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Displayed below are some selected recent viaLibri matches for books published in 1924

        Der Künstler; Affe einen Marabu malend.

      - Radierung, 1924, auf cremefarbenemVelin, signiert. 10:30,5 cm. Literatur: Günther 129. - Sehr guter Abdruck, tadellos und vollrandig, als „Probedruck" bezeichnet. Richard Müller war Schüler der Dresdener Akademie unter L. Pohle (1841-1908). Die Begegnung mit M. Klinger (1857-1920) 1895 wurde für seine künstlerische Entwicklung und Laufbahn bestimmend. 1896 erhielt er den Rompreis, seit 1900 war er Professor der Radierklasse an der Dresdener Akademie, wo er bis 1935 – zuletzt als Rektor – lehrte. 1914/15 leistete er Kriegsdienst, seitdem war er ununterbrochen in Dresden tätig. – Richard Müller war ein Meister der Tierdarstellung!

      [Bookseller: Galerie Joseph Fach GmbH]
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        Zapiski poeta. Povest? [Aufzeichnungen eines Dichters. Erzählung].

      Original-Ausgabe. - Selvinsky war einer der bedeutendsten Vertreter des literarischen Konstruktivismus. Die vorliegende Erzählung ist eine Art Autobiographie des Dichters, der seine Verse hier als Werk des imaginären Lyrikers Evgeny Ney publizierte. - Berühmtheit erlangte die kleine Veröffentlichung vor allem durch die prägnante Einbandgestaltung El Lissitzkys. So nutzte er zwei fotografische Porträtaufnahmen, die er 1924 von Hans Arp fertigte, und belichtete die Negative unterschiedlich, so dass die Profilaufnahme heller und die Frontalaufnahme dunkler geriet, schließlich fügte er beide zu einem Doppelporträt zusammen. Als Hintergrund verwandte er die Dada-Zeitschrift 391, auf den Hemdkragen ließ er den Namen des imaginären Dichters setzen. - Erschienen in einer Aulage von dreitausend Exemplaren. - Die häufig fehelnde Faltkarte hier mit Einriss, sonst hervorragend erhaltenes Exemplar. - Lissitzky-Küppers 121. - Kat. Sprengel Museum 218. - Bowlt/Hernad 73. - Kat. MoMa 750. - Andel, Avantgarde Pagedesign 252.

      [Bookseller: Rotes Antiquariat]
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        Le cabaret de la belle femme

      Emile-Paul frères 1924 - - Emile-Paul frères, Paris 1924, 19,5x25cm, broché. - Edition illustrée de 8 pointe-sèches originales hors-texte d'André Dunoyer de Segonzac ainsi que de 50 dessins in-texte, un des 40 exemplaires numérotés sur Japon, le nôtre non justifié, tirage de tête. Notre exemplaire est enrichi d'un double état en noir des pointes-sèches dont il n'est fait nulle mention à la justification du tirage. Légères piqûres sur le dos, sinon agréable exemplaire. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Edition illustrated with 8 original tip-off dry-text of André Dunoyer de Segonzac and 50 drawings in-text, one of 40 numbered copies on Japan, ours unjustified, deluxe edition. Our copy is enriched with a double state of black dry points which he is no mention to the justification of the draw. Light spots on the back, otherwise nice copy. [Attributes: Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
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        Les heures claires; Spleen. Autograph musical manuscripts of two songs, both signed "RL."

      Les heures claires. O la Splendeur de notre joie! Poésie d' Emile Verhaeren 4 pp. on 4 leaves. Small folio (ca. 280 x 221 mm). Unbound. Dated Le Tréport, August 6, 1924. Notated in black ink on lightweight paper with 16 printed staves per page. Scored for mezzo-soprano and piano. Page 4 with autograph monogram and date to lower edge; overpaste (ca. 81 x 221 mm.) with 2 additional/alternative measures of music, fourth measure extended into right margin by the composer. Several minor erasures throughout. Slightly soiled, creased and torn. Spleen. Poésie de Ch. Baudelaire 4 pp. on 4 leaves. Small folio (ca. 280 x 221 mm). Unbound. Dated Ménil Val, September 2, 1924. Notated in black ink over traces of pencil. On lightweight paper with 16 printed staves per page. Scored for mezzo-soprano and piano. Autograph monogram and date to lower edge of p. 4; small erasure to p. 3; manuscript identification "La Parra" at head of first page. Several corners lightly creased and/or turned. Possibly unpublished, although both songs may have been included in one of the song collections listed in Grove (96 songs in 8 volumes, 1926 or 7 mélodies, 1927). Not in Grove, Worldcat, MGG I, Pazdírek, or the Bibliothèque Nationale online. A French composer admired by Ravel, Laparra "studied with Gédalge, Fauré, Lavignac and Diémer although his music, with its constant reference to Spanish dance, must surely owe a lot to Albéniz. He was awarded the Prix de Rome in 1903 for his cantata Alyssa... His early career was mostly devoted to opera. He also made a substantial contribution to the mélodie, composing songs throughout his life." Richard Langham Smith in Grove Music Online.

      [Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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        Antropologischer Anzeiger Band 1 - 40 (1924 bis 1982)

      Stuttgart: E. Schweizerbart'sche Verlagsbuchhandlung, 1924 - Alle Bücher sind ehemalige Bibliotheksexemplare mit entsprechenden Kennzeichnungen. In deutscher und englischer Sprache. Sprache: Deutsch Gewicht in Gramm: 29000 [Attributes: Hard Cover]

      [Bookseller: Versand-Antiquariat Konrad von Agris]
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        Über Quantenmechanik.

      Berlin: Springer, 1924. First edition, the very rare offprint, of this important paper marking the transition from the 'old quantum theory' to 'quantum mechanics.' "It was Born who coined the term 'quantum mechanics' in a 1924 paper [offered here], in which he dealt with the problematic translation of classical formulas into their quantum-theoretic analogues by means of the correspondence principle" (Kragh, Quantum Generations, p. 159). "In June 1924, Born completed his paper 'On quantum mechanics.' In this article Born tried to establish a method by which the classical perturbation theory of multiply periodic non-degenerate systems could be applied to quantum phenomena which involve external periodic disturbances or internal couplings. So far, Born argued, theories of poly-electronic systems, such as the helium atom, which treated the electronic interactions along classical lines, had to fail since electrons affect each other with frequencies of the order of those of light, but the interaction between matter and light is evidently a 'non-mechanical' quantum process; one cannot expect, therefore, that the interactions between electrons can be treated along classical lines either. Born now suggested a solution of the problem by generalizing Kramers' treatment of the interaction between radiation and electrons into a 'quantum mechanics' of interactions. In carrying out this program, Born showed that the transition from classical mechanics to what he called 'quantum mechanics' can be obtained in accordance with Bohr's correspondence principle if a certain differential is replaced by a corresponding difference ..." (Jammer, Conceptual Foundations of Quantum Mechanics, pp. 191-2). Not on OCLC; no copies in auction records. By 1924, the accumulation of experimental anomalies, together with a widespread dissatisfaction with the conceptual and logical structure of the existing quantum theory, created a situation of crisis in the small community of atomic physicists. "The feeling of a crisis in atomic physics gave rise to several proposals of a radical nature, perhaps the most radical one being the idea that energy and momentum are not conserved in individual atomic processes. This idea, which featured prominently in a theory offered by Bohr, Kramers and Slater (BKS) in 1924, was an attempt to understand radiation from atoms without making use of the concept of light quanta, which were particles non grata in Copenhagen. The BKS atom with its orchestra of 'virtual oscillators' was as original as it was controversial... Its influence was particularly strong in the dispersion theories that attracted much attention in the final phase of the old quantum theory and were greatly significant in the revolutionary change to a new 'quantum mechanics'" (Kragh, Niels Bohr and the Quantum Atom, p. 313). "An important paper by Born published in August 1924 took its starting point in the 'considerable progress' made with the BKS theory and Kramers’ use of it to explain the dispersion of light. Born's paper, entitled ' ber Quantenmechanik,' merits attention not only because it introduced 'quantum mechanics' as the name for the quantum theory of the future, but also because it was a serious attempt to formulate the general structure of this still unborn theory. Although Born made use of virtual oscillators as "the real primary thing", he stressed that his theory was independent of the "still disputed conceptual framework of that theory [BKS], such as the statistical interpretation of energy and momentum transfer." The abstract theory included Kramers' dispersion theory, which it connected to Heisenberg's theory of multiplets and the anomalous Zeeman effect. From a formal point of view its most important result was that it offered a "formal passage from classical mechanics to a 'quantum mechanics' ... in the sense of a transition from differential to difference equations". According to Born, if a transition from a stationary state of quantum number n to another state of quantum number n - ? was characterized by some classical function F(n), the function could be translated into its quantum-theoretical analogue by a replacement of the kind [which] has been called 'Born's correspondence rule' ... He emphasized that whereas the classical dispersion formula as derived from perturbation theory contained action variables and other reminiscences of mechanical orbits, in its quantum-theoretical translation only observable quantities appeared" (ibid., 341). "Werner Heisenberg, who spent the winter semester 1923/24 in Göttingen, assisted Born in this work - with great profit, as his subsequent comprehensive study of scattering and dispersion, carried out together with Kramers, clearly shows ['Uber die Streuung von Strahlung durch Atome,' Zeitschrift für Physik 31 (1925), 681-708]" (Jammer, p. 193). This paper "served as the apex of the virtual-oscillator technique and, in retrospect, as the final touch needed for Heisenberg to "fabricate quantum mechanics," as he called it, six months later" (Cassidy, Beyond Uncertainty, p. 137). Offprint from Zeitschrift für Physik 26, no. 6, 20 August 1924. 8vo (230 x 158 mm), pp. 379-395. Original printed wrappers. Very fine.

