Paris: P.V. Stock, 1910. Fine. P.V. Stock, Paris 1910, 12x19cm, broché sous chemise-étui. - - [FRENCH VERSION FOLLOWS] Edition originale sur papier courant, il n'a été tiré que 21 Hollande en grands papiers. Rare et superbe envoi autographe signé de l'auteur « A mon très cher André Salmon Hommage d'une amitié qui ne peut finir ». Notre exemplaire est présenté sous chemise-étui en demi maroquin bordeaux, mention dorée en pied du dos « exemplaire André Salmon », plats recouverts de papier à la cuve, étui bordé du même maroquin, ensemble signé des ateliers Boichot. Les deux poètes se sont rencontrés en 1903 au caveau du Soleil d'Or, à l'orée de leurs vies d'artiste. Une amitié indéfectible naît alors entre les deux hommes qui ne se quitteront plus jusqu'à la mort d'Apollinaire. Ensemble, ils mènent la vie de bohème, écrivent des pièces de théâtre, fondent des revues éphémères (Le Festin d'Esope, La Revue Immoraliste, Les Lettres Modernes), rencontrent d'autres artistes dont un jeune peintre espagnol dont ils seront les plus fervents défenseurs et amis : Pablo Picasso. En 1909, témoin de Salmon à son mariage, Apollinaire composera pour son ami un de ses plus célèbres poèmes intitulé sobrement : « Poème lu au mariage d'André Salmon » (il paraîtra en 1913 dans Alcools). Cette dédicace d'Apollinaire, sur l'un de ses premiers écrits importants, fait écho à celle que Salmon lui a rédigée, en 1905, sur un exemplaire de son premier ouvrage Poèmes : « A Guillaume Apollinaire/ à l'ami parfait/ au cher Poète/ de tout cœur » (Catalogue de la Bibliothèque de Guillaume Apollinaire, … [Click Below for Full Description]

" - Mercure de France, Paris 1910, 12x19cm, broché. - 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 qu'il venait tout juste de rencontrer. Duhamel évoque cet épisode dans ""Biographie de mes fantômes"" : ""C'est chez Verhaeren que je rencontrai pour la première fois Stefan Zweig. L'écrivain autrichien venait de composer tout un ouvrage sur l'auteur des ""villes tentaculaires"". Zweig alors avait une trentaine d'années, il savait tout, il était terriblement intelligent."" Une amitié de plus de 30 ans venait de naître. Ouvrage illustré de 2 portraits de E. Verhaeren. Dos légèrement insolé, petites rousseurs sur les gardes, un feuillet mal découpé. - Photos sur www.Edition-originale.com - [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] " Mercure de France Paris _1910 12x19cm broché

London: Thomas Nelson and Sons, 1910. 374, (10) pp. Hardcover, bound in green cloth with white spine panel in original dustjacket. The book has some small chips to the top edge of the spine label, else bright and unmarked; the scarce jacket is age-toned with a few smudges, two small corner chips and a few marginal tears. [Attributes: First Edition; Hard Cover; In Dust Jacket]

1910s. Album with Thirty-three Original Photographs of the Upper and Middle Yangtze River. Thirty-three mounted gelatin silver prints, mostly ca. 8x10,5 cm or slightly smaller. Large 8vo (ca. 26x16 cm). Original green full cloth album with gilt lettered title ?Photographs? on the front board. 24 card stock leaves (6 blank). 6 family photos of the same size at rear. Slightly rubbed on extremities and weak on hinges, several images slightly faded, but overall in good condition. N.p., ca. From the end of the 19th century through the first half of the 20th, Western powers patrolled the Yangtze, protecting missionaries and traders, and safeguarded what was deemed to be 'national interests'. The present is an interesting album apparently compiled by a crew member of HMS Widgeon. Among the images are three photos of British gunboats (two most likely showing HMS Widgeon), several portraits of British sailors (one with Chinese children on a river bank), a portrait of ?Tibetans, taken on board 'Widgeon' at Chungking, January 1909,? over a dozen river views (Chinese boats, rowers, a group of workers in harnesses dragging a boat upstream, scenes of boat launching, head shaving on a river bank, et al.), as well as an extraordinary image showing villagers listening to music from a gramophone. The gunboats on the Yangtze River ?were vitally needed. Western merchants were vulnerable, so in May [1900] the two gunboats braved the rapids, and battled their way upriver to Chungking. Like her sister ships Teal and Moorhen, HMS Widgeon was a lightly enlarged version of the earlier two gunboats, … [Click Below for Full Description]

D. A. Longuet, Paris, 1910. Folio portfolio ca. 30cm x 40cm , bound in greenish gray cloth covered boards, portfolio with light soiling, but very good condition 3 sets of cloth ties for the portfolio are all present and functional. Contents are complete with 67 plates - most are b&w plates on stiff paper but ca. 5 are color plates- each plate generally has a few images. The paper is age toned- especially around the edges. Stated copy 83 of 100. There is an index with descriptive material about the plates. Text in French. The portfolio was made to go with an exhibition of the prints assembled from various owners. Contents near fine , portfolio very good or better. Note: due to size and weight shipping outside the USA will be more expensive than an average book. [Attributes: First Edition]

