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

        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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        A BIBLIOGRAPHY OF WILLIAM BLAKE

      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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        Batouala

      - 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.

      1921.

      [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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        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. [Attributes: First Edition]

      [Bookseller: Antiquariaat FORUM BV]
 19.   Check availability:     AbeBooks     Link/Print  


        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.

      [Bookseller: Librairie Le Feu Follet]
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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.

      [Bookseller: Wisdenshop.com]
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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]

      [Bookseller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB)]
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        VITA DI SANTA CHIARA VERGINE COMPOSTA PER VGOLINO VERINO CITTADINO FLORENTINO

      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]
 31.   Check availability:     ZVAB     Link/Print  


        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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        The Mysterious Affair At Styles

      John Lane The Bodley Head, 1921. 1st edition. Hardcover. Original decorative brown cloth, spine edges gently rubbed, the rough-cut pages clean bar a little edge-spotting, one early leaf with very slight edge-wear. Housed in a quarter morocco solander box with gilt spine lettering. Agatha Christie's first book also introduced her famous Belgian detective, Hercule Poirot. She wrote the novel as a result of a challenge to do so by her sister Madge. It appeared first in the US in October 1920, then in the UK in early 1921. The New York Times thought that, even though it was her first published work, 'she betrays the cunning of an old hand'. This copy is near fine, and very scarce.

      [Bookseller: Shellhouse Books]
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        7 verschiedene Bände aus 1921-1939

      Paris, 1921-1939. mit zahlr. orig. Lithographien. u. aufgezogenen Tafeln, orig. kart. (teils leichte Gebrauchsspuren) Jährlich an Weihnachten erschienene französische Zeitschrift für Kunst und Literatur. Enthalten: 1913, 1919, 1929-34, 1938, 1939 und eine Ausgabe Mai 1921. - il y a les tomes 1913, 1919,1929-1934, 1938, 1939 et un tome du mai 1921, avec beacoup des images

      [Bookseller: Celler Versandantiquariat]
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        Stier auf der Alm. Federlithographie auf Bütten.

      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 21Raabe 144. - Eines von 200 Ex. der sign. Vorzugsausge erschienen in: Ganymed-Mappe, Bd. 3, München, Verlag. der Marées-Gesellsch., R. Piper & Co. 1921.

      [Bookseller: antiquariat peter petrej]
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        NUOVI STUDI DANTESCHI NEL VI CENTENARIO DELLA MORTE DI DANTE

      P.FEDERICO & G.ARDIA, 1921. ITALIANO 0,44 Coperta rigida rossa con titoli d'oro al dorso, con segni di usura ai bordi ed alla cima, ai piatti applicate le copertine editoriali, ingiallite e con fioritura, pagine brunite dal tempo, con fioritura e piccole gore, fioritura anche ai tagli USATO

      [Bookseller: Biblioteca di Babele]
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        La Vita Nuova. Nel sesto centenario della morte di Dante Alighieri.

      Arti Grafiche, 1921. In-folio (cm. 36), pp. (8) 93 (11). Con molte illustrazioni a colori nel testo di Vittorio Grassi (anche a piena pagina) e finissimi fregi, capolettera e decorazioni miniati da Nestore Leoni. Legatura editoriale in stoffa decorata in oro su disegno di V. Grassi. Taglio di testa dorato. Entro custodia edit. in cartone pergamenato con titoli in oro. Ex libris ed una dedica ms. alla prima carta di guardia. Impresso su carta pergamenata in 1321 esemplari numerati (ns. n. 568). Ottima conservazione, solo la custodia con qualche traccia d'uso. Si tratta di uno dei capolavori della tipografia italiana d'inizio secolo. Non comune. Cfr. Mambelli 782.

      [Bookseller: Studio Bibliografico Benacense]
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        The Uses of Diversity.

