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

        Honeyman Hardware Company Jobbers of Hardware. General Catalog No. 9.

      Portland, OR. Honeyman Hardware Company. No date. Ca. 1922. Catalogue No. 9. Massive hardware catalogue; cloth binding; 10 x 8 1/2 inches; 2012 pp; tabbed index at front. Corners bumped and lightly abraded; light toning to front cover. Lavishly illustrated and tightly bound; contents in very good condition. Dating based on the catalogue entries for automotive parts and supplies, with over 100 vehicle manufacturers listed through 1921. The catalogue is especially well represented with regard to carpentry tools: for example; saws, drills, planes, screw drivers, etc. Also noteworthy are the many examples of kitchen utensils: enamel ware, tin ware, steel ware, galvanized ware, japanned ware, aluminum ware, glass ware, etc. Other household goods include stoves, electric and manually operated washing machines; clothes wringers; refrigerators; vacuum cleaners, coffee mills; flatware; door hardware (hinges, locks, handles etc.) Large sections on Knives, Guns and Ammunition (Remington; Winchester; Smith & Wesson; Colt; Iver Johnson, etc.) An extensive section on Fishing Equipment: rods, reels, line; flies, spinners, Heddon and other lures, etc. Also miscellaneous goods relating to dogs, horses, and livestock--for example, cow and sheep bells--not to mention bird cages, bicycles and tricycles, baseball bats and gloves, vibrators and curling irons etc. etc. A fascinating catalogue in very good condition picturing and describing an amazing assortment of hardware items pertaining to various trades as well as items for domestic usage and goods relating to recreational activities, home maintenance and security, and much much more. Chapter from Honeyman at end of volume titled "Useful Information" and directed to retailers, with entries such as: "To Find Cost of Doing Business"; "the Metric System"; "Electrical Units"; etc. Contents in very good condition, bright and clean. Only two WorldCat listings for numbered Honeyman catalogues.

      [Bookseller: oldimprints.com]
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        Croquis de mode : Costumes inspirés d'ordres religieux (Croquis, La Gazette du Bon ton, 1922 n°10). - Les manteaux du soir en fourrure combinée avec des soieries de Bianchini et Férier (Croquis, La Gazette du Bon ton, 1922 n°9). - Costumes inspirés de figures géométriques (Croquis, La Gazette du Bon ton, 1922 n°8)

      Set of eight original prints in color, drawn on laid paper. The boards are introduced by a presentation of the front pages of sketches, followed by a detailed description of the back sketches I and II are signed David in the lower right 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. Lucien Vogel éditeur Paris 1922 18x24cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Exposition Francis Picabia. 18 novembre -- 8 décembre 1922. Préface par André Breton. Barcelona. Galeries Dalmau 1922. 19 x 12,6 cm. 38 Seiten mit 6 eingeklebten Abbildungen. Originalbroschur .

      Galeries Dalmau, 1922.Dada. Eine internationale Bewegung 1916 -1925, 1 - Dadaglobal 16 - Dada Centre Pompidou 1335, mit einer Abbildung auf Seite 743. Wichtiges Dokument für die Dadaaktivitäten in Spanien. Picabia gab in Barcelona auch die erste Nummer seiner Zeitschrift 391 heraus. In der Ausstellung wurden 47 Werke Picabias gezeigt. Im Katalog sind davon 6 auf eingeklebten Tafeln abgebildet. Unaufgeschnittenes Exemplar. Selten.

      [Bookseller: Antiquariat Günter Linke]
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        A History of English Law. Eighteen Volumes With the Tables and Index by Edward Potten published in 1924 and the General Index by John Burke published in 1972 [complete]

      Methuen & Co Ltd and Sweet and Maxwell. A complete edition of Holdsworth's monumental history, with the extremely helpful 17th index volume, all but the first four volumes first editions, the work in its entirety achieving completion in 1972, almost three decades after Holdsworth's death. Original cloth, showing some wear, the spines of the first ten volumes faded, and the heads of a few spines chipped, else a good set. Methuen & Co Ltd and Sweet and Maxwell, London, 1922-72.

      [Bookseller: Meyer Boswell Books, Inc.]
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        Sodome et Gomorrhe II

      Nrf. First edition, an ordinary paper copy. A fine autograph inscription from Marcel Proust to Henri Massis in the first volume : "en témoignage de très vive sympathie Marcel Proust [testimony to a very fond affection]." Henri Massis, an attentive reader of Proust's works, devoted two essays to the subject.In Le Drame de Marcel Proust [The Drama of Marcel Proust], published in 1937, he took a particular interest in Sodom and Gomorrah and puts forward an "audacious and almost Freudian" interpretation of Proust's relationship with sin: "alone with his fear of evil since the loss of his mother... [Proust wrote] to defy to the central idea of the work, that of decline." In Chroniques [Chronicles], Paul Morand pays homage elegantly to this study: "Barely a few weeks ago, Henri Massis published... an essay which may one day be to the work of Proust what Claudel's preface is to Rimbaud's; with the difference, at any rate, that Claudel looks on the sinner less with demands than with love. One could really admire the Classical logic with which Henri Massis penetrated into the labyrinthine form of Proustian thinking; his Christian explanation of the soul of the author of Sodom and Gomorrah resembles the cathedral of Saint Thomas at Madras, isolated and out of place in the middle of the jungles of the East." The three volumes are presented in a full black morocco case, the spine with blind-ruled compartments, date at foot, the inside lined with khaki sheep, by Goy & Vilaine.A fine copy, complete in three volumes, of volume V of In Search of Lost Time bearing an autograph inscription from Marcel Proust, well-presented in a lovely case.  Nrf Paris 1922 14,5x19,5cm 3 volumes brochés sous coffret

