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Displayed below are some selected recent viaLibri matches for books published in 1914

        ZEIT-ECHO. Ein Kriegs-Tagebuch der Künstler. Jahrgänge I und II in einem Band. Hefte 1-23/24 und Hefte 1-15 [Alles Erschienene]. Mit 143 Original-Grafiken. Darunter Arbeiten von Paul Klee (Der Tod für die Idee, Kornfeld 63, IIb; dem Gedicht von Georg Trakl gegenübergestellt, Erstdruck: Ritzer 2.5), Oskar Kokoschka (5 Lithografien, Wingler-Welz 69-73 in dem ihm gewidmeten Heft XX), Lyonel Feininger (Prasse Suppl. II, Nr. 1-3), Alfred Kubin (2, Raabe 79), Edwin Scharff, A. Schinnerer, Richard Seewald (4, Jentsch L 7, 9, 10, 11), Rudolf Grossmann, Max Unold, W. Geiger, P. Picasso (Lithographie nicht bei Bloch, lt. Söhn wahrscheinlich Reproduktion) u. a. m. - Mit literarischen Erstdrucken u. a. von J. R. Becher, M. Brod, M. Buber, Th. Däubler,

      München und Berlin, Graphik-Verlag, -16 1914 - ca. 24 x 17,5 cm, Jahrgang I: Seite 1 bis 368; Jahrgang II Seite 1 bis 240; VIII, 368, 240 Seiten. Es ist nur der Original-Umschlag von Heft I zum zweiten Jahrgang miteingebunden. Leinenband der Zeit mit goldgeprägtem Rückentitel und Titel auf dem Vorderdeckel. Ein frisches und sauberes Exemplar in sehr guter Erhaltung. Bedeutende frühexpressionistische Zeitschrift. Bolliger 9, 1199. - Dietzel/Hügel 3272. - Dok.-Bibl. I, 443; II, 574. - ex libris 7, 459. - Holstein 30, 549 (komplette Folge). - HDO 364 und 365 [Söhn kennt 3 Grafiken nicht, die hier vorhanden sind: die Grafik nach Seite 138, nach Seite 180 und nach Seite 246]. - Perkins 205. - Raabe (Zeitschriften) 22. - Rifkind 308. - Schlawe II. 42f. - Exlibris auf der Innenseite des Vorderdeckels: Robert Haselberger (1884-1959) von Hermann Korhammer; Klischeedruck, (Gutenberg-Katalog Mainz 29.368). [Attributes: Hard Cover]

      [Bookseller: Stader Kunst-Buch-Kabinett]
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        Tolkovanie na Apokalipsis Sviatogo Ioanna Bogoslova [i.e. Commentary on the Apocalypse of St John the Divine], in Church Slavonic, illuminated manuscript on paper

      [Russia,ca. 1860s]. 306 pp.: ill. 26x19 cm. Red colored edges. Modern full-leather binding imitating Old Beleivers bindings of late 19th century. Some pages are being restored, none of the miniatures are affected, first leaf has some text loss in the corner, the page with the first headpiece doesn't have a text loss, but it's restored over the text and the image. 72 full-page illustrations in color from the Book of Revelations. The text itself in black and red ink. Apocalypse is the most illustrated type of Russian manuscript book tradition. It's associated solemnly with Old Believers movement, who thought that Nikon's Church reform in mid-1650s was the beginning of the world's end. The most radical Old Believers in late 17th - early 18th century were practicing mass self-burnings. The less radical branch carried on the pre-reform traditions of life including the old Russian tradition of manuscript-making. The illustrations by self-taught unknown Old Believer show the scenes from the Apocalypse. It's interesting to see how he portrays the concepts like 'death', 'suffering', 'Earth' and others using different unusual characters. A number of illustrations show the evil forces like Antichrist, devils and demons. It's worth noting that surprisingly some of Russian avant-garde roots could be found here: famously Malevich was influenced by such depictions in his 'Game in Hell' (St.Petersburg, 1914).

      [Bookseller: Bookvica]
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        East of the Sun and West of the Moon: Old Tales from the North (First Edition)

      London: Hodder & Stoughton / Engraved and Printed By Henry Stone & Son Ltd., Banbury. Very Good Minus. 1914. First Edition. Cloth. 4to - over 9¾" - 12" tall [1914]. First Trade Edition (after Limited Edition). Publisher's dark blue cloth with gilt titling and decoration to spine and upper board. An original, unrestored copy of this highly sought after book from the golden age of children's book illustration. This is the first (deluxe) trade edition measuring 11.5" x 9" (29 x 23 cms), undated as called for but published in 1914 and not to be confused with later reprints which were smaller and had much lower production values. Blue cloth gilt. A few minor marks to boards; edges worn; corners and spine tips bumped, resulting in a crease across 'East' at spine head. Gilt is quite bright. 206 pp; 25 tipped-in colour plates with captioned, thin paper guards; illustrated endpapers and title page, and many other b/w illustrations within the text. Printed on Japanese vellum paper. The 25 colour plates are all in fine condition. One guard has creasing to lower hinge and has started to separate from guttering. Paper is age-toned as usual, particularly mounts. Endpapers browned with very light spotting; page edges browned. A very faint hint of tobacco can be detected at close quarters. Heavy/oversize book. Standard domestic postage covered by default charge but other services may incur an additional charge; please enquire for costs. .

      [Bookseller: Bath and West Books, PBFA]
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        Die Konigliche Gemalde-Galerie zu Dresde, 2 Volumi, 105 Tavole, Monaco, 1914

      1914. Autore: Vedi titolo in oggetto e foto, oppure contattateci tramite mail o telefono, trovate i nostri dati in basso dopo le foto. Titolo: Vedi titolo in oggetto e foto, oppure contattateci tramite mail o telefono, trovate i nostri dati in basso dopo le foto. Luogo e Data di Pubblicazione: Vedi titolo in oggetto e foto, oppure contattateci tramite mail o telefono, trovate i nostri dati in basso dopo le foto. Pagine: 122 + tavole, testo in tedesco Dimensioni cm.: 43,5x33 Stato di Conservazione: A meno di gravi mancanze che in genere vengono evidenziate nella descrizione e nelle foto, per lo stato di conservazione fanno fede le fotografie che trovate dopo la descrizione, in ogni caso potete contattarci tramite mail o telefono, trovate i nostri dati in basso dopo le foto. Primo volume: Scuola italiana, 35 tavole, Giorgione, Batoni Pompeo, Belotto Bernardo, Canaletto, Carracci Annibale, Correggio, Caravaggio, Dolci Carlo, Guido Reni, Vecchio Palma, Veronese Paolo, Tiziano Vecellio Volume secondo: Scuola olandese, tedesca, francese, 69 tavole, Bol, Brueghel il Vecchio, Durer, Anton Van Dyck, Elsheimer Adam, Holbein il Giovane, Claude Lorrain, Rembrandt, Rubens, Vermeer, Wouverman Philips

      [Bookseller: Inchiostro e Vinile]
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        Niger Morocco Guest Book.

      4to. Bound in full reddish-brown niger morocco, stamp-signed in gilt with the W.H. Smith & Son monogram on rear turn-in, sides with gilt-ruled borders and small embellishments, gilt lettering at the head of the upper cover ("We should a guest love while he loves to stay / And when he likes not give him loving way"), smooth spine with ruled border and title ("Guest Book") in gilt, green cloth endpapers, top edges gilt; a very nice copy, contained in the original hinged wooden box with W.H. Smith & Son's printed label. A very handsome guest book. Douglas Cockerell (1870-1945), master bookbinder and an important figure in the Arts and Crafts movement. He started his own bindery in 1898 in Denmark Street in London, and after a number of moves he finally settled in Letchworth where he worked with his son Sydney until his death. He was in charge of W.H. Smith & Sons bindery from 1905 to 1914. His Bookbinding and the Care of Books is still a standard text book.

      [Bookseller: Henry Sotheran Ltd.]
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        An American Four-in-Hand in Britain

      New York: Charles Scribner's Sons, 1914. Reprint. Hardcover. Good. Signed. Reprint. Signed by Andrew Carnegie with "New York Nov. 8th, 1917" on the half title page. Good. Corners and spine ends worn with a heavy scrape to the bottom of the front joint. Spine cloth lightly darkened. Webbing at front inner hinge exposed. Signed by the Scottish-American industrialist and philanthropist.

      [Bookseller: Burnside Rare Books]
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        Die formale Grundlage der allgemeinen Relativitätstheorie. Author?s presentation offprint from Sitzungsberichte der Königlich Preussischen Akademie der Wissenschaften, XLI, 19 November 1914.

