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Displayed below are some selected recent viaLibri matches for books published in 1921

        Stadtnacht. Sieben Lithographien von Max Beckmann zu Gedichten von Lili von Braunbehrens.

      Piper, München 1921 - 47 S., 1 Blatt. Großformatiger Orig.-Halbleinenband. Mit lithographiertem Titelblatt und 6 ganzseitigen Original-Lithographien. Eins von 500 numerierten und von Max Beckmann im Impressum eigenhändig signierten Exemplaren (gesamt 600 Exemplare). Der Vater der Autorin, Major v. Braunbehrens, erwirkte 1917 Beckmanns Entlassung vom Militärdienst nach dessen Nervenzusammenbruch 1915. Aus der großen Zahl der Gedichte der halberblindeten Lili v. Braunbehrens hatte der Maler bereits 6 zur Illustration ausgewählt, weitere steuerte dann die Autorin selbst bei. Thematisch an die 1919 entstandene Folge "Die Hölle" anknüpfend, zählt die "Stadtnacht" zu den wichtigsten Bildfolgen des Künstlers. Der Vorderdeckel ist leicht angestaubt, sonst handelt es sich jedoch um ein schönes, gut erhaltenes Exemplar ohne nennenswete Gebrauchsspuren. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Rolf Bulang]
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        Daniel Chester French Adds Lincoln Memorial Statue to His Biography for Who’s Who

      1921 - Printed Entry for Who's Who in America, with handwritten correction, signed by French at bottom. October 1, 1921. New York City. 1 p. 8 1/2 x 10 3/4 in. In 1899, Albert Nelson Marquis (1855-1943) published the first edition of Who's Who in America with biographical information on 8,602 "leaders and achievers" from "every significant field of endeavor." For the twelfth volume, to be published in 1922 or 1923, French received a printed version of his prior entry with a request for updates. French added his latest and greatest accomplishment, the completion in 1920 of his sculpture for the Lincoln Memorial in Washington, D.C. Historic BackgroundThe Lincoln Memorial Committee had selected French in 1914 to create a Lincoln statue as part of the memorial to be designed by architect Henry Bacon (1866-1924). French was the personal choice of Bacon, with whom he had collaborated for nearly 25 years. French began work in December 1914. Over the next two years, he worked on models in clay and plaster at Chesterwood, making various changes. In October 1916, he completed a six-foot plaster model, originally to be scaled up to a 12-foot bronze image. After consulting with Bacon in the memorial then under construction, they decided that a much larger 19-foot sculpture of marble was more appropriate.It took a full year for the Piccirilli Brothers in New York City to transfer French's design to marble blocks. The statue was assembled in the memorial in 1920, but not formally dedicated until May 30, 1922.Volume 12 of Who's Who in America contains sketches of 24,278 persons in 3,520 pages.Complete Transcript [with additions by French in bold]FRENCH, Daniel Chester, sculptor; b. Exeter, N.H., Apr. 20, 1850, s. Hon. Henry Flagg and Anne (Richardson) F.; mass. Inst. Tech., 1 yr.; under Dr. William Rimmer, Boston, Thomas Ball, Florence; (hon. A.M., Dartmouth, 1898, Yale, 1913, Harvard, 1917; Litt.D. Columbia University, 1913); m. Mary French, of Washington, 1888. Had studio in Washington, 1876-8; in Boston and Concord, Mass., 1878-87, in New York since 1887. Among his best known works are: "The Minute Man of Concord," at Concord, Mass.; a statue of Gen. Cass, in the Capitol at Washington; statue of Rufus Choate, Boston Ct. House; John Harvard, at Cambridge, Mass., and Thomas Starr King statue; "Dr. Gallaudet and His First Deaf-Mute Pupil, the Milmore Memorial (3d class medal at Paris Salon, 1892); and colossal "Statue of the Republic," at Chicago Expn.; bronze doors, Boston Pub. Library; statue of Alma Mater, Columbia Coll.; 4 groups-Europe, Asia, Africa and America-in front of New York Custom House; statue of E. Rockwood Hoar, Worcester, 1908; statue of Gov. James Oglethorpe, Savannah, Ga., 1910; statue of Abraham Lincoln, Lincoln, Neb., 1912, ^statue of Lincoln, Abraham Lincoln Memorial, 1920 Washington, D.C., 1920,^etc. Mem. Nat. Comm. Fine Arts, 1910-15 (chmn. 1912-15). Medal of honor, Paris Exposition, 1900. N.A., 1902; trustee Met. Mus. Of Art; mem. Nat. Sculpture Soc. (hon. Pres.), Architectural League, Accademia di S. Luca, Rome, Am. Acad. Arts and Letters; fellow Am. Acad. Arts and Sciences, Chevalier Legion of Honor (France), 1910. Clubs: Century, Arts. Country Home: Stockbridge, Mass. Address: 12 W. 8th St., New York, N.Y.Daniel Chester French (1850-1931) established a summer home and studio in Stockbridge, Massachusetts, known as Chesterwood. By 1921, he had already created his most famous works, which included the statues of John Harvard, the Minute Man of Concord, and his seated Lincoln for the Lincoln Memorial. He died in Stockbridge, Massachusetts.

      [Bookseller: Seth Kaller Inc.]
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        Mountain Interval

      New York: Henry Holt and Company, 1921. First edition of the 1921 edition of this collection of poems, which features Frost's, "The Road Not Taken." Octavo, original cloth, tissue guard. Signed by the author on the title page, "Robert Frost South Shaftbury VT." In very good condition with some rubbing. A book full of rich contrast, clarity of vision, human appeal and sharp revelation of character" (New York Times), Mountain Interval features some of Frost's finest verse, including "The Road Not Taken," "Birches," "'Out, Out--" and "The Sound of Trees." First state, with the sixth and seventh lines on page 88 both reading, "You're further under in the snow--that's all--," and the twelfth line on page 93 reading, "When I told her 'Come" (Crane A4).

      [Bookseller: Raptis Rare Books]
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        Les Vagabonds par Maxime Gorki. Traduction de Ivan Strannik. Bois Gravés par Lébédeff

      Chez Mornay, Paris 1921 - (9 3/4 x 7 7/8 inches). Contents unbound, as issued. Illustrated with colour woodcuts by Lébédeff (frontispiece plate, 4 headpieces, 5 tailpieces [including tailpiece on colophon leaf], 4 initials and 12 illustrations within the text). With 30 preliminary pencil or pen-and-ink sketches by the artist, 8 preliminary woodcut proofs, 25 color woodcut proofs (21 signed), all tipped into 28 window cut paper mounts [as issued]. Extra-illustrated with a colour woodcut by Lébédeff, numbered 212/225, signed and inscribed by the artist to Ivan Lamberty, laid in. Publisher's vellum wrappers, covers hand illuminated in pen-and-ink by Lébédeff, gold ribbon ties, within publisher's dark brown morocco-backed patterned boards chemise and slipcase Unique large paper copy number one (of one), on Japon Impérial with the original preliminary sketches for the illustrations by Lébédeff, as well as signed artist's proofs of the illustrations, and bound in a hand-illuminated binding by the artist. A unique, deluxe issue of this work, usually found as one of 960 copies on papier de Rives (from a total edition of 1000, the remaining 39 copies being hors commerce or other limited but less deluxe versions). Jean Lébédeff (born Ivan Lebedev in Bogorodskoye), began his studies under Fernand Cormon at the Ecole Beaux-Arts in Paris in 1909 and became a noted graphic designer and book illustrator in Paris between the wars, acclaimed for his wood-cuts. A well-known anarchist, his work was exhibited at the 1926 International Exhibition of Revolutionary Art of the West in Moscow; his work would later be featured in the 1979 retrospective "Paris Moscou 1900-1930" at the Centre Georges Pompidou. Vagabonds was a tremendously influential work by Gorky, here in French from the translation by Ivan Stannik. The work, with strong autobiographical elements, is comprised of four short stories featuring Russian vagabonds, titled: Malva; Konovalov; Tchelkache; and Mon Compagnon. The provenance of this copy, given the extra-illustration laid in, would seem to be Ivan Lamberty, a noted art patron and collector in Brussels. [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Donald A. Heald Rare Books (ABAA)]
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      London: John Lane The Bodley Head, 1921. First English edition. Illustrated by Frank C. Papé. Introduction by Hugh Walpole. 1 vols. 8vo. Publisher's black cloth lettered and decorated in gilt, pictorial endpapers by Papé. Rear cover detached, edges and spine extremities worn, some spotting to text. First English edition. Illustrated by Frank C. Papé. Introduction by Hugh Walpole. 1 vols. 8vo. With a Letter from Cabell. With an envelope with TLs tipped in from Cabell to the original owner, Norris Erb, dated June 15, 1921: "… It is a pleasure to say that the John Lane Company is publishing an English edition of Jurgen. The appearance of the book has been somewhat delayed by strikes, but it will be 'out,' I believe, by September …" and with a card frrom Cabell's widow to Erb, thanking him for his letter "with copy of my husband's note to you so long ago …"Finally, with a typed note from noted collector and bookseller, Robert Wilson (of the Phoenix Bookshop in Manhattan): "This copy of JURGEN was given me in April of 1980 by Norris M. Erb … this is the magical touchstone, the very book that started me collecting books, when he showed me in the summer of 1936 … his collection of first editions, thereby starting me on this life-long venture …".

