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Displayed below are some selected recent viaLibri matches for books published in 1922

        Poster Design Classic] Poster Design, A Critical Study, etc.

      George W. Bricke, New York 1922 - Thick quarto. Original publisher's red buckram cloth with printed pictorial label on cover and gilt lettered spine. The more desirable New and Enlarged Edition containing 33 more color plates than the first edition (1913). 65 superb color illustrations and 150 monotone plates, all tipped-in onto separate page with printed annotations. Contains most of the more influential and popular images from the major poster artists of the last century, including: Beardsley, Bradley, Crane, Flagg, Grasset, Hazenplug, Leyendecker, Mucha, Parrish, Penfield, Rhead, J. W. Smith, and Lautrec. A superb copy, back hinge split, else near fine.

      [Bookseller: Nudelman Rare Books]
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        Old Manor Houses

      - London, Heinemann, [1922]. In-4, reliure éditeur demi-vélin, jaquette. / 4to, publisher?s quarter vellum hardcover, dj. Edition de luxe tirée à 380 exemplaires numérotés. SIGNÉ par l'artiste, et agrémenté d'un joli DESSIN ORIGINAL d'un terrier par Aldin. Complet de sa rare jaquette d'origine. / Deluxe edition of 380 numbered copies, signed by the artist, with a fine original drawing of a terrier by Aldin (ink and color pencil drawing). Complete of the scarce original wrappers. * Voir photographie(s) / See picture(s). * Frais de port en sus. * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du mardi au samedi de 14h à 19h. * Si vous souhaitez passer à la librairie pour un livre, merci de nous prévenir au préalable, l'ensemble du stock visible en ligne n'étant pas immédiatement consultable. *** Due to NY Book Fair, please note that orders placed between March 31 and April 12 will be shipped after that last date. Thank you for your understanding and your patience. *** Langue : Français

      [Bookseller: Chez les libraires associés]
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        The Pageant of Peking Comprising Sixty-Six Vandyck Photogravures of Peking and Environs from Photographs by Donald Mennie

      Shanghai.: Watson. Printed and bound by Kelly & Walsh.. Third edition.. 1922.. With a 40 page introduction by Putnam Weale and descriptive notes by S. Couling. Illustrated with 66 full page tipped-in photogravures showing scenes showing Beijing street scenes, people and architecture. 38 x 28cm. Endpapers foxed, some light occasional spotting but largely the plates and text are very clean. Handsome blue silk covered boards worn with a little worn tail of spine, a few places on joints and at corners. Spine sunned. Inscription front free endpaper. A very good copy. Scottish chemist Donald Mennie was resident in China from 1899. He was a talented amateur photographer while by day he was the managing director of the well known chemist and general goods store, A.S. Watson. It appears that he died in Lunghwa Camp as a POW of the Japanese in 1941. This copy is inscribed "To Cheech, the Kindest of Friends/In Memory of Peking and Peitaiho,/from/?,(Adam), Hugh N. Bradley(Julius)/Xmas 1922. Cheech was Miss Anna M Ritchie, from 1911 the nanny to the children of Sir Francis Aglen. Sir Francis had a lifetime career in the Chinese Maritime Customs and at the time of Miss Ritchie’s appointment was Inspector General of the Customs, a post he held until 1927. When Miss Ritchie’s youngest charges attempted to say her name it first became Chi Chi and then Cheech. Initially she was responsible for only two young children and then for five as the family increased. Miss Ritchie was much more than a nanny to the children and there were times when she had sole charge of them, firstly during the First World War while the children went to school in Vancouver, later in England when they were at school and after their mother died in 1925. On her marriage to Sir Francis in 1927 Cheech became Lady Aglen. The Chinese Maritime Customs had a beach/holiday house at Peitaiho for the use of the Inspector General and his family, and possibly for other members of the Customs staff as well. Hugh Bradley was on the Customs staff and it is likely the other name was also of a Customs employee. The names “Adam” and “Julius” in brackets probably refer to their children. .

      [Bookseller: Asia Bookroom]
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        The Game 1922. [together with] The Obedience of Authority.

      - Ditchling: St. Dominic's Press, 1922. 2 vols., small 8vo, 118 pp. With 12 full-page woodcuts by David Jones. Original quarter cloth, boards, printed dust-jacket, in perfect condition. A very rare and interesting book, with superb examples of Jones's woodcuts. Accompanied by a pamphlet "The Obedience of Authority" by Vincent McNabb which appear in "The Game" but is here present as a separate offprint; signed "David Jones" in pencil on the front cover. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: John Windle Antiquarian Bookseller, ABAA]
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        The Game A Monthly Magazine

      Ditchling: St. Dominic's Press 12mo (18 cm; 7"). Vol. V. 118 pp.. 1922 The complete volume for 1922. "The Game was primarily an organ for the Distributist propaganda of [H.D.C.] Pepler, [Eric] Gill, and [Edward] Johnston. . . . No statement of the magazine's printing order or circulation was ever issued, but it would seem safe to say that not more than 200 copies were printed of any number. . . . The contents of The Game were mostly written by Pepler and Gill" (Sewell, p. 36). Only 34 issues of this periodical were produced between 1916 and 1923. A prime feature of this volume is that => David Jones provided a set of wood-engravings illustrating the Ten Commandments for the covers of the issues for February through November. Eric Gill's verse and prose contributions to this volume are "Idiocy or Ill-Will," "Quae ex veritate bonoque," "Caelum et Terra transibunt," and "Ireland Revisited." Provenance: Interesting bookplate of the "Catholic Art Association"; ownership signature of A. Graham Carey (dated February 10, 1926). Gill later designed a bookplate for Carey and his wife, Elizabeth Foster Carey. Original quarter linen, very good. Some glue action on endpapers and extending to lower margins of adjoining leaves. A handsome copy of a handsome thing.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
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        AUGUST WILHELM PRINZ VON PREUßEN (August Wilhelm von Preussen gen. Auwi, 1887-1949) Sohn Kaiser Wilhelm II., im dritten Reich SA-Obergruppenführer

      - ORIGINAL-AQUARELL (H 33 x B 48,5 cm, in Goldrahmen unter Glas gerahmt) , re. unten eigenhändig signiert m.D. 14.7.1922 und bezeichnet Klitschdorf MOTIV : Park von Schloß Klitschdorf mit dem Schloßgebäude im Hintergrund. Rs. zeitgenössisch bezeichnet als von Prinz August Wilhelm gemalt u. signiert. Nach 1920 lebte er zurückgezogen in Potsdam. Er nahm Zeichenunterricht bei Professor Arthur Kampf. Der Verkauf seiner Bilder sicherte ihm eine zusätzliche Einnahmequelle. [Attributes: Signed Copy]

      [Bookseller: Herbst-Auktionen]
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        Handzeichnung in Bleistift \" Erich im Ausmarschanzug \".

