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Displayed below are some selected recent viaLibri matches for books published in 1920

        Madrigaux

      Paris: Editions de la Sirene, 1920. Hard Cover. First Edition. Number 277 of 1000 copies. This book is considered to be among the best of the French livres dÕartiste. Includes 25 lithographic illustrations by Raoul Dufy in pochoir coloring on Lafuma de Voiron paper. It has been expertly rebound in marbled paper boards with the original dark blue front cover laid on. In near fine condition except for a dog-eared free endpaper that has started to tear. Pages unopened. Unpaginated. ARTISTSBOOKS/033011. Near Fine.

      [Bookseller: The Kelmscott Bookshop]
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        Fifty-Three Stages of the Tokaido.

      Japan, O.a. (1920´s). 53 wood-block print in leporello. Bound with illustrated cloth-covered boards. Oblong. Housed in orig. slip case.. In 1832 Hiroshige, traveled the Tokaido (Eastern Sea Road), the main route along the Pacific coast between the capital of Edo (now Tokyo) and Kyoto. On this travel, Hiroshige found inspiration for the masterpiece. The book shows scenes along the Tokaido (which had 53 lodging stations), incorporating depictions of landscapes in different seasons and climatic conditions with scenes of travelers and people who lived along the way. Fifty Three Stages of the Tokaido.The japanese book is not dated in English. Opens concertina-like. Map on the front endpaper of "The Tokaido", showing the names in japanese and english of the 53 staging posts. Slightly worn around the edges. Binding little browned. 1 page with very small tear. Pages nice and clean. 21 x 28 cm. Private name inside binding. (Porto kr. 40,- på brevforsendelser i Danmark)

      [Bookseller: Bøger & Kuriosa]
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        Hansel & Grethel & Other Tales by the Brothers Grimm

      1920. In the Very Scarce Original Dust Jacket[RACKHAM, Arthur, illustrator]. GRIMM, [Jakob and Wilhelm]. Hansel & Grethel & Other Tales by the Brothers Grimm. Illustrated by Arthur Rackham. London: Constable & Co., [1920]. First separate edition (originally published in The Fairy Tales of the Brothers Grimm Illustrated by Arthur Rackham (London: 1909)). Quarto (9 7/8 x 7 1/8 inches; 250 x 180 mm.). x, [2], 159, [1] pp. Twenty mounted color plates (including frontispiece) and twenty-eight black and white drawings in the text. Title within pictorial border.Original dark blue cloth pictorially stamped and lettered in gilt on front cover and spine. Top edge stained blue. Free endpapers slightly browned from pastedown glue. A fine copy. In the very scarce original tan paper dust jacket printed in dark blue, the front panel matching the gilt stamping on the front cover of the book and the back panel with publisher’s advertisements (jacket spine very slightly darkened)."During the immediate post-war years several old successes, notably Grimm's Fairy Tales were revived in separate new editions." (Derek Hudson, p. 119).This wonderful volume contains half of the great 1909 edition, including Hansel and Grethel; The Twelve Dancing Princesses; The Fisherman and His Wife; The Frog Prince; Rapunzel; Red Riding Hood; Tom Thumb; and Rumpelstiltskin…Latimore and Haskell, pp. 53-54. Riall p. 139.

      [Bookseller: David Brass Rare Books, Inc.]
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        Italian Villas and Their Gardens

      New York. The Century Company. 1920. Bound in multi-chromatic pictorial gilt decorated cloth. 4to. 7.0" x 10.25". Illustrated with full page tissue-guarded colour and monochrome plates by Maxfield Parrish. Very mild, sporadic foxing to top and fore-edges. A Fine, tight copy.

      [Bookseller: Heldfond Book Gallery, ABAA-ILAB]
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        Zanzibar. The Island Metropolis of Eastern Africa

      MajorFrancis Barrow Pearce, 1920 Book. Very Good. Hardcover. An illustrated account of Zanzibar and eastern Africa from a British resident and military official. With three maps. With fifty illustrations, collated complete. Francis Barrow Pearce, 1866-1926, was a British resident in Africa, including Zanzibar, and was acting governer of Malawi, (Nyasaland), during 1910. Condition: In aquarter leather binding. Externally, near fine, just a few rubs and a little fading. There is a gilt reference number to the spine. Internally, firmly bound, bright, with the occasional spot. With light foxing to the fold-out map. With an East Sussex Country Library armorial bookplate to the front pastedown, and an ink stamp also. There is a small marginal closed tear to page 297. Overall: VERY GOOD..

      [Bookseller: Rooke Books]
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        A Portfolio of Aubrey Beardsley's Drawings Illustrating "Salome" By Oscar Wilde

      London: John Lane, 1920. First edition thus. Hardcover. Orig. three quarter white cloth and gray board folio with contents loose as issued, lacking ties. Near fine/No Dust Jacket. 36 x 27.5 cm. No text, Folio, 16 plates and cul de lampe. Though Wilde and Beardsley were key figures, even perhaps the key figures of the fin de siecle era, their association, particularly as centered in Salome continues to attract and astound interest in their relationship which even today is shrouded in mystery and complicated by certain often cited memoirs of the time. This work with no publication limitation, nevertheless,is scarce. Interior contents clean and fresh.

      [Bookseller: Royoung bookseller, Inc.]
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        RELATIVITY. The Special And The General Theory. Signed

      New York: Henry Holt and Company, 1920 FIRST AMERICAN EDITION. 8vo., xiii + 168 pp. A very good or better copy; gilt stamped upper cover, the gilt spine lettering a bit faded. Signed By Einstein in full: "Albert Einstein", in black fountain pen on the half title.  In the rare original first edition dustwrapper - a very good or better example, neatly restored at the extremities. Custom gilt-lettered, deep blue cloth clamshell case. [Differs from the UK edition only in page arrangement - Weil]. Signed by Author. 1st Edition.

      [Bookseller: TBCL The Book Collector's Library]
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        Relativity. The Special & The General Theory. A Popular Exposition

      London: Methuen & Co. Ltd.,, 1920. Authorised Translation by Robert W. Lawson. With Five Diagrams and a Portrait of the Author. Octavo. Original red cloth, titles to spine gilt and to upper board in blind. With the dust jacket. Portrait frontispiece and diagrams throughout. Ownership inscription to front free endpaper. Spine titles dulled as often, partial tanning to endpapers. An excellent copy in the rubbed jacket with two small chips from the tanned spine panel and some loss of text to the front panel where a sticker was removed. First English language edition, first impression of Einstein's popular treatment of relativity, with the addition of an appendix on "The Experimental Confirmation of the General Theory of Relativity" written especially for this edition.

      [Bookseller: Peter Harrington]
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        Relativity. The Special and General Theory. A Popular Exposition. Authorised Translation by Robert W. Lawson

      London, Methuen and Co. Ltd., 1920., 1920. FIRST ENGLISH EDITION. 8vo., pp. xiii, 138 + 8. With five diagrams and a portrait of the author. Publisher's red cloth titled in gilt to backstrip, in the original dustwrapper. Some soiling to fore-edge of covers (mostly to rear board), gilt lettering dulled, edges a little foxed and spotted, flyleaves with some offset toning from jacket flaps, previous name of flyleaf partially erased. Scarce dust jacket has some chips to head and tail of spine and extremities, toned to backstrip, some rubbing. A good to very good copy. Uncommon in jacket. Listed in '100 Books That Shaped World History' [Raftery, 2002].

      [Bookseller: Adrian Harrington Rare Books]
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        Relativity. The Special & General Theory

      London: Methuen & Co. Ltd.,, 1920. A Popular Exposition. Authorised Translation by Robert W. Lawson. With Five Diagrams and a Portrait of the Author. Octavo. Original red cloth, titles to spine gilt and to upper board in blind. Portrait frontispiece and diagrams in the text. Small bookplate and ownership inscriptions to front endpapers. Spine rolled and faded, spotting to edges, endpapers, and occasionally to contents. A very good copy. First English language edition, first impression of Einstein's popular treatment of relativity, with the addition of an appendix on "The Experimental Confirmation of the General Theory of Relativity" written especially for this edition.

