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

        Autograph musical quotation signed in full...

      Octavo (204 x 138 mm.) 1 measure from an unidentified technical study, being an 8-note staccato pattern in C major, repeated in C-sharp major, both under one downbow, marked "Presto." On an album leaf. Signed and dated "Liège 30 Mai 1921" in black ink. No compositions by the French violinist Thibaud are recorded. "At 13 his precocious talent took him to the Paris Conservatoire... He formed a trio with his brothers, a pianist and a cellist of ability, but it was as the partner of Cortot and Casals in a famous trio, chiefly active from 1930 to 1935, that he is remembered as an ensemble player... Thibaud never retired; he appeared in London when he was over 70 and gave his last concert at Biarritz ten days before he was killed in an air crash on his way to a concert tour in the East Asia." W.W. Cobbett and Noël Goodwin in Grove Music Online....

      [Bookseller: J & J Lubrano Music Antiquarians]
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        The Spoil Bank Association Limited Cheque Book and Articles of Association.

      (Ditchling: St. Dominic's Press, 1921). Small oblong quarto. 50ff., consisting of printed checks bearing a wood-engraving titled "S. Joseph and S. Dominica in Vesica" by David Jones. The Spoil Bank Association was established at Ditchling in order to hold the land and manage the money of the Guild of S. Joseph & S. Dominic in the early days of the community at Ditchling. The name is derived from a strip mining term, which refers to the pile of refuse created by the excavation of earth materials on a mining site, undoubtedly intentional, given the anti-capitalist views of Gill and Pepler. While documents referencing the Spoil Bank Association have occasionally surfaced, only one endorsed check is recorded, and this is held at Notre Dame. Taylor & Sewell note that Barclay's Bank "refused to cash or negotiate these cheques." It is believed that no more than 100 checks were printed, making this complete and unused checkbook, which contains check numbers B1 - B50, of the utmost rarity. The book retains its plain gray wrappers, and apart from a mild crease down the center, it is about fine. Together with the Memorandum and Articles of Association for the Spoil Bank Association, registered on November 9, 1921. Broadside, folded in eighths. In addition to laying out the founding guidelines of the Association, this document lists the initial subscribers and appoitns Eric Gill, Herbert Joseph Cribb, and Hilary Pepler the first Directors. Fine. (Cleverdon 81; Taylor & Sewell A95).

      [Bookseller: Bromer Booksellers]
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        Howard Pyle's Book of Pirates.

      Folio. Original black cloth-backed buff boards lettered in black with a large onlaid pictorial label to upper cover, pictorial endpapers; pp. [xviii]246[i]; with 12 full-page coloured plates (including frontis) and 2 smaller tipped-in coloured images, together with 14 full-page black-and-white plates and 1 smaller tipped-in monochrome image; drawings throughout in line decorating the text; spine cloth a little rubbed at head and tail, a little rubbing to corners otherwise a very good copy in the scarce pictorial dust wrapper. The wrapper has a little chipping to head of spine otherwise is near fine. First edition, first issue with the copyright code "D-V". Rarely found with the dust wrapper.

      [Bookseller: Henry Sotheran Ltd.]
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        Six Years with the Texas Rangers 1875-1881

      Von Boeckmann-Jones., Publishers, Austin, Texas 1921 - 332 pp., frontis, eight tissued plates. A clean, near fine, tight, unmarked, sharp cornered copy with no book plates or former owner's writing. Wrapped in a clear protective Mylar cover. Minor scuffing to the bottom of the front board keeps it from being a fine copy. Laid in the book, after the last page, is a remarkable 1924 HAND WRITTEN AND SIGNED TWO PAGE LETTER from San Antonio, Texas by Captain Gillett. It is written on Gunter Hotel stationary in a Gunter Hotel corner carded envelope. The letter is wriiten to Ernest Dawson, owner and founder of the legendary Dawson's Book Shop, in Los Angeles, California. In it the old ranger thanks Mr. Dawson for his kind compliments regarding his book and inquires to Mr. Dawson regarding the latest Lewis and Clark book. The letter relates to two great men, Ranger J.B. Gillett and legendary book man Ernest Dawson. Without a doubt one of the best books ever written about the early exploits of the Texas Rangers. Six-Guns #829 note, Rader 1591, Phelps, Cattle and Outlaws #610. [Attributes: First Edition; Hard Cover]

      [Bookseller: K & B Books]
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         Taisho kyunen tokubetsu daienshu gaikoku bukan kodo shashin cho andnbspA photograph album of foreign military officers during special lerge scale maneuvers in the year 1920

      

      [Bookseller: Maggs Bros. Ltd. ]
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        "Laugh it off!" and The Manger Song of Mary. Autograph musical manuscripts of two complete songs. Signed in full...

      - "Laugh it off!": Oblong octavo (272 x 176 mm). Bifolium. Notated in black ink on 10-stave paper with blindstamp of Lard-Esnault, Bellamy, Paris. [i] (title with signature and date: October 16-23, 1921), 2, [i] (blank) pp. In 5-stave systems: one for solo voice ("Mezzo Soprano o[u] Baryton"), one for chorus (up to 4 parts but no voices specified; G clef throughout), one blank, and two for piano ("ad libitum"). Part labels and tempo in French; titling and text underlay (2 strophes) in English. Text credited to Henry Rutherford Eliot [!Elliot]. Dedication: "To the dearest friend Walter Damrosch." - The Manger Song of Mary: Oblong octavo (272 x 176 mm). Bifolium. Notated in black ink on 10-stave paper with blindstamp of Lard-Esnault, Bellamy, Paris. [i] (title with signature and date: October 16-23, 1921), 2, [i] (blank) pp. In 4-stave systems: one for solo voice ("contralto"), one blank, and two for piano ("ad libitum"). Text (4 strophes) and all literals in English. Text credited to Edwin Markham. Dedication: "To Mistress Mabel Montgomery Tuttle." Both manuscripts slightly browned; creased; slight loss to lower outer corner of first leaf, not affecting music. With scribal copies of both songs, both in the same hand: - "Laugh it off" [no exclamation point]: Folio (346 x 267 mm). Bifolium. Notated in black ink on 10-stave paper, "Melodie Trademark No. 0." 4 pp. No date. Some bleeding. Frayed at edges, with slight loss, not affecting music. - The Manger Song of Mary: Folio (343 x 278 mm). Bifolium. Notated in black ink on 12-stave paper, "Monarch Brand Warranted Nr. 3 - Carl Fischer, New York." 3, [i] (blank) pp. No date. Together with: Copyright forms of the Société des Auteurs, Compositeur et Editeurs de Musique (SACEM; French authors' rights society) and cover letter from the Symphony Society of New York to J. T. Roach of the publisher Hinds, Hayden & Eldredge, New York. 1 page. August 2, 1923. On letterhead, typed and signed by the society's manager, George Engles. Engles asks Roach to have the papers signed by the poets. Together with: Two typed letters from Walter Damrosch's office to [J.T.] Roach. Oblong octavo. On stationery with Damrosch's letterhead and signed, "Lillian Day[?]." The first, dated January 3, 1921, is the cover letter to a "corrected copy of M. Widor's song Le Chene du souvenir" (the song is not present). The second, dated November 14, 1921, inquires about royalties Damrosch sent to Camille Saint-Saëns and Ralph Vaughan Williams; the writer wants to adjust Damrosch's French bank account; bank receipt (Morgan, Harjes & Co, Paris), dated July 8, 1921, is attached. Unrecorded and presumably unpublished. The texts are by Henry Rutherford Elliot (1849-1906), a journalist in New York, and Edwin Markham (1852-1940), an American poet. "Laugh it off!" is a humorous song in a popular style; The Manger Song of Mary is a lullaby in a more sophisticated style. The correspondence suggests that both of Vidal's songs were slated for publication by Hinds, Hayden & Eldredge in 1923; the scribal copies were most likely intended as engraver's copies. One of the poets (Elliot), however, was no longer alive; there are no materials in the present collection mentioning his heirs. In any case, the SACEM forms (also Markham's) remained unsigned. The publication stalled, and the songs were apparently never published. A French conductor, teacher and composer, " Vidal is particularly remembered as a fine teacher who was sympathetic to new ideas. At the Paris Conservatoire he taught classes in solfège (from 1894), piano accompaniment (from 1896) and composition (from 1909)... Vidal's most successful compositions were the ballet La maladetta (1893), which had been performed nearly 200 times by 1930, and the light opera Eros." David Charlton in Grove Music Online. Mabel Montgomery Tuttle (born Mabel Chauvenet Holden, 1873-after 1921) studied piano with Theodor Leschetizky and Teresa Carreño....

      [Bookseller: J & J Lubrano Music Antiquarians]
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        Examples of Scottish Architecture from the 12th to the 17th Centuries. National Art Survey of Scotland. Complete 4 volume set

      Edinburgh: Geo. Waterston & Sons Ltd. VG : in very good condition. Some fade and scuffs to covers. 1921. First Edition. Grey hardback boards with black cloth spine and ties. 460mm x 340mm (18" x 13"). 204 plates. 4 portfolios of 204 plates. Volume I: 18 plates; Volume II: 63 plates,; Volume III: 56 plates; Volume IV: 67 plates. Published: 1921 - 1933. Argyllshire: Carrick Castle; Dunstaffnage Chapel; Ayrshire: Crossraguel Abbey; Dumfriesshire: Amsfield Tower; Caerlaverock Castle; Fifeshire: Earlshall; Abedour Church; Haddingtonshire: Fountainhall; Iona: St Mary's Abbey; Kirkudbrightshire: Lincluden College Church; Linlithgowshire: Midhope Castle; Bonhard House; Linlithgow Palace; Lothian: Caroline Park House; Royston Castle; Collegiate Church of Dunglass; Torphichen Church; Pilmuir House; Midlothian: Ford House; Pilrig House; Borthwick Castle; Morayshire: Elgin Cathedral; Perthshire: Elcho Castle; Gowrie House; Stirlingshire: Argyll Lodging; Cowane's Hospital; Cambuskenneth Abbey; Renfrewshire: The Abbey Church of St Mirren, Paisley; Roxburghshire: Jedburgh Abbey; Wigtonshire: Park o' Luce. .

