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

        Seven Holden & Hardingham Volumes [inc. Night Land, Carnacki, House on the Borderland¿]

      Holden & Hardingham, London - London, Holden & Hardingham, . Later Edition. Seven volumes. All owned by C.G. Leigh Hunt. All later editions [Cheap Editions], none with dustjackets. Good condition. All with faded spines, and signs of ageing, a little looseness. 1. The Luck of the Strong (1914 [1920]): Very good, toned paper, lower board unevenly faded and mottled; 2. Captain Gault (1921): Large chip to lower spine, lower board a little creased; 3. The House on the Borderland (1921): One gathering loose and hanging by the threads; 4. Carnacki the Ghost-Finder (1920): Upper board mottled, front pastedown a little stained, gatherings a little shaken; 5. The Boats of the 'Glen Carrig' (1920): Rear hinge with short split showing webbing, lower board non-uniformly faded; 6. The Ghost Pirates (1920): chip to rear of spine, front hinge loose, rear hinge pulling; 7. The Night Land (1921) [Abridged]: Splits to out boards at the spine, just the paper, chip to upper board. [5899, Hyraxia Books]. 0 [Attributes: Hard Cover]

      [Bookseller: Hyraxia Books. ABA, ILAB]
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        Dracula's Guest and Other Weird Stories

      George Routledge, London 1914 - Dracula's Guest and Other Weird Stories, by Bram Stoker, First edition. Published by George Routledge & Sons, Ltd, London 1914. Dracula's Guest and Other Weird Stories contains an episode omitted for his original edition of Dracula. The book was published posthumously in 1914 and also contains another well regarded story of terror, "The Judge's House". A rare first edition in very good condition and protected by a slipcase. Original red cloth boards with embossed decorations and titles on the cover. Gilt lettering on the spine. Lightly faded spine. Light bumping of the corners. The contents are clean with light scattering of foxing. Previous owners signature on the front end page. Mild bleeding of the red colour on a few page edges. 8vo 200pp [Attributes: First Edition; Hard Cover]

      [Bookseller: Rare And Antique Books PBFA]
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        Album with photographs all related to Johannes Carel Hendrik Heldring (1887-1962), Director of the Curaçaosche Handel-Maatschappij.

      - 1914. With 113 photographs, gelatine silverprints, ca. 4,5 x 6,5 cm on Cuba (Morro Castle, Porte la Punta, Cannon, Hotel Camaguay, Hotel Camahuay interior, Inglaterra Havana, Santiago de Cuba (with J.C.H. Heldring), Moro Castle Bay de Santiago, Port au Prince Haiti with S.S. Willem I, Bureu au Port au Price Haiti, Captain and porter de Port au Prince Haiti, Inglaterre de Port au Price Haiti, Panorama Hotel Montagne Porte au Price Haiti, Harbour Port au Prince, Aux Cayes Haiti, Jacmel Haiti, Jacmel Toen Hall, Curaçao Club de Gezelligheid, Harbour Curaçao, Bridge over Harbour Curaçao from balcony Sociteit, Church Santa Rosa Curaçao, Curaçao House from De Vries and SS Philadelphia and SS Nirida, Schottegat Curaçao, Fort Nassau Curaçao (with Baasch, J.C.H.Heldring & de Vries), Schottegat (Maduro), Schottegat from Fort Nassau, Entrance Fort Nassau (with de Vries & J.C.H. Heldring), Ostrich-farm Curaçao, Sisal-plantage Mount Pleasant Curaçao, Imprial Hotel/Bureau Curaçaosche Handelsmaatschappij, Harbour Maracaibo Veneuzuela, Fort San Carlos Maracaibo Venuzuela, Maracaibo Pier, Maracaibo Harbour, Bay Maracaibo with fort San Carlos, Yacht Goleta, St. Annabaai Curaçao, Harbour Curaçao with S.S.Maracaibo, Poort Gouverneursgebouw Curaçao with. Luit. Piepers Adj. Gouverneur, Bridge on Harbour Curaçao from Hotel Americano, Harbourport Curaçao with dredger, Caracas Bay with Fort Beekenburg, Fort Beekenburg and Hospital at Caracas Bay, Plantage Sint Kruis, Plantage Sint Kruis with ruine of a sugar-mill, Road to Sint Kruis at the Waterput, Saltpan at Willibrordes, La Guaira Venuzuela with J.C.H. Heldring & Perret, Dutchmen at Plaza Bolivar Caracas Venuzuela, Caracas with bullfight, Colon Venuzuela, Colon shootinggame with J.C.H. Heldring, Backside Quarantaine Station, Mis Clauch, Caracas Bay with Gorsira and wife, Depart ship Prins Maurits, Innen-court Capitool Caracas, Railroad Caraca - La Guaira, View Caracas, Panama Canal, Gatun Locks, Views on Gatun, Christobal Columbus statue, Gatun Lake, Gatun Damm, The Culebra Cut, formerly called Gaillard Cut with Gold Hill, and 44 photographs, gelatine silverprints, ca. 6 x 11 cm on Curaçao, with harbour, Schottegat, Streetviews, Farm, Ships, Family and relatives views of J. C. H. Heldring. KEYWORDS:photo/curaçao/venuzuela/haiti/cuba/panama

      [Bookseller: Krul Antiquarian Books]
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        A vintage gelatin silver photograph (93 x 169 mm, on the original mount, 170 x 253 mm) of SS Medic. The photographer is credited on the papered cardboard mount (Exchange Studios, Sydney). SS Medic had a long and impressive connection with Australia and war. In September 1899, on the return leg of her maiden voyage, she carried Australian troops to the Boer War

