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

        The World of Jean de Bosschère

      (London): Fortune Press, (1922). One of 100 deluxe copies with a limited, signed color etching. Warmly inscribed by Jean de Bosschère, "with greetings of spiritual brotherhood." With a color frontispiece, twenty-one full-page plates printed in black & white and sanguine, and numerous black & white illustrations throughout. The volume opens with a letter from Paul Valéry written in reponse to de Bosschère's first works, which gave the young Belgian illustrator and poet the affirmation and confidence needed to pursue his career. The entire range of Jean de Bosschère's oeuvre is presented in this biography, bibliography, and tribute to the artist. Bound in quarter vellum and white cloth, gilt-titled to spine. T.e.g.

      [Bookseller: Bromer Booksellers]
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        Jacob's Room

      London: The Hogarth Press, 1922. 290pp, 14pp adverts. Rebound in modern half morocco and cloth by Temple Bookbinders, smooth spine, title and author blocked in black to spine, a.e.g. Externally near fine. Internally lightly browned, occasional light spots of foxing, small nick to fore edge of final leaf with small amount of loss, generally bright and clean. Kirkpatrick A6a. First Edition. Half Morocco and Cloth. Very Good/No Jacket. 8vo.

      [Bookseller: Temple Rare Books]
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        The Glimpses of the Moon

      D. Appleton and Company, New York,, 1922. Octavo. Original blue cloth, titles to upper board and spine gilt. Text a little toned, spine rolled and somewhat dull but an excellent copy. First Edition, First Printing. With the author's presentation inscription to the front free endpaper, "For John. from E. W. Aug. 10 1922". The recipient was John Hugh-Smith, an intimate of Wharton's. With corrections to the text in Wharton's hand on 7 pages.

      [Bookseller: Peter Harrington]
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        Sélection, Chronique de la vie artistique 2me année (série)nr 1 (1 novembre 1921) - 2me année (série) nr 2-3 (15 janvier 1922) - 2me année (série) nr 4-5-6 (1 juin 1922) - 2me année (série) nr 7-8 (1 août 1922) - 2 année (série) nr 9-10 (15 décembre 1922)

      1921-1922 BRUXELLES Editions SELECTION - deuxième année de cette importante revue, complète, (la première année avec comme couverture la gravure sur bois de G. De Smet) - nr 3-4-5 consacré à la gravure sur bois - 24,6 x 16 cm - 312 pgs + les pages de publicité - tous les numéros ont la couverture originale, le numéro 1 est agraffé, les autres sont brochés - tous en bon état, le dos esr renforcé avec du japon, presque invisible, quelques petites déchirures sont restaurées avec japon, surtout le nr 4-5-6 à quelques petites déchirures sur la première partie de la couverture mais en tout en très bon état (photo sur demande) - pour la sixième serie voir Bolliger VI nr 815 [Attributes: Soft Cover]

      [Bookseller: A. Van Zaelen antiquariaat]
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        BLOD. EXPRESSIONAERE DIGTE and BLOD. EXPRESSIONAERE DIGTE / FORSVARSTALE FOR BLOD. [Two Volumes]

      "D.N.S.S., Politisk Revy" Kobenhavn: "D.N.S.S., Politisk Revy". "1922, 1988". "8vo. Two books: original printing and reprint. 1922 edition: 24pp. + ads. Omslag og tegninger af Gunner Hesselbo. This controversial work was supressed; the 1988 reprint [78pp] contains a facsimile of the original, plus the defense presented to the court, and ""Den Blodige Civilisation et Efterskrift Blod,"" af Morten Thing. Photo, illust., notes. A nice pair of items: a copy of the extremely rare original plus its facsimile, with associated material. Text in Danish." 1922 edition is bound in black cardstock wrappers, with printed illustration on paper pasted to front wrapper. Light shelfwear; text block is tight and internally clean. 1988 edition is perfect-bound with illustration screened onto cover. Very good.

      [Bookseller: Alta-Glamour Inc.]
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        Auf der Flucht nach Aegypten. acht Radierungen von Oskar Laske

      Wien/Bln./Lpz./Mchn., Rikola 1922.. qu.-2°. Titelbl., 8 Orig.-Radierungen. OHLn. mit Einbandlithographie und dem Aufdruck "Opus XXIV". EA Vollmer III, 178 - Eines von 15 handschr. num. Expl. d. Vorzugsausgabe. Die Gesamtaufl. betrug 100 Exemplare. Jede Taf. vom Künstler eh. signiert. Die Im Druckvermerk angegebene Farbradierung fehlt. Inhalt der Mappe: Die Tiere; Die Ueberfuhr; Die Räuber; Durch Gewitter und Gefahren; An den Wachen vorbei; Die Oase; Vor dem Stadttor; Unter gastlichem Dache;

      [Bookseller: Antiquariat Burgverlag]
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        Wisden Cricketers' Almanack 1922

      John Wisden & Co. 1922 - Fifty-ninth edition. Original hardback. Spine rubbed and soiled, corners crushed.  A fair copy.

      [Bookseller: Sportspages]
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        ULYSSES

      Paris: Shakespeare and Company, 1922. First Edition. Hardcover. Despite the defects, Very Good in a handsome slipcase. Scarce. 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.

      [Bookseller: Charles Agvent]
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        Berlin la cour la ville *

      Éditions de la Sirène, Paris 25.7.1922. - Broché, couverture imprimée rempliée. Dos à peine insolé, marqué de légers plis, autrement excellent état. Une copieuse introduction d'une centaine de pages de G. Jean-Aubry, suivi d'une notice bibliographique, précède ce texte à peine plus long.Excellente provenance symboliste fantaisiste, attestée par la quittance d'achat au nom de l'heureux amateur à qui il en coûta chf 31,50 en 1933. Édition en partie originale. L'un des 15 exemplaires de tête numéroté sur Japon Impérial, avant 70 Hollande et 1'900 vergé.

