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Displayed below are some selected recent viaLibri matches for books published in 1910

        Tale of Mrs. Tittlemouse, The

      1910. first edition. First EditionPOTTER, Beatrix. The Tale of Mrs. Tittlemouse. London and New York: Frederick Warne and Co., 1910.First edition. Twelvemo (5 3/8 x 4 1/8 in; 137 x 103 mm). 84, [1], [1, blank] pp. Color frontispiece and twenty-six color plates (included in pagination). Black and white vignette on title-page. Quinby Plate X endpapers as called for.Original cream boards with color pictorial label on front cover. 1 3/4 inch abrasion to front cover. Light soiling to boards.Otherwise a near fine copy.Quinby 18. Linder, p. 429. V & A 1619.

      [Bookseller: David Brass Rare Books, Inc.]
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      Published by Frederick Warne & Co., 1910. 1st edition.. Hardback. Very Good. Illustrated by Potter, Beatrix. Very good condition with no wrapper. Blue-grey boards, white lettering. Hexagonal pictorial onlay of the little mouse on front cover. Date on title page. First two printings believed to be identical. 16mo. 84 pages. Spine browned, small mark to front board. Rear edge of spine just starting to split. Overall covers are very nice. Contents are clean. A nice copy of the first edition. [S]

      [Bookseller: Stella & Rose's Books]
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        The Tale of Mrs. Tittlemouse

      London: Frederick Warne and Co., 1910., 1910. First Edition. pp. 85. Illustrated with 27 coloured plates. Publisher's blue paper-covered boards, illustration laid-down to upper. Binding rubbed, small chip to head of spine. A lovely copy.

      [Bookseller: Adrian Harrington Rare Books]
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        The Tale of Mrs Tittlemouse

      F. Warne & Co and New York.. Very Good. 1910. First Edition. None. Hardback, blue/grey boards with vignette, tiny scuff on vignette, boards very clean, very slight colour change to spine, complete, tiny corner rubs, no inscriptions, overall clean pages ( restoration to front hinge) overall Book VG. In plain glassine wrapper, hole to spine, and repairs. Quinby and Linder consulted to verify First edition. Books are packed in high quality packaging and posted within 24 hours of order received mon-sat. .

      [Bookseller: Cygnet Books]
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        The Grammar of Ornament. Illustrated by examples from various styles of Ornament

      London: Bernard Quaritch, 1910. Later Printing. Hard Cover. Folio, pp. [ff i] + [ii-iii] + 157 + plates (interleaved); rebound in modern cloth over boards with skins from the original upper and lower boards and spine laid down; spine faded and dulled; a.e.g.; later endpapers and flyleaves paired with original flyleaves; three-quarter inch tear to fore-edge of pp. 13-14; closed tear to pp. 15-16, effecting three words of text on two line; else an exceptionally clean, sound copy. Later printing of the important visual reference, first published 1856. Illustrated with 112 chromolithograph plates, including chromolithograph title leaf. Foundation work of 19th century decoration and a precursor to the Arts and Crafts movement, first published in 1856. Contains beautifully executed chromolithographs of decorative elements from a number of cultures and historical periods, including "savage tribes," Egyptian, Assyrian and Persian, Classical Greek, Roman, Byzantine, Arabian, Turkish, the Moors, Indian & Hindu, Chinese, Celtic, Medieval, Renaissance, Elizabethan, Italian, and forms from nature. Also contains Jones' "General Principles in the Arrangement of Form and Colour in Architecture and the Decorative Arts..." in thirty-seven propositions following the Preface. Jones (1806-1889), an architect, designer and teacher, collected decorative examples from throughout the globe and history in an attempt to create a comprehensive manual for design work. His idea was not a slavish imitation of styles, but for designers to assimilate and integrate these elements, making them part of their practical knowledge. Very Good.

      [Bookseller: Kuenzig Books, ABAA/ILAB]
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        (Barmen 1864 - 1936 Möltenort). Tauwetter. Öl auf Leinwand. (Möltenort ?), um 1910. Unten links signiert. 60 x 74 cm. Gerahmt.

      Verso auf Keilrahmen nochmals eigenhändig signiert und betitelt.- Zum Buch: Georg Burmester war der Sohn des Realschuldirektors Adolf Burmester und Charlotte Henriette Marie, geborene Ritter. Von 1881 bis 1883 studierte er an der Kunstakademie Düsseldorf bei Heinrich Lauenstein (1835-1910) und Hugo Crola, von 1883 bis 1889 an der Kunsthochschule Karlsruhe bei Gustav Schönleber. 1886 machte er eine Studienreise nach Italien und leistete 1887/88 seinen Militärdienst ab. Er lebte ab 1889 in Kiel, ab 1895 war er in Möltenort ansässig. In dieser Zeit machte er eine Studienreise nach Norwegen und Kopenhagen. 1907/08 erhielt er ein Stipendium der Villa Romana in Florenz. In der Zeit von 1912 bis 1930 war er Lehrer an der Kunstakademie Kassel. Im Jahre 1917 wurde ihm der Professorentitel verliehen. Nach dem Jahr 1930 war Burmester wieder in Möltenort bei Kiel ansässig und war zeitweise auch in der Künstlerkolonie Heikendorf wohnend tätig. Burmester war 1894 Gründungsmitglied der Schleswig-Holsteinischen Kunstgenossenschaft und später deren Vorsitzender.- Schneebedeckte Waldlandschaft mit einer Spaziergängerin.

      [Bookseller: Antiquariat Schramm]
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      London: L. C. C. Central School of Arts and Crafts, 1910. Spine evenly faded to brown, else about fine. First edition Quarto. 197p. "Printed at the Central School of Arts & Crafts, Sheets a b c by W. Hyland & S. Collins (evening students) in 1910-1911; sheets d to end by the boys of the Day Technical School of Book Production. Teacher, J.H. Mason. Finished 1913." (Colophon). No frontispiece mentioned in colophon not included in this copy. Beautifully printed in black with shoulder notes and initials in red. In an unsigned binding of green crushed morocco with gilt titles on spine with uneven panels and gilt stylized initials on upper cover, t.e.g., the dentelles gilt stamped with the names in repeating pattern entirely around all edges: Suvia Arthur, Suvia Paton, Betsy, Dorothy, James, John Doreen, Anthony. This copy bound for Supreme Court Justice Arthur Whittemore, his wife Suvia Paton and family. A 5-page autograph letter signed in laid in written to Arthur Suvia in 1953 written by Jim [last name undetermined]. Jim states that he worked on this book as a boy at Central School, and is bound by his own design (by an old Central School boy) "to symbolize the linking of our families from the time when you took John and Doreen as your war-time guests.

