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

        Nos Actrices

      Paris: Edition de la Revue Blanche, 1899. First Limited Edition. Wraps. Glassine DJ over outer folio. . Fine. No. 28 of 44 copies printed on Japon Imperial. Large folio. 45 by 36 cm. One page preface followed by 18 pochoir plates of the leading actresses of the Fin-de-Siecle Parisian stage, with two plates of Sarah Bernhardt. Other actresses include Lucienne Breval, Marthe Brandes, Marie-Louise Marsy, Lara, Yahne, Rejane, Megard, Marcelle Lender, Lavalliere, Lucie Gerard, Cassive, Marthe Mellot, Simon Girard, Mariette Sully, Cecile Sorel and Jeanne Granier. The actresses are in costume, and Cappiello's approach is both highly stylized, yet also light and frothy, caricature perfectly befitting the frivolity of the period. Leonetto Cappiello (1875-1942) is best known for his revolutionary poster designs. He got his professional start, though, as a caricaturist for publications such as "Le Rire", "L'Assiette au Beurre", and "Le Cri de Paris", and theater caricature was a major sideline of his. The caricatures in this set embody many of the qualities of his later posters -- their simplicity, their fillip of drama, etc. Condition: slight creasing in the lower corner. The plates have essentially detached from the spine, as is typical, and slight chipping to the lower extremity of the spine. A touch of soiling on the glassine. Overall, very clean, and still about as lovely a copy as one is bound to see.

      [Bookseller: White Fox Rare Books and Antiques ]
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        Internationales Kaiser-Jubiläums-Schachturnier Wien 1898. Herausgegeben von der Redaction der Wiener Schachzeitung H. Fändrich, A. Halprin , G. Marco.

      Leipzig, Veit & Comp., 1899.. XIX u. 351 S. Gr. 8°. Halbleinen. d. Zt.. Privatband. Das hintere fliegende Vorsatzblatt fehlt. Ansonsten sehr gut erhaltenes Exemplar. Ausgesprochen selten. Mit einem eingeklebten Blatt des Schachclubs Oberspree Treptow: : Herr M. R. erhält dieses Buch als I. Preis im Winterturnier 1911/12".

      [Bookseller: Antiquariat - Graphiken Klaus Altschäfl]
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        Lady Jackson's Works (14 Volume complete set)

      John C. Nimo. Hardcover. Complete set in good condition with three exceptions being Volume I, VIII & IX which all have soiling to boards, volume one has minor soiling to back cover that extents across the boards with small dents and scuffing to edges, Volume eight has a small patch of soiling to front and Volume nine has small soiling patch to back with remaining copies having general wear including bumped corners and spine ends and light blemishing to blue cloth. Content clean with a few copies having a small water mark at the bottom of pages that does not affect reading quality with the rest of the books having bright pages with minimal toning to pages and rough cut edges. Solidly bound with no inscriptions. . Good. 1899.

      [Bookseller: Infinitebooks]
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        Chronicle of the Conquest of Granada: 2 Volumes. Cordova Edition

      G. P. Putnam & Sons 1899 - Cordova Edition, this is copy 2 of only 50 copies. 2 Volumes. Publisher's faun calf, decorated in gilt, gilt labels, Plates. Pictorial margin embellishments. Both books in good condition with some scratches and scrapes to leather covers and spine. Some light soiling to cover of Volume 1 (see image). Interior pages in very good condition with bright and clean pages, no marks or writings, bindings sound. More images upon request. Please see our feedback! [Attributes: Hard Cover]

      [Bookseller: Prestonshire Books]
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        CALLIE CANALI IN VENICE AND IN THE ISLANDS OF THE LAGOONS

      1899. ONGANIA, Ferd. CALLIE CANALI IN VENICE AND IN THE ISLANDS OF THE LAGOONS. English Edition by F. Home-Rosenberg. Published in Venice in 1899. Small 4to., burgundy quarter-calf leather & marbled boards, marbled endpapers. First Edition in the English language and uncommon thus. Contains 12 pages of text in English with 50 full-page photogravure plates of Venice. Very Good (covers rubbed with small cracks spine (little foxing to a few pages but a 50 plates are all present and nice & clean). Rare in the English Language Edition. $1,500.00.