      [Bookseller: Librairie Oh 7e Ciel]
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        The Works of John Galsworthy (Manaton Edition), 30 Volumes

      NY: Charles Scribner's Sons, 1922. limited to 780 numbered sets with the first volume signed by Galsworthy, this being set #666; 30 vols., large octavos, original paper covered green boards and green cloth backstrip, with paper labels to spines, as issued; the books are fine in very good glassine dust jackets and further housed in the publisher-issued board slipcases; some of the slipcases are worn or have splits to the joints. Photos available upon request.

      [Bookseller: Zubal Books]
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        Jacob's Room

      Richmond: Leonard and Virginia Woolf, Hogarth Press,, 1922. Octavo. Original crocus-yellow cloth, with paper label to spine. Housed in a custom-made black cloth chemise and black morocco-backed bookform slipcase. Bookplate of Philip le Brocq. Very slight rubbing to the tips, a very few small marks to cloth, single small instance of mild bubbling to the cloth on the rear cover, light spotting to edges and to some early and late leaves. Still an exceptional copy. First edition, first impression. One of 1200 copies printed. Jacob's Room was the first full-length book to be published by the Hogarth Press - its publication marking the moment when the Woolfs decided to run the Press as a genuine business concern.

      [Bookseller: Peter Harrington]
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        Monday or Tuesday

      London: The Hogarth Press, 1922 First edition, one of about 1000 copies. Original brown cloth-backed decorative paper boards. Illustrated woodcuts by Vanessa Bell. An excellent copy with some very minor signs of wear at the corners, and without the usual offsetting to the endpapers. A near fine and very attractive copy.. First Edition. Hard Cover. Near Fine.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
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        Building Plans and Elevation for a Loft Building for James H. Hjul on California St., San Francisco

      San Francisco: James H. Hjul, Structural Engineer, September - November, 1922. Original pencil drawings on tracing paper. Sheet size primarily 24" x 32". 7 sheets. Job #104. James Hansen Hjul (1882 - 1957), a structural engineer, constructed many buildings in San Francisco. He was the founder of the J.H. Construction Company and was listed as a contractor, civil engineer, structural engineer and construction engineer in San Francisco City Directories from 1907 to 1958. Most of his work occurred in the South of Market area on warehouses and industrial buildings.

      [Bookseller: Alan Wofsy Fine Arts]
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        The Holy Experiment [Elephant Folio, Full Leather, Limited, Signed, Violet Oakley's Magnum Opus]

      Philadelphia: Privately Printed by Violet Oakley, 1922. First edition. Elephant Folio measureing 15 5/8 inches wide, 23 inches long. 51 pp + [7] and 22 superb full color tipped in plates, some folding to enormous size. Original full brown leather embossed with geometric and floral stamped desgins in dark brown, pictorial bold gilt stamped circular motifs and lettering on front cover. Inside endsheets both brilliant gold shiny paper. Two large closing brackets on outward edges. In original feaux-wood paper box. Limited to 500 Numbered and Signed Copies by Violet Oakley, of which this is No. 11. This monumental production was personally overseen and published by Oakley over more than a decade of preparation and production and comprises seven separate folders or fascicules, each of which printed on special Italian handmade paper and printed in red and blue and black from manuscript calligraphy by Oakley. Two of the fasiclules contain huge (some folding out) color plates printed magnifently in bright colors illustrating murals and designs from her work at the Pennsylvania State Capital in Harrisburg. 22 superb full color plates, with highlighting in gold and other colors, one folding out to 26 inches! A brilliant copy with pristine contents. The binding is near fine with only minimal marking and slight wear, the leather (notoriously prone to drying) is supple, smooth and in excellent condition. The fragile box has been reinforced with paper tape. In original laid paper wrap-around sheet protecting contents within the binding. One of the truly great colorplate books eminating from the Brandywine Tradition and a lasting rarity.

      [Bookseller: Nudelman Rare Books]
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        Idyls of Theocritus, Bion & Moschus, The

      London: The Medici Society, 1922. - Finely Printed by the Riccardi Press[FLINT, W. Russell, illustrator]. The Idyls of Theocritus [and] The Idyls of Bion & Moschus. Rendered into English Prose by Andrew Lang. Illustrated after Drawings by W. Russell Flint. London: The Medici Society, 1922. One of 500 copies on handmade Riccardi paper (this copy being No. 254), out of a total edition of 512 copies.Two quarto volumes (10 1/2 x 7 3/4 inches; 267 x 198 mm.). xxxv, [1, blank], 92, [1, colophon], [1, blank], [1, printer’s device], [5, blank]; xi, [1, blank], 28, [1, colophon], [1, blank], [1, printer’s device], [5, blank] pp. Twenty mounted color plates (including frontispieces), after watercolor drawings by W. Russell Flint. Descriptive tissue guards printed in red. Title-pages printed in black and green, with lettering designed by Edith M. Engall and ornament by W. Russell Flint. Second Series: Scriptorum Classicorum Bibliotheca Riccardiana.Original quarter natural linen over pale blue boards. Printed paper labels on front cover and spine. Top edge gilt, others uncut. Original blue silk page ribbons. Original gray printed dust jackets, mildly sunned to spines. A very fine set and scarce thus. Housed in a fleece-lined quarter blue morocco clamshell case."Theocritus (first half of the third century BC), Hellenistic Greek poet, the originator of pastoral or bucolic poetry His extant poems, generically known as Idylls, and mostly in the hexameter metre, include court poems, mythological poems, and epigrams, but his fame stems from the seven or so poems which were primarily bucolic. These were to have a strong influence on Virgil (in the Eclogues) and through him on later European literature The first Idyll contains the beautiful lament for Daphnis, a dirge imitated in the Adonis of Bion and in the Bion attributed to Moschus, and the prototype of later pastoral elegies, Milton’s Lycidas, Shelley’s Adonais, and Matthew Arnold’s Thyrsis" (The Concise Oxford Companion to Classical Literature).Bion "of Smyrna, the last Greek pastoral poet known to us by name; he lived at the end of the second century BC, and is generally linked with the pastoral poet Moschus. Virtually nothing is known of his life; according to the anonymous Lament for Bion (attributed to Moschus), he lived in Sicily and died by poisoning. He wrote in hexameters in the (literary) Doric dialect, and seventeen fragments of his poems (some may even be complete) survive. Since the Renaissance he has been credited with the Lament for Adonis The pastoral element in his work is slight, most of the poems being playfully erotic" (The Concise Oxford Companion to Classical Literature). "Moschus (flourished c.150 BC), Greek poet of Syracuse whose extant poems include five hexameter pieces, one of which is bucolic (comparing the pleasures of the countryman with the hard lot of the fisherman), and an epigram on Eros as a ploughman; there are also an epyllion Europa in 166 hexameters on the rape of Europa by Zeus, and the Megara, a hexameter dialogue between Heracles’ wife (who gave her name to the poem) and his mother Alcmena, who bewail their misfortunes caused by Heracles' long absence. Also attributed to Moschus, but improbably since Bion (2) lived at least a generation after him, is the beautiful (bucolic) Lament for Bion" (The Concise Oxford Companion to Classical Literature). Ransom, Private Presses, p. 395, no. 8. Tomkinson, p. 149, no. 8.

