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

        CALIFORNIA MEXICAN-SPANISH COOK BOOK. Selected Mexican and Spanish Recipes

      [Los Angeles]:. [1914].. 8vo. 8" x 5-3/8". 1st edition (Axeford, p. 50; Bitting, p. 208; Glozer 116). Not in Wheaton & Kelly. 111, [17] pp. Numerous blanks throughout, as bound.. Color printed beige cloth binding.. Modest binding wear. A VG+ - Nr Fine copy.. Though little known today, at the turn of the 20th C, Bertha Haffner- Ginger not only learned how to cook Mexican favorites but also packed lecture halls nationwide and published a cookbook sharing her knowledge, whetting the country's appetite for a cuisine that wouldn't travel outside of the borderlands in earnest until the 1950s.She got her start at the Los Angeles Times who hired her in 1912 to head the inaugural Times School of Domestic Science. She lectured weekly on subjects ranging from French techniques to baking, dairy to poultry, in an auditorium in the Times' then-new office building. Among her most popular topics: Mexican cooking. "An announcement that my lesson for the day would be Spanish dishes invariably brought record-breaking crowds in any city in the United States," she asserts in the volume's introduction.Her "discovery" of Mexican food could be described as serendipitous. The newspaper's offices in downtown Los Angeles were not far from Sonoratown, the city's historical Mexican core, nowadays the area around Olvera Street. One day in April 1913, Haffner-Ginger decided to stroll through the neighborhood and take in her new city. She walked into El’as & Guzman, a tortilla factory on 618 San Fernando partly owned by Arturo El’as Calles, a former Mexican consul (and half-brother of future Mexican President Plutarco El’as Calles). Haffner-Ginger's visit set into motion the birth of the Mexican cookbook and cooking class industry in the United States.At El’as & Guzman, Haffner-Ginger watched a dozen women making fresh tortillas, enchiladas and tamales, and the sight so delighted her that she asked the owners if one of their workers could demonstrate tortilla making for her American public.A large crowd gathered the following day at Haffner-Ginger's class to see "this simple method of primitive cooking that held sway here before the Gringoes [sic] came," The Times enthused.An idea had been planted. In 1914, Haffner-Ginger published this cookbook here offered. A century later, "California Mexican-Spanish Cook Book" stands as a valuable artifact of Mexican cooking in California. It includes a glossary of food terms and the first-ever documented recipe and photo for tacos in the United States. [excerpted from Avellano, LA Times, 21 April 2012]. OCLC records just 4 institutional holdings of this influential cookery book. Scarce in the trade. . Illustrated from photographs.

      [Bookseller: Tavistock Books, ABAA]
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        Les Cathedrales De France ; Avec Cent Planches Inedites Hors Texte

      Librairie Armand Colin, Paris 1914 - Quarter leather at spine with cloth covered boards. Five raised bands, gilt titles and decorations, marbled endpages. Introduction by Charles Morice. With one hundred unpublished inset plates with full page tissue guards. Book is Very Good Plus, leather at spine a bit scuffed, remnants of old bookplate front endpage, light foxing to endpages which does not extend to interior pages. A handsome copy indeed. 4to - over 9¾" - 12" tall [Attributes: First Edition]

      [Bookseller: Dale Steffey Books]
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        Tekanne, groß / Der Kuß 1914

      1914. Scherenschnitt auf Japanbütten montiert, ca. 21,8x 9,8 cm. R. u. Darstellung sign. u. dat.: "Engert 1914". Im unteren linken Bereich des Untersatzes mit Wasserrand. Das Motiv wurde von Engert "Teekanne, groß" bezeichnet, nach freundlichem Hinweis von Josef Hamm. Variante der Darstellung in: Wyrwoll 1982, S. 96..

      [Bookseller: Galerie Joseph Fach GmbH]
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      Privately printed, 1914., 1914. [Separate No. 158]. [From the Proceedings of the State Historical Society of Wisconsin for 1913, pages 151-225]. Edited with introduction and notes by Frederic L. Paxson, and with typographic arrangement by Reuben G. Thwaites. This copy is signed by Paxson, the Pulitzer Prize winning American historian. 22 3/4 cm. in brown printed wrappers. 75 pp., 7 route maps. Thomas Turnbull’s journey west of the Missouri was by the Mormon Trail rather than by the Oregon Trail, which was usually followed in 1852 by gold-seekers, and his journal is one of the few records of travel by that route. Dan Elbert Clark says in The American Historical Review, Volume XX, 1915, "Turnbull’s journey was made in 1852 and his route lay from Chicago across Illinois and Iowa to Council Bluffs, thence up the Platte River to Fort Laramie, along the Sweetwater River through the South Pass, and down the Humboldt River to the gold diggings in California. The journal records the incidents, the hardships, and the scenery of the trip in considerable detail, and reflects the spirit of the emigration to the gold fields which even in 1852 was so strong that at times the line of teams stretched out over the plains as far as the eye could see. Furthermore, the journal records the experiences - the disappointments, the hopes, the sickness, and the varying fortune - of one who reached California after the best claims had been taken, when the country was ‘all dug up' and prices were abnormally high.'” Kurutz 640 says, “Turnbull left Chicago, Illinois, on April 16, 1852, traveled by way of the California Trail, and reached 'Squaw Hollow,' near Hangtown, on August 18. His next entry reads: ‘went to seek my fortune but found every Creek & Kanyon, covered with men & Hundreds going round looking for work. I thought the country somewhat different to what they represented it to be.’ Turnbull, in the remaining portion of his diary, described his mining experiences, illness, trip to Benicia and Sacramento, and return to prospecting at Newcastle, Secret Diggings, and Spanish Ravine. Appended to this vivid diary is a letter from Secret Diggings dated March 29, 1853, in which Turnbull detailed his mining experiences and complained that the mines had been worked out. Turnbull’s original journal is in the library of the State Historical Society of Wisconsin. Frederick L. Paxson edited and introduced the manuscript for this publication.” Eberstadt 105:302a says, “An exact transcript (never before put into type) of the extraordinarily interesting diary kept by Turnbull during his trip across the plains from Chicago to Hangtown, in 1852, and during his troubles and experiences at the mines after his arrival at the diggings. His route was unusual. After leaving Kanesville, he took the Mormon Trail on the north side of the Platte. From a point opposite Fort Laramie to the Red Buttes, near which the Oregon Trail cut across from the Platte to the Sweetwater, Turnbull’s description of his route and the country traversed in almost unique." Wrappers lightly worn at edges and with light wear to spine ends, else a very good copy.