      Königlichen Akademie der Wissenschaften, Berlin 1914 - First edition of this extremely rare offprint, a remarkable presentation copy inscribed by Einstein to the theoretical physicist Gunnar Nordström, often designated by modern writers as ?The Einstein of Finland? Einstein had an extended correspondence with Nordström on the subject of Nordström?s own competing theory of gravitation, which at the time was considered a serious competitor to Einstein?s, and which he completed in the same year as the present paper. A few years later Nordström also assisted Einstein in his work on gravitational waves. The present paper was the crucial step between Einstein?s Entwurf theory of 1913 and the final form of general relativity which Einstein completed in November 1915: it develops the mathematical techniques necessary for the final formulation, namely the ?absolute differential calculus? of Tullio Levi-Civita, as well as the expression of the field equations in terms of a variational principle, which later proved to be of great importance. This author?s presentation offprint, with ?Überreicht vom Verfasser? printed on upper wrapper, must not to be confused with the much more common trade offprint which lacks this printed statement (see below). We have located only one copy of this author?s presentation offprint at auction, in the collection belonging to Einstein?s son Hans Albert sold at Christie?s in 2006 (there was no copy in Einstein?s own collection of his offprints sold by Christie?s in 2008).Provenance: Gunnar Nordström (1881-1923) (?G. Nordström? written in pencil on upper wrapper in Einstein?s hand). Mathematical annotations in pencil to margin of p. 1077 (in Nordström?s hand?). Later inscription in Russian on upper wrapper.?In summer 1914, Einstein felt that the new theory should be presented in a comprehensive review. He also felt that a mathematical derivation of the field equations that would determine them uniquely was still missing. Both tasks are addressed in a long paper, presented in October 1914 to the Prussian Academy for publication in its Sitzungsberichte. It is entitled ?The formal foundation of the general theory of relativity?; here, for the first time, Einstein gave the new theory of relativity the epithet ?general? in lieu of the more cautious 'generalized' that he had used for the Entwurf? (Landmark Writings in Western Mathematics 1640-1940). ?In the year that he was called to Berlin, on October 29, 1914, Einstein was able to present his work ?Die formale Grundlage der allgemeinen Relativitätstheorie? ? The ?formal foundation? of the general theory of relativity was the tensor calculus. Without the tensor calculus, the general theory of relativity could not have been formulated ? By October 1914, Einstein was finally able to present his results in mathematical form, and indeed in a manner that became the basis of his general theory of relativity of 1916. He introduced general covariants, contravariants, and also?what was new?mixed tensors, in order to represent the individual arithmetic operations, above all, the various types of multiplication. Thus the mathematical calculus necessary for the general theory of relativity was at the ready in 1914? (Reich). ?The principal novelty [in the present paper] lies in the mathematical formulation of the theory. Drawing on earlier work with [Marcel] Grossman, Einstein formulated his gravitational field equations using a variation principle? (Calaprice, 47).The first important stage in the development of Einstein?s theory of gravitation was accomplished, with his friend and classmate the mathematician Marcel Grossmann, in their 1913 work Entwurf einer verallgemeinerten Relativitätstheorie und einer Theorie der Gravitation. ?In this book, Einstein and Grossman investigated curved space and curved time as they relate to a theory of gravity. They presented virtually all the elements of the general theory of relativity with the exception of one striking omission: gravitational field equations that were not generally covariant. [Attributes: First Edition]

      [Bookseller: SOPHIA RARE BOOKS]
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        A Midsummer-Night's Dream. With Illustrations by W. Heath Robinson...

      Constable and Co. Ltd., London, 1914. FIRST HEATH ROBINSON EDITION, trade issue, in the first of three publisher's bindings. Quarto, pp. 185. With twelve mounted coloured plates and thirty-two black & white illustrations. All tissue guards intact. Mid-green cloth blocked in gilt and colours. Some light edge-spotting, Constable's catalogue insert present, binding lightly used, one neat repair to head of spine. An attractive copy in a striking polychrome binding. Book Collector No.271, 'The Great Illustrators'....

      [Bookseller: Adrian Harrington]
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        The Genus Rosa. Drawings by Alfred Parsons.

      London, Murray, 1914 - XVI, XXVII, 551 S. Mit 212 Tafeln, davon 132 chromolithogr. Tafeln. Erste und einzige Ausgabe dieses außergewöhnlichen Rosenbuches mit fein gezeichneten Darstellungen von über 50 verschiedenen Rosensorten, von oder nach Ellen Willmott benannt. "The Genus Rosa" gilt als der "Redouté" des 20. Jahrhunderts, hier im hervorragenden handgebundenen Einband von Joseph William Zaehnsdorf (1853-1930), Sohn des berühmten Buchbinders Joseph Zaehnsdorf, der über Wien, Stuttgart und Zürich nach London gekommen ist und hier über die Grenzen als Buchbinder bekannt wurde, und Autor des Buches "The Art of Binding: a practical treatise" (1880). - Provenienz: Sidney Herbert Lord Elphinstone, mit seinem Supralibro und gestochenem Exlibris. - Band 1: Vorderdeckel minimal fleckig, Band 2: Rücken und Rückendeckel etwas fleckig und nachgedunkelt, die letzten 4 Blätter mit schmalem Feuchtigkeitsrand, sonst sehr schönes breitrandiges fleckenfreies Exemplar Sprache: Deutsch Gewicht in Gramm: 10000 Folio, handgeb. rote Maroquinbände auf 5 falschen Bünden mit Deckelgoldfileten, Eckfleurons, goldgepr. Wappenbild auf Vorderdeckel und goldgepr. Rückentitel, Kopfgoldschnitt. (Sign.: "Bound by Zaehnsdorf 1914").

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        L'elettrotecnica. Giornale ed atti della Associazione Elettrotecnica Italiana.

      Milano, 1914/1949, venticinque volumi in-4° rilegati in mezza tela nera con fregi e titoli dorati ai dorsi, ciscuno di circa 800 pagine con numerose illustrazioni nl testo. Disponiamo delle seguenti annate complete: 1914, 1915, 1916, 1917, 1918, 1919, 1920, 1921, 1922, 1923, 1924, 1925, 1926, 1927, 1928, 1930 , 1931, 1932, 1933 1934, 1935, 1936, 1937, 1938 e 1949. L'ensemble:

      [Bookseller: Libreria Piani gia' Naturalistica]
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        Le Commerce et l'Industrie de la Plume pour Parure

      - Paris: chez l'auteur, 1914. In-4°. 363-(1)-(xiv)pp. (très nombreuses illustrations) + 1 carte + 1 tableau dépliant hors texte. Reliure éditeur demi-toile à coins (dos orné d'un décor en long doré, filets dorés sur les plats, rousseurs marginales sur les quatre dernières pages). Très bon état. Format 19 x 28 cm. Poids 1,915 kg. Ouvrage de référence sur le sujet - Peu commun. [Attributes: First Edition; Hard Cover]

      [Bookseller: MAGICBOOKS]
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        Les Livres a Figures Vénetiens de la fin du XVe Siècle et du Commencement du XVIe.

      Paris: Libraire Henri LeClerc, 1907-1914. Six volumes (Première Partie Tomes I-III, Seconde Partie Tomes I-II, Troisième Partie). Variously paginated. First edition. One of 300 copies. Extensively illustrated with reproductions of 2,000 woodcuts. A monumental and exhaustive bibliography on the illustrated book in Venice from 1450-1525. Essling provides lengthy and thorough descriptions for 3,585 titles, including collations, locations of known copies, and annotations. The final volume provides printers, engravers, titles, illustrations, and a chronological index. An invaluable reference for Italian Renaissance art and early printed books. Original paper covers, printed in black and red. To the center of the upper cover is the Lion of St. Mark, the symbol of Venice, hand-colored in red, blue, green, and gold. Expected wear, soiling, and chipping to covers and deckle edges; professionally repaired. Bindings secure, and interiors bright and clean.

      [Bookseller: Bromer Booksellers]
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        Die formale Grundlage der allgemeinen Relativitätstheorie. Author's presentation offprint from Sitzungsberichte der Königlich Preussischen Akademie der Wissenschaften, XLI, 19 November 1914.

