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Displayed below are some selected recent viaLibri matches for books published in 1920
[WATERCOLOR AND MANUSCRIPT POEM] ROT UND GLÜHEND IST DAS AUGE DES JUDEN No Date (ca. 1920? ) . Original watercolor by Steinhart painted on the half title of from their joint publication, "Rot und Glühend is das Auge des Juden" (Berlin, 1920) which was a collection of poems by Nadel illustrated by Steinhart. The original watercolor, which is very similar to the woodcut on the cover of their book, is paired with an original autograph version of the title poem ( [Bookseller: Dan Wyman Books LLC] 
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Recueil de 17 articles Politiques et Economiques rédigés par le professeur Georges H. Bousquet (1920-1927) [ Contient : ] I : Questions Politiques et Economiques : 1e : L'Industrie du gant en France ; 2e : La situation à Dantzick ; 3e : La situation de la Pologne ; 4e : La situation en Autriche ; 5e : A propos du Traité de Commerce austro-turc ; 6e : Les Finances Autrichiennes et la Société des Nations ; 7e : Zur Währungspolitik der Ost. Nationalbank ; 8e : La Situation économique de l'Autriche ; 9e : Note sur le Séparatisme Rhénan ; 10e et 11e : Ruhrbesetzung u. Welturitschaft ; II : Théorie économique : 12e : Les nouvelles tendances de l'école autrichienne ; 13e : Critique de l'Economie Pure ; 14e : Observations sur l'intérêt du Capital ; 15e : Les origines de l'Economie Politique ; 16e : Un grand économiste italien Fr. Ferrara ; 17e : L'oeuvre économique d'Angelo Messedaglia 1 vol. in-8 reliure demi-percaline, I : Questions Politiques et Economiques : 1e : L'Industrie du gant en France (The Export Recorder, 1920) ; 2e : La situation à Dantzick (Le populaire de Paris, 1923) ; 3e : La situation de la Pologne (La Fraternité, 1923) ; 4e : La situation en Autriche (La Fraternité, 1924) ; 5e : A propos du Traité de Commerce austro-turc (L'Asie française Mai 1924) ; 6e : Les Finances Autrichiennes et la Société des Nations (Revue d'Eco Politique 1924) ; 7e : Zur Währungspolitik der Ost. Nationalbank (Mitt. der Bankenverbander 1926) ; 8e : La Situation économique de l'Autriche (Revue Economique Internationale 1927) ; 9e : Note sur le Séparatisme Rhénan (Livres propos, 1923) ; 10e et 11e : Ruhrbesetzung u. Welturitschaft (Texte français et allemand) ; II : Théorie économique : 12e : Les nouvelles tendances de l'école autrichienne (revue d'Economie Politique, 1924) ; 13e : Critique de l'Economie Pure (Revue d'Economie Politique) ; 14e : Observations sur l'intérêt du Capital (Revue d'Ec. Politique, 1927) ; 15e : Les origines de l'Economie Politique (De Economist, 1924) ; 16e : Un grand économiste italien Fr. Ferrara (Revue d'Histoire Economique, 1926) ; 17e : L'oeuvre économique d'Angelo Messedaglia (Revue d'Histoire Economique, 1927) Beau recueil des premiers articles d'économie et de politique réunis par leur auteur, le professeur G.H. Bousquet. Etat satisfaisant (accrocs aux mors en tête, bon état par ailleurs). Ouvrage provenant de la propre bibliothèque de l'auteur, le professeur Georges-H. Bousquet (Docteur en droit en 1923 avec une thèse sur "L'évolution sociale en Hollande 1914-1922"), économiste de l'école de Pareto et Schumpeter, mais également islamisant de l'école de Goldziher et Snouck-Hugronje, professeur aux facultés d'Alger puis de Bordeaux. Peu après sa thèse, il participa à la mission de la SDN pour la restauration financière de l'Autriche. On trouvera ici d'introuvables articles, témoignage de sa toute première production intellectuelle. Français [Bookseller: Librairie Du Cardinal]
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South: The Story of Shackleton's Last Expedition 1914-1917 Macmillan, New York 1920 - 1920, First American Edition. Hardcover, 8vo., original green cloth, gilt title. 388 pp. With 88 illustrations and diagrams, including the color frontis and fold-out map. Very Good, no dust jacket. Corners bumped; light shelfwear to the spine ends. Sound binding. Nickel-sized stain to the frontis. Previous owner's small, neat gift inscription on the fly leaf, contents otherwise clean and unmarked. Large map with a single 2-inch closed snag near the gutter. An above average copy of this Antarctic expedition classic. [Attributes: First Edition; Hard Cover] [Bookseller: Caliban Books Pittsburgh PA, ABAA]