      [Bookseller: First Folio]
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        Revolution and Other Essays

      NY: Macmillan, 1910. First binding state. An extremely fine copy in maroon ribbed cloth, gilt.

      [Bookseller: Bromer Booksellers]
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        Substanzbegriff und Funktionsbegriff. Untersuchungen über die Grundfragen der Erkenntniskritik.

      Berlin, Bruno Cassirer, 1910. Lex 8vo. cont. hcalf w. red title-labels and gilt spine. Front hinge broken and spine loose. Internally clean, apart from marginal annotations in pencil (probably by Anton Thomsen). Printed on thick paper. XV, (1), 459, (1) pp.. First edition of Cassirer's first original and systematic work, "Substance and Function", which actually began his philosophical-scientific path. The copy has belonged to the Danish philosopher, Anton Thomsen, and bears his bookplate on inside of front board, his ownership signature on fly-leaf, the date "Oktober-Nov. 1910", as well as the inscription in his hand: "Gave fra Forf." ("Gift from the author"). Anton Thomsen was Professor of Philosophy at the University of Copenhagen before Johannes Jørgensen, but unfortunately he died at a very young age. He wrote important books on Hume and Hegel and was a respected philosopher.This early work is considered highly important to the development of twentieth-century philosophy of mathematics and natural science. By directly using recent developments within the foundations of mathematics and mathematical logic, Cassirer comes to create a highly important work, in which he claims that developments in modern formal logic will enable us to once and for all reject philosophical empiricism, by rejecting the abstractionist part that underlies it (general concepts are given by induction from sensory particulars). Based on Dedekind's and Hilbert's works, which showed that mathematics has a meaning that is purely formal and ideal and is not based on sense or intuition, so that pure mathematics will be able to describe relational structures, Cassirer arrives at his conclusions that mathematical and natural scientific terms are terms of relations and not of things. The terms belonging to the strict sciences are joints/ links in a chain; these links are connected in a certain way and give sense to the numerous different perceptions of things. For Cassirer the object of perception is actually a web of relations, and the unity of being and thinking is the result of the two principles of convergence, that of the chain and that of experience.With the symbolic language of mathematics the theory of nature can become an actual description of the given, and it can be kept free from speculation.Cassirer has thus employed the late nineteenth-century "formalist" conception of mathematics and created a new sort of philosophical work that propounds a more abstract version of the genetic conception of knowledge

      [Bookseller: Lynge & Søn A/S]
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        Poetical Works of Henry Wadsworth Longfellow

      London: Frederick Warne. n.d., ca. 1910. Full red mottled calf. Striking fore-edge painting by Martin Frost of early baseball scene depicting a team on field, gallery and vivid flag motif on corners. The painting chronicles the 1865 baseball match between the Atlantics and the Mutuals at Elysian Fields, Hoboken, New York, after Currier & Ives. Fine condition.

      [Bookseller: Nudelman Rare Books]
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        Illuminated manuscript A Dream of Fair Women

      [London: , c. 1910]. Manuscript on vellum (225 × 165 mm), 14 leaves plus 4 blanks, in disciplined calligraphic hand in black and red ink to recto and verso. Contemporary blue-green morocco by Sangorski & Sutcliffe, signed at the foot of the front doublure; boards decorated with borders of brown onlays tooled with floral designs, short rules, and dots, and with red onlays at the cornerpieces; centre panel of upper board blocked in gilt in an elaborate and detailed floral design with red onlays and inset with 5 garnet cabochons and 6 turquoise cabochons; spine gilt in compartments with floral designs and red onlays; morocco turn-ins gilt ruled, white endpapers, gilt edges. Housed in a green morocco gatefold jewel case lined in cream silk and green velvet. Title page and first page of contents illuminated with bold acanthus leaves of red, green, and purple on a gold background, the title page with a delicate illumination of a woman dressed in robes. Verse initials in colour. Light toning to endpapers from turn-ins, otherwise in fine condition. The prestigious London bindery Sangorski and Sutcliffe made a speciality of fabulous jewelled bindings like the present, the most famous of which was a Rubáiyát written and illuminated by Alberto Sangorski (1862–1932), brother of Francis, co-founder, with George Sutcliffe, of the bindery. Finished in 1911, "The Great Omar" (as it is now known) sunk without trace a year later when in transit to America aboard the Titanic. This illuminated poem by Tennyson is a characteristic example of the Sangorski style, in a handsome jewelled binding.

      [Bookseller: Peter Harrington]
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        The Yerkes Collection of Oriental Carpets

      New York: Knapp. Very Good; 13.5 x 21.5 (54 cm) Portfolio in Very Good condition. Plates . bright and clean. Original gilt-stamped green silk cloth cover shows . professional repairs to spine. Damage to silk ties. Gold silk doublure in . Very Good condition.. 1910. Portfolio. Illustrated by 27 loose color plates; GWO 831. Scarce. Deluxe edition of an important and major documentation of classical Persian carpets.; 21; 116 pp. .

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      1910. Size: 505 x 660 mm. Lithograph on wove paper. Very good condition. In 1893, a seductive courtesan, Irma de Montigny, opened the door of a little coachman's meeting house owned by a waiter named Maxime Gaillard. She transformed the meeting house into one of the most celebrated romantic meeting places in Europe. However, it was Eugene Cornuche, Maxime's magician, who endowed the house with its world-wide reputation one after the other hundreds of celebrated personalities - Marcel Proust, Edouard VII, The Belle Otero, Maria Callas, Marlene Dietrich, Sacha Guitry, Mistinguett, Rita Hayworth, Aga Khan, and then Brigitte Bardot, Jeanne Moreau, The Prince of Venice, and so on. Maxim's has long been regarded as one of the world's great restaurants. Maxim's decor is influenced by the Parisian Belle Epoque flora and fauna ornamentation designed by Maurice Carrere, from the famed scroll work and plush red banquettes to the glistening inlays of brass and stained glass, and rich mahogany tones. The famed artist, George Goursat, also known as Sem, frequented the Maxim's restaurant where he sat for hours drawing caricatures of the society patrons. Sem attained a level of success with his wonderfully imaginative portrayals of Paris. By capturing the spirit of the subject, rather than the exact physical traits, Sem produced images that were probably truer to life than formal portraits. His skill as a caricaturist was outstanding. His works offer us glimpses into Parisian high society at the turn of the century.