      [Bookseller: Peter Harrington]
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        Relativity, The Special & The General Theory; A Popular Exposition

      London: Methuen & Co., 1920 First Edition, HC translated by Robert W. Lawson, this is the first English edition, 138 pp. plus ads. Offsetting to the endpapers, some soiling to the red cloth cover, spine is sunned, else a very good copy with clean text and sound binding. Lacking the dustjacket.

      [Bookseller: Books Again, Inc.]
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        The Writings in Prose and Verse of Rudyard Kipling. The works include: The Jungle Books, Kim, Wee Willie Winkie, Plain Tales from the Hills, Just So Stories, Captain Courageous, Rewards and Fairies, Stalky and Co., Puck of Pooks Hill, Rewards & Fairies, The Man Who Would be King, etc

      New York: Charles Scribner's Sons, 1920-1937., 39. The Outward Bound Edition. 32 volumes; 8vo. Publisher's brown cloth with gilt titles and gilt to spines, gilt ivory medalion to upper, top edges gilt others untrimmed. With maps and illustrations, as well as portraits of the author. Last 3 volumes in lighter brown. Binding with occasional marking or rubbing; browning to eps and untrimmed edges. Dampstaining to one vol. Several volumes unread with pages uncut; the last volume, Something of Myself with Index, has the first couple of pages roughly cut. A generally clean and tight set of Kipling's complete poems and novels in original cloth. Stewart p.560

      [Bookseller: Adrian Harrington Rare Books]
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        How To Write Photo Plays

      New York: James A. McCann Co., 1920. 1st 1st. Hardcover. VG-. With Illustrations. Married couple Emerson and Loos wrote one of the earliest books on screenwriting. This copy is autographed by both of them. No DJ. Red boards have wear and chipping, with 1.5"clear tape reinforcement on spine. Moisture stain on back cover board and end papers within. Signed by both authors on front flyleaf page. Also signed by Harold B. Hutchison, dated September 9, 1920.

      [Bookseller: Cool Books]
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        Representatives of the Law

      1920. Forty-Eight Original Kyd Watercolors"The Law is an Ass"But the Artwork is SublimeKYD, (pseudonym of Joseph Clayton Clarke) artist. [DICKENS, Charles]. Representatives of the Law. (Ranging from the Bench to the Broker’s man), extracted from the Works of Dickens, and portrayed by “Kyd” in a series of 48 Character Studies drawn in colours. London: ca. 1920.Calligraphic title page in an orange border and with a judge’s head at the top, calligraphic list of plates in a green border, and forty-eight original watercolors by Kyd.All loose sheets, each measuring 10 9/16 x 7 7/8 inches and with the paintings within fine line borders comprising a panel measuring 7 x 4 1/2 inches. Each is a painting of a legal character from one of Dickens many works. The name of the character is in pen at the top left hand corner of the image space and the title of the book in which the character is found is located at the lower right hand corner.Each painting is signed by Kyd and depicts forty-eight judges, lawyers, solicitors, clerks, police, and prison turnkeys found in Dickens's novels, including Mr. Jaggers (Great Expectations); Mr. Perker (Pickwick Papers); Mr. Blathers (Oliver Twist); Uriah Heep (David Copperfield); Mr. Jinks (Pickwick Papers); Mr. Mallard (Pickwick Papers); Serjeant Buzfuz (Pickwick Papers); Mr. Chuckster (Old Curiosity Shop); Mr. Guppy (Bleak House); Mr. Tulkinghorn (Bleak House); and many others, not the least of whom is Sampson Brass ((Old Curiosity Shop), "an attorney of no very good repute…with a cringing manner, whose blandest smiles were so extremely forbidding that to have had his company under the least repulsive circumstances one would have wished him to scowl" - a character we strenuously assert to have no connection whatsoever in fiction or in life to our Brass family.Chemised in burgundy moire silk and housed in a full red morocco pull-off case with gilt spine lettering. A singular collection and fine.Dickens was intimately knowledgeable about the legal world. He began his professional life as a law clerk and had ambition to pursue the law as a career. As a result, “Charles Dickens was preeminently the novelist of the law, and his lawyers have a hold upon the public imagination far surpassing that of any other author” (Fyfe, Charles Dickens and the Law, p.7)."Dickens used a repeated and consistent pattern in presenting lawyers in his works… Generally, the lawyers have been treated simply as parts of other investigations, or as objects of Dickens' contempt. [In] Robert D. Neely's The Lawyers of Dickens and Their Clerks, [Neely] express[es] the opinion…that Dickens had a disdain for lawyers. 'One of the most marked prejudices was his dislike of lawyers, and all that pertained to the machinery of government.' This hatred is explained and justified in various ways. Philip Collins in Dickens and Crime states that the author was following a literary tradition in treating the lawyers vituperatively. In Charles Dickens: His Tragedy and Triumph Edgar Johnson sees Dickens' treatment of lawyers as one more aspect of his hatred of business. And Humphrey House in The Dickens World views the lawyer similarly to Johnson; House states that the lawyer has only a business, professional approach to people and to life. Thus, the lawyers are dismissed…" (Baughman, Charles Dickens and His Lawyers. ALSA Forum Volume 6, Number Number 2 [1982]). “The one great principle of the English law is, to make business for itself. There is no other principle distinctly, certainly, and consistently maintained through all its narrow turnings.” (Bleak House)"'If the law supposes that,' said Mr. Bumble, squeezing his hat emphatically in both hands, 'the law is an ass - an idiot. If that's the eye of the law, the law is a bachelor; and the worst I wish the law is, that his eye may be opened by experience'" (Oliver Twist)."What lawsuits grow out of the graves of rich men, every day; sowing perjury, hatred, and lies among near kindred, where there should be nothing but love!" (Martin Chuzzlewit)."Why, I don't exactly know about perjury, my dear sir," replied the little gentleman. "Harsh word, my dear sir, very harsh word indeed. It's a legal fiction, my dear sir, nothing more." (Pickwick Papers).Joseph Clayton Clark (1856-1937) worked as a freelance artist with a particular affection for Dickens, his Dickens illustrations first appearing in 1887 in Fleet Street Magazine, with two collections soon to follow: The Characters of Charles Dickens (1889) and Some Well Known Characters from the Works of Charles Dickens (1892). Beginning in the 1920s, he earned his living from watercolor sketches, mainly of Dickens' characters, which he sold to and through the London book trade. Frederic G. Kitton gives him early notice in his classic text, Dickens and His Illustrators (1890); Kyd's watercolors were at that date already being avidly bought by major Dickens collectors (Kitton, p. 233), the Cosens sale in 1890 successfully selling a collection of 241 of Kyd's Dickens watercolors, and Mr. Tom Wilson, at the time the foremost collector of Dickens, possessing 331 of Kyd's drawings. The British Museum has a collection of 598 drawings and paintings of the artist's Dickens work, and the Victoria and Albert Museum, Dickens House in London, and the University of Texas at Austin each have significant collections of Kyd.As for this collection of original art by Kyd on Dickens and the law and its representatives, "Take nothing on its looks; take everything on evidence. There's no better rule" (Great Expectations). The indictment: An unique, superb and singular collection of Dickensiana. The verdict: Guilty as charged. Collection to be remanded into custody for years of enjoyment.

      [Bookseller: David Brass Rare Books, Inc.]
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        Poems

      New York, Alfred A. Knopf,, 1920. Octavo. Original tan boards, titles to upper board and spine in brown, top edge stained brown. With the dust jacket. Bookplate to front pastedown but an exceptional copy in the dust jacket. First Edition, First Printing of the first of Eliot's collections to be published in America.

