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Displayed below are some selected recent viaLibri matches for books published in 1925

        L'idée de bien chez Tolstoï et Nietzsche

      First edition of the French translation by Georges Bataille and T. Beresovski-Chestov printed on Alfa paper and why it was not drawn large paper, review copy.Rare autograph signed Leon Shestov in fraçais, Gabriel Alphand.Back insolated and with a lack and a foot tear, keeps it appears the autograph fully shaded. Editions du siècle Paris 1925 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Die Formschnitte des Katharinenklosters zu Nürnberg, ein Versuch über die Geschichte des Frühesten Nürnberger Holzschnittes; mit Fünfundzwanzig Holzschnitten und Teigdrucken aus dem Besitz der Stadbibliothek und des Germanischen Museums in Nürnberg

      54 pp. copiously annotated scholarly text concerning the early wood cuts from Nuremburg, bibliography, and catalog of the institution's holdings, accompanying 25 beautifully printed plates, some color. Small folio. 1/2 vellum cloth boards in plain protective wrpps. Munich (Verlag der Münchner Drucke) 1925. Limited to 300 copies.

      [Bookseller: F.A. Bernett Books]
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        Alstertal bei Wellingsbüttel, großformatiges Ölgemälde - unleserlich signiert ( Keller..? ), ca. 1925.

       Großformatiges, schönes Ölgemälde des Alstertals am Alsterlauf mit seinen Windungen und reichem Baumbestand am Alsterwanderweg. Öl auf Leinwand, alt gerahmt. Bildmaße: 90 x 63 cm / Rahmenmaß: 114 x 85 cm. Das Bild wurde fachmännisch gereinigt, 2 kleine schadhafte Stellen wurden fachmännisch restauriert. Die Signatur unten links leider unleserlich, möglicherweise \" Kellerman \". Der breite, schwarze Rahmen etwas bestoßen. ( Gewicht 6800 Gramm ) ( Pic erhältlich / webimage available ) ( Bei Ölgemälden leider nur Selbstabholung oder selbstorganisierter Transport möglich, kein Versand )( Please notice: No shipment possible ) Versand D: 5,00 EUR Alster, Alsterwanderweg, Wellingsbüttel, Poppenbüttel, Klein Borstel, Hoheneichen, Alsterlauf, Ölgemälde, Alstertal, Google

      [Bookseller: Antiquariat Friederichsen]
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        Code Civil: Livre Premier, Des Personnes, Titres V Du Mariage, VI....

      1925. Hemard's View of Family Law in an Extraordinary Binding Hemard, Joseph [1880-1961], Illustrator. Code Civil: Livre Premier, Des Personnes: Titres V. Du Mariage. VI. Du Divorce. VII. De la Paternite. VIII. De l'Adoption. IX. De la Puissance Paternelle. X. De la Minorite. XI. De la Majorite. Paris: Rene Kieffer, [1925]. [vi], 126, [4] pp. Pochoir color text illustrations. Quarto (8" x 6-1/2"). Original publisher stiff wrappers bound into three-quarter morocco over marbled boards, gilt title and tooling to spine, top edge gilt, deckle fore and bottom edges, spine from wrappers tipped-in to rear wrapper. Negligible light rubbing to extremities. Very light toning to text, somewhat heavier along fore-edges, vivid illustrations, internally clean. $850. * From an edition limited to 900 copies, this is number 838. Hemard presents the official text of the sections of the French Civil Code dealing with family law with witty, and often mildly erotic, color pochoir illustrations. Hemard applied this treatment to two other legal works Code Penal (1940) and Code General des Impots Directs et Taxes Assimilees (1944). Hemard, a prolific artist, illustrator, designer and author, is best-known for his humorously illustrated editions of serious non-fiction books.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        Ex Libris: 15 M dirytin a D evoryt [15 Copperplate Engravings and Woodcuts]

      Karel Novotný and Uh. Hradišti, Brno 1925 - SIGNED. One bookplate is missing. Fourteen tipped-in bookplates mounted on green paper, housed in a folding printed paper portfolio, with folded sheet comprising title page, introduction, and colophon laid in. List of plates pasted to verso of rear portfolio cover (as issued). Three-panel portfolio has split along most of its length at both folds.Toning and short tears to portfolio.The bookplates themselves, printed on a variety of papers, are crisp and clean. Two of the plates are mounted on a darker, slightly smaller paper, implying that they may originally come from a different copy. Portfolio measures 16.5 cm x 21 cm closed; mounting papers measure 15 cm x 20.5 cm; bookplate measurements vary. Signed by Bocho áková-Dittrichová in pencil on title page of introductory leaflet. Number 100 of an edition of 150.A wonderful collection of images celebrating reading, study, and well-appointed libraries. Bocho áková-Dittrichová primarily worked in woodcut, so the engravings are a rare and interesting component of this early work.Helena Bocho áková-Dittrichová (1894-1980) was the first female wordless novelist, and the only woman to work in this medium during its heyday. She was born in the Moravian region of what is now the Czech Republic and spent most of her life in Brno, the Moravian capital. She graduated from the Academy of Fine Arts in Prague and in 1923 received a government scholarship to study printmaking in Paris. Bocho áková-Dittrichová's unpublished wordless novel Malí ka Na Cestách [The Artist on Her Journey] recounts this period in her life. In Paris, she first encountered the wordless novels of Flemish artist Franz Masereel, the originator of the form, and was inspired to create her own. Over the course of her long career, Bocho áková-Dittrichová published several wordless novels, along with travelogues and historical works. She also worked as a printmaker and illustrator, and was highly regarded in her native land, though largely unknown elsewhere. This changed in 2014, when the National Museum of Women in the Arts held an exhibition of her work entitled "The First Woman Graphic Novelist: Helena Bocho áková-Dittrichová," and this important artist finally began to gain global recognition. Her work, however, is still not widely available. [Attributes: First Edition; Signed Copy]

      [Bookseller: Ken Sanders Rare Books, ABAA]
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        Minnelieder. (Geschrieben von Aenne Müller-Knatz, 1925)

       [Manuskript]. 4°. 23 S., 1 Bl. OPgmt. Exlibris a. d. Innendeckel.Vollendete Handschrift in schwarzer u. roter Tusche. Enthält Minnelieder von: Gottfried von Straßburg, Wernher von Tegernsee, Dietmar von Aist, von Kürenberg, Hartmann von Aue, Walther von der Vogelweide. Aenne Müller-Knatz war Illustratorin, u. a. von Hans Christian Andersens Märchen. Versand D: 4,00 EUR Literatur, Manuskripte, Lyrik

      [Bookseller: Antiquariat Burgverlag]
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        Maschinengeschriebener Brief mit Unterschrift. 11. 10.1925.

      1925. 29x22 cm. (rechter Blattrand sporfleckig).

      [Bookseller: Aegis Verlag Einzelfirma]
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        <em>Henry Brocken</em>. Original watercolour illustrating Henry Brocken by Walter De La Mare.

      1925. Watercolour painted on Fabriano art board with ruled borders in ink by the artist and titled, signed and dated by him in ink. Board size 32 x 24 cms, watercolour size 23 x 17 cms. Walter De La Mare's book <em>Henry Brocken, His Travels and Adventures in the Rich, Strange, Scarce-Imaginable Regions of Romance</em>was first published in 1904. It is an allegorical tale in which Henry Brocken goes on a magical journey through Literature. Hemeets characters from fiction including Gulliver, Sleeping Beauty, Jane Eyre, people from Bunyan's <em>Pilgrim's Progress</em>, Keats' "palely loitering knight" etc. This image shows Brocken heading off on his journey through Literature on his horse Rosinante. Henry Brocken was never published with Rex Whistler illustrations. Judging by these illustrations, it would have been spectacular. Provenance: Given by Rex Whistler to his great friend Stephen Tennant and thence to the latter's chauffeur. This is the first time this artwork has appeared on the market.

      [Bookseller: SOPHIE SCHNEIDEMAN RARE BOOKS]
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        Etudes de Nautique Egyptienne: L'Art de la Navigation en Egypte Jusqu'à la Fin de l'Ancien Empire

      VII, 569 pp. scholarly study of the boats and navigation of ancient Egypt, including types of boats, uses, depiction, archaeological finds and relevant sites, bibliographic notes, indexes, 200 text illustrations, 3 plates. 4to. 3/4 leather, binding shaken, edges worn. Cairo (Institut Français d'Archéologie Orientale) 1925. (Mémoires Publiés par les Membres de l'Institut Français d'Archéologie Orientale du Caire, 50).