      New York: Dodd, Mead and Company.. Very good condition with minor signs of external wear. Some missing pieces and tears at edges and corners of dustjacket. Browning of paper. Clean inside with intact binding. EXTREMELY RARE !. New York, Dodd, Mead and Company. 1921. 13.5 cm x 19.5 cm. 289 pages. Original hardcover with original dustjacket in protective Mylar. Very good condition with minor signs of external wear. Some missing pieces and tears at edges and corners of dustjacket. Browning of paper. Clean inside with intact binding. EXTREMELY RARE ! Includes the following essays: On Seriousness / Lamp-Posts / The Spirits / Tennyson / The Domesticity of Detectives / George Meredith / The Irishman / Ireland and the Domestic Drama / The Japanese / Christian Science / The Lawlessness of Lawyers / Our Latin Relations / On Pigs as Pets / The Romance of Rostand / Wishes / The Futurists / The Evolution of Emma / The Pseudo-Scientific Books / The Humour of King Herod / The Silver Goblets / The Duty of the Historian / Questions of Divorce / Mormonism / Pageants and Dress / On Stage Costume / The Yule Log and the Democrat / More Thoughts on Christmas / Dickens again / Taffy / "Ego et Shavius Meus" / The Plan for a New Universe / George Wyndham / Four Stupidities / On Historical Novels / On Monsters. "Gilbert Keith Chesterton (1874-1936) cannot be summed up in one sentence. Nor in one paragraph. In fact, in spite of the fine biographies that have been written of him, he has never been captured between the covers of one book. But rather than waiting to separate the goats from the sheep, let's just come right out and say it: G.K. Chesterton was the best writer of the 20th century. He said something about everything and he said it better than anybody else. But he was no mere wordsmith. He was very good at expressing himself, but more importantly, he had something very good to express. The reason he was the greatest writer of the 20th century was because he was also the greatest thinker of the 20th century. Born in London, G.K. Chesterton was educated at St. Paul's, but never went to college. He went to art school. In 1900, he was asked to contribute a few magazine articles on art criticism, and went on to become one of the most prolific writers of all time. He wrote a hundred books, contributions to 200 more, hundreds of poems, including the epic Ballad of the White Horse, five plays, five novels, and some two hundred short stories, including a popular series featuring the priest-detective, Father Brown. In spite of his literary accomplishments, he considered himself primarily a journalist. He wrote over 4000 newspaper essays, including 30 years worth of weekly columns for the Illustrated London News, and 13 years of weekly columns for the Daily News. He also edited his own newspaper, G.K.'s Weekly. (To put it into perspective, four thousand essays is the equivalent of writing an essay a day, every day, for 11 years. If you're not impressed, try it some time. But they have to be good essays – all of them – as funny as they are serious, and as readable and rewarding a century after you've written them.) Chesterton was equally at ease with literary and social criticism, history, politics, economics, philosophy, and theology. His style is unmistakable, always marked by humility, consistency, paradox, wit, and wonder. His writing remains as timely and as timeless today as when it first appeared, even though much of it was published in throw away papers." (The American Chesterton Society)

      [Bookseller: The Time Traveller's Bookshop]
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        Aktensammlung zur Geschichte der Basler Reformation in den Jahren 1519 bis Anfang 1534. Band 1 bis 6 komplett. [Im Auftrage der Historischen und Antiquarischen Gesellschaft zu Basel hrsg. von Emil Dürr und Paul Roth]. - Band 1: 1519 bis Juni 1525 - Band 2: Juli 1525 bis Ende 1527 - Band 3: 1528 bis Juni 1529 - Band 4: Juli 1529 bis September 1530 - Band 5: Oktober 1530 bis Ende 1531 - Band 6: 1532 bis Anfang 1534.