      [Bookseller: Antic Hay Books]
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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. Square octavo. Original pale purple cloth, gilt lettered spine, gilt floral motifs from designs by Charles Shannon on spine and covers, untrimmed. Attractive contemporary bookplate of Isadore Bailey Osborne (1859-1925). Spine lightly sunned, small area of fading at head of both covers, corners lightly bumped, head and tail of spine creased but still a very good copy. First and limited edition, one of 1,000 numbered copies. The Importance of Being Earnest, Wilde's last play, opened to great acclaim on Valentine's Day 1895 but was withdrawn after Wilde's failed libel suit against Lord Queensbury led to his arrest. The subsequent "utter social destruction of Wilde" (ODNB) meant that the play was not published in book form until February 1899, after Wilde's release from prison. Richard Ellmann comments that Smithers's handsome editions of Earnest and An Ideal Husband "brought Wilde a little money".

      [Bookseller: Peter Harrington]
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        Die Agrarfrage. Eine Uebersicht über die Tendenzen der modernen Landwirthschaft und die Agrarpolitik der Sozialdemokratie.

      Stuttgart, Dietz 1899.. 23,5 : 16 cm. VIII, 451 pages, 2 leaves Original cloth.. First edition. Dedicated to his 'dear friend Hugo in old friendship' Berlin 3/1/(18)99 K. Kautsky. In publishers blue cloth covered boards. - The present work 'Die Agrarfrage' is an analysis of the influence of capitalism on agriculture. Karl Kautsky born 1854 in Prague and died 1938 in Amsterdam was an important economist, historien and publisher of the German social democracy. He studied in Vienna and joined the social democratic party. His friedship with Marx and Engels influenced his development. - Edges a bit rubbed otherwise a fine copy.

      [Bookseller: Antiquariat Michael Steinbach]
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        Les stances EDITION ORIGINALE Tirage de tête ENVOI AUTOGRAPHE

      Paris: Editions de La plume, 1899. Fine. Editions de La plume, Paris 1899, 27x36cm, broché sous chemise et étui. - Original, one of 100 numbered copies on China Edition, leading copy. Autograph signed by the author Karl Boès. Book illustrated with a portrait of the author by Antonio de la Gandara. Few minor foxing. Our copy is presented in shirt with back red morocco date tail, flat marbled paper, lined morocco case of the same boards and marbled paper. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 100 exemplaires numérotés sur Chine, tirage de tête. Envoi autographe signé de Jean Moréas à Karl Boès. Ouvrage illustré d'un portrait de l'auteur par Antonio de la Gandara. Quelques petites rousseurs sans gravité. Notre exemplaire est présenté sous chemise avec dos de maroquin rouge, date en queue, plats de papier marbré, étui bordé du même maroquin et plats de papier marbré.

      [Bookseller: Librairie Le Feu Follet]
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        Heraldischer Atlas. Eine Sammlung von heraldischen Musterblättern für Künstler, Gewerbetreibende sowie für Freunde der Wappenkunde zusammengestellt und erläutert von H.G.Ströhl. 76 Tafeln in Bunt- und Schwarzdruck nebst zahlreichen Text-Illustrationen * Original-Ausgabe von 1899 in G A N Z L E D E R - H a n d e i n b a n d