       Seltenes Blatt des Künstlers, seinen Sohn in Uniform zeigend. Eine der wenigen Personendarstellungen des Künstlers. Rechts unten signiert und bezeichnet \" G.H., Erich im Ausmarschanzug a.23.3.18 \". Blattgröße ( Höhe x Breite ): 36 x 27,5 cm. Papier stark gebräunt, Blattränder teils etwas beschädigt, sowie zu den Rändern hin mit Knickspuren. ( Pic erhältlich / webimage available ) ( Literatur: Thieme-Becker \" Allgemeines Lexikon der bildenden Künstler, Leipzig 1922, Band 15, S. 410 \" : \" Maler in Düsseldorf, geb. 8.8.1865 in Dessau. Als Schüler Max Brückners erlernte er in Coburg die Theatermalerei und begleitete das Meininger Hoftheater auf dessen Auslandsreisen. Nach der Auflösung dieser Bühne kam Hacker als Lehrer für dekorative Malerei nach Straßburg im Elsaß an die neubegründete Kunstgewerbeschule, 1896 an das Stadttheater in Düsseldorf...Seine dekorative Malerei, die das Landschaftliche bevorzugt, fand viel Anerkennung, besonders die Festspieldekoration des Rheinischen Goethevereins. In Straßburg rührt von Hacker die Ausmalung des Zoologischen Instituts der Universität her. Mit flottgemalten Landschaftsbildern realistischer Art ist Hacker vielfach auf Ausstellungen, besonders in Düsseldorf, vertreten. \" Biographische Angaben: 1865: Hacker wurde am 8. August 1865 in Dessau als Sohn des Kammersängers Adolf Hacker und dessen Gattin Pauline, geb. Zschiesche, einer bedeutenden und berühmten Opernsängerin geboren.1882-1887: Eintritt in das Atelier der Prof. Gebr. Brückner in Coburg wo er die Technik der Theatermalerei erlernt und zum Lieblingsschüler Prof. Brückners avanciert, der damals für Bayreuth Wagners Parsifal ausstattet und für die Meininger unter Herzog Georgs Führung seine berühmten Ausstattungen schuf. 1887-1890: Von Herzog Georg II. an das Hoftheater in Meiningen berufen - Teilnahme an vielen Gastspielreisen. 1890-1896: Berufung nach Straßburg. 1893: Als Stipendiat der Stadt Straßburg nach Chicago zur Weltausstellung entsandt. 1896-1945: Mitglied des Künstlervereins \" Düsseldorfer Malkasten \", lange Jahre dort im Vorstand tätig. 1896-1899: Berufung an das Stadttheater in Düsseldorf. Schaffung zahlreicher Ausstattungen ( u.a. für die Festspiele des rheinischen Goethevereins ). 1904: Der Kunstverein erwirbt seine \" Eifellandschaft \". 1906: Ankauf des Aquarells \"Eifelhöhe mit Schafen\" durch Kaiser Wilhelm II. 1905: Festausschmückung Berlins zur Kronprinzenhochzeit.1907-1909: Leiter des Ausstattungswesens an der \" Bühne \". 1910: Verleihung der Goldenen Medaille für Kunst und Wissenschaft. 1914-1916:Teilnahme am Ersten Weltkrieg.1919: Lehrer für Bühnenmalerei an der Staatlichen Kunstakademie in Düsseldorf. 1927-1936: Zweite Amerikafahrt: Ausmalung einer großen Maschinenfabrik in Reading, P.A., sowie weitere Reisen ins In- und Ausland mit Planung und Ausführung verschiedenster Arbeiten und Aufträge. 1936: Bildausschmückung des Wartesaals III. Klasse im Düsseldorfer Hauptbahnhof ( im Zweiten Weltkrieg zerstört ). 1938: Eingangshalle des Duisburger Hauptbahnhofes. 1940: 3 große Dioramen für das Naturkunde-Museum der Stadt Dortmund. 1945: Am 5.12. Tod in Düsseldorf. Bis kurz vor seinem Tode beschäftigte ihn der Plan den Keller des im Krieg zerstörten \" Düsseldorfer Malkastens \" mit Fresken auszumalen um den Künstlern des Düsseldorfer Malkastens eine neue würdige Bleibe zu schaffen. ( 1968: Große Einzelausstellung im Stadtmuseum Düsseldorf *Palais Spee* / 1973: Große Verkaufsausstellung Galerie Paffrath, Düsseldorf, Königsallee 46 ). Versandkostenfreie Lieferung Hacker, Georg Hacker, Düsseldorf, Düsseldorfer Malerschule, Düsseldorfer Malkasten, Malkasten, Erster Weltkrieg, Uniform

      [Bookseller: Antiquariat Friederichsen]
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        Three manuscript minute books with additional printed and typed material, 1901-1922.

      [Bristol: 26th November 1901 - 5th August 1922] - Three manuscript minute books with additional printed and typed material, 1901-1922. Vol. 1 (1901-1913), [205 x 159 x 25 mm], [117]ff of lined paper with neat black and blue ink manuscript records of meetings, along with 14 printed notices, eight typed sheets of documents, eight letters and a newspaper cutting. Bound in marbled covered boards with a green cloth spine. Vol. 2 (1913-1918), [231 x 180 x 25 mm], [88]ff with neat black ink records of meetings, along with 15 printed notices, 29 typed sheets of lists, letters and documents and other insertions. Bound in half blue roan, marbled covered sides, the spine lettered in gilt. Vol. 3 (1918-1922), [324 x 200 x 10 mm], [33]ff of lined paper with neat black ink manuscript records of "Conferences", along with 19 printed notices, eight manuscript and 14 typed letters and documents, two newspaper clippings and other insertions. Bound in marbled covered boards, blue cloth spine. The three manuscript volumes are accompanied by a further volume of newspaper cuttings compiled by the Bristol Master Printers & Allied Trades Association (the cuttings cover 111 pages, and are dated 1915-1937) and two printed volumes of Circulars and Rules of The Federation of Master Printers & Allied Trades, 1903-06 and 1908.