University Press, Cambridge. Large 8vo, pp. xiii, [ii], 666; free end-papers foxed, resulting in some browning to half title; otherwise an excellent copy in the original blue cloth; rebacked, with most of the original spine retained; front free end-paper inscribed ‘L. Susan Stebbing’ and, in the same hand, ‘E. M. Whetnall from L.S.S. April 1925’.THE ANALYTIC PHILOSOPHER SUSAN STEBBING'S COPY OF THE FIRST EDITION OF THE FIRST VOLUME OF THIS 'MASTERPIECE OF MATHEMATICAL ARCHITECTURE' (DSB).‘The Principia was mainly inspired by the writing of Gottlob Frege, Georg Cantor, and Guiseppe Peano. At the heart of the treatment of mathematical logic in the Principia lies an exposition of sentential logic so well done that it has hardly been improved upon since. The link with set theory is made by considering a set all the objects satisfying some propositional function.Different types, or levels, of propositional functions yield different types, or levels, of sets, so that the paradoxes in the construction of a set theory are avoided. Subsequently several parts of classical mathematics are reconstructed within the system’ (ibid.). Provenance: Lizzie Susan Stebbing (1885-1943), was a part-time lecturer at Kings from 1913 to 1915, and a frequent contributor to meetings of the Aristotelian Society where she met Russell and Whitehead, and renewed her acquaintance with G.E. Moore. In 1915 she also became a part-time Lecturer at Bedford College London, in 1920 a full-time Lecturer. She became influenced by the ideas of the Vienna Circle and logical positivism, and responsible for spreading t … [Click Below for Full Description]

SASKATCHEWAN, CANADA ALBERTA BRITISH COLUMBIA: (1910). Folio - over 12" - 15" tall. On offer is an important, original typed personal memoir and very significant 1874 - 1911 account of one noted pioneer's life in the Saskatchewan and southern border and other Western locales we have encountered. The action begins as Edward Stanley, the author, boards the steamship Manitoban and bids "farewell to the dear old home of my birth, Armagh, Ireland, in the early spring time of 1874." He arrives in North America at Rivierre duLoup, a small French settlement at the mouth of the St. Lawrence River. The slow journey from there, by water and rail, is described in detail. For example: "We next came into the small American town of Moorhead. This place was without doubt wild - a man was shot dead on the street at noonday while we were there and I saw the murderer chained to the floor of an old log shack". When Stanley arrives in Canada, he treks 250 miles by foot to Fort Ellice, a Hudson Bay Post. "On this trip we encountered the grasshopper pest. These miserable things filled the sky like a snow storm and the cart trails [Red River carts] were filled to a foot deep, the little 'beggars' simply eat the shirts off our backs." His account also includes a ghostly visit to a lake inhabited by a "Windigo," time spent as a Lieutenant in the volunteer corps, and his brief stint as a "Special Detective" tracking whisky smugglers. Stanley then Joins the Canadian Pacific Railway as an engineer, and later joins a geological survey out of Edmonton. In his final words, Stanley writes: "And since the … [Click Below for Full Description]

London: Taylor & Francis, 1910. First edition. A fine copy of Millikan's famous experiment, later known as the ‘oil-drop 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. 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 antiatomi … [Click Below for Full Description]

London, William Heinemann, 1910 1st Limited Numbered Edition. Hardback, approx 11.5 x 9 inches. Full vellum binding with gilt lettering and pictorial design to front. Top edge gilt. With yellow ribbon fastener at leading edge (later). Plain endpapers. In very good condition. Some minor rubbing and darkening to boards, small patch to spine covers part of illustrators name. Some fading to top corner and edge of rear board. Some light foxing to endpapers. Numbered 896/1150, and Signed by Arthur Rackham. Some minor light spots and handling marks, some pages immediately after plates have some darkening, else inside pages very clean and tight throughout. A beautiful copy. 158pp. 48 colour tipped-in plates & Decorative Head & tailpieces.

London, William Heinemann, 1910 1st Limited Numbered Edition Hardback, approx 11.5 x 9 inches. Full vellum binding with gilt lettering and pictorial design to front. Top edge gilt. With yellow ribbon fastener at leading edge (later). Plain endpapers. In very good condition. Some minor rubbing and darkening to boards, small patch to spine covers part of illustrators name. Some fading to top corner and edge of rear board. Some light foxing to endpapers. Numbered 896/1150, and Signed by Arthur Rackham. Some minor light spots and handling marks, some pages immediately after plates have some darkening, else inside pages very clean and tight throughout. A beautiful copy. 158pp. 48 colour tipped-in plates & Decorative Head & tailpieces.

Wien o. J. (um 1910). 4°. 12 Bl. mit 12 mont. Original-Photographien (Albuminabzüge) jeweils 13,5 x 10 cm. OKart. mit gepr. Jugentstil-Ornamentik u. kalligr. Deckeltitel. Sehr gute frühe Frauen-Akte mit einer Ausnahme im Hochformat. Jedes Blatt mit Atelier-Stempel des Künstlers "H. J. Jedlitschka, acad. Maler, Wien". - H. J. Jedlitschka hat auch um 1910 das Vorlagenwerk "Der praktische Schildermaler. Neue farbige Entwürfe im modernen Stil" herausgegeben. [Attributes: Soft Cover]

Ermanno Loescher & C. 1910-1926, Roma. In 8. pp. V+354, VIII+562, VIII+583, VI+596. Rilegatura coeva m. pelle, 5 nervi, due tasselli, titoli e fregi in oro. Fogli di guardia marmorizzati. Tagli sup. rossi. Lievissime abrasioni sui dorsi.