      Stuttgart, Verlag von Julius Hoffmann, 1899.. . Vollständige Ausgabe in prächtigem Handeinband der Zeit: gebunden in braunes geglättetes Ganzleder im Format 26 x 35 cm) mit 5 erhabenen Zierbünden, Schließen aus Ledergeflecht sowie Ganzarbschnitt. 8 Seiten ohne Zählung, 23 Seiten Einführung "Elemente der Heraldik" mit vielen Abbildungen, 72 Tafeln mit jeweils einem Textblatt, 4 Tafeln mit 2 Textblättern, die farbigen Tafeln in Chromolithographie (Kunstanstalt von A.Gatternicht). - Aus dem Inhalt: Vorwort - Elemente der Heraldik - Herolde des XIV.-XVII. Jahrhunderts - Herolde aus dem XVIII.-XIX. Jahrhundert - Ritter zu Pferde nach alten Abbildungen - Turnier-Ritter - Schildformen und Schildbürger (lebende Figuren) - Heraldische Farbenskala und Heraldisches Pelzwerk - Kreuze und gemeine, leblose Figuren, nebst gotischen Renaissance-Damaszierungen - Der Löwe - Der Adler - Phantastische Tierfiguren und Ungeheuer -Der Helm - Menschliche Gestalten als Schildhalter (Alte Meister) -Wilde Männer und Frauen als Schildhalter - Tiere als Schildhalter - Kronen der Regentenhäuser - Rangkronen - Proben von Beizeichen und Badges - Proben von Wappenzeichnungen (1244-XVIII. Jahrhundert) - Kirchliche Heraldik- Kirchliche Wappen - Proben von Territorial-Wappen (Staats- und Provinzwappen) - Proben von Städte-Wappen - Proben von Gesellschafts-Wappen -Proben von ungarischen und polnischen Wappen - Proben französischer Heraldik (XV. bis XIX. Jahrhundert) - Proben heraldischer Skulpturen in Italien - Proben italienischer Heraldik aus dem XV.Jahrhundert, nebst einem portugiesischen Wappen aus dem XVI.Jahrhundert - Proben alt-englische Heraldik (XV. und XVI. Jahrhundert) - Proben moderner englischer Heraldik - Reitersiegel des XIII. bis XV. Jahrhunderts - Reitersiegel des XV.Jahrhunderts - Proben von Wappensiegeln und Portraitsiegeln mit Wappen - Siegelgravuren moderner Meister - Grabplatten mit heraldischer Zier (XV. Jahrhundert) - Totenschilder und Grabplatten - Wappen in Holzschnitzerei - Heraldik im Kunstgewerbe - Heraldische Stickereien (XVI und XVII. Jahrhundert) - Proben schweizerischer Wappenscheiben - 2 Entwürfe für Wappenmalereien auf Porzellan - Proben von Verbindungs-Wappen - Probe eines Stammbaumes (Freiherren von Ströhl) - Ahnenprobe (Probe auf 16 Ahnen des kgl. bayr. Generallieutenants Alois Freiherrn von Ströhl) - Wappenregister, Figurenregister - Zusätze und Berichtigungen. - Aus dem Vorwort: " . . . ermutigte den Verleger und Autor zur Herausgabe eines groß angelegten "Heraldischen Atlasses", der nicht allein die Elemente der Heraldik in kurzgefasste Einleitung erläutern, sondern auch an der Hand genauer Copien nach Darstellungen aus verschiedenen Jahrhunderten die historische Entwicklung der altehrwürdigen Heroldskunst und durch einige Proben aus verschiedener Herren Länder ihre nationale Ausgestaltung vor Augen führen sollte. Eine Anzahl von Tafeln wurde für Beispiele aus den verschiedenen Gebieten des Kunstgewerbes, der