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Displayed below are some selected recent viaLibri matches for books published in 1919

        L'appartement des jeunes filles -

      Camille Bloch 1919 -, Paris - 1 volume. In-12 70 pp. Reliure demi-maroquin vieux rose à coins. Dos lisse orné d?un listel en veau vert pâle en encadrement, bordé d?un filet doré Couverture et dos conservés. Tête dorée. Reliure signée ALIX. Orné de 6 gravures au burin de J.-E. LABOUREUR dont une en frontispice, pleines de grâce et de fraîcheur. Reliure très élégante. ÉDITION ORIGINALE LIMITÉE à 570 exemplaires numérotés. Celui-ci un des 500 exemplaires sur papier rose, vergé à la forme. Premier livre illustré par Laboureur. [Attributes: Hard Cover]

      [Bookseller: Librairie KOEGUI]
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        The Curious Republic of Gondour and Other Whimsical Sketches.

      Boni and Liveright, New York 1919 - First edition of this collection of stories. Octavo, original cloth. Very good in a very good dust jacket. Uncommon in the original dust jacket. The Curious Republic of Gondour is a collection of sketches, most of which were taken from a series that Twain wrote for The Galaxy from May 1870, to April 1871. The rest appeared in The Buffalo Express [Attributes: First Edition; Hard Cover]

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        Babe Ruth Signed Photograph.

      - Full length photograph of Babe Ruth posing at a Massachusetts golf course with four other men, signed by Babe Ruth. Also signed by Massachusetts politicians John P. Feeney and Tom McEnanly. The photograph measures 7.25 inches by 9 inches. Double matted and framed. The entire piece measures 15 inches by 17 inches. An exceptional photograph, rare and desirable signed by Ruth. Babe isn't just a baseball legend, he was one of the most important pioneers in the world of celebrity golf. Ruth was at Griffith Park Golf Course in L.A. when he was informed in 1919 he had been sold to the New York Yankees from the Boston Red Sox. He skipped an optional first practice with his new team in 1920 to play a round of golf in Jacksonville, Fla. And when he was holding out for a raise from the Yankees years later, he played golf in St. Petersburg, Fla. Later in his life, Ruth participated in a golf tour with Crosby and Bob Hope during World War II to support the Red Cross, and he played in numerous other charity events and pro-ams. [Attributes: First Edition; Signed Copy]

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        The War Poems.

      London: William Heinemann, 1919 - Small octavo. Original red cloth, paper title labels to both spine and front board. With the dust jacket. Contemporary ownership inscription to front free endpaper, half-title, and final page. Spine a touch sunned through the jacket, some mild scattered foxing, but a very good copy in a rubbed and dust-soiled jacket with small loss to the head, small chips to the corners and a chipped tear to the top of front panel First edition, first impression, in the scarce jacket. This collection presents Sassoon's "savagely realistic and compassionate war poems" (Rupert Hart-Davis in ODNB), gathering 64 pieces, 12 of which appear in print for the first time here, the others having been published in two previous collections: The Old Huntsman (1917) and Counter-Attack (1918). Keynes A20; Reilly p.286. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        [Scrapbook DOCUMENTING a STATESIDE WORLD WAR I OFFICER'S TRAINING & SERVICE]

      Camp Meade, Maryland; Camp lee, Virginia; Camp Sheridan, Alabama; Taylor Field; Alabama, 1919. Decorative blue cloth portfolio with black cloth ties. Some chipping to album leaves, minor age toning to cloth, otherwise a VG album, except for a few places wear photos might have fallen out, it appears complete.. 78 disbound black album leaves. Over 200 photographs and ephemeral pieces: forms, certificates, letters, notes, invitations, notices, memorandums, ms annotations &c.&c. 13" x 9-3/4" This scrapbook documents Lieutenant Alexander M. Falkenstein's WW1 service from his initial attempt to enlist as an aviator in 1917 until his release from active duty in 1919. Falkenstein appeared to has strong designs to be an aviator, but was denied upon his initial application and was appointed as a Sergeant in the 316th Infantry Regiment, 79th Division, at Camp Meade Maryland where he applied for a commission in the Army Signal Corps' Aviation Section, unfortunately he was sent to Officer's Training School instead in 1918. After graduation he was reassigned to the 45th Infantry Regiment at Camp Sheridan, Alabama, where he was finally permitted to begin training as an aerial Infantry Observer, it was unfortunately short lived, the program being canceled with the Armistice, and Falkenstein accepted reassignment in the division's military police until he was discharged in April of 1919. The scrapbook tells an intimate tale of his experiences during this time with a wide assortment of carefully collected ephemeral material.

      [Bookseller: Tavistock Books, ABAA ]
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        Almanach de Cocagne pour l'an 1920 Dédié aux vrais Gourmands et aux Francs Buveurs

      Éditions de La Sirène, 1919. broché Édition originale. Un des 15 exemplaires sur papier à la cuve du Japon du tirage de tête. Spectaculaire faux titre orné de la signature manuscrite des collaborateurs de l'almanach, encre et crayons de couleurs : Erik Satie, Max Jacob, Jean Cocteau, Léon Werth, Pierre Mac-Orlan, Lucien Descaves, Raoul Dufy, Raoul Ponchon, Dunoyer de Segonzac, Luc Albert-Moreau, Jean Marchand, Pierre Girieud et André Lhote. Petits manques sans gravité au dos et sur la jaquette de couverture.