      [Bookseller: Peter Harrington]
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        THE WORKS

      New York: Edwin C. Hill, 1910. Emerson Edition." ONE OF 1,050 COPIES. Sumptuously Gilt Morocco, withInlaid Morocco Doublures, the Text Unopened 235 x 162 mm (9 1/4 x 6 3/8"). 10 volumes. Translated by Charles Cotton and revised by William Carew Hazlitt. VERY HANDSOME OLIVE BROWN MOROCCO, EXTRAVAGANTLY GILT AND INLAID, covers with border of three gilt rules, central panel (with square-notched corners) formed by six parallel gilt lines and with large outward-pointing floral ornaments as cornerpieces; raised bands, spine compartments attractively gilt in an unusual asymmetrical panel design (suggesting the outline of a fortification) and with small fleurs-de-lys in two corners and a large inlaid fleur-de-lys of red morocco at the center; wide turn-ins with multiple plain and decorative gilt rules, the turn-ins framing RED CRUSHED MOROCCO DOUBLURES, the doublures with a border of five gilt fillets and WITH A FINE, LARGE CENTERPIECE OF INLAID BLACK MOROCCO IN THE FORM OF A FLOWER, the inlay enclosed by an elegant Rococo collar, crimson watered silk free endleaves, top edges gilt, other edges rough trimmed, THE SET ENTIRELY UNOPENED. With a total of 50 plates: 20 frontispieces (10 images, each in black and white and color) and 30 other plates. Original tissue guards. A Large Paper Copy. Minor wear to top inch and bottom inch of rear joint of first volume, spines uniformly faded to a slightly lighter brown, frontispieces offset onto title pages, one leaf with one-inch tear in fore margin, but IN VERY FINE CONDITION, the attractive bindings solid, bright, and scarcely worn, and the (unopened) text obviously untouched. With an untouched interior and a sumptuous binding that features lovely leather doublures, this is an extremely handsome and desirable set of the works of Michel de Montaigne (1533-1592), whose influential "Essays" were universally read and praised as one of the great books of the age. And they continue to be regarded as one of the major explorations, from any period, of human nature through self examination. The topics of the essays range from the frivolous (for example, Montaigne's argument, based on reports of the discovery of naked savages, that dress is superfluous) to the profound, as in his famous defense of Raymond Sebond, which argues for a dispassionate tolerance in religious controversy. Our author's writing style is fresh, racy, and familiar as opposed to lofty; it is digressive to the point of haphazard and is almost always both diverting and meaningful. The tolerance, moderation, and rationalism that breathe from his essays gave them great appeal for the English in the time of James I. The 17th century British authors most in the tradition of Montaigne include Walton, Browne, and Burton. Each of these three later writers shared Montaigne's approach of purportedly illuminating all of humanity by writing about oneself. The translator here, Charles Cotton (1630-87), will always be linked with his great friend Izaak Walton because of their collaboration on "The Compleat Angler." But Cotton was an important Caroline poet in his own right who numbered among his friends Ben Jonson and Donne as well as Walton. In the world of British letters, our editor William Hazlitt (1778-1830) was a memorable figure whose essays and criticism were of the greatest importance, even if his literary pronouncements were sometimes colored by the degree to which a writer's political beliefs were aligned with his own. The present edition is distinguished by the presence of a prefatory 43-page essay on Montaigne by Emerson.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        The Three Mulla-Mulgars

      Duckworth London: Duckworth. 1910. First. First edition, first issue in green cloth with monkey device and gilt lettering on the front board, and with the errata slip present. Fine in a slightly foxed, very good dustwrapper with some internal professional repair at the spine folds and a small dampstain on the front panel. A classic children's work, seldom found in jacket. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        The Works

      London, Chapman and Hall,, c.1910. 23 volumes, small octavo (170 × 118 mm). Contemporary green half morocco, titles and decoration to spines, raised bands, green cloth boards, top edges gilt. With black and white illustrations throughout. Fore-edge lightly foxed and the occasional blemish to pages, spines faded to tan, a very good set. The Charles Dickens edition.

      [Bookseller: Peter Harrington]
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      1910. 1. JAPANESE INTEREST. SWORD AND BLOSSOM: POEMS FROM THE JAPANESE done into English by Shotaro Kimura and Charlotte Peake. Tokyo: Hasegawa, no date, circa 1910. 3 books (5 x 7") bound in pictorial creped covers, all in Fine condition in repaired slip case with ivory closures. The text in these volumes are short unrhymed poems. Printed on textured paper, each page is beautifully illustrated in rich colors by Japanese artists of the era. This is a beautiful set.

      [Bookseller: Aleph-Bet Books, Inc.]
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        THE SLOWCOACH. Presentation copy from Henry James

      New York: The Macmillan Company, 1910. First American Edition. Hardcover. Near Fine. Blue cloth with an attractive color cover. Illustrated with a color frontispiece and black-and-white plates. INSCRIBED and SIGNED by Henry James on the front blank: "To Rosamond Gregor/her affectionate old friend,/Henry James/New Years Day/1911."

      [Bookseller: Charles Agvent]
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        The Rime of the Ancient Mariner

      New York, Thomas Y. Crowell and Co.,, [1910]. Quarto. Finely bound by The Chelsea Bindery in full terracotta morocco, titles and decoration to spine gilt, raised bands, single rule to boards gilt, pictorial block to upper boards gilt, inner dentelles gilt, plain black endpapers, all edges gilt. Colour plates tipped in. Design, layout, lettering, colour and monochrome illustrations by Willy Pogany. A fine copy. Limited Edition, numbered 114 of 525 copies, signed by Willy Pogany. Arguably Pogany's best work and a well illustrated edition of Coleridge's masterpiece.

      [Bookseller: Peter Harrington]
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      1910. 1. (POGANY,WILLY)illus. THE RIME OF THE ANCIENT MARINER by Samuel Taylor Coleridge. London: Harrap (1910). Folio (9 1/2 x 12 1/2"), green gilt pictorial cloth, top edge gilt, others trimmed, small faded area top rear corner (barely visible) else FINE IN DUST WRAPPER (dw with a few edge chips. First edition. This is a magnificent production illustrated by Pogany with pictorial endpapers and title page, 20 tipped-in color illustrations, full page color illustrations, calligraphic text enclosed within pictorial borders with decorative initials, plus smaller black and whites in-text - all ART NOUVEAU IN STYLE. Produced by Vincent Brooks and B. Dalziel, this is a beautiful copy of one of Pogany's most desired & lavish books, rare in the dust wrapper.

