37 995 résultats
185554160London, 1855. 8vo. Entire volume 16, second series of ""The Annals..."" present, bound in a very nice red half morocco with richly gilt spine. A nice, clean, fresh, and sturdy copy. A vague stamp to title-page (London Institution) and a blindstamped marking to top of first leaf of contents (Cranbrook Institute of Science). Pp. 184-196. [Entire volume: VII, 472 pp. + 11 plates].
183889310Arthus Bertrand | Paris 1838-1852 | 14.5 x 23.5 cm & 18,8 x 28 cm & 35 x 53 cm | 12 volumes reliés
1864564j1976Bruxelles: Imprimerie de A. Mertens et Fils. Fair with No dust jacket as issued. 1864. First Edition. Hardcover. Is this book the plagiarized source of The Protocols of the Learned Elders of Zion "In his 1870 autobiography Maurice Joly 1829-1878 described how he conceived the idea of a dialogue between Montesquieu and Machiavelli. At that time it was forbidden to openly criticize the regime of Napoleon III but in this way it would be possible through the mouth of Machiavelli to expose the Emperor's motives and methods stripped of the usual camouflage. Thus this book was printed in Belgium and smuggled into France but was immediately seized by the police banned and Joly arrested. Thus few copies survive. Joly's reflections on the despotism of Napoleon III provide insights applicable to authoritarian regimes of today. Moreover something of Joly's insights even survived when his book was transformed into The Protocols of the Elders of Zion thus The Protocols often seem to forecast twentieth-century authoritarianism." - pages 73-76 of Warrant for Genocide by Norman Cohn in which he claims over 160 passages in the Protocols are clearly based on passages in Joly. "The Protocols of the Wise Men of Zion were first circulated in Russia in the early years of the twentieth century purportedly an account of a meeting between Jewish leaders in the fall of 1897. A horrible plot to undermine society overthrow governments and destroy Christianity is revealed. The 'minutes' are copied verbatim from A Dialogue in Hades Between Machiavelli and Montesquiou written by Maurice Joly. The 'Protocols' merely substituted the word 'Jew' for Joly's own devils." - Footnotes to pages 423-424 of Mein Kampf Reynal & Hitchcock 1939. Others argue that Joly's work was not the source of The Protocols. We leave it to the reader to decide. 4 i-iii iv 337 1 1 errata p. 18.0 x 12.4 cm. Text in French. Tight maroon quarter leather binding with new leather spine and leather title label. Wear to periphery of older marbled boards which are probably not original. Bookplate of Dr. J.A. Van Praag 1895-1969 inside front board. Van Praag was a lecturer at the University of Amsterdam when he acquired this book in 1931 and wrote his name atop the first blank leaf along with a comment about the purported connection of the book to The Protocols. He also wrote Joly's name on the title page. Pencil notes on pages 47 80 and 94. Evidence of moisture exposure to endpapers and more moderately to contents. Negligible if any waviness to contents. All text clearly legible with pages intact. Includes new custom acid-free clamshell with leather title label upon spine. A rare first edition example of this most contentious work. Provenance: Acquired from an Israeli dealer who purchased it at an Israeli auction which only sells books offered by Israelis. Our research indicates that at least some of Van Praag's books were looted by the Nazis in 1941. Apparently he retired in 1966 and attempted to rebuild his library. However after a fire in his widow's home in 1970 part of the library was destroyed or damaged and she sold the remaining books. We have no definitive way of knowing if this book was looted from Van Praag or if it was if he ever re-acquired it. Perhaps he did re-acquire it only to have it exposed to moisture per our description by firefighting efforts in his widow's home; 12mo . Imprimerie de A. Mertens et Fils hardcover
1866135300Adelaide: Townsend Duryea 1866. Adelaide Townsend Duryea printed circa 1866; original negative circa 1863. An albumen paper photograph 90 × 59 mm mounted on the original card 102 × 62 mm with 'T. Duryea Photographer to His Excellency 66 King William St. Adelaide' printed on the verso under the Vice-Regal Coat of Arms. 