      [Bookseller: Librairie Le Feu Follet]
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        Approximations

      first edition on the current paper. Exceptional autograph signed by the author Marcel Proust: "To Marcel Proust / welcome, dear friend, these pages you already know as a very imperfect expression of my deep admiration / That of these approximations that is dedicated to you, j '. meaning in particular the piecemeal and unilateral. / do see what Sainte-Beuve (you only have criticized knowingly) would have called "a first attack with scissors" (as improper, will you say , its comparison with the chisel). / me your work is too precious and too expensive so I did not test, your finished monument, "approaching" more. / I often think of you, I want to know that your health does not suffer too much, I'd talk endlessly with you and in person. / But I respect your reasons even when they escape me. / in no case never doubt the loyalty of my affection. / Your Charles du Bos 3 July 1922. " A small marginal spot on the first board, two small tears foot stuck back in the back, some badly cut sheets with small marginal tears. Unique and exciting copy. Plon Paris 1922 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Aus meiner Dienstzeit 1906 -1918. Erster Band: Die Zeit der Annexionskrise 1906 - 1909. In zwei Teilen, mit einem Anhang und einer ethnographischen Karte. Zweiter Band: 1910 - 1912. Die Zeit des libyschen Krieges und des Balkankrieges bis Ende 1912. Mit einem Anhang. Dritter Band: 1913 und das erste Halbjahr 1914. Der Ausgang des Balkankrieges und die Zeit bis zum Fürstenmord in Sarajevo. Mit einem Anhang und drei Beilagen. Vierter Band: 24. Juni 1914 bis 30. Spetember 1914. Die politischen und militärischen Vorgänge vom Fürstenmord in Sarajevo bis zum Abschluß der ersten und bis zum Beginn der zweiten Offensive gegen Serbien und Rußland. Fünfter Band: Oktober - November - Dezember 1914. Die Kriegsereignisse und die politischen Vorgänge in

      Wien. Rikola Vlg. - 1922 - 5 Bände und 2 OSchuber. Gr.-8°. 675 + 5, 471 + 4, 815 + 5, 956 + 4, 1006 + 1 Seiten. Originalhalbleinen. Einbände zu Teil leicht fleckig, Ecken z. Tl. bestossen. Einband von Band 3 wasserrandig an oberer Kante. Insgesamt in gutem Zustand. Bis auf 2 fehlende Karten (Generalkarte des serbischen Kriegsschauplatzes und Generalkarte des serbischen und montenegrinischen Kriegsschauplatzes) komplettes Ex.

      [Bookseller: Antiquariat Löwenstein]
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        The Story of a Lion Hunt

      London: Andrew Melrose, 1922. First. Hardcover. VG+. 252 pp, ill. Hunting for lions along the Okavango River on what can only be called a super sporting excursion. Also incl. some of the author's military adventures during the war. Scarce book in vg+ condition. Excellent reading.

      [Bookseller: Trophy Room Books]
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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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        RIN TIN TIN / THE MAN FROM HELL'S RIVER (1922)

      Western Pictures Exploitation Co. 1922 - Vintage original 11 x 14" (28 x 35 cm.) title lobby card, USA. Rin Tin Tin, Irving Cummings, Eva Novak, Wallace Beery, dir: Irving Cummings, Western Pictures Exploitation Company. The first movie with the legendary Rin Tin Tin. For his film debut, dog star Rin Tin Tin chose a James Oliver Curwood novel. In actuality, he came to be cast when a real wolf proved to be unreliable and thereafter he was typecast as the wolf/dog hybrid for which he became popular. Produced by Irving Cummings, who also starred and directed, the story took place at a Canadian fur trading post. It is presently a lost film. There are minor creases to the top right and bottom left corners and a tiny tear at the right side bottom border, ABOUT FINE.

      [Bookseller: Walter Reuben, Inc.]
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        The Post Office of India in the Great War

      Bombay: The Times Press, 1922 - viii + 430 large pp. 1st ed., one corner bumped causing minor creasing to page margins otherwise clean in original red cloth, spine faded. Rare. [Attributes: First Edition; Hard Cover]

      [Bookseller: Pennymead Books PBFA]
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        Gesammelte Werke - 11 von 15 Ohldr.-Bänden 1922-1934

      11 (von 13 erschienenen) Bände der schönen, 1922-1934 bei S.Fischer erschienenen Original-Halblederausgabe von Thomas Manns "Gesammelten Werken". Einige Bände mit kleinen Erhaltungsmängeln (leicht beschabt oder leicht fleckig), insgesamt aber in sehr schönem Zustand. In dieser Vollständigkeit und Erhaltung extrem selten! Vorhanden sind: -Buddenbrooks (2Bde., 1929) -Novellen (2 Bde., 1922) -Königliche Hoheit (1925) -Betrachtungen eines Unpolitischen (1922) -Rede und Antwort (1922) -Zauberberg (2 Bde., 1926) -Bemühungen (EA 1925) -Joseph II: Der junge Joseph (EA 1934) (Es fehlen "Forderung des Tages" (1930), Joseph I (1933), Leiden und Größe der Meister (1935) und Joseph III (1936).) Bei Interesse sende ich gern mehr Fotos zu.

      [Bookseller: Kietzmann]
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        The Trembling of the Veil

      London: Privately Printed for Subscribers only by T.W. Laurie, ltd., 1922. Hardcover. Very Good/No DJ/Bumped corners. vii, 247 p.; 23 cm. Limited edition of 1000 copies numbered and signed by the poet.

      [Bookseller: Berkeley Books of Paris]
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        Original illustration art, being a stylized monogram "EOH"

      , 1922. 1922. Gouache on thick paper, 12 3/4 x 12 3/4 inches, signed "EMcKK" at lower right of monogram, with four color code bars painted at lower right of sheet. Very faint foxing, faint creasing in margins, matted. Gouache on thick paper, 12 3/4 x 12 3/4 inches, signed "EMcKK" at lower right of monogram, with four color code bars painted at lower right of sheet. A stylish "EOH" monogram by American-born artist Edward McKnight Kauffer (1890-1954). It is unknown for whom the monogram was designed, but a penciled note on the back dates its to 1922. Working in London in the first half of the 20th century, Kauffer established himself as one of the foremost poster artists and dust jacket illustrators of his generation.

      [Bookseller: James Cummins Bookseller ]
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        Ebony and Crystal.

      Auburn, CA: Auburn Journal, 1922 - Octavo. Wire-stitched in original red cloth, front board lettered in gilt. Contemporary pencilled gift inscription to front pastedown. Front joint creased, very faint marking to upper outer corner of front board, title and limitation leaf browned. A very good copy. First edition, limited to 500 copies signed by the author on the limitation page, of which this is number 59. Ebony and Crystal was Smith's third book. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Anthropologie der Neu-Caledonier und Loyalty-Insulaner.

