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Displayed below are some selected recent viaLibri matches for books published in 1899

        William Blake: XVII Designs to Thorton's Virgil. Reproduced From the Original Woodcuts

      Portland, Maine: Thomas B. Moser. Very Good in Very Good dust jacket. 1899. Hardcover. Light-blue paper-covered boards, paper labels on upper board and spine, in the publisher's printed paper dust-wrapper; pp. [xxii], xvii (plates printed recto only), [37]-[59] (notes). With the prospectus slips regarding the in-text illustrations laid in. Joints cracked, hinges unaffected, else lovely; age-toned jacket with light chipping at the corners, chunk out at the spine tail. A typically complicated Moser production, unfortunately damaged, but in the fragile jacket .

      [Bookseller: Books Tell You Why]
 1.   Check availability:     IOBABooks     Link/Print  


        Satyre EDITION ORIGINALE ENVOI AUTOGRAPHE

      Crayon sur papier, 1899. Fine. Crayon sur papier Fin XIXème - Début XXème, 14 x 18 cm (31 x 47 cm avec carton). - Original pencil drawing, mounted on tab carton.Signature the stamp of the artist's signature in the lower left corner of the work, and signature stamp of the workshop verso.Très beautiful state conservation.Provenance : 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 français.Il painter began his career alongside pioneering 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 possibilities introduced by the release of Impressionism in French painting. From 1893, after a long confrontation with the "old masters", he adopts a bias pictorial which will put margins of the general art movement, and take away from his friends. Dazzled by Baroque art and its creative force, so he thinks his childhood friends were engaged in a path that will lead to the death of painting. He believes in a "perfect painting" that 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 siècle.Ne leaving only a few works that can be described as monumental, Anquetin turns prolific with its many studies and sketches, which he considered the design was "a very powerful medium of expression," the mandatory basis for all working voluntary arts plastiques.En down 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 blocked the path of the great tradition occidentale.On His works are exhibited in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris , San Francisco or Detroit, the State Hermitage Museum in St. Petersburg, the National Gallery and the Tate in 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, monté sur onglet sur carton. Signature du cachet de la signature de l'artiste dans l'angle inférieur gauche 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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        The Importance of Being Earnest

      London: Leonard Smithers and Co,, 1899. A trivial comedy for serious people by the author of Lady Windermere's Fan. Small quarto. Original pink cloth, spine and covers with stylized leaf devices in gilt, spine gilt-lettered, edges uncut, pages partially unopened. Housed in a custom red marbled chemise and slipcase. Spine rolled and faded, boards a little marked, tips bumped. An excellent copy. First edition of Wilde's comic masterpiece, and one of 1,000 copies.

      [Bookseller: Peter Harrington]
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        [Binding, Fine- Guild of Women Binders- Willa St. George Moore]

      London: Hacon & Ricketts, 1899. First edition thus. Superbly bound by Willa St. George Moore of the Guild of Women Binders [see "The Private Library, The Guild of Women Binders," by Ainslie C. Waller] with the Guild's gilt pallet in front dentelle and Moore's monogram impressed signature in rear dentelle, "W. St. G. M." A superb example of an impressed, moulded binding made famous by the Guild's Annie MacDonald and here featuring a scene from Browning's poem, "How They Brought the Good News Came from Ghent to Aix," which appears on p. 59 in the text. Attractive Vale Press edition with decorative title and initials throughout by Charles Ricketts, 210 copies. Also, with Guild's Charing Cross Road binder's ticket at end. A fine copy of the binding; book is fine except for slight pulling away at spine hinge at half-title. Extremely scarce signed binding by Willa Moore of the Guild.

      [Bookseller: Nudelman Rare Books]
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        Kabbalae christianae EDITION ORIGINALE

      Paris: Bibliothèque Chacornac, 1899. Fine. Bibliothèque Chacornac, Paris 1899, 14,5x19cm, relié. - First edition of the French translation printed in small numbers. Binding to bradel half way percaline shagreen burgundy, smooth spine, lower corner slightly blunt, wrappers preserved and bound in, contemporary binding. --- 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 de la traduction française imprimée à petit nombre. Reliure à la bradel en demi percaline façon chagrin bordeaux, dos lisse, un coin inférieur légèrement émoussé, couvertures conservées, reliure de l'époque.

      [Bookseller: Librairie Le Feu Follet]
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        THE IMPORTANCE OF BEING EARNEST. A Trivial Comedy for Serious People

      London: Leonard Smithers and Co. 1899. First edition, first printing. Signed Limited Edition. Original lavender gilt-stamped and decorated cloth. A very good indeed neat copy, the boards lightly water-stained to the top of the front panel with some related inoffensive rippling of the cloth. Corners a little bumped and spine marginally faded but the gilt is sharp and the mauve colour of the cloth remains strong. Internally the book is extremely clean and bright with just a little browning to the endpapers, offset from the ex libris bookplate of Wilde?'s Swedish translator, Michael Gripenberg, on the front pastedown. The contents are entirely complete without loose or torn pages (some remain uncut) and with no inscriptions or stamps. An attractive example. Limited edition of 100 copies on large paper, this copy numbered 87 and signed by Oscar Wilde in black ink on the limitation page. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

      [Bookseller: Lucius Books]
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        A Message to Garcia: Being a Preachment By Elbert Hubbard

      East Aurora, NY: The Roycrofter Press, 1899. Original Wraps. Collectible; Very Good. The uncommon 1899 Roycrofter Press reprint of this inspirational article, which first appeared in the March 1899 issue of "Philistine". Very nicely produced in its hand-sewn light-brown wrappers. Well-preserved and VG+, with mild age-toning to the endsheets. Octavo, 11 pgs. Housed in a custom-made, morocco-backed box, with folding chemise. "This homily, first printed in The Philistine Magazine for March, 1899, caused the edition to be exhausted within three days after its publication. The matter is now re-printed in this form by request of Mr. George H. Daniels, General Passenger Agent of the New York Central, for distribution among those discerning ones who appreciate a good thing". A nice piece of Roycroftiana.