      [Bookseller: BUCKINGHAM BOOKS]
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      Raro album dell'epoca in cartone editoriale contenente 21 fotografie originali montate su 13 cartoncini (oltre ad uno bianco) corredate da discalia cartacea. Cm 28x21, misure foto 17x23 (5) e 9,5x14,5 (16). Fotografie di Vincenzo Aragozzini. Ben conservato: copertina con usura (in particolare agli angoli) e lievi gore; scritta a penna sulla prima e sull'ultima foto.

      [Bookseller: Libreria Moretti]
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        Virginia under the Stuarts

      Princeton University Press. Hardcover. This is a first edition that has been signed with a dedication from the author on the endpaper to a friend thanking them for their help making the book. Burgundy cloth binding that has fade over the spine with heavy rubbing at the hinges, corners and heads. There is some colour bleed and light damp marking to the rear board - nothing inside. Clean and secure text block, the untrimmed edges are a little rough and there is a light tone, rear hinge is lightly cracked. . Good. 1914. First Edition.

      [Bookseller: Infinitebooks]
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        Voyages d'Ibn Batoutah. Texte arabe, accompagne d'une traduction par C. Defremery et le Dr. B. R. Sanguinetti.

      Paris, Imprimerie Nationale, 1914-1926.. 8vo. 4 vols. and 1 index vol. Original printed wrappers with dust jackets.. Significant eyewitness account of the Arabian Peninsula during the Middle Ages. Over a period of thirty years, the Muslim Moroccan explorer Abu-'Abd Allah Muhammad ibn Batutah (1304-77?) visited most of the known Islamic world, including North Africa, the Horn of Africa, West Africa, Southern Europe and Eastern Europe in the West, to the Middle East, South Asia, Central Asia, Southeast Asia and China in the East - a distance surpassing that covered by his near-contemporary Marco Polo. Ibn Battuta is considered one of the greatest travellers of all time. He journeyed more than 75,000 miles, a figure unsurpassed by any individual explorer until the coming of the Steam Age some 450 years later. After returning home from his travels in 1354, Ibn Battuta dictated an account of his journeys to Ibn Juzayy, a scholar whom he had previously met in Granada. This account is the only source for Ibn Battuta's adventures. For centuries his book was obscure, even within the Muslim world, but in the early 19th century extracts were published in German and English based on manuscripts discovered in the Middle East, containing abridged versions of Ibn Juzayy's Arabic text. During the French occupation of Algeria in the 1830s, five manuscripts were discovered in Constantine, including two that contained more complete versions of the text. "These manuscripts were brought back to the Bibliotheque Nationale in Paris and studied by the French scholars Charles Defremery and Beniamino Sanguinetti. Beginning in 1853, they published a series of four volumes containing the Arabic text, extensive notes and a translation into French. Defremery and Sanguinetti's printed text has now been translated into many other languages while Ibn Battuta has grown in reputation and is now a well-known figure" (Wikipedia). - Untrimmed, partly uncut copy. Some browning due to paper. Spine chipped. Rare. - Cf. Macro 1249. GAL II, p. 333. Henze II, 682 (all for the 1853-59 first edition). Carter, Robert A. Sea of Pearls, p. 63.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Le Démon de midi

      Plon 1914 Deux volumes in - 8 (204 x 145 mm), broché, non rogné. Edition originale. Tirage limité à 150 exemplaires numérotés; un des 100 sur Hollande (N°87). Envoi autographe signé de l'auteur. (quelques défauts, déchirures au dos du tome 1). / / Two octavo volumes (204 x 145 mm), softbound, uncut. First edition. Limited printing of 150 numbered copies; one of the 100 on Holland paper (Nr 87). Signed autograph dedication by the author. (some defects, tearings on spine of vol. 1).

      [Bookseller: Librairie Henri Picard & Fils]
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        Nach Holland und dem Holländischen Meeresstrande über Salzbergen und Cleve. Farbiges Plakat.

      1914. 1914 - 58 x 41,8 cm, auf Karton aufgezogen. Farbenfrohes Strand-Plakat des holländischen Grafikers Jan Willem Sluiter (1873-1949). - Leicht fleckig, an den Ecken etwas knittrig, mit einige kleinen Druckstellen. [Attributes: Soft Cover]

      [Bookseller: Antiquariat Mertens & Pomplun GbR]
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        Billy Whiskers in Panama

      SAALFIELD PUBLISHING COMPANY, CHICAGO 1914 - Pictorial dust jacket with mylar cover. 1/4" tear to bottom of dust jacket spine. Chipping along foredge. 2 small tears to bottom corner of front and back of dust jacket. Some creasing to back of dust jacket. Dust jacket in good condition for a children's book. Dust jacket unclipped. on back of dust jacket flap states Frances and the Irrepressibles at Buena Vista Farm $1.50; The Wonderful Electric Elephant $1.50; On a Lark to the Planets $1.50; A Christmas with Santa Claus $1.00; Santa Claus Twin Brother $1.00. Light bumping to edges. All edges browning. Color frontispiece. Black and white and color illustrations. DATE PUBLISHED: 1914 EDITION: FIRST ED 167 [Attributes: First Edition; Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
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        Im Kreise. Original-Holzschnitt.

      1914 - Um 1914. Bildgrösse: 20.5x12 cm. Unten voll signiert. In Goldrahmen 55x39 cm. Sehr seltener, wahrscheinlich einziger Druck aus Kempters expressionistischer Phase. [Attributes: Signed Copy]

      [Bookseller: Biblion Antiquariat]
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        Stories from the Arabian Nights

