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Displayed below are some selected recent viaLibri matches for books published in 1927

        Centenaire de Fresnel. Liste des participants. Single sheet with 20 autograph signatures of scientists including Albert Einstein, Werner Heisenberg, Niels Bohr, Wolfgang Pauli and others

      Brussels, 1927. Signed by Twelve Nobel Prize Winners, Including Einstein, Bohr and Heisenberg [Nobel Laureates?"Physics.] Centenaire de Fresnel. Liste des participants. Single sheet of graph paper with 20 autograph signatures of scientists attending the Fresnel centenary, including Albert Einstein, Werner Heisenberg, Niels Bohr, Wolfgang Pauli and others as listed below. [Brussels, October 1927.] 275 x 211 mm. Creased horizontally, light toning but fine otherwise. Unique Collection of 20 Signatures from the Golden Age of 20th Century Physics, Including 12 Nobel Prize Winners. The list was compiled during the fifth Solvay International Conference, where the world?s most notable physicists met to discuss the new quantum mechanics developed by Werner Heisenberg, Max Born and Pascual Jordan in 1925-26 (it was at this meeting that Einstein made his famous remark that ?God does not play dice?). All of the signers made highly significant contributions to the development of quantum theory and quantum mechanics in the first quarter of the 20th century. It would be almost impossible to find another collection like this of so many important scientific autographs from such an historic occasion. The fifth Solvay Conference was held in Brussels in October 1927. Part of the conference overlapped with the centenary celebration honoring French physicist Augustin Fresnel (1788-1827), which opened in Paris on October 27; since the dates of neither event could be changed, H. A. Lorentz, the organizer of the Solvay Conference, ?suggested the compromise solution of a general invitation to attend the [Fresnel] celebrations. Those who wished to participate could travel to Paris on 27 October, returning to Brussels the next day, when sessions would be resumed in the afternoon. This was the solution that was indeed adopted? (Bacciagaluppi & Valentini, Quantum Theory at the Crossroads: Reconsidering the 1927 Solvay Conference, pp. 17-18). The present list was signed by 20 members of the Solvay Conference who wanted to attend the Fresnel centenary; the signatories are as follows: 1. H. A. [Hendrik Antoon] Lorentz (1853-1928; Nobel laureate 1902 for explanation of the Zeeman effect) 2. J. E. [Jules Emile] Verschaffelt (1870-1955; Director, International Solvay Institutes) 3. Ch. [Charles] Lef?bure (Secretary of the Solvay Conference) 4. P. [Paul] Langevin (1872-1946; developed Langevin dynamics and the Langevin equation) 5. O. W. [Owen Willans] Richardson (1879-1959; Nobel Laureate 1928 for his work on thermionic emission) 6. A. [Albert] Einstein (1879-1955; Nobel Laureate 1921 for discovery of the photoelectric effect) 7. H. A. [Hendrik Anthony] Kramers (1894-1952; collaborated with Niels Bohr and participated in founding of quantum mechanics) 8.C. T. R. [Charles Thomson Rees] Wilson (1869-1959; Nobel Laureate 1927 for inventing the cloud chamber) 9. N. [Niels] Bohr (1885-1962; Nobel Laureate 1922 for his contributions to our understanding of atomic structure and quantum theory) 10. R. H. [Ralph Howard] Fowler (1889-1944; Paul Dirac?s research supervisor at Cambridge and formulator of ?zeroth law of thermodynamics?) 11. A. H. [Arthur Holly] Compton (1892-1952; Nobel Laureate 1927 for discovery of the Compton effect) 12. W. [Wolfgang] Pauli (1900-1958; Nobel Laureate 1945 for his discovery of the exclusion principle) 13. W. [Werner] Heisenberg (1901-76; Nobel Laureate 1932 for creating quantum mechanics) 14. P. [Peter] Debye (1884-1966; Nobel Laureate in chemistry 1936 for his work on molecular structure) 15. L. [Léon] Brillouin (1889-1969; French physicist who made contributions to quantum mechanics and information theory) 16. L. [Louis] de Broglie (1892-1987; Nobel Laureate 1929 for his discovery of matter waves) 17. Th. [Théophile] de Donder (1872-1957; ?father of thermodynamics of irreversible processes? and Einstein collaborator) 18. E. [Charles-Eug?ne] Guye (1866-1942; one of Einstein?s teachers; helped confirm experimentally Einstein?s special theory of relativity) 19. W. L. [William Lawrence] Bragg (1890-1971; Nobel Laureate 1915 for his work on X-ray analysis of crystal structure) 20. M. [Max] Born (1882-1970; Nobel Laureate 1954 for his fundamental researches in quantum mechanics) Mehra, The Solvay Conferences, p. 181.

      [Bookseller: Jeremy Norman's]
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        PAUL NASH. [British Artists of To-Day, Number V.]

      Printed at the Curwen Press for The Fleuron 1927 - FIRST EDITION, 17 monochrome plates reproducing the artist's work, pp. [5] + plates, 12mo, original Curwen patterned paper boards (though Enid Marx rather than Nash), label to upper board printed in red, slight sunning to backstrip, very good. An excellent association copy of this early work on Nash, inscribed by the artist to the flyleaf: 'John Betjeman from Paul Nash [minor deletion] (bought)' - the inscription apparently recording the nature of the gift. Nash was among those whom Betjeman drew into the group for the celebrated Shell Guides, with Nash contributing that for Dorset in 1935.

      [Bookseller: Blackwell's Rare Books ABA ILAB BA]
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        Napoleon (Original Film Program)

      Rome: Cité Films, 1927. Original French program for Abel Gance's epic 1927 film, produced for the world premiere at the Garneier Opera House in Paris. Perhaps film history's grandest epic, tracing Napoleon's life and career from his days as a schoolboy through the French Revolution. Director Gance intended this to be a six-part series, but only the first segment--originally close to 6 hours in length--was completed. The film made pioneering use of "widescreen" presentation by shooting with 3 cameras, and there is evidence that some footage was shot in dual-strip 35mm 3-D format (though not included in any of the releases) and much use of hand-held cameras, a technique that was radical at the time. The film was restored in 1981 to a 4-hour version and in 2004 to a 5-hour version (still only viewable in Europe due to copyright restrictions on the 1981 version), with new musical scores composed each time. Card wrappers, 9.25 by 13.25 inches, 12 pages. Very Good plus, lightly handled with brief soil. Interestingly, Gance had a cameraman shooting behind-the-scenes footage throughout the production, which left film scholars with a spectacular record of how the film was produced. The gala premiere represented by this program was to benefit several interests, all announced on laid-in leaf inside the front wrapper. The pages are lavishly illustrated and have period borders and graphics, with many hand-colored stills. The last page shows the interior of the great Capitol Theatre in New York City where the film would have its American opening. Four-color card wrappers, rope binding, 24 pages, 9.75 x 13 inches. Pages Near Fine, wrapper Very Good or better with some short tears and yapping at the edges. A remarkably clean example of a rare surviving piece from the earliest days of French cinema, and one of the world's most important epics.

      [Bookseller: Royal Books, Inc.]
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        Mein Kampf 2. Band (Broschiert)

      Franz Eher Nachfolger GmbH, 1927. Broschiert Altersgemäß angedunkelt, Broschur mit Randläsuren, Verkauf ausschließlich für wissenschaftliche Zwecke, 5. Auflage. Der 2. Band erschien erst im Dez. 1926, damit ist die 5. Aufl. eines der ersten Bücher, die als 2. Band herauskamen und sie ist als Einzelband eine Rarität, weil der Titel nach den ersten Ausgaben nur noch in einem Band (I und II) zusammengefasst herausgegeben wurden. Versand D: 2,90 EUR

      [Bookseller: Versand-Antiquariat Konrad von Agris]
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        Amants et voleurs.