      [Bookseller: Appledore Books, ABAA]
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        Through Asia

      New York & London: Harper & Brothers Publishers, 1899. First American Edition. An account of Hedin?'s first expedition, 1893-97, during which he investigated the Pamir Mountains, travelling through the Tarim Basin in Xinjiang region, across the Taklamakan Desert, Lake Kara Koshun and Lake Bosten, proceeding to study northern Tibet. In all he covered 26,000 kilometres and mapped over 10,000 kilometres, approximately one third of which was previously uncharted territory. 2 Volumes. 8vo. pp. xviii, 649; xii, [651]-1255. 2 photogravure frontis. portraits, 2 folding coloured maps & numerous plates (some colour) & text illus. A nice set in original cloth, t.e.g., others untrimmed (slight fraying to spine ends)

      [Bookseller: D & E Lake Ltd. (ABAC, ILAB)]
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        Elle est charmante comédie en trois actes 1899-1900 EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: S.n., 1899. Fine. S.n., Paris 1899-1900, 77pp. in-4, en feuilles. - Complete and original autograph manuscript of 77 pages written and foliotées the front in black ink. Paper cover with the title, date and place Paris 12 December 1899 - 12 January 1900 Some autograph corrections of the author. Unpublished prose comedy; the action takes place in contemporary times, in Paris and in the forest of Fontainebleau; she staged a playwright, a charming actress, journalist province ... --- 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] Manuscrit autographe complet et inédit de 77 pages rédigées et foliotées au recto à l'encre noire. Couverture de papier présentant le titre, la date et le lieu Paris 12 décembre 1899 - 12 janvier 1900. Quelques corrections autographe de l'auteur. Comédie inédite en prose ; l'action se situe à l'époque contemporaine, à Paris et dans la forêt de Fontainebleau ; elle met en scène un auteur dramatique, une charmante actrice, un journaliste de province...

      [Bookseller: Librairie Le Feu Follet]
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        L'Ermitage - Revue artistique et littéraire Année complète 1899 EDITION ORIGINALE

      Paris: Bureaux de la Revue, 1899. Fine. Bureaux de la Revue, Paris 1899, 11,5x18,5cm, 2 volumes reliés. - Originale.binding editor to bradel half dark green calico, smooth back, as part of black morocco, gilt small iron and double gold in net queue.Douze numbers from January to December 1899. conservées.Chaque number Covers Edition is illustrated with a literary xylographie.Contributions Paul Fort, Henri Ghéon, André Gide, Francis Jammes, René Boylesve, etc.Publication founded in 1890 by Henri Mazel, the Hermitage is a monthly magazine owned by the first wave of little 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 verte foncée, dos lisse, pièce de titre de maroquin noir, petit fer doré et double filet doré en queue. Douze numéros de janvier à décembre 1899. Couvertures conservées. Chaque numéro est illustré d'une xylographie. Contributions littéraires de Paul Fort, Henri Ghéon, André Gide, Francis Jammes, René Boylesve, etc. 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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        Heures d'Afrique EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Charpentier, 1899. Fine. Charpentier, Paris 1899, 12x19,5cm, relié. - Edition on current paper. Binding to bradel half chocolate calico, smooth back with a gold floral pattern, golden double thread tail piece as shagreen lemon boards marbled paper, bookplate pasted on a guard who left facing a shadow , contemporary binding. Autograph signed by the author to his great friend Fernand Le Grand, figure of all-Fécamp. Provenance: Library Fernand Le Grand with his bookplate. Nice 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 à la bradel en demi percaline chocolat, dos lisse orné d'un motif floral doré, double filet doré en queue, pièce de titre de chagrin citron, plats de papier marbré, ex-libris encollé sur une garde ayant laissé en regard une ombre, reliure de l'époque. Envoi autographe signé de Jean Lorrain à son grand ami Fernand Le Grand, figure du tout-Fécamp. Provenance : bibliothèque de Fernand Le Grand avec son ex-libris. Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Sammlung von Musterzeichnungen und Erläuterungen zu Original-Tafel-Aufsätzen und Süssspeisen nebst einer reichhaltigen Sammlung von bewährten und praktischen Recepten für Pâtissiers, Köche, Conditoren etc. sowie auch für die Privatküche sehr geeignet. Von K.G., Pâtissier. Restauration Palmengarten.

      Frankfurt a M Vlg Carl Gruber 1899 - 4°. 48 S. (Text und Rezepte), 24 ganz-seit. Tafeln., 4 Bl. (Tafelausätze). Brauner Olwd mit Goldschrift. Sehr schönes Exemplar. Mit chromolitho. orig. Umschlag beigebunden. Text in Blaudruck Tafeln in versch Farben gehalten. ERSTAUSGABE: Weiss 1330. Sehr selten. Fehlt in den grossen Sammlungen wie Dittmar, Walterspiel, Horn etc. Auktion Löchner 324. Deutsch; 0,790 gr. [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Kochkunst Bibliothek]
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        Aus dem Buren-Krieg.

      [Neuruppin], O[ehmigke] & R[iemschneider], o. J. [um 1899-1900].. o. Pag. [5 Bll.] OPp.. Verlagsnr. 462. Nicht nachweisbar über KVK. - Im Bug eingerissen - fachmännisch m. Japanpapier geschlossen, rückw. Ebd. m. Bleistist-Graffitti, leichte Gbrsp., etw. berieben. - Mit den Beiträgen "Buren-Patrouille. Das Kriegslied der Buren", "Belagerung der Stadt Kimberley durch die Buren", "Sprengung der Eisenbahnbrücke bei Colenso..:", "Englische berittene Infanterie zum Fußgefecht absitzend", "Buren verfolgen einen Kundschafter", "Belagerungsbatterie der Buren", "Angriff englischer Reiterei" und "Hochländer-Infanterie im Gefeckt" (Magersfontein); dazu jeweils eine halbseitige Farblithographie.

      [Bookseller: Antiquariat Weinek]
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        Duel : Étude 4 EDITION ORIGINALE ENVOI AUTOGRAPHE

      Fusain sur papier, 1899. Fine. Fusain sur papier Fin XIXème - Début XXème, 25 x 16,25 cm. - Original charcoal drawing. 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 fusain. 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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        TIME AND I, OR LOOKING FORWARD

