?] here, and believe it will submerge McKinley..."" Journalist Henry P. Goddard, who worked with Randall in his later years observed that Randall, ""always felt that circumstances prevented his developing his poetic genius and was somewhat sore about it... Randall had much of sorrow in his life, but of his devotion to the Christian faith of his historic church there is no shadow of doubt, and his name will ever be associated with that of the Maryland he loved so well...' (quoted in Calvin Goddard Zon, ed., The Good Fight That Didn't End, 2008, p. 282)."

      [Bookseller: University Archives]
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        Synopsis der mitteleuropäischen Flora. Bde. 1-7 u. 12 (= alles Erschienene) sowie 3 Registerbde. in 15 Bänden u. 9 Lieferungen.

      Leipzig, Wilhelm Engelmann bzw. Gebrüder Borntraeger, 1896-1939.. Gr.-8°. Mit einem Titelportrait. Zus. ca. 11.100 S., OHLdr.-Bde., spätere HLdr.-Bde. m. goldgepr. Rückentiteln u. OLieferungen.. Erstausgabe. - Vorliegend das (soweit erschienen) vollständige Grundwerk sowie die Hauptregister der Bände 4-6 u. 12; es fehlen lediglich die Hauptregister für die Bände 1-3. - Vorhanden sind die Bände 1; 2/1; 2/2; 3; 4; 5/1; 5/2 (von Band 5/3 liegen die Lieferungen 129, 130, 131 u. 136 [= S. 1-252] vor); 6/1; 6/2; 7 (Lieferungen 82, 84, 85, 89, 90 u. 92 [= S. 1-480]); 12/1; 12/2 u. 12/3 sowie die Registerbände für die Bde. 4; 5/1; 5/2; 6/1; 6/2 u. 12/1-3. - Die tlw. etw. abweichenden Einbände etw. berieben u. bestoßen. Lieferungen tlw. m. kl. Läsuren bzw. etw. fleckig. Name a. den Titelblättern. -

      [Bookseller: Antiquariat Wolfgang Friebes]
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        Argon, A new Constituent of the Atmosphere (Smithsonion Contributions to Knowledge 1033)

      City of Washington: Smithsonian Institution. Near Fine in Good dust jacket. 1896. First Edition Thus. Cloth. Embossed green cloth with blindstamping and titles in gilt on upper board, pale yellow clay-paper endpages, in the original plain-paper dust-wrapper; illustrated throughout with line drawings and tables. Single sheet containing prospectus and "Library catalogue slips" laid in. But for some rubbing at the spine tips, book is fine, without flaw; jacket is soiled and chipped at the edges, with dampstaining at the rear panel and spine; Argon was the first of the inert gases to be discovered and both Rayleigh and Ramsay claimed to be the first to identify it eventually agreeing to submit a jointly authored paper. Both men later won the Nobel prize (Rayleigh for Physics and Ramsay for Chemistry) and this work was a major factor in both awards. A revised version of this work had been published in the Philosophical Transactions a year earlier ("a curious instance of a revision appearing before the original work" -- Norman 2029) .

      [Bookseller: Books Tell You Why]
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        Bouvard and Pécuchet