Los Angeles, California: Max Cohn, 1910. First Edition. 8vo. Red cloth-over-boards, with gilt lettering to front. Rebacked in deep-red Niger Morocco (small-grained goatskin leather), ruled in gilt, with 5 raised bands, and dual contrasting spine labels. Head and tail untrimmed. Offsetting to endpapers, small edge-tears and occasional spotting to preliminary pages. A strange and scarce compendium of little-known Jewish mystical lore. Chapter headings include: I: A History of Mysticism - The Mahatmas of The Essenes; II: The Wonder of the Original Mahatmas; III: Tales of Rabba Bar Barchana; IV: Ghost Stories of an Unknown Mahatma; V: Titus (Unkelos The Proselyte); VI: The Miserere; VII: Rabbi Ishmael; VIII: Spanish Spoilation, Or The Grand Inquisition; IX: French Frivolity; X: Jewish Trials in Germany; XI: Education and Talmud. This strange and scarce little book is packed withmystical legends, lore, tales and commentary of Jewish leaders, mystics, saints and luminaries, written in a lively, conversational tone. Despite his great breadth of religious, historical and folk-related knowledge, Imber detested all forms of high-minded intellectual snobbery. Indeed his reputation was more of akin to a hard-traveling street person with mystical leanings -- essentially a charming, iwandering poet-scholar whose restlessness took him throughout the east and Europe. Imber wrote the now-famous "HATIKVAH", described on title page as "The National Zionist song in Hebrew", but which has since become the national anthem for the State of Israel. He lived out his final years in America, regretta … [Click Below for Full Description]

LIBRERIA TASCABILE, MARIO SANGALLI, MILANO, 1910. ITALIANO Due volumi in un unico piccolo tomo, 171+68, con brossura editoriale morbida, titoli rossi e neri, ingiallita, con macchie, fioritura e segni di usura al dorso, all'interno pagine ancora intonse, leggermente ingiallite e con fioriture sparse Numero di pagine: 239

UFFICIO DELLE LETTURE CATTOLICHE, TORINO, 1910. LETTURE CATTOLICHE ITALIANO Pubblicaz.mensile, anno LVIII n.688 relat.al mese di aprile, brossura editoriale usurata, oscurata, beige con titoli neri entro cornice, con fioritura, macchie e tracce di umidità, usura ai bordi, strappi e mancanze al dorsetto, strappo anche al piatto anteriore, pagine con bruniture del tempo, fioritura sparsa, illustrazioni in nero nei testi, legatura lenta Numero di pagine: 90

[c.1910]. 23 articles, housed in 22 manilla envelopes with manuscript labels. Some rust marks to upper margins from paperclips, else in very good, fresh condition. A collection of apparently unique documents related to the growth of the stock market and private enterprise in Japan during the Meiji era as the Empire became an emerging market on the international financial scene, many signed by their authors, prepared for a planned but unnamed publication and heavily edited by an unknown hand. These historical accounts and financial surveys encompass a wide variety of industries – banking, mining, insurance, shipping, brewing, gas and electric – and contributing writers include the presidents and governors of some of the largest and most influential financial corporations in Japanese stock exchange history, including the Tokyo Stock Exchange, Fifteenth Bank, Hypothec Bank, and Yokohama Specie Bank. "The rapid industrialization of Japan following the Meiji restoration in 1868 surprised most contemporary observers. Japan's military defeat of China in 1895 and Russia 10 years later demonstrated a mastery of modern technology and industrial practice that could be brought to bear in a compelling fashion. According to figures compiled by growth economist Angus Maddison, Japan's economic performance over the years 1870 to 1913 was exceeded by only seven countries out of the 29 examined" (Alexander, p. 20). This account is echoed by Buyei Nakano, the then-president of the Tokyo Chamber of Commerce and the Tokyo Stock Exchange, whose article (included in this archive) concludes: "all … [Click Below for Full Description]

Paris: Societe General D'Impression, 1910. 1 of 50 copies on Japon. Hardcover. VG, light soiling or age-toning.. Portfolio containing plates. This copy unsigned and unnumbered. Date is derived from the plates. Publishing date is January 31, 1910. However, one of the 20 sequential plates is dated 1911. This rare volume consists of 20 black and white drawings, from the Parisian period of this artis., who arrived there from Mexico in 1907 on a scholarship. These drawings show a strong influence by Aubrey Beardsley. While in Paris, he was exposed to folks like Juan Gris, Picasso, Braque and Cocteau. One of the 50 examples on Japon paper. Introduction by Henri de Regnier. Ex-libris illustrated (bookplate) by R. Montenegro. at bottom left of limitation page. One-=page of text by de Regnier, followed by the 20 plates. Montenegro eventually re-pariated to Mexico after the First World War.

London and New York: William Heinemann; Doubleday Page & Co, 1910. First edition, signed by the illustrator. Very Good/One of the illustrator's recognized masterpieces in its first printing, signed by Rackham. The enigmatic plain binding (which replaces the publisher's gilt-vellum original) may be a later remboitage, or perhaps a unique publisher's variant. . 30 cm; x, 160 pages, and 34 color plates after Rackham mounted on card stock and protected by captioned tissue guards printed in brown ink. Title page in black and dark-yellow. Ornaments in text throughout. One of 1,150 copies signed by Rackham, this copy numbered 1076. Bound in later quarter vellum over plain boards, leather labels removed from spine. Top edge gilt. Stock still bright and clean.

