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Displayed below are some selected recent viaLibri matches for books published in 1920
Geology of the Mid Continent Oilfields Kansas, Oklahoma and North Texas THE MACMILLAN COMPANY, NEW YORK 1920 - 24 Maps som fold out. Green cloth with gilt spine title. Bumped and rubbed at spine ends and corners. DATE PUBLISHED: 1920 EDITION: 313 [Attributes: Hard Cover] [Bookseller: Princeton Antiques Bookshop] 
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Sen, zivot duse. 10 puvodních litografií. [Dream, the life of the soul. A portfolio of ten original lithographs] Veraikon 1920 - Original portfolio (28 × 25 cm), with lithographed title, colophon, and ten lithographs on separate leaves, with protective calques. Blind-embossed title label affixed to front wrapper. Portfolio lightly worn, with small loss to lower spine and old tape repair to spine; contents very good or better. Unrecorded portfolio of ten striking lithographs by Adámek, a theosophical and mystic painter and graphic artist who participated in the Sursum Art Association, which defined itself as expressly anti-realist and concerned with "spiritual and cultist" concerns. Among its other members were Emil Pacovský, Josef Váchal, Jan Kon?pek, Jan Zrzavý, Rudolf Medek. The Czech critic Gustav Jaro? considered this lithographed cycle not only to be Adámek's most important work, but saw it as unique in Czech art for its imaginative immediacy; he coined the term "soulpainting" (du?emalba) to describe it. Adámek's ethereal drawings carry titles such as "The soul's awakening" and "Approaching the mysterium." Not located in KVK, OCLC. Not at the Czech National Library. [Attributes: First Edition; Soft Cover] [Bookseller: Penka Rare Books, ILAB]
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THE TRAGEDY OF JEWISH IMMIGRATION; EVIDENCE GIVEN BEFORE THE BRITISH ROYAL COMMISSION IN 1902 New York, Zionist Organization Of America,. 1920. Paperback. 1st Edition. Original Paper Wrappers. 8vo. 47 pages ; 19 cm. In English. Herzl's testimony, as well as a transcript of a question and answer session with the Zionist leader before the British Royal Commission in 1902 to discuss the Jewish Question in Europe and the Likelihood of ongoing Jewish immigration to Britain. With an introduction from Jacob De Haas, the secretary of the First Zionist Congress. In his testimony Herzl says, The fact that there is now for the first time since Cromwell a perceptible number of our people in England is the true cause of this Commission being called together. Those who deny this are, I feel quite certain, perfectly sincere. When they cry out about Alien Immigration, they are quite unconscious of the true cause of their complaint. They feel the pain and they point to the place which hurts But I think it right to say that the mere establishment of this Commission has created a difficulty (The) Commission must either recommend restrictive legislation or not . To keep out the poor oppressed Jews cannot, I believe, be successful. But if restrictive legislation is not recommended, there mere fact of this Commission having sat will give an impetus to immigration to England; it will have formed an additional notification of the desirability of England as a place for emigration. OCLC lists 12 copies worldwide. Small tears along the top of a few pages with no test effected. Overall good+ condition. (SPEC-42-26) . [Bookseller: Dan Wyman Books]
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Assisi. 1920/21. Plattengrösse 24,5 x 32,5 cm / Blatt 37 x 50 unter Passepartout. In den Platte rechts unten signiert und datiert (21), darunter handsigniert und dat. 20) Links unten handschriftlich num (37/40) und bezeichnet. [Bookseller: Antiquariat Galerie Joy]
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Rededicating America / Life And Recent Speeches Of Warren G. Harding, Foreword By Will H. Hays (Harding's Presentation Copy But Unsigned) Bobbs-Merrill Company, Indianapolis 1920 - 256 Pp. Full Morocco, Spine Gilt, Blindstamped Rules, Top Edge Gilt, Marbled Endpapers. Gilt Lettering On Spine Still Bright. One Of President Harding's Own Copies, Specially Bound For Him In Publisher's Full Calf, Watered Endpapers And Two Blank Free Front And Two Blank Free Rear Endpapers. A Tight And Clean Example With Only Traces Of Rubbing. This Is Not Signed By Harding. The Book Is From The Library Of Harding's Brother-In-Law, Although There Is No Indication Of Such Within The Book; We Also Had Another Copy Of This Same Book In This Same Special Binding, Not Included In This Listing, Which Was Inscribed To This Brother-In-Law, And A Photocopy Of That Inscription Is Included. This Copy Does Come With A Separate Signed Sheet Of Paper With Harding's Original Signature. [Author's Copies Of Books By The Presidents Seldom Come Onto The Market.] [Attributes: First Edition; Signed Copy; Hard Cover] [Bookseller: Arroyo Seco Books, Pasadena, Member IOBA]