      [Bookseller: F.A. Bernett Books]
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        Contact Collection of Contemporary Writers (Barnes, Bryher, Butts, Douglas, Ellis, Ford, Gould, Hemingway, Hartley, D.D., Herrman, Joyce, Loy, McAlmon, Pound, Richardson, Sinclair, Sitwell, Stein, Williams)

      Contact Editions 1925 - gray wrappers with black lettering with all flaps intact over buff wraps 338 pp spine soiled, worn and cocked with title still visible title page uncut writing in ink top left corner of front wrapper small stain above right Barnes' name . [Attributes: Soft Cover]

      [Bookseller: San Francisco Book Company]
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        L'idée de bien chez Tolstoï et Nietzsche

      1925. Editions du siècle, Paris 1925, 12x19cm, broché. - Editions du siècle, Paris 1925, 12x19cm, broché. - Prima edizione della traduzione francese di Georges Bataille e T. Beresovski-Chestov stampato su alfa e perché non è stato redatto carta di grandi dimensioni, una copia del servizio stampa. autografo Rare firmato Leon Sestov in fraçais, Gabriel Alphand. Indietro insolated e con una mancanza e una lacrima piede, mantiene appare l'autografo completamente ombreggiata. [FRENCH VERSION FOLLOWS] Edition originale de la traduction française établie par Georges Bataille et T. Beresovski-Chestov, imprimée sur alfa et pour laquelle il n'a pas été tiré de grands papiers, un des exemplaires du service de presse. Rare envoi autographe signé de Léon Chestov, en français, à Gabriel Alphand. Dos insolé et comportant un manque et une déchirure en pied, garde où figure l'envoi autographe intégralement ombrée.  

      [Bookseller: Librairie Le Feu Follet]
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        Über quantentheoretische Umdeutung kinematischer und mechanischer Beziehungen.

      Berlin: Julius Springer, 1925. First Paper on Quantum Mechanics. A very fine copy (not ex-library) of his breakthrough paper, announcing his discovery of matrix mechanics. "A severe attack of hay fever in early June forced Heisenberg's retreat to the island of Helgoland. There he completed the calculation of the anharmonic oscillator, determined the constants of motion, and obtained from his multiplication rule the Thomas Kuhn summation rule for spectral lines. After nearly two weeks on Helgoland, Heisenberg returned to Göttingen, where he drafted his fundamental paper 'Über die quantentheoretische Umdeutung kinematischer und mechanischer Beziehungen', which he completed in July. In this paper Heisenberg proclaimed that the quantum mechanics of atoms should contain only relations between experimentally observable quantities. The resulting formalism served as the starting point for the new quantum mechanics, based, as Heisenberg's multiplication rule implied, on the manipulation of ordered sets of data forming a mathematical matrix." (DSB). In: Zeitschrift für Physik, Vol. 33, pp.879-893. The complete volume offered (VIII,950 pp.) in a nice contemporary half calf binding with gilt spine lettering. Completely clean throughout - a fine copy.

      [Bookseller: SOPHIA RARE BOOKS]
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        Manhattan Transfer

      Harper & Brothers, NY 1925 - Black cloth with yellow title boxes titled in black. Stated first edition k-z. Spine ends/points mildly rubbed/frayed, spine title box foxed, a few spots to boards, very slightly cocked. PO name/small stamp to ffep. Hinge starting page 121, pages mildly toned, slight foxing to rear endpage. The DJ in mylar is separated into two parts at spine, chipped at spine ends, toned/slightly spotted at spine, rubbed through at flap fold and points. Flap price of $2.00 intact. ; 8vo 8" - 9" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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        Unique Archive of images, (Vladimir Nikolaevich, b. 1868, Russian General, Commandant, 1913-1917, of the Alexander Palace, Tsarskoe Selo, Nicholas II's favourite residence, and Head of Nicholas II's suite at the time of the abdication at Mogilev, 1st March 1917)

      1925 - (of which 73 have glass negatives, 1 a celluloid negative, and 38 the corresponding prints made c. 1936), relating to Nicholas II and his family, and to the Tsar at the war front, 1914-1917, together with the rare first edition in Russian of Voeikov's memoirs, 'With and Without the Tsars', important for many insights on court life and for the events surrounding the abdication, 8vo., pp. 434 and 8 plates, Oy. Littera, Helsinki, 1936, in all 77 images, c. 1890 - the negatives are generally in good condition, apart from a few ragged edges not affecting the image and, rarely, a small flaw. In Box 1, four, including that of the striking portrait bust of Tsesarevich Alexei, have cracks but are carefully joined with transparent tape, and the cracks are such that they could easily be edited out on a digital print The images were apparently photographed from items in Voeikov's personal album of photos of the Imperial family and military scenes in Galicia and the Caucasus, and of a few cuttings, with a view to publication in his memoirs. In fact of those present, only one was used in his book. Many negatives have captions or fragments of surrounding text in Russian. The prints are uniformly backed on to stout card, but without the captions, so that the negatives are valuable for identification. Several cards have the stamp of Daniel Nyblin, Helsingfors (Helsinki), who no doubt made all the prints. Voeikov has wrapped and numbered many of the negatives in brown paper, some from a shop in Brussels, on which he has written brief identifications in Russian. For Nicholas II he uses the initial 'G[osudar]', 'His Majesty'. These and any printed captions have contributed to the checklist below, along with identifications from a previous owner, all suitable as a permanent catalogue. The checklist shows the present numbering in four boxes; a second number means a number supplied by Voeikov. His numbers 1-100 are mostly at or round St Petersburg, higher numbers at the war front. For the plates in his book, Voeikov selected certain very special manuscript items, such as the signed note from Nicholas, (Box 1, No. 19), and a remarkable signed menu of 1889 which includes 'Alix de Hesse', five years before her wedding to Nicholas II. CHECKLIST Box 1 26 Glass Negatives and 1 Celluloid Negative, no prints: 1. Tsesarevich Alexei (1904-1918) surrounded by generals, one of whom is pointing to a tortoise on the ground. 3½" x 4¾". 2. Tsesarevich Alexei as a child aged about two, standing by a wooden x-shaped folding chair. From a cabinet photo by Gan & Co., Tsarskoe Selo. 5¾" x 4". 3. General Kornilov (Lavr Georgievich, 1870-1918; 'the man with the lion's heart'; prisoner of war 1915-1916 but escaped, commander-in-chief, August 1917). From a striking oval photo cut round and held at the edges by drawing pins. 5¾" x 4". 4. Imperial children sitting on a hillock. Caption: 'The Most August children of His Imperial Majesty'. Reference no. 14 visible near left margin. [This engaging picture was taken in Finland when the family came ashore from the imperial yacht. See Carol Townend, 'Royal Russia', 2006, p. 91]. 5¾" x 4". 5. 'Grand Duke Kirill' (Vladimirovich, 1876-1938, grandson of Alexander II), 'Most August Curator of His Majesty's Throne' head and shoulders in military uniform, (c. 1922-1924). 6" x 4". 6. 'Tsesarevich Alexei' on a tricycle in the park at Tsarskoe Selo, c. 1912. From a cabinet photo by Gan. 6" x 4". 7, 27. 'Tsesarevich Alexei' with a donkey and tiny cart, c. 1910. 2½" x 3½". 8. Nicholas II (1868-1918), surrounded by generals. Below in German, 'From the current exhibition of Russian artists in St Petersburg: "A reading of the poet Markov in the club-room of the Ismailovsky Regiment of Guards". Painting by G.K. Bakmanson. Photographed by Bulla, St Petersburg'. [The Russian text above the painting refers to a different image, about Nicholas II with hunters from the regiment at a 700 km ski race, from the periodical 'Novoe Vremya']. 4" x 6". 9, 21. [Attributes: First Edition; Soft Cover]

      [Bookseller: Sophie Dupre ABA ILAB PADA]
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        Der Prozess. Roman; Das Schloss. Roman; Amerika. Roman.