      [Bookseller: James Cummins Bookseller ]
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        Orleans and Isabelle

      An original work by Norman Lindsay inscribed for his friend, the poet Hugh McCrae, illustrating a scene from McCrae's unfinished verse-drama, Joan of Arc. Watercolour on paper, 408 x 400 mm, signed and dated lower left 'Norman Lindsay 1921' and inscribed below by the artist 'to its creator...'; framed. This watercolour was painted by Norman Lindsay for his close friend Hugh McCrae during one of the most intense periods of their artistic collaboration. The two artists had first met in 1897 while working on The Bulletin and other periodicals, and Lindsay had later illustrated McCrae's first volume of poetry, Satyrs and Sunlight: Silvarum Libri, in 1909. Norman Lindsay arranged for the publication of another volume of McCrae's poems, Colombine, in 1920, with the entire proceeds of the deluxe edition - containing a Lindsay etching - going to the impoverished poet (McCrae was perennially broke). From 1920 McCrae worked on a verse-drama, Joan of Arc. He never completed it, although the second part was published in Art in Australia between December 1921 and May 1922 as Orleans and Isabelle, A Tragedy in Three Scenes, with woodcut initials designed by Lindsay. It was at this time (late 1921) that Lindsay painted this exquisite large format watercolour illustrating a scene from the second part of McCrae's Joan of Arc. The work bears a presentation inscription by the artist for McCrae. The following year, McCrae and Lindsay would privately publish Idyllia and in 1928, Satyrs and Sunlight : being the collected poetry of Hugh McCrae, which included Orleans and Isabelle, A Tragedy in Three Scenes from the unfinished Joan of Arc. Provenance: Norman Lindsay, gifted to Hugh McCrae; thence by descent through the McCrae family.

      [Bookseller: Douglas Stewart Fine Books]
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      No Place N.D. - Presume first edition/production. Large American bronze plaque, No Date (1921) . Bronze circular plaque with Biblical verse: "My house shall be called a house of prayer for all nations" (Isiah 56: 7) . Featuring several low-relief ritual synagogue scenes, including the blowing of the shofar, the blessing of the lulav, the reading of the Torah, and a Priestly blessing. With a central female allegorical figure holding a Torah scroll. Hebrew Decalogue at top and Hebrew "Sh’ma Yisra’el" at side. 12.25 inches in diameter, with hanger on rear. Included is a promotional brochure about the piece: "The Spirit of the Synagogue, " undated, but post 1921 since this date is referenced in the text. Also included is the artist’s "Art as Related to Judaism, " an undated pamphlet (but certainly 1922) . An article in the May 21, 1921 Reform Advocate about the plaque indicates that it was "designed to represent the Synagog [sic] as a contrast to a panel recently painted for the Boston Library, wherein the Synagog [sic] was outrageously misrepresented as a disheveled old woman. In the present plaque the Synagog is symbolized as a radiant young women and the accompanying symbolization reflects the Jewish spirit as buoyant and continuously unfolding its message that ‘My house shall be a house of prayer for all nations. ’" The Artist, Rose Kohler, was the daughter of Reform movement leader Kaufmann Kohler, and the granddaughter of Reform leader David Einhorn. The Jewish Women’s Archive notes that "Kohler’s best-known works include The Spirit of the Synagogue, a detailed medallion with an inscription that reads ‘My House shall be called a House of Prayer for all peoples, ’ replicas of which can be found in religious centers throughout the country . She wrote many articles on the origins and development of Jewish art. " (JWA, 2015) . See also Who Was Who in American Art (1985) . Very Good Condition (women-4-15) [Attributes: First Edition]

      [Bookseller: Dan Wyman Books, LLC]
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        Bibliothek der Kunstgeschichte. [88 Nummern in 84 Bänden - Alles Erschienene].

      Leipzig, Seemann, 1921 - 1927. Kl.-8°. Meist 10 S. wissenschaftlicher Text u. 20 Bildertafeln. Jeder Band in marmorierten Künstlerhandpapier [japan. Krepppapier]. Komplette Reihe der Künstlerbücher von Seemann. In wunderbaren Künstlerhandpapier gebunden, mit Titelschildchen und Rückennummerierung. - Auswahl einiger Mitarbeiter: Heinrich Wölfflin, Hans Tietze, Max J. Friedlänger, Erwin Panofsky, Curt Glaser, August Grisebach, J. Strzygowsky, A. L. Mayer, Anny E. Popp, Hans Vollmer, Willi Wolfradt, Heinrich Glück, Ernst H. Buschbeck, August Luz, Emmy Wellesz, Leo Bruhns, Johannes Jahn, Paul Clemen u. v. a. - Siehe beiliegenden Verlagskatalog des E. A. Seemann Verlages von 1927 S. 5 ff. - Genaue Auflistung auf Anfrage. Versand D: 7,00 EUR Kunstgeschichte

      [Bookseller: Antiquariat Weinek]
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      ITALIANO 0,8 Periodici settimanali dell'anno 1921,nello specifico il num.9 del 27 febbraio,n.10 del 6 marzo,n.11 del 13 marzo,n.12 del 20 marzo,n.13 del 27 marzo,n.14 del 3 aprile,n.15 del 10 aprile,n.16 del 17 aprile,n.17 del 24 aprile,n.18 del 1 maggio,n.19 dell'8 maggio,n.20 del 15 maggio,n.21 del 22 maggio,n.22 del 29 maggio,n.23 del 5 giugno,n.24 del 12 giugno,n.25 del 19 giugno,n.26 del 26 giugno,n.29 del 17 luglio,n.30 del 24 luglio,doppio n.31 del 31 luglio,n.32 del 7 agosto,n.33 del 14 agosto,n.34 del 21 agosto,n.36 del 4 settembre,n.35 del 28 agosto,n.37 del 11 settembre,n.38 del 18 settembre,n.39 del 25 settembre,n.40 del 2 ottobre,n.41 del 9 ottobre,n.42 del 16 ottobre.Vendibili anche separatamente al prezzo di 14 euro l'uno. USATO

      [Bookseller: Biblioteca di Babele]
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        Beatrix, eine brabantische legende

      Leipzig, Insel-Verlag 1921 - Edition of 310 copies including 6 original etchings by Felix Timmermans. Hardcover on cardboard in good conditions. Lightly damaged on angles. Title in golden letters on spine. Inside near perfect conditions with etchings in a perfect state. The book may be located and shipped from Italy, France or UK. [Attributes: Hard Cover]

      [Bookseller: Wallector]
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        Stier auf der Alm. Federlithographie auf Bütten.

