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Displayed below are some selected recent viaLibri matches for books published in 1912

        The Brothers Karamazov

      London: William Heinemann, 1912. First English language edition. Near Fine. One of the towering classics of Russian literature. First translated into English in the 20th century by Constance Garnett, as the first book in her series "The Novels of Fyodor Dostoevsky." Why this book wasn't published during the late 1880s with much of the rest of the Russian literary canon, we cannot say, but no copy is known to exist from that time-period. A quick search on Americana Exchange reveals a single copy of this London edition offered by Scribners in 1939. The American edition put out by Macmillan using British sheets and with a canceled title page, appears much more frequently than this Heinemann edition. A Near Fine copy of the book, without repair or work of any kind. Gilt dulled on the spine, a few white blemishes to the cloth and minor foxing on the end-papers, but feeling like it's never been read. We have yet to see another copy of this edition. With many so called "rare" books one of several listed online, this one truly deserves the designation. Near Fine.

      [Bookseller: Whitmore Rare Books]
 1.   Check availability:     Biblio     Link/Print  


        MAP OF THE ISLAND OF TRINIDAD on a Scale of 1:89,100 or 1.4 Miles to 1 inch. Originally Designed by Capt. Mallet R.E. Revised & Brought up to Date from the Latest Available Official and Private Surveys

      London: G.W. Bacon, 1912. Map. Very Good. Folding hand-colored map mounted on cloth, unfolded size is 61 In. X 52 In. (155 X 132 Cm), folded size is 5 In. X 9 In. (13 X 22 Cm) Amazing detail includes all named plantations & sub-divisions, roads and railroads, using 7 different colors. Condition is VERY GOOD; Very clean & flat, colors are very bright. Condition of slipcase is GOOD; Strip of cloth is torn from one side (repaired), label of London Cartographer Edward Stanford Ltd. on front of slipcase and at bottom of map.

      [Bookseller: Andre Strong Bookseller]
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        Du Cubisme

      Collection "Tous les Arts". Eugène Figuiere et Cie., Editeurs 1912 - Tapa completamente desprendida. Rotura en el lomo y tapas. WE SEND (free of charge) video demonstration of the conservation status of the book. ENVIAMOS (a solicitud y sin cargo) video de demostración del estado de conservación del ejemplar. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Eduardo Martínez Moreira]
 3.   Check availability:     IberLibro     Link/Print  


        Misti EDITION ORIGINALE Tirage de tête

      Paris: Paul Ollendorff, 1912. Fine. Paul Ollendorff, Paris s.d. (1912), 14x18,5cm, relié. - Edition partly original adorned with original artwork Ricardo Flores, one of 10 numbered copies on Japan, with 10 leading copy China. Bound in half navy morocco corners, spine lightly faded with five nerves, when golden tail, flat marbled, endpapers and contreplats of handmade paper, preserved covers, gilt-head witnesses, binding signed Devauchelle. Nice copy wide-margined pleasantly established. Provenance: from the library of Paul Ollendorff. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition en partie originale ornée d'illustrations originales de Ricardo Florès, un des 10 exemplaires numérotés sur Japon, tirage de tête avec 10 Chine. Reliure en demi maroquin marine à coins, dos légèrement passé à cinq nerfs, date dorée en queue, plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures conservées, tête dorée sur témoins, reliure signée de Devauchelle. Bel exemplaire à toutes marges agréablement établi. Provenance : bibliothèque de Paul Ollendorff.

      [Bookseller: Librairie Le Feu Follet]
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        Sky Island

      Chicago: The Reilly & Britton Co.,, 1912. Illustrated by John R. Neill. Octavo. Original red cloth, pictorial title panel to front cover, spine lettered and stamped in black, pictorial endpapers. 12 colour plates by John R . Neill. Light fraying to ends of spine, light rubbing to corners, spine lightly sunned, name rubbed on front blank. A very good copy. First edition, first printing, first state with all issue points as called for.

      [Bookseller: Peter Harrington]
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        Erzählende Schriften. Drei Bände.

      Berlin. S. Fischer 1912-1913.. 317; 386; 460 S., OLnBde. Einbände stellenw. fleckig u. abgegriffen.. Erste Ausgabe der ersten Sammelausgabe von Schnitzlers Prosaschriften.- Allen J1. Vortitelblatt des ersten Bandes handschr. signiert "Arthur Schnitzler / Altaussee, 19.8.1916".

      [Bookseller: Antiquariat Löcker]
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        Pitching in a Pinch or Baseball from the Inside

      Putnam's, New York, 1912. 1st Edition. Hardcover (Original Cloth). Good Condition. hinges cracked, reglued Spine a lettering a bit rubbed. Quantity Available: 1. Category: Sports & Pastimes; Baseball; Pictures of this item not already displayed here available upon request. Inventory No: 21756. .

      [Bookseller: ArchersBooks.com]
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        Aesop's Fables

      London: William Heinemann,, 1912. A New Translation by Vernon Jones. With an introduction by G. K. Chesterton. Quarto. Original white cloth, spine and front cover lettered and decorated in gilt, top edges gilt, untrimmed. Decorative title page, 13 tipped-in colour plates, 53 black and white illustrations in the text. Spine toned, covers lightly soiled, scattered foxing, limitation leaf browned (offsetting from recto of frontispiece). First Rackham edition and first edition of this translation, limited to 1,450 numbered copies signed by Arthur Rackham. "The peculiar secret of Rackham's success in seizing upon the essence of the human and portraying it in animal form, which is after all the basic device of the morality, is unwittingly touched upon in Chesterton's delightful introduction to the 1912 edition of Aesop's Fables: 'There can be no good fable with human beings in it. There can be no good fairy tale without them.' Rackham's genius is such that it bridges the two, and carries the didactic fable into the realm of fairy story, and lends to the imaginative world of fairies a tangible and convincing reality" (Fred Gettings, Arthur Rackham, 1976, pp. 83-84).

      [Bookseller: Peter Harrington]
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        L'âme de Napoléon EDITION ORIGINALE Grand papier ENVOI AUTOGRAPHE

      Paris: Mercure de France, 1912. Fine. Mercure de France, Paris 1912, 12x19cm, broché. - First Edition, one of the first numbered copies to the press show, he was fired as 3 Japan and Holland paper in 27 leading copies. Autograph signed by the author to a close friend "... this book a poor old to enlarge their hearts." A small spot without gravity head of the first flat, fine copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires de première émission numérotés à la presse, il n'a été tiré que 3 Japon et 27 Hollande en grands papiers. Envoi autographe signé de Léon Bloy à une proche amie "...ce livre d'un vieux pauvre pour agrandir les coeurs." Une petite tache sans gravité en tête du premier plat, bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        Neue Kunde von Liliencron. Des Dichters Briefe an seinen ersten Verleger herausgegeben von Heinrich Spiero. ( Widmungsexemplar des Verfassers an Rosa Schapire sowie deren Bibliotheksmarke ).

      Xenien, Leipzig 1912 - 188 Seiten, 2 n.n. Blätter. Mit einem montierten Porträtfrontispiz Liliencrons, goldgeprägter Original-Pergamentband mit Kopfgoldschnitt, 8° ( 19,5 x 13 cm ). Auf dem Innendeckel vorn mit der Bibliotheksmarke Rosa Schapires, auf dem vorderen Vorsatz mit handschriftlicher Widmung des Verfasser: " Rosa Schapire am 24. Dezember 1911 - mit freundlichen Grüßen, Olga und Heinrich Spiero ". Einband etwas fleckig und berieben, innen einige wenige Anstriche in Bleistift ( wahrscheinlich durch Rosa Schapire ). - sehr selten - ( Gewicht 400 Gramm ) ( Pic erhältlich // webimage available )

      [Bookseller: Antiquariat Friederichsen]
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        Animal Portraiture. Being fifty studies by Wilhelm Kuhnert. Accompanied by a Series of original Articles by R. Lydekker, F.R.S

      Folio. London: Frederick Warne, 1912. Folio, vii, 105 pp. With title page drawing and 50 mounted full color plates with slight foxing in some borders. Original cloth very slightly worn but quite good for a book this size and weight. First edition. ?A splendid assemblage of Kuhnert's superb paintings. The plates measure 5- 1/2 x 8-1/2 in.; each is mounted on a recessed card mat, with tissue guard, and each is accompanied by a brief article on the species depicted. Subjects include both birds and animals, and range from bison to hamsters, including a number of less-than-familiar subjects: capercaillie, Abyssinian green monkey, mouflon, spiny ant-eater, and auk. Each creature is placed in a naturalistic setting, and painted with meticulous care.? (James Cummins)

      [Bookseller: John Windle Antiquarian Bookseller]
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        Lot de 11 lettres manuscrites (Archives)

      Paris - Lot de onze lettres manuscrites signées de Nicolas Schöffer(1912-1992), écrites dans les années '70, où il évoque des projets en cours (SCAM, Kyldex, etc). Avec : une photographie noir et blanc, une lettre signée d'un responsable de la Tour CN de Toronto, une carte postale. [Attributes: Soft Cover]

      [Bookseller: Librairie Bonheur d'occasion (LILA/ILAB)]
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        The Tudor Facsimile Texts. Everyman. Under the Supervision and Editorshop of John S. Farmer. THE EVERYMAN MSS

      Tudor Facsimile Texts 1912 Roy, 8vo., First Edition, on laid paper, with many fine full - page facsimiles in collotype throughout, mounted section titles, interleaved with blanks, free endpapers browned, some light spotting to title and interleaves (not facsimiles), neat ownership inscription on front free endpaper; green cloth, ivory buckram back with printed paper label, uncut, a very good, bright copy. Splendid facsimiles of the two versions in the BM: the complete Scott - printed copy (Huth 32) and (2) the fragment of an edition printed by Pynson (C21. c17). John Alexander (Dept. of MSS), in comparing this facsimile with the original copies, reports that 'it is admirably reproduced, especially in the case of the Pynson fragment which is practically faultless'. EXTREMELY SCARCE.

