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

        Babbitt

      Harcourt Brace and Company 1922 - First Edition, First Printing with 1922 printed on the copyright page and no indication of later printings. A beautiful copy. This ORIGINAL unsophisticated dustjacket is rich in color with light wear to the spine. The book is in great shape. The binding is tight and the boards are crisp with slight wear to the edges. The pages are clean with NO writing, marks or bookplates in the book. Overall, a wonderful copy of this TRUE FIRST EDITION housed in a custom clamshell slipcase for preservation and presentation. [Attributes: First Edition; Hard Cover]

      [Bookseller: Quintessential Rare Books, LLC]
 1.   Check availability:     AbeBooks     Link/Print  


        Plus ça change *

      L.Vogel, Paris 1922. - Relié demi cuir à coins, dos à nerfs, titre et tête dorés, couverture et dos conservés. Début de fissure à une charnière, à restaurer. L'un des 1'000 exemplaires numérotés sur vergé à la forme, seul tirage. Cette "Féerie en deux actes et six tableaux" fut représentée pour la première fois à Paris le 7 septembre 1915.

      [Bookseller: Librairie Oh 7e Ciel]
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        Buddha. (Auswahl aus dem Pali-Kanon)

      (Bln., Brandusische Verlagsbuchh. 1922).. gr.-4°. 262 S., 1 Bl. Mit farb. ill. Doppeltit., farb. Initialen u. Buchschmuck v. M. Behmer. OPgmt.. Mit vergold. Fileten, Innenkantenvergold. Kopfgoldschn. u. goldgeprägt., runder Lederintarsie a. d. Vorderdeckel. Rodenberg 446; Schauer II, 44 - Eines von 225 (GA 251) num. Exemplaren, bei O. v. Holten unter Aufsicht von Marcus Behmer auf Zandersbütten gedruckt. Auswahl aus dem Pali-Kanon übertr. v. Paul Dahlke. Meistereinband signiert: P. A. Demeter, Hellerau.

      [Bookseller: Antiquariat Burgverlag]
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        THE WASTE LAND

      New York: Boni & Liveright, (1922) [i.e., 1923]. First Edition. Hardcover. Mostly unopened. A spectacular copy of both the book and the dustwrapper, just as new as the day it was published. 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.

      [Bookseller: Charles Agvent]
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        The Waste Land

      New York: Boni & Liveright. 1922. 8vo - over 7¾" - 9¾" tall. F First Edition, Second Issue. H Hard Cover. Good. One of a thousand copies (no number on the limitations page) of what is stated as the Second Edition, but which is actually the second issue of the first edition. Mountain spelled correctly on page 41. Black cloth hardcover with gilt lettering, 7.75" tall, no dustjacket. The covers are lightly rubbed, mainly at the edges, good hinges, sound text block, upper outer margin of page 47 a little ragged from improperly opening the unopened edge (the corresponding extra paper is still attached to the outer edge of page 46), attractive personal bookplate of Elizabeth Owen on front pastedown, pages clean with no other names or markings.

      [Bookseller: Resource Books, LLC]
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        Le règne de l'esprit malin *