      [Bookseller: Peter Harrington]
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        "Oriental Dancer & Peacock"

      n.p. c. 1920 n.p., [c. 1920]. Approximately 18 x 12 inches. Pen and black ink, tempera, and watercolor, signed "K Blacmore R.B.A. Matted . Exhibited: Paris Salon and Royal Academy

      [Bookseller: James Cummins Bookseller ]
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        ARA VUS [sic] PREC

      London: The Ovid Press, [1920].. Quarto. Quarter yellow-tan cloth and black cloth over boards, paper spine label. Label darkened, with diagonal chip at one corner affecting the horizontal of the terminal 'T', coated black endsheets very faintly dusty, soft creases to six page corners, minor rubbing at bottom edge, but a very good copy, in half morocco slipcase. First edition, second state of the binding for the ordinary issue, in black cloth rather than black boards. From an edition specified as consisting of a total of 264 copies, this is an unnumbered copy. This copy, like six others examined by Cloud, exhibits the reversal of signature 'C' with the consequent disruption of pagination, and is printed on a slightly lighter weight Whatman paper, with edges trimmed. Ostensibly, there were to be ten unnumbered copies for review, but "the frequency with which unnumbered copies appear would indicate that a good many more than the unscheduled ten were so issued" - Gallup. See Gerald Cloud's informed commentary on the internal and binding variants of this, the first book publication of the Rodker Press. GALLUP A4a. Cloud, JOHN RODKER'S OVID PRESS A BIBLIOGRAPHICAL HISTORY, A5.

      [Bookseller: William Reese Company - Literature ABAA-]
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        This Side of Paradise

      New York: Charles Scribner's Sons,, 1920. Octavo. Original green cloth, titles to upper board blind stamped, titles to spine gilt. Ownership name to front free endpaper, small nick to head of spine otherwise a bright fresh copy. First Edition, First Printing of the author's landmark first novel. With this novel Fitzgerald more or less invented the roaring 20s or at least positioned Zelda and himself at its very core. It was an instant success, running to a number of printings in the first year.

      [Bookseller: Peter Harrington]
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        Bliss. The Garden Party. The Doves’ Nest. Something Childish. Journal of... The Letters of... [both] Edited by J. Middleton Murry. [with] MANTZ, Ruth Elvish & MURRY, J. Middleton. The Life of Katherine Mansfield

      London: Constable (1920, 1922, 1923, 1924), 1927, 1928, 1933. . Seven works in eight volumes (Letters 2 volumes), all first editions - "The Garden Party", "The Doves' Nest" and "Something Childish" are second impressions (but see note). These three novels are signed on the fly leaf by Sydney Waterlow, and the "Life" contains his bookplate. Some light foxing. All bound in the original cloth, spines with slight rubbing and fading. "Journal" with its d.w., chipped, spine browned, “Letters” with the d.w. in pieces and loosely inserted. A unique set including four of Mansfield's six prose collections, all from the library of Sydney Waterlow, diplomat, second cousin of Mansfield and close contemporary of the Bloomsbury group, having befriended many of them during his time at Cambridge. In 1910 he proposed to Virginia Woolf, but was amicably rebuffed. Despite this he remained close to her and the group, helping to found their Memoir Club, a monthly dining club, in 1920. In a letter to Edward Sackville-West following the publication of "Orlando", Woolf revealed that the "S.W." character was loosely based on Waterlow. Kirkpatrick A4a, A5a, A6a, A8a, A9a, A10a, B10. The three second impressions were in each case preceded by a first printing of a handful of trial bindings - 25 copies of "The Garden Party" and "The Doves' Nest" and 34 copies of "Something Childish".

      [Bookseller: Bow Windows Bookshop]
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        Umbra. The Early Poems of

      London: Elkin Mathews, 1920. First edition. 8vo. . Gray paper boards with canvas back, lettered in blue. Very good copy, some light foxing to preliminaries. Bookplate of Coman Leavenworth on the front pastedown. Gallup A20a . Poet and critic R.P. BLACKMUR'S COPY, signed by him at the age of 18 on the flyleaf: "August 23,1922 "Richard Palmer Blackmur" Blackmur quotes beneath: "'Now and again divers dive down for dreams' Stewart Mitchell." Blackmur was 18 when he signed this book, and was later to become one of America's most influential literary critics. Mitchell was the managing editor of THE DIAL at the time. Blackmur has written four marginal notes in pencil on pp. 57, 59, 84, & 128

      [Bookseller: James Cummins Bookseller]
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        THE WORKS

      Garden City and New York: Doubleday, Page & Co, 1920. Sun-dial Edition." ONE OF 735 COPIES, SIGNED BY CONRAD. In 22 Unusually Flamboyant Lilac Morocco VolumesBy the Leading American Binder of the Day 222 x 152 mm (8 3/4 x 6"). 22 volumes. FINE--AND ESPECIALLY FLAMBOYANT--LILAC MOROCCO, ELABORATELY GILT, BY STIKEMAN, covers panelled with single and double gilt fillets and intricate scrolling foliate cornerpieces, raised bands, spine attractively gilt in ruled compartments with marine ornaments (seashell or anchor) as centerpiece and with scrolling cornerpieces, CRIMSON MOROCCO DOUBLURES, the front doublures with a central panel of blue morocco, wide turn-ins with alternating floral tools, doublures decorated with wavy gilt lines and (at corners) floral bouquets, blue central panels with a large gilt sailing vessel at middle, watered silk endleaves, morocco hinges, all edges gilt. Frontispiece portrait. WITH AN AUTOGRAPH POSTCARD SIGNED BY CONRAD tipped in at front (see below). Also with the signature of Richard Curle (author of "Joseph Conrad, a Study" and many other critical works), written next to his printed name as the dedicatee of Volume 16. Spines uniformly faded to an even chestnut brown, a hint of rubbing to a handful of joints and corners (only), one opening in one volume with marginal spots, but QUITE A HANDSOME SET IN FINE CONDITION, the text virtually pristine, the covers bright, and the wear to the leather entirely minor. Polish-born Joseph Conrad (1857-1924) led a roving life as a sailor aboard French and British ships trading in exotic ports of Asia, South America, and Africa before he began his career as a novelist with "Almayer's Folly" in 1895. He wrote in English, in a style sometimes characterized as "impressionistic," with a phenomenal command of the language, despite not having learned it until he was an adult. Conrad's stories of the sea fascinate the reader not only for their remote settings and adventurous plots, but also for their psychological veracity and investigaton of moral issues, typified by the structurally innovative novel "Lord Jim" and the novellas "The Nigger of the Narcissus" and "Heart of Darkness," the latter describing a journey up the Congo. Although many of his works are set on the seas or on faraway islands, "Nostromo" is the account of political intrigue in a small South American state, and "Under Western Eyes" is a suspenseful story of a secret agent among Russian revolutionaries. This set was bound by one of America's best. According to the catalogue of the Frederick Maser Collection, during the period from the retirement of William Matthews to the establishment of the Club Bindery, there was no better binder in America than Henry Stikeman, who exhibited "extraordinary skill . . . in design, inlaying, and tooling." The present volumes have an outward appearance not unlike other bindings by Stikeman, but the doublures, with their bold color combination and animated decoration, depart from his more traditional designs. Dated 4 June, the tipped-in postcard of some 140 words is from Conrad to his agent, James Brand Pinker. The message alludes to an apparent automobile breakdown, which prompts Conrad to apologize to Pinker for having to experience "the boredom and horrors of hanging about the roads miles from anywhere." Also mentioned in the postcard is the arrival of Hugh Walpole, who had appeared at 10 the previous evening and seems still to be in bed. Between the set's considerable shelf attractiveness, the limited and signed nature of the edition, and the additional autograph material, this is an item of very special appeal.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Umbra. The Early Poems

      London: Elkin Matthews,, 1920. All that he now wishes to keep in circulation from "Personae," "Exhultations," "Ripostes," etc. With translations from Guido Cavalcanti and Arnaut Daniel and poems by the late T. E. Hulme. Octavo. Original grey boards, white cloth backstrip, titles to spine and upper board in dark blue. Bookplate. Newspaper clipping tipped-in to front free endpaper over ownership signature. Boards, rubbed, marked, and dulled, scuff to lower corner of upper board, backstrip tanned and spotted, endpapers tanned, contents toned. A good copy. First edition, first impression, of this collection of poems chosen by Pound himself.

