[Salt River] Election of 1872Biblio.com
2851 risultati
1872rif. 38915Hartford 1872. Broadside 6" x 9-1/2" text surrounded by mourning border. A few spots Very Good. Illustrations of two steamers. At the bottom: "This is Good for ONE PASSAGE Only. - H.G." Dated at Hartford November 5 1872. "Salt River" is 19th century American slang: a losing candidate for office was taking a trip "up Salt River." Tickets for passage "up Salt River" were frequently printed to mock supporters of losing candidates. This humorous scarce broadside taunts Horace Greeley and other defectors from the Republican Party for their support of Greeley in 1872. "On the overwhelming defeat of the Liberal Republican Party and its candidate Horace Greeley in the presidential election of 1872. Greeley had been nominated at a Liberal Republican convention at Cincinnati in May and at the Democratic National Convention at Baltimore in July 1872" AAS description. Pall bearers include Charles Sumner and General Banks prominent Republican supporters of Greeley. OCLC 191231113 2- AAS Middlebury 47090036 1- CT Hist. Soc. as of August 2025. unknown
1860rif. 422661860. Printed oblong blue card 3-1/4" x 2" with illustrations of a steamship and a donkey. Some wear to the blank verso. Very Good. This rare and apparently unrecorded satiric political card celebrates the defeat of Lincoln's opponents in the 1860 presidential election. References to "Salt River" or "Salt Lake" were common in mid-19th century political slang. A losing candidate took a trip up Salt River and was frequently depicted purchasing a ticket to Salt Lake. The poem accompanying this ticket is reproduced here: Ye dupes by whomsoever led Who've nothing now but tears to shed Ye mongrel crew who've lost your votes Ye Democrats with seedy coats Ye Fusionists ye Foster brothers Ye Douglass-men who've lost your mothers Step aboard your passage take. We'll take you safely to Salt Lake. There Brigham Young & broth'r Hyde Each one upon a rail will ride. The song mocks Fusionists whose effort to preserve the Union by uniting Douglas and Bell-Everett men was defeated. "Douglass-men who've lost your mothers" refers to Douglas's campaign trip to New England in 1860 purporting to visit his elderly mother and family. Active campaigning by candidates was frowned upon. When it took him over a month to go from Washington to New York Republicans taunted him as 'A little boy' a reference to his shortness of stature 'lost in search of his mother' Reilly 1860-35. Currier & Ives satirized the issue with a lithograph "Stephen Finding 'His Mother'." We have not located another copy of this unusual item. unknown
1860rif. 422661860. Printed oblong blue card 3-1/4" x 2" with illustrations of a steamship and a donkey. Some wear to the blank verso. Very Good. This rare and apparently unrecorded satiric political card celebrates the defeat of Lincoln's opponents in the 1860 presidential election. References to "Salt River" or "Salt Lake" were common in mid-19th century political slang. A losing candidate took a trip up Salt River and was frequently depicted purchasing a ticket to Salt Lake. The poem accompanying this ticket is reproduced here: Ye dupes by whomsoever led Who've nothing now but tears to shed Ye mongrel crew who've lost your votes Ye Democrats with seedy coats Ye Fusionists ye Foster brothers Ye Douglass-men who've lost your mothers Step aboard your passage take. We'll take you safely to Salt Lake. There Brigham Young & broth'r Hyde Each one upon a rail will ride. The song mocks Fusionists whose effort to preserve the Union by uniting Douglas and Bell-Everett men was defeated. "Douglass-men who've lost your mothers" refers to Douglas's campaign trip to New England in 1860 purporting to visit his elderly mother and family. Active campaigning by candidates was frowned upon. When it took him over a month to go from Washington to New York Republicans taunted him as 'A little boy' a reference to his shortness of stature 'lost in search of his mother' Reilly 1860-35. Currier & Ives satirized the issue with a lithograph "Stephen Finding 'His Mother'." We have not located another copy of this unusual item. unknown books
