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Displayed below are some selected recent viaLibri matches for books published in 1922
Deutsches Archiv für klinische Medizin. Bde. 138-165. 1922-1929. 28 Bde. Leipzig, Vogel, 1922-29. - Pro Band ca. 380 S. Mit insges. 821 Abbildungen im Text und 41 Tafeln. Halbleinen d. Zt. mit Rückengoldprägung und marmoriertem Bezugspapier. Gr.-8°. In guter Erhaltung. Mit Generalregister für Bde. 131-150 in Bd. 150 und Generalregister für Bde. 151-160 in Bd. 161. 21500 Gramm. [Attributes: Hard Cover] [Bookseller: Antiquariat An der Rott] 
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Plays in Prose and Verse. Written for an Irish Theatre, and Generally with the Help of a Friend Macmillan & Co., London 1922 - First edition. Faint offsetting to the free endpapers, a touch of sunning to the head of the spine, else fine in near fine dustwrapper which is modestly chipped at the head of the spine. One of 1500 copies. *Wade* 136. A nice example of the fragile and seldom found jacket. See this book in 3D on our site. [Attributes: First Edition; Hard Cover] [Bookseller: Between the Covers-Rare Books, Inc. ABAA]
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Raseya C. Efron, Berlin 1922 - Unpaginated, approx. 160 pages. 26 x 20.5 cm. Forty-seven plates, four in color. Originally published St. Petersburg, 1918 in a limited edition of 750 copies. This copy in one of two postwar issues, and presumably one of a few issued for sale in England or North America, as it is stamped in English, "Printed in Austria" on front endpaper (contradicting perhaps intentionally, the attribution on the title page identifying the printer (in Cyrillic) as Muller of Postdam). An important album of of sketches and paintings depicting Russian peasant life on the eve of the October Revolution. Grigoriev along with Leon Bakst, Serge Diaghilev, Ivan Bilibin and others was a late member of the "Mir iskusstva" artists [World of Art] movement founded in St. Petersburg in 1899 around the art journal that shared its name. This group adopting graphical techniques from Art Nouveau, Cubism and Futurism would prove extremely influential for the generation of revolutionary artists to follow. Editions of this work are uncommon; indisputably scarce in such an excellent state of preservation. Text in Russian Orig. pictorial cloth. Fine in slightly nicked dust wrapper in cardboard slipcase titled on spine. [Attributes: Soft Cover] [Bookseller: Royoung Bookseller, Inc. ABAA]
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Ex Libris. Moskau, Moskowskaja Grafika, 1922. - Stichotworenija k nim K. C. Krawtschenko. [Text russisch]. 12°. Illustr. OKart. (leichte Gebrauchsspuren). 4 Bll. mit 2 illustr. Titeln, 12 num. Tafeln mit 12 Orig.-Holzschnitten von Alexej Krawtschenko, 3 Bll., 12 num. Bll. mit Vignetten, 1 Bl. Sprache: Russisch, Erste Ausgabe. - Nr. 107 von 500 Exemplaren. - Zwölf Holzschnitt-Exlibris des bedeutenden russischen Künstlers mit dazugehörigen Gedichten seiner Frau. - Schmidt, Rus. Graphik S. 151 Nr. 3. Tarasenkow 193. Thieme-B. XXI, 474. - Vereinzelt gering fleckig. - Selten. [Attributes: First Edition] [Bookseller: Antiquariat Frank Albrecht (VDA/ILAB)]
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More Men of Mark London: Duckworth & Co.. (1922). First. First edition. Quarto. Original quarter cloth and beige linen gilt. 33 tipped-in monochrome photogravure plates with tissue guard. Introduction by Coburn. Corners bumped, else a near fine copy. Portraits of artists and authors including Ezra Pound, Thomas Hardy, Joseph Conrad, Wyndham Lewis, Edmund Dulac, A.E. Waite, a self-portrait by Coburn, and others. . [Bookseller: Between the Covers- Rare Books, Inc. ABA]
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TITINE HISTOIRE D ' UN VIOL . EXEMPLAIRE réimposé grand format 20 x 25 cm , sur papier de HOLLANDE VAN GELDER - Paris . Editions André . 1922 . Un des 40 exemplaires réimposés au format 20 x 25 cm , sur papier de Hollande Van Gelder Zonen . ( N° 29 ) . Un volume broché sous couverture rempliée illustrée , in-4 de 181 pages + table , non coupé . Cette édition de tête compte plus de 50 illustrations dont 16 gravures hors texte , de Louis Robert ANTRAL( + lettrines ) . Suivi de TROIS SUITES sur papier JAPON de huit planches : Premier état / Second état & état définitif + un tirage en bistre de la couverture et une planche refusée en bistre . Superbe et sensible illustration interprétant fidèlement le naturalisme pathétique de ce texte sur l' enfance bafouée . Ensemble en trés bon état , de toute rareté . [Attributes: Soft Cover] [Bookseller: LA FRANCE GALANTE]