      [Bookseller: Peter Harrington]
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        The Works of Charles Dickens. Including: The Pickwick Papers, Oliver Twist, Nicholas Nickleby, Old Curiosity Shop, A Christmas Carol, David Copperfield, A Tale of Two Cities, Great Expectations, etc

      New York: Bigelow, Brown and Co., Inc., n.d. [c.1920]., 1920. The National Library Edition, complete in 20 volumes; 8vo. Contemporary half teal morocco with two blue title labels and gilt tooling to spines evenly faded to grey, marbled boards and end papers, top edges gilt. With illustrations from the original plates. Binding rubbed. A sound and attractive set.

      [Bookseller: Adrian Harrington Rare Books]
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        THE WORKS OF CHARLES DICKENS (COMPLETE 20 VOLUME SET) (LEATHER BOUND)

      New York : Bigelow, Brown and co., inc.. Very Good-;. c. 1920. Hardcover. Complete 40 volume set bound in 20 as published. Three quarter burgundy leather bound covers with 5 raised bands, gilt lettering and decor on spines, and red covered boards. Covers have moderate to heavy wear to corners and caps. Boards and spines are straight. Bindings are tight. One board detached (but present) . Marbled paste downs and end sheets. Top edges gilt. Fore edges untrimmed. Frontispieces. Title pages in black & red. Pages clean and in very good condition. ; National Library Edition .

      [Bookseller: New Boston Fine and Rare Books]
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        ONE MAN'S INITIATION --- 1917

      London: George Allen & Unwin, 1920. First Edition. First Edition. Inscribed by Dos Passos on the Front flyleaf, with also, glued to the second (blank) flyleaf, is an 11-line handwritten letter to the same collector agreeing to sign some of his books, and instructing him where & when to send them (in Provincetown). The book itself is a fine copy, and apart from one small edge-tear to the fore-edge of page 19/20, and some light fading to the spine edges, has almost no wear. This is thanks to a beautiful copy of the original dust-jacket, which has only the slightest wear to the extremities, but is otherwise bright and intact. This is the first issue of the book, with the word "flat" obliterated on line 32 of page 35. Highly desirable copy of this highspot - Dos Passos' first book - based on his experiences in the Great War.

      [Bookseller: Bert Babcock - Bookseller, LLC]
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        Signor Formica: Eine Novelle [WITH ORIGINAL DRAWING SIGNED BY ILLUSTRATOR]

      W. Drugulin Leipzig: W. Drugulin, (1920). Vorzugsausgabe. Limited (numbered) edition. Hardcover. vg. 1/120. Elephant folio. VIII, 103,[2]pp. & 13 unnumbered illustration pages. Gold-stamped full green calf with gold lettering on cover and spine in original dust wrapper and sturdy paper-covered green clamshell box. Gold-lined raised bands. All deckled edges. Inside of front and back board stamped with double gold borders. Binding designed by R. Hadl, handcrafted by A. Köllner. Elaborate deluxe edition of Hoffmann's novel "Signor Formica". E. T. A. Hoffmann (1776-1822) was a German author, composer, draftsman, caricaturist, jurist, and music critic. He was one of the major authors of the Romantic movement. Signor Formica was first published in 1820, and a year later was included in the forth volume of Hoffmann's work "Serapionsbrüder." His few literary works are stories in which supernatural and sinister characters appear in people's lives, revealing grotesque and often tragic sides in human nature. This deluxe edition is illustrated with original artwork by the Hungarian sculptor and etcher, Richard Hadl. The illustrations consist of one original signed full-page pencil drawing, as well as 12 full-page-, and 7 in-text drawings in aquatinta-manier. Additional signature of illustrator on limitation page. "Dieses Buch wurde im Jahre neunzehnhundert und zwanzig in der Offizin W. Drugulin in Leipzig gedruckt. Die Auflage beträgt einhundert und zwanzig numerierte Exemplare auf van Gelder-Zonen-Bütten. Nach Beendigung des Druckes wurden die Platten vernichtet. Dieses Exemplar ist Nr. XXXIV und wurde gedruckt für Freiherrn Erich von Goldschmidt-Rothschild. Durchgesehen: (signed) Richard Hadl." Printed on handmade van Gelder-Zonen paper. Foreword by Hadl. Text in German. This particular copy was printed exclusively for Erich von Goldschmidt-Rothschild (1899-1987), of the famous Rothschild lineage. Goldschmidt-Rothschild was also well-known for his extensive, rare book collection. Slip with information on binding laid-in, as issued. Very slight rubbing on head and tail of spine. Minor creasing on spine of dust wrapper. Slight scuffing on clamshell box, tiny tear on top section on spine of box. 10mm offsetting from interior leather-lining on outer edges of front and rear free endpaper. Dust wrapper and clamshell box protected by modern mylar. Exceptional copy in a stunning binding. Fine condition. Scarce with dust wrapper.

      [Bookseller: Eric Chaim Kline - Bookseller ]
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        Autograph music manuscript, "Ossity Hongroise, op. trente"

      n.p. Paris n.d ca. 1920 1954 n.p. [Paris?], n.d [ca. 1920-1954]. 4to. 3 pp. pen and ink, 68 bars, piano score on printed music staff paper. Toned, small closed tears and edgewear; still a playable fair copy . A lyrical piece in A minor, with a central section in A major, composed for the piano and inscribed by Lionel Barrymore to his sister: "DEdieE à Mlle. Ethel Barrymore." Barrymore composed a variety of music, from solo pieces to large orchestral works, and received performances by the New York Philharmonic and the Philadelphia Orchestra. The meaning of the title ("Eccentric Hungarian"?) is not clear to us, but in any case this is a wonderful association between two of the greatest American actors of the first half of the 20th century

      [Bookseller: James Cummins Bookseller ]
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        Umbra. The Early Poems of

      London: Elkin Mathews 1920 London: Elkin Mathews, 1920. First edition. 8vo. . Gray paper boards with canvas back, lettered in blue. Very good copy, some light foxing to preliminaries. Bookplate of Coman Leavenworth on the front pastedown. Gallup A20a . Poet and critic R.P. BLACKMUR'S COPY, signed by him at the age of 18 on the flyleaf: "August 23,1922 "Richard Palmer Blackmur" Blackmur quotes beneath: "'Now and again divers dive down for dreams' Stewart Mitchell." Blackmur was 18 when he signed this book, and was later to become one of America's most influential literary critics. Mitchell was the managing editor of THE DIAL at the time. Blackmur has written four marginal notes in pencil on pp. 57, 59, 84, & 128

      [Bookseller: James Cummins Bookseller ]
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        Proclamations by the President Relating to the United States Railroad Administration and General Orders and Circulars Issued by the Director General of Railroads [etc.]

      Justice Brandeis' copy, with his ownership signature ("Louis D. Brandeis") on the front wrap, a fine example of his lifelong professional interest in the railroad industry and their abuses, continued in a series of his opinions while on the Court. Original brown printed wraps, somewhat chipped and worn, but a good copy; with several folding forms. Government Printing Office, Washington, 1920.

      [Bookseller: Meyer Boswell Books, Inc.]
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        Krasnyi podarok belomu panu ("A Red Present to the White Pan")

      Literature Edition RVSR Moscow: Literature Edition RVSR, (1920). Lithograph in three colors; printed recto-only on thin lithographic paper; 83cm x 60cm (ca 32" x 24"). Small (1") loss to left margin (away from image); darkening and toning to extremities; image bright and unfaded; grade B+/B. A major poster by one of the major propaganda artists of the revolutionary period, produced for the Polish campaign of 1920. Pictured in Stephen White, The Bolshevik Poster, p.98. Rare (only one copy noted at auction in the past 20 years) and a high-spot in the history of revolutionary graphics.