      C.W.Kreidel's Verlag, Berlin, 1916-1922. - EA. 2 Bände (mit Atlasband). Sarasin/J.Roux: Nova Caledonia. Forschungen in Neu-Caledonien und auf den Loyalty-Inseln. Teil C. Anthropologie. Der Textband mit sehr zahlreichen fotogr. Abb. im Text sowie etlichen Kurven und Tabellen; Der Tafelband mit 64 großformatigen Tafeln auf starkem Karton mit zusammen über 300 fotogr. Abb sowie einer Karte, einer Hautfarbenskala etc. Textband ist ein OGLn.-Band mit Rücken-Goldprägung / Atlasband ist ein OBroschurband im Pappschuber. XIV, 651 S./ V, plus unpaginierter Tafelteil. Gr. 4° / Folio-Format. Der Textband ist ein Bibl.-Expl. in ausgezeichneter Erhaltung , mit kaum sichtbaren Spuren eines Bibl.-Aufklebers am unteren Rücken, Bibl.-Papierschild auf dem Deckel und dem Vorsatz sowie 'Withdrawn'-Stempeln auf dem Vorsatz und der Rückseite des Titelblattes. Weiterhin mit einer Widmung des Autors an Prof. Radcliffe-Brown auf dem Serientitel, ansonsten sehr sauber, vollständig, fest in der Bindung. - - - Der Atlasband ist in hervorragendem Zustand, unbeschnitten, sauber und vollständig, kein Bibl.-Exemplar. Insgesamt beide Bände in sehr gutem Zustand. Neben den mehrbändigen und sehr seltenen Werken zu Ceylon und Celebes handelt es sich hier um das dritte , extrem seltene und ebenso mit wunderbaren Fotografien auf starken Karton-Tafeln ausgestattete Hauptwerk von Fritz Sarasin, entstanden diesmal nicht in Zusammenarbeit mit seinem Vetter Paul Sarasin.

      [Bookseller: Antiquariat KAIAPO]
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        Large Signed Photograph to his Wife!

      Used; Like New/Used; Like New. Striking large signed portrait photograph of the great conductor, known for conducting the premiere of the Rite of Spring and for his tenures with the Boston Symphony Orchestra, the Amsterdam Concertgebouw Orchestra, the Orchestre Symphonique de Paris, and the San Francisco Symphony. He has signed boldly and inscribed the photograph -- perhaps surprisingly! -- to his wife, Doris Hodgkins Monteux: "To my very own Doris, my very adorable one that I love and will love until I die."  Stamped on the verso by Shelburne Studios, New York City. Some chipping and light wear to the edges, block of toning around the edges and especially along the lower edge and some ares of light silvering, mounting remnants on verso; otherwise in very good condition. 9.5 x 13.25 inches (24.5 x 33.8 cm). From the estate of Monteux's daughter, Nancie Monteux Barendse, this is undoubtedly one of the most remarkable signed photographs of the conductor we have encountered.<br style="">Pierre and Doris Monteux met in 1922, during Monteux's time with the BSO. Though he was married (to his second wife, Germaine) and she had two children from a previous marriage, their attraction was immediate. They became a couple, although they could not marry until Germaine granted Monteux a divorce, and Monteux legally adopted Doris' children. They remained devoted to each other for the rest of their lives, frequently travelling together and together founding the Pierre Monteux School for conductors in Doris' native Maine.

      [Bookseller: Schubertiade Music & Arts]
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        La steppe rouge

      - Nrf, Paris 1922, 13x19,5cm, relié. - Edizione originale del primo libro di Joseph Kessel, una delle 750 copie numerate sul filo puro, solo carta di grandi dimensioni dopo 108 ha nuovamente. Binding metà cioccolato marrone di pelle di pecora, schiena liscia con una cartuccia d'oro impreziosita da pinnacoli dorati, piatti di carta marmorizzata, guardie e contreplats di carta fatta a mano, coperte conservati, angoli leggermente urtato, modesto legame contemporaneo. autografo firmato di Joseph Kessel a Jacques Darnetal: "... che ho" scoperto "una delle prime in segno di gratitudine e sincera simpatia ..." - [FRENCH VERSION FOLLOWS] Edition originale du premier ouvrage de Joseph Kessel, un des 750 exemplaires numérotés sur pur fil, seuls grands papiers après 108 réimposés. Reliure en demi basane marron chocolat, dos lisse orné d'un cartouche doré agrémenté de fleurons dorés, plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures conservées, coins légèrement émoussés, modeste reliure de l'époque. Envoi autographe signé de Joseph Kessel à Jacques Darnetal : "... qui m'a "découvert" l'un des premiers en vive reconnaissance et sincère sympathie..."  

      [Bookseller: Librairie Le Feu Follet]
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        Der Orientteppich. Seine Geschichte und seine Kultur. 3 Bände (komplett). Text- und Tafelbände.

      Berlin, Scarabeus-Verlag, 1922. 4°. 26 cm. 228 Seiten, 5 Blatt, Band 2 und 3 unpaginiert (zusammen 120 farbige Tafeln). Original-Halblederbände mit goldgeprägtem Rückentitel und Kopfgoldschnitt. Nummer 202 von 200 (gesamt 380) nummerierten Exemplaren der Vorzugsausgabe in handgebundenem Halblederband. Mit zahlreichen Illustrationen. Einbände minimal berieben, Titelbblatt fleckig. Gutes bis sehr gutes Exemplar. Numbered edition. With many illustrations in b/w and color. Covers lightly rubbed, title page spotted. Fine copy. Versand D: 4,90 EUR Kunsthandwerk / craftwork / handcraft; Orientteppich / oriental carpet, eastern carpet; Teppiche / carpets; Teppichkunst / carpet art; Vorzugsausgabe / limited edition

      [Bookseller: Antiquariat Lenzen GbR]
 19.   Check availability:     buchfreund.de     Link/Print  


        POLAND: POLSKA W TRZECH ZABORACH W GRANICACH PRZEDROZBIOROWYCH W 1770 R. ORAZ W INNYCH WA?NIEJSZYCH OKRESACH HISTORYCZNYCH.