praktischen Verwertung der Wappen reserviert. Hoffentlich ist das vorgestellte Ziel, trotz der vielen Schwierigkeiten, die sich der Arbeit in den Weg stellten, bei einigermaßen bescheidenen Ansprüchen des Lesers, als erreicht zu bezeichnen. Der Heraldische Atlas ist bloß eine Sammlung von Bildern, zusammengestellt und geordnet von einem alten heraldischen Praktikus, und nicht das Werk eines Forschers und Gelehrten; von diesem Standpunkt aus möge er auch seine Beurteilung finden . . . Bei der Herstellung der Tafeln des Atlasses wurde das Hauptaugenmerk auf eine farbige Reproduktionsweise gelegt, weil ja die Farbe das Lebenselement der Wappenkunst bildet und ein Wappen ohne Farbe gar nicht denkbar ist. Was den Text anbelangt, so suchte der Herausgeber diesen so kurz als möglich zu fassen, sich aber doch dabei immer vor Augen haltend, dass dieses Werk in erster Linie für ein Laienpublikum berechnet ist, das darin Aufschluss und Belehrung finden soll. Der Text zu jeder Tafel bildet ein selbständiges Ganzes, das auch ohne den einleitenden Aufsatz über die Elemente der Heraldik verständlich sein dürfte." - "Warum handgebunden? - Die wesentlichsten Vorzüge des guten Handbandes sind: Die einzelnen Druckbögen werden mit der Hand nach dem Schriftspiegel gefalzt. Die Bogenränder werden dadurch zwar ungleich, aber das Satzbild steht gerade. Um infolge der ungleichen Ränder ein späteres zu starkes Beschneiden mit der Maschine zu vermeiden, werden die Bogen einzeln, vorne und unten, mit der Pappschere auf ein Mittelmaß rauh beschnitten. Dadurch wird der Druckrand weitestgehend geschont. Als erste und letzte Lage wird dem Buche zum Schutze eine leere Papierlage hinzugefügt, welche mit einem feinen Leinen- oder echten Japanpapierfalz versehen ist. Geheftet wird der Handband nach sorgfältiger Auswahl des Heftzwirnes auf echten erhabenen oder aufgedrehten flachen Bünden und auf Pergamentriemchen (welche beim Pergamentbande durch den Rücken gezogen werden). Die Deckel werden in einem tiefen Falz angesetzt, mit den Bünden nach außen. Ein Herausreißen aus der Decke ist somit nur unter Zuhilfenahme von Werkzeug möglich. Als Einbandmaterial kommen sumachgares, lichtechtes Saffian, Kalbleder, vereinzelt auch Rindsleder, ferner naturelles und weißes Schweinsleder sowie Kalbspergament zur Verwendung. Ein mit der Hand hergestelltes, dazupassendes Überzugpapier sowie Handvergoldung oder Blinddruck am Rücken ergänzen das Werk nach außen. Ein solcher Einband entspricht allen Anforderungen, die an einen Gebrauchsband gestellt werden können." Aus einem alten Prospekt von Richard Hönn, ehemals Handbinderei des Verlages Albert Langen, Werkstatt für feine Buchbinder- und Lederarbeiten in München, Dienerstrasse 14. - Erstausgabe, EA, 1.Auflage in guter Erhaltung (handschriftliche Widmung auf Schmutztitel; die eine Lederflechtschließe gerissen, sonst tadellos), in schwerem, eindrucksvollem Ledereinband; weitere Abbildungen siehe Nr.19589!

