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


      Kobenhavn : Gyldendalske Boghandles Forlag ( F. Hegel & Son ), 1896. 245 pages; Green Blue Cloth, Blind Stamped on Rear Cover; Very Elaborate Decorations, Borders and Lettering in Black and Very Bright Gilt; Patterned Endpages; All Edges Gilt; Previous Owner Name; Trace of Wear At Extremities; Otherwise, FINE; A BEAUTIFUL COPY!! . First Edition. Hard Cover. Fine. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: Ottawa House Books]
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        A Child's Garden of Verses

      1896. first edition. One of 150 Large Paper Copies on Japon Vellum Influenced by Walter Crane[ROBINSON, Charles, illustrator]. STEVENSON, Robert Louis. A Child's Garden of Verses… London: John Lane, The Bodley Head, 1896. One of 150 large-paper copies printed on Japon vellum paper. Octavo (8 3/4 x 6 inches; 224 x 151 mm.). xiv, 136, [8] pp. Over 150 line drawings including many full-page.Publisher's original dark red cloth as issued with the green cloth covers of the trade edition as doublures, paper label to spine, top edge gilt, others uncut. With an ALs, dated Oct. 8, 1896, from London bookseller P. Appleby Robson of Robson & Co. to a client offering this very fine copy.Charles Robinson (1870-1937) was born into a family of illustrators - his younger brother was William Heath Robinson and his older brother was Thomas Heath Robinson - and rose to become one of the most fashionable book-illustrators of his era. At age twenty-five he illustrated his first full book, A Child's Garden of Verses, with over 100 images. These illustrations for Stevenson's most endearing and popular book bear the influence of the Art Nouveau style, of his brother, W. Heath Robinson, Aubrey Beardsley, and , particularly, Walter Crane.Walter "Crane's Cantor Lectures on Decorative Illustration, given before the Society of Arts in 1889, were first published in book form in 1896, although Robinson was familiar with Crane's ideas when he illustrated and designed a Child's Garden of Verses."The book was to be seen as an integrated whole and, as such, it was wrong to ignore the relationship of the binding material, cover design, end-papers, and other 'preliminary' elements to one another and the rest of the book, as it was thoughtless to arrange illustrations without considering the format of the book or the typeface with which they would be printed...Robinson...undoubtedly endorsed [Crane's] suggestions that, in any illustrated book, the preliminary material...should be suggestive of what was in store, secretive and a little playful, so that the reader was to pass on with bated breath until his initial excitement was complete with the splendour of a beautifully designed title-page" (de Freitas, Charles Robinson, p. 16).De Freitas, p. 83.

      [Bookseller: David Brass Rare Books, Inc.]
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      1896. SONGSTERS FOR FREEDOM--INSCRIBED HUTCHINSON, John Wallace. STORY OF THE HUTCHINSONS (Tribe of Jesse). Compiled and edited by Charles E. Mann. With an introduction by Frederick Douglass. Boston: Lee and Shepard, 1896. 2 vols. First edition Inscribed presentation copy from John Hutchinson with a four line verse. The Hutchinsons, a popular singing family, toured tirelessly in support of the abolitionists, the temperance movement and women's suffrage. 8vo., blue cloth, spine in gilt, t.e.g. Illustrated throughout. . The set is edgeworn with a little loss to the spine ends, the front hinge of volume 1 is cracked and both rear hinges starting, still a solid set. (Not in Dumond; not in Work). Quite scarce.

      [Bookseller: Boston Book Company]
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        The Works