      [Bookseller: SOPHIA RARE BOOKS]
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        Natural History of British Butterflies

      London: Hutchinson, [1924]. 2 vols, 60 colour5 plain plates. Hardback. Folio, orig. cloth, gilt. Vg set in well preserved d/w's; d/w's with some minor wear to corners and spine ends, a few short edge tears; in protective sleeves. Some foxing to text, plates mostly clean. Rare in such well preserved dust wrappers. A complete, original, descriptive account of the life-history of every species occurring in the British Islands, together with the habits, times of appearance, and localities. A classic work based on the author's original observations, illustrating the life stages of all British Butterflies for the first time. Preface is dated 1914, but publication was delayed until after the 1st World War.

      [Bookseller: Pemberley Books]
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        Thaïs

      A. Plicque & Cie. Illustrated edition of 22 beautiful compositions of Raphael engraved on copper by Freida L. Macquard, led to 781 copies, ours one of the top 30 on Japan full well its 3 suites: a bistre on Japan and two on vellum, the in a dark brown and the other black.The first edition of the novel appeared in 1890 Calmann-Levy, he had previously been published in the Revue des Deux Mondes in 1899. He staged Thais famous courtesan of Alexandria in the fourth century. The monk Paphnutius converted to Christianity, but the surprising beauty of the sinful will be because of his faith. Freida sublime boards, hard and cruel trait, here make clear about the dark atmosphere of the novel.A few tears back, pouch containing suites damaged.Copy beautifully decorated, very rare leading copy and perfectly complete suites of engravings. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! A. Plicque & Cie Paris 1924 24x27cm broché

      [Bookseller: Librairie Le Feu Follet]
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        "The Lute Players"

      New York. The House of Art. ( 1924). Uncirculated color lithographic print. Image measures 6 3/8 x 10", inside tan border measuring 8 x 11 inches on sheet 10.5 x 14 inches.There is the very faintest toning along the right edge, but overall mint condition on untrimmed sheet. At lower right in the image is the copyright symbol, The House of Art, N.Y. At lower left of the sheet outside the tan border is the inscription D-600 Printed in U.S.A. An uncirculated print, never been framed with glowing color.

      [Bookseller: oldimprints.com]
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        Détours

      Nrf. First Edition, one of 1115 numbered copies on vellum imitation tank only draw with Japan 25. Bound in half morocco hazelnut, smooth back, covered with paper plates decorated with a scene depicting a intermingled yarn reminiscent of a maze, guards and contreplats paper imitating wood, covers and spine preserved, minor small scratches on the edges, elegant and original binding signed Mercher. Book illustrated with a portrait of the author by Maccown engraved on wood by G. Aubert. Superb autograph dedication signed by the author, full screen, Valentine and Jean Hugo: "... the first born lost, then found, and I commend them for them to learn it without Detour drawing, art costumes, dreams on screen and the kindness of friendship. Quite sympathy. Crevel. 1926. " Beautiful copy, perfectly prepared, exceptional provenance. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Nrf Paris 1924 13x19cm relié

      [Bookseller: Librairie Le Feu Follet]
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        The Aeroplane. Incorporating "Aeronautical Engineering".

      

      [Bookseller: Libreria Piani già' Naturalistica snc]
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        [The Pooh books:] When We Were Very Young; Winnie-the-Pooh; Now We Are Six; The House at Pooh Corner

      London: Methuen & Co.,, 1924?8. 4 volumes, octavo. Bound in recent full morocco, in their respective published colours, titles and decorations to spines gilt, raised bands, gilt rules to boards, marbled endpapers, all edges gilt. Housed in a blue cloth slipcase. Illustrated by E. H. Shepard. An excellent set. First editions, first impressions, of all four Pooh books. The print runs for the four books varied, but the number of possible complete sets is limited by the smallest number printed: the first book, When We Were Very Young, which was first published in London on 6 November 1924 in an edition of 5,175 copies.

      [Bookseller: Peter Harrington]
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        The Pooh books:] When We Were Very Young; Winnie-the-Pooh; Now We Are Six; The House at Pooh Corner.

      London: Methuen & Co., 1924–8 - 4 volumes, octavo. Bound in recent full morocco, in their respective published colours, titles and decorations to spines gilt, raised bands, gilt rules to boards, marbled endpapers, all edges gilt. Housed in a blue cloth slipcase. An excellent set. Illustrated by E. H. Shepard. First editions, first impressions, of all four Pooh books. The print runs for the four books varied, but the number of possible complete sets is limited by the smallest number printed: the first book, When We Were Very Young, which was first published in London on 6 November 1924 in an edition of 5,175 copies. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Incidences

      Nrf. First edition, one of 1092 numbered copies on pur fil, this one of 12 hors commerce, the only large paper copies with 108 re-imposed.With an autograph inscription from André Gide to Charles Hirsch.Very slight foxings in the margins of some edges. Nrf Paris 1924 13x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Ernest Gimson his Life and Work

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Plancks Gesetz und Lichtquantenhypothese.