Paris: Societe General D'Impression, 1910. 1 of 50 copies on Japon. Portfolio containing plates. This copy unsigned and unnumbered. Date is derived from the plates. Publishing date is January 31, 1910. However, one of the 20 sequential plates is dated 1911. This rare volume consists of 20 black and white drawings, from the Parisian period of this artis., who arrived there from Mexico in 1907 on a scholarship. These drawings show a strong influence by Aubrey Beardsley. While in Paris, he was exposed to folks like Juan Gris, Picasso, Braque and Cocteau. One of the 50 examples on Japon paper. Introduction by Henri de Regnier. Ex-libris illustrated (bookplate) by R. Montenegro. at bottom left of limitation page. One-=page of text by de Regnier, followed by the 20 plates. Montenegro eventually re-pariated to Mexico after the First World War. VG, light soiling or age-toning.

New York: De Leeuw Riehl Publishing Co, 1910. Original brightly colored wrappers, front wrapper detached and chipped, creased. Backstrip lacks top 4 inches. Bright colorful ad on back wrapper. Internally fine. Illustrated with uncolored photographic plates showing all of the buildings on Broadway in New York from the southern tip of Manhattan to Central Park. Interspersed are many ads. Christopher Grey: "Captures street life like few other works. Paperbound and teribly difficult to find, almost never in good condition." [Attributes: Soft Cover]

London,, George & Harrap & Co, 1910. 4°. Illustrations and design by Willy Pogany. 184 p., original calf boards, top edge gilt. - One of 525 copies, numbered and signed by Willy Pogany. Binding sligthly stained. Else very good and clean condition. Englisch Band:

CASA EDITRICE MADELLA, MILANO, 1910. ITALIANO Fascicolo-libretto in 5 atti, copertina in carta leggera con segni del tempo, dissolvenza, velature di polvere, legatura a punto metallico, pagine ben preservate, buono l'aspetto complessivo. Numero di pagine: 48

Edouard Pelletan, Paris, 1910. Ensemble 2 ouvrages reliés en 1 volume in-4 maroquin janséniste rouge, dos à nerfs, filets dorés sur les coupes; larges encadrements intérieurs ornés de filets poussés or, doublures et gardes de soie moirée noire, doubles gardes de papier marbré, tête dorée, non rogné; couvertures imprimées. Etui (Ad. Lavaux).276 compositions originale de Steinlen, dont 252 pour le premier ouvrage et 24 pour le second qui est en édition originale. Tirage limité respectivement de 325 et 285 exemplaires numérotés. Un des 267 et 240 exemplaires sur vélin du Marais. Exemplaire enrichi du prospectus illustré de l'éditeur. [Attributes: First Edition; Hard Cover]

London: Hodder & Stoughton, [1910]. London: Hodder & Stoughton,, [1910]. From the old French. Large quarto (310 x 248 mm). Near-contemporary brown morocco, titles and decoration to spine gilt in compartments, elaborate gilt design to covers, top edge gilt, others untrimmed. Housed in a custom brown marbled paper slipcase. Colour frontispiece and 29 colour plates, tissue-guards, all by Dulac. Slight rubbing to extremities, browning and slight creasing to spine, faint offsetting to endpapers; a very good copy. Signed limited edition, number 800 of 1,000 copies signed by the artist. This collection includes four classic French tales: Sleeping Beauty, Cinderella, Blue Beard, and Beauty and the Beast. This copy with a four page leaflet advertising Hodder & Stoughton's similar works laid in.

London and New York: William Heinemann; Doubleday Page & Co, 1910. First edition, signed by the illustrator. Very Good/One of the illustrator's recognized masterpieces in its first printing, signed by Rackham. The enigmatic plain binding (which replaces the publisher's gilt-vellum original) may be a later remboitage, or perhaps a unique publisher's variant. . 30 cm; x, 160 pages, and 34 color plates after Rackham mounted on card stock and protected by captioned tissue guards printed in brown ink. Title page in black and dark-yellow. Ornaments in text throughout. One of 1,150 copies signed by Rackham, this copy numbered 1076. Bound in later quarter vellum over plain boards, leather labels removed from spine. Top edge gilt. Stock still bright and clean.

New York: De Vinne Press for the Century Co, 1910. Large 8vo. 68 photographic plates. Signed by the author on the title. Later half green crushed morocco and period orange cloth covered boards, spine with raised bands in six compartments, endpapers renewed. One of 150 numbered large paper copies signed by Whitney: an important account of life in northern Greenland from an eyewitness to Peary's race to the pole. Harry Whitney (1873-1936) was a wealthy American sportsman, a descendant of the Eli Whitney family of New Haven, Connecticut (not to be confused with his contemporary, sportsman and donor of Yale's gymnasium Harry Payne Whitney). Whitney first travelled to the far northern Arctic for sport in 1908-09, on the ship carrying Robert Peary's expedition to the North Pole in the spring of 1908. While Peary and his rival Frederick Cook assaulted the Pole, Whitney hunted musk ox, polar bears, walrus, and other arctic game, and wintered over with the Inuit. In the spring of 1909 he encountered Frederick Cook, who claimed to have reached the Pole, and left some luggage in Whitney's care as he raced south to report his triumph. When Peary arrived later in the summer, he offered Whitney a ride home, but refused to bring Cook's luggage. Whitney thus became embroiled in the controversy over who achieved the Pole first, since Cook claimed his proofs were in the baggage. This deluxe edition, limited to 150 numbered copies on special paper, this being copy number 5, is rare.