      [Edited by F.S. Ellis and W.W. Skeat]. Hammersmith, London: Kelmscott Press, 1896. Folio. (16 11/16 x 11 5/16 inches). Uncut. Printed in red and black using Chaucer and Troy type. Woodcut title page, 26 nineteen-line woodcut initials, numerous other woodcut initials spanning three, six or ten lines, 14 woodcut borders (variously repeated), 18 woodcut frames to surround the illustrations (variously repeated), woodcut printer's device, all designed by William Morris and cut by W.H. Hooper, C.E. Keates and W. Spielmeyer, 87 woodcut illustrations designed by Sir Edward Burne-Jones, redrawn by Robert Catterson-Smith and cut by W.H. Hooper. Red morocco gilt, the covers with thin outer triple fillet gilt borders surrounding a large area of inlaid blue morocco, the onlays tooled with a wide elaborate border of interlacing strapwork, the spine in six compartments with raised bands, the bands highlighted with gilt fillets, lettered in the second compartment, the others with simple repeat pattern, the wide gilt turn-ins with an elaborate overall design incorporating fillets and overall gilt scrolling stylized foliage with a three-leaved fleuron tool and extensive use of small circlets to represent berries, morocco pastedowns with an elaborate gilt-tooled border incorporating a brown morocco inlay, gilt fillets and cornerpieces tooled with stylized foliage, blue morocco front and rear free endleaf panelled in gilt with five fillets, red morocco box, lettered and tooled in gilt. "The Chaucer is not only the most important of the Kelmscott Press's productions; it is also one of the great books of the world" (Ray). The work was four years in the making and was produced by Morris completely without compromise: the text used was the best and most complete available, the paper was specially made entirely of linen rag, a new typeface was designed by Morris and cut purely for this work and a suite of exquisite illustrations was provided by Burne-Jones. Limited edition of 438 copies, this one of 425 copies. The germ of the idea for the Kelmscott Chaucer may well have sprung from Morris and Burne- Jones's days at Oxford where Morris is known to have developed a deep appreciation of Chaucer's works. Shortly after Morris founded the Kelmscott Press in 1891, he announced his intention of publishing an edition of Chaucer. The text was based on the Ellesmere manuscript (now in the Huntingdon Library, San Marino), as emended by Walter William Skeat, Professor of Anglo-Saxon at Cambridge (From Manet to Hockney), but it was only with difficulty that Morris was able to get permission from the Clarendon Press to use Skeat's version. Morris was not satisfied with any of the papers available and commissioned a supply of pure rag paper which incorporated a watermark designed by him. Morris initially intended to use his Troy typeface, but again was unhappy with the initial trials and another typeface, "Chaucer," was especially produced for this work (Morris did still use the Troy type for the titles of the longer poems). The illustrations took Burne-Jones over three years to design: the original intention had been that the work should include 48 designs, but, with Morris's approval, this was gradually increased by the artist to 60, then 72, then 87. This profusion of illustrations, recalling the stained- glass windows of the medieval church, has resulted in what Burne-Jones aptly called "a pocket cathedral, it is so full of design." "Thanks to R. Catterson-Smith's bold redrawing in ink of Burne-Jones's pencil drawings and the fine wood engravings which W.H. Hooper made ... they have ... the strength and stylistic consistency of the best fifteenth-century illustrations" (Ray p.159). By the time the work was finished Morris was already unwell with what was to prove to be his final illness, and the Kelmscott Chaucer remains a worthy swansong. Burne-Jones considered it the "finest book ever printed; if W. M.[orris] had done nothing else it would be enough" and Eleanor Garvey, writing in The Artist and the Book noted that it was perhaps "the most famous book of the modern private press movement, and the culmination of William Morris' endeavour." The Artist and the Book 45; Clark Library Kelmscott and Doves pp.46-49; From Manet to Hockney 9; Peterson A40; Ransom Private Presses 40; Ray The Illustrator and the Book in England 258; Sparling 40; Tomkinson 40; Walsdorf 40

      [Bookseller: Donald Heald Rare Books]
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        Contre l'obscurité

      In La revue blanche N°75 de la septi? ann? Paris: In La revue blanche N°75 de la septième année, 1896. Broché. 17,5x26cm. Edition pré-originale, présentée sous double couverture muette crème, un des rares exemplaires sur Hollande dont le tirage à tout petit nombre n'est pas précisé, seuls grands papiers. Autres contributions de H. Gauthier-Villars à propos de H.S. Chamberlain sur R. Wagner, Sédir sur l'occultisme, Lugné-Poe sur Hamlet, S. Mallarmé, R. Coolus... Numéro illustré d'un portrait de H. Ibsen par Félix Vallotton. Infimes piqûres marginales sans aucune gravité sur les plats de la double couverture, sinon agréable exemplaire. Rare. - In La revue blanche N°75 de la septième année, Paris _15 juillet 1896, 17,5x26cm, broché. - broché

      [Bookseller: Librairie Le Feu Follet]
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        Ubu roi

      Paris: Mercure de France, 1896. relié. 9,5x15,5cm. Edition originale sur papier courant. Reliure à la bradel en demi maroquin chocolat, dos lisse orné d'un motif floral central doré, date et double filet dorés en queue, plats de papier à motifs décoratifs floraux, gardes et contreplats de papier mauve, couvertures (comportant de petits manques et de légères restaurations marginales) conservées, reliure pastiche fin XIXè signée de Laurenchet. Précieux et rare envoi autographe signé de l'auteur à Georges Docquois sur la première garde. Une discrète restauration marginale sur la première garde, papier jauni comme généralement. - Mercure de France, Paris _1896, 9,5x15,5cm, relié. - relié