      London: H. S. Nichols,, 1896. Authorised Edition. Translated from the French with an Introduction by D. F. Hannigan. Tall octavo. Original bright green silk binding, gilt lettered and decorated spine, gilt publisher's device on back cover, large pictorial gilt block on front cover, top edges gilt, untrimmed. Title page, head and tail-pieces, and initials printed in red, frontispiece, vignette title, and 7 plates after S. Gorski printed in three states (black, burgundy, and blue), letterpress printed in purple. From the library at Guilsborough Hall, Northamptonshire (demolished 1955), so inscribed at the head of letterpress title and with contemporary ownership inscription of the then owner Irene Osgood. Spine sunned and lightly rubbed (with loss of some gilding and surface fabric), otherwise a very good copy. First English translation of Flaubert's final, unfinished, novel, originally published in France in 1881. Flaubert died in 1880 while working on the book that he confessed to George Sand as early as 1874 "will be the death of me!". Ezra Pound compared it to Joyce's Ulysses in that Flaubert set out to present "all sorts of things that the average man of the period would have had in his head". The translation is by the Irish-born barrister D. F. Hannigan, who also translated La tentation de Saint Antoine (1895) and L'éducation sentimentale (1898), and this is very much an edition de luxe: printed in purple inks on Japanese vellum, in a luxurious binding. A rather attractive provenance, Irene Osgood was an American novelist, poet and dramatist, who spent most of her life in England. She began her literary career by writing "a passionate, slightly scandalous autobiographical novel, The Shadow of Desire" (1893), latter marrying the English novelist Robert Sherard, a friend of Oscar Wilde, and impassioned defender of Wilde's reputation, who in their acrimonious divorce proceedings claimed that he had been the true author of his wife's work, also revealing that their Persian cat, of which he was seeking custody, was the only thing that made life with Irene tolerable (O'Brien, "Irene Osgood, John Richmond Limited and the Wilde Circle" in Publishing History, XXII, 1987). Osgood's novels, with titles such as To a Nun Confessed, Servitude, Behind the Fan, The Garden of Spices, The Indelicate Duellist, An Idol's Passion, and The Chant of A Lonely Heart, have been described as "sensual, maudlin and overwrought

      [Bookseller: Peter Harrington]
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        Eigenh. Brief mit U.

      Stargard, 20. I. 1896.. 1 ½ SS. auf Doppelblatt. 4to.. An einen namentlich nicht genannten Oberst: "An allem was Ihnen gutes und angenehmes begegnet, kann ich nicht anders als den lebhaftesten Antheil nehmen, dieses ist eine alte Gewohnheit die ich niemalen ablegen werde, noch ablegen kann; ich statte Ihnen also meinen aufrichtigsten Glückwunsch zu dem Avancement ab [ ] Was meine hiesige Existenz anbetrifft, so ist sie durch das sehr freundschaftliche Betragen des Major Stutterheim [Ludwig August von Stutterheim, 1751-1826] ganz erträglich, denn es ist beynahe die einzige Gesellschaft so ich habe, und ich glaube dass der Aufenthalt in Heilsberg etwas besser seyn wird. Mit unsern Bataillon spielen wir freilich noch keine sonderliche Figur (und das kann wohl nicht anders seyn da selbst verschiedene Officiere noch ganz neu sind) indessen geht es doch schon so erträglich, nur werde ich müßen Polnisch lernen um mich den Menschen verständlich machen zu können. Vor einigen Jahren hätte ich wirklich nicht geglaubt dass ich die Polnische Sprache würde erlernen müßen [ ]". - Nachdem von Bülow am 3. April 1794 zum Major befördert worden war, kam er als solcher am 14. November 1795 zum Füsilierbataillon "Stutterheim" Nr. 21 der 2. Ostpreußischen Füsilierbrigade.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        NAPOLEON, COMPRISING : THE LIFE OF NAPOLEON BONAPARTE, MEMOIRS OF NAPOLEON BONAPARTE, AND MEMOIRS OF MADAME JUNOT (16 VOL. SET - COMPLETE)

      Paris/Boston: The Napoleon Society, 1896. Edition Definitive. Hardcover. Very Good. 6 x 9 in. Full crushed green morocco with gilt rules, five raised spine bands, gilt spine titles with a Napoleonic N inside a wreath, Gilt inner dentelle, Gilt top edge. No. 4 of 25 copies of the Edition Definitive. The edition has double frontis' and plates, i.e., two plates that are the same, all with tissue guards. Condition is VERY GOOD ; the green color of the leather that's seen on the sides is sunned to an olive brown at the spines. The leather is good with no cracks, but a bit worn at edges. 5 vols have some small damage to the spine heads, and vol. 6 had a scuffed spot in the upper spine compartment. Vol. 10 has damage to one of the raised bands, half of it is nearly loose. Vol. 1 has a small spot on the rear cover, and Vol. 7 has a pale area to the upper rear, probably caused by moisture. All bindings are tight and text bright and unmarked. The set is comprised of Hazlitt's Life of Napoleon in six volumes, Bourienne's Memoirs of Napoleon in 4 volumes, and Madame Junot's Memoirs in 6. European History. RGR.