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N°1 (31 mai 1919) au N°6 (15 juillet 1920). - 6 fascicules, grand In-4, en feuilles sous couvertures à doubles rabats, (quelques petits accidents sur le dos). Première série complète de cette rare revue Art -Déco tirée à mille exemplaires( chaque fascicule porte le même numéro). Illustrées de nombreuses planches hors-texte en couleurs dont certaines justifiées ou tirées sur grand papier (vergé, hollande, et japon).Chaque numéro est divisé en plusieurs chapitres ou "Feuillets" traitant de littérature, mode, arts et dessin , musique et théâtre. Avec des textes de Jean Giraudoux, Henry de Régnier, La Comtesse de Noailles, Marcel Proust , Emile Verhaeren, etc.Illustré de nombreux bois gravés (Daragnès, Dufy, et des illustrations originales de Léon Bakst, George Barbier, Laboureur, Van Dongen.ainsi que de nombreux hors-texte publicitaires in-fine sur vergé.N°1. G. Lepape La Femme au Miroir Rouge (numéroté sur Japon), Charles Martin (numéroté sur Japon), Llano Flores (numéroté sur Vergé), Benito, M. Dufet, Bourdelle, Bakst, Toulouse-Lautrec.N°2.Charles Martin (numéroté sur Japon), Georges Barbier (numéroté sur vergé), Llano Flores (numéroté sur vergé), Benito (numéroté sur vélin) hors-texte de Lepape, Joseph Bernard.N°3.Robert Bonfils (numéroté sur Japon), Romme (numéroté sur Vergé), André Domin (numéroté sur Vélin) et dessins et hors-texte de Picasso. Complet des 4 hors-texte de publicité qui apparaissent à partir de cette livraison.N°4.Eau-forte originale de Laboureur (numérotée sur Japon), Erlanger (numéroté sur Vélin), et Halouze (numéroté sur Vélin) et hors-texte de Ruhlmann, dessins de Bonnard. Complet des 4 planches hors-texte de publicité.N°5.Pochoir original de Van Dongen (numéroté sur Japon) Bois en couleurs de Daragnès (sur vélin) et une eau-forte d'Odilon Redon. Complet des 4 planches hors-texte de publicité.N°6.Drian (numéroté sur Vergé), Mario Simon (numéroté sur Vergé), Llano Flores (sur vélin), bois de Michel Dufet, A. Carrera, hors-texte de Renoir, Manzana-Pissaro, etc.et complet des 3 planches hors-texte de publicité.On ajoute un spécimen publicitaire de présentation réduite au 1/6° (13x11 cm) contenant sous couverture à rabat des feuillets de texte illustré de 10 planches hors-texte ainsi que quelques feuillets publicitaires. Livres [Attributes: Soft Cover] [Bookseller: pages volantes]
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Relativity - The Special and the General Theory - A Popular Exposition - in the original 5 shillings dust wrapper London: Methuen, 1920. A first edition, first printing published by Methuen in 1920. A very good+ (or better) book with one small name and date to the head of the front endpaper. Some foxing spots to the page edges (one to the prelims), with some light off-setting to the endpapers. Spine is very lightly faded, but the colour of the boards is strong. In the exceptionally scarce original dust wrapper correctly priced at 5/-. Two small archival tape repairs to closed tears on the spine (repaired internally). Patch of rubbing obscuring the 'T' and 'H' of Methuen to the foot of the spine. Some light chipping to the spine tips and corners. The wrapper may be a slightly later issue example given the list of books on the flaps, but this may be explained by the difference in years in terms of translations etc. To find this book in an original dust wrapper is scarce. The front panel of the book explains that Einstein's theory 'has made a new era in science'. Rare. [Bookseller: John Atkinson Books]
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The Works of Joseph Conrad: Signed Limited Edition. Garden City, NY: Doubleday, Page & Company, 1920-1926. Complete works of Joseph Conrad. Signed by Joseph Conrad on the limitation-page of Volume I. Octavo, 22 volumes, finely bound in full blue morocco, gilt title and tooling to the spine, raised bands, marbled endpapers, top edges gilt. Frontispiece portrait in Volume I. One of 735 copies of the Sun-Dial Edition. In near fine condition. A very nice set. Joseph Conrad was a Polish-British writer regarded as one of the greatest novelists to write in the English language. He joined the British merchant marine in 1878, and was granted British nationality in 1886. Though he did not speak English fluently until he was in his twenties, he was a master prose stylist who brought a non-English sensibility into English literature. Conrad is considered an early modernist, though his works still contain elements of 19th-century realism. "His narrative style and anti-heroic characters have influenced many authors, including T. S. Eliot, William Faulkner, Graham Greene, and Salman Rushdie" (John Stape, The Many Lives of Joseph Conrad). [Bookseller: Raptis Rare Books]
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Vintage Original Photograph Signed ("Earl Derr Biggers") in black fountain pen ink on 1/2 length shot wearing three-piece suit, silk tie and wire rim glasses. Photograph is by Marceau, Boston, with their logo in the lower margin and is on heavy stock; oval image with wide borders; 6" x 8"; very good, fresh. ca. 1920's Signed and inscribed: "To Chas. B. Welch with pleasant memories of Traveler days Earl Derr Biggers." Earl Derr Biggers (1884-1933), born August 24, 1884, Warren Ohio; died April 5, 1933, Pasadena, California; American author; created Chinese fictional detective Charlie Chan; first appeared in "House Without a Key" 1925. Several films were based on his characters.. Signed by Author(s). F. Soft cover. [Bookseller: Houle Rare Books & Autographs]
