Title supplied (32 Ergebnisse)

paperback. Zustand: Very Good. TITLE NOT SUPPLIED This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .…

Zustand: Very Good. Zustand des Schutzumschlags: 48021765. 1776353420. 4/16/2026 3:30:20 PM.

paperback. Zustand: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Sheet music. Zustand: Brand New. 12 pages. 12.05x9.02x0.08 inches. In Stock.

Paperback. Zustand: Brand New. 1st edition. 90 pages. Italian language. 9.00x5.90x0.20 inches. In Stock.

Zustand: Good. 8vo. Stapled Wraps, [23 pp.] Illustrations, VG.

Hardcover. Zustand: Brand New. illustrated edition edition. 183 pages. German language. 7.56x5.20x0.55 inches. In Stock.

Hardcover. Zustand: Brand New. 262 pages. German language. 9.21x6.14x0.71 inches. In Stock.

Paperback. Zustand: Brand New. 1st edition. 132 pages. German language. 10.55x7.56x0.55 inches. In Stock.

Paperback. Zustand: Brand New. 2nd edition. 278 pages. German language. 9.53x6.30x0.47 inches. In Stock.

[2], 80pp., some heavy browning and spotting throughout, 1062 items described with printed prices. 2 works bound in one, 8vo (225 x 140 mm), later quarter calf, spine lettered in gilt "Catalogues = Gardnier, Stanley, Goldsmid, Devonshire", alas, without the Goldsmid and Devonshire catalogues. Stanley wrote his own notes for this catalogue which was strong in early Italian and Spanish books. "One of the most magnificent collections ever brought to the Hammer." - Horne, p. 674. William Nelson Gardiner was born at Dublin, June 11, 1766, of poor parents. He possessed considerable knowledge of books, and was a very spirited engraver. Accumulated misery, both bodily and mental, led him to take his own life. The evening before his death he addressed a letter to the editor of the 'Morning Chronicle', who had shown him repeated kindness, enclosing a "Brief memoir of himself." In this letter he declared that his sun was set for everthat his business had nearly declinedhis catalogue failedhis body covered with diseaseand he had determined to seek that asylum "were the weary are at rest." He also states "I turned bookseller, for the last 13 years have struggled in vain to establish myself. The same ill fortune which has followed me through life, has not here forsaken me. I have seen men on every side of me, greatly my inferiors in every respect, towering above me; while the most contemptible amongst them, without education, without a knowledge of their profession, and without idea, have been received into Palaces, and into the bosom of the great, while I have been forsaken and neglected, and my business reduced to nothing. It is therefore, high time for me to be gone." De Ricci, p.88. Quaritch, p.271. …

Unbound. Zustand: Fine. First edition. Measuring approximately 7" x 8½". A fine copy, laid into publisher's unusued mailing envelope with colophon leaf. One of 99 numbered copies Signed by Atwood. From the colophon: "This is [Atwood's] first individually printed art work and it does not have a title, but clearly it shows an interesting metaphor that connects her to her craft as writer - mother bird hatching the alphabet." A striking image, nicely printed on Arches deckle-edge rag paper. *OCLC* locates two copies (Yale, University of Illinois).…

Scrapbook. Oblong folio (15 x 11 ¾ inches). 138 leaves [rectos only employed for the scrapbook], two blanks, front and rear. The first 26 leaves, hold newspaper and periodical clippings and illustrations, many in color, relating to the founding of the country and patriotism, from the Pilgrims to the Revolutionary era and on to President Nixon and Tennessee Gov. Whitfield Dunn; the following 138 leaves hold similar material, but also occasional ephemeral publications (e.g., Williams's History of Johnson City [1960 edition] and Kingsport, Its History and Traditions [also from 1960], etc.), and 180 color photographs (all 3 ½ x 3 1/2, inches, taken by the compiler?), documenting the history of the northeastern portion of the state, especially Washington County, Johnson City, and surrounding countryside, with several drawings and printed ink passages (by the anonymous compiler) expanding on the printed material and photographs. The photos include numerous roadside historical markers, monuments, cemeteries, vistas, historic buildings (cabins, inns, plantation homes, etc.), churches, and other sites easily accessed by car. Subjects include individuals (e.g., Sevier, Crockett, Andrew Johnson), events (e.g., State of Franklin, Scopes trial, Overmountain men), a nod to organizations (e.g., D.A.R, U.D.C.), etc. Homemade hinged, wooden boards, rawhide tie. Excellent school project in very good condition.…