      [Bookseller: Andre Strong Bookseller]
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        The Poetical Works of William Wordsworth Edited by William Knight.

      Macmillan and Co. Ltd. London 1896 - 8vo. 8 volumes, set. Uniformly bound by Hatchards in red half-leather, gilt, with cloth boards. Top edges gilt. Silk marker ribbons. Engraved title-pages and frontispieces in each volume. Ink ownership and remains of bookplate on front pastedown. A fine set. [Attributes: Hard Cover]

      [Bookseller: Anthony Smith Books]
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        Letters of expressing sympathy to Ichizo Hattori, a prefectural governor of Iwate, after a disaster of Sanriku earthquake in 1896.

      1896 - 1896. With envelopes; 12 letters, letter papers only; 7 letters. Takatoshi Iwamura, Eitaro Komatsubara, Saburo Suyama, etc.

      [Bookseller: Ogawa Tosho,Ltd. ABAJ, ILAB]
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        Painting] Watercolor of the plaza in Zacatecas Mexico, showing market area, sellers, peasants milling about in serapes and sombreros, donkeys, fountain.

      1896 - Measures 38 x 55cm (15 x 24.3 in.). Fine condition, behind glass, in period frame. Painter's name appears to be C. V. Brunn, and it bears a date -- "96."

      [Bookseller: PLAZA BOOKS ABAA]
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        Daily Resolves

      Ernest Nister, London 1896 - 16mo., original pictorial (chromolithographic) glazed paper-covered boards (18 ), 16 with chromolithographic decoration and an ownership name and address to the front free endpaper. The book is in excellent condition with very light rubbing to the spine tips, top and bottom edges and fore edge corners, a small rub to the front board that has taken the shine off the paper and a little dust staining to the very pale boards. Internally the book is very clean and bright with only a few light marks to the endpapers. All in all a very good plus copy of this very scarce 1st edition of Booker T. Washington¿s first book. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Bookshelf Online]
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        Nymphidia and the Muses Elizium

      London: Hacon & Ricketts, 1896. First edition. 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.

      [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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        PENNY POPULAR NOVELS (Edited by W.T.Stead) Volumes 1 to 26 Complete in Original Paper Wrappers.

      London ;- "Review of Reviews" Office. "The Masterpiece Library." Price One Penny. N.D 1896 - AN EXCELLENT AND RARE RUN OF THE FIRST 26 VOLUMES OF THIS CLASSIC COLLECTION. Slim Crown 8vo. Original printed paper wrappers. Titles include ;- "SHE. A Romance of Marvel and Mystery by Rider Haggard ;- "THE SCARLET LETTER" by Nathaniel Hawthorne ;- "LITTLE EM'LY" (From "David Copperfield") by Charles Dickens ;- "BEN-HUR" A Tale of the Christ by Lew Wallace ;- "MARY BARTON" A Tale of Manchester factory life fifty years ago by Mrs. Gaskell (Abridged) ;- "JANE EYRE: An Autobiography." by Charlotte Bronte (Currer Bell) (Abridged);- "PRIDE AND PREJUDICE" by Jane Austen (Abridged) ;- "UNCLE TOM'S CABIN" by Harriet Beecher Stowe (Abridged) ;- "FIVE WEEKS IN A BALLOON" by Jules Verne (Abridged) ;- etc., etc. All complete with ads. and scarce in this excellent condition ! The Collection ;- [Attributes: Soft Cover]

      [Bookseller: Halewood & Sons ABA ILAB]
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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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        Geist und Stoff im Kriege. Erster Theil (mehr nicht erschienen): Das Achtzehnte Jahrhundert. Unter Benutzung handschriftlicher Quellen; XXI+625 Seiten mit einem Plan im Text (S.282), einer ausfaltbaren Tabelle und 6 Skizzen auf einem ausfaltbaren Plan;

      - originaler, grüner goldgeprägter Pappband (23x16cm) Wilhelm Braunmüller Wien & Leipzig 1896 [Der viel beachtete, zitierte und äußerst seltene Band in guter Erhaltung, lediglich Ecken und Kanten etwas bestoßen und einige Seiten etwasstockfleckig.] [Attributes: Hard Cover]

      [Bookseller: Antiquariat Niederbayern]
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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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