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Displayed below are some selected recent viaLibri matches for books published in 1917

        Elskovskunsten af Publius Ovidius Naso.

      Indledet og oversat af Walt Rosenberg. Med originallitografier, udfördt paa Japanpapir samt vignetter af Axel Salto. (Köpenhamn), Chr. Christensen, (1917). 3-137,(1) s. Illustrerad med inklistrade litografier i texten. Utsökt gult marokängbd med stilfull rygg- och pärmdekor i guld och blindtryck samt gulddekorerade pärmkanter och övre guldsnitt (Henrik Park, Esselte, 1954). Omslaget medbundet. I papplåda med grön klotrygg och initialerna "EW" blindpressade i fylld guldcirkel på locket. Lådans rygg med trasiga falsar och dess lock lite solkigt och med en liten fuktfläck. Ur Erik Wettergrens och senare Nils Bonniers bibliotek.. Tryckt i 350 numrerade och av konstnären signerade exemplar, varav detta är nummer 157. Bandet är komponerat av Henrik Park, bundet av W. Kimström och förgyllningsarbetena är utförda av K. Svensson. Det ställdes ut på 10:e triennalen i Milano 1954, där det tilldelades diplome d'honneur, och senare på Nationalmuseum 1956 och är avbildat i deras utställningskatalog 235

      [Bookseller: Mats Rehnström]
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        Dekorative vorbilder. jahrgang xxvii. stuttgart, verlag julius hoffmann, s.a. (1917).

      Cartella di cm. 35, pp. (12) di testo esplicativo + 80 splendide tavole a colori a fogli sciolti entro cartella editoriale in tela rossa. Perfetto stato di conservazione. Rara annata di questa rivista d'arte decorativa pubblicata in anni mitici per lo sviluppo artistico europeo ed illustrata da grandi nomi del tempo.

      [Bookseller: Studio Bibliografico Benacense]
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        The Curtiss Standard JN-4B Military Tractor Hand Book

      Curtiss Aeroplane and Motor Corporation. Buffalo. Curtiss Aeroplane and Motor Corporation. 1917. Bound in imprinted green cloth over boards. Thin 8vo (5"x8"). The First Edition. Illustrated with diagrams, 3 of which are fold-outs,detailing the specs and assembly instructions for the airplane.Laid-into volume are two Request for Transportation receipts issued by the U.S. War Department and a period Morse Code Pocket Signal Disk. The Curtiss JN-4 "Jenny" was one of a series of "JN" biplanes built by the Curtiss Aeroplane Company of Hammondsport, New York, later the Curtiss Aeroplane and Motor Company. Although the Curtiss JN series (the common nickname was derived from "JN") was originally produced as a training aircraft for the U.S. Army, the "Jenny" continued post-World War I as a civil aircraft as it became the "backbone of American post-war [civil] aviation.Thousands of surplus Jennys were sold at bargain prices to private owners in the years after the War and became central to the barnstorming era that helped awaken America to civil aviation through much of the 1920s. The Curtiss JN-4 is possibly North America's most famous World War I aircraft. It was widely used during World War I to train beginning pilots, with an estimated 95% of all trainees having flown a JN-4. The U.S. version was called "Jenny", a derivation from its official designation. It was a twin-seat (student in front of instructor) dual control biplane. Its tractor prop and maneuverability made it ideal for initial pilot training with a 90 horsepower (67 kW) Curtiss OX-5 V8 engine giving a top speed of 75 miles per hour (121 km/h) and a service ceiling of 6,500 feet (2,000 m). The JN-4B was powered by an OX-2 piston engine, 76 built for the U.S. Army, nine for the U.S. Navy. The Jenny remained in service with the US Army until 1927. After World War I, thousands were sold on the civilian market, including one to Charles Lindbergh in May 1923 in which he then soloed. Surplus US Army aircraft were sold, some still in their unopened packing crates, for as little as $50, essentially "flooding" the market.With private and commercial flying in North America unhampered by regulations concerning their use, pilots found the Jenny's slow speed and stability made it ideal for stunt flying and aerobatic displays in the barnstorming era between the world wars, with the nearly identical Standard J-1 aircraft often used alongside it. Some were still flying into the 1930s. Small Blind embossed stamp of the State of California Bureau of Weights and Measures to lower corner of Front Free Endsheet and Title Page. A bit musty, else a Near Fine, bright, crisp copy unblemished by foxing or any other blemish to text or plates.

      [Bookseller: Heldfond Book Gallery, ABAA-ILAB ]
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      1917. hardcover. Potter, Beatrix. APPLEY DAPPLY&#39;S NURSERY RHYMES. London: Frederick Warne and Co., n.d. [1917]. Original green-grey boards lettered in red, with front cover pictorial onlay. <p>First Edition (first or second printing, indistinguishable from each other, which came out in October and November 1917). The third printing did not come out until 1919 1920; it <i>is</i> distinguishable from the earlier two, because its front endpaper lists JOHNNY TOWN-MOUSE, which came out in 1918.</p> <p>Most of these rhymes are Beatrix Potter&#39;s own, but also included is "You know the old woman who lived in a shoe?". She first did illustrations for that rhyme as early as 1893, and she and Warne planned a volume of illustrated verse soon after PETER RABBIT made such a hit in 1901-1902. However it kept getting set aside for other volumes, and then Norman Warne died in 1905, and the project was dropped for a dozen years -- when in 1917 Fruing Warne asked her for another story and she did not have one. (Five years later there would be another volume of rhymes, CECILY PARSLEY&#39;S NURSERY RHYMES.)</p> <p>This is a very attractive, just-about-fine copy (fine except for light foxing on only the edges of the leaves). Linder pp 225-229 & p. 430; Quinby 23.</p> BOOKS WRITTEN BY WOMEN, CHILDREN&#39;S / JUVENILE (Sumner & Stillman Code:12147)