      Berlin, Die Schmiede, ; München, Kurt Wolff Vlg., und 1925 - Ca. 19,5 x 14 cm. (2) w. S., (6) S., 411 S., (1) Seite; (2) w. S., (6) S., 503 S., (1) Seite; 391 S., (1) Seite. Originalleinenbände mit Rücken- und Titelschildern. Erstausgaben. Raabe 146,8-10; WG 8-10; Hermann/Schmit: Verlag die Schmiede 1921-1929: Nr. B 81 (Der Prozeß); Göbel: Der Kurt Wolff Verlag 1913-1930: 663 (Das Schloß); 673 (Amerika). "Es ist klar, daß der Roman mit dem "Prozeß" und "Schloß", deren Reihe er (chronologisch) eröffnete, innig zusammenhängt. Es ist eine TRILOGIE DER EINSAMKEIT, die Kafka hinterlassen hat. Fremdheit, Isoliertheit mitten unter den Menschen sind das Grundthema. Die Situation des Angeklagten im "Prozeß", - der Stand des Uneingeladenen und Landfremden im "Schloß", - die Hilfslosigkeit eines unerfahrenen Kindes mitten in dem von Leben tobenden "Amerika". - hier sind drei Grundtatsachen, deren geheimnisvoll Gemeinsames durch die Kunst Kafklas klar und symbolhaft, jedoch stets durchaus ohne die übliche Symbolsprache und im einfachsten Ausdruck der Wirklichkeit hervortritt. . In allen drei Romanen geht es um die Einordnung des Einzelnen in die menschliche Gemeinschaft ." (Max Brod, Nachwort zu "Amerika"). "Der Prozeß" erschien im Verlag Die Schmiede in der Reihe "Die Romane des XX. Jahrhunderts". Die Bände "Der Prozeß" und "Das Schloß" unbeschnitten und Rücken etwas ausgeblichen. Schöne Ausgabe der von Max Brod als "Trilogie der Einsamkeit" bezeichneten Reihe. [Attributes: First Edition]

      [Bookseller: Rainer Kurz - Antiquariat]
 15.   Check availability:     IberLibro     Link/Print  


        International Architektur Herausgegeben von Walter Gropius. (= Bauhausbücher Nummer 1 , Schriftleitung Walter Gropius und L. Moholy Nagy)

      München, Albert Langen Verlag, 1925 - 106 S. (1 Seite Werbung) mit sehr zahlreichen Photos und Abbildungen. Erste Ausgabe des ersten Bauhausbuches. Enthält Entwürfe vieler großer zeitgenössischer Architeken wie: Breuer, Gropius, Hilberseimer, Mies van der Rohe, Muche, Oud, Stam aber auch Behrens, Corbusier, Mendelsohn, Poelzig, Rietveld, Taut Frank Lloyd Wright. Sprache: Deutsch Gewicht in Gramm: 750 4° rotgeprägter Originalleinenband (Einband etwas stockfleckig, Innen tadelos) [Attributes: First Edition]

      [Bookseller: Antiquariat Michael Solder]
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        [WOOLF, Virginia] BELL, Vanessa. Original gouache painting for the dust jacket design for Virginia Woolf's Mrs Dalloway, 8 x 5 ¼ inches, unsigned and undated but 1925

      , 1925 A preliminary design for the dust jacket, with the basic design more or less determined, but appearing as a rectilinear silhouette of a crowned head. Before the final published version was printed, Bell rendered the design softer, more rounded and abstract, and brighter with the addition of the color yellow. The published version is also printed in black, rather than in black and brown, with yellow accents surrounding the central design, and with a bouquet of yellow flowers in the lower portion of the design where the artist eventually added her initials (not present here). Provenance: on the back of the frame is the label of Anthony d'Offay, 9 Dering Street, New Bond Street, London. The present design was included in d'Offay's exhibition entitled Vanessa Bell: Paintings and Drawings, 20 November to 12 December 1973, where it is listed as number 19. Framed and glazed.

      [Bookseller: James S. Jaffe Rare Books LLC]
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        Une conquete méthodique

      NRF, 1925. Avec un portrait de Paul Valéry gravé sur bois par G. Aubert d'après un croquis de l'auteur. 16mo. pp. 66. Dedica autografa dell'Autore a Alexander Stols (Inscribed to Alexander Stols and signed by the Author). Molto Buono (Very Good). Prima edizione (First Edition).

      [Bookseller: Studio Bibliografico Marini]
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        Mrs. Dalloway.

      London: Published by Leonard & Virginia Woolf at The Hogarth Press, 1925 - Octavo. Original dark red cloth, title to spine gilt. Housed in a purple quarter morocco solander box by the Chelsea Bindery. Spine faded, boards gently bowed, faint mark to rear board, cloth a little rubbed and with some minor marks. An excellent copy. First edition, first impression. Presentation copy, inscribed by the author in purple ink to front endpaper "Ottoline Morrell, Virginia Woolf". With Morrell's characteristic marginal markings in ink to a number of passages in the text. As was her wont, Morrell has also given page references to the rear free endpaper with brief notes and short quotations, most of these focussed on Clarissa's relationship with her former lover Peter Walsh, and also Miss Kilman's thoughts on her appearance, unfavourably comparing herself to Clarissa. The most substantial, and inevitably the most interesting is "all that interminable traffic that women of her sort keep up" (p. 118), from a passage in which Walsh muses on Clarissa's daily life. This perhaps relates to the elements of Morrell's character that Woolf drew on in the creation of Clarissa Dalloway. Woolf looked to her distant cousin and chaperone Kitty Maxse as her main model for Clarissa, but also to the eccentric and bohemian Ottoline Morrell, who hosted many of the Bloomsbury Group. Woolf noted in her journal: "I want to bring in the despicableness of people like Ott. I want to give the slipperiness of the soul. I have been too tolerant often. The truth is people scarcely care for each other. They have this insane instinct for life. But they never become attached to anything outside themselves", 4 June 1923, Diary. She gave Clarissa Dalloway "the eccentricities of Ottoline Morrell without her political commitment" (Levenback, p. 80). Woolf, who alluded to Mrs Dalloway as her "Garsington novel" in a letter to Morrell (a reference to Morrell's country home, Garsington Manor), also used Morrell's husband Philip as a model for Hugh Whitbread in the novel: "The name is something of a pun: both Whitbread and Morrell are English brewers" (Darroch, Life of Ottoline Morrell, p. 259). Woolf and Morrell's friendship developed from 1923 onwards, with Woolf's initial spitefulness diminishing; the two women were on more intimate terms after the death of their mutual friend Katherine Mansfield. Ottoline's "aristocratic connections, zest for theater, passion for art, and attachment to France converged in making her, at varying times, victim, idol, and, as Virginia Woolf said, "enchantress" of Bloomsbury" (Caws & Wright, p. 121). A highly important association copy. Provenance: from the library of Lady Ottoline Morrell, thence by descent. Kirkpatrick A9a; Woolmer, Hogarth Press, 82; The Letters of Virginia Woolf, Vol. II, p. 543; Caws & Bird, Bloomsbury and France: Art and Friends; Darroch, Life of Ottoline Morrell; Levenback, Virginia Woolf and the Great War. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        The Works of Joseph Conrad.

      Edinburgh: John Grant, 1925. 20 volumes; 8vo. A very handsome set in publisher's blue cloth with bright gilt titles to spines; top edges tinted; decorative end papers. Frontispiece to each volume. Very slight rubbing to extremities; occasional toning to a few spines; gilt bright. A fine, tight set in publisher's original cloth.

      [Bookseller: Adrian Harrington]
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        Einheitliche Feldtheorie von Gravitation und Elektrizität.