      Basel: Verlag der Historischen und Antiquarischen Gesellschaft 1921-1950. 6 Bände (= so vollständig). XXII, (2), 553, (1); (12), 751, (1); (14), 680; (14), 638; (14), 685; XX, (4), 472 Seiten. Gr. 8° (24,5 x 18 cm). Priv.-Leinenbände mit goldgeprägtem Titel auf ledernen Rückenschildern, gesprenkelten Schnitten und Buntpapierbezügen. [Hardcover / fest gebunden]. Vermutlich Handexemplar des Herausgebers. Vereinzelt eingebundene Korrekturen und ein Neujahresgruß im Anhang von Band 6. - Einbände leicht angestaubt, Leinenrücken stellenweise minimal fleckig. Stempel und Besitzvermerk auf den Vorsätzen, saubere Bleistiftanstreichungen am Rand sehr weniger Seiten, sonst sehr gutes und sauberes Exemplar der selten vollständigen originalen Dokumentensammlung. Versand D: 5,50 EUR Dürr, Emil (Hrsg.) und Paul Roth (Hrsg.): Aktensammlung zur Geschichte der Basler Reformation in den Jahren 1519 bis Anfang 1534. Band 1 bis 6 komplett. [Im Auftrage der Historischen und Antiquarischen Gesellschaft zu Basel hrsg. von Emil Dürr und Paul Roth]. - Band 1: 1519 bis Juni 1525 - Band 2: Juli 1525 bis Ende 1527 - Band 3: 1528 bis Juni 1529 - Band 4: Juli 1529 bis September 1530 - Band 5: Oktober 1530 bis Ende 1531 - Band 6: 1532 bis Anfang 1534. Basel: Verlag der Historischen und Antiquarischen Gesellschaft 1921-1950.

      [Bookseller: Antiquariat Kretzer]
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        Hans Reichenbach. Aetat suae XXX. Büste im Dreiviertelprofil nach rechts, eine Zigarette rauchend.

      - Radierung, 1921/22, signiert. 27,2:24,6 cm. Sehr guter Abdruck auf etwas vergilbtem Papier mit Wasserzeichen: Pferd über Rad. Literatur: Ausst. Katalog: Gottfried Graf – Retrospektive. Ulm/Stuttgart 1931, Kat. Nr. 29; N. Hüll, Gottfried Graf 1881-1938. Maler und Graphiker, Mitglied des Hölzel-Kreises, Sigmaringen 1986, S. 144, R 40. Hans Reichenbach (1891 Hamburg – Los Angeles/Kalif. 1953) war Physiker, Philosoph und Logiker. Zunächst im württembergischen Postdienst ab 1897 tätig, widmete sich der später auch als Kunstschriftsteller arbeitende Maler und Graphiker Gottfried Graf ab 1904 auch dem künstlerischen Schaffen. Bis 1908 absolvierte er neben seiner Berufstätigkeit an der Stuttgarter Akademie und Kunstgewerbeschule eine Ausbildung als Zeichenlehrer. Anschließend unternahm er gemeinsam mit J.A. Wirth eine Studienreise nach Florenz, Rom und Neapel. Nach seiner Rückkehr 1909 nach Stuttgart wurde er 1910 Schüler von C. Landenberger (1862-1927) und A. Hölzel (1853-1934). 1913, nachdem er aus gesundheitlichen Gründen beurlaubt wurde, unternahm er eine Reise nach Südfrankreich; er begegnete J. Villon (1875-1963) und A. Gleizes (1881-1953), mit letzterem verband ihn eine enge Freundschaft. In diesem Jahr begann die intensive Auseinandersetzung mit der kubistischen Formensprache, die Grafs Werk entscheidend prägen sollte. Bei Ausbruch des Ersten Weltkrieges mußte er sein Studium unterbrechen, er war Wehrdienstunfähig und sein Gesundheitszustand war weiterhin labil, und arbeitete bis Kriegsende als Zeichenlehrer. 1918 Wiederaufnahme des Studiums an der Stuttgarter Akademie. 1919 wurde er Gründungsmitglied der Stuttgarter „Üecht-Gruppe". Bereits ein Jahr später wurde er an die Stuttgarter Akademie als Leiter der Graphischen Abteilung und der Holzschnittklasse berufen, seit 1925 Professor. Wiederholte Reisen nach Frankreich. Ende der 20er Jahre kehrte er zur gegenständlichen Malerei zurück. 1937, von den Nationalsozialisten als „entarteter" diffamiert, wurden seine Arbeite aus den Museen entfernt. Anfänglich noch weiter an der Akademie tätig – er bat selbst um die Versetzung in den Ruhestand –, sah er sich zunehmend öffentlichen Angriffen und Schmähungen seitens seiner Kollegen augesetzt. Nicht zuletzt führten diese Umstände und damit einhergehend die rapide Verschlechterung seines Gesundheitszustandes zu seinem frühen Tod im Alter von 57 Jahren.

