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

        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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        Now We Are Six. With Decorations by Ernest H. Shepard.

      London: Methuen & Co, 1927 - Octavo. Original deluxe green morocco, titles to spine gilt, pictorial decoration to spine and front board gilt, all edges gilt, pink pictorial endpapers. Housed in publisher's original box. Gift inscription to the dedication page, mild rubbing to ends of spine and corners. In the original box with tears and splitting to edges of lid, lid also slightly warped. A very good copy. Illustrated throughout by Ernest H. Shepard. First edition, first impression, deluxe issue, one of 1,500 copies bound in green leather by Ship Binding Company. John R. Payne, "Four Children's Books by A. A. Milne", Studies in Bibliography, University of Virginia Press, vol. 23 (1970), pp. 127–139. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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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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        LUKUNDOO AND OTHER STORIES ...

      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 - 4 Parts in two volumes, 1927 & 1930.

      Published By the Ceylon Government., Printed by Taylor & Francis, London 1927 - Green Leather Hardcovers, gilt title on the spines. No Inscription Colour plates with tissue guards. Folio hb, 4 Parts in two volumes. Qto Hb. Complete two volume sets uncommon. George Morrison Reid Henry [17 February 1891, Ceylon to- June 1983, England] was an entomologist and ornithologist in Ceylon now Sri Lanka. He was born at Goatfell Estate, Kandapola, Ceylon where his father, Charles Reid Henry, managed tea estates. He was one of eleven children and was educated at home by his older sisters. He showed an early talent as an artist and obtained his first job as a draftsman and a laboratory assistant in the Ceylon Company of Pearl Fishers in 1907 at the age of 16. In 1910 he became a draftsman at the Colombo Museum and was trained by Dr. Joseph Pearson, Director of the Colombo Museum, who was a zoologist and marine biologist. In July 1913 he was promoted to the newly created post of Assistant in Systematic Entomology at the Colombo Museum, a post he held until his retirement in 1946. [Attributes: Hard Cover]

      [Bookseller: Bill's Books]
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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.

      [Bookseller: SOPHIE SCHNEIDEMAN RARE BOOKS]
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        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]
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        XIMENES MALINJOUDE.

      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]
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        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.

      [Bookseller: SOPHIE SCHNEIDEMAN RARE BOOKS]
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        Amerika.

      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]
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        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]
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        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]
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        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.]
 21.   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]
 22.   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]
 23.   Check availability:     buchfreund.de     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]
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        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]
 25.   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]
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        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]
 28.   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]
 29.   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. ]
 31.   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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        THE GOLD TOOTH .

      New York: E. P. Dutton & Company, [1927] - Octavo, pp. [i-iv] v [vi] [1-2] 3-436 [347-352: blank] [note: last three leaves are blanks], original purple cloth, front and spine panels stamped in orange, top edge stained orange, fore edge untrimmed. bottom edge rough trimmed. First edition. Lost race adventure novel of the discovery of an ancient race in the mountains of North Korea who possess a new element that is a powerful catalyst for transforming mercury into gold. "Interesting moments, clever plotting, but too long." - Bleiler, Science- Fiction: The Early Years 2152. Clareson, Science Fiction in America, 1870s- 1930s 740. Locke, A Spectrum of Fantasy, p. 210. In 333. Bleiler (1978), p. 190. Reginald 13963. A fine copy in fine two-color pictorial dust jacket with hint of wear at edges. A stunning copy. (#147173) [Attributes: First Edition; Hard Cover]

      [Bookseller: Currey, L.W. Inc. ABAA/ILAB]
 34.   Check availability:     AbeBooks     Link/Print  


        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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        ADAM STVORITEL: KOMEDIE O SEDMI OBRAZECH.

      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]

      [Bookseller: ANTIQUARIAT MATTHIAS LOIDL]
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        THE CLEANSING OF POISONVILLE" [RED HARVEST, PART I] - IN BLACK MASK - VOL X, NO 9 (NOVEMBER, 1927)

      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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        ANDALUCÍA LA BAJA. (Poemas en verso).

      - Madrid. Edit. Reus. Imp. Mejías y Susillo. 1927 (1926 en el colofón) 1ª edic. 23x17 cm. 170 págs. encuadernación en cartoné, tejuelo, guardas al agua, Conservando las cubiertas, cortas del margen superior y falto de un trocito del margen derecho, también en las 3 primeras hojas sin afectar. Las páginas 15-16 tiene un pequeño injerto. Algún subrayado en el texto. buenos márgenes y limpio. # poesía. [Attributes: Soft Cover]

      [Bookseller: Librería Torreón de Rueda]
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        Flaubert à Paris ou le Mort Vivant. Avec des bois originaux d'Hermann Paul.

      - P., Delpeuch 1927.Petit in4, 1/2 maroquin bordeaux époque, dos à nerfs richement orné, couverture et dos conservés, dos légèrement insolé. Edition illustrée de 14 bois originaux d'Hermann Paul tirés en sépia.Tirage total limité à 245 exemplaires. Un des 25 de tête numérotés sur Japon à la forme (17) comprenant une suite en noir de tous les bois.Bel exemplaire, très rare en grand papier.Membre de l'Académie Française, Louis Bertrand (1866-1941) fut un grand admirateur de Flaubert. Il fut le légataire de sa bibliothèque.

      [Bookseller: LIBRAIRIE GODON]
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        DELUGE: A ROMANCE.

      London: Fowler Wright Ltd.,. 1927. original green cloth, front and spine panels stamped in black.. A fine copy in very good or better printed dust jacket with a couple. of short closed tears at top and bottom edges and some general dust. soiling. A very nice example of the jacket. The UK edition is. uncommon; the jacket is rare. (#153565). First edition. A self-published book that became a bestseller. "Geological upheavals result in widespread flooding, but southern England is elevated to make the Cotswolds a tiny archipelago. The inhabitants' struggle for existence is described with a cold realism not previously seen." - Anatomy of Wonder (1995) 2-149. "...one of the very best catastrophe stories." - Bleiler, Science-Fiction: The Early Years 2439. Filmed in 1933 by RKO studios and directed by Felix Feist, this was one the very first disaster movies, the setting moved to New York for this adaptation of Wright's novel. Anatomy of Wonder (1976) 3-71; (1981) 2-126; (1987) 2-139; (1995) 2-149; and (2004) II-1289. Clareson, Science Fiction in America, 1870s- 1930s 829. Clarke, Tale of the Future (1978), p. 55. Lewis, Utopian Literature, p. 215. Locke, A Spectrum of Fantasy, p. 235. In 333. Bleiler (1978), p. 213. Reginald 15657.

      [Bookseller: L. W. Currey, Inc.]
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