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Displayed below are some selected recent viaLibri matches for books published in 1916

        A Direct Photoelectric Determination of Plank's "h".

      [Lancaster: American Physical Society], 1916. First edition, rare offprint issue, of Millikan's dramatic experimental confirmation of Einstein's quantum theory of the photoelectric effect, for which Einstein was awarded the Nobel Prize in Physics 1921. The Nobel Prize in Physics 1923 was awarded to Robert A. Millikan "for his work on the elementary charge of electricity and on the photoelectric effect". "While it had been known for a long time that light falling on metal surfaces may eject electrons from them (the photoelectric effect), Millikan was the first to determine with great accuracy that the maximum kinetic energy of the ejected electrons obey the equation Einstein had proposed in 1905: namely, ½mv2 = hf − P, where h is Planck's constant, f the frequency of the incident light, and P is, in Millikan's words, "the work necessary to get the electron out of the metal." Millikan determined h to have the value 6.57x10−27 erg-sec to "a precision of about 0.5 per cent," a value far better than had been obtained in any previous attempt" (Gerald Holton, APS Focus, April 22, 1999). Ironically, Millikan did not believe in the hypothesis that was the basis of Einstein's equation, namely, the photon theory of light, in which electromagnetic radiation came in corpuscles or quanta. "This hypothesis may well be called reckless first because an electromagnetic disturbance which remains localized in space seems a violation of the very conception of an electromagnetic disturbance, and second because it flies in the face of the thoroughly established facts of interference ... We are confronted, however, by the astonishing situation that these facts [the observations on the photoelectric effect] were correctly and exactly predicted nine years ago by a form of quantum theory [the photon hypothesis] which has now pretty generally been abandoned (p. 355)." Only later did Millikan come to accept the quantum hypothesis. OCLC list one copy (Princeton). No copies in auction records. "About 1912, now aware of Einstein's interpretation of [the photoelectric effect, Millikan] began an intensive experimental study of the phenomenon, with the aim of testing the formula relating the frequency of the incident light to the retarding potential which cut off the photocurrent. No experimentalist had yet succeeded in proving or disproving the validity of the equation. Millikan took great care to avoid the mistakes that he and other physicists had previously made. Since a spark source of ultraviolet light induced spurious voltages in the apparatus, he used a high-pressure mercury-quartz lamp arranged to suppress stray light, especially on the short wavelength side. To extend the range of test well into the visible region, he made targets of alkali metals which were photosensitive up to 6,000 Å. Where others had adulterated their results by using photosensitive materials as the reference for the cut-off voltage, Millikan employed a Faraday cage of well-oxidized copper netting which was not photosensitive in the range of his incident radiation. Finally, he sought to reduce the inaccuracies introduced when the photocurrent near the cut-off point was too low to measure with precision. Having noticed that this current was highest when the metal was fresh, he fashioned his targets into thick cylinders and rigged up an electromagnetically operated knife to shave off the ends of the blocks. "By 1915, as the result of these meticulous investigations, Millikan had confirmed the validity of Einstein's equation in every detail. He not only demonstrated the linear relationship between the cut-off potential and the frequency of the incident light but also showed that the intercept of the graphed data on the voltage axis equaled the contact electromotive force, or work potential, of the target metal, a quantity which he had measured independently, to within 0.5 percent. In addition Millikan proved that the slope of the line equaled the ratio of Planck's constant to the electronic charge, and his work provided the best measure of h then available. Despite the conclusiveness of these results, Millikan did not believe that he had confirmed Einstein's theory of light quanta but only his equation for the photoelectric effect. In the face of all the evidence for the wave nature of light, he was convinced, as were most other physicists of the day, that the equation had to be based on a false, albeit evidently quite fruitful, hypothesis" (DSB). "Millikan's success was above all attributable to an ingenious device he termed "a machine shop in vacuo." A rotating sharp knife, controlled from outside the evacuated glass container by electromagnetic means, would clean off the surface of the metal used before exposing it to the beam of monochromatic light. The kinetic energy of the photoelectrons were found by measuring the potential energy of the electric field needed to stop them-here Millikan was able to confidently use the uniquely accurate value for the charge e of the electron he had established with his oil drop experiment in 1913. "Shining through it all are Millikan's typical characteristics as experimenter and person: his penchant for experimenting in an area involving the hottest question of the day, his energetic persistence (this paper was the culmination of work he had begun in 1905), and his passion for obtaining results of great precision. In short, Millikan's experiment was a triumphant work, of highest importance in its day, and richly deserving to be cited as part of his Nobel Prize award in 1923, given "for his work on the elementary charge of electricity and the photoelectric effect." "To the historian, the volume in which Millikan's paper appeared shows that physics in America was still a mixed bag. Other papers show that the main attention at that time is the experimental part of science, in which Americans were long regarded as most interested and most competent. But the volume as a whole indicates that a good deal of the work going on in physics in this country in the early years of this century was still narrow and unambitious, even tending, for example, to descend to lengthy descriptions of improvements in basic equipment. "In an earlier paper (January 1916) in the same volume, Millikan writes in the very first sentence that "Einstein's photoelectric equation...cannot in my judgment be looked upon at present as resting upon any sort of a satisfactory theoretical foundation," even though "it actually represents very accurately the behavior" of photoelectricity. Indeed, Millikan's paper on Planck's constant shows clearly that he is emphatically distancing himself throughout from Einstein's 1905 attempt to couple photo effects with a form of quantum theory. What we now call the photon was, in Millikan's view, "[the] bold, not to say the reckless, hypothesis"-reckless because it was contrary to such classical concepts as light being a wave propagation phenomenon. So Millikan's paper is not at all, as we would now expect, an experimental proof of the quantum theory of light. "In 1912 Millikan gave a lecture at the Cleveland meeting of the American Association for the Advancement of Science, meeting jointly with the American Physical Society, in which he clearly regarded himself as the proper presenter of Planck's theory of radiation. With his usual self-confidence, Millikan confessed that a corpuscular theory of light was for him "quite unthinkable," unreconcilable, as he saw it, with the phenomena of diffraction and interference. In short, Millikan's classic 1916 paper was purely intended to be the verification of Einstein's equation for the photoelectric effect and the determination of h, without accepting any of the "radical" implications which today seem so natural. "When Millikan's Nobel Prize came to pass, his Nobel address contained passages that showed his continuing struggle with the meaning of his own achievement: "This work resulted, contrary to my own expectation, in the first direct experimental proof...of the Einstein equation and the first direct photo-electric determination of Planck's h." "Yet it is difficult to find any published basis in Millikan's experimental papers of that struggle with his own expectations. His internal conflict was of a somewhat different sort; while Millikan conceded that Einstein's photoelectric equation was "experimentally established...the conception of localized light-quanta out of which Einstein got his equation must still be regarded as far from being established." Ironically, it had been Millikan's experiment which convinced the experimentalist-inclined committee in Stockholm to admit Einstein to that select circle in 1922. "One final irony: In 1950, at age 82, Millikan published his Autobiography, with Chapter 9 entitled simply "The Experimental Proof of the Existence of the Photon-Einstein's Photoelectric Equation." By then, Millikan had of course come to terms with the photon. Moreover, he had evidently changed his mind about what he had done around 1916, for now he wrote that as the experimental data became clear in his lab, they "proved simply and irrefutably, I thought, that the emitted electron that escapes with the energy hf gets that energy by the direct transfer of hf units of energy from the light to the electron, and hence scarcely permits of any other interpretation than that which Einstein had originally suggested, namely that of the semi-corpuscular or photon theory of light itself." "In the end, Millikan re-imagined the complex personal history of his splendid experiment to fit the simple story told in so many of our physics textbooks" (Holton). Offprint from: The Physical Review, vol. 7, no. 3, 3 March, 1916, 8vo (255 x 182 mm), pp. 355-388, original green printed wrappers (extremeties with some chipping, spine strip with wear, margins with light smudging), in all a very fine copy of the rare offprint issue in its original state.

