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

        British Sports and Sportsmen

      British Sports and Sportsmen, 1912. Two volumes Large thick folio Profusely illustrated with photogravures and black and white photographs full red morocco ruled and lettered in gilt, inner gilt dentelles, raised bands on spine, marbled endpapers, all edges gilt Volume I on Hunting contains 20 articles on nearly every phase of hunting, mostly in Great Britian, plus articles on hunging in the colonies, altogether 643 pages. In addition there are lists of celebrities of the hunting field, an index to hunts, etc. More than 120 photogravures illustrate the volume, plus another 250 illustrations. Volume II is titled Big Game Hunting and Angling. It contains 593 pages, is indexed and has more than 80 full page photogravure plates, and also more than 250 illustrations in the text. This volume deals not only with the subject in England, but also extensively with big game hunting in Germany, Portuguese East Africa, Central Africa, Rhodesia, India, Ceylon, Java, Alaska, British Columbia and Sardinia and includes a chapter on "Fur Trapping in North America". Contributors to this section include such authorities as F. C. Selous, James Sutherland, J. Turner-Turner, C. Radcliffe, C. Phillips-Wooley, J. Stathan and others. Contributions to the section on fishing include Turner-Turner, F. G. Aflalo, R. B. Marston, Frederick Morgan, Cecil Braithwaite and others, on angling in England, salmon and trout fishing in New Zealand, Sporting Fish, salt water fishing for tarpon and other big game fish Some rubbing of edges and spine, slight wear of covers, else fine One of one thousand sets

      [Bookseller: Antiquarian open bookshop Randall House ]
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        Vie de Mélanie bergère de la Salette écrite par elle-même en 1900 - Son enfance (1831-1846)

      - Mercure de France, Paris 1912, 12x19cm, broché. - First Edition. Autografo Precious firmata dall'autore pittore Georges Rouault: "Niente per la sua arte - Non c'è caricatura". Rinforzato indietro con alcune lacune riempite, un restaurato sulla pagina occhietto in cui figura l'invio di lacrimogeni. La nostra copia viene presentato in una confezione regalo completa marocchino nero, dorso liscio, piatti di carta marmorizzata e agnello interni. Rouault ha incontrato Léon Bloy nel 1904 attraverso una delle sue opere: "Mi hanno detto che il pittore Georges Rouault, allievo di Gustave Moreau, una passione per me. Dopo aver trovato il suo padrone "Poor Woman" ... questo libro ha morso il cuore, inguaribilmente ferito "(Journal of L. Bloy, 16 marzo 1904). Nasce così una duratura amicizia tra i due artisti. Tuttavia, quando nel 1905 Rouault esposto al Salon d'Automne "Real Poulot", basato sul romanzo di reazione di Bloy è violento: "... Questo artista è stato creduto capace sembra serafini di dipingere non concepire che i cartoni animati atroci e vendicatori. Infamia Bourgeois lavora in lui un orrore impatto violento che la sua arte sembra ferito mortalmente. Voleva fare i miei personaggi Poulot "povera donna". A qualsiasi prezzo che voglio questa illustrazione. Fu per questo che non vi è più tragico: due cittadini, maschi e femmine, completi: candido, pacifici, misericordiosi e saggi di mettere la feccia della paura costellazioni cavalli bocca. Ha fatto due assassini piccolo borgo. "Nessuno meglio di Raissa Maritain non sapeva descrivere un'amicizia complessa che unisce il giovane pittore e il vecchio scrittore, analizzando sia" la ragione di fondo per il loro dissenso ", citando una lettera Bloy Rouault 1907:" Voi siete attratti esclusivamente dal brutto. "Come loro" ammirazione ", spiega come" la fede viva di uno e l'altro, (...), elevazione e il rigore del loro artista coscienza Quante volte "." - Scritto it - negli anni che seguirono, non abbiamo noi visto Rouault in Bloy, in piedi, appoggiato al muro, un lieve sorriso sulle labbra chiuse, guardando in lontananza, volto apparentemente impassibile, ma un pallore che sarebbe accentuata quando la questione della pittura moderna è stata discussa. Rouault pallido, ma mantenuto attraverso un silenzio eroico. E ancora, nonostante l'opposizione decisa sullo stesso tema della sua arte, egli rimase fedele a Léon Bloy. Sembrava lui aveva lo stesso sguardo in accuse Bloy, che lo tormentava ciò che di più caro - non per sottoporli a una discussione, ma per metterli alla prova contro la forza dell'istinto che l' ha portato verso l'ignoto ed è stato superare ogni ostacolo. "(" All'alba di nuove amicizie "a New Polling ottobre 1941) Questo è lo stesso Léon Bloy, rispettoso ma fermamente critico della sua giovane amico, che egli dedica questo ritratto di un santo, questa bellezza elegia che non sarà mai in grado di percepire nell'opera di Rouault. - [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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        L'âme de Napoléon

      First edition, a first issue copy numbered in the press; there were only 3 large paper copies on Japan and 27 on Hollande paper. Autograph inscription signed by Léon Bloy to a close friend "...ce livre d'un vieux pauvre pour agrandir les coeurs [...this book from a poor old man to make hearts a little bigger]."One small insignificant stain to head of upper cover, a very good copy. Mercure de France Paris 1912 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        La bohême et mon coeur

      - S.n., Paris 1912, 12,5x19,5cm, relié. - Edizione originale del secondo libro dell'autore. Bound in mezzo marocchino rosso, colonna vertebrale lieve colorazione con cinque nervi decorati con scatole nere, Golden Data la coda un po testa po 'spaccata, piatti di carta marmorizzata, guardie e contreplats di carta fatta a mano, copertine e dorsi conservati, testa dorata firmato vincolante Alix. autografo prezioso firmato da Francesco Carco: "Un omaggio a Charles Maurras vivida simpatia letteraria." La nostra copia ha due correzioni manoscritte pagine Francesco Carco 62 e 66. Nizza copia piacevolmente stabilito.   - [FRENCH VERSION FOLLOWS] Edition originale du deuxième ouvrage de l'auteur. Reliure en demi maroquin rouge, dos légèrement décoloré à cinq nerfs orné de caissons noirs, date dorée en queue, un mors légèrement fendu en tête, plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures et dos conservés, tête dorée, reliure signée d'Alix. Précieux envoi autographe signé de Francis Carco : "A Charles Maurras hommage de très vive sympathie littéraire." Notre exemplaire comporte deux corrections manuscrites de Francis Carco aux pages 62 et 66. Bel exemplaire agréablement établi.  

      [Bookseller: Librairie Le Feu Follet]
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        The Prince and Betty.

      8vo. Original black cloth with two oval coloured portraits pasted on the upper cover, gold lettering on spine and upper cover; pp. [viii] + 300; illustrated title-page and 5 plates by Will Grefe; a very good, clean and bright copy with slipcase. First US edition which precedes the English edition of this title, which in any case is a substantially different story. McIlvaine A15a

      [Bookseller: Henry Sotheran Ltd.]
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        Poupées de Paris. Bibelots de luxe.