      Warsaw [circa ] 1922 - Chromolithograph (Very Good, some wear along old folds), 73 x 104 cm (29 x 41 inches). Józef Michal Bazewicz&#146;s iconic historical retrospective map of Poland &#150; a monumental composition depicting the historical evolution of the Polish Kingdom from the 9th Century up to 1770, a masterpiece of Polish patriotic propaganda, cartographic design and chromolithography. This sumptuous production is one of the iconic Polish maps of the 20th Century, being a grand retrospective of the former Polish Kingdom, depicting its evolution and transformation from the 9th Century until 1770 (on the eve of the First Partition of Poland). The map is well-known and highly coveted in Poland, even by those who are not normally connoisseurs of cartography. It was issued in Warsaw by Józef Micha? Bazewicz, a respected bookseller and cartographer, in 1922, as both a celebration of Poland&#146;s historical glory and its reemergence as an independent state in the wake of World War I. The map&#146;s coverage extends from the Gulf of Riga, in the north, down to the shores of the Black Sea in the south; and from Magdeburg, Germany, in the west, over to Tula, Russia, in the east. The historical information is built upon the foundation of a modern topographical map, which correctly delineates rivers and shorelines and labels the locations of modern day cities, towns, roads and railways, with mountains expressed though shading. The central parts of the map label traditional Polish historical voivodships and, to provide points of reference to the contemporary observer, feature colour to show the areas that were dominated by various foreign powers up until the end of World War I: areas in yellow were controlled by Russia; areas in pink were under Prussian rule; while the areas in the south, coloured in green, were governed by Austria-Hungary. Beyond this, the historical information concerns the period between the 9th Century and 1770. The map shows that, at various times, the former Kingdom of Poland controlled all or part of eleven modern nations: Poland, Czech Republic, Slovakia, Germany, Romania, Moldova, Ukraine, Belarus, Russia, Latvia and Lithuania, and at one time extended from the shores of the Baltic to the Black Sea. The map employs dotted lines to section various historical territories and labels the dates under which they were under Polish administration. On all sides, the map is adorned with the coats of arms of the traditional Polish voivodships and military institutions, while four cartographic inserts give further details as to Poland&#146;s territorial evolution. The map appeared around 1922, just as the new Polish Republic had, through a series of wars, ensured its independence, with ample national boundaries. This was an almost unbelievable source of pride for the Polish people, who had endured over a century of foreign occupation. The present map has a much beloved, iconic place in Poland, as it reminded the Polish people that their nation was once great, and, upon its reemergence as an independent state, could be great again. The mapmaker, Józef Micha? Bazewicz (1867 &#150; 1929) was a prominent Warsaw cartographer, writer and bookseller, and a leading figure on the cultural scene in the Polish capital during the first quarter of the 20th Century. While the present map is his most famous work, he issued many publications, including a historical atlas of Poland, Atlas historyczny Polski (Warsaw, 1916) and a popular patriotic tract, Prawdy historyczne, konieczno?ci dziejowe i zadania Polski, z map? Europy na prze?omie wieków XIV i XV (Warsaw, 1921). References: University of Wroc?aw Library, 10111-IV.C; OCLC: 867936346.

      [Bookseller: Antiquariat Dasa Pahor]
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        PINKY PUP AND THE EMPTY ELEPHANT

      BERRY, ERICK. VOLLAND. PINKY PUP AND THE EMPTY ELEPHANT by Dixie Willson. Chicago: Volland (1922, rev. ed. 1928). Large Square 4to, cloth backed pictorial boards, near fine in original box (box with some soil and flap reinforcement). A very rare Volland title, this is beautifully illustrated in color by ERICK BERRY.

      [Bookseller: Aleph-Bet Books, Inc.]
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        ISTANBUL, TURKEY: PLAN GÉNÉRAL DE LA VILLE DE CONSTANTINOPLE. FEUILLE 1. STAMBOUL.

      Istanbul 1922 - Chromolithograph (Good, excellent overall appearance, backed on archival tissue, some minor staining and wear along original folds, a few discreet contemporary marks in pen tracing an itinerary, official blindstamp copyright licence in upper left corner), This large and highly detailed work is one of the finest Early 20th Century maps of Central Istanbul, made during the French Occupation of that part of city (1918-23), during a great historical turning point, on the eve of the fall of the Ottoman Empire and the birth of the Republic of Turkey. This large and attractive map features central Istanbul (the Fatih District), which contemporary Europeans referred to as &#145;Stamboul&#146;, and which occupies the peninsula between the Sea of Marmara, to the south; the Golden Horn, to the north; the Bosporus, to the east; and the Theodosian Walls, to the west. In large scale, the city&#146;s numerous great monuments, public buildings, palaces and mosques (notably the Topkapi Palace, Hagia Sophia and the Blue Mosque) are outlined in bright red, rising out of the elaborate web of ancient streets (the largest of which are labelled), and which weave over the city&#146;s famous seven hills. Additionally, tramlines, railroads and stations are carefully labelled. The waters on three sides of the city feature the routes of the ferries, which connected Fatih to Pera-Galata and Üsküdar. The map features three detailed indexes: &#145;I. Catalogue des Rues et Places Principlaes de Stamboul&#146;, being a list of the main streets and squares; &#145;II. Liste de Quartiers&#146;, a list of neighbourhoods; and &#145;III. Liste des Monuments et Bâtiments&#146;, being a list of monuments and major edifices. An interesting detail of the map are the areas labelled &#145;quartier incedié&#146;, located in the Sultanahmet area (near the Blue Mosque) and in the central and south central parts of the city. These refer to the large areas that were burned during two great accidental fires, in 1911 and 1912. The city, with its narrow streets and buildings largely made of wood, was exceptionally vulnerable to such tragedies, with the blazes only being stopped by the great stone walls that surrounded important buildings. These fires left over 100,000 people homeless. The latterly famous Swiss architect, who witnessed the 1911 fire, remarked that "Stamboul was burning like a demonic offering". That being said, the tragedies eventually allowed for much of the city to be modernized. The present map was issued in 1922, during a critical juncture in the history of Istanbul and Turkey, in general. Following the end of World War I, during which the Ottoman Empire was utterly defeated, European Allied troops occupied Istanbul, starting in November 1918. France was to occupy Stamboul; Britain was to hold Üsküdar; and Italy was to occupy Pera-Galata. Istanbul became a den of political intrigue and tension. Meanwhile, the Treaty of Sèvres (1920) imposed the most severe terms upon the Ottoman Empire; which was to lose all of its foreign territories, while much of Anatolia was to be awarded to Armenia, Kurdistan, French Syria and Greece; while Istanbul was to become a demilitarized zone under Allied protection. This would leave the former empire as a pathetic rump state. SEE OUR WEB PAGE FOR LONGER DESCRIPTION. References: OCLC: 756618432.

      [Bookseller: Antiquariat Dasa Pahor]
 22.   Check availability:     ZVAB     Link/Print  


        RECUEIL DES PUBLICATIONS SCIENTIFIQUES.