      [San Juan: News Power Print, ca. 1899].. [4],vi,168,[44,advertisements]pp. plus nine plates. Original illustrated wrappers printed in green and red. Spine partially perished, wrappers noticeably soiled, some chipping. Light scattered foxing, minor mildewing to bottom edge, minor chipping to gutter at bottom edge of first few and last few leaves, last few leaves of advertisements partially detached. Still, a good copy. In a modern cloth box, red label. Presentation copy of this rare West Indian book by a major contributor to the early cultural development of the region and significant African-American author. Inscribed by Sexto on the recto of his portrait plate: "St. Thomas 25/1/24 Honorable Mr. A.G. Brown V.I. Commissioner When you read this work please think of me at my best the Author Adolph Sixto." Sixto was born on the small island of Vieques, just to the east of Puerto Rico and administratively part of it, in 1858. He spent most of his adult life in the neighboring island of St. Thomas, part of the Danish West Indies until 1917 (Puerto Rico was taken over by the U.S. in the Spanish-American War in 1898). Sixto established the first repertory theatre on St. Thomas, as well as being the founder of the Carnival in 1912. He remained a prominent citizen until his death in 1930. This book is in the form of a history of St. Thomas, but is actually Sixto's argument for socialism in the governing of the island. His narrative is both a promotion the interests of the island and a development of his political and cultural and cultural theories. It is interspersed with many first-person observations on administration and political organization, agricultural and industrial activities, geography, and culture. The plates include a photographic portrait of Sixto, a photographic view of the harbor of St. Thomas, an illustrated view of the Soap and Match Factory, and more. The last section is essentially an early business directory of St. Thomas, with numerous listings for photographers, general merchants, cigar dealers, Riise rum and other liquor dealers, insurance agents, and many others. OCLC locates only four copies: New York Public Library, Harvard, and two at Tulane. OCLC 16788299.

      [Bookseller: William Reese Company - Americana]
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        La Mosquee Du Sultan Hassan Au Caire [Sultan Hassan Mosque Cairo]

      Cairo: L'Institut Francais D'Archeologie Orientale 1899. Published by Le Comite de Conservation des Monuments de l'Art Arabe. 34, [20], pp. Original stamped decorative dark green cloth boards with lettering to upper board. Sympathetically rebacked and re-cased in green cloth with folding flaps to contain loose sheets and plates, as published. 34 pages of text in French. 20 tissue-guarded plates, containing photographs or architectural drawings, some folding. Some damage to tissue guards. A few slight chips and edgewear to leaves. Very Good condition. A very scarce item with the only auction record I can find being a copy that sold at Sothebys in 1999 for £1500. . Very Good. Decorated Cloth. 1899. Elephant Folio.

      [Bookseller: Fosters' Bookshop]
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        The Miracles Of The Antichrist - 1st US Edition

      Boston: Little, Brown, and Company. Near Fine in Very Good dust jacket. 1899. First US Edition; First Printing. Hardcover. An attractive, Near Fine first US edition in original decorated cloth, minor traces of foxing to end-papers and page edges. Top edges gilt. In the rare, lightly soiled dust-jacket, minor chipping to edges; Translated from the original Swedish Antikrists Mirakler by Pauline Bancroft Flach, the novel explores the interplay between Christian and socialist moral systems, it is set in Sicily. "When Antichrist comes, he shall seem as Christ. There shall be great want, and Antichrist shall go from land to land and give bread to the poor. And he shall find many followers." - Sicilian Legend. In 1909, Selma Ottilia Lovisa Lagerlöf became the first female writer to win the Nobel Prize .

      [Bookseller: Books Tell You Why]
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        THE FLOWERING PLANTS, GRASSES, SEDGES & FERNS OF GREAT BRITAIN, and their allies the Club Mosses, Pepperworts and Horsetails. a new edition revised by edward step, f.l.s. illustrated with three hundred and fifteen coloured plates figuring upwards of 1500 species.

      Frederick Warne and Co. London 1899 - Large 8vo. Four volumes, illustrated with 315 superb coloured plates. This edition was thoroughly revised upon scientific lines by Edward Step, bringing it into line with the science of the day, forty years after it was first issued. Bound in publisher's original green half-morocco over cloth, spine with raised bands and contrasting title lables. A little worn at extremities but sound and quite a smart-looking set. The endpapers of each volume are slightly foxed and this sometimes affects the title pages but is nowhere serious. Internally clean and crisp. Although not solely devoted to Kent flora, Anne Pratt lived in Dover for much of the time she was working on these volumes and the descriptions often use Kentish examples of local names for wildflowers and traditional use for herbs and medicinal properties as used in Kent. All the descriptions are interesting giving locations and much folklore and an abundance of local names and traditions associated with each plant, and even its appearances in literature. All of Anne Pratt's books are well-composed, with handsome, accurate, coloured illustrations. The reason for the success of her works must be shared with the printers William Dickes & Company, who produced the thousands of blocks required for colour printing using the Baxter process (combining a lithographic key plate that printed the main features of the design, followed by colour applied through a succession of wood blocks). The quality of the colour printing is not quite as good in this edition as it was in the 1860s, as this popular work was often reprinted and the plates became worn. Hoever, without actually having an original edition to hand for comparison, one would not be immediately aware of this. This edition represents the most complete and reasonably priced of all the issues. KENT BOTANY KENT SCIENCE- NATURAL HISTORY BOTANY 19TH CENTURY ILLUSTRATED KENT

      [Bookseller: Marrins Bookshop]
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        Fête villageoise - étude pour le bal champêtre EDITION ORIGINALE ENVOI AUTOGRAPHE

      Crayon sur papier, 1899. Fine. Crayon sur papier Fin XIXème - Début XXème, 22 x 15,5 cm. - Original pencil drawing, presented by marie-louise bicolore.Signature the stamp of the artist's signature in the lower right corner of the work, and signature stamp of the workshop verso.Très 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 painter began his français.Il career alongside pioneering 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 possibilities introduced by the release of Impressionism in French painting. From 1893, after a long confrontation with the "old masters", he adopts a bias pictorial which will put margins of the general art movement, and take away from his friends. Dazzled by Baroque art and its creative force, so he thinks his childhood friends were engaged in a path that will lead to the death of painting. He believes in a "perfect painting" that 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 siècle.Ne leaving only a few works that can be described as monumental, Anquetin turns prolific with its many studies and sketches, which he considered the design was "a very powerful medium of expression," the mandatory basis for all working voluntary arts plastiques.En down 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 blocked the path of the great tradition occidentale.On His works are exhibited in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris , San Francisco or Detroit, the State Hermitage Museum in St. Petersburg, the National Gallery and the Tate in 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, présenté sous marie-louise bicolore. 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 déchirure sans manque en marge gauche. 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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        Le testament d'un excentrique EDITION ORIGINALE