      [Bookseller: David Brass Rare Books, Inc.]
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        Tales of the Jazz Age

      Charles Scribner's Sons, 1922. Hardcover. Very Good. Charles Scribner's Sons, New York 1922. First Edition / First Printing / First Issue. Stated Published September 1922 with the Scribner's Seal. Cloth boards. Page 232, line 6 with the error "an" for "and". {ref: Bruccoli A9.I.a}. Book Condition: Very Good, shelf wear and rubbing, scratch at the front board, round impression at the front board, age toning, light spots at the endpaper. The rare dust jacket is not present.

      [Bookseller: 1st Editions and Antiquarian Books, ABA,]
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        THE IDYL[L]S

      London, Liverpool & Boston: The Medici Society Ltd, 1922. No. 7 OF 12 COPIES PRINTED ON VELLUM (along with 500 on paper). Hardcover. 267 x 203 mm (10 1/2 x 8"). Two volumes. Rendered into English prose by Andrew Lang. No. 7 OF 12 COPIES PRINTED ON VELLUM (along with 500 on paper). Original limp vellum, green silk ties, gilt titling on front covers and spines, top edges gilt, other edges untrimmed. In an excellent vellum-backed linen folding box with gilt-stamped title labels on spine. Woodcut printer's devices, title page vignette, and 20 color plates after watercolors by William Russell Flint, captioned tissue guards. Title pages printed in blue and black, with lettering designed by Edith M. Engall. Ransom, p. 395; Tomkinson, p. 149. Vellum covers darkened as a reflection of grain, a few other trivial imperfections, but A FINE COPY inside and out. Containing a classical text perfect for his illustrations featuring sensuous female forms, this is one of the last of Flint's highly agreeable corpus of books done for the Riccardi Press, offered here in its deluxe form and in outstanding condition. Theocritus was the greatest of Greek pastoral poets, and his "Idyls" served as the model for Virgil's "Eclogues." A third century B.C. Greek from Sicilian Syracuse, Theocritus migrated to Hellenistic Egypt, where he enjoyed the patronage of the beneficent Ptolemy II, who encouraged scholars, poets, and scientists gathered at the Alexandrian Museum. Although set in the world of shepherds sheltering in the shade and singing to the music of panpipes, the "Idyls" are by no means artless; instead, they are highly wrought compositions that often meditate on the poetic craft itself. Andrew Lang (1844-1912), who translated the poems into English prose, was a well-known classicist, literary critic, poet, folklorist, and writer of fantasy novels. While neither the imprint nor the colophon mentions the Riccardi Press, the emblem of the press is at the back of each volume, and the colophon includes Charles T. Jacobi as pressman. While Flint did fine work in various media, he became known in the 1920s as a master of the watercolor nude (primarily through books like the present one) and this made his reputation, even if he had hoped for recognition in a broader way.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Androlite, poème. Dessins d'A. Favory