      1914. first edition. The Edition De Luxe of Dulac's Most Important WorkWith A Four-Page Autograph Letter from Laurence Housman Regarding the PublicationDULAC, Edmund, illustrator. Stories from The Arabian Nights. Retold by Laurence Housman. London: Hodder and Stoughton, [1907]. Edition de Luxe, limited to three hundred and fifty copies (this being number 126) signed by Edmund Dulac. Quarto (10 3/4 x 8 7/8 in; 272 x 225 mm). [2], xvi, 133, [1, blank] pp. Fifty color plates tipped-in to gray-green art stock with captioned tissue guards, all but frontispiece bound after text. Publishers full white vellum, front cover and spine decoratively tooled and lettered in gilt and blue. Top edge gilt, others uncut, (later) silk ties. Some light foxing to the captioned tissue guards. Armorial bookplate on front pastedown. A fine copy.Loosely inserted is a fine four-page autograph letter from Laurence Housman dated "June 11th. 1907" [to Hodder and Stoughton] which deals with the pre-publication of the book. "Dear Sirs / The Arabian Nights. / [underline] / In answer to your / enquiring as to length, I / had not understood that / it was necessary to / reduce the stories to quite / the same length as / 'Peter Pan', and on the / scale I have been / working on I had reckoned / that I might touch 30,000 / words in all: but if that / is too much I can tend / to further reduction as / I promised. / The original version of / the five stories amounts / to just over 52,000 words / and I have been scheming / roughly to reduce them / to nearly a half without / losing local colour. Of / course I could make the / condensation much greater / but I think with damage / to the stories. / I make out 'Peter Pan' / to be about 22,000 words; / and what I have already / sent you is I think / close on 6,000. If I am / wrong will you please / correct me. / There is one way in / which I could certainly / meet your wish to have / the exact number of / words fixed, and that is / by treating the least known / and the least good of the / selected stories more briefly / than the others, - the one I / mean is "Prince Codadad / and his brothers." If you / agree to that, and would / like to fix on any number / of words between 25,000 / and 30,000, I would keep / as near to it as possible. / I am, dear Sirs / Yours faithfully / Laurence Housman""Stories from the Arabian Nights is Dulac's most important book…The first printing in England of The Arabian Nights in October was so sought after that a second printing had to be run in November to provide books to sell at the Leicester Galleries' November-December showing of Dulac's work…This exhibit started Dulac's lengthy relationship with the Leicester Galleries and also with Hodder and Stoughton who henceforth published each year a book with his pictures, thereby solidifying his reputation as an illustrator" (Hughey)."It may have been his friendship with the celebrated connoisseurs, Ricketts and Shannon, that led Dulac to a renewed and closer acquaintance with those Oriental and Greek primitives, which he had already learned to love in his youth...Persian miniatures especially have fascinated him...the fantasies which Scheherazade wove...need a jeweled commentator, and Dulac alone possesses the necessary gifts" (Art critic, Martin Birnbaum, Introduction, Catalog of Dulac exhibition, Scott & Fowles Gallery, NY, December 1916).Hughey 16.

      [Bookseller: David Brass Rare Books, Inc.]
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        Sports & Divertissements. Musique d'Erik Satie. Dessins de Charles Martin.

      Paris, Lucien Vogel (1914). - Folio (40 x 45cm). 3 Bll. (Titel, Farbtafel, Inhaltsverzeichnis), 20 nn.Bll. (Noten, Text) und 20 pochoir-kol. Tafeln nach Zeichnungen von Charles Martin. Lose in ill. Orig.-Halbleinenmappe mit Deckelbezug, in moderner Leinenkassette, eigens fŸr dieses Werk gefertigt (VDeckel etwas fleckig und mit Kratzspur, SchliessbŠnder fehlen). Eines von 215 Ex. (Nr. 32) (Ges.aufl. 900 Ex.) der seltenen Vorzugsausgabe mit 20 Farbtafeln. Dazu 1 vollstŠndiges Exemplar der Normalausgabe (675 Ex.) mit 1 von Jules SaudŽ pochoirkol. Tafel von Martin sowie sŠmtlichen faks. Titel- und NotenblŠttern, in Orig.-Umschlag. - Nach der Absage Strawinskys an den Verlag hatte Satie es Ÿbernommen, zu 20 BlŠttern des KŸnstlers Charles Martin (1884-1934), Mitarbeiter der Zeitschriften "Sourire" und "Vie parisienne", jeweils Text und Musik hinzuzufŸgen. Vorliegende Mappe enthŠlt alle 20 farbenprŠchtigen Art-DŽco-Tafeln von Martin in Pochoir-Technik (Jules SaudŽ), 20 BlŠtter mit Titel und Vignette (ebenfalls von Martin) und verso jeweils das Faksimile der kalligraphischen Noten und Texte Saties (schwarze Noten auf roten Linien). Interessantes und seltenes Beispiel zum Art DŽco auf dem Gebiet der Musik. - Edition originale de la musique d'Erik Satie et premier tirage des 20 compositions hors-texte, coloriŽes au pochoir de Charles Martin. Cet ouvrage est une heureuse rŽussite combinant l'humour du misicien avec l'esprit lŽger de l'Žpoque. - L'ouvrage se compose d'un feuillet de titre, avec au verso une prŽface et un "choral inapŽtissant", Žcrit: "le 15 mai 1914 (le matin ˆ jeun)", et de 20 pices de musique qui ont pour titre: "Balanoire", "La Chasse", "ComŽdie Italienne", "Le Golf", "Les Courses", "Water-Chute", "Tennis", "Le Tango", "Flirt" etc.Toute la partie texte reproduit en fac-simile le manuscrit du compositeur. Dans sa prŽface, Erik Satie prŽsente son album comme Žtant: ."contituŽ de deux ŽlŽments artistiques: dessins, musique. La partei dessin est figurŽe par des traits - des traits d'esprit; la partie musicale est reprŽsentŽe par des points - des points noirs.pour les recroquevillŽs" et les "abtis", j'ai ecrit un choral grave et convenable. Ce choral est une sorte de prŽambule amer, une manire d'introduction austre et frivole. J'y ai mis tout ce que je connais sur l?Ennui. Je dŽdie ce choral ˆ ceux qui ne m'aiment pas.". - Gelegentlich kleinere Stockfleckchen, Titelbl. mit kleinem Randeinriss und Knickspur, RŠnder teils minimal gebrŠunt, insgesamt jedoch schšnes, sauberes Exemplar. - Photographien der ganzen Serie senden wir gerne auf Anfrage zu. - Dabei: 1 vollstŠndiges Exemplar der Normalausgabe (675 Ex.) mit 1 pochoirkol. Tafel von Martin sowie sŠmtlichen faks. Titel- und NotenblŠttern, in Orig.-Umschlag. Lang fr

      [Bookseller: Buch + Kunst + hommagerie Sabine Koitka]
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        Into the Dead Heart, The Cruise of the Avocet, and two other works

      Adelaide: W.K. Thomas, 1914-, 1917. Duodecimo, four books bound together in contemporary quarter roan with gilt lettering; with a total of 83 photo plates (some folding), excellent condition with original printed wrappers bound in. An outstanding collection of Australian ornithology and central desert travel narratives by pioneering conservationist and Aboriginal advocate Samuel Albert White (1870-1954). White is remembered as an intrepid traveller of the central Australia and for his collaboration with Gregory Matthews on the definitive ornithology reference The Birds of Australia. Born in Adelaide, White served in South Africa and upon his return participated in several major overland expeditions, including a journey to Alice Springs by camel in 1913 and the Musgrave and Everard ranges in 1914. White later accompanied expeditions to Cooper Creek, the Nullarbor, and the Finke River; he later played a prominent role in the creation of South Australian national parks. As reflected in these books, White sought the companionship of the central desert Aborigines and advocated their welfare in the public arena. In particular, Into the Dead Heart contains significant ethnological description of the desert tribes, including anecdotal descriptions of the author's interactions with individual Aboriginal people. Another work within this bound collection titled On the Flooded Murray River contains a sub-chapter titled "Native Art and Rock Shelters. An old camping ground visited". Here White records an excursion to a Victorian rock art site, complete with a large folding plate comprising images of the cave, its art, and the author's companions Messers. Zeitz and Bellchambers. These four books are originally from the collection of surgeon and South Australian resident Dr. Edward Angas Johnson, and have been inscribed to him by Captain White. The front endpaper bears the bookplate of Adelaide city council alderman Charles R. F. Glover, an assiduous collector of Australiana and ethnological artefacts. Details of the four titles are as follows: Into the Dead Heart. An Ornithological Trip through Central Australia. 1914, 154 pp., 26 full-page photo plates. The Cruise of the Avocet. In Search of Skuas and other Things. [1916], 68pp, 15 full-page photo plates, all ornithological in nature. Ooldea, on the East-West Railway, On the Flooded Murray River. [1917], 88pp., 29 full-page photo plates (three folding). In the Far North-East. A Scientific Expedition. [1917], 144pp., 13 full-page photo plates.

