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

        Where the Blue Begins

      William Heinemann no date (1922), London - Signed by illustrator Arthur Rackham, limited edition, this no. 87 of 175 copies, hardcover, quarto, 227pp., illustrated in color and b&w. Book VG with rubbing, toning, and soil to boards, mild wear to spine ends and corners, gilt decoration and title to spine, top edge of textblock gilt, binding tight, flyleaves mildly off-set, text clean and unmarked. No DJ. In protective mylar wrap. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Caliban Books Pittsburgh PA, ABAA]
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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. 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 [Attributes: First Edition; Soft Cover]

      [Bookseller: Currey, L.W. Inc. ABAA/ILAB]
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        A set of woodcuts being the illustrations to A Farmer's Life by George Bourne

      London: Jonathan Cape,, 1922. 8 loose leaves housed in a green cloth chemise. 6 woodcuts by Stephen Bone. An excellent set. From a limited edition of only 55 copies, with each plate printed on Japanese vellum and signed by the artist in pencil.

      [Bookseller: Peter Harrington]
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        The Waste Land

      Boni and Liveright, New York 1922 - FIRST EDITION, FIRST ISSUE, FIRST STATE of the most influential poem of the twentieth century. Complete with the extremely rare dust jacket and glassine. With important provenance: from the estate of Scofield Thayer. "Assembled out of dramatic vignettes based on Eliot's London life, The Waste Land's extraordinary intensity stems from a sudden fusing of diverse materials into a rhythmic whole of great skill and daring. Though it would be forced into the mold of an academic set piece on the order of Milton's 'Lycidas,' The Waste Land was at first correctly perceived as a work of jazzlike syncopation--and, like 1920s jazz, essentially iconoclastic. A poem suffused with Eliot's horror of life, it was taken over by the postwar generation as a rallying cry for its sense of disillusionment. Pound, who helped pare and sharpen the poem when Eliot stopped in Paris on his way to and from Lausanne, praised it with a godparent's fervor. As important, Eliot's old friend Thayer, by then publisher of the Dial, decided even before he had seen the finished poem to make it the centerpiece of the magazine's attempt to establish American letters in the vanguard of modern culture. To secure The Waste Land for the Dial, Thayer arranged in 1922 to award Eliot the magazine's annual prize of two thousand dollars and to trumpet The Waste Land's importance with an essay commissioned from the Dial's already influential Edmund Wilson. It did not hurt that 1922 also saw the long-heralded publication of Ulysses, or that in 1923 Eliot linked himself and Joyce with Albert Einstein in the public mind in an essay entitled 'Ulysses, Order and Myth.' Meteorically, Eliot, Joyce, and, to a lesser extent, Pound were joined in a single glow--each nearly as notorious as Picasso" (American National Biography). Provenance: From the estate of Scofield Thayer, Eliot's good friend and the publisher of the Dial, who awarded Eliot the Dial's 1922 annual literary prize and was instrumental in getting the poem published. This copy has never been in circulation - it has come directly from the Thayer estate, with an accompanying letter of provenance. #91 of 1000 copies published. One of approximately 500 copies of the first issue, with flexible black cloth binding and stamped limitation number 5mm high. With first state of text ("mountain") on page 41. With advertising bookmark presumably issued with the book laid-in. New York: Boni and Liveright, 1922. Octavo, original flexible black cloth, original glassine, original dust jacket; custom half-leather box. Book with pristine text entirely unopened, but with damage to the cloth on the upper joint and a little fraying at top corner and bottom edge. Glassine with wear and chips corresponding to the damage in cloth; dust jacket exceptionally clean and fresh with only chips to spine ends. EXTREMELY SCARCE complete with dust jacket and glassine, and with a significant provenance. [Attributes: First Edition; Hard Cover]

      [Bookseller: Manhattan Rare Book Company, ABAA, ILAB]
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        THE WASTE LAND

      Boni & Liveright (1922) [i.e., 1923], New York - Stiff black boards. Stated "Second Edition" in the colophon, this is actually a second impression of the First Edition from the same setting of type but with a different colophon and with the reading "mount in" on page 41 uncorrected. Gallup A-6b. Copy #734 of 1000 numbered copies. Though not identified as such, this copy is from the estate of Scofield Thayer, benefactor of the arts and publisher of the literary magazine THE DIAL from 1920 to 1926. Thayer was a school friend of Eliot and arranged for Eliot to be the 1922 recipient of the Dial $2000 annual award to a young American writer. The award is noted on the front panel of the dustwrapper. Mostly unopened. A spectacular copy of both the book and the dustwrapper, just as new as the day it was published [Attributes: First Edition; Hard Cover]

      [Bookseller: Charles Agvent, est. 1987, ABAA, ILAB]
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        The Waste Land

      Boni and Liveright 1922 - First Edition, one of 1000 numbered copies with 1922 printed on the title page. Second issues lack the 1922 on the title page and mention "second edition" on the copyright page. An attractive copy in the original black cloth with light wear to the spine and edges. The binding is tight and the boards are crisp. The pages are clean with no writing, marks or bookplates in the book. A lovely copy. [Attributes: First Edition; Hard Cover]

      [Bookseller: Quintessential Rare Books, LLC]
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        THE WASTE LAND