      Georg & Cie, Genève (1922). - Reliure signée de Canape, demi maroquin vert sapin à coins, dos (passé) à nerfs, titre et tête or, signet, couverture bleuâtre imprimée et dos conservés. L'un des 12 exemplaires de tête sur Japon. premiers ont remplacé les derniers. Qu'un éventuel possesseur de volume sur Rives nous détrompe . Les Japon quant à eux existent bien puisque notre volume en est, pas plus justifié que les Rives, dont nous avons croisé, entre temps d'autres exemplaires, tout cela semblant corroborer notre prime impression.Une chose est certaine c'est une publication de luxe, bien supérieure à celle du tirage ordinaire, icelui étant d'ailleurs habillé d'une pauvre couverture grise.Le nôtre ne se contente pas de japoniser, il est en sus truffé d'une bafouille autographe de l'auteur qui se trouve être un projet de lettre de l'auteur, en lieu et place de l'éditeur semble-t-il, dont elle se fait le porte-parole en vantant les mérites de la réimpression de ce titre; l'éditeur y a d'ailleurs surajouté de sa main, au crayon gris, quelques notes plus affirmées. Cette missive visait manifestement la presse, peut-être parisienne, , sollicitant une annonce sur l'ouvrage en question, à paraître. En 29 lignes, non signée ni datée, mais sans la moindre équivoque sur l'époque et l'attribution de son rédacteur, elle argumente en faveur d'un article par la plus juste calculation de son prix, sa réalisation en terre romande "dans des circonstances économiques difficiles" et l'établissement d'un texte "complètement revu et même partiellement récrit".Quant à l'éventuel amateur d'exemplaire propret de l'originale de 1917 aux Cahiers vaudois, qu'il sache qu'au moment de rédiger cette notice nous en disposons.[Bringolf 20b]

      [Bookseller: Librairie Oh 7e Ciel]
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        Aquarellierte Tuschzeichnung in dem Buch "Palmström"

      Bln, Cassirer 1922.. 42.-49. Aufl. 80 (2) S. OPbd. m. farb. Einbandill. Rü. restaur. Mit eigenhändiger aquarellierterer Tuschzeichnung, Widmung und Signatur von Alfred Kubin. Das Bild zeigt einen, in einem grünen Cape bekleideter Mann mit Gamaschen, der seinen Hut tief über sein rundes Gesicht gezogen, ein Exemplar des "Palmström" in den Händen hält. Darunter befindet sich eine Widmung des Künstlers: "Ich komme in Sachen meines Vaters mit herzlichen Glückwünschen für Frau Marie Kapsreiter! Alfred Kubin, Zwickledt". (17, 5 x 13, 5 cm.) - Aus dem Nachlaß der Opernsängerin und Kunstmäzenin Marie Kapsreiter (1896-1959).

      [Bookseller: Antiquariat Burgverlag]
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        Ulysses

      Shakespeare & Co., Paris 1922 - Full gilt lettered turquoise leather with the original turquoise wraps bound in. Housed in matching clamshell box. This is the first edition limited to 750 copies on handmade paper of which this is #629. The wraps are complete (minus spine) with some scuffing and minor marking to them. Otherwise a very sharp clean copy attractively rebound. The most influential, if not the greatest, novel of the 20th century by the greatest of all wordsmiths published by the adoring Sylvia Beach at Shakespeare and Co. Joyce was the only author she ever published. What a choice! [Attributes: First Edition; Hard Cover]

      [Bookseller: Contact Editions, ABAC, ILAB]
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        A NATURAL HISTORY Of The DUCKS. Volumes I - IV

      Boston / New York:: Houghton Mifflin Company / The Riverside Press Cambridge,. 1922 / 1923 / 1925 / 1926.. 12-1/2" x 9-1/2". 1st Edition, all volumes. 4 volumes (x, [2], 264; xii, 409, [3 (blank)]; ix, [3], 383, [3 (blank)]; ix, [3], 489, [1 (blank)] pp., including Bibliography & Index). Untrimmed.. Grey paper boards with tan cloth spine. On- lay to spine with black title lettering.. Ex-library, though not significantly so, with the exterior just. showing a small label to spine base. Some edgewear & some light. smudging to boards. Light age-toning to boards. Withal, a square &. tight VG+ set.. These volumes describe & depict the various types of ducks throughout the world.... what they look like, their habits, and the geographical area in which they are likely to be found. . Profusely illustrated with 102 color and b/w inserted plates. 118 images of maps. The occasional 1 line, 3 word library stamp.

      [Bookseller: Tavistock Books, ABAA]
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        A Friendly Round

      London: Mills & Boon, 1922. First edition. 8vo, pp. 142:(1, advertisement):16 (Mills & Boon's catalogue), original green cloth. Headband bumped and with very short split at hinge, about an eighth of an inch. Spine somewhat askew but generally a very good copy with only a little light foxing. Rare.