      Paris: Editions de la Charmille, 1922. Livre. Illus. by André Favory. Très bon. broché. Dédicacé par l'auteur. Edition originale. In-8. Paris, Editions de la Charmille [l'auteur], 1922 (achevé d'imprimer le 9 février 1922 par Alfred Dupin à Avallon [mention au tome 2]). 2 volumes in-8, 19,5 x 14,5 cm, 277 (5) pp. - 334 (9) pp. - 4 planches repliées hors texte gravées sur cuivre (à l'eau-forte ?) par André Favory, brochés sous couvertures bleu indigo ornées chacune de 5 pièces de papier noir portant les mentions de titre, d'auteur, d'illustrateur, de tomaison et de prix (25 francs les deux volumes). Edition originale. Tirage annoncé à 50 exemplaires numérotés sur vélin d'alfa. Celui, peut-être un exemplaire de deuxième émission, sous couverture indigo (nous avons vu un exemplaire sous couverture rouge), exemplaire d'auteur justifié à la plume "Bg", sur alfa, enrichi d'un ENVOI autographe signé de l'auteur à Albert Thibaudet ("hommage d'admiration vive et empressée"). Belles compositions gravées par André Favory, de style post-cubiste pour trois d'entre elles, très charnelle pour la dernière. Nous avons été intrigué par ce poète, qui signe "J. Portail" un poème long de plus de 600 pages et de bonne tenue. L'honorable Bibliothèque nationale de France nous dit qu'il s'agit d'un certain Jean Portail, ce que répète le vénérable Robert Sabatier dans son "Histoire de la poésie française". D'autres sources le prénomment Jacques. Recherche faite, il apparaît que ce poète rare et discret, quoique prolixe, signe parfois Agnel Portail (un important article consacré à Saint-John Perse dans la NRF de 1927 et un autre long poème, "Sylvandrose", publié en 1957, celui-ci très correctement décrit par la BnF). Il est le frère du peintre Henry Portal (1890-1982), qui a fait don de plusieurs correspondances de son aîné (avec André Gide, Jules Romains, Valery Larbaud...) à la Bibliothèque littéraire Jacques Doucet. Gabriel Audisio nous indique que celui-ci, qui avait reçu les éloges de Valery Larbaud pour Androlite, ne fit que donner quelques exemplaires de son poème, édité par ses soins, à des amis et personnalités et qu'il mourut dans la misère. Il collabora à la revue mensuelle "Le mouton blanc, organe du classicisme moderne", qui parut entre 1922 et 1924. Nous avons été chercher les fiches d'état civil des deux frères, afin de rendre définitivement justice à l'identité de notre poète unanimiste. En voici la synthèse. Ils sont tous deux nés dans le 8e arrondissement de Paris de Jean Pierre (Vidal) Portal, architecte et de Elisa Jeanne Leriche, sans profession, fille de l'architecte Emile Leriche. L'aîné (J. Portail donc) est né Jacques Louis Emile Portal le 23 juin 1888 et mort le 6 juillet 1960 à Dijon. Le cadet (le peintre Henry Portal) est né Marie Paul Henry Portal le 11 mai 1890 et mort le 23 mai 1982 à Avallon. Que justice bibliographique, biographique et patronymique soit ici rendue à l'auteur bafoué d'Androlite. Rare. Deux volumes non coupés, dos insolés. (Inconnu de Monod comme de Carteret) [Plus d'informations sur notre blog.].

      [Bookseller: Des livres autour (Julien Mannoni)]
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        Ptihn-Tak-Ochatä. Dance of the Mandan Women [Vig. 28]

      [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by Ch. Geoffroy after Bodmer. 9 1/2 x 12 3/4 inches. 12 1/2 x 15 3/4 inches. 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]
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        LATE LYRICS AND EARLIER

      1922. [from Hardy to Galsworthy] With Many Other Verses. London: Macmillan and Co., 1922. Original olive green cloth with monogram in gilt. First Edition, which consisted of 3250 copies. In addition to the 151 poems is Hardy's "Apology," his "most significant and extended utterance on poetry and criticism" (Purdy), written during an illness in early 1922. This is a fine copy. Purdy pp 214-227.~This is a signed presentation copy inscribed by Hardy to John Galsworthy, "To John Galsworthy , with kind regards from Thomas Hardy. June 1922.". The endpaper also bears a "JG" red inkstamp. Hardy and Galsworthy were both major literary figures at the time -- and though they were not close friends, they frequently wrote to each other, often on philosophical subjects (such as Free Will vs. Determinism). In 1909, at Galsworthy's request Hardy wrote a monograph on the censorship of plays, which he (Hardy) read to the Joint Committee of Lords and Commons that was considering the subject. As noted by Purdy, Hardy also inscribed copies of SELECTED POEMS (1916) and MOMENTS OF VISION (1917) to Galsworthy (Purdy does not mention this copy of LATE LYRICS). In 1921, the year before this book was published, Hardy read Galsworthy's TO LET (the final volume of The Forsyte Saga), praising it mightily but suggesting that a genealogical chart might be useful to readers; when the entire THE FORSYTE SAGA was first published in 1922, it did indeed include such a chart. Galsworthy once sent to Hardy a quote from one of his (JG's) own books -- "The optimist appears to be one who cannot bear the world as it is, and is forced by his nature to picture it as it ought to be; the pessimist one who cannot only bear the world as it is, but loves it well enough to draw it faithfully." Galsworthy's most famous quote regarding Hardy was "When you come to compare Stevenson and Hardy, there really isn't any comparison at all. Stevenson's all life and Hardy's all death" [Marrot p. 568]. At Hardy's 1928 memorial service at Westminster Abbey, his pallbearers included the six pillars of the British literary scene: Barrie, Galsworthy, Gosse, Housman, Kipling and Shaw.~Provenance: in addition to "JG"'s own inkstamp (and a small inked "JG 2048"), this copy's title leaf bears the blind-stamp of The Forbes Magazine Collection, the magnificent collection of art and books put together by the late Malcolm Forbes (1919-1990), and since partly dispersed at auction.

      [Bookseller: Sumner & Stillman]
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        CAESAR'S WIFE

      1922. [this copy inscribed by Maugham] London: William Heinemann, 1922. Original red cloth. First Edition, which consisted of 2000 copies (some in "champagne wrappers," some in red cloth like this copy). About this play Maugham later wrote,~[It will] to me remain a pleasing memory for the beautiful performance that Miss Fay Compton gave in the part of Violet. The gesture with which she held out her arms to her lover after she had sent him away for good and all, and he had miserably gone, had a grace, tenderness and beauty the like of which I have never before or since seen on the stage. [Toole Stott]~This is a near-fine copy (spine a little faded as usual, but scarcely any wear or soil) -- without dust jacket, as issued. Toole Stott A26.~This copy is signed and inscribed by Maugham on the half-title: W. Somerset Maugham / 1922 Violet Let us hope for the best." The most likely recipient of this copy was Fay Compton, referred to above -- though she had been playing "Violet" since 1919, so one might wonder why Maugham would write "Let us hope for the best" (presumably regarding the play) three years later when this book edition came out. The other possiblility would be the novelist Violet Hunt, one of the few women with whom Maugham is known to have had a sexual relationship (in 1903-1906, at a time when Violet had contracted syphilis from a previous lover but did not yet know it; at the beginning of their affair she was 41 and Maugham 29). She was the inspiration for Rose Waterfield in THE MOON AND SIXPENCE and for Nora Nesbit in OF HUMAN BONDAGE. Maugham and Hunt did keep in touch thereafter; "Let us hope for the best" in 1922 might have referred to her health.

