After 1890 (19 results)

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Soft cover. Condition: Fair. No Jacket. (2), 124 pages. 263 x 174 mm. Piano vocal score. Wrappers damaged and detached.

[0-88977-042-5] [1986]. (Trade paperback) Very good plus. 306pp. Notes. Contributors include F. Laurie Barron (Indian Agents and the North-West Rebellion), K.S. Coates (More Than a Matter of Blood: The Federal Government, the Churches and the Mixed Blood Populations of the Yukon and the MacKenzie River Valley, 1890-1950), Olive Patricia Dickason (Frontiers in Transition: Nova Scotia 1713-1763 Compared to the North-West 1869-1885), Paul Driben (The Rise and Fall of Louis Riel and the Metis Nation), Noel Dyck (An Opportunity Lost: The Initiative of the Reserve Agricultural Programme in the Prairie West), Thomas Flanagan (Louis Riel: Was He Really Crazy?), Ken Hatt (The North-West Rebellion Scrip Commissions, 1885-1889), John Jennings (The North West Mounted Police and Indian Policy After the 1885 Rebellion), Andre N. Lalonde (Colonization Companies and the North-West Rebellion), Wayne McKenzie (Metis Self-Government in Saskatchewan), Donald McLean (1885: Metis Rebellion or Government Conspiracy), A.I. Silver (The Impact on Eastern Canada of Events in Saskatchewan in 1885), Donald B. Smith (Rip Van Jaxon: The Return of Riel's Secretary in 1884-1885 to the Canadian West, 1907-1909), George F.G. Stanley (The Last Word on Louis Riel- the Man of Several Faces), A. Blair Stonechild (The Indian View of the 1885 Rebellion), John L. Tobias (The Origins of the Treaty Rights Movement in Saskatchewan), James B. Waldram (The Other Side": Ethnostatus Distinctions in Western Subarctic Native Communities). Article about Louis Riel. Locale: ; ; Yukon. (Indians of N.A., Metis, North West Mounted Police, Northwest Rebellion, Riel Rebellion).

Stipple engraving and etching, domed top, India paper proof, before title, some fraying on edges of margins, mark on bald head, The title is added in pencil. The British Museum suggest this print is possibly Lord Radstock.

Condition: Good. Hand-colored lithograph. 25 x 34 cm (sheet). Very Good, light specks of foxing in the margins.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored lithograph. 27 x 34 cm (sheet). Very Good, light specks of foxing in the margins, missing lower right sheet corner.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored lithograph. 27 x 36 cm (sheet). Very Good, light specks of foxing in the margins.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored lithograph. 26 x 34 cm (sheet). Very Good, light specks of foxing in the margins.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

First edition hard back binding in publisher's original scarlet cloth covers, black title and author lettering to the spine. 8vo. 7½'' x 5¼''. Contains 192 printed pages of text with colour frontispiece, map and monochrome illustrations throughout. Sunday school prize plate to the front free end paper. Very Good condition book in Very Good condition price clipped dust wrapper with short closed tears to the edges of the spine ends. One of the hardest from her Brydons series to find, especially in a dust wrapper. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. CHILDREN'S & JUVENILE.

8vo. 2 pp. on bifolium. To an unidentified musician, thanking her for a successful concert and affirming her wish to continue their collaboration: "Je m'empresse de vous exprimer mes plus vifs remerciements pour la lettre que vous avez eu la bonté de m'écrire dans laquelle vous me dites que l'on vous a dit beaucoup de bonnes choses sur mon compte depuis votre charmante soirée; j'en suis d'autant plus flattée, que c'est par vous, chère Madame, que je reçois les éloges. Avoir l'honneur de jouer avec vous c'est déjà du succès. C'est pourquoi je suis si heureux de pouvoir continuer nos séances musicales [.]". - This beautiful letter is highly informative of Thérèse Castellan's trajectory as a female musician in a male-dominated field. In 1861 she won first prize at the Paris Conservatory playing a concert by Rodolphe Kreutzer, which started off her career as a soloist. Throughout the following three decades, Castellan often played in private settings for the European high nobility and bourgeoisie. She lived mostly in London but also toured successfully in Europe and the U.S., playing with musicians such as Adelina Patti, Christine Nilsson, and Pablo de Sarasate. - Traces of former mounting and minor browning to the upper border.