      Paris, Librarie de la Collection des Dix A. Romagnol Editeur, 1912. Edizione di 300 copie, comprendente 40 incisioni originali di Lobel-Riche, una sulla prima pagina, una sull'ultima e 38 fuori testo. Stampato su carte vélin d'Arches. Copertina originale leggermente brunita ma in buone condizioni, all'interno le condizioni sono perfette. Edition of 300 copies including 40 original etchings by Lobel-Riche, one of which on first and last page and 38 out of text. Copy on vélin d'Arches. Original soft cover burnished but in good conditions, inside near perfect conditions.Edition tirée à 300 exemplaires et comprenant 40 gravures originales de Lobel-Riche, dont une en première page, une en dernière page et 38 illustrations hors textes. Impression sur papier vélin d'Arches. La couverture est originale, brunie mais cependant en très bonnes conditions. A l'intérieur du livre les conditions sont presque parfaites. Buone condizioni

      [Bookseller: WallectorLtd]
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        Manuscript Album of Military Uniforms

      This is a beautiful and meticulously created Two Hundred Manuscript Album being a study of British Military Regimental Uniforms through the Eighteenth and Nineteenth Centuries. A large proportion of the album is made up of hand drawn and finely painted illustrations, with the remainder made up from old coloured engravings, many of which are hand coloured, the album is a large Elephant Folio format measuring over 18 inches tall, bound into a recent and very attractive half leather binding, the authorship of the album is not clear, but some of the paintings are dated and date to the 1913-1914 period with some a few years later, there is a correspondence letter loosely inserted in the album dated 13th January 1919 from a P. M. Reynolds of Nut Tree House, Bloxham, Near Banbury to an Irwin, on a matter to do with Military uniforms, One painting of a Grenadier is signed Revd. P. Sumner, or Summer. There are also a small amount of loose Photographs and other engravings that are loose and have not been put into the album. A fine manuscript early twentieth century album kept by an as yet unidentified Military Historian, who has painstakingly recorded the fine details of British regimental military uniforms through the 18th & 19th Centuries

      [Bookseller: Andrew Cox]
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        Kelp Burning. ("The Irish Kelp Burners")

      Ca 1912. Colored etching aquatint, 10 1/2 x 14 inches (26.7 x 35.6 cm), on sheet size 13 x 19 inches (33 x 48.3 cm). Light indentations along paper edge (likely from previous framing), tape remains at two spots along verso upper edge, light toning, pencil notes along lower edge, overall very good condition. Signed in pencil under plate: "No. 9" at left, "E. L. Lawrenson" at right. Text in pencil at lower edge: "Kelp Burning. Co. Donegal Ireland. By E. L. Lawrenson, 3 St. Paul's Studios, Baron's Court W.14 London. Couloured Etching. £4- 4/-" Impressionistic scene with rich coloration. See Malcolm C. Salaman's "The Colour Prints of Edward L. Lawrenson"; The International Studio, August 1914 pp. 88-95.

      [Bookseller: oldimprints.com]
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        Morgengebet am Großglockner".

      Wien, Selbstverlag von Otto Barth, (um 1912). - Gerahmt. Rahmenmaß ca. 91 x 96 cm, Bildausschnitt ca. 59 x 65 cm.- Rahmen etwas beschabt und mit kleineren Mängeln. Vgl. ÖBL online und Fuchs 19. Jhdt. I, K 27.- Schöne Farblithographie seines bekannten Gemäldes "Morgengebet der Kalser Bergfuehrer auf dem Grossglockner" (1911, heute im Alpenverein-Museum), rechts unten mit eigenh. Signatur des Künstlers und Vermerk "Nr. 26".- Otto Barth (Wien 1876 - 1916) war akademischer Maler, Grafiker und Alpinist. "1892–96 studierte er an der Wiener Akademie der bildenden Künste bei Siegmund L’Allemand und Franz Rumpler. B.s künstlerisches Œuvre thematisiert fast ausschließlich das Alpine. Als Mitglied des elitären Österreichischen Alpenklubs sowie des Österreichischen Winter-Sport-Clubs schuf er sowohl für den Alpenverein als auch für die Naturfreunde, die gänzlich verschiedene ideologische Ausrichtungen hatten, Werke mit einschlägigen Motiven. Seine Bergbilder mit feinen Farbstimmungen, teils mit lichtdurchfluteten Szenerien, waren zwischen 1905 und 1911 in Wien auf den Ausstellungen im Künstlerhaus und im Hagenbund häufig vertreten; seine Kunstdrucke und Schulwandtafeln in Form von Originallithographien waren äußerst beliebt. Nach seinen Vorlagen entstanden 1909 auch drei Fliesenbilder für die neue Halle des Salzburger Hauptbahnhofs und 1910 ein großes Wandbild (Helenental mit Weilburg) für das Hotel Herzoghof in Baden. Auf dem Gebiet der Plakatkunst war er – gemeinsam mit Gustav Jahn – ein führender Vertreter des frühen malerischen Reiseplakats, vor allem für die Österreichischen Staatsbahnen" (ÖBL).- ACHTUNG: VERSAND ERFOLGT OHNE RAHMEN! A - NEUEINGÄNGE Februar 2017 [Attributes: Signed Copy]

      [Bookseller: Antiquariat MEINDL & SULZMANN OG]
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        Handzettel: Weltpressestelle Berlin W9 Potsdamer Straße 134a Direktion: Herwarth Walden. Lesesaal. Verzeichnis der ausliegenden Zeitungen. Geöffnet täglich von 10 - 6 Uhr, sonntags von 11 - 2.

      [Berlin], [ohne Jahr; zwischen und ] 1912 - 22,6 x 15,4 cm, Einblattdruck. Verzeichnis der Zeitungen des Lesesaals. Erste Liste. Listet die Zeitungen aus Amerika, Dänemark, England, Frankreich, Italien, Niederlande, Norwegen, Rumänien, Russland Schweden, der Schweiz und Spanien auf. Mittig gefaltet. Selten. Ein Vergleichsexemplar ist für mich nicht nachweisbar. - Pirisch, Der Sturm, Eine Monographie (1985), siehe Seite 81f.: "Anfang des Jahres [1912] ziehen Verlag und Redaktion des Sturm von Berlin-Halensee, wo sie seit Gründung der Zeitschrift ansässig gewesen sind, in die Potsdamerstraße 18 um, Ende des Jahres weiter in die Potsdamerstraße 134a [.]" - Seite 76f.: "Im Frühjahr 1926 wird die Kunstausstellung zugunsten eines Zeitschriften-Lesesaales verkleinert, in dem - laut Selbstanzeigen in Sturm - 70 verschiedene internationale Zeitschiften aus den Breichen Kunst, Literatur und Musik ausgelegt sind [.]" - Seite 848, Abbildung XX: Sturm Weltpressestelle Berlin, Potsdamerstraße 134a im Jahr 1917.

      [Bookseller: Stader Kunst-Buch-Kabinett]
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        des Sonderbundes Westdeutscher Kunstfreunde und Künstler zu Cöln 1912, in der Ausstellungs-Halle der Stadt Coeln am Aachener Tor, 25. Mai - 30. Sept. 9-7 Uhr. Illustrierter Katalog.