      [Bookseller: Sumner & Stillman]
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        Am. Sam. Gram

      Paris: La Renaissance du Livre, 1922. Oblong quarto. (13)ff., interleaved with twelve plates colored in pochoir. First edition. A poignant fable about the escapades of a magpie – whose body is made of a pinecone – and three little pinecone chicks as they leave the mantel of the fireplace on which they live to venture out into the world. With illustrations by Maby, about whom little is known. Am, Sam, and Gram are the names of the three little birds, who, despite their journey into the exciting territory of a woodland stream, apparently cannot escape their ultimate fate as fireplace kindling. Following the story is an explication of the Moral in the tradition of Aesop and other fable literature. The gorgeous illustrations, with their strong, simple pochoir coloring, are stylistically akin to the work of Theodor Van Hoytema. Bound in linen-backed, pochoir-illustrated boards, which show minor overall soiling and two faint, small stains to the upper right corner. Scattered light foxing to page edges and outer margins of text leaves. A near fine copy of a rare pochoir picture book.

      [Bookseller: Bromer Booksellers]
 22.   Check availability:     Biblio     Link/Print  


        RECORDS OF THE MORAVIANS IN NORTH CAROLINA. Volumes I-X, 1752-1851

      Raleigh: Edwards & Broughton [vols. 1-4], North Carolina Historical Commission [vols. 5-6], State Department of Archives and History [vols. 7-10], 1922-1966. Ten volumes (of thirteen), with volumes 9-10 in original dust jackets. Continuously paginated: 5,683 pages, plus several plates in each volume including photographs, portraits, maps, facsimiles, etc. Each volume with separate index. Original maroon cloth. [23.2 to 24.3 cm.] Vols. 1-8 in good to very good condition; vols. 9-10 in very good to near fine condition in like dust jackets. Each volume has tasteful bookplate on front pastedown. Vols. 1-8 have light stains to bases of spines; vol. 1 has light stains to edges of boards as well; some other volumes show a few traces of speckling to boards. Vol. 1 has very shallow chip to head of spine. Vol. 2 has new endpapers. Vol. 5 has light wear to one corner. Spine lettering dull on vols. 5 and 8. All volumes are sound. Light damping, mostly affecting lower margins, throughout vol. 1, to first half of vol. 2, to some leaves near end of vol. 6, and trifling appearances on a few leaves of two other volumes. Light foxing to plates and facing leaves, becoming quite faint in last two volumes. Occasional light pencil marks in margins. Dust jackets are bright, but show some minor rubbing and soil, minuscule chip to spine panel of vol. 9, and some light crinkling to spine panel of vol. 10. FIRST EDITIONS. A vital collection of primary sources, not only for the history of the Moravians, but for the history of North Carolina in general, particularly during the colonial period. Adelaide L. Fries, the preeminent historian of the Moravian Church in the South, edited the first seven volumes and began work on the eighth. That volume was completed by Rights, and the remainder of the series continued by others. The last volume in the series was not issued until 2006. Runs of this length are scarce in the trade.

      [Bookseller: Eilenberger Rare Books, LLC]
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        Imirce ou la fille de la nature. Nouvelle édition ornée de 12 bois et 8 eaux-fortes de Sylvain Sauvage

      Paris: J. Fort, 1922. Livre. Illus. by Sylvain Sauvage. Très bon. Couverture souple. Ed. limitée. In-8. Paris, J. Fort, A l'enseigne du Bon vieux temps, 1922. 23 x 14,5 cm, in-8, 283 pp. - 8 eaux-fortes en noir hors texte, 12 bois gravés dans le texte, vignette de titre reprise en couverture, broché, couverture crème rempliée imprimée et illustrée. L'un des 940 exemplaires sur pur fil. Celui-ci enrichi, hors justification, d'une SUITE EN COULEURS des 8 eaux-fortes, théoriquement réservée aux 50 exemplaires sur Hollande (il y eut également 10 exemplaires sur Japon). Une planche de la suite brunie, fort bon pour le reste. (MONOD, 4061).

      [Bookseller: Des livres autour (Julien Mannoni)]
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        Noápeh, An Assiniboin Indian; Psíhdjä-Sáhpa, A Yanktonan Indian [Tab. 12]

      [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by Chollet and Hürlimann after Bodmer. 13 7/8 x 18 1/4 inches. 18 3/4 x 25 3/8 inches. 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 excellent half-length double portrait, composed by Bodmer from two portraits carried out in June 1833 and January 1834. Noápeh (`Troop of Soldiers'), despite interruptions from his family, posed patiently for Bodmer at Fort Union and which allowed time for the details of the elaborate head-dress to be recorded: the projecting antelope horns have been cut and thinned and tipped with dyed horsehair. Between the horns is a crest of clipped feathers. The long fringe is made of leather, each strand bound intermittently with porcupine quills. Psíhdjä-Sáhpa, a young Yankton Sioux warrior was apparently initially reluctant to pose, but a frequent visitor to Fort Clark, he eventually relented in January 1834 and is shown here with bear paws painted on his chest, and with ornaments including beaded hairbows, strings of dentalium shells and beads and brass bangles. The portrait was apparently executed under extremely trying conditions: the Fort was so cold Bodmer's paints and brushes froze and had to be constantly thawed out with hot water. 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]
 25.   Check availability:     Biblio     Link/Print  


        The Enormous Room

      Boni and Liveright, New York 1922 - The first American edition, published by Boni and Liveright in 1922. First state, with the exclamation ' shit ' appearing to last line of page 219. near fine example of the book with light wear to the base edges and the mustard cloth boards displaying just a bit of handling. The notoriously fragile dust jacket is very good with chipping to the top edge of both front and rear panels. The lower edge of the front panel has a thumbnail sized triangular chip near to where it abuts to the front fold. An inch or so absent from the head of the spine, and a slightly smaller section missing from the spine base. Folds worn and fragile. [Attributes: First Edition; Hard Cover]

      [Bookseller: TRB]
 26.   Check availability:     IberLibro     Link/Print  


        A Set of Six.