      [Bookseller: Aleph-Bet Books, Inc.]
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      Published by George G. Harrap & Co., 1910. 1st edition.. Hardback. Very Good. Illustrated by Pogany, Willy. Very good condition. Limited edition of 525 signed copies. Bound in brown calf with tooled design to covers and spine. Pictorial endpapers. 20 ethereal tipped-in colour plates with numerous colour and b/w illustrations within decorative borders. Top edge gilt. A most beautiful production of this classic tale. SIGNED by Pogany. Corners and edges slightly rubbed. Slight fading to covers which are just very slightly marked. The last plate has one corner crease otherwise the contents are fine. A lovely copy.

      [Bookseller: Stella & Rose's Books]
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        The Novels of George Eliot. The Works include: Adam Bede, Middlemarch, Romola, Silas Marner, Scenes of a Clerical Life, The Mill on the Floss, Felix Holt, Daniel Deronda, and The Spanish Gypsy with The Legend of Jubal and Other Poems Old and New

      Edinburgh: William Blackwood and Sons, n.d. (c.1910)., 1910. 9 volumes; 8vo. Period binding by W.H. Smith and Son in brown half calf with red and brown title labels to spines with floral gilt tooling, brown cloth boards, top edges gilt, marbled end papers. Electrophotogravure frontispiece by Swan Electric Company to each volume. Light rubbing. A very attractive set.

      [Bookseller: Adrian Harrington Rare Books]
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        Rubaiyat of Omar Khayyam

      London: Siegle, Hill and Co., 1910. Unpaginated. Full publishers vellum, decorated in gilt, smooth back, morocco title label to spine, gilt flowers to spine, upper cover with large peacock inside an art nouveau style flower border all in gilt, t.e.g., decorative endpapers. Gilt to head of spine slightly rubbed, upper cover with a few small spots of foxing, slight rubbing to the breast of the peacock, but generally quite bright. Internally some light foxing to the reverse of the illustrations, but the illustrations and the text are bright and clean. Twelve full-page colour illustrations (as called for). Limited edition of five hundred and fifty copies, this being copy four hundred and ninety-two, signed by both Sangorski and Sutcliffe. Now housed in a velvet lined drop back box, with leather title label to spine, made by Temple Bookbinders. Potter 81. Signed by Illustrator. First Thus. Full Vellum. Good+/No Jacket. Illus. by Sangorski, F. And Sutcliffe, G.. Folio. Limited Edition.

      [Bookseller: Temple Rare Books]
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        With Father Tuck in Playtime - Mechanical Series / Movable

      London, Paris, Berlin, New York, Toronto: Raphael Tuck & Sons Ltd. Hardcover. Very Good. M. Bowley. [1910] Contains 4 full colour stand up plates that drop forward from the page forming a two level pop-up scene. One of the Father Tuck's Mechanical Series books. In addition there are supporting verses by Clifton Bingham with monochrome illustrations. In Montanaro [p.346]. The illustrations are of little children in Edwardian scenes with animals and toys - very charming. Stiff card covers, nicely illustrated on the front and the BACK. 12 pp. 28 x22 cm. Backstrip worn in places. Minor faded stain on outside to bottom corner - not very visible and does not show inside. Personal inscription [1913] on inside front cover. Minor marks inside to a few page edges. Pop-ups in excellent condition - no mis-folds or damage and colours are very bright and strong. Overall a very good copy of an early and hard to find movable / pop-up. 4to - over 9¾" - 12" tall.

      [Bookseller: The Little Book Store]
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        “She was driven away, beside herself with joy”

      1910. A Spectacular Original Watercolor Drawing by Edmund DulacDepicting Cinderella on Her Way to the BallDULAC, Edmund (1882-1953). “She was driven away, beside herself with joy.” Original pen-and-ink and watercolor drawing for the color plate facing p. 54, illustrating “Cinderella or The Little Glass Slipper,” in The Sleeping Beauty and Other Fairy Tales from the Old French Retold by Sir Arthur Quiller-Couch (London: [1910]). This spectacular watercolor drawing is typical of Dulac’s blue period and depicts a wooded scene with a full moon in the background and Cinderella being driven to the ball in “a beautiful coach all covered with gold,” drawn by horses “of a lovely grey, dappled with mouse colour” and accompanied by a coachman and three footmen in “their bedizened liveries.” Signed and dated at lower right. Image size: 12 1/2 x 10 1/4 inches (318 x 260 mm). Matted, framed, and glazed.“‘Good-bye, child!’ said her godmother. ‘But of one thing I must warn you seriously. I have power to send you thus to the ball, but my power lasts only until midnight. Not an instant beyond midnight must you stay there. If you over-stay the stroke of twelve, your coach will become but a pumpkin again, your horses will change back into mice, your footmen into lizards, and your ball dress shrink to the same rags in which I found you.’ Cinderella promised that she would not fail to take her departure before midnight: and, with that, the coachman cracked his whip and she was driven away, beside herself with joy.”“In November 1910, Hodder and Stoughton advertised Dulac’s newest book, The Sleeping Beauty, as ‘the most beautiful book ever published at a popular price’. (All 1,000 copies of the de luxe edition had been sold out a month earlier)…In painting the pictures [for this book, Dulac] found inspiration for his fairy tale characters’ dress and surroundings in the French 18th century. That of ‘the period’, as Mr. Quiller-Couch tells us in the preface, ‘when the literature he illustrates was at the acme of its vogue’. Such historical and artistic accuracy had become Dulac’s habit as he fashioned the details of his gift books—the binding, lettering style, end papers, pictures—integrating all into a unified whole. The result of this effort was appreciated by the Illustrated London News critic who highly recommended The Sleeping Beauty book for adults as well as children (December 3, 1910): ‘In binding, type, and illustrations, it is all that could be desired’…In the book’s pictures themselves, Dulac’s powerful, zesty and humorous style of the Arabian Nights and the Lyrics is much subdued…Here his technique seems akin to Arthur Rackham’s method of outlining figures in pen and ink and filling them in with colour. The complete illustrations too seem more like Rackham’s than any others of Dulac’s work” (Hughey 23, Comment). “In his painting, Edmund Dulac was ever the experimenter, ever the innovator…From his first to his last picture, Dulac displayed sensational colours, great design impact, orientalism and humor. From among the illustrators of his period, he is known as the outstanding colourist. His special shade of blue was called, with double entendre, bleu du lac. Not only his blue, but his very French talent for unusual combinations of colors, produced stunning effects” (Hughey, Introduction).“After the appearance in 1907 of Stories from the Arabian Nights with fifty plates from his hand, Dulac became Rackham’s chief rival in providing colored illustrations for reproduction by the three-color process for the giftbook trade. His best work, however, is to be found in The Sleeping Beauty and Other Fairy Tales. His designs for the title story and ‘Cinderella’ have ornate eighteenth-century settings in which some indebtedness to the engravings for Le cabinet des fées can be discerned” (Ray, The Illustrator and the Book in England, pp. 207-209).