      [Bookseller: Librairie Pierre Saunier]
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        Siuru I, II, and III (complete series)

      Tallinn and Tartu: Kirjanikkude Ühingu, 1919. Quartos (27 × 19.2 cm). Later buckram bindings, preserving original pictorial wrappers by Nikolai Triik and Ado Vabbe (front and back); 148, [2]; 115, [4]; and 134 pp. Three full-page illustrations by Triik (volume I), six full-page drawings, of which one in red and black, and one vignette by Vabbe, as well as his publisher's and series device (volume II); Vabbe's wrapper design once reproduced within (volume III). Resized to bindings; one volume with owner signature and some foxing to wrappers; else very good, clean copies. Complete run of this short-lived expressionist-influenced anthology by the eponymous Estonian literary group, published from 1917-19. Centered around the leading modernist poet Marie Under, the "Siuru" group consisted of bohemian spirits whose work emphasized sensual experience and joyous optimism. Among its members were Friedebert Tuglas, Arthur Adson, August Gailit, Henrik Visnapuu and Johannes Semper. In addition to these writers' works, the anthology also contains poetry by Johannes Barbarus, Rudolf Reimann, Arthur Valdes, Jaan Oks, Aleksander Tassa, Richard Roht and Johannes Aavik. Work in translation includes writing by Georg Heym, Franz Werfel, and Paul Boldt, Aubrey Beardsley, Zigmunt Krasinski, and Emile Verhaeren The group took its name from the mythological fire bird "Siuru" that appears in the Estonian national epic "Kalevipoeg". Its members were very visible in Tallinn, meeting not only in Under's salon, but also in Tallinn's coffee houses, and some members had a reputation for rebellious behavior. Wrappers by Nikolai Triik in an expressionist style that corresponds to the aesthetics of some of the "Siuru" writers: "Es wäre falsch, die Siuru-Gruppe in eine ästhetisierende Ecke abzudrängen, die sich nicht darum kümmerte, was in der Welt um sie herum geschah. Schon die Illustrationen von Nikolai Triik im ersten Album wiesen in die Richtung eines Expressionismus im Sinne einer Anklage gegen die Unmenschlichkeit der Welt" (Hasselblatt 418). The first issue was printed in 780 copies, of which 40 copies were printed on Alexandria paper, numbered (these copies all unnumbered). No papier copies in North America: KVK, OCLC show a copy of the first volume at Munich, a complete run at the Finish National Library and a microfilm at New York Public Library.

      [Bookseller: Penka Rare Books, ILAB]
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        New England Aviators: 1914-1918: Their Portraits and Their Records: In Two Volumes

      Boston: Houghton Mifflin, 1919. Very Good. First edition, one of one thousand copies printed at the Riverside Press, Cambridge, Massachusetts, for the publishing committee of the New England aviators. Two volume set, 472pp., 480pp. Gray cloth stamped in blue and silver gilt. Illustrated from black and white portraits. Volume one has a small dampstain on bottom corners of a few pages, small dampstains on cloth, spine cocked, volume two has rear hinge cracked, spine darkened, a very good set. A representative group of World War I New England aviators are featured in this two volume set.

      [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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        Der goldene Esel. Ein Roman aus dem Altertum. Nach den antiken Quellen neubearbeitet (u. mit einem Vorwort) von Wilhelm Löwinger. Mit Bildern und Buchschmuck von Alexander Rothaug.

      Wien, Arthur Wolf, 1919. . [De asino aureo, dt.]. - Nr. 83 von 100 Exemplaren der VORZUGSAUSGABE (GA: 1200). Jede Lithographie vom Künstler mit Bleistift SIGNIERT. Hayn/Got IX, 20. - Alexander Theodor Rothaug (1870-1946), österreichischer Maler u. Illustrator (ÖBL 9, S. 283 f.). - Wilhelm Löwinger (auch: Wihelm Hellmann), Übersetzer, im A. Wolf-Verlag tätig, Volkshochschul-Dozent, geb. 1886, zuletzt nachgewiesen Wien 1938 (Handb. österr. Autoren jüd. Herkunft, S. 857, Nr. 6476). - Papierränder tls. begriffen, Titel schwach stockfleckig, Rückendeckel matt hellfleckig. - Gediegene Ausstattung

      [Bookseller: Antiquariat Reinhold Pabel]
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        Manuscript diaries, July 1915 - March 1919. R.N.V.R. & R.A.F

      1919 - 8 vols. Manuscript in ink and pencil, in a clear and legible hand. Occasional ms. plans and drawings, copious tipped in typescript & carbon copy signal reports, lists of ratings, printed synoptic and meteorological charts as well as playbills, newspaper clippings, menus and other ephemera. Army issue red cloth bound 16mo notebooks, 60x11mm, each with a blue paper label titled in ink. Occasional offsetting and slightly bumped, light wear to labels, otherwise very good condition. [c.1280]pp. R.N.A.S. Rochford, Detling, Manston, Westgate, Bercham Newton, July1915 - September An extensive and comprehensive record from the heart of Britain's nascent air service. Kept by an accomplished meteorologist and invaluable coordinator, these meticulous daily logs not only chart William J. S. Lockyer's personal progressionfrom Lieutenant in the Royal Naval Volunteer Reserve to Major in the Royal Air Force, but they also give a detailed insight into the development and full lifespan of Royal Navy Air Service before it was consolidated into the Royal Air Force in 1918. Distinctly separated from the Royal Flying Corps (the army air faction) in 1915, the R.N.A.S. focussed predominantly on supporting naval operations in terms of reconnaissance on land and sea, as well as defence particularly against enemy Zeppelin attacks. Although not a pilot himself, Lockyer begins his service as a key coordinator for the R.N.A.S. camps at Rochford and Detling. His meteorological training is put to good use, and much of the early volumes are concerned with the logging of Zeppelin raids in consolidated reports, many examples of which here tipped in in carbon copy, the information for which being gathered from observation and listening posts along the British coastline. These reports show military technology at a fascinating moment of transition - by the outbreak of war in 1914 both sides hadsufficiently developed aeronautic programs to be engaging in aerial warfare, but as radar was still decades away, the means of detection were still entirely reliant upon human sensory observation. These observances were then telegrammed or telephoned from posts tobases, and the information was gatheredinto reports and used to direct searchlamps and launch aerial counter attacks. Throughout his journals, Lockyer refers to these raids with their naval slang name of ?HICKBOO?s - an almost nightly occurrence. (For a brief spell, confusingly, he also has a cat by this name.) Considerable pride has clearly been taken in the maintenance of these logs, and Lockyer intersperses the early records with neatly drafted plans of his camps and the surrounding areas. He also shows a flair for engineering, frequently bemoaning and repairing the Italia and Lancia automobiles at the camp, as well as devising and detailing with diagrams both inventions for the drying of wellington boots, and means of signalling airborne aircraft from the ground through the use of flares and mirrors. He often makes observational trips with the pilots, and is in many instances uses these occasions to take aerial photographs with his camera, which he develops himself and remarks upon the quality of. Although very much at the front line of the home front, as it were, Lockyer's enthusiasm is at times infectious and can play down the gravity and importance of the nighttime observations being performed at these bases. Upon a visit to R.N.A.F. Eastchurch on June 15 1916 he remarks ?Eastchurch as a station is unrecognisable!! Buildings Galore - [.] Fowler took me over his shops + also to the hangar where the two Hadley Pages + the 225 Short are. They are enormous machines - + made me thing of H.G. Wells' books. I went in the fuselage of the latest H.P. - I returned to Detling in 40 mins - some time for me.? He also intersperses stories of visiting flying aces performing loop the loops and high jinx of emergency landing in farmers' fields, with more grave instances that better tell the very real dangers, both physical and [Attributes: Hard Cover]