      München, 1921 41 x 33 cm, 25 x 21,5 cm, aufgezogen auf braunes papier., Min. gebärunt, tadell. Unten rechts mit Bleistift signiert. Namenszug u. Datum im Stein: «AKubin 21» Raabe 144. - Eines von 200 Ex. der sign. Vorzugsausge erschienen in: Ganymed-Mappe. Bd. 3. München. Verlag. der Marées-Gesellsch.. R. Piper & Co. 1921. Versand D: 20,00 EUR Grafik - vor 1945

      [Bookseller: Antiquariat Peter Petrej]
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        The Witch-Cult in Western Europe. A Study in Anthropology.

      Oxford: At the Clarendon Press,, 1921. Octavo. Original green cloth, title gilt to spine. In the dust jacket. Bookseller's ticket to front pastedown. Very slight nicks to tips, a sound and fresh copy in the slightly spine-tanned jacket with only small chips to the ends and corners. Excellent condition. First edition. Having established herself by "strength of character…in the hitherto entirely male world of professional Egyptologists [she] ventured into territory not then considered suitable for women by her involvement in anthropology" (ODNB). The present work, which puts forward the theory that mediaeval European witchcraft represented the survival of the pre-Christian nature cult of Cernunnos, the Horned God, was controversial but has proved popular and has been widely influential in the development of Wicca and Neopaganism. An uncommon book in jacket, and this a very smart copy.

      [Bookseller: Peter Harrington]
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        En marge des marées

      Nrf 1921 - - Nrf, Paris 1921, 16,5x21,5cm, relié. - Edition originale de la traduction française, un des 108 exemplaires numérotés sur vergé pur fil Lafuma-Navarre et réimposés dans le format in-quarto tellière, tirage de tête. Reliure à la bradel en plein papier bleu à décor abstrait, dos lisse, pièce de titre de maroquin bordeaux sertie de palladium, couvertures et dos conservés (infimes piqûres sans gravité sur le dos), élegante reliure moderne signé de T. Boichot. Agréable exemplaire joliment établi. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] first edition of the French translation, one of the 108 numbered copies on vergé "pur-fil" paper Lafuma-Navarre and re-imposed in the format in-quarto tellière, drawing of head. Bradel binder in blue paper with abstract decoration, smooth back, piece of title of burgundy morocco set with palladium, covers and backs conserved (tiny bites without gravity on the back), elegant modern binding signed by T. Boichot. Nice copy nicely established. [Attributes: First Edition; Hard Cover]

      [Bookseller: Librairie Le Feu Follet]
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      New York, Grolier Club, 1921.. LIMITED EDITION OF 250 COPIES 1921, PRINTED ON SPECIAL PAPER BY THE CHISWICK PRESS. Thick large 4to, approximately 285 x 230 mm, 11 x 9 inches, 4 colour plates with tissue guards including the frontispiece "The Glad Day", 40 plates in monochrome and 12 reproductions in the text, mostly of title pages, title page printed in blue and black with small engraved vignette after Blake, pages: xvi, 516 including index and errata, plus last page with printer's device in red, original publisher's quarter blue morocco, gilt lettering to spine, contrasting blue buckram covers, top edge gilt, other edges untrimmed. Slight rubbing to spine, lower corners of upper cover slightly bumped, tiny abrasion to the bottom of lower cover, otherwise a very good copy. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

      [Bookseller: Roger Middleton]
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      - Albin Michel, Paris 1921, 12x19cm, broché. - Edition, uno dei 30 esemplari numerati sul filo puro posato solo maggiori testate. Nizza copia di questo libro su cui è stato assegnato il Premio Goncourt nel 1921. - [FRENCH VERSION FOLLOWS] Edition originale, un des 30 exemplaires numérotés sur vergé pur fil, seuls grands papiers. Bel exemplaire de cet ouvrage à qui fut attribué le Prix Goncourt 1921.

      [Bookseller: Librairie Feu Follet]
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        Description gemetrique detaillee des Alpes Francaises: Annexe du Tome Second, Les Origines Iconographiques de l'Oeuvre Geodesique

      Paris : Gauthier-Villars et cie 1921 - Atlas folio, 66 x 56 cm. Part two (the plate volume) only. Inscribed by Helbronner on front cover. Good binding and cover. Plates loose, as issued, in the publisher's folding portfolio. 6 panoramic color plates (4 folding). From Helbronner's sketches of Massif du Mont-Blanc (campagnes 1890-1903). Stunning photogravures. Provenance: Explorers Club (NYC) book plate on pastedown. Perret, 2214. Regards sur les Alpes, 93-B. "Les deux grands panoramas peints a l'aquarelle (Mont-Blanc et Pelvoux) sont tres spectaculaires, rares et recherches". ? Perret.List of plates and description: I. Tour complet d horizon du Sommet du Mont Blanc Panoramic view mountain peaks partly covered with snow; II. Mont Blanc depuis le Sommet du Mont Maudit View of snow covered mountain with large glacier flowing down side in foreground; III. Mont Blanc depuis le Col du Geant: View of snow covered mountain with Smaller peaks on either side; IV. Mont Blanc depuis le Sommet du belvedere des Aiguilles Rouges: View of snow capped mountain over tops of rocky hills; V. Mount Blanc depuis le sommet de l Aiguille du Tour View up side of Snow covered mountain; VI. Mont Blanc depuis le Sommet de l Aiguille du Moine: View of mountain top with two glaciers flowing down sides. This is an oversized or heavy book, that requires additional postage for international delivery outside the US. [Attributes: Hard Cover]

      [Bookseller: Sequitur Books]
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        Harte's Complete works

      Houghton Mifflin Co., Boston and New York 1921 - Printed by the Riverside Press, Cambridge, MA. 10 volumes. Includes: v. 1. The luck of Roaring Camp, In the Carquinez Woods, and other stories and sketches.--v. 2. Maruja, The story of a mine, and other tales.--v. 3. Tales of the argonauts, and In a hollow of the hills, and other tales.--v. 4. Gabriel Conroy, Bohemian papers, and Stories of and for the young.--v. 5. Cressy, A treasure of the redwoods, and other tales.--v. 6. A first family of Tasajara, Three partners, and other tales.--v. 7. A waif of the plains, The ancestors of Peter Atherly, and other tales.--v. 8. The cruasde of the Excelsior, and other tales, and Thankful Blossom, and other eastern tales and sketches.--v. 9. Poems, Two men of Sandy Bar, and Stories and poems and other uncollected writings.--v. 10. A niece of Snapshot Harry's, Trent's trust, and other stories. Three quarter bound in brown Moroccan with brown cloth boards. Decorative spine in git with title in gilt. TEG. Bound by Brentanos, NY. Armorial bookplate of James McDonald on front pastedown. Lovely decorative set. [Attributes: Hard Cover]

      [Bookseller: Fontaneda Books]
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        Hereditary Blood Qualities Medico-Legal Application of Human Blood Grouping

      The Journal of Immunology Vol. VI, No. 5, September. PAMPHLET. First edition. Offprint. Original wrappers. Name stamp front page some tearing to edges else very good. p. 363-385 : ill. ; 27 cm. Offprint: Journal of immunology, v. 6, no. 5, Sept. 1921. Includes bibliographical references (p. 385). Same title as Garrison and Morton 1756 though doesn't seem to start out the same as the JAMA articles. ??? Rare. Only copy showing up in Worldcat is at the Deering rare book collection. * . Very Good. 1921.

      [Bookseller: Robinson Street Books, IOBA]
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        Georges Mathieu. Boulogne sur Mer 1921. Pittore. Autentica manoscritta e firmata di un suo quadro.


      [Bookseller: Soffientini Gianni]
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        Richard Strauss und sein Werk. 2 Bände.

      Leipzig, Wien, Zürich, E. P. Tal & Co. 1921. - DIESES OBJEKT UNTERLIEGT DER DIFFERENZBESTEUERUNG. "gr.-8°. Zus. 744 S., 4 Bl., mehrere teils gef. Tafeln mit Porträts und Notenfaksimiles; 2 Hefte (insges. 89 S.) "Thementafeln" als Beilagen; OHLnBde, Ecken leicht berieben." Mit eh. Signatur des Komponisten auf dem Titelbl. des 1. Bandes. Das Vortitelbl., mit einer Widmung des Verfassers, sign.u.dat. Wien, 22.III.30. Beide Bände mit hs. Namenseintrag des Wiener Geigers und Hochschullehrers Franz Samohyl.

