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Displayed below are some selected recent viaLibri matches for books published in 1908

        The Novels of the Sisters Bronte. The Works include: Wuthering Heights, Jane Eyre, Shirley, Villette, The Tenant of Wildfell Hall, The Professor, Agnes Grey. Edited by Temple Scott

      London, Downey and Co. 1908., 1908. The Thornton Edition. 12 Volumes. 8vo. Publisher's original light green cloth with titles and tooling in gilt to spines, top edges gilt others untrimmed. This set of Thornton Edition of Bronte's works has the same text block as the one printed by John Grant, Edinburgh. It has, however, less illustrations that the latter: one frontispiece per two-volume title. General light rubbing; a little foxing to untrimmed edges. An attractive set in publisher's original cloth.

      [Bookseller: Adrian Harrington Rare Books]
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        Indian encampment scene in double windows

      Fine condition. Approximately 5-5/8 x 6-3/4 inches image area for each opening in the mat. Ink drawing matted, framed and glazed Signed in pencil lower right This drawing was an illustration in the book "General Crook and the Apache Wars" by Chas Lummis, pp. 38-39. Don Louis Perceval was born to an artist mother in Woodford, Essex, England in 1908. He was raised in Los Angeles, where Don Perceval attended the Pasadena Military Academy and Chouinard Art Institute. By the age of 19 Don Perceval had begun taking sketching trips to the desert, reaching Arizona first in 1927 and becoming taken with the way of life of the Hopi and Navajo. Perceval returned to England for a time, studying at the Royal Academy in London and becoming exposed to classical art for the first time. From there he went to Spain and then back to the American southwest on a commission to create advertisements for the Rio Grande Oil Company. During the Second World War, Perceval served with the Royal Navy on a patrol boat in the Thames Estuary and by creating a cartoon manual to teach gunnery to cadets. The end of the war meant a return to the States, and Don Perceval settled in California again, teaching at the Chouinard Art School and Pomona College. In the 1950s he traveled extensively in Arizona, living with Hopi tribes in 1952 and in Tucson from 1954 to 1959. Don Perceval's final years were in Santa Barbara, California, where he died in 1979 .

      [Bookseller: Randall House Rare Books ]
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      In-4 gr., 3 voll., tela edit., tagli sup. dorati: il vol. I, in 2 tomi, è dedicato alle "Trine ad ago" - il vol. II alle "Trine a fuselli". Questa celebrata opera, con tutte le ill. fotografiche in b.n. applic. alla pag. nel t. e - per le tavole - su leggero cartoncino, è cosi' composta: Trine ad ago, tomo I, pp. 56, con 40 ill. nel t. Introduzione e descriz. della parte I relativa al modo di esecuzione di: "Modano, con 17 tavv. - Fili tirati, con 10 tavv. - Buratto, con 9 tavv.? - Parte II relativa a: "Punto a reticello", pp. 22 di descriz. con 19 ill. nel t. e 54 tavv. - Indice delle illustrazioni, pp. 11. Tomo II: pp. 28, con 22 ill. nel t. Descriz. della parte III relativa a: "Punto in aria", con 54 tavv. Parte IV di Appendice, pp. 4, con 2 ill. nel t., relativa a: "Macramé, con 5 tavv. - Punto avorio, con 5 tavv. - Sfilature, con 3 tavv. - Uncinetto, con 1 tav." Trine a fuselli (pure diviso in 4 parti), precedute da una Introduzione di pp. 27, con 13 ill. di cui 1 tav. a colori. Parte I relativa a: "Venezia", pp. 45 di descriz., con 33 ill. nel t. e 16 tavv. - Parte II relativa a: "Genova", pp. 30 di descriz., con 21 ill. nel t. e 24 tavv. - Parte III relativa a: "Milano", pp. 16 di descriz., con 11 ill. nel t. e 24 tavv. - Parte IV relativa a: "Abruzzi", pp. 26 di descriz., con 32 ill. nel t. e 14 tavv. In entrambi i voll., numerose sono le illustrazioni del t. a p. pag. che riproducono celebri dipinti in cui i personaggi raffigurati indossano abiti impreziositi da trine (colletti, maniche, ecc.). Le trine ad ago sono tutte e sempre veneziane (se si eccettuano i "fili tirati" siciliani, piuttosto ricami che trine) e prendono nome dal modo di esecuzione: "reticello, punto in aria, ecc."; mentre le trine a fuselli sono dette di Venezia, di Genova, ecc., dal paese donde vengono o vennero in origine e donde traggono i loro caratteri particolari. Ricercato ed importante repertorio, in prima edizione. Raro se completo. Con qualche fiorit. margin. ma certamente un buon esemplare, su carta distinta.