      [Bookseller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA]
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        Le mots en liberté futuristes

      - Milano,Edizioni Futuriste, 1919, 107 pp. Couverture souple. Illustration sur 4 feuillets dépliant, Broch, sous couverture imprime en rouge et noir. Edition Originale. Exemplaire enrichi d'un envoi autographe signé de l'auteur. [Attributes: First Edition; Soft Cover]

      [Bookseller: Apartirdecero]
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        The Isle of San

      A phantasy by Leon Gellert with five original etchings by Norman Lindsay. Sydney : Art in Australia, 1919. Folio, quarter-vellum over green cloth (a few light marks), pp 139 with initials printed in red, frontispiece portrait after an etching by Lindsay, five original large etchings with lettered tissue-guards by Norman Lindsay, each signed in full in pencil, housed in a custom clamshell box, occasional light scattered foxing, a fine copy. Limited to 120 copies of which 100 were for sale, signed by Leon Gellert. 'The Isle of San was sold out in a single afternoon because Norman's etchings were enjoying a boom.' (Leon Gellert to John Hetherington, 6th January 1972, Hetherington papers, La Trobe MSS 9740/15). Norman Lindsay had first collaborated with the young Adelaide-born war poet Leon Gellert in 1917, with sixteen of his pen illustrations accompanying Gellert's text in the successful Angus & Robertson edition of Gellert's Songs of a Campaign. After his discharge from active service Gellert was quickly accepted into the Lindsays' intimate inner circle of artist and writer friends. The idea for Gellert's fantasy The Isle of San had apparently come to him in his dreams. With its poetic landscape saturated with the themes of Beauty and the physicality of Love, it replaced the nightmare of the horrors of war which would have haunted Gellert since his experiences at Gallipoli, and was ideally suited to the sensuality and sexual power which permeated Norman Lindsay's aesthetic vision. Lindsay was greatly impressed by its potential to become a book which would 'stir in booklovers the lust of possession'. The cycle of fifty-two poems and its illustrations were produced concurrently, Lindsay setting to work with ardour on a small group of etchings for the proposed work, while Gellert honed the text. The five etchings would be printed by Norman's wife, Rose. Despite the recent loss of a child during birth and subsequent septicaemia, Rose was recognised by Norman as the only person capable of printing the etchings precisely as he wanted. Rose eventually printed them in editions of 120. She later described one of the book's famous illustrations, 'The Grey-eyed Girl', as '... the most difficult plate I have ever had to print, with its background of clear copper, which had to be hand wiped without touching the head of the girl. At that time I was not too good at hand wiping and did many prints, which I had to destroy. The difference in hand wiping is evident in the three proof pulls in the Mitchell Library folios, the background in the third proof being much clearer than the first and second' (Rose Lindsay, Model wife, p 205). It is thought that The Grey-eyed Girl was based on Annie Brennan, the notorious Sydney bohemian and courtesan of legendary beauty and daughter of Gellert's fellow poet, Christopher Brennan. In a letter to Jack Lindsay, it was even suggested by Ray Lindsay that Annie Brennan was Gellert's main inspiration for the entire work (Ray Lindsay, A letter from Sydney, Melbourne : Jester Press, 1983, p 32). The Isle of San is dedicated by Gellert to Sydney Ure Smith and Bertram Stevens: it was printed by Art in Australia, its first deluxe edition.

      [Bookseller: Douglas Stewart Fine Books]
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        A Collection of monographs on Gustav Klimt.

      1919-1981.(). Seventeen monographs on Gustav Klimt: Gustav Klimt. Die Zeichnung. Vienna: Gustav Nebehay, 1919. 14.5 x 21.5 cm, Illustrated.; Gustav Klimt: 56 Zeichnungen. Kat. XI. Vienna: Christian Nebehay, 1950s. 29.5 x 21 cm, Illustrated.; Gustav Klimt. Emil Pirchan, Bergland. Vienna: 1956? 21.5 x 29.5 cm, Color illustrations.; Gustav Klimt. Bern: Gutekunst and Klipstein, 1957. 16 x 23 cm. Illustrated.; Gustav Klimt. New York: Galerie St. Etienne, 1959. 19.5 x 19.5 cm. Illustrated.; Gustav Klimt. Alice Strobl. Salzburg: Galerie Welz, 1962. 11.5 x 17 cm. Color illustrations.; Gustav Klimt. Kat. V. Vienna: Christian M. Nebehay, 1962.; Verbesserte Ausgabe 1965. 17 x 24 cm. Illustrated.; Gustav Klimt. Kat. VI. Vienna: Christian Nebehay, 1963. 17 x 24 cm. Illustrated.; Gustav Klimt. Salzburg: Galerie Welz, 1964. 16 x 17 cm. Illustrated.; Gustav Klimt Drawings. Winnipeg: Winnipeg Art Gallery, 1964. 17 x 17 cm. Illustrated.; Gustav Klimt. London: Marlborough Fine Art Ltd., 1965. 21 x 23 cm. Color illustrations.; Gustav Klimt. Kat. XV. Vienna: Christian Nebehay, 1968. 17 x 17 cm. Illustrated.; Gustav Klimt. Kat. 41. Vienna: Christian Nebehay, 1970? 15 x 20.5 cm. Illustrated.; Gustav Klimt. Johannes Dobai. London: Piccadilly Gallery, Spencer Samuels & Co., 1973. 15 x 21 cm. Illustrated.; Klimts "Irrlichter". Alice Strobl. Vienna?: Osterreichischen Galerie, 1978. 14.5 x 20.5 cm. Illustrated. Signed by author.; Gustav Klimt Egon Schiele. New York: Galerie St. Etienne, 1980. 19.5 x 25 cm. Color illustrations.; Gustav Klimt. Serge Sabarsky. Tokyo: Isetan Museum of Art, 1981. 25.5 x 24 cm. Color illustrations.