      Paris: Collection Hetzel, 1899. Fine. Collection Hetzel, Paris 1899, Grd. in 8 (18,5x28cm), relié. - Illustrated Edition. Sixty-one illustrations by Georges ROUX, including 20 large color plates in chromotypographies, 35 photographic views of the United States of America (cities and landscapes), a fold-out map of the United States of "America and that of the board game . Catalog Hetzel for 1899-1900 of 8p. end of the book. The title will know that one second edition in 1905 (cartonnage an elephant). Cardboard editor golden globe, or said, to the world map. Signed Blancheland plate, connected by Souze. Back to the lighthouse. Very pale scattered spots. Small discolorations along the lower edge of the first flat. Rubbed upper right corner. On the lower flat, 2 thin lines of discoloration. Dos slightly thinned. Good copy. This volume of the Extraordinary Voyages is a journey and an adventure across the United States. The novel stimulus after a series of novels devoted to science fiction, adventure and discovery. We note with great interest the series of contemporary photographs of the United States. - [FRENCH VERSION FOLLOWS] Edition originale illustrée. Soixante et une illustrations par Georges ROUX, dont 20 grandes planches couleurs en chromotypographies, 35 vues photographiques des Etats-Unis d'Amérique (villes et paysages), une carte dépliante des Etats-Unis d"Amérique et celle du jeu de l'oie. Catalogue Hetzel pour 1899-1900 de 8p. en fin d'ouvrage. Ce titre ne connaîtra qu'une seule seconde édition en 1905 (cartonnage à un éléphant).  Cartonnage d'éditeur au globe doré, ou dit, à la mappemonde. Plaque signée Blancheland, reliée par Souze. Dos au phare. Rousseurs très pâles éparses. Petites décolorations le long de la bordure inférieure du premier plat. Coin supérieur droit frotté. Sur le plat inférieur, 2 lignes minces de décoloration. Dos légèrement éclairci. Bon exemplaire. Ce volume des Voyages extraordinaires est un parcours et une aventure à travers les Etats-Unis. Le roman relance après une série de romans consacrés à la science fiction, l'aventure et la découverte. On retiendra avec le plus grand intérêt la série de photographies contemporaines des Etats-Unis.

      [Bookseller: Librairie Le Feu Follet]
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        Nu masculin de dos EDITION ORIGINALE ENVOI AUTOGRAPHE

      Crayon sur papier, 1899. Fine. Crayon sur papier Fin XIXème - Début XXème, 21 x 27 cm (31 x 47 cm avec carton). - Original pencil drawing, mounted on cardboard tab. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the workshop at the back. Slight traces redheads on the left border without interference with the drawing, 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, monté sur onglet sur carton. 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. Légères traces rousses sur la bordure gauche sans atteinte au dessin, sinon très bel état de conservation. Provenance : atelier de l'artiste, référencée au catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, né à Étrépagny en 1861 et mort à Paris en 1932, est un important peintre français. Il commence sa carrière aux côtés de peintres d'avant-garde tels que Vincent Van Gogh ou Henri de Toulouse-Lautrec. Avec Émile Bernard, il est l'inventeur du Cloisonnisme. De 1884 à 1893, Louis Anquetin ne cesse d'explorer les possibilités nouvelles offertes par la libération introduite par l'Impressionnisme dans la peinture française. A partir de 1893, à la suite d'une longue confrontation avec les « maîtres d'autrefois », il adopte un parti-pris pictural qui le mettra en marge du mouvement général de l'art, et l'éloignera de ses amis. Ébloui par l'art baroque et sa vigueur créatrice, il pense alors que ses amis de jeunesse se sont engagées dans une voie qui mènera à la mort de la peinture. Il croit en une « peinture parfaite » qui s'incarne dans le re-souvenir des leçons de Michel-Ange et de Rubens notamment. Son travail devient donc plus classique, il prône le retour au métier, en proposant de réfléchir sur les conditions a priori de toute forme d'art possible dans le respect des règles de la perspective et de l'anatomie, telles que pratiquées par les maîtres du XVIème et XVIIème siècle.Ne laissant que quelques œuvres que l'on peut qualifier de monumentales, Anquetin s'avère prolifique par ses nombreuses études et esquisses, lui qui considérait que le dessin était « un moyen d'expression tout puissant », le fondement obligatoire de tous les arts plastiques. En travaillant volontairement à rebours de son époque, Louis Anquetin a rendu possible l'existence d'une figuration moderne originale. Par son obstination et sa passion de la peinture, il a en effet évité que ne soit totalement obturé le chemin de la grande tradition occidentale. On peut admirer ses œuvres dans de nombreux et prestigieux musées comme le Musée d'Orsay ou Le Louvre à Paris, à San Francisco ou à Detroit, au Musée de l'Hermitage de Saint-Petersbourg, à la National Gallery et à la Tate de Londres, etc.

      [Bookseller: Librairie Le Feu Follet]
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        The Works of Henry Fielding (12 Volume Set) Including Tom Jones, Amelia, Joseph Andrews, Jonathan Wild, Miscellaneous Works

      London: J. M. Dent & Co. (St. Giles Edition), 1899. Limited Edition. Half Morocco, Marbled Boards.. Near Fine. Handsome twelve volume set, with dry point etched plates augmenting text. This is No. 53 of 250 copies of set issued and specially bound for subscribers 12mo. 17.5 by 11.5 cm. Spines are sunned and browned from original green, as typical of green morocco. One tiny nick on one of the spines by title lettering. Otherwise, fine. With original two page publisher's circular as well.

      [Bookseller: White Fox Rare Books and Antiques]
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        STAR OF THE MAGI: An Exponent of Occult Science, Art and Philosopy. Volume One, 1899-1900; Volume Two, 1900-1901; Volume Three, 1901-1902; Volume Four, 1902-1903. (Complete serial publication in 50 monthly numbers)

      Chicago: News E. Wood, 1899-1903. First edition, first printing. Moderate wear to corners, some scuffing to covers, else very good and other than a few creases to pages and a few pencil notations to margins, internally fine.. 4 quarto volumes, 12 x 9 inches; half morocco and maroon cloth with titles in gilt; first 2 volumes contain 12 numbers each; volumes 3 & 4 have 13 numbers each. First 12 numbers (Vol. One) are each 16 pages in length; Vols. 2 & 3 individual numbers are 24 pages each; final volume of 13 numbers is continuously paginated to 191 pages. Complete run of this rare occult journal. Each annual volume with separate title page and synopsis of contents, number by number, for the year. Topics include "Secret Sciences; Transcendentalism; Astrology; Astronomy; Religion; Romance; Occultism; Orientalism; Freemasonry; Theosophy - Telepathy; Helath & Hygiene; Events and Their Aspects; Magic; Mysticism; Alchemy; Adeptism; Geometry; Geomancy; Initiation; Intuition." Content includes classified advertisements for occult practicioners, products, etc. OCLC locates only 6 institutional holdings, including in the Library of Congress' Harry Houdini Collection.