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THE MAN WHO KNEW TOO MUCH AND OTHER STORIES London, New York, Toronto and Melbourne: Cassell and Company, Ltd,. [1922]. Octavo, pp. [1-8] 1-307 [308] [309-310: blank] [note: last leaf is a blank],. original green cloth, front and spine panels stamped in black.. A nearly fine copy. A sharp copy of a book which does not age. gracefully, (#110049). First edition. The contents of the Cassell edition differ from those in American edition published by Harper in 1922. The Cassell edition has the eight tales featuring Horne Fisher and the four-part "The Trees of Pride," plus three stories not in the Harper edition; "The Garden of Smoke," "The Five of Swords" and "The Tower of Treason." "The Garden of Smoke" is a murder mystery about roses and drugs. As is typical with Chesterton, it's also about the flimsiness of appearances and the paradox that the only really solid things are those that are unseen. A whiff of fantasy hangs over the story with its premise of a special, very rare kind of opium so good that it not only supplies the needed inspiration for "a famous lady novelist and fashionable poet," but the motivation for a murder. As is also typical with Chesterton, the male characters here and in the following story move about (deliberately or helplessly) on a plane of irony, while the heroine moves about on a plane of romance. "The Trees of Pride" is longer, more ambitious and more fantastic, dealing with the legend and superstitions surrounding a stand of peacock trees, a flamboyant Asian/African species that has been imported to a seaside town in Cornwall. The locals believe them responsible for a spate of recent deaths and disappearances in the town and want to cut them down. The owner of the estate, one of those "advanced" and "enlightened" specimens of modernity that Chesterton loves to attack, refuses. The arrival of an American critic and the local poet he has discovered provide the catalyst for what follows: the disappearance and presumed death of the estate owner after he announces angrily that he is going to spend the night in the grove of demon trees to dispel the local superstitions. The mystery is resolved with a kind of triple reverse as the supernatural gives way to the criminal, which gives way to the humorous, which gives way, once again, to the supernatural. The story has something of the feeling of Chesterton's fantasy masterpiece, THE MAN WHO WAS THURSDAY, as the reader falls through one trap door after another. The most explicit serious theme here is that elites should not be quick to dismiss a thing just because it is held true by the masses. The background legend from North Africa about the carnivorous peacock trees constitutes a very attractive and potently weird storyette; this and the ambiguity surrounding them in modern Cornwall allow for this story to be classified as fantastic. "The Five of Spades" is a murder mystery set in France amid the intersecting worlds of dueling and business. It blends cleverness (in its detection), idealism (in its romance), urbanity (in its cultural insights) and an abiding sense of mystery (in both the macrocosm of its plot and the microcosm of its aphorisms) as one seeming truth gives way, like a discarded mask, to another, and another, and so on: all of it adding up that characteristic Chestertonian bravura whose exuberant levity is exactly balanced by its moral gravity. The same could be said of "The Tower of Treason" (or, indeed, to one degree or another, of everything else that the author wrote), which moves the setting from the bright plains of France to the dark mountains of an unspecified Balkan country, from the busy doings of the secular to the intricate broodings of the monastic. The story involves diamonds and history, treason and sacrifice, each one indestructible, disappearing only to come back in faint echoes or brilliant flashes. This, the final story of the collection, closes it out on a more overtly religious note - or chord - reminding us that, at the very heart of Christianity and shot through it, is that Chestertonian trademark, paradox, the paradox of sacrifice, divine and human, which wears a mask of loss only to stand revealed in the final act as ultimate gain. The last paragraph, with its metaphorical equation of a diamond, a bullet, the truth, the soul and a star, is as dazzling and conclusive as a Euclidean proof. Beyond this pervasive sense of religious mysteriy, neither of the stories have any fantastic or supernatural content. Bleiler (1948), p. 77. Not in Bleiler (1978) or Reginald (1979; 1992). Barzun and Taylor, A Catalogue of Crime 2407. Queen, The Detective Short Story, p. 21. Hubin (1994), p. 159. [Bookseller: L. W. Currey, Inc.]