      In November 1914, A7 HMAT Medic was in the convoy that departed Albany with the First Detachment of the Australian and New Zealand Imperial Expeditionary Forces. In September 1928 she sailed from New York with the Wilkins-Hurst Antarctic Expedition on board, Wilkins being none other than the South Australian-born Sir George Hubert Wilkins (1888-1958), war correspondent and photographer, polar explorer, naturalist, geographer, climatologist and aviator (Australian Dictionary of Biography). In September 1942, converted to an oil tanker, she was torpedoed and sunk in the Atlantic by a German submarine. ^This photograph would appear to have been taken before the outbreak of the First World War, but the image seems to have had a long shelf life. This particular example improves on the ship's impressive military history by the addition of the signatures of ten Australian Victoria Cross winners who returned to Australia on her in late 1918. The following information comes from a detailed online post about Private John Carroll VC by Anthony Staunton (www.forumeerstewereldoorlog.nl): 'By 28 July 1918 ... 38 of the 63 VC awards to the AIF had been gazetted. Ten of the awards were posthumous and Captain Tubb who was awarded the VC at Lone Pine on Gallipoli had been killed in action in Belgium on 20 September 1917. Seven of the surviving 27 recipients returned to Australia between September 1915 and April 1918 mostly because of wounds. In the five weeks between 16 August and 23 September 1918 Carroll was one of 15 Australian VC recipients who returned to Australia for furlough and to help recruiting for the AIF. Carroll was one of ten Australian VC recipients who embarked on 24 August aboard HMAT Medic'. These ten men signed the mount of this photograph of HMAT Medic. ^The photograph, mount and signatures have subsequently sustained some water damage, resulting in some stains and minor loss to the surface of the photograph, some stains to the mount, and loss of some of the paper surface of the mount, taking with it two signatures (leaving offset ink impressions) and damaging a third. In spite of these blemishes, it is a rarity of consequence. Clockwise from the top centre, the signatures are John Carroll (33rd Battalion); John Whittle (12th Battalion); Reginald Inwood (10th Battalion); Jorgan Jensen (50th Battalion); John James Dwyer (4th Machine Gun Company); Leonard Keysor (1st Battalion); William Ruthven (22nd Battalion); Walter Peeler (3rd Pioneer Battalion) (signature now missing); Thomas Kenny (2nd Battalion) (signature now missing); and Stanley McDougall (47th Battalion) (signature partially missing).

      [Bookseller: Michael Treloar Antiquarian Booksellers]
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        Original three-quarter length role portrait photograph of the distinguished tenor as Radames in Verdi's Aida, boldly signed in full along left margin and dated "New York 1914" along right margin

      "The winning quality of the sound, the tender mezza voce (particularly in the early years), and his phrasing, based on a rare mastery of legato and portamento, enabled Caruso to sing the French and Italian lyric repertory as well as lighter operas. In addition, his noble, incisive declamation, his broad, generous phrasing, and his vigor in dramatic outbursts made him a notable interpreter of Verdi as well as of French grand opéra. In this repertory his performances were characterized by the irresistible erotic appeal of his timbre allied to a temperament as warm and vehement as his voice. His numerous recordings, now faithfully remastered on CD, not only made him universally famous, they also did much to encourage the acceptance of recording as a medium for opera." Rodolfo Celletti and Alan Blyth in Grove Music Online.Caruso opened the Met's 1914/15 season on November 16 as Riccardo in Un ballo in maschera; the performance was conducted by Toscanini in what was his final first night at the Met. He went on to sing in Carmen, La Gioconda, Pagliacci, Aida, Manon, and Gli Ugonotti with the Met that year. Herman Mishkin (1871-1948) served as the Met's official portraitist from 1908-1932... "[He] was the foremost portrayer of Golden Era opera singers... He began shooting CDVs and cabinet portraits of performers in costume in the 1890s and closed his career in the 1930s by shooting singers in modern dress in contemporary settings. While shooting opera stars for the Metropolitan, he maintained a portrait studio frequented by most of the significant performing artists of the day. His portraits of actors and actresses display a refinement and composure sometimes lacking in the histrionic costumed opera images." Herman Mishkin / Broadway Photographs website.. Image from the Mishkin Studio in New York, with their embossed copyright stamp to lower left corner. 201 x 139 mm.Very slightly worn; minor cockling to upper and lower edges; laid down to mounting sheet at corners of verso.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
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        Fine original self-caricature of the distinguished tenor in facial profile in black ink with blue-black wash, signed in full and dated "N.Y., 1914."

      "The winning quality of the sound, the tender mezza voce (particularly in the early years), and his phrasing, based on a rare mastery of legato and portamento, enabled Caruso to sing the French and Italian lyric repertory as well as lighter operas. In addition, his noble, incisive declamation, his broad, generous phrasing, and his vigor in dramatic outbursts made him a notable interpreter of Verdi as well as of French grand opéra. In this repertory his performances were characterized by the irresistible erotic appeal of his timbre allied to a temperament as warm and vehement as his voice. His numerous recordings, now faithfully remastered on CD, not only made him universally famous, they also did much to encourage the acceptance of recording as a medium for opera." Rodolfo Celletti and Alan Blyth in Grove Music Online. Caruso opened the Met's 1914/15 season on November 16 as Riccardo in Un ballo in maschera; the performance was conducted by Toscanini in what was his final first night at the Met. He went on to sing in Carmen, La Gioconda, Pagliacci, Aida, Manon, and Gli Ugonotti with the Met that year. An attractive image.. 205 x 140 mm. Very slightly cockled at upper and lower margin; laid down to mounting sheet at verso.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Original full length portrait photograph of the distinguished tenor in formal dress with hat, cane, and white gloves in a park-like setting, signed in full and dated "N.Y. 1914."

      "The winning quality of the sound, the tender mezza voce (particularly in the early years), and his phrasing, based on a rare mastery of legato and portamento, enabled Caruso to sing the French and Italian lyric repertory as well as lighter operas. In addition, his noble, incisive declamation, his broad, generous phrasing, and his vigor in dramatic outbursts made him a notable interpreter of Verdi as well as of French grand opéra. In this repertory his performances were characterized by the irresistible erotic appeal of his timbre allied to a temperament as warm and vehement as his voice. His numerous recordings, now faithfully remastered on CD, not only made him universally famous, they also did much to encourage the acceptance of recording as a medium for opera." Rodolfo Celletti and Alan Blyth in Grove Music Online.Caruso opened the Met's 1914/15 season on November 16 as Riccardo in Un ballo in maschera; the performance was conducted by Toscanini in what was his final first night at the Met. He went on to sing in Carmen, La Gioconda, Pagliacci, Aida, Manon, and Gli Ugonotti with the Met that year.. 175 x 66 mm., laid down to heavy dark gray paper affixed to mounting sheet at corners of verso. Edges with several minor abrasions; very small ink smudge to upper left corner of image just affecting background; another small ink smudge to blank lower margin of gray paper.