      [Bookseller: Chanticleer Books]
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        The Importance of Being Earnest

      London: Leonard Smithers and Co., 1899 First edition. One of 1000 copies, this copy being No. 340. Publisher's original lavender linen boards with gilt designs by Charles Shannon, lettered in gilt. Near fine or better, with just a touch of toning to the spine, corners lightly bumped, fresh boards with bright gilt, former owner's bookplate to the front pastedown, faint offsetting to the endpapers, otherwise bright and fresh interior. Overall, a beautiful and unsophisticated copy. Mason 381. Widely considered Wilde's masterpiece, The Importance of Being Earnest is a three act play that was first performed in London at the St. James Theatre on February 14, 1895, under the direction of Mr. George Alexander. A satire on Victorian social obligations, the play features two protagonists, John Worthing and Algernon Moncrieff, both of whom use alternate identities to lead separate lives in the country and the city. Although the first performance was decidedly successful, The Importance of Being Earnest was closed after only 86 shows due to the negative publicity surrounding Wilde's controversial lawsuit with The Marquess of Queensberry. Wilde moved to Paris after his reputation was tarnished and ceased writing dramas, making The Importance of Being Earnest his final play.. Illus. by Shannon, Charles. First Edition.. Hard Cover. Near Fine.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        Tales of The Wonder Club

      London; Harrison and Sons. 1899-1900, 1899. First Edition. 3 vols. 8vo. Publisher's original maroon cloth titled in gilt. Spines uniformly faded, some light edgewear, bumping and light fraying to spine ends. A very good, handsome and respectable set of a scarce collection of wonderful spine chilling tales and dramas. Recounting the anecdote filled meetings of The Wonder Club at a coaching inn evocatively called "Ye Headless Ladye" the stories have such titles as "The Pigmy Queen" and "Lost in The Catacombs", a frequently rather obscure stew of gothic melodrama, horror and fantasy, not unlike the "Phantasmagoria" of 100 years earlier. The triple decker design of the books is also notable archaic, putting one in mind of a Sheridan Le Fanu first edition from 50 years earlier rather than the type of book design favoured by the end of the 19th century. The eminent scholars and unstoppable researchers at Tartarus Press's Wormwood magazine recently solved the mystery of the identity of "Dryasdust" (itself a reference to Scott's tedious but indispensable scholarly authority) and have laid the responsibility (occasionally blame might be in order) at the feet of Alexander Huth, a British businessman and self publishing author. A handsome set of a scarce and supremely entertaining collection.

      [Bookseller: Adrian Harrington Rare Books]
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        Karte des Deutschen Reiches (in 27 Karten und 1 Titelblatt), im Massstab von 1:500000, unter Redaktion von C. Vogel ausgeführt in Justus Perthes' Geographischer Anstalt,

      Gotha, Justus Perthes' Geographischer Anstalt [1899-1903]. - die 27 Karten (und ein weiteres Titelblatt) sind farblithographiert und 8-fach zusammengelegt und original auf Leinen aufgezogen; jede Karte trägt außen eine kleine farbige Ausschnitts-Übersicht. Auf dem Leinen-Einschub befindet sich zusätzlich eine farbige Gesamtkarte, die die Nummern der einzelzenen Kartenabschnitte zeigt. Bei den Karten handelt es sich um Blätter, die Vermerke hinsichtlich des Druckdatums zwischen 1899 - 1903 tragen SEHR SELTENE UND GESUCHTE AUSSTATTUNG dieser Kartensammlung in einem ordentlichen Exemplar (mit lediglich unbedeutrendem Berieb), lediglich die Karten zeigen normale Gebrausspuren; Espenhorst 2.8.2.3. Sprache: Deutsch jede Karte im Format 39x46; untergebracht in einer rot-braunen Ganzlederkapsel; es handelt sich dabei um eine hochwertige Buchattrappe (mit goldgeprägtem Reichsadler auf Buchrücken und Vorderdecke) im Format (18x23x8) bei der das Kartenbündel in einer Aussparung im Oberschnitt versenkt wird (der Kartenstapel befindest sich in einer zusätzlichen Kartentasche, DAS VORLIEGENDE EXEMPLAR IST IN DIESER AUSGABE MIT 27 KARTEN UND EINEM ZUSÄTZLICHEN TITELBLATT (mit Schrift u. Zeichen-Erklärung) VOLLSTÄNDIG.

      [Bookseller: Antiquariat Im Baldreit]
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        Le superbe Orénoque EDITION ORIGINALE

      Paris: Hetzel, 1899. Fine. Hetzel, Paris 1899, Grd. in 8 (18,5x28cm), relié. - First Edition illustrated. Illustrations by George Roux. Cardboard editor golden globe, or said, in the world map. Plate signed Blancheland connected by Souze. Back to the lighthouse. Second board Engel Type "h" according Jauzac. Back uniformly and having spent some friction. Caps and corners slightly rubbed. Guards and blue contreplats home a little past. Good 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 illustrée. Illustrations de George Roux. Cartonnage d'éditeur au globe doré, ou dit, à la mappemonde. Plaque signée Blancheland, reliée par Souze. Dos au phare. Second plat de type Engel "h" selon Jauzac. Reliure présentant quelques infimes frottements. Coiffes et coins très légèrement frottés. Gardes et contreplats bleus d'origine un peu passés. Quelques rousseurs principalement sur les premiers et derniers feuillets, comme habituellement. Bon exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        The Golf Girl

      Frederick A. Stokes Company, New York 1899 - RARE. Publisher's green boards stamped in red. Corners are bumped, spine shows some wear with scuffing, discoloration and has 2 1" sections of spinestrip missing Inside very clean [Attributes: First Edition; Hard Cover]

      [Bookseller: David Morrison Books]
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        GHOSTS. Being the experiences of Flaxman Low. With twelve illustrations by B. E. Minns

      C. Arthur Pearson Limited. London. 1899. FIRST EDITION. 8vo. (8 x 5.5 inches). Illustrated with 12 mono plates by B. E. Minns. viii, 300, 2pp of publishers advert leaf with reviews for the same authors' work "Tammers' Duel". Publishers dark green cloth with brown lettering and illustration in gilt, black and fawn to the front panel. Spine lettered in gilt. Two small areas of the frontis illustration has stuck to the tissue guard opposite and torn away but are not too big an don't detract from the plate too much. Previous owners inscription in pencil to the front free endpaper. Some foxing to the blank endpapers and, to a lesser extent, the half title but the text clean and bright throughout. Inner hinges cracked but holding. Book a little loose in the boards. Boards and spine are a little dulled and have minor rubbing and bumping to the edges. Split to the cloth, without loss, at the top of the spine which just touches on the S of the title. Cloth at the top of the spine creased and a but rubbed. Overall this is a near very good copy of this rare classic of the Ghost Fiction genre. E. & H. Heron was the pseudonym of Kate Prichard and her son Hesketh. --------- Neil Wilson. - Shadows in the Attic. A Guide to British Supernatural Fiction 1820 - 1950. Pages 253/4 -- "The rare first edition of the collected magazine stories......". These stories were issued in Pearsons Magazine from January 1898.