      [Bookseller: Lorne Bair Rare Books ]
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        THE WORKS

      Doubleday Page & Co Garden City and New York: Doubleday, Page & Co, 1920. Sun-dial Edition." ONE OF 735 COPIES, SIGNED BY CONRAD. In 22 Unusually Flamboyant Lilac Morocco VolumesBy the Leading American Binder of the Day 222 x 152 mm (8 3/4 x 6").22 volumes. FINE--AND ESPECIALLY FLAMBOYANT--LILAC MOROCCO, ELABORATELY GILT, BY STIKEMAN, covers panelled with single and double gilt fillets and intricate scrolling foliate cornerpieces, raised bands, spine attractively gilt in ruled compartments with marine ornaments (seashell or anchor) as centerpiece and with scrolling cornerpieces, CRIMSON MOROCCO DOUBLURES, the front doublures with a central panel of blue morocco, wide turn-ins with alternating floral tools, doublures decorated with wavy gilt lines and (at corners) floral bouquets, blue central panels with a large gilt sailing vessel at middle, watered silk endleaves, morocco hinges, all edges gilt. Frontispiece portrait. WITH AN AUTOGRAPH POSTCARD SIGNED BY CONRAD tipped in at front (see below). Also with the signature of Richard Curle (author of "Joseph Conrad, a Study" and many other critical works), written next to his printed name as the dedicatee of Volume 16. Spines uniformly faded to an even chestnut brown, a hint of rubbing to a handful of joints and corners (only), one opening in one volume with marginal spots, but QUITE A HANDSOME SET IN FINE CONDITION, the text virtually pristine, the covers bright, and the wear to the leather entirely minor. Polish-born Joseph Conrad (1857-1924) led a roving life as a sailor aboard French and British ships trading in exotic ports of Asia, South America, and Africa before he began his career as a novelist with "Almayer's Folly" in 1895. He wrote in English, in a style sometimes characterized as "impressionistic," with a phenomenal command of the language, despite not having learned it until he was an adult. Conrad's stories of the sea fascinate the reader not only for their remote settings and adventurous plots, but also for their psychological veracity and investigaton of moral issues, typified by the structurally innovative novel "Lord Jim" and the novellas "The Nigger of the Narcissus" and "Heart of Darkness," the latter describing a journey up the Congo. Although many of his works are set on the seas or on faraway islands, "Nostromo" is the account of political intrigue in a small South American state, and "Under Western Eyes" is a suspenseful story of a secret agent among Russian revolutionaries. This set was bound by one of America's best. According to the catalogue of the Frederick Maser Collection, during the period from the retirement of William Matthews to the establishment of the Club Bindery, there was no better binder in America than Henry Stikeman, who exhibited "extraordinary skill . . . in design, inlaying, and tooling." The present volumes have an outward appearance not unlike other bindings by Stikeman, but the doublures, with their bold color combination and animated decoration, depart from his more traditional designs. Dated 4 June, the tipped-in postcard of some 140 words is from Conrad to his agent, James Brand Pinker. The message alludes to an apparent automobile breakdown, which prompts Conrad to apologize to Pinker for having to experience "the boredom and horrors of hanging about the roads miles from anywhere." Also mentioned in the postcard is the arrival of Hugh Walpole, who had appeared at 10 the previous evening and seems still to be in bed. Between the set's considerable shelf attractiveness, the limited and signed nature of the edition, and the additional autograph material, this is an item of very special appeal.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Smaller Italian Villas & Farmhouses [WITH] More Small Italian Villas & Farmhouses [2 volumes]

      The Architectural Book Publishing Co. New York The Architectural Book Publishing Co. 1916 & 1920g Folio. Both volumes in matching blue cloth binding with gold border and lettering in gold on cover and spine. Top edge gilt. Frontispiece, decorative title-page. Fascinating survey by American architect & landscape designer Guy Lowell (1870-1927). Profusely illustrated with captioned b/w reproductions of photographs, architectural plans, and pencil sketches of homes near Bologna, Rome, Florence, Tivoli, Venetia, Perugia, Tuscany, Turin, Verona, Piedmont, and many other places in the Italian countryside. Sketches by Edgar I. Williams and Harold R. Shurtleff. 1) Smaller Italian Villas & Farmhouses. First edition. 1916. xii,125 plates. Age wear, staining and discoloration on binding. Head and tail of spine chipped. Hinges starting. Lettering on spine faded. Binding in fair, interior in overall very good condition. 2) More Small Italian Villas & Farmhouses. First edition. 1920. xiv,140 plates. Ex-library. Minor age wear and scuffing on binding. Ex-libris on inside of front board, library pocket card at rear endpaper. Small library stamps on page edges. In the early 20th century Guy Lowell traveled through the Italian countryside to study and record its unique architecture, focusing on lesser known villas, smaller buildings, and farmhouses. The impressive results are compiled in this extensive publication.

      [Bookseller: Eric Chaim Kline - Bookseller ]
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        EAST OF THE SUN AND WEST OF THE MOON

      1920. 1. (NIELSEN,KAY)illus. EAST OF THE SUN AND WEST OF THE MOON. NY: George H. Doran, no date, circa 1920. Small 4to (6 1/2 x 9 1/4"), yellow cloth, 204p., owner name on endpaper else nearly AS NEW IN DUST WRAPPER AND PUBLISHER'S BOX with color plate on cover. Illustrated by Nielsen with color pictorial endpapers, 25 magnificent mounted color plates plus numerous lovely black and whites throughout the text. The dust wrapper repeats the title page illustration in orange and the plate on the box is done in gold and black. This is a magnificent copy, rare in the box

      [Bookseller: Aleph-Bet Books, Inc. ]
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        Lettres De Mon Moulin

      A. Ferroud et F. Ferroud Paris: A. Ferroud et F. Ferroud, 1920. leather_bound. Orig. green morocco, backstrip evenly sunned to brown. Aeg. Fine in fine marbled slipcase/No Dust Jacket. 302 pages in text. 20 x 13 cm. Limited edition, copy 11 of 30 on Japon ou velin d'Arches with an original water color drawing by Robaudi, watercolor illustrations in the text and additional illustrations in two states: black and white and watercolor, decorative letters by Fred Money. Alcide Theophile Robaudi, a protégé of Jean Leon Gerome, and a leading illustrator -- works of Dumas, George Sands, Balzac and Verlaine -- for the largest publishing houses in France. This work is a collection of short stories originally published 1869, early in Daudet's career. Bound by Rene Aussourd, inner dentelles, raised bands, marbled endpapers, contents very bright and fresh.

      [Bookseller: Royoung bookseller, Inc. ]
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        Irish Fairy Tales

      1920. Mr. Rackham Breaks New Ground in the Illustration of Irish Literature…"One of 520 Signed Copies[RACKHAM, Arthur, illustrator]. STEPHENS, James. Irish Fairy Tales. Illustrated by Arthur Rackham. London: Macmillan & Co., 1920.Deluxe Edition. Limited to 520 copies, signed by the artist. Large quarto. [2, blank], [2, limitation leaf], x, 318, [2, blank] pp. Sixteen color plates (including frontispiece) mounted on cream paper, with descriptive tissue guards, and twenty-one drawings in black and white.Original quarter vellum, ruled in gilt, over parchment boards. Front cover and spine decoratively stamped and lettered in gilt. Top edge gilt, others uncut. Covers very lightly browned and some light offsetting to end-papers. A couple of very light marks on upper cover and a tiny and almost unnoticeable amount of (insect) damage on the lower-edge turn-ins. Armorial bookplate of Agnes Marion Armitage on front pastedown. Overall an excellent copy of one of Mr. Rackham's best titles."Rackham's books for the English market in the early post-war years included Flora Annie Steel's English Fairy Tales Retold (1918)… and his friend James Stephen's collection of Irish Fairy Tales… In the latter book, Rackham broke new ground in the illustration of Irish literature. He had been persuaded to tackle Stephens's stories by Walter Starkie, who had vowed to give his uncle 'no peace' until he had agreed to illustrate them. In writing the stories, Stephens had attempted to create an Irish equivalent of The Arabian Nights, his own poetic retelling of the stories which existed in the oral tradition and in Gaelic texts, but which had not appeared accessibly in print. Rackham rose to the occasion, and his nephew's haunting of him was justified. The Dublin Independent was particularly warm in welcoming the collection, remarking: 'We read English tales with appreciation because pictures have familiarised us with English imagery. A Fenian tale lacks imagery because we have no art to give it colour and shape to what are presently only names. Some of Mr. Rackham's pictures are pure poems - they set you dreaming." (Hamilton, p. 128)."Rackham's two great books of the twenties were James Stephens' Irish Fairy Tales of 1920 and Shakespeare's Tempest of 1926... Beyond the softness of style and inventiveness, the most striking thing about the colour plates for Irish Fairy Tales is the felicitous and appropriate use of celtic borders" (Gettings, p. 143).Lattimore and Haskell, p. 52. Riall, p. 138. Gettings, p.179. Hamilton, p. 185.