      Berlin: Königlichen Akademie der Wissenschaften, 1914. First edition of this extremely rare offprint, a remarkable presentation copy inscribed by Einstein to the theoretical physicist Gunnar Nordström, often designated by modern writers as 'The Einstein of Finland'. Einstein had an extended correspondence with Nordström on the subject of Nordström's own competing theory of gravitation, which at the time was considered a serious competitor to Einstein's, and which he completed in the same year as the present paper. A few years later Nordström also assisted Einstein in his work on gravitational waves. The present paper was the crucial step between Einstein's Entwurf theory of 1913 and the final form of general relativity which Einstein completed in November 1915: it develops the mathematical techniques necessary for the final formulation, namely the 'absolute differential calculus' of Tullio Levi-Civita, as well as the expression of the field equations in terms of a variational principle, which later proved to be of great importance. This author's presentation offprint, with "Überreicht vom Verfasser" printed on upper wrapper, must not to be confused with the much more common trade offprint which lacks this printed statement (see below). We have located only one copy of this author's presentation offprint at auction, in the collection belonging to Einstein's son Hans Albert sold at Christie's in 2006 (there was no copy in Einstein's own collection of his offprints sold by Christie's in 2008). Provenance: Gunnar Nordström (1881-1923) ('G. Nordström' written in pencil on upper wrapper in Einstein's hand). Mathematical annotations in pencil to margin of p. 1077 (in Nordström's hand?). Later inscription in Russian on upper wrapper. "In summer 1914, Einstein felt that the new theory should be presented in a comprehensive review. He also felt that a mathematical derivation of the field equations that would determine them uniquely was still missing. Both tasks are addressed in a long paper, presented in October 1914 to the Prussian Academy for publication in its Sitzungsberichte. It is entitled 'The formal foundation of the general theory of relativity'; here, for the first time, Einstein gave the new theory of relativity the epithet 'general' in lieu of the more cautious 'generalized' that he had used for the Entwurf" (Landmark Writings in Western Mathematics 1640-1940). "In the year that he was called to Berlin, on October 29, 1914, Einstein was able to present his work "Die formale Grundlage der allgemeinen Relativitätstheorie" ... The "formal foundation" of the general theory of relativity was the tensor calculus. Without the tensor calculus, the general theory of relativity could not have been formulated ... By October 1914, Einstein was finally able to present his results in mathematical form, and indeed in a manner that became the basis of his general theory of relativity of 1916. He introduced general covariants, contravariants, and also--what was new--mixed tensors, in order to represent the individual arithmetic operations, above all, the various types of multiplication. Thus the mathematical calculus necessary for the general theory of relativity was at the ready in 1914" (Reich). "The principal novelty [in the present paper] lies in the mathematical formulation of the theory. Drawing on earlier work with [Marcel] Grossman, Einstein formulated his gravitational field equations using a variation principle" (Calaprice, 47). The first important stage in the development of Einstein's theory of gravitation was accomplished, with his friend and classmate the mathematician Marcel Grossmann, in their 1913 work Entwurf einer verallgemeinerten Relativitätstheorie und einer Theorie der Gravitation. "In this book, Einstein and Grossman investigated curved space and curved time as they relate to a theory of gravity. They presented virtually all the elements of the general theory of relativity with the exception of one striking omission: gravitational field equations that were not generally covariant. Einstein soon reconciled himself to this lack of general covariance through the 'hole argument,' which sought to establish that generally covariant gravitational field equations would be physically uninteresting" (Calaprice 40). Einstein's 'hole argument', he believed, implied that general covariance was incompatible with the requirement that the distribution of mass-energy should determine the gravitational field uniquely. He believed, therefore, that the field equations should only be valid in certain coordinate systems, which he called 'adapted', and that only coordinate transformations from one adapted system to another adapted system should be allowed - he called these 'justified coordinate transformations'. "Einstein's move to Berlin in April 1914 marked the end of his collaboration with Grossmann. Fortunately, by this time Einstein no longer seems to have needed Grossmann's mathematical guidance. By October 1914, he had completed a lengthy summary article [offered here] on his new theory, whose form and detailed nature suggest that Einstein felt his theory had reached its final form. The article contained a review of the methods of tensor calculus used in the theory and, flexing his newfound mathematical muscles, Einstein could even promise to give new and simpler derivations of the basic laws of the 'absolute differential calculus'. Of great importance was the fact that Einstein had taken the new mathematical techniques of his last paper with Grossmann, generalized them and found in them a quite new derivation of the field equations" (Norton, p. 293). This new derivation made use, for the first time in Einstein's work on the theory of gravity, of an action principle (or variational principle). Einstein worked initially with an action that was an arbitrary function of the metric tensor and its first derivatives, and then showed that with a particular choice of the action he could recover the Entwurf field equations. He further believed that he had found a simple general covariance condition which forced the action to take the Entwurf form. "Einstein had good reason to be pleased with this result. For it seemed to show that his theory was not just a theory of gravitation, but a generalized theory of relativity, in so far as it was concerned with establishing the widest covariance possible in its equations. His original derivation of the field equations [in Entwurf] had been based squarely on considerations in gravitation theory ... The new derivation, however, focused on covariance considerations. He had found a simple way of formulating field equations that would have exactly the maximum covariance allowed by the 'hole argument', and they led him almost directly to his original Entwurf field equations. As a result he could promise to "recover the equations of the gravitational field in a purely-covariant-theoretical way" and claim to "have arrived at quite definite field equations in a purely formal way, i.e., without directly drawing on our physical knowledge of gravitation" ... "Einstein appears to have remained satisfied with the theory he developed in 1914 through the first half of 1915. In March, April and early May he defended the theory wholeheartedly in an intense correspondence with Levi-Cività, who challenged Einstein's derivation of the covariance properties of his gravitation tensor. But it seems that by mid-July he was less certain ... By mid-October Einstein's points of dissatisfaction with his theory had grown in number and intensity. They soon culminated in some of the most agitated and strenuous works of his life, in which generally covariant field equations were discovered ... Einstein's work [in the present paper] had brought him both temporally and conceptually closer than ever before to a generally covariant theory ... It is hard to imagine that Einstein was unprepared for the ease with which his formalism of 1914 could be applied to his final generally covariant theory" (Norton, pp. 296-303). After publishing the generally covariant theory in November 1915, Einstein gave a further treatment of the variational formulation (Hamiltonsches Prinzip und allgemeine Relativitätstheorie, Sitzungsberichte (1916), pp. 1111-1116). By this time, the great German mathematician David Hilbert had published his own account of general relativity in terms of a variational principle [Die Grundlagen der Physik (Erste Mitteilung), Nachrichten der Königliche Gesellschaft der Wissenschaften zu Göttingen. Mathematisch-physikalische Klasse, November 1915, 395-407]. This led to some controversy over who had been the first to publish the final version of general relativity (although Hilbert himself never claimed priority). "Hilbert, through his important paper of November 1915, is generally thought of as introducing the comprehensive use of these action principles to the theory. My analysis shows that although Einstein might have drawn some of his work of 1916 in this area from Hilbert's, his basic mathematical apparatus and even the notation itself had its ancestry in his own work earlier in 1914 and 1915" (Norton, p. 303). Gunnar Nordström first studied at the University of Helsinki (1903-7), and then spent a year at Göttingen, where he became a convert to the theory of relativity in its Minkowskian formulation. His remaining published work was focused almost exclusively on relativity, the most important being his theory of gravitation, developed between 1912 and 1914. "After an initial enchantment and subsequent disillusionment with [Max] Abraham's theory of gravitation, Einstein found himself greatly impressed by a Lorentz covariant gravitation theory due to the Finnish physicist Gunnar Nordström. In fact, by late 1913, Einstein had nominated [in a lecture at the 85th Congress of the German Natural Scientists and Physicians] Nordström's theory as the only viable competitor to his own emerging theory of relativity. This selection came, however, only after a series of exchanges between Einstein and Nordström that led Nordström to significant modifications of his theory ... under continued pressure from Einstein, Nordström made his theory compatible with the equality of inertial and gravitational mass by assuming that rods altered their length and clocks their rate upon falling into a gravitational field so that the background Minkowskian space-time had become inaccessible to direct measurement. As Einstein and Fokker showed in 1914, the space-time actually revealed by direct clock and rod measurement had become curved, much like the space-times of Einstein's own theory. Moreover, Nordström's gravitational field equation was equivalent to a geometrical equation in which the Riemann-Christoffel curvature tensor played the central role. In it, the curvature scalar is set proportional to the trace of the stress-energy tensor. What is remarkable about this field equation is that it comes almost two years before Einstein recognized the importance of the curvature tensor in constructing field equations for his own general theory of relativity! In this regard, the conservative approach actually anticipated Einstein's more daring approach" (Norton in Earman et al, pp. 4-5). As late as 1917, more than a year after Einstein published his final version of general relativity, Max von Laue published an exposition of Nordström's theory: it was still considered by some a potential competitor to Einstein's. This finally changed with the confirmation of the bending of light rays during the solar eclipse of 1919 as predicted by general relativity: Nordström's theory predicted no such bending. Nordström is remembered today for two other contributions. In 1914 he introduced an additional space dimension to his theory, which provided coupling to electromagnetism. This was the first of the extra-dimensional theories, which later came to be known as Kaluza-Klein theories, although Kaluza and Klein did not publish their work until the 1920s. Today extra-dimensional theories are widely researched. Then in 1918 Nordström obtained the solution of Einstein's field equations for a spherically symmetric charged body, used today in the description of charged black holes (this is now known as the 'Reissner-Nordström solution,' as Hans Reissner (1874-1902) had in 1916 given the solution for a charged point mass). Nordström also assisted Einstein in his work on gravitational waves. In Einstein's first published paper on gravitational waves (1916), "he made use of a somewhat controversial mathematical construct known as a pseudotensor to describe the energy in the gravitational field. He made a mistake in doing so, however, which was only discovered when Nordström attempted to use the pseudotensor from Einstein's linearized approximation paper to calculate the energy in the gravitational field of an isolated mass. After some to and fro between himself and Nordström, Einstein realized the nature of his mistake, which had given rise to an incorrect formula for the energy transmitted in a gravitational wave. He presented a new paper in 1918" (Cambridge Companion to Einstein, pp. 272-3). This author's presentation offprint is of extreme rarity, and must be distinguished from other so-called 'offprints' of papers from the Berlin Sitzungsberichte, many of which are commonly available on the market. The celebrated bookseller Ernst Weil (1919-1981), in the introduction to his Einstein bibliography, wrote: "I have often been asked about the number of those offprints. It seems to be certain that there were few before 1914. They were given only to the author, and mostly 'Überreicht vom Verfasser' (Presented by the Author) is printed on the wrapper. Later on, I have no doubt, many more offprints were made, and also sold as such, especially by the Berlin Academy." If the term 'offprint' means, as we believe it should, a separate printing of a journal article given (only) to the author for distribution to colleagues, then 'offprints' were not commercially available. Although there is certainly some truth in Weil's remark, in our view it requires clarification and explanation. Until about 1916, most of Einstein's papers were published in Annalen der Physik; from 1916 until he left Germany for the United States in 1933, most were published in the Berlin Sitzungsberichte. The Sitzungsberichte differed from other journals in which Einstein published in that it made separate printings of its papers commercially available. These separate printings have 'Sonderabdruck' printed on the front wrapper, the usual German term for offprint, but they are not offprints according to our definition. They were available to anyone; indeed a price list of these 'trade offprints' is printed on the rear wrapper. True author's presentation offprints can be distinguished from these trade offprints by the presence of 'Überreicht vom Verfasser' on the front wrapper. In the period 1916 to 1919 or 1920, the Sitzungsberichte trade offprints are themselves rare: for example, ABPC/RBH list only three 'offprints' of Einstein's famous 1917 Sitzungsberichte paper 'Kosmologische Betrachtungen zur allgemeinen Relativitätstheorie' (the auction records do not distinguish between trade and author's presentation offprints). After 1919 or 1920, however, the trade offprints become much more common, although the author's presentation offprints are still very rare. The reason for this change is that it was only in 1919 that Einstein became famous among the general public. It might seem obvious that Einstein's fame dates from 1905, his 'annus mirabilis', in which he published his epoch-making papers on special relativity and the light quantum. However, these works did not make him immediately well known even in the physics community - many physicists did not understand or accept his work, and it was two or three years before his genius was fully accepted even by his colleagues. He secured his first academic position, at the University of Bern, in 1908. Among the general public, Einstein became well known only in late 1919, following the success of Eddington's expedition to observe the bending of light by the Sun, which confirmed Einstein's general theory of relativity. This was front-page news, and made Einstein universally famous. (See Chapter 16, 'The suddenly famous Doctor Einstein', in Pais, Subtle is the Lord, for an account of these events). Before 1919 the trade offprints of Einstein's papers would probably only have been purchased by professional physicists; after 1919 everyone wanted a memento of the famous Dr. Einstein, whether or not they understood anything of theoretical physics, and the trade offprints of his papers were printed and sold in far greater numbers than before to meet the demand. It is telling that when these post-1919 trade offprints appear on the market, they are often in mint condition - they were never read simply because their owners were unable to understand them. In our view, Einstein's author's presentation offprints are rare, from any journal and any period, though of course some are rarer than others. Before 1919 or 1920, the Sitzungsberichte trade offprints are also quite rare, although not nearly as rare as the author's presentation offprints; after 1919 or 1920, the trade offprints are much more common. Boni 65; Weil 68. Calaprice, The Einstein Almanac; Norton, 'How Einstein Found His Field Equations: 1912-1915', Historical Studies in the Physical Sciences 14 (1984), pp. 253-316; Norton, 'Einstein and Nordström: some lesser-known thought experiments in gravitation,' pp. 3-30 in The Attraction of Gravitation: New Studies in the History of General Relativity, edited by John Earman, Michel Janssen, John D. Norton, 1993; Reich, Einstein's "Formal Foundations of the General Theory of Relativity" (1914) (http://mathineurope.eu/images/information_pic/hist_phil_pic/calendar_pic/2014einstein/Einstein_English.pdf). For the history of tensor calculus, including Einstein's application of it to general relativity, see Reich, Die Entwicklung des Tensorkalküls, Birkhäuser 2012. 8vo (254 x 176 mm), pp. 1030-1085. Original printed wrappers, light wear to upper and lower part of spine, very light vertical crease from having been folded (for post?), small ink stain to rear wrapper, outer margin of all text leaves and wrapper have been unevenly cut - this might have been done by an early owner as a way of opening all the text leaves at once, instead of having to cut open each of the closed pages one at a time.