      [Bookseller: Bristow and Garland]
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        One of Ours

      Knopf 1922 - SIGNED/LIMITED EDITION of 310 copies printed on Perusia Handmade Italian Paper. This copy is nicely SIGNED by Willa Cather. An attractive copy with some wear to the spine and boards. The pages are clean with NO writing, marks bookplates in the book. Overall, a lovely copy SIGNED by the author with an acetate cover to protect the book. We buy Willa Cather First Editions. [Attributes: First Edition; Hard Cover]

      [Bookseller: Quintessential Rare Books, LLC]
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        Cecily Parsley's Nursery Rhymes

      London: Frederick Warne and Co.,, [1922]. Small octavo. Original red paper over boards, titles to spine and upper board in white, illustration pasted onto upper board, pictorial endpapers. With fifteen illustrations by Beatrix Potter, Spine rubbed with very small loss of paper to the foot, internally bright and clean. First edition, first printing. Beatrix Potter used earlier paintings of her neighbour's guinea pigs which were recopied for this book.

      [Bookseller: Peter Harrington]
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        Camp of the Gros Ventres of the Prairies on the upper Missouri [Tab. 38]

      [Leipzig: Schmidt and Guenther, 1922]. Aquatint engraving by Himely after Bodmer. Small tears to upper margin not affecting plate area. 13 1/8 x 16 3/8 inches. 18 1/4 x 24 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.18) Prince Maximilian and his party left Fort Union on 6 July aboard the 60-foot keelboat Flora and eventually arrived at Fort McKenzie on 9 August 1833. The present view recalls the events of 5th August when the keelboat stopped opposite an Atsina camp at the mouth of the Judith River. The camp contained over 200 tipis and the boat was soon overrun by visitors wishing to trade. The Indians far outnumbered the party of travelers and the situation remained chaotic and tense for a while: Prince Maximilian, in his journal entry for the day noted that `If it was their intention to treat us in a hostile manner, there was no way for us to escape; and how easily might the most trifling dispute with these rude men lead to a breach, by which fifty whites, in the power of eight or nine hundred Indians, would have had no chance. They were therefore treated with much apparent confidence and familiarity, and everything went off very well.' The vessel sailed on as soon as possible. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18. Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        des Schriftgelehrten, Weise von Hero und Leander.

      Mchn., Georg Müller, 1922. - (Übers. von Fritz Norden). 4°. OGanzsaffianlederbd. auf 4 Bünden mit Rvg., Steh- und Innenkantenvergoldung und Kopfgoldschn. (Rücken etwas verblaßt, Kanten beschabt). 3 Bll., 59 SS., 4 Bll. mit 7 sign. Orig.-Lithographien von Erich Stephani. Sprache: Deutsch, Erste illustr. Ausgabe. - Nr. 21 von 50 Exemplaren der Vorzugsausgabe (Gesamtaufl. 430). - Die reizvollen Illustrationen des Pressendruckes schwanken zwischen impressionistischem Realismus und Abstraktion. - G.Müller 178. Thieme-B. XXXI, 598. Nicht bei Rodenberg. - Schönes Exemplar. - Alle Lithographien von E. Stephani signiert.

      [Bookseller: Antiquariat Frank Albrecht (VDA/ILAB)]
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        Manomètre 2, octobre 1922, revue

      1922 Lyon Malespine Emile 1922 - 21,8 x 16,9 cm - 16 pgs - couverture originale, agrafé - contributions de Arp, Jorge-Luis Borges, Philippe Soupault, Tristan Tzara, ea - bonne condition, un tout petit peu de rouille première partie de la couverture, déchirure pg 11/12 mais très bien restaurée avec japon (pas de perte) - images sur demande - voir Bolliger III 184, IV 371- cat. exposition Centre Pompidou 2005-2006 pgs 668,669

      [Bookseller: A. Van Zaelen antiquariaat]
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        Autograph Manuscript, Signed, of "THE WAY TO ATTAIN."