      [Bookseller: David Brass Rare Books, Inc. ]
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        L'Architettura e l'Arte nell'Antico Egitto

      Societ Italiana di Edizioni Artistiche C. Crudo Torino Societ? Italiana di Edizioni Artistiche C. Crudo ca. 1920's First edition g Portfolio. 28pp (text), 107 loose plates (A-G, 1-100), as issued. Original 1/3 cloth over illustrated boards with strings. Gold lettering on spine. Fascinating work being primarily a collection of plates depicting important buildings, monuments and artifacts made between the Ist and the XXXIVth dynasty of the Egypt of the Pharaohs (5004 BC - 280 AD). 7 illustrated plates (Reconstruction) and 100 photographic plates in heliotype illustrate this magnificent work. Some age wear on portfolio with gold lettering on spine somewhat faded and spine frayed. Closed tears along joints. Edges and corners rubbed. Age-toning along paper margin. Very minor chipping and tiny closed tears along pages of text. Text in Italian and French. Portfolio in overall good-, interior in good to very good condition.

      [Bookseller: Eric Chaim Kline - Bookseller ]
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        Representatives of the Law

      1920. Forty-Eight Original Kyd Watercolors"The Law is an Ass"But the Artwork is SublimeKYD, (pseudonym of Joseph Clayton Clarke) artist. [DICKENS, Charles]. Representatives of the Law. (Ranging from the Bench to the Broker’s man), extracted from the Works of Dickens, and portrayed by “Kyd” in a series of 48 Character Studies drawn in colours. London: ca. 1920.Calligraphic title page in an orange border and with a judge’s head at the top, calligraphic list of plates in a green border, and forty-eight original watercolors by Kyd.All loose sheets, each measuring 10 9/16 x 7 7/8 inches and with the paintings within fine line borders comprising a panel measuring 7 x 4 1/2 inches. Each is a painting of a legal character from one of Dickens many works. The name of the character is in pen at the top left hand corner of the image space and the title of the book in which the character is found is located at the lower right hand corner.Each painting is signed by Kyd and depicts forty-eight judges, lawyers, solicitors, clerks, police, and prison turnkeys found in Dickens's novels, including Mr. Jaggers (Great Expectations); Mr. Perker (Pickwick Papers); Mr. Blathers (Oliver Twist); Uriah Heep (David Copperfield); Mr. Jinks (Pickwick Papers); Mr. Mallard (Pickwick Papers); Serjeant Buzfuz (Pickwick Papers); Mr. Chuckster (Old Curiosity Shop); Mr. Guppy (Bleak House); Mr. Tulkinghorn (Bleak House); and many others, not the least of whom is Sampson Brass ((Old Curiosity Shop), "an attorney of no very good repute…with a cringing manner, whose blandest smiles were so extremely forbidding that to have had his company under the least repulsive circumstances one would have wished him to scowl" - a character we strenuously assert to have no connection whatsoever in fiction or in life to our Brass family.Chemised in burgundy moire silk and housed in a full red morocco pull-off case with gilt spine lettering. A singular collection and fine.Dickens was intimately knowledgeable about the legal world. He began his professional life as a law clerk and had ambition to pursue the law as a career. As a result, “Charles Dickens was preeminently the novelist of the law, and his lawyers have a hold upon the public imagination far surpassing that of any other author” (Fyfe, Charles Dickens and the Law, p.7)."Dickens used a repeated and consistent pattern in presenting lawyers in his works… Generally, the lawyers have been treated simply as parts of other investigations, or as objects of Dickens' contempt. [In] Robert D. Neely's The Lawyers of Dickens and Their Clerks, [Neely] express[es] the opinion…that Dickens had a disdain for lawyers. 'One of the most marked prejudices was his dislike of lawyers, and all that pertained to the machinery of government.' This hatred is explained and justified in various ways. Philip Collins in Dickens and Crime states that the author was following a literary tradition in treating the lawyers vituperatively. In Charles Dickens: His Tragedy and Triumph Edgar Johnson sees Dickens' treatment of lawyers as one more aspect of his hatred of business. And Humphrey House in The Dickens World views the lawyer similarly to Johnson; House states that the lawyer has only a business, professional approach to people and to life. Thus, the lawyers are dismissed…" (Baughman, Charles Dickens and His Lawyers. ALSA Forum Volume 6, Number Number 2 [1982]). “The one great principle of the English law is, to make business for itself. There is no other principle distinctly, certainly, and consistently maintained through all its narrow turnings.” (Bleak House)"'If the law supposes that,' said Mr. Bumble, squeezing his hat emphatically in both hands, 'the law is an ass - an idiot. If that's the eye of the law, the law is a bachelor; and the worst I wish the law is, that his eye may be opened by experience'" (Oliver Twist)."What lawsuits grow out of the graves of rich men, every day; sowing perjury, hatred, and lies among near kindred, where there should be nothing but love!" (Martin Chuzzlewit)."Why, I don't exactly know about perjury, my dear sir," replied the little gentleman. "Harsh word, my dear sir, very harsh word indeed. It's a legal fiction, my dear sir, nothing more." (Pickwick Papers).Joseph Clayton Clark (1856-1937) worked as a freelance artist with a particular affection for Dickens, his Dickens illustrations first appearing in 1887 in Fleet Street Magazine, with two collections soon to follow: The Characters of Charles Dickens (1889) and Some Well Known Characters from the Works of Charles Dickens (1892). Beginning in the 1920s, he earned his living from watercolor sketches, mainly of Dickens' characters, which he sold to and through the London book trade. Frederic G. Kitton gives him early notice in his classic text, Dickens and His Illustrators (1890); Kyd's watercolors were at that date already being avidly bought by major Dickens collectors (Kitton, p. 233), the Cosens sale in 1890 successfully selling a collection of 241 of Kyd's Dickens watercolors, and Mr. Tom Wilson, at the time the foremost collector of Dickens, possessing 331 of Kyd's drawings. The British Museum has a collection of 598 drawings and paintings of the artist's Dickens work, and the Victoria and Albert Museum, Dickens House in London, and the University of Texas at Austin each have significant collections of Kyd.As for this collection of original art by Kyd on Dickens and the law and its representatives, "Take nothing on its looks; take everything on evidence. There's no better rule" (Great Expectations). The indictment: An unique, superb and singular collection of Dickensiana. The verdict: Guilty as charged. Collection to be remanded into custody for years of enjoyment.

      [Bookseller: David Brass Rare Books, Inc. ]
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        LES FLEURS DU MAL

      Paris: Editions Rene Kieffer, 1920. Of an edition limited to 485 copies this is one of 450 copies on Velin. This copy is not numbered, but inscribed to a friend of the publishers and signed by Kieffer. Illustrated with 26 colored pochoirs by Andre Domin. 363 pp. Text in French. Hardcover. 4to. Burgundy Half polished morocco over marbled boards. Top edge gilt. Binding rubbed at several places along both hinges ( very minor ), else a nice, fresh, clean copy in a clam-shell case.Very good+/No jacket issued. (Oversized - extra shipping charges apply) (Insurance required to ship this item).

      [Bookseller: A. Parker's Books, Inc. ]
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        1920's - 30's Original German Fabric Sample Book

      NP NP n/dg Elephant Folio. Maroon leather with decorative paper pasted on front and back board. Paper remnants of previous label on spine, cover label with faded handwriting. 170 two-sided pages with more than 225 different patterns. Age wear and staining on binding. Number chart pasted on front board. Tearing on first page. Creasing to pages throughout. Binding in overall good, samples in very good condition. Unique sample book with over 1000 textiles in rich vibrant colors.