      [Bookseller: Galerie für gegenständliche Kunst]
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        Rue [Presentation Copy with Two-Page Holograph Poem, Text Amendments]

      London: At the Sign of the Unicorn, 1899. First edition. Original dark blue cloth, gilt lettering on cover and spine. PRESENTATION COPY WITH TWO-PAGE HOLOGRAPH POEM BY LAURENCE HOUSMAN. Presented to Alfred W. Pollard, famed Shakespeare scholar, bibliographer and editor n front free fly: "To A. W. Pollard from the Author." Holograph poem in Housman's hand on pp. 70-71 (i.e. blanks), five stanzas of quatrains, "Dear love, when great Love bade us part...". With multiple amendments, corrections and notations in the text (including crossing out lines and replacing with new lines) by Housman. Simon Nowell-Smith's Copy. Are and important Housman annotated association copy. Near fine.

      [Bookseller: Nudelman Rare Books]
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        Moeurs institutions et cérémonies des peuples de l'Inde EDITION ORIGINALE

      Pondichéry: Imp. de la Mission catholique, 1899. Fine. Imp. de la Mission catholique, Pondichéry 1899, 13x22cm, 2 volumes reliés. - New edition in the partly original because enriched with a preface and notes. Bound in half morocco hazelnut, back with five nerves, marbled paper plates, guards and contreplats of handmade paper, first boards retained coverage. 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] Nouvelle édition en partie originale car enrichie d'une préface et de notes. Reliure en demi maroquin noisette, dos à cinq nerfs, plats de papier marbré, gardes et contreplats de papier à la cuve, premiers plats de couverture conservés. Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        THE CHISWICK SHAKESPEARE (WORKS OF) in 37 Volumes

      London: George Bell & Sons. Very Good. 1899. Full Leather. 16mo (10 x 15cm) The Chiswick Shakespeare, a very attractive and comparatively scarce edition published between 1899 &1902, with illustrations by Byam shaw and edited with notes by John Dennis. 37 volumes (of 39? - see below for details).The text "Printed from the Cambridge Text (Globe Edition) by the kind permission of Messrs. Macmillan and Co." Bound in the publisher's blue full, limp-leather with spines attractively decorated in gilt in an Arts and Crafts/Art Nouveau style, vignette of the "The Chiswick Shakespeare" blocked in gilt to the front boards. Each book with a decorated title page printed in red and black, and b/w frontispiece plate with further b/w plates; original patterned end papers to each volume in either bright yellow, sage green or buff-green. Top edges gilt. Generally in very good condition with a few volumes good only. The bindings are all strong, no cracked joints, a few minor and inconspicuous repairs to several, most vols. faded on the spines to a buff colour, and the gilt dulled to some, a few volumes chipped to the spines, but all now stabilisied. Macbeth, Hamlet & As You Like It with some water damage which has rippled the boards and pages, and lighty stained the end papers, but all remain strong and fully serviceable. Contents clean and tight, no obvious inscriptions, all hinges good and strong, ribbon marks generally worn at ends. A Good to very good set of this particularly attractive edition. titles as follows: - Hamlet; Coriolanus; All's Well That Ends Well; King Richard II; Much Ado About Nothing; Love's Labour Lost; King Henry V; Cymbeline; Twelfth Night; As You Like It; Romeo and Juliet; The Tempest; Two Gentlemen of Verona; Pericles; The Merry Wives of Windsor; King Henry VI, Parts I, II & III; Titus Andronicus; King Richard III; Troilus and Cressida; King Henry IV Parts I & II; The Comedy of Errors; King Lear; Timon of Athens; The Taming of the Shrew; Antony & Cleopatra; Measure for Measure; Julius Caesar; The Merchant of Venice; Othello; The Winter's Tale; Macbeth; King Henry VIII; Poems; and The Sonnets. The two missing volumes are King John and A Midsummer Night's Dream. [A note on pricing: - at the time of listing other booksellers were asking around £40 per volume for the same edition, for books in similar condition; whereas this set works out at a little of £13/vol. - and less on our own website!] .

      [Bookseller: Loe Books]
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        A Hole in the Wall

      Boston: Little, Brown. Near Fine in Good dust jacket. 1899. Cloth. Bright yellow cloth stamped in black and green, titles in gilt, in the original printed paper dust-wrapper; pp. [2], 64, [2] (ads), plus frontis and three plates. Binding designed by Amy M. Sacker, with her monogram at the lower left corner of both binding and jacket. Spine tips and corners rubbed, 1901 gift inscription to the ffep, else fine, bright, and sharp; jacket with chips out at the corners and larger chunks out at the spine tips, spine somewhat sunned, but still quite attractive; First separate edition, one of eleven separately published stories printed (in this series) between 1899 and 1904. BAL 225 .