      [Bookseller: Island Books]
 13.   Check availability:     maremagnum.com     Link/Print  


        F. S. Harmon & Company Furniture

      Seattle.: F. S. Harmon & Co.. 1912-1913.. Lavishly illustrated catalogue of furniture and other domestic items bound in green cloth boards, 15 x 9.75 inches, secured with two large screw posts. Diagonal 2.5 inch loss of cloth on upper right corner of front cover, corners bumped, wear to extremities which is mostly light but with cloth worn through at lower corner of back cover. The cover page of the first section is loose and has been creased and repaired on the front with tape ("Supplement. September 1912"), the last page (featuring Bissell carpet sweepers and Fireless Cookers) is lightly creased with short edge tears. (Various interior pages are dated Fall 1911 and April 1913.) The volume contains over 600 illustrated pages in color and black and white. Contents (apart from first and last pages) are in very good condition, with very occasional short marginal tears. An uncommon furniture catalogue from a Pacific Northwest manufacturer. Contents divided by seven labeled tabs, most of which have tape repairs; each section is individually numbered (one section lacks pagination.) The tabs identify a particular line of goods: "Chairs, Rockers, Upholstered Furniture"; "Porch Furniture, Go-Carts, Refrigerators"; "Ex. Tables, Buffets, China Closets"; "Standard Library Tables, Book Cases"; "Office and Hall Furniture, Mirrors"; "Lace Curtains, Rugs, Linoleum, Drapery Sundries." A number of pictured items are stamped "discontinued." Pages for rugs and linoleum are particularly attractive (see illustrations). An impressive catalogue, presumably quite scarce, picturing domestic furniture, hardware, floor coverings, prams, lawn and porch furniture, refrigerators etc. from the early twentieth century. .

      [Bookseller: oldimprints.com]
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        Collection of Autograph Letters, signed, to Thomas Seccombe, on the subject of George Gissing

      London, 1912. Comprising: 10 autograph letters, 2 leaves noted by Roberts, and 2 copies of George Gissing letters (in another hand). 8vo and smaller. Swinnerton letters toned, others generally fine. Comprising: 10 autograph letters, 2 leaves noted by Roberts, and 2 copies of George Gissing letters (in another hand). 8vo and smaller. Fascinating group of correspondence on George Gissing, addressed to Thomas Seccombe (1866-1923), who wrote an introduction to The House of Cobwebs (1906) and the Dictionary of National Biography article on Gissing, and had been for many years a literary advisor for the firm of Constable, where he recommended publication of The Private Papers of Henry Ryecroft. The letters are transcribed in the issues of the Gissing Newsletter. The George Gissing letters (see no. 7) are known only from these copies.1) LEE, Sidney. A.L.s ("S. Lee"), 30 May 1906, on Athenaeum letterhead, "Dear Seccombe, I have been reading Geo Gissing with increasing admiration. You have really converted me to belief in him." 2) ROBERTS, Morley. Holograph notes on Gissing and his publications, with reference to an article in Nineteenth Century, Sept. 1906, George Gissing by Austin Harrison; and a summary of Roberts' article in Literature (20 July, 1901).3) A.W. WARD (1837-1924), professor of History and English at Owens College, then Principal; later vice chancellor of Victoria University, Manchester; and, from 1900, Master of Peterhouse. He conceived of the Cambridge History of English Literature and was a co-editor. It was during Ward's tenure as Principal of Owens in 1876 that Gissing was caught stealing and expelled. Gissing was prosecuted and imprisoned. A.L.s.Seccombe, June 19, [1912?] "I return the Gissing article with many thanks. Part of it is all new to me; my only anxiety was that there should be nothing inaccurate about his Manchester life and troubles. 'Serious trouble' is sufficient on this head. You have no idea (and you must not suppose for a moment that I am speaking of myself, for I am not) how much kindness was shown to him after the collapse, and it might pain some survivors that an impression should remain that he was treated as a pariah."4) GISSING, Ellen (G.G.'s sister). 2 A.L.s., 7 & 19 June 1912, giving family details, supressing others: "I should certainly make no reference to 'Madame Gissing'. I think it cannot be in any way necessary." 5) GISSING, Algernon (G.G.'s brother). 3 A.L.s., 14 & 18 & 24 June 1912, concerning proofs of the D.N.B. article and factual corrections.6) SWINNERTON, Frank. 3 A.L.s., 21 & 26 June & 18 August 1912, concerning Swinnerton's critical volume on Gissing for Martin Secker (published 1912), Seccombe's D.N.B. article, and thanks for the loan of the original manuscript of it.7) GISSING, George. Copies (in different hands) of 2 A.L.s. to James Payn, editor of the Cornhill and reader for of Smith, Elder: 25 Nov. 1887, "The phrase is an affected one ? I was given to such things just at that time"; 7 Aug. 1891, about the sale of the copyright of Godwin Peak (later published as Born in Exile) and also discussing the financial failure of New Grub Street. Gissing Newsletter 13:4 (Oct. 1977) & 14:1 (Jan. 1978)

      [Bookseller: James Cummins Bookseller ]
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        Selected Passages. Chosen by Charlotte F. Shaw.

      London: Constable and Company Ltd, 1912 - Octavo. Original brown cloth, titles to spine and front board gilt, brown endpapers, top edge gilt, others untrimmed. Housed in a modern green cloth solander box. Extremities faintly rubbed, initial blank recto tanned; 1933 photograph with tiny nick to one corner. A bright copy in excellent condition. Photo-engraved frontispiece of Auguste Rodin's bust of the author (from a photograph by Shaw). First edition, first impression. Presentation copy to the author's friend,Sydney Cockerell, signed by Shaw and inscribed by Charlotte Shaw on the half-title: "To Sydney Carlyle Cockerell from Charlotte F. Shaw". another inscription, with indistinct signature and dated "5th Nov. 1913" reads: "I witness these signatures - on this most pleasant evening". Sir Sydney Carlisle Cockerell (1867–1962) was the director of the Fitzwilliam Museum from 1908 to 1937. Cockerell's innovative style as director left a lasting legacy on museology, his skillful use of light and space being quite revolutionary. In the late 1890s Cockerell had worked as William Morris's de facto personal secretary and was named by Morris as his literary executor. His brother was the bookbinder Douglas Cockerell, who also famously worked with Morris. Shaw and Cockerell appear as two of the three characters in Dame Felicitas Corrigan's The Nun, The Infidel, and the Superman. Laid in are two original photographs of Shaw at the Fitzwilliam Museum, taken in 1933 and 1935 and inscribed by Cockerell on the reverse. One of the photographs shows Shaw in front of the famous portrait which Augustus John painted in 1915 as part of a series and which Shaw bequeathed the museum. Also loosely inserted are Charlotte Shaw's compliments card and three newspaper clippings. A fine association. Laurence A118. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        The Comedies, Histories, Tragedies, And Poems of William Shakespeare, With Memoir, Introduction And Notes By Richard Grant White

      Boston: Little, Brown & Co, 1912. Limited edition, 1/1000 sets, an out of series set;. Hardcover. A few spine heads lightly faded, else very good.. Eighteen volumes, complete; Octavo; three quarter brown morocco and marbled boards, patterned endpapers, spines lettered in gilt, top edges gilt; Illustrated;. A handsome set.

      [Bookseller: Austin's Antiquarian Books]
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        ALBUM OF 185 VERNACULAR PHOTOGRAPHS TAKEN BY A YOUNG JAPANESE GENTLEMAN IN NEW HAMPSHIRE, MASSACHUSETTS, AND MAINLY IN JAPAN, 1912-1913