      [Bookseller: Barter Books Ltd]
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        Les commentaires de Ferdinand (suite des Mémoires d'un rat)

      Dan Niestlé. Decorated with original illustrations by T. Polat, one of 50 copies on Arches paper, leading copy after 30 Japon.spine on four bands set with black mesh decorated with black lines appearing wavy barbed wire and a helmet hairy enriched Edition a mosaic piece of brown morocco, boards with a set of black lines appearing barbed wire and helmets hairy in spandrels and enriched with mosaics pieces of brown morocco leather, black mesh on cuts centers, management of a scroll double red morocco and gilt with helmets hairy gilded spandrels on contreplats guards and contreplats moire silk gray, following warnings of handmade paper, covers and spine preserved, golden head; bordered the same morocco and papered over to the tank, inside brown felt, beautiful contemporary binding signed by René Kieffer.Ouvrage illustrated with 38 etchings, a frontispiece case and an Insert originals T. Polat.A Like all copies of the leading copy, this copy is its complete suite double frontispiece and inset on Chine.Signatures manuscript of the author and publisher to the justification exemplary tirage.Bel perfectly prepared by René Kieffer. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Dan Niestlé Paris 1921 15,5x23,5cm relié sous étui

      [Bookseller: Librairie Le Feu Follet]
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        Jacob Cow le pirate ou si les mots sont des signes

      First Edition, one of 500 numbered copies on vellum, one draw after 5 Japan and Holland paper 20. Precious autograph signed by the author (Jean-Emile) Ploughman. Illustrated book a sticker on the cover André Derain. Two minute minor gaps in the top and bottom of a jaw, small insolation foot back slightly overlapping on both boards, nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Au sans pareil Paris 1921 11,5x14,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        A collection of 14 important autograph letters to the German soprano Rose Ader, Puccini's "last love and the only consolation in my life." 30 pp. in total. Written between May 20, 1921 and September 11, 1924, the letters chart the progress of both the couple's love affair and Puccini's final opera, Turandot, which he never completed. Puccini died on November 29, 1924, less than three months after the final letter in this collection was written. With much revealing commentary regarding both the composer's personal and musical activities and offering new insight into his relationship with Ms. Ader....

      May 20, 1921 2 pp. Octavo. Dated Torre del Lago, May 20, [19]21, 11:00 p.m. On stationery with "Torre del Lago Toscana" embossed at head. Incomplete. With autograph envelope postmarked Torre de Lago, May 21, 1921 with Ader's name and Hamburg address. Puccini laments his inability to be near Ader; he cannot go to her without causing a great scandal. He works all day. Only his thoughts of her give him comfort; he kisses her portrait and writes music - presumably his opera, Turandot. "This Turandot is so difficult! Liù is coming along well - it is for you that I am writing it (as I have already told you)..." May 22, 1921 2 pp. Octavo. Dated Torre de Lago, Sunday, May 22, [19]21, midnight. On stationery with "Torre del Lago Toscana" embossed at head. Puccini speaks of seeing Ader in nearby Viareggio, then Milan, but absolutely cannot leave. She should never doubt that, if he could, he would "fly" to her. He tells her not to grieve for him. He is not badly off in his own home, but does not have the freedom he would like. He will write to her if he finds that he must go to Berlin in the autumn. Puccini goes on to discuss several of his compositions: his operatic trilogy, Il Trittico, La Bohème, and Turandot, upon which he is still hard at work. "I received a telegram from Leipzig, where Il Trittico has had great success. [Otto] Lohse conducted Tabarro (Mantel) and Schicchi. Fine director... I am working a lot on Turandot. I read that Busoni's [Turandot] was given in Berlin. I am very pleased with my work. It is you, and my love for you, that encourages me to do well. We hope!... I wish you good luck for [your performance as] Mimi on the 30th. You will be delicious!" June 6, 1921 2 pp. Octavo. Dated Torre del Lago, June 6, [19]21. On stationery with "Torre del Lago Toscana" embossed at head. With autograph envelope postmarked Torre del Lago, June 7, [19]21 with Ader's name and Hamburg address. Puccini has not heard from Ader in two days, but that may be because of a postal strike. He misses her letters; his day is wasted if he does not hear from her. He keeps her photographs in a book between other books near his work table so he can look at them whenever he wants. He especially likes the picture of her as Mimi, and another large one with a veil, which he has cut down to a smaller size. He kisses them many times. He complains of how difficult Turandot is. The previous day was bad, and he couldn't do anything good. Today, things are going better. So is his life, with high and low moments, even with regard to his health. Perhaps he is working too hard; he hardly ever moves, unless it is in an automobile. He concludes with love. "I love you! I kiss your beautiful and savory mouth!" Ca. August 21, 1921 4 pp. of a bifolium. Octavo. Dated Munich, [ca. August 21, 1921], Midnight. On stationery with the name, Munich address, and emblem of the Regina-Palast-Hotel embossed at head. With several annotations and corrections in Puccini's hand. With autograph envelope postmarked Munich, August 2[1?], [19]21 and Hamburg, August 22, [19]21 with Ader's name and Hamburg address. Puccini has just telegraphed Ader; he thinks it best not to write, because the letter might be opened and cause trouble in the future. He has had a tiresome day: tea at the home of the painter [Gerolamo] Cairati, his friend from Milan, and dinner at the usual Odeon Bar with [Riccardo] Sch[nabl] and Mrs. Frigierio, [?]his mother, and her husband, all from Milan. Now he is going to bed. He longs for her. She will be very busy now, preparing to go to Viareggio. He was wrong to tell her not to write, but now it is too late. He received her two telegrams that evening, and he will telegraph her again the following day, requesting an answer, so that he will have news of her each day. The following night he will see Braunfels' opera, Die Vögel, which Walter had told him was very interesting. He expresses his love. "This evening I dined at the usual restaurant, the Odeon Bar... Sch[nabl] spoke a lot about Art ["Kunst"]! I was very bored. The usual violinist played Angelica, Bohème, Butterfly. Now I'm going to bed with Adalina, who is not a woman, but another thing that you know. I think and will think about you, about your beauty, your eyes, your mouth, your hair, your hands, so many of your things so beautiful and dear that I would like to have here close to me!... [In broken German:] Goodbye my pretty Rose, my life, my treasure, I love you with my heart! [In Italian:] Don't laugh!..." September 22, 1921 2 pp. Octavo. Dated Torre del Lago, September 22, 1921. On stationery with "Torre del Lago Toscana" embossed at head. That morning Puccini felt badly seeing Ader so discouraged and sad. He does not know what to do to make her happy, and grieves over it. She knew his circumstances; he told her everything about himself and hid nothing. He wishes he could surround her with so much care and attention, and give her everything himself, but it is impossible. He leaves her free to decide - not to worry if he suffers. He will suffer whatever sorrow there is for her. He cannot stand knowing her discontented, and does not want her to live a life that she cannot stand. "My life is shattered without you. I already hold you in my heart. You are my last love and the only consolation in my life. But to see you so dissatisfied and sad grieves me and I can sacrifice myself to let you go. But even when [you are] far away, I will not cease to love you - and until death... I adore you and will always adore you, that is certain. Farewell, I kiss your sweetest mouth." October 19, 1921 2 pp. Quarto. Dated Mercaldi, October 19, 1921. Puccini has received two letters from Ader. They were well written, and he understood everything. He had telegraphed her that he was leaving the following day, but instead he will leave on Friday. He hopes to find her letters at the Teatro Comunale. Schnabl has written from Vienna, and will come to Bologna. Puccini himself is very sad because he will not be alone in Bologna. They will go to Rome and then afterwards he will come to Milan in order not to move again. He thinks that his wife is trying to prevent him from being with her. He is going to try to have [Giuseppe] Adami help him see her. He understands that her studies with Bettinelli are going well. He concludes with many loving remarks. "...I curse my life, because it is my Rose I would like near!...You are my poetry, and I adore you, and I would like to see you always and kiss your mouth, so beautiful, fresh, adorable! And instead I am so far away! But there will come a time, I hope, when I can be happy with you? The Mrs. ["Frau"] has never mentioned you, but I know she thinks a lot about this love of mine. I have not been bothered, but I feel that The Mrs. thinks about it, and is going to Bologna so that I don't go with you. It is a little hidden battle. But my Muckili is in my heart and no one can take her away!..." February [?]1, 1922 2 pp. Quarto. Dated Milan, February [?]1, [19]22. On stationery with Via Verdi 4, Milano address embossed at head. With original autograph envelope postmarked Milan, February 2, 1922 with Ader's name and St. Moritz (Switzerland) address. Puccini reports that, after a thousand difficulties, Il Trittico has been produced. On the first night, the public was a little cold, but was better on the second. The audience at La Scala is terrible. In Rome he has also had great success with Gilda. He asks why he has not heard any news from her. He was unable to write because he was not well and then he spent the whole day at La Scala. He is a little tired and would like to be in Viareggio where there is sun and quiet. He is sad, and misses her very much. He expresses his love. "...My soul is full of sadness because of you - not through your fault, my poor, sweet one, but because I don't have you and cannot have you as I would like - always with me, or at least nearby, in order to tell you everything in my soul and to find in you that consolation that I need so much! But the world and destiny are against me..." February 4, 1922 2 pp. Small quarto. Dated Milan, February 4, [19]22. On note card with "Ente Autonomo del Teatro alla Scala" printed at head. With original autograph envelope postmarked Milan, February 4, 1922 with Ader's name and St. Moritz address. Puccini has telegraphed both Hamburg and St. Moritz, but has heard nothing from Ader in several days. He is perplexed. He plans to go to Viareggio towards the fourteenth or fifteenth of the month because he does not feel well in Milan. On the twenty-first he must be in Rome for eight days. [Riccardo] Redaelli found her a very clean pension, which, however, did not have any room. He will have something for her when she arrives. Il Trittico went well at La Scala, Suor Angelica not so well with a soprano from Bologna. He sends kisses. "...Where have you been? O mysterious woman! And what have you done in Berlin? Whom have you seen?... It would be better if you came towards the thirteenth or fourteenth - then [we can be] together [in] Rome, Muckili. Think about it. I want to see you very much, but I am a little perplexed because[?] you [are] mysterious!..." February 1922 2 pp. Quarto. Dated Viareggio, Lunedi [?February] 1922. On stationery with "Viareggio Via Buonarroti" embossed at head. Puccini has just received Ader's two letters. He asks her whether she has seen Ortlieb and whether he mentioned Puccini. He sent telegraphs to Maestro Paolantonio and to Valcarenghi. Hoping to feel better, he took a purge that morning, but feels immensely sad instead. On Saturday his wife, Elvira, and his son, Tonio, will arrive, so Ader should write to Viareggio, post restante. It annoys him that they are coming. He would have wished to have seen her without them there, but patience, always patience. She is in the middle of the festivities and the automobile races. His is mailing this letter registered. He reports that Redaelli has left for Milan. The weather is as gloomy as his own spirits. He laments life without her. He sends kisses. "I don't know what to tell you today! I am not well and I no longer have faith in myself, nor hope in anything. I feel that I am losing you. Life without you is very sad for me. It is as though everything were finished. It would have been better if I had never known you - yes, better for you and for me. But you are young and will have a good life, whereas for me, it will be the opposite... My sky is full of dark clouds! Even Turandot gives me no comfort!..." July 10, 1922 2 pp. Quarto. Dated Viareggio, July 10, [19]22. On stationery with "Viareggio Via Buonarroti" embossed at head. With original autograph envelope postmarked Viareggio, July 10, [19]22 with Ader's name and Salzburg address. Puccini has seen [Giulio] Gatti-Casazza, whom Ader met in Vienna, and was unable to obtain anything for her. Gatti-Casazza has no openings for lyric singers, and there much competition among Americans. He very much wishes he could have been of service to her. He has received her letter, and read of her success in Budapest. He was very happy for her. He asks if she no longer goes to the Seeligmans, and for news about an Italian baron (probably Ader's future husband), whom she should not trust. He does not work because he does not feel like it. He has received the third act (presumably of Turandot), but it is still not good. Adami will come soon, and they will correct it. He begs Ader to write to him. She may send her letters to his house, because no one will read them. "...And what news is there of the Italian baron? I would not put too much trust in a man from the South. Be careful!... I think a lot about beautiful times gone by! My Muckili is so far away and life is difficult for us! Then, the usual word: I am old! Truly I am. There are many people here, but they all mean nothing to me. Winter is better. I often see [Angiolino?] Magrini and a few others - no women..." July 23, 1922 2 pp. Quarto. Dated July 23, [19]22. On stationery with "Viareggio Via Buonarroti" embossed at head. With original autograph envelope postmarked Viareggio, July 24, [19]22 with Ader's name and Salzburg address. Minor tearing, soiling, and wear; annotations in pencil to upper panel. Puccini has just gotten out of bed; he has been sick with a fever for several days, and feels very weak. He has received all of Ader's letters. If he feels better, he, his son, and Magrini will drive to the Dolomites, then to Munich, and perhaps to Holland. If he is well enough to make the trip, it would be toward the fifteenth or twentieth of August. He has not worked any more on Turandot. He tells Ader that if she wants to be a coloratura, she must have courage. He congratulates her because he knows she has the tenacity and desire to become one. He begs her for news. In a postscript he adds that he has sent her a copy of Madama Butterfly in Italian. "...I have not worked on Turandot any more. I don't feel like it; I don't feel like doing anything. I think that my life is no longer what is was. I am a little sad and also resigned to my destiny. I have a dry heart. I think, though, about all our matters with pleasure and even with nostalgia. If you had been near me I would have had some consolation. But your future with me would have been dangerous..." August 9, 1922 2 pp. Quarto. Dated Catigliano, August 9, [19]22. On stationery with "Viareggio Via Buonarroti" embossed at head. With original autograph envelope postmarked Catigliano, August 9, [19]22 with Ader's name and Westerland address. Annotations in German ("Miramar House unknown"). Puccini is staying with Magrini. It was too hot in Viareggio, and there were too many people there. He will, however, return to Viareggio the next day to prepare for his automobile trip. They will probably leave around the fifteenth, and will go to the Dolomites, then to Oberamergau, Munich, and the Black Forest. They propose to arrive in Holland. He is much better since his illness; the last few days in the mountains have done him good. Madame Vezsi wrote him a very kind letter from Berlin. He may be in Munich on August twenty-second, but he does not think they will stay at the Regina because it is too expensive. There are four Magrini people accompanying him on the voyage. He asks for news from her, and sends greetings to Dr. and Mrs. Tony[?]. Puccini also mentions Turandot (which remains unfinished), Manon Lescaut, and Suor Angelica; as well as a disagreement with the publisher Giulio Ricordi regarding a foxtrot (based upon the humming chorus from Madama Butterfly) which had been illegally published by Ricordi's New York branch. "...I always think of my dear and sweet Muckilina with nostalgia... Gilda [Dalla Rizza] wrote me from Buenos Aires that she sang Suor Angelica. Toscanini will give Manon at La Scala this winter. In a few days, I will sign the contract with Ricordi for Turandot, and I think we will reach an agreement on the subject of the Butterfly foxtrot... And what news of yourself? The Baron?... How sweet was Muckilina's mouth! With whom are you in Westerland? With the Seeligmans?..." May 19, 1923 2 pp. of a bifolium. Octavo. Dated Vienna, May 19, [19]23. On stationery with the name and emblem of the Hotel Bristol in Vienna printed at head. Manon has been postponed until September, and so Puccini has made his trip for nothing. In three or four days he will return to Viareggio. He thanks her for her letter. He also mentions Turandot, which he still has not completed, and the Austrian composer Erich Korngold. He sends his affectionate greetings. "...To see your handwriting again gave me joy and made me very melancholy[?]. I hope that you are happy. I am returning to my little house in Viareggio to complete the eternal Turandot. I finally have the third act, which is very beautiful. I have seen Maestro Korngold many times, who is a good and fine person. We have even spoken about you..." September 11, 1924 2 pp. Ca. 89 x 138 mm. Dated Viareggio, September 11, 1924. On a notecard with Puccini's name printed at head. With original autograph envelope postmarked Viareggio and Forte dei Marmi, September 11, [19]24 with Ader's married name ("Gentilissima Signora Baronessa Rosa Trigona") and address. Puccini asks Ader, now married, to forgive him for having shown no signs of life. He complains of a sore throat - surely a symptom of the throat cancer that precipitated his death less than three months later. The upcoming première of Turandot impels him to work. He sends affectionate greetings to Ader and her husband, Baron Trigona. "...I have not been well, and at present my sore throat is bothering me. I must set to work assiduously because in April I will give Turandot at La Scala, and I must finish the opera! I hope that my health improves..." All in Italian (with translations) except for letter no. 4 which is in both Italian and German. All in black or blue ink except for letter no. 2, which is in pencil. Signed variously "Giacomo," "G.P." "G. Puccini," "Muckilissimo," etc., and addressed variously "My good Rose," "My dear Rose," "To my sweet Rose," "My Rose," "My Muckili," etc. With minor defects including occasional wear, soiling, foxing, browning, small tears, etc. In very good condition overall. Rose Ader (1890-1955) made her début at the Hamburg Opera in 1915. She sang at opera houses in Germany, Austria, France, the Netherlands, and Italy, including the Vienna Staatsoper and the La Scala. In 1921 she sang the title role in the German première of Puccini's Suor Angelica in Hamburg, and in La Bohème at the Teatro Costanzi in Rome in 1922. Her repertory included both coloratura and lyric roles. Following her marriage to an Italian baron, she sang under the name Ader-de Trigona. Ader's Jewish heritage forced her to emigrate to Austria in 1933, and then to Italy. In 1949, she settled in Buenos Aires, where she spent her final years as a pedagogue. "Thirty-two years his junior, [Ader] had sung Angelica at Hamburg in February 1921. Schnabl, who produced, found her insufficiently dramatic for the role. Puccini, who attended at least one performance, formed a more positive opinion, although he would later admit that the final scenes were too heavy for her. Photographs were exchanged, and by the spring a love affair had blossomed. Of his many letters to her, known to exist in private hands, only one, dating from May of that year, has found its way into print - an extravagant outpouring of infatuation ('the only woman I love in the world etc')... Yet, as with Wagner and Judith Gauthier, one suspects that the affair was more in the mind than in the flesh. There is no record of secret trysts, of carefully laid plans to elude Elvira's detection." Budden: Puccini His Life and Works, p. 433. The present collection presents an intriguing counterpoint to Budden's contention regarding there being no record of "secret trysts" and/or attempts to elude Puccini's wife Elvira's detection of his infatuation with Ader. As concerns possible trysts, in the letter dated October 19, 1921, Puccini mentions that he thinks that his wife is trying to prevent him from being with Ader and is going to try to have Adami help him see her and, in the letter dated February 4, 1922, Puccini suggests that "it would be better if you came towards the thirteenth or fourteenth" and that they can then be together in Rome, saying that he would like to see Ader very much. As concerns possible attempts to elude his wife's detection, in the letter dated ca. August 21, 1921, Puccini specifically asks Ader not to write to him because the letter might be opened and thus cause trouble; in the letter dated October 19, 1921, Puccini states that he thinks that Elvira is trying to prevent him from being with Ader; and, in the letter dated July 10, 1922, the composer asks Ader to send her letters to his house, because no one [else] will read them if she does so....