      Geneva: Societe Anonyme des editions Sonor 1922. : , 1922. First edition - Recueil indispensable d'articles de base dus ˆ Ferdinand de Saussure, auteur du fameux Cours de linguistique generale, et dont le role dans l'evolution de la linguistique moderne a ete dŽterminant. En Francais (Text in French) The essential writings by the Swiss scholar who is considered the father of modern linguistics and of semiotics, with a preface by Charles Bailly et LŽopold Gautier, two of his students who were instrumental in publishing posthumously his "Cours de linguistique generale." This work includes papers dating back to 1879 (Memoire sur le systeme primitif des voyelles dans les langues indo-europeennes) and continuing throughout his career. Quite scarce in the first edition. This copy is quite fragile and worn, but far more interesting than the flaws is the evidence that it presumably belonged to the baseball player, intelligence officer and scholar, Moe Berg: it is stamped in several places with "Morris (Moe) Berg." Berg (1902-1972) played in the major leagues for 15 years and he joined the fledging OSS during World War II where he was pivotal in gaining information on whether or not the Germans where developing a nuclear bomb. Throughout his life, he was known for his ability to speak many languages (he graduated from Princeton with a degree in modern literature and the ability to read seven languages, and he later added more, including Japanese). A seminal book on linguistics from the library of one of the most unique of American scholars. Index. 638 pp. Fair condition only in the original wrappers (rear cover missing, front cover detached but present, beginning to separate at signatures, stamp of previous owner and underlining on a few pages.) .

      [Bookseller: Bookfever]
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        Cecily Parsley's Nursery Rhymes.

      London: Frederick Warne and Co., [1922] - Small octavo. Recent red half morocco, titles and decoration to spine gilt, raised bands, original pictorial boards, original pictorial paper covered boards, original pictorial endpapers at front. An excellent copy. With colour illustrations by the author. First edition, first impression. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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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). Versand D: 4,00 EUR Kunst, Graphik, Illustrierte Bücher

      [Bookseller: Antiquariat Burgverlag]
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        The Velveteen Rabbit (Illustrated By William Nicholson)

      The First UK Printing published by Heinemann in 1922. The BOOK is in Very Good condition. Original hardcover binding with paper covered boards. The fragile spine has been professionally repaired and rebacked and part of the original titling remains. Scraping and exposure of the paperboard to the bottom corners, with lesser exposure to the top corners or boards. Light soiling, scuffing and wear to the boards. A 2 cm closed tear to the lower edge of the front end-paper. Previous owner's penned details to the verso of the front end paper. Light spotting and occasional smudges to the pages throughout being a little heavier to the prelims. Illustrated by William Nicholson with colour pictorial endpapers plus 7 richly coloured full page lithographs (several are double-page spreads). The illustrations are clean. No dustjacket. A fragile production and this copy is better preserved than most. This classic children's title chronicles the story of a stuffed rabbit and his desire to become real, through the love of his owner. More images available on request. Ashton Rare Books welcomes direct contact.

      [Bookseller: Ashton Rare Books ABA PBFA]
 26.   Check availability:     Biblio     Link/Print  


        Die Graphik der Neuzeit vom Anfang des XIX. Jahrunderts bis Zur Gegenwart

      Berlin: Bruno Cassirer, 1922. First edition, limited issue, number 139 of 150 copies with six original prints. Spine sunned, joints rubbed, owner's ink gift inscription on front free endpaper. Tall 8vo. 585pp. Original etchings by Lovis Corinth, Edvard Munch, Max Pechstein and Hans Purrmann; and original lithograph by Max Liebermann; and an original woodcut by Max Slevogt. With lettered tissue guards. Original red morocco gilt, top edges gilt. The prints are: 1. E. Munch, Kinderkopf (Schiefler 250 IIa) -- 2. L. Corinth, Tiergartenlandschaft (Müller 476) -- 3. M. Slevogt, Tischkarte (Rümann 24) -- 4. H. Purrmann, Landschaft (Heilmann 97 b) -- 5. M. Liebermann, Der barmherzige Samariter (Schiefler 347) -- 6. M. Pechstein, Fischerfamilie (Krüger R 127).

      [Bookseller: Riverrun Books & Manuscripts]
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        Tales of Chinatown.

      London: Cassell and Company, 1922 - Octavo. Original dark red cloth, titles and stylised floral roll to spine and front board in black. Spine somewhat faded, small split along rear joint, extremities slightly rubbed, corners lightly worn, light tanning to free endpapers. An excellent copy. First edition, first impression. Presentation copy inscribed by the author on the front free endpaper: "To my friend G. W. A. Hutchison. With every good wish from Sax Rohmer. August 8, 1922." A collection of ten short stories. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
 28.   Check availability:     ZVAB     Link/Print  


        PROPOS D'ATELIER

      Paris: Les Éditions G. Grés et Cie., 1922 - Sm.8° - 275pp - Portrait of the A. Salmon. First edition wit a interesting dedication to Jacques Job dated 10 February 1928. Original wrappers. In Very good condition [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: °ART...on paper - 20th Century Art Books]
 29.   Check availability:     AbeBooks     Link/Print  


        Isotopes

      London: Edward Arnold, 1922. First Edition. Hardcover. Fine. 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. 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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        Begegnungen. 12 Lithographien. Mit einem Gedicht von Kurt Heynicke als Vorwort. (= XVIII. Werk im Verlag der Galerie Alfred Flechtheim).