      [Bookseller: Wittenborn Art Books]
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        CONDITIONS DE PAIX / CONDITIONS OF PEACE

      [Paris, 1919. xv,[1],415pp. printed in French and English on facing pages, plus four large folding maps. Folio. Original printed wrappers. Wrappers rather creased and worn, with several short tears, and one tear about 1 1/2 inches in front wrapper penetrating to blank endsheet. Some tears in maps at tabs, but generally clean inside and about very good. One of several preliminary printings of the provisions of what was to become the June 28 1919 Treaty of Versailles, including as the first section the Covenant of the League of Nations, and the point-by-point demands made of a defeated Germany. As is often the case, this copy is docketed on the front wrapper in a contemporary hand: "Secret et Confidentiel." This printing transmitted authentic copies of the French and English texts for the purposes of study and discussion by the negotiating parties prior to the imminent signing. There were several preliminary printings of the text made in the weeks before June 28, 1919, with differences in form and content. The present copy contains a table of contents at the front, which is not present in another copy we have examined, perhaps indicating that this was one of the final printings made before the final version was agreed on. Shortly after the treaty was signed at least two interim printings were run off, the first with the Protocols separate and laid in, the second with the Protocols integral and incorporated in the wrapper title. Eventually, the "official" published edition, with its various forms and issues, was printed. The Treaty of Versailles is of monumental importance in American and world history. The treaty, made with Germany at the end of the First World War, concluded a war of unrivalled devastation while also sowing the seeds for the Second World War, just twenty years on the horizon. The United States, guided by Woodrow Wilson's vision, played a central role in the crafting of the treaty. The U.S. Senate refused to ratify the treaty, however, based on the objection of several senators to the Covenant of the League of Nations (which was included as Part I of the settlement), thereby largely removing American influence and involvement from the international scene in the inter-war period. The Treaty of Versailles was a wide-ranging and ambitious document, which sought not only to address the immediate postwar settlement, but also to punish Germany for its actions in starting and prosecuting the war, attempted to remake the map of Europe, and created a supra-national political organization, the League of Nations. The Covenant of the League of Nations comprises the first part of the treaty. The next most famous part is that dealing with reparations, which includes Article 231, the infamous "war guilt clause." By this article, Germany accepted the responsibility of her and her allies "for causing all the loss and damage to which the Allied and Associated Governments and their nationals have been subjected as a consequence of the war imposed upon them by the aggression of Germany and her allies." The intent of the article was to affix legal and financial responsibility on Germany, but it took on moral implications, and was used by Hitler during his rise as an example of Allied perniciousness. Germany had to agree to pay reparations to the allies in the sum of 20,000,000,000 gold marks, the amount to be modified by a reparations commission in 1921. Germany also had to recognize the independence of Austria and agree not to compromise that independence in the future. Germany's borders were redrawn, with Alsace-Lorraine being given to France, West Prussia to Poland, and other lands, such as Danzig and the Saar Basin, stripped away. She lost her overseas possessions, the Rhineland was occupied, and the German army was limited to 100,000 men and largely disarmed. Other provisions address issues of tariffs, ports, labor, aerial navigation, prisoners of war, and more. As has been noted, the many punitive measures of the Treaty of Versailles did much to fan the seeds of discontent in postwar Germany and to facilitate the rise of Hitler, who publicly flaunted the provisions of the treaty throughout the 1930s. The refusal of the United States to ratify the treaty and participate in the League of Nations was a crucial part in the chain of events that led to the Second World War. A most important document, here in a preliminary version, printed in a small number for use by participants at the peace conference.

      [Bookseller: William Reese Company - Americana]
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        The Desert Trail. With the Light Horse through Sinai to Palestine. By Scotty's Brother

      Adelaide, Department of Repatriation, 1919 (second edition)/ 1919. Octavo, viii (last blank), 90 (last blank) pages with 26 illustrations (after photographs, on 14 leaves, versos blank) plus a double-page folding map. Original wrappers with a vignette silhouette of a Light Horseman on the front cover; bottom corner lightly bumped throughout; trifling signs of handling; essentially a fine copy with a contemporary ink signature (M.T.B. Tapp?) on the inside front offsetting slightly onto a blank portion of the title page. A cross-check of the signatures of all First World War Australian servicemen (and one female nurse) with the surname Tapp produced no match. Charles Duguid (1884-1986), a Scottish-born doctor, was appointed captain in the Australian Army Medical Corps, Australian Imperial Force, in February 1917. 'He treated casualties in the Middle East (March-July) before returning to Australia in a hospital ship. His AIF appointment terminated on 5 October' (Australian Dictionary of Biography). The book was written in honour of 'Scotty', his brother William George Duguid. He was an original member of the 8th Light Horse Regiment, and served in Gallipoli, but had transferred to the 3rd Light Horse when he was killed in action on 19 April 1917, near Aseifiyeh. The author's foreword recounts in pathetic detail the circumstances of his death. This classic war memoir went through four editions in less than six months; in spite of that, this title is elusive, and fine copies of the true first edition are utterly rare. In forty years, we have not had a copy of the third edition (and the State Library of South Australia does not have that edition either), but the following information, not at all well-known, has been gleaned from copies of the other editions we have handled. The second and fourth editions are identified as such on the front cover (which also states 'Proceeds in Aid of Light Horse Memorial', replacing a small printer's device on the first edition cover). The first edition has the acknowledgements on page iii, and no testimonials; the second edition has a testimonial from Blackburn VC on page iii, with the acknowledgements on the verso; the fourth edition has testimonials from Blackburn VC and 'A Permanently Incapacitated Light Horseman' on page iii, with the acknowledgements on the verso. The fourth edition has approximately 40 more pages than the first two editions merely because it has been set in larger type. Some idea of the rapidity with which these editions appeared may be appreciated from the following: the Blackburn testimonial is dated 10 February 1919, the other testimonial is dated 6 March 1919, the State Library of SA has a copy of the fourth edition signed and dated by the author on 2 June 1919, and the processing date of the State Library's first edition is 29 April 1919. Read it and you'll understand why it struck a chord. Dornbusch 387; not in Fielding and O'Neill; Trigellis-Smith 263.