      [Bookseller: Sumner & Stillman]
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      Chicago: A. C. McClurg & Co.,. 1917. original green cloth, front and spine panels stamped in gold.. Gift inscription in ink on front free endpaper. Lower corner tips. lighy bumped, mild flaking to spine lettering, still a very bright,. nearly fine copy in nearly fine dust jacket with some mild edge. rubbing, light shelf wear to spine ends and mild age-darkening and. dust soiling to spine and rear panels. Nice copies of this book are. uncommon and are quite scarce in jacket. (#136391).. First edition. Protagonist awakens in a grim world of the future dominated by socialism and science and learns that legend has made him a kind of messiah. He leads a successful revolt against the establishment. The story, first published in EVERYBODY&#39;S MAGAZINE as a four-part serial, June- September 1917, is one of the earliest American dystopian novels. "A more considerable work than is generally recognized, despite the pulp adventure aspects. One can find among the author&#39;s ultraconservative values such Orwellian anticipations as omnipresent slogans, euphemistic terms for horrible institutions, the artificial language Spikisi, the mechanics of thought control, and the apparatus of the police state. While the book is a deutero-WHEN THE SLEEPER WAKES, it is independent in detail, and much Rousseau&#39;s best work." - Bleiler, Science-Fiction: The Early Years 1922. Anatomy of Wonder (1976) 2-131 and (1981) 1-143. Clareson, Science Fiction in America, 1870s-1930s 662. Clarke, Tale of the Future (1978), p. 46. Gerber, Utopian Fantasy (1973), p. 147. Locke, Spectrum of Fantasy, p. 186. Negley, Utopian Literature: A Bibliography 315. Sargent, British and American Utopian Literature, 1516-1985, p. 160. Bleiler (1978), p. 171. Reginald 12502. Smith, American Fiction, 1901-1925 E-163.

      [Bookseller: L. W. Currey, Inc.]
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      Blyertsteckning. Signerad: "Leander Engström". 20,5 × 32 cm (dagermått). Troligen utförd 1917. Inramad. Ny syrafri passepartout.. Skiss till gouachen "Renfrukost" (1917), som avbildas på s. 67 i Leander Engström av Nils Palmgren (1939). Leander Engström hade 1916 byggt en stuga åt sig i Abisko där han kunde leva och arbeta under somrarna. Denna teckning har säkerligen tillkommit i Lappland och visar hur konstnären sökande arbetat sig fram till den slutliga kompositionen

      [Bookseller: Lorenz B. Hatt]
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        La Jeune Parque

      Paris: Gallimard. 1917. First Edition, one of 575 copies on Arches. 4to; fine in original wrappers, with no sunning to them and no wrinkling, in protective glassine and custom-made tan cloth clamshell box with paper label printed in red on spine with author and title. An unusually nice copy.& Paul-Ambroise Valery (1871-1945), probably best known as a Symbolist poet (influenced by Mallarme), made his literary name with publication of this book and CHARMES (1922). He was elected to the French Academy in 1925 and held the poetry chair at the College de France from 1937. Connolly Modern Movement 31a. <br>See an <A HREF= >Image.</A><br>

      [Bookseller: Priscilla Juvelis, Inc.]
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      Paris: Nrf, 1917. relié. 17x22cm. Edition originale, un des 150 exemplaires numérotés sur Hollande, seuls grands papiers. Reliure à la bradel en demi maroquin noir, dos lisse, date en queue, couvertures et dos conservés, reliure signée Goy & Vilaine. Envoi autographe signé de l&#39;auteur à Monsieur et Madame Autant, les parents du cinéaste Claude Autant-Lara. Rousseurs principalement en marge extérieure. Exemplaire bien établi du premier livre de l&#39;auteur. - Nrf, Paris _1917, 17x22cm, relié. - relié

      [Bookseller: Librairie Le Feu Follet]
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      1917. 2. (CORY,FANNY)illus. THE FANNY CORY MOTHER GOOSE. (Indianapolis): Bobbs Merrill (1913, 1917). 4to (9 x 11 1/4"), pictorial boards, slight soil to cover and spine ends chipped, else VG+ in chipped dust wrapper. An especially wonderful Mother Goose, this is illustrated by Cory (who also illustrated several Baum titles) with 13 fabulous and imaginitive color plates plus beautiful in-text drawings in 2-color and in black & white. Very scarce, especially in dust wrapper.

      [Bookseller: Aleph-Bet Books, Inc.]
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        The Romance of King Arthur and His Knights of the Round Table

      1917. One of 500 Copies Signed by Arthur RackhamIn a Majestic Inlaid Binding by Chris LewisLEWIS, Christopher (Binder). RACKHAM, Arthur. The Romance of King Arthur and His Knights of the Round Table. Abridged from Malory&#39;s Morte D&#39;Arthur by Alfred W. Pollard. Illustrated by Arthur Rackham. London: Macmillan and Co., Ltd., 1917. Limited to 500 copies signed and numbered by the artist, this being copy no. 290. Quarto (11 x 8 5/8 in; 284 x 220 mm). xxiv, 509, [1], pp. Sixteen tipped-in color plates, with captioned tissue guards, seventy black and white drawings. Bound by Chris Lewis (stamp-signed), c. early 1970s, in full crimson morocco. Triple gilt-ruled borders. Central pictorial inlay of Sir Launcelot slaying the dragon, with multi-colored morocco inlays and painted highlights. Gilt ornamented and decorated compartments. Gilt rolled edges. Gilt dentelles. Top edge gilt, others rough. A fresh, crisp, and very fine copy. Housed in a later custom drop-back clamshell box."The Romance of King Arthur (1917) was another wartime book, commissioned, like the Allies&#39; Fairy Book, to reflect - and cash in upon - the nations&#39; mood of patriotism,and martial endevour. In preparing for the commission, Rackham turned to his own copy of Beardsley&#39;s Morte D&#39;Arthur and, following the pattern of the Beardsley version, drew square and rectangular chapter heardings to be set at irregular intervals up and down the page. As in Beardsley, these have a stark black and white appearance, though Rackham cannot resist the occasional wryly humorous touch such as a barking dog or a jester&#39;s head. The closest Rackham comes to Beardsley, however, is in his illustration of Sangreal, a flaming lidded chalice carried by an attenuated golden-haired white-robed maiden. This homage to Aubrey is based closely on Beardsley&#39;s own angel in The Achieving of the Sangreal, the frontispiece to Volume Two of Morte D&#39;Arthur." (James Hamilton. Arthur Rackham. A Biography. pp.111-112).The great Christopher Lewis began his career at the internationally renowned Bayntun-Riviere Bindery of Bath, England, during the early 1960s as a finisher. In the 1970s, he established his own bindery and further developed his masterful inlay and gilt work, incorporating innovative painted highlights (here as dragon flames) for heightened dramatic visual effect.Latimore and Haskell, p. 47. Riall, p. 130.