      [Bookseller: David Brass Rare Books, Inc.]
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        The Golf Courses of the British Isles

      London: Duckworth & Co., 1910. Green Cloth with gilt decoration to front board and to spine. Top edge gilt; other edges untrimmed. Illustrated throughout with full colour plates with printed tissue guards. Faint stain on upper edge; untrimmed edges browning nicely. Gift inscription to the front endpage. Rear endpage has a few vertical creases, rear hinge professionally repaired.. First Edition. Cloth. Very Good/No Jacket. Illus. by Harry Rowntree. 8vo - over 7¾" - 9¾" tall.

      [Bookseller: Contact Editions]
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        Provenca: Poems selected from Personae, Exultations, and Canzoniere

      Boston: Small, Maynard, (1910). Octavo. First edition, second binding. Head of spine bumped and paper starting to split along upper hinge, else near fine. In dust wrapper with wear and chips to extremities. (Gallup A6).

      [Bookseller: Bromer Booksellers]
 27.   Check availability:     Biblio     Link/Print  

        PHOTOGRAPH ALBUM Of CHINA. 150 Silver-Gelatin Prints

      ca 1910 - 1920.. Photographs range in size from 1-5/8" x 2-1/2" to 6" x 4"; most are 3" x 4". 22 leaves of mounting stock, with photographs either glued onto the mounting stock, or displayed using corner mounts. Some commercially procured, with white lettered captioning at edge. At rear are found two 6" x 4" photo's by the Asian photographer Theodore Paar Darjeeling: "Darjeeling Cooly Girl" and "Bhutia Begger".. Cloth album, repeating red rose pattern, with oblong format: 7-1/2" x 9-1/4".. Album edgeworn. Most photographs in Very Good [or better] condition,. with the odd one or two lacking a corner.. A wonderful visual panorama of early 20th C China collected by a Cincinnati family who had business connections in Shanghai during this period. The images record many prominent landmarks & buildings, as well as aspects of everyday life, both urban & rural: farming with water buffalo, a barber rendering a haricut, dentist with a patient in the chair, ricksaw driver & fare, camels, sword swollower, street artist, children, small village & rural scenes with geese & livestock, &c, &c.

      [Bookseller: Tavistock Books, ABAA]
 28.   Check availability:     IOBABooks     Link/Print  

        This Map Shows Every Section of Land in the Houston-Galveston-Beaumont District

      Texas: Dorsey Company, 1910. A FANTASTIC EARLY MAP OF HOUSTON SHOWING ORIGINAL LANDOWNERS AND PROPERTY LINES Lithograph Sheet size: 32" x 36" . Book.

      [Bookseller: Arader Galleries]
 29.   Check availability:     Biblio     Link/Print  

        The Works Of John Burroughs In 15 Volumes

      Boston:: Houghton Mifflin,, ca. 1910.. Fine Condition. Titles included are Birds and Poets, Far and Near, Fresh Fields, Indoor Studies, Leaf and Tendril, The Light of Day, Literary Values Ect., Locusts and Wild Honey, Pepaction, Riverby, Signs and Seasons, Wake-Robin, Ways of Nature, Whitman a Study, and Winter Sunshine. Each volume is beautifully bound in half green morocco with marbled boards and marbled end papers. Spines are elaborately stamped in gilt with leaf and floral motifs. Top edges gilt.

      [Bookseller: James & Mary Laurie Booksellers (A.B.A.A]
 30.   Check availability:     Biblio     Link/Print  


      1910. A Majestic EditionLimited to 350 CopiesSigned and Numbered by the ArtistROSSETTI, Christina. HARRISON, [Emma] Florence (illustrator). Poems. London-Glasgow-Bombay: Blackie and Sons Ltd., 1910. Limited to 350 copies numbered and signed by the artist, this being copy no. 14. Large quarto (11 3/8 x 8 7/8 in; 290 x 225 mm). xxiv, 369, [1, blank) pp. Thirty-six mounted color plates on heavy stock, with captioned tissue guards. Thirty-four mounted black and white plates. Head- tailpieces. Publisher's full vellum with pictorially gilt-stamped boards and spine. Original ribbon tie. A fine copy in a canvas dust jacket with spine label. Emma Florence Harrison (fl. 1887-1914) was figure painter and illustrator working in London from 1887 who specialized in illustrating poetry and children's books in a later Pre-Raphaelite style that was influenced by William Morris. Indeed, in 1914 she illustrated Morris' Early Poems. The majority of her work was executed for publishers Blackie and Son.Christina Georgina Rossetti (1830-1894) was an English poet who wrote a variety of romantic, devotional, and children's poems. She is best known for her long poem Goblin Market, her love poem Remember, and for the words of the Christmas carol In the Bleak Midwinter.