      [Bookseller: J & J Lubrano Music Antiquarians LLC ]
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        Original three-quarter length role portrait photograph of the distinguished tenor as Radames in Verdi's Aida, boldly signed in full along left margin and dated "New York 1914" along right margin

      "The winning quality of the sound, the tender mezza voce (particularly in the early years), and his phrasing, based on a rare mastery of legato and portamento, enabled Caruso to sing the French and Italian lyric repertory as well as lighter operas. In addition, his noble, incisive declamation, his broad, generous phrasing, and his vigor in dramatic outbursts made him a notable interpreter of Verdi as well as of French grand opéra. In this repertory his performances were characterized by the irresistible erotic appeal of his timbre allied to a temperament as warm and vehement as his voice. His numerous recordings, now faithfully remastered on CD, not only made him universally famous, they also did much to encourage the acceptance of recording as a medium for opera." Rodolfo Celletti and Alan Blyth in Grove Music Online. Caruso opened the Met's 1914/15 season on November 16 as Riccardo in Un ballo in maschera; the performance was conducted by Toscanini in what was his final first night at the Met. He went on to sing in Carmen, La Gioconda, Pagliacci, Aida, Manon, and Gli Ugonotti with the Met that year. Herman Mishkin (1871-1948) served as the Met's official portraitist from 1908-1932... "[He] was the foremost portrayer of Golden Era opera singers... He began shooting CDVs and cabinet portraits of performers in costume in the 1890s and closed his career in the 1930s by shooting singers in modern dress in contemporary settings. While shooting opera stars for the Metropolitan, he maintained a portrait studio frequented by most of the significant performing artists of the day. His portraits of actors and actresses display a refinement and composure sometimes lacking in the histrionic costumed opera images." Herman Mishkin / Broadway Photographs website.. Image from the Mishkin Studio in New York, with their embossed copyright stamp to lower left corner. 201 x 139 mm. Very slightly worn; minor cockling to upper and lower edges; laid down to mounting sheet at corners of verso.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Omar Khayyam. [Rubaiyat.]

      Cambridge: Galloway & Porter, 1914 - Large octavo. Original black cloth, titles and decoration gilt to spine and front cover, top edge gilt. Slight rubbing to the ends and corners, endpapers toned but the rest sound and clean, an excellent copy. Illustrated title, 15 plates with text and illustration, 15 plates with illustration and captioned tissue guards. First Sett edition, one of 250 copies printed, of this scarce privately printed Rubaiyat illustrated by Parsee artist Mera Ben Kavas Sett. In his lengthy foreword Sett stakes his claim that his Rubaiyat "is original in being the interpretation of a Persian (Parsee)", and also notes that "Some of the English publishers found the work "too shocking" and "one likely to hurt the susceptibility of the decent-minded English people". They were ready to bring out my Omar if I changed a few pictures at their dictate and tastes, but I would not so much as a single line or a dot. It seems the English (according to the publishers) would rather have the conventional fig-leaf than a cluster of roses. I stated my case to my generous father. With his usual kindness and generosity, he offered to stand the piper to the tune of a private publication." Sett's Omar made sufficient impression to receive the encomium of Rupert Brooke (who died early in 1915): "If Mr Sett has not been universally acclaimed as the greatest draughtsman and decorator living, the fault lies with his own exclusive and publicity shunning nature. His Omar will have the pride of place in my library". [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Notes on the Agricultural Conditions and Problems of the United Provinces and of its districts.:

      Allahabad: printed by W.C. Abel, Supdt., Government Press, United Provinces 1914 - A very good copy in original cloth. Blue cloth disfigured on surface by ancient damp stain. Contents unaffected. First edition pp.ii, 118, + 48 districts each separately paginated with 8 to 20 pages.

      [Bookseller: John Randall (Books of Asia), ABA, ILAB]
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        Papagaio Real. Semanario Monarchico. N. 1-12 Abril- junio 1914

      Lisboa, Impresa Progresso 1914 - 12 número (1-12) del primer año (1914): Del 7 de abril al 23 de junio. 34 x 24,5 cm cada numero [Attributes: First Edition; Soft Cover]

      [Bookseller: Largine]
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        The Undying Story of Captain Scott

      Single sheet folded (235 by 405mm) to create eight panels, decorative icicle borders framing nine black & white illustrations (8 photographic), some small closed tears and splits to folds, pale marginal dampstains. Davenport, Indiana, c.

      [Bookseller: Maggs Bros. Ltd.]
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        Album with photographs all related to Johannes Carel Hendrik Heldring (1887-1962), Director of the Curaçaosche Handel-Maatschappij.

      1914. With 113 photographs, gelatine silverprints, ca. 4,5 x 6,5 cm on Cuba (Morro Castle, Porte la Punta, Cannon, Hotel Camaguay, Hotel Camahuay interior, Inglaterra Havana, Santiago de Cuba (with J.C.H. Heldring), Moro Castle Bay de Santiago, Port au Prince Haiti with S.S. Willem I, Bureu au Port au Price Haiti, Captain and porter de Port au Prince Haiti, Inglaterre de Port au Price Haiti, Panorama Hotel Montagne Porte au Price Haiti, Harbour Port au Prince, Aux Cayes Haiti, Jacmel Haiti, Jacmel Toen Hall, Curaçao Club de Gezelligheid, Harbour Curaçao, Bridge over Harbour Curaçao from balcony Sociteit, Church Santa Rosa Curaçao, Curaçao House from De Vries and SS Philadelphia and SS Nirida, Schottegat Curaçao, Fort Nassau Curaçao (with Baasch, J.C.H.Heldring & de Vries), Schottegat (Maduro), Schottegat from Fort Nassau, Entrance Fort Nassau (with de Vries & J.C.H. Heldring), Ostrich-farm Curaçao, Sisal-plantage Mount Pleasant Curaçao, Imprial Hotel/Bureau Curaçaosche Handelsmaatschappij, Harbour Maracaibo Veneuzuela, Fort San Carlos Maracaibo Venuzuela, Maracaibo Pier, Maracaibo Harbour, Bay Maracaibo with fort San Carlos, Yacht Goleta, St. Annabaai Curaçao, Harbour Curaçao with S.S.Maracaibo, Poort Gouverneursgebouw Curaçao with. Luit. Piepers Adj. Gouverneur, Bridge on Harbour Curaçao from Hotel Americano, Harbourport Curaçao with dredger, Caracas Bay with Fort Beekenburg, Fort Beekenburg and Hospital at Caracas Bay, Plantage Sint Kruis, Plantage Sint Kruis with ruine of a sugar-mill, Road to Sint Kruis at the Waterput, Saltpan at Willibrordes, La Guaira Venuzuela with J.C.H. Heldring & Perret, Dutchmen at Plaza Bolivar Caracas Venuzuela, Caracas with bullfight, Colon Venuzuela, Colon shootinggame with J.C.H. Heldring, Backside Quarantaine Station, Mis Clauch, Caracas Bay with Gorsira and wife, Depart ship Prins Maurits, Innen-court Capitool Caracas, Railroad Caraca - La Guaira, View Caracas, Panama Canal, Gatun Locks, Views on Gatun, Christobal Columbus statue, Gatun Lake, Gatun Damm, The Culebra Cut, formerly called Gaillard Cut with Gold Hill, and 44 photographs, gelatine silverprints, ca. 6 x 11 cm on Curaçao, with harbour, Schottegat, Streetviews, Farm, Ships, Family and relatives views of J. C. H. Heldring. KEYWORDS:photo/curaçao/venuzuela/haiti/cuba/panama.