      [Bookseller: David Brass Rare Books, Inc.]
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        Little Brother & Little Sister

      1917. first edition. Exquisite Pitch of Execution"One of 525 Copies Signed by the ArtistMagnificenty Bound by Bayntun-Riviere[BAYNTUN-RIVIERE, Binders]. [RACKHAM, Arthur, artist]. GRIMM, Jakob and Wilhelm. Little Brother & Little Sister. And Other Tales From the Brother Grimm. Illustrated by Arthur Rackham. London: Constable & Co., Ltd., 1917. Limited to 525 copies signed by the artist, this being copy no. 259. Quarto (10 5/8 x 8 3/8 inches; 269 x 213 mm.). Thirteen tipped-in color plates, forty-three black and white text illustrations. Bound by Bayntun-Riviere c. 1965 in full midnight green morocco with inlaid pictorial central panel reproducing the color-plate "She Begged Quite Prettily to be Allowed to Spend the Night There" (opposite p. 206) in gilt-tooled frame within triple gilt-ruled borders and large, gilt foliate corner-pieces. Gilt rolled edges. Broad, gilt dentelles. Gilt decorated compartments. All edges gilt. A magnificent and very fine copy, housed in the original fleece-lined dark green cloth slipcase."&#133;it was during these years that he illustrated a new Brothers Grimm title, Little Brother and Little Sister which is in effect one of his crowning achievements. In these twelve colour plates we find the most astonishing versatility of style, and an exquisite pitch of execution. The style ranges from the delicate to the virtual burlesque caricature. On the one hand is an example of pre-Raphaelite, infinitely tender portrayals of womanhood, such as &#39;The True Sweetheart&#39;, or the delicate realism of Maid Maleen and her waiting woman escaping from the terrible tower of her father. Yet within the same book we find the classic Rackhamerie of the gnome with his beard caught in the cleft of the semi-anthropomorphized tree, appealing to Rose-red and Snow-white for help and the Hassell-like custard-pie of the three soldiers and the long nose. This is one of the few books illustrated by Rackham from which it would be possible to select any single-colour picture in order to demonstrate Rackham&#39;s art at its finest." (Gettings. Arthur Rackham, pp. 116-117).Lattimore and Haskell, p. 46. Riall, p. 129.

      [Bookseller: David Brass Rare Books, Inc.]
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        The Wild Swans At Coole

      Cuala Press, 1917. 1st edition. Hardcover. Original dark blue paper boards, a little darkened at the edges, else very clean; slightly darkened buff linen spine with printed title label; the endpapers, matching the colour of the boards, and the pages themselves, are very clean and tidy. Only 400 copies printed. Additionally, this is an interesting association copy with an inscription from Sylvia Lynd to her husband Robert - &#39; Robert Lynd 27.11.17(an unbirthday present) from S.L.&#39; The Lynds were leading figures of London literary life in the 1910s, and Robert, born in Belfast, was a journalist, author and critic, as well as an ardent Irish Nationalist. The date of the inscription was the exact day of publication, suggesting the Lynds might have been in Ireland at that time. In sum, a very nice copy indeed of one of Yeats&#39;s most important works.

      [Bookseller: Shellhouse Books]
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      [Np. ca. 1917-20].. Pencil, with watercolor highlights and fill. Approximately 28 x 21.5 cm, on artboard, affixed to later matboard (the latter 35.5 x 25 cm). A bit dust darkened, with two small spots in the left blank portion of the sheet, otherwise very good. A charming period drawing, inscribed as a gift to his model, Hildegarde Hirsch, in the lower margin: "Rockwell To Hildegarde." Hirsch, a performer with the Ziegfeld Follies, was both Kent&#39;s model and his lover. That she may have been the model for this lively depiction of a woman in a short dress with high collar and half- sleeves, arms raised, with a tight period flapper&#39;s hat, is a good possibility.

      [Bookseller: William Reese Company - Literature ABAA-]
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        The Ship that Sailed to Mars

      Kimberley, South Africa, 1917-19. 10 x 8 inches. The original manuscript sketchbook for Timlin&#39;s fantasy masterpiece, published in 1923: 87 pages, pencil, pen and ink drawings on 70 pages, with numerous pencilled notes and annotations in the artist&#39;s hand. Original maroon imitation leather boards, spine perished and lower cover detached, internally fine. With the pencilled notation "William M. Timlin / 36 Milner St. / Kimberley" on front pastedown. Preserved in a custom dark blue morocco-backed slipcase with inner wrapper . THIS UNIQUE SKETCHBOOK SHOWS THE EVOLUTION OF TIMLIN&#39;S MOST FAMOUS BOOK IN OVER 50 DRAWINGS, SKETCHES AND NOTES. Highlights include a fine pencil and watercolor sketch for "Pan", several page sketches for "Launching of the Ship" including studies of various ship designs, a delightful finished pencil drawing of the ship&#39;s crew ("The Manning of the ship"), drawings for "The Building of the Ship", "The Shipyard", evolution of the book&#39;s contents and title pages, "The Departure of the Ship" and studies of various grotesque animals for "The Forest" and "The Zoo". In addition, there are 25 sketches for Timlin&#39;s exhibition works, including "Cinderella", drapery studies, architectural schemes, and studies for furniture, all annotated by the artist. William M[itcheson] Timlin was born in Northumberland, England, and studied art in Newcastle before following his parents to South Africa, where he completed his studies in art and architecture. He then practiced as an architect, designing a number of major public buildings in Kimberley; at the same time he worked as an artist, producing paintings, etchings and pastels of conventional subjects, in addition to the watercolor fantasies for which is he best known. He also wrote stories and music, and did periodical illustrations. In 1923 he published "The Ship that Sailed to Mars", which has become a fantasy classic, its genesis revealed in this superb collection of drawings

      [Bookseller: James Cummins Bookseller]
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      London: The Egoist, Ltd., 1917.. Printed buff wrappers. Trace of usual tanning from wrapper to facing pages, small tasteful bookplate inside front wrapper (a bit offset opposite and shadowed slightly through upper wrapper) and ink acquisition date on half- title (see below), minute nick at crown of spine, otherwise a lovely copy, without any of the creases or attempts at restoration common to copies of this title. First edition of the author&#39;s uncommon first book. One of a total edition of five hundred copies. With the small bookplate inside the front wrapper, and ink acquisition note ("Sept. 27th 1917") on the half-title, of Rev. Charles C. Bubb, proprietor of The Clerk&#39;s Press, friend, correspondent and publisher of many of the prominent Imagists and their contemporaries, including H.D., Aldington, Cournos, Flint, Storer, et al. The book was formally published in June. Few first books by poets can claim to have made only a small portion of the impact traceable to this book. "...Something quite new in English verse and far beyond the capacity of Laforgue who is given credit for influencing him" - Connolly. GALLUP A1. MODERN MOVEMENT 30.