      [Bookseller: Antiquariat Löcker]
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        The Book of Jack London

      New York: Century Co, 1921 2 volumes. xvi+422+[2] pages with frontispiece and black and white illustrated photographs; viii+414 pages with frontispiece and black and white illustrated photographs. Octavo (8 1/2 x 5 1/2) bound in publisher's original sea-green cloth with titles in gilt in pictorial jackets. (BAL 11983; Woodbridge 1180) First American Edition.This biography is unusual for the detail of intimate information. Though composed by London's wife, it is not completely accurate. For example, it rewrites his origins by making John London his father, and underplays the role of the African American Prentiss family in his upbringing. It is fascinating for its inclusion of original letters and accounts of episodes in Jack London's early life that were likely as told by him to Charmian, thus somewhat hyperbolic. She admitted it wasn't a definitive biography. Vol. II is the stronger of this biography because it is based on Charmian London's actual presence throughout this part of his life, and is based on her diaries and letters. Again, it is overwritten, but offers an insightful interpretation of her husband, and she does not whitewash as much as in Vol I. The intimate material, such as on his final days and dying, are particularly well-drawn. It has a lot of worthwhile information.Condition:Corners gently bumped. Jacket of volume one with long closed tear at front heal, some other closed tears and small chips at edges and spine ends. Volume two jacket with some closed edge tears and small chips at spine ends and corners else a near fine set.

      [Bookseller: The Book Collector]
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        A Dish of Apples

      Hodder and Stoughton, London, 1921 First edition, first impression, limited issueQuarto. Original cream boards, decoration and titles to upper board and spine gilt, decorative endpapers, top edge gilt others uncut.Ownership signature to front free endpaper, cloth just a trifle marked but a superb copy, bright and fresh. One of 500 numbered copies specially bound and signed by both author and artist.[185]

      [Bookseller: Blakeney Griffin Booksellers Ltd]
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        Lion and Lioness

      Germany: np, 1921. No Binding. Fine. Kuhnert, Wilhelm. Wilhelm Kuhnert, who painted during the late 1800s and early 1900s, is considered one of the greatest animal painters ever. He produced a number of etchings, virtually all of which are highly sought after to this date. A very attractive lion and lioness surveying their domain. #10 of only sixty numbered and signed etchings. Ref. plate 131 page 176 in The Animal Art of Wilhelm Kuhnert. Image size 6 1/2 x 9. Plate size 6 3/4 x 9. Double matted. 13 7/8 x 15 1/2. A really lovely ornate carved wood frame in sculpted wood. 18 5/8 x 20 1/4. Excellent art provenance. Additional postage required (especially for outside the US).

      [Bookseller: Trophy Room Books]
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        Relation des progrez de la Foy au Royaume de la Cochinchine vers les derniers quartiers du Levant. Envoieé au R.P. General de la Compagnie de Jesus.Paris, Sebastien and Gabriel Cramoisy, 1652. Small 8vo (17 x 11 cm). Modern boards.

      Cordier, Indosinica, col. 1921; De Backer & Sommervogel VI, col. 1719, no. 5. First edition, in French, of an account of Cochin China (now southern Vietnam) and the Jesuit missionary work there, by Father Alexander de Rhodes (Avignon 1591 or 1593 - Isfahan in Persia 1660). Although Rhodes had published an account of Cochin China in Italian in 1650 (see below), the present edition is not simply a translation and appears to include material not found in the earlier work. It was prepared for the press by the Jesuit Jacques de Machault (1599-1676 or 1678) at Caen, who signed the 7-page dedication to Princess Marie Léonor de Rohan and may have written the unsigned "avant-propos". Perhaps he combined information from the Italian work with information from other sources, but the fact that the text is signed by Rhodes from Macao in 1645, while he signed the preliminaries to the 1650 publication from Rome in 1650, suggests that Machault may have worked from a manuscript.With the title-page somewhat worn, but otherwise in very good condition. A first-hand Jesuit account of Vietnam, with a somewhat mysterious origin.

      [Bookseller: Antiquariaat FORUM BV]
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        The Witch-Cult in Western Europe. A Study in Anthropology.

      Oxford: At the Clarendon Press, 1921 - Octavo. Original green cloth, title gilt to spine. In the dust jacket. Bookseller's ticket to front pastedown. Very slight nicks to tips, a sound and fresh copy in the slightly spine-tanned jacket with only small chips to the ends and corners. Excellent condition. First edition. Having established herself by "strength of character in the hitherto entirely male world of professional Egyptologists [she] ventured into territory not then considered suitable for women by her involvement in anthropology" (ODNB). The present work, which puts forward the theory that mediaeval European witchcraft represented the survival of the pre-Christian nature cult of Cernunnos, the Horned God, was controversial but has proved popular and has been widely influential in the development of Wicca and Neopaganism. An uncommon book in jacket, and this a very smart copy. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Three Soldiers.

      New York: George H. Doran Company,, 1921. Octavo. Original black cloth, titles to spine and front in orange, top edge orange. With the dust jacket. A fine copy in a superb jacket, only very slightly rubbed at the ends and corners and with the faintest sunning to spine panel. First edition, first printing, first state (three blank leaves to front, none at back and the textual error on p. 213 reading "signing", later corrected to "singing"), second issue jacket (with review excerpts in place of the first issue publisher's blurbs; including a quotation from the Brooklyn Daily Eagle which was replaced with one from the Stars and Stripes' review in the third issue). This is an exceptional copy in jacket of Dos Passos's stark First World War novel, rare thus. Literary critic H. L. Mencken praised the book and its powerful influence in a review published in The Smart Set (October 1922): "Until Three Soldiers is forgotten and fancy achieves its inevitable victory over fact, no war story can be written in the United States without challenging comparison with it—and no story that is less meticulously true will stand up to it. At one blast it disposed of oceans of romance and blather. It changed the whole tone of American opinion about the war; it even changed the recollections of actual veterans of the war. They saw, no doubt, substantially what Dos Passos saw, but it took his bold realism to disentangle their recollections from the prevailing buncombe and sentimentality.

      [Bookseller: Peter Harrington]
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        Little Obelia and Further Adventures of Ragged Blossom, Snugglepot and Cuddlepie

      Sydney: Angus and Robertson, no date (Circa 1921). A copy of the extremely rare first edition of May Gibb's 'Little Obelia'. Pictorial boards with colour pictorial onlay, 91pp, colour frontispiece and one colour plate, 19 full page sepia illustrations, decorated endpapers and black and white line drawings throughout. Corners of front boards rubbed, modest foxing to front and read endpapers only. A very good copy of this extremely scarce edition.

      [Bookseller: Rare Illustrated Books]
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        Le jardin des chimères

      First edition, small printrun, of the first work by Marguerite Yourcenar, written under her semi-pseudonym of Marg YourcenarA very good and rare copy of this work, of which there were no large paper copies. Perrin & Cie Paris 1921 13,5x17,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Intérieurs modernes par MAM (Croquis La Gazette du Bon ton 1921 n°1) - In EDITION ORIGINALE

      Paris: Lucien Vogel éditeur, 1921. Fine. Lucien Vogel éditeur, Paris 1921, 18x24cm, en feuilles. - Set of eight original prints in color, drawn on laid paper, signed lower right and left boards. The boards are introduced by a text signed Jean Cocteau and represent costumes for Shakespeare (two Bergeres Paulina or Time). 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 : Intérieurs modernes par MAM (Croquis, La Gazette du Bon ton, 1921 n°1). Ensemble de quatre lithographies originales en couleur, tirées sur papier vergé. Installation moderne d'un jeune ménage (Publicité, La Gazette du Bon ton, 1921 n°2). Ensemble de quatre lithographies originales en couleur, tirées sur papier vergé et signées en bas à droite et à gauche des planches. Aménagement d'une loge d'actrice par Süe et Mare (Croquis, La Gazette du Bon ton, 1920 n°5). Ensemble de quatre lithographies originales en couleur, tirées sur papier vergé. 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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        L'Hôtel Dieu de Beaune.