      [Bookseller: Hordern House Rare Books]
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        "E" - The complete and somewhat mad history of the family of Montague Vincent, Esq., Gent.

      New York, Duffield & Company, 1914.. 8°. 387 pages. Original red cloth with gilt lettering on spine and front board. Ownership-notification on front and rear pastedown. Overall excellent condition with only minor signs of external wear / mild foxing to edges and pastedowns only (very good+/near Fine). Absolutely Rare publication..

      [Bookseller: The Time Traveller's Bookshop Ltd.]
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        Camera Viewer owned and used by explorer Ernest H. Shackleton ostensibly during his 1907 - 1909 Nimrod Expedition to Antarctica

      Ernest H. Shackleton?s camera viewer, 5? x 5? x ½? when closed using metal clip. Wooden-based folding down black leatherette, shows evidence of use. Opens to 7? in height with a 4? x 2? opening on top to look through and a 5? x 5? base opening for the photograph., Mounted silver plaque, 3.75? x 1.75?, engraved in Shackleton?s handwriting: ?To H.B.C. Bussey / in remembrance of his / help to me in 1914 / Ernest H. Shackleton.? Very Good condition.The British Antarctic Expedition of 1907-1909, the ?Nimrod? Expedition, was the first of Shackleton?s expeditions to the Antarctic. There were a range of geographical and scientific objectives, but the expedition?s main objective was to be the first to reach the South Pole. This was not obtained but Shackleton?s southern trek came within 100 miles of the South Pole, the longest southern polar journey at the time and a record convergence on either Pole. Ernest H. Shackleton was knighted by King Edward VII upon his return to England. Ostensibly,

      [Bookseller: University Archives]
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        Entwürfe für die Kgl. Hofburg seiner Majestät König Peter von Serbien. Belgrad. Weimar, August Bosse, 1912-1914. Two volumes, oblong imperial folio (c. 73 x 100 cm) with c. 50 spectacuar watercolour interiors and c. 65 pencil drawings, partly coloured, 6 plans and many mounted original photos; the volume with the watercolour interiors bound in grey pigskin, front cover with inlaid Serbian Royal coat-of-arms and lettered in gilt, covers surrounded by a braided border of silver, red and blue leather strips, silk paste-downs; the other volume in contemporary half-calf over gold-patterned boards; this a little rubbed; the two large albums housed in a custom-made wooden box with sliding lid and iron handles; outside of the bottom of the box a little water-damaged, internally good and clean.

      . At the back of the volume was [and is] a leaf of recommendation [promising 'genuine German work' - 'echte deutsche Arbeit']. The designs were photographed and accompanied by text explaining the main concepts of and ideas behind the designs. Then there was an album of the same size bound in Japanese gilt paper which contained the details in pencil at a scale of 1:10. The photo album with explanatory text was sent to Belgrade for the parliament (skupchina) to be assessed. Our plans were accepted and we got the commission. Three estimates were made; one over 600,000 Mark for the Skupchina, another one over 800,000 Mark and one over one million Mark. It was up to the king's choice; he would pay the excess from his private money. The detailed work on the designs went on up to 1914. Wood samples were provided, textiles and carpets designed, which had to be executed to the highest standards of the Parisian Savonnerie manufacturers. Then came the war which destroyed all hopes, work and designs. Only that it cost us 15,000 Mark! We started to demand our money; however, but to no avail. They kept the photo album and we heard that a French company carried out the commission. The war of '39 destroyed - I think - the Royal Castle. Fate! The human works are easily destroyed. Even when the work did not come to fruition, it is a document of a bygone era'. The Castle was bombed by the Germans in 1940 and the Allies in 1944 resulting in a building so heavily damaged that it's appearance today is quite different. This is certainly the largest, most detailed and comprehensive documentation of an interior design project on the grand scale we have ever come across. King Peter I of Serbia commissioned August Bosse, the owner of a Weimar company for interior design, to supply designs and estimates for the about 80 rooms in the Belgrade New Konak, the shell of which was completed about 1912. The building was damaged during both World Wars and was completely altered and the site serves now as Belgrade's town hall.The two enormous volumes come together with files containing hundreds of pages of duplicated typescript and manuscript pages of estimates and accosting, detailing the stucco, painting, carpentry, etc. work, as well as a stack of 36 half-plate glass negatives, tanned leather samples for upholstery or wall hangings and six blueprints of the plans of the building, lettered in Serbian and with German annotations in crayon. Included is as well a hand-written account of the project by the colleague and wife of the designer August Bosse, Else Bosse (1877-1965), written in 1947, from which we translated the most relevant passages. NOTES King Peter I of Serbia commisioned an aide to visited several noble families in Germany. Because of the construction of a new castle in Belgrade he was interested in interior design. During his travels in Silesia and Turingia he saw interiors which impressed him and came across the name of the Weimar company Bosse. We are lucky to have an account of the history of the project through a memoir by Bosse's wife included with the designs: 'We were encouraged by an agent to participate in working on the design plans. Hugo went there and visited the half-finished building and discussed the project with the court architect. The rooms were to to be furnished in French styles and in the highest quality. It was a big task; about 80 rooms. Hugo loved the challenge; however, he mistrusted the matter a bit, because Belgrade had left with him a discomforting impression. He thought that such a lavish building would not be in harmony with the bad roads with deep potholes and modest houses On top of that the war [of the Ottoman Empire] with Serbia broke out in 1912, which made Hugo wait and see. He wanted to see the outcome of the war and if King Peter would still be able to have his plans carried out. In spring of 1913 the architect came to the court of Weimar, in order to see the progress of the plans. The king had already asked for a prospectus. We had to console him and promised, to resume work on the plan immediately. The war had ended favourably for Serbia. With full steam we went ahead with the work. At that time we had three daughtsmen in the studio, and in addition we involved architects from outside who participated in the execution of the designs. We established a system, according to which the drawings where all of the same size, in watercolour or pencil, so that the different walls and views were depicted in a similar way. Many a night hour was devoted to this work, as it was most quiet then. Hugo got himself a Parlograph [a recording device] The other day the young girl would listen to the recordings with headphones and type [what Hugo had dictated] Although we had married during the art nouveau period, we had always had an affinity to classical styles. Hugo introduced me to this world and we accquired many beautiful works on these styles which we studied together. It was beautiful to be creative together Both of us determined the styles for the different rooms; I prepared and executed the details. We had to harmonize the woodwork with the textiles and carpets etc. We were pleased with the success, as much as the king was impressed. [After having submitted the designs to the king in Belgrade], the king had a look at the concepts and talked in German with Hugo. He decided on materials for the various rooms and expressed his ideas and wishes. A big book with watercolours was made, in a dignifying pigskin binding with royal coat-of-arms and lettering.; At the back of the volume was [and is] a leaf of recommendation [promising 'genuine German work' - 'echte deutsche Arbeit']. The designs were photographed and accompanied by text explaining the main concepts of and ideas behind the designs. Then there was an album of the same size bound in Japanese gilt paper which contained the details in pencil at a scale of 1:10. The photo album with explanatory text was sent to Belgrade for the parliament (skupchina) to be assessed. Our plans were accepted and we got the commission. Three estimates were made; one over 600,000 Mark for the Skupchina, another one over 800,000 Mark and one over one million Mark. It was up to the king's choice; he would pay the excess from his private money. The detailed work on the designs went on up to 1914. Wood samples were provided, textiles and carpets designed, which had to be executed to the highest standards of the Parisian Savonnerie manufacturers. Then came the war which destroyed all hopes, work and designs. Only that it cost us 15,000 Mark! We started to demand our money; however, but to no avail. They kept the photo album and we heard that a French company carried out the commission. The war of '39 destroyed - I think - the Royal Castle. Fate! The human works are easily destroyed. Even when the work did not come to fruition, it is a document of a bygone era'. The Castle was bombed by the Germans in 1940 and the Allies in 1944 resulting in a building so heavily damaged that it's appearance today is quite different..