      Köln, gedruckt bei M. DuMont Schauberg, 1912 - 1 Faltplan, 104 Seiten, 65 schwarz-weiss Tafeln im Anhang, Bildteil, XXXVIII Seiten mit Anzeigen, bedruckter Original-Leinenband (etwas angestaubt, Rückenbeschriftung abgerieben), einige handschriftliche Anmerkungen bei den Arbeiten von van Gogh am Rande, ordentliches (!) Exemplar der selteneren Ganzleinenausgabe einer der wenigen bahnbrechenden "Jahrhundert-Kataloge" der Klassischen Moderne. Bolliger 1, 343 III; 9, 846. - Dok.-Bibl. II, 297; VI, 622 [kartonierte Ausgaben]. - Gordon I, p. 88; Ref. Kunst 2, 1910. - Perkins 18c. - Rifkind 250/1 (mit Abbildung). - Spalek 883. - Literatur: G. Aust, "Die Ausstellung des Sonderbundes 1912 in Köln" [1961 und Katalog 1962]. - Stationen der Moderne, Katalog, Seite 17: "Die erste umfangreiche Zusammenfassung der Moderne" (E. Roters). - Schaefer, Barbara (Hrsg.), 1912 - Mission Moderne. Die Jahrhundertschau des Sonderbundes, Wallraf Museum Köln, 2012 [Mit einer Rekonstruktion der Ausstellung]. - Vorwort von Richart Reiche. 1347 Werke von van Gogh (125 Arbeiten), Cézanne (26), Gauguin (25), Cross, Signac, Picasso (16), Alma, Amiet, Aufsesser, Bechtejeff, Benes, Bloch, Bolz, Bondy, Bonnard, Braque, Brühlmann, Camoin, Denis, Derain, Deusserm, van Dongen, Ehmcke, Engelmann, Erbslöh, Faistauer, Filla, de Fiori, Freundlich, Friesz, Gerstel, Giacometti, Gütersloh, Herbin, Herrmann, Hodler, Heckel, W. Heuser, Jawlensky, Kandinsky, Kanoldt, Kirchner, Klee, Kokoschka, Kolig, Kubista, Laurencin, Lembruck, Levy, A. und H. Macke, Maillol, Manguin, Manolo, Marc, Marquet, Matisse, M. Melzer, Mense, P. Modersohn, Mogilewsky, Moillet, Mondrian, Morgner, Mueller, Munch, Nauen, Nolde, Ophey, Pascin, Pechstein, Purrmann, Richter-Berlin, Scharff, Schelhout, Schiele, Schmidt-Rottluff, Schmurr, Schneider, Simons, Tappert, Thorn-Prikker, Vlaminck, Vuillard, Waetjen, Weisgerber, E. R. Weiß u. a. [Attributes: Hard Cover]

      [Bookseller: Stader Kunst-Buch-Kabinett]
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        La Voiture Th. Schneider, 1912 gagne à Dieppe Dinant et à la Sarthe vitesse et régularité / Magneto Bosch Corburateur Claudel Roues Riley

      Mabileau & Co, Paris 1912 - Hand-coloured pochoir print. Very good condition. Theophile Schneider, formerly of the Rochet/Schneider Company, began building his own cars in 1910. This car, a 2.8 litre 4 cylinder model, had an unusual radiator placement, on the dashboard. All pre-1914 Schneiders were built in this way. The Gamy-Montaut prints document various, mostly hurried events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes. Clearly an enthusiast himself, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings depicted many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut", she also used the name "Gamy", an anagram for Magy. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring. [Attributes: Signed Copy]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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        Color Standards and Color Nomenclature

      Self published, 1912, Hardcover, Book Condition: Very Good Condition, First Edition. Contains all 53 colored plates with original painted color samples (1115 named colors). Boards show some scuffs, with corners slightlly bumped and worn. Tight binding. Interior is clean and unmarked. Quantity Available: 1. Category: Art & Design; Pictures of this item not already displayed here available upon request. Inventory No: 52544.

      [Bookseller: Boards and Wraps]
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        Aesop's Fables.

      4to. Sometime finely and exquisitely bound in full green oasis morocco, gilt extra, with 5 raised bands to spine, decorated in gilt in compartments with animal head centres, 2 gilt panels to boards including one with scalloped corners set with animal motifs in gilt, all edges gilt, elaborate gilt dentelles and Cockerell marbled endpapers, by Bayntun Rivière, Bath; pp. [iv], v-xxix + 223 + [i]; with 13 fine coloured plates mounted-at-large on heavier brown stock with captioned guards and 53 line drawings (19 of which are full-page); a beautiful copy with just a suggestion of fading to spine and one tiny black spot to upper board, internally fresh with all plates fine, and just the usual offset toning from brown stock to adjacent text pages. First edition de luxe, limited to only 1,450 numbered copies, signed by Arthur Rackham, with an introduction by G.K. Chesterton. A comprehensive collection of 284 individual fables.

      [Bookseller: Henry Sotheran Ltd.]
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        The Life of Napoleon Bonaparte

      London: The Times Book Club, 1912. Leather_bound. Fine. London: The Times Book Club, 1912. Leather_bound. Four volumes. Octavo. The Life of Napoleon Bonaparte by Willam Milligan Sloane, revised with preface to the library edition,and enlarged with portraits, Bound in three quarter blue morocco and marbled boards, spine gilt decorations of bees, falcon, and Napoleon insignia wreath, raised bands, gilt title, top edge gilt, marbled endpaper, portrait frontispiece.

      [Bookseller: Imperial Fine Books]
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        Mein Quick. Hundeporträt, liegend nach links.

      - Radierung, 1912, auf cremefarbenem, dünnem Japan-Bütten, signiert. 33:52,5 cm. Sehr guter Abdruck, tadellos und vollrandig. Literatur: Günther 67. Richard Müller war Schüler der Dresdener Akademie unter L. Pohle (1841-1908). Die Begegnung mit M. Klinger (1857-1920) 1895 wurde für seine künstlerische Entwicklung und Laufbahn bestimmend. 1896 erhielt er den Rompreis, seit 1900 war er Professor der Radierklasse an der Dresdener Akademie, wo er bis 1935 – zuletzt als Rektor – lehrte. 1914/15 leistete er Kriegsdienst, seitdem war er ununterbrochen in Dresden tätig. – Richard Müller war ein Meister der Tierdarstellung!

      [Bookseller: Galerie Joseph Fach GmbH]
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        History of the Hoppers.

      London: W & R Chambers, circa, 1912. Quarto, colour plates and illustrations in the text, early ownership inscription on front free endpaper; a good copy in the original illustrated boards. First edition of this justly famous children's book with anthropomorphised kangaroo characters - 'perhaps the best known story entirely devoted to the kangaroo' (Robert Holden, The Mint Exhibition, 1985).A justly famous children's book following a family of anthropomorphised kangaroo characters - 'perhaps the best known story entirely devoted to the kangaroo' (Robert Holden, The Mint Exhibition, 1985).The book is illustrated with 12 delightful full page sepia lithographs as well as many textual illustrations. Set in Australia amongst a number of adorable native animals including a koala and an emu, the wonderful illustrations capture the Hopper family's many adventures as they run their general store.It has recently been shown the authors of this book were sisters Bessie and Nancy. The Parkers produced a number of picture books including Arctic Orphans, Lays of the Greys, and Cinderella at the Zoo, all with anthropomorphised animals. Rebacked in cloth, inner hinges reinforced, two marginal stains caused by tape, some edgewear.

      [Bookseller: Hordern House]
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        Die Hochdruckmassage und der variköse Symptomenkomplex. - Künstliche Zirkulation. - Dauermassagen (pp.107-120, 6 Abb.).