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Croquis de mode par Raoul Dufy Soieries de Bianchini-Férier (Croquis La G EDITION ORIGINALE Paris: Lucien Vogel éditeur, 1920. Fine. Lucien Vogel éditeur, Paris 1920, 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 where presented various accessories (fans, canes, jewelry, lingerie pieces). Sketches III, IV and VIII are signed David, both the lower right and left boards. Original prints made ??for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America. Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette. The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day. Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ... Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine. - [FRENCH VERSION FOLLOWS] Ensemble de huit estampes originales en couleur, tirées sur papier vergé et signées en bas à droite des planches. Ce cahier est suivi d'une planche illustrée de onze modèles de robes. Formé aux Beaux-arts de Paris, Raoul Dufy commence à se faire connaitre quand Maurice Denis lui achète une de ses toiles, exposée au Salon des indépendants de 1903. En 1910, Dufy travaille aux côtés de Guillaume Apollinaire et illustre de plusieurs bois gravés son Bestiaire. Impressionné par ce travail, le couturier Paul Poiret lui propose de travailler avec lui ; Dufy se lance alors dans le dessin de mode et monte une entreprise de décoration et d'impression de tissus avec Poiret. C'est par ce biais qu'il entre peu de temps après à la Gazette du Bon ton, où d'un trait toujours extrêmement élégant, il réalise de rares mais très appréciées vignettes. Sa prédilection pour les couleurs vives - issue de de son attirance pour le fauvisme - conforte son succès auprès du public au point de se voir attribuer une commande d'Etat en 1936 dans le cadre de l'Exposition internationale des arts et des techniques dans la vie moderne prévue en 1937. C'est à cette occasion qu'il réalise son œuvre la plus connue, La Fée électricité, vaste fresque représentant l'histoire de l'électricité et de ses applications. Contrairement aux autres dessinateurs de la Gazette et à l'instar de Bakst, notamment, Dufy se montre relativement indépendant vis-à-vis du monde de la mode et se détourne assez rapidement de ses productions pour la Gazette. 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 (sœur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [Bookseller: Librairie Le Feu Follet]
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Croquis de mode : Croquis de mode d'été par Mario Simon (Croquis La Gazett & §WOODRUFF#André-Edouard§§ EDITION ORIGINALE Paris: Lucien Vogel éditeur, 1920. Fine. Lucien Vogel éditeur, Paris 1920-1922, 18x24cm, relié. - Set of four original lithographs in color, drawn on laid paper. Text describing the end 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 : - Croquis de mode d'été par Mario Simon (Croquis, La Gazette du Bon ton, 1920 n°3) pour Beer, Worth, Lanvin, Paul Poiret et Doeullet. Ensemble de quatre lithographies originales en couleur, tirées sur papier vergé. - Les modes en l'an de grâce Mil neuf cent vingt un (Croquis, La Gazette du Bon ton, 1921 n°3). Les modes en l'an de grâce Mil neuf cent vingt un (Croquis, La Gazette du Bon ton, 1921 n°3). - Pour la Riviera. Robes garnies de fleurs naturelles, dans la mesure où l'on en a et où l'on ne préfère pas d'employer, moins coûteuses, les fleurs artificielles (Croquis, La Gazette du Bon ton, 1921 n°10). Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Le croquis XIX est signé en bas à droite de la planche. - Costumes tailleur de fantaisie ornés de colifichets (Croquis, La Gazette du Bon ton, 1922 n°4). Ensemble de huit estampes originales en couleur, tirées sur papier vergé. Le croquis XXXI est signé en bas à droite de la planche. 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 (sœur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [Bookseller: Librairie Le Feu Follet]
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JAHRBUCH DER JUNGEN KUNST Volume 1, 1920 1920. Very Good. BIERMANN, Georg, hrsg. JAHRBUCH DER JUNGEN KUNST. [Volume 1.] Leipzig: Klinkhardt & Biermann, 1920. The Jahrbuch was a yearly survey of contemporary developments in European visual arts that was published from 1920 to 1924. This is the first issue. It is comprised of many articles illustrated with many quality black and white reproductions, and eight original prints. The original prints include four lithographs, one each by Max Pechstein (Fischerhafen), Erich Waske (Sonnenaufgang), Max Burchartz (Frau vor dem Fenster), and Josef Eberz (Versohnung). three woodcuts, one each by E. Adam Weber (Am Brunnen), Lyonel Feininger (Buttelstedt), Franz Nitzsche-Niitzsche (Lied), and a linoleum cut by Wilhelm Morgner (Bartiger Mann). Also included is a facsimile of a letter from Wilhelm Morgner. XI, 348 pp. Quarto (10 3/4 x 8 un.), cloth-backed patterned paper boards, with printed title on spine. Contemporary gift inscription on verso of Pechstein's print, which serves as frontispiece to the volume, to the Russian-born American sculptor "Miss Bashka Paeff, from her friend Dr. Sundelof." Binding shows general wear and light soiling, and has an abraded patch on lower board. Minor creasing to fore-edges of the first and last few leaves. Internally clean and very good overall. [Bookseller: Boston Book Company]