      Boni and Liveright, New York 1922 - An Unopened Copy in Virtually Mint ConditionOf the Second Impression of Eliot's Masterpiece. 197 x 130 mm (7 3/4 x 5 1/8"). 64 pp. ONE OF 1,000 COPIES of the Second Edition/Impression (see below). (This is copy #546.). Original black buckram, gilt titling on upper cover and spine, UNOPENED. In original pale orange dust jacket with black lettering. Gallup A-6b. Slight uniform fading to the spine of the dust jacket, but AS CLOSE TO A MINT COPY AS ONE COULD HOPE TO FIND--A SURELY UNSURPASSABLE COPY, the jacket virtually untouched, and with the unopened text obviously never read. This is an absolutely sparkling, once-in-a-decade copy of Eliot's masterpiece, which Day has called "the most discussed poem of the 20th century." An attack on the sterility and futility of modern life, the poem perfectly captured the disillusionment of the generation that had fought the Great War, and it was an immediate sensation. DNB describes it as "an iconoclastic and provocative work of jazz-like syncopation," observing that its "extraordinary intensity stems from a sudden fusing of diverse materials into a rhythmic whole of great skill and daring." Thomas Stearns Eliot (1888-1965) was born in St. Louis and educated at Harvard, but never really felt at home in America. He moved to Britain in 1914, becoming a citizen in 1927. Clever and socially adept, he quickly became a part of the post-war literary scene in London, where, ANB notes, he "gained a reputation in the world of belles-lettres as an observer who could shrewdly judge both accepted and experimental art from a platform of apparently enormous learning." The success of "The Waste Land" opened new doors for Eliot: a position as an editor at a publishing house allowed him to leave his boring day job at a London bank and freed him to spend more time on his writing. He went on to author a number of acclaimed poems and dramas, as well as perceptive literary criticism, but "The Waste Land" will always be the work most associated with his name. As Gallup indicates, our volume was probably published early in 1923, after 1,000 copies of the first printing were issued in 1922. Gallup says that although our printing is "called 'Second Edition' in the colophon, this is actually a second impression from the same setting of type as the first edition, but with a different colophon." In all its important particulars, our copy agrees with copies from the later part of the first impression press run: the "a" in our copy has dropped out of "mountain" in line 339 of p. 41; our binding is stiff (not flexible) boards; and our copy number is in stamped numbers 2 mm. (not 5 mm.) high. ONE OF 1,000 COPIES of the Second Edition/Impression (see below). (This is copy #546.) [Attributes: Hard Cover]

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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        The Waste Land

      Boni & Liveright 1922 [1923?], New York - Number 369 (stamped in type 2-mm high, per Gallup A6b) of the second impression limited to just 1000 copies. (Though stated as the "second edition" on the colophon page, this second impression of 1000 copies was printed from the same setting of type as the first printing and is more accurately termed, as listed in Gallup, the "second impression.") With the incorrect 'mount in,' line 339, p. 41. Slim octavo; 64pp. Publisher's stiff black cloth, the spine and upper cover lettered in gilt, all edges deckled; in the original salmon-pink dust jacket printed in black. Near Fine, clean and complete, the gilt lettering still bright, with minor bumping to the spine ends; flawed by dark offsetting from paper laid in between the rear end papers and between pp. 38-39 and light chipping to the top of the half title and title pages where the uncut pages were opened carelessly; otherwise a bright, unmarred, very lightly read copy with no names, bookplates, or writing. The jacket is Near Fine or better without restoration, the front and back panel clean and complete—indeed Fine—but the spine darkened with trivial rubbing to the ends and a small sliver of loss mid-spine, not affecting any lettering. Overall, a remarkable, highly collectible copy of likely the century's most important poetic work. Note: With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets 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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        THEATRE COMPLET 1622-1673.

      - Paris, Librairie de France, 1922-1923, 14x22, huit volumes. Elégantes reliures en demi chagrin rouge. Dos à 5 nerfs portant titres et auteur en lettres dorées. Tranches supérieures dorées. Très bon état. Envoi de photos sur demande. [Attributes: Hard Cover]

      [Bookseller: Librairie de l'Univers]
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        Ulysses

      Egoist Press, London 1922 - First English edition. Bound without wrappers in contemporary three-quarter black morocco and papercovered boards. Extremities rubbed and worn, half-title and title page a little smudged, still a nice and sound, very good copy that could use a little polishing. One of 2000 numbered copies. A nice copy of an increasingly scarce edition of one of the most important novels of the 20th Century. *Connolly 100.* 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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        Schweizerische Apotheker-Zeitung (Journal suisse de pharmacie). Offizielles Organ des Schweiz. Apotheker-Vereins, 52. Jg. (1914) – 59. Jg. (1921).

      Zürich, Institut Orell Füssli, Abteilung Verlag, 1914 – 1922. - de 15000 Alle Bände in gutem, unversehrtem Zustand. Erste und letzte Seiten partiell etwas fleckig, Seiten sonst überwiegend fleckenfrei, allenfalls wenige Seiten geringfügig fleckig. Sehr gute Reihe dieser seltenen, wissenschaftshistorisch aufschlußreichen Zeitschrift für die interessanten Kriegs- und Nachkriegsjahre. Weitere Fotos auf der Homepage des Antiquariats (Rubrik: Medizin und Pharmazie) Jahrgänge 52 (1914) bis 59 (1921). Schwarze Halbleinenbände der Zeit mit schwarzen Rückentiteln auf hellen Rückenschildern. Buchdeckel in schwarz-gelber Marmorierung und mit Leinenecken.