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Norman Davey collection. 4 manuscript notebooks of poems and a few stories, written in pencil (approximately [410] pp. of written text) and two books, one signed 1920 - A unique literary archive of Norman Davey (1888-1949), an English engineer, poet, and novelist. In 1914 he published 2 diverse books, The Gas Turbine and Poems with a Prefixed Essay. Four of his poems appeared in Cambridge Poets 1914-1920. An Anthology (1920). He wrote 18 books, the famous book being his bestselling novel entitled The Pilgrim of a Smile (1921). Early in his career, Davey was featured by Grant Overton, the literary editor and critic, in When Winter Comes to Main Street (1922). All items housed in a matching box. Circa 1917-20. Many drafts of poems are untitled, and some are crossed out. Approximately [410] pp. of written text. Also includes two books written by Davies: his very scarce first book, Poems by Norman Davey with a Prefixed Essay (London: L.C.C. Central School of Arts and Crafts, 1914). Printed in black and red, greenish blue paper boards, quarter-bound in dark greenish blue cloth. His last work entitled The Ghost of a Rose (London: Chapman & Hall, 1939). Blue cloth in chipped jacket, price clipped on front flap, signed presentation copy. (1) "Tristia, Book II - (Ad Lalage) Continued" consisting of drafts of the following poems: "The Fire"; "The Rain"; "The Ship"; "The Sea"; "A Word in Farewell"; "O BIB O "; "TIB. LIB.I.1. LIT. TRANS."; "Order of Sonnets" (also titled "Sonnets Out of Sequence") with "San Apollinaire in Classe", "Bologna", "Tchehov", "Artzi Bashef", "The Charioteer", "Agnani", "Edward Gibbon", "Toulouse", "Giotto's Tower", "The New Renaissance", "An Afterword"; "By the Canal in Flanders" (in blue ink); "A Broadside Addressed". The notebook has what appears to be a table of contents: "Ad Ovidun Apologia. Ad Lectores. A Forewa[o]rd. Book I Ad Mæcenas. Book II Ad Lalage with an Interpretation from Tibulus. Book III Ad Camerium. Bibliophilos (?) Sonnes (?)". Marbled paper boards, quarter-bound in black cloth. Ruled paper. [82] pp. Light brown endpapers. Signed by Davey."Tristia" appeared under the title, Desiderium, MCMXV-MCMXVIII (Cambridge: W. Heffer & Sons Ltd., 1920). (2) Designated as Vol. 2 on the front free endpaper. Contains poems numbered 1-42, "The Isolation of a Corps" (story), "The Silver Ship", "Tristia", "Ad Lectorem", "Prologue", "Ad Lectores", "A Christmas Tale" (story), "Italy", "Record of an itinerary undertaken by Caprice from Montepuliciana to Perugia?.", "A Translation of Luigi's Song", 6 pp. of calculations and scientific drawings, 1 p. in blue ink of Greek words and their English translation. There are two tables of contents in the notebook: "Forwa[o]rd. Prologue. Chapter I Penhaligan and the Big Push. II The City of Dreadful Night. III The Tailor. IV Colonel Cullen's Career. V Conceptions of a Conference. VI The Survival of a Supper Party. VII A Carnival in Cannon's Square. IX Preadventures with the Press" This appears to be a preliminary table of contents of The Pilgrim of a Smile (London: Chapman & Hall, 1921) since Penhaligon is featured in the novel. The second table of contents is said to be a "Proposed Scheme": "Tristia. (Quotations). Ad Ovidum Aplogia. Ad Lectorem. A Foreword. Ad Lalagem. Ad Corinnam. Ad Pholoen. Ad Liginium." Black flexible cloth. Ruled paper. [183] pp. Light green endpapers. Davey's name appears on the second table of contents. Several leaves are excised from the notebook with partial separation from the text block. Includes a printed map of "France par departments". (3) "The Last Testimony of Peter Clare to the Goodness of God", Cantos I to IV. Dedication reads: "To you Madonna, who have made the dumb speak." Black pebbled flexible cloth. Ruled paper. [53] pp. One page has the following at the top: "Written at Steenkirke on the night of November 5th-1917. Dear God, to-night I?." Several leaves are excised from the notebook. (4) "The Testimony of Peter Clare", Cantos IV-VIII. In Canto VI several stanzas are numbered in blue pencil (29-39). Includes 1 p. of calculations. Black pebbled flexible cloth. Ruled paper. [92] pp. Some separation fro [Bookseller: Lord Durham Rare Books (IOBA)]
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Cinque fotografie originali. C.ca 1920 , , . Molto Buono (Very Good). Cinque fotografie originali montate su pass-partout che reca in basso a destra la firma ad inchiostro di Gian Caro Dall'Armi (Torino, Via Po 20). C.ca 1920. Fotografie cm 12,4x16,4, pass-partout 21,5x29. Gli scatti ritraggono, tra gli altri, Cesarina e Riccardo Gualino (che nelle foto è vestito da donna), insieme a Bella Markman Hutter, Jessie Boswell, Vitia Gourevitch durante le feste in maschera al castello di Cereseto: le prime ingenue prove delle future esperienze teatrali. Molti degli ambienti ricchi di oggetti preziosi, mobili d'epoca, tappeti e broccati furono fotografati da Dall'Armi nel 1918 (Ceserina conserverà l'intero album dei provini e molte riproduzioni). . Molto Buono (Very Good). Pass-partout con fioriture diffuse (Heavy yellowing and age spotting). . [Bookseller: Studio Bibliografico MArini]