      [Bookseller: William Reese Company - Literature ABAA-]
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        &#39;Noh&#39; or Accomplishment: A Study of the Classical Stage of Japan

      New York: Alfred A. Knopf, 1917. First American edition. 8vo. Photogravure frontispiece. viii, 265, [1] pp. Publisher&#39;s blue cloth with paper spine label (chipped at edges), very good. Gallup A13b . INSCRIBED from collector and patron John Quinn to scuptor Gwen Baxter on the front free endpaper, "To Miss G. Baxter from John Quinn at the suggestion of Ezra Pound. June 29, 1917." Pound had written a letter to Quinn the previous February asking his friend to give assistance to Baxter. Her sister, Viola Baxter Jordan, was a childhood friend and lifelong correspondent of Pound, William Carlos Williams, and H.D

      [Bookseller: James Cummins Bookseller]
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      Garden City, New York: Doubleday, Page and Company, 1917. Memorial Edition" and "Edition de Luxe." ONE OF 1,075 COPIES. An Unopened Set in Lovely BindingsWith Red Morocco Doublures 229 x 152 mm (9 x 6"). 14 volumes. LOVELY DARK BLUE CRUSHED MOROCCO, LAVISHLY GILT, BY STIKEMAN, covers with very broad and animated gilt borders of swirling foliage, flowers, and butterflies in the style of Derôme, raised bands, spine compartments attractively gilt with antique tools, RED MOROCCO DOUBLURES with multiple rules and other gilt elaboration, watered silk free endleaves, top edges gilt, other edges untrimmed. ENTIRELY UNOPENED. With 90 plates (45 images, each in two states), including a colored frontispiece in each volume (the one in volume I signed by the artist), as well as an engraved half title with vignette, signed by the publisher. Original tissue guards. Preliminary page of first volume with a folding leaf of manuscript, apparently in Porter's hand, tipped in. Title pages and half titles in blue and black. Spines evenly sunned, one leaf with minor marginal tear at fore edge, otherwise AN EXTRAORDINARILY BEAUTIFUL SET IN VIRTUALLY FAULTLESS CONDITION. A man who led a colorful and checkered life, William Sydney Porter (1862-1910) grew up in North Carolina and was employed in an Austin, Texas, bank for five years before becoming a journalist, writing a daily humor column from 1895-96 for the Houston "Post." In the latter year, he was indicted for embezzlement in connection with his banking days, fled to Honduras, then later surrendered to authorities and served four years in prison. Shortly after his release in 1902, Porter (who, by this time, had adopted the pen name "O. Henry") began to write short stories that were an immediate success and that brought him to the attention of the "World" magazine, which agreed to pay him the extraordinary sum of $100 per story submitted. Thankfully for us, he was so uncareful with money that he felt pressured to write almost continuously for the rest of his life, producing a very substantial amount of narrative. Despite being formulaic, his timeless stories like "The Gift of the Magi" have pleased generations. As Day says, O. Henry was "a natural story-teller with awesome fertility in inventiveness [who] worked every conceivable variation within a rigid pattern: the attention-compelling opening, the clever misdirection to suggest an obvious outcome to the reader, and the overthrow of that outcome in the triumphant conclusion with a surprise for which the reader then knows he was slyly prepared. The formula is pat and the stories rarely probe deeply, but within their sphere they are meaningful in their sympathy for the underdog, their recognition of sacrifice and pain in commonplace lives, their delight in youth's quest for joy amidst a humdrum world." The tipped-in manuscript appears to be an excerpt from a play, which may have been unpublished, since none of the characters in the scene seems to be recorded anywhere. Apart from the contents here, the packaging is simply gorgeous, the decorative morocco bindings featuring leather doublures and a text that has obviously never been touched. (For more on Stikeman, see item #122, above.).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        His Last Bow. A Reminiscence of Sherlock Holmes

      London, George Bell. 1917, 1917. Short mysteries. First Colonial Edition. 8vo. Publisher&#39;s light red cloth titled and decorated in gilt and blind to spine and front board. Lightly rubbed and bumped to extremities, strong and bright. In a clean, sharp dustwrapper depicting the man himself (clutching a chicken, but a chap&#39;s private life is his own, what?), lightly sunned to front panel, with some edgewear, marginal chipping and two small pieces of loss to the spine ends, compensated for by the fact that it is fabulously scarce in any form of wrapper let alone one strong and bright enough to rush out and do battle with the enemies of the Empire in its own right. Internally clean with some light occasional spotting. Neat ownership to front flyleaf. A most impressive copy of a scarce item. &#39;His Last Bow&#39; marked the end of Holmes&#39; career, though not the end of his adventures... The title story covers the great detective&#39;s war service, and &#39;The Bruce-Partington Plans&#39; finds Doyle moving into the espionage genre. Green & Gibson [A40]. HUBIN; Crime Fiction IV.

      [Bookseller: Adrian Harrington Rare Books]
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        Appley Dapply&#39;s Nursery Rhymes [Peter Rabbit New Series Number Five]

      London: Frederick Warne and Co, No date stated [1917 actual]. First Edition, [First Printing] . Hardcover. ______ Condition Summary: (Very Good+/[No dustjacket]) A sound book with clean covers and pages. ______ All notable faults: Very light wear on the edges and contemporary previous owner&#39;s inscription (A present from Harrogate to Dear Joan From Norman July 2nd 1919) on the half title page. Dustjacket not present. 15161. <b> Bibliographical Details: </b> First Edition, [First Printing] [4 specific points have been used to verify the edition of this book and are available on request. [Linder p 430 and Quinby 23]] .

      [Bookseller: Kirkland Books Ltd]
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        GERMAN INFLATIONARY CURRENCY, nearly 600 pieces

      Germany, [1917 - 1921]. Near Fine. An album containing nearly 600 pieces of German inflationary bank notes, all appearing to be from 1917 to 1921, and of various sizes, most slightly larger than a business card. The album has a presentation bookplate dated 1922 signed by local officials. Germany, during its near collapse after the First World War because of economic sanctions placed on them by the Treaty of Versailles, issued currency, often in very large denominations, due to severe inflation. Many of these examples have beautiful woodcuts, and all are in superb condition. A great collection to study and appreciate.