Paris, Sansot, 1910. in 8°, veau beige rosé, entièrement décoré de violettes à froid et de violettes mosaïquées, dos légèrement passé, couverture conservée, tête dorée, étui doublé (reliure de L. Lavigne). 103 pp. EDITION ORIGINALE. 1/50 exemplaires numérotés sur japon (celui-ci le n° 8). Premier plat de couverture illustré. Le tirage total n'est pas connu, mais un catalogue de l'éditeur annonçait également 20 exemplaires sur alfa anglais (Goujon, 43 « d'une insigne rareté » ; Bac, p. 161).

Heinemann, 1910. Signed, Limited, "The Rhinegold and the Valkyrie" RACKHAM, Arthur, illustrator. WAGNER, Richard. The Rhinegold and the Valkyrie. Heinemann, London: 1910. Deluxe first edition, limited to 1150 large paper copies, of which this is copy number 289, signed by Arthur Rackham. Large quarto. Beautifully illustrated with 34 mounted color plates on brown thick paper, each with a descriptive tissue guard along with numerous textual line drawings throughout. Original full white vellum lettered and decorated in gilt on front cover and spine. Top edge gilt. A very good copy with some rubbing to boards, a bit of foxing and lacking ties, otherwise, very clean with no previous owner's markings. Wagner's epic tale of dwarves, Gods and heroes allowed Rackham the chance to draw on the German art which inspired him so greatly and where he truly excelled. 
 [Attributes: First Edition; Signed Copy; Hard Cover]

B. Behr´s Verlag, Berlin und Leipzig o.J. (1910 - 1912). Used. Durch Zentral-Sumatra. Komplett mit 6 Teilen in 2 Büchern: 1. Buch ( in zwei Teilen): I. Teil: Reisebericht. Erlebnisse, Funde, geschichtliche Rückblicke. II. Teil: Die Ethnographie der Kuantan- und Kamparländer. // Buch 2 in 4 Teilen: I. Beitrag zur Anthropologie der Minangkabauer II. Die Heilkunde der Minangkabauer. III. Zoologica - Zoologische Liste von Prof. Max Weber in Amsterdam... IV.: Die ethnographische Sammlung. Am Schlusse die Indiees - Wort-Namen und Sachregister. // 28,5 cm x 21,5 cm. Zwei uniforme, braune Origianal-Leinenbände mit rotgeprägtem Deckel- und Rückentitel sowie roten Vorsatzpapieren. Buch 1: Titelblatt, XXXI Seiten. Vorwort, Zwischentitel zum ersten Teil, 851 Seiten mit 223 Abbildungen. Komplett mit XXII Tafeln, 3 Photogravüren, eine faksimilierte Bilderhandschrift und eine gefaltete Karte Central-Sumatra im Maßstab 1: 900.000. // Buch 2: 6 Bll., 610 Seiten mit 28 Textabbildungen und 14 Tabellen, 7 Bll. Sowie im Anhang XV Tafeln (so komplett). Bei beiden Bänden die Schnitte etwas braunfleckig, die Tafelränder und -rückseiten ebenfalls sowie in einigen Bereichen die Seitenränder. Im Band 1 sind einige Tafeln sowie die Karte leicht angerändert. Textbereiche, Bilder, Karten etc. sind sauber, die Bindungen fest. Insgesamt sauberes und richtig gut erhaltenes Exemplar. [Attributes: Hard Cover]

at the University Press, Cambridge, 1910. First edition of all three volumes of this monumental work. Complete sets of the first edition which, like ours, are not ex-library, are very rare on the market - only two such copies have sold at auction in the past 25 years. Probably named after Isaac Newton's great work, "Principia Mathematica was Whitehead and Russell's detailed account of their 'logicist' thesis that mathematics could be derived solely from logical concepts and by logical methods.[it] has had an influence, direct and indirect, of near Newtonian proportions upon the spheres of its chief influence: mathematical logic, set theory, the foundations of mathematics, linguistic analysis and analytical philosophy" (Grattan-Guinness, p. 89). "Whether they know it or not, all modern logicians are the heirs of Whitehead and Russell" (Palgrave, p. 20). "After the failure of Frege's Grundgesetze, due to Russell's paradox, it was the Principia Mathematica of Whitehead and Russell which first successfully developed mathematics within a logical framework" (ibid., p. 21). ?Landmark Writings in Western Mathematics 16; The Collection of the Garden Ltd. 219; Norman 1868. "Gottlob Frege had attempted to demonstrate logicism about arithmetic (though not geometry) in the period from 1879, when his first book, Begriffsschrift, was published, to 1903, when the second volume of his Grundgesetze der Arithmetik appeared. However, in 1902, as that second volume was in press, Russell had written to him informing him of the contradiction that he had discovered in Frege's system. Frege had att … [Click Below for Full Description]

Carbon Print mounted on card: (335 X 455 mm). Recently removed from an old frame and showing the signs of this on the back. Original Fine Art Society label on the back titled "Capt. Scott" and "No. 141". Also a duplicate of the same label that was removed from the original backing paper. A few light abrasions on the edges which were under the frame edge. A couple of small smudges towards the outer edges, otherwise in very nice, attractive condition. A wonderful example of Ponting's photographic talent, this iconic image shows Scott dressed in light winter dress with a balaclava on and holding a ski pole in his right hand. The image does not appear in Ponting's classic book The Great White South, but does show up with a variant of the image on p. 486 of Volume I of Scott's Last Expedition. The image was chosen as the cover image for the exhibition catalogue "With Captain Scott in the Antarctic".The image seems scarce in the market place and we can not find an example having sold at auction in the last 10 years. This format and size seems to be one of the largest sizes Ponting used for his prints.

