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

        Remembrance of Things Past (Complete in 11 Volumes)

      New York: Henry Holt, Thomas Seltzer, and Albert and Charles Boni, 1922-1932. First Edition. Hardcover. Very Good. First American edition, first printing. Complete in eleven volumes. Original cloth with black spine labels, matching except for Cities of the Plain, which was bound in white cloth and silver and black paper as a numbered limited edition. Very Good overall, sans jackets: some volumes more edge-worn and corner-bumped than others with various degress of sunning to similar but not identically colored cloths, dulling/ chipping to labels, generally internally sound. Both volumes of Swann's Way and Cities of the Plain are near fine with contemporary matching bookplates on the paste downs of the former set, the latter has a bit of rubbing to the silver and black paper covers. Bookplate on paste down of Within a Budding Grove's second volume, a bit of gnawing along its spine edge, and rear hinge split; good only. Both volumes of The Guermantes Way well-worn along edges. The Captive has a frayed head (perhaps his captor snacked on it?). A little wrinkling to prelims of Sweet Cheat Gone.An uncommon assemblage of the first American appearances of Marcel Proust's groundbreaking novel in seven parts, issued by three US publishers over a period of ten years. All but the final volume are Brit C.K. Scott Moncrieff's translations; upon his passing the UK and US final volumes diverged in both title and translator.

      [Bookseller: Burnside Rare Books]
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        Nouvelles théories sur l'art moderne, sur l'art sacré 1914-1921

      - L. Rouart & J. Watelin, Paris 1922, 14,5x19,5cm, broché. - Edition in esecuzione su carta, è stato girato 100 di cui carta Arches in grande. Autograph firmata dall'autore Jacques-Emile Blanche "di Jacques Blanche in alcuna simpatia arte, e forse pensato ..." piccoli morsi sulle guardie. - [FRENCH VERSION FOLLOWS] Edition originale sur papier courant, il n'a été tiré que 100 vergé d'Arches en grands papiers. Envoi autographe signé de Maurice Denis à Jacques-Emile Blanche : " à Jacques Blanche en toute sympathie d'art, et peut-être de pensée..." Infimes piqûres sur les gardes.

      [Bookseller: Librairie Le Feu Follet]
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        Am Hafen.

      - Linolschnitt, 1922, auf gelblichem Bütten, signiert, betitelt und nummeriert. Darstellungsgröße ca. 26,7:26,7 cm, Blattgröße 29,8:44,4 cm. Nr. 14 von 50 Exx.- Knickfalte im sehr breiten linken Rand, in der rechten oberen Ecke ein etwa 9 cm breiter Streifen gebräunt., der rechte Rand vom Druck leicht knitterfaltig. Holtz studierte 1914-1919 bei E. Orlik (1870-1932) an der Berliner Kunstgewerbeschule. Anschließend war er als Pressezeichner tätig. 1934-1935 erhielt er wegen antinationalsozialistischer Karikaturen Berufsverbot. In dieser Zeit arbeitete er als Gebrauchsgraphiker.

      [Bookseller: Galerie Joseph Fach GmbH]
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        Die Botschaft des Rheines. Friedrich Feigl (1884-1965).

      Hamburg-Stade, 1922 - 32,3 x 25,6 cm, 12 nicht nummerierte Blätter mit drei signierten Original-Lithographien von Friedrich Feigl. Original-Halbpergamentband (von Joh. Larink Hamburg) mit goldgeprägtem Rückentitel, leicht berieben und minimalst gebräunt, gutes Exemplar der Vorzugsausgabe. >Die Drucke der Schönen Rarität Band 3, herausgegeben von Niels Hoyer<. Wilpert/Gühring 35. - Nummer 5 von 50 nummerierten Exemplaren der Vorzugsausgabe. (Gesamtauflage 250 Exemplare). Buchblock an zwei Seiten unbeschnitten. - Impressum: "Die Botschaft des Rheins wurde als dritter Druck der Schönen Rarität im Auftrage des Verlages Adolf Harms / Hamburg auf der Wilhardi-Handpresse der Offizin A. Pockwitz Nachf. Karl Krause / Hamburg-Stade, in der edlen Plantin-Antiqua aus der Schriftgießerei Genzsch & Heyse / Hamburg im März 1922 in 50 Exemplaren auf handgeschöpftem Zanders-Bütten gedruckt und vom Dichter signiert / Die Lithographien wurden außerdem vom Künstler signiert / Sämtliche 250 Exemplare wurden numeriert und in der Werkstatt von Johannes Gerbers / Hamburg mit der Hand gebunden / Umschlagetikett / Titelblatt und Initiale schnitt Heinrich Stegemann / Hamburg. Dieses Exemplar trägt die Nummer ==5==". Zusätzlich nach dem Impressum eingebundener Zettel: "Dieses Exemplar wurde von Johannes Larink, Hamburg, mit der Hand gebunden." [Attributes: Hard Cover]

      [Bookseller: Stader Kunst-Buch-Kabinett]
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        [ Photograph ] A Wonderful Image of Thomas Edison and Steinmetz examining Insulators

      Unknown, 1922. Later printing. Photograph. Near Fine. Later printing. An unframed silver print mounted on backing board showing Steinmetz (the Father of Electrical Engineering and the founder of the GE Research lab) and Thomas Edison examining some insulators on a laboratory table at GE in 1922.While this image was first published in 1922, this may be a later printing of the image. Photograph. On board that is 12 3/8 inches by 8 3/4 inches. Photographic paper is 8 x 10, and actual image on the photographic paper is 7 1/4 x 8 1/2 inches. With extensive remarquing in the image for publication, most of the laboratory in the back has been airbrushed out. The outlines of Steinmetz's head have been highlighted, the table edge softened, etc. This is a famous image that has been published in many forms (some with people in the background, some as here with nothing in the background) In this particular shot, it looks like the people sometimes seen in the background aren't there, as outlines of windows, etc can be seen underneath the airbrushing.&#11;&#11;Covered with tissue, and then paper. Rear notes "Photo Underwood & Underwood. Thomas Edison & Dr. Steinmetz in Steinmetz Laboratory" and below that "Chapter XIX ?? II, Stuart(?) 313A"&#11;&#11;We bought this image with another Edison photograph which was published in a book by Caldwell circa 1946. But we have not been able to determine conclusively where this photograph was published.&#11;&#11;A special copy, as it was very likely published, and large enough to have a great presence framed.

      [Bookseller: Kuenzig Books, ABAA/ILAB ]
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        The Five Jars

      London: Edward Arnold, 1922. FIRST EDITION. 8vo. pp. 172, with 7 full page illustrations by Gilbert James. Publisher's orange cloth, with titles printed in black. Internally clean and bright. Sharp and tight, essentially a fine copy with some spotting to the page edges and a trifle of bumping and shelfwear. In a very sharp, clean example of the scarce dustwrapper, one significant corner of loss to the upper right front panel, repaired at some point, otherwise minor wear and chipping to the extremities and some pale pink staining and discolouration to the outer edge of the rear panel. Strong, handsome and very seldom seen. Ostensibly a children's book from this distinguished and highly influential writer of chilling stories of the supernatural, this is the collection of stories that James would have read aloud in his rooms to some of his charges at Eton School, including fledgling wordsmiths George Orwell and Ian Fleming. Bleiler; Checklist of Fantastic Literature [172]. Oxford Companion to English Literature, page 503-4.