      [Bookseller: SOPHIA RARE BOOKS]
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        Rinkitink in Oz

      The Reilly & Britton Co., 1916 First edition, first state, with no list of titles to verso of ownership page and 12 full color plates by John R. Neill. Publisher's green cloth, stamped in black to spine, with John R. Neill's mounted pictorial panel to front board, lacking dust jacket as usual. A very good copy with some wear to extremities and a slight lean to spine, both hinges slightly starting, small 1.5 inch tear to p.250, previous owner's bookplate to front pastedown, overall a pleasing copy. Rinkitink in Oz, the tenth in Baum's Oz series, is taken largely from a non-Oz related story written by the author ten years earlier, and it was only upon pressure from Baum's publisher that the author incorporated the book into the Oz series. The story takes place on the island of Pingaree as a neighboring country invades and takes the king hostage before he can make use of the magic pearls that had protected the country from invasion in the past. The king's son and his friend King Rinkitink of another island are the only ones left on the island and must find and use the magic pearls to regain control of their country.. First Edition. Hard Cover. Very Good. Illus. by Neill, John R..

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        United States War Medals.

      New York, The American Numismatic Society, 1916.. Crown quarto. Pp. 72. Plus 10 plates, one coloured, with multiple images to each. Original printed wrappers split along spine, edge frayed, spine worn. With fine, crisp interior. Neatly preserved in handsome custom made buckram threefold and matching slipcase, black morocco lettering-piece in gilt on spine panel. In fine condition. ~ First edition thus. Printed in a limited edition of 125 copies, reprinted from the American Journal of Numismatics, XLIX. Extremely rare. The handsome plates depict 58 monochromatic illustrations of medals and campaign badges; and 25 coloured illustrations of ribbons. The last are particularly handsome, being first printed in halftone with the colours later superimposed from different blocks.

      [Bookseller: Librarium of The Hague]
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        Every Soul Hath Its Song

      Harpers 1916 - Laid in is as irregularly clipped slip of paper SIGNED by Fannie Hurst. Also laid in is a chipped Harper & Brothers bookmarker with a picture of Fannie Hurst, and, finally, an early clipped picture of Fannie from a magazine article is also laid in. The book: it is lightly edge rubbed with gently bumped spine ends and corners, has a toned spine, and there is perimeter lightening along the top edges. The dust jacket is uniformly corner clipped (price of $1.30 is on the spine), sporadically edge chipped (to a maximum depth of 3/16" on the spine crown), has some soiling, a gently sun washed spine, and a closed tear on the rear panel. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Trilby & Co. Books]
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        Uhebladet Storm 1. Aargang no. 1-27. Alt der udkom

      A/S Ugebladet Storm, København 1915-1916 - 8 sider pr. Hefte p. Illustreret i sort/hvid af blandt andre Robert Storm Petersen. Heftet med originalt omslag, med hefteklammer, pænt eksemplar

      [Bookseller: Andersens Antikvariat]
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        Kriegsalbum Des kuk Infanterie regiment no 23 ein gedenkbuch in wort u bild unter mitabeit von regimentsangehorigen redigiert von Josef Eugen Kun

      Budapest: Franklin-Tarsulat Nyomdaja, 1916 Kriegs album Hadi Albuma,very rare book No23,many illustration and war photos,with autographs of officers and soldiers.397 pages,on some pages visible possible water stanes and pen writtings.Binding not very good..see photos .

      [Bookseller: Books4u]
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        Altona's Opfertag 18 January 1916. (German World War 1 poster)

      Altona: Langenbartels & Jürgens, 1916. Color lithograph. 82 x 57 cm. (German World War 1 poster).

      [Bookseller: Alan Wofsy Fine Arts]
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        1916 to 1919 Wisden Hardbacks

      This lot is a Set of 4 WW1 Hardback Wisdens - 1916 ,1917,1918, 1919 some of the rarest Wisden Hardbacks. In Good to Very Good Condition. The 1916 has new spine gilt some wear to the spine cloth but very nice internally. The 1917 has strong wear to the front board and page 3 , otherwise a steady book.The 1918 is exceptional, just some wear to page 3 and a couple of marks to the rear board, the 1919 has a read feel with some internal markings, all 4 books have great original hinges. 1918 and 1919 have their photoplates and they are very good, 1916 and 1917 were not issued with photoplates.

      [Bookseller: Wisdenshop.com]
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        Los Cuatro Jinetes del Apocalipsis [The Four Horsemen of the Apocalypse]

      Valencia: Prometeo, 1916. First Edition. Cloth. Very good. 1st edition (Valencia, 6,000), 396pp, in Spanish). Original cloth, ripples to the front, a tear and a split along 1 joint strengthened, wear to edges, else very good (also issued in wrappers with no known priority). Paris is the setting, and WWI is the time, for this novel contrasting events that engulf 2 families divided by the conflict. It was a huge success world wide (200 editions in almost every language), a 1919 American edition was the Publishers Weekly number 1 bestseller for that year. Films were made and released in 1921 (Valentino) and in 1962 (reset in the '40s). We sold a copy 8 years ago with 8,000 on the title page (our catalog 42). This one's earlier with 6,000 on the title page. My quickie census of copies held by Institutions could not find one with a number lower than 10,000, including copies in wrappers or even rebound ones. That doesn't mean they're not out there. It just may mean they are not findable by me.

      [Bookseller: Biblioctopus]
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        Ganz geheim : Neubauten und Neuentwürfe S. M. Schiffe. Abgeschlossen Ende 1915 : Geheim-Archiv K. I : III. C. 1916.