      Düsseldorf/Berlin/Frankfurt am Main: Galerie Flechtheim 1922 - Mappe: 48,5 x 39 cm, 5 S. und 12 Lithographien: ca. 30 x 22 cm, Blätter: 47,5 x 38,5 cm jeweils unbeschnitten. "Werner Schramm zeichnete diese zwölf Blätter und den Umschlag im Januar, Februar und Oktober 1921 auf den Stein. Das Gedicht schrieb Kurt Heynicke im Juli desselben Jahres. Die Arbeiten wurden unter Aufsicht des Künstlers bei A. Bagel AG, Düsseldorf, mit der Hand gedruckt. Die Mappe erscheint (.) in einer einmaligen Auflage von 70 Exemplaren. Nr. 1-10: Jedes Blatt handkoloriert, die Drucke auf handgeschöpftem Zanders-Bütten, die Mappe in Halbleinen. Nr. 11-70: Die Drucke auf Drei-König-Bütten, die Mappe in Pappband. Jedes Werk und jedes einzelne Blatt ist vom Künstler handschriftlich gezeichnet. (.) Die Steine sind abgeschliffen." - Vorliegende Mappe ist eins der 10 handkolorierten Exemplare und trägt die Nummer 7 (signiert). - EA WG 7 (Kurt Heynicke, expressionistischer Lyriker, 1891-1985). Beigefügt ist das handschriftliche, signierte Manuskript des Gedichts, dort (anders als dann im Druck) noch mit "Ahasver" betitelt. - Werner Schramm (Duisburg 1898 - Düsseldorf 1970) gehörte nach dem Ersten Weltkrieg zur Künstlergruppe "Junges Rheinland". Die dem rheinischen Expressionismus der Nachkriegsjahre verpflichtete Gruppe wurde u.a. vom renommierten Düsseldorfer Kunsthändler Alfred Flechtheim unterstützt, der mit der Herausgabe von Mappenwerken (z.B. von Viegener und Schramm) auch das Interesse an der Druckgrafik wachhielt. Schramms Werke aus dieser Zeit fielen in der NS-Zeit unter das Verdikt "Entartete Kunst", ihr Schicksal als Teil öffentlicher Sammlungen ist daher oft ungeklärt. Provenienz dieser Mappe (Nr. 7): Aus Familienbesitz des Künstlers. ZUSTAND: Einige Blätter am linken Rand leicht angeknickt, die Mappe etwas berieben. 2000 gr. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Wolfgang Dommershausen]
 31.   Check availability:     IberLibro     Link/Print  


        Margot the Midget and the Little Bear&#146;s Christmas

      London: Thomas Nelson, 1922. First edition. Hardcover_comic. Very Good +/no dust jacket. Mary Tourtel. Margot the Midget and the Little Bear?s Christmas by Mary Tourtel is for sale. Margot the Midget is a rare Rupert the Bear children?s illustrated book. This is the Margot the Midget and the Little Bear?s Christmas first edition book published by Thomas Nelson in London in 1922. Margot the Midget is one of the earliest appearances of Mary Tourtel?s Rupert the Bear in book form from 1922, and it is interesting to note that the title of the book omits the name of Rupert and is simply referred to as the ?Little Bear?. Margot the Midget front board has a main illustration of Margot taking a walk with the Friendly Dog with other animals, which is in a border and with the printed signature of Mary Tourtel to the bottom right corner. Additionally, there is an illustration to the top left corner of the front board of a very early Rupert the Bear, a squirrel to the top right corner, and two ducks to the bottom left corner. The original binding is in Very Good and attractive condition with knocks to the top of the spine and very minor edge wear. The front board has minor surface wear to the ?our? in Tourtel. This is an extremely attractive binding for this very early Rupert book. Margot the Midget has 68 numbered pages. The front pastedown bears an inscription. The front free endpaper is inscribed in pencil and is dated ?Xmas 1922?. The pages are in overall Very Good to Near Fine condition. RB001

      [Bookseller: The First Edition]
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        Lieder der deutschen Mystik.

      München, Bremer Presse, 1922 4°, 93 S., Kart., Rücken min. gebräunt, sonst tadell. Nr. 266 v. 270. Die Initialen zeichnete A. Simons. Text mhd. Mit Wörterverzeichnis. Versand D: 20,00 EUR Literaturgeschichte Deutsche Literatur

      [Bookseller: Antiquariat Peter Petrej]
 33.   Check availability:     buchfreund.de     Link/Print  


        ONE OF OURS

      New York: Alfred A. Knopf, 1922. First Edition. Very Good binding. Signed. From a limited edition of 350 copies, of which 35 are on Japan Vellum and 310 are on Perusia Handmade Italian Paper, signed by Willa Cather; this being copy #83. A trace of foxing to the preliminary pages, else near Fine. Quarterbound in cream cloth over batik paper boards. With the publisher's worn slipcase, lacking a 1 1/2" piece from the bottom edge. Very Good binding.

      [Bookseller: Black Swan Books, Inc.]
 34.   Check availability:     Biblio     Link/Print  


        One of Ours

      New York: Knopf. 1922. First Trade Edition; First Printing. Hardcover. "This is one of an edition of two hundred and fifty copies specially made for bookseller friends of Borzoi Books." These 250 have the specially tipped in colophon leaf and are specially boound in gray mottled paper-covered boards instead of oliove-tan. Crane A11 "Special issue. Advance Review Copies" All copies of the 1st trade editiohn have "Second Printing" on the copyright page. Good+ to very good- in fair dust jacket with detached (but present) flaps, small chips on the front panel,. While the rear panel has a ½" chip running across the top edge for 3½". There is also a long narrow chip down the center of the dust jacket spine. ; 8vo 8" - 9" tall; 459 pp .

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


        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]
 36.   Check availability:     Direct From Bookseller     Link/Print  


        Croquis de mode : Costumes inspirés d'ordres religieux (Croquis, La Gazette du Bon ton, 1922 n°10). - Les manteaux du soir en fourrure combinée avec des soieries de Bianchini et Férier (Croquis, La Gazette du Bon ton, 1922 n°9). - Costumes inspirés de figures géométriques (Croquis, La Gazette du Bon ton, 1922 n°8)

      Set of eight original prints in color, drawn on laid paper. The boards are introduced by a presentation of the front pages of sketches, followed by a detailed description of the back sketches I and II are signed David in the lower right 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. Lucien Vogel éditeur Paris 1922 18x24cm relié

      [Bookseller: Librairie Le Feu Follet]
 37.   Check availability:     Direct From Bookseller     Link/Print  


        The Works .

      London: Constable and Company Ltd, 1922&#150;24 - 16 volumes, octavo. Finely bound in recent full blue morocco, double red morocco labels, spines with gilt ship motifs in compartments, gilt rules to spines and sides, top edges gilt, others uncut. A fine set. Title pages printed in blue and black. The standard edition, limited to 750 copies. The Standard Edition was published episodically, and includes, among other pieces, the first edition of the novella Billy Budd, which was discovered in manuscript among Melville's papers that year.

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


        [Seidmann-Freud, Tom] David the Dreamer, His Book of Dreams

      Boston: The Atlantic Monthly Press, 1922. First edition. Oblong quarto. Original fine green buckram cloth with color pictorial insert on front cover, bold gilt lettering and designs. 67pp. Pictorial endpapers. Cover insert, decorative title page and 10 superb full-page color plates by Tom Seidmann-Freud (martha Gertrude), widely considered one of the most innovative and creative illustrators of the avant garde art movement in Germany and her work was widely sought and highly prized at the time and obviously also to this day. A wonderful copy, fine.