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A Wonder Book. Illustrated by Arthur Rackham London, New York, Toronto: Hodder & Stoughton Ltd. [1922] - Quarto. Original red cloth binding, gilt spine title, blind title and gilt pictorial decoration, grey and white pictorial endpapers, top edge stained blue. A fine copy. 16 colour plates with captioned tissues, 8 two- and three-toned full-page illustrations, line drawings throughout. First trade edition, this copy signed by Rackham on the front free endpaper. [Attributes: First Edition; Signed Copy] [Bookseller: Peter Harrington. ABA member]
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A WONDER BOOK Hodder & Stoughton 1922 - 1st 1922. Almost very good condition with no wrapper. Limited to 600 copies. Bound in cream buckram, with pictorial stamping on the cover in gold. Titles to cover and spine in gold. Top-edge gilt, others untrimmed. 206 pages. 11.5 x 9 inches. 16 tipped-in colour plates with captioned tissue-guards. 8 full-page colour illustrations and 20 b/w drawings. Tan and white pictorial endpapers. Copy no. 514 SIGNED by Rackham. Covers grubby. Spine darkened, bumped with slight damage at top of spine. Corners bumped and worn. All plates in fine condition. A few pale margin marks but generally contents are bright and clean. [S] [Attributes: First Edition; Signed Copy; Hard Cover] [Bookseller: Stella & Rose's Books, PBFA]
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GARGANTUA & PANTAGRUEL. Paris G. Crès 1922 - 20x27.6 cm., 813 pp., édition transcrite et annotée par Henri Clouzot, conservateur du Musée Galliéra et illustrée de 525 vignettes en n/b par Joseph Hémard, relié demi-maroquin havane à coins, signée par Laurent Peeters - Anvers. Filet doré cernant les plats de pap., dos orné, dos à 5 nerfs et finnement fleuronnés dorés (décor floral), tête dorée, couverture imprimée d'éditeur. Tirage limité. Tirage de 400 exemplaires sur vélin à la forme des papeteries de rives. 2930 g. [Attributes: Signed Copy; Hard Cover] [Bookseller: BOOKSELLER - ERIK TONEN BOOKS]
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Tilla Durieux spielen und traumen mit funf radierungen und einer lithographie von Emil Orlik (Orlik, Emil). Tilla Durieux spielen und traumen mit funf radierungen und einer lithographie von Emil Orlik. Berlin: Galerie Flechtheim, 1922. No. 66 of 125 copies signed by Tilla Durieux and Emil Orlik. Sm folio, vellum backed-boards, slightly rubbed. With five original etchings and one lithograph, each signed by Orlik. A beautiful album of the first lady of the pre-WWII German stage. Tilla Durieux (August 18, 1880 - February 21, 1971) was a renowned German actress of the first three decades of the 20th century. Born Odilie Godefroy, daughter of Richard Goddefroy, a University professor in chemistry and a Hungarian pianist. Because they didnít support her acting career, she took the name of her French grandmother. She trained in Vienna, her native town, and got her first engagement in Bresla in 1902. Later she worked with Max Reinhardt and Erwin Piscator in Berlin. In 1912 she played Circe in Calderonís comedy of the same name. In 1913 she played Frank Wedekind's Lulu in Munich. Tilla Durieux was the first to perform Oscar Wilde's Salome on the stage and also the first Eliza Doolittle in Shaw's Pygmalion. In 1914 she made her film debut in the silent movie. Her private life found her four husbands, one of whom committed suicide, another perished in the camps. Her second husband, the successful art dealer and editor, Paul Cassirer, introduced her to important artists all over Europe (Renoir did a portrait of her). In 1933 she left Germany for Switzerland to escape Nazi rule. In 1937 she moved to Zagreb (then in the Kingdom of Yugoslavia) until 1953. She returned to Berlin in 1954. In 1959 she became an Honorary Member of the German Academy for Performing Arts and in 1961, a member of the Academy of Arts. Her last engagement was in 1969/1970 at the Wiesbadener Staatstheater. The artist Emil Orlik (b Prague, 21 July 1870; d Berlin, 28 Sept 1932) was a German printmaker and painter of Czech origin. Showing an early talent for drawing, he studied in Munich from 1889 to 1891 with Heinrich Knirr (1862-1944) and from 1891 to 1893 with Wilhelm Lindenschmitt (1829-95). As a