      [Bookseller: Das Konversations-Lexikon]
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        Ulysses

      Shakespeare and Company 1922 - Paris: Shakespeare and Company, 1922. First Edition, First Printing. Original blue printed wrappers. 4to. This is number 986 of the edition of 750 numbered copies (of a total edition of 1000 copies). Very minor wear to extremities of the spine, else a lovely copy: uncut, mostly unopened and untouched by any restorer. Small contemporary portrait of Joyce by C. Rup mounted on the recto of the half-title together with the neat signature of Frank Layton, who bought this copy on the 16th of March in 1922 according to Sylvia Beach's "Ulysses" Notebook. It formed part of the Allan D. McGuire Collection of Cyril Connolly's "The Modern Movement - 100 Key Books from England, France and America 1880-1950" and was also exhibited in the "Allspace in a Notshall" Exhibition in Zürich in 1991. Complete with a beautiful three-quarter morocco slipcase and all the documentation of provenance and exhibtion. The Book of Books on any list of modern fiction and a great and funny read at that, which comes here in beautiful condition and with a full record of provenance. CHF 80'000. This item is part of our Catalogue 10: James Joyce, a copy of which you can order from us at YGRbookS. [Attributes: First Edition; Soft Cover]

      [Bookseller: Yves G. Rittener - YGRbookS]
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        ULYSSES

      Paris Shakespeare Press Paris 1922 - First edition, number 619 of 750 copies on handmade paper, from a total edition of 1000 copies. Original 'Greek flag' blue-green wrappers, lettered in white to upper cover. A very good copy indeed with bright colouring which shows a little wear to the spine ends and a couple of paper repairs to the spine. Internally clean and fresh. A well preserved example of a fragile book. Housed in a custom-made chemise and quarter morocco slipcase. The author's most famous work and tour de force of modern literature. On the recommendation of Ezra Pound, Margaret Andersen serialised the novel in her "Little Review" between 1918 and 1921. Although the serialisation was completed, it ultimately finished The Little Review and led to its editors being tried for obscenity. As a result of this debacle, Joyce feared that even should he be able to find a publisher, the act of serialisation and the stigma attached to the following court case would make the novel unsaleable. It was to Sylvia Beach and her small Parisian bookshop, Shakespeare and Company that Joyce turned. Beach, like Andersen before her, had immediately seen the genius in Ulysses, and wrote to her mother that she might be soon to publish "the most important book of the age". It was decided to publish 1000 copies by subscription. 100 copies on Holland handmade paper (signed), 150 copies on vergé d'Arches and 750 copies on linen. A further 20 copies were produced, unwrappered on mixed paper and marked, "press copy". A printer was found in Maurice Darantière of Dijon and publication was planned for October. The printing process was not nearly as straightforward as anticipated, due in part to Joyce's continual rewriting of the text and his and Beach's perfectionism in the printing process. The publication date was continually moved back and eventually 2 February 1922, Joyce's birthday, was settled upon. But even then only two copies were ready, sent by Darantière via the Paris-Dijon express. One was put on display at Shakespeare and Company and the other taken, unopened by Joyce, to his birthday celebrations at the Italian restaurant, Ferrari's. "He had brought with him a package containing his copy of Ulysses, and placed it under his chair. Nora remarked that he had thought about the book for sixteen years, and spent seven years writing it. Everyone asked to see it opened, but he seemed to shrink from producing it. After the dessert he at last untied the parcel and laid the book on the table. It was bound in the Greek colours - white letters on a blue field - that he considered lucky for him, and suggesting the myth of Greece and Homer, the white island raising from the sea. There was a toast to the book and its author which left Joyce deeply moved" (Richard Ellman - James Joyce). The remaining copies were delivered in tranches and all 1000 of the first edition were sold within a month. It is now recognised as one of the key works of the twentieth century and the defining work of the modernist movement. ".like a ruined temple soaring from a jungle." - Cyril Connolly (100 Key Books of the Modern Movement) Slocum A17; Connolly 42 [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Jonkers Rare Books ABA ILAB]
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        Ulysses.

      - Shakespeare and Company 12, Rue de l`Odéon, 12 Paris 1922. Printed for Sylvia Beach by Maurice Darantiere at Dijon, France. 8:o. First edition. No 695 of 750 numbered copies on handmade paper. (10, first 2 blank),732,(4, 3 blank) pages. Contemporary brown full morocco, spine with five raised bands, title and year gilt. Top edge gilt, else uncut. Inner dentelles. Boards with double lines in blind. Edges of boards gilt. Front wrapper bound at end. Light wear to upper outer joints. Light scratch lower board. Lower part of boards slightly affected by water, last few leaves also very slightly touched at lower margin, hardly visible. (J. Forbes, Binder). 24,5 x 19,5 cm.*The first edition was printed in 1.000 copies: 100 copies (signed) on Dutch handmade paper numbered from 1 to 100; 150 copies on vergé d`Arches numbered from 101-250; 750 copies on handmade paper numbered from 251-1000.[#\53029] [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Antiquaria Bok & Bildantikvariat AB]
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        ULYSSES