      - Dtsch. Z. Chir., 118. - Der Luftkompresor im Krankenhaus, 3.Teil. - Leipzig, F.C.W.Vogel, 1912, 8°, V, 598 pp., 128 Abb., 1 Taf., Halbledereinband d.Zt. Erstdruck! - Die rhytmische Kompression und Dauermassage mittels Hochdruckmassage; Apparate für die Hochdruckmassage; Technik der Anwendung der Hochdruckmassage; physiologiasche Wirkungen auf das Ulcus cruris und die Varicen - werden in Wort und Bild von Franz Kuhn (1866-1929) dargestellt. - "Namentlich sind mittels unserer Luftdruckmassage Dauermassagen, d.h. über viele Stunden, selbst Tage sich erstreckende Dauerkuren möglich. Es ist unschwer, durch das kleine regulierbare Maschinenwerk den Zutritt und Abfluß der gepreßten Luft zu einem kontinuierlich weiterlaufenden, ununterbrochenen Vorgang zu machen." - Der von der Firma Cloth, Köln Nippes hergestellte universal anzuwendende Apparat war ein mufförmiges, hohlzylinderartiges Gebilde aus luftdichtem, starkem Stoff, von verschiedener Länge, und einer Weite, daß der betreffende Körpertheil, hier z.B. die Wade oder das ganze Bein bequem in das Innenblatt der Doppelwandlung gesteckt werden konnte, insbesondere der "Massierdoppelstiefel" erinnert an die heutigen Apparate. - Beigelegt dieser Arbeit ist ein weiterer Band (DZC 104) "Der Luftkompressor im Krankenhaus (pp.335-345, 6 Abb. (1910) zeigt die von Kuhn im Elisabeth-Krankenhaus zu Kassel verwendeten transportablen Kompressoren-Modelle. [Attributes: Hard Cover]

      [Bookseller: Antiq. F.-D. Söhn - Medicusbooks.Com]
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        A Son of the Sun

      Doubleday, Page & Co 1912 Garden City - [i-viii], [1-2], [3]-333 pages with frontispiece and three other black and white illustrations. Small Octavo (7 3/4" x 5 1/2"). Illustrated by A O Fischer and C W Ashley. Bound in original publisher's steel-blue cloth with light blue lettering to cover and spine, cover illustrated embossed ship with white sales and orange trim, surrounded by gray clouds.Signed processed check drawn on The Merchants National Bank of San Francisco, dated 1909 to Frank E Davis Fish Company for $37.55 in London's hand laid in. [BAL 11937] [Sissons & Martens 63] First edition, First issue. This volume, like Smoke Bellew, is divided into chapters, possibly explaining why it has been variously characterized as "a Polynesian novel," "a Melanesian novel," and "a collection of short stories. Condition: Shelf wear, corners bumped, spine ends and corners moderately rubbed, lightly soiled. A very good copy lacking dust jacket. Check in very good condition with perforated cancellation to check. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: The Book Collector, Inc. ABAA,IOBA,TxBA]
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        Die Entstehung der Kontinente

      Gotha: Justus Perthes, 1912. 1st Edition. Hardcover. 4to - over 9¾ - 12" tall. In: Dr. A. Petermanns Mitteilungen aus Justus Perthes' geographischer Anstalt 58/1, 1912, pp. 185-195, 253-256, 305-309. Gotha: Justus Perthes. 4to (270x223 mm). 1 folded map bound at the end (plate 36). Whole volume, xvi, [4], 344 pp., 56 plates, maps and diagrams (some folding). Original brown cloth, blind-stamped boards (little wear and soiling), spine and front board gilt-lettered, marbled edges, internally clean with only little spotting and browning, few pencil markings (not to Wegener papers). An excellent copy. ----Norman 2192 - FIRST EDITION, journal issue. Wegener was the originator and one of the chief defender's of the theory of continental drift. This, his first paper on the subject, attracted little attention, and it was only with the publication of a 2nd edition of his treatise in 1919 that his theory became a subject of wide controversy. It was largely ignored from the 1930s to the 1950s, when new paleo-magnetic evidence appeared to support the theory. Near Fine.

      [Bookseller: Milestones of Science Books]
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        Four rare offprints, including one presentation copy, by PAVLOV from the Norman library.

      1912. 1st Edition. Soft cover. 8vo - over 7¾ - 9¾" tall. I. Inhibition interne en tant que fonction des deux hemispheres. Offprint from: Livre jubilaire du Professeur Cli. Richet (1912). [Paris: L. Maretheux (1912)]. 8vo (273 x 188 mm). 6 leaves, [1] 2-10, [2] pp., last leaf blank. Original plain wrappers. Presentation inscription from the author on front wrapper "Mit besten Grüssen"; ink shelfmark on first leaf. Some browning, small edge defects, creased from folding, otherwise fine. II. Die besondere Labilität der inneren Hemmung bedingter Reflexe. Offprint from: Berliner klinische Wochenschrift (1914), 11. Berlin: August Hirschwald, [1914]. 8vo (211 x 138 mm). 2 leaves, [1] 2-4 pp. Original tan printed wrappers. Ink shelfmark on front wrapper. III. "Innere Hemmung" der bedingten Reflexe und der Schlaf - ein und derselbe Prozess. Offprint from: Skandinavisches Archiv für Physiologie, 44 (1923). Berlin & Leipzig: Walter de Gruyter, 1923. 8vo (224 x 148 mm). 9 leaves, [2] 43-58 pp. Original printed self-wrappers. Ink shelfmark on front wrapper. IV. Die Charakteristik der Rindenmasse der Grosshirnhemisphären, vom Standpunkte der Erregbarkeitsveränderungen ihrer einzelnen Punkte. Offprint from: Schweizer Archiv für Neurologie und Psychiatrie 13 (1923). Zürich: Orrell Füssli, 1923. 8vo (246 x 173 mm). 5 leaves, 567-576 pp. Original white printed wrappers. Ink shelf mark on front wrapper. Provenance: all four prints from the library of Rudolph Magnus (with his name stamps on front wrappers) and the Pharmacologisch Instituut, Rijks Universiteit Utrecht (with stamps on front wrappers). All four offprints housed in a brown cloth backed custom folder with ex-libris of H F. Norman M D on inner cover. ----Norman 1668, 1669, 1670, 1672 (these copies). FIRST EDITION, offprint issues. Rudolf Magnus (1873-1927) was a German physiologist who is best known for his studies of physiology of posture (see Garrison-M. 661 and 663.1). Pavlov received the 1904 Nobel Prize in physiology / medicine for his studies of the physiology of digestion, which revealed the part that the nervous system plays in controlling digestive secretions. Most of Pavlov's later scientific career was devoted to the physiology of the brain and of higher nervous activity. "In conducting his researches, Pavlov introduced the method of long-term or continuous experimentation, which - in contrast with traditional vivisectional methods - allowed him to study the operation of physiological processes in healthy animals under normal conditions over extended periods of time. His investigations of the nervous system's role in digestion led him to explore the phenomenon of "psychic" stimulation; i.e., salivary secretion prompted by the sight or smell of food rather than by direct contact. In Pavlov's hands this became a powerful tool for investigating the functions of the cerebral cortex and the physiology of behavior. The most famous outcome of his researches is, of course, the artificial conditioned reflex, in which physiological processes such as salivation are arbitrarily associated with stimuli such as the ringing of a bell." (Magill, The Nobel Prize Winners: Physiology or Medicine, pp 61-68). Very Good.