      [Bookseller: George Bayntun ABA ILAB]
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        Alexandria: a History and a Guide

      Alexandria: Whitehead Morris Limited, 1922. First Edition. Octavo. 227pp., 21 maps and plans of which 3 maps are folding, one is in color and folded into rear packet, bound in tan paper coverd baords lettered in black, spine lettering black, minor spot of rubbing to upper board and with some brown "ink" marks but does not detract from its nice condition. A handsome copy without names or plates. One plate misbound from page 144 to page 44. As noted, many of the first edition copies of this work had been destroyed by a fire. Very nice an now in thick custom mylar jacket.

      [Bookseller: Alcuin Books, ABAA-ILAB]
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        I.] Wiener Kindergraphik. Sonderabdruck aus den "Graphischen Künsten", Wien 1922.

      -,, Wien, 1922 - Wien, -, 1922. ca. 40,5 x 30,5 cm. 20 S. OBrosch. Mit dem Beitrag von Arpad Weixlgärtner "Kindergraphik. Arbeiten von Schülern der von Professor Franzt Cizek geleiteten Jugendklasse an der Wiener Kunstgewerbeschule". - Ebd. m. Randläsuren, Gbrsp. - Mit zahlreichen Abbildungen von den Schülern und der Titelillustration von Gretl Hanus. Deutsch [Attributes: Soft Cover]

      [Bookseller: Antiquariat Weinek]
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        The Heir: A Love Story (signed by author)

      Printed for Private Circulation, 1922. 1st edition. Hardcover. Signed by the author below her frontispiece portrait. Patterned cloth with quarter-bound white linen spine, with paper label, clean pages, browned endpapers, hand-made paper. One of 100 copies only, 1-50 for trade sale by Heinemann in a different cloth, copies 51-100 provided for the author's personal use, this being hand-numbered 98/100. The inscription on the fep reads, 'With the very best of good wishes from the author's mother (B.M.) Victoria Sackville (Dowager) to dear Miss Le Bosquet, August 1930'. Vita dedicated her book to B.M. (her shorthand for 'Bonne Mama'), and underneath this Victoria Sackville has also written 'B.M. is the Dowager Lady Sackville who thanks dear Miss Le Bosquet for all her kindness to ''V.Sackville West''. May she never lose {sic} you.'. There is also a letter, laid in, which reads, 'My dear Miss Le Bosquet, I thought you would rather have this private Edition which is (introuvable {sic?}) than any other souvenir from me - Please accept it with my blessings. V. Sackville (Dowager)'. This copy of the author's charming short novel is therefore utterly unique with these associations.

      [Bookseller: Shellhouse Books]
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        Der Geisterseher. Aus den Papieren des Grafen von O**. Mit zehn Radierungen von Ernst Oppler.

      Berlin, Hans Heinrich Tillgner Verlag, 1922. 1,144(1) Seiten,Folio, Original-Ganz-Ledereinband mit reichlich goldverziertem Deckel und Rücken (mit namentlicher Prägung des Buchbinders - Hoyer), marmorierte Vorsatzpapiere. Zehn signierte ganzseitige Original-Radierungen von Oppler (Druck durch G. Schneider). Textdruck von G. Ascher, beide Berlin. Nummeriertes Exemplar (19 von 100) der Vorzugsausgabe, bei der jede Radierung signiert ist. Bei dieser Ausgabe wurde der Druck auf handgeschöpftem Bütten abgezogen. 2. Tillgner Druck. Sehr schönes Exemplar. Wenige Stockflecken auf den letzten Seiten. Fine copy with ten handsigned original etchings. Numbered. Limited for 100 copies. Versand D: 5,00 EUR Originalgraphik, signed, signiert, Oppler, Schiller, Leder, leather

      [Bookseller: AS - Antiquariat Schröter]
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        EVENTAIL dix gravures de Marie Laurencin accompagneés de poésies nouvelles de Louis Codet, Jean Pellerin, et de MM. Roger Alard, André Breton, Francis Carco, M. Chevrier, F. Fleuret, G. Gabory, Max Jacob, Valery Larbaud, A. Salmon.

      Paris, Nouvelle Revue Française, 1922. 61 gez. Seiten Kl.-8°, Halbleder Exemplar No. 155 von 300.Sehr schönes sauberes Exemplar in rotem Halblederband. Gelegentlich schwach altersfleckig, Leder schwach berieben, leicht lichtschattig, Rücken etwas lichtgehellt. R73 Versand D: 5,00 EUR

      [Bookseller: Versandhandel R. Wassmann]
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        Hunting of the Grizzly Bear

      [Leipzig: Schmidt and Guenther, 1922. Aquatint engraving by Lucas Weber after Bodmer. Tear to left margin not affecting plate area. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18) Prince Maximilian and his party left Fort Union on 6 July aboard the 60-foot keelboat Flora and eventually arrived at Fort McKenzie on 9 August 1833. In his journal for 18 July Prince Maximilian describes the incident pictured here: a ravenous bear was seen to start feasting on the body of a buffalo cow, half-buried in the sand on the riverbank. Its mate made off perhaps disturbed by the presence of Deschamp `a bold and experienced hunter' who got to within about eighty paces of the feeding bear by stalking it along the shore of the river, the small rowing boat (here seen beyond Deschamp) containing Bodmer, Dreidoppel and David Mitchell (the company manager for Fort McKenzie), eventually got to within fifth paces before Mitchell fired 'the first mortal shot', the others also fired and the bear was eventually dispatched by Deschamp. Bodmer here captures a moment early in the hunt when the short-sighted bear noses the air supiciously, still unaware of the presence of the hunters. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. David C. Hunt, "Karl Bodmer and the American Frontier," Imprint /Spring 1985, p.18. Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        Handzeichnung in Bleistift ( und Kohle ) eines alten, knorrigen Baumes.