      [Bookseller: David Brass Rare Books, Inc.]
 31.   Check availability:     Biblio     Link/Print  

        [Autographes d'exception] Emile Verhaeren sa vie, son oeuvre

      Paris: Mercure de France, 1910. Broché. 12x19cm. Edition originale de la traduction française, un des exemplaires de première émission numérotés à la presse, il n'a pas été tiré de grands papiers. Précieux et rare envoi autographe signé de Stefan Zweig à Georges Duhamel. Ouvrage illustré de 2 portraits de E. Verhaeren. Dos légèrement insolé, petites rousseurs sur les gardes, un feuillet mal découpé. - Mercure de France, Paris _1910, 12x19cm, broché. - Autographes d'exception broché

      [Bookseller: Librairie Le Feu Follet]
 32.   Check availability:     Biblio     Link/Print  

        The Tale of Mrs. Tittlemouse [Peter Rabbit First Series Number Eleven]

      London: Frederick Warne and Co, 1910. First Edition, [First Printing]. Hardcover. Very Good/[No dustjacket]: A tidy copy. All notable faults: Some light to moderate surface dirt, moderate wear on the corners and edges, some light finger marks and previous owner&#39;s name on the free front endpaper. Dustjacket not present. Book conservation: Internal repair to the head of the lower joint. 12183. <b> Bibliographical Details: </b> First Edition, [First Printing] [[Quinby 18 and Linder, page 205]].

      [Bookseller: Kirkland Books Ltd]
 33.   Check availability:     Biblio     Link/Print  

        Holland House: Photogravure from Alvin Langdon Coburn&#39;s New York

      London / New York: Duckworth & Co. / Brentano's London / New York: Duckworth & Co. / Brentano&#39;s, [1910]. Hand-pulled photogravure, 6 x 8 1/2 inches, recuperated from a broken edition of the striking 1910 publication New York, deaccessioned from the collection of The George Eastman House, with their stamp and pencil markings on the verso. Fine condition.

      [Bookseller: Harper's Books, Inc.]
 34.   Check availability:     Biblio     Link/Print  


      1910. 2. (DULAC,EDMUND)illus. THE SLEEPING BEAUTY and other fairy tales retold by Sir Arthur Quiller Couch. London: Hodder and Stoughton, no date [1910]. 4to (9 x 11 1/4"), publisher's red imitation morocco with extensive gilt decrated cover, 129p., light foxing on margins of text pages else VG+. 1st Dulac edition, illustrated with 30 very beautiful color plates with decorative borders and with tissue guards (half are mounted plates and half are printed on the page). Features Sleeping Beauty; Cinderella; Beauty And The Beast; and Bluebeard. This is a nice copy of a lavishly produced book.

      [Bookseller: Aleph-Bet Books, Inc. ]
 35.   Check availability:     ABAA     Link/Print  

        Green Willow and Other Japanese Fairy Tales. With Forty Illustrations by Warwick Goble.

      Macmillan and Co, London 1910. 4to. VIII+280+(2) pages. With 40 tipped-in colour plates with protective tissue guards (with printed titles). Publisher's blue cloth with gilt lettering and and a lovely gilt front vignette of a Japanese woman carrying her child. All 3 edges blue. A well-preserved copy

      [Bookseller: Vangsgaards Antikvariat]
 36.   Check availability:     Antikvariat     Link/Print  

        Rhinegold & The Valkyrie, The [and] Siegfried & The Twilight of the Gods

      1910-11. Rackham Does Wagner[RACKHAM, Arthur, illustrator]. WAGNER, Richard. The Rhinegold & The Valkyrie. With Illustrations by Arthur Rackham. Translated by Margaret Armour. London: William Heinemann, 1910.First trade edition. Quarto (9 3/4 x 7 5/16 inches; 249 x 186 mm.). [2, blank], ix, [1], 159, [1] pp. Thirty-four color plates, mounted on tan paper, with descriptive tissue guards. Fourteen drawings in black and white. [Together with:][RACKHAM, Arthur, Illustrator]. WAGNER, Richard. Siegfried & The Twilight of the Gods. With Illustrations by Arthur Rackham. Translated by Margaret Armour. London: William Heinemann, 1911.First trade edition. Quarto (9 3/4 x 7 3/16 inches; 249 x 183 mm.). [2, blank], ix, [1, blank], 181, [1], [1, blank], [1, printer&#146;s imprint] pp. Thirty color plates, mounted on tan paper, with descriptive tissue guards. Nine drawings in black and white.The half-title in The Rhinegold & The Valkyrie reads: &#147;The Ring of the Niblung. The Rhinegold: Prelude. The Valkyrie: First Day of the Trilogy. Siegfried: Second Day of the Trilogy. The Twilight of the Gods: Third Day of the Trilogy.&#148;The half-title in Siegfried & The Twilight of the Gods reads: &#147;The Ring of the Niblung. A Trilogy with a Prelude by Richard Wagner. Translated into English by Margaret Armour. Prelude: The Rhinegold. First Day of the Trilogy: The Valkyrie. Second Day of the Trilogy: Siegfried. Third Day of the Trilogy: The Twilight of the Gods.&#148;Original light brown buckram with front cover pictorially stamped and lettered in gilt, back cover stamped in blind with publisher&#146;s device, and spine decoratively stamped and lettered in gilt. Top edge stained brown. Pictorial endpapers. Minimal rubbing to extremities. Slight browning, primarily to leaves preceding and following plates. Near fine copies.Latimore and Haskell, pp. 37-38. Riall, p. 103.

      [Bookseller: David Brass Rare Books, Inc. ]
 37.   Check availability:     ABAA     Link/Print  

        Kedgemakooge Rod and Gun Club of Nova Scotia, Ltd

      n.p.: Privately printed n.d. ca. 1910 n.p.: [Privately printed, n.d., ca. 1910]. Tall 8vo. Illustrated from photos throughout. 27 pp. (final 7 pp. ads). Illustrated green wrappers. Fine. Not in Heller . With application for membership laid in

      [Bookseller: James Cummins Bookseller ]
 38.   Check availability:     ABAA     Link/Print  


      London: Blackie.. Illustrated by Florence Harrison. First Thus. Very Good. 4to [1910] Cream buckram covers with gilt titles and decoration, 36 captioned tissue guarded colour plates mounted on grey card, black and white illustrations, 369pp. Minor wear at ends of spine, pink stain across front board, contents clean and bright. Small ownership name on ffep.