      [Bookseller: Milestones of Science Books]
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        Zeitschrift für bildende Kunst. Neue Folge Beiblätter u. Beil.: Gesellschaft für Vervielfältigende Kunst: Mitteilungen der Gesellschaft für Vervielfältigende Kunst; Beiblätter u. Beil.: Kunstchronik; Beiblätter u. Beil.: Kunstchronik und Kunstliteratur; Beiblätter u. Beil.: Kunstchronik und Kunstmarkt; Beiblätter u. Beil.: Kunstgewerbeblatt

      Leipzig : Seemann, 1912 - IV, 312 S., 33 cm Zustand: Lederrücken- und Ecken, Bezugspapier in Lederoptik, Einband deutliche beschabt, Bindung fest, Papier teils leicht altersfleckig, gebräunt --- Inhalt: Mit Originalradierungen /-lithos von Joseph Uhl, Ferdinand Hodler (Gravüre), Jennny von Bary-coussin (Gravüre), Marcus Behmer, Wilhelm Gallhof, Walter Zeising, Walter Kühne, Hans Meid, Rudolf Großmann, Ferdinand Steiniger, Bruno Heroux (2 OLithographien), Peter Halm (Radierung eines Gemäldes), Hubert Wilm 2x, Hermann Struck, Hermann Hirzel, Wilhelm Wieger (OLithographie), Giovanni Bellini (Gravüre), Max Roeder M5-1#Elisabeth*** Hinweise: Eine ordentliche Rechnung liegt der Sendung in jedem Fall bei. ** Paypal: der Bezahl-Link kommt spätestens abends per Mail, Versand auf Rechnung ist nur bei institutionellen Kunden möglich*** Sprache: Deutsch Gewicht in Gramm: 2300 [Attributes: Hard Cover]

      [Bookseller: Antiquariat Biebusch]
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        Venise

      first edition on the current paper.Publishers'binding with full cream canvas, dumb smooth spine label and glued a picture on the first full flat of his clasp and his band.Iconography, a newspaper clipping and a postcard of Millet's Angelus joined.Nice copy. Société des amis des livres Paris 1912 21x29,5cm en feuilles sous chemise et étui

      [Bookseller: Librairie Le Feu Follet]
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        The Arabian Nights

      London: Constable & Co. Ltd,, 1912. Octavo, (244 x 180 mm). Contemporary green crushed half morocco by Bayntun, titles and decoration to spine gilt in compartments, raised gilt bands, all edges gilt, marbled endpapers, original cloth backstrip and sides bound in at rear. Colour frontispiece, 18 colour plates, all pasted on brown card with captioned tissue guards, with black and white illustrations to text. Spine toned, light bumps and rubbing to tips, an excellent copy. First René Bull edition, first impression. Only six copies are listed world-wide on OCLC, with three sales listed at auction. A handsomely bound copy of this finely illustrated book.

      [Bookseller: Peter Harrington]
 24.   Check availability:     Biblio     Link/Print  


        Vie de Mélanie bergère de la Salette écrite par elle-même en 1900 - Son enfance (1831-1846)

      First editionHandsome autograph insciption from Léon Bloy to the painter Georges Rouault: "Rien pour son art - Il n'y a pas de caricature".Spine reinforced with some filled in lacks, a tear repaired to the half title page,the one with the inscription.This copy has a chemise an slipcase of full black morocco over marbled paper boards, lined with sheep.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. Mercure de France Paris 1912 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Illustrated History of New Mexico

      New Mexican Printing Co., Santa Fe 1912 - Lg. heavy 8vo. Original blind embossed purple boards with mild fading to spine. Gilt title on ft. bd. still very bright; gilt spine title still quite legible. Slight wear at corners and bd. edges, otherwise, except for spine fade, the boards are unmarred. Hinges tight, marbled eps. with errata sheet affixed to ft. pastedown. Very mild age toning, no foxing. Mylar cover. The volume is protected in a dark blue slipcase. pp. 812 Santa Fe Attorney Benjamin Read originally wrote this extensive history in Spanish. He subsequently published this revised English edition in 1912, printed by the same folks who published the daily newspaper, The New Mexican. It was an edition of only 500 copies, this being no. 194. Apparently, it remained in his possession for a while because beneath the limitation statement there is an ink stamp with the author's name and location. He subsequently presented the book to Professor Herbert Bolton, a well-known scholar of the southwest. On the third ffep., above the author's picture, is a two line hand-written presentation note: "For Prof. Herbert E. Bolton/Compliments of the author." In addition, included in the prelims but not attached is a two page hand-written letter in Spanish to the Author from his son dated 2/20/12 in Pueblo, CO. A really nice copy of a scarce volume with an interesting provenance. Howes R-90, Graff 3430, Rader 2765 [Attributes: First Edition; Hard Cover]

      [Bookseller: Gunstock Hill Books]
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        Der Decamerone. Deutsch von Dr. Heinrich Conrad. In fünf Bänden mit den Kupfern und Vignetten von Gravelot, Boucher und Eisen der Ausgabe von 1757.

      München und Leipzig, Georg Müller und Hans von Weber, (-13) 1912 - 8°. 264, 252, 188, 238, 227 Seiten. Orig. rotes Maroquin mit grünen Rückenschildchen, reicher Rückenvergoldung, Goldbordüre auf Deckeln, Kopfgoldschnitt. Nicht bei Rodenberg. - Faksimile der berühmten Boccaccio-Ausgabe. "Von dieser Ausgabe wurden 100 Exemplare für die Mitglieder der Vereinigung 'Die Hundert' auf Velin von Van Gelder mit dem Hundertzeichen, weitere 100 Exemplare auf gleichem Velin mit dem Wasserzeichen "Boccaccio" für die Luxusausgabe abegezogen." Vorliegendes Exemplar ist Nr. 42 der Luxusausgabe. - Rücken von Bd. 1 und Teil des hinteren Deckel etwas verblasst, Kratzer auf Vorderedeckel von Bd. 4.

      [Bookseller: EOS Buchantiquariat Benz]
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        The Justice and the Duke - Signed and inscribed with ALS

      Stanley Paul, 1912 Signed and inscribed by the author on the day of publication and complete with ALS A first edition, first printing published by Stanley Paul and Co. in 1912. A very good+ book with strong gilt on the spine and on the front board. Some foxing to the pages and a little to the edges. Rough cut (deckl) edges to the page. SIGNED to J R Pryor from Rafael Sabatini May 1912 on the page prior to the first page of text. Some bumping to the corners and some rubbing to the edges. Light paper residue to ffep. Complete with an ALS from Sabatini, explaining that the book was only published one day prior to the inscription. From his address in Battersea Park and dated by Sabatini.

      [Bookseller: John Atkinson Books]
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        Hike and the Aeroplane

      Frederick A. Stokes, NY 1912 - Beige pictorial cloth stamped in black/orange/grey. First and only edition. Bookplate to fep, dampstain to prelims, another dampstain around p. 30 that effects several other pages, mesh showing front, mid and rear. Rubbed through at corner, cocked, and titles rubbed off of spine. Binding loose but attached. Frontis with tissue, with two other illustrations, lacking one. Sinclair Lewis' debut novel, in well-loved condition, now protected in acetate. ; 8vo 8" - 9" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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        [Op. 6 nos. 2-8]. Acht Lieder für eine Singstimme und Klavier... Op. 6 [Nos. 2-8, lacking no. 1]. [Piano-vocal scores]...

      Berlin: Verlag Dreililien [PNs 602-08], [1907, 1912]. 7 volumes. Folio. All on watermarked laid paper of C.G. Röder (with the exception of no. 8). No. 2. Alles. Text by Richard Dehmel (1863-1920). [1] (title), 2-5, [6] (catalogue) pp. No. 3. Mädchenlied. Text by Paul Remer (1867-1943). [1] (title), 2-5, [6] (catalogue) pp No. 4. Verlassen. Text by Hermann Conradi (1862-1890). 1f. (recto title, verso blank), 3-7, [8] (catalogue) pp. No. 5. Ghasel. Text by Gottfried Keller (1819-1890). 1f. (recto title, verso blank), 3-5, [6] (catalogue) pp. No. 6. Am Wegrand. Text by John Henry Mackay (1864-1933). [1] (title), 2-5, [6] (catalogue) pp No. 7. Lockung. Text by Kurt Arm (pseud. Hans Fischer, 1869-1945). 1f. (recto title, verso blank), 3-5, [6] (catalogue) pp. No. 8. Der Wanderer. Text by Friedrich Nietzsche (1844-1900). [1] (title), 2-7, [8] (catalogue) pp. With the signature of the German soprano Helene Orthmann (fl. 1920s-30s) to title of No. 4, Verlassen. Together with: A later issue of No. 3 with title printed in black only and without catalogue, lacking wrappers, and a later issue of no. 8 with title and catalogue printed in black, catalogue to verso of final leaf listing opp. 1-4 and 6-7, Universal wrappers and imprint and lower wrapper dated XI. [November] 1912. Some wrappers worn and detached. Some signs of wear, soiling and browning; occasional markings and distributor's stamps. First Edition, first issues of nos. 2, 3, 6, 7 and 8 with original publisher's wrappers printed in red; nos. 4 and 5 are later issues, in Universal-Edition wrappers and with their imprint and dating to lower wrappers III. [March] and XI. [November] 1912. Title and publisher's catalogue to verso of last leaves of nos. 2, 3, 4, 6, 7 and 8 listing Schoenberg's opp. 1-3 printed in red; title of no. 5 printed in black with publisher's catalogue to last page listing Schoenberg's opp. 1-4 and 6-7 also printed in black. Rufer (Engl.) p. 26. Ringer p. 311. Tetsuo Satoh pp. 3-7....