      1912. Original photograph album. Very Good. This album contains 185 photographs tipped to 102 pages of heavy black stock, captioned and dated in white ink. Leaf size is 7" x 10"; the average photograph size is 4" x 3.25". The spine of the album was deteriorated, so the covers have been removed and placed into clear sleeves as have all the leaves, now housed in a three-ring binder. Roughly the first third of the book is devoted to photographs taken in New England; the middle third contains photographs taken on a quick tour of Europe; and the final third comprises pictures taken in Asia-a few in South Manchuria and Korea and the rest in Japan, mostly near Kochi on Shikoku, many including the photographer's family members. In New England, we see a few pictures taken in "Pepple", New Hampshire as well as in Massachusetts: Boston Public Gardens; Lexington patriotic parade; Nantucket; Jamaica Pond; Gloucester; and Lincoln. While he is in New England, the photographer has many Japanese visitors including: Mr. Shirae (pp.1 & 9); Miss Iku Saegusa, (p.4); "Mr. Tsuboi of Tokyo" (p. 4); "Mr. K. Inouye of Osaka Public Library" and "Mr. Mori" (p. 7,), both seen on the beach at Nantucket, and the latter, Mr. Mori, reappearing on pp. 19 and 20 (with a Mr. Hisada) and later, in Japan on p. 92; and "Mr. Nashima on 'S.S. Franconia', Boston" (p. 26). All are wearing Western dress. His friends/hosts(?) are American. Of particular interest in this New England section of the album are photographs of "Our Magnolia Store". Magnolia is a small village in Gloucester, MA, and on p. 19, there is a photo of "Mr. Mori and I / Our Magnolia Store 'to be'/ May 26, 1912," showing the two men in front of an empty storefront,. A photo on page 20 (same date) shows "Magnolia Store Just Built,/Mr. Mori [and] Mr. Hisada" [a clue to the photographer's name?], depicting the same imposing, Spanish-style building, with its large arched windows. Page 22 offers a shot of the photographer himself "in the Magnolia Store" (Sept. 13, 1912), where various household decorative items are displayed: lamps, dishware, etc. On p. 31, we see "Miss Brackett, sales manager of our Magnolia store, Sept. 13, 1912". Other photographs show New York's Penn Station, Central Park, SS Saxonia, &c. ~~ The European part of this album begins on p. 37 with the title " In England 1913" and including 10 pages of photographs of tourist destinations in London and environs, two of which (at Hampton Court) include a "Mr. Shimizu". On p. 44, the label is "In France 1913" (8 pages of sights, mostly in Paris and Versailles). Next comes "In Brussels, Belgium, 1913" (4 pages) followed by "In Berlin, Germany, 1913" (3 pages). ~~ The Asian portion of the journey starts on p. 60 in "South Manchuria, 1913", and these 2 ½ pages include photos of "Friends on Trans-Siberian Train, Tetsurei, Manchuria, Feb. 28 1913" (eight men, mostly Asian) and a photograph taken in Korea "Soul [sic] Keijyo, Korea (Nandaiman)": a street scene. By page 63, the photographer is "In Japan, 1913", where he remains for the rest of the album. He opens with a shot of "the staff of Yamanakas/ Main House/Osaka, March 26, 1913" (6 men and a young boy, most in kimonos, plus himself). Two photos in Kyoto follow (same date), and a scene of many people crossing a bridge, labeled "Yoshino River, Yamato, April 19, 1913". Many of the remaining photographs were taken in and around Kochi, including Tosa, Nahari, Kagami-gawa, and the beach at Katsurahama. In these pictures, Japanese relatives are in traditional dress. An early photo on p. 66 is labeled "Ah! My sister! Ushi-o-ye, near Kochi, March 29, 1913" and shows a tombstone. This is accompanied by a second photo showing a Japanese couple with a boy (his nephew Sho-chan?) labeled "Memory of our visit to the sister's grave, Ushioye". Other photos depict "father, Sister and Shigeki" (p. 78), "Father and Mother...under the pine tree" (p. 81), "Father, Mother, Sister and Shigeki" (p. 82), "Sisters" ( p. 68), showing two girls, "Shidzu-ka (a toddler) (p. 83, 100, etc.), the "Shikamoros" (woman holding baby, with young girl), "Yoshi-chan's friends" showing Mrs. Shikamoro (?) and two children + a young man in uniform (p. 84), "My three brothers" (p. 88), "Kinji Brother" (p. 90), "Dear Kinji, Yoshi-chan [a brother], and Sho-chan" (nephew, son of Kinji?) (p. 93), etc. Removed were photos of "Uncle" Machida and "Aunt" (p. 76). There are also photographs of family friends (e.g.,"Mrs. Miyaji and her daughter and son"), and business associates including "Mr. Kaneda of Y & Co." (p. 79) and "Mr. Yokabe and Mr. Ida of Y & Co." (p. 80). The family is seen at the beach, on picnics, at a "goodbye party" for someone, at various shrines and parks, etc. These photographs of Japanese also include a few featuring "Dr. H. Packard of Boston" (pp. 92 and 97). The final group of photographs were taken at Mt. Yoshino, Hiyoshi Shrine in Shiga, Mt. Hiei in Shiga, Wakanoura in Wakayame prefecture, Hamadera Beach, Tennoji, Mino Park, Maikono-hama Beach and Tannowa, all in the Osaka area, and many feature his various family members.

      [Bookseller: R & A Petrilla, ABAA, IOBA]
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        DIE RHEINISCHEN GLASMALEREIEN - ERSTER / ZWEITER BAND

      . Deutsch. Z 2-; gesamthaft gut bis ordentlich erhalten.. Oidtmann, Heinrich: Die rheinischen Glasmalereien vom 12. bis zum 16. Jahrhundert. Mit (zus.) 60 (davon 6 farb.) Tafeln und 637 Abbildungen im Text. Düsseldorf, Schwann 1912 / 1929. Erster (und Zweiter) Band. OHalb- bzw. OLeinenband, 4°. XXIII, 251; XXI, 253-492 S., Abb. (=Preis-Schriften der Mevissen-Stiftung, III) - Band I auf wenigen Bll. leicht gelbfleckig, Einbandkanten leicht bestoßen, eine Einbandkante leicht lichtrandig, sonst gut erhalten / Band II: Ex-libris, kleiner, eingeklebter Katalogausschnitt z. Erwerb d. Buches, leichte Gebrauchsspuren, gut erhalten ++ Der 2. Bd fortges. und hrsg. von H. Oidtmann (jun.). Koß/Löhr I.73: 'Standardwerk von kunsthistorischer Bedeutung'.

      [Bookseller: vorZeiten-Versandantiquariat (Inh. Dr. H]
 19.   Check availability:     ZVAB     Link/Print  


        De Re Metallica

      The Mining Magazine, London 1912 - INSCRIBED BY HERBERT HOOVER on the front free endpaper. A very solid copy to boot of the 1912 1st thus of this seminal text in Metallurgy, translated from the first Latin edition of 1556 by Herbert Clark Hoover and Lou Henry Hoover, husband-and-wife engineers who had met years earlier at Stanford. Tight and VG in its full vellum, with inevitable light soiling at the panels. Thick folio, deckled fore and bottom edges. "With Biographical Introduction, Annotations and Appendices upon the Development of Mining Methods, Metallurgical Processes, Geology, Mineralogy & Mining Law from the Earliest Times to the 16th Century" (from the title page).

      [Bookseller: APPLEDORE BOOKS, ABAA]
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        La vie intérieure. Poémes (1909-1912)

      Paris: Éditions du Beffroi. Première Édition, 1912. Très bon état. Texte très propre. / Extremely scarce publication.. Paris, Éditions du Beffroi, 1912. 19 x 13 cm. 157 pages. Broché / Softcover. Première Édition, 1912. Très bon état. Texte très propre. / Extremely scarce publication. Contient entre autre : Je vais partir ,De la tristesse ,Mon pauvre ami lointain ,Toi qui nes plus ,O rumeur. René Maran (Fort-de-France, Martinique, 8 November 1887 - 9 May 1960) was a French Guyanese poet and novelist, and the first black writer to win the French Prix Goncourt (in 1921). Born on the boat carrying his parents to Fort-de-France where he lived till the age of seven. After that he went to Gabon, where his father Héménéglide Maran was in the colonial service. After attending boarding school in Bordeaux, France, he joined the French Colonial service in French Equatorial Africa. It was his experience there that was the basis for many of his novels, including Batouala: A True Black Novel, which won the Prix Goncourt. Jean-Paul Sartre alluded to Maran in his preface to Frantz Fanon's The Wretched of the Earth, mocking the French establishment's complacent self-congratulation that they had "on one occasion given the Prix Goncourt to a Negro".

      [Bookseller: The Time Traveller's Bookshop]
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        La vie interieure. Poemes (1909-1912).

      Paris, Editions du Beffroi, 1912.. 19 x 13 cm. 157 pages. Broche / Softcover. Premiere Edition, 1912. Tres bon etat. Texte tres propre. / Extremely scarce publication.. Contient entre autre : Je vais partir ,De la tristesse ,Mon pauvre ami lointain ,Toi qui nes plus ,O rumeur. Rene Maran (Fort-de-France, Martinique, 8 November 1887 - 9 May 1960) was a French Guyanese poet and novelist, and the first black writer to win the French Prix Goncourt (in 1921). Born on the boat carrying his parents to Fort-de-France where he lived till the age of seven. After that he went to Gabon, where his father Hemeneglide Maran was in the colonial service. After attending boarding school in Bordeaux, France, he joined the French Colonial service in French Equatorial Africa. It was his experience there that was the basis for many of his novels, including Batouala: A True Black Novel, which won the Prix Goncourt. Jean-Paul Sartre alluded to Maran in his preface to Frantz Fanon's The Wretched of the Earth, mocking the French establishment's complacent self-congratulation that they had "on one occasion given the Prix Goncourt to a Negro".

      [Bookseller: The Time Traveller's Bookshop Ltd.]
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        Die Biene Maja und Ihre Abenteuer

      Schuster und Loeffler-Verlag 1912.. 177 gebundene Ausgabe. Erstausgabe, Leineneinband mit floralem Muster, Schuster und Loeffler-Verlag 1912, 177 Seiten, Altdeutsche Schrift, Vorne im Buch Widmung v. 1912, Papier innen kaum nachgedunkelt - stellenweise aber etwas gebrauchsfleckig, überwiegend sauber, Kopfschnitt stockfleckig, Buchschnitt insgesamt nachgedunkelt und fleckig mit weiteren Gebrauchsspuren, Verbindung zw. Buchdeckel und Buchblock leicht wackelig, Ecken/Kanten etwas berieben/bestoßen, Buchrücken berieben und aufgehellt sowie am Gelenk leicht angeplatzt, Ansonsten ist der Einband aussen in fast durchgehend sauberem und gutem Zustand (intern: 25B/rötlich+gelb/Altdeutsch-3)

      [Bookseller: Lydia und Hubert Lohmaier GbR]
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        Die Biene Maja und ihre Abenteuer

      Deutsche Verlags Anstalt. 1912 Stuttgart. 18 cm. 186 p. Encuadernación en tapa dura de editorial ilustrada. Die biene Maja. Idioma: alemán . Cubierta deslucida. (=318257=) Ver imagen

      [Bookseller: Libreria Alcaná]
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        Eugène Lami : 1800-1890.