      [Bookseller: Jackdaw Books]
 39.   Check availability:     UKBookworld     Link/Print  


      In-8 p. Offriamo tutto il pubblicato della celebre collana Laterza delle ?Opere di Benedetto Croce", sia con la mitica brossura color salmone (per un totale di 55 volumi) che rilegati (per complessivi 20 volumi in 21 tomi) L?opera e? cosi? composta: Filosofia dello spirito, 4 voll. I (Estetica come scienza dell?espressione e linguistica generale II Logica come scienza del concetto puro III Filosofia della pratica. Economia ed etica IV Teoria e storia della storiografia Saggi filosofici, 14 voll.: bross. I Problemi di estetica II La filosofia di Gianbattista Vico III Saggio sullo Hegel IV Materialismo storico ed economia marxistica V Nuovi saggi di estetica VI Etica e politica VII Ultimi saggi VIII La poesia. introduzione alla critica.. IX La storia come pensiero e come azione X Il carattere della filosofia moderna XI Discorsi di varia filosofia. I vol. XII Discorsi di varia filosofia. II vol. XIII Filosofia e storiografia XIV Indagini su Hegel e schiarimenti filosofici Scritti di storia letteraria e politica, 44 voll. in 45 tomi: I Saggi sulla letteratura italiana del Seicento II La rivoluzione napoletana del 1799. Biografie, racconti e ricerche III La letteratura della nuova italia vol I IV La letteratura della nuova italia vol II V La letteratura della nuova italia vol III VI La letteratura della nuova italia vol IV VII I teatri di napoli dal Rinascimento .. VIII La Spagna nella vita italiana durante al rivoluzione IX Conversazioni critiche I X Conversazioni critiche II XI Storie e leggende napoletane XII Goethe. Con una scelta delle liriche nuovamente tradotte (due voll.) XIII Una famiglia di patrioti ed altri saggi storici e critici XIV Ariosto, Shakespeare e Corneille XV Storia della storiografia italiana nel secolo decimo nono. I vol. XVI Storia della storiografia italiana nel secolo decimo nono. II vol. XVII La poesia di Dante XVIII Poesia e non poesia Note sulla letteratura europea del secolo decimonono XIX Storia del regno di Napoli XX Uomini e cose della vecchia italia. I vol. XXI Uomini e cose della vecchia italia. II vol. XXII Storia d?Italia dal 1871 al 1915 XXIII Storia dell?età barocca in Italia XXIV Nuovi saggi sulla letteratura italiana XXV Conversazioni critiche serie III XXVI Conversazioni critiche serie IV XXVII Storia d?Europa nel secolo decimonono XXVIII Poesia popolare e poesia d?arte XXIX Varieta? di storia letteraria e civile, serie I XXX Vite di avventure, di fede e di passione XXXI La letteratura della nuova Italia. Saggi critici vol V XXXII Conversazioni critiche, serie V XXXII La letteratura della nuova Italia. Saggi critici vol VI XXXIV Poesia antica e moderna. Interpretazioni XXXV Poeti e scrittori del pieno e tardo Rinascimento vol I XXXVI Poeti e scrittori del pieno e tardo Rinascimento vol II XXXVII Letteratura italiana del Setteento. Note critiche XXXVIII Varieta? di storia letteraria e civile serie II XXXIX Letture di poeti e riflessioni sulla teoria e la critica della poesia XLI Aneddoti di varia letteratura XLII Aneddoti di varia letteratura XLIII Aneddoti di varia letteratura XLIV Aneddoti di varia letteratura Scritti vari, 13 voll. I Primi saggi II Cultura e vita morale III L?Italia dal 1914 al 1918. Pagine sulla guerra IV Pagine sparse. Letteratura e cultura. V Pagine sparse. Biografie. Storia napoletana. Schermaglie? VI Pagine sparse. Postille. Osservazioni sui libri nuovi VII Nuove pagine sparse. Vita pensiero letteratura. VIII Nuove pagine sparse. Metodologia storiografica ? IX Terze pagine sparse vol I X Terze pagine sparse vol II XI Scritti e discorsi politici (1943-19479) I vol. XII Scritti e discorsi politici (1943-1947) II vol. XIII Carteggio Croce-Vossler (1899-1949) Tutta la collezione è ben conservata. Rara a trovarsi completa.

      [Bookseller: Libreria La Bottega delle Occasioni]
 40.   Check availability:     Link/Print  

        The Importance of being Earnest. A Trivial Comedy for Serious People. Presented by Mr. George Alexander as a Souvenir of his Twentieth Year of Management of the St. James's Theatre, February 1st, 1910. SIGNED BY 'JOHN WORTHING'; 1200 COPIES PRINTED

      [Methuen, 1910]. 8vo., First Edition thus, on laid paper; original green pebble-grain cloth, sides with triple frame border enclosing title, author and presentation colophon all in gilt, gilt back, gilt top, uncut, a near fine copy in unclipped d/w.EDITION LIMITED TO 1200 COPIES.This copy was presented by George Alexander to Mr. Waddington with the former's signed holograph inscription on front free endpaper. A separate slip of St. James's Theatre stationery with George Alexander's signed holograph inscription in loosely inserted.Sir George Alexander (born George Alexander Gibb Samson, 1858-1918) was one of England's foremost actor managers of the late nineteenth and early twentieth centuries. Beginning in amateur theatricals in 1875, he graduated to professional status in 1880 making his London debut in 1881 and playing a wide variety of roles in many leading companies, including Irving's Lyceum.In 1891 he became actor manager of St. James's Theatre, King Street, in the heart of London's exclusive St. James's quarter, where he rapidly secured a reputation for quality and innovation. He staged the premiere of Wilde's 'Lady Windermere's Fan' (1892) and in the following year Pinero's 'The Second Mrs Tanqueray' which brought stardom to Mrs. Patrick Campbell. He was to remain manager for the rest of his life.Alexander developed a particular talent for drawing room comedy, staging many of the finest examples of the genre and employing leading artists (including Alma Tadema and others from the Royal Academy) to design and create the famous St. James's backdrops.In 1895 he achieved his greatest contribution to theatre when he produced the first performance of 'The Importance of being Earnest' with himself in the lead role of John Worthing, a part he was to make his own. The first night, February 14th 1895, was perhaps the most memorable in Victorian theatre, with all seats sold and the Prince of Wales as guest of honour. A tip-off had warned Alexander that the Marquis of Queensbury, father of Lord Alfred Douglas, was intending to sabotage the performance; fortunately the Marquis was deterred by a strong police presence and left the theatre in disgust throwing his bouquet of vegetables into the gutter.Alexander reprised his performance in his revival of the production (at the same theatre) in 1909. Its continuing success prompted him to commission Methuen, the play's original publisher, to produce this special edition to mark his twentieth year as actor manager of St. James's Theatre. Robert Ross, Wilde's original dedicatee, contributed an original preface, saying 'The Importance of Being Earnest does not require any introduction, other than can be obtained by seeing it played by Mr. George Alexander and his well-chosen company. Of the many successful roles which he has sustained so brilliantly during his twenty years of management, I may be pardoned for thinking that so far as comedy is concerned 'John Worthing' is the masterpiece..'. Ross concludes his appreciation with confirmation that Wilde's first holograph draft of the play, presented by Ross to the Trustees of the British Museum, has been accepted for inclusion in the National Collection of Manuscripts.Alexander was knighted for services to the theatre in 1911 and remained head of St. James's Theatre until his death in 1918. The theatre itself, a great favourite with London society, was later owned by Laurence Olivier and his wife Vivien Leigh, but changing attitudes led to its slow decline and it was eventually closed in 1957 to make way for commercial development.This edition of Wilde's final and most famous drama, one of the finest and most popular comedies in the language, is notable on several counts. It is signed and presented as a celebration of success by the actor who created the play's leading role, it features a unique preface by Ross, it is tangibly a most attractive and elegant volume, it is inherently very scarce in any condition, and much the more so in this state with the rare d/w. IT IS, IN ESSENCE, A SIGNIFICANT MILESTONE IN THE HISTORY OF ENGLISH THEATRE.