      Berlin: Springer, 1924. First edition, in original printed wrappers, of one of the most important papers in the history of quantum physics, the invention of 'Bose-Einstein statistics' (Einstein's contribution came later - see below). "The paper by Bose is the fourth and last of the revolutionary papers of the old quantum theory (the other three being by, respectively, Planck [1900], Einstein [1905], and Bohr [1913])" (Pais, Subtle is the Lord, p. 425). "With their work Bose and Einstein established the field of quantum statistics one year before the appearance of quantum mechanics" (Brandt, The Harvest of a Century, p. 139). "Bose-Einstein statistics, one of two possible ways in which a collection of indistinguishable particles may occupy a set of available discrete energy states. The aggregation of particles in the same state, which is characteristic of particles obeying Bose-Einstein statistics, accounts for the cohesive streaming of laser light and the frictionless creeping of superfluid helium. The theory of this behaviour was developed (1924-25) by Albert Einstein and the Indian physicist Satyendra Nath Bose, who recognized that a collection of identical and indistinguishable particles can be distributed in this way. "In contrast to Fermi-Dirac statistics, the Bose-Einstein statistics apply only to those particles not limited to single occupancy of the same state--that is, particles that do not obey the restriction known as the Pauli exclusion principle. Such particles have integer values of spin and are named bosons, after the statistics that correctly describe their behavior" (Britannica). As Pais points out (Inward Bound, p. 284), Bose's paper "also contains the discovery of Bose-Einstein condensation, an effect without application at that time." This is a phenomenon in which atoms coalesce into a shared quantum state at the lowest available energy. The requisite methods to produce temperatures low enough to test this prediction did not become attainable, however, until the 1990s. In 1995, Eric Cornell and Carl Wieman succeeded in merging about 2,000 individual atoms into a "superatom," a Bose-Einstein condensate large enough to observe with a microscope, work for which they received the 2001 Nobel Prize in Physics. Bose-Einstein condensates hold promise for several new technologies, including atom lasers, light-based telecommunications, optical storage of data, and quantum computing. Bose (1894-1974) was born and educated in Calcutta, leaving "in 1921 to become Reader in Physics at the newly established University of Dacca in East Bengal. In July 1924 he sent a short manuscript entitled "Plancks Gesetz und Lichtquantenhypothese" to Albert Einstein for criticism and possible publication. Einstein himself translated the paper into German and had it published in the Zeitschrift für Physik later that year. He added a note that stated: "In my opinion Bose's derivation of the Planck formula signifies an important advance. The method used also yields the quantum theory of the ideal gas as I will work out in detail elsewhere" ... [In this paper] he succeeded in deriving the Planck blackbody radiation law without reference to classical electrodynamics. Einstein's generalization of Bose's method led to the first of two systems of quantum statistical mechanics, known as the Bose-Einstein statistics. Paul Dirac later coined the term "boson" for particles that obey these statistics. "Planck's radiation law, derived in 1900, relates the electromagnetic energy density in equilibrium with a blackbody, or ideal radiator... Planck based his derivation on a model in which the radiation emitted and absorbed by the blackbody is in equilibrium with a set of charged oscillators. He took the laws of classical electrodynamics as valid but assumed in addition that each oscillator could emit and absorb only in quanta proportional to its frequency of oscillation... The zero-rest-mass quanta of the electromagnetic field are now called 'photons,' a term introduced in 1926. "Bose's [derivation of the Planck law] followed a general procedure introduced by Boltzmann for determining the equilibrium energy distribution of the microscopic entities that constitute a macrosystem. The procedure begins by enumerating all the possible, distinguishable microstates of the entities, where each such state is defined by a set of coordinates and momenta. That is, each possible state of a single entity is specified by a point in six-dimensional phase space the axes of which correspond to the three spatial coordinates and the three components of momentum. Each possible state of the system is specified by a distribution of such phase points. Bose's innovation was to assume that two or more such distributions that differ only in the permutation of phase points within a sub-region of phase space of volume h3(where h is Planck's constant) are to be regarded as identical. Thus, in effect he asserted that two truly identical photons cannot be distinguished even in principle. This method of counting has the effect of enhancing the populations of lower-energy photon states at the expense of those of higher energy, and leads to the correct Planck distribution law... "In July 1924 Einstein had already generalized Bose's results to particles of nonzero rest mass the total number of which is conserved; and in January 1925 he showed that such a gas would, under conditions of extreme temperature and pressure, exhibit marked deviations in behavior from that of a classical ideal Maxwell-Boltzmann gas... Thus, by generalizing Bose's theory, Einstein completed the formulation of the first of two types of quantum statistics. In 1926 Enrico Fermi derived a second system of quantum statistics, now called the Fermi-Dirac statistics, in which it is assumed that each sub-volume h3 in phase space can be occupied by no more than one point, consistent with the exclusion principle enunciated by Wolfgang Pauli in 1925" (DSB). Provenance: Signature of E[rnest] F. Barker on front cover, dated 12 September, 1924. Ernest Franklin Barker (1886-1970) graduated from the University of Rochester in 1908, receiving his doctorate from the University of Michigan in 1915. He became Professor of Physics at the University of Michigan in 1922, acting as chairman of the department from 1941. pp. 178-181 in Zeitschrift für Physik, 26. Band, 3. Heft, 11 August, 1924. The entire issue offered here. 8vo (230 x 156 mm), pp. 161-222. Original printed wrappers. Signature of E[rnest] F. Barker on front cover, dated 12 September, 1924. Very light wear. A fine and unrestored copy.

      [Bookseller: SOPHIA RARE BOOKS]
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        De l'Amour. 2 volumes

      A Paris, René Kieffer 1924 - Par M. de Stendhal. Bandeaux, lettrines et cabochons dessinés spécialement par Aug. H. Thomas. Complet & Contrôlé. Tirage limité à 50 exemplaires sur JAPON et mille sur vélin. Celui-ci (N°50) un des 50 de tête sur JAPON impérial. A Paris, René Kieffer - 1924 - 235 et 255 pages. Collection de L'Amour des Livres. Très belle reliure plein maroquin vert de Kieffer. Dos à 4 gros nerfs. Plats et dos illustrés à froid. Couvertures et dos illustrés conservés. Tête dorée sur témoins, non rogné. Pas de rousseur. Bel exemplaire, bien relié. Parfait état. Format in-8°(20x15). Edition illustrée [Attributes: Hard Cover]

      [Bookseller: Livres et Collections]
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        Vie des martyrs

      René Kieffer. First edition under this title, one of 500 numbered copies on white vellum containing a statement of etchings. Bound in full morocco old pink back with four wide false nerves decorated with nets and boxes in cherry branch stamped cold boards decorated with a large plate frame nets representing a war helmet abandoned in a ruined landscape suplombé a cherry branch, covers and spine preserved, golden head, the binding signed Kieffer time. Illustrated book of etchings and woodcuts by Paul Baudier. Great autograph signature of the author on the half-title page. Fine copy in a well established binding characteristic decoration work of René Kieffer. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! René Kieffer Paris 1924 13x25,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Umbra vitae. Nachgelassene Gedichte. Mit 47 Originalholzschnitten von Ernst Ludwig Kirchner. München. Kurt Wolff 1924. 23,5 x 16,5 cm. 4 unnumerierte Blätter, 63 Seiten. Originalleinen mit farbiger Einbandillustration von Kirchner (Originalfarbholzschnitt) mit grünem Originalschutzumschlag in Originalschuber mit numeriertem Deckelschild.

      Kurt Wolff, 1924 .Originalausgabe. Dube, Kirchner, Das graphische Werk 759?-?807 - Jentsch, Illustrierte Bücher des deutschen Expressionismus 152 mit einer ganzseitigen Farbabbildung auf Seite 323 - The Artist and the Book, 142?-?Andel, Avant-Garde Page Design 35 und 36, mit Abbildungen auf Seite 55. Nr. 214 von 500 numerierten Exemplaren auf cremefarbigem Bütten. Die gesamte Buchausstattung erfolgte nach Angaben und Entwürfen von Ernst Ludwig Kirchner, der auch den Einband und den Vorsatz in Holz schnitt. Sehr schönes Exemplar im Originalschuber und mit dem Umschlag. Der berühmte Einband mit dem Farbholzschnitt wurde von 2 Stöcken in den Farben Schwarz und Grün auf gelbes Leinen gedruckt. Dieser blieb durch den erhaltengebliebenen Schutzumschlag in seiner ursprünglichen Farbigkeit erhalten. Das Buch gehört zu den bedeutensten Buchillustrationen des deutschen Expressionismus und ist in diesem Zustand kaum mehr auffindbar.