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Julius Diez. München, Verlag D. und R. Bischoff, 1920. Einmalige Auflage von 100 numerierten Exemplaren. 101 Seiten sowie Namen- und Sachregister I-III und 40 erstklassig erhaltene Bilder auf Tafeln Gr.-8°, gebundene Ausgabe, grüner Original Ganz-Ledereinband mit goldfarbener Prägung, Kopfgoldschnitt der Einband berieben und teilweise aufgehellt, Innendeckel und Vorsätze in aufwendig gestaltetem Schmuckpapier, Seiten sauber und nicht nachgedunkelt, Bindung absolut fest, insgesamt ein wirklich guter Zustand. Die Tafeln mit Handkupfer- und Lichtdrucken teils auf Bütten, teils auf Künstlerkarton gedruckt. Diese 1920 erschienene Luxusausgabe wurde in einer einmaligen Auflage von 100 Exemplaren (Nr. 1-100) gedruckt. Sämtliche Exemplare wurden vom Künstler eigenhändig signiert. Dies ist Nr. 13. Ein wunderbares bibliophiles Exemplar, insbesondere für alle Kunstliebhaber. Ein Schmuckstück für jede Sammlung. Extrem selten! Julius Diez (* 18. September 1870 in Nürnberg - + 15. Mai 1957 in München) war ein deutscher Maler, Grafiker, Zeichner und Radierer. Er war ein vielseitiger Künstler und arbeitete mit leuchtenden und auf dekorative Wirkung ausgerichteten Farben. Zu seinem Werk zählen auch Kunstgewerbe, Medaillen, Plaketten und Exlibris. Versand D: 5,00 EUR signiert, signed, Julius Dietz, signierte Luxusausgabe [Bookseller: Bührnheims Literatursalon GmbH]
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An archive of material relating to Yale's Scroll and Key Society Archive of original artwork, objects, printed books, and ephemera collected by Louis Laun (1920-2010), Yale class of 1942 and member of Scroll and Key. At Yale, Laun was editor of the Yale Record. He later established the Louis F. Laun Award, presented to a graduating Economics major with an outstanding course record in all courses taken in Yale College during the first seven terms. Upon graduation, Laun joined the Marine Corps and served with the Fifth Division on Iwo Jima, where he was decorated with the Bronze Star for bravery. Mr. Laun worked in the textile industry for 25 years. He was Assistant to the President of Bates Manufacturing Company in Lewiston, Maine and later President of Celanese Fibers Marketing Company. In 1973, he moved to Washington, D.C. to be appointed Deputy Administrator of the Small Business Administration, where he served for 4 years. From 1977-1986, he was President of the American Paper Institute in New York City. He returned to Washington as Assistant Secretary of Commerce in charge of International Economic Policy until 1989. He was a member of the Helsinki Commission on Security and Cooperation in Europe from 1988-89. Comprising: Original Artwork Guidi. Original cover art for the 15 May 1941 issue, watercolor on paper, signed "Guidi" upper left, 13 x 10 inches. With: a copy of the issue. Kraft, Art. Pen-and-ink sketch on illustration board, signed "Art Kraft," apparently a banner design for the Yale Record, showing a Satyr playing the pan pipes leaning against a broken column on the right, and an owl at left. Lightly pencilled title "The Harping Crowd"(?). 6 x 17 inches Kraft, Art. Pen-and-ink sketch on illustration board, signed "Art Kraft," apparently for the Yale Record. Lightly pencilled "Sports" showing a classical scene of an artist in toga chiseling a sculputure of an artist who stands naked safe a well-placed leaf, a Yale banner draped over a column beside him. 8 1/2 x 12 inches. Kraft, Art. Pen-and-ink sketch on illustration board, signed "Art Kraft," apparently for the Yale Record. Lightly pencilled "Movies" showing a director in his chair, smoking and watching three actors dressed in togas. 12 x 12 inches. "E. H. B." Three pen-and-ink drawings: a man walking; an owl and three men. 4 x 4 inches and smaller. Unknown artist Pen-and-ink sketch on paper, unsigned, a bar graph using soldiers from England, the USA, Germany, Italy, Japan and France as the bars, their positions against an x-axis meant to show millions of men in the service. Objects Scroll and Key Wall Plaque. 18 x 15 inches. Brass letters and insignia of the Scroll and Key on oak. Yale Gavel. Class on 1942. 10 inches length. Brass plate, names of students in manuscript. Yale paddle. Class of 1942. 16 inches length. Burned design on wood, presented to Louis Laun from Jake Madden. Yale Class Day. Cotton satchel printed "Class Day Yale 1942" containing a pack of Handsome Dan tobacco. With: white pipe. Photographs Scroll and Key. Photo album (9 x 7 inches) containing 15 black-and-white portrait photographs of members of the class of 1942, and a final photo of the Scroll and Key building. With: three later snapshots. Class of 1942. Black-and-white photograph, 6 1/2 x 9 inches, mounted. Scroll and Key. Large black-and-white photograph of the building, 10 x 13 1/2 inches. Scroll and Key. Large black-and-white photograph of the 15 members of the class of 1942, 10 x 13 1/2 inches. Printed Books Day, George Parmly. Rhymes of the Times. 