      [Bookseller: Adrian Harrington]
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        Isotopes

      London Edward Arnold 1922 First Impression of Aston's key work on isotopes, for which he was awarded the Nobel Prize in 1922. 8vo: viii,152pp, with 4 halftone plates and numerous tables and line drawings in the text. Publisher's original dark blue cloth, covers paneled in blind, spine lettered in gilt. A beautiful copy, uncommon in such nice condition. Fine, except for light offsetting to end papers and slightly bumped spine ends. Appears unread. Judging from auction records, never issued in dust jacket. Norman 77. PMM 412. Gillispie, pp. 320-22. Fine ¶ Aston, building on the work of J. J. Thomson at Cambridge, developed modern mass spectrograph technology to investigate inconsistencies in the atomic weights of elements, discovering that "the elements are composed of atoms of varying mass, the atomic weight of an element being the average of those atoms comprising it?. [Frederick] Soddy had coined the term isotopes for elements that are 'homogenous in chemical behaviour'. Thus, for example, no process of chemical analysis will differentiate between thorium, one form of uranium, and ionium, although each has a different atomic weight. Aston carried this investigation one very important stage further by demonstrating that similar conditions occur within the elements themselves [eventually identifying 212 naturally occurring isotopes by analyzing all but three of the non-radioactive elements in the periodic table.]. . . . The ultimate consequences of these discrepancies are far-reaching. The ration between hydrogen and oxygen is not 4:1, as it 'should be', but rather less; which means that when four atoms of hydrogen are transformed into one helium atom some matter is annihilated. In fact this is an example of the interchangeability between mass and energy which is postulated in Einstein's General Theory of Relativity" (PMM 412). Aston's "work on isotopes also led to his formulation of the whole number rule which states that 'the mass of the oxygen isotope being defined [as 16], all the other isotopes have masses that are very nearly whole numbers,' a rule that was used extensively in the development of nuclear energy." (ODNB) "Aston's achievements were kept continually before the scientific public by revised editions of his excellent book Isotopes. The included . . . a clear forecast of the power and dangers of harnassed atomic energy." (Gillispie) N. B. With few exceptions (always identified), we only stock books in exceptional condition, carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd]
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        Robes à danser inspirées des costumes de femmes de couleur de l'Afrique centrale (Croquis, La Gazette du Bon ton, 1922 n°5)

      Set of eight original prints in color, drawn on laid paper. The XXXIII and XXXVI sketches are signed lower left and right boards. The boards are introduced by a text Joan Ramon Fernandez.Original prints made ??for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco.Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium.The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America.Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette.The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day.Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ...Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine. Lucien Vogel éditeur Paris 1922 18x24cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Le ruban employé dans la mode et la couture ainsi que dans tous les autres arts de l'habillement féminin (Croquis, La Gazette du Bon ton, 1922 n°3)

      Lucien Vogel éditeur, Paris 1922, 18x24cm, relié. Lucien Vogel éditeur, Paris 1922, 18x24cm, relié. - Set of eight original prints in color, drawn on laid paper. The boards are introduced by a text signed Joan Ramon Fernandez. The sketches are signed XIX and XXI David, respectively on the lower right and left boards. Original prints made for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America. Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette. The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day. Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ... Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine. - [FRENCH VERSION FOLLOWS] Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Les planches sont introduites par un texte signé Jeanne Ramon-Fernandez. Les croquis XIX et XXI sont signés David, respectivement en bas à droite et à gauche des planches. Reliure à la bradel en plein papier à motif décoratif, dos lisse, tête dorée. Gravures originales réalisées pour l'illustration de La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco.   Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (s

      [Bookseller: Librairie Le Feu Follet]
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        Masterstvo teatra. Vremennik kamernogo teatra.

      Moskva, Izd. Russko Teatral'nogo Obshestva 1922 - No. 1 of 2 issues. Folio. 108 pp. Illustrierte Broschur in avantgardistischer Gestaltung. Umschlag und Rücken mit Randschäden und zwei kleinen restaurierten Ausrissen. Einige wenige Unterstreichnungen in Tintenstift bzw. in Bleistift. Seltene avantgardistische Publikation in konstruktivistischer Gestaltung, die ein bzw. Jahre vor seine wegweisenden Werk aus dem Jahr 1923 bzw. 1924 erschienen ist. Das Periodikum umfasste nur zwei Jahrgänge bzw. Nummer. Die hiervorliegende Nummer 1 und die 1923 erschienene Nummer 2. Das Theater wurde 1914 von Tairov gegründet und war eine Bühne für experimentelle Aufführungen in Bezug auf Regie, Kostüm und Bühnengestaltung. Die Publikation enthält Abbildungen und Montagen. Rare and first number of this programmatic theatre journal. [Attributes: Hard Cover]

      [Bookseller: Antiquariat J.J. Heckenhauer e.K., ILAB]
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        Der Orientteppich. Seine Geschichte und seine Kultur.

      Berlin, Scarabeus-Verlag 1922 - 3 Bde. 4°. Farb. Frontispiz, XVI, 1 w.Bl., 228 S., 4 nn.Bl., 1 mehrf. gefalt. Karte, 24 tls. farb. Taf., 120 farb. montierten Tafeln und zahlr. tls. ganzs. Textabb. OLwd., (Exlibris) Gesuchtes Standardwerk. - Stellenweise minimal stockfleckig. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Tresor am Roemer]
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        The Novels.

      London: J. M. Dent & Sons,, 1922.. 6 volumes, octavo (182 x 120 mm). Finely bound by Riviere and Son in blue half calf, titles and centre tool to spines gilt, raised bands, blue cloth boards, marbled endpapers, top edges gilt. Coloured frontispiece by Dulac to each volume and 54 further coloured plates. Some minor spotting to a couple of leaves and to fore-edge, spine a little rubbed, an excellent set. An attractively bound set of the Brontë sisters' novels.

      [Bookseller: Peter Harrington]
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        In der Trambahn (In the Streetcar)

      R. Piper & Company, Munich, strictly limited to 150 examples, 100 on velin, 50 on Japan paper, 1922 OFFERING: An outstanding drypoint intaglio print by Beckmann, done during one of his most fertile periods of printmaking. PRINT: The third state of three, the only state approved for sale by the artist, an excellent impression on handmade wove paper (velin) with full margins, the burr strong and velvety, left unnumbered as issued, signed in pencil in Beckmann's characteristic angular, post-1915 German script. FORMAT: loose, sleeved for protection in a passe de partout. SIZE: Print: 290 x 434 mm / Passe de Partout: 483 X 620 mm. CONDITION: Fine within the plate, signature bright, parts of plate margins with the customary yellow toning, sheet margins fine. / Rear: penciled one-line note and title, customary offset yellowing corresponds to plate margins on print side. RARITY: Very Scarce. Print examples appear in the marketplace about three-four times a decade, a majority in Germany. PRINT STATES: Beckmann generally disdained preliminary drawings. One proof is known to exist for the first state in which Beckmann established the composition. Two proofs are known to exist for the second state when many small additions were made. In the third and final state, further details were added and one trial proof is known to exist. 150 examples were signed by the artist and left unnumbered. Subsequently, Frank numbered 40/100 on velin and 10/50 on Japan paper. REFERENCE: Hofmaier 235.