      1912 - grand in-4 br., 206 p60 planches, tiré à 500 exemplaires numérotés sur vélin de Rives. [Attributes: Soft Cover]

      [Bookseller: Chapitre livres et presse ancienne]
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        La Normandie : projet de carton pour la tapisserie de la manufacture des Go EDITION ORIGINALE ENVOI AUTOGRAPHE

      Encre sur papier, 1912. Fine. Encre sur papier 1912-1913, 17,5 x 11,5 cm. - Original pen and ink drawing, and sketch in ink on the back. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the workshop at the back. Louis Anquetin, through his friendship with the art critic Gustave Geoffroy who was appointed director of the National Manufactures, received three orders for cartons Gobelins, the "Burgundy" in 1911, a carpet "Swans" and in 1912 " Normandy "tapestry. Very nice condition. Provenance: the artist's studio, referenced to catalog Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, Étrépagny born in 1861 and died in Paris in 1932, is an important French painter. He began his career with avant-garde artists such as Vincent van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he is the inventor of Cloisonnisme. From 1884 to 1893, Louis Anquetin continues to explore new opportunities introduced by the release of Impressionism in French painting. From 1893, after a long confrontation with the "old masters", he adopts a bias pictorial that will line the general art movement, and take away from his friends. Dazzled by the baroque art and its creative force, so he thinks his childhood friends were involved in a pathway leading to the death of painting. He believes in a "perfect painting" which is embodied in the re-remember the lessons of Michelangelo and Rubens among others. His work becomes more conventional, he advocated a return to business by offering to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practiced by the masters the sixteenth and seventeenth century. Leaving only a few works that can be described as monumental, Anquetin turns prolific with its many studies and sketches, who considered that the design was "a very powerful means of expression" compulsory foundation of all arts plastics. Working voluntarily countdown of his time, Louis Anquetin made possible the existence of an original modern figuration. By his obstinacy and his passion for painting, he has indeed prevented is completely closed the way to the great Western tradition. You can admire his works in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris, San Francisco and Detroit, the Hermitage Museum in St. Petersburg, the National Gallery and the Tate London, etc.. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Dessin original à l'encre, et esquisse à l'encre au verso. Signature du cachet de la signature de l'artiste dans l'angle inférieur droit de l'œuvre, et signature du cachet de l'atelier au verso. Louis Anquetin, grâce à son amitié avec le critique d'art Gustave Geoffroy qui fut nommé administrateur des Manufactures Nationales, obtint trois commandes de cartons pour les Gobelins, la "Bourgogne" en 1911, un tapis "Les cygnes", et en 1912 "La Normandie", tapisserie. Très bel état de conservation. Provenance : atelier de l'artiste, référencée au catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, né à Étrépagny en 1861 et mort à Paris en 1932, est un important peintre français. Il commence sa carrière aux côtés de peintres d'avant-garde tels que Vincent Van Gogh ou Henri de Toulouse-Lautrec. Avec Émile Bernard, il est l'inventeur du Cloisonnisme. De 1884 à 1893, Louis Anquetin ne cesse d'explorer les possibilités nouvelles offertes par la libération introduite par l'Impressionnisme dans la peinture française. A partir de 1893, à la suite d'une longue confrontation avec les « maîtres d'autrefois », il adopte un parti-pris pictural qui le mettra en marge du mouvement général de l'art, et l'éloignera de ses amis. Ébloui par l'art baroque et sa vigueur créatrice, il pense alors que ses amis de jeunesse se sont engagées dans une voie qui mènera à la mort de la peinture. Il croit en une « peinture parfaite » qui s'incarne dans le re-souvenir des leçons de Michel-Ange et de Rubens notamment. Son travail devient donc plus classique, il prône le retour au métier, en proposant de réfléchir sur les conditions a priori de toute forme d'art possible dans le respect des règles de la perspective et de l'anatomie, telles que pratiquées par les maîtres du XVIème et XVIIème siècle. Ne laissant que quelques œuvres que l'on peut qualifier de monumentales, Anquetin s'avère prolifique par ses nombreuses études et esquisses, lui qui considérait que le dessin était « un moyen d'expression tout puissant », le fondement obligatoire de tous les arts plastiques. En travaillant volontairement à rebours de son époque, Louis Anquetin a rendu possible l'existence d'une figuration moderne originale. Par son obstination et sa passion de la peinture, il a en effet évité que ne soit totalement obturé le chemin de la grande tradition occidentale. On peut admirer ses œuvres dans de nombreux et prestigieux musées comme le Musée d'Orsay ou Le Louvre à Paris, à San Francisco ou à Detroit, au Musée de l'Hermitage de Saint-Petersbourg, à la National Gallery et à la Tate de Londres, etc.

      [Bookseller: Librairie Le Feu Follet]
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        Blick auf Klosterneuburg im Frühling. Wandtafelwerk Blatt 30 bezeichnet "Frühling".

      Wien, Staatsdruckerei, um 1912.. Bildausschnitt ca. 66 x 88 cm.. Prachtvolle Ansicht von einer Anhöhe auf Stift und Stadt Kolsterneuburg, rechts im Hintergrund jenseits der Donau der Bisamberg.- "Gustav Jahn. Akademischer Maler, Grafiker und Alpinist, geboren am 17. Mai 1879 in Wien - Wieden, abgestürzt am 17. August 1919 (im 41. Lebensjahr) an der Ödsteinkante im Gesäuse der Ennstaler Alpen (Stmk.) ... besuchte bereits im Alter von 15 Jahren, ab 1895, die Malschule von Adolf Kaufmann. Ein Jahr später, mit Vollendung des 16. Lebensjahres, wurde er, obwohl noch nicht 18 Jahre alt (also unter dem vorgeschriebenen Alter), wegen seiner vielverheißenden Begabung in die Wiener Akademie der bildenden Künste (Kunstakademie Wien bzw. K.K. Akademie der bildenden Künste in Wien) aufgenommen. Er absolvierte dort in den Spezialklassen der Professoren August Eisenmenger und Alois Delug bis 1899 alle Jahrgänge mit Auszeichnung und zeigte schon bei den Schulausstellungen sein hervorragendes Talent, das alljährlich durch Preisverleihung und lobende Erwähnung anerkannt wurde. 1899 verließ er mit dem Abgangszeugnis die Akademie und genoß von 1900 bis 1904 die Spezialschule Prof. Franz Rumpler (unter den Professoren Julius Berger und Kasimir Pochwalski). Sein Spezialgebiet wurden Hochgebirgslandschaften und Genrebilder aus den Bergen. Seine Werke wurden auch als Drucke, Schulwandtafeln und Plakate vermarktet, wobei seine Plakatserie mit Alpenansichten im Auftrag der Staatsbahnen besondere Anerkennung fand. Für sein künstlerisches Werk und seine unglaublichen Fähigkeiten erhielt er während seiner Studienzeit zahlreiche Preise (u. a. 1898 den Lampipreis, 1899 Gundelpreis, 1901 Spezialschulpreis, 1904 Rosenbaum- und den Rompreis mit dem Kenyonstipendium) sowie mehrere Anerkennungspreise bei großen Ausstellungen, u.a. auch das Diplom der bronzenen Medaille für Kunst, bei der Louisiana Purchase Exposition - Worlds Fair 1904 St.Louis (Weltausstellung 1904)" (www.gustav-jahn.at).- Ränder etw. knittrig, außerhalb der Darstellung tls. etw. gebräunt und braunfleckig. Verso etw. angestaubt und kleine Einrisse hinterlegt.

      [Bookseller: Antiquariat Meindl & Sulzmann OG]
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        Calcul des Probabilités

      Paris: Gauthier-Villars, 1912. First edition of Bachelier’s first book. Quarto, bound in contemporary half cloth with the original wrappers and spine strip pasted to the boards. Bachelier considered this work as the first to surpass Laplace’s great treatise Théorie Analytique des Probabilités. Housed in a custom half morocco clamshell box. Rare. Louis Bachelier was a French mathematician credited with being the first person to model the stochastic process now called Brownian motion, which was part of his PhD thesis The Theory of Speculation. His thesis, which discussed the use of Brownian motion to evaluate stock options, is historically the first paper to use advanced mathematics in the study of finance. Thus, Bachelier is considered a pioneer in the study of financial mathematics and stochastic processes. His systematic use of the concept of continuity in probabilistic modeling was, he felt, his major contribution to science. He ?de?fined Brownian motion ?predating Einstein by fi?ve years and discussed the use of Brownian motion to evaluate stock options. Historically, he was the first person to use advanced mathematics in the study of finance and is considered a pioneer in the study of financial mathematics.