      [Bookseller: Books Tell You Why]
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        The River War, An Historical Account of the Reconquest of the Soudan

      London: Longmans, Green, and Co., 1899. First edition, first printing. Hardcover. This is the first edition, first printing of Churchill's second published work. Published in two massive volumes in 1899, the first edition of this book is compelling in every respect. First, of course, is the inherent merit of the work itself. The text is arresting, insightful, powerfully descriptive, and of enduring relevance. Mohammed Ahmed was a messianic Islamic leader in central and northern Sudan in the final decades of the 19th century. In 1883 the Mahdists overwhelmed the Egyptian army of British commander William Hicks, and Great Britain ordered the withdrawal of all Egyptian troops and officials from the Sudan. In 1885, General Gordon famously lost his life in a doomed defense of the capitol, Khartoum, where he had been sent to lead evacuation of Egyptian forces. Though the Mahdi died in 1895, his theocracy continued until 1898, when General Kitchener reoccupied the Sudan. With Kitchener was a very young Winston Churchill, who would participate in the battle of Omdurman in September 1898, where the Mahdist forces were decisively defeated. In this book about the British campaign in the Sudan, Churchill - a young officer in a colonial British army - is unusually sympathetic to the Mahdist forces and critical of Imperial cynicism and cruelty. This work offers us the candid perspective of the future great man of the 20th century from the distinctly 19th century battlefields where Churchill learned to write and earned his early fame. Here is a chief architect of the Second World War involved in what has been called the last "genuine" cavalry charge of the British army. In addition to being a compelling piece of writing, the first edition of The River War is also beautiful, rare, and bibliographically important. Aesthetically it is lavish and striking; the large, weighty volumes are beautifully decorated with gilt representations of the Mahdi's tomb on the spines and a gunboat on the front covers. Each of the two large volumes is printed on heavy paper with a profusion of illustrations, maps, and plans. From a collector's standpoint it is scarce. There were only 2,000 copies of this beautiful first edition, first printing. Moreover, this is one of the few Churchill books for which there was no concurrent U.S. first edition. Bibliographically it is notable that the first edition is the only unabridged edition to this day. Here is a first edition, first printing set. This set is considerably worn, but complete in the original bindings. The contents retain all of the extensive illustrations, maps, and plans, as well as the frontispieces, tissue guards, and original black endpapers. We find no previous ownership marks. The contents show intermittent spotting throughout, endemic to this edition. The original illustrated cloth bindings show considerable wear. There is overall scuffing, dulling, and wear. Both bindings are tender, Volume I exceptionally so, with the cloth rear hinge split for 6.5 inches of its 9.25 inch length. Gutter breaks are well underway in both volumes, but the mulls nonetheless remain intact, with only a Volume I rear blank endsheet actually separated from the text block. This set will serve well as either a comparatively low-priced original and unrestored first printing, or as a prime candidate for a fine rebinding. Bibliographic reference: Cohen A2.1.b, Woods/ICS A2(a.1), Langworth p.29

      [Bookseller: Churchill Book Collector]
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        Les 40 chanteurs montagnards. Voyage en Orient, d'après les mémoires d'Alfred Roland.

      Bagnères-de-Bigorre, Bérot 1899 - in-8, 382 pp., bradel demi-percaline lie-de-vin à coins, couverture conservée (reliure de l'époque). Théodore Bouget fait revivre l'incroyable épopée de ces 40 chanteurs bagnérais, qui, conduits par Alfred Roland, parcoururent pendant 16 ans, entre 1838 et 1854, l'Europe et l'Orient. Très rare. [Attributes: Hard Cover]

      [Bookseller: Librairie Historique F. Teissèdre]
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        Indian Tales (Oriental Edition)

      New York: Dodge Publishing Co.. Near Fine in Very Good+ dust jacket. c1899. Cloth. Publisher's red cloth decorated and titled in black, beige and gilt, top edges gilt, in publisher's printed paper dust-wrapper and matching printed paper-covered slipcase slipcase; Book is bright and fresh, though the frontis and its tissue guard have come loose from the binding and are loosely laid in; bookseller ticket on the rear board. The unpriced jacket has a faded spine and small chips out at the edges and corners, and the box, though still bright, is worn and rubbed with tape repairs to the interior. Overall a bright and attractive set; A bright reprint of the 1899 one-volume collection of INDIAN TALES issued by Caldwell (Richards E1-1 and Livingston p. 62) .