      [Bookseller: Antiquariat Manfred Nosbüsch]
 17.   Check availability:     ZVAB     Link/Print  


      London: L.C.C. Central School of Arts and Crafts, 1914. - [9],[10-23,[1];[5],6-53,[1]pp. Small quarto. Three quarter teal blue morocco and marbled boards, raised bands, gilt decorations, t.e.g. Printed binder's ticket on lower pastedown. Extremities very slightly rubbed, otherwise very near fine. First edition of the first book by the future novelist and writer on topics related to engineering. Bleiler cites three of Davey's novels from the '20s and '30s, and what would appear to be his first commercially published book (a collection of verse as well), entitled DESIDERIUM, MCMXV-MCMXVIII (1920), is cited by both REILLY (WWI) and Young, THE MALE HOMOSEXUAL IN LITERATURE. It is possible that some of the poems herein, which includes some specific poems declaratory of non- gender specific love, were reprinted in the 1920 collection. The preliminary essay, which concerns classical Greek standards of criticism, is printed in black & red and has an independent register; d-f4 of the POEMS are printed on a different paper stock than what precedes them, befitting a trade school printing exercise. The large binder's ticket on the rear pastedown reads: 'BOUND AT THE SCHOOL | by the boys of the Day | Technical School of Book | Production : Bookbinding | teacher: P. McLeish. 1916.' Another note, in pencil on the front free endsheet, states: 'Bound and Decorated by Harrott.' A rare book - OCLC locates three copies only: UC Davis, UCLA, and Monash Univ. Library (Australia). OCLC: 14220940.

      [Bookseller: William Reese Company - Literature, ABAA]
 18.   Check availability:     AbeBooks     Link/Print  

        Blackfoot texts from the southern Peigans Blackfoot reservation, Teton County, Montana. (AND: Uhlenbeck, C.C. Philological Notes to J.P.B. de Josselin de Jong's Blackfoot Texts (1915, same publisher) BOUND TOGETHER)

      Müller Amsterdam 1914. Cloth 153, 43 S. Sehr guter Zustand/ very good, Bound in grey cloth with black backtitle.. *** Wenn Sie an einem Tag mehr als einen Titel bei uns bestellen, liefern wir innerhalb Deutschlands versandkostenfrei ***

      [Bookseller: Wissenschaftliches Antiquariat Thomas Ha]
 19.   Check availability:     ZVAB     Link/Print  

        Neuer und gründlicher Unterricht, von der heutigen Fortification und Artillerie... Nebenst einem Bericht von Zubereitung einiger Ernst-Feuerwerckes-Kugeln.Nuremberg, Johann Hoffmanns seel. Wittib, Engelbert Strecken, Abraham von Werth, 1700. 8vo. With engraved double-page frontispiece with a.o. a fortification and an explosion, title in red & black, 10 numbered engraved full-page plates & a folding table in the first part and 6 full-page engraved plates (I-VI) in the second part. Blue paper covered boards.

      Jähns 1395 & 1230 (first ed.); Jordan, Bibliographie zur Geschichte des Festungbaues von den Anfangen bis 1914, 1519 (lists 6 copies); Marini 187; Guarnieri 57. Second edition of an interesting, illustrated work on fortification and military architecture, artillery and fireworks by Johann Sebastian Gruber. It is divided into two parts. The second part starts with the half title ‚Das andere Buch von der Artillerie nebest einem Unterricht/ von Zubereitung einiger Ernst Feuer werckss Kugeln' and deals mainly with artillery and fireworks.Frontispiece with foxing and paper loss in margin not affecting plate, library stamp on title, some minor foxing and browning; hinges weak. Good copy of an interesting work on fortification and military architecture, artillery and fireworks.

      [Bookseller: ASHER Rare Books (Since 1830)]
 20.   Check availability:     NVvA     Link/Print  

        Cubist Poems

      London: Elkin Mathews,, 1914. Duodecimo. Original orange boards speckled gold, rebacked with black leather, titles and tree design to front board in black, top edge trimmed, others untrimmed. Partially unopened. Edges of boards slightly rubbed, minor wear to corners, endpapers very lightly foxed. An excellent copy. First edition; limited to 100 copies, this copy unnumbered. This is the first published literary work by Max Weber (1881-1961), the Jewish-American artist generally credited with introducing European avant-garde movements, including primitivism and cubism, to the American art scene. It collects 38 poems written while he lectured in art history at the Clarence H. White School for Photography. The collection is introduced by the photographer Alvin Langdon Coburn (1882-1966), to whom the book is also dedicated.