      [Bookseller: Paul Foster Books]
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        William Blake: XVII Designs to Thorton's Virgil. Reproduced From the Original Woodcuts

      Portland, Maine: Thomas B. Moser. Very Good in Very Good dust jacket. 1899. Hardcover. Light-blue paper-covered boards, paper labels on upper board and spine, in the publisher's printed paper dust-wrapper; pp. [xxii], xvii (plates printed recto only), [37]-[59] (notes). With the prospectus slips regarding the in-text illustrations laid in. Joints cracked, hinges unaffected, else lovely; age-toned jacket with light chipping at the corners, chunk out at the spine tail. A typically complicated Moser production, unfortunately damaged, but in the fragile jacket .

      [Bookseller: Books Tell You Why]
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        Rip Van Winkle. Illustratied by Frank T. Merrill

      London: John MacQueen 1899, 1899. FIRST EDITION THUS. With many in-text illustrations and several fine photograhic plates of Kaatskill (Catskills) Mountains and creeks; printed with captions on thick paper, with tissue guards. Illustrated title printed in red and black with sepia background. Elegantly hand-bound in full green oasis morocco, spine with raised bands and gilt titles, gilt border to dentelles, marbled endpapers, top edge gilt, publisher's original cloth bound in at rear. A fine, clean copy. An uncommon edition.

      [Bookseller: Adrian Harrington Rare Books]
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        Fête dans les bois réminiscence mythologique EDITION ORIGINALE ENVOI AUTOGRAPHE

      Mine de plomb sur papier, 1899. Fine. Mine de plomb sur papier Fin XIXème - Début XXème, 23 x 36 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. Light bites at the bottom and margin not involving the drawing, 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 à la mine de plomb. 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. Légères piqûres en pied et en marge sans atteinte au dessin, sinon très bel état de conservation. Provenance : atelier de l'artiste, référencée au catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, né à Étrépagny en 1861 et mort à Paris en 1932, est un important peintre français.Il commence sa carrière aux côtés de peintres d'avant-garde tels que Vincent Van Gogh ou Henri de Toulouse-Lautrec. Avec Émile Bernard, il est l'inventeur du Cloisonnisme. De 1884 à 1893, Louis Anquetin ne cesse d'explorer les possibilités nouvelles offertes par la libération introduite par l'Impressionnisme dans la peinture française. A partir de 1893, à la suite d'une longue confrontation avec les « maîtres d'autrefois », il adopte un parti-pris pictural qui le mettra en marge du mouvement général de l'art, et l'éloignera de ses amis. Ébloui par l'art baroque et sa vigueur créatrice, il pense alors que ses amis de jeunesse se sont engagées dans une voie qui mènera à la mort de la peinture. Il croit en une « peinture parfaite » qui s'incarne dans le re-souvenir des leçons de Michel-Ange et de Rubens notamment. Son travail devient donc plus classique, il prône le retour au métier, en proposant de réfléchir sur les conditions a priori de toute forme d'art possible dans le respect des règles de la perspective et de l'anatomie, telles que pratiquées par les maîtres du XVIème et XVIIème siècle.Ne laissant que quelques œuvres que l'on peut qualifier de monumentales, Anquetin s'avère prolifique par ses nombreuses études et esquisses, lui qui considérait que le dessin était « un moyen d'expression tout puissant », le fondement obligatoire de tous les arts plastiques. En travaillant volontairement à rebours de son époque, Louis Anquetin a rendu possible l'existence d'une figuration moderne originale. Par son obstination et sa passion de la peinture, il a en effet évité que ne soit totalement obturé le chemin de la grande tradition occidentale. On peut admirer ses œuvres dans de nombreux et prestigieux musées comme le Musée d'Orsay ou Le Louvre à Paris, à San Francisco ou à Detroit, au Musée de l'Hermitage de Saint-Petersbourg, à la National Gallery et à la Tate de Londres, etc.

      [Bookseller: Librairie Le Feu Follet]
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        Aus dem Buren-Krieg.

      O[ehmigke] & R[iemschneider],, [Neuruppin], 1899 - [Neuruppin], O[ehmigke] & R[iemschneider], o. J. [um 1899-1900]. o. Pag. [5 Bll.] OPp. Verlagsnr. 462. Nicht nachweisbar über KVK. - Im Bug eingerissen - fachmännisch m. Japanpapier geschlossen, rückw. Ebd. m. Bleistist-Graffitti, leichte Gbrsp., etw. berieben. - Mit den Beiträgen "Buren-Patrouille. Das Kriegslied der Buren", "Belagerung der Stadt Kimberley durch die Buren", "Sprengung der Eisenbahnbrücke bei Colenso.:", "Englische berittene Infanterie zum Fußgefecht absitzend", "Buren verfolgen einen Kundschafter", "Belagerungsbatterie der Buren", "Angriff englischer Reiterei" und "Hochländer-Infanterie im Gefeckt" (Magersfontein); dazu jeweils eine halbseitige Farblithographie. Deutsch [Attributes: Hard Cover]

      [Bookseller: Antiquariat Weinek]
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        Sechste Symphonie A Dur für Grosses Orchester... Partitur Fl. 18._ / Mk. 30._ netto.[Full score]