Original cartoon drawing. 36 x 30 cm., signed by D'alessio. Matted, cartoon attached to mat with paper tape on verso, soiling and spotting to mat. After the stock market crash, D'alessio began selling his drawings to popular illustrated magazines of the time, including the New Yorker, Esquire and the Saturday Evening Post. For more than twenty years (1940-1963) he drew the strip "These Women" for Publishers Syndicate.…

Printed circular letter on blue paper, 11 ¼ x 9 ¼, text entirely in French. A periodic report from the company offering its assessment of the cotton market, with statistics showing number of bales shipped from various ports (New Orleans, Mobile, Atlantic States, Texas, and Florida) and with comparisons between 1856-57 and 1857-58 (through September of each year); this report notes improvements in the financial situation from its previous report (translation: "as money is more abundant, our banks have been able to expand their operations and thus facilitate cotton transactions") despite "frequent and considerable fluctuations in prices during the month, the market having been depressed by notices from Europe." The only reference we have found for J. E. DuMont & Co. is an 1859 partnership dissolution suit filed in Mobile's Chancery Court that describes the company as a "general and commission-merchant in Mobile"; the case eventually found its way to the Alabama Supreme Court. Addressed verso of integral leaf to Messrs. J. & C. Heydecker in New York, old fold lines, else very good.…

Broadside. 25.5 x 20 cm. Printed on blue paper, text within an ornamental border, signed in type at conclusion of text by C.K. Morrill & Co. of Lowell, Mass, dated June 12th, 1855. Old fold lines, but no wear. Not in Wisconsin Imprints Inventory and not found on OCLC. There are only a handful of separate Fond du Lac imprints before 1855, the most notable being a History of the County of Fond du Lac (1854). The weekly Fountain City Herald was published from 1852 to 1856.…

Oblong patterned cloth souvenir album, 12 x 15 in. bound with tassel ties at left margin. Inset illustration of a koi fish, 7 x 9 1/4 in. on front cover, signed with two square hanko stamps. Some soiling and fraying to cloth, which has also pulled away from the right edge of the front cover revealing the plain paper cover below; blank front endpaper creased. The hand-tinted photos are laid down, one to a page, on each side of a double-folded manila sheet, and protected by tissue guards. Most are approx. 7 3/4 x 10 in. and are identified with printed captions and numbers in the lower right corner. Many can be recognized as the work of Kusakabe Kimbei (1841-1943) or his studio. The images include: Festival Lanterns, Bentendori Yokohama; Mississippi Bay near Yokohama; Uyeno Park, Tokio; Iris Garden at Horikiri, Tokio; Wisteria, Kameida, Tokyo; Sacred Bridge, Nikko; Chiusenji Lake, Nikko; Daibutsu Bronze Image, Kamakura; View of Atami; Inside Tea House Tonosawa; Fujiya Hotel at Myanoshita; Fujiyama from Hakone Lake; Awaji-Shima Inland Sea; Nakajima, Nagasaki; etc., plus several studio photos of young Japanese women in traditional dress, rice planters, children playing hop scotch, a flower seller, patrons and customers at a silk store, etc. All of the photos are very good, the colors bright. Likely all of the images in this album are products of the photographic studio of Kusakabe Kimbei in Yokohama. Although they do not bear his stamp, the numbered photos and captions can be identified in catalogues of his work. Kusakabe Kimbei trained under Felice Beato (ca.1825-1907), an Italian living in Japan, first as a colorist and later as a photographer. He opened his own studio in 1881 and his images often captured the fast vanishing world of old Japan. [see: Chris Kincaid's essay "Felice Beato and Kimbei Kusakabe, Photographers of 1800s Japan," (Japan Powered: 2018)].…