Pairs, E.Leroux, 1910-1914. 2 vols. 32 pp. 263 plts & 9 figs. H.cloth, loose in portfol. Or covers present. Some foxing but a good set.

Madame Tussard's postcard of Shackleton in sledging gear incorrectly captioned as Arctic explorer Fine

Circa 1910. Signed and titled in pencil on the original mount (now concealed by the mat). Reproduced in BEER, Leslie: 'The Art of John Kauffmann' (1919), plate 2; NEWTON, Gael: 'John Kauffmann, Art Photographer' (NGA, 1996), page 9. Provenance: from the family of John Kauffmann, by descent (sold by Sotheby's Australia, 24 July 1988); private collection, Sydney. This item forms part of our current major retrospective exhibition of the works of John Kauffmann (1864-1942), the pioneering Australian photo-impressionist; the complete catalogue is on our website. [Attributes: Signed Copy]

Bristol, Geo. Gordon & Son, Printers, 19 Old King Street, Bristol, [1913], 1910. in which perished Capt. Robert Falcon Scott, R.N., C.V.O., F.R.G.S. Dr. Edward Adrian Wilson, B.A., M.B., F.Z.S. Capt. L.E.G. Oates, 6th Dragoons. Lieut. R.H. Bowers, Royal Indian Marine. Petty Officer Evans. Photographic portrait of Captain Scott pasted on front cover. FIRST EDITION [1913]. Thin 8vo, approximately 220 x 140 mm, 8½ x 5 ½ inches, map on title page and 8 photographic illustrations, 16 pages, last leaf adverts, original grey card wrappers with mounted photograph, pages stapled in and staples now rusty. Mounted photograph slightly wrinkled with tiny crease to lower corner, tiny spot to lower margin and some pale browning to advert leaf, otherwise a very good copy of an ephemeral item. See. Sydney A. Spence, Antarctic Miscellany, page 54, No. 429. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

Paris, Librairie Renouard - H. Laurens, Editeur, um 1910 Halbleinenmappe; montierte, farbige Deckelillustration, 2 textile Schliessen, lose Tafeln / Anz. Seiten: - / 27,5 x 36,5 cm / mit 30 Tafeln, teils in Farbe / Zustand: gut, leichte Gebrauchsspuren; Mappe gebräunt/lichtrandig und leicht fleckig, Tafeln vereinzelt gering stockfleckig Art nouveau - Jugendstil

1910. Very good condition. In this letter, Scott writes in great haste and some annoyance to an unidentified recipient about the inability to fulfill the recipients request to send photos of the motor sledge. It is likely to have been a request by the manufacturer of the motor sledge. Scott brought three of them for this push to the South Pole and they were a severe disappointment. One sank through thin ice at Cape Evans; the other two broke down from the horrible surfaces, from overheating and mechanical problems, only 6 and 8 days out. They were not judged a complete failure because they eased the ponies' work load. Scott himself did not depart until November 1st and would only have learned about the motors as he came upon them. This was a disastrous beginning to the Southern Journey, as the 'Motor Party' had now become the first man hauling team on the outward leg, and the ponies dragging sledge loads far in advance of predetermined plans. Scott & his party never returned.The letter is written in the present tense, which implies that it was written in the Antarctic. Scott would have had to have had the request for photographs before he left New Zealand the previous year. Perhaps Scott composed his reply letter and it departed with Pennell on the Terra Nova on 27 January 1911, but it's possible the letter was written later and/or held back at Cape Evans until the return of the ship the following year. [Our thanks to Michael Rosove for help in providing context for this letter.]He wrote: "Dear Sir I regret there are no photographs of the moto … [Click Below for Full Description]

London: Hodder and Stoughton, 1910. [18], 128pp, [4]. Original full morocco, gilt to spine and covers, t.e.g. Spine faded, chipped to spine ends with loss, corners bumped and rubbed, slightly rubbed generally, endpapers heavily browned, edges of text block browned, page forty-three with browning where an invitation has been laid in, otherwise internally quite bright and clean. With thirty tissue guarded tipped in illustrations by Dulac. Limited edition of one thousand copies, this being number six hundred and fifty-eight, signed by Dulac to limitation leaf. With an invitation card to a private view of an exhibition of the water-colour illustrations for this book loosely inserted. Signed by Illustrator. First Thus. Full Morocco. Good. Illus. by Dulac, Edmund. 4to. Limited De Luxe Edition.