      Berlin, Reichs-Marine-Amt. 1916 - Sprache: de 4°quer (15x26), [3], 34 num. Bl., davon 13 Bl. mit Quer und Längschnitten sowie Übersichtstabellen, gefolgt von 21 Lichtdrucktafeln mit fotografischen Aufnahmen der Schiffsbaustellen (aufgenommen Dezember 1915) Oldr mit goldPräg, dreiseitiger goldSchnitt, textile MoireeVorsätze, dreifarb Lesekordel, Titel mit Bleistiftvermerk Marinekabinett ., mit Bleistiftanmerkungen und Korrekturen, schönes gepflegtes Exemplar, Marinegeschichtlich bedeutendes Dokument und Rarissimum ersten Ranges! Numeriertes Exemplar Nr. 1 in hellbraunem Ganzleder für die Admiralität / Marinekabinett / Kaiser und offensichtlich (teils?) von Kaiser Wilhelm II. selbst bearbeitet!: auf Bl 4 verso eine farbige Skizze eines Kreuzers 'Neues Project L. S. genehmigt / altes Project vom 29/IV 16 Charleville auf gehoben' mit dem kaiserlichen W abgezeichnet, datiert [Schloss] Pless [durchgestrichen : darüber] N[eues] Palais 28/X 16.- die handschriflichen Glossen mit Bleistift korrigieren teils die Namensgebung, teils Termine der Fertigstellung und des Stapellaufs.- Das Marine-Arsenal berichtet 1998 in seinem Sonderband 17 von einem ähnlichen Exemplar der 'Neubauten und Neuentwürfte S.M.Schiffe' nach dem Stande von Ende 1917, das im damaligen Reichsmarineamt erschien und in wenigen durchnumerierten Exemplaren an die zuständigen Stellen Verteilung fand. Nach Ende des Ersten Weltkrieges war nach diesem Dokument vergeblich gesucht worden, unter den Archivalien des RMA war es nicht registriert. Erst Ende des 20. Jahrhunderts tauchte die Dokumentation von 1918 unter abenteuerlichen Umständen wieder auf.-- Hier vorliegendes Dokument enthält folgende Schiffe (Etatjahre 1913, 1914 sowie Kriegsfonds) mit Skizzen und Tabellen, teils mit Lichtbildern und Angaben zu den Nummern des Geheim-Archivs: LINIENSCHIFFE: Baden (Ersatz Wörth.- Bayern (T).- Ersatz Kaiser Friedrich III (handschriftl: Sachsen).- Ersatz Kaiser Wilhelm II.-- GROSSE KREUZER: Hindenburg (Ersatz Hertha).- Ersatz Victoria Louise.- Ersatz Freya.- Ersatz Yorck.- Ersatz Gneisenau.- Ersatz Scharnhorst.- Ersatz Blücher.- Ersatz A.-- KLEINE KREUZER: Königsberg (Ersatz Gazelle).- Ersatz Niobe (handschriftl: Karlsruhe).- Ersatz Nymphe (handschriftl: Emden).- Ersatz Thetis (handschriftl: Nürnberg).- Ersatz Ariadne (handschriftl: Cöln).- Ersatz Leipzig.- Ersatz Nürnberg.- Ersatz Emden.- Ersatz Mainz.- Ersatz Cöln.- Ersatz Dresden.- Ersatz Magdeburg.- Ersatz Königsberg.- Ersatz A.-- MINENDAMPFER: Brummer (Minendampfer C).- Minendampfer D (handschriftl: Bremse).- KANONENBOOT: Meteor (Kanonenboot C).- Kais. Yacht: Ersatz Hohenzollern.-- Angaben über Gewichte.--

      [Bookseller: Antiquariat an der Stiftskirche]
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        Alice's adventures in Wonderland.

      London, Melbourne and Toronto, Ward Lock, 1916, 8vo piccolo, legatura originale in tutta tela rossa con titoli dorati e illustrazioni a colori in copertina, pp. XVI-332-(8 di catalogo editoriale) con 48 tavole a colori di Margaret W. Tarrant. Ottima copia., pur priva della sovraccoperta originale, come sempre.

      [Bookseller: Libreria Piani già  Naturalistica]
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        PLAYS OF THE NATURAL AND THE SUPERNATURAL

      New York: John Lane, 1916. First Edition. Hardcover. Fine copy in a scarce and Very Good dustwrapper with a half-dollar sized chip at the top of the front panel, an inch chip at the head of the spine, and a small piece lacking at the fore-edge midspine. Cloth-backed boards. The second issue with the four-page essay by Dreiser at the end of the text.

      [Bookseller: Charles Agvent]
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        Mobilisation 1914. - Edité par Peter, Cailler, Kohler, Chocolat Suisse S.A. au profit des Oeuvres patronnées par le Département Militaire Suisse.