1956. Elliot, Charles S. Songs of Yale: A New Collection of College Songs. 1870. Ewald, L. Philip, editor. The Yale '42 Story 50 Years Out. Two copies. Gurney, Stephen S. and Jonas Zdanys, editors. True Fellowship in All Its Glory. 1992. Haas, George. Against All Odds. Signed. Havemeyer, Loomis. "Go to Your Room": A Story of Undergraduate Societies and Fraternities at Yale. Havemeyer, Loomis. The Aurelian Honor Society of Yale University and Its Times 1910-1955 Leyburn, James G. Pierson College: The First Decade 1933-1943. Mack, Maynard. A History of Scroll and Key. 1978. Ltd. Ed., slipcased. Nettleton, George Henry. Memorial Sketches of the Sixteen Members of the Scroll and Key Society Who Gave Their Lives in World War II. 1948. Robbins, Alexandra. Secrets of the Tomb. 2002. C.S.P 1842-2002. C.C.J. History of the Class of 1942 Yale University. Two copies. Phi Beta Kappa Men of Yale 1780-1959. Vol. IV. Pierson College in Memoriam 1941-1946. The 1939 Yale Banner. The 1940 Yale Banner. The 1941 Yale Banner. The Yale Record 1941-1942. Yale 1942 Class Directory. 2001. Yale Class of '42 in World War II. Two copies. Yale Twenty-Fifth Yearbook Class of 1942. Ephemera Calendar for 1942 Class Day. Pamphlet for the 7 June 1942 Class Day. With laid in material for Louis Laun.Class schedule Large folding schedule of "College Exercises for the Senior Junior, and Sophomore Classes, Yale College, 1941-42." Edition of September 1941. 19 x 24 inches. Signed by Louis Laun. Eli Book for 1940-41 Graduation Exercises. Pamphlet for the 8 June 1942 graduation. Phi Beta Kappa. Handbook for New Members. 1940. Yale Record . Three issues. Yale. Six prints of various buildings at Yale. 12 x 8 1/2 inches. [Bookseller: Riverrun Books & Manuscripts]
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HIMALAYAN TRAVELS. Calcutta: Chuckervertty, Chatterjee & Co., Ltd., 1920. [iv], 298 pages of text, followed by 5 pages of errata lettered A-E. Original cloth binding has two scuffs on the spine, remnants of a removed library label, but is otherwise slightly shelfworn. Illustrated with 32 black & white plates, and two folding maps titled "Sobla Slip & Dam" and "Map of Pilgrim Routh from Hardwar to Gangotari Kedarnath Badarinath Ramnagar Kathgodam." Includes an introductory note by V. A. Stowell. Ex-libris of the Vedanta Society of Chicago, with stamps, etc. on the endpapers, title page, dedication page, and contents page. A few pages are loosened, and the textblock cracked but remaining intact. A rare guide book. First edition.. First Edition. Hardcover. Very good- condition. 12mo - over 6¾" - 7¾" tall. [Bookseller: Kurt Gippert Bookseller (ABAA)]
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Debs and the poets. With an introduction by Upton Sinclair Pasadena, Cal: Published by Upton Sinclair, 1920. 99p. [+ ads], hardcover with gilt titles, minor discoloration to front panel, in a tattered dustjacket that has been reinforced internally with brown paper tape. Now in a mylar protector. This is number 30 of a special edition of 500 copies with a bookplate signed by Debs while he was in the Atlanta Pententiary in November, 1920. The bookplate is pasted inside the rear cover. Poetry by Miriam Allen de Ford, Max Eastman, Eugene Field, Sara Bard Field, Charlotte Perkins Gilman, Laurence Housman, Jessie Wallace Hughan, Helen Keller, James Oppenheim, John Cowper Powys, H.G. Wells, Charles Erskine Scott Wood and others. [Bookseller: Bolerium Books Inc., ABAA/ILAB]
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Otto Hutt Füllhalter Entwurf 04 »Princess Cut«. Goldfeder Strichstärke F. - Pforzheim am Rande des Schwarzwaldes ist Deutschlands Zentrum der Schmuck- und Edelmetallwaren. Hier gründete 1920 ein Mann ein Unternehmen für Taschengebrauchsartikel und edle Schreibgeräte aus Silber: Otto Hutt. Der Gestaltungsauffassung des Bauhauses stand er nahe, sein Anspruch an eine schnörkellose Form, die vornehmlich der Funktion dient, spiegelte sich schon damals in seinen Entwürfen wider. So innovativ wie beständig – ein wesentlicher Bestandteil wahrhaft guten Designs –werden die qualitätvollen Schreibgeräte auch heute noch in der Tradition von Otto Hut und ausschließlich in Deutschland hergestellt. So entstehen hochwertige Gebrauchsgegenstände, die das Gütezeichen »Made in Germany« mit vollem Recht tragen. Alle Komponenten der Otto Hutt Schreibgeräte sind perfekt in ihrer Funktionalität, langlebig im Gebrauch und nachhaltig in den verwendeten Materialien. Ferner besitzen die Füllhalter eine Otto Hutt-Feder mit eingraviertem Markenlogo - ein