1872rif. 38915Hartford 1872. Broadside 6" x 9-1/2" text surrounded by mourning border. A few spots Very Good. Illustrations of two steamers. At the bottom: "This is Good for ONE PASSAGE Only. - H.G." Dated at Hartford November 5 1872. "Salt River" is 19th century American slang: a losing candidate for office was taking a trip "up Salt River." Tickets for passage "up Salt River" were frequently printed to mock supporters of losing candidates. This humorous scarce broadside taunts Horace Greeley and other defectors from the Republican Party for their support of Greeley in 1872. "On the overwhelming defeat of the Liberal Republican Party and its candidate Horace Greeley in the presidential election of 1872. Greeley had been nominated at a Liberal Republican convention at Cincinnati in May and at the Democratic National Convention at Baltimore in July 1872" AAS description. Pall bearers include Charles Sumner and General Banks prominent Republican supporters of Greeley. OCLC 191231113 2- AAS Middlebury 47090036 1- CT Hist. Soc. as of August 2025. unknown books
1848rif. 004086London: Olliver 1848. 5 6-32pp. Modern cloth title and date in gilt to spine. Lightly browned throughout otherwise clean. Goldsmiths suggests the author is T. Clutton Salt but Library Hub calls this attribution 'dubious'. Library Hub also suggests that 'John Bull' is John Stanley. It was reprinted a year later with the second and third examinations and an appendix. Goldsmiths 35610. First Edition. Hardback. Good. 8vo. Pamphlet. Olliver hardcover
1907rif. 49287Los Angeles: San Pedro Los Angeles & Salt Lake Railroad 1907. 1907. First edition. 3 3/4" circular wrappers in the shape of an orange. A view book from the Salt Lake Route showing and describing destinations in Southern California to include San Bernardino and Arrowhead Mountain; Riverside Redlands the King of Bridges located west of Riverside Ontario Pomona Pasadena Los Angeles Long Beach San Pedro Island etc. Wrappers lightly soiled. In residue to top edge of first 20pp. Interior 20 pages loose from staple. San Pedro, Los Angeles & Salt Lake Railroad, 1907. unknown
1850rif. 227811850 Une lithographie Originale en bleu, blanc et noir, Format Total : 43,5 x 32 cm, format de la gravure : 37 x 26 cm, sur papier blanc, noté en bas à droite : Dessiné et lithographié par HILDEBRAND et en bas à gauche : Lithographie de Gustave LAMARZELLE à Vannes, sans date (1850 environ),
rif. 201214197Paris, Albin michel communication /solvay, 1991 ; in-8, 95 pp., cartonnage de l'éditeur. Avec jaquette.
1690rif. 20794Paris Imprimerie de François Muguet, 1690 in-32 plein-veau un volume, reliure plein veau havane petit in-trente-deux (binding full calfskin in-32) (11 x 5,8 cm), RELIURE D'EPOQUE, dos 4 nerfs (spine with raised bands), titre frappé or, pièce de titre sur fond rouge avec double filets or (or fané sur l'ensemble du dos), entre-nerfs à fleuron or dans un encadrement à double filets or, coiffes manquantes avec manque de cuir plus important sur la coiffe de tête, plats ornés d'un filet à froid en encadrement, coins écornés (Corners bumped), toutes tranches lisses rouges, sans illustrations (no illustration) excepté une vignette aux armes royales en bas de la page de titre,144 pages, 1690 à Paris, de l'Imprimerie de François Muguet, imprimeur du Roy, MDCLXXXX. Avec privilege de Sa Majesté Editeur,
rif. 7408Grenoble, Cuchet, (1790). 3 pp. in 4°.
rif. 662223S.l., De l'Imprimerie de Mallard, s.d. in-4, 4 pp.,
1981rif. 97500Nancy, Publications Université Nancy II 1981 In-8 24 x 16 cm. Broché, couverture blanche, titre en noir sur le premier plat orné d’une vignette, 542 pp., figures hors-texte, notes, sources et bibliographie en fin de chaque chapitre, table des matières. Exemplaire en bon état.
rif. 239298[Paris], Imprimerie de l'Assemblée nationale, A. Henry, s.d. (1848) in-8, 20 pp., broché sous couverture factice moderne de papier vert, non coupé.
rif. ORD-9858Du 27 août 1793. Impr.Nle. Exécutive du Louvre. 1793. 2pp.in-4 sans couverture. Signature autographe de Garachon.