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

        Les Cathedrales De France ; Avec Cent Planches Inedites Hors Texte

      Paris: Librairie Armand Colin, 1914. Quarter leather at spine with cloth covered boards. Five raised bands, gilt titles and decorations, marbled endpages. Introduction by Charles Morice. With one hundred unpublished inset plates with full page tissue guards. Book is Very Good Plus, leather at spine a bit scuffed, remnants of old bookplate front endpage, light foxing to endpages which does not extend to interior pages. A handsome copy indeed. . First Edition. Very Good Plus. 4to - over 9¾" - 12" tall.

      [Bookseller: Dale Steffey Books]
 22.   Check availability:     Biblio     Link/Print  

        Don't Miss It / Georgia State Colored Fair / Macon, Ga. Nov. 18th to 28th, 1914 / Low Round Trip Rates Via the Georgia Railroad

      [Atlanta]: [Georgia State Colored Fair Association, 1914. Broadside. Very Good. Broadside. Approximately 8.5" x 24". Small hanging hole at top. Light wear; slight toning along the edges. Horizontal center fold. The first Georgia State Colored Fair was held in Macon in order to provide African-Americans an opportunity to showcase their wares and highlight their achievements since segregation and Jim Crow laws prohibited their participation in the main state fair. Although the original intent was for the show to annually rotate between cities, that provided to be impossible, so it was conducted each year at the City Central Park in Macon, which was also the site of the main state fair. In addition to all of the same type of events, activities, shows, rides, contests, exhibitions and fireworks found at the regular state fair, this fair also included a special Ex-Slaves Day Reunion. The fair was held annually until 1916, and then sporadically until perhaps as late as 1921. One example listed in WorldCat; one in the trade.

      [Bookseller: Read 'Em Again Books, ABAA]
 23.   Check availability:     IOBABooks     Link/Print  


      Chicagol, IL: A. C. McClurg & Co.. 1914. 1st edition. hb cloth. Small 8vo, pp. 401, ads. Bound in wine-red ribbed cloth, blocked in blind and lettered in gilt to front board; with gilt spine lettering and no acorn. . The famous first apperance in book form of John Clayton, "Tarzan of the Apes". The novel was first published in the pulp magazine "All-Story Magazine" in October, 1912. The first book edition appeared on June 17, 1914, published by McClurg, with dust jacket and title-page art by Fred J. Arting. It is the third story Burroughs wrote, but the first hard cover book which was published for Burroughs. According to Zeuschner 696, "There were about 5,000 copies of the first state of the first edition printed; it is bound in dark red cloth with gold lettering on the front cover and spine. There is no acorn on the spine". "W. F. Hall Publishing Co." appears in "Old English" type on the copyright page. Written neatly in pencil on the first free front endpaper is the following: "Ruth Casey / July 29, 1914 / Minneapolis / Minnesota" and then lower down, in pencil (but in a different hand): "Marilyn Johnson / Waseca, Minnesota". The book is in generally good condition. There is a small scrape to the cloth at the bottom of the rear board. The gilt lettering to the front board is bright, but the spine lettering is less so. The edges of the boards show minor rubbing. There are several small - quite light - spots near the bottom of the front board. The binding is bit shaken, and several signatures are beginning to stand proud but the hinges are tight. The contents are unmarked, although there is a small black mark to the extreme top edge of the title page, which is otherwise in excellent condition. This copy comes encased in a facsimile of the original dust jacket with wrap-around art. .

      [Bookseller: GREENFIELD BOOKS]
 24.   Check availability:     Biblio     Link/Print  

        In Erwartung.

      1914. Farbholzschnitt, gedruckt von drei Stöcken, in Dunkelgrau und Braun über hellbrauner Tonplatte, 1914. Darstellungsgröße 33,3:21,5 cm, Blattgröße 35:25,8 cm. Kirschl HS 20, b II (ohne Wellen und Horizontlinien); Söhn HDO 51002-6; erschienen in der II. Jahresgabe der Freunde graphischer Kunst, Leipzig 1914. - Bis auf eine leichte Bräunung an drei Rändern sehr guter Abdruck auf Japan.. Nach dem väterlichen Willen besuchte Moser 1891-1893 die Handelsakademie in Dresden und arbeitete bis 1896 im elterlichen Geschäft in Bozen. Nebenbei war er bereits künstlerisch tätig und wurde von F. von Defregger (1835-1921) zum Kunststudium ermuntert. 1896-1901 studierte er an der Akademie in München bei G. von Hackl (1843-1926), K. Raupp (1837-1918) und L. Herterich (1856-1932). Nach Abschluß seines Studiums führten ihn Reisen nach Deutschland, Italien, Korsika und Frankreich. 1901 schrieb er sich an der Academie Julian in Paris ein. Die Sommermonate verbrachte er in der Bretagne und der Normandie. Ãœber den Wiener Maler M. Kurzweil (1867-1916) lernte Moser die japanische Holzschnitttechnik kennen, mit der er sich von nun an intensiv beschäftige und die er bis zur Perfektion entwickelte. 1907 kehrte Moser nach Bozen zurück. In den folgenden Jahren erhielt er Stipendien und nahm an zahlreichen Ausstellungen teil. 1915 wurde er als Leutnant in den Kriegsdienst eingezogen. Nach Kriegsende beteiligte er sich an der von A. Egger-Lienz (1868-1925) initiierten Ausstellung "Tiroler Künstler" in Zürich. In den zwanziger Jahren stellte sich für den Künstler der kommerzielle Erfolg ein. Seine Farbholzschnitte waren jetzt nicht nur in seiner Heimat gefragt, sondern auch im gesamten deutschen Raum.

      [Bookseller: Galerie Joseph Fach GmbH]
 25.   Check availability:     ZVAB     Link/Print  

        Stehender weiblicher Akt im Profil.

      . Kaltnadel, 1914, links unten bezeichnet "2. Z. 1. Dr." sowie rechts unten signiert und datiert "M. Klinger / 8. Mai 14". 42:24,7 cm. Beyer 418 II (von III). - Probedruck vor der Auflage auf Japanbütten. Vollrandig und frisch erhalten..

      [Bookseller: Galerie Joseph Fach GmbH]
 26.   Check availability:     ZVAB     Link/Print  

        Die unregelmässige Herztätigkeit.

      Berlin, Leipzig, Engelmann, 1914.. ( Erste Ausgabe des bedeutenden Werkes ) Mit VI; 249 Seiten mit 109 schwarz-weißen Abbildungen und Illustrationen im Text sowie 2 ausfaltbaren Tafeln. Goldgeprägter Oln, 4° ( 27,5 x 19 cm ). Einband berieben, Ecken und Kanten etwas bestoßen, der schmale Einbandrücken mit Fehlstelle zum oberen Kapital hin sowie etwas angeplatzt, Bindung gelockert. Innen alte Siegelmarke auf dem Titelblatt geklebt, das Widmungsblatt mit Eckabschnitt. Innen wenige Seiten gering fleckig. ( Gewicht 800 Gramm ) ( Pic erhältlich // webimage available ).