'Townsend Duryea began making cartes de visite in late 1862 or early 1863 and was advertising his "new" style of carte in May 1863' Bob Noye AGSA website. The portrait taken in Duryea's Adelaide studio shows Stuart after his epic crossing of the continent of Australia: he is visibly depleted - emaciated even - with his injured hand positioned awkwardly in his lap. The accident that caused this permanent injury occurred on 25 October 1861 the day the main party of the successful sixth expedition departed Adelaide. Stuart later described it in a letter to Charles Sturt: 'the accident I received from one of the horses being in a state of strangulation and endeavoured to release him reared up struck me in the temple knocked me senseless and springing again with his hind feet on my right hand has disabled me for life' Ian Mudie: 'The Heroic Journey of John McDouall Stuart' 1968 page 171. It is a most evocative image of the great explorer towards the end of his life. <p>The negative number 18592/3 is inscribed in ink on the verso below Duryea's imprint. This particular imprint dates to around 1866 see Noye and the negative number is consistent with this date. Noye notes that 'A carte with a number belonging to a much earlier number range would be a reprint from an old negative held in storage'; this suggests that this photograph is not printed from the original negative perhaps lost damaged or destroyed. This further suggests that this photograph is printed from a negative produced by rephotographing an existing print of the portrait of Stuart taken earlier by Duryea. This would explain why Stuart has what appears to be his left hand in his lap: the image is printed in reverse. <p>It was likely produced after news of the explorer's death in London on 5 June 1866 had reached Adelaide. A small item of local news 'Mr T. Duryea's Studio' in the 'South Australian Register' on 23 November 1866 lends weight to this possibility: 'A visitor to Adelaide may spend a very pleasant and profitable half-hour in Mr Duryea's photographic studio where a number of elegant photographs in every style of art are displayed. Mr. Duryea also exhibits some superior examples of photographs worked up in water-colours which are soft and some of them exquisitely finished. Amongst these there is a fine portrait of the late J.M. Stuart the explorer'. This carte de visite is clearly not that exhibition piece but it is most definitely a fine portrait. Townsend Duryea unknown
187189766Imprimerie Mourès & Cie | Le Caire 1871 | 34.5 x 50.2 cm | Relié
1870053004-KItaly 1870. Book. Illus. by Giacomo Brogi. Very Fine. No Binding. Albumen Mammoth Print c. 1870's By Giacomo Brogi 1822- 1881 Italian. Very rare photographic image by this artist in the original restored frame . This is not one of the standard tourist pictures that you find but a true work of art by this master photographer. Both Brogi and the Alinari Brothers worked as photographers and took the standard architecture ruins photos in Italy most being small 8"x10" Albumen prints but they did art photography also and to find one is a rare treat . This piece shows three men in a row boat on the Tiber River with Castel Saint`Angelo Mausoleum of Adrian on the right the Saint`Angelo bridge to the castle in the middle in the far distance you can see St. Peter's Dome . Looking around the photo the men in the boat you can see their reflection in the water. With sheep on the right shore and the clouds rolling by above it all this is a very importain photographic image by this artist . Please call for more information on this and other works of art. Size: 32 x 23. unknown
182069056Paris, Pierre Didot l'ainé, 1806 1820 4 volumes grand in-folio, demi chagrin fauve, dos à nerfs ornés de filets dorés reliure fin XIXe s., faux titre gravé, 1 portrait de SAS le Prince de la Paix d'après Steven, XLVI pp. dont le titre, 72 pp., 1 f. n. ch. et LXXXVIII planches - Faux-titre, titre, pp. de 73 à 132, planches de LXXXIX à CLXXXIX - Faux-titre, titre, XLV pp., 36 pp. et XC planches - Faux-titre, titre, XCI pp., 38 pp. et LXX planches, 2 cartes doubles de l'Espagne et du Portugal. Soit 272 planches hors texte.
1868142860Adelaide: Townsend Duryea 1868. First Edition. Hardcover. Very Good. Adelaide Townsend Duryea 1868. A large quarto album approximately 415 × 365 mm containing 18 albumen paper portraits each approximately 280 × 210 mm mounted on the rectos of cloth-hinged thick card leaves interleaved with guards plus one leaf of letterpress see below. Contemporary half roan and cloth lettered and tooled in gilt with a binder's ticket on the front pastedown 'Bound at the "Register" Office Grenfell Street Adelaide'; covers slightly worn; leaves slightly cockled; one guard missing; most photographs lightly discoloured near the right-hand edge; a few light spots of foxing mainly to the guards and the versos of the mounts and some minor signs of age and handling but overall in excellent condition. The subjects include some of the most prominent figures in early colonial South Australia. In order of appearance the portraits depict John Morphett President Henry Ayers Charles Hervey Bagot John Henry Barrow Charles George Everard John Baker William Wedd Tuxford Thomas Elder William Peacock William Morgan Thomas Hogarth John Tuthill Bagot Thomas English Henry Mildred John Crozier William Parkin John Hodgkiss and Emanuel Solomon. <p>The 'South Australian Advertiser' for 20 August 1868 records that: 'Mr. Duryea is preparing a parliamentary group containing the members of both Houses of the Legislature which promises to be an effective affair. The members of the Council have already given him sittings and