       Grosse Darstellung eines alten knorrigen Baumes, links unten signiert und datiert \" G.H.41 \". Bildgröße ( Höhe x Breite ): 44 x 33 cm. Leider unfachmännisch unter Verwendung eines dicken, breiten Klebestreifens unter eine Art Passepartout geklebt ( wahrscheinlich durch die relative Dünnheit des Papiers nicht mehr entfernbar ). ( Pic erhältlich / webimage available ) ( Literatur: Thieme-Becker \" Allgemeines Lexikon der bildenden Künstler, Leipzig 1922, Band 15, S. 410 \" : \" Maler in Düsseldorf, geb. 8.8.1865 in Dessau. Als Schüler Max Brückners erlernte er in Coburg die Theatermalerei und begleitete das Meininger Hoftheater auf dessen Auslandsreisen. Nach der Auflösung dieser Bühne kam Hacker als Lehrer für dekorative Malerei nach Straßburg im Elsaß an die neubegründete Kunstgewerbeschule, 1896 an das Stadttheater in Düsseldorf...Seine dekorative Malerei, die das Landschaftliche bevorzugt, fand viel Anerkennung, besonders die Festspieldekoration des Rheinischen Goethevereins. In Straßburg rührt von Hacker die Ausmalung des Zoologischen Instituts der Universität her. Mit flottgemalten Landschaftsbildern realistischer Art ist Hacker vielfach auf Ausstellungen, besonders in Düsseldorf, vertreten. \" Biographische Angaben: 1865: Hacker wurde am 8. August 1865 in Dessau als Sohn des Kammersängers Adolf Hacker und dessen Gattin Pauline, geb. Zschiesche, einer bedeutenden und berühmten Opernsängerin geboren.1882-1887: Eintritt in das Atelier der Prof. Gebr. Brückner in Coburg wo er die Technik der Theatermalerei erlernt und zum Lieblingsschüler Prof. Brückners avanciert, der damals für Bayreuth Wagners Parsifal ausstattet und für die Meininger unter Herzog Georgs Führung seine berühmten Ausstattungen schuf. 1887-1890: Von Herzog Georg II. an das Hoftheater in Meiningen berufen - Teilnahme an vielen Gastspielreisen. 1890-1896: Berufung nach Straßburg. 1893: Als Stipendiat der Stadt Straßburg nach Chicago zur Weltausstellung entsandt. 1896-1945: Mitglied des Künstlervereins \" Düsseldorfer Malkasten \", lange Jahre dort im Vorstand tätig. 1896-1899: Berufung an das Stadttheater in Düsseldorf. Schaffung zahlreicher Ausstattungen ( u.a. für die Festspiele des rheinischen Goethevereins ). 1904: Der Kunstverein erwirbt seine \" Eifellandschaft \". 1906: Ankauf des Aquarells \"Eifelhöhe mit Schafen\" durch Kaiser Wilhelm II. 1905: Festausschmückung Berlins zur Kronprinzenhochzeit.1907-1909: Leiter des Ausstattungswesens an der \" Bühne \". 1910: Verleihung der Goldenen Medaille für Kunst und Wissenschaft. 1914-1916:Teilnahme am Ersten Weltkrieg.1919: Lehrer für Bühnenmalerei an der Staatlichen Kunstakademie in Düsseldorf. 1927-1936: Zweite Amerikafahrt: Ausmalung einer großen Maschinenfabrik in Reading, P.A., sowie weitere Reisen ins In- und Ausland mit Planung und Ausführung verschiedenster Arbeiten und Aufträge. 1936: Bildausschmückung des Wartesaals III. Klasse im Düsseldorfer Hauptbahnhof ( im Zweiten Weltkrieg zerstört ). 1938: Eingangshalle des Duisburger Hauptbahnhofes. 1940: 3 große Dioramen für das Naturkunde-Museum der Stadt Dortmund. 1945: Am 5.12. Tod in Düsseldorf. Bis kurz vor seinem Tode beschäftigte ihn der Plan den Keller des im Krieg zerstörten \" Düsseldorfer Malkastens \" mit Fresken auszumalen um den Künstlern des Düsseldorfer Malkastens eine neue würdige Bleibe zu schaffen. ( 1968: Große Einzelausstellung im Stadtmuseum Düsseldorf *Palais Spee* / 1973: Große Verkaufsausstellung Galerie Paffrath, Düsseldorf, Königsallee 46 ). Versandkostenfreie Lieferung Hacker, Georg Hacker, Düsseldorf, Düsseldorfer Malerschule, Düsseldorfer Malkasten, Malkasten, Handzeichnungen, Baum

      [Bookseller: Antiquariat Friederichsen]
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        Tales of The Jazz Age.

      New York, Charles Scribner's Sons,, 1922. Octavo. Finely bound by The Chelsea Bindery in dark green morocco, titles and decoration to spine, raised bands, single rule to boards, inner dentelles, marbled endpapers, gilt edges. A fine copy. First edition, first printing.

      [Bookseller: Peter Harrington]
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        Echoes from a Pioneer Life

      Atlanta: A.B. Caldwell Publishing Co., 1922 First edition. Publisher's red cloth, lettered in black. Very good, with some light wear to the extremities, minor soiling to the boards, spine starting inside the front cover and at the rear flyleaf, bright and clean pages. Echoes from a Pioneer Life is the slave narrative of Baptist minister and educator Jared Maurice Arter, who was born into slavery near Harper's Ferry, West Virginia, in 1850. After being freed by the Emancipation Proclamation of 1863, Arter traveled with his mother, stepfather, and eight siblings to Washington, D.C. Shortly after, Arter went with one of his brothers to New York, where the boys promised to work for the Ayers family during their youth in exchange for an education. After he completed his tenure with the Ayers, Arter continued his education, earning a PhD from Pennsylvania State University, among other degrees. Arter later became an ordained minister and worked to educate others, both in religious and academic studies, throughout his adult life. Slave narratives, a form of literary memoir that developed as a result of American slavery practices in the 18th and 19th centuries, were printed by sympathetic publishers to support abolitionist movements. They were popularized by the narratives of prominent African-Americans such as Frederick Douglass and Harriet Tubman.. 1st Edition. Hard Cover. Very Good.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        Voyage de M. Le baron Maurice de Rothschild en Ethiopie et en Afrique orientale anglaise (1904-1905). Résultats scientifiques. Animaux articulés. Atlas

      1922 - (6)pp. (faux-titre, titre, Paris, Impr. Nationale, 1922, in-folio, (6)pp. (faux-titre, titre, index et tableau de concordance), 100ff. numérotés I-C, 100pl, cartonnage en demi-toile bleu ciel, dos lisse orné, plats et dos de papier crème imprimés en noir (cart. de l'ép.), 100 planches de crustacés, d'arachnides, de myriapodes et d'insectes remarquablement lithographiées; certaines sont finement coloriées au pinceau. PREMIERE EDITION de cet ouvrage publié par les soins du Laboratoire d'entomologie du MNHN de Paris, et présentant les résultats scientifiques recueillis au cours de l'exploration de l’Éthiopie et de l'Afrique orientale anglaise en 1904-1905 par le baron Maurice de Rothschild. Atlas entièrement monté sur onglets. Les planches sont disposées selon l'ordre systématique. En face de chacune d'elles se trouvent un feuillet explicatif. Superbe ouvrage qui poursuit la tradition des récits de voyages et de leurs atlas d'entomologie publiés au XIXème siècle (expédition de Castelnau, de D'Orbigny etc.): "le plus bel exemple pour la richesse et le luxe de l'iconographie" (D'Aguilar et Coutin, Les "illustrations entomologiques", éd. Quae, 1996, p. 22). Sans le texte (en 2 parties). Contient une pl. volante de batracien qui ne fait pas partie de la collation de l'ouvrage. Cartonnage lég. frotté, qq. rousseurs sur le dos, un coin usé et deux petits accrocs. Néanmoins bel exemplaire, avec des planches magnifiques et au corps de texte bien frais [Attributes: Hard Cover]