      [Bookseller: SOPHIA RARE BOOKS]
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        The Peter Pan Portfolio Arthur Rackham 1914 #299/300 HUGE 16" x 21"

      Brentano's 1914 - This portfolio is in good condition. There are no bookplates, signatures, or markings of any kind. There are some rubbed spots to the outside boards (shown above). The silk ribbons have been replaced. The hinges of the portfolio have been reinforced. The portfolio measures 16" x 21" . This portfolio contains all 12 Plates of Rackham's illustrations for Peter Pan in their original sizes. This is #299 of only 300 copies printed for the US Edition. A rare find in any condition. [Attributes: Hard Cover]

      [Bookseller: The Lion's End, Antiquarian Books]
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        Beiträge zur Quantentheorie.

      Braunschweig: Vieweg & Sohn, 1914. First edition, extremely rare author's presentation offprint (with 'Überreicht vom Verfasser' (Presented by the Author) printed on front wrapper), and the copy of Einstein's son Hans Albert, of this crucial transitional paper in which Einstein uses the light quantum hypothesis to give new derivations of Planck's radiation law and Nernst's third law of thermodynamics (Einstein points out that the alleged 'proofs' which try to derive the theorem of Nernst from the mere fact that the specific heat of all substances goes to zero at absolute zero temperature, are not genuine). Einstein had first put forward the idea of light quanta in 1905, but in later years he came to doubt the validity of the hypothesis, despite its earlier success in explaining the photoelectric effect. Einstein's success in the present paper in deriving two of the most important achievements of quantum theory using the light quantum hypothesis re-established his confidence in that hypothesis, and he began to think again about the interaction between radiation and matter, resulting two years later in his great papers on the quantum theory of radiation. The only other copy we have located in auction records is that in Einstein's own reference collection of offprints formerly in the Richard Green Library (sold Christie's New York, 17 June 2008, lot 100). OCLC lists three copies in US (American Philosophical Society, Florida, Princeton), one in UK and one in Switzerland. 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. In 1909 Einstein wrote Lorentz that he had never believed in independent, localized light quanta, because, among other reasons, this concept was incompatible with the division of rays during refraction. In July 1910 he wrote to Sommerfeld: "To me the basic question is: 'Is there a way to unify the energy quanta and Huygens's principle!' Appearances are against it, but the good Lord has found the trick." He soon retreated from this quantum view and examined another revolutionary possibility: "At present," he wrote to Laub in November, "I am very hopeful to solve the radiation problem, without light quanta. I am exceedingly curious to see how the thing evolves. Even the energy principle in its present form would have to be given up." Perhaps he had in mind a virtual, wavelike radiation field correlating quantum jumps in distant molecules, as in the later theory of Bohr, Kramers, and Slater. A week later, Einstein renounced this new attempt: "Again, the solution of the radiation problem has come to naught. The devil has indulged in a rotten trick with me." Six months later, 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." In 1913, in a more pronounced retreat from quantum discontinuity, Einstein and Otto Stern derived Planck's law without quantization at all. "Einstein forcefully reasserted the reality of quanta in a publication of 1914 [the offered paper]. Perhaps Niels Bohr's new theory of spectra encouraged him to do so, although there is no trace in his writings of any reflections on this theory before 1916. Perhaps he realized that the zero-point energy failed to solve quantum difficulties that involved other entities than resonators. In any case, he now lent so much reality to the quantum states of a micro-entity as to compare them with different chemical species. This view induced the profound comment: "The concepts of physical and chemical change seem to lose their fundamental difference" [the present paper, pp. 822-3]. For instance, a quantum jump in a resonator and the dissociation of a molecule are comparable processes, for they are both caused by the absorption of an energy quantum. "Einstein immediately applied this analogy to a new, non-statistical derivation of Planck's formula for the average energy of a harmonic oscillator at temperature T. If the various energy levels nhv of a resonator are identified with different chemical species, a thermalized set of resonators is comparable to a chemical mixture in equilibrium. According to the laws of chemical equilibrium, the free energy of the mixture must be a minimum, which implies that the concentration of the species nhv should be proportional to e-nhv/kT. Consequently, the average energy of the resonators must be U = 1/(ehv/kT - 1), in conformity with Planck's result of 1900. "Through this reasoning, Einstein confirmed the quantum-theoretical version of Gibbs's canonical law, according to which the probability of the discrete energy value En is proportional to e-En/kT for a (non-degenerate) system in contact with a thermostat at temperature T. He still did not know how to proceed from the quantized resonators to the black-body law ... A new, quantum-theoretical picture of the interaction between matter and radiation was needed. Einstein found it in the summer of 1916, after the completion of his new theory of gravitation left him more time for quantum meditation" (Cambridge Companion to Einstein, pp. 133-4). Weil, Albert Einstein Bibliography, 67. Offprint from Verhandlungen der Deutschen Physikalischen Gesellschaft, 16. Band, 1914. 8vo (202 x 146 mm), pp. 820-828. Original printed wrappers with ownership stamp of Hans Albert Einstein on front wrapper. Very fine condition.