      Shakespeare and Company, Paris 1922 - The true First Printing of this modern classic. Copy #482 of 750 numbered copies printed on handmade paper of a total edition of only 1000. Bound without the original blue paper covers in half brown morocco with matching corners, spine lettered in gilt, with a matching half morocco slipcase. A very nice copy priced very attractively because the half title and title pages are in expert facsimile. There is also a facsimile corner repair to one page. The initial and rear blanks as well as the colophon leaf at the end are lacking; the limitation leaf at the beginning is original. In order to bring the book into an English-speaking country before 1934, a number of people evidently tore off the wraps and title pages to smuggle it in through customs. If you can live with this, you will have on your shelf perhaps the most notable work of fiction written in the twentieth century at a price you are not likely to encounter elsewhere. Despite the defects, Very Good in a handsome slipcase. Scarce [Attributes: First Edition; Soft Cover]

      [Bookseller: Charles Agvent, est. 1987, ABAA, ILAB]
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        Ulysses.

      Shakespeare & Co., 1922 - Paris: Shakespeare & Co., 1922. First Edition. One of 750 copies on handmade paper (this copy no. 409). Rebound in quarter vellum boards, title and date in gilt to spine. Lacks wrappers, margins of preliminary leaves and a number of leaves of the text discoloured due to possible exposure to a damp environment; however pages are in crisp condition with no loss. The first edition of Joyce's masterpiece, an impaired copy, but priced accordingly. [See Sylvia Beach, Shakespeare and Company, London, 1959; Connolly, The Modern Movement 42; Slocum & Cahoon A17]. [Attributes: First Edition; Hard Cover]

      [Bookseller: Ulysses Rare Books Ltd. ABA, ILAB]
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        Le Jardin de Bérénice. Pointes sèches en couleurs de Malo Renault.

      - Paris, Pour les Cent Bibliophiles, 1922; in-4, 163 pp. + 2 ff.n.ch., plein maroquin bleu, dos à nerfs orné d'encadrements géométriques estampés à chaud répétés sur les plats, double filet doré sur les coupes, date et lieu en queue, encadrements dorés sur les contreplats, tranches dorées sur témoins, couvertures et dos conservés (Yseux successeur de Thierry-Simier). Carteret IV, 60 : "Un des bons livres de l'artiste, il est coté", dont le tirage a été limité à 130 exemplaires numérotés sur vélin. Bel exemplaire, bien relié par Yseux. 1922 [Attributes: Hard Cover]

      [Bookseller: Librairie de l'Amateur (SLAM)]
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        Le Jardin de Berenice

      Pous les Cent Bibliophiles, Paris 1922 - Original pictorial wraps printed in color and gilt embossed to cover and spine, edges uncut, in glassine dust jacket. Illustrated with 41 color drypoint etchings all by Malo Renault; decorative margins. Number 125 from a limited edition of 130 copies. Attractive, sound copy, if only slightest browning and wear at edges. [Attributes: Hard Cover]

      [Bookseller: Sanctuary Books, A.B.A.A.]
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        Ulysses

      London, Egoist Press,, 1922. Octavo, pp.[viii] + 732 + [i]. Bound in half burgundy morocco, gilt titles, and raised bands to spine, light burgundy cloth boards. Some soiling to first and last leaves, and slight damage to last leaf. First English publication, October 1922, and second edition overall Limited to 2000 copies of which this is number 904.

      [Bookseller: Peter Harrington]
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        In Stahlgewittern. Aus dem Tagebuch eines Stoßtruppführers. Zweite Auflage.

      Berlin : Mittler & Sohn, 1922.. 2. Auflage, 9.-11. Tausend viii,248 Seiten orig.Pappband. ÄUSSERST SELTEN.- Mit dem Bilde des Verfassers.- mit priv. Leinenrücken.- Erste Buchhandelsausgabe! Erste Bearbeitung! Rücken privat ersetzt, Kanten berieben/bestossen, Vorsatzblatt mit Widmung/Besitzeintrag von 1922, Besitzeintrag auf Innentitel, Vorsatzfalzanrisse vorn und hinten oben ca. 2,5 cm, papierbedingte Seitenbräunung.- Seltenes Exemplar der Ersten Bearbeitung. Mühleisen 0004, Blank 18. -[ interner vermerk -> -> -> BITTE BEACHTEN: Dieser Titel befindet sich nicht hier im Hause, sondern in meinem auswärtigen Nebenlager. Der Versand von dort erfolgt 1-2mal wöchentlich <- <- <- ISS-10835 '\m/'

      [Bookseller: Wimbauer Buchversand]
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        Die Meistersinger von Nürnberg.