      [Bookseller: Krul Antiquarian Books]
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        Binding, Fine- Sangorski and Sutcliffe] Poems, One of 50 Copies

      Medici Society, London 1914 - Finely bound by Sangorski and Sutcliffe n full brown morocco with raised bands to spine,attractive gilt tooling to all faces including blossom motif at all four corners, on both covers, gilt titles to spine and upper board. Top edge gilt, all others untrimmed. With a frontispiece portrait bound in on a cloth hinge. One of a limited run of 50 copies on handmade paper and one on vellum printed by the Riccardi Press Fount, this example being on paper. Front flyleaf removed. Binding is near fine.

      [Bookseller: Nudelman Rare Books]
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        New Bartender's Guide [and] The Up-to-Date Bartender's Guide [cover title]: New Bartender's Guide. How to Mix Drinks "2 Books In One"

      Baltimore: I. & M. Ottenheimer, 1914. Very Good. First edition, hardcover issue. 12mo. 62; 64pp. Illustrated cloth. A couple of ink letters on the front fly, light spotting bottom of the front board, tiny ink splashed on top edge, very good or a little better. Relatively common in wrappers, the hardcover issue is scace.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Album with photographs all related to Johannes Carel Hendrik Heldring (1887-1962), Director of the Curaçaosche Handel-Maatschappij.

      1914. With 113 photographs, gelatine silverprints, ca. 4,5 x 6,5 cm on Cuba (Morro Castle, Porte la Punta, Cannon, Hotel Camaguay, Hotel Camahuay interior, Inglaterra Havana, Santiago de Cuba (with J.C.H. Heldring), Moro Castle Bay de Santiago, Port au Prince Haiti with S.S. Willem I, Bureu au Port au Price Haiti, Captain and porter de Port au Prince Haiti, Inglaterre de Port au Price Haiti, Panorama Hotel Montagne Porte au Price Haiti, Harbour Port au Prince, Aux Cayes Haiti, Jacmel Haiti, Jacmel Toen Hall, Curaçao Club de Gezelligheid, Harbour Curaçao, Bridge over Harbour Curaçao from balcony Sociteit, Church Santa Rosa Curaçao, Curaçao House from De Vries and SS Philadelphia and SS Nirida, Schottegat Curaçao, Fort Nassau Curaçao (with Baasch, J.C.H.Heldring & de Vries), Schottegat (Maduro), Schottegat from Fort Nassau, Entrance Fort Nassau (with de Vries & J.C.H. Heldring), Ostrich-farm Curaçao, Sisal-plantage Mount Pleasant Curaçao, Imprial Hotel/Bureau Curaçaosche Handelsmaatschappij, Harbour Maracaibo Veneuzuela, Fort San Carlos Maracaibo Venuzuela, Maracaibo Pier, Maracaibo Harbour, Bay Maracaibo with fort San Carlos, Yacht Goleta, St. Annabaai Curaçao, Harbour Curaçao with S.S.Maracaibo, Poort Gouverneursgebouw Curaçao with. Luit. Piepers Adj. Gouverneur, Bridge on Harbour Curaçao from Hotel Americano, Harbourport Curaçao with dredger, Caracas Bay with Fort Beekenburg, Fort Beekenburg and Hospital at Caracas Bay, Plantage Sint Kruis, Plantage Sint Kruis with ruine of a sugar-mill, Road to Sint Kruis at the Waterput, Saltpan at Willibrordes, La Guaira Venuzuela with J.C.H. Heldring & Perret, Dutchmen at Plaza Bolivar Caracas Venuzuela, Caracas with bullfight, Colon Venuzuela, Colon shootinggame with J.C.H. Heldring, Backside Quarantaine Station, Mis Clauch, Caracas Bay with Gorsira and wife, Depart ship Prins Maurits, Innen-court Capitool Caracas, Railroad Caraca - La Guaira, View Caracas, Panama Canal, Gatun Locks, Views on Gatun, Christobal Columbus statue, Gatun Lake, Gatun Damm, The Culebra Cut, formerly called Gaillard Cut with Gold Hill, and 44 photographs, gelatine silverprints, ca. 6 x 11 cm on Curaçao, with harbour, Schottegat, Streetviews, Farm, Ships, Family and relatives views of J. C. H. Heldring. KEYWORDS:photo/curaçao/venuzuela/haiti/cuba/panama

      [Bookseller: Krul Antiquarian Books]
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        Marcus Aurelius Antoninus To Himself (With Fore-Edge Painting Of Tiber And Vatican)

      London: Macmillan And Co, 1914. Reprint . Hardcover. Near Fine. Frontispiece; Fore-Edge Painting By Lyman Young. Xlii, 167 Pp. Full Blue Morocco, Elaborately Gilt, Morocco Spine Label, Elaborate Gilt Edges And Turns, Marbled Endpapers, All Edges Of Page Block Also Gilt. Fore-Edge Painting With Tiber At Center And Vatican In Distance. Very Near Fine, Just A Few Small Rubs At Edges.

      [Bookseller: Arroyo Seco Books]
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        Jugendstil- Insel Verlag] Die Geschichte von Kagsagsuk

      Insel, Leipzig 1914 - Tall, narrow quarto (12 x 7 inches) Original publisher's black card paper wrappers, Japanese bound with black ties across spine in lattice fasion (i.e. bound as a book block with cord stitching), with superb illustrated covers. Number 88 of a Limited Edition of Only 200 Copies. Printed on thick paper on one-side only with outside edges uncut forming at two-ply sheet. With highly expressive drawings, vignettes and initials in the text by Charlotte Veit. The Eskimo fairy tale was recounted by Heinrich Johannes Rink after transmission from E. Gross "The beginnings of art." A most distinctive and certainly unusual Insel-Verlag production. Corners very slightly worn, else near fine. [Attributes: First Edition]

      [Bookseller: Nudelman Rare Books]
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        [Jugendstil- Insel Verlag] Die Geschichte von Kagsagsuk

      Leipzig: Insel, 1914. First edition. Tall, narrow quarto (12 x 7 inches) Original publisher's black card paper wrappers, Japanese bound with black ties across spine in lattice fasion (i.e. bound as a book block with cord stitching), with superb illustrated covers. Number 88 of a Limited Edition of Only 200 Copies. Printed on thick paper on one-side only with outside edges uncut forming at two-ply sheet. With highly expressive drawings, vignettes and initials in the text by Charlotte Veit. The Eskimo fairy tale was recounted by Heinrich Johannes Rink after transmission from E. Gross "The beginnings of art." A most distinctive and certainly unusual Insel-Verlag production. Corners very slightly worn, else near fine.