draughtsman, he took particular interest in the work of Jean-Francois Millet, Max Liebermann, Adolph Menzel and Wilhelm Leibl. In 1898 he traveled to England, Scotland, Belgium, the Netherlands and Paris, becoming acquainted with the work of the French Impressionists and the prints of Whistler, Felix Vallotton and William Nicholson, and in 1899 he became a member of the Vienna Secession. After travels to Japan, in 1903 he again traveled to London, Amsterdam and Paris, where he became acquainted with the work of Cezanne. He then lived briefly in Vienna, where he was active in the circle of Gustav Klimt and Josef Hoffmann. A strong influence of the decorative impulses of the Vienna Secession is evident in the prints he made at this time. Most notable in his art career were two periods in Berlin. Immediately after arriving in Berlin in 1905 he formed a close connection with the theatre director Max Reinhardt (1873-1943). Orlik worked on a series of set and costume designs for productions at Reinhardtís "German Theatre" where he had occasion to sketch playwrights, including Gerhardt Hauptmann, Maxmilian Harden, Luigi Pirandello, Frank Wedekind and Oskar Kokoschka. He also often drew sketches of the outstanding actors in Reinhardtís group: Paul Wegener, Werner Krauss, Max Pallenberg, Emil Jannings, Ernst Deutsch, Alexander Moissi, Tilla Durieux, Lil Dagover and the Danish star of the German silent film era, Asta Nielsen. In the 1920s, he produced many expressive and atmospheric portrait sketches and studies of personalities from the artistic, literary, musical and more particularly theatrical life of Berlin society. Reference: Emil Orlik (exh. cat., ed. S. Salzmann; Duisburg, Lehmbruck-Mus., 1970); Emil Orlik (Exhibition Catalog, edited by F. Matsche. Bonn, St?dt.: Kstmus., 1972); http://www.oxfordartonline.com:80/subscriber/article/grove/art/T063863. [Bookseller: Golden Legend, Inc.]
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The New Broadside. Nos 1-14. Coloured Decorations and Accompanying Poems London: The Poetry Bookshop. VG : in very good condition. Leaves 1 and 2 lightly foxed and some minor corner creasing to several other illustrations. Folder rubbed and marked. [1922]. [First Edition]. Grey board cover. 460mm x 220mm (18" x 9"). 14 leaves. 14 leaves [430 x 190] each with coloured decorations and poems. Contents comprise 1: 'The Huntsmen' by Walter de la Mare and decorations by Ethelbert White; 2: 'An Immorality' by Ezra Pound, decorations by Paul Nash; 3: 'Journey's End' by Humbert Wolfe, decorations by Albert Rutherston; 4: 'The Parrot' by Sacheverell Sitwell, decorations by E. McKnight Kauffer; 5: 'Windy Nights' by R. L. Stevenson, decorations by John Nash; 6: 'The Schoolboy' by William Blake, decorations by Cecil Rhodes; 7: 'Matrimonal Maxims' decorated by Margaret Daviel; 8: 'From Whitman's Song of Myself', decorations by John Nash; 9: 'Susan' by J. Murray Allison, decorations by Edy Legrand; 10: 'The Cock' by Eleanor Farjeon, decorations by E. McKnight Kauffer; 11: 'Sister Awake', decorations by John Nash; 12: 'Forgetfulness' by Harold Monro, designs by Albert Rutherston; 13: 'The Dromedary' by A.Y. Campbell, decorations by John Nash; 14: 'Finland' by Robert Graves, decorations by Edy Legrand. . [Bookseller: Barter Books Ltd]
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Zivot. Nove umeni - konstrukce - soudoba intelektuelni aktivita; La Vie. L'art nouveau - construction - activite intellectuelle contemporaine. Prague: Umelecka Beseda (Union d'artistes) 1922 - Octavo, wrappers, 204pp. The second year of this prestigious art journal, enormously ambitious with Teige's hand on almost every page. An assemblage of the new experiments and theories emerging in Czechoslovakia and the cutting-edge developments in art and design in France, Italy and the US. Teige and Krajcar were working architects and designers in addition to their polemical and editing skills. Architecture and film are highlighted as well as all the visual arts, with emphasis on the avant-garde in France (Purism, early surrealism) and Germany (Neue Sachlichkeit) A hallmark publication of the time. Spine and rear cover repaired, else very good. [Attributes: First Edition; Soft Cover] [Bookseller: Michael Fagan Fine Art & Rare Books]