Reilly & BRITTON Chicago(1910). HBDJ, 1910,Later Issue with titles through AUNT JANE'S NIECES ON VACATION ), NF+/VG, AS-IS, DJ with some light wear and Light FADE, and LIGHT FoX, DJ light Rub, , Wear Light Soil, Tiny Chips Extremities DJ, Crease Mark Spine DJ, Beautiful Beige Cloth wiTh Purple Lilacs & Pasted Beautiful Color Picture Inlay on DJ duplicated, Cover lettered in Blue on Spine,Lettered in Orange on DJ Spine light Soiling Sun, Interior Nice tight Clean light Rub, Wear FoX, 264 pgs + ADS in Back for , Flying Girls & Captain Becky Series ETC. Binding: Hard Cover. Jacket: Very Good

1910. Very good condition. In this letter, Scott writes in great haste and some annoyance to an unidentified recipient about the inability to fulfill the recipients request to send photos of the motor sledge. It is likely to have been a request by the manufacturer of the motor sledge. Scott brought three of them for this push to the South Pole and they were a severe disappointment. One sank through thin ice at Cape Evans; the other two broke down from the horrible surfaces, from overheating and mechanical problems, only 6 and 8 days out. They were not judged a complete failure because they eased the ponies' work load. Scott himself did not depart until November 1st and would only have learned about the motors as he came upon them. This was a disastrous beginning to the Southern Journey, as the 'Motor Party' had now become the first man hauling team on the outward leg, and the ponies dragging sledge loads far in advance of predetermined plans. Scott & his party never returned. The letter is written in the present tense, which implies that it was written in the Antarctic. Scott would have had to have had the request for photographs before he left New Zealand the previous year. Perhaps Scott composed his reply letter and it departed with Pennell on the Terra Nova on 27 January 1911, but it's possible the letter was written later and/or held back at Cape Evans until the return of the ship the following year. [Our thanks to Michael Rosove for help in providing context for this letter.]He wrote: "Dear Sir I regret there are no photographs of the motor sledge in m … [Click Below for Full Description]

TUNNELTON WEST VIRGINIA JOHNSON CITY TN: (1910). 16mo - over 5¾" - 6¾" tall. On offer is the simply sensational original 1910 manuscript diary and superb relic of early 20th century railroad Americana based out of Tunnelton West Virginia. Uniquely this diary is written by Railroad Engineer Errett M. Graham [b. June 8, 1877 - d. 1974] and his wife 'Lena'. From a Women's and or Gender Studies perspective this diary is impressive: Lena, a native of Irvington Indiana, is an equal and impressive partner in many ways: Errett writes of his specific railroad work, the politics, the concerns on a technical and political level and when his wife writes we get more of the same she never fails to use her husband's diary as he would detail his duties of the day, the effect of the politics on her husband and the railroad company. Of course she shares her life too but all with the backdrop of the railroad. Readers will begin to understand that the railroad is a blood and bone deep vocation and not just a job when we learn the Errett's brother Ernie is also a railroad man and he is tragically killed in Grafton West Virginia. This is truly a one of a kind journal with a one of a kind relationship in a husband and wife. Research and a more than casual reading find our 33 year old author, who was a graduate of the Massachusetts Institute of Technology in Boston, is ambitious and refuses to be pigeon-holed loading and repairing trains. He refers to his Johnson City based boss as 'His Lordship' and Graham's relief at his new job with more responsibilities is palpable. This diary is very full and … [Click Below for Full Description]

Heinemann, London, 1910. Two volumes complete - Volume I - Rhinegold, ix, [1], 159pp, [1], thirty-four colour illustrations tipped on to brown paper and Volume II - Siegfried, (published in 1911), ix, [1], 181pp, [3], thirty colour illustrations tipped on to brown paper. Original full vellum, gilt to spines and upper covers, t.e.g. Spine of Rhinegold slightly rubbed and faded, Siegfried lacks tie, some light spotting to covers, some off setting from brown paper to next text leaf, but generally quite bright and clean. Each illustration with titled tissue guard. Rhinegold is number two hundred and fifty-one of eleven hundred copies, Siegfried is number five hundred and eighty-eight, both signed by Rackham to limitation leaf. Both housed in a leather entry cloth slipcase Size: 4to [Attributes: First Edition; Signed Copy; Hard Cover]

Philadelphia: The Horn & Brannen Manufacturing Co, 1910. First edition. Hardcover. g to g+. Elephant folio. 12x15.5". [1] 1296-1354pp. [1]. Beige cloth boards with white lettering on the front cover and spine. Illustrated title page. This is trade catalog is #32 from the Philadelphia-based Horn & Brannen lighting company. The work is profusely illustrated throughout with finely-produced b/w photographic reproductions featuring electric lighting fixtures and chandeliers manufactured by the company. Each item is accompanied by a catalog number, a physical and technical description and price. Includes an index page at the back of the book. Binding with bumping and some rubbing to extremities. Covers with some light scratches, smudges and light soling along to the front cover. Interior with starting at the verso of the title page, 1308 and 1324. Binding in good, interior in good+ condition overall.