      Paris, Éditions De La Roseraie, 1927 - Plein Maroquin. In-4, en plein maroquin à grains longs, tête de nègre orné d'un jeu de fers spéciaux sur les deux plats rouge et or. Large retour de maroquin en doublure en encadrement d'une pièce de soie rouge moirée. Reliure signée L. Houades. Couverture et dos conservés. Gravures en couleur de Dignimont.Un des 350 exemplaires numérotés sur vélin de rives. Cet exemplaire porte le numéro 313 sur un tirage total de 420. Illustrations à l'eau-forte en double état noir et couleur. Exemplaire enrichi d'un dessin original signé de Dignimont " Au " 14 " René Millaud son ami et voisin de tout " et d'une grande composition à l'aquarelle en couleur signée, représentant une prostituée et son souteneur. [Attributes: Hard Cover]

      [Bookseller: L'Oeil de Mercure]
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        AMERICAN ARMY IN CHINA: Tientsin, Peking, Shanghai, Hankow, Hong Kong &c., 1927-

      [China n.d. ca. 1927-1928]. Brown simulated alligator cloth. covers, 37 x 27.5 cm., black pages, spine ribbon-tied, ca.. 400 b.w. photos corner mounted, images very good, sharp and. clear images NOT faded,solid,nicely done. V E R Y R A R E !. SUPERB PHOTO ALBUM OF THE CHINESE CIVIL WAR: The Communists led by Mao Tse-tung, vs. the Kuomintang [KMT] or Chinese Nationalist Party led by Chiang Kai Shek. The United States Supported the KMT. In this album, we see how the KMT soldiers hosted the American Army in China, using their trains and military bases throughout China. * This unusual album contains 400 original b. w. photographs & and is an historic photographic record of American military deployment showing Dough-boys in China, probably from the U.S. Army's 2nd. Battalion, 15th. infantry, per the flag and insignia found on a group formation photograph. A minority are with written captions, by and large taken by the person who made the album, also enhanced with a small percent of professional Chinese photos, some of which have in-negative captions. * There are ca. 3 or so photos missing else completely filling 32 pages or 64 sides + one on the inside back cover. The inside of the front cover has five attractive period color luggage type adverts from various hotels: Hotel Lankershim & Coast Line Military & Naval Hotel San Francisco, Cal; The Court Hotel, Tientsin North China; Grand Hotel des Wagons Litz; Astor House Hotel Ltd., Tientsin. * The album begins with photos of a Chinese playing a Pi-pa [snake skin banjo], then there are three other photos: first two show a Chinese military camouflage train engine from which a Yank soldier in his campaign hat descends, and a long train of cars with a large howitzer mounted upon one, last shows French [?] troops at parade rest with their rifles and white gloves and crested helmets with anchors [naval or marines] with others in the background with some officers. * The next two pages show Chinese coolies swing a basket from the creek top water a field, a mother suckling her baby with her family at the farm, a large water tower in the wet slums and a group of Doughboys at attention in formation, they wear boots, leggings, chrome World War I type dress helmets, a rifle, back pack with bayonet, cartridge pouch belts with green wool hip-length jackets. The opposite page shows another view of the Chinese military train, a pair of large mounted guns on an armored train car. To the right is a Chinese officer pointing to a large pierced hole in the train with a foreign engineer peering out from the small window. The train sports the Republic of China flag with a Chinese military unit flag painted on the side. Another view shows a group of abandoned Chinese coffins that went to the dogs; a group of soldiers in garrison caps at attention with fixed bayonets as the officers salute someone near the person taking the photo, some Chinese officers also present. * Next 2 pages show Chinese on a wheel barrow, some Japanese women by a pond in Kimono and a group of British troops from their colonial Empire: blacks, Indians, white trumpeter, Chinese, and others with musical instruments all wear white cork-type pith helmets. A group of Japanese officers mugging for the camera. Photos of the railhead and large number of Chinese troops with rifles, and kit at the railway station, some on march carrying their flags others in open box cars with touring cars that are on the move, another of camouflaged armored train cars, one shows a number of foreign soldiers looking out of a train car window, some are with tiny embossed stamp at right corner: "Mei Lee Tien Tsin." * The album continues with a mixture of images of civilian Chinese, Chinese military, their trains, moving air planes, weapons, war refugees in tents, military views of barbed wire fortifications, trenches, machine gunners Russian soldiers, Chinese officers, Chinese air force, funerals, rickshaw pullers, camel trains, captured & wounded prisoners, foreign soldiers at their sand-bagged posts. Photos of the great wall, magnificent Chinese architectural monuments, buildings and pagodas, religious icons, coffins, more coffins, mortars & Chinese junks and a plethora of others. * The American Consulate General's compound in Tientsin, American military band welcoming the newly arrived replacement troops. A large photo group shot of the American officers seated for a memorial photograph, with their Battalion flag proudly posted on the wall where they pose [source of our citation at the top of the unit name]; two buglers are at each outside position, the commander is ram-rod straight and taller than all others seated in the front & center; he and only two others on his sides wear full leather knee boots, probably indicating the highest ranking officers; others are in boots & leggings. * Photos of Doughboys aboard a ship showing the Naval officers with one stunning photo of an American high officer with his Japanese & Chinese counter parts posing for the camera. And a photo of the "Mail Boat Gazun Panama" and a few others of Panama giving credence to the fact that some of these soldiers came from the American East coast via Panama to San Francisco, then on to China. Nice photo of semi-nude Panamanian family, men, women, children. Doughboys at target practice, photos of Chinese poverty, coolies pulling great loads and street vendors. * More showing Chinese life style, street life, horse & bullock carts, and yet more caskets left in the open unburied and abandoned, train cars full of horses, Chinese troops, smoke rising from a burning city, another with "Tian jin" written in Chinese, catholic church, more parading of American soldiers within the Tientsin American Consulate parade grounds, trooping of the colors. And a nice photo of the "U.S. Army Transport Thomas," Chinese junk &c. A U.S. soldier in a necktie, his rifle at fixed bayonet at parade-rest before the Consulate General compound with sand bags, inside a photo of a U.S. soldier with his Colt-45 on his hip with canteen looking at some communications connections, another photo of two mini U.S. tanks, and a very long bridge over the water. * Photo of the Tientsin downtown with a Sikh Indian policeman directing traffic. Next page shows a public Chinese street execution: the guilty on his knees with the executioner ready to swing a very large sword and another headless corpse is before him, the Tientsin YMCA compound, opposite which is likely the inside of the American Consulate offices showing very ancient typewriters and three women staff and one other female Navy person. They all mug for the camera with a good number of U.S. Army or Marine officers, behind three desks. * Chinese hauling "magnum gold" brand ammunition on hand- trucks, a U.S. Army band performing before the Consulate's office. At this point, we find a few photos with penned captions: "One of China's Department Stores [it shows a bird vendor]; Peanut Gambler [a mountain of P-nuts]; Chinese Shimboo [photo of the office and maker of the album and his Chinese officer friend ?]; "A Chinese Taxi" [shows him in a Rickshaw], "Me and the boy friend 11/3/28" [shows a tiny goat cart carrying a child's coffin with a Chinese man. This penned date gives substantial proof of the date range of the entire album which was placed about the center of the whole work. * The next page shows two more penned captions: "Chinese cavalry" and "Note mud house and fence" [shows two Chinese officers on horse-back and a very, very poor house with very starved animals]. The next shows six Chinese undercover men, two each holding a Chinese being readied for execution; and a very grizzly photo of a Chinese officer actually executing a Chinese man with his pistol who is seated on a rock: the photo captures the action as the shot blows away the mans brains. Behind the execution scene is a crowd of American soldiers in campaign hats and Chinese military officers who are witness to the event. * More views of Chinese street life, vendors, pullers, haulers & horse carts, religious icons and a stunning Chinese roofed gate, more Chinese troops on the move via train, with a very horrible view of a large number of dead Chinese in the muddy filthy waters by a bridge. Homeless Chinese at a "soup kitchen," war refugees hauling their belongings, house boat, street barbers, a group of 7 photos by the ocean. They show American soldiers at leisure looking at Chinese fishermen nets, naked fishermen hauling in a net of fish to the beach, a burning waterfront village, the jetty where several large [American ?] transport ships are at anchor, and a great assembly of Yankee soldiers on the beach with duffel bags and their gear at the railhead. * The last photo shows a great number of various whisky bottles lined up for display. More photos show a coffin maker, large coffin, basket seller and "chow" sellers on the street. A military formation of 100's of either Scottish, or Irish soldiers with fixed bayonets, marching down the main street before the "RNC Electricity Dept.," below which is a very long line of British soldiers on one side of the street, opposite from a good number of American soldiers, who are on the side of the street, a British Union Jack flies over a castle-like structure, this is clearly some kind of grand military parade. * More photos of the Great Wall, the military parade and army chaplains, with an Australia flag flying over another castle tower. Chinese river scene with large numbers of native boats in a canal, a beggar's camp with straw -mat tents, a canal crossing ferry for people, a photo of a U.S. officer stand on top a wooden coffin for a closer look. More poverty-stricken Chinese, haulers, fortune tellers, graves, tethered horses, log sawyers, rice haulers, electric trolley with English and Chinese language sign on the roof, panorama post card of Shanghai's Bund. * The album now shifts to photos of the Peking area. Shows the Ming tombs and the camel-lined road; military train [the Americans were transported by that train], a large bivouac and tent city where the U. S. military troops camped, some Chinese "house boys" proudly holding the American troop's unit flag. More photos of two U.S. soldiers posing near Chinese coffins in a wet ditch. A group of very young Chinese boys posed near the railroad; one is so poor that he has no clothes at all and is in nude. A large group of Nationalist Chinese soldiers marching along a street, one classic photo of a single American soldier on guard, standing at attention as stands vigil on a barbed-wire barrier, his rifle at fixed bayonet. * A group of five Chinese young "ladies" who pose for the camera who seemed NOT to be bewildered by the photographer, they look like "Sing-song girls" [hookers] who entertained the U.S. troops. Chinese Buddhist priests in white robes with shaved heads, a great gate to Peking, Shanghai harbor views, shanty huts, captured Chinese criminal or traitor guarded by Chinese soldiers, train car full of rifles, more Chinese soldiers on trains, marching in formation on the road. And a good photo of several American officers: one with a whip posing for the camera in garrison hat. * Chinese bivouac, and American soldiers with bullet and pouches for ammo with rifles at parade rest. More barbed-wire barricades, Chinese & British soldiers, armored train-mounted gun. More Chinese prisoners [traitors?] being executed, heads hoisted on power poles in baskets as a form of public warning and display for other would-be traitors. An American tent bivouac camp, at the train yard, two more public exec executions by beheading at the moment of loosing one's head, an executed dead man lying in the street. Photos of Peking's Forbidden City, a Chinese hung to death from a tree, a Yank soldier in overalls carries a Chinese bamboo "yoke" with two baskets and smokes a pipe, while Chinese look on and laugh. * Two photos of lines of Rickshaws waiting for passengers. One comic photo with negative caption: "Find the Chinaman;" it shows two American soldiers sitting among Chinese. Nice shot of the Summer Palace, Peking, and a U.S. soldier riding in a Rickshaw. The very last photo inside the back cover shows the whole battalion dressed up, wearing their chrome helmets standing at attention in formation for a classic and most historic memorial photograph. Their commanding officer is front and center; all have their rifles, ammo belts and very polished boots, with back packs. They could be standing in the Tientsin American Consulate compound grounds. Followed by a few other photos of Chinese, a Chinese soldier, et al. * This work shows the typical things seen in China during this period of political and military chaos. The feuding war lords and political parties at war; the landing of American military to protect American diplomatic interests. Support & assistance given to the Americans and other foreign military groups by the Nationalist Chinese army. The desperate situation of the tragic Chinese people caught in the grips of upheaval and the summary punishment of traitors in a public display of the swift and ruthless law of China. A riveting and most compelling true record of a U.S. military officer's sojourn to and deployment in China. * THE PHOTOGRAPHER AND THE SIZE OF PHOTOGRAPHS: This is not a professional group of photographs, but there a very small amount which were obviously purchased by the maker of the album and inserted. The vast majority are his personal photographs, these again are obvious to anyone who looks at the album. This is an excellent example of private work of an unknown American Army officer stationed in China during a very chaotic period. He was interested in recording for posterity his experiences and the sights that he saw while on duty. We thank him for giving us privy to this slice of American and Chinese military history. * SIZE OF THE PHOTOGRAPHS: The size varies considerably, sizes in cm.: the smallest are 8 x 5, most are 14 x 9, 3 larger photos 24.5 x 18 and the last 30 x 10. CONDITION OF THE PHOTOGRAPHS: These are original period photos, they are all very clear, sharp images, no fading and in excellent condition. They have been corner mounted. * RARITY: Photographic albums of this period in China are NOT commonly found; one made by an American Army officer stationed in China at this time is exceptionally unusual and RARE ! This is a charming primary source with a large number of clean & sharp images, taken by an actual participant in this historic period of China. The officer and photographer of these photographs shared for posterity his keen insight and view of these events. We thank him for giving us privy to this slice of American & Chinese military history. * Color scans can be sent by email. Images displayed may not be the actual copy in stock for sale at any given time; if you want to see the exact image of the book or edition in stock, please request this by email and an image will be returned to you by attachment. * * * * BUY WITH .