      [Bookseller: SOPHIA RARE BOOKS]
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        Geschichte des Prinzen Biribinker

      Gustav Kiepenheuer, Leipzig 1914 - Wieland, Christoph Martin / Thylmann, Karl (Ill.): Geschichte des Prinzen Biribinker. Mit einem radierten Titel und 10 Original-Radierungen von Karl Thylmann (1888-1916). Dieses Buch wurde in einer Auflage von 500 in der Presse nummerierten Exemplaren in der ersten, handgeschnittenen Fassung der Ungertype in der Offizin Poeschel & Trepte, Leipzig, gedruckt. – die Radierungen in der Pan-Presse, Berlin, abgezogen. – Die Einbände zeichnete Bernhard Lorenz, Leipzig. Die Ausführung derselben lag in den Händen der Firma H. Fikentscher, Abt. für Handbindekunst, Leipzig. Dunkelroter Original-Ledereinband (Bocksleder). Titel und Rückentitel in Goldprägung, dreiseitiger Goldschnitt. Lesebändchen. Exemplar Nr. 193. (Nr. 7 – 40 in Kalbsleder, Nr. 41 – 350 in Bockleder gebunden.) Ein absolut tadelloses Exemplar: Einband, Inhalt; sicher noch nicht gelesen. Stichwörter: Originalgraphik, nummeriert, Bibliophilie. 153 Seiten mit 10 Orig.-Radierungen, 650 g, 15 x 19 cm. (D) [Attributes: Hard Cover]

      [Bookseller: Karl-Eugen Schlapp, Buchhändler i.R.]
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        East of the Sun and West of the Moon: Old Tales from the North (First Edition)

      [1914]. First Trade Edition (after Limited Edition). Publisher's dark blue cloth with gilt titling and decoration to spine and upper board. An original, unrestored copy of this highly sought after book from the golden age of children's book illustration. This is the first (deluxe) trade edition measuring 11.5" x 9" (29 x 23 cms), undated as called for but published in 1914 and not to be confused with later reprints which were smaller and had much lower production values. Blue cloth gilt. A few minor marks to boards; edges worn; corners and spine tips bumped, resulting in a crease across 'East' at spine head. Gilt is quite bright. 206 pp; 25 tipped-in colour plates with captioned, thin paper guards; illustrated endpapers and title page, and many other b/w illustrations within the text. Printed on Japanese vellum paper. The 25 colour plates are all in fine condition. One guard has creasing to lower hinge and has started to separate from guttering. Paper is age-toned as usual, particularly mounts. Endpapers browned with very light spotting; page edges browned. A very faint hint of tobacco can be detected at close quarters.

      [Bookseller: Bath and West Books]
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        Tiefcollage. - Folge von 6lettristischen Collagen auf Karton, rückseitig handschriftlich nummeriert.

      - 6 Blatt und 1 Deckblatt je 23 x 23 cm. Sehr schöne und bedeutende Folge von Collagen mit typographischen Motiven. 5 der 6 Blätter mit jeweils verschieden herausgeschnittenen Formen in der Mitte. - Kolar, (1914 - 2002) Grossmeister der Collage verstand sich in der Tradition der Text/Bild-Gestaltung von Mallarmé und Apollinaire. Sein Werk ist stark mit dem Lettrismus und damit Fluxus verbunden. Die sechs Blätter sind jeweils auf der Basis einer typographischen Sprache aufgebaut: Einem lateinischen Missale, dem Schachschema, Xylographien aus Zeitschriften um 1890, Handschriften aus Briefen, Noten, Fotografie. - Auf der Rückseite jeweils handschriftlich nummeriert. Das Deckblatt mit maschinengeschriebenem Titel und Name.

      [Bookseller: Daniel Thierstein]
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        Dix-sept histoires de marins

      First edition.Elegant half navy blue morocco over marbled paper boards by Pierre-Lucien Martin, spine in six compartments with gilt fillets to bands and geometric decoration of red morocco onlays, date gilt at foot of spine, gilt fillet to boards, marbled endpapers and pastedowns, gilt dentelle frame to pastedowns, covers and spine preserved, top edge gilt.Exceptional autograph inscription from Claude Farrère : "A Pierre Louÿs son très petit disciple [To Pierre Louÿs, his very humble disciple]", along with Chinese ideograms.A very good copy in a handsome binding. % Paul Ollendorff Paris 1914 11,5x19cm relié

      [Bookseller: Librairie Le Feu Follet]
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        HEIDELBERG., "Schloß und Stadt Heidelberg am Neckar". Gesamtansicht über den Neckar, links die steinerne Brücke.

      Aquarell von Josef Marschall, sign. und dat. 1914, 30 x 47,5 cm. Josef Marschall und sein jüngerer Bruder Vinzenz schufen die originalen Vorlagen für die Farbpostkarten des Verlages Karl Alber. - Voll ausgeführtes Aquarell in kräftigen Farben und auf festem Aquarellkarton. Dabei: Die originale Künstlerpostkarte. Aquarell/Zeichnung, Baden-Württemberg

      [Bookseller: Buch- und Kunstantiquariat]
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        HEIDELBERG., "Schloß und Stadt Heidelberg am Neckar". Gesamtansicht mit weitem Blick ins Neckartal.

      Aquarell von Josef Marschall, sign. und dat. 1914, 30 x 47,5 cm. Josef Marschall und sein jüngerer Bruder Vinzenz schufen die originalen Vorlagen für die Farbpostkarten des Verlages Karl Alber. - Voll ausgeführtes Aquarell in kräftigen Farben und auf festem Aquarellkarton. Dabei: Die originale Künstlerpostkarte. Aquarell/Zeichnung, Baden-Württemberg

      [Bookseller: Buch- und Kunstantiquariat]
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        Sonnets From The Portuguese.

      London: printed by the Riccardi Press and published for the Medici Society, Ltd. by Philip Lee Warner,, 1914. Octavo. Specially bound for the publisher in olive full calf, spine gilt-tooled with two raised bands and a tan morocco label gilt, sides bordered with gilt rule and double roll, titles gilt to front board, gilt-rolled board edges and turn-ins, patterned endpapers, top edge gilt. Engraved border to title page. Tanning to spine and around board edges, very light rubbing to ends and corners, boards a little bowed, but sound and internally fresh, an excellent copy. First Riccardi Press edition, copy number 287 of 350 numbered copies specially bound by Sangorski & Sutcliffe, from an edition of 1,000 copies on handmade Riccardi Paper. There were also 12 copies on Vellum. This is a very scarce and attractive deluxe issue of an already beautifully produced book, printing some of Elizabeth Barrett Browning's most famous love poetry, first published in 1850.

      [Bookseller: Peter Harrington]
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        Eggender Bauer.