      [Bookseller: Buchhandlung & Antiquariat Friederichsen]
 27.   Check availability:     ZVAB     Link/Print  

        Cubists and Post-Impressionism

      A.C. McClurg, 1914. Hardcover. Good. Signed by Author. Chicago: A. C. McClurg, 1914. First Edition. Hardcover. 245 pp. Good, no jacket, if issued. Spine sunned with some staining and spine ends frayed. Board corners rubbed, showing. Front hinge starting. Previous owners name and date in pen on dedication page. Text clean. Frontispiece and all tipped-in plates are present, bright, colorful and in excellent condition. Signed by author, Arthur J. Eddy, on title page.

      [Bookseller: Stick Figure Books (ABAA/ILAB)]
 28.   Check availability:     Biblio     Link/Print  

        Penrod. Illustrated by Gordon Grant.

      Doubleday, Page and Co, Garden City 1914 - First issue with page viii so-numbered and with misprint "sence" for "sense" on page 19 (third line from bottom). First binding of mesh cloth. Tiny hole in hear free endpaper else a fine bright copy in a very good to near fine dust jacket with only the most minor of paper loss at corners. Nice copy of this classic. [Attributes: First Edition]

      [Bookseller: Robert Dagg Rare Books, ABAA]
 29.   Check availability:     AbeBooks     Link/Print  

        Die Baudenkmäler in Frankfurt am Main. Herausgegeben mit Unterstützung der Stadt und der Administration des Dr. Johann Friedrich Böhmer'schen Nachlasses von dem Architekten- und Ingenieur-Verein und dem Verein für Geschichte und Althertumskunde. . Bd.I: Kirchenbauten, Bd.II: Weltliche Bauten, Bd.III: Bürgerliche Privatbauten und ehemalige Judengasse. (3 Bde. in 5 Bdn., compl.).

      Frankfurt, Selbstverlag der beiden Vereine, 1895-1914 - Kl.-4°, ca. 1500 S., ca 1500 Abb., HLdr. d. Zeit, goldgeprägt, Bibliotheksschild a, Rücken. Titelbl. m. Stempel u. Sign. ;1 Bd. m. Verlusten a, Kapital, 3 Bde. stärker berieben, ein Aussengelenk angebrochen. Innen sauber, - ansonsten gutes Exemplar. Wichtiges Standardwerk zur Architekturgeschichte Frankfurts. Beschreibt die denkwürdigen Bauten der alten Reichsstadt nach ihrer geschichtlichen und künstlerischen Bedeutung vor der Vernichtung im 2. Weltkrieg. 8000 gr. [Attributes: Hard Cover]

      [Bookseller: antiquariat peter petrej]
 30.   Check availability:     AbeBooks     Link/Print  


      . Zustand: Excelente Einband: Encuadernacion de tapa dura. Barcelona. 1914. 2Vol. Holandesa. 605Pag+522Pag. 30x22. Profusamente ilustrada con grabados y laminas impresas por el Gran Artista Aleman Fernando Schultz Wettel.Contiene una lamina no pautada. Dificilissima en comercio.

      [Bookseller: Libreria Anticuaria Marc & Antiques]
 31.   Check availability:     ZVAB     Link/Print  

        A LAWN TENNIS ALPHABET, Rhymed & Pictured by H. F. Crowther - Smith.

      London, Slazengers Ltd, no date, 1914.Circa 1914, slim small 4to, 250 x 190 mm, 10 x 7½ inches, PRESENTATION COPY "To Vivian Carter with the author's compliments" dated 1914, in ink. 26 colour plates with text on the back referring to the following plate, plus 5 pages of Slazengers adverts, original publishers pictorial boards. Spine worn and repaired with cloth at sometime, corners worn, some rubbing to boards, endpapers aged - browned, 1 plate has a marginal closed tear repaired, not affecting the image, occasional light fingermark and marks in margins, fore - edges foxed, some light scratching on pictorial label on upper cover, a good copy. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton P.B.F.A.]
 32.   Check availability:     Link/Print  

        Joe Shuster's hand drawn improvements on his first sketch of Superman, signed by him and co-creator Jerry Siegel

      n.p., n.d. Original Drawing Signed on exceedingly rare decades old reproduction "To Gary ?" / With best wishes / from Jerry Siegel,? writer, to which the artist has added ?Joe Shuster / and SUPERMAN,? 10? x 13.75? (visible). Vertical creases in upper area.Jerry Siegel (1914-1996) and Joe Shuster (1914-1992) originally had thought of the Superman as a villain. Then in 1933, according to Glen Weldon in ?Superman: The Unauthorized Biography" (Hoboken, N.J.: John Wiley & Sons, Inc., 2013), ?Siegel had a brainstorm. Make the Superman a good guy, not a villain. He got Shuster to draw up the idea; during the next few years, they played with the concept, until it took on its now-familiar shape."What survives of their very first pass at what would become the Superman we know is a hasty concept sketch for a proposed newspaper strip. He?s not yet a costumed crime fighter, just a muscular man in a tight tank top and dress pants who hoists a criminal ove

      [Bookseller: University Archives]
 33.   Check availability:     Biblio     Link/Print  

        GLANCES At Character.

      London: Printed By Whittingham And Rowland, For John Carr. 1914. - small 8vo. pp. viii, 158, [2]ads. complete with half-title. 8 hand-coloured aquatint plates (incl. additional title) by J.Clark. full polished calf by Zaehnsdorf for American merchant & marketing pioneer John Wanamaker [1838-1922], gilt back, t.e.g., lower edge uncut (slight offsetting from plates). First Edition. Not in Tooley, Prideaux or Abbey. [Attributes: First Edition; Hard Cover]

      [Bookseller: D & E LAKE LTD. (ABAC/ILAB)]
 34.   Check availability:     AbeBooks     Link/Print  

        North of Boston

      New York: Henry Holt, 1914: First American Edition, First Printing, with date of 1914 on the title page, and statement of "First Edition" with no subsequent printings listed on the copyright page. One of only 150 copies published by Henry Holt in 1914, following a British edition from David Nutt consisting of 350 copies. Bound with sheets bought by Holt of the first issue from Nutt. In About Very Good condition. Clean pages, sound binding. Pages lightly age toned. Previous owner name to front free end paper. Spine label shows chipping. Sunning to spine label and boards. Boards show light soiling, rubbing and wear at corners and rubbing to edges. A nice copy, solid.