      Peter, Cailler, Kohler, Chocolat Suisse S.A. (éd.) / Lithographie Sonor S.A. Genève 1916. - 9 Bll. (cpl.). Je ca. 40 x 100 cm. Farbig lithogr. szenische Darstellungen aus den Schweizer Truppen im Aktivdienst 1914?1918. Gedruckt auf festem Papier (Blatt 'Train' im unteren Rand mit Ausschnitt von ca. 5 x 50 cm, jedoch ohne wesentlichen Verlust im Sujet, sonst allg. eher geringfügige Altersspuren wie teilw. unterschiedlich etwas stockfleckig, und kaum gravierende Gebrauchsspuren wie Eckdurchstiche, geringe Randläsuren, vereinzelte leichte Knitterspuren). Gerollt. Gesamthaft weitgehend gute und farbfrische Serie. - - Für alle Abbildungen vgl. calypso.bib.umontreal, online (Link: Peter, Cailler, Kohler; mit Zoomfunktion); digitalisiert auch in swissbib (nur sehr klein); beide Digitalisate nicht reproduzierbar - Vollständige Serie zum Schweizer Militär : Die Blätter zeigen in drei Serien à 3 Sujets meist kleinere Einheiten bei typischen Einsätzen und Aktionen im Rahmen der Grenzbesetzung : I. (Série A): 1. Infanteriezug (Schützen) im Angriff; 2. Feldartillerie mit zwei Geschützen (7.5 cm Feld-Kanonen Krupp M.03) in Position; 3. Vorrückendes Kavallerie-Detachement / II. (Série B): 4. Gebirgsinfanterie; 5. Gebirgsmitrailleure; 6. Gruppe Train mit zwei Maultieren, beladen mit Lafette (od. Laffette) bzw. Kanone / III. (Série C): 7. Artillerieeinheit mit Gespann vor Feldkanone mit Caisson, eine Behelfsbrücke mit Pontonieren passierend; 8. Fliegertruppen: Offizier mit Besatzung und Bodenpersonal vor Farman F-20 Doppeldecker mit hinten liegendem Motor; 9. Gruppe von Stabsoffizieren im Feld mit Radfahrer-Ordonnanz (Übermittlung). -- Vorliegende Blätter sind die einzige solch grossformatige Serie, gleichzeitig die letzte in Farblithographie, mit attraktiven Darstellungen verschiedener Abteilungen der Schweizer Armee in den farbigen Uniformen der Ordonnanz 1898-1914, der letzten überhaupt vor den Versuchsuniformen 1904-1911 und den neuen feldgrauen Uniformen der Ord. 1914/15 und 1917. Im Vorgängerwerk von David Estoppey (L'Armée Suisse / Die Schweizerische Armee, Genève, Ch. Eggimann 1894, 34 Farbtafeln) sind noch die Uniformen der Ordonnanz 1888 abgebildet (zu den Ordonnanzen vgl. J. Burlet, Geschichte der eidgenössischen Militäruniformen, 1992, bes. p. 71 ff.; zu den Uniformwerken s. u.a. H. Schneider, Vom Brustharnisch zum Waffenrock, 1968, Tfn. 52 u. 53; H. Léderrey, Hsg., Das Schweizer Heer, 1929, Tf. zu p. 224) - Courvoisiers Serie ist vom Stil her nicht unähnlich den entsprechenden graphischen Arbeiten von Carl/Karl Moos (vgl. die Abbn. in 100 Jahre Eidg. Armee, Zürich, Jelmoli 1948, Tfn. zu p. 65 u. 96), jedoch etwas bewegter und freier, andererseits deutlich weniger plakativ als die Aquarelle von Emil Huber (vgl. H. Schneider, op. cit., Tfn. 56 u. 57). Die Gestaltung Courvoisiers ist bei aller künstlerischen Freiheit recht detailgetreu, dabei zeittypisch mit Anlehnungen an den Jugendstil, grundsätzlich jedoch eigenständig und praktisch unverwechselbar. -- Jules-Ami Courvoisier (La Chaux-de-Fonds 1884-1936 Genf), Schweizer Maler und Plakatgraphiker. Erste Ausbildung bei Charles L'Eplattenier, 1902-1906 in Paris bes. bei Jacques-Emile Blanche und Eugene Grasset. "In seinem Werk äussern sich sowohl die dekorativen und sentimentalischen Tendenzen wie auch deutliche Einflüsse Hodlers. [.] Spezialisiert sich innerhalb einer reichen gebrauchsgraphischen Tätigkeit auf das Plakat" (KLS XX. Jh.). "Er war einer der bedeutendsten Schweizer Grafiker seiner Zeit und arbeitete im kommerziellen, im kulturellen, sozialen und politischen Bereich" (HLS). - Sprache: fr

      [Bookseller: Franz Kühne Antiquariat und Kunsthandel]
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        ROMANIA: ÜBERSICHTSKARTE VON RUMÄNIEN IM AUFTR. D. KARTOGRAPH. ABT. D. STELLVERTRETENDEN GENERALSTABES D. ARMEE NUR FÜR DEN DIENSTGEBRAUCH

      Berlin: Moser []. 1916 - Lithograph in colour, originally dissected in 24 segments and mounted on linen (Very Good, linen slightly age-toned, parts of torn linen in the folds repaired with new linen stripes verso) 132 x 111 cm. A very rare gigantic road and transportation wall map of Romania was made in German language during WWII, in the year when Romania joined the Entente Powers. - This beautifully executed highly detailed gigantic map of Romania showcases different types of railroad, railroads under construction, roads, roads under construction and smaller routes. The survey was made by a Prussian Survey Office for military purposes, in 1916, when Romania entered the World War I, joining the side of Germany, Austria-Hungary and Italy. The success of the war was short lived in Romania. After the initial progress of the Romanian military campaign, the Central Powers occupied two-thirds of the country within months, before reaching a stalemate in 1917. The map was made of official use only, as mentioned in the title, and was not for sale. We could not trace any other examples in on the market. There are three examples in libraries worldwide (Berlin State Library, German State Library in Frankfurt am Main, and Bavarian State Library).

      [Bookseller: Antiquariat Dasa Pahor]
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        Drawings of the Western Front

      Landscape format watercolour album, 24 x 16 cm, with pen and ink titling design "Album des Dessins" on front cover. c. 60 leaves, the first 23 with mounted pen and ink drawings, captioned and with trompe l'oeil framing rules. [Vaubecourt,

      [Bookseller: Maggs Bros. Ltd.]
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        The Dance of Death

      Privately Printed, London 1916 - London, Privately Printed, 1916. Limited Edition. Hardback. An uncommon limited edition containing enlarged facsimiles of Holbein's famous woodcut designs executed by Hans Lutzelburger. A very good copy with a little grubbiness and toning, but overall a pleasing copy. Heavily illustrated by Holbein. One of just 250 privately printed copies. Bookseller's stamp to front pastedown. [6455, Hyraxia Books]. [Attributes: Hard Cover]

      [Bookseller: Hyraxia Books. ABA, ILAB]
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        Calwer`s Käferbuch

      Verlag Schweizerbarth Stuttgart Erscheinungsjahr 1916 - Format 4° ( Kleinfolio ) - Einführung in die Kenntnis der Käfer Europas - 6. Auflage , 2 Bände , Band 1 : 708 S. + 3 ganzseitige Tafeln mit ca 25 Figuren + 20 ganzseitige Tafeln mit etwa 500 farbigen Käferabbildungen sowie weitere 250 Textabbildungen , Band 2 : 682 S. + 28 ganzseitige Tafeln mit ca 700 farbigen Käferabbildungen + 1 mehrfach gefaltete Tafel , Originalganzleinen mit Rückentitel,bis auf einen Fleck auf einem hinteren Einbanddeckel Erhaltung 1 nahe neuwertig = umfangreiches schön erhaltenes Werk zum Thema in der gesuchten 6. Auflage mit farbigen Abbildungen die sich durch Detailtreue und klare scharfe Wiedergabe auszeichnen =

      [Bookseller: Antiquariat Alfred Tauchnitz]
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        United States War Medals.

      New York, The American Numismatic Society 1916 - Crown quarto. Pp. 72. Plus 10 plates, one coloured, with multiple images to each. Original printed wrappers split along spine, edge frayed, spine worn. With fine, crisp interior. Neatly preserved in handsome custom made buckram threefold and matching slipcase, black morocco lettering-piece in gilt on spine panel. In fine condition. ~ First edition thus. Printed in a limited edition of 125 copies, reprinted from the American Journal of Numismatics, XLIX. Extremely rare. The handsome plates depict 58 monochromatic illustrations of medals and campaign badges; and 25 coloured illustrations of ribbons. The last are particularly handsome, being first printed in halftone with the colours later superimposed from different blocks. [Attributes: Hard Cover]

      [Bookseller: Librarium of The Hague]
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        Cours de linguistique générale. Publié par Charles Bally et Albert Sechehaye. Avec la collaboration de Albert Riedlinger.