      Wien: Ludwig Doblinger (Bernhard Herzmansky) [PN D. 2300.]. [1899]. Folio. Full black cloth with titling gilt to upper and spine. [i] (title printed in dark green), 2-135, [i] (blank) pp. Printer's note "Stich der Musikaliendruckerei v. Jos. Eberle & Co. Wien, VII." to lower left corner of p. 2. Title also advertises orchestral parts and a reduction for piano four-hands by Josef Schalk. Handstamp "Musikalische Akademie München" to upper right corner and above imprint to title and to upper left corner of p. 2. With extensive markings in the hand of the noted conductor and composer Robert Heger (1886-1977) in pencil, blue pencil, and red crayon throughout and with annotations in pencil, in German, in his hand to verso of front endpaper: "Orchesterstimmen der Musikalischen Akademie München benützen eingerichtet sind 6 Viol. I 5 [Viol.] II 4 Br 4 Vc 4 Kb Die übrigen Streicherstimmen müßten eingerichtet werden;" "Dauer I. Satz Maestoso 13' II. [Satz] Adagio 14' III. [Satz] Scherzo 6' IV. [Satz] Finale 12' [Total] 45';" and an extended quotation from Ernst Décsey on the symphony. Binding slightly worn, rubbed and bumped. Tears to lower margin of pp. 29-30, 131-32. . First Edition. Grasberger 106. The present edition was prepared anonymously by Bruckner's former student Cyril Hynais (1862-1913). As is the case with other early editions of Bruckner's symphonies, it introduces a number of changes not originating with Bruckner; their extent, however, is not as considerable as in other Bruckner symphonies. Heger's markup to the present score reflects his study of the first scholarly edition of the same symphony, prepared by Robert Haas and published in 1935. The handstamps "Musikalische Akademie München," however, strongly suggest that the markup of the present copy dates from a later time: Heger, previously a resident of Berlin, moved to Munich only in 1950, where he served as president of the Musikhochschule from 1950 to 1954. "Musikalische Akademie München" is the name of the part of the Bayerisches Staatsorchester that appears on the concert stage. The markup seems to be specific to an unidentified performance. The assumption that the markup is from Heger's later years is further corroborated by the credited manuscript quotation from Ernst Décsey's book Bruckner: Versuch eines Lebens (Berlin: Schuster & Löffler, [1920]). Décsey (1870-1941), a music critic in Vienna, was Jewish. It is unlikely that Heger, an outspoken supporter of the Nazi regime through 1945, would have entered it prior to the end of World War II. Apart from the unfinished Ninth, the Sixth was the only one of Bruckner's numbered symphonies that did not receive a complete performance in the composer's lifetime. Only the two middle movements were heard in a concert of the Vienna Philharmonic under Wilhelm Jahn on February 11, 1883. The first performance of all four movements, albeit with cuts, took place with the same orchestra under Gustav Mahler on February 26, 1899. Wilhelm Pohlig's Stuttgart performance on March 14, 1901, was the first complete one.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Dreyfus: nearly 100 photos of actors and scenes in the drama of disgrace

      Black and White Publishing Co., Ltd. [1899], 63, Fleet Street, London E. C., England - Chiefly illustrations, facsimiles, portraits. Advertisements on verso of front cover and both sides of back cover. [Attributes: Soft Cover]

      [Bookseller: Meir Turner]
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        Technik und Diagnostik am Sectionstisch. Text- und Tafelband.

      . Zwickau, Sachsen, bei Förster und Borries, 1899, Lex.-8°, XVI, 347 pp., 25 Abbildungen im Text; (4), 126 Abbildungen in Dreifarbendruck auf 65 Tafeln, 2 orig. Leinenbände mit Goldprägung; ein Einband an einer Ecke etas beschabt.. Erste Auflage der "Technik und Diagnostik am Sectionstisch von Dr. Richard Graupner, Ass. Arzt etc. und Dr. Felix Zimmermann, früher Assistent etc. zu Leipzig. - - Edgar Goldschmid, Entwicklung und Bibliographie der pathologisch-anatomischen Abbildung (1925), p.222

      [Bookseller: Antiquariat für Medizin - Fritz-Dieter S]
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        The Works of Shakespeare. Edited by Israel Gollancz. With many illustrations, antiquarian and topographical.

      London: J.M. Dent and Co., 1899. - 12 volumes; 8vo. Contemporary binding by Riviere in half red calf with gilt titles and gilt to spines, red cloth boards, top edges gilt, marbled end papers. Illustrated with full page and in text drawings. Frontispiece portrait in colour. A lovely set, very lightly rubbed, highly decorative in an old leather binding. [Attributes: Hard Cover]

      [Bookseller: Adrian Harrington Ltd, ABA, ILAB]
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        (1) Apuntes para el estudio estructural de la corteza visual del cerebro humano. 2) Variations morphologiques de reticulum neurofibrillaire ? l?état normal et pathologique. Offprints

      1899-1904. Ramon y Cajal, Santiago (1852-1934). (1) Apuntes para el estudio estructural de la corteza visual del cerebro humano. Offprint from Revista Ibero-Americana de Ciencias Médicas (March 1899). 14, [2, blank]pp. Text illustrations. (2) Variations morphologiques de reticulum neurofibrillaire ? l?état normal et pathologique. Offprint from Comptes rendus de l?Association des Anatomistes, VIe session (1904). 191-198pp. Text illustrations. Together 2 works. 227 x 160 mm. Bound with 12 later reprints of Ramon y Cajal papers in library buckram; original printed wrappers bound in. Fine apart from some toning. First Editions, Offprint Issues. Ramon y Cajal?s brilliant studies of nerve cells, done with innovative staining techniques, confirmed the neuron doctrine and established the cytological and histological foundations of modern neurology. In 1906 he shared the Nobel Prize in Physiology or Medicine with Camillo Golgi for his contributions to our knowledge of the structure of the nervous system. The first of the two offprints offered here, ?Notes for the structural study of the visual cortex of the human brain,? forms part of the important research Ramon y Cajal conducted on the human cerebral cortex at the turn of the twentieth century: "Ramon y Cajal?s success in delineating nerve cells all the way to the termination of their finest processes had already enabled him . . . to classify neurons according to the form and direction taken by their terminal fibers. In 1897-1900, having adopted Ehrlich?s methylene blue stain in addition to Golgi?s [potassium dichromate-silver nitrate technique], he extended his studies to the human cerebral cortex, where he was able to demonstrate the terminal arborizations of the afferent sensory fibers. He again described and classified the various types of neurons in such a way, he believed, as to permit the ascribing of specific structural patterns to different areas of the cortex; hence he was able to place the concept of cerebral localization on firm histological foundations. His descriptions of the cerebral cortex are still the most authoritative" (Dictionary of Scientific Biography). The second offprint is representative of Ramon y Cajal?s groundbreaking studies of the neurofibrils (bundles of neurofilaments) found in nerve cells, studies made possible by his invention in 1903 of the reduced silver nitrate method of staining. In the present offprint he examined the changes in neurofibrils undergone in animals infected with rabies, as well as the ?surprising? morphological changes exhibited in hibernating animals. These two offprints are bound with later reprints of 12 papers by Ramon y Cajal, all issued in 1924. A listing can be had on request.