      [Bookseller: Librairie Alain Brieux]
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        Mehkskeme-Sukahs. Blackfoot-chief. Tátsicki Stomick. Piëkann Chief

      [Leipzig: Schmidt and Guenther, 1922. Aquatint engraving by Allais after Bodmer, issue without artist or engraver's names, or imprint lines for France or Germany. Tears to lower and right margins, surface soiling to outer left margin, not affecting plate area. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18) A fine half-length double portrait by Bodmer of two Blackfoot chiefs: Prince Maximilian referred to Mehkskéhme-Sukáhs [`Iron Shirt'] as the most distinguished of the several chiefs who gathered to welcome the arrival of the keelboat Flora at Fort McKenzie on 9 August 1833. At the time he was wearing a lace-trimmed scarlet uniform obtained from the British traders as a gift. He posed for this portrait on August 11th wearing a hide shirt decorated with otter fur, beadwork and metal trade buttons. In his hair are feathers, a bear claw and what appears to be a small ermine with blue beads for eyes. Tátsicki-Stomíck [`Middle Bull'] was probably the principal chief of the Piegan Blackfoot. He was a serious thoughtful man who had sought to maintain an amicable trading relationship between his people and the various companies competing for hides and pelts. Maximilian had particularly admired a shirt of his made from the skin of a bighorn sheep, richly ornamented with ermine, feathers and tufts of hair, and Maximilian lamented that for the present portrait he wore a much simpler shirt decorated with simple beadwork. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. David C. Hunt, "Karl Bodmer and the American Frontier," Imprint /Spring 1985, p.18. Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        Alexandria: a History and a Guide

      Whitehead Morris Limited, Alexandria 1922 - Octavo. 227pp., 21 maps and plans of which 3 maps are folding, one is in color and folded into rear packet, bound in tan paper coverd baords lettered in black, spine lettering black, minor spot of rubbing to upper board and with some brown "ink" marks but does not detract from its nice condition. A handsome copy without names or plates. One plate misbound from page 144 to page 44. As noted, many of the first edition copies of this work had been destroyed by a fire. Very nice an now in thick custom mylar jacket. [Attributes: First Edition]

      [Bookseller: Alcuin Books, ABAA]
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        Tiger im Kampf mit zwei Pferden.

      - Kaltnadel, um 1922, auf chamoisfarbenem Kupferdruckpapier, signiert. 33,5:34 cm. Brillanter, tiefschwarzer Abdruck mit vollem Rand, links unten als „Modell – Probedruck" bezeichnet. Selten! Seine erste künstlerische Unterweisung erhielt Philipp Franck als Schüler bei dem Zeichenlehrer F. Hoff. 1877-1879 studierte er in Frankfurt am Städelschen Kunstinstitut bei J.H. Hasselhorst (1825-1904) und E. von Steinle (1810-1886). Anschließend nahm er in Kronberg bis 1881 Privatunterricht bei A. Burger (1824-1905). Ein weiterer Mitbegründer der Kronberger Malerkolonie, J.F. Dielmann (1809-1885), mit dem er freundschaftlich verbunden war, riet ihm in Düsseldorf weiterzustudieren. 1881-1887 setzte er seine Studien an der Düsseldorfer Kunstakademie bei E. von Gebhardt (1838-1925) und E. Dücker (1841-1916) fort. 1888-1890 folgte ein Aufenthalt in Würzburg. Anschließend legte er an der Königlichen Zeichenschule in Berlin die Prüfung als Zeichenlehrer ab. 1891/1892 hatte er eine erste Lehrestelle in Halle/Saale. 1892 wurde er als Lehrer an die Staatliche Kunstschule Berlin berufen, 1898 folgte die Berufung zum Professor, 1915-1930 war er dort Direktor. Zwischen 1915 und 1939 unternahm er zahlreiche kleinere Reisen nach Kronberg. 1898 war er Mitbegründer der Berliner Sezession, deren Ausstellungen er regelmäßig beschickte. 1919 wurde er Mitglied der Preußischen Akademie. In dieser Zeit arbeitete er eng mit M. Liebermann (1847-1935) zusammen und wird zum Kreis um L. Corinth (1858-1935) gezählt. Philipp Franck, der eine grundlegende Reform des Zeichenunterrichts in Preußen durchsetzte, verfaßte hierzu zwei Handbücher für den Zeichen- und Kunstunterricht.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Ulysses

      

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


        Original-Aquarell \" Sylt \".