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        The Tudor Facsimile Texts. Everyman. Under the Supervision and Editorshop of John S. Farmer. THE EVERYMAN MSS

      Tudor Facsimile Texts,, 1912. Roy, 8vo., First Edition, on laid paper, with many fine full-page facsimiles in collotype throughout, mounted section titles, interleaved with blanks, free endpapers browned, some light spotting to title and interleaves (not facsimiles), neat ownership inscription on front free endpaper; green cloth, ivory buckram back with printed paper label, uncut, a very good, bright copy. Splendid facsimiles of the two versions in the BM: the complete Scott-printed copy (Huth 32) and (2) the fragment of an edition printed by Pynson (C21. c17). John Alexander (Dept. of MSS), in comparing this facsimile with the original copies, reports that 'it is admirably reproduced, especially in the case of the Pynson fragment which is practically faultless'. EXTREMELY SCARCE.

      [Bookseller: Island Books [formerly of Devon]]
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        Collection of Autograph Letters, signed, to Thomas Seccombe, on the subject of George Gissing

      London, 1912. Comprising: 10 autograph letters, 2 leaves noted by Roberts, and 2 copies of George Gissing letters (in another hand). 8vo and smaller. Swinnerton letters toned, others generally fine. Comprising: 10 autograph letters, 2 leaves noted by Roberts, and 2 copies of George Gissing letters (in another hand). 8vo and smaller. Fascinating group of correspondence on George Gissing, addressed to Thomas Seccombe (1866-1923), who wrote an introduction to The House of Cobwebs (1906) and the Dictionary of National Biography article on Gissing, and had been for many years a literary advisor for the firm of Constable, where he recommended publication of The Private Papers of Henry Ryecroft. The letters are transcribed in the issues of the Gissing Newsletter. The George Gissing letters (see no. 7) are known only from these copies. 1) LEE, Sidney. A.L.s ("S. Lee"), 30 May 1906, on Athenaeum letterhead, "Dear Seccombe, I have been reading Geo Gissing with increasing admiration. You have really converted me to belief in him." 2) ROBERTS, Morley. Holograph notes on Gissing and his publications, with reference to an article in Nineteenth Century, Sept. 1906, George Gissing by Austin Harrison; and a summary of Roberts' article in Literature (20 July, 1901). 3) A.W. WARD (1837-1924), professor of History and English at Owens College, then Principal; later vice chancellor of Victoria University, Manchester; and, from 1900, Master of Peterhouse. He conceived of the Cambridge History of English Literature and was a co-editor. It was during Ward's tenure as Principal of Owens in 1876 that Gissing was caught stealing and expelled. Gissing was prosecuted and imprisoned. A.L.s.Seccombe, June 19, [1912?] "I return the Gissing article with many thanks. Part of it is all new to me; my only anxiety was that there should be nothing inaccurate about his Manchester life and troubles. 'Serious trouble' is sufficient on this head. You have no idea (and you must not suppose for a moment that I am speaking of myself, for I am not) how much kindness was shown to him after the collapse, and it might pain some survivors that an impression should remain that he was treated as a pariah." 4) GISSING, Ellen (G.G.'s sister). 2 A.L.s., 7 & 19 June 1912, giving family details, supressing others: "I should certainly make no reference to 'Madame Gissing'. I think it cannot be in any way necessary." 5) GISSING, Algernon (G.G.'s brother). 3 A.L.s., 14 & 18 & 24 June 1912, concerning proofs of the D.N.B. article and factual corrections. 6) SWINNERTON, Frank. 3 A.L.s., 21 & 26 June & 18 August 1912, concerning Swinnerton's critical volume on Gissing for Martin Secker (published 1912), Seccombe's D.N.B. article, and thanks for the loan of the original manuscript of it. 7) GISSING, George. Copies (in different hands) of 2 A.L.s. to James Payn, editor of the Cornhill and reader for of Smith, Elder: 25 Nov. 1887, "The phrase is an affected one ... I was given to such things just at that time"; 7 Aug. 1891, about the sale of the copyright of Godwin Peak (later published as Born in Exile) and also discussing the financial failure of New Grub Street. Gissing Newsletter 13:4 (Oct. 1977) & 14:1 (Jan. 1978)

      [Bookseller: James Cummins Bookseller]
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        Sierra Buttes Gold Mining Co. Gummed Stub File of Receipts 1890-1896

      Sierra City, CA: . Sierra City, CA. Good with no dust jacket. Quarter Leather. Gummed stub file used as a receipt book with cloth boards and leather spine with gilt lettering "Letters." Rubbing on spine, edges, and corners. Sunning and soil on boards, top corner front torn at joint. Patterned pastedown endpapers with sunning and sticker with the stub file company's product information. Several blank lined ledger sheets at the back with alphabetical tags. Gum tabs all tight in spine and all receipts are gummed in. Receipts for materials purchased by the Sierra Buttles Gold Mining Company of Sierra City, California for miscellaneous goods and services (lumber, nails, candles, stamps, freight, oil, etc. ) with a number of receipts from the Wells, Fargo, & Co.' s Express for transport of gold bullion, addressed to William Johns in San Francisco. The Sierra Buttles Mine operated from the time of the California Gold Rush until 1912. Gold-bearing quartz ledges were discovered in 1850, and first developed by the Reis brothers of San Francisco. By 1866 two mills were processing the ore produced from three ledges. An English syndicate purchased the mine by 1870, and by 1882 the mine had produced over 7 million dolllars of gold. In 1904 E. A and J. O. Hayes bought the operation and built a cyanide plant to enhance gold recovery. By 1907 profitability was questionable, and in 1912 what was once the major gold producer in the area was shut down. Today no sign of the mine's facilities remain. Examples of suppliers from receipts include Golden Gate Woolen Manufacturing Co. , Downieville Foundry and Machine Shop, California Perforated Screen Company, and Joel Champion--Dealer in Goods, Boots and Shoes, Hats, Caps, Furnishing Goods In Late Styles aned Low Prices. Receipt dates are from 1890-1896. ; 4to11" - 13" tall .

      [Bookseller: Back of Beyond Books, ABAA ]
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        Cats of Many Lands

      1912. first edition. Louis Wain's Cats of Many LandsWAIN, Louis. Cats of Many Lands. London: Raphael Tuck & Sons, Ltd.,[1912]. First edition. Folio (12 15/16 x 9 3/16 inches; 328 x 234 mm.). [16] pp. including wrappers. Ten magnificent full-page color plates, six leaves with duo-tone drawings in blue and black.Original color pictorial stiff wrappers. Minimal wear to spine ends and corners.A near fine copy of this very scarce title. Father Tuck's "Wonderland" Series No. 9972.Front cover: [Seated Spanish Dancer Cat]; Cats from England; Cats from Scotland; Cats from Ireland; More Cats from Scotland (full color); Cats from Italy (full color); Cats from Japan (full color); Cats from Holland (full color); Cats from Russia (full color); Cats from North America (full color); Four-footed Indians; More Cats from Italy; Cats from Spain; Rear cover: [Cats from Japan] (a repeat of the color plate in the book). Note: We have only ever seen the French edition of this title [Des Chats A Travers Le Monde] and interestingly that copy had the color plate 'Cats from Switzerland' whereas our first London edition has the color plate 'Cats from Russia' in its place.At the end of the last century, Louis Wain (1860-1939), the Edwardian cat artist who went mad, became a household name as an illustrator of cats, whom he depicted in all sorts of activities, from skating and playing cricket to driving motor cars, attending dances, and playing musical instruments. ?"He invented a cat style, a cat society, a whole cat world. English cats that do not look like Louis Wain cats are ashamed of themselves?" (H.G. Wells).?"From 1883, Wain began to draw cats as they had never been drawn before, cats in humorous guises, in human situations, but always beautifully handled…[a]lthough he was sometimes forced to draw dogs before he became well-known!?" (Houfe, The Dictionary of British Book Illustrators and Caricaturists 1800-1914 ).Dale, 40

      [Bookseller: David Brass Rare Books, Inc.]
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        I disegni della R. Galleria degli Uffizi.: Serie I, II, III, IV, V.