      München, Drei Masken Verlag, 1922.. Ca. 36 x 29 cm. Titelblatt, 462 Seiten, 1 Seite Druckvermerk. Ziegelroter Original-Halblederband mit Marmorpapierbezug, goldgeprägtem Rücken und Kopfgoldschnitt.. Faksimile der Reinschrift der autographen Partitur. Eines von 410 arabisch numerierten Exemplaren (Gesamtauflage 530 Exemplare). Aus dem Druckvermerk: "Das Autograph der vollständigen Partitur von Richard Wagners "Die Meistersinger von Nürnberg" wurde im Auftrag des Drei Masken Verlags in München im Laufe des Jahres 1922 erstmalig reproduziert. Das Originalmanuskript, von Richard Wagner einst König Ludwig II. überreicht, ist 1902 durch Schenkung des Prinzregenten Luitpold aus der Schatzkammer der Münchener Residenz in den Besitz des Germanischen Museums in Nürnberg übergegangen. Der Druck dieser Faksimile-Ausgabe erfolgte durch die Kunstanstalt Obernetter in München. Die einmalige Auflage beträgt 530 Exemplare, von denen 500 in den Handel gelangen, und zwar 90 Exemplare numeriert von I bis XC und 410 Exemplare von 1-410." Rücken etwas fleckig und berieben, Einbandkanten berieben, Ecken bestoßen. Schönes Exemplar.

      [Bookseller: Antiquariat Rainer Schlicht]
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        Rare signed Houdini Picture Company stock certificate

      Stock Certificate signed ?Harry Houdini? as President of the Houdini Picture Corporation, 8.25? x 11.5?. New York, May 12, 1922. Ornately bordered with blind embossed 1921 New York corporate seal in lower left. Houdini?s signature is darker than those usually found on stock certificates. Countersigned ?Harry H. Poppe? as Assistant Treasurer. Folds, minor tape repairs on verso. Fine condition. Certificate Number 1986. In part, ?This is to certify that Isabelle Steffy is the owner of Ten Shares of the Capital Stock of Houdini Picture Company ...? Chartered by the State of New York on February 26, 1921, the Houdini Picture Corporation was involved in three Houdini silents: ?The Soul of Bronze? (1921), ?The Man from Beyond? (1922), and ?Haldane of the Secret Service? (1923). Houdini?s company distributed the first two films; Houdini starred in the last two.

      [Bookseller: University Archives]
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        Glimpses of Authors

      1922. first edition. Extra-Illustrated with Sixty-Five Autograph Letters, Notes, Portraits and ViewsTICKNOR, Caroline. Glimpses of Authors. Boston and New York: Houghton Mifflin Company, 1922. First edition, extra-Illustrated. Octavo (8 1/2 x 5 7/8 inches; 216 x 149 mm). xii, [2], 335, [1 blank] pp. Sixteen photogravure plates. Bound by The Booklovers Bindery NY., in contemporary three-quarter blue crushed levant morocco over blue cloth boards ruled in gilt. Spine with five raised bands, decoratively tooled and lettered in gilt, top edge gilt, blue marbled endpapers.Extra illustrated with 24 autograph letters and notes (mainly by American poets and statesmen), 39 portraits and views (mainly engraved), a 4 page Tribute to Eugene Field (signed by the Rev. F.M. Bristol) and an unused &#39;half-block&#39; of six Charles Dickens "A Tribute to Genius" 1912 centenary testimonial postage stamps. A wonderful compilation with all of the extra-illustrations bound in at the relevant places.1. Dickens, Charles. Signed envelope dated Oct 3, 1867.2. Dickens, Charles. Engraved portrait by W.G. Jackman3. Dickens, Charles. A &#39;half-block&#39; of six (unused) "A Tribute to Genius" 1912 centenary testimonial postage stamps4. Gounod, Charles Francois. Engraved portrait by T. Johnson5. Pierce, Franklin. Engraved portrait6. Hawthorne, Nathaniel. Full length portrait by Charlet7. Lincoln, Abraham. Engraved portrait by A.B. Hall8. Byron, Lady. Engraved portrait by Freeman9. Longfellow, Henry Wadsworth. Engraved portrait by S. Hollyer10. Park, Benjamin. Engraved portrait11. King, Thomas Starr. Engraved portrait by J.C. Buttre12. Holmes, Oliver Wendell. Photogravure portrait13. Hay, John; Lincoln, Abraham; Nicolay, John George. Photogravure portrait14. Fawcett, Edgar. Four page autograph letter signed discussing his admiration of Oscar Wilde&#39;s poetry15. Poe, Edgar Allan. Engraved portrait16. Stowe, Harriet Beecher. Engraved portrait17. Stowe, Harriet Beecher. Autograph note signed. "The Lord is a strong hold in the day of trouble&#133;"18. Beecher, Henry Ward. Engraved portrait19. Saxe, John G. Engraved portrait20. Wallace, Lew. Clipped signature21. Cortez, Fernando. Engraved portrait22. Dilke, Charles. Engraved portrait23. Dilke, Charles. One and a quarter page autograph letter signed to Henrietta Muller24. Cleveland, Grover. Engraved portrait25. Twain, Mark. Autograph note signed "Very Truly Yours / Mark Twain"26. Cable, George W. Autograph note signed "Yours Truly / Geo.W. Cable"27. Emerson, Ralph Waldo. Engraved portrait28. Harris, Joel Chandler. Autograph note signed "Joel Chandler Harris / Uncle Remus"29. Aldrich, Thomas Bailey. Autograph letter signed. One page.30. Gilder, Richard Watson. Typed letter signed. One page.31. Barrett, Lawrence. Clipped signature32. Niagra Falls. Engraved by W. H. Bartlett33. Trowbridge, John Townsend. Autograph note signed34. Langtry, Lillie. Photogravure portrait35. Markham, Edwin. Autograph letter to Edmund Clarence Stedman, signed. One page, folding (with envelope)36. Stedman, Edmund Clarence. Six-line autograph note37. Petrarca, Francesco (Petrarch). Engraved portrait by Robert Hart38. Taylor, Bayard. Autograph letter signed. One page.39. Hutton, Laurence. Three-line autograph note40. Bancroft, George. Engraved portrait by H.B. Hall41. Lander, Frederick W. Engraved portrait42. Hawthorne, Julian. Autograph letter signed. One page, folding.43. Irving, Washington. Engraved portrait by M.J. Danforth44. Chaucer, Geoffrey. Engraved &#39;medallion&#39; portrait45. Read, Opie. Autograph letter signed. One page, folding.46. Bristol, Rev. F.M. Engraved portrait47. Bristol, Rev. Frank M. "A Tribute to the memory of Eugene Field. Nov. 6th, 1884, 4pp. (signed)48. Luther, Martin. Engraved portrait by C.E. Wagstaff49. Arnold, Edwin. Autograph fragment. Signed and dated 189250. Gore, Elizabeth Marianne. Autograph letter signed. One page51. Gwynn, Nell. Engraved portrait by W.G. Jackman52. King, Clarence. Autograph note signed52a. Williams, Talcott. Autograph note signed "There are no rights; there are only duties" (affixed to #52)53. Mazzini, Giuseppe. Autograph letter signed. Two and a half pages54. Mendelsson. Engraved portrait by J. Sartain55. More, Sir Thomas. Engraved portrait by R. Woodman56. Evarts, William M. Etched portrait by H.B. Hall57. Coutts, Thomas & Co. Autograph letter/receipt addressed to Messrs. Le Roy Bryam & Co., NY. (two pages, folded)58. Victoria, Queen. Photogravure portrait59. Ritchie, Lady Anne Isabella Thackeray. Autograph letter signed. One page.60. Larkbeare. Thackeray&#39;s Home in Devonshire. Etched view.61. Thackeray, William Makepeace. Stipple portrait62. Moulton, Louise Chandler. Autograph letter signed. One page.63. Dante Alighieri. Engraved portrait by C.E. Wagstaff64. Tennyson, Alfred, Lord. Engraved portrait. J. Stephenson, sculpt.