a fine series of portraits is the result'. In the subsequent months Duryea exhibited the photographs at his King William Street studio but most accounts refer to them assembled as a group around Morphett. This photo-collage with the portraits all heavily cropped is almost certainly the basis for a contemporary carte de visite published by Duryea see SLSA B 9258. However most of the images in this album appear to be rare or even unrecorded in their uncropped form; indeed the only other examples we located were of Henry Ayers and Charles Hervey Bagot. It is also rare to find photographs of early colonists at all let alone of this size quality and quantity. <p>The guard leaves for the portraits of Morphett Hogarth J.T. Bagot and Mildred contain manuscript biographical details in a single hand. Although we have not identified the writer it is likely to be one of the eighteen MLCs as he refers to 'our chamber' in the entry for Morphett. The portrait of C.H. Bagot is accompanied by a similar short biography but this time in letterpress and misspelling his middle name as 'Harvey'. C.H. Bagot English Mildred Crozier Parkin and Solomon are identified in another hand on the mounts beneath the image. Townsend Duryea] hardcover
183911053Coblenz: Verlag Von K. Baedeker. 1839. First Edition. Hardcover. Very Good-. Yellow boards a bit browned and worn. Spine ends and corners lightly chipped. Pages clean and tight with occasional browned pages not affecting contents ; In 1839 with the publication of Holland Belgium and Rheinreise 3rd Edition the Baedeker series was launched. An extremely rare book in the original Biedermeier boards including a list of Baedeker's books in front and with a steel engraved fold out map in the back ; 16mo 6" - 7" tall; 212 pages . Verlag Von K. Baedeker hardcover
1866141595Adelaide: Townsend Duryea 1866. First Edition. Hardcover. Adelaide Townsend Duryea circa 1866. A photograph album 254 × 340 mm containing a magnificent panorama of Adelaide comprising five roughly uniform albumen paper photographs mounted as issued slightly overlapping to form a continuous image 124 × 880 mm on a linen-backed card mount 244 × 951 mm folded into three plus 12 albumen paper photographs nine of them around 130 × 200 mm or the reverse one 130 × 172 mm and the last two approximately 220 × 285 mm mounted on the rectos of stiff card leaves. Original russet pebble-grain cloth lettered in gilt on the front cover; cloth slightly flecked with minor wear to the extremities; endpapers foxed with slight loss to silverfish and the rear free endpaper is missing; leading edge ribbon ties appear never to have been inserted; mounts lightly cockled and occasionally lightly spotted and foxed; bottom margin of the final mount lightly stained with trifling loss to silverfish; minimal signs of age and use; overall a very pleasing copy with the photographs - and in particular the stunning panorama - in uniformly fine condition. The twelve individual photographs are captioned in pencil on the mounts: 'View in botanical gardens - showing Asylum' 'View in Botanical Gardens' 'View in Gardens' five captioned simply 'Botanical Gardens' 'Bridge between N & S Adelaide' 'near Willunga' and two captioned 'Willunga' both superb large-format prints. <p>New York-born Townsend Duryea 1823-1888 emigrated to Australia Melbourne in 1852 and commenced work as a photographer the following year. In 1855 he relocated his studio to Adelaide. By the early 1870s Duryea's panoramas royal portraits and prizes won in Society of Arts photographic competitions had made him famous 'Australian Dictionary of Biography'. Much more detail on Duryea may be had from the lengthy article in Joan Kerr's 'Dictionary of Australian Artists . to 1870'. However the panorama in this album is not the one described in Kerr 'a fold-out 360-degree panorama of Adelaide taken from the tower of Adelaide Town Hall in 1865 was the album's major feature' nor is it the larger panorama 'taken from the top of the GPO tower soon after it was completed in 1870'. The present panorama is taken from a local rise in North Adelaide and sweeps left to right from the hills towards the sea. All of these panoramas are very rare indeed not least because 'Duryea's studio and enormous collection of glass-plate negatives stated to number 50 000 were destroyed by fire in 1875'. This catastrophe effectively ended Duryea's career as a photographer. It must assuredly account for the genuine scarcity of material by Duryea on the open market other than bread-and-butter carte de visite portraits. <p>This album is very rare in our experience and if the available records are any guide for long before we came on the scene in the mid-1970s. Although this is the fourth example we have handled it is also only the fourth one we have seen on the open market in that time. We have inspected three other examples in institutions; all seven copies are bound similarly and contain the same panorama. However the