      1921. broché. DeCollection. A Paris, chez Carteret & Schmied, 1921. In-8 (19 x 14 cm) broché, couverture rempliée imprimée or, gravures sur bois de Schmied en couleurs, lettrines et frises couleurs. Exemplaire de tête sur Hollande (n°48/200). Monod 10852.

      [Bookseller: Librairie]
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        Réunion de documents scolaires (Collège Chalon-sur-Saône) EDITION ORIGINALE ENVOI AUTOGRAPHE

      s.l.: S.n, 1921. Fine. S.n, s.l. S.d 1921-1924, formats divers, en feuilles. - Meeting valuable educational documents: essays, books and school reports, good points notebooks. Eight statements from December 1921 to April 1924 notes A school report (2nd and 1st B) A book of good points, the clever cover was made by the father of Maurice Blanchot An invitation to the entry meeting of students of the French Action An honor roll (1st B) Two distributions solenelles price (1st and 2nd B) September demand slips books at the store of the Strasbourg University Library A subject typed French composition for the Graduate Certificate in June 1927 A subject typed Latin version for Graduate Certificate in June 1927 A French assignment (1st B) Fables of La Fontaine (10pp., 17x22cm) Eight Latin versions Two themes and a German version Five philosophy essays: - The emotional logic (8 pp; 17x22cm.) - The role of affective elements in the association of ideas (8 pp; 17x22cm.) - The role of emotional and motor elements in attention (8 pp; 17x22cm.) - "Any real sense loses its force, insofar it intellectualize" (8 pp; 17x22cm.) - What is a theoretical science and applied science? (8 pp;. 17x22cm) We have given these documents to Michael Holland, researcher and professor of French literature at St Hugh's College, Oxford, author of several works on Maurice Blanchot Before that say: Essays on Blanchot appeared in 2015 at Hermann. His detailed analysis is forthcoming in Cahiers Maurice Blanchot under the direction of Danielle Cohen-Levinas. We use excerpts from this study to present these previously unknown and unpublished documents. The discretion of Blanchot on his youth and the almost total lack of biographical material forced the few biographers Blanchot many assumptions about the path of the most secret writer of the twentieth century. The school report and other documents in this set and can trace the tuition Blanchot. Holland notes that there "until 1921 Blanchot continued his studies at home, under the guidance of his father, Isidore, literature teacher who offered private lessons to children from wealthier families. [...] The small collection of "Satisfaction Testimonials" and "Honor Citations" signed "Professor / I. Blanchot" are precious and touching record of these years. » Blanchot then made "studies for three years at the College of Chalon-sur-Saône Boys [...] [and] has passed its trough in 1924 and not in 1922 [...] He chose the training provided by Section B (live Latin-Languages) [...] He chose to complete his studies in philosophy class. A school report covering the three years of schooling in Chalon has a very detailed picture of the young student. After a year in which the Second Progress "Good or Very Good student" to "excellent student" can be clearly observed in some subjects [...] Only downside to this brilliant picture: the disease. [...] It is noted that it is the first course that seem to have been affected by this episode. » in the light of these, Michael Holland puts next "Blanchot's career and that of Jean-Paul Sartre, Henri IV to Louis-le-Grand finally came to Ulm Street ENS 1924. Even golf champion, same rewards and same honors, each is an outstanding student. And it is found in Imagination Sartre published in 1936 but began during its preparation Psychology Certificate 1927, the same interest in the ideas of Ribot who sprinkles his essays. [...] Four essays psychology, a philosophy and literature offer valuable insight into what the young Blanchot was able during the year that he was preparing his bachelor's degree. By his comments on the sidelines of essays from Blanchot his philosophy teacher, Mr. Bochot shows that he knew he was dealing with an exceptional mind, sometimes unruly but capable of analysis and critical acute. » Michael Holland then provides a detailed analysis of the various work of Blanchot, including correlated with the writings of Ribot, highlighting the knowledge and early critical young Blanchot. It also notes in these early works the premises of a thought that soon will mark the literary critic of the twentieth century. Here are some excerpts of his work, giving an overview of the quality and interest of the student dissertations Blanchot: "This essay follows closely the argument of the article" The emotional logic "of Th. Ribot published in the Philosophical Magazine in 1904." "The more daring is the claim that the affective similarity is also the basis of some associations of states of consciousness. The "emotional tone" brought by the joy, sadness becomes a center of attention grouping of states of consciousness without rational relationship between them, a pivot around which agitate unexpected groupings. It is the artist who is the first recipient of this analogy sensations that brings such a man born blind to explain the Scarlet comparing it to the sound of a trumpet (eg which originated in Locke and is regularly quoted in the nineteenth century). Rejecting embryological and anatomical explanations for these associations Blanchot says that "the psychological explanation seems the only good", adding: "This way to feel a bit special is not, however, the privilege of a few eccentric or imbalanced, not to mention the fantastic designs or even surprising sentiments expressed some symbolist and decadent, we find even among the people, and perhaps especially among the people, that singular sensibility others cultivate and refine, as a precious rarity " . » "Having concluded that in many cases the cause of our associations is the emotional disposition and not elsewhere, Blanchot goes further: the emotional tone that accompanies associated performances can also strengthen their relationship. Here Blanchot brings in its reasoning author close but different from both Th Ribot. American philosopher William James. " "From here, the idea of" emotional affinity "that connects what comes to mind our current arrangements inspired Blanchot examples more personal (" When we are sad ... The happy man today ... tomorrow ... my enthusiasm bankruptcy of my happiness ") .. "Blanchot disputes the Ribot drawing on his personal experience considered equal to everyone. » "Here, as in essays devoted to Th. Ribot there is dissatisfaction Blanchot before the established dualisms, attention to identify a third position that complicates relations. Here it is with the work of Edmond Goblot (1858-1935) Blanchot continued his analysis. » "When studying in La Fontaine's fable, Blanchot says," we must be placed at two points of view. " "Why is this option?" meets his teacher. In literature as philosophy, we can see, the same concern to go beyond simple outlook characterizes the approach of the young student. » "It is in relation to that company as" the old storyteller gauloiseries has remained himself. " From there to suggest that such an example has inspired the novelist Blanchot who will work a few years later, there is only one step. But to understand the young nationalist who will soon (if not already) forge commitments we continue to blame him, it should be noted that what makes La Fontaine really a French poet, is to be "The only perhaps in his time who saw through our forests poor woodcutter all covered with branches," the only one to have found a way under "cold and shiny shell of the words" to trouble the heart by show. In short - and this is evident in all the essays of this period - the concern that animates the young Blanchot, and inspire her pronouncements he will regret later, is deeply human. His teacher asks: "Why do you sacrifice lyricism?". This is because now, for Blanchot, writing is out of the prescribed frameworks, whether moral or aesthetic, and get in front of the crisis, in the 1920s, began to make man the The challenge of complex and formidable powers. » More than relics of his childhood, these documents are a valuable record of the education and training of one of the best minds of our time. - [FRENCH VERSION FOLLOWS] Précieuse réunion de documents scolaires : rédactions, carnets et bulletins scolaires, carnets de bons points. Huit relevés de notes de décembre 1921 à avril 1924 Un livret scolaire (2nde et 1ère B) Un carnet de bons points, dont la couverture astucieuse a été confectionnée