      - Radierung, 1914, mit Plattenton, auf Bütten mit Wasserzeichen: Ingres d’Arches, signiert und datiert. 34,2:43,5 cm. Literatur: Schrey (Nachtrtag) 78. Exemplar außerhalb der Auflage von 1917 auf Japan. Ganz vorzüglicher Abdruck mit viel Grat und Plattenschmutz in den Rändern. Mit Fingerflecken mit Druckerschwärze in den Ecken. Boehle studierte von 1886-1892 am Städelschen Kunstinstitut in Frankfurt am Main unter Heinrich Hasselhorst (1825-1904), Frank Kirchbach (1859-1912) und Karl von Pidoll (1847-1901); einer seiner Mitschüler war Wilhelm Altheim (1871-1914). 1892 wechselte Boehle an die Münchener Akademie in die Klasse von Wilhelm von Diez (1839-1907). Unter Anleitung von Ludwig Rader (1868-1899) unternahm er erste Radierversuche. Es entstand eine Folge mit Ritterdarstellungen. 1893 arbeitete er in Emmendingen und in Altenheim bei Offenburg. 1894-1897 folgte ein zweiter Aufenthalt in München und die Begegnung mit dem Werk von Hans von Marées (1837-1887). 1895 unternahm er zusammen mit Albert Lang (1847-1933) eine Italienreise. 1897 nahm Boehle seinen ständigen Wohnsitz in Frankfurt am Main. In seinem Werk zeigt er sich beeinflußt von Hans Thoma (1839-1924) und Hans von Marées.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Mr Justice Precedent. 21" x 15-1/2" gouache image on 26" x 19-1/2"

      1914. New York 1912-1914. Image in 30-1/2" x 24" frame. "His Famous Wig Composed Entirely of Split Hairs and Adorned with the Ceremonial Crimson Tape" Robinson, Boardman [1876-1952]. [Becker-Rosenthal Murder Trial]. Mr. Justice Precedent. [New York, 1914]. 21" x 15-1/2" gouache image on 26" x 19-1/2" sheet, image signed twice and inscribed by Robinson, caption in pencil below image, most likely in another hand, laid down on illustration board. Image in 30-1/2" x 24" wooden frame, glazed. Light soiling, a few minor stains and four crop-marks to margins outside of image, which could be covered with a matte, image fine. Several minor scuffs and nicks to frame. A unique item relating to a notable trial. $4,500. * This piece was created to illustrate "Leaden Footed Justice in New York State," an article that appeared in the Special Feature Section of the New York Tribune on Sunday, March 1, 1914. The caption reads: "Mr. Justice Precedent wearing his famous wig composed entirely of split hairs and adorned with the ceremonial crimson tape." The caption refers to the protracted nature of the Becker-Rosenthal Murder case, which began on October 7, 1912, restarted on May 2, 1914 and finally concluded after a series of procedural events in 1915. The case involved a group of corrupt police offices led by Charles Becker who ran a protection racket on illegal casinos. Becker hired gangsters to kill a casino owner, and rival gangster, who was threatening to expose the racket. A breathtaking example of police corruption, the investigation and trial was front-page news in New York for months. In the end Becker was sent to the electric chair at Sing Sing. (This was the first time a police officer received the death penalty). The case lived on for several years in the popular imagination; it is mentioned, for example, by Meyer Wolfsheim in The Great Gatsby (1925). Robinson, the creator of this illustration, was a distinguished artist, illustrator and cartoonist. A native of Nova Scotia, he studied art in Boston and completed his training in Paris at the Academie Colarossi and the Ecole des Beaux-Arts, both in Paris. "Mr. Justice Precedent" shows his affinity, acquired in Paris, for the work of Daumier, Forain and Steinlen. Robinson produced work for several newspapers and periodicals. He created "Mr. Justice Precedent" when he was an editorial cartoonist for the.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        The Master of the World: A Tale of Mystery and Marvel.

      London: Sampson Low, Marston, 1914. FIRST ENGLISH EDITION. Octavo. pp. 317. With 30 engraved plates including frontispiece. In publisher's green cloth with colour titles / pictorial design to spine and upper board.Light browning throughout; wear to edges. Good overall. First published in French as 'Maitre du Monde' in 1904, 'The Master of the World' is a sequel to 'Robur the Conqueror' and Verne's penultimate finished novel. The 1961 film of the same title staring Charles Bronson and Vincent Price was loosely based on the plot of both books. Myers, 37.

      [Bookseller: Adrian Harrington]
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        The Master of the World. A Tale of Mystery and Marvel.

      London: Sampson Low, Marston and Co 1914. FIRST UK EDITION. Classic adventure novel. Octavo, pp.317; [1], blank; [1], imprint; [1], blank. Complete, with 30 illustrations after Georges Roux (Taves and Michaluk erroneously call for 36). Original pictorial green cloth covers depicting 'The Terror' in flight. Internally very clean, covers somewhat aged with some rubbing and marking, plain rear cover soiled, gilt lettering to spine all but tarnished and gone (traces remain, proving gilt not colour blocking). Nonetheless, a serviceable copy of a rare and late Verne first, predating the Lippincott edition which used these UK sheets. Taves and Michaluk V054.

      [Bookseller: Adrian Harrington]
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        Katalog wystawy E.M. Liliena w Towarzystwie przyjaciol sztuk pieknych we Lwowie 1914.

      Small 4to (227 x 183 mm). Original illustrated wrappers; pp. 91, [4, advertisements], pp. 45 to 91 printed on yellow stock, with tipped-in frontispiece reproducing in photogravure an etched self-portrait of Lilien working at an intaglio press, numerous black-and-white reproductions in the text; backstrip missing, wrappers lightly dusted, corner of tipped-in frontispiece and front cover with vertical fold; otherwise very well perserved; provenance: neat collector's stamps Rudolf Mekicki of Lvov on front cover and on title, that of the architect Stanislaw Stefan Mekicki at the end, Julia Mierka Mekicka's bookplate inside front cover. This is the extremely rare first exhibition catalogue of the first Zionist graphic artist and book illustrator, designer for the international Socialist movement (some of his designs were used even by US Socialists), and photographer of the iconic Theodor Herzl portrait. Born in Drohobicz (of later Bruno Schulz fame) in 1874 he travelled together with Boris Schatz between 1906 and 1918 to Ottoman Palestine, founded the Bezalel Academy of Arts and Design, and established the design style of Zionism and Israel. Provenance: Rudolf Mekicki (1887-1942) was a Lvov heraldic artist, collector and designer of bookplates, book covers, bonds and banknotes who provided the institutions and collectors of the capital of Galicia with bookplates. His wife Julia, son (Stanislaw) and daughter (Krystina, died in 2010) continued in this tradition, designing and collecting bookplates. Not in Thieme-Becker; OCLC locates copies in the Getty, and in NUKAT (including the Polish National Library); not in the Leo Baeck Institute (who have a Lilien collection), COPAC or the British Library.

      [Bookseller: Henry Sotheran Ltd.]
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        Knieende. Original-Zeichnung

      Um 1914 - Bildgrösse: 17,5x11,5 cm. Unten voll signiert. In Glasrahmen 30x24 cm. Aus der expressionistischer Frühphase Kempters. [Attributes: Signed Copy]

      [Bookseller: Biblion Antiquariat]
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        The Genus Rosa. Drawings by Alfred Parsons.

      XVI, XXVII, 551 S. Mit 212 Tafeln, davon 132 chromolithogr. Tafeln. Folio, handgeb. rote Maroquinbände auf 5 falschen Bünden mit Deckelgoldfileten, Eckfleurons, goldgepr. Wappenbild auf Vorderdeckel und goldgepr. Rückentitel, Kopfgoldschnitt. (Sign.: "Bound by Zaehnsdorf 1914"). Erste und einzige Ausgabe dieses außergewöhnlichen Rosenbuches mit fein gezeichneten Darstellungen von über 50 verschiedenen Rosensorten, von oder nach Ellen Willmott benannt. "The Genus Rosa" gilt als der "Redouté" des 20. Jahrhunderts, hier im hervorragenden handgebundenen Einband von Joseph William Zaehnsdorf (1853-1930), Sohn des berühmten Buchbinders Joseph Zaehnsdorf, der über Wien, Stuttgart und Zürich nach London gekommen ist und hier über die Grenzen als Buchbinder bekannt wurde, und Autor des Buches "The Art of Binding: a practical treatise" (1880). - Provenienz: Sidney Herbert Lord Elphinstone, mit seinem Supralibro und gestochenem Exlibris. - Band 1: Vorderdeckel minimal fleckig, Band 2: Rücken und Rückendeckel etwas fleckig und nachgedunkelt, die letzten 4 Blätter mit schmalem Feuchtigkeitsrand, sonst sehr schönes breitrandiges fleckenfreies Exemplar

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        Das schmerzliche Meer. Frühe und neue Gedichte.

      Erste Ausgabe. - Eins von 100 nummerierten und vom Verfasser signierten Exemplaren davon erschienen 10 Exemplare auf Japanpapier mit einem Holzschnitt von Conrad Felixmüller in Ganzleder. - Rheiner kam 1914 als einer der Jüngsten in die exzentrische Gesellschaft des Cafés des Westens, wo er schnell Anschluss fand. Besonders engen Kontakt pflegte er dort mit Johannes R. Becher, der sich zu dieser Zeit durch Narkotika und vorgetäuschte Sucht dem Wehrdienst entzog. Diese Idee, wohl von Hardekopf kommend, sollte für Rheiner erfolglos bleiben und den Beginn seiner Abhängigkeit bedeuten. Gleichzeitig fasste er hier den Entschluss, sich als Dichter zu verdingen und so erschienen bereits im Folgejahr erste Arbeiten u.a. in Pfemferts ?Aktion?. Vom Dienst an der Front suspendiert und nach Berlin zurückgekehrt, verfiel Rheiner endgültig dem Lebensstil der Bohème und seiner Sucht. Die Vormittage verschlief er, die Nachmittage saß er die meiste Zeit im Romanischen Café, wo er bis in die Abendstunden blieb, um dann, heimgekehrt, des Nachts zu schreiben. Seine Texte fanden in den bedeutenden spätexpressionistischen Blättern Veröffentlichung. Überdies beteiligte sich Rheiner an der Gründung der ?Expressionistischen Arbeitsgemeinschaft Dresden?, worauf die Einrichtung des ?Dresdner Verlages von 1917? folgte, in dem, bis auf eine Ausnahme, alle seine selbstständigen Publikationen erschienen. Die letzten Jahre verbrachte er vereinsamt und vergessen an verschiedenen Orten, meist ohne feste Bleibe, bis er an einer Überdosis Morphium verstarb. (Vgl. Thomas Rietzschel. In: Walter Rheiner. Kokain. Lyrik, Prosa, Briefe. Leipzig 1985, S. 285-303.) - Einbandkanten stark berieben, Bll. teils stockfleckig. - Raabe/Hannich-B. 245. 3. - Jentsch 40.