      [Bookseller: Nudelman Rare Books]
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        Das junge Weib.

      1922 - Eine Novelle mit zwölf Radierungen von Willi Geiger. (Übersetzung von H. Röhl). Leipzig, Seemann [1924]. Mit 12 ganzseitigen signierten Orig.-Radierungen auf Tafeln. Kl.-Folio. 89(5) S. auf Bütten. Orig.-Pappband mit Titelschild. Erste dieser illustrierten Ausgabe. - Lang, Expressionistische Buchillustration 77. - Eins von 200 Exemplaren. - Druck der Radierungen von H. Wetteroth, München. - Rücken fachgerecht erneuert. - Insgesamt gutes Exemplar. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Stammerjohann]
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        Radikaler Geist. Querschnitte durch radikale Literatur sowie durch 'ausgefallene' und 'Zeitliteratur'. Zugleich eine Zeitschrift gegen diese Zeit.

      Insgesamt 7 Hefte bei Heft 1 bis 6 mit durchgehender Seitenangabe (VII,1 bis Seite 582). Nr. 1,2,3,4 (mit dem eingebundenen Beiheft 'Staatsozialismus und Anarchismus", Bernhard Zack Verlag 1922),5,6. und als siebenter Band ein 192 seitiger Band ohne Nummerierung. Zube benennt ihn als Almanach, in dem der interessierten Leserschaft 'freigeistige' Literatur ohne Bewertung vorgestellt wird (u.a. Tucholsky, Klaus Mann und selbstredend alle anarchistischen Theoretiker). Illustrierte OBroschur (19x13 cm). In selbstgebautem(?) Stehschuber. Seltene linksradikale Publikation des Individualanarchisten Kurt Zube. Insgesamt erschienen wohl 8 Hefte zwischen 1930 und 1933. Der Schuber etwas berieben. Ordentliche Exemplare, z.T. in Folie kaschiert. Beim Almanachband Fehlstellen am Papprücken. Einige Bände mit Bleistiftunterstreichungen oder Stempel. Heft 1 als 2. vermehrte Auflage gekennzeichnet. So umfassend sehr selten.

      [Bookseller: AS - Antiquariat Schröter]
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        Alumni Cantabrigienses. A biographical list of all known students, graduates and holders of office at the University of Cambridge, from the earliest times to 1900. 10 Bände.

      Cambridge University Press -54 1922 - Ca. 450 bis 630 S. je Band. 4° (26,5 x 20 cm). Original-Halbleder mit Rückentitel und Deckelsignet sowie Kopfgoldschnitt. Originaldruck des Standardwerks. Komplett in 10 Bänden und gedruckt in nur 500 Exemplaren (Bände I/1-4 jeweils Nummer 95, die Bände der zweiten Reihe mit unterschiedlichen Nummern). - I. From the earliest times to 1751 (4 Bände, 1922-1927 erschienen); II. From 1752 to 1900 (6 Bände, 1940-1954 erschienen). - "Beyond details of an individual's progression at Cambridge University, the information provided in Alumni Cantabrigienses may include: dates and place of birth and death; the names of parents, siblings and spouses; schooling, occupation, and notable accomplishments; and references to sources cited. The Venns compiled Alumni Cantabrigienses from university records (matriculation registers and degree lists), written sources, and archives which included college admission registers, episcopal registers, college accounts, genealogical collections and documents in public record offices. For pre-1500 matriculations, their work has been superseded by that of A. B. Emden, but 'the bulk of the work [.] has not been paralleled, let alone surpassed'" (Wikipedia). - Vorsätze der früheren Bände stockfleckig, der Schlußband mit Zeitungsausschnitten zu den Bearbeitern auf Vorsatz und Titelei, ein weiterer Band mit kleiner Abbildung auf dem vorderen Vorsatz. Die Original-Einbände gering berieben und bestoßen, die Rücken etwas unterschiedlich verblaßt oder nachgedunkelt. Gute Reihe. - Die ersten vier Bände mit Exlibris des Historikers Gerald P. Mander, Tettenhall Wood, Staffordshire (gehört im Vorwort zu Band I/4 auch zu den Personen, denen für Unterstützung gedankt wird) und stellenweise mit sauberen Bleistift-Marginalien wohl von seiner Hand. Gewicht (Gramm): 13000

      [Bookseller: Antiquariat Christian Strobel (VDA/ILAB)]
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        Zwölf Aktaufnahmen

      Berlin: W. J. Mörlins, 1922. First edition. Hardcover. fair to fine. 421/500 Quarto. (8)pp., 12 plates with tissue guards. Original blue quarter cloth portfolio with decorative paper-covered boards and blue lettering on cover. 12 distinct female nudes in photogravure (6 1/2 x 4 1/2).&#11;&#11;Warstat in his introductions points to natural obstacles of photogrpahy, having to overcome the objective truth it represents. The secret of Pecsi's photographs can be felt rather than described. Dispite his often "imperfect" models Pecsi generates a perfect feeling for the viewer due to his masterful positioning and lighting of the model, paired with extreme simplicity of backdrops for the shoots. Accessories are used only if they have artistic functions. Text in German. Light fraying of cloth at spine. Boards lightly sunned and rubbed. Lower portfolio flap missing, flap at foredge loose. Some sunning at edges of flaps. Portfolio in overall fair, plates in fine condition.

      [Bookseller: Eric Chaim Kline - Bookseller ]
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        The Fairy Tales of Charles Perrault

      George G. Harrap and Co. Ltd., London 1922 - Illustrated by Harry Clarke with an Introduction by Thomas Bodkin. 160pp. in original cream publisher's cloth. 23 illustrations + frontis, which is detached, laid in. Book Condition: Good : General, heavy wear with fade to title, tape ghosts to endpapers, some plates torn. / [Attributes: Hard Cover]

      [Bookseller: Heartwood Rare Books]
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        TABLEAU DE LA BOXE

      - Paris, éditions de La Nouvelle Revue Française, 1922. In-8 (20x24) broché, couverture imprimée rempliée, 208pp. Illustré par des gravures à l'eau-forte de DUNOYER DE SEGONZAC, dans et hors- texte. Cet ouvrage, le second de la collection " tableaux contemporains " a été tiré à 343 exemplaires ; celui-ci est l'un des 318 sur vélin pur fil avec la suite définitive des gravures. Des piqûres éparses au papier mais les gravures ne sont pas atteintes. [Attributes: Soft Cover]

      [Bookseller: LA BOUQUINERIE]
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        THE WASTE LAND

      New York; (1922): Boni and Liveright. LIMITED EDITION. Cloth. Number 471 of 1000 copies, first edition (second edition, stated) but actually considered the "second impression" from the same setting of type as the first edition, in stiff cloth covered boards (versus flexible) with colophon 2mm high (versus 5mm) and with "mount in" on page 41. Neat previous owner's name; spine and edges just a bit faded; notification of the "Winner of the Dial's 1922 Award" mounted to half-title. A very good copy.