      L. S. Olschki, Firenze. 1912 - I.1. Disegni di Jacopo Carrucci detto il Pontormo a cura di Carlo Gamba. 1912. 4 p., 17 c. di tav. (su 25, mancano le tavole: 6, 7, 8, 9, 12, 19, 22, 24); I. 2. Disegni di Tiziano Vecellio e di Jacopo Robusti detto il Tintoretto a cura di Carlo Loeser. 1912. 4 p., 23 c. di tav. (su 25, mancano le tavole: 21, 23); I.3. Disegni di Paolo uccello, Antonio Pollaiolo, Piero Pollaiolo, Andrea del Verrocchio, Sandro Botticelli a cura di P. N. Ferri. 1913. 4 p., 25 c. di tav. (completo); I.4. Disegni di paesaggio di Adamo Elsheimer, Matteo Brill, Paolo Brill, Cornelio Poelenburgh, Hermann van Swanevelt, Giovanni Both, Jacques Callot, Claude Lorrain, Giusto Sustermans, Gaspero Vanvitelli a cura di Giovanni Poggi. 1913. 4 p., 22 c. di tav. (su 25, mancano le tavole: 2, 6, 17); II.1. Disegni di Ludovico Cardi detto il Cigoli, Iacopo Chimenti detto l’Empoli, Cristofano Allori, Francesco Furini a cura di P. N. Ferri. 1913. 4 p., 25 c. di tav. (completo); II.2. Disegni di Baccio della Porta, detto Fra Bartolommeo a cura di C. Gamba. 1914. 4 p., 25 c. di tav. (completo); II.3. Scuole emiliana e cremonese: disegni di Ercole Roberti, Francesco Francia, Lorenzo Costa, Boccaccio Boccaccino, Amico Aspertini, Giovanni Luteri detto Dosso Dossi, Antonio Allegri detto il Correggio, Giulio Campi, Gervasio Gatti detto il Sojero, Francesco Primaticcio, Francesco Mazzola detto il Parmigianino, Nicolò dell’Abate a cura di Corrado Ricci. 1914. 4 p., 23 c. di tav. (su 25, mancano le tavole: 20, 24); II.4. Disegni di Jacopo Callot e Stefano Della Bella con prefazione di Filippo Di Pietro. 1914. 4 p., 21 c. di tav. (su 25, mancano le tavole: 11, 17, 21, 22); III.1. Disegni di scuola veneta con prefazione di Carlo Gamba. 1914. 4 p., 24 c. di tav. (completo); III.2. Disegni di Raffaello con prefazione di Gustavo Frizzoni. 1914. 5 p., 17 c. di tav. (su 19, mancano le tavole: 5, 13); III.3. Disegni di scuola tedesca e fiamminga. 1915. 3 p., 18 c. di tav. (su 25, mancano le tavole: 8, 11, 12, 13, 18, 20, 21); III.4. Disegni di pittori fiorentini del secolo XVII con prefazione di Odoardo H. Giglioli. 1915. 3 p., 15 c. di tav. (su 25, mancano le tavole: 1, 2, 6, 12, 15, 19, 20, 21, 22, 23); IV.1. Disegni di Piero di Cosimo e filippino Lippi con prefazione di Carlo Loeser. 1916. 8 p., 20 c. di tav. (su 24, mancano le tavole: 13, 16, 17, 23); IV.2. Disegni di pittori bolognesi dei secoli XVI-XVIII con prefazione di Matteo Marangoni. 1916. 3 p., 25 c. di tav. (completo); IV.3. Disegni di Andrea d’Agnolo, detto Andrea del Sarto con prefazione di P. N. Ferri. 1916. 2 p., 25 c. di tav. (completo); IV.4. Disegni di scuola fiorentina, secoli XV. e XVI. con prefazione di P. N. Ferri. 1917. 3 p., 25 c. di tav. (completo); V.1. Disegni di maestri Tosco-Romani del secolo XVI a cura di Carlo Gamba. 1918. 4 p. 22 c. di tav. (su 25, mancano le tavole: 8, 18, 19); V.2. Disegni di Maestri umbro-Senesi con prefazione di Matteo Marangoni. 1919. 2 p., 24 c. di tav. (completo); V.3. Disegni di Leonardo da Vinci con prefazione di Giovanni Poggi. 1920. 2 p., 20 c. di tav. (completo); V.4. Disegni ornamentali con prefazione di Filippo Di Pietro. 1921. 4 p., 23 c. di tav. (su 24, manca la tavola: 17). Monumentale impresa editoriale con riproduzioni di altissima qualità a colori applicate a mano sulle tavole in carta pesante, raccolte in apposite cartelle editoriali in folio. Offriamo la serie completa di tutti i volumi pubblicati. Le tavole disponibili (439 su 486) rappresentano oltre il 90% della totalità, inoltre una parte sensibile di volumi (8 su 20) è completa. Presenti tutti i fascicoli di testo con la descrizione di ciascuna tavola talvolta anch’essi illustrati. Formato: 20 cartelle editoriali, in cartone rigido con titoli a stampa con laccetti in tessuto, in folio massimo (55 cm). Buono, ordinari segni d'uso e del tempo, alcuni volumi presentano anche il folio (muto) di contenimento delle tavole (talvolta con lacerazioni), presenti inoltre i cofanetti in cartone (con mancanze) m

      [Bookseller: Studio Bibliografico Adige]
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        La danse de Sophocle EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Mercure de France, 1912. Fine. Mercure de France, Paris 1912, 15x19cm, relié. - First edition, one of seven numbered copies on Holland paper, the only leading copies, ours with the No. 1 and specially printed for the mother of Jean Cocteau. Binding to bradel in full vellum, smooth back, when golden tail, part of title brown shagreen guards and contreplats of handmade paper, covers and spine preserved, red head, contemporary binding signed by Dupré. Touching and exceptional autograph dedication signed and dated by the author to his mother, in Latin, who gets a verse of Virgil's Eclogues: "INCIPE, parve puer: cui non Risere relatives, nec deus hunc mensa, dea ultimate dignity cubili is / Virgil / Jean.. "which this is the French translation:" Child, admit it: the son to whom his parents have not smiled is unworthy to approach the table of a god or being admitted to the bed of a goddess. " Light bites mainly affecting the margins of some leaves. Unique. In publishing this third book of poetry, Cocteau, young prodigy, 23, is adored by artistic and literary circles. Proust intimate friend of Jacques-Emile Blanche, Nijinsky and Diaghilev faithful disciple and Anna de Noailles, his ambition is to unite in his person all the talent around him. Dance Sophocles reference to dance "the young and divine Sophocles' executed naked in Athens after the naval victory at Salamis, reflects the ambition and enthusiasm of the young Cocteau novelist, painter, dancer, poet, he feels truly "worthy to approach the table [of] God [x]". "At par with the best artists, he was an intermediary between God and Earth. "In his biography, Claude Arnaud devotes a chapter (" The Living God ") to the psychology of the poet at the time:" It was a detached fragment of the creator. One of terrestrial bodies through which that Being evolving deliberated and finally contrasted to improve its inception. ". Thus, it is a freedman of his illustrious models Cocteau and fully assuming his artistic divinity is revealed in this ecstatic like the eponymous poem collection: Thanks to you, my pride, I wore the halo Hosted by the charming speech God [...] Thanks to you, I have experienced the frantic struggles Where the pen and the paper and the ink bleak Are the links that we would like to shout, We would shout, sing, sigh, laugh, [...] And it takes us and when we feel it, Let them run off as a superb blood. ... The dedication to his mother on the first copy of the unique seven leading copies, reflects the only real upward Cocteau Cocteau Eugenie. Sacred mother by her son, she had an influence deeply on the poet's life as in his work, marked by the ubiquity of Oedipal figure. Claude Arnaud describes at length the "filial momentum coupled with an almost loving attention (...)" it is only my love for you to cling to something real, the rest seems like a bad dream. " One can not also fail to see the choice of the quotation from Virgil incestuous this ambiguity that binds Cocteau to her mother. One of the most desirable for this copy of any scarcity of sources. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 7 exemplaires numérotés sur Hollande, seuls grands papiers, le nôtre portant le n°1 et spécialement imprimé pour la mère de Jean Cocteau. Reliure à la bradel en plein vélin, dos lisse, date dorée en queue, pièce de titre de chagrin brun, gardes et contreplats de papier à la cuve, couvertures et dos conservés, tête rouge, reliure de l'époque signée de Dupré. Légères piqûres affectant principalement les marges de certains feuillets. Émouvant et exceptionnel envoi autographe daté et signé de Jean Cocteau à sa mère, en latin, qui reprend l'un des vers des Bucoliques de Virgile : « Incipe, parve puer : cui non risere parentes, nec deus hunc mensa, dea nec dignita cubili est. / Virgile. / Jean » dont voici la traduction française : « Enfant, reconnais-la : le fils à qui ses parents n'ont point souri n'est digne ni d'approcher de la table d'un dieu, ni d'être admis au lit d'une déesse. » Exemplaire unique.   Lorsqu'il publie ce troisième recueil de poésie, Cocteau, jeune prodige de 23 ans, est adulé par les cercles artistiques et littéraires. Intime de Proust, ami de Jacques-Emile Blanche, fidèle de Nijinski et Diaghilev et disciple d'Anna de Noailles, son ambition est de réunir dans sa personne tous les talents qui l'entourent. La Danse de Sophocle, référence à la danse que « le jeune et divin Sophocle » exécuta nu dans Athènes, après la victoire navale de Salamine, reflète l'ambition et l'exaltation du jeune Cocteau : romancier, peintre, danseur, poète, il se sent véritablement « digne d'approcher la table [des] dieu[x] ». « à égalité avec les meilleurs artistes, il était un truchement entre Dieu et la Terre. » Dans sa biographie, Claude Arnaud consacre un chapitre (« Le dieu vivant ») à la psychologie du poète à cette époque : « Il était un fragment détaché du créateur. L'un des organes terrestres par lesquels cet Être en évolution délibérait, et finalement tranchait, afin d'améliorer sa création. » Ainsi, c'est un Cocteau affranchi de ses illustres modèles et assumant pleinement sa divinité artistique qui se dévoile dans ce recueil extatique à l'instar du poème éponyme :                                                          Grâce à vous, cher orgueil, je portais l'auréole                                                    Offerte par le Dieu charmant de la parole, [...]                                                    Grâce à vous, j'ai connu les frénétiques luttes                                                    Où la plume et la feuille et le morne encrier                                                    Sont les liens des vers que l'on voudrait crier,                                                    Que l'on voudrait hurler, chanter, soupirer, rire, [...]                                                    Et qu'il faut, lorsqu'ils sont en nous et qu'on le sent,                                                    Les laisser ruisseler comme un superbe sang. [...] La dédicace à sa mère, sur le premier exemplaire des sept rares grands papiers, témoigne du seul véritable ascendant de Cocteau : Eugénie Cocteau. Mère sacralisée par son fils, elle influa profondément sur la vie du poète comme sur son oeuvre, marquée par l'omniprésence de la figure oedipienne. Claude Arnaud décrit longuement cet « élan filial doublé d'une attention quasi amoureuse [...] : il n'y a que mon amour pour toi qui m'accroche à quelque chose de vrai, le reste me semble un mauvais rêve. » On ne peut d'ailleurs manquer de voir dans le choix de la citation de Virgile cette ambiguïté incestueuse qui lie Cocteau à sa mère. Une des provenances les plus désirables pour cet exemplaire de toute rareté.  