besonderes Qualitätsmerkmal, sie ist das Herzstück jedes Füllfederhalters und ausschlaggebend für die Freude am schönen Schreiben. Die Individualität dieser Schreibgeräte ist primär begründet in ihrer hohen Material- und Fertigungsqualität, hinzu kommt eine durchgehende Nummerierung: jeweils in der Kappe ist ein 6-stelliger Nummerncode eingraviert.»Entwurf 04« mit der goldenen Schreibfeder ist kompromisslos seinem Zweck untergeordnet, ohne schmückendes Beiwerk. Die Dimensionen sind kompakt und abgestimmt auf eine optimale Handhabung. Ein ganz besonderes Merkmal und Beispiel für die hohe Präzision der mechanischen Fertigung dieser Schreibsysteme ist der Federclip, herausgearbeitet aus massivem Messing, veredelt mit einer Platinschicht und perfekt in seiner Funktion. Alle Füllfederhalter des »Entwurf 04« werden mit wertvollen 18 Karat Goldfedern, deren Schreibflächen mehrfach von Hand geschliffen und poliert sind, ausgestattet. Der Schaft ist in einem weltweit nur noch sehr selten angewandten – weil langwierigen und aufwändigen – Prozess dezent »guillochiert«, also mit einem Gravur-Strich von insgesamt 5,8 Metern (!) versehen – das ist Hohe Kunst der Silberbearbeitung, benannt nach ihrem Erfinder im 17. Jahrhundert, Monsieur Guillot. Das Gewicht des Silbers der Schäfte und Kappen lässt die Materialqualität in der Hand fühlbar werden –klassische Formgebung und traditionelle Handwerkskunst in Vollendung! 1 Füllhalter 13,2 cm, Goldfeder Strichstärke F (fein), Corpus komplett aus Sterlingsilber, 5,8 m Guillochierung, für Patrone/Konverter, 1 Patrone innenliegend, mechanische Clipeinheit mit Federfunktion, mit Garantiekarte in Schatulle. [Bookseller: Frölich und Kaufmann]
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[WATERCOLOR AND MANUSCRIPT POEM] ROT UND GLÜHEND IST DAS AUGE DES JUDEN N.D.. Painting. No Date (ca. 1920? ) . Original watercolor by Steinhart painted on the half title of from their joint publication, "Rot und Glühend is das Auge des Juden" (Berlin, 1920) which was a collection of poems by Nadel illustrated by Steinhart. The original watercolor, which is very similar to the woodcut on the cover of their book, is paired with an original autograph version of the title poem (Rot und Glühend ist das Auge des Juden) signed by Nadel, The watercolor is 8x9"; the poem is about 7x9." Total size to mat is 11x22. Steinhardt (1887-1968) was born in Zerkow, Germany (now Zerków, Poland) . He attended the School of Art in Berlin in 1906, then studied painting with Lovis Corinth and engraving with Hermann Struck in 1907. From 1908 to 1910 he lived in Paris, where he associated with Henri Matisse and Théophile Steinlen, and in 1911 he was in Italy . In 1922 married Minni Gumpert. They immigrated to Palestine in 1933, after he was harassed by the German police, dominated by the Nazis who recently came to power. Jacob Steinhardt participated in the Berlin Secession and founded the Pathetiker Group. He was a member of the Bezalel school group. In 1934, Steinhardt opened an art school in Jerusalem. In 1948, he became Chairman of the Graphics Department at the Bezalel Academy of Art and Design. He served as director of the school in 1954-1957. The Jewish Museum Berlin houses the largest Steinhardt collection in the world (Wikipedia, 2017) . Steinhardt's highly original art is rooted in the values and symbols of Judaism. Much of his work echoes a religious vision: he has managed to depict in a plastic manner such prophits as Isaiah, Jeremiah, Jonah, and also Moses. He has also done with impressive simplicity scenes of Jewish life, its sorrows and joys. His style has varied from radical expressionism in his youth almost to conservatism in his later years. In all periods of his creative work, Steinhardt has been a master of portraiture. His shows include: Berlin and Paris, before 1933; Six one-man shows in Israeli museums, 1934-64; American museums, 1952-1963; San Paulo Biennale, 1955; Stedelijk Museum, Amsterdam, 1957; Venice Biennale, 1958; His awards include: Prize of the International Institution for Liturgical Art, 1958; Gold Medal of Naples at International Exhibition "Arte Sacra", Trieste Contemporary Israel Art, Paris, National Museum of Modern Art, 1960. Arno Nadel (1878-1943) was a Jewish musicologist, composer, playwright, poet, and painter. Born in Vilna to an Orthodox Jewish family. In 1890, Nadel moved from Lithuania to Germany. At the age of 12, Nadel studied in Königsberg, Germany, under the cantor Eduard Birnbaum, then moving to Berlin at age 17 to enroll in the Hochschule für die Wissenschaft des Judentums. There he studied with composer Ludwig Mendelssohn and Max Lowengard. In 1916, he became choir director of the Jewish community of Berlin which included the supervision of music at all Berlin synagogues. Nadel was also a very prolific playwright and poet . In November 1938, he was sent to the Sachsenhausen concentration camp. Although Nadel was lucky enough to get papers to leave for England, he was too frail to make the trip. In March 1943, he and his wife were deported to the Auschwitz extermination camp. He died there the same year (Wikipedia, 2017) . Nicely matted and framed, Very Good Condition. (PAINT-2-5) . [Bookseller: Dan Wyman Books]