      [Bookseller: Michael Treloar Antiquarian Booksellers]
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        Carl Rabus: Die Hinrichtung (Originalzeichnung)

      1919 - Tusche, Aquarell und Deckweiß auf Papier. 30 x 22 cm. Links unten monogrammiert. Entwurf für eine Titelseite der Zeitschrift „Der Orchideengarten“ (1919-1921). [Attributes: Signed Copy]

      [Bookseller: Kunkel Fine Art]
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        Picasso. Lithographe. I 1919-1947.

      155 p., plats de carton avec couverture, in-4, 32 x 24.5 cm, la couverture et le frontispice sont deux lithographies originales faites par Pablo Picasso pour cet ouvrage, 47 lithographies noir/blanc et couleur, préface de Jaime Sabartès Couverture endommagée, dèchirèe au dos et á la couverture derrière, charnière èclatée, reliure lâche, avec une dédicace écrit à main en encre d'un propriétaire précedent, les feuilles sont en bon état.

      [Bookseller: Antiquariat Im Seefeld]
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        HAUNTED BOOKSHOP.|THE

      Doubleday, Page & Company, Garden City, NY 1919 - 12mo. cloth, dust jacket. viii, 289+(1) pages. FIrst edition, third state, with "Burroughs" bruised on page 76 and "76" beneath "Bu"; "Styx" correct on page 100, line 1. Prefatory comments "to the bookseller," table of contents. Signed by the author on front free endpaper. Mystery, bomb plots, and great bookselling scenes take place in this bookshop mystery. Dust jacket soiled and stained on front cover with signs of repair. Covers slightly scuffed at edges. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Oak Knoll Books, ABAA, ILAB]
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        CINDERELLA

      - (RACKHAM,ARTHUR)illus. CINDERELLA. London & Philadelphia: Wm. Heinemann & Lippincott (1919). Large 4to (9 1/4 x 11 1/2"), cloth backed pictorial boards, 110p., 2 tips lightly worn and slight bit of fading on rear cover else Fine in VG dust wrapper (dw with a few closed tears). LIMITED TO ONLY 800 NUMBERED COPIES FOR SALE SIGNED BY RACKHAM (525 on handmade paper, 325 on Japanese vellum), this copy on English handmade paper. Illustrated with tipped-in color frontis plus beautiful full page silhouette illustrations heightened with color and with other illustrations in black and white. This edition has an EXTRA COLOR ILLUSTRATION not found in the trade edition. This is a beautiful copy, not often found with the dust wrapper. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        Des Capitain Lemuel Gullivers Reise in das Land derer Houyhnhnms. Mit Lithographien von Richard Janthur.

      Berlin, Gurlitt, 1919. - (2) 62 (2) Seiten. Mit 12 Original-Litographien (inkl. illustriertem Vortitel), 12 Kopfstücken und 12 Initialen von Richard Janthur. 43 x 31 cm, Original-Halbleinen mit rot illustrierten Deckeln. 393. Druck der Gurlitt-Presse. Die neuen Bilderbücher, 2. Folge. Eins von 150 numerierten Exemplaren auf Bütten, im Druckvermerk von Janthur signiert. - Einband leicht bestoßen und etwas fleckig, Buchblock unbeschnitten, leicht gelockert, ansonsten sauber erhalten. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Michael Meyer-Pomplun]
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        EUROPE ILLUSTRATED: ITS PICTURESQUE SCENES AND PLACES OF NOTE. FIRST SERIES. FRANCE, BELGIUM, AND THE RHINE. TWO VOLUMES. Superbly Embellished With Steel Engravings

      London: London Printing and Publishing Company, 1919. First edition. Thick, large folios in 3/4 dark brown leather with six-band embossed spine; gilt lettering on boards and spine; VG; moderate shelf wear on spine and corners; marble edges; ex-library plates inside front boards; most illustrations with some ex-library embossment to leaf (some embossments in the negative space of the illustrated pages, some embossments are over the illustration title, or some over the edge of the illustration itself, please see photos for examples); first end pages and title pages slightly stained, with penciled inscriptions; text with some pencil on title pages, all else unmarked; contains 239 engravings in vol. 1 and 181 in vol. 2; shelved alcove; due to size and weight of items, please contact us for shipping costs. Dupont.

      [Bookseller: Second Story Books]
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        Une danse macabre. 20 gravures en couleurs par Edmond Bille. (Avec une préface de William Ritter).

      Lausanne, (Säuberlin und Pfeiffer à Vevey pour) Spes, 1919, - in-folio, 4 p. (titre, suite des planches et préface avec 5 bois en noir et en rouge) + 20 gravures sur bois en couleurs + feuilles minces intercalées avec texte, papier légèrement bruni, cartable ill. original de l'éditeur, illustré de trois bois en rouge et en noir, 2 lanières, dos légèrement usé, bon exemplaire. AVEC LES FEUILLES INTERCALÉES EN ?PELURE D?OIGNON? AVEC TEXTE? Exemplaire numéroté à la presse (n° 130), complet de ses 20 splendides gravures sur bois en couleurs et avec les feuilles ?pelure d?oignon? avec texte qui manquent souvent. Une version moderne du thème traditionnel de la danse des morts, transposée au lendemain de la Grande Guerre de 1914-1918, et fortement influencée par les traumatismes de cette époque sombre. Né en 1878 à Valangin (NE) et établi en Valais depuis 1904, père de la fameuse romancière Corinna Bille, Edmond Bille est un artiste peintre polyvalent qui a réalisé de remarquables illustrations d'ouvrages bibliophiliques, ainsi que des vitraux. Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Bénézit II/36; Brun SKL I/131; KLS XX. Jh. I/92.