      [Bookseller: Burnside Rare Books]
 35.   Check availability:     IOBABooks     Link/Print  


      . Zustand: Excelente Einband: Encuadernacion de tapa dura. Madrid. 25X17. 1914. XIX+256Pag+1h+4 Bellos grabados. Compendio elemental de su historia y tratado de los procedimientos que informan esta manifestacion del arte, ilustrado con estampas calcograficas. Buen ejemplar. Manchas de oxido. Ref 5.2 Biblioteca A.

      [Bookseller: Libreria Anticuaria Marc & Antiques]
 36.   Check availability:     ZVAB     Link/Print  

        Cartoons of the Great War. World War One Album of Colorful Cartoons and Caricatures, possibly by a P.O.W.

      1914(?)-1915/6 1914 - 8vo. 22.5 by 18 cm. 270 pp., almost all with one or more colorfully painted cartoons and caricatures depicting the early part of World War One, beginning in 1914 and possibly all the way through 1915. The album was made with a notebook with ruled lined paper. On most pages, the lines have been covered over, and are at most barely visible. One of the specific events alluded to is the sinking of the Aboukir, Hogue and Cressy by one German submarine, an event which occurred in September, 1914. The sinking of the Lusitania and chemical warfare are alluded to well into the album, which brings the album into the middle of 1915. It is possible the album runs into 1916 but not by much. The jingoistic, and non-subtle analysis manifest in the cartoons, does not give way to a weariness, a questioning, or disillusionment which would certainly have asserted itself later on in the war. The cover has a raised title, not fully legible anymore; from what can be made out, it was probably "Cartoons of the Great War". The identity of the artist is unknown; we were told he was a P.O.W., but there is no concrete evidence corroborating this and the assertion may be unverifiable. Other than the hearsay, support for the hypothesis, for that is what it is to us, comes from the unconventional materials used to produce the album. The paints used are not what someone with such an abiding interest in artwork would have chosen if he had the freedom to do so, but in a P.O.W. camp the artist would settle for what was on hand. The media used to paint the cartoons are various, but most unusual is the heavy use of an oil paint, or a house paint, which was frequently employed as a background, probably in part to blot out evidence that the artwork was applied to a lined notepaper. If these cartoons were done in a P.O.W. camp, the artist had to have been captured at the very outset of the war.Many of the cartoons are not really tied in to day-to-day events, but rather personalize and personify the war into a few stock characters -- the Kaiser, his sidekick of a fictional youthful son named Willie (the Crown Prince was named Wilhelm, but by the time of the war he was not only in his thirties, but also quite unlike this fictional incarnation), a lion representing Britain, John Bull, Uncle Sam, etc. -- who play things out in a Manichaean burlesque. And in this framework the bad guys are repeatedly bested, humbled and humiliated in the satisfying manner of animated cartoon villains. These simplifications are to some extent the diet everyone is fed during wartime, but would it not seem especially consistent with someone who might have been fed limited, and often, misleading information, by an enemy captor, and as an exercise by the artist to bolster his own and his colleagues' spirits? Yet one can not rule out that the album was kept by a soldier in the trenches, where too, the choice of artist’s tools one would expect to have been limited.Throughout the album the artist mines national stereotypes for humor, just as one would expect during wartime, and also during an era with few taboos in such patronizing merriment. Targets include Turkey, or the Ottoman Empire, and Austria-Hungary, as well as Germany. The cartoon captions can be obscure, their humor, lost on us; at times, we suspect, the captions might have come across as heavy-handed or clumsy even back when. Yet it should also be pointed out that much of the time the cartoons make their point with non-literal allegory in very clever ways. The imagery, unlike some of the text, holds up wonderfully well, and it is that we can feast on. One does not really have to know anything about the war, nor have an interest in the war, to enjoy the fancifulness and verve of the pictures. There are cartoons that refer to a channel tunnel, chemical gas warfare, Sinn Fein, Lord Kitchener, von Hindenburg, and on and on. Some of the best work is of caricatures of the leading figures in the war other than the Kaiser; or of the artist’s [Attributes: Hard Cover]

      [Bookseller: White Fox Rare Books, ABAA/ILAB]
 37.   Check availability:     AbeBooks     Link/Print  

        The Moving Picture Girls Under the Palms

      Grosset & Dunlap, Inc. 1914 - Rare second printing of the original edition in a dust jacket. Grosset & Dunlap, 1914. There are no copies of the original series in dust jacket found on ABE. Very good in a very good dust jacket. Book has minor soiling and edge wear. Negligible foxing on the top and fore edges. Small piece of rear paste-down coming off at rear gutter Dust jacket has some pieces missing. Some soiling and creasing present. Comes housed in a custom slipcase. [Attributes: Hard Cover]

      [Bookseller: Bookbid]
 38.   Check availability:     AbeBooks     Link/Print  

        Russia with Teheran, Port Arthur, and Peking. Handbook for Travellers. With 40 maps and 78 plans.

      Leipzig, Karl Baedeker, Publisher, 1914.. . LXIV / 590 Seiten mit 40 Farbkarten und 78 Plänen, teilw. faltbar, Orig.-Leinen mit Goldprägung, in englischer Sprache - Buchrücken aufgehellt, leichter Knick im hinteren Buchdeckel, sonst guter Zustand - 1914. K 6109

      [Bookseller: Antiquariat Kirchheim]
 39.   Check availability:     ZVAB     Link/Print  

        Die Briefe W.A. Mozarts und seiner Familie. Hrsg. u. eingeleitet von L. Schiedermair.

      München u. Leipzig, G. Müller 1914.. 5 Bände. 8°. Mit zahlr. Tafeln u. gefalt. Beilagen. OHldr.. Erste kritische Gesamtausgabe in bibliophiler Ausstattung und Ikonographie in Band 5.

      [Bookseller: Musikantiquariat Marion Neugebauer]
 40.   Check availability:     ZVAB     Link/Print  

        The Mutiny of the Elsinore (First Edition, Unrecorded Variant, Books into Film)

      New York: Macmillian, 1914. First Edition, First Printing. Hardcover. Good Plus. Orange cloth over boards, title stamped in brown onto spine, 8vo (7-3/8 inches tall), pp. [vi], 378, [8] ads. Volume with slight lean and light bumps to spine ends, a small crack to top edge of upper board and front hinge, scattered light soil to covers and a pencil erasure front paste down. An unrecorded variant binding, not found in BAL, Johnson, Woodbridge or Sisson, lacking the publisher's regular white, blue and gilt stamping. Noted only in Ahearn, 061a. A lover of the sea, London drew from his own experiences to write this novel, later adapted into film three times; an American silent version in 1920, a 1936 French adaptation Les mutinés de l'Elseneur and by the British in 1937. Ref. Woodbridge, 124; Sisson, p. 78; Wikipedia.

      [Bookseller: Harropian Books, IOBA]
 41.   Check availability:     IOBABooks     Link/Print  


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