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        Anton van Dijck als Mensch und Künstler

      Haarlem, [Netherlands]: H. Kleinmann, No date, ca 1899. Near Fine. Large folio (42.5cm x 34cm), 37 pages of text & 60 heliotype plates tipped to thick paper with tissue guards interleaved. Contemporary full crushed maroon morocco by J. Mossly (signed on the upper board), the spine in six compartments separated by raised bands, elaborately lettered & decorated in gilt, the upper cover with a large sculpted gutta-percha panel & an inset Coat of Arms of Antwerp. Gilt inner dentelles, silk pastedowns & endpapers, top edge gilt. Text in German (translation by C. Hebbel). Slightly soiled, one tissue guard & adjacent blank verso a bit spotted. An extraordinary binding housing a highly regarded, if brief, biography of the 17th century Baroque artist & 60 plates after the original paintings.

      [Bookseller: Citation Books]
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        Home schooled by his father until he was almost 12, here offered is13-year-old George S. Patton?s report card and an envelope incorporating a stunning ?Geo. S. Patton? signature

      Pasadena, CA/West Point, NY, 1899/1906. 5.25 x 8.25, 5.5 x 3.5. "Comprises: (1) George S. Patton?s 1899 Report Card!Partly Printed Document Signed ?Stephen Cutter Clark? as Principal, one page, 5.25? x 8.25?. Completed in manuscript. Crease at upper left blank corner, faint shading in lower left area. Fine condition.Headed ?Classical School for Boys / Pasadena, California / Report of George S. Patton / for the term ending March 28, 1899. / Times Absent 3 / Times Late 0 / Times Dismissed 0.? There are two numerical grades for each subject, Recitation / Examination. His grades: Arithmetic 73/65 ?" Geography 95/90 ?" Latin 95/73 ?" Penmanship 88 (Recitation) ?" Reading 86/71 ?" Spelling 91/96 ?" Composition and Declamation 94 (Recitation) ?" Deportment 99 (Recitation).Carlo d?Este writes in ?Patton: A Genius for War? (New York: HarperCollins, 1995), ?Patton was eleven before he began learning to read and write. In September 1897, when he was nearly twelve, Patton?s father ?finally rebelled against the ?hands that rock the cradle? ruling the boy, and sent him to the local grammar school,? the Classical School for Boys, located on South Euclid Avenue in nearby Pasadena ... His first day was a poignant one in Patton?s life: ?We drove up in the old surrey and ... Papa turned to me and said very sadly: ?Son, henceforth our paths diverge forever.? I have never forgotten that but though we lived more and more apart our hearts and minds never separated.??The principal of the Classical School for Boys was Dr. Stephen Cutter Clark [1859-1931], a noted Latin scholar and historian who was assisted by his brother, Mr. G.M. Clark. At what was essentially a small high school, Patton joined twenty-five other children of Southern California gentry and spent the next six years undergoing his first formal training. A diligent student, Patton nevertheless faltered because of his dyslexia. Algebra, geometry, and arithmetic were among the subjects taught and virtually all proved a struggle ... In 1902, for example, Patton?s report cards reflect examination and recitation grades in the fifties and sixties and occasionally in the low seventies. His deportment was exemplary, as were his marks in ancient and modern history, which consistently were in the high nineties...?Where Patton excelled was in his amazing capacity to memorize and quote verbatim and at length from the Bible or any book he had been exposed to during those many years of home schooling. Although he was not born with it, Patton developed a photographic mind that compensated dramatically for his dyslexia ... By the time he entered VMI [Virginia Military Institute] in 1903, he had acquired the rudiments of a first-class education. Hidden behind the negative image created by the dyslexia lay an incredibly vast storehouse of knowledge of biblical and military subjects. Later, as an adult, Patton would make light of his academic ordeal by joking. ?I had trouble with my a?s and b?s ?" and what the hell is that other letter???(2) Postmarked envelope from West Point incorporating his signature!Envelope Signed ?Geo. S Patton? in the name of the addressee, 5.5? x 3.5?. George Washington 2¢ stamp affixed, postmarked West Point, December 1906; San Gabriel, December 29, 1906 postmark on verso. Addressed by Patton to his mother, ?Mrs. Geo. S Patton / San Gabriel / Los Angeles Co. / Cal.? Slit open at top edge. Fine condition.Patton left VMI in 1903 for West Point. On November 11, 1906, Patton celebrated his 21st birthday. D?Este writes, ?On his twenty-first birthday he delivered some stern reflection son his life. As usual the dyslexia enhanced his harsh judgments of himself: ?Man lives by deeds not years. At least I hope so if at 42 I have as little to cause me self respect as I not have at 21 I had better say with Hector ?gape earth and swallow me.??? In West Point?s Class of 1909, Patton ranked 46 in a class of 103."

      [Bookseller: University Archives]
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        [Works] The Novels of ?

      New York: Macmillan and Co, 1899. First American edition of the Constance Garnett translation. 15 vols. 8vo. Publisher's brown cloth, gilt-stamped, some wear to spine ends of vols. I, IV, XIII, & IX, else near fine. First American edition of the Constance Garnett translation. 15 vols. 8vo. The Constance Garnett Translation. Garnett's first major work of translation - the novels of Turgenev in 15 volumes - done for Heinemann in London, and published simultaneoulsy in America for Macmillan. "Conrad, for whom Turgenev was Constance Garnett, compared her to a great musician interpreting a great composer" (ODNB).

      [Bookseller: James Cummins Bookseller ]
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        The Amateur Cracksman

      London: Methuen 1899, 1899. FIRST EDITION. Crown octavo, pp.viii; 257; [1], blank; [1], imprint; [1], blank; 40, catalogue (dated February 1899) Finely bound in recent half burgundy calf over cloth boards, titled in gilt to the spine. Internally clean with some light toning to paper stock. A handsome copy. The first collection of the adventures of Arthur J. Raffles, the gentleman thief. A highlight of crime fiction. The character and stories were inspired by Sherlock Holmes, created by Hornung's brother-in-law Arthur Conan Doyle, to whom the printed dedication refers.

      [Bookseller: Adrian Harrington Rare Books]
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