      [Bookseller: Rare Oriental Book Company, ABAA, ILAB]
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        Essai sur Stendhal.

      Paris, Èditions de la Pléiade, 1927 - 102 (7) Seiten das Buchrücken im oberen Bereich ca. 5 cm brüchig, der Vorsatz und Titel leicht stockfleckig, ansonsten das Buch sauber und frisch, auf dem Vorsatz vom Autor persönlich gewidmet. Insgesamt wurden 285 arabisch numerierte Exemplare gedruckt sowie weitere 30 Exemplare römisch numeriert, die zur persönlichen Verfügung des Autors standen. Dieses Exemplare ist die Nummer XXVIII und wurde von Paul Valéry Monsieur Charles Salomon gewidmet. Ambroise Paul Toussaint Jules Valéry (* 30. Oktober 1871 in Sète/Frankreich - + 20. Juli 1945 in Paris) war ein berühmter französischer Lyriker, Philosoph und Essayist. Valéry war wohl der letzte Autor in Frankreich, der mit Lyrik seinen Lebensunterhalt bestreiten konnte. Er hatte den Status eines Dichterfürsten, der mit gut bezahlten Auftragsarbeiten von Verlagen und Zeitschriften bedacht und häufig zu Vorträgen und Lesungen eingeladen wurde. Er war befreundet mit R. M. Rilke, Herbert Steiner und der Malerin Marie Elisabeth Wrede, die das Porträt von Valery in einer repräsentativen Kaltnadelradierung festhielt. Sprache: Französisch Gewicht in Gramm: 650 Einmalige Auflage von 285 numerierten Exemplaren. [Attributes: First Edition; Signed Copy]

      [Bookseller: Bührnheims Literatursalon GmbH]
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        A Quantum Theory of the Scattering of X-rays by Light Elements.Lancaster, PA & Corning, NY: American Physical Society, [1923].

      First edition of the 'Compton effect,' which demonstrated the existence of quanta of electromagnetic radiation, later called photons. "This discovery 'created a sensation among the physicists of the time.' There were the inevitable controversies surrounding a discovery of such major proportions. Nevertheless, the photon idea was rapidly accepted. Sommerfeld incorporated the Compton effect in his new edition of <i>Atombau und Spektrallinien</i> with the comment, 'It is probably the most important discovery which could have been made in the current state of physics'" (Pais, <i>Subtle is the Lord</i>, p. 414). "Arthur Holly Compton will always be remembered as one of the world's great physicists. His discovery of the Compton effect, so vital in the development of quantum physics, has ensured him a secure place among the great scientists" (<i>DSB</i>). The explanation and measurement of the Compton effect earned Compton a share of the Nobel Prize in physics in 1927. Rare in unrestored original printed wrappers.<br/><br/> Compton (1892-1962) received his PhD from Princeton in 1916 for research on the intensity distribution of X-rays reflected from crystals. After a period working for the Westinghouse Company he returned to fundamental research in 1919, when he obtained one of the first National Research Council Fellowships (established by Millikan). He used it to spend a year at the Cavendish Laboratory in Cambridge, where he continued his experiments on the scattering of radiation. In 1920 Compton moved to Washington University in St. Louis, where he continued his work on X-ray scattering, using a Bragg spectrometer he had brought from Cambridge. By this time it had become apparent that the scattered radiation had a wavelength longer than that of the primary radiation, and that the shift of wavelength varied with the scattering angle: this became known as the Compton effect. <br/><br/> "It was only late in 1922, when considering all data available to him, that Compton saw the necessity for a light quantum with energy and momentum to explain the scattering of X-rays. Compton read a paper entitled 'A quantum theory of the scattering of X-rays by light elements' at a meeting of the American Physical Society in Chicago, which took place on 1 and 2 December 1922. Its abstract begins as follows: <br/><br/> "<i>The hypothesis is suggested that when an X-ray quantum is scattered it spends all its energy and momentum upon some particular electron. The electron in turn scatters the ray to some definite direction. The change in momentum of the X-ray quantum due to the change in direction of its propagation results in a recoil of the scattering electron. The energy in the scattered quantum is thus less than the energy of the primary quantum by the kinetic energy of recoil of the scattering electron</i>."<br/><br/> "The full paper was published a little later [the offered paper].. In: Physical Review, Second Series, Vol. 25, No. 5, May 1923, pp. 483-502

      [Bookseller: Sophia Rare Books]
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      New York: George H. Doran Company,. [1927]. original decorated blue cloth, front and spine panels stamped in gold, fore-edge untrimmed, bottom edge rough-trimmed.. Top edge of text block dusty, slight spine lean, a bright, nearly. fine copy in good pictorial dust jacket with wear and rubbing at. edges, 45x35 v-chip from upper spine end with loss of title, several. closed tears with internal tape mends, and some general dust soiling.. (#152546). First edition. "Very competent material horror stories, original in idea (for the most part), sources for a good deal of later work." - Bleiler, The Guide to Supernatural Fiction 1698. Ashley, Who's Who in Horror and Fantasy Fiction, p. 182. Barron (ed), Horror Literature 3-212. Schlobin, The Literature of Fantasy 1108. Sullivan (ed), The Penguin Encyclopedia of Horror and the Supernatural, p. 462. Tymn (ed), Horror Literature 3- 255. Bleiler (1978), p. 207. Reginald 15227.