      [Bookseller: Nudelman Rare Books ]
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        Wassersport XXXII. Jahrgang 1914, No. 1-52. Fachzeitschrift für Rudern, Segeln und verwandte Sportzweige. Amtlicher Anzeiger des Deutschen Segler-Verbandes, des Deutschen Ruder-Verbandes, .

      Berlin SW 48. Wasersport-Verlag, 1914. - mit zahlreichen Abbildungen, Karten und Bauskizzen, 2°. 35,2 x 26,5 cm. (4), 798 Seiten, Wassersport, 32, Wassersport, 32 In gutem Zustand. der Einband fleckig und leicht berieben, der Schnitt gebräunt und braunfleckig, der vordere Vorsatz gering braunfleckig, der Buchblock sauber, aber papierbedingt minimal gebräunt, einzelne Seiten in den Rändern etwas braunfleckig, - selten und interessant. vollständiger Untertitel: Fachzeitschrift für Rudern, Segeln und verwandte Sportzweige. Amtlicher Anzeiger des Deutschen Segler-Verbandes, des Deutschen Ruder-Verbandes, der Versicherungsgenossenschaft der Privatfahrzeug- und Reittierbesitzer sowie 614 wassersportlicher Verbände und Vereine. privater Halbleinenband mit kleinen Leinwandecken, Hardcover in Halbleinwand, [Attributes: Hard Cover]

      [Bookseller: Leipziger Antiquariat e.K.]
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        DARKNESS AND DAWN

      Boston: Small, Maynard and Company Publishers, [1914].. Octavo, pp. [i-vi] vii-x [xi-xii] [1-2] 3-672 [673-676: blank] [note: last two leaves are blanks], four inserted plates (including color frontispiece) by P. J. Monahan, original red cloth, front and spine panels stamped in gold and blind, pictorial endpapers. First edition. An important early American science fiction novel utilizing the catastrophe motif. Trilogy originally published as serials in CAVALIER in 1912 and 1913. Anatomy of Wonder (1976) 2-73; (1981) 1-67; (1987) 1-33; (1995) 1-33; and (2004) II-383. Bleiler, Science-Fiction: The Early Years 673. Clareson, Science Fiction in America, 1870s-1930s 283. Lewis, Utopian Literature, pp. 58-9. Locke, A Spectrum of Fantasy, p. 79. Survey of Science Fiction Literature I, pp. 484-87. In 333. Bleiler (1978), p. 79. Reginald 04904. Smith, American Fiction, 1901-1925 E-194. Hanna, A Mirror for the Nation 1097. Rideout, The Radical Novel in the United States 1900-1954, p. 294. A fine, bright copy. An excellent copy of this book. Quite scarce in this condition. Front and rear flaps of the rare dust jacket are laid in. (#90392)

      [Bookseller: L. W. Currey, Inc.]
 21.   Check availability:     Biblio     Link/Print  


        IFIGENIA IN AULIDE

      PARAVIA E C., TORINO 1914 - BIBLIOTECA SCOLASTICA DI SCRITTORI GRECI INTERLINGUE In greco con introduzione e note in italiano a cura di Salvatore Rossi, brossura editoriale con piatto posteriore mancante, dorso ingiallito, con strappetti e tracce di colla, piatto anteriore ingiallito, con fioritura e con timbro rosso Omaggio Degli Editori, pagine ancora intonse, ingiallite attorno ai testi, con lieve fioritura e legatura lenta

      [Bookseller: Biblioteca di Babele]
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        Marcus Aurelius Antoninus To Himself (With Fore-Edge Painting Of Tiber And Vatican)

      London: Macmillan And Co, 1914. Reprint . Hardcover. Near Fine. Frontispiece; Fore-Edge Painting By Lyman Young. Xlii, 167 Pp. Full Blue Morocco, Elaborately Gilt, Morocco Spine Label, Elaborate Gilt Edges And Turns, Marbled Endpapers, All Edges Of Page Block Also Gilt. Fore-Edge Painting With Tiber At Center And Vatican In Distance. Very Near Fine, Just A Few Small Rubs At Edges.

      [Bookseller: Arroyo Seco Books]
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        NUMERO - Settimanale Umoristico Illustrato.:

      Tipografia Bona, 1914-1916, Torino - (Codice NN/0549) In 8° (24x21 cm) raccolta di 30 fascicoli - dal n. 50 (dicembre 1914) al n.109 (gennaio 1916)- della famosa rivista satirica. Tra gli autori dei numerosissimi disegni: Golia (Eugenio Colmo), Sto, Gandolfi, Boetto, Manca, Musini, Gech, Guidi, Scarpelli, Mazza, Nirsoli, Yambo, Carlin. Cfr. Pallottino, in "Storia dell'Illustrazione italiana", p.236; «la rivista destinata ad avere più influenza e a meglio documentare il periodo a ridosso della guerra». Buona conservazione, a parte qualche strappo e antico restauro, alcuni numeri con piccoli fori marginali. Legatura mezza tela dell'epoca, titolo tipografico al dorso. Euro 450.00 All books are in stock in fine conditions or described meticulously. Very safe packaging

      [Bookseller: Bergoglio Libri d'Epoca]
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        DER STURM Leitung: Hewarth Walden. Der Blaue Reiter.