      [Bookseller: Rotes Antiquariat]
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        Rubáiyát of Omar Khayyám

      London: Hodder and Stoughton, 1914. Edmund Dulac's Rubaiyat In a Fine Full Morocco Binding by Sangorski & Sutcliffe [DULAC, Edmund, illustrator]. KHAYYAM, Omar. FITZGERALD, Edward (trans.). SANGORSKI & SUTCLIFFE, binders. Rubáiyát of Omar Khayyám. Rendered into English Verse by Edward Fitzgerald. With Illustrations by Edmund Dulac. London: Hodder and Stoughton, [1914]. First English Popular Edition (published October 1914). Small quarto (7 1/2 x 5 5/8 inches; 191 x142 mm.). viii, 189, [1, blank] pp. Title-page decoratively printed in sepia and light brown. Twelve mounted color plates, including frontispiece, each with a captioned tissue guard. Bound ca. 1915 by Sangorski & Sutcliffe in full dark blue morocco, covers ruled and bordered in gilt with stars surrounding an elaborate floral gilt centerpiece. Spine with five raised bands, decoratively tooled and lettered in gilt in compartments with sun and its rays extending down the spine, gilt board edges and ruled turn-ins, Cockerel liners and end-papers, all edges gilt. A very fine copy. "In point of excellence of art, popularity, distinction and profit the crowning achievement... was the publication of the Fitzgerald version of the Rubáiyát of Omar Khayyám illustrated by Edmund Dulac. The book was a joy and a treasure. Its public acceptance was immediate and great." Hughey 21f.

      [Bookseller: David Brass Rare Books, Inc.]
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        En Avion. Vols et Combats.Estampes et récits de la Grande Guerre 1914-1918 par Maurice Busset, Adjudant Aviateur, Peintre militaire du Musée de l'Aéronautique..

      2 (50 x 32 cm), Titelblatt u 24 zweifarbig Holzschnittabb., verso der Text zur gegenüberliegenden Abb., Kart.-Mappe m. losem kordelgebundenem Buchblock., Mappe (da grösser als Tafeln) etwas eingerissen, min. fleckig, Rücken m. kleiner Fehlstelle. Titelbl. m. leichten Randläsuren. - insgesamt gutes Exempalr. En mémoire de mon frère Marcel Benoit, Soldat au 105 d'Infanterie, tué à 22 ans à Zonnebecke (Belgique) le 22 Novembre 1914 et à la Gloire de mes camarades de l'Armée de l'Air tombés pour la France, j'ai composé et gravé ces images de Guerre. - Die Bilder zeigen expressive Szenen aus den Luftkämpfen mit deutschen Fliegern im 1. Weltkrieg. - Maurice Busset (1881-1936), Zeichner, Flieger und Kriegsmaler.

      [Bookseller: antiquariat peter petrej]
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        Die römische WölfinLithographie Nr. 1/30 vom Künstler signiert !!!!!!.

      ca. 1914, - Lithographie Nr. 1/30 vom Künstler signiert. guter Zustand Georg August Gaul (* 22. Oktober 1869 in Großauheim - heute ein Stadtteil von Hanau; † 18. Oktober 1921 in Berlin) war ein deutscher Tierbildhauer im Übergang vom Historismus zur Moderne. August Gaul war der Sohn von Philipp Gaul (1840-1910), von Beruf Steinmetz, und dessen Ehefrau Katharina (1838-1882). Erste Anregungen für seinen späteren Beruf erhielt er in der Werkstatt des Vaters. In einer Silberwarenfabrik absolvierte er eine Lehre als Modelleur und Ziseleur, seit 1884 war er Schüler an der Königlichen Zeichenakademie in Hanau. Mit Unterstützung seines dortigen Professors, des Bildhauers Max Wiese, ging er 1888 nach Berlin, wo er zunächst im Bildhaueratelier von Alexander Calandrelli arbeitete und Kurse an der Abendschule des Kunstgewerbemuseums belegte. Nachdem er 1890 eine Dauerfreikarte für den Berliner Zoologischen Garten gewonnen hatte, betrieb er dort intensive Zeichenstudien, oft schon früh am Tage. 1894 nahm er ein Studium an der Berliner Kunstakademie auf, in der Klasse des Malers Paul Meyerheim, dessen besondere Stärke die Darstellung von Tieren war. 1895 begann Gaul seine Tätigkeit als Meisterschüler im Atelier von Reinhold Begas, damals der führende Vertreter des Neobarock in der Berliner Bildhauerschule. Begas überließ ihm die Arbeit an zwei der vier Löwen für sein Kaiser-Wilhelm-Nationaldenkmal vor dem Berliner Stadtschloss. Das Denkmal wurde 1950 abgetragen, die Löwen stehen jetzt vor dem Raubtierhaus im Tierpark Berlin-Friedrichsfelde. Ein Preis, den die Akademie ihm für ein Relief zuerkannt hatte, ermöglichte Gaul 1897/98 einen Studienaufenthalt in Italien. Nach seiner Rückkehr erlangte er größere Bekanntheit durch seine Skulptur der zwei Römischen Ziegen, die er auch auf der Pariser Weltausstellung von 1900 zeigen konnte. 1898 gehörte er zu den Gründungsmitgliedern der Berliner Secession, eines Zusammenschlusses von Künstlern wie Max Liebermann, Louis Tuaillon und Walter Leistikow, die sich gegen den vorherrschenden a. Deutsch 500g

      [Bookseller: Antiquariat Arzt - Der Buecherdoktor]
 33.   Check availability:     ZVAB     Link/Print  


        zugleich Organ der dt. Gesellschaft für angewandte Entomologie. Hrsg.von Karl Escherich. Bände 1-29 (ohne Band 12, 18, 25, 26). Zus. 25 komplette Jahrgänge.

      Berlin, Parey, 1914-1942. Je Band ca. 600 S. mit zahlr. Abb. im Text und auf Tafeln. 24 uniforme Halbleinenbände der Zeit mit Papierrückenschild, Band 17 ungebunden in 3 Orig.-Lieferungen. *Beiliegend folgende Einzelhefte aus den fehlenden 4 Jahrgängen: Band 18, Heft 2 / Band 25, Heft 1+4 / Jahrgang 26, Heft 1,3,4. In Band 7 sind zusätzlich 2 monographische Beihefte eingebunden. - Vorsätze und Titel mit altem Stempel, gelegentlich minimale Gebrauchs- oder Lagerspuren. Insgesamt in guter und sauberer Erhaltung. Versand D: 5,00 EUR

      [Bookseller: Antiquariat Braun]
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        Wiener Strassenbilder im Zeitalter des Rokoko. Die Wiener Ansichten von Schütz, Ziegler, Janscha 1779 - 1798. Beschreibendes Verzeichnis eingeleitet und bearbeitet von Ignaz Schwarz. Mit einem Prolog von Rudolf Hans Bartsch. Mit 51 schwarzen, 6 farbigen Heliogravüren und 250 Textillustrationen // Exemplar mit der Nummer 133 von 61-300

      Wien, Gilhofer Ranschburg, 1914. XLIV+101+57 Tafeln Broschiert im Schutzschuber, Schuber berieben und bestoßen, Innenteil: Rücken gering bestoßen, Innenseiten und Tafel in einem guten Zustand / GROßFORMAT : ca 37 x 30 cm L015 Versand D: 6,00 EUR

      [Bookseller: Antiquarische Fundgrube e.U.]
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        Weiblicher Akt und Mann im Wald. Radierung.