      [Bookseller: Steven Waldman]
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        Kneipe (Berliner Arbeiterkneipe).

      - Lithographie 1922, auf gelblichem Velin, signiert, datiert und betitelt. Darstellungsgröße ca. 24:30 cm, Blattgröße 29,5:46,8 cm. Literatur: Katalog Niemann 1987, 30. &#150; Probedruck! Prachtvoller Druck! Verso mit dem Gegendruck eines typographischen Textes. Holtz studierte 1914-1919 bei E. Orlik (1870-1932) an der Berliner Kunstgewerbeschule. Anschließend war er als Pressezeichner tätig. 1934-1935 erhielt er wegen antinationalsozialistischer Karikaturen Berufsverbot. In dieser Zeit arbeitete er als Gebrauchsgraphiker.

      [Bookseller: Galerie Joseph Fach GmbH]
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        The Garden Party

      The First UK printing published by Constable in 1922. The BOOK is in near FINE condition. The usual second state binding with orange/ochre lettering on blue cloth. There were approximately twenty-five copies in an earlier trial binding which were rejected in favour of this blue stamped in ochre for increased legibility. A sharp copy with light toning to the page edges and light spotting in places. Moderate offsetting to the end papers. Free from inscriptions. The front hinge has started to ease but remains firm. The scarce WRAPPER is complete and is in VERY GOOD condition. Mild edge wear with light toning and chipping at the spine ends more so at the lower spine. The spine is slightly rubbed in places - a few letters of the word 'Constable' are affected. There is a closed tear across the upper spine and also the majority of the front and rear spine folds have become detached. Brodart archival tape has been used on the verso to strengthen the tears in places. The wrapper comes together very well and looks very presentable in the removable Brodart archival protector. A key post modernism title. Scarce as such. More images are available on request. Ashton Rare Books welcomes direct contact.[removed][removed]

      [Bookseller: Ashton Rare Books ABA PBFA]
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        Petrushka's Extraordinary Adventure on the Moon].

      Berlin 1922 - Oblong folio (25.5 x 32.7 cm). 18 pp., including title and 8 full-page illustrations in colour; some light spotting and browning to title and last page. Publisher's illustrated covers; some soiling and marginal waterstaining. Rare children's book by the talented but largely forgotten Russian émigré poet and theatre critic. It is a witty story written in verse about Petrushka, who escapes mockery of his fellow dolls making fun of his big nose, and travels to the moon. There Petrushka discovers a fantastic new world, marries King's daughter and receives with her half of the Kingdom. Georgiy Rosimov (pseudonym of Yuri Viktorovich Ofrosimov; 1894 - 1967) was born in Moscow and took part in defending his hometown from the Bolsheviks in 1917. After the establishment of the new regime, he emigrated to the Baltic States, from where he fled to Germany in 1920. In Berlin he wrote theatre reviews for the periodicals "Zhizn'", "Russkaya Kniga", "Teatr i Zhizn'", "Rul' ". Rosimov's first collection of poems came out in 1921. It was followed by 16 other children's books, one of which he published together with the Russian poet Vladimir Piotrovskiy. From 1924 Rosimov completely abandoned writing poems and concentrated on more financially viable work at the periodicals, even though "he was very sad about having to do that" (Roman Gul'). In 1933, Rosimov moved to Belgrade where he was arrested by German forces during the Second World War. After the war he lived with his wife Dorothea Vogels in Switzerland. Very rare. Not in holding of the Russian National or State Libraries. WorldCat locates only two copies in libraries in the West: in the Princeton University Library and University of Southern California. Not in Savin; L.M. Turchinskiy, "Russkie poety XX veka. Materialy dlia bibliografii" (Moskva, 2007), p.457; A.D. Alekseev, Literatura Russkogo Zarubezhya. Knigi 1917 &#150; 1940: materialy dlia bibliografii (Skt. Peterburg, 1993), No 2000; Roman Gul' "Ya unis Rossiyu. Apologiya russkoy emigratsii" (New York, 1984 - 1989).

      [Bookseller: Shapero Rare Books]
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        Westwego. Poème. 1917-1922. Paris. Éditions de la Librairie Six 1922. 23,7 x 16,5 cm. 30 ungezählte Seiten. Originalbroschur.

      Éditions de la Librairie Six, 1922. Originalausgabe. Dada global 216 - Dada Centre Pompidou 1303 mit Abbildungen auf Seite 749 und 907. In einer Auflage von 300 (gesamt 318) Exemplaren auf Maschinenbütten gedruckt. Enthält sowohl am Anfang als auch am Schluß des Buches jeweils eine Seite mit dem Abdruck der linken Handfläche des Autors in der Originalgröße. Wichtige literarische Publikation aus dem Umfeld der Pariser Dadagruppe mit interessanter typoraphischer Gestaltung.

      [Bookseller: Antiquariat Günter Linke]
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        Das Tatauieren. Eine Monographische Darstellung vom psychologischen, ethnologischen, medizinischen, gerichtlich-medizinischen, biologischen, histologischen und therapeutischen Standpunkt aus

      Basel: Benno Schwabe, 1922. First edition. 8vo, 88 pages, printed wraps. Illustrated with 44 photographs and drawings on 16 plates. Text in German. First edition of this important early standalone survey on the history of tattooing worldwide. Many of the illustrations are taken from earlier works, such as Joest, but there are also a number of intriguing photographs early modern tattoos taken from the author's collection, as well as institutional archives. Previous owner's signature inside front cover, some creasing and superficial surface tearing at head of spine, and some light foxing, but a sound and tight example, bright and clean within. Very good.

      [Bookseller: Division Leap, ABAA]
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        Portrait photograph signed. No place, 1922.

      1922. 210:155 mm. Slightly spotty.

      [Bookseller: Antiquariat Inlibris]
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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 - 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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        Manuscript ORIGINAL ARTISTS SKETCH BOOK Attributed to Watson Smith of Stourbridge SKETCHES OF THE BLACK COUNTRY &c 1922-1924 Industrial Archaeology, History, Factories, Canals, Fifty Six Original Sketches

      Stourbridge 1922 - This is a fascinating piece of Social History, an original sketchbook attributed to an Artist from Stourbridge called Watson-Smith containing Fifty Six full page sketches of Industrial scenes around Stourbridge and the Black Country including Canals and Factories and other scenes in the years 1922-1924 including sketches of a visit to the South Coast around the Newhaven and Alfriston area the sketches of the Black Country area recording an industrial landscape much of which has long gone, most of the sketches are dated with the scenes identified includes Glebe Farm, Brettell Lane and Canal, Whittington Common, Wardsley, Brookmoor, Chaunhill, Canal Stourbridge, Warwick Castle, Harcourt, Ashford's House, Lock House Kemsford, Brierley Hill, Cleeve Prior, Blundell Sands, Stourbridge Gas Works, Bilston, Gothenby, Saltwells, Seaford, The Martell Tower, Buckle Inn, Cuckford Valley, Near Alfriston, Bishopstone, Exeat Farm, Seaford Head, Alfriston Church, Old Ship Yard at New haven, Stamber Mill Works and E. J. and J. Pearson Ltd etc, etc, the album is a landscape format measuring 14 inches by 10 inches approx., an earlier owner of the album from the 1950s attempted to do some research on the artist and two of the letters he received are loosely inserted into the album, and pictured in the listing the covers have some signs of wear with dents and bumps with some marking, internally some of the sketches are loose and a few with worn edges else in good general condition THIS ALBUM IS NOW A FASCINATING AND IMPORTANT PIECE OF SOCIAL HISTORY RECORDING A LOST INDUSTRIAL LANDSCAPE IN PICTURES Size: Folio - over 12" - 15" tall [Attributes: Hard Cover]

      [Bookseller: Andrew Cox PBFA]
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        Planta Parcial da cidade do Rio de Janeiro edithdh por Soria & Boffoni.