      [Bookseller: Libreria Antiquaria Malavasi]
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        Les Dieux s?en vont, d?Annunzio reste. Dessins à la plume du peintre italien Valeri

      Paris, Sansot, 1908. In 8vo; pp.201, 1n.n. Mezza pelle blue posteriore, dorso a cordoni con titolo e fregi in oro. Copertine originali conservate in bross. editoriale, al piatto anteriore vignetta con il motto ?Laboremus?. Al frontespizio appare la falsa dicitura: septième édition. Edizione originale. Falqui, pag. 44. Eleganti illustrazioni fuori testo di Ugo Valeri. Una frizzante apologia del poeta le cui opere Marinetti sentiva vicine al movimento futurista. L?elogio di Verdi e Carducci. In antiporta dedica autografa all?attrice e cantante Emile-Marie Bouchard (1877-1939) conosciuta come Polaire. ?A Mademoiselle Polaire hommage de vive sympathie. F.T. Marinetti?.

      [Bookseller: Studio Bibliografico Casella]
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        MY BUSY DAYS

      1908. 2. PICTURE BOOK. MY BUSY DAYS by Edith Sturgis. NY: D Appleton 1908 (Oct. 1908). Folio (10 1/2 x 14"), cloth backed pictorial boards, some edge wear and cover rubbing else VG+. First edition. This is a stunning book of poems for children, illustrated by Brandywine artist MARGARETTA HINCHMAN with 8 particularly lovely color plates (very similar to Green and Betts) plus pictorial endpapers and pictorial borders on text pages. Hinchman studied with Howard Pyle 1895-99 and was the "fourth musketeer" of the Green, Oakley and Smith Brandywine group. She went on to become a landscape painter and muralist as well as being a founding member of the Philadelphia Art Alliance. This is incredibly difficult to find this book in collectible condition.

      [Bookseller: Aleph-Bet Books, Inc. ]
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      1908. Fine. DOW, Arthur Wesley & Everett Stanley HUBBARD. BY SALT MARSHES: PICTURES AND POEMS OF OLD IPSWICH. Ipswich: Privately printed, 1908. No. 103 of approximately 200. [32] pp. 8vo. Quarter brown cloth (unmarked) with color illustrated (front cover only) paper covered boards. Covers worn but still attractive; interior near fine, small pencil numerals to front pastedown. Eight lovely color woodblock illustrations, with other monochrome and two color designs/headpieces. "BY SALT MARSHES is Arthur Wesley Dow's tribute to the old North Shore town of Ipswich, where he was born and spent most of his life, and to his boyhood friend, Everett Stanley Hubbard. It is a collaboration somewhat in the spirit of Meteyard, Carman and Hovey in their Vagabondia books, though Hubbard was undoubtedly a lesser poet and Dow a greater artist. BY SALT MARSHES is his masterpiece, and it is evident from the numerous sketches and proofs in the Ipswich Historical Society and the Society for Preservation of New England Antiquities - some dating back as far as 1895 - that it was a labor of love. Infinite care and craftsmanship were expended on every detail. The illustrations are color woodblock prints, such as Dow described in an article in MODERN ART (1896), entitled "Painting with Wooden Blocks." This was a technique Dow had discovered in the course of his study of Japanese art, and he was a master of it, using as many as four or five different blocks, accurately registered, thinly inked to show the grain of the wood, and printed in subtle gradations of tone to achieve a luminosity that effectively evokes the quality of the light on the marshes. Although the text is printed from small gothic type, the lettering on the cover and title page was also cut by hand in woodblocks, after the manner of Meteyard and Dawson-Watson's lettering for the COURIER INNOCENT (1897)." Finlay - Artists of the Book in Boston, 1890-1910.

      [Bookseller: Boston Book Company ]
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        Egenhändigt skrivet brevkort omfattande 9 rader, undertecknat med signatur "AugSg" och adresserat till Emil Schering, Berlin.