      Berlin: Akademie der Wissenschaften, 1925. First edition, extremely rare author's presentation offprint (not to be confused with the much more common trade offprint - see below), and the copy of Einstein's son Hans Albert, of Einstein's first original paper on unified field theory, and the first to use the term "Unified Field Theory" in its title. In the opening paragraph of this paper, Einstein wrote: "After incessant search during the last two years, I now believe I have found the true solution" (Pais, Subtle is the Lord, p. 343). The half-dozen papers Einstein had already written on unified field theory were reactions to the ideas of others, such as Eddington, Kaluza and Weyl; it was in this paper that Einstein put forward the first original approach of his own. Einstein's work on unified field theory was inspired by James Clerk Maxwell's success in finding a unified theory of electricity and magnetism, one of the greatest achievements of nineteenth century physics, which showed that light was a form of electromagnetic wave, and made possible modern inventios such as radio, television and the telephone. Einstein continued his attempts to devise a unified theory of gravitation and electromagnetism for the rest of his life; his contributions in this area represent about a quarter of his entire research output and half his scientific production after 1920. Although he was ultimately unsuccessful, a similar vision was realized in the decades after his death in the construction of the 'standard model', a unified theory of electromagnetism with the weak and strong nuclear forces (which were unknown in Einstein's time), and efforts to incorporate gravity into the model continue to this day. No other copies of this author's presentation offprint in auction records (it was not in Einstein's own reference collection of offprints in the Richard Green Library). OCLC lists nine copies of the 'offprint' in US, but it is unclear how many, if any, of these are the author's presentation offprint (none of the library records state 'Überreicht vom Verfasser'). Provenance: Hans Albert Einstein (1904-1973), Swiss-American engineer and educator, and the second child and first son of Albert Einstein and Mileva Mari (ownership stamp on front wrapper). He moved to the US in 1938, and spent most of his career at the University of California, Berkeley, where he was a professor of hydraulic engineering. "Einstein's early work on the unification program after the completion of the theory of general relativity was, by and large, a reaction to approaches advanced by others. This is the case for the first geometrization of the electromagnetic field, proposed in 1918 by Hermann Weyl; for the first exploration of a five-dimensional theory suggested by Theodor Kaluza in 1919; and for the first attempt to base a unified field theory on the concept of the affine connection, rather than on the metric field, as advanced by Arthur Eddington in 1921" (Cambridge Companion to Einstein, pp. 289-90).  Weyl (1885-1955) had introduced a new geometrical object into the theory that he called a "length connection," and he used it to establish a link between the geometrical structure, given by the length connection, and the electromagnetic field. Einstein was initially enthusiastic about Weyl's idea, calling it "a first-class stroke of genius," but quickly found a serious objection to it, showing that it implied that the wavelength of light emitted by a radiating atom would depend on the prehistory of that atom, contrary to observation. Nevertheless, in March 1921, Einstein elaborated on Weyl's theory in his paper 'Uber eine naheliegende Ergänzung des Fundamentes der allgemeinen Relativitätstheorie.' Another idea to which Einstein responded was put forward as early as 1919 by Theodor Kaluza (1885-1954), at the time Privatdozent in mathematics at the University of Königsberg; he introduced the concept of a fifth dimension to the underlying space-time manifold of general relativity and attempted to represent the electromagnetic field in terms of the additional components of the metric tensor. Einstein showed that for the equation of motion of an electron, Kaluza's theory predicted that the influence of the gravitational field was larger by many orders of magnitude than any reasonable physical interpretation would allow for. Nevertheless, Einstein later encouraged Kaluza to publish his idea and Einstein and Jakob Grommer (1879-1933) published a response to it in 1923 ('Beweis der Nichtexistenz eines überall regulären zentrisch symmetrischen Feldes nach der Feld-Theorie von Kaluza'). A third approach toward a unified field theory was advanced most notably by Eddington (1882-1944) in the early twenties, and was also taken up by Einstein. The idea was to base the theory on the concept of an affine connection as the fundamental mathematical quantity, rather than on the metric tensor. The associated (Ricci) curvature of spacetime is not then, in general, a symmetric tensor, and Eddington suggested that the anti-symmetric part of the curvature could be identified with the electromagnetic field, the symmetric part being the usual metric. Eddington did not, however, provide the field equations that would determine the affine connection, a problem Einstein addressed in a series of three brief notes published in 1923 ('Zur allgemeinen Relativitätstheorie;' 'Bemerkung zu meiner Arbeit 'Zur allgemeinen Relativitätstheorie';' 'Zur affinen Feldtheorie'). Einstein proposed to obtain the field equations from a variational principle, but this turned out to be almost equivalent to the variational formulation of general relativity with a Maxwellian field provided by Hilbert in 1915 ('Die Grundlagen der Physik, Erste [& Zweite] Mitteilung', published in the Göttingen Nachrichten). This equivalence was highlighted by Hilbert in lectures held in Hamburg and Zürich in the summer and fall of 1923, and prompted his republication of a merged version of his two communications on the 'Foundations of Physics' in the Mathematische Annalen in 1924. "With Einstein's response to Weyl, Kaluza, and Eddington in the early twenties we find him reacting to approaches that had been advanced by others ... The first original approach put forward by Einstein himself was published in a paper of 1925 [the offered paper] in which also the term 'unified field theory' appeared for the first time in a title. In that paper, he explored a metric-affine approach, i.e. he took both a metric tensor field and a linear affine connection at the same time as fundamental variables. Both connection and metric were assumed to be asymmetric. Parallel transport then again defines a Ricci tensor and a Riemann curvature scalar, and Einstein defined tentative field equations in terms of a variational principle, taking the Riemann scalar as a Lagrangian just as in standard general relativity. As regards the interpretation of the mathematical objects, he tried to associate the gravitational and electromagnetic fields with the symmetric and anti-symmetric parts of the metric field. In his attempt to recover the known cases, he could show that the metric was symmetric for the purely gravitational case and the usual compatibility condition for the Levi-Civita connection can be recovered. Maxwell's equations could be recovered, in the limit of weak gravitational fields, but only in a slightly different form that is not entirely equivalent to the original equations. "The basic problem of this approach seems to have been that Einstein did not know how to go on from here. Dealing with both an asymmetric metric tensor and an asymmetric connection opened up a vast field of possibilities inherent in the mathematical framework, and many familiar results of the theory of Riemannian geometry no longer held. In particular, verifying the existence of non-singular, spherically symmetric charge distributions posed a formidable challenge. It was also unclear how to explicitly investigate the non-vacuum case beyond the first order approximation of weak gravitational fields. Einstein did not pursue this approach any longer in print but he did take it up once more, twenty years later, as his final approach toward a unified field theory, working on it until his death" (Cambridge Companion to Einstein, pp. 293-5). This author's presentation offprint is of extreme rarity, and must be distinguished from other so-called 'offprints' of papers from the Berlin Sitzungsberichte, many of which are commonly available on the market. The celebrated bookseller Ernst Weil (1919-1981), in the introduction to his Einstein bibliography, wrote: "I have often been asked about the number of those offprints. It seems to be certain that there were few before 1914. They were given only to the author, and mostly 'Überreicht vom Verfasser' (Presented by the Author) is printed on the wrapper. Later on, I have no doubt, many more offprints were made, and also sold as such, especially by the Berlin Academy." If the term 'offprint' means, as we believe it should, a separate printing of a journal article given (only) to the author for distribution to colleagues, then 'offprints' were not commercially available. Although there is certainly some truth in Weil's remark, in our view it requires clarification and explanation. Until about 1916, most of Einstein's papers were published in Annalen der Physik; from 1916 until he left Germany for the United States in 1933, most were published in the Berlin Sitzungsberichte. The Sitzungsberichte differed from other journals in which Einstein published in that it made separate printings of its papers commercially available. These separate printings have 'Sonderabdruck' printed on the front wrapper, the usual German term for offprint, but they are not offprints according to our definition. They were available to anyone; indeed a price list of these 'trade offprints' is printed on the rear wrapper. True author's presentation offprints can be distinguished from these trade offprints by the presence of 'Überreicht vom Verfasser' on the front wrapper. In the period 1916 to 1919 or 1920, the Sitzungsberichte trade offprints are themselves rare: for example, ABPC/RBH list only three 'offprints' of Einstein's famous 1917 Sitzungsberichte paper 'Kosmologische Betrachtungen zur allgemeinen Relativitätstheorie' (the auction records do not distinguish between trade and author's presentation offprints). After 1919 or 1920, however, the trade offprints become much more common, although the author's presentation offprints are still very rare. The reason for this change is that it was only in 1919 that Einstein became famous among the general public. It might seem obvious that Einstein's fame dates from 1905, his 'annus mirabilis', in which he published his epoch-making papers on special relativity and the light quantum. However, these works did not make him immediately well known even in the physics community - many physicists did not understand or accept his work, and it was two or three years before his genius was fully accepted even by his colleagues. Among the general public, Einstein became well known only in late 1919, following the success of Eddington's expedition to observe the bending of light by the Sun, which confirmed Einstein's general theory of relativity. This was front-page news, and made Einstein universally famous. (See Chapter 16, 'The suddenly famous Doctor Einstein', in Pais, Subtle is the Lord, for an account of these events). Before 1919 the trade offprints of Einstein's papers would probably only have been purchased by professional physicists; after 1919 everyone wanted a memento of the famous Dr. Einstein, whether or not they understood anything of theoretical physics, and the trade offprints of his papers were printed and sold in far greater numbers than before to meet the demand. It is telling that when these post-1919 trade offprints appear on the market, they are often in mint condition - they were never read simply because their owners were unable to understand them. In our view, Einstein's author's presentation offprints are rare, from any journal and any period, though of course some are rarer than others. Before 1919 or 1920, the Sitzungsberichte trade offprints are also rare, although not are rare as the author's presentation offprints; after 1919 or 1920, the trade offprints are much more common. Boni 155; Weil 147. Author's presentation offprint ("Uberreicht vom Verfasser") from Sitzungsberichte der Preussichen Akademie der Wissenschaften, XXII, 1925. Large 8vo (256 x 180 mm), pp. 414-419, original printed wrappers with ownership stamp of Hans Albert Einstein on front wrapper. Very fine con.