      Berlin W 9, Verlag DER STURM. [Ende 1913, Anfang 1914]. - Drittes Tausend. ca. 19,5 x 14,5 cm, 18 Seiten, 8 schwarz-weiss Abbildungen, Original-Klammerheftung, geringe Gebrauchsspuren. Gutes Exemplar. Mit Arbeiten von Bloch, D. und W. Burljuk, Campendonk, Elisabeth Epstein, Natalie Gontscharova, E. Heckel, Jawlensky, Ernst Ludwig Kirchner, Paul Klee, August Macke, Franz Marc, Gabriele Münter, Max Pechstein, Marianne von Werefkin. Alms/Steinmetz, Abbildung Seite 27. - Gordon II, Seite 557f. - Pirsich Seite 671 III, lfd. Nr. 1. - Die legendär gewordene erste Ausstellung ist dokumentiert durch sechs erhaltene Fotos von Gabriele Münter, die zusammen mit der Katalogliste und den abgebildeten Werken eine Rekonstruktion der Schau möglich machten.[25][26] Delaunay, der nicht in München wohnte – der Kontakt war über Kandinskys Schülerin Epstein zustande gekommen – war der erfolgreichste Künstler, der drei von vier ausgestellten Bildern an Bernhard Koehler, den Sammler und Mäzen von Macke und Marc, an Adolf Erbslöh sowie an Alexej von Jawlensky verkaufen konnte.[27] Die Ausstellung ging anschließend auf Tournee in weitere Städte, unter anderem in den Gereonsklub nach Köln und in Herwarth Waldens neu eröffnete Galerie Der Sturm in Berlin. In der Wanderausstellung waren zusätzlich Werke von Jawlensky und Werefkin zu sehen, die inzwischen ebenfalls aus der N.K.V.M. ausgetreten waren und sich dem Blauen Reiter angeschlossen hatten.[28] Weitere Stationen bis zum Jahr 1914 waren Bremen, Hagen, Frankfurt, Hamburg, Budapest, Oslo, Helsinki, Trondheim und Göteborg.

      [Bookseller: Stader Kunst-Buch-Kabinett]
 25.   Check availability:     ZVAB     Link/Print  


        Relations Between the Spectra and Other Characteristics of the Stars. Offprint from Popular Astronomy, Vol. 22, Nos. 5 - 6, 1914.

      [Northfield, Minnesota: Goodsell Observatory of Carleton College, 1914]. First edition, extremely rare separately-paginated offprint, of this classic paper describing the Hertzsprung-Russell diagram. "During his first years on the Princeton faculty, Russell's analysis of his trigonometric parallax data led him to discover, contemporaneously with, but independently of, Danish astronomer Ejnar Hertzsprung, the correlation between a star's intrinsic brightness and its spectral type. Hertzsprung was the first to work out a diagram showing the relationship between temperature and luminosity for a group of stars (1911/1912), but few astronomers came across its publication in a photographic journal. When Russell plotted his diagram in late 1913, leading to the publication of the Hertzsprung-Russell diagram the following year [offered here], it had an enormous effect on the scientific community. The diagram remains one of the most important in astrophysics" (Biographical Encyclopedia of Astronomers). The paper was published in two parts, pp. 275-294 in Vol. 22, No. 5 and pp. 331-350 in No. 6. Both parts are contained in this separately-paginated offprint. OCLC locates a single copy, at the University of Chicago. No copies in auction records. Provenance: Richard Prager (1883-1945), German-American astronomer (name stamp on front wrapper). "Prager was born in Hannover, Germany. He became an assistant in the German Academy of Sciences in 1908. The following year he became head of the Observatorio Nacional in Santiago, Chile, where he remained until 1913. He then returned to Berlin, becoming an observer at the Berlin-Babelsberg Observatory. In 1916 he became a professor. He was an early pioneer of stellar photoelectric photometry. He is noted for his work in the field of variable stars, and he made numerous contributions to Astronomische Nachrichten on this topic. In 1938 he was imprisoned by the German Nazis. His friends in England obtained his release in 1939, and he moved to the United States where he accepted a position at the Harvard Observatory. However, his health had suffered from his imprisonment and from his separation from his family, and he died only six years later. The crater Prager on the Moon is named in his honor" (Wikipedia, accessed 6 August 2017). "Studying the spectra of stars classified by spectral type by Antonia Maury at the Harvard College Observatory, Hertzsprung between 1906 and 1909 commented on relations between brightness and spectral type. Little note was taken of this work, however, until Russell forcefully presented the material in a lecture at a joint meeting of the American Association for the Advancement of Science and the Astronomical and Astrophysical Society in 1913 and then in a paper published in 1914. Russell had much more data than Hertzsprung had had five years earlier, and the case for a relation between absolute magnitude and spectral class was correspondingly more convincing. "Russell began his classic paper by noting that "investigations into the nature of the stars must necessarily be very largely based upon the average characteristics of groups of stars selected in various ways - as by brightness, proper motion, and the like. The publication within the last few years of a great wealth of accumulated observational material makes the compilation of such data an easy process; but some methods of grouping appear to bring out much more definite and interesting relations than others, and, of all the principles of division, that which separates the stars according to their spectral types has revealed the most remarkable differences and those which most stimulate attempts at a theoretical explanation." "He went on to state that that the possibility of obtaining with an objective prism photographs of spectra of hundreds of stars on a single plate had resulted in over 100,000 classified spectra of stars and some interesting conclusions. "The spectra of the stars show remarkably few radical differences in type. More than ninety-nine per cent of them fall into one or other of the six great groups which, during the classic work of the Harvard College Observatory, were recognized as of fundamental importance, and received as designations, by the process of 'survival of the fittest', the rather arbitrary series of letters B, A, F, G, K, and M. That there should be so few types is noteworthy; but much more remarkable is the fact that they form a continuous series." "Russell's primary concern was to identify the predominant cause of the spectral differences, which he attributed to differences in temperature. Also in his classic paper he rapidly reviewed some of the relations brought to light between other characteristics of the stars and their spectral types, and then discussed in more detail the relations between spectra and brightness. Hertzsprung and others had already discussed this issue, and many of the facts presented by Russell were not new. But his material was much more extensive than any hitherto assembled. There were direct trigonometric parallaxes for a few stars, and average proper motions and thus average parallaxes or distances for many others. Russell assembled data from many astronomical studies. Using approximately 300 stars whose distances had been directly measured by 1913, and another 150 stars in four clusters with well-known distances, Russell found that graphs of absolute magnitude and spectral type produced a rapidly descending diagonal line from B to M and another, almost horizontal line, starting at B and running to M. Had he had thousands of stars rather than hundreds, and had he been able to plot their absolute magnitudes without the uncertainty arising from observational errors and from using averages of distances, the data points very likely would lie even closer together. There were two great classes of stars: (1) the giant stars, about 100 times as bright as the sun and varying little with spectral type, and (2) the dwarf stars, of smaller brightness and falling off rapidly with increasing redness. "With giant and dwarf stars differentiated, Russell went on to ask in his classic paper what in the nature of their constitutions gave rise to the differences in brightness and why did the differences show a systematic increase with spectral type. This investigation took him into the issue of a possible correlation between mass and luminosity and into the more general problem of stellar evolution. The paper was remarkable both in its range and its depth. Much that Russell said would bear revision, but he had set an agenda for others to follow, in stellar evolution and in outlining for further study and refinement what would in future be referred to as the Hertzsprung-Russell diagram" (Hetherington (ed.), Routledge Encyclopedia of Cosmology, pp. 278-280). 8vo (245 x 158 mm), pp. [1], 2-40. Stapled as issued in original printed wrappers. Spine rubbed, staplles rusted.