Together 8 vols. 4to. Some minor sporadic browning, generally clean, occasional chipping to fore-edge, occasional closed tears, vols. 1 & 2 as described, vols. 3 onwards in uniform cloth, some light dampstaining mainly affecting extremities, spines browned with minor chipping, vol. 5 sun faded to upper board, minor marking. Ex.-libris Douglas Heber Hill Grainger & Cecil George Savile Foljambe Cecil George Savile Foljambe, 1st Earl of Liverpool, PC (18461907), known as The Lord Hawkesbury between 1893 and 1905, British Liberal politician.Upcott 321. As per Upcott except that Upcott makes no mention of Volume II Part II. According to B.M. catalogue 'pp.319-358 were printed but not published until the sheets were purchased by Thomas Thorpe Bookseller in 1837. He then issued them with together with an index with the copies of Volume 2 in his possession.John Duncumb (17651839), topographer. '. In 1780 Duncumb was engaged by Charles, eleventh Duke of Norfolk, the owner of extensive estates in the county, to compile and edit a history of Herefordshire. The terms were £2 2s. per week for collecting materials, the resulting work being the property of the duke. The first volume, containing a general history of the county and account of the city, was published in 1804; and the first part of a second volume, containing the hundreds of Broxash and Ewyas-Lacy, with a few pages of Greytree Hundred, in 1812. At the death of the duke in December 1815 payments ceased and Duncumb stopped work. The unsold portions of the work, with the pages of Greytree hundred then printed but not published, since they were part of the duke's personal estate, were taken from Hereford to London, where the parcels remained in a warehouse until 1837. The whole stock was then purchased by Thomas Thorpe, the bookseller, who disposed of his copies of the first and second volumes, with the section on Greytree, to which he appended an index. The second volume was completed with an index in 1866 by Judge W. H. Cooke, who issued a third volume, containing the remainder of Greytree, in 1882 and volume 7, covering the parishes in the hundred of Grimsworth, in 1892. Subsequently, volume 4, edited by the Revd Morgan G. Watkins, appeared in 1897, covering Huntington and Radlow hundreds. Volumes 5 and 6 appeared in 1912 and 1913 respectively, compiled by John H. Matthews and covering Wormelow hundred .' US$1485.…

Hardcover. Zustand: Near Fine. Half plate ambrotype. Matted with preserver in original embossed leather case with purple velvet pad inside the front cover. Image size approximately 4.25" x 5.5". Professionally cleaned and resealed. A few spots of tarnish but otherwise clear and near fine. In a leather case stamped in gilt and blind with metal clasps. Spine of the case has been professionally rebacked and is a bit rubbed but very good. A portrait of four seated young women who are similarly, or perhaps uniformly, dressed in striped outfits, and a single standing young man with a suit with a vest which seems to similarly match the women's dresses. No obvious evidence of the identities of the five, but anecdotally we are told the old seal was labeled "Appalachian Singers", and the close-to-uniform outfits on the group suggests a group of performers. Many individuals and groups of minstrels performed Appalachian music, but we have been unable to determine exactly who this group may have comprised, or whether they were just generically identified by a previous owner. Our date range is suggested by the mat, preserver, and case on the ambrotype. Appalachian music comprises many styles and sources, likely this group, whoever they may be, would have performed the traditional Anglo-Celtic ballads of the region, as opposed to the African-American influenced minstrel music that dominated the second half of the 19th Century. In any case, a pleasing and striking image.…

Attractive mixed-media artwork (watercolor & pencil) depicting Captain Ahab in the bow of the longboat looking to harpoon Moby Dick whose flukes wag menacingly as he sounds, Quequeg and presumably Ishmael at the oars. Sihned by the artist in pencil, "N. Caruso." Very light spotting at the top and bottom margin, one letter (the 'o') in Caruso's name slightly obliterated, but on the whole a fine and dramatic example.…

Unbound. Zustand: Fine. Gelatin silver photograph. Approximately 7¾" x 9¾". Image of an African-American woman in a white two-piece bathing suit standing on the bow of a small sail boat holding a tension wire in one hand with the shore visible in the distance. Contemporary stamp on verso: "Life Photo by Gordon Parks" with a blue pencil notation ("#217 S") in an unknown hand. Fine, with the tonal contrast of the image crisp and bright. Parks was the first Black photographer to work on the staff of *Life* magazine, covering everything from Paris fashion to the Civil Rights Movement. He is generally considered to have made a major contribution to fashion photography during his time with *Life*, from 1948 to 1968, before going on to be the first Black director of a major Hollywood film *The Learning Tree* in 1969.…

Unbound. Zustand: Near Fine. Relief wood carving of a dancing, clownish African-American male. Approximately 9.25" x 12.25". Signed "Godsoe Del." in lower right corner. Dark wood stain likely applied by the artist. A folk art relief carving with integral carved frame on a light, soft wood, possibly on spruce or another species of pine. The be-hatted grotesque figure capers with small cabins in the distant background. We could find nothing about the artist, but surmise it was created in the late 19th century.…

