Search Results: Titles starting with G from 19th Century Rare Book and Photograph Shop

This splendid portrait is inscribed and signed on the mount by Cameron: "G.F. Watts From Life not enlarged Julia Margaret Cameron."

George Frederic Watts (1817-1904), the renowned English Victorian painter, was one of Julia Margaret Cameron's closest friends and art mentors. Watts painted Cameron's portrait in the early 1850s, and Cameron reciprocated with a number of photographic portraits in the years that followed.

Watts lived for many years with the family of Cameron's sister Sara at Little Holland House, where he was part of a long-lived artistic and literary salon. In the early 1870s Watts acquired a house at Freshwater, Isle of Wight, joining his friends Cameron and Tennyson there.

"How masterly … are her straightforward, truthful portraits, which are entirely free from false sentiment." "It is they which have made her work immortal in the annals of photography" (Gernsheim).

Cox & Ford, Julia Margaret Cameron: The Complete Photographs 828.

Frontispiece illustration by Sophia Amelia Peabody (lower corner of final leaf restored, a few small repairs at margins elsewhere). Original printed wrappers. Spine restored, a few repaired tears to rear cover, light soiling and wear at extremities. Morocco case.
First separate edition. This is the Chrysler copy in original wrappers. "The Gentle Boy" is a moving tale of the Puritan persecution of the Quakers. The work was inspired by William Sewel's History of the Quakers and informed by the experience of Hawthorne's own ancestor William Hathorne. This first separate edition includes the engraving of Sophia's of the Gentle Boy with the Puritan.
The present copy has Clark's second state of the text with "faces" at 18-1.9, and the third state of frontispiece with artist's initials and date 1/16" high.

Original cloth-backed boards, remains of printed paper label on spine. A very good copy. Cloth case.
First edition of "the foundation stone in the development of native humor" and a landmark of Southern literature (DAB). This is the Bradley Martin copy of Longstreet's first book, preceded only by two short pamphlets. "A landmark in American literature, and among the earliest works of the tradition that led to Clemens" (Streeter).
Longstreet later wrote that, "the aim of the author was to supply a chasm of history which has always been overlooked—the manners, customs, amusements, wit, dialect, as they appear in all grades of society to an ear and eye witness of them." "Longstreet's colorful descriptions of horse swaps, dances, fights, gander pullings, horse races, and shooting matches made the work a popular success"(ANB).

FIRST EDITION. This form of Good-Bye My Fancy is not in Myerson. Myerson notes that examples in binding A are trimmed on all edges and measure 8 7/8 in. tall, while those in bindings B and C are 9 ½ in. tall. The present copy in binding A is 9 ½ in, tall and untrimmed except for the top edge. The present example may have been a special form made for presentation purposes that so pleased Whitman that he ordered those subsequently bound in bindings B and C to replicate it.
"Whitman, even during the final year of his life, was working on a new book, this one what he called 'an appendix to November Boughs.' … Whitman enlisted his old printing firm, Ferguson Brothers of Philadelphia, and his old binder, Oldach, and his old emissary, Traubel, to whip this final book together and get a thousand copies printed, most of which McKay purchased to sell under the McKay imprint … The book contained both poetry and prose (what Whitman called 'melanged prose 'as if haul'd in by some old fisherman's seine';… Read More

5 x 8 1/2 in . 4pp. Very good.
This is the rare original announcement and program for a major early benefit concert supporting Jewish refugees from Russia. The pogroms carried out in 1881-82 drove countless Russian Jews to the West. This era marks the beginning of the period of the greatest Jewish immigration to the United States.
The concert was held at Mechanics Hall in Boston in 1882. The featured conductors are Carl Zerrahn and George Henschel. Henschel had become the first conductor of the Boston Symphony Orchestra a year earlier. Here he leverages his position to support Jewish refugees.
"Beginning in the 1880s, a much larger wave of Jewish immigrants arrived [in Boston] from the Pale of Settlement in Russia and Eastern Europe. During the nineteenth century, the Russian czars had confined Jews to this region and subjected them to religious persecution, expulsions, and forced military conscription. Passage of the May Laws in the 1880s made matters worse by forbidding Jews from owning… Read More

Gelatin silver print. 10 x 10 in. on 11 x 14 in. sheet. Light wear. Signed and inscribed by the photographer: "Grandmaster Flash 1984 A. Barboza."
This portrait captures Grandmaster Flash and the Furious Five at the height of their fame. The pioneering group broke through to mainstream success with the 1982 single "The Message," which made the top 100 pop charts. "'The Message' was [the first record] to prove that rap could become the inner city's voice, as well as its choice" (Rolling Stone).
In 2007 Grandmaster Flash and the Furious Five became the first hip hop group to be inducted into the Rock & Roll Hall of Fame. In 2012 Rolling Stone declared "The Message" (with the refrain "Don't push me, 'cause I'm close to the edge, I'm tryin' not to lose my head …") the #1 hip hop song of all time.
Anthony Barboza (b. 1944) is most famous for photographs of jazz musicians in the 1970s and 1980s. His work has been exhibited in countless solo and group shows and is in the permanent collections of the Museum… Read More

This is a splendid print of this classic Jackson view of Salt Lake City.
William Henry Jackson is the greatest figure on the photography of the American West in the nineteenth century. This image is from his series of photographs made in the summer of 1869 upon the completion of the Union Pacific transcontinental railroad. Jackson's catalogue of photographs describes this great image: "Great Salt Lake City, Utah. A view looking south from the bluffs just north of the city, giving a bird's-eye view and also a view of the Wasatch Mountains in the distance. In the center of the first view are grouped the many fine buildings of President Young. The one with the many gable windows is the 'Lion House,' the abode of his numerous wives, while the one just to the left of it is the 'Bee-Hive' House, his own private residence. The houses are so called from the emblems placed on them. Plainly visible are also many others of the finest private and public buildings" (Descriptive Catalogue of the Photographs of the… Read More