par le père de Maurice Blanchot Une invitation à la réunion de rentrée des étudiants de l'Action Française Un tableau d'honneur (1ère B) Deux distributions solenelles de prix (2nde et 1ère B) Sept bordereaux de demande des livres au magasin de la bibliothèque universitaire de Strasbourg Un sujet dactylographié de composition française pour le certificat d'études supérieures de juin 1927 Un sujet dactylographié de version latine pour le certificat d'études supérieures de juin 1927 Un devoir de français (1ère B) sur les Fables de La Fontaine (10pp., 17x22cm) Huit versions latines Deux thèmes et une version allemande Cinq dissertations de philosophie : - La logique affective (8 pp. ; 17x22cm) - Le rôle des éléments affectifs dans l'association des idées (8 pp. ; 17x22cm) - Le rôle des éléments affectifs et moteurs dans l'attention (8 pp. ; 17x22cm) - "Tout sentiment réel perd sa force, dans la mesure où il s'intellectualise" (8 pp. ; 17x22cm) - Qu'est-ce qu'une science théorique et une science appliquée ? (8 pp. ; 17x22cm) Deux ensembles manuscrits de leçons de philosophie de 22 et 18 feuillets recto-verso à l'écriture très dense, sans doute plus tardifs que les devoirs précédents. Nous avons confié ces documents à Michael Holland, chercheur et professeur de littérature française au St Hugh's College à Oxford, auteur de plusieurs travaux sur Maurice Blanchot dont Avant dire : Essais sur Blanchot paru en 2015 chez Hermann. Son analyse détaillée paraîtra prochainement dans les Cahiers Maurice Blanchot. Nous utilisons ici quelques extraits de cette étude pour présenter ces documents inédits et jusqu'alors inconnus. La grande discrétion de Blanchot sur sa jeunesse et l'absence presque totale de documents biographiques ont contraint les rares biographes de Blanchot à de nombreuses suppositions sur le parcours du plus secret écrivain du XXème siècle. Le livret scolaire et divers autres documents dans cet ensemble permettent ainsi de retracer la scolarité de Blanchot. Holland y relève que « jusqu'en 1921 Blanchot a poursuivi ses études à domicile, sous la direction de son père, Isidore, professeur de lettres qui offrait des cours privés à des enfants de familles aisées. [...] La petite collection de "Témoignages de Satisfaction" et de "Citations d'Honneur" signés "Le professeur / I. Blanchot" sont la précieuse et touchante trace de ces années. » Blanchot a ensuite fait des « études pendant trois ans au Collège de Garçons de Chalon-sur-Saône [...] [et] a donc passé son bac en 1924 et non pas en 1922 [...] Il a choisi la formation offerte par la Section B (Latin-Langues vivantes) [...]  Il a choisi de terminer ses études en Classe de Philosophie. Un livret scolaire couvrant les trois années de sa scolarité à Chalon présente une image très détaillé du jeune élève. Après une année de Seconde où le progrès de "Bon ou Très Bon élève" à "Excellent élève" peut s'observer clairement pour certaines matières [...] Seule ombre à ce tableau brillant : la maladie. [...]  On constate que ce sont les cours de Première qui semblent avoir été affectés par cet épisode. » à la lumière de ces éléments, Michael Holland met en regard « la carrière de Blanchot et celle de Jean-Paul Sartre qui, d'Henri IV à Louis-le-Grand est finalement entré à l'ENS de la rue d'Ulm en 1924. Même parcours de champion, mêmes récompenses et mêmes honneurs, chacun est un élève hors pair. Et l'on constate dans L'Imagination de Sartre, publié en 1936 mais commencé pendant sa préparation du Certificat de Psychologie vers 1927, un même intérêt pour les idées de Théodule Ribot qui parsème ses dissertations. [...] Quatre dissertations de Psychologie, une de Philosophie et une de Littérature offrent un aperçu précieux de ce dont le jeune Blanchot était capable pendant l'année où il préparait son baccalauréat. Par ses commentaires en marge des dissertations de Blanchot son professeur de philosophie, M. Bochot montre bien qu'il savait qu'il avait affaire à un esprit exceptionnel, parfois indiscipliné mais capable d'analyses et de critiques d'une grande acuité. » Michael Holland propose ensuite une analyse détaillée des divers travaux de Blanchot, en corrélation notamment avec les écrits de Ribot, qui met en relief les connaissances et le précoce esprit critique du jeune Blanchot. Il relève également dans ces travaux de jeunesse les prémisses d'une pensée qui marquera bientôt la critique littéraire du XXème siècle. Voici quelques extraits de son travail, donnant un aperçu de la qualité et de l'intérêt des dissertations de l'élève Blanchot : « Cette dissertation suit de près l'argument de l'article "La Logique affective" de Th. Ribot paru dans la Revue philosophique en 1904. » « Plus hardie est l'affirmation que la similitude affective est aussi à la base de certaines associations d'états de conscience. Le "ton émotionnel" apporté par la joie, la tristesse devient un centre d'attention groupant des états de conscience sans rapport rationnel entre eux, un pivot autour duquel s'agitent des groupements inattendus. C'est l'artiste qui est le premier bénéficiaire de cette analogie des sensations qui amène par exemple un aveugle-né à expliquer le rouge écarlate en le comparant au son d'une trompette (exemple qui a son origine chez Locke et qui est régulièrement cité au XIXème siècle). Rejetant des explications embryologiques et anatomiques de ces associations Blanchot affirme que "l'explication psychologique paraît la seule bonne" avant d'ajouter : "cette manière de sentir un peu spéciale n'est point, cependant, le privilège de quelques excentriques ou déséquilibrés, sans parler des conceptions fantastiques ni même des sentiments surprenants qu'expriment certains symbolistes et décadents, on rencontre, même chez le peuple et peut-être surtout chez le peuple, cette sensibilité singulière que d'autres cultivent et raffinent, comme une rareté précieuse". » « Ayant conclu que dans bien des cas la cause de nos associations réside dans la disposition affective et non ailleurs, Blanchot va plus loin : le ton émotionnel qui accompagne des représentations associées peut aussi renforcer leur liaison. Ici, Blanchot fait entrer dans son raisonnement un auteur proche mais aussi bien différent de Th. Ribot : le philosophe américain William James ». « À partir d'ici, l'idée de l'"affinité émotionnelle" qui relie ce qui nous vient à l'esprit à nos dispositions actuelles inspire à Blanchot des exemples de plus en plus personnels (« Quand nous sommes tristes... L'homme heureux... aujourd'hui mon enthousiasme... demain la faillite de mon bonheur »).. « Blanchot conteste la thèse de Ribot en faisant appel à son expérience personnelle considérée comme égale à celle de tout le monde. » « Ici comme dans les dissertations consacrées à Th. Ribot on constate l'insatisfaction de Blanchot devant les dualismes établis, son souci de dégager une troisième position qui en complique les relations. Ici c'est à l'aide des travaux d'Edmond Goblot (1858-1935) que Blanchot poursuit ses analyses. »   « Lorsqu'on étudie la fable chez La Fontaine, dit Blanchot, "il faut se placer à un double point de vue". "Pourquoi cette option ?" répond son professeur. En littérature comme on philosophie, on le constate, le même souci d'aller au-delà des perspectives simples caractérise l'approche du jeune élève. »  « C'est par rapport à cette société que "le vieux conteur de gauloiseries a su rester lui-même". De là à suggérer qu'un tel exemple ait inspiré le Blanchot romancier qui se mettra à l'œuvre peu d'années plus tard, il n'y a qu'un pas. Mais pour comprendre le jeune nationaliste qui va bientôt (si ce n'est déjà fait) forger des engagements qu'on continue de lui reprocher, on notera que ce qui fait de La Fontaine un poète vraiment français, c'est d'avoir été "le seul peut-être en son temps qui ait vu passer par nos forêts le pauvre bûcheron tout couvert de ramée", le seul à avoir trouvé le moyen, sous "la froide et brillante enveloppe des mots", de troubler le cœur par ce spectacle. Bref - et c'est manifeste dans toutes les dissertations de cette période - le souci qui anime le jeune Blanchot, et qui lui inspirera des prises de position qu'il regrettera par la suite, est profondément humain.  Son professeur demande : "Pourquoi sacrifiez-vous le lyrisme ?". C'est parce que déjà, pour Blanchot, écrire c'est sortir des cadres prescrits, qu'ils soient moraux ou esthétiques, et aller au-devant de la crise qui, dans les années 1920, commence à faire de l'homme l'enjeu de puissances complexes et redoutables. »    Plus que des reliques de son enfance, ces documents constituent une trace précieuse de l'éducation et de la formation d'un des esprits les plus éclairés de notre temps.