      [Bookseller: David Brass Rare Books, Inc.]
 23.   Check availability:     Biblio     Link/Print  


        The Meaning of Relativity

      Methuen & Co. Ltd, 1922. Hardcover. Very Good. London: Methuen & Co, Ltd, 1922: First edition, first printing. In Very Good overall condition, lacking the dust jacket. Crease to the top corner of at least one page, a few chips to page edges. Light shelf lean to spine. Soiling and edge wear to cloth. Light foxing to the page edges, offsetting to end sheets, a few spots to the top side of the page block. Name of former owner and bookstore sticker to front paste down and fly. First edition.

      [Bookseller: Burnside Rare Books]
 24.   Check availability:     Biblio     Link/Print  


        Ebony and Crystal Poems in Verse and Prose

      Auburn Journal, Auburn, CA 1922 - Limited to 500 copies, this is number 106, signed on the limitation page by the author. This copy has also been signed by the author, with an inscription, on the title page. This copy is in Very Good+ condition. The book and its contents are in mostly clean, bright condition. The red cloth covers have some light spotting and there is a noticeable strip of fading to the front foredge. The text pages are clean and bright. The title page and limitation pages are noticeably toned. There is some light cracking to the front inner hinge. "Who of us care to be present at the accouchment of the immortal? I think that we so attend wo are first to take this book in our hands. A bold assertion, truly, and one demonstrable only in years remote from these." ; Signed by Author [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: S. Howlett-West Books]
 25.   Check availability:     AbeBooks     Link/Print  


        Medical Services Surgery of the War Vol. II

      London: HMSO,, 1922. Octavo. Original green sand-grain cloth, title gilt to the spine, blind panels to the boards. 7 coloured plates, numerous illustrations to the text. A little rubbed, spine slightly sunned, free endpapers browned, light toning to the text, overall very good. First and only edition. Print run of 1,500 copies, well-represented institutionally, but decidedly uncommon on the market. This volume, the second surgical volume, includes extensive coverage of wounds to the head, neck, the spine; the organization of orthopaedic treatment; amputations and artificial limbs. Lieut.-Col. Macpherson, the general editor of the Official History Medical Series, was later to become colonel commandant of the Royal Army Medical Corps, having been deputy director-general medical services in World War I. During the war he was mentioned in despatches nine times, and received honours from France, Italy and the United States, picking up the sobriquet "Tiger Mac" on account of his ferocious energy and attention to detail.