      [Bookseller: Antiquariat Günter Linke]
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        [Op. 18]. Die glückliche Hand Drama mit Musik... Op. 18 Auszug mit Text für zwei Klaviere zu vier Händen von Eduard Steuermann. [Piano-vocal score for two pianos, four-hands]...

      Wien... New York: Universal-Edition [PN U.E. 5669], [October 18, 1924]. Large folio. Full cloth with original publisher's green printed wrappers bound in. [i] (title), [ii] (cast list, orchestra list, copyright/performing rights notice, with publisher given as "Universal-Edition Aktien-Gesellschaft, Wien-Leipzig"), 3-40 pp. Printed note to foot of first page of music: "Copyright 1923 by Universal-Edition." "7" added in manuscript to title below "Eduard Steuermann." Publisher's catalogue "Arnold Schönbergs Werke in der Universal-Edition" to verso of lower wrapper. Inscription in black ink to verso of upper wrapper: "Yours for more Wagnerian performances, Linton Martin 12/12/31." Slightly worn; annotations to lower right corner of upper wrapper erased. First Edition, second issue in this form. Rufer (Engl.) p. 36-37. Ringer p. 313. Tetsuo Satoh pp. 11-12. "The second issue of the first edition can be identified by two marginal details: First, on p. 40, the printer's siglum 'Weag' (abbreviation for Waldheim-Eberle A.G.) is omitted; second, on the verso of lower wrapper... 'Nr. 35 V 1923' [printed to the lower margin] has been reduced to 'Nr. 35.'" Website of the Arnold Schönberg Center, Vienna Eduard Steuermann (1892-1964), pianist and composer, was one of the central figures in Schoenberg's circle. He played the piano part in several first performances of Schoenberg's works, including Pierrot Lunaire and the Piano Concerto. From 1938 on he lived in the United States. A "drama with music" in one act to a libretto by the composer, Die glückliche Hand [The Hand of Fate] was first performed at the Volksoper in Vienna on October 14, 1924, with Fritz Stiedry conducting. "This work was begun in 1910, but much of the music, including the first and last of the four scenes, was not composed until 1912-13. Like its companion piece, Erwartung, it contains only one singing character. It is shorter, lasting only 20 minutes or so, but the action is far more complex, involving two mimed roles, a chorus and elaborate scenic effects synchronized with constantly changing coloured lighting. This last feature was also used by Kandinsky in Der gelbe Klang, but Schoenberg did not know about it at the time. His conception coincides with his own most intense period of activity as a painter." O.W. Neighbour in Grove online....

      [Bookseller: J & J Lubrano Music Antiquarians]
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        The Pooh Books: When We Were Very Young; Winnie the Pooh; Now We Are Six; The House at Pooh Corner.

      London: Methuen and Co., 1924. COMPLETE SET OF FOUR VOLUMES IN FIRST EDITION. Octavo. Beautifully illustrated throughout by E. H. Shepard. The four charming 'Pooh books' include two volumes of verse, and two volumes of stories; Winnie-The-Pooh was the first of the story books. Finely bound in recent half morocco in their respective published colours, titled and decorated in gilt to spine, over original cloth sides, each pictorially stamped in gilt, top edge gilt, black endpapers, illustrated endpapers bound in at rear where applicableInternally clean; externally fine. Neatly housed in a fleece-line cloth slip case. Children's Modern Firsts [p206], Shorter Cambridge English Lit. [1387-1389]. 'Winnie the Pooh' listed in Modern Library's Top 100 Novels [1998]. Book Collector No.271, 'The Great Illustrators'.

      [Bookseller: Adrian Harrington]
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        The Novels of the Sisters Brontë.

      Edinburgh: John Grant, 1924. Twelve volumes, octavo, photogravure plates and frontispiece portraits; a fine bright set in original publisher's cloth, gilt spines. An excellent collected set of the works of the Brontë sisters, including the biography of Charlotte by Elizabeth Gaskell, the well-known author of Cranford and North & South. Gaskell's biography was first published in 1857, and this edition includes notes by the series editors Temple Scott and W.B. Willett.The series comprises the entire novels: Jane Eyre, Villette, Shirley, The Professor, The Tenant of Wildfell Hall, Agnes Grey and Wuthering Heights. Printed in Edinburgh by John Grant, the set is illustrated with handsome photogravure plates and portraits, and is an ideal gift for those who cherish the literary world of the Brontë sisters.

      [Bookseller: Hordern House]
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        Crêpes, tambours, poussière... Manuscrit autographe signé

      Manuscrit autographe signé de 17 pages in-8 avec quelques corrections. A report on the state funeral of Anatole France, which appeared in 'le Journal' on the 19th October 1924. Henri Béraud once more demonstrates his powers of polemic and his rich sense of irony on the occasion of the funeral; this superb text echoes those published at the same time by the Surrealists in their famous text 'Un cadavre'. Manuscrit autographe signé de 17 pages in-8 avec quelques corrections [1924] 14x18cm en feuilles

      [Bookseller: Librairie Le Feu Follet]
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        Memories and Adventures. [With a Sherlock Holmes Pastiche].

      London: Hodder and Stoughton, October 1924. SIGNED COPY. Second printing misrepresented as second edition by the publisher. Large Octavo, pp.408; [2] advertisements. Publisher's blue gilt titled cloth boards. Signed by Doyle to the title page.A lovely copy with slight bumping, a little scuffing and wear to the extremities, minor spotting, faded owner name to reverse of endpaper, generally solid, clean and distinguished. Signed copies of this printing were given away by Newnes's Strand Magazine as prizes. A fascintaing autobiographical account of Conan Doyle's life, also contains the first appearance of "The Adventure of The Two Collaborators" a Sherlock Holmes pastiche created by Doyle's friend and fellow author J.M. Barrie describing Holmes' death at a a time when Doyle was feeling increasingly put upon by the success of his creation. Green and Gibson.

      [Bookseller: Adrian Harrington]
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        Incidences

      Nrf. First edition, one advance (service de presse) copy.Handsome autograph inscription signed by André Gide to Paul Morand. upper cover slightly and marginally folded, not serious, otherwise a good copy. Nrf Paris 1924 13x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Wheel" [1936 / printed 1989. Gelatin silver print from the original negative] / Alexander Rodchenko

      1 Bl., 30,4 x 23 cm Sondereinband Großformatige Fotografie aus der wichtigsten Schaffensphase. Die Aufnahme entsand während einer Sport-Parade auf dem Roten Platz in Moskau. Die Sportlerinnen waren innerhalb des Riesenrades arretiert und wurden vorbei am Lenin-Mausoleum und dem winkenden Stalin quer über den Roten Platz gerollt. Ediert von Arkana Göttingen mit der Editionsnummer 47/50. Abzug vom Originalnegativ aus dem Nachlass. Rückseitig nummeriert und in kyrillsicher Schrift betitelt. Geringf. Lagerungs- und Gebrauchsspuren in der Mitte, sonst in tadellosem Zustand. Lit.: Alexander Lavrentiev: "Alexander Rodchenko - Photography 1924-1954", Köln, 1995, Ill. S. 282. Werktäglicher Versand. Jede Lieferung m. ordentl. Rechnung und ausgew. MwSt. Der Versand erfolgt als Büchersendung / Einschreiben mit der Deutschen Post bzw. als Päckchen / Paket mit DHL. Die Lieferzeit ist abhängig von der Versandart und beträgt innerhalb Deutschlands 3-5 Tage, in der EU 5 - 12 Tage.