Softcover. Zustand: Very Good. Mimeographed leaves printed rectos only, prong-bound at the top in unprinted wrappers. 35, [3] (company roster), [9] (war-time correspondence), 1, [1] (recommendation of award) leaves. Crease on rear wrap, bottom corner of last text leaf torn away with the loss of several words, On certain portions the mimeographed lettering is light and has been gone over by hand with ink, some corrections in the text in ink, overall very good. With original envelope sent from the HQ of the 635th Engineers Camouflage Company to First Sergeant George F. Lorch. A detailed chronology of a highly skilled camouflage company that notably participated in the misdirection activities of the allies leading up to Operation Overlord (D-Day), among other things. Includes detailed personnel movements. Obviously without an assigned title or author searching for additional copies is problematic - we could find no copies in any resource. Fragile and in a slightly ungainly format, the Company, because of its specialized nature included few soldiers in its ranks (the roster lists about 135 alumni of the Company), and consequently few copies of this would have been prepared - perhaps as few as 200. It isn't at all unlikely that this copy could be unique.…

First edition. Folio. 20 lithograph plates, each 16 1/2 x 12 1/2 inches, picturing army life and operations in the campaign in western Virginia (now West Virginia) in 1861. Howes R-408. Dornbusch OH-242. America on Stone, p. 170. OCLC locates eight copies (Alabama, Virginia, Huntington, Cincinnati Public, West Virginia, Yale, Wisconsin Historical Society), only three of which (American Antiquarian Society, Cincinnati Public, West Virginia) seem to include the original portfolio. The only recent sales record we could find was the Reese copy, sold in 2022 by Christie's ($11,340, lacking a plate). All of the plates have been archivally deacidified and cleaned, one print remargined, minor tears and losses to margins mended and infilled with Japanese paper (not affecting images), several of the plates with small stab-stitch holes along the outer margins. Handsome plates, well restored. Housed in a replica of the publisher's portfolio, title label on upper board, "Album of the Campaign in 1861 in West Virginia / Drawn and lithographed by J. N. Roesler.". Caption titles for the 20 black & white plates are as follows: (1) "Picket on New River, Camp Anderson, W.V.," (2) "Picket on Lover's Leap (Road to the Log House), Camp Anderson, " (3) "Fall near the Log House, Camp Anderson,"(4) "Pickets in the woods after the engagement, near the Drill Ground, C Andrsn, " (5) "Advance in the woods, C Andrsn, " (6) "Skirmishing, New River," (7) "Log House on Miller's Ferry, Camp Anderson," (8) "Crossing to Fayetteville," (9) "Hawk's Nest, 800 feet high, on New River W.V.," (10) "View from Hawk's Nest, towards the East," (11) "View from Hawk's Nest, towards the West," (12) "Pickets on the road fr Cp Andrsn to Tompkin's Farm," (13) "Tompkin's Farm (Camp Gauley Mount.)," (14) "Fall on the road between Tompkin's Farm and Gauley Bridge W.V.," (15) "Camp, Gauley Bridge," (16) "View near Gauley Ferry," (17) "March to the landing," (18) "Crossing Little Birch River to Bulltown," (19) "Thunder-storm "(Big Sewell Mountain) (Reconnoissance), (20) "Battle at Carnifax Ferry." J. Nep Roesler (1826-?), a Cincinnati resident, enlisted in the 47th Ohio Volunteer Infantry in 1861. A city directory for Cincinnati from 1861 lists Roesler's occupation as "lithographer, room 2, 4th & Walnut." The printers Ehrgott, Forbriger & Co. shared this address, perhaps an indication that Roesler worked with or for them. [Ehrgott & Forbriger were prominent lithographers in Cincinnati, from the 1850's on. They were well known for their commercial advertisements, sheet music, and military prints, and their work with color lithography]. Serving in the campaigns in western Virginia, Roesler was discharged on disability after he lost an eye. He transformed his eyewitness sketches of life as an ordinary soldier during the Civil War into these bold pictorial lithographs. The landscape is a powerful character, the cold, forlorn picket is shown against the dramatic backdrop of the western Virginia mountains and waterfalls. According to Mark Neely and Harold Holzer in their book "The Union Image: Popular Prints of the Civil War North" [UNC Press: 2000, p.67], Roesler has been undeservedly forgotten, partly because the scenes he depicted were minor battles, early in the war, with a decidedly infantryman's focus: "While other artists often featured portrait likenesses of the officers and placed them in commanding positions, Corporal Roesler fixed his artistic gaze on the common soldiers of the regiment . he was also remarkably forward-looking in his devotion to images of soldiers on picket. The Union soldiers, huddled in big tunics, greatcoats, and cloaks, peering under their broad-brimmed and tall-crowned hats, almost disappear in their loose clothing. They generally appear cold and jam their bare hands into pockets or stick them under their blanket rolls. These are military images but not militaristic ones. The soldiers by no means dominate - nature does . the portfolio of twenty prints thus.…