      [Bookseller: SOPHIA RARE BOOKS]
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        LES COLOMBIÈRES. Ses Jardins Et Ses Décors.

      Paris: Louis Conard (1925). First edition. One of 750 copies; with a signed ink presentation inscription to"Madame de Berèze" from the author dated 1930. Situated in the hills above Menton on the French Riviera, the gardens created by Ferdinand Bac at Les Colombières were his greatest achievement as a garden designer. His plan was to create a series of garden rooms evoking the spirit of early Italian, Hispanic and Oriental landscapes and architecture (see Racine, Michel et. al., THE GARDENS OF PROVENCE AND THE FRENCH RIVIERA, p. 112). Exotic and picturesque garden structures punctuate the dramatic site, and cypresses are used in a variety of ways to frame vistas and help form the internal structure of the landscape. Bac's first and greatest contemporary fame was as a book illustrator, and the two-color illustrations which he has drawn to depict his gardens are wonderfully romantic, evocative and unique in style among published illustrations for gardens. 4to (27.5 x 22.3 cm); (iii) + iv + 98 pp. with 7 text illustrations + 55 color plates. Recently bound in marbled paper over boards with gilt titled and dated leather spine; original paper wraps bound in, some soiling and spotting to original upper paper cover. .

      [Bookseller: Hinck & Wall Rare Books]
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        Mrs. Dalloway.

      London: Published by Leonard & Virginia Woolf at The Hogarth Press,, 1925. Octavo. Original dark red cloth, title to spine gilt. Housed in a purple quarter morocco solander box by the Chelsea Bindery. Spine faded, boards gently bowed, faint mark to rear board, cloth a little rubbed and with some minor marks. An excellent copy. First edition, first impression. Presentation copy, inscribed by the author in purple ink to front endpaper "Ottoline Morrell, Virginia Woolf". With Morrell's characteristic marginal markings in ink to a number of passages in the text. As was her wont, Morrell has also given page references to the rear free endpaper with brief notes and short quotations, most of these focussed on Clarissa's relationship with her former lover Peter Walsh, and also Miss Kilman's thoughts on her appearance, unfavourably comparing herself to Clarissa. The most substantial, and inevitably the most interesting is "all that interminable traffic that women of her sort keep up" (p. 118), from a passage in which Walsh muses on Clarissa's daily life. This perhaps relates to the elements of Morrell's character that Woolf drew on in the creation of Clarissa Dalloway. Woolf looked to her distant cousin and chaperone Kitty Maxse as her main model for Clarissa, but also to the eccentric and bohemian Ottoline Morrell, who hosted many of the Bloomsbury Group. Woolf noted in her journal: "I want to bring in the despicableness of people like Ott. I want to give the slipperiness of the soul. I have been too tolerant often. The truth is people scarcely care for each other. They have this insane instinct for life. But they never become attached to anything outside themselves", 4 June 1923, Diary. She gave Clarissa Dalloway "the eccentricities of Ottoline Morrell without her political commitment" (Levenback, p. 80). Woolf, who alluded to Mrs Dalloway as her "Garsington novel" in a letter to Morrell (a reference to Morrell's country home, Garsington Manor), also used Morrell's husband Philip as a model for Hugh Whitbread in the novel: "The name is something of a pun: both Whitbread and Morrell are English brewers" (Darroch, Life of Ottoline Morrell, p. 259). Woolf and Morrell's friendship developed from 1923 onwards, with Woolf's initial spitefulness diminishing; the two women were on more intimate terms after the death of their mutual friend Katherine Mansfield. Ottoline's "aristocratic connections, zest for theater, passion for art, and attachment to France converged in making her, at varying times, victim, idol, and, as Virginia Woolf said, "enchantress" of Bloomsbury" (Caws & Wright, p. 121). A highly important association copy. Provenance: from the library of Lady Ottoline Morrell, thence by descent.

      [Bookseller: Peter Harrington]
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        Desert Gold, A Romance Of The Border: [Romer Grey's copy; Signed by Zane Grey and Romer Grey]

      Thomas Nelson & Sons, London 1925 - 12mo 7" - 7½" tall; 384 pages; [SIGNED] Circa 1925. Thomas Nelson & Sons, London. 12mo. 384 pp. Isued in Nelson's 2/0- series. This copy prior ownership of Zane's eldest son, Romer Grey, with his vintage signature to the top edge of the front pastedown. Signed boldly in purple ink on the front flyleaf by his father, Zane Grey. Original red cloth stamped with titles in black. Color pictorial dust jacket with light chipping at spine ends and some rubbing to flap folds and edges. Binding slightly shaken in the spine. Jacket lightly toned to surface of spine panel. Some light soiling to rear flap at fold and to front and top edge of page block. A pleasing association copy belonging to Zane Grey's eldest son, and signed by both. VG/VG-; Signed by Notable Personage, Related [Attributes: Hard Cover]

      [Bookseller: DogStar Books]
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        The Tragedy of Hamlet, Prince of Denmark

      Stuttgart: Union Deutsche Verlagsgesellschaft, 1925. Quarto. 200pp. From an edition of 225 copies, this is one of 200 numbered copies offered for sale. Though the text is in English, this edition, printed at the Juniperus-Presse in Stuttgart, is a supremely German production in the style of the Bremer and Ernst-Ludwig Presses. The founder and director of the Juniperus-Presse, Professor F. H. Ernst Schneidler, studied under Fritz Helmuth Ehmcke, co-founder of the Steglitzer Werkstatt with Friedrich Wilhelm Kleukens, and Schneidler drew on their tradition of typographically significant works and fine craftsmanship for the books the Presse produced. The Juniperus-Presse was established in 1921 and operated out of the Württembergischen Staatlichen Kunstgewerbeschule (Württemberg State Art College) in Stuttgart. Schneidler taught at the college, and his students also worked at the Presse under the supervision of the managing director Walther Veit, printer Julius Heilemann, illustrator Josef Wenzky, and binder Wilhelm Schlemmer. The Presse produced 15 books before closing in 1925, and each book was entirely conceived and fabricated in-house before being distributed by Julius Hoffmann of Stuttgart. Schneidler developed new fonts for the texts, including the one used in Hamlet, which was later issued as Schneidler-Mediaeval in 1936. A larger format version of this text was printed by the Presse in 1923, but this smaller 1925 version, one of the last books produced there, was issued under the Union Deutsche Verlagsgesellschaft imprint, a Stuttgart-based publisher known for publishing particularly attractive editions of children's books. This edition, with its emphasis on fine typography and excellent craftsmanship, continues in this vein and is a worthy example of the German tradition of fine printing. Beautifully bound in an unsigned Art Deco binding of full tan crushed morocco with a linear geometric design formed from rules stamped in gilt and blind across both boards. The turn-ins are also stamped in gilt and blind and accompany raw silk endpapers. The title is gilt-stamped in an Art Deco-style typeface on the front board and spine. The design is reminiscent of the work of German bookbinder Ignatz Wiemeler, who bound another copy of this text using the same title typeface and the linear stamped design that is a distictive element in his work. Housed in a paste paper-covered slipcase edged in morocco. Faint rubbing to lower edge of book from slipcase and faint sunning to spine; slipcase shows some edgewear; otherwise, a fine German production. (Rodenberg, Deutsche Pressen, pp. 97-100; Londenberg, Ignatz Wiemeler: Werkverzeichnis 168).

      [Bookseller: Bromer Booksellers]
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        Kristin Lavrandsdatter. 1-3. Med træsnit av Albert Jærn.

      Oslo 1925. 8vo. 503 + 352 + 530 s. Originale røde helskinnbind med permbordyre og ryggdekor i gull. Indre denteller. Topp gullsnitt. Ubeskåret. Bibliofilutgave. Trykket i 200 nummererte salgseksemplarer. Dette er nr. 97. Den originale bibliofilutaven av dette verket. Schiötz og Ringstrøm A utgave.