      [Bookseller: Licus Media]
 26.   Check availability:     booklooker.de     Link/Print  


        The Sleeping Beauty in Victorian Dress.

      c. 1924. An original drawing in india ink and watercolor, measuring 17 1/8 by 11 1/4 inches (43x28.6cm). Executed early in Rex Whistler's career, when the artist was about nineteen years old, and likely during the period that he was finishing his studies at the Slade School of Fine Art. It was at Slade that Whistler befriended Stephen Tennant, to whom this drawing originally belonged. In this witty social satire, the "prince" is cast as a Victorian dandy. Having entered through the window, he leaps toward the princess, losing his top hat and upending a potted plant in the process. The princess is asleep on a chaise with a coy smile, her dress suggestively slipping down. All around the parlor, the young woman's family and servants lie asleep in the middle of their tasks, open-mouthed and snoring. Most wear bright pink and gold crowns, alluding to the image's fairy-tale inspiration. Whistler has subtly patterned the wallpaper and carpeting, and the figures and decor are painted in shades of sanguine, grey, and sepia, with bright accents of pink watercolor. Some light creasing and a few short, closed tears to the right side of the drawing, which has been mounted to matboard. A satire of Victorian conventions, drawn by one "Bright Young Thing" for another member of the group. (Whistler & Fuller, The Work of Rex Whistler, p. 35, #220).

      [Bookseller: Bromer Booksellers]
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        A Passage to India

      

      [Bookseller: Maggs Bros. Ltd. ]
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        Le grand écart

      First edition on ordinary paper, false edition statement.Half maroon morocco Bradel binding by Laurenchet, marbled paper boards, covers preserved.Inscribed by Jean Cocteau in blue ink, with a drawing of the face of a young man in profile.A nicely bound copy. Stock Paris 1924 12x19cm relié

      [Bookseller: Librairie Le Feu Follet]
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        The Pageant of Empire Souvenir Volume. Cover title: Pageant of British Empire Souvenir Volume.

      London. Fleetway Press Ltd. 1924. Color pictographic / pictorial map, color lithographic illustrations including a four panel foldout, pictorial endpapers, 55pp, 16 x 12 inches, color decorative paper covered boards (hardbound). One sheet apparently missing from the front of the volume (behind the front free endpaper), previous owner's signature to title page, repaired split to head of spine, light soiling and wear to covers, corners bumped. Paper label glued to front cover below "Empire" in the title. Good to very good condition. A beautiful production lavishly illustrated with richly colored lithographed illustrations by many famous artists of the day celebrating the rich history of the British Empire and commemorating the "Pageant of Empire" which were historical pageants that were performed at the Empire Stadium (later Wembley Stadium) in 1924 as part of the British Empire Exhibition. Among the richly colored illustrations are "Hong Kong: the Procession of Lanterns," "Singapore: Stamford Raffles' Farewell," and a double page color decorative map by MacDonald Gill "Map of the World in the Time of Cabot." Also present is the four panel foldout lithographic plate by Brangwyn of the pageant (with scenery by Brangwyn) that took place at the British Empire Exhibition. This foldout plate was apparently usually published in the special London and North Eastern Railway edition, along with an additional plate at the front of the book ("The Border Bridge.") Although this copy of the book is not identified on the cover as the special edition, it may have been intended as one: there is evidence that a sheet at the front of the volume has been excised (a plate not called for in the regular edition).

      [Bookseller: oldimprints.com]
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        L'allure poétique

      Nrf. First edition, one of 535 numbered copies on laid Navarre, with 10 single draw Japan.Precious and beautiful autograph signed by the author "Jeanine and Raymond (Queneau). Brotherhood friendly (sic) and everything. Jacques. This April 19, 1935 in their home in Neuilly says Neu Neu for ladies" enriched this handwritten quatrain: "Hi shadows today / Ravissant the wall in a dream / If going from friend to friend / De as a naked Eve songs."Illustrated book with a portrait of auterur frontispiece by Man Ray.Beautiful specimen. Nrf Paris 1924 13,5x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Cyrano - Dessin préparatoire pour la couverture de la revue éponyme

      S.n.. Original drawing in ink and gouache, recorded in golden frame and mat is signed in the lower right of the sheet.Louis Anquetin, Étrépagny born in 1861 and died in Paris in 1932, is an important French painter.He began his career with avant-garde artists such as Vincent Van Gogh and Henri de Toulouse-Lautrec. With Emile Bernard, he is the inventor of Cloisonnisme. From 1884 to 1893 Louis Anquetin continues to explore the new possibilities introduced by the release of Impressionism in French painting. From 1893, following a long confrontation with the "old masters", he adopts a bias that will put the painting on the sidelines of the general movement of the art, and will take away from his friends. Dazzled by Baroque art and creative force, he thinks as his childhood friends are engaged in a path that will lead to the death of painting. He believes in a "perfect painting" embodied in the re-remembering the lessons Michelangelo and Rubens among others. His work becomes more classic, it advocates a return to the trade, proposing to reflect on the a priori conditions of any possible form of art while respecting the rules of perspective and anatomy, as practiced by the masters the sixteenth and seventeenth siècle.Ne leaving only a few works that can be described as monumental, Anquetin proves prolific for his many studies and sketches, who considered that the design was "a very powerful means of expression," the mandatory basis for all plastiques.En arts voluntarily working backward of his time, Louis Anquetin made possible the existence of an original modern figuration. By his stubbornness and his passion for painting, he has indeed prevented is completely blocked the path of the great Western tradition.One can admire his works in many prestigious museums such as the Musée d'Orsay and the Louvre in Paris, San Francisco and Detroit, Hermitage Museum in St. Petersburg, the National Gallery and the Tate London, etc. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! S.n. S.l. Circa 1924 Cadre : 31,5x37cm ; dessin : 18,5x22,5cm une feuille sous marie-louise encadrée

      [Bookseller: Librairie Le Feu Follet]
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        75 HP. Herausgegeben von Ilarie Voronca, Stephan Roll und Victor Brauner. Nr.1 (= Alles Erschienene). Bukarest. 1924. 27,6 x 23,2 cm. 16 Seiten. Illustrierte Originalbroschur mit einem farbigen Originallinolschnitt von Victor Brauner.

      , 1924.Originalausgabe. Dada Global 91 - Almanacco Dada 144 - Centre Pompidou, Dada 1337 mit Abbildungen auf Seite 61 und 694 - Ilk, Rumänische Avantgarde K 285 mit Abbildungen auf Seite 45 und 47 - Andel, Avant-Garde Page Design 226-228 mit Abbildungen auf Seite 185. Einzige Nummer dieser typographisch herausragend gestalteten Avantgardezeitschrift, erschienen im Oktober 1924. Enthält weitere Originallinolschnitte von Brauner, Janco und Maxy, sowie Beispiele der von Brauner und Voronca gemeinsam erfundenen Pictopoesie. Unser Exemplar stammt aus der Sammlung des Mitherausgebers Ilarie Voronca und diente als Vorlage des Nachdruckes aus dem Jahre 1993. Rarissimum.

      [Bookseller: Antiquariat Günter Linke]
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        Das Roemische Carneval 1788.

      Montagnola: Officina Bodoni, 1924. 8 1/2 x 12. 75, (4) pages. Full dark red vellum (copies were also bound in white vellum and in buckram) with gilt title on spine, press device on cover. Spine is faded, deckles a bit dusty, light extremity wear. Very good. One of 224 copies on handmade Fabriano. Printed in Bodoni's 20 point Cancelleresco. Goethe lived in Rome from 1786-1788. This is his description, in German, of a carnival which he was able watch from his apartment. Schmoller observes "this sprightly decorative type... was eminently suitable, particularly as it seems to have been cut around 1788." Schmoller 6.