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Maquettes de costumes dessinées par Fauconnet pour le Conte d'hiver de Shak EDITION ORIGINALE Paris: Lucien Vogel éditeur, 1920. Fine. Lucien Vogel éditeur, Paris 1920, 18x24cm, relié. - Set of four original lithographs in color, drawn on laid paper, signed lower right and left boards. Text on the back explaining the boards. Original content produced for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco. Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium. The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America. Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette. The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day. Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ... Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine. - [FRENCH VERSION FOLLOWS] Ensemble de huit estampes originales en couleur, tirées sur papier vergé et signées en bas à droite et à gauche des planches. Les planches sont introduites par un texte signé Jean Cocteau et représentent des costumes pour la pièce de Shakespeare (deux Bergères, Paulina ou encore Le Temps). 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 (sœur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [Bookseller: Librairie Le Feu Follet]
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Back View of Kneeling Woman (from Douze Aquarelles) Genève & Paris, Editions Georg. 1920. - Lithograph after original watercolour on wove. Fine condition. Ash frame with a limed wax finish and UV glass. Image size: 22 x 31 cm. Paper size 28 x 37 cm. This print was issued as part of the Douze Aquarelles portfolio, published 3 years after Rodin's death. With the Editions Georg blindstamp to lower right. [Bookseller: Peter Harrington. ABA member]
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Au Pays du Mufle 1920. GLEIZES, Albert. Au Pays du Mufle. By Laurent Tailhade. [9], 12-16, [3], 160-161, [1]; [2] pp. Includes a frontispiece and 11 full-page woodcuts. Small 8vo., bound in original illustrated wrappers. Paris: Edouard-Joseph, 1920. [Bookseller: Ursus Rare Books]
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Letzte Lockerung manifest dada. Hannover / Leipzig / Wien / Zürich, Paul Stgeegemann Verlag, (1920). - 1.-3. Tausend. Ca. 22 x 14,5 cm. 45 S., (3) Seiten. Farbige Orig.-Broschur. Erste Ausgabe. Raabe 275.2. Gedruckt als 62.-64. Band der Sammlung "Die Silbergäule" bei Edler & Krische, Hannover. Einband leicht gebräunt. Einband und Seiten am oberen Eck mit minimaler Knickfalte. [Attributes: First Edition; Soft Cover] [Bookseller: Rainer Kurz - Antiquariat]
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Souvenirs entomologiques. Études sur l'instinct et les moeurs des insectes. (Première-Dixième series). Édition définitive illustrée. Paris, Delagrave, 1920-1924. Ten volumes in ten [and an 11th volume, titled "Sa Vie"]. Large 8vo (24.3 x 16.2 cm). Over 4,000 pages. Numerous plates and fine text engravings. Later half tree calf over marbled boards. Spines with five slightly raised bands; compartments rich gilt with entomological vignettes, and red morocco labels with gilt title. Marbled endpapers. Top edge red.l The definitive Jean Henri Fabre (1823-1915) and his major work, in fine bindings. "Fabre was a popular teacher, physicist, chemist and botanist. However, he is probably best known for his findings in the field of entomology, the study of insects, and is considered by many to be the father of modern entomology. Much of his enduring popularity is due to his marvelous teaching ability and his manner of writing about the lives of insects in biographical form, which he preferred to a clinically detached, journalistic mode of recording. In doing so he combined what he called 'my passion for scientific truth with keen observations and an engaging, colloquial style of writing'... His Souvenirs Entomologiques is a series of texts on insects and arachnids. He influenced the later writings of Charles Darwin, who called Fabre 'an inimitable observer'. Fabre, however, was a Christian who remained sceptical about Darwin's theory of evolution, as he always held back from all theories and systems. His special force was exact and detailed observation, field research, always avoiding general conclusions from his observations, which he considered premature" (Wikipedia). Added, in a near-matching binding (only the spine bands are slightly more pronounced, and the compartments plain) "La vie de J.-H. Fabre. Naturaliste. Suivie du répertoire général analytique des Souvenirs Entomologiques par le Dr. G.-V. Legros". This work, published in 1924, also by Delagrave, has a preface by Fabre himself, and his portrait. It was published by the Delagrave in the same year as the last volume of the "Souvenirs", and is bound with the original pictorial wrappers included. It contains xv + 439 pp., and 16 tissue-guarded, mostly photographic plates. Uncut. Fore edges somewhat spotted, otherwise clean. A very nice ensemble in excellent condition. More information about the "Souvenirs" can be found on https://fr.wikipedia.org/wiki/Souvenirs_entomologiques. Horn-Schenkling II(2), pp. 1-2. [Bookseller: Antiquariaat Schierenberg]
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Souvenirs entomologiques Etudes sur l'instinct et les moeurs des insectes Edition definitive illustrée Paris: Librairie Delagrave. 1920-5. Hardcover. In ten volumes. Contemporary tan half mottled calf over marbled boards, spines with raised bands, decorated in gold and with butterfly motifs, red morocco labels lettered in gold. Marbled endpapers, top edges stained red, silk bookmarks. A touch of foxing to fore edge else a bright, near fine set. In the French language. . [Bookseller: Lyrical Ballad]