balance of the contents varies in quantity and image selection in each instance. <p>Duryea began to advertise these albums in Adelaide newspapers in August 1866. One such from the 'South Australian Register' for 28 August 1866 reads: 'DURYEA'S VIEW ALBUMS. These Albums are neatly bound in cloth and form a beautiful acquisition either for the drawing-room table or transmission home. A PANORAMIC VIEW of the CITY of ADELAIDE and the SUBURBS three feet in length has been introduced as a Frontispiece; and as a further advantage purchasers have the privilege of choosing Photographs from a large Album containing 90 of the most interesting and picturesque Views of Adelaide and the Country. The above are open to the inspection of the public at Mr. Duryea's Studio 66 and 68 King William-street. Any of the Views mentioned above can be had separately. Photographs of Gentlemen's Country Seats Business Offices Shops &c. taken at the shortest notice by Ross's Improved Wide Angle Lens'. <p>Provenance: Edwin Ashby 1861-1941 South Australian property developer and naturalist; by descent. While Ashby was obviously not the first owner of this album its numerous images of the Botanical Gardens must have appealed to him. The fine gardens he established at his property 'Wittunga' at Blackwood in the Adelaide hills after the turn of the century were later donated to the State by his heirs and are now the Wittunga Botanic Garden. Townsend Duryea hardcover
1894WRCAM28514Albany 1894. Thirty volumes described below. Original cloth gilt-stamped in the earlier volumes in the series several volumes rebacked with original backstrips laid down. Several volumes with minor nicks or tears in cloth but overall a very good set of a work seldom found in decent condition. A complete set of one of the great monuments of American science and natural history illustration of the 19th century. It is virtually impossible to assemble all of the volumes in this set as they were issued across more than half a century and are generally found in poor condition because the bindings were not adequate for the weight of the heavy text blocks. Many of the volumes were issued in two states with the plates either colored or uncolored. In this set all possible plates some 539 are colored. <br> <br> The New York Natural History and Geological Survey was established by the state legislature in 1836 under the direction of James Ellsworth DeKay. By far the most ambitious scientific project undertaken in the United States up to that time it was designed to be issued in six sections: Zoology Botany Mineralogy Geology Agriculture and Paleontology. After six years of preparation volumes began to appear in 1842. The first four parts a total of twelve volumes were issued in 1842-44 and the five volumes of the Agriculture section between 1846 and 1854. The final section Paleontology began publication in 1846 but under its editor James Hall it took on a life of its own. Hall managed to turn it into a long career in his position as state paleontologist ultimately issuing thirteen volumes where only one had been planned originally. Without Hall's genius as a lobbyist for additional state funds the entire project would have been wrapped up in the 1850s. Instead he was still in office at age eighty-three when the final volumes were published. <br> <br> NATURAL HISTORY OF NEW YORK is notable for its vast array of color plates and in later volumes its use of other innovative forms of natural history illustration. In all it contains several thousand plates colored and uncolored making it a project on the same scale as the Pacific Railroad Survey. The present set contains 539 handcolored lithographs. The set is much less well known because far fewer volumes were produced than the U.S. government publications but it clearly was the model on which the great U.S. surveys of the 1850s were based. Some sections of the set are particularly desirable and more difficult to obtain while others were produced in very small editions. An essential work for any collection of early American science or American illustration especially color plates. A synopsis of the set with notes on illustration and rarity is given below. A detailed collation of the set is given in Meisel. <br> <br> Part I. ZOOLOGY OF NEW YORK: OR THE NEW YORK FAUNA; COMPRISING DETAILED NOTICES OF ALL THE ANIMALS HITHERTO OBSERVED WITHIN THE STATE OF NEW YORK. This series was edited by James Ellsworth DeKay. <br> <br> Vol. I. Mammalia. Albany. 1842. Thirty-three plates. These plates are usually found uncolored as here. A colored issue does exist but is extremely rare. <br> <br> Vol. II. Birds. Albany. 1842. 141 handcolored plates. <br> <br> Vol. III. Reptiles and Amphibians. Albany. 1842. 102 plates. These plates are usually found uncolored as here. The extremely rare colored issue of this volume is probably the hardest segment or issue to find of the NATURAL HISTORY. <br> <br> Vol. IV. Reptiles and Amphibians. Albany. 