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Albert Einstein Signed Etching. 1920. Engraved bust portrait of Albert Einstein by Emil Orlik. Inscribed by Albert Einstein in German, "To Alice sending it to her as a remembrance Albert." Additionally signed by the artist, Emil Orlik on the lower right. The etching measures 10.5 inches by 14 inches. The entire piece measures Emil Orlik was a painter, etcher and lithographer who first studied art at the private art school of Heinrich Knirr, where one of his fellow pupils was Paul Klee. From 1891, he studied at the Munich Academy under Wilhelm Lindenschmit. Later he learned engraving from Johann Leonhard Raab and proceeded to experiment with various printmaking processes. In 1905 Emil Orlik moved to Berlin and took a post at the "School for Graphic and Book Art" of the Museum of Decorative Arts (Kunstgewerbemuseum), now part of the Berlin State Museums. He taught at the Berlin College of Arts and Crafts, where one of his students was George Grosz. [Bookseller: Raptis Rare Books]
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Blick auf den Silser See mit Piz Margna. Original Fotografie Silbergelatine-Abzug (ca. 1920). Bildformat: 16,8 x 22,7 cm. Auf leichtem Foto-Karton mit Tiefprägung für das Aufbringen der Fotografien montiert Format desselben: 32 x 48 cm. Unterhalb der Karton-Prägung von Albert Steiner in Bleistift bezeichnet sowie signiert. - Karton mit einem winzigen Stockfleck. - Siehe die ABBILDUNG. ***** STEINER, Albert: View at Silser Lake with Piz Margna, Switzerland. Original photography silver gelatin print (approx. 1920). Size: 16,8 x 22,7 cm. Mount on thin board size of board: 32,0 x 48,0 cm- 30 x 40 cm. Named and signed by Albert Steiner. - Board minor foxed. - Please note IMAGE. 7 [Bookseller: FOTOKUNST-Antiquariat Fahl Inhaber: Joac]
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Kuttel Daddeldu oder das schlüpfrige Leid. [Erste Auflage.]. Berlin-Wilmersdorf, A. R. Meyer, [1920]. . Auf dem Titelblatt vom Autor SIGNIERT. - Erste Ausgabe des Werkes, in dem der berühmte Seemann Kuttel Daddeldu erstmals auftaucht. Druck von Paul Knorr. Titelzeichnung von Margarete Wels. - Mit dem Exlibris der sozialdemokrat. Schriftstellerin u. Journalistin Katharine Kleikamp (1897-1988), die wie ihr Ehemann Karl (1894-1952) Mitglied des Berliner Abgeordnetenhauses war. - Einband teils stärker gebräunt, die Deckel mit schwacher geglätteter Bugspur, sonst sehr sauber. [Bookseller: Antiquariat Reinhold Pabel]
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Spring In New Hampshire, And Other Poems London: Grant Richards / The Morland Press, 1920. 1st Edition. Soft cover. Near Fine. Photographic Portrait Plate. 1st Printing 40 Pp., With Photographic Portrait Of Mckay As Frontispiece. Brown Wrappers With Very Pale Green Cover Label Printed In Black. Near Fine, Covers Immaculate And Uncreased, With 1/8" Tear At Top Of Spine Edge, Slight Bumping To Covers Where They Overhang The Page Block (1/8" Overhand All Around), Former Owner's Name [Rhodes Scholar Circa 1962] At Top Of Half-Title Page, A Few Very Small Faint Foxing Spots. [Bookseller: Arroyo Seco Books]
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2 études préparatoires ( 28x44 cm) , l'une sur papier fort et l'autre sur calque à l'encre et au crayon , monogrammées BMB pour l'illustration de l'article les "Attributs masculins" par Roger Boutet de Monvel paru dans la Gazette du Bon Ton n°10 de 1920. - Livres [Bookseller: pages volantes]
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'Golfeuse sous la pluie' Watercolour and ink on paper, 275 x 195 mm, signed and dated 1920 at lower left; matted; in fine condition. The French artist A.-E. Marty was a pioneer of the Art Déco style. Although principally a fashion illustrator whose work was published in such periodicals as Vogue, Harper's Bazaar and Vanity Fair, he also illustrated books and designed advertisements and posters, most notably for the Ballets Russes. In 1925 he was appointed to the jury of the Exposition Internationale des Arts Décoratifs et Industriels Modernes, from which the Art Déco movement took its name. This watercolour of a tall, elegant lady playing a golf shot in the rain while her caddy protects her with a large green umbrella is a superb example of Marty's work. It was exhibited in the Marty retrospective staged in 1976 at the Galerie du Luxembourg, Paris, and featured in the exhibition catalogue (A.-E. Marty 1882-1974, no. 10). [Bookseller: Douglas Stewart Fine Books]