      Lausanne & Paris, 1916. Lex 8vo. Uncut in the orig. printed wrappers. A bit of wear, especially to back hinge, which is a bit torn and weak. Small lack of paper to margin of front wrapper and front free end-paper. Capitals a bit worn. Internally very nice and clean. Text-illustrations. 336, (1, -errata) pp. ¶ The first edition of Saussure's seminal main work, which marks a turning point in the history of linguistics and had a monumental impact on related fields such as philosophy, logic, sociology, literary theory, etc. Because of this work, Saussure is considered the father of 20th century linguistics, and the influence of his ideas on the development of linguistic theory in the first half of the 20th century can hardly be overstated.<br><br>After having published his "Mémoire sur le système primitif des voyelles dans les langues indo-européenes" in 1878, Saussure did not publish another full-length work in his life-time, and his "Course in General Linguistics" is a summary of the three lecture-courses he gave on linguistics at the University of Geneva in 1906-07, 1908-09 and 1910-11. The work was published posthumously by two of his former students and based on lecture notes. In this monumental work, based on his lectures, Saussure sets out to examine the relationship between language (langue) and speaking (parole), both as the relation of a social phenomenon to an individual phenomenon, and as the relation of a system to the concrete use of this system. He determines that there is a structured system of common signs between the users of a language, and that language can be analyzed as a formal system of elements. These elements are signs, signs that again can be divided into expression (signifiant) and content (signifié). This theory of language has deeply influenced all later theories of language.<br><br>With this work, Ferdinand Saussure (1857-1913) thus came to occupy a seminal place in the history of language theory. In this work he is strongly focused on creating a science of language, free of its former embedment in archaeology, psychology, and also -or perhaps especially- the history of language. And he succeeds. Before his work, linguistics had had been dominated by a historical, though also partly structural, understanding of language, but now, Saussure introduced and determined the purpose and meaning of linguistics, the universal science of language. <br><br>With Sausurre, linguistics now became, not only the study of the history of languages and of the influences that determine the development of it, but also, and primarily, the study of language and the study of the manifestations of human speech, of what makes human speech possible.<br><br>Thus, there is no doubt as to the monumental impact of this groundbreaking work, and almost all language theoreticians ever since have been deeply influenced by it. In Europe, the Prague School with e.g. Roman Jakobson and the Copenhagen School with e.g. Louis Hjelmslev, and in America, Leonard Bloomfield and his followers (later Noam Chomsky), were all influenced by Saussure's theories and based their formings of structural linguistics on his basic notions.<br>Saussure's work reached much farther, though, and the principles of structuralism came to deeply influence thinkers such as Jacques Lacan, Claude Lévi-Strauss etc., etc.

      [Bookseller: Lynge & Son (www.lynge.com)]
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        A Portrait of the Artist as a Young Man

      - FIRST EDITION OF JOYCE'S CLASSIC FIRST NOVEL. "No one could overestimate the effects of [the book] on later Irish writers ? Or on the national psyche: many young Irishmen came to painful consciousness reading those corrosive pages. The Dublin of my student days was strewn with versions of Stephen Dedalus, including myself. Little failed saints. We knew eternity too early" (John Montague). "Joyce's novel remains vital, in contrast to almost all other novels published in 1916, because he forcefully strived toward an idiosyncratic form of expression, a language intrinsic to the story he wanted to tell, about the young protagonist, Stephen Dedalus, and his formative years in Dublin, in which uniqueness was the very point and the question of what constitutes the individual was the issue posed" (New York Times). Note: This New York first edition by Huebsch is the true first edition, appearing a month before the English issue (from the New York sheets). New York: B. W. Huebsch, 1916. Octavo, original cloth. Mild toning (as often) and a little wear to spine, a touch of rubbing to spine ends; minor browning to endpapers with ghost of early tape stubs. A very good copy in original cloth. [Attributes: First Edition]

      [Bookseller: Manhattan Rare Book Company, ABAA, ILAB]
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        RAZGOVORY S DIAVOLOM.; OKKULTNYE RASSKAZY

      Petro Grad: Iz. A.N. Brianchaninova (Novoe Zveno), 1916. Original Russian edition of Talks With a Devil: "Conversations With the Devil. Occult Tales"; Originally paperbound, newly rebound in black cloth with copy of the original cover set into the cloth cover; 164 pages. Text in Russian. Ilustrated with black-and-white photographs. Cloth bound in fine condition; Contents very good but with a couple pencil marks in the margins.

      [Bookseller: By The Way Books]
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        Map of Arabia. G.S. 4016.

      London, published at the Survey of Egypt for Arab Bureau, under authority from the War Office, Sept. 1916. - 794 x 628 mm. Scale 1:4,000,000. Mounted on cloth. Folded. Rare, large-scale map of western Arabia including all but the easternmost part of the Peninsula (ending about 100 miles east of Qatar). "This map has been compiled almost entirely from published sources, of which the principal are (1) Hunter's Arabia 1:2,000,000; (2) War Office quarter inch of S.W. Arabia; (3) War Office 1:250,000 of the rest of the Turkish Empire; R.G.S. materials have also been used" (editor's note). Some slight brownstaining in places, otherwise well-preserved. Not in OCLC. [Attributes: Hard Cover]

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
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        Mountain Interval [First State]

      New York: Henry Holt, 1916. First Edition. Hardcover. Fine. First Printing, First State, with uncorrected errors on pages 88 (duplicate line) and 93 ("come" instead of "gone"). 8vo: 99,[1]pp. Publisher's dark blue finely woven linen, upper cover and spine stamped in gilt, fore- and bottom edges rough-trimmed; wanting the uncommon dust jacket. Square, tight binding with gilt undiminished; clean, crisp pages (without a spot of foxing). One of only 4000 copies printed, including the corrected second state. A truly exceptional example of the poet's third regularly published collection. Crane A4. Clymer & Green, pp. 31-32. Frost's first collection to be first published in the United States (A Boy's Will and North of Boston originally appeared in England). The collection contains 32 of the poet's earliest and best poems, including Hyla Brook, The Oven Bird, Birches, and The Road Not Taken. Note: With few exceptions (always identified), we only stock books in exceptional condition, preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd]
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        Schwimmer, Max. - "Waldweg".