      [Bookseller: J & J Lubrano Music Antiquarians]
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        Las mejores naranjas, limas y limones (Corresponde al boletín Nº 67 de la Estación Agrícola Central.) / Estación Agrícola Experimental de Río Verde, San Luis Potosí. (Corresponde al boletín Nº 3 de la Estación Dos libros en uno.

      - Las mejores naranjas, limas y limones (Corresponde al boletín Nº 67 de la Estación Agrícola Central.) / Estación Agrícola Experimental de Río Verde, San Luis Potosí. (Corresponde al boletín Nº 3 de la Estación Agrícola).México, Imprenta y fitotipia de la Secretaría de Fomento-Dirección de Agricultura. 1912 y 1909 respectivamente.Características: Pasta dura en ½ piel y cartoné. Con nervios. Está ligeramente fatigado de las orillas de las pastas. Con una gran variedad de fotografías e ilustraciones a través de ambos libros. 72 y 142 p. respectivamente. El libro 2 contiene un mapa grande plegado al final del libro. (22 x 16.5). Peso: 760 grs. [Attributes: Hard Cover]

      [Bookseller: Carlos Héctor García Toscano]
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        L'âme de Napoléon

      Mercure de France. First edition, a first issue copy numbered in the press; there were only 3 large paper copies on Japan and 27 on Hollande paper. Autograph inscription signed by Léon Bloy to a close friend "...ce livre d'un vieux pauvre pour agrandir les coeurs [... this book from a poor old man to make hearts a little bigger]."One small insignificant stain to head of upper cover, a very good copy. Mercure de France Paris 1912 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Hrsg.). Thule. Altnordische Dichtung und Prosa. Einleitungsband sowie 24 Bde., zus. 25 Bde. Jena, Diederichs, 1912-30. Mit 8 (2 farb. lithogr.) Karten und einigen Tafeln. Original-Halbpergament-Bände mit schwarzgeprägtem Reihensignet auf dem Vorderdeckel sowie Rückentitel (1 Außengelenk angeplatzt, 1 Rücken leicht eingerissen, Rücken vereinzelt leicht angestaubt).

      1912 - Erste Ausgabe.- Umfangreiche vollständige Reihe der Sammlung Thule. Erstmals wurden hier durch den Altgermanisten und Skandinavisten Felix Niedner (1859-1934) die mittelalterlichen isländisch-nordischen Sagaliteraturen, mythologischen Schriften der Edda sowie die poetischen Schriften der Skaldik in deutscher Übersetzung umfassend zusammengestellt.- 1. weißes Blatt jeweils mit handschriftlichem Besitzeintrag. Teils (14 Bände) mit wenigen kleinen marginalen handschriftlichen Anmerkungen.- 2 Innengelenke angeplatzt. Vereinzelt papierbedingt leicht gebräunt.- Beiliegend umfangreiche handschriftliche Sammlung an Stammbäumen zur vorliegenden Reihe. Gewicht in Gramm: 500 [Attributes: First Edition]

      [Bookseller: Antiquariat Daniel Schramm e.K.]
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        Variabilita e Mutabilita contributo allo studio delle distribuzioni e delle relazioni statistiche.

      Bologna: Tipografia di Paolo Cuppini, 1912. 1st Edition. Soft cover. 8vo - over 7¾ - 9¾" tall. 8vo. (248 x 170 mm). [2], iii [1], 158 [2] pp. Original printed wrappers (spine ends with tears at folds, some marginal browning), untrimmed and partially unopened. Internally little age toned only. Fine unmarked and unstained copy.FIRST EDITION, exceptionally rare. The Gini coefficient (also known as the Gini index or Gini ratio) is a measure of statistical dispersion developed by the Italian statistician and sociologist Corrado Gini and published in his 1912 monograph Variabilità e mutabilità (Variability and Mutability). The Gini coefficient measures the inequality among values of a frequency distribution (for example levels of income). A Gini coefficient of zero expresses perfect equality where all values are the same (for example, where everyone has an exactly equal income). A Gini coefficient of one (100 on the percentile scale) expresses maximal inequality among values (for example where only one person has all the income). It has found application in the study of inequalities in disciplines as diverse as sociology, economics, health science, ecology, chemistry, engineering and agriculture. It is commonly used as a measure of inequality of income or wealth. Worldwide, Gini coefficients for income range from approximately 0.23 (Sweden) to 0.70 (Namibia) although not every country has been assessed. Reprinted in Memorie di metodologica statistica (Ed. Pizetti E, Salvemini, T). Rome: Libreria Eredi Virgilio Veschi (1955). Near Fine.

      [Bookseller: Milestones of Science Books]
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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]. FIRST EDITION. 8vo., pp. (vii)319. With photographic portrait frontispiece of members of the expedition, plates and map. Elegantly hand-bound in full dark blue oasis morocco leather with gilt titles and raised bands to spine; original cover preserved at rear. Top edge gilt. Internally very clean. A fine copy in attractive recent binding. The first Challenger novel, in which our hero travels to a Lost World in the Amazon forest where dinosaurs, Pterodactyls and ape men could still exist. Green & Gibson A37. Also Bleiler; The Guide to Supernatural Fiction.

      [Bookseller: Adrian Harrington]
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        Grafik *Motiv 7 / 1967* - Aquatintaradierung in 2 Farben, signiert und nummeriert.

      Nummerierte Aquatintaradierung Emil Schumachers (*1912 - 1999) in einer Auflage von 120 Exemplaren ( hier die Nummer 51 ), rechts unten von Schumacher handschriftlich signiert. Bildgröße 28 x 39 cm / Breitrandiges Exemplar, Blattgröße 53 x 70 cm. Mit beiliegendem Editionszettel *Grafik des Monats* mit bibliographischen Angaben zu Emil Schumacher. Das Blatt am Außenrand mit kleiner Beschädigung sowie einer Knickfalte. Insgesamt aber gut erhalten.

      [Bookseller: Antiquariat Friederichsen]
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        La guerre des boutons

      Mercure de France. First edition, a first impression copy numbered in the press, the only printing with 19 on Hollande paper. Modern Bradel binding in half ochre cloth over marbled paper boards, spine with central gilt fleuron, double fillet to foot, navy blue morocco title piece. Autograph inscription from Louis Pergaud to Louis Chaffurin.An infinitesimal marginal lack to head of half title, as well as a faint dampstain stretching along the subsequent pages. Mercure de France Paris 1912 11,5x18cm relié

      [Bookseller: Librairie Le Feu Follet]
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        La marche à l'étoile

      Edition printed on Alfa paper.Binding half navy blue morocco, spine with five nerves, marbled paper plates, guards and sky blue contreplats, wrappers and back preserved and bound in (isolated back and slightly faded, stains on boards), gilded head, binding signed P. Goy & C. Vilaine.Signed autograph Albert in London The dispatch of Le Havre.Copy pleasantly established. Sansot & Cie Paris 1912 11,5x18,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        "Capsuimun", Barker Road, The Peak - The Holyoak Family Photograph Album....