      [Bookseller: Books Tell You Why]
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        Catalogue of Books Contained in the Lockhart Library and in the General Library of the London Missionary Society

      London, England: London Missionary Society, 1899. An English language publication, with ancillary material in Chinese. Presumed first [and only?] printing of the first edition, 1899. Author's Introductory dated December 1899. Printed and presumed bound in Hertford, England by Stephen Austin and Sons. NOT ex-library. Contemporary medium brown buckram binding, with crisp gilt-stamped lettering to the front board and to the spine. Impressively clean and well-preserved binding. Gently bumped spine head, moderately bumped spine tail with small chip, and with moderately bumped and lightly abraded corners. 1 inch superficial vertical crack along the gutter of the front board, not at all threatening the integrity of the binding and merely a minor cosmetic issue. Text block firmly bound in. 10.75 x 7.25 inches. Black paper pastedowns and FEPs. Title page with pencil inscription of previous owner in neat hand, "David Chamberlin, London Missionary Socy, Livingstone House, Westminister." With 320 numbered pages of text consisting of: Part I, Lockhart Library, books relating chiefly to China and the Far East, in European and Oriental Languages; Part II, Lockhart Library, Chinese printed books, with a few Japanese works and reprints; Part III, General Library, European and Oriental books related to foreign missionary spheres, subjects and operations, other than in China and the Far East. Light to moderate foxing to the preliminaries and several internal pages. Very faint age-yellowing around the page edges, trivial. Else a very clean copy. Gently read. A Very Good Minus copy. Very rare. A bibliographic goldmine for sinologists and scholars in related disciplines. An interesting association copy. David Chamberlin was affiliated with the London Missionary Society for at least 40 years and his responsibilities at L.M.S. included working as Managing Editor. "Look it up in Chamberlin" was long the rule where any problem of L.M.S. history arose in Livingstone House.. First Edition. Buckram. Very Good Minus. 4to - over 9¾" - 12" tall. Association Copy.

      [Bookseller: Marc Sena Carrel]
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        Josèphine

      Jean Boussod, Manzi, Joyant, Paris 1899 - Paris: Jean Boussod, Manzi, Joyant, 1899. Full leather. One volume. Quarto. Josèphine Impèratrice et Reine. Douze cents exemplaires sur papier vèlin des manufactures du marais mumèrotès a la presse 1200 no 560. Portrait illustrations. Bound in full green crushed morocco, heavy gilt decorations to covers and spine, raised bands, all edges gilt, marbled endpaper. (Text is in French). [Attributes: Hard Cover]

      [Bookseller: Imperial Fine Books ABAA, ILAB]
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        A Thousand Days in the Arctic

      New York: Harper & Brothers, 1899. 1st. Decorative Cloth. Collectible; Very Good. A handsome, well-preserved copy of the 1899 1st American edition. Solid and VG in its original decorative cloth, with bright gilt-lettering and decoration to the front panel and bright gilt-lettering to the spine. Thick octavo, 940 pgs. plus publisher's ads., top-edge gilt. One small, even cut to the upper right corner of the title page (reaching a small amount of the lettering) and one very small, neat former owner name to the front free endpaper. Otherwise, clean as could be, with no writing or markings of any kind and the 5 large color fold-out maps called for --and the crisp black-and-white plates scattered thru the text-- all in very fine condition. "This is an unvarnished tale of a thousand consecutive days spent in the Arctic, printed almost word for word as it was written--while the facts and impressions were fresh in my memory--in our hut, or tent, when on sledging and boating journeys in Franz-Josef Land. It is a simple, true account and statement of facts incident to our life and work there--plain facts, penned by a plain man." (from the author's note). A very important title in early arctic exploration.

      [Bookseller: Appledore Books, ABAA ]
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        Zeta Psi Fraternity of North America Semicentennial Biographical Catalogue with Data to December 31, 1899; Plus four additional Zeta Psi directories, etc.