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        Relation des progrez de la Foy au Royaume de la Cochinchine vers les derniers quartiers du Levant. Envoieé au R.P. General de la Compagnie de Jesus.Paris, Sebastien and Gabriel Cramoisy, 1652. Small 8vo (17 x 11 cm). Modern boards.

      Cordier, Indosinica, col. 1921; De Backer & Sommervogel VI, col. 1719, no. 5. First edition, in French, of an account of Cochin China (now southern Vietnam) and the Jesuit missionary work there, by Father Alexander de Rhodes (Avignon 1591 or 1593 - Isfahan in Persia 1660). Although Rhodes had published an account of Cochin China in Italian in 1650 (see below), the present edition is not simply a translation and appears to include material not found in the earlier work. It was prepared for the press by the Jesuit Jacques de Machault (1599-1676 or 1678) at Caen, who signed the 7-page dedication to Princess Marie Léonor de Rohan and may have written the unsigned "avant-propos". Perhaps he combined information from the Italian work with information from other sources, but the fact that the text is signed by Rhodes from Macao in 1645, while he signed the preliminaries to the 1650 publication from Rome in 1650, suggests that Machault may have worked from a manuscript.With the title-page somewhat worn, but otherwise in very good condition. A first-hand Jesuit account of Vietnam, with a somewhat mysterious origin.

      [Bookseller: Antiquariaat FORUM BV]
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        John Wisden's Cricketers' Almanack for 1921 - 1921 Original Hardback Wisden, Special Presentation Wisden.

      Hi, This lot is a 1921 Original Hardback Wisden This year is one of the rarest Hardbacks I find and very under rated in the rarity stakes , this is rare but only in just Good Condition, but very nicely priced. The boards are quite dark and marked , the spine cloth is also a bit dark and the gilt is a touch darkened , the front gilt is bright. Internally the pastedowns follow the dark theme and the hinges are weak but not broken some mesh can be seen between page 2 and 3. Some pencil markings inside. One thing that is special is that to the title page it states ""To C Stewart Caine from Sydney Pardon"" so the current editor to a future editor so this was once owned by an editor of Wisden. Nice inside. Excellent Photoplate and a unique Wisden but condition could be better.

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        Wälsungenblut. Mit Steindrucken von Th. Th. Heine [Thomas Theodor Heine] Heine.

      München, Phantasus-Verlag, (1921). . Eins (Nr. 105) von 100 Exemplaren (Nrn.101-200) der Halblederausgabe (GA: 530). Privatdruck, hergestellt in der Offizin Dr. C. Wolf & Sohn, gebunden in der Werkstatt Carl Herkomer, München. Im Druckvermerk von Thomas Mann und Th. Th. Heine SIGNIERT. - Oberes Kapital mit kl. Verfärbung, Rücken etwas aufgehellt; gutes, sauberes Exemplar.

      [Bookseller: Antiquariat Reinhold Pabel]
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        Boxer: Acht Lithographien Mit einem vorwort vons Hans Breitensträter

      Düsseldorf: Galerie Flechtheim, 1921. No. 52 of 60 albums on Japan, with all eight lithographs hand-colored. Each lithograph and the colophon signed in pencil by Grossmann. (Entire edition 125 copies: 15 not for sale with original drawing; 35 copies on Büttenpapier; 60 copies as this). Published as Mappe XIII, one of the special albums from Galerie Flechtheim. A rare Weimar album devoted to the urbane and ?snobistisch? sport of boxing by an important artist of the time whose work was extensively destroyed by the Nazis. Large folio (13 1/4" x 17 3/4"). Loose sheets in portfolio. Eight hand-colored lithographs. Text and colophon: 6pp. in French, English, and German, illustrated with offset photographs. Board folder (Mappe) with cloth spine (17 1/4" x 21"). Cover lettered in gilt, with photo. Slight soiling of covers. Very fine for text and lithographs. Rare. Most copies broken up for prints or destroyed. Rudolph Grossmann, German artist and illustrator, was born in Freiburg, Germany in 1882. He began his education in painting and printmaking at Düsseldorf Academy. In 1910, he settled in Berlin. A master of portraits, figures, land-and cityscapes, Grossmann began publishing his prints in 1905. Many major publishers in both Germany and France commissioned his work. Though Berlin was his home, he would frequently visit France, both to work and exhibit, and for a brief time, to teach printmaking. In Paris, he became part of the Café du Dôme circle of German artists. Jules Pascin became his teacher and close confidant. During his time in France, he met and became friends with artist George Grosz. While teaching, he introduced techniques to artist Sonia Delaunay, eventually helping launch her career in the art world. Grossmann was already represented by Paul Cassirer in Berlin, who printed his first seven drawings in the magazine Kunst und Künstler between 1911 and 1914. In 1914, Alfred Flechtheim exhibited the Parisian group of Dôme artists, including Grossmann, in his Düsseldorf gallery. Grossmann documented life in Berlin in 1933 in his portraits and street scenes like no other artist. In 1928, Grossmann was appointed professor at the Kunsthochschule Berlin, and also became a member of the Berlin Secession and the Deutscher Künstlerbund. In 1934, after the seizure of power by the Nazis, Grossmann was discharged and returned to Freiburg. His art was declared degenerate, and 206 of his works were confiscated. His works were included in the Nazis? ?Degenerate Art? exhibition in 1937 (one of only six Jews to be included), and 391 of his works were removed from German museums. Grossmann died in 1941 following a serious illness. Since many of his works were destroyed by the Nazis, he has never regained the popularity that he once had. The publisher of this album is Alfred Flechtheim (1878-1937), a German art dealer, art collector, and journalist. A victim of Nazi anti-Semitism, he was forced to emigrate in 1933, and died, impoverished, in London in 1937. In 1913, he opened his gallery and became known as the leading dealer in Germany for modern French art, much of it obtained through his friend Daniel-Henry Kahnweiler, the eminent Parisian gallerist and German émigré. Despite his ambivalence toward contemporary German art, Flechtheim eventually also exhibited a select number of Expressionist, Bauhaus, and Neue Sachlichkeit (New Objectivity) artists, including Ernst Barlach, Max Beckmann, George Grosz (under contract from 1925 to 1931), Paul Klee (whom he represented from 1927 to 1933), Oskar Kokoschka, Wilhelm Lehmbruck, and August Macke. Flechtheim also published prints by Grosz, Else Lasker-Schüler, Ludwig Meidner, and many other now less familiar German artists. In 1921, Flechtheim began to issue the cosmopolitan art and culture periodical Der Querschnitt [Cross Section], and three years later, sold it to the publishing house Propyläen. Always profusely illustrated, culturally urbane, Der Querschnitt ?attempted to define just what was aesthetically important for the German?and even the European? sophisticate? (Esau, 870). Lighthearted and snobistisch, it was ?written in a literate style that presages the New Yorker?s famed ?Notes and Comments? sections (872). In addition to the periodical, Flechtheim also published a series of special ?mappe? (folder or album) titles with original etchings or lithographs. These special limited editions were aimed toward the wealthy art ?amateur.? Grossmann?s Boxer: Acht Lithographien is an example. The sport of boxing was prominent in the illustrations and essays in Der Querschnitt, with much made of Grossmann?s lithographic portfolio depicting boxers in motion. Der Querschnitt?s merging of high art and popular culture to epitomize cosmopolitanism and a breezy elitist style began to coalesce by the second year of its publication (871). Avid interest in boxing and ?Boxing als Kunst? (boxing as art) was part of Berlin cultural life as it was in Paris. Weimar German boxing symbolized a type of heroics that appealed to the vanquished German people. In modern boxing?s promise of a ?different kind of person? lay the reason why both the left and the right, both Brecht and Hitler, admired the sport. Flechtheim, who may have been homosexual, appreciated and published male nudes including ?aestheticized views of Flechtheim?s favourite boxers in classic nude poses.? The magazine?s ?emphasis on sport and dance was often tied to an eroticized concept of the body so integral to Weimar Germany?s approach to modern culture? (879). Flechtheim declared in a 1921 editorial a duty to ?promote boxing in German artistic circles as has long been the case elsewhere. In Paris Braque, Derain, Dufy, Matisse, Picasso and Rodin are all enthusiastic boxing fans? (Boddy, 61). Fletchtheim also held ?regular soirées where members of the intelligentsia...could mingle with boxers such as Hans Breitensträter? (1897-1972), who was charismatic, blonde, beautiful and athletic, and who also played the violin, bred orchids, and collected teddy bears. Also part of Flechtheim?s circle was Paul Samson-Körner and Max Schmeling. These soirees led to the publication of the Grossmann portfolio, which included Breitensträter?s short autobiography. References: Boddy, Kasia. Boxing: A Cultural History. London: Reaktion Books, 2008. Esau, Erica. ??The Magazine of Enduring Value?: Der Querschnitt (1921-1936) and the World of Illustrated Magazines,? The Oxford Critical and Cultural History of Modernist Magazines, vol. III, Europe 1880-1940, Part II: 868-887. OCLC: GWDNB, S5B, J9U. No copies U.K. or North America.