      [Bookseller: Librairie Le Feu Follet]
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      Paris, Societe du Mercure de France,, 1896. Moeurs Antiques. Large octavo. Contemporary tan three-quarter morocco by Paul Vie, marbled paper boards, titles to spine gilt, marbled endpapers, all edges untrimmed. Spine just a little dull but an excellent copy. First Edition, First Impression. Copy number 20 of the 40 printed on Hollande. There were 9 on japon and 10 on Whatman. These 59 copies together represent the entire first edition. With the author's flamboyant signed presentation inscription to an early blank, "A M. Henri Meilhac hommage de respectueuse admiration Pierre Louys". Meilhac was a playwright and contemporary of Louys.

      [Bookseller: Peter Harrington]
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        The Selected Works

      New York: D. Appleton and Company,, 1896. 15 volumes, octavo. Recent green morocco, titles to spine gilt, raised bands, marbled endpapers, top edges gilt. Some light browning to a few pages, an excellent set. The authorized and first collected edition of his works in a handsome morocco binding.

      [Bookseller: Peter Harrington]
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        A Shropshire Lad

      London: Kegan Paul,, 1896. Octavo. Finely bound by The Chelsea Bindery in dark green morocco, titles and decoration to spine, rules to boards with floral corner-pieces, twin rule to turn-ins with floral corner-pieces, cream endpapers, top edge gilt, others untrimmed. The occasional minor blemish, an excellent copy in a fine binding. First edition, first impression. One of fewer than 350 copies in this state: the first edition consisted of 500 copies, of which 150 were exported to the United States. Most of the poems were written in the first five months of 1895, a period coinciding with the arrest, trials and imprisonment of Oscar Wilde. Originally titled Poems by Terence Hearsay, the volume was refused by Macmillan, but published by Kegan Paul in March 1896 at Housman's expense.

      [Bookseller: Peter Harrington]
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        Lettres Intimes - 1842-1845 - Précédées de ma seur Henriette. + Nouvelles Lettres Intimes - 1846-1850 - .

      Paris, Calmann-Lévy, 1896 + 1923. Both copies are uncut, numbered and on extra fine paper. They are bound w. all the orig. wrappers in two private very beautiful uniform half leather bindings of darker orange (like the wrappers) morocco w. single gilt line-frames and gilt titles on back. Flat capitals and top-edges gilt (Anker Kysters Eftf. 1977, -handsigned underneth the bookbinder-stamp by the particular bookbinder - "Mogens Dickow Lund"). Small tear to corner of back wrapper of"Lettres Intimes", otherwise a mint set.. First edition, numbered copies, of both works. The "Lettres Intimes" is number 5 of fifteen copies printed on Japan-paper: "Il a été tiré de cet ouvrage quinze exemplaires sur papier Impérial du Japon. Tous numérotés. No. 5." "Nouvelles Lettres Intimes" is number four of 50 copies on Holland-paper: "Il a été tiré de cet ouvrage cinquante exemplaires sur papier de Hollande numérotés. No. 4."Ernest Renan (1823-1892) was a French philologist, philosopher and historian. His father died when he was aged five, and his mother wanted him to become a priest. Until he was about 16 years old, he was trained by the Church, but due to his investigative and truth-seeking nature as well as his studies (e.g. Hebrew), he was in doubt as to the historical truth of the Scriptures, and with the help of his sister he chose his own path in life. "He studied intensively the languages of the Bible and filled a number of minor academic positions, frequently encountering difficulties because of the heterodoxy and outspokenness of his religious opinions." (Printing and the Mind of Man 352). In 1840 he began studying philosophy and later philology, in 1847 he took his degree as Agrégé de Philosophie and became master at the Lycée of Vendome. After having returned from a mission to Italy in the year 1850 where he gathered material for his historical-philosophical masterpiece, "Averroës et l'Averroisme", he was offered employment at the "Bibliothèque Nationale" (at the manuscript department). In 1861 he was chosen to become professor of Hebrew at the Collège de France, but because the emperor refused to ratify the appointment (inspired by the Clerical party), he was not established in the chair untill 1870. In 1878 he was elected for the Academy. Renan is considered a scolar of the greatest excellence and an impressive writer. Renan's closest confidante was his sister, Henriette, who helped him quit the clerical carrier. They helped eachother financially, travelled together (e.g. on archaeological expeditions) and lived together for many years of their lives. His widely famous work, "Vie de Jésus" is dedicated to her, and their correspondence is very interesting and catching

      [Bookseller: Lynge & Søn A/S]
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        The Book of Ruth. Pictured and Designed by W. B. Macdougall with an Introduction by Ernest Rhys.