      [Bookseller: Adamstuen Antikvariat]
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        Gamiani ou deux nuits d'excès

      New printed 226 copies edition, ours a 25 numbered copies on Imperial Japan, leading copies after one single copy on Japan supernacré.Ouvrage illustrated with a frontispiece, 2 initials and 10 boards inset engraved on wood character erotic or pornographique.Notre copy is full of his suite on China 13 illustrations.Bords the frayed satin pouch, beautiful exemplaire.Rare. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Aux dépens d'un amateur Paris s.d. ( circa 1925) 10,5x17cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Traité du Calcul des Probabilités et de ses Applications (Tome I : Fascicule III ; Tome II : Complet ; Tome III : Complet ; Tome IV : Complet) [ Edition originale ] Tome I (Fascicule III en deux livres seul) : Les Principes de la Théorie des Probabilités : Fascicule III : Recherches Théoriques modernes sur la Théorie des Probabilités. Premier Livre : Généralités sur les Probabilités. Variables aléatoires par Maurice Fréchet ; Second Livre : Méthode des Fonctions arbitraires. Théorie des événements en chaîne dans le cas d'un nombre fini d'états possibles ; Tome II : Les Applications de la Théorie des Probabilités aux Sciences Mathématiques et aux Sciences Physiques (5 Fascicules - Complet). Fascicule I : Applications à l'Arithmétique et à la Théorie des Fonctions par Emile Borel rédigées par Paul Dubreil ; Fascicule II ; Probabilités Géométriques par R. Deltheil ; Fascicule III : Mécanique Statistique Classique par Emile Borel, rédigées par Francis Perrin ; Fascicule IV : Application de la Théorie des Probabilités à l'Astronomie ; Fascicule V : Mécanique Statistique Quantique ; Tome III : Les Applications de la Théorie des Probabilités aux Sciences Economiques et Biologiques (6 Fascicules - Complet) Fascicule I : Assurances sur la Vie. Calcul des Primes ; II : Assurances sur la Vie. Calcul des Réserves ; III : Applications de la Statistique à la démographie et à la Biologie par R. Risser ; IV : Théorie Mathématique de l'Assurance invalidité et de l'Assurance nuptiale. Définitions et Relations fondamentales ; V : Théorie Mathématique de l'Assurance invalidité et de l'Assurance nuptialité. Calcul des Primes et des réserves ; VI : Théorie Mathématique de l'Assurance Maladie ; Tome IV (3 Fascicules : Complet) : Applications diverses et Conclusions : Fascicule I : Applications au Tir, par J. Haag ; Fascicule II : Applications aux Jeux de Hasard par Emile Borel, rédigé par Jean Ville ; Fascicule III : Valeur Pratique et Philosophie des Probabilités, par Emile Borel

      5 vol. fort in-8 reliure demi-chagrin noir, dos à 5 nerfs, couv. cons., Gauthier-Villars, Paris, 1925-1939 : Rappel des titres : Traité du Calcul des Probabilités et de ses Applications (Tome I : Fascicule III ; Tome II : Complet ; Tome III : Complet ; Tome IV : Complet) [ Edition originale ] Tome I (Fascicule III en deux livres seul) : Les Principes de la Théorie des Probabilités : Fascicule III : Recherches Théoriques modernes sur la Théorie des Probabilités. Premier Livre : Généralités sur les Probabilités. Variables aléatoires par Maurice Fréchet ; Second Livre : Méthode des Fonctions arbitraires. Théorie des événements en chaîne dans le cas d'un nombre fini d'états possibles ; Tome II : Les Applications de la Théorie des Probabilités aux Sciences Mathématiques et aux Sciences Physiques (5 Fascicules - Complet). Fascicule I : Applications à l'Arithmétique et à la Théorie des Fonctions par Emile Borel rédigées par Paul Dubreil ; Fascicule II ; Probabilités Géométriques par R. Deltheil ; Fascicule III : Mécanique Statistique Classique par Emile Borel, rédigées par Francis Perrin ; Fascicule IV : Application de la Théorie des Probabilités à l'Astronomie ; Fascicule V : Mécanique Statistique Quantique ; Tome III : Les Applications de la Théorie des Probabilités aux Sciences Economiques et Biologiques (6 Fascicules - Complet) Fascicule I : Assurances sur la Vie. Calcul des Primes ; II : Assurances sur la Vie. Calcul des Réserves ; III : Applications de la Statistique à la démographie et à la Biologie par R. Risser ; IV : Théorie Mathématique de l'Assurance invalidité et de l'Assurance nuptiale. Définitions et Relations fondamentales ; V : Théorie Mathématique de l'Assurance invalidité et de l'Assurance nuptialité. Calcul des Primes et des réserves ; VI : Théorie Mathématique de l'Assurance Maladie ; Tome IV (3 Fascicules : Complet) : Applications diverses et Conclusions : Fascicule I : Applications au Tir, par J. Haag ; Fascicule II : Applications aux Jeux de Hasard par Emile Borel, rédigé par Jean Ville ; Fascicule III : Valeur Pratique et Philosophie des Probabilités, par Emile Borel Rare exemplaire du célèbre Traité du Calcul des Probabilités de Borel, quasi complet (manquent les fascicules I, II et IV du Tome I, exemplaire complet par ailleurs), bien relié en bon état. Ensemble non séparable, réunissant de nombreux titres peu communs. Français

      [Bookseller: Librairie Du Cardinal]
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        L'idée de bien chez Tolstoï et Nietzsche

      First edition of the French translation by Georges Bataille and T. Beresovski-Chestov printed on Alfa paper and why it was not drawn large paper, review copy.Rare autograph signed Leon Shestov in fraçais, Gabriel Alphand.Back insolated and with a lack and a foot tear, keeps it appears the autograph fully shaded. Editions du siècle Paris 1925 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Zwischen Spree und Panke. Neue Folge der Berliner Geschichten und Bilder.

      30 Seiten und 170 Bilder. Gr.-8, gebundene Ausgabe, grüner Ganz-Leineneinband mit golgeprägtem Deckel- und Rückentitel,Farbkopfschnitt. der Einband an den Kanten bestossen und am Rücken lichtschattig, ansonsten das Buch auber und frisch, auf dem Vortitel persönliche Widmung des Autors: "Herrn/ Reinhold Adamczewski/ zum freundlichen/ Gedenken/ an seinen/ alten/ H. Zille/ 8. Dezember/ 1925". Darunter weitre Widmung: "unserer lieben Vernette und/ Theo Spieker zur steten Erinnerung/ herzlichst zugeeignet von ihren alten/ Freunden/ Reinhold u Friedel Adamczewski/ Belin-Tempelhof im Oktober 1949". Heinrich Rudolf Zille (* 10. Januar 1858 in Radeburg bei Dresden - + 9. August 1929 in Berlin) war ein deutscher Grafiker, Maler und Fotograf. In seiner Kunst bevorzugte der Pinselheinrich genannte Zille Themen aus dem Berliner Volksleben, das er ebenso lokalpatriotisch wie sozialkritisch darstellte.

      [Bookseller: Bührnheims Literatursalon GmbH]
 30.   Check availability:     booklooker.de     Link/Print  


        ART DECO GLASS - LIBOCHOVICE, CZECH REPUBLIC.

      [Libochovice Czech Republic: circa -1930] 1925 - Hand-drawings in gouache on 131 sheets of grey thicker paper, bound in an orignal folder-binder (Very Good, folder somehow bumped and scrached, slips inside rusty, drawings in a perfect condition), Qu.-Fol.: 33 x 25 cm (13 x 9.8 inches). A stunning hand-drawn pattern book for glass with Art Deco decoration, made for the famous Czech glasswerk in Libochovice. With over 400 drafts. A wonderful series of hand-drawn drafts for glass design, for the famous glass factory Libochovice in Czech Republic. The glassworks in Libochovice was founded in 1912 by Josef Feigl and Ladislav Mor&#135;vek. Their main product was container glass, while utility and decorative glass articles were produced on a small scale. The glassworks had its own designers and workshop. Beer glasses with coloured motives ranked among the most popular products of the glassworks. The series contains 131 grey thick sheets of paper with over 400 drawings for glass forms and painted decoration, mostly in art-deco style, but also some drafts for more traditional drinking glasses with paroles in Czech language.

      [Bookseller: Antiquariat Dasa Pahor]
 31.   Check availability:     ZVAB     Link/Print  


        The Complete Angler

      London: The Navarre Society Limited, 1925. Leather_bound. Very good. London: The Navarre Society Limited, 1925. Leather_bound. One volume. Octavo. The Complete Angler or the Contemplative man's Recreation of Izaak Walton and Charles Cotton. Edited by John Major, with eight original etchings by Damman and seventy-four wood engravings, illustrated portrait frontispiece. Bound by Bayntun Binders in three quarter green mororro between cloth boards, spine gilt motif of fish tackle and bait, gilt title, top edge gilt, marbled endpaper.

      [Bookseller: Imperial Fine Books]
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        The Tragedy of Hamlet, Prince of Denmark.