      Artist: Sorria & Boffoni Ria de Janeiro; issued in : Rio de Janeiro; date: 1922 - - technic: Chromo Lithography; condition: Very good, foldet; size (in cm): 80 x 71 - description: Map depicts the city of Rio de Janeiro. This highly decorative map, designed in contemporary Art Nouveau style, depicts Rio de Janeiro a splendit time in the city s history, when it came into its own of the world s greatest tourist and cultural centers.The map folds into a fascinating book that details the highlights of the city entitled: Guida da Citade do Rio de Janeiro, Condentdo muitas uteis, os principaes e vias de communicacoes indidpensaveis ( 66 pages)

      [Bookseller: Antique Sommer& Sapunaru KG]
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        THE SATYRICON OF PETRONIUS ARBITER (Manuscript)

      1922. Hard Cover. Folio. Original typed manuscript from the library of publisher Edwin Newberry Durland with his bookplate, of which is an original hand drawn sketch to be used for the printing of his bookplate. THE SATYRICON OF PETRONIUS ARBITER. A Complete and Unexpurgated Translation , in Which are Incorporated the Forgeries of Nodot and Marchena, and the Readings Introduced Into the Text By De Salas, together with explanatory notes, arranged and translated by W.C. Firebaugh. The first complete manuscript (typed), as arranged for publication, and containing unpublished material and unpublished notes (and letters). With a title page apparently printed by Durland in red and black; Chicago, Edwin N. Durland, 1922. Manuscript typed in red and black. Handsomely bound in contemporary 3/4 deep purple crushed morocco over purple silk cloth, raised bands with compartments lettered and decorated in gilt, top edge gilt, marbled endpapers, another owner's neat bookplate to front pastedown. [together with] THE SATYRICON OF PETRONIUS ARBITER, translated by W.C. Firebaugh, published for private circulation only by Boni & Liveright, New York; 1922. In two volumes, Limited edition 1/1250 copies, 258pp., through 516pp., illustrated by Norman Lindsay, bound in original paper covered boards, paper spine labels lettered in black, top edges gilt, joints rubbed with closed paper tear to foot and tear and wear to head of volume one. a very good set. Both works housed in custom slipcases trimmed in leather. Petronius Arbiter (1st century A.D.) was a Roman satirical writer and author of the Satyricon (Tales of Satyrs), and a friend of Nero. The work depicts with wit, humor and realism, the licentious life of the upper class in Southern Italy. Only parts of the 15th and 16 books, in a fragmentary state, survived.

      [Bookseller: Charles Parkhurst Rare Books, Inc. ]
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        Westwego, poème 19171922

      First edition, one of 300 numbered copies on vergé, this one not justified, the only printing along with 3 Japon and 15 Hollande.Rare autograph inscription from Philippe Soupault on this text, to Jacques Benoist-Méchin.A good copy. Editions de la librairie Six Paris 1922 16,5x24cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Novels of Charlotte, Emily, & Anne Brontë.

      London: J. M. Dent, 1922. Six volumes, octavo, with a total of 60 colour plates (including frontispieces), otherwise a most attractive set in uniform half polished navy calf by Bayntun with ornate gilt spine ornament and crimson labels. Collected edition of the Brontë novels, here presented in early polished calf bindings by the famous English bookbinding firm of Bayntun of Bath. This edition is desirable for the sixty full-page colour plates by the fantasy illustrator Edmund Dulac. The Brontë novels offered Dulac a challenging change from the fantasy illustration for which he is justifiably famous (indeed, his Arabian Nights, Rubaiyat of Omar Khayyam and Edgar Allan Poe are leading works of their genre). The illustrations Dulac prepared for the Brontë novels are both subtle and evocative, blending detail and period nuance with the opalescent dreaminess that characterises his previous work. One spine label chipped.

      [Bookseller: Hordern House]
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        Schorr, J

      Verlag Deutscher Schachklub Teplitz-Schönau, 1922. 664 pages with diagrams, tables, plates and indexes. Royal octavo (9 1/2" x 6 1/2") in original decorative binding. Notes by Grünfeld and Beeker. Includes 214 pages on chess problems which in turn includes a part on retrograde analysis by Kluver. (Bibliotheca Van der Linde-Niemeijeriana:5550) First edition."Not just the 91 annotated games of the tournament won by Reti and Spielmann ahead of Tartakover, Rubinstein. Grünfeld and so on (with Tarrasch in 13th place, next to bottom). This material with notes by Grünfeld and Beeker takes up only the first 286 pages, whereupon follows a report on a two-mover competition, then a three-mover, articles on various aspects of problem and study themes, a witty Tartakover 'chess alphabet', very detailed indexes and a 75 page account by chess historian Ludwig Bachmann... What leisured days they enjoyed then!" British Chess Magazine.Condition:Previous owners name and date "1923" on title, corners bumped else a very good copy.

      [Bookseller: The Book Collector ]
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        The Beautiful and Damned.

      NY: Charles Scribners Sons, 1922. - FIRST EDITION FIRST ISSUE SIGNED. 1 vol., signed by Fitzgerald on the front blank endleaf, "Sincerely F. Scott Fitzgerald". Bound in the publisher's original gilt and blind stamped green cloth, gilt lettering to spine slightly dull, head and foot of spine rubbed with some very minor loss, back corners slightly rubbed, inner and outer hinges fine, textblock square, completely unsophisticated, a better copy then it may sound [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: D&D Galleries - ABAA]
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        Zur Quantentheorie der Linienstruktur und der anomalen Zeemaneffekte.