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Revolucni Sbornik Devetsil (Almanach révolutionnaire Devetsil) Praha (Prague), podzim, 1922., 1922. Toile bleue, dos titré en long, tranche supérieure rouge.. 15/22 cm, 202 pp., 3 ff.. Edition originale, postface en français signée :" union internationale des artistes d'avant-garde révolutionnaire". On trouve dans cette revue quelques textes en français de : Cocteau, Yvan Goll, Jindrich Horejsi, et aussi des illustrations in-texte de Marc chagall, Alexander Archipenko, Fernand léger, Roger Bissière, Modigliani, Seurat, Georg Grosz, Foujita, Coubine, Utrillo, Survage, etc.. Fondé en 1920, le groupe Devetsil réunit tous les acteurs de l’avant-garde tchèque sous la conduite de Karel Teige. D’abord chantre de l’art prolétarien puis, de l’esthétique des machines et rouages de la modernité industrielle, Devetsil devient ensuite un véritable carrefour de l’avant-garde européenne. L’explosion de ces échanges artistiques, littéraires, poétiques, typographiques se manifeste bien sûr par la création de revues. La première sera : Revolucni Sbornik Devetsil (que nous présentons ici) d'autres suivront, plus ou moins éphémères jusqu'en 1931, année qui verra naitre l’aube du surréalisme, annonçant la mort du groupe « constructivo-poétiste ». Si Prague en particulier et la Tchécoslovaquie de l'époque en général furent à la pointe des avant-gardes artistiques c'est en partie à Devetsil qu'elles le doivent et à sa revue artistique éponyme. Etat parfait. [Bookseller: Librairie Traits et Caracteres]
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Beautiful and Damned Scribner's 1922 - First Edition, First Printing SIGNED by F. Scott Fitzgerald on a laid in signature. An UNRESTORED First Issue dustjacket outlined in Black with White lettering. This ORIGINAL dustjacket is rich in color with slight wear to the spine and edges. The book is in excellent condition. The binding is tight, with the GOLD lettering on the spine present. The boards are crisp with light wear to the edges. The pages are exceptionally clean with NO writing, marks or bookplates in the book. Overall, a beautiful copy of this TRUE FIRST EDITION SIGNED by the author housed in a custom clamshell for preservation and presentation. We buy SIGNED Fitzgerald First Editions. [Attributes: First Edition; Signed Copy; Hard Cover] [Bookseller: Quintessential Rare Books, LLC]
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THE BEAUTIFUL AND DAMNED Scribners 1922 - First edition. Original green cloth lettered in gilt to the spine and in blind on the upper cover, in pictorial dustwrapper. A near fine copy in a very good dustwrapper, which shows a little chipping to the head of the spine, and a couple of very small chips to the back panel. [Attributes: First Edition; Hard Cover] [Bookseller: Jonkers Rare Books ABA ILAB]
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The Beautiful and Damned Charles Scribner's Sons, New York 1922 - First Printing without Scribner's seal on copyright page. A beautiful copy in an unrestored dustjacket with light edgewear. [Attributes: First Edition; Hard Cover] [Bookseller: Cahill Rare Books]
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Beautiful and Damned, The Charles Scribner's Sons, New York 1922 - True First Printing (without the publisher's seal on the copyright page or the concluding advertisements on pp. 451-452 of later printings) of the author's second novel. 8vo; [10], 449, [1]pp. Publisher's dark blue-green linen-like cloth, the spine lettered gilt, the upper cover blind-stamped with the title and author, the fore-edge untrimmed. A just about Fine copy, (lacking the dust jacket), save for offsetting to the end papers and faintly discernible pencil erasures to the front fly leaf. Bruccoli A8.1.a The Beautiful and Damned, in cut and edited form, first appeared in seven installments in Metropolitan magazine, from September 1921 to March 1922. The book, according to Bruccoli, came out on 4 March 1922, in a first impression of 20,600 copies. It went through two more printings that year, for a total of 50,000 copies. After the spectacular success of Fitzgerald's first novel, This Side of Paradise (1920), he struck out in a new direction, presenting in The Beautiful and Damned a more sparing, focused narrative, relying largely on an omniscient narrator. "Its style," according to the Literary Encyclopedia, "moves towards that integration of romantic and modernist elements which will come to such dazzling fruition in his next novel, The Great Gatsby." Note: With few exceptions (always identified), we only stock books in exceptional condition, carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed. [Attributes: First Edition; Hard Cover] [Bookseller: Fine Editions Ltd]