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The Waggoner and other Poems. London: Sidgwick & Jackson, Ltd, 1920 - Octavo. Original purple cloth, printed paper label to spine, edges uncut. With the dust jacket. Spine very lightly faded, faint offsetting to endpapers, an excellent, bright copy in the jacket with browned spine, short closed tear to front panel. First edition, first impression, first issue. From an edition of 500, of which 250 copies were bound in purple cloth for immediate issue, 100 sets of sheets sent to New York for Knopf's American edition, and the remaining 150 bound up in green cloth later in 1920. Blunden's first trade publication, The Waggoner was issued with the encouragement and assistance of Siegfried Sassoon to whom Blunden had sent some of his work in his capacity as literary editor of the Daily Herald. With the spare label tipped in at the rear. Uncommon in the jacket in either issue, with four copies traced at auction. [Attributes: First Edition] [Bookseller: Peter Harrington. ABA member]
18. Check availability: ZVAB
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Dresden in der Kriegszeit 24 Charikatur-Entwürfe von Arnold Brede 24 originale zeitkritische Aquarelle auf gehefteten Seiten in einer Mappe mit aufgemalten Deckeltitel. Mappe ist leicht berieben. Karikaturen zum Thema Erster Weltkrieg, in guter Qualität und gutem Erhaltungszustand um 1920. Bilder sind tadelos und farbfrisch. Weitere Bilder auf Anfrage erhältlich. Alle Bilder haben einen handschriftlichen Untertitel. Format: Mappe: 37 x 27 cm Bildgröße: ca 25/30 x 21/23 cm [Bookseller: Gert43]
19. Check availability: booklooker.de
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Les étoffes de la Chine, tissus et broderies, P., Librairie des Arts décoratifs s.d. (vers 1920), - grand in-folio, 8 ff.n.c-4 pp. et 52 planches dont 16 partiellement réhaussées en couleurs, sous chemise illustrée demi-percaline à lacets. Velours brodé et ciselé, soie brodée et tissée (panneaux, bandeaux, robes et vêtement). Bonne condition. [Attributes: Hard Cover] [Bookseller: LIBRAIRIE L'OPIOMANE]
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Plastic surgery of the face based on selected cases of war injuries of the face including burns with original illustrations London: Henry Frowde, Hodder and Stoughton, 1920. FIRST EDITION. With hundreds of text photographs and illustrations. Original cloth with spine showing slight wear, still an excellent copy with the ownership inscription of Dr. Sidney Asher on first free endpaper and the blind stamp of Dr. Kelvin Shiffman. First edition. This work reflects the progress made in plastic surgery of specifically war injuries to the fact by the author at the Queen's Hospital at Sidcup. Many novel procedures are detailed. In a very sensitive introduction, W. Arbuthnot Lane states: "It is not sufficiently recognised how readily the skill developed in this branch of war surgery is directly applicable to the relief of disfigurements met with in civil life. Ugly scars resulting from burns and accidents, deformities of the nose and lips, hare lip and cleft palate, abnormal protrusion or ill development of the mandible, moles, port-wine stains, all abound, and are not only the constant source of the greatest distress and anguish, but materially lower the market value of the individual." Gillies (1882-1960), a well-known plastic surgeon, introduced a tubed pedical flap in 1917. [Bookseller: B & L Rootenberg Rare Books & Manuscript]
21. Check availability: Biblio
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Broadside: THE WOMAN'S BIBLE: Editor Elizabeth Cady Stanton, Carrie Chapman Catt, President of the National Suffrage Association, one of the Revising Committee, 16 inches x 9.5 inches, ca 1920 - The 19th Amendment to the US Constitution granted all female citizens the right to vote in federal elections. This broadside was part of the campaign against ratification of the 19th Amendment. The broadside asks in large letters: Are you willing for women who hold these views to become political powers in our country?" "These Views" refers to the two volume book, published 1895-6, by Stanton criticizing the Bible's presentation of women as subservient to men. The broadside includes quotes from "The Woman's Bible" noting the page numbers. Within the suffrage movement, many women opposed the publication of "The Woman's Bible" out of concern that the book would antagonize not only current supporters but limit expansion of the suffrage movement. Overall condition is very good. [Bookseller: Schulson Autographs, Ltd.]