      1909- 1912. 131 black and white photographs in leather covered album. 34.5 x 28cm. Photographs vary in size between approximately 24 x 29cm to the very smallest, 3.6 x 6cm, with most of the photographs in between. Some photographs have been removed, one leaf loose. A few photographs with captions in red pencil. A number of photographs have been tightly cropped around the main subject of the image and many have a border in coloured crayon. Photograph of the parade ground is a little faded, otherwise the photographs are in good condition some showing a little silvering. From the collection of Hong Kong artist, author, historian and collector, Arthur Hacker. At first glance this oblong leather personal photograph album does not appear to be particularly special, however on closer examination and with the addition of the loosely inserted 12 page typescript story of the album it comes to life. The album shows family photographs of the Holyoak family of "Capsuimun", Barker Road, The Peak. The photographs are mainly of family interest and show two weddings, a handsome photograph of the Parade Ground, the family twin girls at play at home and at the beach, The Hon. Percy Hobson Holyoak in his office and in his regalia, Mrs Holyoak with her daughters and pet dog and the family being transported by sedan chair. However towards the end of the album there are ten pages of photographs - 29 images in all - which record the exterior (6 photographs) and the interior (23 photographs) of "Capsuimun" the gracious Peak residence of this successful family. These interior photographs, which show the furnishings and decorations of their residence "Capsuimun", offer an unusual picture of the Edwardian home of a well-to-do European family in Hong Kong at the time. The photograph album is greatly enhanced by the 1650 word piece by Charles Lanyon entitled "The Mystery of Capsuimun" which is loosely inserted. Well written and entertaining Charles Lanyon tells the story of how he chanced upon this initially rather unprepossessing album in an antique shop (unfortunately he doesn't say when or where but likely in the United Kingdom) and how he went about identifying who the house and family were. Many trips on the Peak Tram insured as he attempted to identify the house. However thanks to Charles Lanyon we know that the album was the property of the family of The Honourable Percy Hobson Holyoak, one time member of the Hong Kong Legislative and Executive Councils, a partner with Reiss Brothers and later the founder of Holyoak, Massey & Co and Chairman of Union Insurance Company of Canton, the Hongkong and Macao Steamship Company, the court of the Directors of the Hongkong and Shanghai Bank... to quote Lanyon "In fact there seems to be very little he was not chairman of: the Chamber of Commerce (five times), the Hong Kong Club, the Victoria Recreation Club - the list is endless." (When referring to this item please quote stockid 156774)....

      [Bookseller: Asia Bookroom]
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        La Normandie : projet de carton pour la tapisserie de la manufacture des Gobelins. Étude 4

      Encre sur papier. 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! Encre sur papier 1912-1913 14 x 21,5 cm

      [Bookseller: Librairie Le Feu Follet]
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        NATURE'S HARMONIC UNITY: A Treatise on Its Relation to Proportional Form

      New York and London: G.P. Putnam's Sons, 1912. First edition. Hardcover. Very Good. 327 p. Edited by C. Arthur Coan, LL.B. With 302 illustrations by the author. The mathematical analysis by the editor. A treatise on the laws governing proportional form in both nature and the arts and sciences, this well-illustrated volume amply demonstrates how a design's geometrical construction can captivate both the eye and the mind. Flowers, shells, and other natural organisms appear here, along with artistic creations, in a mathematical study of the similarity of their constructive principles. These principles, in turn, are the fundamental elements by which nature creates harmony. Colman (1832-1920), a prominent member of the Hudson River School of painters, was also a teacher and associate of Louis Comfort Tiffany. Octavo. Original green cloth binding, with gilt stamping. The contents are slightly shaken. Some general minor dust staining to the top edge. The spine is darkened a touch, with a bit of wear to the corners and tips; else about very good.

      [Bookseller: The Book Shop, LLC]
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        La bohême et mon coeur

      S.n.. first edition of the second book of the author.Bound in half red morocco, spine slightly discolored with five nerves decorated with black boxes, golden tail date a little bit split head, marbled paper plates, guards and contreplats of handmade paper, wrappers and back preserved and bound in, gilded head signed binding Alix.Precious autograph signed by Francis Carco: "A tribute to Charles Maurras vivid literary sympathy."Our copy has two handwritten corrections Francis Carco pages 62 and 66.Nice copy pleasantly established.  S.n. Paris 1912 12,5x19,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        The Lost World. Being an Account of the Recent Amazing Adventures of Prefessor George E. Challenger, Lord John Roxton, Professor Summerlee, and Mr. E. D. Malone of the "Daily Gazette."

      London: Hodder and Stoughton, 1912. First Edition, SIGNED BY THE AUTHOR on label. Octavo. pp. vii, 319. With 5 monochrome plates featuring illustrations of dinosaurs and landscapes. Also featuring the clipped signature of Sir Arthur Conan Doyle affixed to the front pastedown. In maroon morocco leather binding of W. Perkins Bull, K.C., a notable Canadian book collector. Gilt titles to spine and gilt flower medallion stamped to front board. Top edge gilt. Binding loose between frontispiece and title page. Spine has seen some wear, with a small tear and some slight flaking. Occasional foxing, mainly to prelims. Professor George Edward Challenger leads a return expedition to a plateau in the Amazon rain forest, where dinosaurs, Cave Men, and other prehistoric creatures are found to be co-existing, cut off from the rest of the world.

      [Bookseller: Adrian Harrington]
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        Interferenz-Erscheinungen bei Röntgenstrahlen. Vorgelegt am 8. Juni 1912. / Eine quantitative Prüfung der Theorie für die Interferenz-Erscheinungen bei Röntgenstrahlen. Vorgelegt am 6. Juli 1912.

      München: Verl. d. Königl. Bayer. Akad. d. Wiss. 1912. 1st Edition. Hardcover. 12mo - over 6¾ - 7¾" tall. In: Sitzungsberichte der Königlich Bayerischen Akademie der Wissenschaften, Mathematisch-physikalische Klasse, 1912, pp. 303-322 and 363-373. München: Verl. d. Königl. Bayer. Akad. d. Wiss., 1912. Large 12mo (220x142 mm). With 3 line block diagrams in text and 5 collotype plates (stiff plates mounted on studs with white gaffer tape not affecting images). Whole volume: iv, 80, 620 pp., 11 plates and tables (2 folding). Contemporary half-cloth with shelf-mark to spine, general title page with 3 library stamps. Internally little age-toned (outer margins a bit stronger). Provenance: Institut für theoretische Physik, Frankfurt am Main. ----PMM 406a; Norman 1283 (offprint); D.S.B. VIII, p.50. - FIRST EDITION. - Laue's Nobel Prize-winning report of "one of the most beautiful discoveries in physics" (Einstein). X-rays had been in wide use for years before their exact nature was elucidated by Laue, Max Planck's principal assistant and close colleague. "In the spring of 1912, Laue had the crucial idea of sending X-rays through crystals. At this time scientists were very far from having proven the supposition that the radiation that Roentgen had discovered in 1895 actually consisted of very short electromagnetic waves. Similarly, the physical composition of crystals was in dispute, although it was frequently stated that a regular structure of atoms was the characteristic property of crystals. Laue argued that if these suppositions were correct, then the behavior of X-ray radiation upon penetrating a crystal should be approximately the same as that of light upon striking a diffraction grating" (D.S.B.), an instrument used for calculating the wavelengths of light, inapplicable to X-rays because their wavelength is too short. An associate, Walter Friedrich, and Laue's student Paul Knipping began experimenting along these lines on April 12, 1912, and succeeded in producing a regular pattern of dark points on a photographic plate placed behind a copper sulfate cyrstal which had been bombarded with X-rays. Laue's second paper contains his complicated mathematical explanation of the effect, later known as the Laue-Friedrich-Knipping phenomenon. His discoveries earned Laue the Nobel Prize in physics for 1914. This is the exceedingly rare journal issue, actually much rarer than the offprints (the last 5 copies at auction in the past 30 years have all been offprints issues). The rarity can be explained not only by the low print-run of the journal, but also of its local character and low distribution level, with public libraries being the common subscribers. Very Good.