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        Lehrbuch der Liebe.

      Paul Cassirer,Berlin 1921 - Deutsch von Ernst Hohenemser. Berlin, Paul Cassirer 1921. Mit illustr. Titel und 8 Textillustrationen (teils Vignetten) in Original-Lithographie von Max Slevogt. Gr.-4°. 90 S., 3 Bl. uf festem Zanders-Bütten. Handgebundener cremefarbener Orig.-Schweinslederbd auf 5 Bünden mit goldgeprägter Deckelvignette von Slevogt, Rückentitel in Gold, vergoldeter Innenkantenbordüre und Kopfgoldschnitt.-Erste dieser illustrierten Ausgabe, bereits 1920 erschienen. - XVIII. Werk der Pan-Presse. - Eins von 100 num. Exemplaren der Vorzugsausgabe, (dieses hat die Nr.57), hier ohne die Extrasuite der Lithographien und ohne die Signatur des Künstlers in Druckvermerk. - Rümann 69 a. - Söhn 473. - Rodenberg I, 454. - Feilchenfeldt/Brandis 152.A. - Gutes Exemplar. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Stammerjohann]
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        L'apologie de la paresse

      Ca ira. First edition, one of 300 numbered copies on bouffant, the only printing along with 3 Japon and 3 Hollande.A rare and good copy. Ca ira Anvers 1921 12,5x16,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Le cygne androgyne

      First edition printed in a small number of copies on vergé paper, justified and initialed by the author.Handsome autograph inscription from Joseph Delteil to Jacques Rivière, a few manuscript notes in ink by J. Delteil to head of lower cover.With a frontispiece by Raymond Thiollière.Spine slightly warped, not serious, tiny marginal tears without lack to upper cover.A very rare copy of the author's second book. Images de Paris Paris 1921 14,5x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Réunion de documents scolaires (Collège Chalon-sur-Saône)