      [Bookseller: Harteveld Rare Books Ltd.]
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        Anna Blume. Dichtungen.

      Steegemann,, Hannover, 1919 - Hannover, Steegemann, 1919. 37 S. OBrosch. m. DIllustr. Tlw. etw. gebräunt. (Die Silbergäule 39/40). Erste Ausgabe. W./G. 1; Raabe 273,1; Meyer 20.1 - die erste Publikation des Autors ! [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Seidel & Richter]
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        Zehn Radierungen.

      Wien: Gilhofer & Ranschburg, 1919.(). With 7 (of 10) signed etchings on French hand made paper. One of 120 portfolios. Sheets 46 x 35 cm. Titles include: Im Park, Kaffeehaus, Konzert-Kaffee, Im Prater.Each print signed in pencil: Ch L Martin

      [Bookseller: Wittenborn Art Books]
 24.   Check availability:     Bibliophile     Link/Print  


        The Collected Poems of Rupert Brooke. The Title-page and Portrait cut on the wood by Gwen Raverat.

      Philip Lee Warner. Riccardi Press Books London 1919 - 1 of 1000 copies but unusually bound in publisher's full vellum, printed on hand-made paper. "Rampant Lions Press Collection of Books" lists this as a publishers binding. Only 13 copies of the 1000 were bound in this way. Top edge gilt. Marbled endpapers, foxed. Small close tear to bottom margin of free endpaper. Covers slightly warped as is usual with vellum and slightly sunned o/w a near fine copy. With very clean 1920's postcard of the Mill Pond, Granchester, with a quotation by Brooke printed onto photo, loosely inserted. [Attributes: Hard Cover]

      [Bookseller: Addyman Books]
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        GUSTAV KLIMT: FUNFUNDZWANZIG HANDZEICHNUNGEN

      Vienna: Gilhofer & Ranschburg, 1919. Limited Edition. Folio; VG/folio case in VG condition, front corners rubbed, 5" of linen at top unglued, light to moderate soiling and creasing to interior of front board and three other flaps; two 1 1/2" closed tears along left edge of title page, title page and list of plates mostly separated at center fold; Limited Edition 394/500; 25 plates tipped onto loose pages (images available for browsing, please contact the seller) aeb. Full-priced Rockville.

      [Bookseller: Second Story Books]
 26.   Check availability:     Biblio     Link/Print  


        Bay : A Book of Poems

      Beaumont Press, Westminster 1919 - (Westminster). (Beaumont Press). (1919). 12mo. LIMITED NUMBERED 1st EDITION, one of 120 copies (of 200 total). Some rubbing to spine ends and edges of lightly toned covers, barely exposing boards. Several leaves unopened. Contents clean and bright. VG. [Attributes: First Edition; Hard Cover]

      [Bookseller: Strand Book Store, ABAA]
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        PETITES COUSINES. Souvenirs érotiques d’un homme de qualité touchant les jolies petites cousines, les bonnes à tout faire, les femmes du monde et les belles filles de province, par Sadinet. Edition originale

      A la folie du jour, s.d. [Jean Fort, 1919]. - A la folie du jour, s.d. [Jean Fort, 1919]. 1 volume in-8 (24 x 17,5 cm), broché de (2)-105-(2) pages. Vignette sur le titre (d'après un dessin de Félicien Rops). Couverture en papier chamois imprimée en rouge et vert (légèrement salié). Petite fente en haut du dos. Page de titre imprimée en rouge et noir (voir photo). Très bon état, brochage un peu faible par endroits. ÉDITION ORIGINALE RARE. Tirage annoncé à 800 exemplaires. Celui-ci ne porte pas de numéro mais est sur papier vergé. Le tirage comprend 60 exemplaires sur Hollande, 120 exemplaires sur simili-Japon et 620 exemplaires du vergé. Il est probable, vu la rareté de cette édition sur le marché (on en voit très rarement un exemplaire - aucun exemplaire actuellement sur le marché) que le tirage a été inférieur à celui annoncé (?) ou que bon nombre d'exemplaires ont été détruits (en bloc ?). Edition originale publiée à Paris vers 1919 par Jean Fort. Elle fut imprimée par J. Dardaillon, 47 Bd de Chateaudun à Saint-Denis. La composition et la typographie du titre sont identiques à celles du titre de l'édition officielle de J. Fort des Princesses de Cythère, par Pascal Fély (Pascal Pia) vers 1920. La typographie de cet ouvrage est identique à celle de : Vénus dans l'Inde ; Aventures amoureuses de Mlle de Sommerange ; Précocité ; Lettre à la Présidente ; le Rideau levé et la Fille de joie. (Dutel). Sadinet (le petit Sade ?) est le pseudonyme de Pierre Dumarchey alias Pierre Mac Orlan. A partir d'août 1914 Mac Orlan (il a 32 ans) connaît la grande guerre et plus tard l'horreur des tranchées. Dans l'impossibilité de produire quelque écrit que ce soit, sa famille se trouve pour ainsi dire sans ressources. Aussi, c'est l'éditeur clandestin Jean Fort qui avance de l'argent à sa famille pour subsister. A la fin de la guerre Mac Orlan paiera sa dette en produisant notamment ce texte hautement érotique. La plupart de ses bibliographes officiels oublient volontiers ce titre dans la longue liste de ses ouvrages. Bien que certains bibliographes citent une suite de 10 eaux-fortes de Martin Van Maele pour illustrer ce livre (vendue à part), il s'agit en réalité d'une suite déjà gravée et commercialisée pour faire partie de la Grand Danse Macabre des Vifs (en plusieurs livraisons). Dutel ne cite d'ailleurs pas cette suite dans sa notice. Références : Dutel, Bibliographie des ouvrages érotiques publiés clandestinement en français entre 1880 et 1920, n°684. Pia, Les livres de l'Enfer, 1123 (nouvelle éd.) ou 1039 (ancienne édition) ; Perceau, 315. BON EXEMPLAIRE DE CE TEXTE RARE EN PREMIÈRE ÉDITION. [Attributes: First Edition; Soft Cover]