      Berlin: Julius Springer, 1922. First edition of Heisenberg's first published paper, describing his 'core model' of the atom and its application to solve the problems of the multiplet structure in atomic spectra and the anomalous Zeeman effect, which had defeated all previous attempts. "Just a year after entering Sommerfeld's program, Heisenberg amazed his teacher by presenting a model of atoms that seemed to resolve every spectroscopic riddle at a stroke. But the model succeeded only because its daring inventor failed to follow the requirements of an acceptable quantum theory" (Cassidy, Beyond Uncertainty, p. 95). Sommerfeld's own attempt to solve the same problems precedes Heisenberg's paper in the same issue. "The Bohr theory of atoms and molecules, Sommerfeld's "quantum theory of spectral lines," and the correspondence principle of 1918... formed the foundations of the Bohr quantum theory. This theory provided in turn the basis for model interpretations of most, but not all, existing phenomena of empirical spectroscopy. Two phenomena, multiplet line spectra and the anomalous Zeeman effect, continually resisted explanation by quantized mechanical models" (Cassidy, pp. 191-192). The eighteen-year-old Heisenberg entered Sommerfeld's institute in the winter semester of 1920-21, and Sommerfeld immediately introduced him to the Bohr theory. In June 1921 Alfred Landé gave a phenomenological explanation of the splittings observed in the anomalous Zeeman effect, but he did not propose any physical interpretation of his theory, writing to Bohr: "With regard to the complicated types of the Zeeman effect, I have found a few empirical rules which... permit one to make predictions regarding the neon spectrum. But what these rules signify is entirely incomprehensible to me." Sommerfeld suggested that Heisenberg should try to find a model to explain Landé's rules. The result was the present paper, submitted in his third semester, when he was just twenty years old. "In it he claimed that he was presenting the essential details of a complete quantum-theoretical "model interpretation" of the empirical regularities of optical multiplet lines in spectroscopy and the anomalous Zeeman effect of these lines in a magnetic field. All previous attempts to explain these lines by mechanical models had failed... The model was nevertheless riddled with what Max Born called "conscious deviations" from accepted principles and procedures. "Heisenberg, Sommerfeld's "vastly gifted pupil," had reduced the previously inexplicable line structure to internal magnetic interactions between the valence electrons and the rest of the atom. The inner orbits and nucleus acted as a solid core... possessing on the average a half-unit of angular momentum. Half-integral quantum numbers and magnetic interactions between orbital interactions between orbital electrons had already appeared in the work of Landé and others, but half-integral momenta and a magnetic core had not. They could not be justified in either classical or quantum theory, despite Sommerfeld's blessing. "Although the model was theoretically untenable, with it Heisenberg could quantitatively account for doublet and triplet term energies. By attributing half-integral angular momenta to the valence electrons, he could also derive the semi-empirical Landé g-factors for the anomalous Zeeman effect and their continuous transition to unity in the Paschen-Back effect. "Heisenberg's accomplishments were unique, but Bohr judged his "interesting paper" to be "hardly agreeable with the general assumptions" of quantum theory. Not only had Heisenberg introduced real non-integral momenta, but he had also violated the Sommerfeld quantum conditions, classical radiation theory, the Larmor precession theorem, and the semi-classical criterion of perceptual clarity (Anschaulichkeit) in model interpretations. The impact of these violations upon the rational advance of quantum theory spurred Bohr and others to try to derive Heisenberg's results without straying too far from current principles and procedures" (ibid. pp. 190-191). Cassidy sees in this paper the formation of Heisenberg's 'professional style of physics'. "In its most creative form Heisenberg's style of physics was characterized by paradox, inconsistency and pragmatism. In his search for solutions to seemingly insoluble problems, he developed old theories as far as they would go and then added new, if necessarily problematic, hypotheses to force the theoretical structure to produce empirical data. In this way he thought he could provide clues for a definitive future theory free from all inconsistencies. His style was summed up in his early motto: der Erfolg heiligt die Mittel - success justifies the means" (ibid., p. 189). The explanation of multiplet structure and the anomalous Zeeman effect "free from all inconsistencies" had to wait for the discovery of spin and Heisenberg's invention of matrix mechanics, both in 1925. It was presented in Heisenberg's joint paper with Pascual Jordan, 'Anwendung der Quantenmechanik auf das Problem der anomalen Zeemaneffekte,' (Zeitschrift fur Physik 37 Band, 4/5 Heft, 5 May, 1926). David C. Cassidy, 'Heisenberg's first core model of the atom: the formation of a professional style,' pp. 187-224 in Historical Studies in the Physical Sciences, Vol. 10 (1979); ibid., Beyond Uncertainty, 2009 (see pp. 94-101). Pp. 273-297 in Zeitschrift für Physik, 8. Band, 5. Heft, 15 February 1922. The entire issue offered here. 8vo (229 x 155 mm), pp. 257-362. Original printed wrappers, some very light sporring to wrappers, otherwise fine.

      [Bookseller: SOPHIA RARE BOOKS]
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        The Works

      London: Constable and Company Limited, 1922. Full leather. Fine. London: Constable and Company Limited, 1922. Full leather. Sixteen volumes. Octavo. The Complete Works of Herman Melville. The Standard Edition is limited to seven hundred and fifty copies which this is number 363 and includes the first printing of Billy Budd, title pages printed of blue and black ink, title includes Typee, Omoo, Mardi, Redburn, White Jacket, Moby Dick or the Whale, Pierre, The Piazza Tales, Israel Potter, The Confidence-Man, Billy Budd, Clarel, Poems, Bound in full blue morocco by Bennett Binders, front covers gilt inlaid of Sail Ship motif and double gilt rule lines to corner, top edge gilt, spine gilt in compartments of nautical motif of Ship Wheels and Anchor, gilt title, raised bands, gilt turn-ins. marbled endpaper. A handsome set.

      [Bookseller: Imperial Fine Books]
 29.   Check availability:     Biblio     Link/Print  


        The Shirley Letters From California Mines 1851-1852

      1st San Francisco: Thomas C. Russell, 1922. First Edition thus; Limited Edition - out of an edition of 450 numbered copies SIGNED by Thomas C. Russell, this is one of only five copies printed on buff California bond-paper and in deluxe red velvet binding. 8vo. (l) 350pp. 8 full-page hand colored plates (with tissue guards) by Miss Clara Van Ness, the granddaughter of James Van Ness, the mayor of San Francisco in 1855-56, as noted by the printer in his hand on colophon page. Decorative chapter headings, endings and initials in blue. Original red velvet cloth with gold-stamped ornaments of miners on front cover corners and at center rear cover; gold stamped bear on spine; gilt-lettered red leather labels on spine and front cover; all edges gilt; red silk endpapers. Red silk ribbon marker laid in. Housed in publisher's matching red velvet-covered slipcase. SIGNED by the printer with additional PRESENTATION INSCRIPTION to Florence E. Eakman, author of several one act plays and verses for children. Descriptive circular with sample pages and reviews laid in. Near fine (mild fading to spine) in very good slipcase (silk fraying at edges and extremities). Originally published in the Pioneer Press Magazine of 1854-55 under the pseudonym Dame Shirley, "these letters present a vivid and unexcelled picture of every-day life in the mines." - Howes. "These superlatively readable and informative letters may well be accorded first place in any gathering of notable Gold Rush Literature." - Wheat. "Her letters rightly receive such high acclaim not only for featuring a woman's viewpoint but also for recording in beautifully crafted language a realistic picture of life in the mines." - Kurutz, Sloan Z80:69. (Graff 727; Howes C427; Kurutz 133b; Zamorano Eighty #69).

      [Bookseller: Carpe Diem Fine Books]
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        Trip in Chosen ?????