      [Bookseller: Eric Chaim Kline - Bookseller ]
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        Bliss. The Garden Party. The Doves' Nest. Something Childish. Journal of... The Letters of... [both] Edited by J. Middleton Murry. [with] MANTZ, Ruth Elvish & MURRY, J. Middleton. The Life of Katherine Mansfield.

      London: Constable (1920, 1922, 1923, 1924), 1927, 1928, 1933.. Seven works in eight volumes (Letters 2 volumes), all first editions - "The Garden Party", "The Doves' Nest" and "Something Childish" are second impressions (but see note). These three novels are signed on the fly leaf by Sydney Waterlow, and the "Life" contains his bookplate. Some light foxing. All bound in the original cloth, spines with slight rubbing and fading. "Journal" with its d.w., chipped, spine browned, "Letters" with the d.w. in pieces and loosely inserted. A unique set including four of Mansfield's six prose collections, all from the library of Sydney Waterlow, diplomat, second cousin of Mansfield and close contemporary of the Bloomsbury group, having befriended many of them during his time at Cambridge. In 1910 he proposed to Virginia Woolf, but was amicably rebuffed. Despite this he remained close to her and the group, helping to found their Memoir Club, a monthly dining club, in 1920. In a letter to Edward Sackville-West following the publication of "Orlando", Woolf revealed that the "S.W." character was loosely based on Waterlow. Kirkpatrick A4a, A5a, A6a, A8a, A9a, A10a, B10. The three second impressions were in each case preceded by a first printing of a handful of trial bindings - 25 copies of "The Garden Party" and "The Doves' Nest" and 34 copies of "Something Childish".

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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        A Handbook for Travellers in India, Burma and Ceylon, including all British India, The Portuguese and French Possessions, and the Protected Native States. Tenth Edition. SPLENDID AND UNIQUE COPY IN SIGNED HATCHARDS BINDING

      John Murray, 1920. Sm. 8vo., Tenth Edition, on India Paper, with 38 folding coloured maps, 11 full-page maps and plans (a number coloured), numerous illustrations, plans and tables (several full-page) in the text, and a very large folding coloured map mounted on cloth in pocket at rear, some mild offsetting to blank preliminaries, endpapers very lightly age-soiled; handsomely bound in full crushed red morocco BY HATCHARDS, upper board lettered in gilt, back with five shaped raised bands, second compartment lettered in gilt, all edges gilt, wide gilt doublures elaborately tooled in gilt with a floral border enclosing multiple frames, laid paper endpapers, red, yellow and green silk head- and tail-bands, red buckram pocket, a splendid and ornate copy ideal as a gift or for presentation. THE BINDING IS SIGNED ON FRONT PASTE-DOWN. IT WAS COMMISSIONED BY GUY WESTMACOTT WHOSE NAME IS LETTERED IN GILT ON FRONT BOARD (this could well be Guy Randolph Westmacott of the Grenadier Guards). A SPLENDID AND UNIQUE COPY OF THE ONE OF THE BEST EDITIONS OF THE FINEST TRAVELLER'S GUIDE TO INDIA AND SURROUNDING REGION.Very scarce in any condition.

      [Bookseller: Island Books]
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        [Works]. Sense and Sensibility. Pride and Prejudice. Emma. Mansfield Park. Northanger Abbey. Persuasion. Lady Susan and the Watsons.

      Cambridge: W. Heffer and Sons, [c.1920].. Adelphi edition, seven volumes, 8vo. Recent red half morocco, a.e.g., red cloth sides, a fine set.

      [Bookseller: Bow Windows Bookshop, ABA, ILAB]
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        The Fairy Walk

      1920. A Wonderfully Ethereal Watercolor from the Master of Children's Fantasy IllustratorsTIMLIN, William M. "The Fairy Walk." Original pen, ink and watercolor drawing, titled on lower left hand corner, signed on lower right hand corner and marked with Timlin's owl device. Image size: 20 5/8 x 12 1/2 inches: 525 x 320mm.Matted, framed and glazed.William M. Timlin ranks alongside Dulac, Rackam, and Pogany as one of the greatest children's fantasy illustrators, despite his having published only one book in his lifetime (The Ship that Sailed to Mars, 1923). He died before his second great work, The Building of a Fairy City could be completed. The Fairy Walk depicts an elegant young lady in conversation with an ethereal figure sitting on a fence and holding onto a branch of a tree, observed by four ravens and a trio of mischievous looking goblins. It is quite possible that this drawing is a finished watercolor for The Building of a Fairy City. It is beautifully executed and very large, drawn with finesse and detail, indicative of an important work. Even though this drawing is dated 1920, three years before The Ship that Sailed to Mars was published, Timlin had been working on drawings for The Building of a Fairy City for many years previous to the publication of his first book.William Mitcheson Timlin (11 April 1892 - 1943) was an architect and illustrator. He was born in Ashington, Northumberland, the son of a colliery foreman. He showed talent for drawing at Morpeth Grammar School, and received a scholarship to the Armstrong College of Art in Newcastle. In 1912, he joined his parents in South Africa where he completed his training in art and architecture and remained for the rest of his life.Timlin designed a number of important buildings in Kimberley including Kimberly Boys' High School while pursuing his interest in art, turning out a large number of watercolour fantasies in addition to oils, pastels, etchings and periodical illustrations. His work was regularly exhibited. He also wrote stories and composed music.Timlin worked on The Ship that Sailed to Mars for two years. It was started as a diversion for his son in 1921. The work expanded until in its final form it had 48 pages of text and 48 color plates showing remarkable flights of fantasy. Timlin sent the book to publishers George Harrap, who were delighted with the illustrations and the calligraphic text, deciding to print it without typesetting. The book has since become a fantasy classic. The film rights to the book were purchased in the United States, where Timlin enjoyed great popularity. Alan Horne in The Dictionary of 20th Century British Book Illustrators describes the book as a masterpiece and "the most original and beautiful children's book of the 1920s."Timlin illustrated many South African travel books and prepared illustrations for a book titled The Building of a Fairy City which was never published. He died in Kimberley, Northern Cape in 1943.

      [Bookseller: David Brass Rare Books, Inc. ]
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        Träumereien an französischen Kaminen. Märchen. Mit einer Einleitung herausgegeben vonFritz Gundlach. Sonderausgabe der Nr. 6091-92 Reclams Universalbiblithek...