      [Np, but likely London]. 27 September 1922.. Two and one-half pages, on three small quarto sheets of lined notepaper, in pencil. With one deletion. Very good. The original autograph manuscript for the new Introduction to the 1923 third edition, but first American edition, of his translation of FANTASTIC TALES, OR THE WAY TO ATTAIN, first published in complete form in 1890, after an aborted partial printing by the Dryden Press in 1889. The new edition was privately printed by Boni & Liveright, and according to Goldstone & Sweetser, the Introduction was not reprinted. GOLDSTONE & SWEETSER 57e (ref).

      [Bookseller: William Reese Company - Literature ABAA-]
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        Mehkskeme-Sukahs. Blackfoot-chief. Tátsicki Stomick. Piëkann Chief [Tab. 45]

      [Leipzig: Schmidt and Guenther, 1922]. Aquatint engraving by Allais after Bodmer, issue without artist or engraver's names, or imprint lines for France or Germany. Tears to lower and right margins, surface soiling to outer left margin, not affecting plate area. 13 5/8 x 17 3/4 inches. 17 5/8 x 24 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.18) A fine half-length double portrait by Bodmer of two Blackfoot chiefs: Prince Maximilian referred to Mehkskéhme-Sukáhs [`Iron Shirt'] as the most distinguished of the several chiefs who gathered to welcome the arrival of the keelboat Flora at Fort McKenzie on 9 August 1833. At the time he was wearing a lace-trimmed scarlet uniform obtained from the British traders as a gift. He posed for this portrait on August 11th wearing a hide shirt decorated with otter fur, beadwork and metal trade buttons. In his hair are feathers, a bear claw and what appears to be a small ermine with blue beads for eyes. Tátsicki-Stomíck [`Middle Bull'] was probably the principal chief of the Piegan Blackfoot. He was a serious thoughtful man who had sought to maintain an amicable trading relationship between his people and the various companies competing for hides and pelts. Maximilian had particularly admired a shirt of his made from the skin of a bighorn sheep, richly ornamented with ermine, feathers and tufts of hair, and Maximilian lamented that for the present portrait he wore a much simpler shirt decorated with simple beadwork. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18. Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

      [Bookseller: Donald Heald Rare Books]
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        The Principle of Relativity with application to Physical Science

      Cambridge: University Press,, 1922. Octavo. Original black cloth, titles to spine gilt. Extremities very lightly rubbed, spine a little rolled, partial tanning to endpapers. A very good copy. First edition, first impression. Inscribed by the author, "From A. N. Whitehead with thanks and compliments". Contemporary ownership inscription of W. E. G. Sillick dated 27 Oct 1922. Sillick was Whitehead's Assistant Professor, and has a whole paragraph (enthusiastically marked in the margin by Sillick) in the Preface dedicated to thanking him. Additional to Sillick's occasional pencil annotations, there is a small slip of paper laid in at page 65 with a note on the text by Whitehead. Sillick has also made a note, on the title page, of Whitehead being awarded the Order of Merit on New Year 1945 (two years before his death). A nice document of a close working friendship involving one of the great philosophical scientists of the 20th century.

      [Bookseller: Peter Harrington]
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        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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        Festgabe zum 31. Stiftungsfest des Exlibrisvereins [Berlin] am 29.4.1922, Fanfaren-Bläser, Pauke. Original-Holzschnitt, unten rechts signiert, im Druck signiert und datiert,

      1922 - 1922, 15,5 x 10,8 cm (Darstellung), schönes Blatt. Galerierahmung unter Passepartout. Vollmer 3, 12. - Kliemann, Helga, Novembergruppe (1969), siehe Seite 111 (Biographie). - Kampmann studierte an der Kunstgewerbeschule in Elberfeld. Seit 1913 war er dort Lehrer, seit 1919 Leiter der Entwurfsklasse an der Höheren Fachschule für Textil- und Bekleidungsindustrie, Berlin. Mitglied der Novembergruppe, an deren Ausstellungen er sich von 1921 bis 1932 beteiligte. Kampmann gehörte dem Arbeitsausschuß der Novembergruppe an. 1932 Mitbegründer der Gruppe Selektion. 1934 vom Lehramt beurlaubt, 1937, nach der Ausstellung >Entartete Kunst< wurde Walter Kampmann entlassen.