      S.n. Meeting valuable educational documents: essays, books and school reports, good points notebooks.Eight statements from December 1921 to April 1924 notesA school report (2nd and 1st B)A book of good points, the clever cover was made by the father of Maurice BlanchotAn invitation to the entry meeting of students of the French ActionAn honor roll (1st B)Two distributions solenelles price (1st and 2nd B)September demand slips books at the store of the Strasbourg University LibraryA subject typed French composition for the Graduate Certificate in June 1927A subject typed Latin version for Graduate Certificate in June 1927A French assignment (1st B) Fables of La Fontaine (10pp., 17x22cm)Eight Latin versionsTwo themes and a German versionFive 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. S.n S.l S.d 1921-1924 formats divers en feuilles

      [Bookseller: Librairie Le Feu Follet]
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        Les nymphes

      Ronald Davis & Cie. Edition originale, un des 120 exemplaires numérotés sur Japon ancien à la forme, seuls grands papiers après 10 Japon impérial.  binding en demi basane noire à coins, spine lisse muet, encadrement de filets dorés sur les plats de papier marbré, nom de l'auteur et titre de l'ouvrage dorés en tête du premier plat, gardes et contreplats de papier à la cuve, couvertures conservées, deux éraflures sur les tranches supérieures, couvertures conservées, binding de l'époque.Envoi autographe signé de Roger Frène : "A mon vieil ami Albert Vidal, à l'admirable romancier qu'il ne veut pas être, cette carte de visite en souvenir affectueux. Roger Frène".Ouvrage illustré de 5 dessins d'Amedeo Modigliani.Quelques petites rousseurs.  Ronald Davis & Cie Paris 1921 13,5x21,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        The Works of Joseph Conrad. Including: Almayer's Folly, Tales of Unrest, Typhoon, Nostromo, Lord Jim, An Outcast of the Islands, The Secret Agent, Under Western Eyes, Chance, Allmayer's Folly, Victory, The Rescue, The Inheritors, Romance, The Mirror of the Sea, The Arrow of Gold, The Shadow Line, etc.

      London: William Heinemann, 1921. SIGNED LIMITED EDITION. 20 volumes. Octavo. Edition Limited to 780 sets of which this is No. 541, SIGNED by the author. Handsomely bound in half dark blue oasis morocco with gilt titles and gilt raised bands to spines, blue cloth boards, untrimmed edges, top edge gilt. Internally clean; exterior unmarked. A fine set in an attractive recent leather binding.

      [Bookseller: Adrian Harrington]
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        Elus et Appelés, études et essais

      Emile Paul frères. First edition, one of 20 numbered copies on Hollande, tirage de tête. Tiny foxings and stains, not serious, on the covers.  Emile Paul frères Paris 1921 14x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Le côté de Guermantes II. Sodome et Gomorrhe I

      Nrf. First edition on ordinary paper, false mention of the sixth edition.Handsome autograph inscription from Marcel Proust to André Salmon.Covers uniformly browned, covers and upper corner of leaf with inscription skillfully reinforced.In his "Souvenirs sans fin [Memories without end]," Salmon recalls the circumstances of this unlikely 'meeting' between two distant literary worlds, the Bohemian world of the Montparnasse crowd and the aristocratic salons that Proust frequented: "I did not actually know Proust, but we corresponded. It was he who made the approach, in the most sublime and unexpected way. I had just given a reading of a realist fable at the Nouvelle Revue Française (in March 1920), called "Le Mannequin d'acajou [The Mahogany Mannequin]," something I never suspected could interest that observer, that fierce admirer - yes, subjugated and mistrustful - of the Duchess of Guermantes, Oriano - a hateful creature worthy of public exposure... Marcel Proust wrote to me straight after the reading of Le Mannequin d'acajou. He also sent me some of his books, with handsome inscriptions. I replied, of course, to Marcel Proust, but I never went to see him. Corresponding with him was important to me, but I could not resolve myself to go and visit him at his bedside... above all, to go and sit among so many others whose delights would never be my own. Obviously, there was no question of meeting Marcel Proust at midnight in the Ritz, where the staff did not know me. Was I wrong? In any case, Marcel Proust bore me no ill-will. He must have understood, guessed, my motives. Not only did he keep writing to me, but he also wrote to others with the intention of helping me."In fact, after the publication of this short story, Proust put forward Salmon's name along with Rivière's for the two Blumenthal scholarships. Unfortunately, Salmon had already passed the upper age limit and it was André Thérive who got the second scholarship. André Salmon would not find out about this support until 1951, when he read Proust's unpublished letters to Edmond Jaloux in the Revue de Paris: "Let me pick out what he was kind enough to write on my account, even in the midst of a burning fever... : 'Your conclusion thus seems to be Salmon, which by the way is the same one I came to with Gide. I find that the reasoning they applied (the prize would allow him to stop doing journalism) is very misguided. Talent is reason enough in itself... '" (cf. A. Salmon, Souvenirs sans fin, pp. 807-809). This work is undoubtedly the second and final work inscribed by Proust to André Salmon, after the first volume of The Guermantes Way, published the previous year.This precious Proustian relic is presented in a black morocco box by Goy & Vilaine, date at foot of spine, lined with khaki sheep.  Nrf Paris 1921 14x19,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        In Liebe und treuem Gedenken für Heinrich Bruns stud. Iur. Oberjäger im Res.Jäger Batl. 15 (Zur Verleihung des Eisernen Kreuzes vorgeschlagen). Am 1. Juli 1916 in Galizien durch Artillerietreffer auf dem Felde der Ehre gefallen. Photographienalbum mit handgeschriebener Biographie zu Heinrich Bruns Leben vom Vater, der Mutter und dem Bruder verfasst.

      Kiel, ohne Jahresangabe, um 1921. - 57 handschriftlich numerierte Kartontafeln (davon 52 beschrieben), verso mit 48 aufmontierten Original-Photos, 8 farbigen Karten, 6 Zeitungsartikel, teils mit Todesanzeigen sowie die Gefallenenbenachrichtigung von Bruns, mit einigen losen Beilagen. Format der Photos zwischen 3x3 und 9x11 cm. 4to, wattierter Ganzledereinband mit aufmontierter Wiedergabe des Eisernen Kreuzes sowie eingeprägten Initialen H. B. und einer Metallschließe (defekt). Ganzgoldschnitt. Außergewöhnlich gestaltetes Gedenkalbum für den in Tarnopol (Ostgalizien) gefallenen Kieler Soldaten Heinrich (Henry) Bruns, von dessen Eltern handschriftlich niedergeschrieben. Mit einer kurzen allgemeinen einleitenden Lebensbeschreibung, gefolgt von einer mehrseitigen Übersicht von Bruns' Erlebnissen an der Front. Von Seite 26 bis 52 Niederschriften von Feldpostbriefen die Bruns an seine Eltern geschickt hat und von Briefen und Telegrammen seiner Kameraden an die Eltern. Ein Drittel der Photos zeigen Bruns als Soldaten und mit seinen Kameraden, die restlichen Photos Aufnahmen aus seinem Leben vor der Militärlaufbahn. 2 größere Photos mit abphotographierten Gedenktafeln, lose beigelegt das Programheft zur Gedenkfeier für die im Weltkriege gefallenen Lehrer und Schüler des Kieler Gymnasiums von 1921. Im Anhang ein einmontierter Umschlag mit 2 weiteren Photos des Soldatengrabes von Bruns, 3 Karten und 2 handschriftlichen oder maschinengeschriebenen Benachrichtigungen der Kriegsgräber-Abteilung Tarnopol. Heinrich Bruns (geb. 1897 in Kiel, gefallen 1916 in Tarnopol), Schüler der Kieler Gelehrtenschule sowie Mitglied im Elmschenhagener Turnverein, nahm an den Schlachten in Flandern, Nordfrankreich, Verdun und in Galizien teil wo er 1916 in Tarnopol fiel. 1916 war das ostgalizische Tarnopol noch stark umkämpft, erst 1917 konnten die K.u.K.-Truppen und die deutschen Einheiten die Russen bis zum Zbrucz-Abschnitt zurückdrängen, womit die von den russischen Truppen 1914 besetzte Bukowina zurückerobert werden konnte. Der Einband etwas berieben und fleckig, am Rücken etwas eingerissen, einige wenige Photos etwas ausgeblichen,. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Mertens]
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        Bezette stad. (Omslag en houtsneden van Oskar JESPERS).

      - Antwerpen, Het Sienjaal, 1921. Ingenaaid. Gedrukt naar typografische aanwijzingen van Oscar Jespers en René Victor in een oplage van 540 genummerde exemplaren. 1e druk. Ongenummerd exemplaar. Exlibris (van Hendrik Bulterys) op Franse titel.* Degelijk, professioneel gerestaureerd exemplaar van de belangrijkste exponent van de avantgarde in het Nederlandse taalgebied! Het omslag (als altijd wat vuil) is ter versteviging gedoubleerd met Japans papier. De onvermijdelijke breukjes in de rug zijn geplakt en soms aangezet, enkele fragmentjes op de rug ontbreken.

      [Bookseller: Antiquariaat Fokas Holthuis ILAB]
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        En marge des marées

      - Nrf, Paris 1921, 16,5x21,5cm, relié. - Prima edizione della traduzione francese. Binding metà marocco blu navy con gli angoli, di nuovo con cinque nervi, piatti di carta data coda in marmo dorato, guardie e contreplats di carta fatta a mano, coperte e schienali conservati, testa dorata, ex libris incollato su un contreplat, legatoria firmato Alix. Nizza copia piacevolmente stabilito. - [FRENCH VERSION FOLLOWS] 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, notre exemplaire imprimé spécialement pour André Suarès, tirage de tête. Reliure en demi maroquin bleu marine à coins, dos à cinq nerfs, date dorée en queue, plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures et dos conservés, tête dorée, ex-libris encollé sur un contreplat, reliure signée d'Alix. Bel exemplaire agréablement établi.

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        Ca ( ça ) Ira numéros 8 - 11 - 12 (+ feuille publicitaire annoncant la publication de Bar Nicanor de Cl. Pansaers)

      1920 - 1921 Eeckeren Ca Ira - 27,5 x 21,5 cm - 177-192 + 225-256 pgs couvertures originales, agrafé - dans les numéros 11 et 12 un extrait de: Paradoxes Blennorrhagiques de Lamprido de Clèment Pansaers - voir catalogue de l'exposition "DADA" Centre Georges Pompidou 2005 pgs 762 à 765 (Pansaers) - Bolliger II 473 - III 140 (Ca Ira) - malgré un peu de rouille aux agrafes et quelques tâches brunes sur les couvertures bonnes exemplaires - restauration au dos du numéro 11 - original covers, stapled, some staples a little bit rusty, minor brown stains on a few covers but otherwise verry good copy - except n°11: small restauration of the back

      [Bookseller: A. Van Zaelen antiquariaat]
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        Richard Strauss und sein Werk. 2 Bände.