      Keijo (??): ??????????, Taisho 11.1922. [80pp] black and white collotypes, many pages showing two or three and occasionally more images. Album measures 18.3 x 25.1cm. Attractive oblong octavo cloth binding, silk title label in Japanese and English laid down upper cover, two hole stab binding with purple fabric ties, silk on spine damaged with loss, all edges gilt. Original dustjacket titled in English and Japanese on upper cover torn with a little loss and now protected. Dustjacket is larger in size than the book (21.5cm in height and with very generous folds). Front free endpaper creased, publication leaf and last blank foxed, some soiling throughout. A nice copy of a very interesting and scarce album. Comprehensive travel book about Korea published during the Japanese colonial era. The text is mainly in Japanese with the cover title and the table of contents also in English. This book was published to encourage tourism principally from Japan and includes many pictorial images which give us a taste of everyday life in Korea at the time.Pictorial images include: women farmers weaving silk, people bathing at the beach at the seaside resort in Jinsen, a golf course for tourists, and also historical colonial buildings such as the General Office of the Government, Chosen Hotel and Bank of Chosen. (When referring to this item please quote stockid 148876).

      [Bookseller: Asia Bookroom]
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        ALS - Eigenhändiger Brief mit Unterschrift.

      - ÎleSaint-Gildas 22.VI.1922, 1 Seite gr.-4°. Auf einem Briefbogen des "Rochefeller Insitute for Medical Research". Alexis Carrel (1873-1944), französischer Chirurg, Anatom und Biologe; Pionier der Gefäß- und Transplantationschirurgie, Nobelpreisträger (1912). - An einen Kollegen (Becker), dem er seine voraussichtliche Ankunft in Brüssel mitteilt. - - ". J'ai été très touché des invitations que je viens de recevoir de nos collègues de Bruxelles. Je n'ai accepté cependant deux d'entre elles que sous réserves car vous avez eu l'amabilité de me proposer d'accepter pour moi ces invitations, et j'ai peur d'avoir ainsi deux engagements pour le même heure ."

      [Bookseller: Antiq. F.-D. Söhn - Medicusbooks.Com]
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        The Waste Land

      Second printing New York Boni & Liveright 1922 [1923?] Number 369 (stamped in type 2-mm high, per Gallup A6b) of the second impression limited to just 1000 copies. (Though stated as the "second edition" on the colophon page, this second impression of 1000 copies was printed from the same setting of type as the first printing and is more accurately termed, as listed in Gallup, the "second impression.") With the incorrect 'mount in,' line 339, p. 41. Slim octavo; 64pp. Publisher's stiff black cloth, the spine and upper cover lettered in gilt, all edges deckled; in the original salmon-pink dust jacket printed in black. Near Fine, clean and complete, the gilt lettering still bright, with minor bumping to the spine ends; flawed by dark offsetting from paper laid in between the rear end papers and between pp. 38-39 and light chipping to the top of the half title and title pages where the uncut pages were opened carelessly; otherwise a bright, unmarred, very lightly read copy with no names, bookplates, or writing. The jacket is Near Fine or better without restoration, the front and back panel clean and complete?indeed Fine?but the spine darkened with trivial rubbing to the ends and a small sliver of loss mid-spine, not affecting any lettering. Overall, a remarkable, highly collectible copy of likely the century's most important poetic work. (Connolly, The Modern Movement, 30b). Gallup, Eliot, A6a. HBS 65471. ODNB Near Fine April is the cruellest month . . . "The celebrated opening lines [of Eliot's chef d'oeuvre describe the reawakening of the life forces in spring as unwelcome: insensate winter sleep was a far better condition. . . . The five sections of the poem do indeed present a wasteland, a desert; and it is not surprising that the title of the poem is nearly always pronounced (and quite often written) as if the two words waste land were one. However, both waste and land should be stressed: wasteness is an attribute of the land that is modern western civilisation in the aftermath of the First World War, the disaster whose shadow fell over much of the twentieth century. . . . The civilisation that Eliot portrays is one in which the old values and loyalties have fallen apart. There is no sense of purpose in life: procreation is impeded, empathy non-existent, physical sensations dulled or skewed, and sensual pleasure thwarted." (Literary Encyclopedia) 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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        Panhard & Levassor catalogue for 1922.

      Paris: (Illustra E. Vidal, 1922). Oblong folio. (11)ff. A deluxe catalogue for the French automaker Panhard & Levassor illustrated with bright color plates depicting their latest models, mounted on pages of heavy tan card. On the facing pages are dramatic views of famous French locales by Georges Dorival, the renowned poster artist. Dorival is best known for his travel posters, and, in the same fashion, these illustrations are meant to inspire the viewer to tour the coastal highways of Provence or the mountain passes of the Pyrenees in the luxurious new Panhard & Levassor automobile. A full-page spread in yellow and sepia depicts the chassis and engine of a vehicle, with classical columns and vines in the background, and another sepia image shows a celebratory drive on the Champs-Élysées in the very first Panhard & Levassor, which was built in 1891. Among the first automobile producers in the world, Panhard & Levassor is credited with developing the front-engine, rear-drive layout that was copied and used in auto manufacturing for many decades. The pages are tied with a gold cord, and bound in illustrated boards with columns, the company's logo, and a landscape printed in gold and black ink across the covers. In the original printed mailing enclosure. A very fine example of a highspot of trade catalogue design.

      [Bookseller: Bromer Booksellers]
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        Babbitt

      Harcourt Brace, NY 1922 - Blue cloth stamped in orange. First edition, first state with "Purdy" page 49 line 4 and "my fellow human" page 49 line 5. Very slightly bowed, tiny spot and offset to rear endpage. Spine ends/points slightly softened. Unmarked, book falls open to a few spots but no mesh showing. Spine slightly indented in spots. The DJ in mylar is missing bottom portion of backstrip, chipped at spine head and points, rubbed through at rear flap fold at bottom third, toned, price clipped, creased at rear flap. ; 8vo 8" - 9" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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        THE VELVETEEN RABBIT Or How Toys Become Real. With Illustrations by William Nicholson.

      [8], 19, [1] pages. With seven coloured illustrations, of which four are full-page and three are double-page. Original pictorial paper-covered boards. Original pictorial dust-wrapper. Quarto. First edition. First issue. Some light wear and staining to the very heel of the spine; some very light spotting here & there; wrappers split in half along spine and with some loss and chipping and rubbing; else a very good copy of this extremely scarce and important illustrated book for children. Inscribed on front free end paper: 'Nino Wardrop with love & best wishes from Edith Ridgeway December 25th 1922.' Extremely scarce first edition of this classic children's work (the only printing from lithographic stones), seldom seen with the dust-jacket. With contemporary inscription on the front free endpaper verso to Nino Wardrop, daughter of Sir John Oliver Wardrop, British diplomat, traveller and translator, who published his famous work 'The Kingdom of Georgia' in 1888.

      [Bookseller: David Miles]
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        Fanfare For Christmas Day (Gloria In Excelsis Deo) for Four-Part Chorus of Mixed Voices SATB with Organ Accompaniment

      G Schirmer Inc.. PAPERBACK. B00AXVZ39E 1922. Ships next day. Music is in good shape, no tears, highlighting or underlining, has a number and church name stamped on the front, may have a little pencil marking, a little general wear, from a smoke-free environment. Items are typically shipped in a plastic bag, in a cardboard cradle, in a manila envelope. Most of my customers rave about my packaging. All US items are shipped with delivery confirmation, if you require this, please let me know. . Good.

      [Bookseller: Tulsabookfinder]
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        Der experimentelle Nachweis der Richtungsquantelung im Magnetfeld. [Offered with:] Das magnetische Moment des Silberatoms.