      Garden City, NY: Doubleday, Page & Company, 1922 - Octavo. Original blue limp morocco, titles and ship design to spine and upper cover gilt, pictorial endpapers, top edge gilt. With the dust jacket. A little faint spotting to covers. An excellent copy in the jacket with chips from the ends of the spine panel. The Deep Sea edition. Inscribed by Conrad on the front free endpaper, "D. W. R. from J. C.". The recipient, Douglas Whitehead Reed (1883–1930) qualified as a radiologist and surgeon in 1909. He was both senior surgeon at the Kent and Canterbury Hospital and St. George's House, a nursing home in Canterbury. During the early 1920s he attended to the problems with Jessie Conrad's leg. A Set of Six was originally published in 1908. From the library of Conrad collector Stanley J. Seeger, with his bookplate on the verso of the front free endpaper.

      [Bookseller: Peter Harrington. ABA member]
 27.   Check availability:     AbeBooks     Link/Print  


        “Paradise of Children, The”

      1922. A Superb Original Arthur Rackham Watercolor Drawingfor Nathaniel Hawthorne’s “A Wonder Book” RACKHAM, Arthur (1867-1939). “The Paradise of Children.” London: 1922. Original pen-and-ink and watercolor drawing for the tinted line drawing illustrating “The Paradise of Children” (“Pandora’s Box”) in Nathaniel Hawthorne’s A Wonder Book (London: [n.d., 1922]). Signed and dated at lower right. Image size: 15 x 11 inches (381 x 279 mm.). Matted, framed, and glazed.“Long, long ago, when this old world was in its tender infancy, there was a child, who never had either a father or a mother; and, that he might not be lonely, another child, fatherless and motherless like himself, was sent from a far country, to live with him, and be his playfellow and helpmate. Her name was Pandora.The first thing that Pandora saw, when she entered the cottage where Epimetheus dwelt, was a great box. And almost the first question which she put to him, after crossing the threshold, was this,—‘Epimetheus, what have you in that box?’ ‘My dear little Pandora,’ answered Epimetheus, ‘That is a secret, and you must be kind enough not to ask any questions about it. The box was left here to be kept safely, and I do not myself know what it contains.’‘But who gave it to you?’ asked Pandora. ‘And where did it come from?’‘That is a secret too,’ replied Epimetheus.‘How provoking!’ exclaimed Pandora, pouting her lip. ‘I wish the great ugly box were out of the way!’‘Oh come, don’t think of it anymore” cried Epimetheus. “Let us run out of doors, and have some nice play with the other children.’It is thousands of years since Epimetheus and Pandora were alive; and the world, nowadays, is a very different sort of thing from what it was in their time. Then, everybody was a child. There needed no fathers and mothers to take care of the children; because there was no danger, nor trouble of any kind, and no clothes to be mended, and there was always plenty to eat and drink. Whenever a child wanted his dinner, he found it growing on a tree; and, if he looked at the tree in the morning, he could see the expanding blossom of that night’s supper; or, at eventide, he saw the tender bud of tomorrow’s breakfast. It was a very pleasant life indeed. No labor to be done, no tasks to be studied; nothing but sports and dances, and sweet voices of children talking, or caroling like birds, or gushing out in merry laughter, throughout the livelong day.”This charming watercolor drawing depicts life as it was before Pandora opened the “great ugly box”— a wonderfully gentle pastoral scene, with a group of three naked children dancing merrily, without a care in the world, with “the expanding blossoms of that night’s supper” hanging heavily on the tree above their heads and “the tender bud of tomorrow’s breakfast” growing on the plants in the foreground.“The moment one opens Hawthorne’s Wonder Book one becomes aware of the rounding and softening of form in Rackham’s work. The modern Pandora of Hawthorne opens her box for the world in 1921, and she is a very living young girl, with breasts just beginning to swell, indicating that Rackham was aware of the undertones of this story which is being retold with every lifetime. In ‘The Paradise of Children’ from the same text the children are drawn in line, but the washes of colour give them a rotundity of form and a very human life. The point which Rackham is making, surely, is that these are real children, a real Pandora, and not some dream from fairy land” (Fred Gettings, Arthur Rackham, p. 141).

      [Bookseller: David Brass Rare Books, Inc.]
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        Geography and Plays

      Four Seas Co., Boston 1922 - Quarter navy cloth over grey boards. Paper label on spine in dust jacket with edgewear and two small chips to bottom edge. Inscribed by Stein "Paul Miner (?) Gertrude Stein, Dec (?) 34" with red X through the inscription. This is the second state of the binding. [Attributes: First Edition; Hard Cover]

      [Bookseller: Contact Editions, ABAC, ILAB]
 29.   Check availability:     AbeBooks     Link/Print  


        Last Poems

      London. Grant Richards, 1922. Good. Grant Richards Ltd., London, 1922. 19X13 CM. 79PP.Small 8vo, original cloth, dust jacket has minor wear top spine. a fine, bright copy. Uncommon thus. First edition. One of 4000 copies printed.