      - Aquarell, über schwarzer Kreide, auf Karton, 1916-1918. Von Max Schwimmer. 31,6 x 23,8 cm (Darstellung / Blatt) / 64 x 50 cm (Blatt). Rechts unten in Kreide signiert. - Karton leicht gewellt. Im Passepartout montiert. Sehr gut erhalten. Max Schwimmer (1895 Leipzig - 1960 Leipzig). Deutscher Maler, Grafiker und Illustrator des expressiven Realismus. Ab 1919 Studium der Kunstgeschichte und Philosophie an der Universität Leipzig. Beginn der künstlerischen Tätigkeit u.a. für die Zeitschriften "Die Aktion" und "Der Drache". Studienreise nach Frankreich und Italien. 1926 Dozent an der Kunstgewerbeschule in Leipzig. 1933 aus dem Lehramt entlassen, neun Werke wurden als "entartete Kunst" diffamiert und konfisziert. Bis 1945 arbeitete er als Illustrator. 1944 als Soldat der Wehrmacht eingezogen und Ausbildung zu Wachmann eines Kriegsgefangenen-Lagers in Mühlberg an der Elbe. Im April 1945 Flucht der Wachmannschaft nach Altenburg in die amerikanische Besatzungszone. Nach Kriegsende Eintritt in die KPD. 1946 Berufung als Professor und Leiter der Abteilung Graphik an die Staatliche Akademie für Graphische Künste und Buchgewerbe in Leipzig. 1951 infolge einer Kampagne von seinem Dienst entbunden. Im selben Jahr Berufung an die Dresdner Hochschule für Bildende Künste (HfBK) als Leiter der Abteilung Grafik. Seit 1952 Mitglied der Akademie der Künste zu Berlin. Sprache: Deutsch [Attributes: Signed Copy; Soft Cover]

      [Bookseller: GALERIE HIMMEL]
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        The Beasts of Tarzan

      Chicago: A.C. McClurg and Co, 1916. First Edition. Hardcover. Near fine/restored. 1st edition, 1st printing. Near fine in a neatly, but extensively, restored 1st printing dustjacket. The 3rd Tarzan, among the scarcest in jacket. So, you may ask, why is it so cheap? Well, I am a creature of no convictions. At least I think I am.

      [Bookseller: Biblioctopus]
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        John Wisden's Cricketers' Almanack for 1916 - 1916 Original Hardback Wisden Very Good

      1916. Hi, Here we have a rare 1916 Original Hardback Wisden, in Very Good Condition. The 21st Wisden Hardback and the most expensive of the 20th Century. The rarest or second rarest since 1900. I have been agornising over which of two 1916s to keep as they are both in such amazing condition but to sum up this Wisden is as nice as the one I own in my master set. The lettering is always an issue (if you like shiny gold leaf) on 1916s , i guess they were rationed on the gold leaf in 1916, however the front board has very good gilt for a 1916. The spine is faded and no dot after the year which is correct. Small name to first page corner. The boards are very good , small line mark to the corner at the top of the front board but other than that , nice clean boards. Inside the hinges are very good, both are springy! Amazingly clean inside including the yellow pastedowns. Minimal foxing. No restoration. A lovely book. Rare,

      [Bookseller: Wisdenshop.com]
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        Responsibilities and Other Poems.

      London: Macmillan and Co., Limited. 1916 - Octavo. Original decoratively gilt blue cloth designed by Sturge Moore, front and spine lettered in gilt, edges uncut. Housed in a dark blue quarter morocco solander box by the Chelsea Bindery. Gilt rather dull, notably at the spine. Very good. Cover design by T. Sturge Moore First edition, first impression, a canonical presentation copy, inscribed by the author in the month of publication, "Ezra Pound from W. B. Yeats Oct 1916". Below this on the front free endpaper is Pound's ownership blindstamp, giving his address at 5 Holland Place Chambers, Kensington W. Pound and Yeats lived and worked together in close quarters in Sussex over the course of three winters (1913&#150;1916). Yeats told his father: "Ezra Pound and his wife are staying with me, we have four rooms of a cottage on the edge of a heath and our back is to the woods". They collaborated on a number of works, including Yeats's first volume of autobiography, Reveries, Pound taking dictation from the senior poet and typing the finished product for the printer. The inscription here dates from the last months of their close association: Yeats also presented him a copy of the first English edition of Reveries at the same time. Pound, as a sort of secretary, had a huge shaping influence over Yeats's prosody, pushing him to modernise his voice. Responsibilities is indeed the collection through which Yeats's poetry moved out of the mists of the Celtic twilight and into the harsher, harder light of the Modern movement. Pound's influence was central to this, and he may well be said to be the "miglior fabbro" of Yeats's verse, as he had been with Eliot's The Waste Land. A collection of Yeats's poems entitled Responsibilities was first published by the Cuala Press in 1914. This London edition, consisting of 1,000 copies, prints those 31 poems and adds "The Well and Tree", together with 19 poems from The Green Helmet (Cuala Press, 1910) and two poems from the New York edition of 1912, as well as The Hour-Glass, 1912. Pound had reviewed the shorter Cuala Press edition of Responsibilities admiringly in Poetry, March 1914, p. 223. Wade 115. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Goliath and David.

      London: Chiswick Press, [1916] - Octavo, pp. 20. Original plain red wrappers. Wrappers a little creased and faded to edges, a few faint spots to contents. An excellent copy. First edition, first impression, presentation copy, inscribed by Graves's father on behalf of the author to Henry Newbolt (1862&#150;1938), the English poet and writer, on the title page: "Sir Henry Newbolt, from his admirer the author, via his father Alfred Perceval Graves. March 9th, 1917. Captain, 3rd Batt., Royal Welch Fusiliers". This copy, sent at the behest of a shell-shocked Robert Graves to Henry Newbolt, best known then, and infamous now, for his patriotic "Vitaï Lampada" poem of the 1890s comparing warfare to a game of cricket, with its much-satirised refrain "Play up! Play up! and play the game!", is particularly poignant. At the time of publication, February 1917, Graves was recuperating from bronchitis, first at Somerville College, Oxford, and then at Harlech, where he wrote to Sassoon, who had helped him edit and distribute the book, on 26 March 1917: "Dear old Sassons, please forgive my not writing: it has been one of the worst symptoms of my late collapse that I haven't been able to make up my mind to start or finish the most pressing things, and the correspondence about Goliath and David has been most exacting". At the start of the First World War, Newbolt and other leading British writers were recruited into the War Propaganda Bureau (WPB), which was formed to help maintain public opinion in favour of the war effort. Two hundred copies of this early privately printed work, the author's second publication, were produced in late 1916 and distributed early in 1917. Higginson & Williams A2; Reilly p.146. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Per L'Ill.mo Capitolo Metropolitano di Benevento nel giudizio di graduazione ad istanza della Banca Sannitica di Benevento in danno di Cosimo Caruso

      Benevento, 1916. ITALIANO 0,04 Fascicolo dei primi del '900 in stato discreto, coperta in cartoncino, fioritura sparsa, macchie d'umidità, lieve piega, margini dei piatti, delle pagine e tagli bruniti. Bella testatina in nero su incipit. USATO

      [Bookseller: Biblioteca di Babele]
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        Litice. Povidky o vojne. (The Fury. Stories about the war.