      Leipzig, Wien, Zürich, E. P. Tal & Co. 1921. \"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. DIESES OBJEKT UNTERLIEGT DER DIFFERENZBESTEUERUNG. Versand D: 15,00 EUR Autographen, Widmungsexemplare, Künstlermonographien, Biographien, Musik, Richard Strauss

      [Bookseller: Antiquariat Löcker]
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        Aus meiner Dienstzeit, 1906-1918. Erster Band up to the Fünfter Band in 7 volumes.

      Wien/Berlin/Leipzig/München: Rikola 1921. 5 parts in 7 vols. Large 8vo (23,5 x 16,5 cm). Original half cloth. Complete set of the 5 volumes and the 2 original map-slipcases with all folding maps and plates. Including several indices. Important work on the First World War by the Austrian Field Marshal and Chief of the General Staff of the armed forces of the Austro-Hungarian Army Franz Conrad von Hötzendorf [1852-1925]. Some minor shelf-wear to edges original bindings & slipcases. Boards first two volumes with some wear. No names, inscriptions, stamps etc. All maps original and in fine condition. For a full description and more images please visit www.zaalbooks.nl .

      [Bookseller: Zaal Books]
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        Voyages Glorieuses Decouvertes des Grands Navigateurs & Explorateurs Francais.

      - Paris, Tolmer 1921. folio publisher's illustrated boards & cloth spine; 2 folding maps & illustrations throughout coloured by pochoir. A remarkably good copy in a cloth chemise and slipcase. One of the triumphs of modern French book making which, fittingly enough looks back to the triumphs (or glory at least) of Cartier, de la Salle and La Perouse. [Attributes: Hard Cover]

      [Bookseller: Richard Neylon]
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        Aber die Liebe. Zwei Folgen Gedichte.signierten Radierungen,Nr.25von340

      Erich Steinthal,Berlin 1921 - Zwei Folgen Gedichte. Berlin, Erich Steinthal, 1921. Mit 14 ganzseitigen signierten Radierungen,zwölf Radierungen im Text, zwei radierten Initialen, einem signierten radierten Titel, einem radierten signierten Porträt des Dichters Richard Dehmel, einem radierten Vortitel und einer Wiederholung des radierten Vortitels, signiert, ohne Text vor dem Leitwort . Gr.-4°. 143(5) S., 1 Bl. Handgebundener roter Orig.-Maroquinband mit Rückenvergoldung auf sieben erhabenen Bünden, goldgeprägter Deckelfilete, Steh- und Innenkantenfileten sowie Kopfgoldschnitt (sign. Bruno Scheer, Berlin).-dieser illustrierten Erste Ausgabe. - Hayn-Gotendorf IX, 122. - Lang, Expressionismus und Buchkunst 136. - Jentsch 115. - Stilijanov-Nedo 90. - Eins von 25 nummerierten Exemplaren der Vorzugsausgabe (Gesamt: 340 Expl.) auf kräftigen Japanpergament mit einem Zustand der Radierungen vor der Schrift. - Druck von Otto von Holten, Berlin, Leitung des Satzes von E. W. Tieffenbach, Druck der Radierungen von L. Angerer, Berlin unter Aufsicht des Künstlers. -Schönes Exemplar dieses bedeutenden Werkes expressionistischer Buchillustration. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Antiquariat Stammerjohann]
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        Giocherello.

      Romanzo. Disegni di Felice Casorati. Milano, Alpes, 1921, - in-16, pp. 100 magnificamente illustrate in nero da Felice Casorati, (3), leg. in tela grigia (un poco sciupata), titolo e filetti in oro al dorso. Edizione originale. Buon esemplare. [Attributes: Hard Cover]

      [Bookseller: Libreria Antiquaria Pregliasco]
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        Die Bäder von Lucca. Mit 7 ganzseitigen Radierungen von Martin E. Philipp.

      Heidelberg, Verlag von Richard Weissbach, 1921. 75(2) Seiten, ca 32 x 24 cm (HxB), dunkelroter OLeder-Einband mit Rückenschild und Rückenvergoldung, Fadenheftung, \"Den Text druckte die Offizin W. Drugulin in Leipzig, die Radierungen O. Felsing in Leipzig nach persönlichen Angaben des Künstlers auf der Handpresse. Zweihundert Exemplare wurden hergestellt und von Martin E. Philipp handschriftlich numeriert und signiert. Dieses Exemplar ist Nr. 157\" (Impressum). darunter vom Künstler voll signiert. Der Ledereinband weist leider Abklatschspuren von einem anderen Text auf. In dieser Ledereinbandvariante von äußerster Seltenheit. Radierspuren auf dem Vorsatzblatt. Bis auf den Einbandmangel ein schönes Exemplar. Limited for about 200 copies. Signed by the artist in the back. Versand D: 5,00 EUR Leder, Originalgraphik, limitiert, Bütten

      [Bookseller: AS - Antiquariat Schröter]
 28.   Check availability:     buchfreund.de     Link/Print  


        The Index of Coincidence and Its Applications in Cryptography : Publication No. 22 WITH L'indice de coïncidence et ses applications en cryptographie Publication No 22 ( Traduction Francaise). (together 2 Volumes, Riverbank Publication)

      Paris: Imprimerie-Librairie Militaire Universelle, L. Fournier, 1921. First Edition. Wraps. Near Fine. First Edition. Publication No 22 (English): 87 pages; WITH Publication No 22 (French): 91 pages. Together 2 volumes. Lacks the rare English and French 8 page appendix inserts. Publisher's stiff tan wrappers with black printed front cover duplicating title page. Hinges reinforced with white linen tape (as issued). Self wraps, printed titles in black on front cover. Clean copies with a touch of wear and edgewear, and minor browning to the extremities.. English edition has slanted spine and a few several small smudges. Wraps. A restricted publication not available to the public at the time of issue, it appears in a few institutional collections, but is rarely found on the market. 'Riverbank Publication No. 22, written in 1920 when Friedman was 28, must be regarded as the MOST IMPORTANT SINGLE PUBLICATION IN CRYPTOLOGY. It took the science into a new world...it described the solution of two complicated cipher systems. Friedman however, was less interested in proving their vulnerability than he was in using them as a vehicle for new methods of cryptanalysis. Fabyan had the pamphlet printed in France in 1922 to save money. General Cartier saw it and thought so highly of it that he had it translated and published forthwith - false-dating it "1921" to make it appear as if the French work had come first! In it, Friedman devised two new techniques. One was brilliant. It permitted him to reconstruct a primary cipher alphabet without having to quess at a single plainletter text. But the other was profound. For the first time in cryptology, Friedman treated a frequency distribution as an entity, as a curve whose several points were causally related, not as just a collection of individual letters that happen to stand in a certain order for noncausal (historical) reasons, and to this curve he applied statistical concepts. The results can only be described as Promethean, for Friedman's stroke of genius inspired the numerous, varied, and vital statistical tools that are indispensable to the cryptology of today. ... This is why Friedman has said, in looking back over his career, that The Index of Coincidence was his greatest single creation. It alone would have won him his reputation. But in fact it was only the beginning.' (Kahn) Authorship attribution from Galland. Galland also notes 'This work bears imprint 1922, but antedates the French translation noted below [1921]; reprinted later but also with imprint 1922. The study was completed in 1920.' Galland also notes Riverbank Laboratories as the imprint - we've chosen to note the imprint as it appears on the actual item. See J.S. Galland, An Historical and Analytical Bibliography of Cryptology, page 68. See also Kahn, The CodeBreakers, 1996, p376-384, Shulman, An Annotated Bibliography of Cryptography, 1976, pp 84-5 (noting that the French translation was by General Cartier rather than arranged by him, and noting that both were printed in Paris by Col. Fabyan as anonymous publications).

      [Bookseller: Kuenzig Books, ABAA/ILAB]
 29.   Check availability:     Biblio     Link/Print  


        The Index of Coincidence and Its Applications in Cryptography : Publication No. 22 WITH L'indice de coïncidence et ses applications en cryptographie Publication No 22 ( Traduction Francaise). (together 2 Volumes, Riverbank Publication)

      Imprimerie-Librairie Militaire Universelle, L. Fournier, Paris 1921 - First Edition. Publication No 22 (English): 87 pages; WITH Publication No 22 (French): 91 pages. Together 2 volumes. Lacks the rare English and French 8 page appendix inserts. Publisher's stiff tan wrappers with black printed front cover duplicating title page. Hinges reinforced with white linen tape (as issued). Self wraps, printed titles in black on front cover. Clean copies with a touch of wear and edgewear, and minor browning to the extremities. English edition has slanted spine and a few several small smudges. Wraps. A restricted publication not available to the public at the time of issue, it appears in a few institutional collections, but is rarely found on the market. 'Riverbank Publication No. 22, written in 1920 when Friedman was 28, must be regarded as the MOST IMPORTANT SINGLE PUBLICATION IN CRYPTOLOGY. It took the science into a new world.it described the solution of two complicated cipher systems. Friedman however, was less interested in proving their vulnerability than he was in using them as a vehicle for new methods of cryptanalysis. Fabyan had the pamphlet printed in France in 1922 to save money. General Cartier saw it and thought so highly of it that he had it translated and published forthwith - false-dating it "1921" to make it appear as if the French work had come first! In it, Friedman devised two new techniques. One was brilliant. It permitted him to reconstruct a primary cipher alphabet without having to quess at a single plainletter text. But the other was profound. For the first time in cryptology, Friedman treated a frequency distribution as an entity, as a curve whose several points were causally related, not as just a collection of individual letters that happen to stand in a certain order for noncausal (historical) reasons, and to this curve he applied statistical concepts. The results can only be described as Promethean, for Friedman's stroke of genius inspired the numerous, varied, and vital statistical tools that are indispensable to the cryptology of today. . This is why Friedman has said, in looking back over his career, that The Index of Coincidence was his greatest single creation. It alone would have won him his reputation. But in fact it was only the beginning.' (Kahn) Authorship attribution from Galland. Galland also notes 'This work bears imprint 1922, but antedates the French translation noted below [1921]; reprinted later but also with imprint 1922. The study was completed in 1920.' Galland also notes Riverbank Laboratories as the imprint - we've chosen to note the imprint as it appears on the actual item. See J.S. Galland, An Historical and Analytical Bibliography of Cryptology, page 68. See also Kahn, The CodeBreakers, 1996, p376-384, Shulman, An Annotated Bibliography of Cryptography, 1976, pp 84-5 (noting that the French translation was by General Cartier rather than arranged by him, and noting that both were printed in Paris by Col. Fabyan as anonymous publications). [Attributes: First Edition; Soft Cover]