Monaco, 28. III, 1910. 8vo. 4 pp. With imprinted crown on the letterhead. To his friend the pianist and composer Caroline de Serres (1843-1913):BELLE LETTRE DE MONACO. Il est enchanté des nouvelles de son amie, notamment qu?elle ait joué « l?étrange Chanson napolitaine qui ressemble si peu à Funiculi-Funicula, et très-content que vous ayez entendu le Duo. Notre pauvre ami SARASATE m?avait promis de le jouer avec une harpiste de ses amis, avant de partir pour Biarritz d?où il n?est point revenu ! »... Il va déjeuner à Nice avec le Préfet et le Roi de Suède, et reviendra « bride abattue pour faire répéter mon ouverture [Ouverture de fête pour l?inauguration du Musée Océanographique de Monaco] (s?il est permis toutefois de parler de bride quand il s?agit d?automobile) ; et à partir de demain nous serons dans la période de fêtes qui dureront quatre jours ! [?] On a invité, pour la représentation de gala au théâtre de Monte Carlo, 200 personnes de plus que la salle n?en peut contenir ! » Puis il doit rentrer à Paris pour La Fille du Soleil à l?Opéra. Il a joué la veille « l?Impromptu de CHOPIN et je n?ai pas raté le petit trait de la fin ! Il raconte sa rencontre avec Louis DIEMER : « Je comprends qu?il veuille toujours jouer du piano ; il ne reprend vie que devant un clavier »... Saint-Saëns jouera à son amie « une marche de GLINKA, arrangée par LISZT, qui vous amusera. Je deviens un pianiste féroce, je ne pense plus qu?à faire des acrobaties. Il faut avouer que lorsqu?on en peut faire, c?est très amusant, et il faut bien s?amuser un peu ! Amusons nous donc, puisque nous le po … [Click Below for Full Description]

Wien, Lechner, o. J. (um 1910). 1 typograph. Titel und 48 auf Karton montierte Original-Fotografien. Schönes vom Verlag Rudolf Lechner (Wilhelm Müller) in Wien zusammengestelltes Album mit 48 Ansichten der Stadt Wien zu Beginn des 20. Jahrhunderts. Der Verlag Rudolf Lechner unter seinem Besitzer Wilhelm Müller war nicht nur der größte und bedeutendste Verleger von Fotografien zu Beginn des 20. Jahrhunderts in der Donaumonarchie sondern auch als Produzent von Photoapparaten (darunter die ersten photogrammetrischen Kameras in Österreich von Ing. Franz Hafferl) von überregionaler Bedeutung. Die Fa. Lechner hatte einen Bestand von mehr als zehntausenden Photos, die eine fast unbekannte Fundgrube von beachtlichem geschichtlichem und kulturellem Wert darstellten. Das vorliegende Album enthält eine Auswahl von 48 Detailansichten der Stadt Wien mit deutscher, französischer und englischer Beschriftung. Es ist anzunehmen, dass dieses Album für Touristen (Lechner hatte ein Ladenschäft Ecke Stephansplatz und Graben) zusammengestellt wurde. Die Fotografien im Format von ca. 19 cm x 26 cm zeigen eine schöne Auswahl zur städtebaulichen Situation Wiens zu Beginn des 20. Jahrhunderts. Die Ansichten zeigen u. a. Stephansdom, Kaiserin-Elisabeth-Denkmal, Karlsplatz, Rathaus, Parlament, Burgtheater, Staatsoper, Volkstheater, Operngasse, Neuer Markt, Kärntnerstrasse, Stephansplatz, Graben, Freyung, Hoher Markt, diverse Ansichten der Ringstrasse, Schwarzenbergplatz, Donaukanal, Praterstrasse, Kahlenberg usw. - Leicht fleckig und gebräunt. *** /// *** Copyright: Matthaeus Truppe - Stubenberggasse … [Click Below for Full Description]

c.1910. Original pen and ink drawing, signed by the artist. Originally bought from the Cyril Gerber art gallery in Glasgow with his label on the back of the frame. 187 X 132 mms. [Attributes: Signed Copy]

London: Hodder & Stoughton, [1910]. London: Hodder & Stoughton,, [1910]. From the old French. Quarto. Original brown crushed morocco, raised bands to spine, compartments lettered and tooled in gilt, elaborate gilt design to covers, top edge gilt, others untrimmed. Housed in the original white cloth-covered slipcase. Colour frontispiece and 29 colour plates with tissue guards. Spine just a touch faded, a little toning to free endpapers, otherwise a fine copy in the original slipcase. Deluxe signed limited edition, number 634 of 1,000 copies signed by the artist. This collection includes four classic French tales: Sleeping Beauty, Cinderella, Blue Beard, and Beauty and the Beast. This copy is housed in the original slipcase and has a four-page leaflet advertising similar works published by Hodder & Stoughton laid in.

Boston: Houghton Mifflin, 1910. No. 131 of a limited autograph edition. Quite fine and bright but for a small abrasion to the crown of volume I.. No. 131 of a limited autograph edition. Two volumes. Quarto, xxii, 249p; ix, [250]-531p. Illustrated throughout in the text and with full-page plates, many with mounted color plates. Printed on Japon vellum. Elegantly bound by Stikeman & Co. NY in full black crushed morocco, t.e.g., the spines with gilt titles and densely gilt panels with central onlays in sage, the covers with a series on double and triple fillet borders and an inner frame of ornate floral devices, the doblures also in black leather with a series of fillet and rolled borders featuring large corner pieces and an inner panel in sage morocco with rolled borders and corner pieces, blue watered silk flyleaves. Excellent bindings. Signed by Vedder.

Artist: Sal Terracina, Italian/American (1910 - 1995)Title: First StudioYear: 1935Medium: PhotographSize: 13 x 11 inches

Artist: Sal Terracina, Italian/American (1910 - 1995)Title: Untitled-2-Reilly'sMedium: PhotographSize: 11 x 14 inches