      London, J. M. Dent and Co., 1896 Uncut in publisher's original pictoral cloth with gilt lettering and ornamentation to spine and front board. With numerous beautiful full page woodcut illustrations. A fine and clean copy.. First printing of Macdougal's first and extraordinarily beautiful work - a work which by most is considered his best. His decorated borders clearly showing an influence by Aubrey Beardsley (La Morte d'Arthur) and William Morris and his Kelmscott Press.William Brown Macdougall (1868 - 1936) received his art education at the Glasgow Academy and at the Académie Julian in Paris, also working in the studios of Bouguereau,Jean-Paul Laurens and Tony Robert-Fleury, and becoming a member of the Salon des Artistes Français

      [Bookseller: Lynge & Søn A/S]
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        Studies In The Art Of Anatomy Of Animals Being A Brief Analysis Of The Visible Forms Of The More Familiar Mammals And Birds. Designed For The Use Of Sculptors, Painters, Illustrators, Naturalists And Taxidermists

      Macmillan London: Macmillan, 1896. First edition. Hardcover. Orig. green cloth decorated and lettered in gilt. Teg. Very good./No Dust Jacket. 96 pages. Folio, 38 x 27 cm. Author's first book with 100 drawings by him. Index. As the author notes in his introduction, "There have been great genre painters who did not study anatomy, but there has never been a famous "animalier" who did not. Tipped-in at rear, "Magazine of Art" article on anatomical nature casts. Chipping at spine extremities and corners, back board with two narrow gauge penetrations not affecting images, small stain lower fore-edge of title page not affecting text.

      [Bookseller: Royoung bookseller, Inc. ]
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        La sicile. impressions du present et du passe'. paris, hachette, 1896.

      Cm. 35, pp. vi, 459 (1). Con moltissime incisioni xilografiche nel testo (anche a piena pagina) da disegni dello stesso autore. Solida legatura coeva in mezza pelle con ampie punte, dorso a nervi con titoli in oro. Taglio di testa dorato. Conservate le belle brossure originali decorate in stile Liberty. Bell'esemplare, assolutamente privo delle usuali fioriture. Dalla frequentazione e dalla stretta amicizia dell'autore con Giuseppe Pitré nasce la presente opera di storia siciliana a quest'ultimo appunto dedicata. Non si tratta quindi della comune raccolta d'impressioni pittorico-turistiche del viaggiatore straniero in Italia, ma di uno studio approfondito sugli usi, i costumi, la storia e le tradizioni dell'isola. Importante ed ormai raro soprattutto in questo stato di conservazione.

      [Bookseller: Studio Bibliografico Benacense]
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        Effi Briest. Roman.

      2 ungez. Bll., 520 S. Blauer, schwarz / gelblich illustr. OLwbd. Gutes Exemplar. WGII/41. Alter Namenszug im Vorsatz und auf dem Tbl. Kanten minimal berieben.

      [Bookseller: Antiquariat Karel Marel]
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        Galileo a madame cristina di lorena (1615). padova, tip. salmin, 1896.

      Mm. 19 x 13, pp. 206. Ritratto di Galileo inciso all'antiporta. Bross. orig. con titoli a stampa. Qualche segno d'uso esterno ed una fenditura al dorso, peraltro ben conservato. Questo celebre libro di formato minuscolo si dichiara essere il più piccolo mai stampato con caratteri mobili. Il carattere utilizzato è noto con il nome di ""occhio di mosca"" e fu utilizzato dallo stesso editore per l'altrettanto celebre stampa di Dante del 1878. In fine appare la dicitura: stampato coi caratteri del Dantino onde superare qualsiasi altra minuscola edizione, Maggio 1897. Cfr. Welsh, A bibliography of miniature books, 2935; Fumagalli (Lexicon a pag. 276): ""...Les frères Salmin publièrent en 1897 une Lettera a Galileo... qui est, peut-etre, le plus petit livre du monde, veritable."".

      [Bookseller: Studio Bibliografico Benacense]
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