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CUISINE ET CHASSE de Bourgogne et d’ailleurs Assaisonnées d’Humour et de Commentaires 1920. broché. D'OccasionétatCorrect. Société d’Editions artistiques de tourisme et de sport, Paris, 1920. Petit in/4 broché, couverture imprimée et illustrée d’une petite vignette, gravures, eaux-fortes, vignettes contrecollées , illustrations in-texte, lettrines historiées, 337 p., 1ère édition. Envoi et courrier d’accompagnement de l’auteur. Un des 550 exemplaire sur vélin d’arches numéroté. Petites taches claires sur la couverture. Ouvrage dédié aux Femmes Françaises, aux Disciples de Saint Hubert, aux Touristes, aux Bibliophiles : nombreux sont donc les heureux lecteurs de ce bel ouvrage, alliant une illustration belle et variée aux savoureuses recettes et textes élaborés avec la collaboration de : Hugues Le Roux, Cunisset Carnot, Georges Tausend, ... Bien complet de son eau-forte sur la bécasse. [Bookseller: Librairie]
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Cinquante Dessins 1920. First Edition . Signed. MATISSE, Henri. Cinquante Dessins. Paris: Les Soins de l'Artiste, 1920. Quarto, period-style full dark red morocco, elaborately gilt decorated spine and boards, raised bands, marbled endpapers, each leaf mounted onto linen hinge, original printed paper wrappers bound in. $13,500.First edition, number 236 of only 1000 copies with a lovely original etching by Matisse of a woman’s face, entitled “Mlle. M. M,” signed by him. Presentation copy from Matisse's youngest son, Pierre, and his first wife Alexina ""Teeny"" Sattler, inscribed on a front flyleaf, ""For Dr. Bartlett from Pierre and Teeny Matisse."" Beautifully bound.Matisse himself edited and printed this lovely suite of 50 photo-lithographic reproductions of his drawings of women to accompany a 1920 exhibition of his work. ""Daily painting sessions alternated with hours on end devoted to drawing, a corrective Matisse would use from now on whenever he felt his work was in danger of losing its balance between color and feeling on the one hand, and line and form on the other… He returned over and over again to a lace collar, drawing it first in minute detail until he had got it by heart and could translated it at will with two swift lines 'into an ornament, an arabesque, without losing the character of lace, and of that particular lace'… Matisse was evolving methods he would use for the rest of his life. He published fifty of these drawings in a portfolio called Cinquante Dessins to coincide with his exhibition at Bernheim-Jeune in 1920. A surge of renewed energy pulses between the lines of the letters he wrote home as he drew them"" (Spurling, Matisse the Master, 225-26). Matisse's youngest son Pierre, who has inscribed and presented this copy, was born in 1900. He exhibited an early interest in the art market, and as a young man took a job at the Galerie Barbazanges-Hodebert in Paris. In 1924, he came to New York, where he began a distinguished career of 65 years as an art dealer. He married Alexina ""Teeny"" Sattler in 1929; they separated in 1949. Preface by Charles Vildrac. Text in French. Duthuit 68. Ink gift inscription.A fine signed copy, scarce and desirable. [Bookseller: Bauman Rare Books]
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Cinquante Dessins par Henri Matisse Paris: The Author Matisse, 1920. First. Very Good. FIRST EDITION, WITH SIGNED MATISSE ETCHING. MAX WEBER'S COPY. AN OUTSTANDING ASSOCIATION COPY: Max Weber's copy, with his ownership signature on the front free endpaper. Max Weber, the great Russian-American Cubist painter, studied under Matisse in Paris. Matisse "interested him especially. So much so that… he helped to form with the Bavarian Hans Purrmann a small class to study under Matisse." Matisse's teaching and work would heavily influence the young Weber: "No American prior to 1913 had so effectively absorbed the insights of Picasso and Matisse." (Max Weber, Retrospective Exhibition; Scott and Rutkoff, New York Modern.) Additionally signed on the limitation page by Matisse's son, the art dealer Pierre Matisse. With 50 full-page plates of Matisse's drawings of women, in addition to the frontispiece etching of Matisse's daughter ("Mlle. M.M") on chine collé and signed in ink by Matisse below the image. Produced to coincide with Matisse's exhibition of the drawings at Bernheim-Jeune in 1920. One of 1000 copies issued, although in most extant copies the frontispiece has now been removed. With preface by Charles Vildrac. Paris: (The Author), 1920. Quarto, original wrappers; custom box. Spine perished and reinforced at an early time. General wear to wrappers. Text block split and loose. Plates exceptionally clean. Note: Without the rare dust jacket issued in some copies in Pierre Matisse's possession. Housed in stunning custom box by celebrated book artist Sjoerd Hofstra. A beautiful book with an important association. [Bookseller: The Manhattan Rare Book Company]
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Cinquante Dessins 1920. MATISSE, Henri. Cinquante Dessins par Henri Matisse. With preface by Charles Vildrac. 50 full-page reproductions and an original hors-texte etching entitled "Mlle. M.M.," signed by Henri Matisse in ink, printed on Chine. 4to., original wrappers, and illustrated dustwrapper. Paris: (the author), 1920. [Bookseller: Ursus Rare Books]