      [Bookseller: Charles Agvent]
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        Heath&#39;s Picturesque Annual: Versailles by Leitch Ritchie; Versailles [by Charles Heath]; Paris in 1841 by Mrs. Gore. [3 volumes together extra-illustrated]

      Three volumes from &#147;Heath&#146;s Picturesque Annual&#148; series. Large 8vo. Each volume is extra illustrated. Uniformly bound in three quarter deep red morocco with marbled boards. Spines are ornately gilt; upper hinges are neatly repaired. Some rubbing and wear to extremities and corner tips of boards. All edges are gilt. Book plate on inside front covers: &#147;Ex-Libris Joseph Francis Daly.&#148; Presumably the son of Augustin Daly a famous theatre producer and a collector of books. Joseph F. Daly authored a biography of his father &#150; &#147;The Life of Augustin Daly.&#148; Macmillan, 1917. 1.) Versailles. By Leitch Ritchie&#133; London: Longman, Orme, Brown, Green, and Longmans, 1839. pp. vi, [2], 256. With 20 engraved plates including extra illustrated title. Interspersed with 80 extra plates dating from the 17th to 19th century (portraits and views) including a small engraving of Louis XIII with Italian sub-title &#147;Lodovico XIII Re di Francia e di Navarra&#148; which a penciled inscription dates to 1646. Bound at the end of the volume is the Amsterdam 1722 edition of &#147;The Labyrinth of Versailles&#148; - title page, preface, and the 39 plates &#150; all neatly trimmed and mounted. The title page for the &#147;Labyrinth&#148; is in Dutch &#150; t&#146;Doolhoff te Versailles, Bestaande in XLI. Keurelyke Verbeeldingen van alle de uitmuntende Fonteinen van het zelve Doolhof&#133; Amsterdam: Hendrik Bosche, 1722. The fold out plan of the Labyrinth is not present. The preface is in English and the tables of plates as well as the verse description for each plate are in French, German, English and Dutch. 2.) Paris in 1841. By Mrs Gore. With twenty-one highly-finished engravings, from original drawings, by Thomas Allom. London: Longman, Orme, Brown, Green, and Longmans, 1842. pp. viii, 268. With 21 engravings (6 separate plates including a chromolithograph and an illustrated extra title page, and 15 engravings which accompany the text). Bound with an additional 133 plates from various 19th century books illustrating landmark sites, important personages and scenes of daily life etc. 3.)Versailles [by Charles Heath]. London: Longman and Co., [c.1840-1848]. pp. viii, 224. With 24 plates including illustrated title (not necessarily placed according to the index), and 41 additional plates 37 of which are double page or fold-outs. Many of the plates are line engravings illustrating the interior architecture and design of Versailles. One plate titled &#147;revue de la Garde Nationale&#148; is a panorama illustration folded into 7 sections. Several plates at the end have a military theme. The original 24 plates display some damp staining on the lower corner of the margin. Postage for these volumes will cost extra. Please inquire about shipping.

      [Bookseller: Robert McDowell Antiquarian Books]
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        Of the Just Shaping of Letters from the Applied Geometry of Albrecht Dürer Book III.

      The Grolier Club, New York 1917. (4), 40, (4) pages. 4to (31,5 x 22 cm). Original marbled paper boards, backed in vellum, title gilt direct on spine. Only top edge cut. Shelf wear, wear to boards and foot of spine, two small cracks at spine.Limited edition. One of 215 copies on paper printed by Emery Walker and Wilfred Merton at the Mall Press in Sussex. This book reproduces the section on letterforms from the third book of Dürer's "Treatise on Applied geometry" with a new translation into English by Robert T. Nichol. Originally published in Nuremberg in 1525. Dürer's treatise helped to perpetuate a rigorous mathematical approach to the relatively new science of typography. This is a distinguished presentation of Dürer's influential study, one of the most elegant and sought-out books published by the Grolier Club."He [Bruce Rogers] made ready forms with his own hands, and put the sheets through the press. /.../ the book is distinguished not only for its design and for the magnificently drawn Dürer-esque title-page, but for the admirable inking and impression which brings out the full beauty of the Centaur type." Warde p. 26, No. 126

      [Bookseller: Antikvariat Morris Stockholm/Södertalje]
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        Introduction a l'Analyse des Lignes Courbes Algébriques.Geneve: Freres Cramer & Cl. Philbert, 1750.

      First edition of this major treatise on analytic geometry, containing Cramer's rule and paradox, "the most complete exposition of algebraic curves existing at that time" (Struik), and "a worthy successor to Newton's Enumeratio." (Boyer). According to Cantor, this together with Euler's Introductio, forms the first actual text-book on algebraic curves, and it "contains the earliest demonstration that a curve of the n<sup>th</sup> degree is in general determined if ½n(n+3) points on it be given." (Ball).<br/><br/> Honeyman 775; Sotheran's Catalogue 770, 1917 ('very rare'). <br/><br/> (DSB:) "Cramer's major publication <i>Introduction à l'analyse lignes courbes algébriques</i>, was published in 1750 ... The first chapter of the Introduction defines regular, irregular, transcendental, mechanical, and irrational curves and discusses some techniques of graphing, including our present convention for the positive directions on coordinate axes. The second chapter deals with transformations of curves, especially those which simplify their equations, and the third chapter develops a classification of algebraic curves by order or degree, abandoning Descartes's classification by genera. Both Cramer's rule and Cramer's paradox develop out of this chapter. The remaining ten chapters include discussions of the graphical solution of equations, diameters, branch points and singular points, tangents, points of inflection, maxima, minima, and curvature. Cramer claims that he gives no example without a reason, and no rule without an example. <br/><br/> "The third chapter of Cramer's Introduction uses a triangular arrangement of the terms of complete equations of successively higher degree as the basis for deriving the formula <i>v<sup>2</sup>/2 + 3v/2</i> for the number of arbitrary constants in the general equation of the <i>v</i>th degree. This is the sum of <i>v</i> terms of the arithmetic progression 2 + 3 + 4 +... derived from the rows of the triangle by regarding one coefficient, say <i>a</i>, as reduced to unity by division. From this he concludes that a curve of order <i>v</i> can be made to pass through <i>v<sup>2</sup>/2 + 3v/2</i> points, a statement that he says needs only an example for a demonstration. In his example Cramer writes five linear equations in five unknowns by substituting the coordinates of five points into the general second-degree equation. He then states that he has found a general and convenient rule for the solution of a set of <i>v</i> linear equations in <i>v</i> unknowns; but since this is algebra, he has put it into appendix 1. ... The use of raised numerals as indices, not exponents, applied to coefficients represented by capital letters enabled Cramer to state his rule in general terms and to define the signs of the products in terms of the number of inversions of these indices when the factors are arranged in alphabetical order. ... "Cramer's paradox was the outgrowth of combining the formula <i>v<sup>2</sup>/2 + 3v/2</i> with the theorem, which Cramer attributes to Maclaurin, that <i>m</i>th- and <i>n</i>th- order curves intersect in <i>mn</i> points. The formula says, for example, that a cubic curve is uniquely determined by nine points; the theorem says that two different cubic curves would intersect in nine points."<br/><br/> DSB III, p.460; Struik, A Source Book in Mathematics 1200-1800, pp.180-81; Boyer, History of Analytic Geometry, pp.194-96; Ball, A Short Account of the History of Mathematics, pp. 371-72; Coolidge, History of Geometrical Methods, pp.132-33; Cajori, A History of Mathematics, p.241.. 4to: 234 x 190 mm. Contemporary calf, richly gilt spine, lower capitil a little chipped. Pp. XIII, (1:blank), 680, XI, (1:errata) and 33 engraved folding plates. A fine copy