1990rif. LFA-12671478487e année - Volume 71 - N° 1 - Janvier-mars 1990 : 70 pages, format 220 x 275 mm, illustrée, brochée, bon état
1913rif. 44001Salt Lake City: Souvenir Novelty Co. Inc. n.d. ca 1913. ca 1913. UTAH. 8 1/4" x 10 1/4" in dark blue pictorial wrappers showing the Mormon Temple and with title in gilt. 24 pp. illustrations. General information about Salt Lake City followed by 23 pages of sepia photographs to include pictures of the Mormon Tabernacle Brigham Young Monument Sea Gull Monument the Temple grounds Eagle Gate the first house in Utah the State Capital Building various railroad stations Fort Douglas street scenes various churches important buildings Saltair Pavillion showing numerous people bathing in the Great Salt Lake Ogden Canyon etc. At center is a double-page view showing the Mormon Temple grounds the Hotel Utah and the State Capitol Building. Beneath each picture is a description. Also includes mailing envelope. Envelope worn and soiled. Booklet is near fine in wrappers with light wear to the extremities. A beautiful collection of pictures. Souvenir Novelty Co., Inc., n.d. [ca 1913]. unknown
rif. 664947Beauvais, Desjardins, 1792 in-4, 4 pp.
rif. 69841Ephemera. Very Good. 16pp. Newspaper 40.5 cm. Self wraps. Horizontal fold line through the center. Age-toned. Top fore-edge corners dog-eared. Tiny name label affixed to front wrap. With an article entitled "The Work of Salt Lake City W.C.T.U." p. 5 and p. 15. unknown
rif. 69841Ephemera. Very Good. 16pp. Newspaper 40.5 cm. Self wraps. Horizontal fold line through the center. Age-toned. Top fore-edge corners dog-eared. Tiny name label affixed to front wrap. With an article entitled "The Work of Salt Lake City W.C.T.U." p. 5 and p. 15. unknown books
2003rif. LFA-126725471N° 179 (Décembre 2002-Janvier 2003) : 126 pages, format 220 x 285 mm, illustré, broché couverture couleurs, bon état
1926rif. 47279Salt Lake City: Privately printed 1926. 1926. First edition.9" x 7 3/4" in color pictorial wrappers. 32 pp. including wrappers. Illustrations. Most pages with 2-column text. Map. Promotional brochure with information about Salt Lake City its beautiful homes churches schools the state capitol building etc. as well as information on Bryce Ogden Provo and Logan Canyons Brighton Saltair Beach Temple Square Pinecrest Bingham etc. Profusely illustrated guide with dozens and dozens of captioned photographs of Salt Lake and Utah. Minimal soiling and wear to the extremities. Very good plus. Privately printed, 1926. unknown
1924rif. 48698Salt Lake City: Western Printing Company 1924. 1924. UTAH. Single sheet letterhead that has a typed letter signed on the recto and a color 'Salt Lake City: The Center of Scenic America' graphic on the verso. The letter is from the Secretary for the Salt Lake Chamber of Commerce Joseph H. Rayburn and is a reply for a request of information from a prospective tourist. "Permit me to call to your attention the fact that Salt Lake City is a geographical center of importance to investors as well as tourists. From Denver on the east to San Francisco on the west - a distance of about1500 miles - there is no great distributing point but Salt Lake City. From the Canadian to Mexican border there is no city of the same commercial importance." Western Printing Company, 1924. unknown
1924rif. 48972Salt Lake City: Western Printing Company 1924. 1924. First edition. Single sheet letterhead that has a typed letter signed on the recto and a color 'Salt Lake City: The Center of Scenic America' graphic on the verso. The letter is from the Secretary for the Salt Lake Chamber of Commerce Joseph H. Rayburn and is a reply for a request of information from a prospective tourist. "Permit me to call to your attention the fact that Salt Lake City is a geographical center of importance to investors as well as tourists. From Denver on the east to San Francisco on the west - a distance of about1500 miles - there is no great distributing point but Salt Lake City. From the Canadian to Mexican border there is no city of the same commercial importance." Western Printing Company, 1924. unknown
rif. 71248Salt Lake County 2001. Ephemera. Fine. More images available upon request. 745 items. Almost all in fine condition. The flyers and posters range from 1/2 standard sheet size approx. 8.5" x 5" to large posters approx. 