      [Bookseller: Golden Legend, Inc. ]
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        Wälsungenblut. Mit Steindrucken von Th. Th. Heine [Thomas Theodor Heine] Heine.

      München Phantasus-Verlag () 1921 - 88 S. Mit 32 Orig.-Lithographien (davon 12 ganzseit.). Gr.-8vo (ca. 26,5 x 19,5 cm). Rehbraunes OHLdr. mit dekorativer RVergold. u. Kopfgoldschnitt in OPp.-Schuber (dieser leicht beschabt). Eins (Nr. 105) von 100 Exemplaren (Nrn.101-200) der Halblederausgabe (GA: 530). Privatdruck, hergestellt in der Offizin Dr. C. Wolf & Sohn, gebunden in der Werkstatt Carl Herkomer, München. Im Druckvermerk von Thomas Mann und Th. Th. Heine SIGNIERT. - Oberes Kapital mit kl. Verfärbung, Rücken etwas aufgehellt; gutes, sauberes Exemplar. [Attributes: Signed Copy]

      [Bookseller: Antiquariat Reinhold Pabel]
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        Das Stundenbuch enthaltend die drei Bücher: Vom moenchischen Leben / Von der Pilgerschaft / Von der Armut und vom Tode [INSCRIBED by Walter Reich]

      Insel Verlag, Leipzig 1921 - 9/440. Inscribed "Dear Paul Merry Xmas 1964 from Lisl and Walter" on blank preceeding title page. Quarto. (6) 105 (5)pp. Original gilt-stamped cream leather with gilt lettering on cover and spine. Gilt fillets and top edge. Red endpapers. Title page in two colors by Walter Tiemann with red header. Black ribbon-marker. Sarkowski 1360. First publication of the famous Insel Press in Gothic script selected by Carl Ernst Poeschel and printed on Van Gelder paper by Poeschel & Trepte, Leipzig. "The Book of Hours (Das Stundenbuch)" is next to ".Christoph Cornet" Rilke's most important early work. It was his first completely structured cycle and it is written in a suggestive, melodic form that became the hallmark of Rilke's poetry and established his reputation as a "religious poet." Full leather variant binding in small but unknown number. Text in German, Gothic script. Binding with light wear along edges, small chips and scuffing, few light marks on front cover and small stain on spine. Red endpapers slightly darkened at foredge. Pages 44 and 45 with fan-like offsetting from black ribbon marker, colophon and opposite page with light offsetting from tail end of ribbon marker. Binding in overall good+, interior in very good condition. [Attributes: First Edition; Hard Cover]

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      Ashendene Press, Chelsea 1921 - Bound in thick black goat ? with title and press name in gilt on the spine that has seven raised bands. Interior paste downs are made from WASP NESTS in the form of paper. Signed Zaehnsdorf, London, England and hand initialed by the finisher. This version of the legend of St. Clare is derived from the original manuscript in italian (of which 4 pages in facsimile are inserted) purchased at auction in 1918. Printed in an edition of 236 copies with beautiful type in red and black inks, and only the top page edges trimmed. Very few and faint brown spots within, page edges toning a bit also but a near fine copy in a very interesting binding. [Attributes: Hard Cover]

      [Bookseller: Charles Thomas Bookseller]
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        En marge des marées

      first edition of the French translation, one of the 108 numbered copies on vergé "pur-fil" paper Lafuma-Navarre and re-imposed in the format in-quarto tellière, drawing of head. Bradel binder in blue paper with abstract decoration, smooth back, piece of title of burgundy morocco set with palladium, covers and backs conserved (tiny bites without gravity on the back), elegant modern binding signed by T. Boichot. Nice copy nicely established. Nrf Paris 1921 16,5x21,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        The Triumph of the Egg

      New York: B. W. Huebsch, Inc. [1921]. 8vo. 7 plates of Eugene Hutchinson's photographs of the clay impressions of Tennessee Mitchell. Original cloth; dust jacket; black cloth slipcase with morocco label. Cloth fine and fresh, lettering bright; jacket spine slightly sunned and spotted, and with a few chips at head.

      [Bookseller: Riverrun Books & Manuscripts]
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        Krotkaja.Eins von 70 nummerierten Exemplaren.

      Drei Masken Verlag,München 1921 - = Die Sanfte . (Neu übertragen von Alexander Eliasberg). Originalradierungen von Willi Geiger. München, Drei Masken-Verlag (= 7. Obeliskdruck) (1921). Mit 1 rad. Titelvignette und 11 rad. Initialen. 4°. 65(1) S., 1 Bl. auf Zanders-Bütten. Illustr. Orig.-Pergamentband auf 5 durchzogenen Bünden mit goldgeprägtem Leder-Rückenschild, Buntpapiervorsätzen und Kopfgoldschnitt. -Erste dieser illustrierten Ausgabe. - Eins von 70 nummerierten Exemplaren der Vorzugsausgabe (Gesamtauflage: 340 Expl.).Erste Ausgabe.- Titelradierung und Druckvermerk vom Künstler signiert, die rad. Initialen monogrammiert. - Rodenberg 448.7. - Einband etwas angestaubt, sonst gutes Exemplar. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Stammerjohann]
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        el Verdugo. Aus dem Französischen neu übertragen von Karl Federn. Mit sechs Radierungen von Klaus Richter.

      Berlin, Euphorion . 1921 - Gr.-8° ( 18,7 x 13,3 cm). Rostbrauner Originalecrasélederband mit ornamentaler Prägung und vergoldetem Titel und Kopfschnitt (signiert: Euphorion Einband. Hübel & Denck, Leipzig). [2], 58, [8] Seiten. Mit sechs signierten blattgroßen Radierungen. Kanten leicht berieben. Vorsätze mit schmalem Leimschatten. Seite 19 im unteren Rand mit Spur von Kopierstift. Richtig gutes Exemplar. Exemplar 76 der 150 der Vorzugsausgabe auf handgeschöpftem Zanders-Bütten, mit den signierten Radierungen (Gesamtauflage 400). – Der gestochene Titel stammt von Jan Tschichold, dem »Großmeister« der Neuen Typographie. – Der Einband im Stil alter Lederschnittbände. -- Horodisch, Euphorion 12. – Sennewald 21,2. - Slg. Achilles 222. LitVit [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat und Buchhandlung Carl Wegner]
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        Premier congrès international de la navigation aérienne : réception des membres du Congrès chez M. G. Eiffel, le dimanche 20 Novembre 1921

      First edition, printed in a very small number of copies on vergé paper. Handsome inscription from Gustave Eiffel to his daughter Valentine at head of upper cover. Tiny wormholes to upper cover and title, otherwise a good copy. L. Maretheux Paris 1921 16x25cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Ghost Gleams

      Heath Cranton, Limited, London - [1921]. First edition. Octavo slate blue cloth lettered in black. From the foreword: "These tales make no claim to be anything more than straightforward ghost stories". A collection of 15 imaginative supernatural stories. Bleiler p. 211. Some light soil to the front cover; spine faded to gray. A very good copy. Very scarce. [Attributes: First Edition; Hard Cover]

      [Bookseller: The Literary Lion, ABAA]
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