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The Beautiful and Damned Scribners, NY 1922 - Endpapers professionally restored and book tightened. This is the second printing of the first edition (Ref. -- Bruccoli A.8.1.b). Bound in green cloth, stamped in gold on spine (still bright). Book is tight and clean. One of 19,750 copies in the second printing (after the 20,600 in the first printing). Fitted with a facsimile second state dust wrapper that fits the book perfectly. [Attributes: First Edition; Hard Cover] [Bookseller: Michael J. Toth, Bookseller, ABAA]
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The Waste Land.) The Dial. New York. The Dial Press. November 1922. - Volume LXXIII Number 5. 8vo. Printed wrappers. The first U.S. appearance of what is considered to be the most significant poem in English of the 20th Century. The poem first appeared a month earlier, (October, 1922.), in The Criterion Magazine. This appearance preceded any publication of the poem in book form. A very rare hallmark of Modern Literature, this item has not appeared at auction since 1977. Covers are chipped with some pieces lacking at extremities, wear to edges, else Very Good. A most important artifact of 20th Century Literature [Attributes: Soft Cover] [Bookseller: Heldfond Book Gallery, Ltd. ABAA , ILAB]
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(The Waste Land.) The Dial New York. The Dial Press. November 1922. Printed wrappers. 8vo. The first U.S. appearance of what is considered to be the most significant poem in English of the 20th Century. The poem first appeared a month earlier, (October, 1922.), in The Criterion Magazine. This appearance preceded any publication of the poem in book form. A very rare hallmark of Modern Literature, this item has not appeared at auction since 1977. Covers are chipped with some pieces lacking at extremities, wear to edges, else Very Good. A most important artifact of 20th Century Literature [Bookseller: Heldfond Book Gallery, ABAA-ILAB]
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Jacob's Room. Published by Leonard & Virginia Woolf at the Hogarth Press, Richmond, 1922 - Octavo. Original yellow cloth, white paper title label to spine printed in black. Housed in a quarter black morocco box. Some foxing early and late, endpapers lightly browned, contents a little shaken, spine slightly cocked and a touch sunned. Very good. First edition, first impression. One of probably 40 "A" subscribers' copies with the part-printed limitation label to the front free endpaper completed in ink by Virginia Woolf and signed by her. These copies were issued in advance of the trade publication and were not issued in dust jacket; they were given to the 40 active subscribers who had supported the press's early publications. The present copy was issued to "Mr Waterlow", i.e. Sydney Philip Perigal Waterlow (1878–1944), scholar and diplomat and intimate friend of both Virginia and Leonard Woolf. He attended Cambridge University with Leonard Woolf and Virginia's brother Thoby. Waterlow became one of Virginia's suitors, and proposed marriage to her following the breakdown of his first marriage and, despite her rejection, remained lifelong friends. Kirkpatrick A6a; Woolmer 26. [Attributes: First Edition; Signed Copy] [Bookseller: Peter Harrington. ABA member]
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The Little Green Road to Fairyland London: A. & C. Black Ltd.,, 1922. Quarto. Original blue cloth-backed floral patterned boards, title label to front board printed in blue, pictorial endpapers. 8 coloured plates and 8 black and white plates plus black and white illustrations throughout the text. Ownership inscription to half-title, some occasional light foxing, spine a little faded and corners a little worn, a very good copy. First edition, first impression. [Bookseller: Peter Harrington]