      [Bookseller: L. W. Currey, Inc.]
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        Bel-Air Bay: A Country Place by the Sea

      Privately printed, Los Angeles 1927 - Hardcover in original leather boards with decorative flourishes. Limited edition, 1927. Binding is solid, though spine is worn away; interior pages are crisp and clean, with deckled edges and tipped-in color plates depicting scenes of Bel-Air Bay, a planned development on Santa Monica Bay in California. Offsetting from color plates on pages opposite, but no foxing or other mars. Privately printed for Alphonzo E. Bell. 4to. 30 numbered pages. A decent copy of a scarce, elegant period piece. [Attributes: First Edition; Hard Cover]

      [Bookseller: Warwick Books, member IOBA]
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        Coloured Plates of the Birds of Ceylon. with a Short Description of Each Bird by W.E. Wait.

      Columbo: Published by the Ceylon Government -35 1927 - First edition. Four volumes. 4to. Original printed wrappers. 64 colour plates. Light wear to the extremities, a few marks to the feet of the lower covers of volumes II and III, a very good example of this fragile set.

      [Bookseller: Bow Windows Bookshop (ABA, ILAB)]
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        Now We Are Six

      Published by Methuen, London in 1927. This is a lovely copy of the children's classic by A. A. Milne, beautifully illustrated by E. H. Shepherd. This lovely book is in its original red cloth boards with beautiful gold guilt detailing. There is some minor rubbing to the top and bottom of the spine and to the corners of the boards. Inside there is a birthday inscription to the front free endpaper (as so often these books were given as sixth birthday presents). There is one very small bump/dent to the front board and the spine is not quite as bright as it once was, but otherwise the book is in lovely condition, with clean bright pages and is in very good to near fine condition.  The book comes in its original light blue dust jacket, which is in very good condition. There is just some minor rubbing to the extremities, correlating to that of the boards, and some minor loss and chipping to the corner and spine ends. There is one small tear to the lower edge of the front cover and some light discolouration to the spine. In all, this is a lovely copy of this children's classic and would be a worthwhile addition to any collection.  Please don't hesitate to get in touch if you would like further information or to enquire about my other A.A. Milne books as we are currently lucky enough to have the complete set in stock.

      [Bookseller: Everlasting Editions]
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        Les chansons d'évangélia. Impressions et Souvenirs de Grèce et de Turquie. Preface by Gustave Kahn.

      Paris, 1927. With an original watercolour and the full set of 48 stencils for the pochoir illustration of Constantinople. No.1 of 25 copies on Whatman paper signed by the artist with an original watercolour, this one being of the first full page one in the book "Salonique, L'âne revenait...", also with all the 48 metal stencils used solely for the illumination of the illustration "Constantiople: La Corne d'Or" with the illuminator's proof. The total edition was 155 copies. 25 pochoir illustrations to reproduce the original watercolours by Marie Howet, illuminated by the master Jean Saudé, the text is done with pochoir illumination throughout. 465 x 365 mms. Original wrappers with a repetition of one of the watercolours by Marie Howet and with the stencils and original watercolour housed in a separate suede paper portfolio. An outstanding copy with the original glacine wrapper. The complete set of 48 stencils used for one illustration with the remains of the paint used on them and the remarkable craftsman's proof demonstrate the painstaking steps involved in the art of the master pochoirist. They provide an extraordinary insight into Saudé's process of illumination and how he so perfectly reproduced the watercolours by Howet. Marie Howet (1897-1984) was an important Expressionist Belgian painter and illustrator. She frequently travelled and exhibited abroad illustrating collections of poetry on Greece, Turkey, Italy and Ireland.

 13.   Check availability:     Biblio     Link/Print  

        Chinesische Baukeramik.

      Berlin, Albert Lüdtke Verlag, 1927 (11.-20. Tsd.). 4°, Leinen 110 Seiten inkl. 30 z. T. manuel geklebten Textillustrationen + 160 Tafelseiten mit schwarzweißen Bildern u. 4 ganzseitigen Farbtafeln. O-ganzleineneinband mit vergoldetem Motiv u. Titel auf V-Deckel u. Titel auf Buchrücken. Den Druck des Werkes besorgte Albert Lüdtke. Die Herstellung der Druckstöcke erfolgte bei H. Baudoun, die Binderarbeit bei der Großbuchbinderei Adolf Wittenburg. Der Entwurf zum Einbande stammt von Ernst Krüger, Berlin. Zustand: Buchecken stark aufgehellt, Kapital mit einer kleiner Fehlstelle, Vorsatz mit weißstrichener Eintragung u. klebt teilweise an Innenspiegel; innen sehr sauber, insgesamt noch gut erhaltenes u. gesuchtes Exemplar. Versand D: 5,00 EUR Chinesische Kunst, China, Architektur, Chinesische Kultur

      [Bookseller: Antiquariat an der Uni München]
 14.   Check availability:     Link/Print  


      Kahnweiler 1927 - JOUHANDEAU Marcel. XIMENES MALINJOUDE. Illustré d¿eaux-fortes par André Masson. Paris, Galerie Simon, 1927. In-12 (16,2 x 12,3 cm), 80 pp., Bradel demi-maroquin vert bronze à coins, dos lisse très légèrement passé avec une composition typographique dorée à la chinoise pour le titre, couverture et dos conservés (P.L. Martin). Edition originale de ce joli texte écrit en mai-juin 1924, illustrée de 5 belles eaux fortes hors-texte par André Masson. L¿ouvrage est dédié à M. L. (Michel Leiris) qui avait été l¿amant de Jouhandeau. Un des 90 ex. sur vergé d¿Arches signé par l¿auteur et l¿artiste (après 10 ex. sur Japon et 12 ex. H.C.). Bel exemplaire. 3500 ¿ [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Librairie Dutel]
 15.   Check availability:     AbeBooks     Link/Print  

        Laugh, Clown, Laugh (Original screenplay for the 1928 film)

      Culver City, CA: Metro-Goldwyn-Mayer [MGM], 1927. Shooting script for the 1928 film. Metro-Goldwyn-Mayer file copy, with rubber stamps on the front wrapper indicating such. Carbon typescript, with descriptive text and intertitles in black type. A few typeovers and notations in holograph pencil throughout. A rare example of a silent film screenplay. Based on the 1923 stage adaptation by David Belasco and Tom Cushing, about professional clowns Tito (Chaney) and Simon (Siegel), who take in an abandoned child and name her Simonetta (Young, who was 15 at the time). When Simonetta is older, she joins the circus, and meets Count Luigi Ravelli (Asther), who becomes infatuated with her. Ravelli consults a doctor about his fits of uncontrollable laughter, and there he meets Tito, who has come to seek help for his fits of uncontrollable weeping. The two decide to help each other, but soon find they are both vying for Simonetta's love. Nominated for an Academy Award in 1929 for Best Title Writing, the only year for that category. Set in Italy, shot on location in Elysian Park (a suburb of Los Angeles, California). Blue studio wrappers, noted as FIRST TEMPORARY INCOMPLETE on the front wrapper, rubber-stamped production No. 1640 and copy No. 5236, dated November 19, 1927, with credits for playwrights Belasco and Cushing, and screenwriter Meehan. 72 leaves, carbon typescript, on watermarked onionskin stock. Pages Near Fine, wrapper Very Good, now encapsulated in mylar, bound with two gold brads. Blake (2001), pp. 175-177.

      [Bookseller: Royal Books, Inc.]
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        The Twelve Moneths by Nicholas Breton.

      Waltham St. Lawrence: Golden Cockerel Press, 1927. 24 wood engravings by Eric Ravilious. Edited by Brian Rhys. 24 wood engravings by Eric Ravilious. One of 500 copies, this no. 262. 8vo., a very good copy in original orange buckram, in the original dust jacket. Very good bright copy, tiny bit of soiling and small nicks to top of spine of dust jacket. Ravilious's sensitive engravings chart the course of the year for nature and mankind.

 17.   Check availability:     Biblio     Link/Print  


      München, Kurt Wolff, 1927 8°, 391 S., OLwd. m. Deckel u. Rückenschild., Rücken etwas beschienen, Deckel min. fleckig, ein sehr schönes Exemplar. Erstausgabe. (W/G2 10). Mit einem Nachwort v. Max Brod. - Über Kafkas großen Amerika-Roman. den der Prager Dichter selbst in seinen Tagebüchern «Der Verschollene» nannte. schrieb Kurt Tucholsky bewundernd: «Hier ist der ganz seltene Fall. dass einer das Leben nicht versteht und recht hat.» Hauptperson ist der junge Karl Roßmann. der. von seiner Familie verstoßen. in die Neue Welt aufbricht. um die Freiheit zu suchen. nach der er sich sehnt. Und Brod schreibt in seinem Nachwort: « 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. Versand D: 20,00 EUR Erstausgaben deutscher Literatur Kafka

      [Bookseller: Antiquariat Peter Petrej]
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        Now We are Six

      London, Methuen and Co. Ltd. 1927., 1927. First Edition, De Luxe Binding. 8vo. Publisher's full red morocco, extra gilt, gilt to all edges, light pink decorated endpapers, ownership. Illustrations by E.H. Shepard. Very slight rubbing. A bright copy.