      [Bookseller: Kuenzig Books ( ABAA / ILAB )]
 30.   Check availability:     AbeBooks     Link/Print  


        Kalewala - das National-Epos der Finnen - Numerierte Luxusausgabe der verbesserten Neuausgabe

      Schiefners Kalewala-Übertragung als verbesserte Neuauflage der Buber-Bearbeitung im Meyer & Jessen Verlag, von 1921. Hier als numerierte Luxusausgabe auf Bütten abgezogen. Die Nr. 77 von 80 gefertigten Exemplaren. Handgebunden in Pergament. Gr.-8 (25 cm hoch). Kopfgoldschnitt, goldene Deckel und Rückenprägung, war wohl ursprünglich auch in einem Pappschuber behaust, der ist nicht vorhanden. 355 Seiten, 50 Runen, die vollständige Ausgabe. In ordentlichem, aber nicht perfektem Zustand, der Deckel mit Unsauberkeiten (siehe Scan), der Rücken weist im oberen Teil eine Kratzspur auf, leichte Beschabungen der Kapitale, aber keine Risse. Keine sonstigen Randläsuren. Die Gelenke fest, die Seiten sauber, die Vorsatzseiten mit 2 montierten Zeitungsausschnitten, ein handschriftlicher Namenseintrag (Kugelschreiber). Für weitere Informationen bitte Kontakt aufnehmen. - Die Übertragung von Franz Anton Schiefner. Bearbeitet und durch Anmerkungen und eine Einführung ergänzt von Martin Buber. Die Luxusausgabe der verbesserten Neuausgabe "Dieses Buch wurde bei Poeschel & Trepte in Leipzig in der Weißfraktur gedruckt. Achtzig Stücke wurden auf handgeschöpftem Bütten abgezogen, handschriftlich numeriert und in den Werkstätten von Hübel & Denck, Leipzig in Pergament handgebunden.". Schiefner war Kenner der Finno-Ugrischen Sprachen, die Erstausgabe der Übersetzung von 1852. Tatsächlich wohl die erste Übertragung ins deutsche. 50 Runen! Buber schreibt im Vorwort zu dieser Neueausgabe - 1921 "Ich hatte ursprünglich die Absicht, Schiefners Übertragung unverändert - nur unter Berücksichtigung der noch von ihm selbst (im Bulletin der Petersburger Akademie) mitgeteilten Verbesserungen - neu herauszugeben, überzeugte mich aber bald, daß dies sowohl um einer treuen Wiedergabe als um der sprachlichen Gestaltung willen nicht anging. Immerhin war in meiner ersten Ausgabe (1914) nur etwa ein fünftel der Verse geändert. Diese Zahl hat sich in der vorliegenden Neuausgabe nach erneuter Vergleichung mit dem Original und Bearbeitung auch der einem strengeren Stilgefühl nicht standhaltenden Verse auf etwa ein Drittel erhöht."

      [Bookseller: leserlich + hörich]
 31.   Check availability:     booklooker.de     Link/Print  


        Views of Santo Domingo - Indigenous Life - Revolutionary War Aftermath

      Dominican Republic, 1921-1922. Original photograph album of an American naval aviator who was posted in Santo Domingo during the first U.S. occupation, after the fall of the Second Republic, containing excellent views of the city and indigenous ways of life, some aftermath scenes from the revolutionary wars, and military aircraft. Contains 113 gelatin silver print photographs, some of which are sepia, mounted with corners onto black cardstock leaves, a scant few captioned or dated to verso, several with embedded manuscript captions. Oblong 8vo. album measuring approximately 22 x 13 x 3 cm, brown patterned cloth boards. Photographs vary in size, the smallest measuring approximately 8 x 5 cm, and the largest 14 x 9 cm. A thematically organized album, evidently compiled by a young woman, determined by a snapshot of the latter captioned to verso, "just me." The photographs suggest that she was residing in Santo Domingo with her husband Walter, an American Naval Aviator who completed his military training in Illinois, and who was posted to the Dominican Republic during U.S. occupation. [The United States occupied the Dominican Republic from 1916 to 1924.] Civilian life, natural history, and Spanish colonization of Santo Domingo, are beautifully captured in the first 49 photographs (measuring approximately 14 x 9 cm). On the banks of the Ozama river sits a quaint shoreside village and their private canoes. Simple dwellings of more rudimentary fabrication are seen in remote mountain regions, again the people relying on the rivers for sustenance, washing, and more. Coconuts drying in the sun in a palm grove, an abundant cotton tree, and other vegetation illustrate the island's natural provision. An industrious and hard-working people, photographs show a man hauling sugar cane on a cart pulled by four oxen, a well dressed candy vendor carrying his case atop his head and a chair on his shoulder, a small mule or donkey heavily laden with construction materials, a young guard directing traffic in front of the port authority office, and a steam locomotive used for conveyance of cargo. A ruined sugar mill in Santo Domingo reminds of the slave trade era, as well as the then recent revolutions which caused its destruction. Relics of the arrival of Christopher Columbus, and Spanish colonization are seen primarily in architecture, including views of the ruins of Alcazar de Colon (Columbus House), Fortaleza Ozama, a sixteenth century prison and military fortress which overlooks the River Ozama, views of the central square called Parque Colon including the cathedral and statue honouring of Christopher Columbus. One of the photographs shows a cannon shell embedded in the boulevard. Rather uncommon, there are photographs of the exterior and interior of 'El Convento de los Dominicos' a Dominican Order monastery which was constructed between 1510 and 1530, and which in 1538 became the first university in the New World, named 'Universidad de Santo Tomás de Aquino'. Following this are 36 smaller snapshot views taken in various locations, as the couple explores the tropical island, mingles with local residents, and happened upon a cemetery where human bones and skulls lay in the open. Walter and his air force colleagues are seen in the further 28 photographs, mostly in the larger format, and showing felled bi-planes, military aircraft prepared for flight and tucked away in hangars, and the like. Of this lot, four are taken at the Great Lakes Naval Training Center in Illinois. The Dominican Republic (Second Republic) experienced mostly internal strife until 1916. Following the resignation of President Jimenes [Juan Isidro Jimenes Pereyra] on May 7, 1916, American President Woodrow Wilson ordered the occupation of the Dominican Republic. On May 13th, Rear Admiral William B. Caperton forced the Dominican Republic's Secretary of War Desiderio Arias, who had seized power from Juan Isidro Jimenes Pereyra, to leave Santo Domingo, with threats of naval bombardment to the city. U.S. Marines landed three days later on May 16th, and had control of the country within two months. This was to be one of the many interventions in Latin America undertaken by the military forces of the United States in the 20th century. A military government was established by the U.S. and led by Vice Admiral Harry Shepard Knapp, though it was widely repudiated by the Dominicans. Many factions within the country led guerrilla campaigns to oppose it. The occupation regime kept most Dominican laws and institutions and largely pacified the general population. The occupying government also revived the Dominican economy, reduced the nation's debt, built a road network that at last interconnected all regions of the country, and created a professional National Guard to replace the warring partisan units. Vigorous opposition to the occupation continued, nevertheless, and after World War I it increased in the U.S. as well. There, President Warren G. Harding (1921-23), Wilson's successor, worked to put an end to the occupation, as he had promised to do during his campaign. The U.S. government's rule ended in October 1922, and elections were held in March 1924. The victor was former president (1902-03) Horacio Vásquez Lajara, who had cooperated with the U.S. He was inaugurated on July 13th, and U.S. forces had vacated by September. Under his rule, the country enjoyed six years of stable governance and peace, during which time political and civil rights were respected, and economy was prosperous. This period was followed by the dictatorship of Rafael Leónidas Trujillo Molina until 1961.

      [Bookseller: Voyager Press Rare Books & Manuscripts]
 32.   Check availability:     PBFA     Link/Print  


        Jahrbuch der Sammlung Kippenberg. No. 1 (1921) through No. 10 (1935). (All published)

      1921. Altogether 10 issues, ranging between 306 and 343 pp., of the first run of the literary serial examining 18th and 19th century German literature with a special emphasis on the works of Goethe, including unpublished works, text illustrations, a few fold-out facsimiles of documents. Tall 8vo. 1/2 cloth and boards, a couple of covers slightly bowed. Leipzig 1921-1935.

      [Bookseller: F.A. Bernett Books ]
 33.   Check availability:     ABAA     Link/Print  


        Das Stunden - Buch. Enthaltend die drei Bücher: Vom mönchischen Leben/ Von der Pilgerschaft/ Von der Armut und vom Tode

      Insel-Verlag,, Leipzig 1921 - 19 x 29 cm. Cremefarbener Ganzledereinband mit goldgeprägten Fileten und Titelei auf Rücken u. Vorderdeckel, Kopfgoldschnitt u. rotem Vor- und Nachsatzpapier. (6), 105 (1) S., 2 Bl. Einband mit kleinen Beschädigungen, teils fleckig u. etwas beschabt. Sarkowski 1360. Erster Druck der Inselpresse in der Vorzugsausgabe im cremefarbenen Orignalledereinband. Von 440 im Impressum nummerierten Exemplaren die Nummer 22. Gdruckt von Poeschel & Trepte, Leipzig auf Van Gelder-Bütten. Leider wurden durch Lesebändchen 6 Seiten teils stärker gebräunt.

      [Bookseller: Magdeburger Antiquariat]
 34.   Check availability:     ZVAB     Link/Print  


        Vintage photograph of Shigeru Yoshida in his Kimono. In his role as first secretary at the embassy in London in the year 1921. The photograph was taken atthe famous Daimaru Store in Kyoto but signed and dated by Shigeru Yoshida in London in 1921. From the collection of British Colonial Official Sir Harry Luke, the photograph comes with the original envelope and is addressed to Harry Luke's father: J.H.Luke, St.James Club, London, England.