Original watercolor, charcoal and chalk drawing on canvas, 24.5 x 29.5 in., glazed and framed. Signed by the artist. The young boy is well dressed in a double-breasted suit and bow tie, with button-up boots. He stands on a tiled terrace, one hand one a balustrade, the other tucked into his jacket pocket staring determinedly off into the distance. Through the surrounding trees and shrubbery is a view of a small fountain and the Capitol Building on a slight hill. Oscar Robert, born in Copenhagen, Denmark emigrated to the United States around 1864 and settled in Washington, D.C. where he remained for the rest of his life, according to a brief biography in Virgil McMahan's "The Artists of Washington, D.C. 1796-1996," [Wash., DC: 1995]. He worked in oils, watercolor and crayon. During the late 1880s he shared a studio and gallery with Earl Keyser. Boyd's 1887 Directory for Washington lists their gallery at 307 7th St. NW. McMahan states that this portrait is the only one of his works known.…

Engraving. Image size 18 x 27.5, on a 26.5 x 41 cm. sheet. A portrait of Daniel Lambert (1770-1809), Keeper of Bridewell House of Corrections and a sizable "Prodigy in Nature." Manuscript caption below the print: "Dan'l Lambert, Leicester." The portrait shows Lambert seated in a chair, wearing a striped waistcoat, with his left hand resting on the arm of the chair, his right arm with elbow lifted as he adjusts his coat. His hat rests on a small table to his left. A very good image. In his lifetime Lambert was known as "the most corpulent man of his time in England." As a young man he learned the trade of engraving and die-sinking in Birmingham, but later returned home to take over his father's position as keeper of Bridewell House of Corrections. He began to gain weight eventually reaching some 32 stone [approx. 448 lbs.]. Already a visual oddity, he chose to make some profit from his size, visiting London and accepting payment from people who wanted to "view" him. According to his brief biography in the Dictionary of National Biography, he was described in one publication of the time: "When sitting he appears to be a mass of flesh, for his thighs are so covered by his belly that nothing but his knees are to be seen." At the time of his death in 1809 at the age of 39, he weighed 52 3/4 stone [738.5 lbs.].…

First edition. 8vo. 14 pp. Turnbull IV, p. 66 (without noting a location): "No Title Page, no imprint . [Dealt] with the general question of the position of Negroes in the Protestant Episcopal Church in South Carolina." OCLC (locating only South Carolina): "The 1876 convention was concerned with the question of admitting St. Mark's Church, an African American congregation, to the Diocese of South Carolina." Internal caption title: Report. Disbound pamphlet. Very good.…

Unbound. Zustand: Fine. Watercolor or gouache on artists board. Signed "W. Simon" in lower right corner. Framed and matted. Image size approximately Measuring 13½" x 16". Unexamined out of the frame, but appears fine. Angular and abstract buildings in reds, pinks, oranges, browns. and blues, one labeled "Men's Furnishings," another "Times," and two others more cryptically label "B2" and "K4." Walter Augustus Simon (1916 - 1979) was an African-American artist, foreign service officer, and later an art teacher. He studied at Pratt, the National Academy of Fine Arts in Harlem, and later at NYU where he was mentored by Hale Woodruff. After serving in the military in WWII and beyond, he became one of very few Black foreign service officers, serving mostly in the Middle East. Upon returning to the U.S., he completed his education and taught at numerous schools including Atlanta University, Georgia State College, Virginia State University, and Patterson State College. He was known for his abstract oil paintings, which have brought as much as $30,000 at auction, but we prefer his acrylics, which are clean, exhilarating, and direct.…

Map, 37 x 37 cm., on a 47 x 48 cm. sheet, trimmed to the borders on two sides. Identical image printed on both sides, one in black & white, the other hand colored with a pale watercolor wash. Some shallow chipping and loss along one of the border lines, not affecting map or portraits. Richmond and Petersburg are featured near the center of the map, the Chesapeake Bay to the east, Washington D.C. and parts of Maryland and North Carolina around the edges. Railroads, major roads, rivers, towns, and cities are shown. The portraits around the border include Maj. Gen. McClellan, Lt. Gen. Grant [a rank he attained in March 1864, giving him command of the Union forces], Maj. Gen. W.T. Sherman, Maj. Gen. Hooker, 24 other Major Generals, and 4 Admirals. A number key, 1-16, appears at the edges of the map and the corresponding sections of the border, but no explanatory text given. OCLC lists 6 copies: Library of Congress, Boston Atheneum, Univ. of Michigan, Univ. of North Carolina- Chapel Hill, New York Public Lib., and Library of Virginia. Supplied title, publisher, place and date of publication are taken from Library of Congress information. None of these mentions a black & white copy on verso.…