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ALBUM PHOTO ) TRAITE DE VERSAILLES : ( ALLEMAGNE DANEMARK ) PLEBISCITES DU SCHLESWIG , FEVRIER et MARS 1920 . - LE GOUVERNEMENT de la COMMISSION INTERNATIONALE SLESVIG ( SCHLESWIG) , LE PLEBISCITE ( 10/2 1920 I Zone, 14/3 1920 II Zone) ET LA REUNION DE Ie ZONE AVEC LE DANEMARK, Album format 240x320mm, 46 photos originales grand format 165x225mm, tirage argentique, tampon / Cachet du photographe au dos de chaque photo : HOLGER DAMGAARD Pressfotograf ( 28 photos), THV LARSEN Fotograf Berlingske Tidende ( 7 photos) et ENERET A. MICHELSEN ( 11 photos), légendes manuscrites au bas de toutes les photographies, bel album en parfait état.Suite au Traité de Versailles, il fût accordé au Danois, un plébiscite pour le rattachement du Schleswig-Holstein au Danemark, pour le bon déroulement du plébiscite un gouvernement de La Commission Internationale du Sleswig fût nommé ( avec Paul CLAUDEL , Sir Charles Marling, M. von Sydow et M. Heptye) et des troupes militaires, le 22e Bataillon de Chasseurs Alpins , françaises et anglaises. [Bookseller: Librairie Franck LAUNAI]
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BASEBALL FILM - Early film reel in three parts depicting Babe Ruth and the Yankees, submarine pitcher Carl Mays, and more. New York: Pathe Newreel, 1920 Film reel in three parts: the first a 1921 Pathe Newsreel of the Cleveland Indians hosting the New York Yankees, likely August, 1920, with Babe Ruth predominantly featured (this section likely a later print, perhaps 1930s); the second section likely a "positive master" (per Cinelab Inc.) of other baseball reportage, including footage of Carl Mays (see note); the third section an undated colorized cartoon of Ruth at the bat. The three sections spliced together at an early point, with modern leaders, in can and spool, sold with thumb drives containing a digitization of the film. Some wear to film perforations, film in generally sound condition, recently scanned to digital by Cinelab of Boston and with digital copies as noted. The first section of this amusing newsreel shows the Cleveland Indians hosting the New York Yankees likely during August of the 1920 season. The preoccupation of much of the footage is on Babe Ruth, his contract recently purchased from Boston, appearing here in his Yankee uniform during his first season with the team. The reel opens with the text "The sporting question of the hour. Did Babe Ruth get another [homerun] today?" and continues to show much pre-game activity including Ruth warming up his arm, at batting practice and later at the plate during the game. Also shown is Bob Muesel, Wally Pipp, Ping Bodie and Del Pratt who was traded at end of the 1920 season helping to date the footage. This section also contains rare slow motion footage of Carl Mays "the last of the underhand pitchers" who infamously killed beloved Cleveland shortstop Ray Chapman on August 16th, 1920 (during a Yankees home stand against the Indians just weeks later) and, while it is difficult to be certain, Chapman may be visible here in the sequence of the Indians dugout just before the rain delay. The second portion of the film, possibly a "positive master" print (with strong tones and contrast) shows New York Giants manager John McGraw instructing pitchers in practice, most notably Carl Mays who joined the team for one season only in 1929 (his last in the majors). Mays is shown throwing in his characteristic submarine style and is also interviewed with McGraw gripping the ball for this dangerous pitch. Combined, this footage of Carl Mays' whipping underhand delivery is a haunting reminder of the dangers of the game, and suggests that the focus of this compilation is equally on Mays as it is on Ruth. / Photos available upon request. [Bookseller: Louis Caron]
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The Gathering of the Forces . . . Editorials, Essays, Literary and Dramatic Reviews and Other Material Written by Walt Whitman as Editor of the Brooklyn Daily Eagle in 1846 and 1847. Edited by Cleveland Rodgers and John Black New York and London: G. P. Putnam's Sons, 1920, 1920. First edition, one of 1250 sets. Myerson A23.1.a; BAL 21464. Fine copies in the original printed dust jackets (a little chipped and worn, with a piece missing from the spine on volume 1).. 2 vols, 8vo, gray paper boards, brown leather labels, gilt lettering, untrimmed. Two frontis portraits, six plates and one folding facsimile. A fascinating collection of Whitman the journalist and editorial writer. [Bookseller: The Brick Row Book Shop]
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Konvolut von 37 Gummidrucken, vorwiegend Landschaftsaufnahmen, davon 15 doppelt. Steyr, um 1920-1930 (?). Original Fotografie. vers. Bildformate, meist 14,5 x 22,1 cm. Unten rechts monogrammiert mit \"D\". Versand D: 7,00 EUR Foto [Bookseller: Antiquariat Weinek]
26. Check availability: buchfreund.de
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The Rescue London & Toronto: J. M. Dent & Sons Ltd.,, 1920. A Romance of the Shallows. Octavo (189 × 125 mm). Finely bound by Asprey in dark green morocco, titles and decoration to spine, raised bands, single rule to boards and turn-ins, marbled endpapers, gilt edges. Spine just a touch faded, an excellent copy. First edition, first impression. A handsome copy. [Bookseller: Peter Harrington]