      Kioto [sic] / Kyoto, : Daimaru Store Photo Studio. Excellent, MINT condition of the photograph, the envelope with some staining. Extremely scarce and wonderful portrait.. Kioto [sic] / Kyoto, Daimaru Store Photo Studio, 1921. Original, Vintage Photograph mounted on original, cardboard. 9,5 cm (wide) x 13,7 cm (high)/mounted on blindstamped cardboard 14,5 x 22,5 cm. Excellent, MINT condition of the photograph, the envelope with some staining. Extremely scarce and wonderful portrait. Shigeru Yoshida (22 September 1878 ? 20 October 1967) was a Japanese diplomat and politician who served as Prime Minister of Japan from 1946 to 1947 and from 1948 to 1954. Yoshida was born in Yokosuka near Tokyo and educated at Tokyo Imperial University. He entered Japan's diplomatic corps in 1906 just after Japan's victory against Russia in the Russo-Japanese War. He was Japan's ambassador to Italy and the United Kingdom during the 1930s and finally retired from his last appointment as ambassador to London in 1938. Throughout the 1930s and before the war ended in the 1940s, Yoshida continued to participate in Japan's imperialist movement; in early 1945 he was the Munitions Minister, and attempted to construct underground armament-manufacturing facilities to protect them from aerial bombing. After several months' imprisonment in 1945, he became one of Japan's key postwar leaders. Yoshida became the 45th prime minister on 22 May 1946. His pro-American and pro-British ideals and his knowledge of Western societies, gained through education and political work abroad are what made him the perfect candidate in the eyes of the postwar Allied occupation. He is de facto the last prime minister of the Empire of Japan, before it was abolished following the signing of the constitution. (Wikipedia)

      [Bookseller: The Time Traveller's Bookshop]
 35.   Check availability:     Biblio     Link/Print  


        Honigpumpe. Multiple: 1 Siebdruck nach einer Zeichnung, 15 Orig.-Fotografien, 1 Tonbandkassette und 1 Publikation in illustrierter Orig.-Pappschachtel. Diese Sonderausgabe der "Spuren" dokumentiert eine Aktion von Joseph Beuys, die am 2. November 1984 in dessen Düsseldorfer Atelier stattfand und in einer einmaligen Auflage von 100 Stück erschienen ist.

      4. Joseph Beuys (1921-1986) Deutscher Aktions- und Objektkünstler. Innendeckel der Schachtel eigenhändig vom Künstler in Bleistift signiert und nummeriert XIX/XXX (=30 Exemplare ausserhalb der öffentlichen limitierten Ausgabe in 100 Exemplaren). Der Siebdruck "Zeichnung beim Aufbau der Honigpumpe" ist eigenhändig signiert von Joseph Beuys in Bleistift. Blattmaße des Siebdruckes: 29,7 x 21 cm. Die Broschüre mit einer handschriftlichen Widmung von Jochen Hiltmann a. Umschlag. 15 Einzelfotos aus einer Beuys Aktion von Jochen Hiltmann. Blattmaße der Fotografien: 30,3 x 23,9 cm. Die Fotografien rückseitig mit Stempel: J. Hiltmann. Honigpumpe von Joseph Beuys. Fotos urheberrechtlich geschützt. Pappschachtel: 31,3 x 24,8 x 2,8 cm. Die Tonbandkassette mit Erläuterungen zur Honigpumpe von Joseph Beuys. - Die Pappschachtel einseitig etwas angeplatzt, ein Foto mit kleiner Eckbeschädigung, sonst sehr schönes Exemplar. Werkverzeichnis: Schellmann 544

      [Bookseller: Antiquariat Cassel & Lampe]
 36.   Check availability:     booklooker.de     Link/Print  


        Vintage photograph of Shigeru Yoshida in his Kimono. In his role as first secretary at the embassy in London in the year 1921. The photograph was taken atthe famous Daimaru Store in Kyoto but signed and dated by Shigeru Yoshida in London in 1921. From the collection of British Colonial Official Sir Harry Luke, the photograph comes with the original envelope and is addressed to Harry Luke's father: J.H.Luke, St.James Club, London, England.

      Kioto [sic] / Kyoto, Daimaru Store Photo Studio 1921 - Original, Vintage Photograph mounted on original, cardboard. 9,5 cm (wide) x 13,7 cm (high)/mounted on blindstamped cardboard 14,5 x 22,5 cm. Excellent, MINT condition of the photograph, the envelope with some staining. Extremely scarce and wonderful portrait. Shigeru Yoshida (22 September 1878 – 20 October 1967) was a Japanese diplomat and politician who served as Prime Minister of Japan from 1946 to 1947 and from 1948 to 1954. Yoshida was born in Yokosuka near Tokyo and educated at Tokyo Imperial University. He entered Japan's diplomatic corps in 1906 just after Japan's victory against Russia in the Russo-Japanese War. He was Japan's ambassador to Italy and the United Kingdom during the 1930s and finally retired from his last appointment as ambassador to London in 1938. Throughout the 1930s and before the war ended in the 1940s, Yoshida continued to participate in Japan's imperialist movement; in early 1945 he was the Munitions Minister, and attempted to construct underground armament-manufacturing facilities to protect them from aerial bombing. After several months' imprisonment in 1945, he became one of Japan's key postwar leaders. Yoshida became the 45th prime minister on 22 May 1946. His pro-American and pro-British ideals and his knowledge of Western societies, gained through education and political work abroad are what made him the perfect candidate in the eyes of the postwar Allied occupation. He is de facto the last prime minister of the Empire of Japan, before it was abolished following the signing of the constitution. (Wikipedia)

      [Bookseller: The Time Traveller's Bookshop Ltd.]
 37.   Check availability:     ZVAB     Link/Print  


        Travels in Arabia Deserta vol I and II

      Published by Philip Lee Warner and Jonathan Cape, London 1921 - , 623, 690 pages, 8 plates including 5 folding and portrait photo frontispiece with tissue guard, numerous illustrations throughout, folded coloured sketch map of North Western Arabia and Negd by author in rear pocket, pasted inscription and signature from the author on verso of front free endpaper, introduction by T.E. Lawrence, book plate front end paper, contains newspaper clipping dated 1999 nominating it as book of the century second edition , a little fading to spines and strip across top of vol 2, some page edges uncut, book condition good , original green cloth with gilt titles and design on front Octavo Hardback SIGNED ISBN: [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Keoghs Books]
 38.   Check availability:     ZVAB     Link/Print  


        John Wisden's Cricketers' Almanack for 1921 - 1921 to 1934 Set of Wisdens Rebound with Covers,Free P&P

      1921. Hi, This lot is a set of 14 rebound Wisdens all of them are rebound with covers. This Wisden set is in Good to Very Good condition. The boards are a bit of a mix but I have tried to make them as similar as possible so all are a reddish brown, all the books are in decent shape and a good but not mint set. Some notes are that the 1930 has a mark to the front cover, 1927 has a LCCC stamp to the bottom of the front cover, 1926 is a bit dark, 1923 a bit tatty and the 1925 has a cup mark to the cover. The 1932 may have a facsimile front cover , it feels facsimile but odd to see that in a rebind. They are all excellent internally all with photoplates, a great value for money set. 7/10s on average. Subject to availability I can swap any book inside this run or extend or slightly reduce the run for a different cost, please enquire for details.

      [Bookseller: Wisdenshop.com]
 39.   Check availability:     IOBABooks     Link/Print  


        Historisch-biographisches Lexikon der Schweiz, 7 + 1 Bände, Prachtausgabe (Handeinband).

      Neuenburg, Administration des Historisch-biographischen Lexikons der Schweiz, 1921 - 1934. Im Gesamtumfang von ca. 5.600 S. Mit vielen Karten, Bildnissen und Wiedergaben alter Dokumente. Einschlägiges Nachschlagewerk nicht nur zur allgemeinen Geschichte und Personengeschichte, sondern auch zur Topographie, Regional- und Kulturgeschichte der Schweiz. Enthalten sind zahlreiche, teils ganzseitige, teils farbige Abbildungen und Illustrationen. Bd. 1: A - Basel (XII, 600 S.). Bd. 2: Basel - Egnach (VIII, 792 S.). Bd. 3: Egolf - Güttingen (VIII, 792 S.). Bd. 4: Güttingen - Mailand (VIII, 800 S.). Bd. 5: Maillard - Saint Didier (VIII, 788 S.). Bd. 6: Saint Gelin - Tingry (VIII, 792 S.). Bd. 7: Tinguely - Zyro (XV, 788 S.). Supplement nebst systematischem Titelverzeichnis (VIII, 205, XIII S.). Die hochwertigen Handeinbände, die sich insbesondere durch ihre hervorragende robuste Lederqualität auszeichnen und ein angenehmes Handgefühl vermitteln, in tadellosem Zustand, weder berieben noch bestoßen, auch Deckelbezüge tadellos. Beim Supplementband bei den beiden ersten Blatt jeweils eine Ecke etwas repariert Seiten sonst sauber und fleckenfrei. Sehr schönes Exemplar dieser bibliophilen Handausgabe des Standardwerkes, das in einem solchen Einband sonst kaum erhältlich sein dürfte. Etwas Besonderes. Weitere Fotos auf der Homepage des Antiquariats (bitte Art.-Nr. auf der Angebotsseite in das Suchfeld eingeben).

      [Bookseller: Anton-Heinrich]
 40.   Check availability:     booklooker.de     Link/Print  


        Schiffsmodell *Dampfer Hindenburg* der Hugo-Stinnes-Linie (gebaut 1921)

       Modell des 1921 für die Hugo-Stinnes-Linie gebauten Dampfschiffes *Hindenburg* in Halbansicht, unter Glas in altem Holzkasten. Wohl um 1930 -1940 gefertigt. Maße 50 x 25 cm, der Holzkasten 61 x 31 cm. Das Glas links unten beschädigt, mit Ausbruch, der Kasten stärker fleckig und bestoßen. Das Modell selbst von guter Erhaltung. ( Gewicht 4700 Gramm ) ( Bitte beachten: Leider kein Versand möglich weil unter Glas gerahmt - bitte Selbstabholung bzw. selbst organisierter Transport ) ( Pic erhältlich / webimage available ) Versand D: 5,00 EUR Hindenburg, Dampfschiff, Modell, Schiffsmodell, Modellbau, Hugo-Stinnes-Linie, Stinnes-Linie, Hugo-Stinnes-Reederei, Reederei, Schiffsbau, Stinnes

      [Bookseller: Antiquariat Friederichsen]
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        Intérieurs modernes par MAM (Croquis, La Gazette du Bon ton, 1921 n°1) - Installation moderne d'un jeune ménage, composition par Lucie Renaudot, exécution de P.A. Dumas (Publicité, La Gazette du Bon ton, 1921 n°2) -

      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. Lucien Vogel éditeur Paris 1921 18x24cm en feuilles

      [Bookseller: Librairie Le Feu Follet]
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        Sea and Sardinia

      New York: Thomas Seltzer, 1921. First edition, first printing, first issue. Not Set. Large octavo. Original cream cloth-backed green boards, green paper title label to spine printed in black, top edge trimmed others uncut. With the illustrated dust jacket A particularly nice copy in the dust jacket with a single small chip at the top of the front panel. The jacket on this substantial publication is particularly susceptible to chipping - copies as good as this one are very uncommon

      [Bookseller: Blakeney Griffin Booksellers Ltd]
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        Le chariot de terre cuite

      114p., [3p.]; 20 Paris, 1921, in-4, 114p, [3p.]; 20 illustrations hors-texte en couleurs de Léon Carré, broché, couverture rempliée en bleu, vert et or, étui, Première édition, celui-ci exemplaire nominatif n°XXII "Imprimé pour Gabriel Séailles" d'un tirage total à 750 exemplaires. Poitevin né en 1864 et mort en Algérie en 1934, Victor Barrucand présente dans sa préface cette pièce adaptée du sanscrit, qui fut jouée au Théâtre de l'Oeuvre à Paris en 1895. La pièce ici transformée en conte est très joliment illustrée et décorée par le peintre orientaliste Léon Carré, lui-même installé à Alger à partir de 1909. Gabriel Séailles (1852-1922) est un historien de la philosophie français. Militant laïque et socialiste,ami d'Émile Zola, admirateur de Jean Jaurès, il fut un ardent défenseur d'Alfred Dreyfus. On joint un menu de la société des Amis du livre dédicacé à sa fille Lili illustré par Carlos Schwabe. Exemplaire déréglé. Bel état intérieur.