       Sehr schönes, großformatiges Aquarell eines Blicks von der Dünenkante herunter auf das sonnenbeschienene Meer unter einem großen, wolkenbehangenen Himmel. Rechts unten signiert und bezeichnet mit \" G.Hacker, Sylt \". Maße ( Höhe x Breite ): 47,5 x 39 cm. Das Bild gering fleckig, auf stärkerem Karton aufgezogen. ( Pic erhältlich / webimage available ) ( Literatur: Thieme-Becker \" Allgemeines Lexikon der bildenden Künstler, Leipzig 1922, Band 15, S. 410 \" : \" Maler in Düsseldorf, geb. 8.8.1865 in Dessau. Als Schüler Max Brückners erlernte er in Coburg die Theatermalerei und begleitete das Meininger Hoftheater auf dessen Auslandsreisen. Nach der Auflösung dieser Bühne kam Hacker als Lehrer für dekorative Malerei nach Straßburg im Elsaß an die neubegründete Kunstgewerbeschule, 1896 an das Stadttheater in Düsseldorf...Seine dekorative Malerei, die das Landschaftliche bevorzugt, fand viel Anerkennung, besonders die Festspieldekoration des Rheinischen Goethevereins. In Straßburg rührt von Hacker die Ausmalung des Zoologischen Instituts der Universität her. Mit flottgemalten Landschaftsbildern realistischer Art ist Hacker vielfach auf Ausstellungen, besonders in Düsseldorf, vertreten. \" Biographische Angaben: 1865: Hacker wurde am 8. August 1865 in Dessau als Sohn des Kammersängers Adolf Hacker und dessen Gattin Pauline, geb. Zschiesche, einer bedeutenden und berühmten Opernsängerin geboren.1882-1887: Eintritt in das Atelier der Prof. Gebr. Brückner in Coburg wo er die Technik der Theatermalerei erlernt und zum Lieblingsschüler Prof. Brückners avanciert, der damals für Bayreuth Wagners Parsifal ausstattet und für die Meininger unter Herzog Georgs Führung seine berühmten Ausstattungen schuf. 1887-1890: Von Herzog Georg II. an das Hoftheater in Meiningen berufen - Teilnahme an vielen Gastspielreisen. 1890-1896: Berufung nach Straßburg. 1893: Als Stipendiat der Stadt Straßburg nach Chicago zur Weltausstellung entsandt. 1896-1945: Mitglied des Künstlervereins \" Düsseldorfer Malkasten \", lange Jahre dort im Vorstand tätig. 1896-1899: Berufung an das Stadttheater in Düsseldorf. Schaffung zahlreicher Ausstattungen ( u.a. für die Festspiele des rheinischen Goethevereins ). 1904: Der Kunstverein erwirbt seine \" Eifellandschaft \". 1906: Ankauf des Aquarells \"Eifelhöhe mit Schafen\" durch Kaiser Wilhelm II. 1905: Festausschmückung Berlins zur Kronprinzenhochzeit.1907-1909: Leiter des Ausstattungswesens an der \" Bühne \". 1910: Verleihung der Goldenen Medaille für Kunst und Wissenschaft. 1914-1916:Teilnahme am Ersten Weltkrieg.1919: Lehrer für Bühnenmalerei an der Staatlichen Kunstakademie in Düsseldorf. 1927-1936: Zweite Amerikafahrt: Ausmalung einer großen Maschinenfabrik in Reading, P.A., sowie weitere Reisen ins In- und Ausland mit Planung und Ausführung verschiedenster Arbeiten und Aufträge. 1936: Bildausschmückung des Wartesaals III. Klasse im Düsseldorfer Hauptbahnhof ( im Zweiten Weltkrieg zerstört ). 1938: Eingangshalle des Duisburger Hauptbahnhofes. 1940: 3 große Dioramen für das Naturkunde-Museum der Stadt Dortmund. 1945: Am 5.12. Tod in Düsseldorf. Bis kurz vor seinem Tode beschäftigte ihn der Plan den Keller des im Krieg zerstörten \" Düsseldorfer Malkastens \" mit Fresken auszumalen um den Künstlern des Düsseldorfer Malkastens eine neue würdige Bleibe zu schaffen. ( 1968: Große Einzelausstellung im Stadtmuseum Düsseldorf *Palais Spee* / 1973: Große Verkaufsausstellung Galerie Paffrath, Düsseldorf, Königsallee 46 ). Versandkostenfreie Lieferung Hacker, Georg Hacker, Düsseldorf, Düsseldorfer Malerschule, Düsseldorfer Malkasten, Malkasten, Aquarell, Sylt

      [Bookseller: Antiquariat Friederichsen]
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        ULYSSES

      Shakespeare and Company. Paris. 1922. FIRST EDITION. Number 811 of a limited edition of 1,000 copies and one of 750 copies printed on handmade paper. There were 100 signed copies on thicker Dutch handmade paper numbered 1 - 100 and 150 large paper copies on verge d'Arches numbered 101 - 250 in addition to the 750 copies on handmade paper. Small quarto (235 x 185 mm). Contemporary blue half morocco, spine gilt in compartments with titles direct, blue cloth sides ruled in gilt, top edge gilt, others untrimmed, marbled endpapers. Extremities very lightly rubbed, endleaves a little finger-marked. An excellent copy in an attractive binding.

      [Bookseller: Paul Foster Books]
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        Camp of the Gros Ventres of the Prairies on the upper Missouri

      [Leipzig: Schmidt and Guenther, 1922. Aquatint engraving by Himely after Bodmer. Small tears to upper margin not affecting plate area. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18) Prince Maximilian and his party left Fort Union on 6 July aboard the 60-foot keelboat Flora and eventually arrived at Fort McKenzie on 9 August 1833. The present view recalls the events of 5th August when the keelboat stopped opposite an Atsina camp at the mouth of the Judith River. The camp contained over 200 tipis and the boat was soon overrun by visitors wishing to trade. The Indians far outnumbered the party of travelers and the situation remained chaotic and tense for a while: Prince Maximilian, in his journal entry for the day noted that `If it was their intention to treat us in a hostile manner, there was no way for us to escape; and how easily might the most trifling dispute with these rude men lead to a breach, by which fifty whites, in the power of eight or nine hundred Indians, would have had no chance. They were therefore treated with much apparent confidence and familiarity, and everything went off very well.' The vessel sailed on as soon as possible. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. David C. Hunt, "Karl Bodmer and the American Frontier," Imprint /Spring 1985, p.18. Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        ULYSSES.

      Shakespeare and Company. Paris. 1922. FIRST EDITION. Large 8vo. Bound by Ostermalms in blue half morocco, marbled sides, raised bands, titles and decorative tooling to compartments gilt, top edge gilt, others untrimmed, marbled endpapers. Housed in a marbled board slipcase. Bookseller's ticket to front pastedown, binder's ticket to rear pastedown. Spine slightly sunned, half-title gently tanned. Otherwise a fine copy in a lightly rubbed slipcase with some minor wear to extremities. With the original blue front wrapper bound in at the beginning. First edition, first printing, number 233 of 150 large paper copies numbered between 101 and 250. Ulysses was published in imitation of the traditional three-tiered French format aimed at both connoisseurs and readers: 100 copies were printed on Dutch handmade paper and signed by Joyce; 150 copies were printed on heavier verge d'Arches to create this large paper format; and the remaining 750 copies formed a small format trade issue, printed on less expensive verge à barbes stock. ----- Bought by C. E. Fritze Hofbokhandel and bound for the bookseller by Ostermalms bokbinderi, this copy was recorded in Sylvia Beach's notebook as having been sent on 24 May 1922. As such, it is the first Ulysses to be imported to Sweden; copies of the work were generally hard to find in Scandinavia throughout the 1920s and 1930s (Riikonen, "Blooms in the North", in The Reception of James Joyce in Europe, p. 130). The earliest translation of Joyce into any Scandinavian language was Ebba Atterbom's Swedish translation of A Portrait of the Artist as a Young Man which was published by Geber in 1921. Despite this, Joyce's magnum opus would not be translated until 1946, when Albert Bonniers förlag published Thomas Warburton's translation, entitled Odysseus. Warburton would himself edit and amend his translation for the 1993 edition; a completely new translation by Erik Andersson, who retained the English title, was published by Bonniers in 2012. Originally founded in 1837 as Fritze & Bagge, C. E. Fritze was a successful bookseller and publisher based at Storkyrkobrinken 3 and later in one of the corner buildings close to Gustav Adolfs torg, Fredsgatan 2. A successful bookshop, Fritze was given a Swedish Royal warrant in 1862; in the hands of K. F. Kruhs and B. Söderberg, who bought the shop in 1870, Fritze became one of the major booksellers in Sweden, focusing on modern classics, deluxe editions, and illustrated works, as well as publishing works by August Strindberg and Jonathan Swift, as well as engaging illustrators like Carl Larsson. Slocum & Cahoon A17; Horowitz, Census, page 121.