      Wien [Vienna], Österreichischer Schulbücherverlag, [ca. 1920]. Small 8vo. Simple cloth-backed paper-covered boards (paper in wood-pattern). Extremities rubbed. Title-page partly glued on to front board. Inner hinge weak, first many gatherings loose, lightly browned throughout. 153, (3, -advertisements) pp.. A most excellent Wittgenstein-item that combines several aspects of the most influential philosopher of the 20th century. The present little fairy-tale book was bound under Wittgenstein's supervision during his time as an elementary school-teacher I Austria (probably 1924-25). The book has an excellent provenance, as it was probably bought by One of Wittgenstein's closest friends, Ludwig Hänsel, bound under the supervision of Wittgenstein, given by Wittgenstein to the second of his two closest friends, Rudolph Koder, and given by Koder to the famous Wittgenstein scholar Professor Brian McGuinness.When Wittgenstein wrote the "Tractatus", one of the most important philosophical works of the 20th century, which was printed in 1921, he had proposed the solution to, and thereby put an end to, all fundamental philosophical problems. He had differentiated between that which there can be said something meaningful about and that which there cannot, and as a consequence, he had not only put an end to philosophical problems, he had also put an end to all philosophical production. Wittgenstein took the consequences of this upon himself and left philosophy for what he thought was for good. He now returned from Cambridge to Austria in 1920 and started training as a primary school-teacher. He was educated in the methods of the Austrian School Reform Movement, which probably suited him well, as the intention was to arouse the natural curiosity in children and to let them develop as independent thinkers. In July 1920 he received his diploma from the teacher-training college. He did not, however, begin teaching immediately. He spent the summer working as a gardener, and in September the same year, he took up his teaching duties. First, he taught at Trattenbach, where he remained till the summer of 1922. After the summer he became, briefly, a high-school teacher at Hassbach, and then an elementary school-teacher in Puchberg am Schneeberg, where Koder also taught; he stayed here till 1924, after which he went to Otterthal to teach. During this time, Wittgenstein published a spelling- and pronunciation-dictionary for his teaching of the students - this became the only work that he published in his lifetime besides the "Tractatus". The present binding yields from Wittgenstein's famous "lost years" after the Tractatus. More precisely, it is most likely during his tumultuous time in Otterthal that Wittgenstein had the present fairy tale-book bound. In a letter to Ludwig Hänsel written in September 1924, he asks his close friend to bring back ten copies of this edition from Vienna to Otterthal. During his time as a school-teacher, several acquaintances had tried to persuade him to return to philosophy and scholarly life, e.g. Ramsey, who visited him several times in Puchberg 1924, after which he wrote his famous essay on the "Tractatus", and his friend J.M. Keynes, to whom he also in 1924 explained very clearly that he did not wish to return to scientific work, because everything he had to say had been said already, and that the well had been laid dry.Though the period of 1924-25 were desperately unhappy for Wittgenstein, who often contemplated suicide, he did apparently enjoy his teaching position and took it seriously. The thought that he was appreciated by the pupils kept him at his task, but his expectations of the children of rural Austria might still have been somewhat unrealistic. He had little patience with the children that had difficulties learning, and he was extremely strict towards them. In fact, his severe disciplinary methods together with the general idea among the parents that he was somewhat mad, caused him to leave the job for good in 1926. He had struck a boy on the head, after which the boy had collapsed, and the parents instituted legal proceedings against him. Several parents were also afraid that he would persuade the brighter of the children to leave the family farm and pursue academic careers. The legal proceedings were that which made Wittgenstein finally leave teaching for good. He immediately left town but was subjected to a compulsory psychiatric examination, after which he was acquitted on a trial at Gloggnitz. He never returned to teaching again. Already during his year of training as a school-teacher, Wittgenstein had mostly enjoyed reading fairy tales to the children. In fact, the influence of fairy tales upon his career has been quite extensive. As a school teacher, he considered fairy tales the most instructive reading for children, as it both posed ethical and religious problems and encouraged their fantasy. As a philosopher, the fairy tales provide him with the most excellent of examples. In his theories of language, Wittgenstein frequently uses examples of fairy tales, e.g., he comes to conclusions about the status of logical expressions from the example that statements about elves express logical, not real, possibility. Because the grammar of the word 'elf' gives no observational criteria for that word's application: nothing we observe or fail to observe directs our use of the word 'elf'. Fairy tales do. He also frequently uses examples of fairy-tales to determine grammatical rules. In fairy-tales statements-of-fact are often found, which do not even pretend to state facts. Perhaps we say that a fairy-tale author follows his own rules or rules taken from other writers, but which of these rules are grammatical? The fact that in fairy-tales there is no difference between real and logical possibility made them of great importance to the thought of Wittgenstein. E.g. in the "Tractatus" (6.362), he states that in the fairy tale, "what can be described can happen too". "But what can be described belongs to grammar." And what does "grammar" mean in this case? Is there any grammatical difference between what can happen in a fairy tale and what does happen in that tale?The present "Wittgenstein-binding" is thus not only a curiosity. It also constitutes an example of an item that has played a significant role in the life of one of the greatest thinkers of the 20th century. Not only do these fairy-tales appeal to Wittgenstein intellectually, and not only have they served as a means of solving some of the most important questions of modern logic and philosophy of language, they also tie together the "lost years" of the great philosopher with those for posterity so important philosophically productive years. The present little volume, so simply bound under the instruction of the great philosopher, also contains markings in pencil of six of the fairy-tales, no doubt Wittgenstein's recommendations for reading. The present fairy-tale volume is the most famous literary production by the renowned German author and surgeon Richard von Volkmann (1830 - 1889). For his literary works he used the pseudonym Richard Leander. Apart from being the author of the present famous volume of fairy-tales, Volkmann counts as one oft he most famous surgeons of the 19th century, and is one oft he greatest German surgeons of all times. His fairy-tales were among the best-loved in Germany, together with those of the Grimm brothers. They were written while he served as a general physician at the German-French war of 1870-71. They portray a healthy and beautiful world within one of misery and distress. The fairy-tales are not typically idyllic, though, they much more represent romantic castles in the air that are full of spirit and roguish humour. Rudolph Koder was one of Wittgenstein's closest friends. They met in 1923 when both teaching at the primary school of Puchberg and stayed close friend throughout their lives. Koder was a talented pianist and music teacher, and he shared his great interest in music with Wittgenstein. After Wittgenstein's death in 1951, Mrs. Stonborough, Wittgenstein's sister, entrusted Koder with several of Wittgenstein's papers, which he loyally guarded throughout his life. Wittgenstein did not have many close friends, but the closest together with Koder was Luwig Hänsel, who was a high-school teacher of German and literature. Hänsel and Wittgenstein, who befriended eachother in 1918 while being war prisoners in Monte Casino, also remained close friends throughout their lives. After having quit his job as a school-teacer in 1926, Wittgenstein still did not wish to return to academic life, so he worked at a number of different jobs, first as a gardener's assistant in the Hüsseldorf monastery. The following two years he spent designing and constructing his sister Gretl's house near Vienna. He also considered becoming a monk and inquired about the requirements for joining an order. He was, however, advised that monastic life would not be able to provide him with that which he sought. In 1929 he decided, at the urging of amongst others Ramsey, to return to Cambridge

      [Bookseller: Lynge & Søn A/S]
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        East India, Committee on Indian Exchange and Currency [BRITISH PARLIAMENTARY PAPERS]

      Comprising the complete suite bound in one volume as follows: 1) Vol I. Report of the Committee appointed by the Secretary of State for India to enquire into Indian Exchange and Currency, 56pp folio, London, HMSO., 1920 [Cmd 527]; 2) Vol II. Minutes of Evidence taken before the Committee... 329pp folio, London, HMSO., 1920 [Cmd 528]; 3) Vol III. Appendices to the Report of the Committee.., 251pp folio, London, HMSO, 1920. [Cmd 529]; 4) Vol IV. Index to Minutes of Evidence taken by, and Appendices to Report of, Committee on Indian Exchange and Currency, 57pp folio, London, HMSO., 1920. [Cmd 530]. A very good complete copy, bound in contemporary red buckram, rebacked. * This includes evidence by J. M. KEYNES who gave evidence on the 12th day (see vol II above, p. 166-175). Keynes was by this time considered to be an authority on the subject, partly through his own first book, 'Indian Finance and Currency', (1913) and partly because he had sat on the Royal Commission on Indian Finance and Currency, 1914-15 to which he had contributed the famous "Annexe to Report of Royal Commission on Indian Finance and Currency, Memorandum by Mr J. M. KEYNES on Proposals for the Establishment of a State Bank in India".Keynes had a two-fold task; he had to convince the Commission of his view, already expressed in his book, that actual developments had been in the right direction and that the system known as the gold-exchange standard was superior to the full gold-standard. His second task was to procure a distinct advantage by establishing a State Bank. He argued that it would be desirable to develop in India a more extended money market and bank-rate control. Indian currency had been a vexed question ever since bimetallism was abandoned in 1873. The Enquiry was chaired by Sir Henry Babington Smith, a senior British civil servant, who in 1891 became principal private secretary to the Chancellor of the Exchequer, George Goschen. In 1894 he became private secretary to Lord Elgin on his appointment as Viceroy of India. He returned to Britain in 1899 and was immediately sent to Natal as Treasury representative in the South African War. In 1909 he returned to Constantinople as president of the National Bank of Turkey, which he was instrumental in establishing.The First World War saw him holding a variety of posts connected with finance, including deputy governor of the British Trade Corporation, and in 1918 he accompanied Lord Reading to the United States as Assistant Commissioner and Minister Plenipotentiary. After the war, he chaired the Indian Finance and Currency Committee in 1919 and was appointed a director of the Bank of England in 1920.

      [Bookseller: Jeffrey Stern Antiquarian Bookseller]
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