      [Bookseller: Adrian Harrington Rare Books]
 19.   Check availability:     IOBABooks     Link/Print  

        L\'Arte del Libro e della rivista nei paesi D\'Europa e D\'America. Volume I und II. 2 Bände

       Officina grafica Paolo Neri, Bologna, 1927/1928. 424 S./XXXIII S. und XIII S. mit 590 Illustrationen im Text und 500 Tafeln sowie 1025 Designs, original illustrierte Pbde., folio, (gering fleckig/Kanten etwas berieben und bestoßen/Rücken lediert mit Fehlstelle/Exlibris auf Vorsatz) - Nummer 252 und 498 von 750 numerierten Exemplaren / The Art of the book ans of the Review in Europe and America - Versand D: 5,90 EUR Astronomie und Raumfahrt

      [Bookseller: Celler Versandantiquariat]
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        The Bridge of San Luis Rey.

      Albert & Charles Boni, New York 1927 - First edition of the author's masterpiece and winner of the Pulitzer Prize. Octavo, original cloth. Inscribed by the author on the half title page, "For Milton J. Lesser with the regard of Thornton Wilder New Haven March 1930." Also, laid in is a signed handwritten letter to the recipient. Fine in a near fine dust jacket with light wear. Named by Modern Library as one of the 100 greatest novels of the 20th century and named by Time Magazine as one of its 100 Best English-language novels from 1923-2005. A superior example of the dust jacket, which is prone to wear. "Few novels identify their basic plotline as succinctly and forthrightly as the opening line of Thornton Wilder's 1927 novel, The Bridge of San Luis Rey: "On Friday noon, July the twentieth, 1714, the finest bridge in all Peru broke and precipitated five travelers into the gulf below." The novel's conceit is this: a certain Brother Juniper was himself about to step out onto the bridge when it broke and subsequently witnessed the plunge of five people into the abyss below. Brother Juniper wonders if the tragedy happened according to a divine plan or was simply a random instance of misfortune. His curiosity leads him to investigate the lives of the five victims to prove that the bridge collapse and the resulting deaths were indeed divine intervention--that God intended for them to die then and there. But, of course, the point of the novel is that there is no commonality among them, other than the fact that they are all simply human, with their own frailties. Wilder ends his at-once urgent and serene novel with this haunting passage: "But soon we shall die and all memory of these five will have left the earth, and we ourselves shall be loved for a while and forgotten. But the love will have been enough; all those impulses of love return to the love that made them. Even memory is not necessary for love. There is a land of the living and a land of the dead, and the bridge is love, the only survival, the only meaning" (Brad Hooper). "One of the greatest reading novels in this century's American writing.Wonderfully lucid reading" (Edmund Fuller). [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Raptis Rare Books, ABAA/ ILAB]
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        Cahiers d\'Art. Jg. 1927. Mit 10 beigebundenen OUmschlägen

      \"Paris: Editions \"\"Cahiers d\'Art\"\" 1927\" Neuerer LWd., 366 Seiten, 2°, mit zahlreichen teils Farbfotos, SW Fotografien und anderen Beilagen. Einband leicht berieben und beschmutzt. Umschlägen leicht bestaubt, sonst guter Zustand.Kunst, Architektur, Zeitungen u. Zeitschriften

      [Bookseller: Antikvariát Valentinská]
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        TARZAN and the GOLDEN LION (First Photoplay Edition, INSCRIBED)

      Grosset & Dunlap, New York 1927 - Burroughs, Edgar Rice. TARZAN and the GOLDEN LION. New York: Grosset & Dunlap, [1927]. First Photoplay Edition, listing 25 Burroughs titles on page 335, in original publisher's orange cloth lettered in black, published in tandem with the 1927 RKO film adaptation. Frontispiece and three inserted plates with still photos from the film. This copy was warmly INSCRIBED in 1950 by James H. Pierce, Burroughs' son-in-law who played Tarzan in this first full length movie adaptation. A Near Fine copy (variant with ads on page 334, no priority known) in a Very Good example of the first issue original dust jacket (slightly chipped and soiled, lightly edge-worn, one lone tape repair to verso, 24 Burroughs titles on verso, none later than 1927). The dust jacket features an image of Pierce as Tarzan. Two collector bookplates, one on the front free endpaper, one loosely laid in. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Lakin & Marley Rare Books ABAA]
 23.   Check availability:     AbeBooks     Link/Print  

        Quelques fables. Pref. A. Thibaudet

      (Paris) Les Cent Bibliophiles 1927 - Kl.-Fol., &#150; Eines von 121 num Exemplaren, Namensexemplar für Viktor Mercier. Die Genealogie des Exemplars fürt zur Mercier-Auktion 1936, dort von dem Bibliophilen Daniel Zierer erworben &#150; mit der Absicht, es zu einem Unikat ersten Ranges zu erweitern und der zeitgenössischen Buchkunst und -verehrung ein Denkmal zu setzen. Dazu gehören die beiden signierten Tuschfederzeichnungen von Jules Chadel auf Goldfarbenseide, von Cretté in die beiden Innendeckel montiert und mit vergoldeter Linie umfangen, außerdem vorgebunden zwei signierte und bezeichnete Aquarelle sowie fünf blattgr. Tuschfederzeichnungen, signiert, vorderer flieg. Vorsatz aus Rohseide mit Goldfaden. Hinzu kommen &#150; eingebunden in die Suite der Holzschnitte &#150; 13 weitere Bll. Tuschfederzeichnungen, teils signiert oder mit rotem Stempelsiegel, zwei dieser Zeichnungen mit zus. Text von Jules Chadel, dessen Kontakte mit dem Bibliophilen Zierer auch in vier weiter beiliegenden eigenh. Briefen belegt sind, davon zwei mit Zeichnungen illustriert, und der gemeinsamen Absicht, ein bibliophiles Gesamtkunstwerk zu schaffen, unterstellt. XVI S., 1 Bl., 103 S., 1 Bl., mit 74 (7 ganzseitigen) farb. Holzschnitten von Jules Chadel (1870-1942). Beigebd. Suite mit zusätzlich 15 Holzschnitten und zahlreichen weiteren Originalbeilagen. Konsequenterweise wurde in die Gestaltung des Buches mit Georges Cretté (1893-1969), Nachfolger von Marius Michel, einer der profiliertesten franz. Buchbinder einbezogen.Ihm fiel dieAufgabe zu, das Buch schon auf den ersten Blick als Kunstwerk zu kennzeichnen - mit der Montierung eines Elfenbeinreliefs im Vorderdeckel des Einbandes. Dieses Relief wurde von Yvonne Couibes entworfen, 21:9,6 cm, das Motiv: Les femmes et le secret, begleitet von 6 eigenh. Briefen der Künstlerin an Ihren Auftraggeber Daniel Zierer, dazu weiter 6 sign. Entwurfszeichnungen, jeweils abweichend, dabei auch die Vorlage für die ausgeführte Plakette aus Elfenbein. Schon vor seiner hochwertigen Garnierung hat der vorl. Titel öffentliche Aufmerksamkeit gefunden, und wie Vollmer, Allgemeines Lexikon der bildendenden Künstler, 1.Bd., S. 415 (Artikel Jules Chadel) notiert, war diesem illustrierten Buch im März/April 1927 eine Ausstellung im Louvre gewidmet. Es ist schon fast selbstverständlich, das dem vorliegenden Exemplar die Einladung zu dieser Ausstellung und der aus gleichem Anlaß erschienene Katalog zum Werk Jules Chadel beiliegen, nicht einmal die Speisekarte zum Festmenü der Buchpräsentation fehlt. Diese Dokumentation liegt teilweise lose bei, und wo es nach Format und Papierbeschaffenheit möglich war, hat Georges Cretté diese Belege beigebunden. Grüner Maroquinband, signiert (Georges) Cretté, Streicheisenvergoldung, 4 echte Bünde, eingelassen sign. Elfenbeinrelief von Yvonne Couibes. - Originale Broschur. Zum Schutz des Einbandes ist er in die Cretté-Chemise aus grünem Maroquin (wie der Einband) mit Buntpapier eingelegt, dazu der passende Schuber. Vergoldeter Büttenrand mit Griffnischen (Blattweisern). Schuber mit Gebrauchsspuren. Der Einband hat sich werkstattfrisch erhalten, von einer geringen Wölbung, als Preis an die inzwischen vergangenen 9 Jahrzente, abgesehen. -Bibliographisch hat der Titel die angemessenen Spuren hinterlassen: Carteret III, 200, u. IV, 229: "Bel ouvrage, très recherché et très coté. Bodemann 415,1. Fabula docet S. 60 f. Zierer Catalogue (1960), Nr. 182. Monod 6735. Garrigou, Georges Cretté, (1984), Nr. 279 (vergleiche auch Fléty, S. 49). Mitgegeben ist dem Exemplar als Provenienzbeleg das Exlibris D. Zierer, Holzschnitt von Jules Chadel auf dem flieg. Vorsatz [Attributes: Hard Cover]

      [Bookseller: Antiquariat Schneider-Henn]
 24.   Check availability:     ZVAB     Link/Print  

        The Bridge of San Luis Rey (First American Edition, with scarce Pulitzer Prize wraparound band)

      New York: Albert and Charles Boni, 1927. First American Edition. Stated "1927" on the title page and copyright page with no later printings, with a price of "2.50" at the front flap. Included is an example of the scarce Pulitzer Prize wraparound band, supplied from the book's seventh printing. Winner of Wilder's first of three Pulitzer Prizes, and basis for three film versions. Very Good plus in a Very Good plus dust jacket. Extremities lightly bumped, and a faint dampstain at the bottom of the front board. Some professional restoration to the jacket, with two tiny closed tears and a crease at the rear flap, else quite fresh. Band slightly toned at the folds.