      [Bookseller: Librairie Le Feu Follet]
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        La Normandie : projet de carton pour la tapisserie de la manufacture des Go EDITION ORIGINALE ENVOI AUTOGRAPHE

      Encre sur papier, 1912. Fine. Encre sur papier 1912-1913, 14 x 21,5 cm. - Original ink drawing. Several sketches on a letter folded in half. Signature stamp of the artist's signature in the lower right corner of the work, and signature stamp of the workshop at the back. Louis Anquetin, through his friendship with the art critic Gustave Geoffroy who was appointed director of the National Manufactures, received three orders for cartons Gobelins, the "Burgundy" in 1911, a carpet "Swans" and in 1912 " Normandy "tapestry. A trace of center fold, otherwise good condition. Provenance: the artist's studio, referenced to catalog Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, Étrépagny born in 1861 and died in Paris in 1932, is an important French painter. He began his career with avant-garde artists such as Vincent van Gogh and Henri de Toulouse-Lautrec. With Émile Bernard, he is the inventor of Cloisonnisme. From 1884 to 1893, Louis Anquetin continues to explore new opportunities introduced by the release of Impressionism in French painting. From 1893, after a long confrontation with the "old masters", he adopts a bias pictorial that will line the general art movement, and take away from his friends. Dazzled by the baroque art and its creative force, so he thinks his childhood friends were involved in a pathway leading to the death of painting. He believes in a "perfect painting" which is embodied in the re-remember the lessons of Michelangelo and Rubens among others. His work becomes more conventional, he advocated a return to business by offering to reflect on the a priori conditions of any possible form of art in accordance with the rules of perspective and anatomy, as practiced by the masters the sixteenth and seventeenth century. Leaving only a few works that can be described as monumental, Anquetin turns prolific with its many studies and sketches, who considered that the design was "a very powerful means of expression" compulsory foundation of all arts plastics. Working voluntarily countdown of his time, Louis Anquetin made possible the existence of an original modern figuration. By his obstinacy and his passion for painting, he has indeed prevented is completely closed the way to the great Western tradition. You can admire his works in many prestigious museums such as the Musée d'Orsay or the Louvre in Paris, San Francisco and Detroit, the Hermitage Museum in St. Petersburg, the National Gallery and the Tate London, etc.. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Dessin original à l'encre. Plusieurs esquisses sur une lettre pliée en deux. Signature du cachet de la signature de l'artiste dans l'angle inférieur droit de l'œuvre, et signature du cachet de l'atelier au verso. Louis Anquetin, grâce à son amitié avec le critique d'art Gustave Geoffroy qui fut nommé administrateur des Manufactures Nationales, obtint trois commandes de cartons pour les Gobelins, la "Bourgogne" en 1911, un tapis "Les cygnes", et en 1912 "La Normandie", tapisserie. Une trace de pliure centrale, sinon bel état de conservation. Provenance : atelier de l'artiste, référencée au catalogue Atelier Louis Anquetin (Thierry de Maigret, 28/11/08). Louis Anquetin, né à Étrépagny en 1861 et mort à Paris en 1932, est un important peintre français. Il commence sa carrière aux côtés de peintres d'avant-garde tels que Vincent Van Gogh ou Henri de Toulouse-Lautrec. Avec Émile Bernard, il est l'inventeur du Cloisonnisme. De 1884 à 1893, Louis Anquetin ne cesse d'explorer les possibilités nouvelles offertes par la libération introduite par l'Impressionnisme dans la peinture française. A partir de 1893, à la suite d'une longue confrontation avec les « maîtres d'autrefois », il adopte un parti-pris pictural qui le mettra en marge du mouvement général de l'art, et l'éloignera de ses amis. Ébloui par l'art baroque et sa vigueur créatrice, il pense alors que ses amis de jeunesse se sont engagées dans une voie qui mènera à la mort de la peinture. Il croit en une « peinture parfaite » qui s'incarne dans le re-souvenir des leçons de Michel-Ange et de Rubens notamment. Son travail devient donc plus classique, il prône le retour au métier, en proposant de réfléchir sur les conditions a priori de toute forme d'art possible dans le respect des règles de la perspective et de l'anatomie, telles que pratiquées par les maîtres du XVIème et XVIIème siècle. Ne laissant que quelques œuvres que l'on peut qualifier de monumentales, Anquetin s'avère prolifique par ses nombreuses études et esquisses, lui qui considérait que le dessin était « un moyen d'expression tout puissant », le fondement obligatoire de tous les arts plastiques. En travaillant volontairement à rebours de son époque, Louis Anquetin a rendu possible l'existence d'une figuration moderne originale. Par son obstination et sa passion de la peinture, il a en effet évité que ne soit totalement obturé le chemin de la grande tradition occidentale. On peut admirer ses œuvres dans de nombreux et prestigieux musées comme le Musée d'Orsay ou Le Louvre à Paris, à San Francisco ou à Detroit, au Musée de l'Hermitage de Saint-Petersbourg, à la National Gallery et à la Tate de Londres, etc.

      [Bookseller: Librairie Le Feu Follet]
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        Portraitphotographie mit eigenh. U. ("H. Zille") und Datum.

      O. O., 1912. - 113 x 80 mm auf etwas größerem Trägerkarton. Ganzfigürliches Portrait im Sitzen.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Selected Passages

      London: Constable and Company Ltd,, 1912. Chosen by Charlotte F. Shaw. Octavo. Original brown cloth, titles to spine and front board gilt, brown endpapers, top edge gilt, others untrimmed. Housed in a modern green cloth solander box. Photo-engraved frontispiece of Auguste Rodin's bust of the author (from a photograph by Shaw). Extremities faintly rubbed, initial blank recto tanned; 1933 photograph with tiny nick to one corner. A bright copy in excellent condition. First edition, first impression. Presentation copy to the author's friend,Sydney Cockerell, signed by Shaw and inscribed by Charlotte Shaw on the half-title: "To Sydney Carlyle Cockerell from Charlotte F. Shaw". another inscription, with indistinct signature and dated "5th Nov. 1913" reads: "I witness these signatures - on this most pleasant evening". Sir Sydney Carlisle Cockerell (1867?-1962) was the director of the Fitzwilliam Museum from 1908 to 1937. Cockerell's innovative style as director left a lasting legacy on museology, his skillful use of light and space being quite revolutionary. In the late 1890s Cockerell had worked as William Morris's de facto personal secretary and was named by Morris as his literary executor. His brother was the bookbinder Douglas Cockerell, who also famously worked with Morris. Shaw and Cockerell appear as two of the three characters in Dame Felicitas Corrigan's The Nun, The Infidel, and the Superman. Laid in are two original photographs of Shaw at the Fitzwilliam Museum, taken in 1933 and 1935 and inscribed by Cockerell on the reverse. One of the photographs shows Shaw in front of the famous portrait which Augustus John painted in 1915 as part of a series and which Shaw bequeathed the museum. Also loosely inserted are Charlotte Shaw's compliments card and three newspaper clippings. A fine association.

      [Bookseller: Peter Harrington]
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        Catalogue of Wire Rope and Wire Rope Fastenings

      ROEBLING'S, NEW JERSEY 1912 - Sales Catalogue of Ropes Wire. Stiff Brown Paper as covers and end pages. Covers loosening from Glued text as published. Very Rare catalogue of Manufactured products. Builder of Brooklyn Bridge. Black and white illustrations. No markings. Clean pages. Missing bookplate on front inside cover. DATE PUBLISHED: 1912 EDITION: FIRST ED 183 [Attributes: First Edition; Soft Cover]

      [Bookseller: Princeton Antiques Bookshop]
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        Programme officiel de la septième saison des Ballets Russes Mai-Juin 1912 EDITION ORIGINALE

      Paris: Théâtre du Châtelet, 1912. Fine. Théâtre du Châtelet, Paris 1912, 25x32cm, agrafé. - first edition. Parchment under double coverage program submitted decorated by Leon Bakst, beautifully illustrated cover by it contained a scene from "The Afternoon of a Faun" created by Nijinsky, numerous interior illustrations of the same. Iconography, text by Jean Cocteau and Frederic de Madrazo. Small marginal tears without loss affecting very fragile parchment dual coverage. Rare copy and pleasant.   - [FRENCH VERSION FOLLOWS] Edition originale. Programme présenté sous double couverture parcheminée décorée par Léon Bakst, couverture joliment illustrée par ce dernier figurant une scène de "L'après-midi d'un faune" crée par Nijinsky, nombreuses illustrations intérieures du même. Iconographie, texte de Jean Cocteau et Frédéric de Madrazo. Petites déchirures marginales sans manque affectant la très fragile double couverture parcheminée. Rare et agréable exemplaire.  