      Braunschweig: Vieweg & Berlin, 1922. First edition, the very rare offprints, of the famous Stern-Gerlach experiment, which demonstrated the spatial quantization predicted by the Bohr-Sommerfeld quantum theory of the atom and (although this was not realised until later) the existence of electron spin. "This direct demonstration of spatial quantization was immediately accepted as among the most compelling evidence for quantum theory" (Friedrich & Herschbach, p. 57). "The Stern-Gerlach experiment is undoubtedly one of the great achievements of experimental physics" (Longair, p. 154). In a letter of March 1922 to Max Born, Einstein wrote: "The most interesting achievement at this point is the experiment of Stern and Gerlach." "Perhaps no other experiment is so often cited for elegant conceptual simplicity. From it emerged both new intellectual vistas and a host of useful applications of quantum science" (Friedrich & Herschbach, p. 53). Stern continued his work on atomic and molecular beams, and was awarded the Nobel Prize in Physics 1943 "for his contribution to the development of the molecular ray method and his discovery of the magnetic moment of the proton." No copies of these offprints located on OCLC, and no copies in auction records. "In 1921, the most advanced quantum theory was still the Bohr model, as generalized for a hydrogenic atom in 1916 by Arnold Sommerfeld and, independently, by Peter Debye. Their proposed quantization conditions implied that Bohr's quasiplanetary electron orbits should assume only certain discrete spatial orientations with respect to an external field ... [Stern] recognized that, according to the Bohr model, the space quantization should be only twofold, as the projection of the orbital angular momentum was limited to ±h/2 . The twofold character made feasible a decisive test of spatial quantization using magnetic deflection of an atomic beam. Despite the smearing effect of the velocity distribution, in a strong enough field gradient the two oppositely oriented components should be deflected outside the width of the original beam. Classical mechanics, in contrast, predicted that the atomic magnets would precess in the field but remain randomly oriented, so the deflections would only broaden (but not split) the beam. Thus, Stern thought he had in prospect an experiment that, "if successful, [will] decide unequivocally between the quantum theoretical and classical views"" (Friedrich & Herschbach, p. 54-55). "Although simple in principle, the experiment was ambitious in practice. Stern asked Gerlach from the Institute of Experimental Physics to join forces with him ... The main experimental problems were mechanical precision (the deflection in the field was only about 0.1 mm) and reliable vacuum (the mercury pumps, made of glass, tended to break). To get a deposit of silver that could be made visible by chemical treatment, stable conditions had to be maintained for hours. The inhomogeneous magnetic field was produced by an electromagnet with pole shoes of rather different shapes. One had the form of a knife-edge, the one opposite carried a groove. The direction of the field was from the edge to the groove, the field strength being higher near the edge. "In November 1921 Stern and Gerlach observed a broadening of the beam [this was reported in 'Der experimentelle Nachweis des magnetischen Moments des Silberatoms,' Zeitschrift für Physik, Band 8, 1922, pp. 110-111]. Its size increased from 0.1 mm to about 0.3 mm if the field was turned on. This result proved that silver atoms possess a magnetic moment. With a still better collimated beam in February 1922 the splitting of the beam into two was observed [reported in the first offered paper]. Spatial quantization was established" (Brandt, pp. 124-126). "After further experimental refinements and careful analysis, Gerlach and Stern were even able to determine, within an accuracy of about 10%, that the magnetic moment of the silver atom was indeed one Bohr magneton [this is reported in the second offered paper]. This direct demonstration of spatial quantization was immediately accepted as among the most compelling evidence for quantum theory. Yet the discovery was double-edged. Einstein and Paul Ehrenfest, among others, struggled to understand how the atomic magnets could take up definite, preordained orientations in the field. Because the interaction energy of atoms with the field differs with their orientation, it remained a mystery how splitting could occur when atoms entered the field with random orientations and their density in the beam was so low that collisions did not occur to exchange energy" (Friedrich & Herschbach, p. 57). "Only after the advent of quantum mechanics it became clear that the atoms themselves are not turned but that their quantum-mechanical wave function assumes one of its possible values in the apparatus. In quantum mechanics the concept of electrons orbiting the nucleus loses its meaning. There is still an orbital angular momentum but for the ground state of an electron in the outermost shell of an atom this angular momentum and its associated magnetic moment is zero. However, the electron possesses an intrinsic angular momentum or spin, the z-component of which can have exactly two spatial orientations. Also the electron spin is associated with a magnetic moment and it is that magnetic moment which was observed in the Stern-Gerlach experiment" (Brandt, p. 126). "The gratifying agreement of the Stern-Gerlach splitting with the old theory proved to be a lucky coincidence. The orbital angular momentum of the silver atom is actually zero, not h/2 as presumed in the Bohr model. The magnetic moment is due solely to a half unit of spin angular momentum, which accounts for the twofold splitting. The magnetic moment is nonetheless very nearly one Bohr magneton, by virtue of the Thomas factor of two, not recognized until 1926. Nature thus was duplicitous in an uncanny way" (Friedrich & Herschbach, p. 57). "Descendants of the Stern-Gerlach experiment and its key concept of sorting quantum states via space quantization are legion. Among them are the prototypes for nuclear magnetic resonance, optical pumping, the laser, and atomic clocks, as well as incisive discoveries such as the Lamb shift and the anomalous increment in the magnetic moment of the electron, which launched quantum electrodynamics. The means to probe nuclei, proteins, and galaxies; image bodies and brains; perform eye surgery; read music or data from compact disks; and scan bar codes on grocery packages or DNA base pairs in the human genome all stem from exploiting transitions between space-quantized quantum states" (Friedrich & Herschbach, p. 53). "Otto Stern (1888-1969), who planned the experiment on space quantization, was ... a follower of Einstein in Prague and Zurich, where he had vowed to abandon physics if Bohr's ideas were true. I consider him one of the major physicists of the century. Starting in 1920, he devoted himself to the development of the molecular beam method" (Segré, p. 138). Brandt, The Harvest of a Century, 2009 (Chapter 30, 'Stern and Gerlach observe spatial quantization (1922)'); Friedrich & Herschbach, 'Stern and Gerlach: How a bad cigar helped reorient atomic physics,' Physics Today 56 (2003), pp. 53-59; Longair, Quantum Concepts in Physics, 2013; Segré, From X-rays to Quarks, 1980. Together two offprints from Zeitschrift für Physik, Band 9, Heft 6. 8vo, pp. pp. 349-352; 353-355 [1, blank], with five diagrams in text of first item. Original printed wrappers, stapled as issued.