      [Bookseller: Galerie Joseph Fach GmbH]
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        The book of Jack London

      New York: The Century Co, 1921. First edition, 2 volumes, 8vo, pp. xvi, 422, [3]; viii, 414; 43 illustrations on 32 plates, 2 other full-p. illustrations in the text; original green cloth, spines faded, front hinge of vol. II cracked; a good set. Ostensibly Charmian's own copy, with her bookplate in each volume, and with a 1932 inscription from her in each volume to B. J. Hart "with best wishes from the author, Charmian London." Also, with her tipped in signature on the front free flyleaf, a long autograph postcard from her mounted to the front pastedown regarding "this frightful disaster that has overtaken the South," etc., 2 printed poems of Jack London's pasted in on preliminaries, and a typed note signed by Charmian pasted to the rear pastedown in vol. II to Woodruff Book Store in Los Angeles asking for a 10% discount on London's The Valley of the Moon, together with typed envelope,

      [Bookseller: Rulon-Miller Books]
 42.   Check availability:     Biblio     Link/Print  


        Bar nicanor

      First edition, one of 300 numbered copies on bouffant, the only printing along with 5 Hollande.Illustrated with a portrait of de Crotte de bique and Couillandouille by themselves.Small lacks to head and foot of spine. Some stains on the lower cover.Rare. Editions Aio Bruxelles 1921 16,5x24cm broché

      [Bookseller: Librairie Le Feu Follet]
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        A Dish of Apples

      Hodder & Stoughton, London 1921 - A Dish of Apples by Eden Philpotts with illustrations by Arthur Rackham Limited edition numbered 19/500 signed by author and illustrator, Hodder & Stoughton, London, 1921, A limited edition copy which is signed by the author and the illustrator of the book. A Dish Of Apples contains three tipped in coloured plates by Arthur Rackham plus numerous black and white illustrations throughout the text. A very good/ near fine condition copy of this charming collection of poems. Original cream boards with gilt illustrations of two apple trees on the cover. Gilt lettering on the spine. The covers are mildly marked and in overall very good condition. Illustrated end pages. Gilt top edge of the book. Uncut side page ends. The contents are clean. Twelve black and white illustrations and three coloured illustrations with tissue guards. 26 x 20cm 75 numbered pages. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Rare And Antique Books PBFA]
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        The investor's pocket manual.

      New York: The Financial Press, 1921. 16mo (15.5 cm, 6.1"). 272 pp. Vol. XIII, no. 4 (May, 1921) of a monthly publication offering "current statistics, records and high and low prices of stocks and bonds of railroad, industrial, and mining corporations, also grain, cotton, coffee and provisions." The publisher advertised in contemporary magazines that copies of this "real help to investors" would be "furnished FREE by any investment house . . . on request," and the front wrapper of the present example identifies it as coming from Kurtz Brothers Bankers and Brokers at 1421 Chestnut Street, Philadelphia, PA. There is a great deal here on the structure and value of many, many individual companies.    => These ephemeral guidebooks are not widely institutionally held in the U.S., although a different, quarterly publication of the same title (published by E.A. Pierce & Co.) appears to be somewhat more common. Publisher's printed yellow paper wrappers; creased and lightly soiled, with inked date on spine and pencilled annotations on back wrapper. Text block just starting to pull away from wrappers. Pages age-toned; three leaves separated. => A useful snapshot of the American economy in the spring of 1921.

      [Bookseller: Philadelphia Rare Books & Manuscripts Co]
 45.   Check availability:     Biblio     Link/Print  

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