      [Bookseller: SOPHIA RARE BOOKS]
 26.   Check availability:     Direct From Seller     Link/Print  


        ‘Ypres' watercolour by D Y Cameron

      Single Sheet. D.Y.Cameron watercolour signed and titled ‘Ypres' by the artist in a soft pencil. The watercolour has suffered through time. There is an old vertical crease within the image to the left side of the image; it has some soft handling folds; a small circular stain/mark at the top of the church spire, else good. Sheet size 224 x 378mm The watercolour shows the destruction of the town with St.Martin's cathedral spire. This was rebuilt after the war. “Ypres a small Flemish market town, just over the border from France, quite similar to many towns in Belgium, that was until 1914 (the outbreak of the First World War). The town of Ypres was the scene of some of the worst fighting of the war. Ypres was described as being all the horrors of the Somme and the hell of Verdun. The consequences were drastic with 500,000 dead in an area of 25 square kilometers. It was a key site to protect the channel sea ports and associated shipping lanes, and a good point to advance from to seize Ostend and prevent the Germans using this key port to launch U-boat attacks (Third Ypres). Saving the town of Ypres from the Germans was very important to the Belgium people as it represented the last part of Belgium land still under its sovereignty Due to the gallant bravery of saving the town from the Germans in 1914 (First Ypres), against overwhelming odds, the town became of symbol of defiance. “

      [Bookseller: Roe and Moore]
 27.   Check availability:     Biblio     Link/Print  


        [Wiener Werkstätte- 1 of 50 Copies] Aus Dem Alten Wien, 1844

      Wien: Hof und Staatsdruckerei (Wiener Werkstätte), 1914. Small quarto. Original green original green waved calf with gilt cover vignette and titles titles (Wiener Werkstätte), attractive color pictorial endsheets. One of 50 copies (#35) of the preferential edition on Fabriano-Bütten Paper with "genuinely gilded initials" by the Wiener Werkstätte (total edition 520), superb full color double-spread title page. Binding, introduction, book decoration and initials according to designs by Dr. Rudolf Junk produced in Wien by Hof und Staatsdruckerei in collaboration with the Wiener Werkstätte. Stated on colophon (translated): "This book from the Hof und Staatsdruckerei in Vienna in the year 1914, a printed book in our own publishing house, in 500 numbered copies, of which the numbers 1 to 50 on Fabriano Butten, with genuinely gilded initials from the Wiener Werkstätte in leather bound, the numbers 51-500 on book paper... etc." Leather covers somewhat discolored, interior is fine. Most scarce.

      [Bookseller: Nudelman Rare Books ]
 28.   Check availability:     ABAA     Link/Print  


        Hamburg und seine Bauten unter Berücksichtigung der Nachbarstädte Altona und Wandsbek 1914. Herausgegeben vom Architekten- und Ingenieur-Verein zu Hamburg. ( Band 1-2 cpl. )

      Selbstverlag des Vereins; Boysen & Maasch, Hamburg 1914 - Band 1 – 2 mit XII, 644 Seiten und VIII, 731 Seiten. Mit zusammen 2566 Textabbildungen und Illustrationen sowie zusammen 22 teils mehrfach ausfaltbaren, teils farbigen Tafeln sowie jeweils einem Kupfertiefdruck-Frontispiz. Jeweils in Oln mit OU gebunden, zusammen im Opappschuber, 4° ( 29 x 21, 5 cm ). Inhalt u.a.: Band.1: 1. Allgemeines. Überblick über die Entwicklung der hamburgischen Architektur im Wandrahmsfleet, Cremon, Große Reichenstrasse, Neß,(Kaiserhof) Rödingsmarkt, Hopfensack, Gröningerstrasse, Herrengraben, Trostbrücke, Grimm, Hochbauten. Rathaus, Börse, Kulturgebäude, Schulen, Kirchen, Verwaltungsgebäude, Feuerwachen, Krankenhäuser, Theater, Kontor- und Warenhäuser, mehrgeschossige Etagenhäuser, Einzelhäuser, Wohnungen, Denkmäler, Brunnenanlagen, Sportplätze, Gärten / Band.2: Ingenierbauten. Strom- und Uferbauten, Baggerei- und Eisbrecherwesen, Hafenanlage, Hafenbauten, Schleusen, Speicher, Kaischuppen, Landungsanlagen. Hafenbauten in Cuxhaven, elektrische Hafenausrüstung, Fernmeldeanlagen im Hafen, Hafenbahnen, Elbtunnel, Straßenbau, Kanäle, Marktanlagen, Müllverbrennung, Badeanstalten, Wasserversorgung, Werften, Altona und Wandsbek im Allgemeinen. Einbände gering fleckig, innen Besitzvermerk von alter Hand auf dem Innendeckel vorn. Der Schuber fleckig, etwas berieben und bestoßen, die Schutzumschläge etwas fleckig mit Randläsionen und Einrissen. Die Bände mit nur wenigen gering fleckigen oder stockfleckigen Seiten - Insgesamt von guter und dekorativer Erhaltung. Zusammen 2 Bände. ( Gesamtgewicht ca. 5500 Gramm ) ( Weitere Bilder auf Anfrage – further pics at request ) [Attributes: Hard Cover]

      [Bookseller: Antiquariat Friederichsen]
 29.   Check availability:     AbeBooks     Link/Print  


        Life-Histories of African Game Animals.

      New York: Charles Scribners Sons, 1914. First edition. Octavo, 2 volumes, original buckram cloth, frontispieces, plates and maps. Drawings by Philip R. Goodwin. Near fine in the rare original dust jackets with some wear and tear.

      [Bookseller: Raptis Rare Books ]
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        ALICE IN WONDERLAND

      London, Paris, et al.: Raphael Tuck & Sons, 1914. Hardcover. Very good+ with no dust jacket if issued. Deluxe edition. No date, circa 1914. Quarto. 9 1/2 in (24 cm) tall; 148 [8 ad] p. Bright green cloth with bright gilt decoration and lettering to bevelled front cover and spine. All edges gilt. 12 bright full-page color plates, headpieces, tailpieces, numerous in-text illustrations, and pictorial endpapers by Mabel Lucie Attwell. Clean binding. Heavy stock pages and plates largely clean and unmarred with no bookplate, writing, foxing, salient marks or folds. Clean edges. Clear protective cover. Extremities rubbed, binding just beginning to soften, free endpapers toned, book ownership with graceful signature, sporadic small smudging, two closed tears, plate with rough edges, two gaps between gatherings, rear hinge starting. Highly presentable deluxe edition of an illustrated classic.