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


        Babbitt ( First issue, inscribed )

      Harcourt Brace & Company, New York 1922 - 1st ed., 1st issue with "Purdy" and "my" on page 49, lines 4 and 5. Cloth. SIGNED and inscribed 'To Leonora Hornblow with love from an old friend. Sinclair Lewis". Ms Hornblow was a novelist and prominent NY socialite. Also with the small dignified leather book plate of Mary Pinkerton Carlisle, wife of millionaire Jay F, Carlisle and daughter of Allan Pinkerton, founder of the famous detective agency. Also with the small, old signature of what looks like "Mr Garity". Laid in is a typed note on prominent book dealer Harry F. Marks engraved note paper detailing the pagination and first issue points. Marks co-wrote 'Ten Thousand Rare Book and Their Prices" A near Fine copy with pleasing associations. Housed in folding cloth covers and fine leather backed slipcase with gilt titles and decoration, the folding cloth and cloth on the case being orange to simulate the orange fields on the covers. [Attributes: First Edition; Hard Cover]

      [Bookseller: JOSEPH NATALE - BOOKS]
 27.   Check availability:     AbeBooks     Link/Print  


        Saint Magloire

      Albin Michel 1922 In - 4 (255 x 174 mm), demi - chagrin rouge, dos à cinq nerfs orné, tête dorée, non rogné (reliure d'époque). Edition originale. Tirage spécial à 20 exemplaires réimposés in - 8 sur papier vélin de cuve des Usines d'Arches, celui - ci imprimé pour M. Gobin, imprimeur. (quelques frottements, piqûres sur les tranches). / / Quarto (255 x 174 mm), red half - shagreen, spine tooled raised on five bands, top edge gilt, uncut (contemporary binding). First edition. Special limited printing of 20 copies, "réimposés in - 8 sur papier vélin de cuve des Usines d'Arches", this one printed for M. Gobin, imprimeur. (some rubbings, spots on edges).

      [Bookseller: Librairie Henri Picard & Fils]
 28.   Check availability:     maremagnum.com     Link/Print  


        Jahrbuch der jungen Kunst. 1922.

      Leipzig: Klinkhardt & Biermann, 1922.. 1 Bl., 326 S., 8 Bl. Anzeigen; zahlr. s/w-Abb. auf Kunstdruckpapier. 4°; Orig. ill. Halbln. m. schwarz gepr. RT. Fdh.. Dritter Jahrgang des bahnbrechenden Jahrbuchs (Normalausgabe). - Enthält 7 Originalgraphiken: 1) "Liebespaar" von Max Beckmann; 2) o.T. von Robert Kohl; 3) "Der schöne Sonntag" von Bernhard Kretzschmar; 4) "Der Reiter" von Wilhelm Kohlhoff (Lithographien); 5) "Schäferszene" von Walter Teutsch; 6) "Zeitgenossen" von F.M. Jansen (Holzschnitte); 7) Einband: Orig. Linolschnitt von Georg Mathey. Außerdem Beiträge von renommierten Autoren mit jew. zahlr. Abb. über u.a. van Gogh; Corot; Paul A. Seehaus; Cezanne; Blumenstilleben der Paula Modersohn; August Macke; Corinth; B. Hoetger (von Theodor Däubler); A. Giacommetti, O. Coubine, Johannes Molzahn, Picasso, Richard Seewald, Othon Fries, Charles Dufresne, W. Kohlhoff; Le Fauconnier, Franz Radziwill, M. Kisling (Carl Einstein); Werner Heuser; Otto v. Waetjen; Gustave de Smet; neue Plastik in Frankreich; Sammlung Max L. Flemming; Max Slevogt (Buchkunst); Felix Meseck; K.F. Zähringer; F.M. Jansen (jew. Graphik); Handzeichnungen von Otto Lange. - Der schöne Einband gering berieben, hinten leicht angestaubt, Ecken u. Kanten ger. bestoßen, Papierüberzug stellenw. gering abgeschabt. Rückenenden leicht bestoßen an den Gelenken etw. brüchig. Erstes Titelbl. m. schwachem Längsknick. Papier etw. gebräunt, sonst innen gut erhalten, auch die Graphiken. Schöner, kräftiger Druck auf gutem Papier. A/P2 - Please ask for detailed information in English / Demandes des details en francais s.v.p.

      [Bookseller: libretto]
 29.   Check availability:     ZVAB     Link/Print  


        The Works of John Galsworthy. Manaton Edition. 25 Vol.

      New York, Charles Scribner's Sons., 1922-1936.. Gr.-8°, Ledereinband. 25 from 30 Vol. Full morocco leather binding. titles to spine gilt, raised bands, gilt to top edge, gilt dentelles. Illustrated with frontispieces. N.Y.: Charles Scribner's Sons, 1922-36. The "Manaton" edition. Limited to 780 sets signed by the author of which this is 501. With Exlibris from W. H. Vanderbilt, Oakland Farm, Newport Rhode Island. Exept one small black hole on the front cover very fine copies.

      [Bookseller: Antiquariat an der Universität München]
 30.   Check availability:     ZVAB     Link/Print  


        Mount Everest: The Reconnaissance

      Longmans, Green and Co.,, 1922-01-01. Hardcover. Very Good. New York: Longmans, Green and Co. 1922. 356 p. with color fold-out maps at rear. Blue cloth with gilt lettering. First US edition, first printing. Very Good hardcover. No jacket. Clean pages and strong gilt lettering. Some soiling and rubbing to cloth. Small vintage booksellers&#39; stamp on fep, small stain on fore edge, foxing to fore edge. All maps present in nice condition. A nice copy.