17" x 14". Most are standard sheet size 8.5" x 11". Roughly a dozen duplicates are present. An enormous collection documenting live music festivals and performance in the Salt Lake area through the 1990s in the clubs and small venues of the valley. Legendary clubs like the Speedway Cafe Pompadour Bar & Grill Bricks Spanky's Playscool the basement of DV8 Burt's Tiki Lounge Dead Goat Saloon Area 51 The Zephyr Club The Holy Cow now the Urban Lounge and Kilby Court are well represented as well as the holes-in-the-wall like the Moroccan Painted Word Shaggy's Living Room and Green Guinea. Educational and cultural institutions and outdoor venues are also prominently featured in this collection including Bryant Intermediate School the University of Utah Ballroom in the Union Building Westminster College the Indian Walk In Center Draper Park and the Fairgrounds Creative Arts Building. Some places provided venues on a weekly basis other places provided them only a few times or maybe even just once. A number of flyers showcase then unknown bands who first played tiny venues like these and who went on to gain a larger audience and in some cases are still performing today The Vandals Social Distortion Bad Religion GWAR Slayer Johnny Rotten Suicidal Tendencies Korn and many others. Countless local acts are represented including those that performed steadily throughout these years Iceburn; Endless Struggle; Starmy; Red Bennies; Bob Moss; Daughters of the Nile as well as bands that were together for slightly shorter periods Mouthbreather; Gnawing Suspicion; Wovoka etc. Interestingly a handful of local bands that had their origins in the 1980s appear such as Bad Yodelers Potato Heads Dinosaur Bones The Clocks a noise band Slaughterchrist and the Stench. The bands are announced in a way that was standard during this period- with imaginatively designed often do-it-yourself paper flyers posters and handbills. The lion's share are illustrated with no mention of the artist. Some are very simple just delivering the necessary information. This collection manages to document the entirety of the music scene instead of a single genre with numerous examples of posters and handbills promoting Hardcore Punk Pop Rap Metal Industrial Folk Bluegrass Rockabilly Psychobilly Ska/Reggae etc. Not only does this archive highlight the bands and the incredibly diverse musical movements that were moving through Utah during this period but at the same time it calls attention to the promoters who worked so hard to put the shows together find willing venues and get the word out to the public- promoters such as Raunch Modified Heavy Metal Shop Graywhale KRCL and Slug Productions. Finally when flipping through the flyers one can't help but think of the artists behind the scenes who created the flyers thereby playing a large role in advertising the events. The bands that passed through Utah came from far and wide as is evidenced in these flyers and they performed at all types of different venues. They came from Washington D.C. California Missouri Michigan the UK Canada and a multitude of other places. More often than not after a band played the members did not disappear backstage never to be seen again. Instead most of them watched the other bands that were playing and they mingled with the people who had come to support them creating a significant exchange of experiences and ideas. The shows were frequent widening the audience's world and cultivating a sense that there was something to do in a state known for its sheltered lifestyle and conservatism. Many of the shows took place in Salt Lake City however they also radiated out to areas which included Murray Provo Bountiful and Logan. This certainly wasn't the only time in Utah's history that an energetic and creative music movement took hold of the musicians promoters and audiences however the period represented in this collection does symbolize an important piece of the puzzle in the counter-culture history of Utah's live music scene. First and foremost these flyers underscore the ideas and values that were important to the musicians and the people attending these shows: providing "all ages" venues; charging low entry fees often $3 to $7 and occasionally organizing free events; working around Utah's quirky laws such as the private club law which required a patron to pay a fee and fill out an application before entering a bar; and banding together to put on benefit shows for the unsheltered Food Not Bombs Rape Recovery Center Utah Humane Society Best Friends Animal Society Utah Food Bank and U.S. Cuba Friendshipment/Right to Travel among others. A large extremely well preserved assortment of visually interesting concert flyers. While the archive illustrates how diversified the music scene in Utah was during the nineties at the same time it demonstrates the cohesiveness of the local music community- a community which possessed a strong ability to foster an environment which promoted individuality and activism. "Witness the shredding of the Zion Curtain" - from the flyer for Head Fest 95'. unknown