      [Bookseller: The Veatchs Arts of the Book]
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        [MILESTONE IN LETTERPRESS AVANT-GARDE] H2SO4

      Tbilisi, 1924. 48 leaves with printed typographic designs and photographic illustrations. 28x20 cm. Rebacked. Tears of the wrappers are restored. Good clean block. Provenance: from the collection of Simon Chikovani (1902-1960), inscription on the title page 'Simon Chikovani. 1/XI/1925'. Another copy signed by Chikovani was sold at Christie's for 36 800 USD in 2014. The only issue of the Georgian avant-garde group under the same name. Signed by the leader of the group Simon Chikovani (1903-1966) on the title page. Extremely important and rare example of alternative avant-garde experiment. Tiflis of 1910s-1920s is well-known as a place where daring new ideas in book design and art were first developed. Collaborations of Zdanevich brothers, Kruchionykh, Sudeikin, Gudiashvili and others led to the creation of the unique avant-garde pieces like 'Fantasticheskiy kabachiok', '1918' or Iliazd's pentalogy 'AslaabliCHia pitiOrka dEistf'. Georgian poets and artists always participated in these and other projects and when Soviet army captured Tiflis in 1921 and most of Russian art gurus went elsewhere they were left alone. In 1924 the atmosphere was still liberal enough to create something provoking and that's when H2SO4 was born, the avant-garde group led by Chikovani, artists Irakli Gamrekeli (1894-1943) and Beno Gordeziani (1894-1975) and others. Although they were heavily influenced by dadaism (the Dada manifesto was printed in this magazine for the first time anywhere in USSR) the group declared that they are against dada, futurism and LEF movement in Moscow. The symbol of this interpretation became the indecent sign shown to Malevich's Black Square on p.7 of the magazine. H2SO4 magazine is considered a bold typography experiment using unorthodox letterpress elements. Irakli Gamrekeli is mostly responsible for the design. MoMa. Russian Avant-Garde Book. 534.

      [Bookseller: Bookvica]
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        When We Were Very Young.

      New York, NY: E. P. Dutton, 1924. SIGNED LIMITED EDITION, First US. Octavo, pp.xiv; 100; [2]. Illustrated throughout by Ernest H. Shepard (1879-1976). Number 29 of just 100 copies SIGNED BY THE AUTHOR in black ink to limitation page, from a limited edition of 500 copies. In publisher's quarter green cloth with black titles and colour illustrations to cream paper-covered boards. Top edge green, others untrimmed. Gilt lost from spine; titles hard to make out. Light wear and discolouration to boards. Good overall. A book of verse, 'possibly' narrated by Christopher Robin, and including the first reference to Edward Bear, or 'Winnie the Pooh', who managed to usurp the next of the four-book series, 'Winnie the Pooh'.

      [Bookseller: Adrian Harrington]
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        The quantum theory of radiation.

      London: Taylor & Francis, 1924. First edition of this celebrated paper. Its idea of modeling atomic behaviour under incident electromagnetic radiation using 'virtual oscillators' led Born and Heisenberg to explore mathematics that strongly inspired the subsequent development of matrix mechanics. The most striking feature of this remarkable paper, "The Quantum Theory of Radiation," was the renunciation of the classical form of causality in favor of a purely statistical description. Even the distribution of energy and momentum between the radiation field and the "virtual oscillators" constituting the atomic systems was assumed to be statistical, the conservation laws being fulfilled only on the average" (DSB). Rare in original printed wrappers. Following the discovery of the Compton effect late in 1922, many physicists had tried to account for the frequency shift of the scattered X-rays observed by Compton. Some found it difficult to accept Compton's explanation in terms of light quanta (photons) with definite energy and momenta. Bohr, in particular, could not accept the existence of photons, writing in his Nobel lecture in December 1922, "In spite of its heuristic value,... the hypothesis of light-quanta, which is quite irreconcilable with so-called interference phenomena, is not able to throw light on the nature of radiation." When the young American physicist John Slater arrived in Copenhagen just before Christmas 1923, and explained his new ideas on radiation theory, Bohr saw a way to explain the Compton effect without invoking light quanta. "BKS begin by recalling that 'the exchange of energy and momentum between matter and radiation claims essentially discontinuous features. These have even [...] led to the introduction of light-quanta...' They abandon light-quanta in their own paper, replacing this concept by a new one 'due to Slater ... the atom, even before the process of transition between stationary states takes place is capable of communicating with distant atoms through a virtual radiation field', a field distinct from the conventional, real radiation field. This virtual field, carried by the atom in a given stationary state, was supposed to know and carry all the possible transition frequencies to lower states, one might say, to release one of these frequencies. Emission of light in an atomic transition is, BKS posited, not spontaneous but rather induced by the virtual fields 'by probability laws analogous to those which in Einstein's theory hold for induced transitions'. Accordingly, 'the atom is under no necessity of knowing what transition it is going to make ahead of time'. "Does communication with a distant atom, the receipt of a light signal emitted by another atom 'even before transition takes place' not violate causality? It does. 'We abandon any attempt at a causal connection between the transition in distant atoms, and especially a direct application of the principles of conservation of energy and momentum, so characteristic of classical theories ... Not only conservation of energy ... but also conservation of momentum [reduce to] a statistical law.' Regarding Compton's results, BKS noted, correctly, that so far his experiments had only confirmed energy-momentum conservation averaged over many individual processes, which was not in conflict with their statistical viewpoint" (Pais, Niels Bohr's Times, pp. 236-7). Einstein and Pauli both reacted negatively to the BKS proposal, and "the paper was hardly in print before A. H. Compton and A. W. Simon had established by direct experiment the strict conservation of energy and momentum in an individual process of interaction between atom and radiation. Nevertheless, this short-lived attempt exerted a profound influence on the course of events; what remained after its failure was the conviction that the classical mode of description of the atomic processes had to be entirely relinquished" (DSB II, p. 247). The BKS paper was printed simultaneously in German as 'Über die Quantentheorie der Strahlung' in Zeitschrift für Physik, Bd. 24 (1924), pp. 69-87. Pp. 785-802 in Philosophical Magazine, Sixth Series, Vol. 47, No. 281, May 1924. 8vo (221 x 145 mm), pp. [ii], 785-1056, with two plates (numbered VI and VII). Original printed wrappers, some chipping and wear to capitals and corners.

      [Bookseller: SOPHIA RARE BOOKS]
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        Le libertinage

      nrf. First edition, one of 108 numbered copies on Lafuma Navarre and re-imposed in Tellière quarto format, tirage de tête.Some scarce little foxing, otherwise a very good copy.Rare. nrf Paris 1924 17x21,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Works of H.G. Wells. Contains all his famous titles, including: The Time Machine, The Invisible Man, Kipps, First Men in The Moon, War of The Worlds, The War in The Air, etc.

      London: T. Fisher Unwin, 1924. The Atlantic Edition, Limited to 620 sets of which this is No.411, SIGNED on the limitation page by the author. 28 volumes, large octavo. Portrait frontispiece, title printed in red and black. Finely bound in dark green half oasis morocco with gilt titles and decoration to spines; green cloth boards; top edges gilt, others untrimmed.Internally clean, binding is unmarked. The definitive set of Wells in an elegant recent leather binding.

      [Bookseller: Adrian Harrington]
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        The Works of Joseph Conrad. Comprising: Arrow of Gold, Nigger of the Narcissus, Victory, Nostromo, Rover, Secret Agent, Under Western Eyes, Typhoon, Twixt Land and Sea, A Set of Six, A Personal Record, The Rescue, Within the Tides, Lord Jim, Tales of Unrest, Suspense, An Outcast of The Islands, Almayer's Folly, Tales of Hearsay, Shadow Line, Mirror of The Sea, Inheritors, Chance, Youth, Notes on Life, Romance.

      New York: Doubleday, Page and Company, 1924. Complete in 26 volumes. Octavo. A superb set bound in recent dark blue half calf with titles and gilt raised bands to spines, dark blue cloth boards, top edges gilt.

      [Bookseller: Adrian Harrington]
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        FÉLIANA L'ESPIONNE [FELIANA THE SPY] (1924)

      Grandes Productions Cinématographiques 1924 - Vintage original 60 x 45" (152 x 117 cm.) grande affiche poster, France. Leonce Cargue, France Dhelia, dir: Gaston Roudes. A graphically strong stone litho design for this silent French female spy movie. On linen, with slight routine touch up, ABOUT NEAR FINE

      [Bookseller: Walter Reuben, Inc.]
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        European Life in Peking in the Early 1920s - Family Photograph Album.