      [Bookseller: Charles Parkhurst Rare Books, Inc.]
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        Croquis de mode : Costumes inspirés d'ordres religieux (Croquis, La Gazette du Bon ton, 1922 n°10). - Les manteaux du soir en fourrure combinée avec des soieries de Bianchini et Férier (Croquis, La Gazette du Bon ton, 1922 n°9). - Costumes inspirés de figures géométriques (Croquis, La Gazette du Bon ton, 1922 n°8)

      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 presentation of the front pages of sketches, followed by a detailed description of the back sketches I and II are signed David in the lower right 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] Réunion de carnets extraits de la Gazette du Bon Ton ainsi constituée : Costumes inspirés d'ordres religieux (Croquis, La Gazette du Bon ton, 1922 n°10). Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Les planches sont introduites par une présentation des recto des pages de croquis, suivie d'une description détaillée des verso où sont présentés divers accesoires, allant des ombrelles et mouchoirs aux veilleuses électriques. Les croquis I, IV, V et VII sont signés David, en bas à droite des planches. Les manteaux du soir en fourrure combinée avec des soieries de Bianchini et Férier (Croquis, La Gazette du Bon ton, 1922 n°9) Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Les planches sont introduites par une présentation des recto des pages de croquis, suivie d'une description détaillée des verso où sont présentés divers accessoires (éventails, cannes, bijoux, pièces de lingerie). Les croquis III, IV et VIII sont signés David, à la fois en bas à droite et à gauche des planches. Costumes inspirés de figures géométriques (Croquis, La Gazette du Bon ton, 1922 n°8). Costumes inspirés de figures géométriques (Croquis, La Gazette du Bon ton, 1922 n°8). 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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        Robes à danser inspirées des costumes de femmes de couleur de l'Afrique centrale (Croquis, La Gazette du Bon ton, 1922 n°5)

      - Lucien Vogel éditeur, Paris 1922, 18x24cm, relié. - Serie di otto stampe originali a colori, disegnato su carta vergata. Gli schizzi XXXIII e XXXVI sono firmati in basso a sinistra e schede di destra. Le schede sono introdotti da un testo di Joan Ramon Fernandez. stampe originali realizzati per l'illustrazione di The Gazette alla moda, una delle più belle e più influenti riviste di moda secolo XX, che celebra il talento di creatori e artisti francesi fiorente art deco. rivista di moda Famosa fondata nel 1912 da Lucien Vogel, The Gazette moda è apparso fino al 1925, con un'interruzione durante la guerra del 1915-1920, a causa della mobilitazione del suo Direttore. Lei è di 69 consegne a partire da soli 2000 copie ed è illustrato tra cui 573 tavole a colori e 148 schizzi raffiguranti modelli di stilisti. All'atto della pubblicazione, queste pubblicazioni di lusso "sono per bibliofili e gli esteti del mondo" (Françoise Tétart-Vittu "buona Ufficiale della tono" nel dizionario della moda, 2016). Stampato su carta vergata bene, usano un carattere creato appositamente per la rivista di Georges Peignot, il personaggio Cochin, presa nel 1946 da Christian Dior. Le stampe sono realizzate con la tecnica di stencil metallo, colori ottimizzati e alcuni delineati in oro o palladio. L'avventura è iniziata nel 1912, quando Lucien Vogel, uomo di mondo e della moda - ha già partecipato a magazine Femina - decise di fondare con la moglie Cosette de Brunhoff (sorella di John, il padre di Babar) Gazette buono tono con cui il sottotitolo è poi "l'arte, mode e frivolezze." Georges Charensol cita l'editor: "Nel 1910, ha osservato, non vi era alcuna rivista di moda veramente artistica e rappresentante dello spirito del suo tempo. Così ho pensato di fare una rivista patinata con gli artisti dei più moderni [...] ero certo del successo, perché per tutto il paese della moda in grado di competere con la Francia. "(" Un grande editore d'arte. Lucien Vogel "in letteraria News, N. 133, maggio 1925). Il successo della rivista è immediato, non solo in Francia, ma anche gli Stati Uniti e Sud America. In origine, Vogel mette quindi insieme un gruppo di sette artisti: André-Edouard Marty e Pierre Brissaud, seguito da Georges Lepape e Dammicourt; e, infine, i suoi amici della Scuola di Belle Arti come sono George Barbier, Bernard Boutet de Monvel o Charles Martin. Altri talenti vengono rapidamente raggiungere il equipaggiato Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Alexander Halouze Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. Questi artisti, per lo più sconosciuti quando Lucien Vogel appello a loro, finirà per diventare figure iconiche e artistico ricercato. Questi sono gli stessi illustratori che fanno disegni annunci delle Gazette. Le schede evidenziano gli abiti e le sublimi sette artisti del tempo: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet e Doucet. I progettisti prevedono per ogni numero di modelli esclusivi. Tuttavia, alcune delle illustrazioni contenute alcun modello reale, ma solo l'idea che l'illustratore è fatto in la moda del giorno. Gazette alla moda è una pietra miliare nella storia della moda. Combinando l'esigenza estetica e l'unità di plastica, si riunisce per la prima volta i grandi talenti del mondo delle arti, della letteratura e della moda e imposto da questa alchimia, una nuova immagine della donna, esile, indipendente e audace, spinto anche dalla nuova generazione di designer Coco Chanel, Jean Patou, Rochas Marcel ... Recupero nel 1920 da Condé Nast Montrose, Gazette moda modellato per la nuova composizione e le scelte estetiche del "piccolo giornale che muore" che Nast aveva comprato qualche anno fa: la rivista Vogue. - [FRENCH VERSION FOLLOWS] Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Les croquis XXXIII et XXXVI sont signés en bas à gauche et à droite des planches. Les planches sont introduites par un texte de Jeanne Ramon-Fernandez. 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]
 48.   Check availability:     maremagnum.com     Link/Print  

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