       1914. Signiert, datiert und bezeichnet \"Fürst 20. VII. 14. / Probedruck\". In der Platte signiert und datiert \"E. Furst 14\". Kräftiger Druck auf China. 33 x 45 cm. Papier: 38,5 x 51 cm. Großformatige Radierung des deutschen Maler, Radierer und Illustrator Edmund Fürst. - E. Fürst besuchte die Berliner Kunstakademie, wo er sich mit Lyonel Feininger anfreundete. Er nahm an den Ausstellungen des Berliner Künstlerbundes und der Berliner Sezession teil. Er gestaltete regelmäßig die Beilage der Berliner Illustrierten Zeitung, die im Ullstein Verlag erschien. Der Ullstein Verlag beschäftigte Fürst bis 1934 als Buchillustrator, im selben Jahr emigrierte Fürst nach Palästina. Er bereiste das Land und fertige Anquarelle und Zeichnungen der Landschaften an, die er auch vielfach ausstellte. - Das Blatt hat im Randbereich stärkere Gebrauchsspuren, wie Einrisse und Knicke. Eine Knickspur reicht oben links minimal in den Darstellungsrand. Versand D: 5,00 EUR Jüdischer Künstler, Anfang 20. Jahrhundert, Berlin, Ullstein Verlag, Berliner Illustrierte Zeitung,

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        MOTHER GOOSE TOYBOOKS

      SMITH, JESSIE WILLCOX. (SMITH,JESSIE WILLCOX)illus. MOTHER GOOSE TOYBOOKS. This is a complete set of 12 Mother Goose toybooks. Published in 1914, the same year as her famous Mother Goose, all are published by Good Housekeeping: Dodd Mead 1914. Each measures 5 1/4" wide x 3 1/2" high, color pictorial covers, a few have spine rubbing otherwise a VG or better set. Each cover is a different Mother Goose character, a reduced version of one of the color plates from the book. However due to the high quality of the paper used, the colors are particularly rich and they are also highlighted in gold. There are also black and white illustrations by Smith in-text. Verses inside are from Mother Goose. This is a lovely and rarely found complete set. Nudelman A40.

      [Bookseller: Aleph-Bet Books, Inc.]
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        DAS BUCH DES FROMMEN WORTES, GEBETE DER MOHAMMEDANER ; DIE 18 ERSTAN CAPITAL [RABBI DAVID ZVI HOFFMAN

      Berlin : H. Itzkowski, 1914. 1st German Edition of a work by Ibn Taymiyyah. 8vo. 60, [xxxi] pages. Inscribed to Hoffman by the author (Wiesel) on the title page. In German and Arabic. Title translates into English as,

      [Bookseller: Dan Wyman Books LLC]
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        Karten des Hohenzollernkanals - Großschiffahrtweg Berlin-Stettin - ; Übersichtskarte, im Maßstab 1 : 400 000 ; Sonderkarten, im Maßstab 1 : 50 000 ; Höhenpläne des Großschiffartweges Berlin-Stettin ; Lagepläne der \"Hohensaatener Schleppzugschleusen\" ; und der \"Schleusentreppe bei Niederfinow\"

      Berlin : Gea Verlag, 1914. 13 Kt., 19 S., IV. ; 63 S. Anzeigen der bauausführenden Firmen gebundene Ausgabe, Leinen Einband stärker beschabt, Ecken u. Kanten bestoßen, Seiten gegilbt, Innenteil sehr gut erhalten Versand D: 1,90 EUR

      [Bookseller: Antiquariat Fördebuch]
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        Dessin original signé : Le Frère du Ministre

      - 26 planches. environ 31 x 24 cm. Il est certes inhabituel de débuter une introduction par une malédiction. Pourtant, que soit maudit jusqu'à la fin des temps le projectile qui a fauché dans le Bois de la Gruerie le soldat Mory. Cet immense précurseur de la bande dessinée, alors très populaire auprès des chères têtes blondes de la jeunesse de France, s'était rendu célèbre avant 1914 sous le nom de Georges Omry. Ses oeuvres novatrices ainsi que celles d'autres grands dessinateurs français comme Léger, Valvérane, Thomen, Landelle, véritables inventeurs d'un genre qui a fait fortune, n'ont pas connu la même destinée que leurs équivalents, les cartoonistes des ÉtatsUnis.Non seulement ces créateurs artistes ne sont pas encore adulés, mais les historiensde la bande dessinée se sont faits très, et même trop, discrets sur leur priorité dans l'histoire du neuvième art. Nombreuses ont été les contributions d'Omry à différents organes de presse, mais très peu de planches originales ont survécu. La collection de planches1 que nous présentons devrait contribuer à la reviviscence de son oeuvre dont la reconnaissance a été amorcée en 2015 lors de l'exposition Omry à la Médiathèque de Reims, à l'initiative de son arrière-petite-nièce. [Georges Omry - Fantaisies à la belle époque. Médiathèque Jean Falala de Reims, du 1er décembre 2015 au 30 janvier 2016] - Nous pouvons aussi nous référer à la monographie, un peu ancienne mais toujours excellente de Arlette Depierris et Herry Caouissin, " À la recherche du merveilleux Georges Omry ", École Colbert, 1969. Georges Antonin Henri Mory dit Georges Omry, né en 1880 à Paris et mort pendant la Grande Guerre au début des hostilités est un artiste peintre français, dessinateur, auteur de bandes dessinées spécialisé dans les récits historiques, l'aventure et le merveilleux. Pilier des illustrés des éditions Arthème Fayard au dessin marqué par l'Art nouveau, Georges Mory, de son vrai nom publie ses premiers dessins en 1897 dans L'Autocycle Illustré, puis collabore au Pêle-Mêle (1899), au Bon Vivant (1900) et au Frou-frou (1900-1903). Il entre ensuite chez Arthème Fayard, à la fois dans La Jeunesse illustrée (lancé en mars 1903) et Les Belles Images (lancé en avril 1904). Dans le premier illustré, il crée surtout des récits s'étalant sur quelques numéros : histoires d'aventures, légendes, quelques récits humoristiques. Son succès semble être immédiat puisqu'il compose entièrement le numéro de Noël 1903, ainsi que celui des vacances d'été 1904. Dans le second, il propose une Histoire de France par l'image, dont le caractère édifiant va de pair avec une propension à l'allégorie et au mythe. Publiée en couleur, chaque semaine en 1904 puis toutes les deux semaines en alternance avec des récits courts, c'est une des principales séries du périodique. Mobilisé en août 1914, Omry est porté disparu le 7 novembre dans le bois de la Gruerie à proximité de Vienne-le-Château. Le dessin d'Omry participait à son succès. Utilisant quasi exclusivement le modelé par le trait, l'auteur est dans l'air du temps, " exprimant le volume intérieur par l'arabesque du contour, à la manière japonaise très en vogue à l'époque " et cernant ses personnages de traits épais à la manière de Mucha. Ces caractéristiques en font un auteur facile à imprimer, ses illustrations s'accommodant bien de couleurs en aplats. Ses chevaux rappellent Paolo Uccello ou Albrecht Dürer, et l'influence de Caran d'Ache est patente dans ses histoires humoristiques.

      [Bookseller: LA 42EME LIGNE - LIBRAIRIE-GALERIE]
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        Das schmerzliche Meer. Frühe und neue Gedichte.

      Erste Ausgabe. - Eins von 100 nummerierten und vom Verfasser signierten Exemplaren davon erschienen 10 Exemplare auf Japanpapier mit einem Holzschnitt von Conrad Felixmüller in Ganzleder. - Rheiner kam 1914 als einer der Jüngsten in die exzentrische Gesellschaft des Cafés des Westens, wo er schnell Anschluss fand. Besonders engen Kontakt pflegte er dort mit Johannes R. Becher, der sich zu dieser Zeit durch Narkotika und vorgetäuschte Sucht dem Wehrdienst entzog. Diese Idee, wohl von Hardekopf kommend, sollte für Rheiner erfolglos bleiben und den Beginn seiner Abhängigkeit bedeuten. Gleichzeitig fasste er hier den Entschluss, sich als Dichter zu verdingen und so erschienen bereits im Folgejahr erste Arbeiten u.a. in Pfemferts ?Aktion?. Vom Dienst an der Front suspendiert und nach Berlin zurückgekehrt, verfiel Rheiner endgültig dem Lebensstil der Bohème und seiner Sucht. Die Vormittage verschlief er, die Nachmittage saß er die meiste Zeit im Romanischen Café, wo er bis in die Abendstunden blieb, um dann, heimgekehrt, des Nachts zu schreiben. Seine Texte fanden in den bedeutenden spätexpressionistischen Blättern Veröffentlichung. Überdies beteiligte sich Rheiner an der Gründung der ?Expressionistischen Arbeitsgemeinschaft Dresden?, worauf die Einrichtung des ?Dresdner Verlages von 1917? folgte, in dem, bis auf eine Ausnahme, alle seine selbstständigen Publikationen erschienen. Die letzten Jahre verbrachte er vereinsamt und vergessen an verschiedenen Orten, meist ohne feste Bleibe, bis er an einer Überdosis Morphium verstarb. (Vgl. Thomas Rietzschel. In: Walter Rheiner. Kokain. Lyrik, Prosa, Briefe. Leipzig 1985, S. 285-303.) - Einbandkanten stark berieben, Bll. teils stockfleckig. - Raabe/Hannich-B. 245. 3. - Jentsch 40.

      [Bookseller: Rotes Antiquariat]
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