      [Bookseller: Librairie L'amour qui bouquine]
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        Vendita all'asta Supplemento al Bollettino Filatelico

      Stabilimento Tipografico Rinascimento - Scafati. ITALIANO 0,18 Quattro fascicoli degli anni '20 in stato discreto, fioritura sparsa, lieve piega e scritta a matita su piatto anteriore, alcune bruniture, pagine ben conservate. Timbro "Section Locale - Benevento (Italia) su tutti i fascicoli. Allegato al N. 130 agosto 1920 fascicolo con le immagini in b. e n. dei francobolli messi all'asta. N. 121 novembre 1919; due copie del fascicolo N. 125 marzo, N. 130 agosto 1920 del periodico Vendita all'asta - Supplemento al Bollettino Filatelico. USATO

      [Bookseller: Biblioteca di Babele]
 29.   Check availability:     maremagnum.com     Link/Print  


        In der Strafkolonie.

      Leipzig, Wolff, 1919 - 68 S., 2 Bll. (= Drugulin-Drucke. Neue Folg. Bd. 4). - Erste Ausgabe in einer Auflage von 1000 Exemplaren gedruckt, hier mit dem seltenen originalen Halbleder-Einband. - W.-G. 5. Raabe 146, 5. - Diese 1914 entstandene Erzählung wollte Franz Kafka zuerst unter dem Titel "Strafen" zusammen mit den Erzählungen "Das Urteil" und "Die Verwandlung" veröffentlichen. Kurt Wollf stand diesem Publikationsplan äußerst skeptisch gegenüber und so kam es erst 1919 zur vorliegenden Veröffentlichung, die von der Kritik sehr reserviert aufgenommen wurde. Trotz des Papiermangels und seiner Skepsis bezüglich des Verkaufserfolges ließ Kurt Wolff das Werk auf Büttenpapier in der Offizin W. Drugulin in Leipzig äußerst hochwertig und ästhetisch ansprechend herstellen. - Papierbedingt gebräunt. Unbeschnitten. *** /// *** Copyright: Matthaeus Truppe - Stubenberggasse 7 - A-8010 Graz - +43 316 829552 *** /// *** Sprache: Deutsch Gewicht in Gramm: 800 Gr.-8°. OHLdr. (erw. beschabt, gebleicht und bestoßen) in Mod. Lwd.-Kassette mit Rückentitel. [Attributes: First Edition; Hard Cover]

      [Bookseller: Matthaeus Truppe Antiquariat]
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        ALADDIN AND HIS WONDERFUL LAMP

      - (MACKENZIE,THOMAS)illus. ALADDIN AND HIS WONDERFUL LAMP in rhyme by Arthur Ransome. London: Nisbet, no date [1919]. Large 4to (10 3/4 x 13 1/4"), white cloth with elaborate gilt pictorial cover, top edge gilt, other edges uncut, some slight cover soil and fading, 2 tiny snags on cover, VG++. LIMITED TO ONLY 250 NUMBERED COPIES SIGNED BY MACKENZIE. Mackenzie's most desired and best work, this features 12 magnificent tipped-in color plates with captioned tissue guards, decorative initials and text borders and also with a profusion of stunning black and whites on every page of text (nice silhouette endpapers as well). Due to the high quality of the paper, the black and whites are beautifully reproduced. This is a lavish and arguably the best illustrated version of Aladdin, rare in this limited format. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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        Pencil portrait by Augustus John

      Three quarter-length pencil portrait of Lawrence, in Arab robes and head-dress, wearing a short dagger in his belt; c. 12 by 7.5 inches, signed "John" at lower right. Not dated by the artist, but from the "Paris Peace Conference" series executed in January, 1919. A little foxing, and some darkening from exposure. Newly matted in acid-free paper board, to show the artist's crop-marks at right, and replaced in its original frame, with a Redfern Gallery label on the back recording its sale in 1941 to one Miss Anne Joyce. [Paris, January,

      [Bookseller: Maggs Bros. Ltd.]
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        Anna Blume. Dichtungen.

      Hannover, Stegemann, 1919 - 37 S., 1 Bl. (Anzeigen). (= Die Silbergäule. Bd. 39/40). - Erste Ausgabe. - W.-G. 1. Raabe 273.1. - S. 25/26 mit Randeinriss (ohne Textberührung und ohne Verlust). Papierbedingt stärker gebräunt. *** /// *** Copyright: Matthaeus Truppe - Stubenberggasse 7 - A-8010 Graz - +43 316 829552 *** /// *** Sprache: Deutsch Gewicht in Gramm: 200 8°. OKart. (gebräunt, kl. Papierdurchbrüche im Bereich der Heftklammern). [Attributes: First Edition; Soft Cover]

      [Bookseller: Matthaeus Truppe Antiquariat]
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        Mushrooms and toadstools

      , 1919 1919. Kelly, Howard A. (1858-1943). Mushrooms and toadstools. Offprint from The Therapeutic Gazette (July 1919). 14pp. Illustrated. 272 x 193 mm. Original printed wrappers, slightly dust-soiled, one corner creased. Very good copy, inscribed by Kelly on the front wrapper: "For the Library Howard A. Kelly." First Edition, Offprint Issue. One of Kelly's many interests was mycology; he amassed an extensive library on the subject, a catalogue of which was published in 1924 (reprinted 1999). Kelly dedicated the present paper to Sir William Osler "on the occasion of his seventieth birthday . . . when he is proving himself the best refutation of his jesting computation of the years of a man's usefulness." Dictionary of American Medical Biography.