      [Bookseller: Island Books]
 41.   Check availability:     UKBookworld     Link/Print  


      LONDON John Milne 1910 First Edition. Futuristic Paranoid Anti Jewish novel by the author of "Amazement" "The Same Clay "etc. " Mr James Blyth has turned his attention from social problems to historical anticipation, and in his latest book ICHABOD he gives a picture of England during the next 50 years, endeavoring to show the results of the present, ever increasing alien immigration.The story is powerfully told, full of incident from cover to cover and is sure to leave the reader, whatever his views may be, full of thoughts" From the publishers blurb. A clean sound copy in orig red publishers cloth [repaired] 316pps + 24pp catalogue dated Autumn 1909 label of Herbert Gorfin's Blessington Bookshop & Circulating Library to fron pastedown. see Hubin.Moskowitz Spectrum etc.

      [Bookseller: John L Capes]
 42.   Check availability:     UKBookworld     Link/Print  

        Ungdom. Digte.

      Kristiania, H. Aschehoug & Co, 1910. 64 s. Nyere priv. håndb. helskinnbd. Orig. omsl. medbundet.. *Fine omslag!

      [Bookseller: Ruuds Antikvariat]
 43.   Check availability:     Antikvariat     Link/Print  

        A New Modification of the Cloud Method of Determining the Elementary Electrical Charge and the Most Probable Value of that Charge.London: Taylor & Francis, 1910. First edition.

      Very rare offprint issue, from the library of Jean Becquerel, of Millikan's famous experiment in which he first provided the definitive proof that all electrical charges are exact multiples of a definite, fundamental value-the charge of the electron. Millikan's experiment is nowadays known as the 'oil-drop experiment' due to a later improvement by Millikan and his student Harvey Fletcher in 1910 - using oil in the cloud chamber - but it was in this paper (although water and alcohol were the liquids used) that Millikan first made precise measurements of the charge on single isolated droplets instead of as earlier just statistical averages on the surface of clouds of droplets.<br/><br/> Although important, the fundamental breakthrough in Millikan's work was not his measurement of the actual value of the electron's charge (in fact he was as close to the correct value in this paper dated October 1909 as he was in the later oil experiment of 1910), but the fact that Millikan was able to produce, isolate, and observe single droplets with electrical charges, and show that repeated measurements of the charges always revealed exact integral multiples of one fundamental unity value. Previous experiments by Thomson and Wilson had in fact revealed the same value of the electron's charge as Millikan's experiment did but their determinations were based on statistical averages on the surface of large clouds of numerous water droplets and repeated measurements on the clouds gave fractional values of the electron's charge. This fact implied to some antiatomistic Continental physicists that it was not the constant of a unique particle but a statistical average of diverse electrical energies. However, in this 1909 experiment Millikan showed that his single droplets could not hold a fractional charge of the electron's but always had a charge that was an exact integral multiple of the electron's (e.g., <i>2e, 3e, 4e, ...</i>). In 1910 Millikan and Fletcher improved and simplified the whole experiment by using oil, mercury, and glycerin as liquids instead of water; they could now observe the droplets for several hours instead of just under one minute and also neglect having to compensate for the evaporation of the water and alcohol droplets. And thus the experiment became known as the 'oil-drop experiment', but the crucial breakthrough had already taken place in this 1909 experiment. <br/><br/> In this paper Millikan emphasized that the very nature of his data refuted conclusively the minority of scientists who still held that electrons (and perhaps atoms too) were not necessarily fundamental, discrete particles. And he provided a value for the electronic charge which, when inserted in Niels Bohr's theoretical formula for the hydrogen spectrum, accurately gave the Rydberg constant-the first and most convincing proof of Bohr's quantum theory of the atom. <br/><br/> <i>'Among all physical constants there are two which will be universally admitted to be of predominant importance; the one is the velocity of light, which now appears in many of the fundamental equations of theoretical physics, and the other is the ultimate, or elementary, electrical charge, a knowledge of which makes possible a determination of the absolute values of all atomic and molecular weights, the absolute number of molecules in a given weight of any substance, the kinetic energy of agitation of any molecule at a given temperature, and a considerable number of other important physical quantities.'</i> (First paragraph of the offered paper). <br/><br/> In 1923 Millikan became the first American-born Nobel laureate for this work together with his1916 determination of Planck's constant on the basis of Einstein's theory of the photoelectric effect.. Offprint from the Philosophical Magazine for February 1910, 8vo (218 x 141 mm), original printed orange wrappers with the Becquerel library paper label to upper right corner, pp [209] 210-228. Exceptionally fine. Very rare

      [Bookseller: Sophia Rare Books]
 44.   Check availability:     Antikvariat     Link/Print  


      1910. 1. (RACKHAM,ARTHUR)illus. PETER PAN IN KENSINGTON GARDENS by J.M. Barrie. Lond.: Hodder & Stoughton 1910. Large 4to, brick colored cloth stamped in gold, light cover rubbing, near fine. 7th printing, idential to the first in all respects with color frontis and 49 mounted color plates with printed guards in the rear of the book and with b&w drawing on title. A beautiful copy of a most desired Rackham book (Latimore/Haskell p.27).

      [Bookseller: Aleph-Bet Books, Inc. ]
 45.   Check availability:     ABAA     Link/Print  


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