      [Bookseller: SOPHIA RARE BOOKS]
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        Beautiful and Damned, The

      First Edition New York Charles Scribner's Sons 1922 True First Printing (without the publisher's seal on the copyright page or the concluding advertisements on pp. 451-452 of later printings) of the author's second novel. 8vo; [10], 449, [1]pp. Publisher's dark blue-green linen-like cloth, the spine lettered gilt, the upper cover blind-stamped with the title and author, the fore-edge untrimmed. A just about Fine copy (lacking the dust jacket), save for offsetting to the end papers and faintly discernible pencil erasures to the front fly leaf. Bruccoli A8.1.a Fine- The Beautiful and Damned, in cut and edited form, first appeared in seven installments in Metropolitan magazine, from September 1921 to March 1922. The book, according to Bruccoli, came out on 4 March 1922, in a first impression of 20,600 copies. It went through two more printings that year, for a total of 50,000 copies. After the spectacular success of Fitzgerald's first novel, This Side of Paradise (1920), he struck out in a new direction, presenting in The Beautiful and Damned a more sparing, focused narrative, relying largely on an omniscient narrator. "Its style," according to the Literary Encyclopedia, "moves towards that integration of romantic and modernist elements which will come to such dazzling fruition in his next novel, The Great Gatsby." Note: With few exceptions (always identified), we only stock books in exceptional condition, carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd.]
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        The Walker Cup 1922 to 1999: Golf's Finest Contest (The Author's Edition SIGNED)

      1st Worchester, England: Grant Books, 200. First Edition, Limited #15 of 200 hand-numbered copies. SIGNED by Simmonds, Bonallack and Campbell on the limitation page 8vo. (xvi) 280pp. Color frontispiece; numerous black & white photo-illustrations. Foreword by Sir Michael Bonallack; Afterword by William C. Campbell. Beautifully bound in full blue clansman morocco with silver lettering, raised spine bands and all edges silver at the bindery of A. W. Lumsden, Edinburgh. Facsimile Souvenir Program booklet from the September 1924 Walker Cup Matches at the Garden City Golf Club laid inside rear pocket, as issued. Encased in custom blue slipcase with silver stamped Walker Cup design to front cover. The slightest of fading to spine otherwise as new; superb condition of a beautifully bound and scarce book. The Walker Cup derives from George Herbert Walker, president of the United States Golf Association (the USGA) in 1920 and grandfather of President George H. W. Bush. Walker was an internationalist and championed the creation of an international golf championship. Originally named 'The United States Golf Association International Challenge Trophy,' it was quickly re-named The Walker Cup, a golf trophy contested biennially in odd numbered years between teams comprising the leading amateur golfers of the United States and Great Britain and Ireland. The author is a member of the Royal and Ancient Golf Club, Royal County Down, Gullane and Woking.

      [Bookseller: Carpe Diem Fine Books]
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        Approximations

      First edition on ordinary paper.Exceptional autograph inscription from the author to Marcel Proust : "Pour Marcel Proust / accueillez, cher ami, ces pages que vous connaissez déjà comme un bien imparfait témoignage de ma profonde admiration. / Celle de ces approximations qui vous est consacrée, j'en sens tout particulièrement le caractère fragmentaire et unilatéral. / N'y voyez que ce que Sainte-Beuve (que vous seul avez critiqué en pleine connaissance de cause) aurait appelé "une première atteinte au ciseau" (aussi impropre, allez-vous dire, que ses comparaisons avec le burin). / Votre oeuvre m'est trop précieuse et trop chère pour que je n'essais pas, votre monument terminé, "d'approcher" davantage. / Je pense bien souvent à vous, je voudrais savoir que votre santé ne vous fait pas trop souffrir, j'aimerai causer interminablement avec vous et de vive voix. / Mais je respecte vos raisons même lorsqu'elles m'échappent. / En nul cas ne doutez jamais de la fidélité de mon affection. / Votre Charles du Bos 3 Juillet 1922."One small marginal spot to upper cover, two small tears glued to foot of spine, some leaves less than skillfully cut, with some marginal tearsA unique and moving copy. Plon Paris 1922 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Manuscript Industrial Black Country 1922

      This is a fascinating piece of Social History, an original sketchbook attributed to an Artist from Stourbridge called Watson-Smith containing Fifty Six full page sketches of Industrial scenes around Stourbridge and the Black Country including Canals and Factories and other scenes in the years 1922-1924 including sketches of a visit to the South Coast around the Newhaven and Alfriston area the sketches of the Black Country area recording an industrial landscape much of which has long gone, most of the sketches are dated with the scenes identified includes Glebe Farm, Brettell Lane and Canal, Whittington Common, Wardsley, Brookmoor, Chaunhill, Canal Stourbridge, Warwick Castle, Harcourt, Ashford's House, Lock House Kemsford, Brierley Hill, Cleeve Prior, Blundell Sands, Stourbridge Gas Works, Bilston, Gothenby, Saltwells, Seaford, The Martell Tower, Buckle Inn, Cuckford Valley, Near Alfriston, Bishopstone, Exeat Farm, Seaford Head, Alfriston Church, Old Ship Yard at New haven, Stamber Mill Works and E. J. and J. Pearson Ltd etc, etc, the album is a landscape format measuring 14 inches by 10 inches approx., an earlier owner of the album from the 1950s attempted to do some research on the artist and two of the letters he received are loosely inserted into the album, and pictured in the listing the covers have some signs of wear with dents and bumps with some marking, internally some of the sketches are loose and a few with worn edges else in good general condition THIS ALBUM IS NOW A FASCINATING AND IMPORTANT PIECE OF SOCIAL HISTORY RECORDING A LOST INDUSTRIAL LANDSCAPE IN PICTURES

      [Bookseller: Andrew Cox]
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        On the Quantum Theory of Line-Spectra, I-III.

      First editions, author's presentation offprints, inscribed. Copenhagen: Bianco Lunos, 1918-1922. A rare complete set of his major work in the scarce presentation-offprint issue; with 'Separate Copy' printed on the front wrappers. Inscribed by Bohr to Austrian physicist Egon von Schweidler (1873-1948) on the front wrapper of the first part. It was in this fundamental paper that Bohr first gave a clear formulation of, and fully utilized, his 'correspondence principle'. Besides his derivation of the Balmer formula (1913), this is by many considered to be Bohr's greatest contribution to physics. Bohr's correspondence principle (or postulate) states in general that although classical physics is incomplete there must be a fundamental analogy between quantum theory and classical physics. Actually Bohr at first referred to the postulate as the 'principle of analogy'. It was Bohr's underlying idea that the new quantum theory must satisfy in the limiting cases, e.g., when frequencies v tend to zero or quantum numbers n??, that it's predictions approximate those of classical physics. When studying different quantum theoretic problems one can thus utilize already established facts from what classical physics predicts in that particular situation, and then work backwards to arrive at new quantum theoretic rules for the system. In this major paper, of which the two first parts were published in 1918 and the third in 1922, Bohr penetrated far into the quantum theory of line-spectra of the Hydrogen atom, and other elements, by using his principle and the classical theory of electrodynamics. Bohr's method was the principle guide to the progress of quantum theory during the early twenties, until it was finally built into the foundation of quantum mechanics. Provenance: Bohr presented this copy to Austrian physicist Egon von Schweidler, head of the department of experimental physics at the University of Innsbruck and the author of several works on relativity. Segrè, X-Rays to Quarks, pp. 13-15; 119-30. Nobel: The Man and his Prizes, pp. 437-49. Three parts. 4to: (270 x 215 mm). Offprints from: 'Mémoires de l'Académie Royale des Sciences et des Lettres de Danemark'. Original printed wrappers in fine condition. Part I inscribed by Bohr "Herrn Professor Dr. v. Schweidler Rechtachtungsvoll vom Verfasser" (inscription slightly affected by chip in upper right corner).

      [Bookseller: SOPHIA RARE BOOKS]
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