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The Rescue A Romance of the Shallows. London, J. M. Dent & Sons Ltd., 1920 - London, J. M. Dent & Sons Ltd., 1920, first edition, dust jacket. Hardcover. Original green cloth, it follows the American edition, but includes revisions not found in that edition, back jacket panel includes advertisements for other works by Conrad, Cagle A49b, Keating 133. Bit of age, else very nearly fine. [Attributes: First Edition; Hard Cover] [Bookseller: James M. Dourgarian, Bookman ABAA]
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The Rescue. Dent, London 1920 - A Romance of the Shallows. 8vo, handsomely rebound in 3/4 green morocco, gilt spine. London: Dent, 1920. First Edition. First English edition. Fine. [Attributes: First Edition; Hard Cover] [Bookseller: Argosy Book Store, ABAA, ILAB]
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The Rescue A Romance of the Shallows first edition. London, J. M. Dent & Sons Ltd., 1920, first edition, dust jacket. Hardcover. Original green cloth, it follows the American edition, but includes revisions not found in that edition, back jacket panel includes advertisements for other works by Conrad, Cagle A49b, Keating 133. Bit of age, else very nearly fine. [Bookseller: James M. Dourgarian, Bookman]
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RAGGEDY ANDY STORIES - GRUELLE,JOHNNY. RAGGEDY ANDY STORIES. Chicago: Volland (1920, 26th edition). 8vo, pictorial boards, FINE IN PUBLISHER'S BOX (box VG+ with light soil and flap strengthening). A VOLLAND HAPPY CHILDREN BOOK illus. by Gruelle with pictorial endpapers and many color illustrations throughout the text. [Attributes: Hard Cover] [Bookseller: Aleph-Bet Books, Inc. - ABAA]
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Photo album: 79 black and white snapshots of Yellowstone Park; Alert Bay, Alaska, including Indians, Totems, a Fish Cannery; Douglas, Alaska: White Pass R.R., Boundary between Alaska and British Columbia; Mt. Rainier , 1920. 1920. 1 vols. Oblong 4to. Black cloth photo album. 1 vols. Oblong 4to. [Bookseller: James Cummins Bookseller ]
32. Check availability: ABAA
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RAGGEDY ANDY STORIES GRUELLE, JOHNNY. GRUELLE,JOHNNY. RAGGEDY ANDY STORIES. Chicago: Volland (1920, 87th ed.). 8vo, pict. bds, FINE IN PUBLISHERS PICTORIAL BOX WITH PICTORIAL AD LAID IN (box very slightly worn). A VOLLAND HAPPY CHILDREN BOOK illus. by Gruelle with pictorial endpapers and many sharply reproduced color illustrations throughout the text. Nice copy. [Bookseller: Aleph-Bet Books, Inc.]
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Firmamento. Con una spiegazione di F. T. Marinetti sulle Parole in libertà Edizioni Futuriste di "Poesia" (A. Taveggia), 1920. In-8° (220x160mm), pp. 105, (7), brossura editoriale con titolo e illustrazione in azzurro con stelle sparse a seminato. Numerose composizioni parolibere n.t. Ottima copia entro velina. Pima edizione. Salaris, Bibliografia del Futurismo, 55. Salaris, Storia del Futurismo, p. 108. Cammarota, 319.5. Italiano [Bookseller: Libreria Antiquaria Galleria Gilibert]
34. Check availability: maremagnum.com
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Der Spielfilm : AnsŠtze zu einer Dramaturgie des Films Berlin, H.H. Richter, 1920 - Softcover, 125 p. ; 18 cm. Very good, with only some slight foxing on wrappers. First edition. Text in German. One of the most important and influential books on avant-garde filmmaking in the early 20th century by painter and cineast Hans Richter. [Attributes: First Edition; Soft Cover] [Bookseller: Antiquariaat Digitalis]
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Small Archive of Material fro, the Kleiber Motor Company. 1920-1930s., San Francisco: 1920 - Assorted ephemera, including two illustrated brochures and price lists for Kleiber cars (1920s), ink blotter 9used) with advertisement for Kleiber cars, two printed notices to shareholders for 1931, abbreviated annual financial statement for December 31, 1930, and a proxy voting form and stamp return envelop. Some creasing from mailing, normal aging, some light wear; otherwise very good. After serving as a distributor for Gramm trucks in the early 1900s, Paul Kleiber founded the Kleiber Motor Truck Company in 1913. He did well with the truck business, he entered the automobile business, and between 1924-1929 produced a small number of cars, which were sold mostly on the Pacific Coast. he didn't have a wide selection of cars, but they had good quality, and will billed as "Aristocratic in Appearance." However, the company never recuperated from the stock market crash of 1929, and appears to have abandoned car making around that time. Kleiber did continue to make trucks until 1937. american-automobiles website. [Bookseller: Nicholas D. Riccio Rare Books, ABAA]
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Danzig 1873 - 1942 Frankfurt). Sylter Dünen. Pastellkreide auf Pappe, um 1920. Rechts unten signiert. 36 x 62 cm. Gerahmt. 1920 - Blick auf typische Sylter Dünen, links die Nordsee.- Einige Braunfleckchen, einige kleine Randläsionen.- Auf der Rahmenrückwand von fremder Hand bezeichnet.- Gewicht in Gramm: 500 [Bookseller: Antiquariat Daniel Schramm e.K.]