      1924. Photograph album of 53 photographs (mostly silver gelatin) compiled as a gift. The photographs show scenes from the life of an American(?) family living in Peking in the 1920s as well as images taken of Chinese life. The many large and frequently beautifully composed images, show stylishly posed photographs of the family, pets and the Chinese servants with the house and courtyard in the background. There are also some quite poignant photographs of Chinese children. (When referring to this item please quote stockid 154702).

      [Bookseller: Asia Bookroom]
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        Bal olympique, vrai bal sportif costumé le vendredi 11 Juillet 1924 de minuit à 6h du matin à la taverne de l'Olympia, 28 Bd des Capucines, organisé par l'Union des artistes russes à Paris

      First edition, printed in a very small number of copies on Vélin Normandy paper.The programme is illustrated by V. Barthe (cover) and includes contributions from Chatzman, Manet (a reproduction of his Olympia), Picasso, Vassilieff, Fotinsky and Ganovsky (a spatial composition).Appearing at this event were : Olga Koklova and the Ballets Suedois of Juger Friis and Jean Borlin, the "dance of the lobster, crab and crocodile" with costumes by Marie Vassilieff and Fernand Leger, the Petrograd Puppet Theatre with costumes and puppets by Goncharova and music by Bohslav Martinou and Vernon Duke, three-dimensional poems by Iliazd and Katabadze as well as futurist poems from Vazry, a dance by Thamara Svirskya to Satie's Gymnopédies, "Japanese Sports" by Foujita, a "Spectacle on a Star" from Tzara, a "new system of fantastical projections" from Larionov, and "universal Foot Ball" with multicoloured balloons by Fotinsky and Bogoutsky.The rooms were decorated by Barthe, Pougny, Tchelitcheff, Chazman, Lanskoy, Weinberg, Geo Charles, Chana-Orloff, Alexeieff, Maner-Katz, and Frenkel.A rare and attractive copy. Union des artistes russes & François Bernouard Paris 1924 24,5x29cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Salmon and Dry Fly.

      1924 - 8vo., original calf backed marbled paper boards in remains of dust wrapper. Colour frontispiece depicting 4 flies. A little rubbing to spine ends otherwise a much nicer copy than usual, scarce with the dust wrapper in any state. Preserved in a custom made morocco backed fall-down-back box. First edition, limited edition of 775 numbered copies. This copy signed by the author on the half-title. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Henry Sotheran Ltd]
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        Fairy Tales by Hans Andersen. Illustrated by Kay Nielsen.

      London: Hodder and Stoughton Ltd., 1924. First Edition thus; 4to. Publisher's blue cloth with titles and illustration in gilt to spine and front board, decorated endpapers. Contains 12 beautiful tipped in colour plates with captioned tissue guards, plus numerous black and white illustrations. Slight edgewear; a little foxing to content; age toning to page edges with a few specks. A lovely copy. Shows extremely well.

      [Bookseller: Adrian Harrington]
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        Conversations in Ebury Street. [With full page manuscript letter in ink written into the book by George Moore].