1842. The text volume for the preceding. <br> <br> Vol. V. Mollusca and Crustacea. Albany. 1844. Fifty-three handcolored plates. <br> <br> Part II. A FLORA OF THE STATE OF NEW YORK COMPRISING FULL DESCRIPTIONS OF ALL THE INDIGENOUS AND NATURALIZED PLANTS HITHERTO DISCOVERED IN THE STATE. Albany. 1843. Two volumes. 161 handcolored plates. This section was edited by the noted botanist John Torrey. Not surprisingly the beautiful colored lithographs of flowers have made this one of the most sought after sections of the NATURAL HISTORY. <br> <br> Part III. MINERALOGY OF NEW YORK; COMPRISING DETAILED DESCRIPTIONS OF THE MINERALS HITHERTO FOUND IN THE STATE OF NEW YORK AND NOTICES OF THEIR USES IN THE ARTS AND AGRICULTURE. Albany. 1842. Eight uncolored plates. This section was edited by Lewis C. Beck. <br> <br> Part IV. GEOLOGY OF NEW YORK. Prepared by various authors. <br> <br> Vol. I. Mather William W.: Part I.first geological district. Albany. 1842. Forty-two handcolored plates. <br> <br> Vol. II. Emmons Ebenezer: Part II.second geological district. Albany. 1842. Fifteen uncolored plates. <br> <br> Vol. III. Vanuxem Lardner: Part III.third geological district. Albany. 1842. No plates only illustrations in text. <br> <br> Vol. IV. Hall James: Part IV.fourth geological district. Albany. 1843. Nineteen uncolored plates. <br> <br> Part V. AGRICULTURE OF THE STATE OF NEW YORK; COMPRISING AN ACCOUNT OF THE CLASSIFICATION COMPOSITION AND DISTRIBUTION OF THE SOILS AND ROCKS AND THE NATURAL WATERS OF THE DIFFERENT GEOLOGICAL FORMATIONS. This section was edited by Ebenezer Emmons. <br> <br> Vol. I. Part I. Albany. 1846. Twenty-one uncolored plates. <br> <br> Vol. II. Analysis of Soils Plants and Cereals. Albany. 1849. Forty-two uncolored plates. <br> <br> Vol. III. Fruits. Albany. 1851. Text only. <br> <br> Vol. IV called "Atlas" to Volume III. Fruits. Albany. 1851. Ninety-five handcolored plates. This volume is also highly sought after for its plates of fruits from upper New York State prefiguring the many fruit illustrations which began to be produced in Rochester in the mid1850s. <br> <br> Vol. V. Injurious Species of Insects. Albany. 1854. Forty-seven handcolored plates. <br> <br> Part VI. PALAEONTOLOGY OF NEW YORK. This section was edited throughout by James Hall. <br> <br> Vol. I. Organic Remains lower division. Albany. 1846. 100 uncolored plates. <br> <br> Vol. II. Organic Remains middle division. Albany. 1852. 104 uncolored plates. <br> <br> Vol. III. Part I. Organic Remains.lower Helderberg group. Albany. 1859. No plates. <br> <br> Vol. III. Part II. Atlas for above. Albany. 1861. 143 uncolored plates. <br> <br> Vol. IV. Fossil Brachiopoda. Albany. 1867. Sixty-three uncolored plates. <br> <br> Vol. V Part 1 Vol. 1. Lamellibranchiata. Albany. 1884. No plates. <br> <br> Vol. V Part 1 Vol. 2. Lamellibranchiata. Albany. 1885. Ninety-six plates. <br> <br> Vol. V Part 2 Vol. 1. Gasteropoda. Albany. 1879. No plates. <br> <br> Vol. V Part 2 Vol. 2. Gasteropoda. Albany. 1879. 120 uncolored plates. <br> <br> Vol. VI. Corals and Bryoza. Albany. 1887. Sixty-seven uncolored plates. <br> <br> Vol. VII. Trilobites. Albany. 1888. Sixty- four uncolored plates. <br> <br> Vol. VIII Part 1. Paleozoic Branchiopoda. Albany. 1892. Forty-four uncolored plates. <br> <br> Vol. VIII Part 2. Paleozoic Branchiopoda. Albany. 1894. Eighty-four plates. The final eight volumes of this series are much harder to find than the first four having been issued much later and in smaller editions. The final two volumes comprising Volume VIII are extremely rare. MEISEL II pp.613-18. ANB 6:356 De Kay 9:861 Hall. REESE STAMPED WITH A NATIONAL CHARACTER 73. BLUM PICTURING NATURE 199-209. hardcover books
1890250306Berlin, Reimer, 1890. Fol. M. 3 (davon 1 zweiteilig) gef. Ktn., 53 Taf. Tit.-Bl., 2 Bl. Ehem. Bibl.-Ex. in Hlwd.-Mappe m. mont. Original-Deckel (diese bestoßen, gebräunt u.m. Resten Rsign., Innendeckel m. Bibl.-Tekt.). Tit.-Blatt m. handschrftl. Anmerk., stärker gebräunt und am Rand knickspurig. Taf. randgebräunt, teils braunfleckig und jede m. Stempel auf Rückseite. [3 Warenabbildungen]
1900List1916Purcell 1900. Unmounted gelatin silver prints and one mounted boudoir card most images measuring 8 x 5 and 7 x 4 ½ inches. Varying levels of fading else about fine. With gallery stamps of Fenn Gallery Santa Fe verso. Near Fine. In the years following the Land Run of 1889 which opened land in Indian Territory to Euro-American settlement professional and amateur photographers alike moved to the region. Their motives varied with some attempting to document the vanishing indigenous culture and others trying to capitalize on the Euro-American demand for photographs of Native Americans in both traditional and western attire. Some studios would use single sets of props for different tribes. Despite these issues the images from the period do illuminate the period of acculturation and displacement in the history of the Southern Plains Indians tribes