      [Bookseller: Burnside Rare Books]
 31.   Check availability:     IOBABooks     Link/Print  


        The Meaning of Relativity

      Methuen & Co. Ltd, 1922. Hardcover. Very Good. London: Methuen & Co, Ltd, 1922: First edition, first printing. In Very Good overall condition, lacking the dust jacket. Crease to the top corner of at least one page, a few chips to page edges. Light shelf lean to spine. Soiling and edge wear to cloth. Light foxing to the page edges, offsetting to end sheets, a few spots to the top side of the page block. Name of former owner and bookstore sticker to front paste down and fly. First edition.

      [Bookseller: Burnside Rare Books]
 32.   Check availability:     IOBABooks     Link/Print  


        Poems

      Heinemann 1922 - Scarce First UK printing published by heinemann in 1922.The BOOK is in VERY GOOD ++ or better condition.A little rubbing to lower spine end and corners.White paper label clean and complete.Text block slightly dusty.Free from inscriptions.Mild offsetting to end papers.Portrait frontispiece of the author, original black cloth with printed paper title label to spine.The WRAPPER is in VERY GOOD++ condition and is complete.Some browning andy light rubbing to the spine.Edge-wear which is more pronounced at the upper spine end.Wrapper now protected in loose Brodart archival cover.A very nice clean copy of this scarce frist trade publication in book form of Rosenberg's poems, posthumously issued in an edition reputed to have consisted of 500 copies.Scarce. ashtonrarebooks welcomes direct contact. [Attributes: First Edition; Hard Cover]

      [Bookseller: Ashtonrarebooks PBFA]
 33.   Check availability:     AbeBooks     Link/Print  


        Sioux Indians Going to Pow Wow

      Simon Harmon Vedder, 1922. AN ANIMATED AND ACCOMPLISHED PAINTING OF SIOUX INDIANS IN A WESTERN LANDSCAPE Signed "Simon Harmon Vedder" and dated "1922" l.r.; verso bears label "Painted by S H Vedder 1922/Sioux Indians. Group changing camp or going to &#39;Pow Wow.&#39; The foremost riders are Chiefs and are wearing the head dress of ceremony or war bonnet made of eagle feathers. They ride bare back and guide the pony by knee pressure mostly." Oil on canvas: 28" x 45 ½" (33 ½" x 50 ¾" framed) Provenance: General August Henry Lane-Fox Pitt Rivers (1827-1900) of Hinton St. Mary, Dorset . Book.

      [Bookseller: Arader Galleries]
 34.   Check availability:     Biblio     Link/Print  


        Vignettes Décoratives Dans Le Goût Du Jour. Documents d&#39;Art. Art appliqué français moderne

      1922. Paris, Éditions Albert Morancé, 1922. 8 pp (titlepage & introduction by G. Umbdenstock) & 30 hand-coloured plates loosely held in original half cloth portfolio with ties. (some fingerstains). Thirty hand-coloured plates with art-nouveau motives in vivid colours. These designs were created as a reaction against the too charged decorations at the end of the 19th century. Henri Gillet was one of the most well-known French decorators of the Art-Nouveau period. Umbdenstock in his introduction says that the most remarkable thing about Gillet&#39;s designs is the apparently effortlessness with which they were created; they all seem simple and are very elegant. The harmony of colours is striking. They are either vivid colours with contrast colours or nuances of one and the same colour. A beautiful book.

      [Bookseller: Knuf Rare Books]
 35.   Check availability:     Biblio     Link/Print  


        Shashin Shuho - Semi Annual Pictorial

      1922 - Extremely rare collection of 200 photographic plates. Some wear to front page; overall nice condition. (Note written in and 1922 date - please see picture.) Very nice copy. [Attributes: First Edition; Soft Cover]

      [Bookseller: AboveParBooks]
 36.   Check availability:     AbeBooks     Link/Print  


        The Works of... (Vailima Edition)

      London: William Heinemann, 1922-3.. Limited edition, set no. 774 of 1,060 sets published in the UK, though two volumes are numbered 1,045 and marked "Presentation copy". 26 volumes. 8vo. Publisher&#39;s dark blue cloth, gilt lettered to the spines, dust jackets, top edges gilt. Some wear with slight loss to the edges of many of the jackets, volumes XIII, XVII and XIX with more significant portions missing, the last of these the only volume to have suffered any fading to the cloth where it has been exposed, slight wear to the corner tips of volumes XXIV and XXVI. An uncommonly well preserved set with the dust jackets. Frontispiece in each volume, including many portraits of the author and his relatives plus facsimiles of maps from the original editions and manuscripts.

      [Bookseller: Bow Windows Bookshop]
 37.   Check availability:     Biblio     Link/Print  


        The Diary of a Drug Fiend

      London: W. Collins Sons & Co. Ltd., 1922. The Rarely seen Second Impression, with same date as the First Impression: "Copyright...Second (Impression) November 1922" (see scan). A NearFine copy, rebound in Black Buckram, Gold spine stamping. Binding is Fine, square, very tight and crisp. Some light signs of aging to the internals.. First Edition. Buckram, Sewn Binding. Near Fine. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: GatesPastBooks]
 38.   Check availability:     Biblio     Link/Print  

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