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La Divine Comédie (La divina commedia) Paris: Jacques Beltrand. 1922. Limited/Numbered Edition. Hardcover. Three volumes: xii, 319pp, 320pp, 313pp. Edition published to celebrate the six hundredth anniversary of Dante's death and limited to 225 numbered copies, this being copy #190. Full vellum with gilt decorations and rules on covers, gilt lettering on spines, gilt inside dentelles; top edges gilt, others uncut, marbled endpapers. Printed on Arches paper with a "1321 Dante 1921" watermark. Illustrated with numerous wood engravings by Jacques Beltrand and his brothers Camille and Georges based on the drawings by Sandro Botticelli. Text in Italian and French. Translation from the Italian by André Pératé. Covers are a bit soiled and spines slightly darkened. Internally clean. A wonderful and well preserved set in a simple and stylish binding. ; Folio . [Bookseller: Parigi Books, ABAA/ILAB]
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Mesure de la France. Grasset 1922 - - Grasset, Paris 1922, 12x19cm, broché. - Edition originale, un des 100 exemplaires numérotés sur pur fil, tirage de tête après 30 papier vert lumière. Envoi autographe signé de l'auteur à Paul Chadourne. Dos et plats marginalement insolés comme généralement, agréable état intérieur. [Attributes: First Edition; Signed Copy; Soft Cover] [Bookseller: Librairie Le Feu Follet]
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The Diary of a Drug Fiend COLLINS, LONDON 1922 - General shelf wear, rubbed cover, cracked hinge, slightly shaken binding, faded spine, and few small white spots on cover. DATE PUBLISHED: 1922 EDITION: FIRST ED 368 FAIR+ FIRST EDITION, FIRST IMPRESSION. [Attributes: First Edition; Hard Cover] [Bookseller: Princeton Antiques Bookshop]
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A Complete Set of Doctor Dolittle. Doctor Dolittle, The Voyages of Doctor Dolittle, Doctor Dolittle's Post Office, Doctor Dolittle's Circus, Doctor Dolittle's Zoo, Doctor Dolittle's Caravan, Doctor Dolittle's Garden, Doctor Dolittle in the Moon, Doctor Dolittle's Return, Doctor Dolittle and The Secret Lake, Doctor Dolittle and The Green Canary, Doctor Dolittle's Puddleby Adventures. London, Jonathan Cape, 1922–51 - 12 volumes, octavo. Recent full green morocco, titles and decoration to spines gilt, raised bands, single rule to boards gilt, marbled endpapers, all edges gilt. Some occasional light foxing, previous owner's inscription to the half-tiltle of one volume, an excellent set beautifully bound. With black and white illustrations by the author. First UK Editions, First Impressions. [Attributes: First Edition] [Bookseller: Peter Harrington. ABA member]
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Menshelakh un stsenes : zekhtsen tseykhenungen tsu Sholem Aleykhems verk "Motl Peysi dem hazens yingel" [YIDDISH] Klal farlag, Berlin 1922 - Small folio. Unpaginated (21pp). Original beige boards. Illustrated with fifteen b/w reproductions of sketches. Illustrated frontispiece. Yiddish art depicting scenes from Jewish life based on "Motl the Cantor's Son," Sholem Aleichem's unfinished novel. The painter Rachel Szalit-Marcus created these astounding lithographs as to illustrate Sholem Aleichem's literary work. Szallit-Marcus (1894-1942) grew up in Lodz and was sent by her parents to Munich in 1911 to study at the Art Academy. She moved to Berlin in 1916 and became a member of the November group, a circle of young avantgarde artists. When Hitler came to power in 1933, Szalit-Marcus emigrated to France, but was imprisoned and murdered in concentration camp in 1942. She painted still-lifes, portraits and illustrated books by authors like Mendele Moikher Sforim, Heinrich Heine and Martin Buber. Includes an essay written by the Yiddish literary critic Israel Isidor Elyashev (Baal-Machshoves). Baal-Makshoves, (1873-1924) grew up with a traditional Jewish education at the Courland Yeshiva and with an additional modern curriculum in mathematics, geography and German. After finishing High school in Switzerland, he studied medicine in Berlin and Heidelberg. Baal-Makhshoves practiced in Latvian cities, like Riga and Vilna, but also in the Polish city Warsaw. He began to write in Russian and German in 1896 and published