      Stuttgart: Union Deutsche Verlagsgesellschaft, 1925. Quarto. 200pp. From an edition of 225 copies, this is one of 200 numbered copies offered for sale. Though the text is in English, this edition, printed at the Juniperus-Presse in Stuttgart, is a supremely German production in the style of the Bremer and Ernst-Ludwig Presses. The founder and director of the Juniperus-Presse, Professor F. H. Ernst Schneidler, studied under Fritz Helmuth Ehmcke, co-founder of the Steglitzer Werkstatt with Friedrich Wilhelm Kleukens, and Schneidler drew on their tradition of typographically significant works and fine craftsmanship for the books the Presse produced. The Juniperus-Presse was established in 1921 and operated out of the Württembergischen Staatlichen Kunstgewerbeschule (Württemberg State Art College) in Stuttgart. Schneidler taught at the college, and his students also worked at the Presse under the supervision of the managing director Walther Veit, printer Julius Heilemann, illustrator Josef Wenzky, and binder Wilhelm Schlemmer. The Presse produced 15 books before closing in 1925, and each book was entirely conceived and fabricated in-house before being distributed by Julius Hoffmann of Stuttgart. Schneidler developed new fonts for the texts, including the one used in Hamlet, which was later issued as Schneidler-Mediaeval in 1936. A larger format version of this text was printed by the Presse in 1923, but this smaller 1925 version, one of the last books produced there, was issued under the Union Deutsche Verlagsgesellschaft imprint, a Stuttgart-based publisher known for publishing particularly attractive editions of children's books. This edition, with its emphasis on fine typography and excellent craftsmanship, continues in this vein and is a worthy example of the German tradition of fine printing. Beautifully bound in an unsigned Art Deco binding of full tan crushed morocco with a linear geometric design formed from rules stamped in gilt and blind across both boards. The turn-ins are also stamped in gilt and blind and accompany raw silk endpapers. The title is gilt-stamped in an Art Deco-style typeface on the front board and spine. The design is reminiscent of the work of German bookbinder Ignatz Wiemeler, who bound another copy of this text using the same title typeface and the linear stamped design that is a distictive element in his work. Housed in a paste paper-covered slipcase edged in morocco. Faint rubbing to lower edge of book from slipcase and faint sunning to spine; slipcase shows some edgewear; otherwise, a fine German production. (Rodenberg, Deutsche Pressen, pp. 97-100; Londenberg, Ignatz Wiemeler: Werkverzeichnis 168).

      [Bookseller: Bromer Booksellers]
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        A Gallery of Children

      Stanley Paul & Co 1925 - Stanley Paul & Co, London 1925. Limited First Edition. Limited to 498 copies. Number 498/500. Signed by A.A. Milne on the Limitation page. The Signature is Guaranteed Authentic by the Publisher. Cloth boards. Illustrated by Saida. Rare Book. Book Condition: Good+, ex library copy, tight spine. Shelf wear, spots, library stamps, cardholder. [Attributes: First Edition; Hard Cover]

      [Bookseller: 1st Editions and Antiquarian Books]
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        Mesicník pro stavební umení (= Der Bau. Monatsschrift für Baukunst). III. Jahrg., Heft 1 - 12 (Juli 1924 - Juni 1925).

      Originalausgabe. - Kompletter Jahrgang der bedeutenden Zeitschrift des tschechischen Konstruktivismus mit vorgeb. Jahresinhaltsverzeichnis. - Die Reihe befasst sich mit den europäischen Strömungen funktioneller Architektur und Gestaltung, so ist Heft II der ?De Stijl?-Gruppe gewidmet. Teige konnte zahlreiche bedeutende Vertreter für Textbeiträge gewinnen, darunter u.a. Le Corbusier, Theo van Doesburg, Walter Gropius, Ludwig Hilberseimer, Georg Muche, Mies van der Rohe. - Insgesamt ordentlicher Zustand. - Heller 112f.

      [Bookseller: Rotes Antiquariat]
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        The Devil in Love From the French of Jacques Gazotte

      

      [Bookseller: Maggs Bros. Ltd.]
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        Douze robes pour décembre 1925 (Croquis, La Gazette du Bon ton, 1925 n°9)

      Set of eight original prints in color, drawn on laid paper. The boards are introduced by a text signed LRF Sketches L, LII, LIII, LV, are signed David, respectively on the lower right and left boards.Original prints made ??for the illustration of The Gazette fashionable, one of the finest and most influential twentieth century fashion magazines, celebrating the talent of creators and artists French burgeoning art deco.Famous fashion magazine founded in 1912 by Lucien Vogel, The Gazette fashionable appeared until 1925 with an interruption during the War of 1915 to 1920, due to mobilization of its editor. She is 69 Deliveries from just 2000 copies and is illustrated including 573 color plates and 148 sketches depicting models of fashion designers. Upon publication, these luxury publications "are for bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "good Gazette of tone" in the fashion dictionary, 2016). Printed on fine laid paper, they use a typeface created specifically for the magazine by Georges Peignot, the Cochin character, taken in 1946 by Christian Dior. The prints are made with the technique of metal stencil, enhanced color and some outlined in gold or palladium.The adventure began in 1912 when Lucien Vogel, man of the world and fashion - it has already participated in Femina magazine - decided to found with his wife Cosette de Brunhoff (John's sister, the father of Babar) Gazette good tone in which the subtitle is then "Art, fashions and frivolities." Georges Charensol quotes the editor: "In 1910, he observed, there was no truly artistic fashion magazine and representative of the spirit of his time. So I thought of making a glossy magazine with truly modern artists [...] I was certain of success because for any fashion country can compete with France. "(" A great art editor. Lucien Vogel "in literary News, No. 133, May 1925). The success of the magazine is immediate, not only in France but also the US and South America.Originally, Vogel therefore brings together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts as are George Barbier, Bernard Boutet de Monvel or Charles Martin. Other talents come quickly reach the equipped Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze Alexander Iacovleff, Jean Emile Laboureur Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel appealed to them, will eventually become iconic figures and artistic sought. These are the same illustrators who make the drawings advertisements Gazette.The boards highlight the dresses and sublime seven artists of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provide for each number of exclusive models. Nevertheless, some of Illustrations contained no real model, but only the idea that the illustrator is done in the fashion of the day.Gazette fashionable is a milestone in the history of fashion. Combining the aesthetic requirement and plastic unit, it brings together for the first time the great talents of the world of arts, literature and fashion and imposed by this alchemy, a new image of women, slender, independent and bold, also driven by the new generation of designers Coco Chanel, Jean Patou, Rochas Marcel ...Recovery in 1920 by Condé Montrose Nast, Gazette fashionable modeled for the new composition and the aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: the Vogue magazine. Lucien Vogel éditeur Paris 1925 18x24cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Jewish Reconstruction in Russia - Poland Roumania

      ORT Reconstruction Fund, 103 Park Avenue, New York City 1925 - Printed on high quality paper. Loose in binding since staple is gone. Illustrated with photographs. OCLC: Libraries worldwide that own item: 7 [Attributes: Soft Cover]

      [Bookseller: Meir Turner]
 38.   Check availability:     AbeBooks     Link/Print  


        The Place-Names of the Isle of Man. With their Origin & History.

      Douglas, Isle of Man: Yn Cheshaght Ghailckagh (The Many Society), 1925-9 - Six volumes, octavo. Original mottled tan yapp-edged card wraps. Wraps inevitably a little crumpled and split at the edges, but very few chips, and overall a very good set, superbly preserved, unopened. 17 folding maps, portrait. First editions. Wonderful set of this uncommon work of toponymy by the pioneering Manx nationalist, scholar, poet and playwright. It was described by William Cubbon, Manx bibliographer, founder member of the Manx Language Society, secretary and librarian to the Manx Museum, and a driving force behind the Manx National Archive, as representing, "an amazing amount of intensive research The introductory matter is lucidly written, and his explanations of the meanings of the names are not without a certain romantic interest, and in all cases they bear the stamp of authority". Kneen was awarded an honorary MA by Liverpool University in recognition of work on Manx culture, and in 1933, on the recommendation of Professor Carl Marstrander, the Norwegian expert on Irish Gaelic, who had made recordings of the last surviving Manx speakers, King Haakon of Norway conferred on Kneen the Knighthood of the Royal Norwegian Order of St. Olaf. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Du cran!