      [Bookseller: Stone Street Books]
 30.   Check availability:     UKBookworld     Link/Print  


        Oto Indian / Missouri Indian / Chief of the Puncas [Tab. 7]

      [Leipzig: Schmidt and Guenther, 1922]. Aquatint engraving by Hürlimann after Bodmer. Small tear to upper blank margin not affecting plate area. 13 5/8 x 19 inches. 18 1/4 x 24 1/4 inches. 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 dignified triple portrait is made up from three sketches made by Bodmer over a period of more than a year: the unidentified Oto man was sketcehd at Pilcher's trading post on the return down river in May 1834, the Missouri man, Mahinkacha ('Maker of Knives') was drawn on 16 May 1834 at Joseph Roubidoux's trading post above Cantonment Leavenworth. The most striking image, of Schuh-De-Ga-Che ('He Who Smokes'), was made by Bodmer on the way up the river after stopping on 11 May 1833 near White Bear Bluffs to take on board three Ponca Indians. A chief of his tribe, Schuh-De-Ga-Che wears a peace medal with a depiction of President Madison. 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]
 31.   Check availability:     Biblio     Link/Print  


        Le peintre Aved. Sa vie et son oeuvre. 1702-1766. I : Biographie, preuves. II : Catalogue de son oeuvre.

      - Paris, Les Beaux-arts, Edition d'études et de documents, 1922. 2 volumes in-4, brochés, couvertures rempliées, planches gravées hors-texte et vignettes (couverture t. 2 jaunie). Tirage à 500 exemplaires numérotés sur vélin d'Arches. * Voir photographie(s) / See picture(s). Langue : Français

      [Bookseller: Chez les libraires associés]
 32.   Check availability:     AbeBooks     Link/Print  


        Margot the Midget and the Little Bear's Christmas First Edition 1922

      One of the earliest appearances of the Rupert the Bear in book form. Published by Thomas Nelson & Sons [ London ], the original boards are in Very Good and attractive condition with knocks to the top of the spine and very minor edge wear. The front board has minor surface wear to the 'our' in Tourtel. These are an extremely attractive set of boards for this very early Rupert book.The front pastedown bears an inscription. The front free endpaper is inscribed in pencil and is dated 'Xmas 1922'. Though the endpapers are browned the remaining pages are very clean. All pages are tightly bound in. This is an extremely clean, tidy and attractive Rupert book from the 1920s.

      [Bookseller: The First Edition]
 33.   Check availability:     Booksatpbfa     Link/Print  


        THE BEAUTIFUL AND DAMNED. Signed

      New York: A. L. Burt, 1922 With "Reprinted March, April 1922" stated. Nicely signed by the author in black fountain pen on the dedication page: "Sincerely / F. Scott Fitzgerald". Not the 1st edition to be sure but an early edition using the Scribner's sheets, with an undated A. L. Burt title page [possibly a cancel]. Bruccoli A.8.1.e., the 5th printing, describes a dated 1924 title page, making no mention of an undated TP but for all intents & purposes, this copy appears to be the same. 8vo., 449pp., dark green cloth, lettered in gilt; A near fine or better sharp copy, stamped in gilt on the spine & upper cover. In a flawed but lovely bright original dustwrapper lacking about 3" of the bottom spine panel. Quite nice. Rare signed. The Beautiful and Damned brought Fitzgerald accolades from those whose opinions he valued. Mencken congratulated him for staking out new ground. Fitzgerald was aiming high; he only wanted to be the best novelist of his generation* (Turnbull, 130-3 1). Fitzgerald wrote to Zelda in 1930, *I wish The Beautiful and Damned had been a maturely written book because it was all true. We ruined ourselves. I have never honestly thought that we ruined each other* (Bruccoli, 180).. Signed by Author. Early Reprint..

      [Bookseller: TBCL The Book Collector's Library]
 34.   Check availability:     Biblio     Link/Print  


        Tales of the Jazz Age [Curious Case of Benjamin Button]

      New York: Charles Scribner's Sons, 1922. First Edition. Hardcover. Fine-. True First Printing, with September, 1922 on the copyright page and "an" instead of "and" on p. 232, one of only 8000 copies printed. Publisher's dark blue-green linen-like cloth, the upper cover lettered in blind, the spine stamped in gold, the fore-edge untrimmed; without the very scarce dust jacket. About Fine, clean, straight and tight, the spine gilt undiminished. Signature on the front fly leaf, in an elegrant script, of Alice Emily Gennett, St. Louis, May 2, 1923. Housed in a high-quality copy of the original dust jacket from Mark Terry's Facsimile Dust Jacket Printshop, in San Francisco. Bruccoli A9.I.a. Fitzgerald divided the eleven stories in this, his second collection (following Flappers and Philosophers, of 1920), into three parts according to subect and, perhaps, intention. The first, 'My Last Flappers,' contains 'The Jelly Bean,' written shorly after 'This Side of Paradise,' Fitzgerald's first novel, published in 1920. 'Fantasies,' the collection's middle part, contains those stories Fitzgerald considered to have been written in his 'second manner,' including 'The Diamond as Big as the Ritz' and 'Tarquin of Cheapside,' composed almost six years before being added to this collection, during the author's undergraduate days at Princeton. The final part, 'Unclassified Masterpieces,' includes 'Jemina,' also written at Princeton. Perhaps the collection's best-known story, the recently filmed 'The Curious Case of Benjamin Button,' was inspired by Twain's lament that the best of life came at the beginning, and the worst at the end. 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.& & &

      [Bookseller: Fine Editions Ltd]
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        The Heir: A Love Story

      William Heinemann, 1922. First Edition. Hardcover. Very Good. Signed. SIGNED by Vita Sackville-West beneath her portrait. In light blue cloth with white-linen spine, paper spine label. Number 14 of 100 copies on hand-made paper, 50 of which were for sale. Portrait frontis by William Strang. Deckle-edged pages. Bookplate on front pastedown with corresponding offset to front free endpaper. Penciled name on front free endpaper. Light soiling to spine and boards, with stain at top front corner. Endpapers and page edges lightly yellowed. No dustjacket.