      Zeta Psi Fraternity, 1899, Buckram, Book Condition: Very Good, First Edition. Size: 4to - over 9¾" - 12" tall, Zeta Psi Fraternity of North America Semicentennial Biographical Catalogue with Data to December 31, 1899. Printed and presumed bound by the press of John C. Rankin Co., NY. 10.5 x 7.25 inches. Green buckram binding with gilt-stamped lettering and black rules. Gently bumped spine head and tail and corners, with light abrading at the corners. Generally clean binding with the occasional light smudge mark. 967 numbered pages, with 57 B&W full-page archival photograph plates, all with pristine tissue guards. The tissue guards are over-printed with identifying information for the corresponding images in the photographs. Moderate darkening to the rear endpaper and pastedown, else an exceptionally clean book. Very gently read. A Very Good copy. You are unlikely ever to encounter a finer copy. Extremely scarce in any condition. In addition to numerous illustrated plates, the book includes histories of each chapter and its members, including names of those brothers who fought and died in the Civil War. Plus four additional Zeta Psi publications: Pocket Dictionary of the Zeta Psi Fraternity For the Year 1916. 6 x 4.25 inches. Green buckram spine binding with green paper hardboards and with gilt-stamped lettering to the front board. Generally unbumped spine head and tail and with sharp corners. Very clean binding. 387 pages, with no illustrations. An immensely clean book. Very gently read. A Very Good Plus to Near Fine copy. Directory of the Zeta Psi Fraternity of North America. Published in 1926. 6 x 4.25 inches. Oxford blue buckram binding and with somewhat faded gilt-stamped lettering to the front board and to the spine. Generally unbumped spine head and tail and with fairly sharp corners. Very clean binding. Lovely frontispiece B&W illustration with pristine tissue guard. 530 pages. An immensely clean book. Very gently read. A Very Good Plus to Near Fine copy. Directory of the Zeta Psi Fraternity 1932. 7.75 x 5.25 inches. A paperback with 350 numbered pages. Blue wrappers with black lettering to the front and to the spine. Top corner moderately dented, affecting all pages. Very clean inside and out. A Very Good Minus copy. The Circle of Zeta Psi, April 1924, Vol. XV, No. 7. From the convention in Cooperstown, NY. 9 x 6 inches. A paperback with numbered pages 334-378, plus some unnumbered pages. Beige wrappers with dark brown lettering and design front and back. Includes a full-page drawing of the Alpha Beta and a full-page photo of The Club. Very clean inside and out. A Very Good copy.

      [Bookseller: The Book Carrel]
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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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        Hand and Soul

      Hacon & Ricketts, London 1899 - Original gray paper covered boards, printed paper labels on cover and spine. Printed on handmade laid paper, decorated throughout superb border design, initials and flourishes by Charles Ricketts. Extremely fine copy. One-of-a-kind condition for this classic Vale Press title. Blue cloth slipcase. [Attributes: First Edition]

      [Bookseller: Nudelman Rare Books]
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        Prière sur l'Acropole Grand papier

      Paris: Edouard Pelletan, 1899. Fine. Edouard Pelletan, Paris 1899, 20x27cm, broché. - Illustrated edition of original compositions H. Bellery-Desfontaines engraved by Eugène Froment, one of 400 copies numbered in Arabic numerals. 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 illustrée de compositions originales de H. Bellery-Desfontaines gravées par Eugène Froment, un des 400 exemplaires numérotés en chiffres arabes. Bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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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]
 24.   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]
 29.   Check availability:     Biblio     Link/Print  


        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]
 30.   Check availability:     Biblio     Link/Print  


        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)]
 31.   Check availability:     Biblio     Link/Print  


        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]
 35.   Check availability:     AbeBooks     Link/Print  


        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]
 36.   Check availability:     ZVAB     Link/Print  


        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]
 42.   Check availability:     Biblio     Link/Print  

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