      [Bookseller: Paul Foster Books]
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        The Clicking of Cuthbert

      U.K. Herbert Jenkins 1922 - First Editionof these golfing short stories featuring the Golfing reminiscences of the Oldest Member. VG in Original Sage Green Cloth Cover and the remains of the delightful DW,which is rather torn and tattered with some loss,but retaining the front panel. [Attributes: First Edition; Hard Cover]

      [Bookseller: barnoble-books]
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        THE DAY OF THE BEAST.

      NY: Harpers 1922 1st ed. - The front cover of the jacket is darkened from smoke damage caused by a fire in Grey's library. A fine copy in very good jacket. Inscribed by Zane Grey's son Loren. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Kubik Fine Books Ltd., ABAA]
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        Die Wiederherstellung der Eisenbahnen auf dem westlichen Kriegsschauplatz. (Das deutsche Militär-Eisenbahnwesen im Weltkrieg 1914-1918).

      Berlin, Mittler & Sohn Verlag, 1922 - 8°, VIII, 128 Seiten mit zahlr. Illustrationen, 34 Bildtafeln im Anhang mit 59 Abbildungen sowie einer Faltkarte in Lasche auf hinteren Buchdeckel - guter und vollständiger Zustand - 1922. b84201 Sprache: Deutsch Gewicht in Gramm: 600

      [Bookseller: Antiquariat Ehbrecht]
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        Travels of a Consular Officer in Eastern Tibet together with a History of the Relations Between China, Tibet and India

      Cambridge, London 1922 - 1st ed. photos, 7 sketch maps and a large folding map (the latter in a cover pocket), index, maps, xxiii, 248p. Green cloth, recently rebacked with almost all of original backstrip mounted. 24cm. A few white spots (discoloration?) on front and back cover. [Attributes: First Edition; Hard Cover]

      [Bookseller: McBlain Books, ABAA]
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        Zehn Exlibrisradierungen.

      [Bad Rothenfelde, J. G. Holzwarth, 1922.] 10 Tafeln. Lose Blattsammlung in OHlwd.-Mappe. Nr. 24 von 100 num. Expl. Alle Tafeln mit eighd. Signatur. - Es fehlen die einleitenden Worte von Hanns Heeren (3 Seiten). - Leicht stockfleckig, Mappe etw. bestossen, leichte Gbrsp. - Michel, (1885 - 1966), studierte in Leipzig bei Rentzsch, Kleukens, Belwe und in Berlin bei E. Doepler d. J.. Einige seiner Plakatentwürfe wurden preisgekrönt darunter einer zum Faust-Film der Ufa, 1926. Er lehrte Graphik an den Staatlichen Kunstschulen in Berlin. (Zitat nach Thieme-Becker-Vollmer) Versand D: 7,00 EUR Exlibris; Kunst; Signatur

      [Bookseller: Antiquariat Weinek]
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        Blick über die Elbe auf Dresden" originales Ölgemälde auf Leinwand ca.87,5x67,5cm; unten links signiert und datiert "1922"

      - Der schlesische Maler Oskar Rothkirch war Schüler von Richard Müller in Dresden und danach lange in Brasilien tätig.

      [Bookseller: Antiquariat Niederbayern]
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        Travels of a Consular Officer in Eastern Tibet together with a History of the Relations Between China, Tibet and India

      London: Cambridge, 1922. Hardcover. Good. 1st ed. photos, 7 sketch maps and a large folding map (the latter in a cover pocket), index, maps, xxiii, 248p. Green cloth, recently rebacked with almost all of original backstrip mounted. 24cm. A few white spots (discoloration?) on front and back cover.

      [Bookseller: McBlain Books]
 33.   Check availability:     Biblio     Link/Print  


        Idols of the Mandan Indians

      [Leipzig: Schmidt and Guenther, 1922. Aquatint engraving by Hürlimann and Himely after Bodmer, issue with date. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18) This image was printed from plates attributing the print to three different engravers: 'Ch. Vogel', 'Himely' and 'Hürlimann et Himely'. A highly atmospheric scene executed by Bodmer during the winter of 1833-1834 when the travelers stayed at Fort Clark on the banks of the upper reaches of Missouri River. The hide-wrapped poles represent the sun and the moon, which in turn are symbols of two of the most powerful Mandan deities: the Lord of Life (creator of all things) and the Old Woman Who Never Dies, who was associated with corn and buffalo. The Mandan standing before the effigies is apparently seeking the help of these sacred beings. In Mandan life no important decisions or undertakings were made without this sort of consultation, which generally involved fasting and offerings or sacrifices. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. David C. Hunt, "Karl Bodmer and the American Frontier," Imprint /Spring 1985, p.18. Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        Sammlung von 5 Autographen (4 eigenh. Briefe mit U., und eine blattfüllende Zeichnung o. U.).

      o. O. Avenue de Malakoff, Place Sully., 1922 u. ohne Jahr - 4to und 8vo. 7 pp. An den Grafen René Philipon en 1922. „Vallette édite mon prochain volume [ ] J’ai peur que Vallette [ ] ne s’effare de mon livre et surtout d’une nouvelle suite humoristique sur Versailles que vous aimerez!"; „je ne puis hélas accepter votre si aimable invitation car j’ai chaque mercredi un diner familial, navrant et obligatoire – Il est inutile de vous dire comme je regrette!!"; „J’irai vous dire ensuite" tout le neuf „de mon travail"; „Je commence après 80 jours de lit et de chambre (jaunisse.) à pouvoir écrire. Maman et moi sommes si touchés de votre carte! Il me reste maintenant à vous plaire avec mon livre".