      [Bookseller: Trilby & Co. Books]
 36.   Check availability:     Biblio     Link/Print  


        Missouri Indianer. / Oto Indianer. / Chef der Puncas. / Indien Missouri / Indien Ote / Cheft des Puncas / Missouri Indian / Oto Indian / Chief of the Puncas

      Ackermann & Co, Leipzig 1922 - second edition, Image Size : 240x370 (mm), 9.5x14.5 (Inches), Platemark Size : , Paper Size : , Original Hand Coloring, Aquatint Excellent Condition; very wide margins

      [Bookseller: Alexandre Antique Prints, Maps & Books]
 37.   Check availability:     AbeBooks     Link/Print  


        The Magazine Antiques: Complete set of all issues

      Near Fine. All issues of The Magazine Antiques ever published, beginning in 1922. Bound in handsome dark blue cloth with gold lettering up through 1977. These issues were bound by the Shennandoah Valley Bindery in Virginia. The other issues to the present are unbound. Packing and shipment could be arranged, but it would probably be more cost-effective to pick them up at my shop in Carlisle, PA.

      [Bookseller: David W. Bowers Books]
 38.   Check availability:     Biblio     Link/Print  


        CECILY PARSLEY'S NURSERY RHYMES

      Published by Frederick Warne & Co Ltd., 1922. 1st edition.. Hardback. Very Good. Illustrated by Potter, Beatrix. Slightly better than very good condition with no wrapper. Red boards, pictorial onlay to front cover. White titles to front cover and spine. 53 pages. 5 x 4.25". First edition as identified by the endpapers. A few grubby margin marks else a lovely copy. [S]

      [Bookseller: Stella & Rose's Books]
 39.   Check availability:     Biblio     Link/Print  


        Winter Village of the Minatarres. [Tab. 26]

      [Leipzig: Schmidt and Guenther, 1922]. Aquatint engraving by L. Weber after Bodmer. 17 5/8 x 25 1/2 inches. 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 highly atmospheric scene executed by Bodmer during the winter of 1833-1834 when the travellers stayed at Fort Clark on the banks of the upper reaches of Missouri River. In November 1833 Prince Maximilian and Bodmer made a nine-hour trek from the Fort to one of the Hidatsa winter villages (probably Eláh-sa) and stayed for a couple of days. Composed of about eighty households closely packed amidst the sheltering timber the village was the largest of the Hidatsa settlements on the Knife River. Here a number of figures are gathered in the foreground, wrapped in their buffalo robes to watch a pair of young men keep warm by playing the hoop and pole game that was one of the most common and widespread of all North American Indian games. 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. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country. 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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        Racing in America, 1866-1921

      New York: Privately Printed for the Jockey Club. 1922. First edition. Hardcover. Very Good+. 1922, First Edition, Privately Printed for the Jockey Club by the Scribner Press. 249 pp. Hardcover, Folio, cloth-backed boards with title label. Boards worn at corners; tearing and a quarter-sized loss to the foot of the spine; light tearing to head of spine; light rubbing to title label. Internally Fine; bright and unmarked contents; includes many plates of racehorses and their jocks. Rare. Digital images available upon request.

      [Bookseller: Caliban Books ABAA-ILAB]
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        A Complete Set of Doctor Dolittle

      London, Jonathan Cape,, 1922–51. 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. 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. With black and white illustrations by the author. Some occasional light foxing, previous owner's inscription to the half-tiltle of one volume, an excellent set beautifully bound. First UK Editions, First Impressions.

      [Bookseller: Peter Harrington]
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        The Voyages of Doctor Dolittle (Signed)

      New York: Frederick Stokes, 1922. First edition. Hardcover. Very Good. Hardcover in gray cloth boards with colorful pictorial pastedown on front. No dust jacket. Eighth printing of first edition (March 1926). SIGNED by Hugh Lofting in ink on one of the front free endpages with the words "Sincerely yours." Book is straight and pages are clean. Very lighty wear to corners and edges; top of spine is a little softened. There is a stain on the back half of the bottom right fore-edge. All plates present; one color plate is detached and laid in. Frontispiece tissue is half detached and a little crumpled, but it is still in place and protecting the vividly colored plate, which replicates the cover plate. This is the second title in the Doctor Dolittle series, published in 1922, and it won the Newbery Medal for 1923. Unexpurgated. Bookplate of former owner in front, small bookstore label in back. Decorative endpapers. A handsome copy and scarce signed. 364 pp.

      [Bookseller: Warwick Books]
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        US

      Published by Humphrey Milford, 1922. 1st edition.. Hardback. Good/Good. Illustrated by Aldin, Cecil. Good condition in a good dustwrapper. Pale yellow cloth boards with black vignette of 'US' to front. Six colour plates plus b/w illustrations. 44 pages. 'A Story in Seven Breaths'. The story of Smut, a little black puppy of the Scotch terrier breed and his six-year old mistress. Covers a little grubby. Joints pulled exposing webbing. First three pages starting to detach from top half. Front hinge also pulled. Contents nice and bright. Pictorial wrapper is edge-worn and torn with some loss and has a few marks to rear. [S]

      [Bookseller: Stella & Rose's Books]
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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: University Press. Very Good with no dust jacket. 1922. First Edition. Hardcover. Owner's inscription dated 1923. A few spots of foxing to endpapers. No tears to the folding map. A 3/8" tear at lower end of gutter at rear endpaper. Hinges weak. Some minor rubbing to cloth boards and to ends of spine. Slight bruising to lower corners of boards. A nice copy of an important background book for the political history of Tibet in the first half of the twentieth century. Uncommon in this condition.; First printing. xxiii, [1], 248 pages + 64 b&w photographic plates + 8 maps (including 1 large folding colour map in pocket at rear). Publisher's green cloth boards with gilt lettering and publisher's emblem on spine. Page dimensions: 241 x 164 mm. "It having been found impossible to reconcile the conflicting boundary claims of China and Tibet at the tripartite conference held in India in 1914, the Tibetan question dragged on unsettled through the years of the Great War, when no one had the leisure to attend to Tibetan affairs. Then, shortly before the termination of the Great War, came the resumption of active hostilities on the Sino-Tibetan frontier, and the restoration of peace on the border at the end of 1918." - from the Preface.; 8vo .

      [Bookseller: Renaissance Books]
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