      [Bookseller: Jeremy Norman's Historyofscience.com]
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        TREATY OF PEACE WITH GERMANY

      Washington: Government Printing Office, 1919. 537pp., printed in French and English on facing pages, plus four maps. Large quarto. Blue cloth, stamped in gilt on front board and spine. Cloth discolored and waterstained, worn at spine ends and corners. Hinges cracked. Light dampstain throughout. Good. An association copy of the utmost significance, this is the personal copy of California Republican Senator Hiram Johnson, one of the leaders of the sixteen "Irreconcilables" in the United States Senate who opposed the Treaty of Versailles and the League of Nations, and were therefore instrumental in ensuring that the U.S. would not ratify the treaty. Johnson's career in politics began when he was elected the Republican Governor of California in 1910. In 1912 he was Theodore Roosevelt's vice-presidential nominee on the Progressive Party ticket, and he was elected to the U.S. Senate as a Republican in 1916. Johnson was a leading critic of Woodrow Wilson's war aims, opposing the Fourteen Points and seeking to withdraw American troops from Russia in 1919. Thomas Bailey, whose work is still the best on the fight over ratification of the Treaty of Versailles, asserts that Johnson, among all the members of the so- called "Battalion of Death" which opposed the Treaty, "was the most accomplished rabble-rouser of them all." Spurred by his fervent isolationism, and harboring plans to run for President in 1920, Johnson made Wilson's efforts to sway public opinion in favor of the Treaty especially difficult. In the fall of 1919 Johnson trailed Wilson on a cross-country speaking tour, denouncing the pact wherever the President spoke. In his bitter opposition to the Treaty, "Johnson wielded a meat- ax...His noise-making ability came to be a standing joke: he did not attack, he 'flayed.' Yet no one could deny that the man had bulldog tenacity, a ripsaw voice, and the ability to move great crowds. Friends of the League [of Nations] decried Johnson's cave-man mentality and his completely closed mind" - Bailey. When the treaty was sent to the U.S. Senate for ratification, each Senator received one clothbound and one wrapperbound copy for their own use. A typed letter from the Printing Clerk of the U.S. Senate laid into this copy informs each Senator that additional copies could not be provided quickly because the maps had to be reproduced in Europe. The present copy is Hiram Johnson's personal copy, with his name stamped in gilt on the front board. Bound into the rear of Johnson's copy is a separately printed index to the treaty. Loosely laid in is a 43pp. document prepared by former State Department officer J. Ruben Clark entitled DATA ON GERMAN PEACE TREATY, printed by the Government Printing Office in 1919. This is the official United States government printing of the Treaty of Versailles, a document of monumental importance in American and world history. The treaty, made with Germany at the end of the First World War, concluded a war of unrivalled devastation while also sowing the seeds for the Second World War, just twenty years on the horizon. The United States, guided by Woodrow Wilson's vision, played a central role in the crafting of the treaty. The U.S. Senate refused to ratify the treaty, however, based on the objection of several senators to the Covenant of the League of Nations (which was included as Part I of the settlement), thereby largely removing American influence and involvement from the international scene in the inter-war period. Especially objectionable to the Senate was Article 10, by which the members of the League agreed to protect the territorial integrity and political independence of any member of the League. This official American printing of the treaty is noted as Senate Document 51 of the first session of the 66th Congress. It was referred to the Senate Committee on Foreign Relations on July 10, 1919, and ordered to be printed. The Treaty of Versailles was a wide-ranging and ambitious document, which sought not only to address the immediate postwar settlement, but also to punish Germany for its actions in starting and prosecuting the war, attempted to remake the map of Europe, and created a supra-national political organization, the League of Nations. The Covenant of the League of Nations comprises the first part of the treaty. The next most famous part is that dealing with reparations, which includes Article 231, the infamous "war guilt clause." By this article, Germany and her allies accepted the responsibility "for causing all the loss and damage to which the Allied and Associated Governments and their nationals have been subjected as a consequence of the war imposed upon them by the aggression of Germany and her allies." The intent of the article was to affix legal and financial responsibility on Germany, but it took on moral implications, and was used by Hitler during his rise as an example of Allied perniciousness. Germany had to agree to pay reparations to the allies in the sum of 20,000,000,000 gold marks, the amount to be modified by a reparations commission in 1921. Germany also had to recognize the independence of Austria and agree not to compromise that independence in the future. Germany's borders were redrawn, with Alsace-Lorraine being given to France, West Prussia to Poland, and other lands, such as Danzig and the Saar Basin, stripped away. Germany lost its overseas possessions, the Rhineland was occupied, and the German army was limited to 100,000 men and largely disarmed. Other provisions address issues of tariffs, ports, labor, aerial navigation, prisoners of war, and more. As has been noted, the many punitive measures of the Treaty of Versailles did much to fan the seeds of discontent in postwar Germany and to facilitate the rise of Hitler, who publicly flaunted the provisions of the treaty throughout the 1930s. The refusal of the United States to ratify the treaty and participate in the League of Nations was a crucial part in the chain of events that led to the Second World War. A most important document in an incredibly significant association, being the personal copy of one of the leading Senate "Irreconcilables" who ensured that the United States would not ratify the treaty. ANB 12, pp.78-81. Thomas A. Bailey, WOODROW WILSON AND THE GREAT BETRAYAL (New York, 1945), p.63 and passim.

      [Bookseller: William Reese Company - Americana]
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        Eigenh. Albumblatt mit U.

      Groß-Bothen (Sachsen), [2. I. 1919]. - 1 S. Qu.-8vo. "Arbeit ist die Quelle aller Werte, und arbeiten können wir besser als irgend ein Volk". - In Bleistift; auf der Textseite einer an die Arbeitsgemeinschaft für staatsbürgerliche und wirtschaftliche Bildung adressierten Postkarte; mit Absenderstempel; im linken Rand gelocht (keine Textberührung).

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 36.   Check availability:     IberLibro     Link/Print  

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