      Odaterat. Poststämplat den 6 maj 1908. 9 x 14 cm. (1) s. & adressida. Prydligt monterat i ett gråpappersomslag. Svaga spår efter poststämplingen även på textsidan och obetydligt utsmetat bläck på adressidan.. Ej i "Strindbergs brev". Emil Schering hade 1894 kontaktat Strindberg med en förfrågan om hans verksamhet men det var inte förrän sommaren 1897 som deras korrespondens kom igång på allvar. Schering kom att spela en central roll för spridandet av Strindbergs verk i Tyskland. Han samarbetade nära med Strindberg och hade från 1900 ensamrätt på översättningar till tyska av dennes verk. Bl.a. utgav Schering 1899-1929 Strindbergs samlade skrifter i 46 band. Han fick dessutom ofta i uppdrag av Strindberg att i Tyskland söka böcker till dennes olika forskningsprojekt. I detta brev rör det bland annat jakten på en hebreisk ordbok med fonetisk transkription. Schering verkar ha föreslagit, eller kanske skickat ett exemplar av, Boris Manasevi 's "Grammatik der hebräischen Sprache für den Selbstunterricht". Strindberg svarar: "Nu har jag tre exemplar af Manassewitz hebreiska grammatika. Jag visste dessa principer, men trodde att någon äldre grammatikus varit nog klok att göra språket begripligt." För övrigt rör brevet gravskulpturen "Wiedersehen" ("Återseende") av den tyske bildhuggaren Friedrich Coubillier (1869-1953). Strindberg hade blivit mycket förtjust i den ("detta är det vackraste konstverk jag sett", skrev han till Schering i april 1908) och sökte en god avbildning. Schering förefaller ha försökt men inte hittat någon tillräckligt bra bild: "Tackar nu för Coudrillier [sic], men skada att ej bättre afbildning finnes", skriver Strindberg. Senare fick Strindberg, kanske genom Scherings försorg, ett fotografi av skulpturen med ett brev från konstnären själv. Fotografiet av skulpturen sände Strindberg i sin tur med ett av sina sista brev till Harriet Bosse med kommentaren: "Nu tror jag bara på det andra Återseendet på andra sidan!"

      [Bookseller: Mats Rehnström]
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        Das Prinzip der Wissenschaft.

      Eine logisch-erkenntnistheoretische Untersuchung. I. Die Realität. Uppsala, Almqvist & Wiksells boktryckeri, 1908. 134,(2 blanka) s. Bra gult klbd med tvåfärgad titeletikett i skinn (Bonniers bokbinderi). Främre omslag medbundet, med reparation överst i innermarginalen. Delvis ouppskuren. Några blyertsunderstrykningar och marginalmarkeringar. Dedikation: "Herr lic. John Landquist, vänskapsfullt från förf.". Skrifter utgifna af K. humanistiska vetenskaps-samfundet i Uppsala. XII. 3. Allt som utkom. Här lägger Axel Hägerström fram sin nya kunskapsteoretiska uppfattning, som skulle komma att ligga till grund för utvecklingen av den s.k. "Uppsalafilosofin". Hägerström var vid tiden tillförordnad professor i praktisk filosofi vid Uppsala universitet där John Landquist samma år disputerade med avhandlingen "Viljan. En psykologisk-etisk undersökning". Landquists avhandling "slog inte an [...] bland anhängarna av den framryckande 'Uppsalafilosofin'. Dennas programmatiska indifferentism i värdefrågor skulle Landquist livet ut bekämpa" enligt "Svenskt biografiskt lexikon"

      [Bookseller: Mats Rehnström]
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        Egenhändigt skrivet brevkort omfattande 9 rader, undertecknat med signatur "AugSg" och adresserat till Emil Schering, Berlin.

      Odaterat. Poststämplat den 4 mars 1908 [?] (ankomststämpel Grunewald). 9 x 14 cm. (1) s. & adressida. Prydligt monterat i ett gråpappersomslag. Bläcket något utsmetat på adressidan.. Ej i "Strindbergs brev". Emil Schering hade 1894 kontaktat Strindberg med en förfrågan om hans verksamhet men det var inte förrän sommaren 1897 som deras korrespondens kom igång på allvar. Schering kom att spela en central roll för spridandet av Strindbergs verk i Tyskland. Han samarbetade nära med Strindberg och hade från 1900 ensamrätt på översättningar till tyska av dennes verk. Bl.a. utgav Schering 1899-1929 Strindbergs samlade skrifter i 46 band. Strindberg inleder brevet med att fråga: "Är det Hebbel-Teatern? Som vill spela det sämsta, när det bästa finns? Det ser ut som en elakhet bara! och borde af er förbjudas!" Vid mitten av 1900-talets första decennium växte intresset för Strindbergs dramatik i Tyskland, livligt underblåst av Strindbergs tyska impressario Emil Schering, och med god hjälp av till exempel Max Reinhardt och hans "Kammerspiele". Även regissören Richard Vallentin (1874-1908) vurmade för Strindberg och i "Helsingborgs-posten" kunde man 1906 läsa en artikel om dennes nya teater i Berlin som skulle vara inriktad på pjäser av Friedrich Hebbel respektive Strindberg. Teaterns verksamhet kom inte igång förrän 1908 och Strindberg försökte idogt intressera Vallentin för sina nya kammarspel, vilkas tillkomst ju delvis var inspirerade av Reinhardts och Vallentins verksamhet i Berlin. Tydligen ville Valentin hellre spela någon äldre pjäs. Emil Schering fick även agera hjälpreda i Strindbergs vetenskapliga strävanden, och i den andra hälften av brevet undrar Strindberg om resultaten av de efterfrågningar han bett Schering göra kring Hammurabis lagar och kring hieroglyfer, om vilka Strindberg höll på att skriva, mycket skeptiskt, för "Blå boken"

      [Bookseller: Mats Rehnström]
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        Liguria preistorica. genova, tipografia sordomuti, 1908.