and also provide a record of the motives of the Euro-American photographers behind the camera. <br /> <br /> William J. Lenny and William L. Sawyers were photographers working out of Purcell in the years immediately following the land rush. They photographed the tribes on the Kiowa-Comanche-Apache and Wichita-Caddo reservations. Lenny was a field photographer and likely took most of the photographs while Sawyer managed the studio. Offered here are a very extensive group of photographs taken by the duo - twenty-seven in total - giving a visual record of the Kiowa and other tribes during this period. Some of these images - though not these copies - were included in the Museum of the Great Plains Exhibition In Citizen’s Garb and we have included their reference numbers where applicable. <br /> <br /> Overall an uncommonly large group in fine condition with some fading. From the collection of Forest Fenn the noted Santa Fe gallerist. <br /> <br /> 1. Indian Police / Kiowa and Comanches Supplied Title. The images shows seven mounted police officers with the one furthest to the left appearing to be Euro-American. <br /> <br /> 2. Arko Captain of the Indian Police Comanche. Supplied Title Indian police commonly earned $8-$10 per month to work on the reservation where their duties included expelling intruders bringing children to the schools curbing crime and preventing the sale of alcohol. He’s dressed traditionally including a single feather worn as a headdress. In Citizen’s Garb 32<br /> <br /> 3. Chief Tow-Wac-A-Ny and Wives. Wichitas. Supplied Title. A portrait of ‘Towacany Jim’ a famous military scout posed with a Navajo-style blanket along with his two wives. The women are wearing purchased shoes common in this period. He earned $10 per month as leader of the Indian Police and traveled to Washington D.C. on diplomatic missions. Fine contrast. <br /> <br /> 4. Big Tree’s Boy and Girl. Kiowas. Supplied Title A portrait of two children of the chief Big Tree. The pair wear traditional dress. Faded. <br /> Big Tree. <br /> <br /> 5. Kiowa Chief. Supplied Title A portrait of A’Do-Ette or Big Tree the Kiowa chief. Fine contrast. <br /> <br /> 6. Portrait of A’Do-Ette . He wears the same costume used by the photographers for various other tribal leaders including a large headdress. Faded. <br /> <br /> 7. Chief Big Tree’s Daughters. Kiowas. Supplied Title The image shows two girls identified as Alma left and Leena right. Alma wears a dress of dark buckskin. Both girls have beaded bags known as “Strike-a-Light†bags hanging from belts. <br /> <br /> 8. Lone Wolf. Kiowa Chief. Supplied Title A photograph of Mamay-day-te or Lone Wolf the Younger in the same costume used for O’Do-Ette’s portrait and others. Some fading.<br /> <br /> 9. Photograph of Laura Dunmore or Laura Pedrick. Dunmore was a graduate of Carlisle School and sister of Chief Aptone. She is pictured here with a parasol tartan cloth and tinkling cone earrings providing a striking study in fashion during this period. Fine contrast. <br /> <br /> 10. Photograph of a Camp Scene in Summer on a Reservation. This scene perhaps a Kiowa-apache camp contains a tipi made of canvas instead of hides. A man in an expensive set of purchased clothing sits in the foreground. Excellent contrast. In Citizens Garb 9<br /> <br /> 11. Photograph of a Camp Scene in Summer. A variant of our no. 10 showing the same scene from a different angle. Excellent contrast. <br /> <br /> 12. Chief Wild Horse Supplied Title Title written in ink on margin. A photograph of Kobay-O-Burra second chief of the Quahadi who took over principal chieftanship when Parra-o-Coom died in 1874. <br /> <br /> 13. Photograph of Mamay-Day-Te Lone Wolf. A variant pose as number 8 with the same dress. <br /> <br /> 14. Photograph of Five Comanche in Mixed Attire. They have been identified as Pah-do-pony top left To-pooh bottom right and Big Kiowa bottom left brother of Pah-do-pony and Perk-a-Quannard. In Citizens Garb 14<br /> <br /> 15. Apache Papoose Supplied Title. A photograph of a child in traditional dress. Faded. <br /> <br /> 16. Photograph of Four Indigenous Subjects in Mixed Attire. A portrait of a man and three women the man in a Euro-American style suit and the women in a mix of traditional dress using trade fabrics. Excellent contrast. <br /> <br /> 17. Portrait of an Unidentified Man. A portrait of a man in heavy fringe breechcloth and fringed leggings. This was marketed under the name “Big Tree’s Son†in the 1890s and the subject is identified as Kiowa in the In Citizens Garb catalog. In Citizens Garb 16<br /> <br /> 18. Kiowa Squaw and Papoose Supplied Title. A photograph of a woman and a child in a studio setting. Very good contrast. <br /> <br /> 19. Portrait of Zah-Tay or Lizzie Woodward. Zah-Tay appeared in other photographs with her niece and son. <br /> <br /> 20. Portrait of Cora Caruth. A portrait identified as Cora Caruth who graduated from an Indian School perhaps Carlisle and eventually worked as an interpreter for Wichita at Anadarko. Fine contrast. <br /> <br /> 21. Portrait of a Man in a Serape. A portrait of a seated man in a serape or striped Mexican blanket. A breechcloth legging and moccasins can be seen under the serape. In Citizens Garb 23<br /> <br /> 22. Chief Cat. Kiowa. Supplied Title A photograph of Ba’o Cat also Goon-Saudle-Te who wandered from camp in Colorado when he was twelve and was not recovered for five years. Comanches sheltered him. Fine contrast.