      Prague: Frantisek Borovy 1916 - Octavo, wrappers, 154 (iv)pp. The first edition of this work, with six ink drawings by Vincenc Bene&#154;. The most widely read and appreciated of Weiner&#146;s expressionist collections, this work was written shortly after the author&#146;s convalescence from a nervous breakdown he suffered at the front. The illustrations of Vincenc Bene&#154; (1883-1979) are strong statements of the cubo-expressionist style he employed at that time. Bene&#154; was an important figure during the Czech cubist period. [Attributes: First Edition; Soft Cover]

      [Bookseller: Michael Fagan Fine Art & Rare Books]
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        Responsibilities and Other Poems.

      London: Macmillan and Co., Limited., 1916. Octavo. Original decoratively gilt blue cloth designed by Sturge Moore, front and spine lettered in gilt, edges uncut. Housed in a dark blue quarter morocco solander box by the Chelsea Bindery. Cover design by T. Sturge Moore Gilt rather dull, notably at the spine. Very good. First edition, first impression, a canonical presentation copy, inscribed by the author in the month of publication, "Ezra Pound from W. B. Yeats Oct 1916". Below this on the front free endpaper is Pound's ownership blindstamp, giving his address at 5 Holland Place Chambers, Kensington W. Pound and Yeats lived and worked together in close quarters in Sussex over the course of three winters (1913–1916). Yeats told his father: "Ezra Pound and his wife are staying with me, we have four rooms of a cottage on the edge of a heath and our back is to the woods". They collaborated on a number of works, including Yeats's first volume of autobiography, Reveries, Pound taking dictation from the senior poet and typing the finished product for the printer. The inscription here dates from the last months of their close association: Yeats also presented him a copy of the first English edition of Reveries at the same time. Pound, as a sort of secretary, had a huge shaping influence over Yeats's prosody, pushing him to modernise his voice. Responsibilities is indeed the collection through which Yeats's poetry moved out of the mists of the Celtic twilight and into the harsher, harder light of the Modern movement. Pound's influence was central to this, and he may well be said to be the "miglior fabbro" of Yeats's verse, as he had been with Eliot's The Waste Land. A collection of Yeats's poems entitled Responsibilities was first published by the Cuala Press in 1914. This London edition, consisting of 1,000 copies, prints those 31 poems and adds "The Well and Tree", together with 19 poems from The Green Helmet (Cuala Press, 1910) and two poems from the New York edition of 1912, as well as The Hour-Glass, 1912. Pound had reviewed the shorter Cuala Press edition of Responsibilities admiringly in Poetry, March 1914, p. 223.

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


        LEcho des Tranchees

      Journal du 17e Territorial. Roneographed newspaper. Folio. 4pp. Some darkening to lower portion of first page. Verdun, 1 April,

      [Bookseller: Maggs Bros. Ltd.]
 32.   Check availability:     Direct From Seller     Link/Print  


        My Diary in Serbia April 1, 1915- Nov. 1, 1915

      London: Simpkin Marshall, Hamilto, Kent, 1916. Collation, 128pp, illustrated. Bound in original publishers hardcover. Binding light rubbed, just a touch of wear loss on edges, some fading. Generally a nice clean binding. Internally, browing to endpapers, webbing showing on endpaper joints, text block holding firm. Pages in good clean condition. Dust jacket rubbed, dirt marked, some loss. Generally jacket in good condition. A rare first edition.A7. First Edition. Very Good/Good Plus. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: George Jeffery Books]
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        Loot - Signed by Author

      BOBBS MERRILL CO, INDIANAPOLIS 1916 - loose but laid in fep; author signature dated February 26, 1917; wear and rubbing to front covers and along spine; some fraying; faded cover with title to front cover and along spine DATE PUBLISHED: 1916 EDITION: 320 [Attributes: Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
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        Joe Pine

      Lamoni, IA: Herald Publishing House, 1916. Hardcover. Illustrations by Paul N. Craig. Small 8vo. Green cloth with red rules and black lettering and decorations. 352pp. Frontispiece, 7 full-page called-for plates. Very good. Binding a bit edgeworn and rubbed, though internally fine. A tight, attractive first edition of this scarce fiction by the grandson of Mormon founder Joseph Smith Jr. This superb presentation copy bears a full page inscription from the author on frontispiece verso: "Mrs Inez Kinney: / Having known the joy / and beauty of the prairie / days, now gone for-ever, / you may perhaps appreciate / my pen picture of the / prairie, even if they are / not the best. Oh, yes, / and I must thank you / for posing for the heroine / As a peace offering to / atone for the liberty taken / in drafting you for that / position, please accept / this book with my / compliments -- / Elbert A. Smith." Inez Kinney Gaylord (1882-1974) was a New York-born worker for the YWCA who in 1914 married Edward K. Gaylord (1873-1974), the noted owner/publisher of the Daily Oklahoman as well as radio and television entrepreneur and civil leader/philanthropist. How and when Smith crossed paths with Inez Kinney is not known, but she impressed him enough to become the inspiration for this book's heroine, Molly Brady. Also, laid in is an unsigned Autograph Note pencilled on a heavy stock 5" X 3" card (undated, but of relatively modern vintage) in which the unknown writer transcribes a letter written from Elbert Smith to his/her grandmother, Luda Cook Smith of Mason City, Iowa, in which the author records "I modeled two characters after your father & mother...." That father and mother were Civil War Congressional Medal of Honor winner Captain Henry I. Smith (1840-1910) and his wife Delight Bogardus Smith (1845-1924). Whether all these Smiths are related to Elbert Smith is unclear. Elbert A. Smith (1871-1959) wrote many fiction and nonfiction titles with a Mormon emphasis; he was a leader of the RLDS Church (Reorganized Church of Jesus Christ of Latter Day Saints), serving as a member of that church's First Presidency (1909-38) and as Presiding Patriarch (1939-58). A very scarce title with absolutely unique and lengthy author inscription to his heroine's model.