Condition: Good. Original mezzotint. 56 x 44.5 cm. platemark. 68.3 x 51cm. sheet size Print shows David Crockett, holding a racoon skin hat and a rifle, with three dogs.- Inscribed beneath the image: "Entered according to the Act of Congress in the year 1839 by James Herring in the Clerk's office of the District Court of the Southern district of New York." Water stain in lower left margin affecting part of the text.marginal tears.- Exhibited: "Arkansas Traveler" at the Crystal Bridges Museum of American Art, Bentonville, AR, April 2012-January 2013.Library of Congress Control Number .There was a colored reprint done circa 1950 with wider side margins."A Legend at Full-LengthMr. Chapman Paints Colonel Crockett?and Tells About ItBY CURTIS CARROLL DAVIS:ON MARCH 6, 1836, David Crockett died at The Alamo in what has since established itself as perhaps the most glamorous demise of American history. In April,1840, the Baltimore weekly, Niles' Register, carried a report from a Boston newspaper to the effect that the Colonel hadnot been killed after all, but was in fact doing forced labor in a Mexican mine. Clearly, some old soldiers just neverdie. Crockett never has. A man named Disney reincarnated him in 1955. .Provenance ::From the collection of Frederic Gale Ruffner, Jr., the founder of Gale Research, Detroit.

Aquatint engraving, printed in colours and finished by hand, by E.H. Hunt (corners rounded). Image:18 7/8 x 25 inches ; sheet size:24 1/8 x 30 1/4 inches. A portrait of the most famous British jockey of the 19th century, Fred Archer, up on Melton, winner of the 1885 St Leger and the Epsom Derby. Frederick Archer (1857-1886), " born at St. George's Cottage, Cheltenham, on 11 Jan. 1857, was the second son of William Archer, a jockey of the old school, who took over a stud of English horses to Russia in 1842, who won the Grand National at Liverpool on Little Charlie in 1858, and who eventually became landlord of the King's Arms at Prestbury, near Cheltenham. His mother was Emma, daughter of William Hayward, a former proprietor of the King's Arms. On 10 Jan. 1867 Billy Archer apprenticed his son Fred, a quick, retentive, and exceedingly secretive boy, for five years to Matthew Dawson, the trainer at Newmarket. As Billy Archer's son he was soon given an opportunity of showing his mettle, and on 28 Sept. 1870 at Chesterfield, upon Atholl Daisy, he won his first victory on the turf. Two years later, scaling at that time 5st 7lb, he won the Cesarewitch on Salvanoe, and in 1874, in which year the death of Tom French made a clear vacancy for a jockey of the first order, he won a success upon Lord Falmouth's Atlantic in the Two Thousand Guineas which proved of the greatest value to his career. Thenceforth he became a veritable mascotte of the racing stable with which he was connected. In 1874, with 530 mounts, he scored 147 wins. In 1877 he won his first Derby, and also the St. Leger, upon Lord Falmouth's Silvio. In 1884, with 377 mounts, he secured no less than 241 wins. His most successful year was probably 1885, when he won the Two Thousand Guineas on Paradox, the Oaks on Lonely, the Derby and St. Leger on Melton, and the Grand Prix on Paradox. In his last season he won the Derby and St. Leger on Ormonde. In all he is said to have worn silk 8,084 times, and to have ridden 2,748 winners. His most exciting victory was perhaps the Derby of 1880, when he came up from the rear upon Bend Or with an extraordinary rush, beating Robert the Devil by a head. His nerve was of iron, and he never hesitated to take the inside of the turn and hug the rails at Tattenham Corner. The success which enabled him to remain premier jockey for the unprecedented period of ten years is attributed primarily to his coolness and to his judgment of pace." (DNB). Lane British Racing Prints p.184.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1890 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 388 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 388 Language: English.

Illustration of a dogfight in a pit.The inscription reads: 'Pit-Ites. But no Tories. A scene of 20 years since / London Published Feb. 1844 for R. Ackerman's New Sporting Magazine at 191 Regent st.t'. Engraving on paper; total: 140 x 226 mm; some rubbing and some staining, otherwise in good condition.