rif. 71248Salt Lake County 2001. Ephemera. Fine. More images available upon request. 745 items. Almost all in fine condition. The flyers and posters range from 1/2 standard sheet size approx. 8.5" x 5" to large posters approx. 17" x 14". Most are standard sheet size 8.5" x 11". Roughly a dozen duplicates are present. An enormous collection documenting live music festivals and performance in the Salt Lake area through the 1990s in the clubs and small venues of the valley. Legendary clubs like the Speedway Cafe Pompadour Bar & Grill Bricks Spanky's Playscool the basement of DV8 Burt's Tiki Lounge Dead Goat Saloon Area 51 The Zephyr Club The Holy Cow now the Urban Lounge and Kilby Court are well represented as well as the holes-in-the-wall like the Moroccan Painted Word Shaggy's Living Room and Green Guinea. Educational and cultural institutions and outdoor venues are also prominently featured in this collection including Bryant Intermediate School the University of Utah Ballroom in the Union Building Westminster College the Indian Walk In Center Draper Park and the Fairgrounds Creative Arts Building. Some places provided venues on a weekly basis other places provided them only a few times or maybe even just once. A number of flyers showcase then unknown bands who first played tiny venues like these and who went on to gain a larger audience and in some cases are still performing today The Vandals Social Distortion Bad Religion GWAR Slayer Johnny Rotten Suicidal Tendencies Korn and many others. Countless local acts are represented including those that performed steadily throughout these years Iceburn; Endless Struggle; Starmy; Red Bennies; Bob Moss; Daughters of the Nile as well as bands that were together for slightly shorter periods Mouthbreather; Gnawing Suspicion; Wovoka etc. Interestingly a handful of local bands that had their origins in the 1980s appear such as Bad Yodelers Potato Heads Dinosaur Bones The Clocks a noise band Slaughterchrist and the Stench. The bands are announced in a way that was standard during this period- with imaginatively designed often do-it-yourself paper flyers posters and handbills. The lion's share are illustrated with no mention of the artist. Some are very simple just delivering the necessary information. This collection manages to document the entirety of the music scene instead of a single genre with numerous examples of posters and handbills promoting Hardcore Punk Pop Rap Metal Industrial Folk Bluegrass Rockabilly Psychobilly Ska/Reggae etc. Not only does this archive highlight the bands and the incredibly diverse musical movements that were moving through Utah during this period but at the same time it calls attention to the promoters who worked so hard to put the shows together find willing venues and get the word out to the public- promoters such as Raunch Modified Heavy Metal Shop Graywhale KRCL and Slug Productions. Finally when flipping through the flyers one can't help but think of the artists behind the scenes who created the flyers thereby playing a large role in advertising the events. The bands that passed through Utah came from far and wide as is evidenced in these flyers and they performed at all types of different venues. They came from Washington D.C. California Missouri Michigan the UK Canada and a multitude of other places. More often than not after a band played the members did not disappear backstage never to be seen again. Instead most of them watched the other bands that were playing and they mingled with the people who had come to support them creating a significant exchange of experiences and ideas. The shows were frequent widening the audience's world and cultivating a sense that there was something to do in a state known for its sheltered lifestyle and conservatism. Many of the shows took place in Salt Lake City however they also radiated out to areas which included Murray Provo Bountiful and Logan. This certainly wasn't the only time in Utah's history that an energetic and creative music movement took hold of the musicians promoters and audiences however the period represented in this collection does symbolize an important piece of the puzzle in the counter-culture history of Utah's live music scene. First and foremost these flyers underscore the ideas and values that were important to the musicians and the people attending these shows: providing "all ages" venues; charging low entry fees often $3 to $7 and occasionally organizing free events; working around Utah's quirky laws such as the private club law which required a patron to pay a fee and fill out an application before entering a bar; and banding together to put on benefit shows for the unsheltered Food Not Bombs Rape Recovery Center Utah Humane Society Best Friends Animal Society Utah Food Bank and U.S. Cuba Friendshipment/Right to Travel among others. A large extremely well preserved assortment of visually interesting concert flyers. While the archive illustrates how diversified the music scene in Utah was during the nineties at the same time it demonstrates the cohesiveness of the local music community- a community which possessed a strong ability to foster an environment which promoted individuality and activism. "Witness the shredding of the Zion Curtain" - from the flyer for Head Fest 95'. unknown books