      [Bookseller: Main Street Fine Books & Manuscripts, AB]
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        BOLLETTINO DEL CIRCOLO NUMISMATICO NAPOLETANO, 62 FASCICOLI, 1916-1990

      Bollettino del Circolo numismatico napoletano, 62 fascicoli, Napoli, a. I-LXXII, 1916-1990, pp. 5000 circa complessive, riccamente illustrato. 1916, n. 1, pp. 62, cm 29, elegante legatura in mezza pelle, piatti in carta marmorizzata e titoli in oro al dorso, conservata la br. ed. originale (tutto il pubblicato per il 1916). 1917, n. 2, pp. 62, cm 29, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1917). 1918, n.3, pp. 80, cm 29, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1918). 1919, n. 4, pp. 16, cm 29, br. ed. (tutto il pubblicato per il 1919). 1920, pp. 56, cm 29, br. ed. (tutto il pubblicato per il 1920). 1921, fasc. I, pp. 50, cm 27, br. ed. protetta da carta gigliata + fasc. II, pp. 50, cm 28, br. ed. protetta da carta gigliata + fasc. III, pp. 54, cm 28, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1921). 1922, fasc. I-II, pp. 54, cm 28, br. ed. protetta da carta gigliata. 1923, fasc. I-II, pp. 56, cm 27, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1923). 1924, fasc. I-II, pp. 88, cm 24, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1924). 1927, fasc. I, pp. 52, cm 24, br. ed. + fasc. II, pp. 100, cm 24, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1927). 1928, fasc. I-II, pp. 48, cm 25, elegante legatura in mezza pelle, piatti in carta marmorizzata e titoli in oro al dorso, conservata la br. ed. originale (tutto il pubblicato per il 1928). 1929, fasc. I-II, pp. 100, cm 25, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1929). 1930, n. 1, pp. 32, cm 24, br. ed. + n. 2, pp. 32, cm 24, br. ed. + n. 3, pp. 32, cm 24, br. ed. + n. 4, pp. 28, cm 24, br. ed. (tutto il pubblicato per il 1930). 1931, n. 1, pp. 24, cm 24, br. ed. + n. 2-4, pp. 34, cm 24, br. ed. (tutto il pubblicato per il 1931). 1932, n. 1, pp. 38, cm 24, br. ed. + n. 2, pp. 32, cm 24, br. ed. + n. 3, pp. 28, cm 24, br. ed. (tutto il pubblicato per il 1932). 1933, n. 1, pp. 78, cm 29, br. ed. protetta da carta gigliata + n. 2, pp. 54, cm 28, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1933). 1934, n. 1, pp. 60 + n. 2, pp. 62, cm 28, entrambi i fascicoli elegantemente legati in un volume in mezza pelle, piatti in carta marmorizzata e titoli in oro al dorso, conservata le br. ed. originali (tutto il pubblicato per il 1934). 1935, n. 1, pp. 74, cm 28, br. ed. protetta da carta gigliata, splendido ex libris araldico al frontespizio + n. 2, pp. 58, cm 28, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1935). 1936, pp. 74, cm 28, br. ed. (tutto il pubblicato per il 1936). 1937, pp. 106, cm 29, br. ed. (tutto il pubblicato per il 1937). 1938, pp. 58, cm 28, br. ed. (tutto il pubblicato per il 1938). 1939, n. 1, pp. 32, cm 29, br. ed. + n. 2, pp. 82, cm 29, br. ed. (tutto il pubblicato per il 1939). 1940, pp. 88, cm 29, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1940). 1941, pp. 48, cm 29, br. ed. (tutto il pubblicato per il 1941). 1942-1945, pp. 56, cm 29, br. ed. (tutto il pubblicato dal 1942 al 1945). 1946, pp. 75, cm 28, br. ed., al frontespizio dedica del Circolo numismatico napoletano in elegante grafia (tutto il pubblicato per il 1946). 1947-1948, pp. 100, cm 30, elegante legatura in mezza pelle, piatti in carta marmorizzata e titoli in oro al dorso, conservata la br. ed. originale (tutto il pubblicato per il 1947 e 1948). 1951, pp. 86, cm 29, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1951). 1952, pp. 108, cm 29, br. ed. protetta da carta gigliata (tutto il pubblicato per il 1952). 1953, pp. 122, cm 29, br. ed. (tutto il pubblicato per il 1953). 1954, pp. 94, cm 29, br. ed. (tutto il pubblicato per il 1954). 1955, pp. 60, cm 29, br. ed. (tutto il pubblicato per il 1955). 1957, pp. 86, cm 29, br. ed. (tutto il pubblicato per il 1957). 1958, pp. 66, cm 29, br. ed. (tutto il pubblicato per il 1958). 1960-1961, pp. 198, cm 30, br. ed. (tutto il pubblicato per il 1960 e 1961). 1962, pp. 96, cm 29, br. ed. (tutto il pubblicato per il 1962). 1963, pp. 133, cm 29, br. ed. (tutto il pubblicato per il 1963). 1964, pp. 122, cm 29, br. ed. (tutto il pubblicato per il 1964). 1965-1966, pp. 152, cm 30, br. ed. (tutto il pubblicato per il 1965 e 1966). 1967, pp. 110, cm 30, br. ed. (tutto il pubblicato per il 1967). 1968, pp. 96, cm 30, br. ed. (tutto il pubblicato per il 1968). 1969, pp. 92, cm 30, br. ed. (tutto il pubblicato per il 1969). 1970, pp. 64, cm 30, br. ed. (tutto il pubblicato per il 1970). 1971, pp. 68, cm 30, br. ed. (tutto il pubblicato per il 1971). 1974-1975, pp. 96, cm 30, br. ed. (tutto il pubblicato per il 1974 e 1975). 1976, pp. 74, cm 30, br. ed. (tutto il pubblicato per il 1976). 1981-1982, pp. 78, cm 30, br. ed. (tutto il pubblicato per il 1981 e 1982). 1983-1986, pp. 134, cm 30, br. ed. (tutto il pubblicato dal 1983 al 1986). 1987-1990, pp. 88, cm 30, br. ed. (tutto il pubblicato dal 1987 al 1990, trattasi dell'ultimo numero edito). Il lotto include quasi tutto il pubblicato per questo periodico, compresi i fascicoli più rari e ricercati. Al Bollettino del Circolo numismatico napoletano collaborarono i più preparati numismatici del XX secolo, i quali, attraverso una miriade di attenti studi relativi a tutti i settori della numismatica, editi sul periodico partenopeo, diedero un notevole apporto alla progressione delle conoscenze in questa disciplina. Minimo alone di vecchia gora non deturpante ai fascicoli 1920, 1940 e alla brossura del fascicolo 1917, sporadiche fioriture e consuete tracce d'uso su alcuni fascicoli, tuttavia nel complesso lotto in stato di conservazione più che buono. Insieme di estrema rarità. Altri libri di numismatica disponibili sul sito www.biblionumis.it

      [Bookseller: Studio Bibliografico Idrometra]
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