      [Bookseller: Royal Books, Inc.]
 25.   Check availability:     Biblio     Link/Print  

        The Quantum Postulate and the Recent Development of Atomic Theory.[Edinburgh: R & R Clark, April 14, 1928.

      First edition, extremely rare offprint issue, of this fundamental paper introducing Bohr's statement of his 'complementarity' principle, the basis of what became known as the 'Copenhagen interpretation' of quantum mechanics. "From the epistemological point of view, the discovery of the new type of logical relationship that complementarity represents is a major advance that radically changes our whole view of the role and meaning of science. In contrast with the nineteenth-century ideal of a description of the phenomena from which every reference to their observation would be eliminated, we have the much wider and truer prospect of an account of the phenomena in which due regard is paid to the conditions under which they can actually be observed - thereby securing the full objectivity of the description" (DSB). This is the first copy of this offprint we have seen on the market, and there is no copy on OCLC or COPAC. The paper was published essentially simultaneously in German, Danish, English and French.<br/><br/> The concept of complementarity started to develop in Bohr's mind during discussions with Heisenberg in Copenhagen early in 1927, when Heisenberg was preparing for publication his famous paper on the uncertainty principle. In fact, the published version of Heisenberg's paper contains a note added in proof which mentions 'recent investigations by Bohr [that] have led to points of view that permit an essential deepening and refinement of the analysis of the quantum mechanical relationship attempted in this work'. <br/><br/> "Bohr presented his ideas on complementarity for the first time at an international congress of physics in Como in the fall of 1927, commemorating the centenary of Volta's death. On this occasion, he stressed that in the quantum world, contrary to the classical world, an observation of a system can never be made without disturbing the system. But how can we then know the state of the system? The quantum postulate would seem to imply that the classical distinction between the observer and the observed was no longer tenable. How then would it be possible to obtain objective knowledge? Bohr's reflections on these and related questions led him to introduce the notion of complementarity as denoting the use of complementary but mutually exclusive viewpoints in the description of nature. Two years later, he defined the complementarity principle as 'a new mode of description... in the sense that any given application of classical concepts precludes the simultaneous use of other classical concepts which in a different connection are equally necessary for the elucidation of phenomena'... The wave description and the particle description are complementary and thus in conflict.. 4to (266 x 192 mm), original printed bown wrappers (some very light scuffing and one short closed tear to upper margin), pp. [579] 588-590, offprint from Nature, vol. 121, no. 3050, pp. 580- 590, April 14, 1928. Entirely unrestored

      [Bookseller: Sophia Rare Books]
 26.   Check availability:     Antikvariat     Link/Print  

        Mein Kampf 2. Band (Broschiert)

      Franz Eher Nachfolger GmbH, 1927. Broschiert Altersgemäß angedunkelt, Broschur lagerspurig, mit Randläuren und repariert, Papier mit einzelnen Markierungen und sonst sehr gut erhalten Versand D: 2,90 EUR

      [Bookseller: Versand-Antiquariat Konrad von Agris]
 27.   Check availability:     Link/Print  

        Hygæa" krydser ind.

      1927 1927 - Træsnit. 1927. 42x40 cm. Betegnet i blyant af Johannes Larsen: "Ottende Prøvetryk 23 Febr. 1927 Jl (i monogram). Th. Oppermann fra Johannes Larsen til Erindring om Firsernes Kjerteminde.Monteret i syrefri passepartout. * Billeder viser Johannes Larsens far købmand Jeppe Andreas Larsen (1834-1910), der ser efter et af sine skibe, der vender hjem efter langfart. Th. Oppermann var kunstner, forfatter og i en periode direktør for Thorvaldsens Museum. Holger Rasmussen 169.

      [Bookseller: Peter Grosell, Antiquarian Bookseller]
 28.   Check availability:     AbeBooks     Link/Print  

        La Truite Ses Moeurs, L'Art De La Pecher

      Maurice Dormann et Cerf, 1927. French. Paperback. Fair/No Dustjacket. 1927. French. 377 pages. This book is in French. Tan card covers kept in a plastic wrapper. Pages are unevenly bound and rough cut, some uncut. Some internal hinge cracking; central hinge open. Some pages loose but remain attached. Remains clear and legible throughout on tanned pages. Illustrated. Binding has weakened. Card covers are tanned and use marked. Lettering remains bright.

      [Bookseller: The World of Rare Books]
 29.   Check availability:     Biblio     Link/Print  

        Hungarica. Ungarn betreffende im Auslande gedruckte Bücher und Flugschriften. Gesammelt und beschrieben. 4 in 2 Bänden.

      München, Rosenthal, 1925-, 1927. - circa 24 x 17 cm. VIII, 488 + IV, 423 + IV, III, 413 + X, III, 443 SS., 1 Tafel mit Portrait Halb-Leder d. Zt. Die maßgebliche Bibliographie, chonologisch geordnet - I: 1470-1600 + II: 1601-1720 + III: 1471-1600 + IV: 1601-1795. - Hier ein Exemplar der seltenen und schönen Originalausgabe, d.h. die Bände 3 und 4 in der Ausgabe von 1925 bzw. 1927 (in nur 300 Exemplaren gedruckt), die Bände 1 und 2 nicht, wie auf den Titelblättern angegeben von 1903 sondern im Manualdruck von 1927. - Schönes Exemplar, nur geringfügig fleckig, Bände 3 und 4 leicht gebräunt, dekorativ gebunden. [Attributes: Hard Cover]

      [Bookseller: Antiquariat Thomas Rezek]
 30.   Check availability:     ZVAB     Link/Print  

        The Works of Jane Austen, Georgian Edition. Including: Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, Persuasion, Lady Susan, and The Watsons. In Five Volumes.

      London: Eveleigh Nash and Grayson Limited, 1927., 1927. THE FIVE VOLUME GEORGIAN EDITION. Introduction by John Bailey. Recently bound in crimson calf over marbled red/black boards, customary five raised bands, direct gilt lettering to spine, with blank endpapers. A very handsome set indeed. Internally clean with lovely sharp edges. Remarkably crisp. A superb item.

      [Bookseller: Adrian Harrington Rare Books]
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        Northern Arabia: The Explorations of Alois Musil. (In: Geographical Review Vol. XVII, No. 2).

      New York, American Geographical Society, 1927. - (2), 177-352 pp. With numerous photographs. Original publisher's card covers. Containing (on pp. 177-206) a lengthy article on Musil's work by John Kirtland Wright. The article appeared before many of Musil's own lengthier pieces were published in 1928.

      [Bookseller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH]
 32.   Check availability:     ZVAB     Link/Print  

        Atlas of the City of Philadelphia (Wards 24, 27, 24 40, 44 & 46) West Philadelphia

      G. W. Bromley & Co., 1927. Hardcover bound in black leather along the spine and at the corners with title in gilt along the spine and on an applied label on the front, grey cloth covered boards, illustrated with colored maps with 43 thumb tags marking each map. The maps were made from actual surveys and official plans. All pages are lined backed. Book is worn along the spine with most of the title there obliterated, some scratches on the corners with a few spots of wear along the edges, cover fabric is lightly soiled, front free end paper has a repaired tear that runs most of its width. Text is unmarked but the paper is age toned with a little soiling. Images available. USPS confirmation used on all domestic shipments. Over-sized copy will need additional postage will be necessary for Priority or International addresses. No Edition Stated. Half-Leather. Good/No Dust Jacket.

      [Bookseller: The Bookbums at Ish Kabibble Books]
 33.   Check availability:     Biblio     Link/Print  

        Metropolis (Original US herald for the 1927 film)

      Los Angeles: UFA / Paramount Pictures, 1927. Original advertising herald for the US release of the 1927 film, a shortened 115 minute version re-cut by American playwright Channing Pollock, who is credited on the herald. Interestingly, the herald credits the film as joint production of Paramount and UFA, apparently just prior to the formation of the larger umbrella production company Parufamet, which included UFA, Paramount, and MGM. 4.5 x 6 inches folded, 8.75 x 6 inches unfolded. Near Fine with some light soil.