37. Check availability: ZVAB
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The Drawings of Ruby Lind, 1887 - 1919. London: Cecil Palmer, 1920. A beautifully produced book illustrating the work of Ruby Lindsay (1887-1919), sister of Norman, Lionel and Percy, all gifted artists. Although she died at a very young age as the wife of cartoonist, Mr. Will Dyson, her art is still highly collected and this is a fine example of her memorial volume. First edition bound in original papered boards with buckram spine, gilt, 230mm x 290mm, 52 pages, photographic frontis tipped-in, 20 full-page illustrations including 3 in colour and 6 sketches printed on card; a fine copy. [Bookseller: Rare Illustrated Books]
38. Check availability: Direct From Seller
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Der Krieg in der Nordsee. Fünf Bände in sechs. Bearbeitet von Korvettenkapitän O. Groos. Erster Band: Von Kriegsbeginn bis Anfang September 1914. XV (I), 293 (1) Seiten mit 60 Karten, Tabellen und Anlagen; Zweiter Band: Von Anfang September bis November 1914. XIV, 340 Seiten mit 38 Skizzen, Karten, Tabellen und Anlagen; Dritter Band: Von Ende November 1914 bis Anfang Februar 1915. XIII (I), 300 Seiten mit 30 Skizzen, Karten, Tabellen und Anlagen; Vierter Band: Von Anfang Februar bis Ende Dezember 1915. XV (I), 442 Seiten mit 46 Karten, Tabellen und Anlagen, 1 Blatt Verlagsanzeigen; Fünfter Band: Von Januar bis Juni 1916. Text- und Kartenband. XX, 568 Seiten, mit 81 Skizzen, Karten, Tabellen und Anlagen im Text und im Kartenband. Berlin: Verlag von E. S. Mittler & Sohn, 1920 bis 1925.. (Der Krieg zur See 1914 - 1918 Herausgegeben vom Marine-Archiv. Verantwortlicher Leiter: E. v. Mantey 24,5 x 17,5 cm, illustrierte Original-Halbleinenbände mit Deckel- und Rückentiteln, Kopffarbschnitt. Vollständige Folge (mit sämtlichen Kartenbeilagen) der ersten fünf Bände (von sieben) des \'Krieges in der Nordsee\", der sechste Band erschien 1937, der siebente dann erst 1965. Die Karten der Bände 1 - 4 in einer Hinterdeckeltasche, die des 5. Bandes in extra Kartenband. * * * Rücken der Bände 1 und 2 durch Feuchtigkeitseinwirkung verblasst, sonst ordentlich erhaltene gut brauchbare Reihe. Versand D: 5,20 EUR Krieg Nordsee 1914 1915 1916 Marine Seemacht Seeschlachten 1. weltkrieg [Bookseller: Antiquariat Am Bayerischen Platz]
39. Check availability: buchfreund.de
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A Catalogue of the Library of the Late John Henry Wrenn compiled by Harold B. Wrenn Edited by Thomas J. Wise The University of Texas, Austin (Texas) 1920 - Printed by E. T. Heron & Co., London. First edition, one of 120 copies, this one unnumbered and unsigned. Illustrated in volume I with frontispiece portrait of Mr. Wrenn. 5 vols. Royal 8vo. Contains entries for nearly 100 spurious 19th-century pamphlets forged by editor Thomas J. Wise, as well as numerous copies of 17th-century plays "improved" with leaves torn by Wise from copies in the British Museum. The Wrenn Library is now part of the collection of the Harry Ransom Center at the University of Texas, Austin. Original beveled brown buckram, slightly mottled. Wrenn bookplate printed as part of the front pastedowns as usual Illustrated in volume I with frontispiece portrait of Mr. Wrenn. 5 vols. Royal 8vo Printed by E. T. Heron & Co., London. First edition, one of 120 copies, this one unnumbered and unsigned. [Attributes: First Edition] [Bookseller: James Cummins Bookseller, ABAA]
40. Check availability: AbeBooks
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Estudios Constitucionales, 4 Volumes, Complete Set 1920. Critical Study of Bolivia's Constitution Carrasco, Jose [1862-1921]. Estudios Constitucionales. La Paz: Gonzalez & Medina, 1920. Four volumes. Printed wrappers bound into contemporary quarter cloth over marbled boards. Moderate shelfwear and soiling, dampstaining to rear board and rear section of text block of Volume 2, internally clean. Ex-library. Location labels to spines, stamps to versos of title pages. A nice set. $500. * Only edition. An authoritative study of Bolivia's constitution of 1880, which was replaced in 1938. (Bolivia's current constitution was adopted in 1967.) Volume I: Garantias y Derechos, Poder Legislativo (Primera Parte), Volume II: Poder Legislativo (Segundo Parte), Volume III: Poder Ejectivo, Volume IV. Poder Judicial, Apendice: Constitucion Politica. OCLC locates 9 copies in North American law libraries. [Bookseller: The Lawbook Exchange, Ltd.]
41. Check availability: Biblio
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Répertoire de la statuaire grecque et romaine Librairie Ernest Leroux, Paris 1920 - Rare complete set of 6 volumes bound in 5. Nouvelle édition revue et corrigée. Librairie Ernest Leroux, Paris, 1920-1930. In 8, pages LXXV-652, XXXVIII-857, III-374, XV-662, VIII-696, VI-202. Modern brown half-cloth, in excellent condition. Stamp of "Congrégation du St Esprit - Saverne". A splendid set. [Attributes: First Edition; Hard Cover] [Bookseller: Meretseger Books]
42. Check availability: AbeBooks
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This Side of Paradise. Charles Scribner's Sons, New York, 1920.. FIRST EDITION. Octavo, pp.305. Elegantly hand-bound in full dark green oasis morocco leather, spine gilt-lettered in six compartments with raised bands, decrative centre tool, marbled endpapers, top edge gilt, original cover bound in. Internally fine, exterior unmarked. A clean copy in attractive recent binding. The Jazz-age author's second novel; Amory Blaine, intent on rebelling against his staid, Midwestern upbringing, longs to acquire the patina of Eastern sophistication. In his quest for sexual and intellectual enlightenment, he progresses through a series of relationships, until he is cast out into the real world. [Bookseller: Adrian Harrington Rare Books]
43. Check availability: Biblio
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