      [Bookseller: Sophia Rare Books]
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        Presse Hauptquartier Leipzig. 1917. 23,7 x 15,7 cm. 8 nichtnumerierte Blätter auf grünem Papier. Originalbroschur mit einem Titellinolschnitt auf gelbem Papier..

      Originalausgabe. Tendenzen der Zwanziger Jahre 3/251 -- Bergius, Das Lachen Dadas 414. Sehr frühe, typographisch interessant gestaltete Pseudo-Dadapublikation. Sehr selten.

      [Bookseller: Antiquariat Günter Linke]
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        La Jeune Parque

      Gallimard Paris: Gallimard. 1917. First Edition, one of 575 copies on Arches. 4to; fine in original wrappers, with no sunning to them and no wrinkling, in protective glassine and custom-made tan cloth clamshell box with paper label printed in red on spine with author and title. An unusually nice copy. Paul-Ambroise Valery (1871-1945), probably best known as a Symbolist poet (influenced by Mallarme), made his literary name with publication of this book and CHARMES (1922). He was elected to the French Academy in 1925 and held the poetry chair at the College de France from 1937. Connolly Modern Movement 31a. See an Image.

      [Bookseller: Priscilla Juvelis, Inc. ]
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        Mrs. Fiske

      The Century Co New York: The Century Co, 1917. FIRST EDITION. Hardcover. Corners slightly bumped. Otherwise a nearly fine copy with lettering on covers quite bright. In the very rare original dust jacket which has had several small chips at extremities expertly restored. The author's first book, very scarce in jacket.

      [Bookseller: Robert Dagg Rare Books ]
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        Li consigli ad un amica e li caratteri. opera tradotta dal francese. s.l. (fermo?), s.a. (seconda meta' '700).

      Manoscritto di cm 26 x 19, cc. 163 di cui (10) di lettera dedicatoria, 69 (prima opera) e 77 (seconda opera) con numeraz. ms. al recto. Il bel frontespizio reca il titolo calligrafato inquadrato da una decorazione geometrico-floreale-animale. Arma nobiliare alla prima carta della lettera dedicatoria, con torre accompagnata in capo da una cometa ondeggiante in fascia ed in punta da un monte di tre cime. L'arma in capo porta una corona nobliare probabilmente di un marchesato. 4 finalini, di cui uno con motto. Solida ed elegante legatura coeva in piena pelle, dorso a 5 nervi con ricchi fregi e titoli in oro; duplice ordine di filetti in oro ad inquadrare i piatti, sguardie in carta marmorizzata e tagli marmorizzati. Scritto su carta vergata. Lievi e superficiali abrasioni ai piatti, qualche segno d'uso alle cuffie, una mancanza reintegrata al frontespizio che non tocca la parte manoscritta. Nel complesso le condizioni sono ottime, le carte candide, l'esemplare è marginoso e fresco. Scrittura elegante, chiara e leggibile in inchiostro marroncino. Il ms., di autore anonimo, propone una traduzione delle due opere pedagogiche di Madame de Puisieux (la prima destinata alle giovani, la seconda ai giovani), accompagnate da una lettera di dedica ""Alla nobildonna Cecilia Forti nata Ricciardi"". Lo stemma, che funge da testata alla lettera di dedica, appartiene alla nobile famiglia Forti di Fermo, originaria di Mogliano e giunta poi sino a Torino (cfr. Mannucci, Nobiliario e Blasonario del Regno d'Italia, Roma 1917, II, p. 250; Spreti, Milano 1928, p. 236). La natura della lettera carica di ammirazione e di sentimento e il motto tratto dalla lettera VII dell'Heroides di Ovidio che appare sul cartiglio (Sic ubi fata vocant concinit albus olor) legittimano l'ipotesi di un autore facente parte di una cerchia ristretta frequentante la famiglia Forti, che si prende a cuore l'educazione della si suppone giovane Cecilia di cui era probabilmente un ammiratore: ""Ragioni così valevoli e giuste non potevano non determinarmi a presentarvi una copia di questo manoscritto, il quale, come già sapete, è la versione nella nostra volgar lingua di due operette francesi contenenti un istruzione per le dame che vogliono vivere e farsi stimare nella Società.'' Ciò ci induce a pensare che si tratti di una traduzione inedita delle due opere francesi apparsa prima della stampa italiana del 1767, Londra (ma Venezia) nella quale, comunque, si trova solamente ""Les conseils..."". Per quel che riguarda gli originali, le due opere apparvero a Parigi nel 1749-50 (Barbier I, col. 698-500). Prolifica scrittrice parigina, de Puisieux fu sposa di Philippe-Florent de Puisieux, avvocato al Parlamento di Parigi e ambasciatore francese in Svizzera. Amica di Diderot, fu precorritrice del pensiero femminista e di questioni riconducibili all'eguaglianza uomo donna, sviluppate poi da autrici come Madame Necker de Saussure e Madame de Stael.