      [Bookseller: Kotte Autographs GmbH]
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        The Trembling of the Veil

      Werner Laurie, 1922 Near fine in a very good dust jacket, the signed limited edition. Signed by Yeats. One of 1000 numbered copies. Housed in a custom-made collector's slipcase.

      [Bookseller: Bookbid Rare Books]
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        THE FORSYTE SAGA

      1922. [with autograph letter signed] London: William Heinemann, 1922. Original medium-green cloth, with dust jacket. First Edition (so combined and titled). The 1100-page Saga consists of Galsworthy's three novels THE MAN OF PROPERTY (1906), IN CHANCERY (1920) and TO LET (1921), connected by the two interludes "Indian Summer of a Forsyte" (1918) and "Awakening" (1920) -- and accompanied by Galsworthy's new Preface for this edition. This was a big hit as it came out, and became a hit again when it appeared as a TV mini-series in 1967; it has more recently (2002-03) been a mini-series again.~This copy is of the usual first impression, with the genealogical table pulling out to the right. It is in fine condition, and includes the rather scarce dust jacket (in just-about-fine condition). We do not often encounter THE FORSYTE SAGA in this condition. Marrot pp. 35-36.

      [Bookseller: Sumner & Stillman]
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        EVENTAIL dix gravures de Marie Laurencin accompagneés de poésies nouvelles de Louis Codet, Jean Pellerin, et de MM. Roger Alard, André Breton, Francis Carco, M. Chevrier, F. Fleuret, G. Gabory, Max Jacob, Valery Larbaud, A. Salmon.

      Paris, Nouvelle Revue Française, 1922 - 61 gez. Seiten Exemplar No. 155 von 300. Sehr schönes sauberes Exemplar in rotem Halblederband. Gelegentlich schwach altersfleckig, Leder schwach berieben, leicht lichtschattig, Rücken etwas lichtgehellt. R73 . Sprache: Deutsch Gewicht in Gramm: 550 [Attributes: First Edition; Hard Cover]

      [Bookseller: Versandhandel Rosemarie Wassmann]
 38.   Check availability:     ZVAB     Link/Print  


        John Wisden's Cricketers' Almanack for 1922 - 1922 Original Hardback Wisden - Very Good for a '22.

      1922. Hi, This lot is a 1922 Original Hardback Wisden in very good Condition, excellent for a poor year. 1922s do not come in very good very often and there are nicer condition 1922s out there but this one is at the top end of 1922s. The gilt is bright to front and spine , the boards are very nice with minimal marks. The hinges are strong but showing some signs of wear (but better than many 22s).Great Photoplate and clean pages. Please see the large pictures. More available on request. Buy-it-now.

      [Bookseller: Wisdenshop.com]
 39.   Check availability:     Biblio     Link/Print  


        The Life of Samuel Johnson. The Temple Bar Edition, Including 'Journal of a Tour to the Hebrides'.

      New York: Gabriel Wells, 1922. - FINELY BOUND. In ten volumes. Medium Octavo. With a frontispiece engraving of Johnson and other engraved plates. No. 115 of 750 sets originally for sale. With a bibliographical introduction by Clement Shorter and an introduction to each vol. by the following: Aleyn Lyell Reade; Augustine Birrell; Prof. Trent; G.K. Chesterton; Edward Newton; John Drinkwater; R.B. Adam; Walter De La Mare; Prof. Tinker and Richard Ashe King. In contemporary half brown morocco by SANGORSKI AND SUTCLIFFE, with raised bands and gilt titles to spines. Top edges gilt and marbled boards and end-papers. Some wear to joints, otherwise near-fine. A superlative edition of Boswell's magnum opus. [Attributes: Hard Cover]

      [Bookseller: Adrian Harrington Ltd, PBFA, ABA, ILAB]
 40.   Check availability:     AbeBooks     Link/Print  


        Ptihn-Tak-Ochatä. Dance of the Mandan Women

      [Leipzig: Schmidt and Guenther, 1922. Hand-coloured aquatint engraving by Ch. Geoffroy after Bodmer. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1 The dance of the women of the Mandan White Buffalo Cow Society was performed for the factor and his guests at Fort Clark on 25 December 1833. Bodmer and Prince Maximilian overwintered at Fort Clark, between the Knife and Heart Rivers in the territory of the Mandans and the Hidatsas, and made full use of their time to record in detail the life, history and beliefs of the Indian Tribes around them. Both the Mandans and the Hidatsas were divided into a series of age-graded societies into which a person successively purchased membership as he or she got older. The White Buffalo Cow Society was one of four such amongst the women of the Mandan, and they had special hats made of rectangular pieces of the rare and sacred white buffalo hide. These were wrapped around the head and laced at the back with a plume of owl or at the front with raven feathers. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. `David C. Hunt, "Karl Bodmer and the American Frontier," Imprint /Spring 1985, p.18. Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
 41.   Check availability:     IOBABooks     Link/Print  


        Jacob's Room.

      Richmond: Leonard & Virginia Woolf at the Hogarth Press,, 1922. Octavo. Original yellow cloth, printed paper spine label, edges uncut. Cloth lightly soiled and darkened, label rubbed and tanned, head and tail of spine faintly crumples, tiny split to foot of spine, corners of boards bumped, free endpapers slightly tanned. A very good copy. First edition, first impression, one of approximately 1,200 copies. Jacob's Room was the first full-length book to be published by the Hogarth Press. Its publication marked the point from which the Woolfs decided to run the Press as a genuine business concern.

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


        FIRE-TONGUE ...

      Garden City, N. Y., and Toronto: Doubleday, Page & Company,. 1922. title page printed in red and black, original decorated gray cloth, front and spine panels stamped in dark blue.. A fine copy in very good pictorial dust jacket with wear at spine. ends and several corner tips, closed tears at edges, and internal. tape mends. The uncommon jacket presents well. (#152696). First U.S. edition. Macabre murder mystery concerning the activities of Fire-Tongue, the great Master of the Temple of Fire, a secret religious cult in northern India near the Tibetan frontier. The first of Rohmer's two novels featuring British private investigator Paul Harley, the other being BAT WING. Reginald 12376. Hubin (1994), p. 695. Day, p. 9.

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

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