      [Bookseller: Royal Books, Inc.]
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        Metropolis (UFA still photograph from the 1927 film)

      Berlin: UFA / Parufamet, 1927. Vintage black-and-white single weight still photograph from the original German release of the 1927 film. With the UFA logo at the bottom right corner.&#11;&#11;Director Lang&#39;s expressionist masterpiece, based on the novel and written for the screen by then-wife von Harbou, one of the most enduring and influential films of the silent era. Still photographs from the original UFA release are rare.&#11;&#11;9 x 6.5 inches. Near Fine.

      [Bookseller: Royal Books, Inc. ]
 35.   Check availability:     ABAA     Link/Print  

        Laugh, Clown, Laugh (Original screenplay for the 1928 film, original typescript with red intertitles)

      Culver City, CA: Metro-Goldwyn-Mayer [MGM], 1927. Shooting script for the 1928 film. Original typescript with descriptive text in black type and intertitles in red type. Holograph ink and pencil notations on the front wrapper, noting starring performers, draft type, and crediting screenwriter Meehan. With a few notations in holograph pencil throughout. A rare example of a silent film screenplay. Based on the 1924 stage adaptation by David Belasco and Tom Cushing, about professional clowns Tito (Chaney) and Simon (Siegel), who take in an abandoned child and name her Simonetta (Young, who was 15 at the time). When Simonetta is older, she joins the circus, and meets Count Luigi Ravelli (Asther), who becomes infatuated with her. Ravelli consults a doctor about his fits of uncontrollable laughter, and there he meets Tito, who has come to seek help for his fits of uncontrollable weeping. The two decide to help each other, but soon find they are both vying for Simonetta's love. Nominated for an Academy Award in 1929 for Best Title Writing, the only year for that category. Set in Italy, shot on location in Elysian Park (a suburb of Los Angeles, California). Blue studio wrappers, noted as FIRST TEMPORARY INCOMPLETE (and struck through, with Final Draft inscribed) on the front wrapper, rubber-stamped copy No. 1640 and production No. 5272, dated Nov. 19, 1927, with credits for playwrights Belasco and Cushing, and (in ink) screenwriter Meehan. 73 unnumbered leaves, typescript on watermarked onionskin stock. Pages Near Fine, wrapper Very Good, split at the spine (now encapsulated in mylar), bound with two gold brads. Blake (2001), pp. 175-177.

      [Bookseller: Royal Books, Inc.]
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        Di Goldene Medine

      Freiheit, 30 Union Square, New York, New York 1927 - Unmpaginated. Title page followed by a 7 page Forward in Yiddish by Mark Epstein, a master of the Yiddish Avant-garde, and one of the Kiev Kultur-lige, followed by 142 pages of cartoons with Yiddish captions. 2 inches trip of outer spine lacking. William Victor "Bill" Gropper (Dec. 3, 1897 - Jan. 3, 1977) was a U.S. cartoonist, painter, lithographer, and muralist. A committed radical, he is best known for the political work which he contributed to such left wing publications as The Revolutionary Age, The Liberator, The New Masses, The Worker, and The Morning Freiheit. Gropper was born to Harry and Jenny Gropper in New York City, the eldest of 6 children. His parents were Jewish immigrants from Romania and Ukraine, who were both employed in the city's garment industry, living in poverty on New York's Lower East Side. His mother worked hard sewing piecework at home. His father was university-educated and fluent in 8 languages, but was unable to find employment in America in a field for which he was suited. This failure of the American economic system to make proper use of his father's talents doubtlessly contributed to William Gropper's lifelong antipathy to capitalism. Gropper's alienation was accentuated when on March 24, 1911 he lost a favorite aunt in the Triangle Shirtwaist Factory fire, in which 146 worked burned to death or jumped to their deaths because they were unable to flee the burning sweatshop since the doors were locks by the employers. At age 6 Gropper took chalk to the sidewalks, decorating the concrete with elaborate picture stories of cowboys and Indians that extended around the block. As a child on the way to school, Bill used to lug bundles of his mother's piecework sewing to the sweatshops by which she was employed. At age 13, Gropper took his first art instruction at the radical Ferrer School, where he studied under George Bellows and Robert Henri. In 1913, Bill graduated from public school, earning a medal in art and a scholarship to the National Academy of Design. He refused to conform at the academy, however, and was subsequently expelled. He attempted to attend High School that fall, but finances prevented his attendance and he was forced to seek work to help support his family.He worked as an assistant in a clothing store, earning $5 a week. In 1915, Bill showed a portfolio of his work to Frank Parsons, the head of the New York School of Fine and Applied Arts. The work so impressed Parsons that Gropper was offered a scholarship to the school. Gropper continued to work reduced hours for reduced wages in the clothing store while he continued his artistic education. In the subsequent two years, Bill gained recognition and awards for his work. In 1917, Gropper was offered a position on the staff of the New York Tribune, where over the next several years he earned a steady income doing drawings for the paper's special Sunday feature articles. At this time, the politically radical Gropper was brought into the orbit of original and innovative artists around the left wing New York monthly, The Masses. After The Masses was banned from the US Mail in 1917, due to its unflinching anti-militarism, Gropper joined artists like Robert Minor, Maurice Becker, Art Young, Lydia Gibson, Hugo Gellert, and Boardman Robinson in contributing to its successor, The Liberator. Gropper also contributed his art to The Revolutionary Age, a revolutionary socialist weekly edited by Louis C. Fraina and (in later issues) John Reed, a publication which narrowly predated the establishment of the American Communist Party, as well as to The Rebel Worker, a magazine of the Industrial Workers of the World, an anarcho-syndicalist union. In 1920 Gropper went to Cuba briefly as an oiler on a United Fruit Company freight boat. He left the ship in Cuba and spent some time there observing life and working as a supervisor on a railroad construction detail. . . [Attributes: Hard Cover]

      [Bookseller: Meir Turner]
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        Konvolut aus 26 Radierungen. Beinhaltet: op. 20 \"Hartäckerpark\" [124 x 178 mm, I. Zustand, 1 von 4 Probedrucken]. op. 24 \"Der Bildhauer\" [230 x 156 mm, III. Zustand, 1 von 3 Probedrucken]. op. 23 \"Arena in Arles I\" [148 x 188 mm, III. Zustand, 1 von 4 Probedrucken]. op. 10 \"Siedlungsbau\" [140 x 190 mm, Nr. 2 von 25 Expl.]. op. 25 \"Turenne\" [124 x 247 mm, II. Zustand, 1 von 3 Probedrucken]. op. 11 \"Kircheninterieur\" [160 x 200 mm, Nr. 2 von 25 Expl.]. op. 13 \"Das Haus auf der Anhöhe\" [130 x 180 mm, Nr. 2 von 25 Expl.]. op. 29 \"Blumen I\" [200 x 115 mm, II. Zustand, 1 von 3 Probedrucken]. op. 15 \"Hütteldorf\" [130 x 210 mm, II. Zustand, Nr. 2 von 25 Expl.]. op. 30 \"Sion I\" [155 x 215 mm, II. Zustand, 1 von 4 Probedrucken]. op. 17 \"Schloß Neulengbach\" [170 x 240 mm, Nr. 2 von 25 Expl.]. op. 32 \"Sion am Abned\" [121 x 171 mm, Nr. 12 von 20 Expl.]. op. 33 \"St. Gilles\" (eigentl. ein Relief aus dem Kreuzgang St. Trophine, Arles) [150 x 123 mm, Nr. 12 von 20 Expl.]. op. 35 \"Montblanc\" [155 x 293 mm, III. Zustand, Nr. 12 von 20 Expl.]. op. 37 \"Romanische Plastik\" [218 x 131 mm, Nr. 12 von 20 Expl.]. op. 38 \"Ansicht von Avignon\" [170 x 261 mm, Nr. 12 von 20 Expl.]. op. 39 \"Kaiser Friedrich Barbarossa und ein Bischof\" [242 x 141 mm, Nr. 12 von 20 Expl.]. op. 41 \"Mondnacht\" [169 x 257 mm, Nr. 12 von 20 Expl.]. op. 42 \"Marmolata\" [160 x301 mm, Nr. 12 von 20 Expl.]. op. 45 \"Blumen III\" [194 x 118 mm, Nr. 12 von 20 Expl.]. op. 46 \"Silvretta\" [150 x 248 mm, Nr. 12 von 20 Expl.]. op. 26 \"Uzerche [an der Loire]\" [167 x 219 mm. Einer von drei Probedrucken.]. op. 27 \"San Cassiano\" [150 x 178 mm. III. Zustand, einer von drei Probedrucken.]. op. 21 \"Badende\" [129 x 249 mm. Probedruck, nicht verzeichnet.]. op. 31 \"Sion im Morgengrauen\" [149 x 192 mm. Probedruck 3, Zustand II.] op. 40 \"Figur eines Abtes\" (Romanische Plastik von der Kirche St. Pierre zu Moissac/ Frankreich) [200 x 163 mm. Nr. 12 von 20 Expl.]