      [Bookseller: Stader Kunst-Buch-Kabinett]
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        The Works of John Galsworthy (Manaton Edition), 30 Volumes

      NY: Charles Scribner&#39;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&#39;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&#39;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&#39;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&#146;s device], [5, blank]; xi, [1, blank], 28, [1, colophon], [1, blank], [1, printer&#146;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&#146;s Lycidas, Shelley&#146;s Adonais, and Matthew Arnold&#146;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&#146; 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&#39;s Sons, 1922. Hardcover. Very Good. Charles Scribner&#39;s Sons, New York 1922. First Edition / First Printing / First Issue. Stated Published September 1922 with the Scribner&#39;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&#39;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&#39;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&#39;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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        Contes. La Belle au Bois Dormant - Cendrillon - Barbe-Bleue - Peau d'Ane - Les Oeufs *

      Éditions d'art de la Roseraie, Paris 1922. - Broché 44 x 32, couverture imprimée rempliée. L'un des 283 exemplaires numérotés sur vélin d'Arches teinté . Ouvrage monumental que cet illustré à la fois costaud et non dépourvu de finesse, préfacé par Henri de Régnier, avec une notice bibliographique d' Ernest Tisserand.

      [Bookseller: Librairie Oh 7e Ciel]
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        Androlite, poème. Dessins d&#39;A. Favory

      Paris: Editions de la Charmille, 1922. Livre. Illus. by André Favory. Très bon. broché. Dédicacé par l&#39;auteur. Edition originale. In-8. Paris, Editions de la Charmille [l&#39;auteur], 1922 (achevé d&#39;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&#39;eau-forte ?) par André Favory, brochés sous couvertures bleu indigo ornées chacune de 5 pièces de papier noir portant les mentions de titre, d&#39;auteur, d&#39;illustrateur, de tomaison et de prix (25 francs les deux volumes). Edition originale. Tirage annoncé à 50 exemplaires numérotés sur vélin d&#39;alfa. Celui, peut-être un exemplaire de deuxième émission, sous couverture indigo (nous avons vu un exemplaire sous couverture rouge), exemplaire d&#39;auteur justifié à la plume "Bg", sur alfa, enrichi d&#39;un ENVOI autographe signé de l&#39;auteur à Albert Thibaudet ("hommage d&#39;admiration vive et empressée"). Belles compositions gravées par André Favory, de style post-cubiste pour trois d&#39;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&#39;honorable Bibliothèque nationale de France nous dit qu&#39;il s&#39;agit d&#39;un certain Jean Portail, ce que répète le vénérable Robert Sabatier dans son "Histoire de la poésie française". D&#39;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&#39;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&#39;état civil des deux frères, afin de rendre définitivement justice à l&#39;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&#39;architecte Emile Leriche. L&#39;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&#39;auteur bafoué d&#39;Androlite. Rare. Deux volumes non coupés, dos insolés. (Inconnu de Monod comme de Carteret) [Plus d&#39;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&#39;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&#39;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&#39;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&#39;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&#39;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&#39;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&#39;s most famous quote regarding Hardy was "When you come to compare Stevenson and Hardy, there really isn&#39;t any comparison at all. Stevenson&#39;s all life and Hardy&#39;s all death" [Marrot p. 568]. At Hardy&#39;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"&#39;s own inkstamp (and a small inked "JG 2048"), this copy&#39;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&#39;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 &#150; whose body is made of a pinecone &#150; 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]
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        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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