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La guirlande des mois. Cinquième année, 1921. Paris : Meynial, 1920. Duodecimo, illustrated silk, paper dustjacket (small restoration to spine), illustrated card slipcase (small section replaced to spine), all edges gilt, patterned endpapers, pp. 137, colour title page, 6 pochoir plates by Barbier. The final year of issue of the annual almanac, exquisitely illustrated by the master of art deco design Georges Barbier. [Bookseller: Douglas Stewart Fine Books]
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Wild Friends at Home (original cover art) Gouache on paper, measures 430 x 310mm, being the original painting illustrating the cover of E. Chivers Davies' 'Wild Friends at Home' (London : 1920). In this volume a little boy enters the imaginary worlds of the wild animals whose pictures decorate the walls of his nursery. The fifteen short tales include his adventure with Mrs Kangaroo - featured as the cover illustration, of which this is the original design.Leonard Robert Brightwell, an etcher and illustrator of animal subjects, was made a Fellow of the Zoological Society in 1906. Accompanied by a copy of the book, with the painting reproduced on the front cover. [Bookseller: Douglas Stewart Fine Books]
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Original gouache for the cover of Vogue Paris, 1935 Original gouache on card, 340 x 260 mm, signed in the image lower left, a little marked at edges. A stunning modernist painting by noted French designer Ray Bret-Koch for the front cover of Vogue Paris. Bret-Koch is recognised as a commercial illustrator and designer as well as architect active in Paris in the mid twentieth century. Having studied architecture under Robert Mallet-Stevens and art under Andre Groualt and Roger Tolmer, Bret-Koch designed a number of advertisements for major fashion and literary magazines as well as graphic posters. He was a close personal friend of Jean Cocteau. Founded in 1920, Vogue Paris is widely considered one of the most stylish fashion magazines in the world. Designed as a cover for the magazine during 1935, this striking modernist work incorporates elements of casual couture and recreational pursuits which, against a brilliant yellow background, capture the sense of pre-war Paris in the summertime. Provenance : the estate of the artist, Paris. [Bookseller: Douglas Stewart Fine Books]
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Verivalla Tallinn: Auringo 1920 - Octavo, wrappers, 80pp. A collection of Verse. Marie Under (1883-1980) is considered one of Estonia's most important 20th century poets, who wrote in a neoromantic expressionist mode and advocated the most forward developments of futurist poetry. She was part of the avant-garde group who settled in Tartu and magnetized the young artists and literati. This collection dates from her most central period, emphasizing tragic love and timelessness and using folk poetic motifs. Fine cover design by Ado Vabbe. Rare: one microform copy held in North American libraries only [Attributes: First Edition; Soft Cover] [Bookseller: Michael Fagan Fine Art & Rare Books]
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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]
28. Check availability: ZVAB
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Les Plus Beaux Contes de Kipling Paris, Edition de la Siréne 1920 - 30x2x22 cm One of 250 copies on papier velin de rives. Including illustrations by Kees Van Dongen: 18 coloured illustrations out of text, and 5 in-text. Perfect conditions and partially uncut. Il s'agit de l'un des 250 exemplaires imprimé sur papier Vélin de Rives. Comprenant des illustrations de Kees Van Dongen: 18 illustrations colorées hors texte, et 5 dans le texte. Dans de parfaites conditions et partiellement non-coupé. [Bookseller: Amoc Art]
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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]
30. Check availability: Biblio
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Chansons Madécasses Paris, Editions de la Nouvelle Revue Française 1920 - 18x0.5x12 cm Edition of 412 copies including 30 original coloured vignettes by J. E. Laboureur. Copy on Jute naturel. Light flowering in the last pages.Very good conditions, uncut.Edition tirée à 412 exemplaires comprenant 30 vignettes originales et colorées de J.E. Laboureur. Imprimé sur jute naturelle. Quelques taches sont visibles sur les dernières pages. Dans de très bonnes conditions et non coupé. [Bookseller: Amoc Art]
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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 - 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) [Attributes: First Edition; Soft Cover] [Bookseller: Dan Wyman Books, LLC]
32. Check availability: ZVAB
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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]
33. Check availability: maremagnum.com
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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]
34. Check availability: IberLibro
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Imagier . Première année .1920. - P., S.G.B.O., In-4 , en feuilles, sous chemise cartonnée à rabats et pièce de titre sur le premier plat. Edition originale tirée sur les Presses de F.-L. Schmied à 105 exemplaires numérotés sur vélin, celui-ci nominatif.Recueil de 12 estampes numérotées et signées au crayon par les artistes et portant le cachet à sec de la Société constitué par les initiales entrelacées de la S.G.B.O.H. Amédée-Wetter, J. Beltrand, E. Boizot, R. Bonfils, H. Cheffer, P.-E. Colin, P. Gusman, J.-E. Laboureur, Le Meilleur, Perrichon, Quivillic et Siméon. Livres [Attributes: First Edition; Hard Cover] [Bookseller: pages volantes]
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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]
37. Check availability: Biblio
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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]
39. Check availability: IOBABooks
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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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