<br /> <br /> 23. Kiowas. Supplied Title A portrait of Lizzy Woodward Oliver and her niece posed in Kiowa clothing. Oliver is in a beaded cradleboard Lizzy’s dress was tied with Tartan cloth and wears traditional Kiowa moccasins. In Citizen’s Garb 10<br /> <br /> 24. Portrait of Lizzy Woodward Her Niece and Oliver. A variant of our no. 23 with Oliver and Woodward in different dress. Fine contrast. <br /> <br /> 25. Portrait of Two Kiowa Girls. Two girls pose one in buckskin dress decorated in paint. Buckskin would become less frequent. Fading. In Citizen’s Garb 2<br /> <br /> 26. Big Tree’s Papoose. Kiowa. Supplied Title. A portrait of Alma later known as Mrs. Ahote. Fine contrast. <br /> <br /> 27. Kiowa Braves. Supplied Title A photograph of two young men on horseback. Very good contrast to foreground slight fading to background.<br /> <br /> 28. A Young Kiowa Warrior Supplied Title. A photograph of Enoch Smokey later known as Apenguadal who lived near Verden Oklahoma. His mother was noted as a beadworker and his horse is fitted with unusually decorative gear. His personal dress includes a hairpipe breastplate and a pelt around his arms. In Citizens Garb 36<br /> <br /> 29. Portrait of a Standing Kiowa Man. He wears the same headdress used in other studio photographs. Some fading. <br /> <br /> 30. Unidentified Man Possibly Euro-American Posed in a Headdress in Studio Setting. This is a mounted image unlike the others with the Lenny & Sawyers mount. The subject appears to be Euro-American and wears the same headdress used by the Indigenous subjects in several of the earlier photographs. He holds a prop bow and arrow. <br /> <br /> An uncommonly large group of images which in total provide an impressive visual record of this period of forced acculturation and transition in dress. unknown
1899163H3899London: William Heinemann. Good. 1899. First Edition. Hardcover. "The circumstances under which the wealth the power and the numbers of the Jewish race domiciled in this country are likely to be indefinitely increased seem to call for more prescience and thought at the hands of our rulers than have yet been bestowed upon them. To make people think is the object of this book. Should they refuse they will wake up one morning only to discover that they have parted with the realities of national life and are dominated by cosmopolitan and materialist influences fatal to the existence of the English nation." - Introduction. Chapters include: What is a Jew; The Problem in Russia; The Jew in Austria/America/France/England/The Argentine Colonies; The Aloofness of Israel; Money Lenders; The Destitute Alien in Great Britain; Zionism; "Darkest Russia"; The Conversion of the Jews; Jewish Humour. pp xvii 301 32 ads. 7.5 x 5.3 inches. Quarter-bound in black leather and olive cloth. Gilt lettering to spine. Top edge gilt. Modest lean to spine. Binding intact. Prior owner's name dated 1899 inked atop front free endpaper. Large rectangular tanned area upon front free endpaper presumably caused by an item formerly laid-in. Average wear. Faint spots upon front board perhaps from water droplets. SINGERMAN 46.; 12mo - over 6¾" - 7¾" tall; Modern Jew Arnold White Anti-Semitism Zionism Argentina Relocation Russian Jews Usury Conversion Money Lenders Chedorim Lord Rothschild Rev. J.E. Salkinson Great Britain Immigration Jewish Question . William Heinemann hardcover
185612958NY: Derby & Jackson. Very Good with no dust jacket. 1856. Second Edition; First Printing. Hardcover. The spine is dulled with wear to the spine ends & corners light rubbing to the covers. ; Inside the front cover is an inscription gifting the book to Jefferson Davis from "M. P. Abbott . " Also inside the front cover is an inscription telling how the owner's brother was a forager with the Union Army who took the book from Davis' library at his brother's plantation near Vicksburg where it had been moved deemed safer than on his plantation. An anti-slavery book from Jefferson Davis' own library. Wonder what he was thinking when he read it. Brings to mind all the conflicts he had when he took his post with the Confederacy. What an association! ; 12mo 7" - 7½" tall; 298 pages . Derby & Jackson hardcover
180536079(København, ca. 1805-08). 4to. Varierende bladstørrelser. Trykflade ca. 20x15 cm. Med 59 kobberstukne og håndkolorerede dragtplancher samt 6 tillægsplancher i tusch og akvarel. Alle med dansk og tysk tekst under billedet. Indlagt i bogæske af helshirt.