      In 4°, pagg. 765, (1) con 271 illustrazioni nel testo e 8 tavole in nero, legatura in mezza pergamena con titoli oro su tassello al dorso. Estratto dal Vol. XL degli Atti della Società Ligure di Storia Patria. Arturo Issel (1842-1922) scienziato e paleontologo genovese, fu professore ordinario di Geologia e Mineralogia presso l'Università degli Studi di Genova dal 1866 fino al 1891, quando fu eletto direttore del Museo Geologico di Genova fino al 1917. Si interessò inoltre di archeologia preistorica e negli ultimi suoi anni di vita fu Presidente della Società Ligure di Storia Patria. L'oggetto delle sue ricerche geologiche fu principalmente la Liguria e tra le sue opere quella più celebre e ricercata è senza dubbio "Liguria Geologica e Preistorica", pubblicata da Donath nel 1892. "Il pubblico fece lieta accoglienza a siffatto lavoro, che rimase in breve esaurito; laonde, trascorsi 15 anni e venuti in luce molti documenti inediti intorno alla materia, pensai di richiamarlo a nuova vita, ponendolo a livello dei recenti progressi. Esaurito il mio compito, ne risulta non già una seconda edizione, ma un'opera maggiore e diversa dall'originaria" (cfr. Prefazione dell'Autore). Opera assai rara e ricercata. Edizione originale. Firma in inchiostro antico al frontespizio. Ottimo stato.

      [Bookseller: Biggio Giuseppina]
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        [Baseball Shape Book] [cover title]: New York Souvenir September 1908 [Alternative title]: The Morning Newspaper Baseball League sends Greetings and Invites New York to the First Printers' National Baseball Tournament

      New York: The Morning Newspaper Baseball League. 1908. First. Cord tied thick boards die-cut into the shape of a baseball mitt. [114]pp. Elaborately illustrated souvenir volume, copiously illustrated. Some small scrapes on the front board else near fine. Enumerates the various teams that played in the tournament. Rare. Not in OCLC, and we've never seen another copy. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Midsummer-Night’s Dream, A

      1908. An Almost Perfect Setting for Rackham's Devic Imagination"Edition de Luxe Signed by Arthur Rackham[RACKHAM, Arthur, illustrator]. SHAKESPEARE, William. A Midsummer-Night’s Dream. With Illustrations by Arthur Rackham. London: William Heinemann, 1908. Edition de Luxe, limited to 1,000 numbered copies signed by the artist, this being copy No. 926. Large quarto (11 1/2 x 9 1/16 inches; 292 x 231 mm.). [6], 134, [1, blank], [1, printer's slug] pp. Forty color plates mounted on brown art paper, with descriptive tissue guards. Original vellum over boards pictorially stamped and lettered in gilt. Top edge gilt, others untrimmed. later silk ties. Bookplate of Agnes Marion Armitage. A bit of mild toning to vellum at edges. Spine a little 'mottled'. Still an excellent copy."Within twelve months appeared Shakespeare's A Midsummer-Night's Dream, De la Motte Fouqué's Undine, and the Grimm brothers' Fairy Tales, all very different in quality and feeling, as demanded by the texts, but all of extremely high quality. The Dream was, of course, an almost perfect setting for Rackham's devic imagination -- perhaps only bettered by the opportunity of The Tempest -- with the result that some of the fairies, elves and goblins he created for this play are among his finest colour images, and almost all the plates echo perfectly the mysterious interweaving of lightness and depth in this great work. Many of the formal plates are exquisite, whether they depict the principal events of the main theme of the story, such as the translated Bottom with his ass-head mocked by tree sprites, or the night-rule of Titania's haunted grove, those incidents within the subsidiary action, with details hardly dreamed of by Shakespeare, such as the gnomish knife-grinder in a motley group of fairies. Some of the floriated headings for the Dream are the finest of Rackham's line at the time, as for example the heading vignette for Act One, Scene One, which with typical Rackham irrelevance spreads its tendrils over the page, and into the text, ignoring the fact that the setting is supposed, according to Shakespeare, to be the Palace of Theseus, and throwing us immediately into a tangle-wood Rackhamerie, with mice, pixies and a sleeping maiden." (Fred Gettings. Arthur Rackham, pp. 117-123).Latimore and Haskell, p. 32. Gettings, p. 177. Riall, p. 87.

      [Bookseller: David Brass Rare Books, Inc. ]
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