      Boni and Liveright, , 1924. Second Edition. New York, Boni and Liveright, 1924. Octavo. 315 pages. Original Hardcover (dark cloth with original spinelabel). With a fantastic, full-page, signed message written inside the book by George Moore. Very good - condition of the binding with signs of external wear (some spotting). Moore responds in his manuscript note on the halftitle possibly to the request of Frieda Lawrence, wife of D.H.Lawrence, who requested a copy of Moore's book "The Pastoral Loves of Daphnis and Chloe". Moore sent her instead this edition. Please ask for more images. George Augustus Moore (24 February 1852 ? 21 January 1933) was an Irish novelist, short-story writer, poet, art critic, memoirist and dramatist. Moore came from a Roman Catholic landed family who lived at Moore Hall in Carra, County Mayo. He originally wanted to be a painter, and studied art in Paris during the 1870s. There, he befriended many of the leading French artists and writers of the day.nAs a naturalistic writer, he was amongst the first English-language authors to absorb the lessons of the French realists, and was particularly influenced by the works of Émile Zola. His writings influenced James Joyce, according to the literary critic and biographer Richard Ellmann, and, although Moore's work is sometimes seen as outside the mainstream of both Irish and British literature, he is as often regarded as the first great modern Irish novelist.nGeorge Moore's family had lived in Moore Hall, near Lough Carra, County Mayo for almost a century. The house was built by his paternal great-grandfather?also called George Moore?who had made his fortune as a wine merchant in Alicante. The novelist's grandfather was a friend of Maria Edgeworth, and author of An Historical Memoir of the French Revolution. His great-uncle, John Moore, was president of the short-lived Republic of Connacht during the Irish Rebellion of 1798. The novelist's father, George Henry Moore, sold his stable and hunting interests during the Great Irish Famine, and from 1847?1857, served as an Independent Member of Parliament (MP) for Mayo in the British House of Commons. George Henry was renowned as a fair landlord, fought to uphold the rights of tenants, and was a founder of the Catholic Defence Association. His estate consisted of 5000 ha (50 km²) in Mayo, with a further 40 ha in County Roscommon.nIn 1868, Moore's father was again elected MP for Mayo and the family moved to London the following year. Here, Moore senior tried, unsuccessfully, to have his son follow a career in the military though, prior to this, he attended the School of Art in the South Kensington Museum where his achievements were no better. He was freed from any burden of education when his father died in 1870.[13] Moore, though still a minor, inherited the family estate that was valued at £3,596. He handed it over to his brother Maurice to manage and in 1873, on attaining his majority, moved to Paris to study art. It took him several attempts to find an artist who would accept him as a pupil. Monsieur Jullian, who had previously been a shepherd and circus masked man, took him on for 40 francs a month.[14] At Académie Jullian he met Lewis Weldon Hawkins who became Moore's flat-mate and whose trait, as a failed artist, show up in Moore's own characters.[13] He met many of the key artists and writers of the time, including Pissarro, Degas, Renoir, Monet, Daudet, Mallarmé, Turgenev and, above all, Zola, who was to prove an influential figure in Moore's subsequent development as a writer.nnWhile still in Paris his first book, a collection of lyric poems called The Flowers of Passion, was self-published in 1877. The poems were derivative, maliciously reviewed by the critics who were offended by some of the depravities in store for moralistic readers and was withdrawn by Moore. He was forced to return to Ireland in 1880 to raise £3,000 to pay debts incurred on the family estate due to his tenants refusing to pay their rent and the drop in agricultural prices. During his time back in Mayo, he gained a reputation as a fair landlord, continuing the family tradition of not evicting tenants and refusing to carry firearms when travelling round the estate. While in Ireland, he decided to abandon art and move to London to become a professional writer. There he published his second poetry collection, Pagan Poems, in 1881. These early poems reflect his interest in French symbolism and are now almost entirely neglected. In 1886 Moore published Confessions of a Young Man, a lively and energetic memoir about his 20s spent in Paris and London among bohemian artists. It contains a substantial amount of literary criticism for which it has received a fair amount of praise, for instance The Modern Library chose it in 1917 to be included in the series as "one of the most significant documents of the passionate revolt of English literature against the Victorian tradition."nDuring the 1880s, Moore began work on a series of novels in a realist style. His first novel, A Modern Lover (1883) was a three-volume work, as preferred by the circulating libraries, and deals with the art scene of the 1870s and 1880s in which many characters are identifiably real. The circulating libraries in England banned the book because of its explicit portrayal of the amorous pursuits of its hero. At this time the British circulating libraries, such as Mudie's Select Library, controlled the market for fiction and the public, who paid fees to borrow their books, expected them to guarantee the morality of the novels available. His next book, a novel in the realist style, A Mummers Wife (1885) was also regarded as unsuitable by Mudie's and W H Smith refused to stock it on their news-stalls. Despite this, during its first year of publication the book was in its fourteenth edition mainly due to the publicity garnered by its opponents. As with A Modern Lover, his two next novels, A Mummers Wife and A Drama in Muslin, were banned by Mudie's and Smith's. In response Moore declared war on the circulating libraries by publishing two provocative pamphlets; Literature at Nurse and Circulating Morals. In these, he complained that the libraries profit from salacious popular fiction while refusing to stock serious literary fiction.nnMoore's publisher Henry Vizetelly began to issue unabridged mass-market translations of French realist novels that endangered the moral and commercial influence of the circulating libraries around this time. In 1888, the circulating libraries fought back by encouraging the House of Commons to implement laws to stop 'the rapid spread of demoralising literature in this country'. However, Vizetelly was brought to court by the National Vigilance Association (NVA) for 'obscene libel'. The charge arose due to the publication of the English translation of Zola's La Terre. A second case was brought the following year in order to force implementation of the original judgement and to remove all of Zola's works. This led to the 70-year-old publisher becoming involved in the literary cause. Throughout Moore stayed loyal to Zola's publisher, and on 22 September 1888, about a month before the trial, wrote a letter that appeared in the St. James Gazette. In it Moore suggested it was improper that Vizetelly's fate be determined by a jury of twelve tradesmen, explaining it would be preferable to be judged by three novelists. Moore pointed out that the NVA could make the same claims against such books as Madame Bovary and Gautier's Mademoiselle de Maupin, as their morals are equivalent to Zola's, though their literary merits might differ.nnBecause of his willingness to tackle such issues as prostitution, extramarital sex and lesbianism, Moore's novels were initially met with disapprobation. However, as the public's taste for realist fiction grew, this subsided. Moore began to find success as an art critic with the publication of books such as Impressions and Opinions (1891) and Modern Painting (1893)?which was the first significant attempt to introduce the Impressionists to an English audience. By this time Moore was first able to live from the proceeds of his literary work.nnOther realist novels by Moore from this period include A Drama in Muslin (1886), a satiric story of the marriage trade in Anglo-Irish society that hints at same-sex relationships among the unmarried daughters of the gentry, and Esther Waters (1894), the story of an unmarried housemaid who becomes pregnant and is abandoned by her footman lover. Both of these books have remained almost constantly in print since their first publication. His 1887 novel A Mere Accident is an attempt to merge his symbolist and realist influences. He also published a collection of short stories: Celibates (1895).nnIn 1901, Moore returned to Ireland to live in Dublin at the suggestion of his cousin and friend, Edward Martyn. Martyn had been involved in Ireland's cultural and dramatic movements for some years, and was working with Lady Gregory and William Butler Yeats to establish the Irish Literary Theatre. Moore soon became deeply involved in this project and in the broader Irish Literary Revival. He had already written a play, The Strike at Arlingford (1893), which was produced by the Independent Theatre. The play was the result of a challenge between Moore and George Robert Sims over Moore's criticism of all contemporary playwrights in Impressions and Opinions. Moore won the one hundred pound bet made by Sims for a stall to witness an "unconventional" play by Moore, though Moore insisted the word "unconventional" be excised.[24]nGeorge Moore lived at No. 4 Upper Ely Place at the start of the 20th centurynnThe Irish Literary Theatre staged his satirical comedy The Bending of the Bough (1900), adapted from Martyn's The Tale of a Town, originally rejected by the theatre but unselfishly given to Moore for revision, and Martyn's Maeve. Staged by the company who would later become the Abbey Theatre, The Bending of the Bough was a historically important play and introduced realism into Irish literature. Lady Gregory wrote that it: "hits impartially all round". The play was satire on Irish political life, and as it was unexpectedly nationalist, was considered the first to deal with a vital question that had appeared in Irish life. Diarmuid and Grania, a poetic play in prose co-written with Yeats in 1901, was also staged by the theatre, with incidental music by Elgar. After this production Moore took up pamphleteering on behalf of the Abbey, and parted company with the dramatic movement.nnMoore published two books of prose fiction set in Ireland around this time; a second book of short stories, The Untilled Field (1903) and a novel, The Lake (1905). The Untilled Field deal with themes of clerical interference in the daily lives of the Irish peasantry, and of the issue of emigration. The stories were originally written for translation into Irish, in order to serve as models for other writers working in the language. Three of the translations were published in the New Ireland Review, but publication was then paused due to a perceived anti-clerical sentiment. In 1902 the entire collection was translated by Tadhg Ó Donnchadha and Pádraig Ó Súilleabháin, and published in a parallel-text edition by the Gaelic League as An-tÚr-Ghort. Moore later revised the texts for the English edition. These stories were influenced by Turgenev's A Sportsman's Sketches, a book recommended to Moore by W. K. Magee, a sub-librarian of the National Library of Ireland, and had earlier suggested that Moore "was best suited to become Ireland's Turgenev". The tales are recognised by some as representing the birth of the Irish short story as a literary genre.nnIn 1903, following a disagreement with his brother Maurice over the religious upbringing of his nephews, Moore declared himself to be Protestant. His conversion was announced in a letter to the Irish Times newspaper. Moore remained in Dublin until 1911. In 1914, he published a gossipy, three-volume memoir of his time there under the collective title Hail and Farewell, which entertained its readers but infuriated former friends. Moore himself said of these memoirs, "Dublin is now divided into two sets; one half is afraid it will be in the book, and the other is afraid that it won't".nnIn his later years he was increasingly friendless, having quarreled bitterly with Yeats and Osborn Bergin, among others: Oliver St. John Gogarty said: "It was impossible to be a friend of his, because he was incapable of gratitude".nnMoore returned to London in 1911, where, with the exception of frequent trips to France, he was to spend much of the rest of his life. In 1913, he traveled to Jerusalem to research for his next novel, The Brook Kerith (1916). This book saw Moore once again embroiled in controversy, as it was based on the supposition that a non-divine Christ did not die on the cross but instead was nursed back to health.nnOther books from this period include a further collection of short-stories called A Storyteller's Holiday (1918), a collection of essays called Conversations in Ebury Street (1924) and a play, The Making of an Immortal (1927). Moore also spent considerable time revising and preparing his earlier writings for new editions.nnPartly due to Maurice's pro-treaty activity, Moore Hall was burnt by anti-treaty forces in 1923, during the final months of the Irish Civil War. Moore eventually received compensation of £7,000 from the government of the Irish Free State. By this time George and Maurice had become estranged, mainly because of an unflattering portrait of the latter which appeared in Hail and Farewell. Tension also arose as a result of religious differences: Maurice frequently made donations to the Roman Catholic Church from estate funds. Moore later sold a large part of the estate to the Irish Land Commission for £25,000.nnMoore was friendly with many members of the expatriate artistic communities in London and Paris, and had a long-lasting relationship with Maud, Lady Cunard. Moore took a special interest in the education of Maud's daughter, the well-known publisher and art patron, Nancy Cunard. It has been suggested that Moore, rather than Maud's husband, Sir Bache Cunard, was Nancy's father, but this is not generally credited by historians, and it is not certain that Moore's relationship with Nancy's mother was ever more than platonic. Moore was believed by some to be impotent and was described as "one who told but didn't kiss". Moore's last novel, Aphroditis in Aulis, was published in 1930.nnHe died at his home at Ebury Street in the London district of Pimlico in early 1933, leaving a fortune of £70,000 n[At 121 another plaque celebrates George Moore (novelist). He spent his last years here and wrote Conversations in Ebury Street (1924) (Wikipedia)]. nnHe was cremated in London at a service attended by Ramsay MacDonald among others. An urn containing his ashes was interred on Castle Island in Lough Carra in view of the ruins of Moore Hall. (Wikipedia)nn

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