Prächtiges Aquarell nach der einfarbigen Lithographie von Gottlieb Studer im 3. Band des Jahrbuches des Schweizer Alpenclubs aus dem Jahre 1866. Mit Eintragungen von 137 Gipfeln etc., jedoch ohne die dazugehörige Legende. -- Maße: ca. 21 x 95 cm. -- gut erhalten. || Beautiful panoramic watercolor drawing after a lithograph by Gottlieb Studer from 1866. -- in good condition. || Wilhelm Leifer stammte aus der Nähe von Brixen. Er schuf erst auf eigene Initiative und später vornehmlich für Publikationen des K.u.K. Österreichischen Alpenvereins von 1841 bis zu seinem Tod im Jahre 1886 ausschließlich nach der Natur zahlreiche Bleistiftzeichnungen und Aquarelle mit Landschaftsansichten aus den österreichischen, bayerischen, italienischen, französischen und schweizer Alpen, sowie von Städten, Dörfern und Burgen in den Ländern der Donaumonarchie und in Bayern. Zudem schuf Leifer auch Gebirgspanoramen in Bleistift und Aquarell. -- Arbeiten von Wilhelm Leifer sind heute sehr selten. Die Niederösterreichische Landesbibliothek besitzt ein Aquarell von ihm vom Schloss Franzhausen in Nußdorf ob der Traisen. (siehe Ausstellungskatalog: Der Bezirk St. Pölten in alten Ansichten. St. Pölten, 2013. S. 43; Abb. 22). Im Handel der letzten 100 Jahre konnten wir keine Arbeit von ihm ausfindig machen. -- Sehr selten. || Wilhelm Leifer came from near Brixen. He first created on his own and later primarily for publications of the K.u.K. Austrian Alpine Association from 1841 until his death in 1886. He created numerous pencil and watercolor drawings with landscape views from the Austrian, Bavarian, Italian, French and Swiss Alps, as well as view of towns, villages and castles in the countries of the Danube Monarchy and in Bavaria. Leifer also created mountain panoramas in pencil and watercolor. -- Works by Wilhelm Leifer are very rare today. The Lower Austrian State Library owns a watercolor by him from Franzhausen Castle in Nußdorf ob der Traisen. (see exhibition catalogue: "Der Bezirk St. Pölten in alten Ansichten." St. Pölten, 2013. P. 43; Fig. 22). We have not been able to find any work by him on the market in the last 100 years. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 50.

Sehr schönes Aquarell, nach der Lithographie von J. F. F. Lips und G. Studer. Mit Eintragung von 94 Gipfeln und beiliegender Legende. -- Maße: ca. 20,5 x 93 cm. -- gut erhalten. || Very nice watercolor drawing after a engraving by J. F. F. Lips and G. Studer. -- in good condition. || Wilhelm Leifer stammte aus der Nähe von Brixen. Er schuf erst auf eigene Initiative und später vornehmlich für Publikationen des K.u.K. Österreichischen Alpenvereins von 1841 bis zu seinem Tod im Jahre 1886 ausschließlich nach der Natur zahlreiche Bleistiftzeichnungen und Aquarelle mit Landschaftsansichten aus den österreichischen, bayerischen, italienischen, französischen und schweizer Alpen, sowie von Städten, Dörfern und Burgen in den Ländern der Donaumonarchie und in Bayern. Zudem schuf Leifer auch Gebirgspanoramen in Bleistift und Aquarell. -- Arbeiten von Wilhelm Leifer sind heute sehr selten. Die Niederösterreichische Landesbibliothek besitzt ein Aquarell von ihm vom Schloss Franzhausen in Nußdorf ob der Traisen. (siehe Ausstellungskatalog: Der Bezirk St. Pölten in alten Ansichten. St. Pölten, 2013. S. 43; Abb. 22). Im Handel der letzten 100 Jahre konnten wir keine Arbeit von ihm ausfindig machen. -- Sehr selten. || Wilhelm Leifer came from near Brixen. He first created on his own and later primarily for publications of the K.u.K. Austrian Alpine Association from 1841 until his death in 1886. He created numerous pencil and watercolor drawings with landscape views from the Austrian, Bavarian, Italian, French and Swiss Alps, as well as view of towns, villages and castles in the countries of the Danube Monarchy and in Bavaria. Leifer also created mountain panoramas in pencil and watercolor. -- Works by Wilhelm Leifer are very rare today. The Lower Austrian State Library owns a watercolor by him from Franzhausen Castle in Nußdorf ob der Traisen. (see exhibition catalogue: "Der Bezirk St. Pölten in alten Ansichten." St. Pölten, 2013. P. 43; Fig. 22). We have not been able to find any work by him on the market in the last 100 years. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 50.

[Title from printed caption below image]. Wood-engraved panorama, 195 x 550 mm (sheet); no engraver's details; central vertical fold with light foxing, else very good. This engraved view was removed (by a previous owner) from a copy of the April 4 1868 edition of the Illustrated London News, in which the panorama was one of the illustrations that accompanied a report on the Duke of Edinburgh's Tasmanian visit. The same original double-page contained another engraving (of identical dimensions), Regatta at Hobart Town, Tasmania, in honour of the visit of H.R.H. the Duke of Edinburgh. Both prints, on the same sheet, are held in the National Library of Australia (Rex Nan Kivell Collection, NK11760/55 and NK11760/56). Hobart Town, the capital of Tasmania appears to be after a two-part panorama of Hobart from Lime Kiln Hill taken by photographer Samuel Clifford, titled Hobart Town from the North West (National Archives, UK).