      [Bookseller: Studio Bibliografico Benacense]
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        Theodosii sphaericorum elementorum libri III ex traditione Maurolyci, Messanensis Mathematici. Menelai sphaericorum lib III. Ex traditione ejusdem. Maurolyci sphaericorum lib II. Autolyci de sphaera, quae movetur Liber. Theodosii de habitationibus. Euclidis phaenomena. Brevissime demonstrata. Demonstratio et praxis, trium tabellarum scilicet Sinus recti, Foecundae et Beneficae ad Sphaeralia triangula pertinentium. Compendium mathematicae mira brevitate ex clarissimis Authoribus. Maurolyci de Sphaera sermo.Messina: Pietro Spira, 1558.

      First edition, 'excessively rare' (Sotheran, 1917), of Maurolico's Latin translations of works on 'sphaerics' by four ancient Greek writers, Autolycus, Menelaus, Euclid and Theodosius, those of the first two authors constituting the first printed editions. Maurolico, one of the most original mathematicians of the 16th century, appended his own original propositions on sphaerics, probably based on astronomical observations made from 1548 to 1550 in Sicily, as well as a number of trigonometrical tables, including the first printed tables of secants. Sphaerics, the geometry of the sphere, was regarded by the ancient Greeks as a branch of astronomy rather than of geometry.<br/><br/> The order in which the works are presented by Maurolico is pedagogical rather than historical. He begins with the Sphaerica of Theodosius of Bithynia (ca. 160 BC - ca. 100 BC), a mathematician and astronomer who lived in Tripoli on the Fenicia coast who is thought to be a younger contemporary of Hipparchus, the inventor of trigonometry (although no work by Hipparchus on this subject has survived). Arranged in three books, the Sphaerica discusses the properties of circular arcs lying on the surface of a sphere, notably great circles. Maurolico's version is based on a Latin manuscript of Plato of Tivoli (in turn prepared on the basis of an Arabic translation). The Sphaerica first appeared in the compendium Sphaera published at Venice in 1518; the first separate Latin edition at Vienna in 1529; and the editio princeps of the Greek text at Paris in the same year as the present work. Maurolico also includes later in the present volume his translation of Theodosius's De Habitationibus, which treats the phenomena caused by the rotation of the earth, particularly what parts of the heavens are visible from different geographical locations. <br/><br/> Maurolico next presents his translation of the Sphaericorum of Menelaus of Alexandria (fl. 100 AD). "Menelaus' major contribution to the rising science of trigonometry was contained in his Sphaerica, in three books. It is this work which entitles him to be regarded as the founder of spherical trigonometry and the first to have disengaged trigonometry from spherics and astronomy and made it a separate science" (DSB). The book introduces the concept of spherical triangle (a figure formed by three great circle arcs, which he named 'trilaterals') and proves Menelaus's theorem on the ratios of the lengths of the segments in which the sides of a triangle are divided by a straight line that intersects them all (and its analogue for spherical triangles). The work has not survived in the original Greek, and Maurolico's translation, the first printing of the text in any form, was at first thought to have been based on an Arabic manuscript, but is now believed to derive from a Latin translation by Gerard of Cremona (d. 1187). <br/><br/> Maurolico's translation of Menelaus is followed by his own work Sphaericorum, in two books. This is a continuation and completion of the Sphaericorum of Menelaus, and is "among the most interesting books on the subject published between the sixteenth and seventeenth centuries", according to the National Edition of the works of Maurolico (currently in preparation). Maurolico informs us that his sources for this work, apart from Theodosius, Menelaus and Ptolemy's Almagest, are the treatises of Thabit ibn Qurra, Geber, Peurbach and Regiomontanus. Maurolico also includes later in the present volume a second work of his own composition entitled De Sphaera sermo, which contains a series of theoretical and practical considerations in relation to astronomy on the sphere ('inter Sicut planas circulum, ita inter solidas figuras Sphaeram maximae excellentiae them multis plane rationibus constat'). <br/><br/> The next work in the volume is Maurolico's translation of De sphaera quae movetur by Autolycus of Pitane (fl. 300 BC), which is believed to be the oldest mathematical treatise from ancient Greece that is completely preserved (all earlier Greek mathematical works are reconstructed from later summaries, commentaries, or descriptions of the works). One reason for its survival is that it had originally been part of a widely used collection called the 'Small Astronomy', as opposed to the 'Great Astronomy', i.e., Ptolemy's Almagest. Maurolico's translation is the first complete printing of On the moving sphere - see Hultsch, p. xvi (extracts had appeared in Giorgio Valla's De Expetendis et Fugiendis Rebus Opus, published in 1501).<br/><br/> It is almost certain that Autolycus based On the moving sphere on the earlier works of Eudoxus, whose system of concentric rotating spheres he defends. The book includes 12 questions on spherical astronomy, and discusses the aspect of the heavens and the position of the different celestial circles, in connection with geographical latitude. "In On the moving sphere, a sphere is considered to move about an axis extending from pole to pole. Four classes of circular sections through the sphere are assumed: (1) great circles passing through the poles; (2) the equator and other, smaller, circles that are sections of the sphere formed by planes at right angles to the axis - these are the 'parallel circles'; (3) great circles oblique to the axis of the sphere. The motion of points on the circles is then considered with respect to (4) the section formed by a fixed plane through the center of the sphere. A circle of class (3) is the ecliptic or zodiac circle, and (4) is equivalent to the horizon circle, which defines the visible and invisible parts of the sphere" (DSB). <br/><br/> Euclid makes use of Autolycus' work in his Phaenomena, the last of the four major works on sphaerics to appear in the volume. Euclid's only astronomical work, it was composed not much later than the work of Autolycus, to which it refers, and like it formed part of the 'Little Astronomy'. "The preface gives reasons for believing that the universe is a sphere and includes some definitions and technical terms. Euclid in this work is the first writer to use the term 'horizon' absolutely - Autolycus had written of the 'horizon (i.e. bounding circle)' - and he introduces the term 'meridian circle'. The propositions set out the geometry of the rotation of the celestial sphere and prove that stars situated in certain positions will rise or set at certain times... It is manifest that Euclid drew on Autolycus, but both of them cite without proof a number of propositions, which suggests that they had in their hands a still earlier textbook of sphaeric, which Tannery conjectured to have been the composition of Eudoxus. Many of the[se] propositions are proved in the Sphaerica of Theodosius, written several centuries later" (DSB). The Phaenomena survives in the original Greek, and was first published in Latin translation with Zamberti's edition of the Elements (Venice,1505). <br/><br/> The volume concludes with three sets of tables, together with directions for their use, the Tabellarum sinus recti, foecundae et beneficae. These are, respectively, tables of sines, tangents and secants. The tables of sines and tangents are based on Regiomontanus' Tabulae directionum (Nuremberg, 1475), but the table of secants is the first to be published, although Copernicus had preceded Maurolico in the use of such tables. At the end of the book is a table of declinations and right ascensions. <br/><br/> Maurolico's translations of Autolycus, Euclid, Menelaus and Theodosius, as well as his own works on sphaerics, were included by Mersenne in his Synopsis mathematica (Paris, 1626), although Mersenne reproduced only the propositions, corollaries, lemmata and scholia, omitting the proofs. This material was reprinted again in Mersenne's Universae geometriae (Paris, 1644). The Neapolitan mathematician G. D'Auria had earlier contributed to the dissemination of the work, adding Maurolico's notes to his editions of Autolycus and Theodosius (Rome, 1587) and Euclid's Phaenomena (Rome, 1591). <br/><br/> Maurolico's family came from Greece, from which they had fled to Sicily to escape the Turks. Maurolico (1494-1575) learned Greek, as well as astronomy, from his father. In 1521 he was ordained priest, and in 1550 he was made abbot of Santa Maria del Parto by the Viceroy of Sicily, Juan de la Cerda, to whom the present work is dedicated (there is also a second dedication to Charles V). Maurolico held a number of civil commissions in Messina, and like his father became master of the Messina mint. Most importantly, he gave public lectures on mathematics at the University of Messina, where he was appointed professor in 1569. <br/><br/> In the Index lucubrationum Maurolyci, contained in the present volume, Maurolico lists some thirty of his works then in manuscript which he expected to be published (about 85 works are now known to survive in printed or manuscript form). Although only a few of these were actually published, these are enough to show him to have been an outstanding scholar. In addition to producing editions of classical works, Maurolico published an important Cosmographia (Venice, 1543), and the Photismi de lumine (Naples, 1611) which anticipated Kepler on the nature of refraction. His report on the 1572 supernova preceded by at least five days the more famous one made by Tycho (see DSB). <br/><br/> The present volume is of legendary rarity: "L'edition, ayant complètement perdue dans un naufrage, ne fut réimprimée que longtemps après la mort de Maurolico, à l'aide d'un examplaire retrouvé en 1681 (Biographie Générale); Ce volume et si rare en Allemagne que, malgré le témoignage de Nic. Heinsius, l'existence en a paru douteuse à Ebert (Brunet)" (quotations taken from Sotheran). Riccardi points out that the present volume was unknown to Libri, who gives a detailed account of the life and work of Maurolico in his History of Mathematics in Italy. A prominent New York dealer who recently offered a copy of D'Auria's 1591 edition of Euclid's Phaenomena, wrote that that work is "of interest for containing the earliest acquirable edition of notes Maurolico published in Messina 1558". OCLC lists copies at Burndy (although the work is not listed in the Huntington Library catalogue), Michigan State and Oklahoma. F. Hultsch, Autolyci de Sphaera ... Leipzig, 1885. Riccardi I, part 2, 140-141. Sotheran 15229. A. Masotti in DSB IX,.190-4; Rose 177; Mira, Bibliografia Siciliana II, 58.. Folio: 296 x 206 mm. (6), 72 ff., large vignette of armillary sphere on title, and numerous diagrams in most margins. Contemporary flexible vellum binding with title handwritten on spine, small stain on edge of front cover. Minor spotting on title page, toning on scattered leaves. In all a large-margined, genuine and excellent copy