      First edition of the French translation, one of 12 numbered copies on Japon, tirage de tête.Small marginal tears, not serious, to foot of spine and covers, a very good copy with edges preserved. Mercure de France Paris 1925 12,5x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Children of the Night

      Thornton Butterworth, UK 1925 - 1st Edition 1925. The atmospheric Abbey wrapper is the original and correctly priced at 7/6 net 'Dramatic short stories of the underworld of London.which should not shock anybody who is accustomed to reading.Sunday newspapers'A contemporary review in the Spectator gives a flavour of the brutal depiction of London criminal classes: "Two stories compete for the honour of being the most horrifying- " The Second Visit," which concerns the brutal murder of an old lady who has just entertained her murderers to a meal, and " The Cottage," in which the heroine narrowly escapes from assault by a mental defective" Book is very good+ and quite bright. Light small patched to spine tips. Contents good. The wrapper is near very good and quite bright. Edges rubbed and nicked. Small loss to spine tips. A few small closed tears to edges. More images can be taken upon request. Ref Size: 8vo - over 7¾" - 9¾" tall [Attributes: First Edition; Hard Cover]

      [Bookseller: Lasting Words Ltd]
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        [EARLY CINEMA PERIODICAL] Kino-zhurnal A.R.K. [i.e. The Magazine of the Association of Revolutionary Cinematography]

      Moscow: Association for Revolutionary Cinema, 1925. 11 issues (#1-12 for 1925 and #1-2, 1926 [everything that was printed under this name]. 30x23 cm. In publisher's illustrated wrappers designed by P. Galadzhiev. Very good, small tears of the extremities and spines, light restoration of wrappers (#1, 1925), lacking front wrapper (#11/12), loss of paper from the spine (#2-3, 1925), the rear wrapper is detached (#2, 1925), restoration of the margins of the wrappers and a few pages (#4/5), a few damp stains on the right margin of the front wrapper (#8). Run of 10000 copies. Very rare as a full set. The important early cinema magazine. It provided the theoretical base for the changes in Soviet cinema in 1920s with articles on the montage and other new methods of editing and directing. Among the most contributors to the magazine were Eisenstein, Malevich, Room, Ardov, Pudovkin and others. Nikolay Lebedev who was the editor in these years was fired after he wrote an article in #1 of 1926 blaming Maxim Gorky for disliking cinema as a genre. In #2 Lebedev apologized but was fired soon after and the magazine was transformed into a different periodical 'Kino-front' under the editor Konstantin Yukov. In the beginning of 1920s fresh creative forces emerged in Soviet cinema from related arts. Eisenstein, Pudovkin, Trauberg, Ermler, Kozintsev and other artists of the first generation of Soviet directors made their debut. This magazine reflects that dynamic era. It was published monthly and covered Soviet, European, American and Asian cinema news. A lot of attention was paid to matters of Soviet and foreign cinema technology like cameras. It announced international cinema industry exhibitions like Berlin Film Exhibition (1925). Interesting table with titles of the foreign cinema magazines. American film industry was booming, and many materials in magazine were dedicated to actors and new pictures, to economics and producers in Holywood. In #11/12 issue there's a review of Chaplin's latest film - 'The Gold Rush'. Besides foreign news the magazine gathered data on sociology of a Soviet viewer and statistics. The article 'Commercially profitable picture' is dedicated to 'Battleship Potiomkin' that was first screened in late 1925 illustrated with the shot from the movie. Kazimir Malevich contributed with two articles in the magazine which could be regarded as a declaration of his views towards cinema as an art form. The first is titled 'I likuiut Liki na ekranah' [i.e. And Faces are Jubilating on the Screens] and the second is 'Khudozhnik i kino' [i.e. The Artist and the Cinema]. He states that the cinema should attract the biggest and most progressive artists of the day. The magazine declared itself as a periodical for the people connected to the movie industry. In #2 (1926) there's an inquiry for the readers asking their opinion regarding the magazine. The magazine had a very impressive design supplied by photos, photomontages, different types, and other elements. The constructivist design of the wrappers by Piotr Galadzhiev (1900-1971), Soviet actor, set designer and artist who besides participating in theatre productions was also an illustrator for a few film magazines. He also designed covers for the film magazine Kino-Eye and for the popular film library Kinopechat, for which he produced a cover for the 1926 pamphlet on Sergei Eisenstein and his famous film 'Battleship Potemkin'. John E. Bowlt wrote about him: «Galadzhev's art reflected the motifs of the Roaring Twenties - commercial advertising, mass communication, and the nightlife of big cities». All of this was not fitting the emerging spirit of socialist realism.

      [Bookseller: Bookvica]
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        The Informer ? First UK Edition 1925 Jonathan Cape

      Cape, 1925 A first edition, first printing published by Jonathan Cape in 1925. A near fine book - previously the property of the renowned collector Adrian Homer Goldstone (with his bookplate to the pastedown). Small ink name to front endpaper and two very thin brown stains to the endpapers. In a very bright unclipped wrapper with only trivial wear to the spine tips and corners. A lovely copy indeed.[removed][removed]

      [Bookseller: John Atkinson Books]
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        Bill the Conqueror: His Invasion of England in the Springtime.

      New York: George H. Doran Company, 1924 [1925] - Octavo. Original orange cloth, title to spine and front board green, decoration to front board green. With the dust jacket. Publishers' ads to verso of jacket and flaps. Faint tanning to endpapers, back hinge cracked, still a very good copy in the edge-chipped jacket, with loss to the first half of the title at the head of the spine panel. First US edition, first printing, published 20 February 1925. McIlvaine A33b. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Bill the Conqueror. His Invasion of England in the Springtime.

      Crown 8vo. Original yellow cloth, blocked in green; light browning to endpapers and some spotting to edges, otherwise a very good copy in slightly chipped and soiled dust-jacket. First American edition

      [Bookseller: Henry Sotheran Ltd.]
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        ABC. Ein geschütteltes, geknütteltes Alphabet in Bildern und Versen.

      Dresden, Selbstverlag, 1925 - Rotblau gedruckter Holzschnitt-Titel und 15 vom Künstler eigenhändig kolorierte und signierte Holzschnitt-Tafeln Eines von nur 10 kolorierten Exemplaren aus der Vorzugsausgabe, in 100 nummerierten und signierten Exemplaren (siehe Söhn 348 M). - Originelles ABC-Buch, das für seine Kinder Luca und Titus und für die Kinder seiner Freunde gezeichnet und in Holz geschnitten wurde. Der letzte kolorierte Holzschnitt mit dem Impressum "Unter meiner Aufsicht vom Oberdrucker Zielinski in der Firma F. Emil Boden Dresden im Dezember 1925 gedruckt". Der erste kolorierte Holzschnitt von Felixmüller eigenhändig mit "71" nummeriert und mit "Conrad Felixmüller" signiert. Zusätzlich unten links bezeichnet "eigenhändig koloriert -" und rechts nochmals signiert. Alle 16 Blätter außerhalb des Bildrandes unten rechts mit "C. Felixmüller" signiert. Sehr schönes farbfrisches Exemplar mit einwandfreien Tafeln. Sprache: Deutsch Gewicht in Gramm: 2100 Quer-4°, schlichter grün. Leinenband d. Z.

      [Bookseller: Kunstantiquariat Joachim Lührs]
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        L'Histoire du costume féminin mondial de l'an 5318 avant J.C. à nos jours

      Parigi, Editions Nilsson, 1925 - . 4to (cm 38x29). pp. n.n. . Molto buono (Very Good). . Prima edizione (First Edition). . Brossura, custodia (wrappers, slip-case) [Attributes: Hard Cover]

      [Bookseller: Studio Bibliografico Marini ALAI - ILAB]
 47.   Check availability:     IberLibro     Link/Print  


        Im Irrgarten.

      Frankfurt A.M. Bertele, Bilder, Buecher, (c. 1925). Quarto. (26)pp. First edition. Written and illustrated with thirteen fantastic, chromolithographed plates by Kleyer, who studied under the expressionist painter and printmaker Ludwig Meidner. Kleyer's text, which is a series of rhyming couplets printed on facing pages, concerns a family visit to a carnival, where they enter a funhouse maze. The majority of the illustrations are concerned with depicting the various distorted reflections the two little girls, their parents, and the family dog see while traversing the funhouse. These illustrations possess a distinctly surreal aesthetic reminiscent of the pioneering artwork of Winsor McCay for his Little Nemo in Slumberland. Bound in original cloth-backed illustrated boards, which show light soiling. Overall, a near fine copy of a scarce book.

      [Bookseller: Bromer Booksellers]
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        The Great Gatsby.

      New York: Charles Scribner's Sons, 1925 - Octavo. Original dark green cloth, gilt lettered spine, blind lettered front board, top edge trimmed, others uncut. Spine slightly faded, a couple of light marks to covers, internally fresh. An excellent copy. First edition, first printing, first state of the text: with "chatter" on p. 60, line 16, "northern" on p. 119, line 22, "it's" on p. 165, line 16, "away" on p. 165, line 29, "sick in tired" on p. 205, lines 9-10, and "Union Street station" on p. 211, lines 7-8. Bruccoli A11.I.a. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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