Very good. Light scuffing to some images. Some soiling to a few of the lithographs. All mounted on cardstock like photographs. Foxing to cardstock. Size 10.25 x 14.125 Inches. This is a set of 11 c. 1890 lithographs of Venice, Italy, after the photography of Carlo Naya. All 11 images are lithographed versions of photographs taken by Carlo Naya, an Italian photographer known for his work relating to Venice. A Closer Look The 11 photographs highlight important landmarks across the city. These include the Rialto Bridge, a view of the Grand Canal highlighting the Doge's Palace and St. Mark's Campanile, St. Mark's Basilica, the courtyard of the Doge's Palace, the façade of the Doge's Palace, the entrance to the Arsenal, the Bridge of Sighs (Ponte dei Sospiri), St. Mark's Square, the Marciana Library, St. Mark's Clock, and a panorama from the Campanile that looks toward Santa Maria della Salute. Publication History and Census These lithographs were created and published c. 1890. Naya's original photographs were likely converted to lithographic images to print them more economically for the tourist market. We have not found any other cataloged examples.

Although no photographs of Paganini are known to exist, in 1900 Italian violin maker Giuseppe Fiorini forged this now famous fake daguerreotype of the celebrated violinist. So well in fact, that even the great classical author and conversationalist Arthur M. Abell was led to believe it to be true, reprinting the image in the 22 January 1901 issue of the Musical Courier. In his 1979 biography of Paganini, Leslie Sheppard (and Herbert A. Axelrod) quoted Miss Geraldine de Courcy, 'One of Paganini's most competent biographers' her evaluation of the photograph: 'This picture is so obviously spurious that along with my research, I set forth to track it down with the following results: At the end of the nineties of the last century the violin maker Giuseppe Fiorini (who had removed from Bologna to Munich in the late seventies) was spending some time in Italy and in collaboration with a photographer in Venice, concocted the picture, took it back with him to Germany where he had it copyrighted in 1900 and sold it to a collector of Paganiniana. The picture eventually came into the Theatre Collection of Raymond Mander and Joe Mitchenson in London. When the publishing firm of Rockliff was preparing to bring out the English edition of the Farga book, they applied to this collection for a picture of Paganini and were given the one mentioned. To have accepted it unquestionably demonstrates the lack of judgement of the average person in taking too much for granted. Instead of Paganini's 'long slender hands' the picture gives us those of - to use a common expression - 'a butcher's hands.' The costume is obviously that of the late seventies, and the manner of displaying the medals equally so. In fact, Paganini only possessed three and among them there were none of the Cross of Saints Maurizie and Lazarre, which stands forth so prominently in the picture! As far as I have been able to ascertain the picture was only published once in Italy, early in 1915, that is, shortly after Fiorini's return for a visit after moving his business from Munich to Luzerne. The Italians have always sharply repudiated this picture and have refused to display it, even as a curiosity'. Framed in wood 14½'' x 8¾'', 'original' of this then widely acclaimed and publicised fake. Under left bottom it says: Eigenth.u Verl. v G. Fiorini, München, under right side: Heliogravüre Oberneffer, München, further down on left are some hand drawn music scores printed in Paganini style, to the right of scores his upward slanting signature 'Nicolò Paganini', under his signature and extending to right edge of inner frame is sharply and succinctly stamped into the lithograph paper: 'Copyright 1900' with direct under it: 'By G. Fiorini-München' (Giuseppe), then at bottom centre: Comm. Verl v Breitkopf u Härtel, Leipzig. The Heliogravüre photo is sepia, the print surround edges are distinctly pressed into the suitable paper within a plate marked impression and measure 23.7cm x 11.3cm with the outer margins of the print extending into the narrow, intact wooden frame which sit in glazed original plain flat oak frame, the overall outside measuring 36.7cm x 22.5cm. The reverse of the frame carries the stamp of an art business in Bern: 'Einrahmung-Geschaft, Bilder und Spiegel Handlung'. Bern, 11 Kramgasse 11. (Kramgasse is still the up-market shopping street in Bern). The ownership name is in large print at an angle and reads D. Thurni - a family name connected with Bern. The paper shows some foxing, but has retained its original creamy white colour and is not sun tanned. As we understand it, when the the nature of this Heliogravure was discovered the art world went into overdrive to trace and destroy all known copies sold. We have carefully removed the back which carries an indistinguishable German name in pencil along with a folded German newspaper cutting circa 1909. Member of the P.B.F.A. MUSIC [Classical].