      [Bookseller: Sophia Rare Books]
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        Kleine Prosa.

      201 S., 1 S. Inhalt, 2 S. Anzeigen. Bedruckter Originalpappband. Wilpert-G. 10. - Erste Ausgabe. - Rücken etwas gebräunt und Papierbezug im Gelenk etwas angerissen. Vorderdeckel an der unteren Kante etwas bestossen.

      [Bookseller: Daniel Thierstein Buchantiquariat]
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        Raum und Zeit in der gegenwärtigen Physik. Zur Einführung in das Verständnis der allgemeinen Relativitätstheorie. + Space and Time in Contemporary Physics. An Introduction to the Theory of Relativity and Gravitation. Rendered into English by Henry L. Brose. With an Introduction by F.A. Lindemann.

      Berlin, Springer, 1917 + New York, Oxford University Press, 1920. Two 8vo volumes. "Raum und Zeit" in the orig. printed wrappers w. some minor soiling. Title-page w. a few spots, otherwise nice and clean. Uncut. (4), 63, (1) pp. "Space and Time" in orig. brown full cloth w. gilt lettering to front board and spine. Corners a bit bumped, old owner's name crossed out on front free end-paper, otherwise very nice and clean. X, (2), 87, (3) pp.. First edition together with the first English language edition, being the first American edition, of Schlick's seminal first work within the field of theory of knowledge and philosophy of science, the areas, on which his main reputation rests. Schlick here systematically treats post-Newtonian physics and delivers one of the first expositions of Einstein's theory of relativity. "Schlick's first work in this area was a brief expository, interpretative work (one of the earliest) on Einstein's theory of relativity, published in German in 1917 and in English translation as "Space and Time in Contemporary Physics" (1920)." (D.S.B. XII:177). Schlick points to the philosophical importance of Einstein's theory of relativity and "frequently refers <to it> as a paradigm of philosophical activity conceived as meaning clarification - Einstein's main achievement having been his clarification of the hitherto vague concept of simultaneity at a distance." (D.S.B. XII:177).Moritz Schlick (1882-1936) is the founding father of the Vienna Circle and logical positivism in general. In 1922 Schlick was appointed Professor of Philosophy in Vienna, and here he organized regular meetings with the aim of discussing philosophy and science - an event that changed the face of modern philosophy. Some of the participants of this little group were: Rudolf Carnap, Kurt Gödel, Hans Hahn, Herbert Feigl, Otto Neurath and Friedrich Waissmann. They called themselves the Ernst Mach association, but for posterity they are remembered as the Vienna Circle. It is around the same time that Wittgenstein publishes his Tractatus Logico-Philosohicus, and the work became a topic for the Vienna Circle at almost every meeting they held. Schlick succeeded in meeting with Wittgenstein and discuss his book, and it is due to Schlick's influence that Wittgenstein was convinced into writing his second main work, the "Philosophical Investigations". His influence as a philosopher of science and theory of knowledge was immense, and as a person he greatly contributed to the course of modern Anglo-American philosophy

      [Bookseller: Lynge & Søn A/S]
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