      [Bookseller: Librairie Le Feu Follet]
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        Vie de Mélanie bergère de la Salette écrite par elle-même en 1900 - Son enf EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Mercure de France, 1912. Fine. Mercure de France, Paris 1912, 12x19cm, broché. - First Edition. Precious autograph signed by the author for the painter Georges Rouault: "Nothing for his art - There is no caricature." Reinforced back with some gaps filled, a restored on the half-title page where FIG autograph dedication of the author tear. Our copy is presented in a gift box full black morocco, smooth spine, marbled paper plates and interior lamb. Rouault met Léon Bloy in 1904 through one of his works: "I am told that the painter Georges Rouault, a pupil of Gustave Moreau, a passion for me. Having found his master "Poor Woman" ... this book has bitten heart, incurably wounded "(Journal of L. Bloy, March 16, 1904). Thus is born a lasting friendship between the two artists. However when in 1905 Rouault exhibited at the Autumn "Real Poulot" Salon based on the novel of Bloy's reaction it is violent: "... This artist was believed able to paint seraphim appears not conceive that atrocious and avenging cartoons. Bourgeois infamy works in him a violent impact horror that his art seems mortally wounded. He wanted to make my characters Poulot "Poor Woman". At any price I want this illustration. It was to this that there is more tragic: two citizens, male and female, complete: candid, peaceful, merciful and wise to put the scum of the scare the horses mouth constellations. He made two assassins small suburb. "None better than Raissa Maritain knew not describe complex friendship that unites the young painter and the old writer, analyzing both" the underlying reason for their dissent "citing a letter Bloy Rouault 1907:" You are attracted exclusively by the ugly. "As their" admiration "she explains as" the living faith of the one and the other, (...) elevation and the rigor of their conscience artist How many times "." - Written it - in the years that followed, have we not seen Rouault in Bloy, standing, leaning against the wall, a slight smile on her closed lips, looking into the distance, apparently impassive face, but a pallor that would be accentuated when the issue of modern painting was discussed. Rouault pale, but kept through a heroic silence. And still, despite the determined opposition on the same subject of his art, he remained faithful to Léon Bloy. It seemed he had the same look in Bloy accusations that tormented him what he held most dear - not for submission to any discussion, but to test them against the force of instinct that the led into the unknown and was overcome any obstacle. "(" At the dawn of new friendships "in New Polling October 1941) This is the same Léon Bloy, respectful but steadfastly critical of his young friend, that he dedicate this portrait of a saint, this elegy beauty that will never be able to perceive in the work of Rouault. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale. Précieux envoi autographe signé de Léon Bloy au peintre Georges Rouault: "Rien pour son art - Il n'y a pas de caricature". Dos renforcé comportant quelques manques comblés, une déchirure restaurée sur la page de faux-titre où figure l'envoi. Notre exemplaire est présenté dans un coffret en plein maroquin noir, dos lisse, plats de papier marbré et intérieur en agneau. Rouault fait la connaissance de Léon Bloy en 1904 par l'intermédiaire d'une de ses oeuvres: « On m'apprend que le peintre Georges Rouault, élève de Gustave Moreau, s'est passionné pour moi. Ayant trouvé chez son maître "La Femme pauvre"..., ce livre l'a mordu au coeur, blessé incurablement » (Journal de L. Bloy, 16 mars 1904). Naît alors une indéfectible amitié entre les deux artistes. Cependant lorsqu'en 1905 Rouault expose au Salon d'Automne "Monsieur et Madame Poulot" inspiré du roman de Bloy, la réaction de celui-ci est violente: « ... Cet artiste qu'on croyait capable de peindre des séraphins, semble ne plus concevoir que d'atroces et vengeresses caricatures. L'infamie bourgeoise opère en lui une si violente répercussion d'horreur que son art paraît blessé à mort. Il a voulu faire mes Poulot personnages de "La Femme Pauvre". À aucun prix je ne veux de cette illustration. Il s'agissait de faire ce qu'il y a de plus tragique : deux bourgeois, mâle et femelle, complets : candides, pacifiques, miséricordieux et sages à mettre l'écume de la peur à la bouche des chevaux des constellations. Il a fait deux assassins de petite banlieue. » Nul mieux que Raïssa Maritain ne sut décrire l'amitié complexe qui unit le jeune peintre et le vieil écrivain, analysant à la fois "la raison profonde de leur dissentiment" en citant une lettre de Bloy à Rouault de 1907 : « Vous êtes attiré par le laid exclusivement. " comme leur "admiration" qu'elle explique par "la vive foi de l'un et de l'autre, (...) l'élévation et la rigueur de leur conscience d'artistes". "Combien de fois - écrit-elle - dans les années qui ont suivi, n'avons-nous pas vu Rouault chez Bloy, debout, appuyé contre le mur, un léger sourire sur ses lèvres closes, le regard au loin, le visage apparemment impassible, mais d'une pâleur qui allait s'accentuant lorsque la question de la peinture moderne était abordée. Rouault pâlissait, mais gardait jusqu'au bout un silence héroïque. Et toujours, malgré cette irréductible opposition sur la question même de son art, il est resté fidèle à Léon Bloy. On eût dit qu'il venait chercher chez Bloy les accusations mêmes qui tourmentaient en lui ce qu'il avait de plus cher, - non pour les soumettre à une discussion quelconque, mais pour éprouver contre elles la force de l'instinct qui l'entraînait vers l'inconnu et qui devait triompher de tout obstacle." ("A l'aube de nouvelles amitiés" in La Nouvelle Relève, octobre 1941)C'est le même Léon Bloy, respectueux mais immuablement critique à l'égard de son jeune ami, qui lui dédicace ce portrait d'une sainte, cette élégie de la beauté qu'il ne saura jamais percevoir dans l'oeuvre de Rouault.

      [Bookseller: Librairie Le Feu Follet]
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        Gathered Treasures

      Washington, DC: Murray Bros. Printing Co.. 1912. First. First edition. Introduction by I.N. Ross. 24mo. Green cloth gilt. 39, [2]pp., frontispiece portrait. Author's name and address stamp on front pastedown, some spotting on the turn-ins, else a nice, near fine copy of this self-published volume of poetry. Very scarce. OCLC locates five copies. .

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        The Lost World. Being an account of the recent amazing adventures of Professor George E. Challenger, Lord John Roxton, Professor Summerlee, and Mr. E. D. Malone of the "Daily Gazette."

      London: Hodder and Stoughton, [1912] - Octavo. Original blue cloth, titles to spine gilt, titles and pictorial design to upper board in white and gilt. Cloth lightly rubbed at extremities, spine a little rolled and spotted, white blocking to upper board flaking slightly, spotting to edges of text block, title pages, and occasionally to contents. An excellent copy. Frontispiece and 7 plates, diagrams within the text. First edition, first impression of Conan Doyle's classic prehistoric adventure novel. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        THE BELLS and Other Poems by Edgar Allan Poe.

      Hodder & Stoughton 1912 - First edition illustrated by Edmund Dulac. Large 4to. Edition de Luxe, number 244 of 750 copies signed by the illustrator. Publisher's full white vellum elaborately embossed with gilt decoration. Top edge gilt and others untrimmed. A near fine, bright copy. Lacks silk ties and and with bookplate of the only previous owner on the pastedown. The Leicester Galleries exhibition leaflet laid in. Twenty-eight mounted colour plates with captioned tissue guards. [Attributes: First Edition; Hard Cover]

      [Bookseller: Jonkers Rare Books]
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        Manuscrit de travail préparatoire d’« Etude de Vie Spirituelle » signé d'une croix

      - ABBE Pierre (GROUES Henri) (Lyon 1912- Paris 2007). Prêtre catholique français, fondateur du Mouvement Emmaüs Manuscrit autographe signé d’une croix, intitulé « Etude de Vie Spirituelle ». La Halte d’Emmaüs au Manoir d’Esteville, été 1966 ; 1 p in-4°. Manuscrit de travail préparatoire d’« Etude de Vie Spirituelle » autour de cinq points fondamentaux : La Foi, La Prière, La Communauté (Eglise), La Vie Morale et La Vie de Grâce et de Gloire : «Notre Marche vers Dieu Dieu, l’Eternel qui est Amour – Dieu, Pleine Vie et Joie. Dieu, l’Unique « Ayant Droit » d’attendre tout de nous car il nous donne tout. 1 – La Foi – qui est le Re-connaître – Père – 2 – La Prière – qui est le R-encontrer – l’Aimant – 3 – La Communauté (Eglise) en ses Sacrements rayonnant autour de l’Eucharistie – qui est Le Recevoir en Jésus qui nous introduit en la Trinité d’Amour éblouissement et paix. 4 – La Vie Morale Lutte et conquête – qui est Se Re-noncer pour lui qui est tout devenant en lui et par lui étant lui miséricorde pour tous et chant de louange au Père. 5 – La Vie de Grâce et de Gloire – qui est Re-naître en lui pleine vie et joie et Paix Amour infiniment pour toujours. (L’Abbé Pierre conclut) : La mort est vaincue Alleluia ! - » En avril 1964 les Communautés itinérantes des Compagnons d’Emmaüs de Seine Maritime offrent à l’Abbé Pierre un manoir abandonné à Esteville en Normandie. Le manoir prend le nom de « La Halte d’Emmaüs ». En 1970 « La Halte d’Emmaüs » fédère plusieurs communautés elle est à la fois une maison de retraite et de vacances pour personnes âgées et un centre international de rencontres et d’études sociales. L’abbé Pierre y séjourne régulièrement recevant des personnalités importantes. C’est à Esteville qu’il repose depuis sa mort survenue le 22 janvier 2007. [Attributes: Signed Copy]

      [Bookseller: Manuscripta]
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