      [Bookseller: EXCELSA SCRIPTA Rare & Collectible Books]
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        Horticulturist

      London: Luther Burbank Society, 1914. Full leather. Very good. London: Luther Burbank Society, 1914. Full leather. Twelve volumes. Octavo. Luther Burbank Methods and Discoveries and Thier Practical Application. Illustrated with one hundred and five color photograph prints for use with these volumes. Limited in unspecified nember, inscribed/ signed on a special tipped-in sheet to donors. Bound in full brown leather of a Arts and Craft binding by Tiffany blind tooling to covers and spine of a peach tree, gilt title, top edge gilt, green canvas endpaper. Luther Burbank is one of the best known American Horticulturist which he developed more than 800 strains and varieties of plants.

      [Bookseller: Imperial Fine Books]
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        John Wisden's Cricketers' Almanack for 1914 - 1914 Original Hardback Wisden

      1914. Brian s set jumps to 1914 after 1927, it looks like he took a dabble on a set of 4 as the next 4 are pretty similar. This 1914 has new spine gilt and touch ups to the front gilt, there are markings to the front board and some staining to the front yellow pastedowns, excellent inside, great photoplate and clean pages, a slight weakness to the hinges. Benno s Notes : Top corner p193 folded in 5mm

      [Bookseller: Wisdenshop.com]
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        NORTH OF BOSTON

      New York: Henry Holt and Co., 1914. First Edition. Hardcover. Very good. Gray-brown boards backed in brown cloth, paper labels; 8vo. Binding B: One of 150 copies with cancellans [Holt] title-leaf from sheets ordered from England(from the original 1000 sheets printed), bound in the US. This the first publication of Robert Frost in his native country which was in fact February 1915, sold out immediately; concerns of piracy prompted Holt to print immediately in the US. Scarce and important issue of Frost's second book. Front board lightly soiled, spine label chipped, corners softly bumped with boards exposed, extremities worn. Very good overall. Crane A3.1. Very scarce and important issue, lacking rare dust jacket. Of 1000 original sheets only about 350 were bound by Nutt for the first British binding "A". The Holt US edition (binding "B") appeared the following year. There were six binding states in total. An extraordinary collection of poems opening with the short italicized "The Pasture" with the famous final line in both stanzas ending: "You come too"; "Mending Wall", "After Apple-picking" and "The Wood-pile", and the great long poems "Home Burial" and "The Death of the Hired Man".

      [Bookseller: Alexander Rare Books]
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        The Uttermost Farthing

      Winston 1914 - A rare item in wrapper .The book is fine but probably closer to mint with a near fine wrapper . [Attributes: First Edition; Hard Cover]

      [Bookseller: Dick Neal Fine Books]
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        Beiträge zur Quantentheorie. Offprint from Verhandlungen der Deutschen Physikalischen Gesellschaft, 16. Band, 1914.

      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 close friend and colleague Paul Ehrenfest, 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: The Austro-Dutch physicist Paul Ehrenfest (1880-1933) ('Ehrenfest' written in his hand on upper wrapper; seven lines in his hand written in pencil on last page of text, commenting on the first three lines of text on the page - see below). Ehrenfest met Einstein for the first time in 1912 in Prague, where Einstein spent a year as full professor, and the two men remained close friends thereafter. When Einstein returned to Zürich in July 1912, he recommended Ehrenfest to succeed him in his position in Prague, but this was prevented by Ehrenfest's declaration that he was an atheist. However, just at this time Lorentz resigned his position as professor at the University of Leiden, and on his advice Ehrenfest was appointed as his successor. He remained there for the rest of his career. Einstein said of him: "He was not merely the best teacher in our profession whom I have ever known; he was also passionately preoccupied with the development and destiny of men, especially his students. To understand others, to gain their friendship and trust, to aid anyone embroiled in outer or inner struggles, to encourage youthful talent -- all this was his real element, almost more than his immersion in scientific problems" ... On his invitation Einstein accepted in 1920 an appointment as extraordinary professor at the University of Leiden. This arrangement allowed Einstein to visit Leiden for a few weeks every year. At these occasions Einstein would stay at Ehrenfest's home. In 1923 Einstein stayed there for six weeks, after German ultra-nationalists in Berlin had made threats against his life. On the occasion of the 50th anniversary of Lorentz' doctorate (December 1925) Ehrenfest invited both Bohr and Einstein over to Leiden, in an attempt to reconcile their scientific differences about the emerging quantum theory. These discussions were continued at the 1927 Solvay Conference, where Ehrenfest much to his dismay had to side with Bohr's position in this great debate" (Wikipedia, accessed 29 May 2017). In 1922, Einstein and Ehrenfest published a joint paper in Zeitschrift für Physik which attempted to explain the Stern-Gerlach experiment, the results of which had been published just weeks earlier. Their paper can be considered the first significant contribution to the quantum measurement problem. 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). Ehrenfest's annotations on p. 828 refer to Einstein's statement at the top of that page, according to which the thermodynamic state of the system will be unchanged when two different kinds of molecules are interchanged. Ehrenfest remarks that one cannot interchange a molecule of the first kind with one of the second if the spatial separation between the two is too large. Weil, Albert Einstein Bibliography, 67. 8vo (230 x 155 mm), pp. [1:blank] 820-828. Original printed wrappers. A very fine copy.

      [Bookseller: SOPHIA RARE BOOKS]
 36.   Check availability:     Direct From Seller     Link/Print  


        'Sun' Foundry. Illustrated Catalogue. Second Edition. Vol. II. Architectural, Sanitary, and General Castings, and Wrought Ironwork. A.C. Harley & Co., General Ironfounders and Blacksmiths

      Adelaide, A.C. Harley and Co., 1914. Foolscap folio, [iii], 137 pages with many hundreds of illustrations. Gilt-lettered cloth very lightly flecked and rubbed at the extremities; flyleaves discoloured (as ever, in our experience); top corner crease to the last leaf; essentially a fine copy. 'Notwithstanding the fact that we have more than doubled the number of illustrations, it has been found impossible to include all our patterns, as we are constantly adding to their number.' A rare, handsome and important catalogue of decorative ironwork; the very rare first edition appeared in 1897, and is in fact Volume 1.

      [Bookseller: Michael Treloar Antiquarian Booksellers]
 37.   Check availability:     Biblio     Link/Print  

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