181489342Chez les marchands de nouveautés | Vérédishtad [Paris] s. d. [ca 1814] | 14 x 22.3 cm | 4 volumes reliés sous deux étuis
1864142931Adelaide: The Author 1864. Fine. Adelaide The Author 1864. Eleven albumen paper photographs approximately 88 × 134 mm mounted on the recto of individual cards approximately 165 × 240 mm neatly captioned below the plate with the title at the head of the first one with all captions by George Hamilton himself. A few light spots and marks to some of the cards; essentially in fine condition with the photographs uniformly rich in colour. The Art Gallery of South Australia has all 11 original artwork - pen and ink with wash - in its collection. The 'Adelaide Observer' on Saturday 27 August 1864 contains a review of Hamilton's recently self-published book 'a well-conceived well-written neatly-printed and elegantly-illustrated brochure under the above title'. It describes at length the illustrations '11 in number photographed from the author's drawings by Colonel Biggs Mr. Baines and Professor Hall and they bear ample evidence of the artistic taste as well as the correct judgment displayed in the spirited originals'. <p>Robert Holden 'Photography in Colonial Australia. The Mechanical Eye and the Illustrated Book' 1988 describes this book and one other Molesworth Jeffrey's 'Various Exercises and Fragments in Metre by Divers Authors' Hobart 1864 as being the 'first recorded use of original photographs as illustrations in commercially produced and dated books' in Australia. His descriptive bibliography records that the published work indeed contains 'Photographs of eleven drawings . by Colonel Briggs sic from rough sketches by the author. It would appear that these images were printed eleven to a sheet and then arranged in random order throughout the text'. His collation of the three copies in the State Library of South Australia indicates the individual print sizes range from 20 × 35 mm to a maximum of 40 × 60 mm. <p>The present offering clearly predates the published use of these images and its presentation is much to be preferred. The first and most obvious difference is the superior size and quality of the prints. However the captions greatly enhance the images; when they are read and viewed in the intended order numbers 1-11 are lightly pencilled in the top right-hand corner of the cards this becomes a proto-photobook of the highest order . and far from being a prosaic account of how to look after a horse as the title might suggest it is a searing indictment of the widespread ill-treatment of horses. 'Mr. Hamilton proceeds with pen and pencil to describe and portray some of the trials a horse has to undergo from the time his liberty is first invaded in the bush until in the last scene of all that ends this painful history he is reduced to the drudgery of a hackney car'. <p>See Ferguson 10180b and 10181a; Holden 50 and 51 plus pages 13-21. Both bibliographies contain errors. 11 items. The Author] unknown
1900168277Philadelphia: George Barrie c.1900. An attractively bound set Limited edition number 262 of 1000 sets printed on japon with this set printed for Mr Thomas Breslin. This is an attractive and richly illustrated work on European court intrigue which includes works on the courts of Marie Antoinette and Napoleon. Provenance: with the bookplate of William Lawrence O'Neill 1935-2016 to the front pastedowns and his initialled inscriptions dated December 1932 to the front free binder's blanks of volumes V and IX. 24 vols octavo 215 x 140 mm. Frontispieces in coloured and uncoloured states richly illustrated with all plates in two states all with tissue guards. Contemporary green morocco by Stikeman for Brentano's titles to spine gilt spine decorated gilt in compartments covers elaborately gilt wide turn-ins marbled endpapers top edges gilt others untrimmed. Spines toned occasional rubbing to extremities; an excellent set. unknown
1804009517New York and Washington City: Printed By C. Wiley Isaac Riley and Daniel Rapine 1804. Book. Fine. Imitation Leather. First Edition. 8vo - over 7¾" - 9¾" tall. The complete set in nine volumes published 1804 1812 1816 and 1817. Recently professionally rebound in full dark brown goat sweps imitation leather spines with two new imitation labels similar to original saving original flysheets and adding new parchment end papers while retaining the original bookplate in Volume One of John H. Peyton John Howe Peyton 1778-1847 a Virginia lawyer and planter who served in both houses of the Virginia General Assembly. Volume One is a First Edition Washington City Published for John Conrad and Co. Volumes Two-Four are Second Editions so stated at title page printed in New York in 1812 by C. Wiley. Volumes Five and Six are First Editions printed in New York in 1812 by Isaac Riley. Volumes Seven - Nine are First Editions printed in Washington City by Daniel Rapine Vols. Seven and Eight in 1816 and Vol. Nine in 1817. Published over a period of fourteen years in three different cities by three different printers RARE in either the First or Second Editions of any of the volumes. Near Fine uniform browning and scattered toning to interiors in lovely new bindings that can be handled for years to come. Front end pages Vols. 2-9 with the small stamp of Brownlee & Brother. Title pages Vols. 2-9 inscribed by D. D. Pratt with his blindstamp. Daniel Darwin Pratt October 26 1813 - June 17 1877 was a United States Senator from Indiana 1869 - 1875 and Commissioner of Internal Revenue holding that office in 1875 and 1876. A complete set with Vol. One added to the Pratt Volumes Two-Nine with good historical provenance. William Cranch was the 2nd Reporter of Decisions of the Supreme Court of the United States from 1802 to 1815. Cranch's Reports contain accounts of over 350 cases from the court of Justice John Marshall including Marbury vs. Madison that are basic to the history of the Supreme Court and helped to form the backbone of our American Constitutional system of law. RARE. Printed By C. Wiley, Isaac Riley and Daniel Rapine Hardcover
186189248Arthus Bertrand | Paris s. d. [1861] | 16.3 x 25 cm & 49,5 x 64,5 cm | 1 volume broché + 1 volume broché sous coffret
18149590, , 1814-1831. 19 pièces reliées en 1 vol. in-8, sommaire manuscrit sur la garde supérieure, demi-toile verte chagrinée, dos lisse orné (reliure de l'époque).
18427561CBVivis (d. i. Vevey), im Verlag des Verfassers, 1842. 8°. XII, 264 S. Lederband der Zeit mit Rückenschild und schlichter Deckel- und Rückenvergoldung. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 7561CB|7561CB_2 [2 Warenabbildungen]
18427561CBVivis (d. i. Vevey), im Verlag des Verfassers, 1842. 8°. XII, 264 S. Lederband der Zeit mit Rückenschild und schlichter Deckel- und Rückenvergoldung.