his first piece in Yiddish in 1901. Besides his main interest in belles lettres, he translated German authors like Theodor Herzl, Yiddish writers like David Bergelson and Russian novelists like Ivan Turgenyew. Well-known as a pioneer for the recognition of both Yiddish and Hebrew as Jewish national languages, but less know is his own work "Ironic Tales". Age-wear to front and back boards. Heavy foxing to plates. Chipped at head and tail of spine. Foxing to boards. Paper split along joints of front and back boards, firmly holding. Overall good -. [Attributes: First Edition; Hard Cover] [Bookseller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB)]
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THE WORKS OF FRANCIS PARKMAN Pioneers of France In New World Jesuits In North America La Salle And Discovery Of Great West Old Regime In Canada Count Frontenac And France Half-Century Of Conflict Montcalm And Wolfe Conspiracy Of Pontiac Oregon Trail Little Brown, 1922. - Centenary edn. 12 vols: Vol I Pioneers of France In The New World; Vol II The Jesuits In North America In The Seventeenth Century; Vol III La Salle And The Discovery Of The Great West; Vol IV The Old Regime In Canada; Vol V Count Frontenac And New France Under Louis XIV; VI A Half-Century Of Conflict I; Vol VII A Half-Century Of Conflict II; Vol VIII Montcalm And Wolfe I; Vol IX Montcalm And Wolfe II; Vol X The Conspiracy Of Pontiac And The Indian War After The Conquest Of Canada I; Vol XI The Conspiracy Of Pontiac And The Indian War After The Conquest Of Canada II; Vol XII The Oregon Trail Sketches Of Prairie And Rocky-Mountain Life. 8vo. Original uniform blue buckram cloth with paper spine labels (some very light marks to boards; edges of some labels a little tanned - otherwise a near Fine set.) Pp. various, illus with b&w frontispiece plates with double tissue-guards (no inscriptions). [Attributes: Hard Cover] [Bookseller: Rothwell & Dunworth (ABA, ILAB)]
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LE PERE GORIOT Rene Kieffer, Paris 1922 - [Kieffer, René, (1876-1963)]. Le Pere Goriot by Honoré de Balzac [1799-1851]. Paris: Rene Kieffer, 1922. 4to., 317pp. 1 of only 50 numbered copies in a total edition of 450. this being No 17 on Vélin de Cuve bound with an original aquarelle by Quint & an extra suite [en bistre] at the rear. 140 colour illustrations by Quint. In an exquisite Kieffer Binding. Full burgundy morocco with tan, sand & mossy green onlay, stamped in gilt at the spine & with ornate silver diamond burst "art déco" mosaic on both covers. Marbled endpapers, gilt dentelles, signed by Kieffer. Kieffer ticket on the verso of the ffe. Original full page watercolour bound in before the title page. Top edge gilt, others uncut. A very fine lovely example of one of Kieffer's elegant show bindings. Carteret, Le trésor du bibliophile. Livres illustrés modernes 1875 à 1945: "A much sought after edition". [Attributes: Signed Copy; Hard Cover] [Bookseller: TBCL The Book Collector's Library]
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Scalp Dance of the Minatarres Schmidt and Guenther, [Leipzig 1922 - 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) An important record of this energetic victory dance, 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 Hidatsa's came to the fort twice to perform their scalp dance, once in February 1834 after a retaliatory raid against the Assiniboins, and again in April after a surprise attack on a Sioux camp. The figure shown center right is Máhchsi-Níhka (`Young War Eagle'), a deaf-mute who had played a prominent part in the raid against the Assiniboins. To the far left is Síh-Sä (`Red Feather'), a Mandan man who had been raised by the factor of Fort Clark, although he still has relatives in the village. The women play a principal role in the dance and have donned military attire, painted their faces like warriors, carried weapons and displayed scalp trophies. Musical accompaniment is provided by the men with the drums and rattles. 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. Hand-coloured aquatint engraving by Ch. Vogel after Bodmer. Small marginal tears not affecting plate area. [Attributes: First Edition] [Bookseller: Donald A. Heald Rare Books (ABAA)]
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