      [Bookseller: Milestones of Science Books]
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        Thermodynamische Begründung des photochemischen Äquivalentgesetzes. [With:] Nachtrag zu meiner Arbeit: Thermodynamische Begründung des photochemischen Äquivalentgesetzes.

      Leipzig: Johann Ambrosius Barth, 1912. First edition, extremely rare author's presentation offprints (with 'Überreicht vom Verfasser' (Presented by the Author) printed on front wrappers), and the copies of Einstein's son Hans Albert, of Einstein's formulation of the photochemical equivalence law. This is a fundamental principle relating to chemical reactions induced by light, which states that for every quantum of radiation (photon) absorbed, one molecule of the affected substance reacts. Einstein's formulation, founded on thermodynamics, marks the first application of quantum theory to photochemistry; it was one of his last significant contributions to quantum theory. The photochemical equivalence law is also known as the Einstein-Stark law: the German experimental physicist Johannes Stark had published his own derivation of it in 1908, but at that time Stark did not agree with Einstein's views on the corpuscular nature of radiation, writing: "In my opinion it is not necessary to postulate a discontinuous structure of the radiation energy, which flows with the velocity of light in ether" (quoted in Mehra & Rechenberg, p. 103). OCLC lists only two locations (King's College London and Swiss National Library for the main work, the latter only for the 'Nachtrag'); no other copy in auction records (neither of these papers were in Einstein's own reference collection of offprints in the Richard Green Library). Provenance: Hans Albert Einstein (1904-1973), Swiss-American engineer and educator, and the second child and first son of Albert Einstein and Mileva Mari (ownership stamp on front wrapper). He moved to the US in 1938, and spent most of his career at the University of California, Berkeley, where he was a professor of hydraulic engineering. Einstein's work on the photochemical equivalence law came at a time of crisis in his attitude to the quantum theory of radiation. Einstein had first put forward the idea of light quanta in 1905, but in later years he came to doubt the validity of the idea, despite its earlier success in explaining the photoelectric effect. In May 1911, "Einstein confided to [Michel] Besso his doubts on the existence of quanta in general: "I no longer ask myself if these quanta really exist. And I do not try any more to construct them because I now know that my brain is unable to do it. But I still explore the consequences as carefully as I can to learn the range of validity of this idea." In February 1912 he wrote to Hopf: "Quanta certainly do what they ought to, but they do not exist, like the immovable ether. At the moment, the latter is turning diligently in its grave intending to come to life again -- poor fellow" ... [Einstein] no longer sought to "construct" quanta and instead tried to see how far quantum results could be obtained without quantum discontinuity: "After many fruitless attempts," he wrote in the same letter [to Wien in May 1912], "I too have come to the conclusion that one will not be able to put the theory of radiation on its feet merely by constructing models. This is why I tried to formulate new questions through pure thermodynamics, without making use of a picture." The first yield of this new strategy was a derivation of an obvious consequence of the light quantum hypothesis, the law of photochemical equivalence, without light quanta [the first offered paper]" (Cambridge Companion to Einstein, pp. 131-2). Einstein derived the photochemical equivalence law using thermodynamics; the fact that this law is consistent with the conclusion one would derive from the light quantum hypothesis lends support to that hypothesis. Einstein's paper on the photochemical equivalence law led to a deterioration in his relations with Stark. "Several years later Albert Einstein gave a treatment of the photochemical laws on the basis of quantum theory [the two offered papers]. Johannes Stark, in a subsequent note, then drew attention to his earlier treatment, to which Einstein replied by stating: 'J. Stark has written a note concerning a paper of mine, published recently [the first offered paper], with the purpose of defending his intellectual property. I do not wish to comment on the question of priority implied in it, for it would hardly interest anyone, especially since the photochemical equivalence law must be regarded as a completely obvious consequence of the quantum hypothesis'. He further remarked that his new derivation was different and founded on thermodynamic arguments. Stark pointed out in a second note that he agreed with the last statement; but he still claimed that he had obtained the photochemical laws on arguments different from Einstein's in his paper on the light-quantum ... In 1912 the relations between Einstein and Stark had already become less cooperative than they had been in previous years, and they would deteriorate further in the future. Einstein's harsh answer in the question concerning the priority of the formulation of photochemical laws may have triggered Stark's unhappiness" (Mehra & Rechenberg, p. 104). Mehra & Rechenberg, The Historical Development of Quantum Theory, 1, pp. 103-104. Weil, Albert Einstein Bibliography, 46. Together two offprints from Annalen der Physik, 4. Folge, 37 & 38 Band, 1912. 8vo (220 x 144 mm), pp. 832-838 & 881-884. Original printed wrappers with ownership stamp of Hans Albert Einstein on front wrappers. Very fine condition.

      [Bookseller: SOPHIA RARE BOOKS]
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        The Heroes, or Greek Fairy Tales for My Children.

      London: The Medici Society Ltd. 1912. Small quarto. xvii, 113pp. From an edition of 512 copies, this is number two of twelve printed on vellum. Illustrated with twelve mounted color plates by Sir William Russell Flint. These reproductions of watercolor paintings were originally grouped together at the back of the book, but were distributed throughout the text in their relevant places when it was rebound. Together with an additional portfolio of twelve duplicate plates. The text was written by Charles Kingsley, who tells the tales of Perseus, the Argonauts, and Theseus, for "there are no fairy tales like these old Greek ones, for beauty, and wisdom, and truth, and for making children love noble deeds, and trust in God to help them through." This volume features a designer binding by Lester Capon. Trained in the art of bookbinding by James Brockman, Capon is known for employing traditional bookbinding methods and materials within a modern context. Bound in green goatskin, with multi-colored and hand-stained leather and paper inlays and gold tooling. At the center of the spine extending over both covers is a circular design filled with small curved gold lines and dots and multicolor circular inlays; at the center, like the boss of a shield, the gilt title rests on a red circle. In the background, inlays and gold tooling resemble a field of stars and planets, and undulating navy lines run lengthwise across both covers. Capon says of the design: "The central massing of gold and coloured inlays is mainly based on shields, but I don't do 'literal' or illustration, so it's invented and imagined. Or it could be the sun! - the presence of ancient gods is prevalent and relevant, which is why, also, the hand stained inlays are suggestive of the heavens." Sewn silk endbands, orange Finnish reindeer suede doublures, and Ingres endpapers in harvest gold and merlot finish this finely executed binding. T.e.g. Housed in felt-lined, cloth drop-back box in gray-blue with restraining wedge and a separate compartment for the cloth folder containing the additional plates. Extremely fine.

      [Bookseller: Bromer Booksellers]
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