      [Wien], 1927 - 1929. Alle Blätter in Passepartouts. Alle Radierungen eighd. signiert und betitelt. Hds. Bezeichnungen der Bilder sind auf dem Passepartout in Bleistift. Beiliegend Tietze, G. Frankl mit S. 17 - 25 (Oeuvre-Katalog). - Passepartouts angestaubt. - Frankl (1901 - 1965) widmete sich nach einem Jahr an der Technischen Univeristät Wien, der Malerei. Nach der anfänglichen Orientierung an seinem Lehrer Anton Kolig wandte er sich dem Studium der alten Meister zu und paraphrasierte u.a. Bilder von Peter Paul Rubens, Konrad Witz, Abraham van Bayeren, Pieter Bruegel d. Ä. und Jan Fyt. Entscheidend für seiner weitere Entwicklung wurde die Kenntnis der Malerei Paul Cézannes, von deren Einfluss Frankls Landschaften und Stilleben der zwanziger und dreißiger Jahre geprägt sind. Während des Londoner Exils konzentrierte er sich auf Landschaftsaquarelle und -zeichnungen. Nach dem Kreigsende hielt er Vorlesungen in Cambridge und London. Die Bilder des ersten Nachkriegsaufenthaltes in Wien reflektieren symbolhaft das Bild der Stadt in einer teils kubistisch oder konstruktivistisch ausgerichteten Formensprache. Um 1960 fand Frankl zu einer pastellhaften, malerischen Bildstruktur, die die Grenzen der Gegenständlichkeit fast völlig sprengt. Seine letzte Werkgruppe 1964/65 ist der Bildzyklus In Memoriam, in dem er in drastischem Realismus die Greuel der nationalsozialistischen Konzentrationslager verarbeitet, denen auch seine Eltern zum Opfer gefallen waren. (siehe auch die Publikation \"Gerhart Frankl. Oeuvre-Katalog der Radierungen\" der Galerie Welz 1994). - Hier eindrucksvolle Kaltnadelradierungen, vor seiner Emigration nach London. Versand D: 7,00 EUR Kunst

      [Bookseller: Antiquariat Weinek]
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        Salmonitis. A Treatise on Its Symptomology, Pathology, and Eradication. [Preface by Howard Knight]

      [N.p.: Privately printed by Howard Knight, 1927. First edition. Illustrated with photographs and green decorative borders throughout. [ii], 45 pp. 1 vols. 4to. Green cloth spine and orange paper over boards. Very good. First edition. Illustrated with photographs and green decorative borders throughout. [ii], 45 pp. 1 vols. 4to. Interesting and whimsical privately printed account of a salmon fishing trip to the Laval River in Quebec, 9-25 June, 1927. Bruns S-85; Bibliotheca Salmo Salar 120; Heller 2:483. OCLC 2 locations (UNH, N.Y. Hist. Soc.). Provenance: [Morris] Heller (partially erased name on flyleaf)

      [Bookseller: James Cummins Bookseller]
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        Histoire Charmante de l'Adolescente Sucre d'Amour.

      - P. Chez l'Artiste 1927 In-4° plein maroquin marron, dos lisse, titre doré sur le premier plat, large filet au carborandum ondulant du premier au second plat, garde moirée, plats intérieurs ornés d'un quadruple filets dorés et de larges bandes au carborendum et dorées, tête dorée, étui bordé de maroquin marron (reliure de MAROT-RODDE). 14 superbes H.T. gravés sur bois en couleurs de et trés nombreuses ornementations dans le texte de F.L. SCHMIED. Tirage limité à 170 exemplaires, un des 150 sur Arches signé par l'Artiste à la justification. [Attributes: Signed Copy; Hard Cover]

      [Bookseller: Librairie In-Quarto]
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        La Bohème et mon coeur. Suivi de chansons aigres-douces et de petits airs. Avec un portrait de l&#146;auteur par André Derain.

      A la Cité des livres 1927 - In-4 broché, couverture rempliée, chemise cartonnée, 111 pp. Non coupé. Portrait frontispice. Edition en partie originale tiré à 350 exemplaires numérotés, un des 34 sur Hollande (après 26 Japon). Bel envoi de l&#146;auteur avec un dessin original signé. Nous joignons l&#146;acier original du portrait par Derain. in-4° [Attributes: Signed Copy; Soft Cover]

      [Bookseller: Librairie de l'Avenue - Veyrier]
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      Praha: Aventinum,. 1927. title page printed in red and black, original cream wrappers printed in red and black, all edges untrimmed.. Small, faint stain to front cover, wrappers a bit tanned, a very good. copy. (#144778). First edition. The Brothers Capek published ADAM STVORITEL, their last joint work, in 1927. The play is another comedy on a utopian theme, and continues the tradition of R.U.R and THE MAKROPULOS SECRET. For plot summary and analysis of the play, see William E. Harkins, Karel Capek, pp. 115-18. It was first published in English (a translation by Dora Round) as ADAM THE CREATOR: A COMEDY IN SIX SCENES AND AN EPILOGUE by George Allen & Unwin Ltd in 1929.

      [Bookseller: L. W. Currey, Inc.]
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        Faust. Zweiter Teil. Mit fünfhundertundzehn Lithographien und elf Radierungen von Max Slevogt.

      Berlin, Bruno Cassirer 1926 - 1927. - 2 Bl., Titelbl., 460, (4) S., OLdr., eingebunden die OBroschuren der vier Einzellieferungen. Papier nur teilweise sehr leicht stockfl., die Broschuren stärker. Einband an einigen winzigen Stellen minim. berieben. Insgesamt hervorragend erhaltenes, nahezu tadelloses Exemplar. In einer neuen Halbleder-Kassette. Schauer I.214 u. II.84. Eyssen S. 146 - 147. * Eins von 250 Exemplaren, in allen Colophonen der vier Teillieferungen (jeweils den hinteren Umschlag-Innenklappen) numeriert, im ersten Colophon signiert. - Auf kräftiges, handgeschöpftes Bütten gedruckt. Unser Exemplar im handgebundenen Vorzugseinband: Rotes Maroquin auf fünf unechten Bünden, mit schlichter Filetenvergoldung auf den Buchdeckeln, goldgepr. Deckel- u. Rückentiteln u. Kopfgoldschnitt. Das Buch ruht in einer von Roland Meuter gefertigten, farblich passenden Halbmaroquin-Kassette (das Leder teils minimal verblaßt), mit goldgepr. Rückentitel, Rohleinenüberzug u. Velourleder-Innenausstattung. - In jeglicher Hinsicht, vor allem, was Buchgröße, Illustrationen u. Aufwand betrifft, eine wahrlich monumentale Ausgabe, vielleicht die größte buchkünstlerische Huldigung, die Goethes "Faust" jemals zuteil geworden ist. Auch in diesem Werk bilden der leichte Satz aus einer nicht näher benannten Kursiv mit Slevogts Illustrationen eine äußerst harmonische, spielerische Einheit. Mit diesem seinem illustratorischen "Testament" hat Slevogt endgültig - nach den Illustrationen zur "Zauberflöte" - den Höhepunkt seiner Illustrationskunst erreicht. Dabei zeigt er sich auch hier völlig befreit von aller Rücksichtnahme gegenüber traditionellen, buchgestalterischen Forderungen, seine Illustrationen umrahmen als Arabesken und illustrative Girlanden den Text, spielen in die Textblöcke hinein mit Szenendarstellungen, in denen Slevogt wiederum seine "Meisterschaft im Festhalten von Bewegung" beweist, "in denen es darum geht, dramatische Zuspitzung zu fixieren (.) Ein Werk, das immer wieder zum Blättern und Betrachten verlockt, ein 'Bilderbuch' für Erwachsene. (Eyssen). - "Slevogt ließ sich gewiß tief beeindrucken von geschehnisreichen Stoffen. Der Kern seines Werkes, das ins Aquarell, ins Ölgemälde und in die Wandmalerei seine Ausläufer trieb, war die Bilderzählung für's Buch (.) Max Slevogt, der lebenssprühende Illustrator war im Grunde ein Maler, der des literarischen Geschehens (.) bedurfte. Aus kostbarsten Gesteinen wußte er einen schier unversieglichen Quell, ja eine Sturzflut sinnfälligen Geschehens herauszuschlagen." (Schauer, S. 214). [Attributes: Signed Copy; Hard Cover]

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      New York: Pro-Distributors Publishing Company, 1927. Quarto; illustrated pulp wrappers; 128, 24pp ads; illus. Sunning to spine, with small loss to heel and upper 1.5" supplied; adhesive residue along left edge of front wrapper, with wear, diagonal creases, small nicks and tears to same; lacking 3/4 of rear wrapper; text clean and supple; complete copy, but Good only. First of four parts of what Hammett would eventually develop into his first novel, Red Harvest. The four-part serial was issued in Black Mask as an interconnected series of novelettes between November 1927-February 1928, with significant variations in the text compared to the finished novel. The issue features a superb cover by Fred Craft, with contributions by Erle Stanley Gardner, Raoul Whitfield, and Frederick Nebel, et al. Scarce. Layman C77, Hagemann 1093.

      [Bookseller: Captain Ahab's Rare Books]
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