      [Bookseller: Librairie Alain Brieux]
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        Volksliedersätze des 16. Jahrhunderts: 1. Heft

      Volksliedersätze des 16. Jahrhunderts: 1. Heft. Breslau, Juni 1921. 34 Seiten. Hoffnungslos vergriffenes Exemplar. Mit Erklärung Literaturverzeichnis und Erläuterungen. Klammerheftung. Papier gebräunt. Einband fleckig.

      [Bookseller: gagosch]
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        Archipenko. Exhibition Société Anonyme New York. An appreciation. From the French by Mary Knoblauch.

      O`Brien, New York 1921 - New York, O`Brien, [1921], ca. 25,5 x 16,5 cm, 8 Seiten mit 5 ganzseitigen schwarz-weiss Abbildungen. Illustrierte Original-Klammerheftung. Geringe Gebrauchsspuren. ars libri 150, 6. - Veröffentlicht anlässlich der ersten amerikanischen Einzel-Ausstellung Archipenkos in der Société Anonyme im Februar und März 1921. - Abbildung des Umschlages in: "Archipenko - Ein internationaler Visionär", herausgegeben von Donald H. Karshan, Smithsonian Institution, Washington, 1969, siehe Abb. 82 Seite 64. Sprache: Englisch

      [Bookseller: Stader Kunst-Buch-Kabinett]
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        Ausgew?hlte urologische OP-Techniken. Step-by-Step von Rudolf Hohenfellner Operation Urologe Operative Urologie urologische Operationstechniken Operative Techniken urologische Operationen urologisch Medizin Humanmedizin Prostata

      Thieme, Stuttgart, 1921. Ein sehr sch?n bebildertes und vor allem auch umfassendes Standardwerk der urologischen Operationen. Es sollte auf keinen Fall im urologischen B?cherschrank fehlen. Aus dem Inhalt: 1. Die Operativen Techniken aus der Aktuellen Urologie in Buchform. 2. Aktuelle Entwicklungen der urologischen Operationstechniken. 3. Spezielle Operationstechniken. 4. Systematische Darstellung in Einzelschritten. Ausgew?hlte urologische OP-Techniken. Step-by-Step von Rudolf Hohenfellner Illustrationen: Brammer, R; Hanns, H; Urologe Operative Urologie Co-Autor H Abol-Enein, S Aharinejad, H van Ahlen Illustrationen: R Brammer, H Hanns Zusatzinfo 952 z.T. farb. Abb. in 1190 Einzeldarst. Sprache deutsch Ma?e 200 x 280 mm Gewicht 1921 g Einbandart kartoniert Operation Urologie ISBN-10 3-13-110372-8 / 3131103728 ISBN-13 978-3-13-110372-7 / 9783131103727

      [Bookseller: LLU-Bookservice]
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        Intérieurs modernes par MAM (Croquis, La Gazette du Bon ton, 1921 n°1) - Installation moderne d'un jeune ménage, composition par Lucie Renaudot, exécution de P.A. Dumas (Publicité, La Gazette du Bon ton, 1921 n°2) -

      - Lucien Vogel éditeur, Paris 1921, 18x24cm, en feuilles. - Serie di otto stampe originali a colori, disegnato su carta vergata, firmato in basso a destra ea sinistra da stiro. Le schede sono introdotte da un testo firmato Jean Cocteau e rappresentano costumi per Shakespeare (due Bergeres Paulina o ora). stampe originali realizzati per l'illustrazione di The Gazette alla moda, una delle più belle e più influenti riviste di moda secolo XX, che celebra il talento di creatori e artisti francesi fiorente art deco. rivista di moda Famosa fondata nel 1912 da Lucien Vogel, The Gazette moda è apparso fino al 1925, con un'interruzione durante la guerra del 1915-1920, a causa della mobilitazione del suo Direttore. Lei è di 69 consegne a partire da soli 2000 copie ed è illustrato tra cui 573 tavole a colori e 148 schizzi raffiguranti modelli di stilisti. All'atto della pubblicazione, queste pubblicazioni di lusso "sono per bibliofili e gli esteti del mondo" (Françoise Tétart-Vittu "buona Ufficiale della tono" nel dizionario della moda, 2016). Stampato su carta vergata bene, usano un carattere creato appositamente per la rivista di Georges Peignot, il personaggio Cochin, presa nel 1946 da Christian Dior. Le stampe sono realizzate con la tecnica di stencil metallo, colori ottimizzati e alcuni delineati in oro o palladio. L'avventura è iniziata nel 1912, quando Lucien Vogel, uomo di mondo e della moda - ha già partecipato a magazine Femina - decise di fondare con la moglie Cosette de Brunhoff (sorella di John, il padre di Babar) Gazette buono tono con cui il sottotitolo è poi "l'arte, mode e frivolezze." Georges Charensol cita l'editor: "Nel 1910, ha osservato, non vi era alcuna rivista di moda veramente artistica e rappresentante dello spirito del suo tempo. Così ho pensato di fare una rivista patinata con gli artisti dei più moderni [...] ero certo del successo, perché per tutto il paese della moda in grado di competere con la Francia. "(" Un grande editore d'arte. Lucien Vogel "in letteraria News, N. 133, maggio 1925). Il successo della rivista è immediato, non solo in Francia, ma anche gli Stati Uniti e Sud America. In origine, Vogel mette quindi insieme un gruppo di sette artisti: André-Edouard Marty e Pierre Brissaud, seguito da Georges Lepape e Dammicourt; e, infine, i suoi amici della Scuola di Belle Arti come sono George Barbier, Bernard Boutet de Monvel o Charles Martin. Altri talenti vengono rapidamente raggiungere il equipaggiato Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Alexander Halouze Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. Questi artisti, per lo più sconosciuti quando Lucien Vogel appello a loro, finirà per diventare figure iconiche e artistico ricercato. Questi sono gli stessi illustratori che fanno disegni annunci delle Gazette. Le schede evidenziano gli abiti e le sublimi sette artisti del tempo: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet e Doucet. I progettisti prevedono per ogni numero di modelli esclusivi. Tuttavia, alcune delle illustrazioni contenute alcun modello reale, ma solo l'idea che l'illustratore è fatto in la moda del giorno. Gazette alla moda è una pietra miliare nella storia della moda. Combinando l'esigenza estetica e l'unità di plastica, si riunisce per la prima volta i grandi talenti del mondo delle arti, della letteratura e della moda e imposto da questa alchimia, una nuova immagine della donna, esile, indipendente e audace, spinto anche dalla nuova generazione di designer Coco Chanel, Jean Patou, Rochas Marcel ... Recupero nel 1920 da Condé Nast Montrose, Gazette moda modellato per la nuova composizione e le scelte estetiche del "piccolo giornale che muore" che Nast aveva comprato qualche anno fa: la rivista Vogue. - [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 (s

      [Bookseller: Librairie Le Feu Follet]
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        5 l.a.s. Yvette Guilbert non datées :1/ Sur papier bleu, avec son monogramme en relief, à Monsieur Massard pour lui dire son opinion sur son travail. 2/ En tournée à Amsterdam, "Zut j'ai pas mon livre d'adresse." pour s'excuser d'envoyer son courrier au Mercure de France. 3/ 2 lettres à l'en-tête du Boulevard Berthier où elle annonce qu'elle va "avoir bientôt un cercle littéraire où le public de Paris sera convié à faire connaissance avec quelques collaborateurs du Mercure de France vers et prose etc," dans lesquelles elle invite ses correspondants à venir lire leur oeuvre.

      - Joint une carte à son en-tête : "Yvette Guilbert Ecole des Arts du Théâtre New York" pour commander des livres lors de son passage à Paris, datée sur l'enveloppe 1/07/1921. La Maison des artistes, forme associative, fut crée en 1952. La maison de la poésie est plus récente. Autographes [Attributes: Signed Copy]

      [Bookseller: Connaissances et perspectives]
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        Der Selbstmörderwettbewerb.

      Berlin: Otto von Holten, 1921. 2 Bl., 90 (3) S., 4 Bl.; \"Einband, satzanordnung, frontispice- und titelradierung von Marcus Behmer.\"Kl.-8°; Orig. Halbpgmt. m. goldgepr. RT u. Vignette auf Vorderdeckel. Fadenheftung. Orig. Pappschuber. Mit zwei signierten Radierungen von Marcus Behmer (Frontispiz und Titel). \"Einhundertundfünfzig abzüge; davon fünfzig nicht für den handel. Die radierungen in nummer 1-12 von den unverstählten platten.\" Dies ist Nr. 61. - Johannes Auerbach, 1899 Breslau - 1950 Oxford, Bildhauer, Maler u. Schriftsteller, einer der ersten Künstler am Bauhaus Weimar; ab 1936 Exil in England. Marcus Behmer, 1879 - 1958, bedeutender Buchkünstler. - Der schlichte Pappschuber etw. berieben u. randgebräunt, Rücken verschossen. Ecken u. Kanten bestoßen, Bezugspapier etw. abgestoßen. Einband minimal berieben u. bestoßen; Pergamentrücken etw. stockfl. Innendeckel u. fl. Vorsätze min. stockfl., ebenso die Radierungen. 1 Bl. m. Quetschfalte im Randbereich. Schönes Exemplar. A/A3 Versand D: 5,00 EUR

      [Bookseller: libretto - Antiquariat am Kunstmuseum]
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